typographies iii: chamber concerto for piano with ensemble
DESCRIPTION
My dissertation composition - a chamber concerto for pianist and sinfonietta-sized contemporary ensemble, in four contiguous movements.TRANSCRIPT
TYPOGRAPHIES III: CHAMBER CONCERTO FOR PIANO WITH ENSEMBLE
by
Daniel Bassin
May 6, 2014
A dissertation submitted to the
Faculty of the Graduate School of
the University at Buffalo, State University of New York
in partial fulfillment of the requirements of the
degree of
Doctor of Philosophy
Department of Music
Typographies III
Chamber Concerto for Piano with Ensemble
Written for Eric Huebner, James Baker,
and the Musicians of the Slee Sinfonietta
in partial fulfillment of the PhD in Music Composition
University at Buffalo
And with heartfelt thanks to David Felder and Jeffrey Stadelman
Daniel Bassin
(March 2014)
Instrumentation:
1 Flute (doubling on Piccolo and Alto Flute)
1 Oboe (doubling on English Horn)
1 Clarinet (in Bb and A, and doubling on Bass Clarinet)
1 Horn in F (conventional Mute and “gestopft” Mute required)
1 Trumpet (in Bb and C – St. Mute, Cup Mute, Harmon Mute required)
1 Tenor Trombone (St. Mute, Cup Mute, and Bucket Mute required)
3 Percussionists:
LEFT: Vibraphone, 2 Congas, Snare Drum, Gong in A4, Med. Log Drum, Deep Suspended Cymbal, Peking Opera Gong*
-instruments shared with CENTER:
Xylophone, Crotales (2-octave set, plus one crotale in Eb8*), Bass Drum, Flexatone
CENTER: 4 Timpani, Tam-tam, High Log Drum, 3 Roto Toms, Med.-Small Splash Cymbal, Gong in Eb4, Whistle, Slap Stick
-instruments shard with RIGHT:
Glockenspiel, Chimes, Bass Drum, Flexatone
RIGHT: Marimba (5-octave), Bongos, Field Drum, Gong in D5, Low Log Drum, Riveted Ride Cymbal, Small Tam-tam in G*
* Peking Opera Gong, Small Tam-tam, and high crotale provided by the composer*
1 Harp (G3 and G4 scordatura up to G#, B3 and B4 scordatura down to Bb)
1 Keyboardist (doubling on Celesta and Harpsichord)
1 Solo Piano (without lid)
2 Violins
1 Viola
1 ‘Cello
1 Double Bass
Explanation of notational conventions
NB – This is not a “C” Score, given transpositions apply.
- Accidentals:
o Accidentals generally accompany every given note. However for ease of reading,
occasionally reiterated accidentals have been omitted when occurring within a
given beat-group, or during a tie. In addition to the conventional quarter-tones
employed, directional arrows are used as a guide when playing harmonics that
diverge noticeably from equal temperament, such as the 7th and 11th partials.
- Dynamics:
o Supplied dynamic markings are ideally absolute and scalable, such that p (for
example) on the solo piano equals the same volume of sound in other
instruments. However, dynamics given within double quotation-marks occur in
exceptional circumstances, such as playing with a practice mute, or in extreme
registers, and describe playing intensity, not their resultant volume.
o Dal niente and al niente indications are frequently found in this work, and are
represented by a circle at the closed end of a crescendo/diminuendo hairpin. The
indication quasi niente describes a playing effort where a player initiates the pitch,
without trying to “project” the sound into the room. It should be noted that niente
used in conjunction with certain percussion techniques describe the physical
playing action, and not necessarily the cessation of all sound from the instrument.
o The indications tenuto and non-dim. after a given dynamic are not synonymous.
Rather, non-dim. compels the player to maintain the given dynamic, while tenuto
implies a greater effort to “hold” and sustain the sound, as in a rinforzando, and
is therefore to be treated more soloistically.
o Indications of sforzato/sforzando are strong, sharp accents of a forte character,
unless adjoined by a hyphen, such as sf-mp, which indicates a strong, sharp accent
within the mezzo-piano dynamic. Therefore, sfp and sf-p yield quite different
results. Accents occurring in dynamics above forte are given sff, etc.
- Articulations:
o The martellato “carrot” indication ^ is understood to be stronger and harder
articulation than sf, though not as sharp. Martellato used in conjunction with a
tenuto dash - is the strongest, weightiest articulation given.
o A tenuto dash - over a given note is used to add weight, through articulation and
subtle dynamic accentuation. It should not affect the given duration, or metric
location of the note.
o Frequently a tenuto dash will occur with a staccato dot – this articulation conforms
to the above, with added weight and a slight separation.
- Grace Notes:
o Grace notes occurring immediately before barlines are to be performed quickly,
and before the beat. Elsewhere they are accompanied by a bracket and arrow, to
indicate whether they are played on or before the beat (which is indicated by the
arrow). Grace note-sized rests occur occasionally, and always in conjunction with
brackets/arrows, indicating that a sound event begins just after the given beat.
Flute
Oboe
Clarinet in Bb
Horn in F
Trumpet in Bb
Tenor Trombone
Percussion L
Percussion C
Percussion R
Harp
Keyboard
Solo Piano
Violin 1
Violin 2
Viola
Violoncello
Double Bass
p
q=42 ( in 3 Ke )
(in 3 q)2 3 4 5 6
pp
p ppp (mf)ppp
p pp
ppp pp
pp p poco pp
ppp
pppp
ppp mf pp
ppppp p-ppp
quasi sforzando
p
ppp p pp ppp pp mp p f pp ffpppp
p
q=42 ( in 3 Ke )
(in 3 q)
p mf p
p mfp f p sff
p
p mp
3
Daniel Bassin(April, 2014)
Typographies IIIChamber Concerto for Piano with Ensemble
I. Introduction
3
3 To BCl. Bass Clarinet
3 3
Cup mute 3
Senza sord.3
Bucketmute 3
+/- 1/4
Senza sord.
3
Gong
Chimes
Marimba
Gong
bisbigliando
Celesta
non-pedale
5:3
3
3 9
una
corda sempretre corda
Con sord.IIIII
3
Con sord.
IIIIV
3
sffpp
sf
6
Con sord.
IV, sul tasto3
col legno battuto
Con sord. 3
ppp
pppp
Con sord. 3
pppp
4
Fl.
Ob.
B. Cl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
sf-mp mf sf-p
7 8 9 10 11
mf p pp
ppp
ppp sfzpp mp pp
ppp sfzpp mpppp
ppp sfzpp mp pp ppp p
ppp pppp ppp
sf-mp pp p
pp pp f p
pp
mp fz sf-mp p
mp
poco forte
quasi pedale
pp pp
mp pp ppp f mp dynamics ad lib.
p pp mp
p
p
pmfp f pp
p mf p, tenuto
3
To Bb Cl.
Bb Cl.
,3flz.
,3flz.
,
3
flz.
+/- 1/4
3
Xylophone
Vibraphone Slow motor Senza motor
Gong
3
3
(Chimes)
ppp sfpp
Bass Drum
mf
Log Drum (high) 5
Chimes
Gong
Log Drum (low)
Marimba
Glockenspiel
Riveted Ride Cymbal
sempre L.V.
Harpsichord
Celesta
sempre
ad lib.ad lib.
3
una corda
(tre corda)
senza sord.
p, non-dim.
senza sord.
I
poco vib. on II
pp
senza sord.
3
p
senza sord.
5
Fl.
Ob.
Bb Cl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
sfp f
,12 13 14 15 16
ppp p poco f
pp mf, bravura ff, dim.
mf mp sf-mf
mp sf
mf p
mfppp
f
p f
ff
pp
mf
ffz
pp ff
sff, tenuto
,
sff f
sf-p sff
mf pppsff
flz.
3To Alto Flute
Quasi-Cadenza 1 ca. 5-7"
mp p
To BCl.
ossia 1/2 valve gliss. al niente
gliss.
3
3
3 3
3 Crotale in Eb8
Slap Stick
5
5 5
Harpsichord
5
55
(mf)
3
f sff
(Bb)
,3
5
(sempre pedale - no "break") (accel/rall. with
cresc./decres.)
Quasi-Cadenza 1 ca. 5-7"
moltosul pont.
molto tasto
senza sord.
3
quasi jeté
5
53
6
A. Fl.
Ob.
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
Pochissimo più mosso
q = 50
17 18 19
mp
"sff"
"sff"
"sff"
pp
mp
p
pppppres de la table p
mp
mp p
ff
p "sfff"
Pochissimo più mosso
q = 50
ppoco
quasi niente ppp
ppoco
quasi niente ppp
p
sf-mp pp mp
p
p pp
To English Horn
Bass Clarinet
multiphonic
air only
pppda lontano
molto tenuto
air only
air only
Vibraphone
Gong
Chimes
3
3
Celesta
Harpsichord
mute w/ finger nails
3
IIIIIIV
veloce put-on Practice Mute
33
veloce
II3
veloce I3
veloce
pp
3 3
3
veloce
3
7
A. Fl.
EH
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mptenuto
Alto Flute
20 21 22 23
mp poco sf
mf
quasi niente
ppp pp
ppp
ppp
ppp, da lontano ppp pppp
p
mf, pesante
pp mp
ff mp f mf p, dim.
"ffpp" "mp"
pppp non-dim.
pp
3
English Horn
Harmon Mutew/ Stem
o
5
Bucket Mute
poco motor
3
3
Timpani
w/ wooden mallets
Crotales
w/ hard rubber mallet
w/ friction stick
Marimba
IV, poco vib
senza vib.
IVIII
(free-bow, avoid coordinating with viola)
(free-bow, avoid coordinating with vln2)
8
A. Fl.
EH
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p mp
24 25 26 27 28 29
mp, dolcemfp sf-mf
ppp
mp pp
mp
mp pp
p p
mp pp pppp
pp
mf
mp p
(ppp) quasi niente
mp f mp ff pp
5
To Oboe
5
p sempre
-sfz mp
slap tongue
mp
pp
p
3
5
5
open
Deep Sus. Cymbal
Tam-tam
Gong
Marimba 123
Celesta
3
5 3 5 5 5
9
A. Fl.
Ob.
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
sim.
30 31 32 33
rfz fp
pp mp ff sf-mf
fp
pp
sf fp mp
p sf
mp f
sfp mf fp mfp fp mp
mp
pp mf f
fp sf
f, veloce
mf sf ff sempre
sforzandofff
sff fpppp
sff
poco
mf f"ffp"
sfff
sff "sfff"
tongue ram5 5
Oboe flz
mf
5
3
flz.
3
3
ad lib.
+/- 1/4 tone
(Harmon Mute with Stem) o
o 5
(Bucket Mute)
Bass Drum
3 3
Roto Toms
(Roto Toms)
Tam-tam
3 3 3
3
Bass Drum
3 3
5
Harpsichord
3
ff, bravura
(Bb)
5:3
5 3 5
[ ]
[ ]
mf sff
frog
sf -sf mp
sul IVgliss.
(7th harm.)
3 3
3
10
A. Fl.
Ob.
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p
Quasi in tempo
(q = 50)34 35
p
p
p
pp ppp mp pp
pp ppp mp pp
ppp poco a poco cresc.
forte piano
p mf pp
f
“sf-mp” "sfff” ppp, dolce
Quasi in tempo
(q = 50)
pppp, non-dim. ppp
ppp
mp
To Picc.
Quasi-Cadenza 2 ca. 10"
To Cl. in A
Harmon w/out stem
bisbigliando
(Harpsichord)
7:8
IIIIIIV
Remove mute
3
Quasi-Cadenza 2 ca. 10"
1 full bow
3
11
Picc.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp mf p fp
poco a poco accel
(e = 100)
(e+e+q)36 37
fmf ff
mp
fp, piano tenuto ff fff
f mp ff
sffz mf, cresc. moltosff fp fff
sff
sf
fff fff mf fff possibile
fff subito sfff fp
poco a poco accel
(e = 100)
(e+e+q)
cresc. molto ff
cresc. molto ff
sffsfp f ff
sf-mp
Rimshot Vib.
senza motor
Crotales
Timp.
3
,
Gong
Glock.
3
3
ff
tremolo w/ plectrum
5:3
Celesta
(G)
7:8
(G)
3
5
3
port.
3
ff
. . . . . .
jeté3
3
12
Picc.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
fff mp mp
e = 144
38 39
fcantabile
poco f, tenuto sf cantando
f, teutof, ten. f
sf
sf f mp sf-mp pp mp
sf fp mfp f
fff sf
mf p
mf sf mfp ff
sf
fff sff
fff fff
mf, sonore(non-arp.)
ffff
f ff
sfff cantabile
e = 144
sff f ffp
sfff f sff fp
ffp
,fp cresc. f, cant.
mfp
+/- 1/4 tone
5
II. Toccata
f, bravura
5
3
mf 3
3
(7th)
fp f
5
MetalSt. Mute Lip trill
MetalSt. Mute Lip trill
3
335
Xylophone
Congas
5
Whistle
ff
Timp.
w/ hard mallets
sff
Splash Cym.
mf
33
Bongos
Small Tam-tam in G
w/ wooden malletMarimba
mfp cresc.
5
5 3
C# E§ F§ G§ Ab
p
sempre L.V.
f5
6
(15ma)
(loco)
(15ma) (loco)
3
35
(Pedale)
1/2
3
3
ff, bravura
3
mf
pizz.
sf
3
3
f ff, bravura
sf
3
3
I II ,
13
Picc.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mfp
40 41
mf, ten. fp
mfp mp
sff fp"f"
sf-mp
pp pp mp p pp p mp mfp
mpmp pp mp
ffz sf p mp ff
mfp sf fp mf p
mfp sfp
mf p mfmp
p
f
sff
sf "ffp" mfp
mp f
ff mf, tenuto
fp ff mfp
p
f
3 3
5
3 3
"covered" sound
mp
3 3 2 1-3 2 VT3
mfp
3 ,33
Peking Opera Gong3
Xylo.
3
5
Timp.
gliss.
3
3
5
Log Drum
5 Field Drum
3
5
Pedal gliss.
5:3
To Harpsichord
3 3
3
3
(15ma)
(loco)
3
35
3
una corda
3
3
1/2
"ff"
(7th)
gliss.
IIIV
IVIII
pizz. trem arco (III)55
5
ff
sfp
mfp
(7th)
gliss.
14
Picc.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp pp mp mf
Rubato42 43
mfp
f mp
-sf mp
mp pp
mp f
mf p mp, pesante
p
forte
mfmf
p, veloce
poco
Rubato
p, ten. sff
mp
f p
3
sf-mf
mf, tenuto
35
SenzaSord.
BD
5
Roto-tom
pp
Timp.
3
mp5
3
Marimba 33
pres de la table
Harpsichord
3
3
(C#)(F)
13:8
trecorda
(accel/rall. with cresc./decres.)
5
(frog)
gliss.gliss.
pizz.
15
Picc.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
fpmp, ten. sf-mf
Poco accel. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
44
f
p mf
veloce
mp
mfp "mf" p fp
pp
pp mp pp
p ppp p
p
pp
p
pp p
mp f mfp p
sf
sfmf, sempre cresc.
mf
sfpp, dolce mf
mp, pesante
pp ppp
Poco accel. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
pp
pp
3
3
mp
3
33
3
5 5
Senza sord. 3
Lip trillw/ slow gliss
Crotales w/ rubber mallets sempre L.V.
-sf mp
3
Splash cym.
f
3
5
quasi gliss. sempre L.V.
5 6
6
3
Celesta
3
3
(chromatic cluster)
p3
una corda
trecorda
una corda
pp f
IIIII
sf-p
IIIIV
molto tasto
3
(pizz.)
3
pizz.3
16
Picc.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p mf p mp leggiero
(accel.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - e = 15245 46
pp mf pp mfp mp sf sf-p mp, giocoso
p, cantabile mfp mp fp
fp ppp fpp molto sff
mp fpp ff
mfp p mf p
f
fp sf mfmp mp
f mp mp
sff mf mp p
(f)
mf f -sf mp mp mf ff f sff
p sf-mp mp f
(accel.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -e = 152
p mfp mf f
p mfp mf f ff
ffzmf "fff"
ffz mf f
5
fp
5 5
3
3
mf
,
3
3
5
3
3
,gliss.
sff
Vibraphone
w/ bow
Log Drum
f mp
3
Gong Splash Cym.
7:8 7:8 3
Gong
Riveted Ride Cymbal
Bongos
Harpsichord
3 3
(8va)
(loco)
3 3
5
3 5:3
1/2
mf
(8vb)
mp p
mf
ad lib. intonation
12
molto sul pont.
molto sul pont.
pizz. arco
fp gliss.
over-pressure
pizz. arco sul pont. III
3 5
17
Fl.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mfp
accel. poco a poco47 48 49
tenuto p sff mp fp sffmp
ff sff
p pp
p pp
f
sf mf p mp sfff
ff mp mp f pp f, bravura
sf-mf
mf pesante
ff ffmp f fpmf, tenuto
mf, pesante mp f mp
sfp mf, tenuto
accel. poco a poco
mf sf mp sf-mfsff
mf sf mp "ffp" "f" mp pp ffp f mp
mf, ten.
f p mf, sonore
To Flute
Flute
mf, cant. p mf
mf
3
mp, non-dim.
3
mp, non-dim.
3
Crotalesw/ bow
Vibraphone
Roto-toms
5
w/ hands Marimba
6
55:3
3 3
Gb
pres de la table
F§
3
sempre L.V.
quasi pedale
5:3
6
(loco)
f 3
3
3
mf sf mp sf
5 5
35
pizz.
sf
arco
mp
3
sf
(7th)
glis
s.
veloce
3
3
3
ord.
p mf, sonore p
ord.
p
18
Fl.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
" "ff fp mf mfp
(accel.) - - - - - - - - - - - - - - - - - - - - - - - -
5051
52
sf-mf
pp fp sfmp f f fp
mp f
mp
sf-p mp pfp mp
pp mp pp sf-p mp f fp sf-mf
mp mfmp
-sf mp sf-mf sffp sfp sfp sfp sfp "sf"
sff
p mf p mfp
mp mp ff
sf-mp
f, tenuto (ff)mp
mf
ff ff fff mp
f
(accel.) - - - - - - - - - - - - - - - - - - - - - - - -
p mf pp
mf sf-mp mf, pesante
3
3
To EH.
3
3
mp, cant.
3
Con sord. Senza sord. ten.
3
Cup Mute
p
lip bend+ pull-slide
3
mp, cant.
53
Cup Mute
gliss.
3 3
3
(senza motor) motor ca. 160bpm
w/ bows3
Ricochet strokes
Timp.
dead center
5:3
Ride Cym. Field Drum5
5
(L.V.)
3
veloce
Harpsichord
3
5
mp
f
f
(sul II)
molto sul pont.mf, pesante
,
19
Fl.
EH.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
sf-mp sf ff ff sf
e = 160 (q = 80)53 54
p, tenuto
ppp p f
sf ff, bravura
fp mp sf mfpp
mfp p, pesante
f pp
sf-mp p mp
f mf, pesante
ff
mp sf
(f)
f ffp f p
sf-mf
mp, sempre cresc. ff
mfpp mp
e = 160(q = 80)
mp, semplice
mp, semplice
mfpp mp
6 5
53 5
English Horn
3
Con. sord
da lontano
mp harmonic gliss.
glis
s.
3
3
3
Senza sord.
slow gliss.
w/ soft malletssenza motor3
Splash cym.
Timp. sempre L.V.
3
5
3BD
G# Eb Cb
3
3
6 capture *some*
of the pitches
(8vb)
(loco)
3
3
5
5
3
20
Fl.
EH.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f tenuto
mp f
55 56
ff mp mf, tenuto ff
mfp ffp
sfff mp, da lontano p mp
sfp mfp ppp mp
mp sfpp mp
ff mf
p
fff sf-mf
fp ff mp, pesante
fff, tenuto e sempre dim.mf, cant.
mp
ff f mp, tenuto
ff p
mf sf ff mp
mf, sonore sf
mp f, sonore fp
3
ff
(7th)
Senzasord.
5
5
3
Senza
sord. 3
3
5 5 5
3
Celesta
(8va)
4:3
sff sf
mp
(8vb)
3
mf, non-dim.
3
mf, non-dim.
3 33 3
21
Fl.
EH.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f, tenuto fp f
57 58 59 60
f, tenuto ff, tenuto
f, tenuto mf quasiniente
ff
mf mfpfp sf
mf sffpp mf sf-mf
mf mf p, cresc.
mp mf mp
sf-mp mp mf
mf mp pp
mp mf p
mp
mf
2-octave chromatic cluster
forte cresc.
cantando
ff cantabile
chromatic clusters
f mp
mf, sonore mf, tenuto mf f
sf sff mp fp sf-mp fp ff f tenuto
sf sff
f
mf
mf ff
3 6
To Alto Fl.
3
pppp
3 free gliss. on harmonics
gliss.
w/ heavy mallets senza vib. very fast motor senza motor
Splash Cym.
Tam-tam
3
3
RideCym.
5
5
3
4:3
(loco) 3
34:3 3
(loco)
f
mf
Col legnobatt. arco
33
Col legnobatt.
3
3
3
fp
slow gliss.
22
A. Fl.
EH.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf
61 62
mp
mp mfp
p, semplice sf
ppp mp pp fp
mp sf-mp mf p f mp mf p mp
fp sf-mf pprfz
sf
mp p
mfp mf cresc. f mp, non-dim.
pp
mf sfz
mp f mf sf
mp
mfp f, staccato mp mf
mp, sempre
pp, espr. p
mf pp
mfp mf
mp
mfpp mp mp, espr. mf
Alto Flute
To Ob.
mp, non-dim.
3
gliss.
(7th) (9th)
(7th) (9th)
(11th)
4:3
Congas
6
ffp BD
35:3
6
Chimes
3
,
bisbigliando 3
3 3 3
8:6
5
7:6
(8vb)
(loco)
(8vb) (loco)
mp, tenuto
(arco)
3
gliss.
3 5:3
23
A. Fl.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf
(q = 80)
accel.63 64 65
sf-mp sim.
sf
pp mp p ppp
dim. poco a poco mfp
fp mf
mp mp
sf-mp
pmp
mfp fp
mp fp mp
(q = 80)
accel.
mp p mp
mp, molto cantabile
mf sf-mf più forte
mp
mfp
3 3
3
3
To C Trpt.
SD
Log Drum
5
5
FD
5
L.V.
Gliss. w/ spoon
3
Harpsichord3
chromatic cluster
35
6
mf
5
mf
5
III II
3
p
mp
3pizz.
arco
vib.5 5
jeté
. . . . . . .
3
24
A. Fl.
Ob.
Cl. in A
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp sff pp mp
q. = 80
66 67 68
pp mp
pp mp
mp mf
fp poco
sffff
f mp mf sf
mf mp ff mf fff
sim. mp mf
mf
fff
fff p
mp
pp
fff
mf, bravura
q. = 80
fp sf pp
fp sf
fp sf
fp sfmfp
33
Oboe
Croatlesw/ bow
w/ brass beater
3Xylo
3
5
3 6
(+Pedal gliss.) sempre L.V.
quasi pedale
mp sf
5
sf
pizz.
ff
con sord.
5 3
sff
5con sord. pizz.
mfp
arco5 3
f
I II III IV III II I (etc.) I I II I3
con sord.
6 7 3
5con sord.
5
5II
5
25
A. Fl.
Ob.
Cl. in A
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff fmp
q = 4069 70 71
ff pppdolce
f
ff
pp mp
ppp, dolce mf
pp
p
sff pp pp
ppp p pp
sff ppp ppp
p mp pp
sf-p
(p)
mf mp p ppp pp, semplice mp
p pp
p, semplice "sff"
q = 40
mp p, pesante
mp p, pesante
quasiniente
pppquasiniente
pp, non-dim. mp pp mf
mp p, poco a poco dim.
3
III. Song with No Words
3
3
mf, tenuto
quasi sf
3 3
Trumpet in C (open)
p
Bucket Mute
ppp 3 mf
+/- 1/4 tone5 5
3
Congas
Sus Cym.w/ brushes
Gong
Splash Cym.
Gong
3
Bongos
Riveted Ride Cym.w/ Triangle beater
BD
3 3
Celesta
Harpsichord
5
3
sempre
una corda tre corda
sul II
(7th)
3 33 5
3
3
molto flautando
3
3
5 5 33
26
A. Fl.
Ob.
Cl. in A
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p, dolce mp, pesante p
72 73
p, dolce mp, pesante p
p, dolce mp, pesante p
pp mfpp
mf mp
pp
portamento ad lib.
mp pp, tenuto p mp, dolce
pp pp ppp, sempre
ppp p ppppp p mp
p
mf pp pp poco p
pp
pp
piano sempre sf-mf mfppp
p f pp
mf mp pp
mf mp pp
mfmp pp
sf-mf poco
3
3
3
da lontano
5
5
3 3
pp
5 5 3
(Bucket Mute)
I
F-series
Senza sord.5
4:3
HighCrotale
Crotalesw/ rubber mallets
Sus. Cym.
Chimes
Timp.accel/cresc.rall./dim. ad lib.
3
5
Glock Bongos
5 5
Celesta
RH poch. più forte
(White-note cluster)
3
3
una corda
sul I
(15ma)
(7th)
mp
(loco)
3
mfp
3
sul tasto3
LH pizz.w/ arco
mf3
27
Picc.
Eng. Hn.
Cl. in A
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
-sf p ppp
in 6
(e = 80) ca. 3”74 75 76 77 78
mp, cantabile sf-p
p mf pp mp p, dolce
pp
p, cantando
mp
p pp p, tenuto
pp ppp
" "sf " "sf " "sf " "sf
p sf-pp mp
pp ppp, non-dim.
p ppp mp
pp, quasi gliss sempre L.V. sf-mp ppp
p, pesante pp
pp (p)
mp mf pp mp sf, subito p pp
pp p, pesante pp
pp
in 6
(e = 80)ca. 3”
sfppp mp mp
sfppp mp mf p
sf-mp
ppmfp mf
To Picc.
Piccolo
p
3
pp
3
3
To E.H.
English Horn
3
5 5
5
To BCL
portamento
(pull slide & lip down)
pp
(Open)
air attacks
Vibraphone w/ 2 bows Flexatone
p
ad lib.
3 3 3
SplashCym.
Timp. ,
Ride Cym.
Marimbaw/ Friction Stick Flexatone
p
ad lib.
3
6
3
(Celesta)
Harpsichord
3
3
(Black note cluster) 3
3
5
Tre corda
(8vb)
sempre (loco)
3
Senza Sord.
3
3
accel/cresc.rall./dim. ad lib.
3 ,
quasiniente
p, ten.
pizz.I
arco3 3
28
Picc.
Eng. Hn.
BCl.
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp sf-pp ppp
Poco più mosso
(q = 54)79 80 81
mfp mp, tenuto
mp
p p f p
mp, dolce mf
sf-mp mf
p pp
p ppp quasiniente
sf-mp pp mp
p mf, pesante
pp
p
sffzppp
sf-pp pp
sf-mp
mp, sonore
sf-mp
sff pp mp, cantando mf mf
Poco più mosso
(q = 54)
p p, non-dim. p, tenuto
p p, non-dim. p, tenuto
p p, non-dim. sf-p pp
p p, non-dim. p, tenuto
mp pp
5
p3
5 To Flute
Bass Clar.
color fingerings
pp muliphonic
Con sord.
3
Senza sord.
Gestopft Mute3 5
Cup Mute
5
St. Mute
5
Senza sord.
Cup Mute
Gong
Vibraphonesenza motor
5
ppp
Gong
pppp
Gong
High Crotale
p
5
Gong
p
Marimba
pp
p
3 5
5
Celesta
(15ma)
(loco)
(G)
3
(Ped. sempre)
3
(A)
3
(arco)
4:3
Senza sord.
III
poco flautando
p, tenuto
gliss.
poco flautando
29
Fl.
Eng. Hn.
BCl.
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p, semplice
82 83 84
mp, tenuto
ppp p
mp p pp pp
pp
ppp p, cresc.
ppp pp pp
p
ff quasiniente
dynamics ad lib. ppp
ppp
sfp
mp
sf-mp
mp, sempre tenuto pp
Flute
mf
3
pp
5
mp
p
Con sord.
3
BD
Vibraphone
senza motor
Gong
Log Drum
Tam-tam
BD
p
5 5 5 5
legato possibile, L.V. sempre4:3
3
ad lib.
(8va)
5
(8vb)
5 5
accel/cresc.rall./dim. ad lib.
Senza sord.
"ff"
mp p
pesante
Senza sord.
3 3 3 3
30
Fl.
Eng. Hn.
BCl.
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p, non-dim.
Quasi-cadenza 3ca. 10-12"
85 86 87
p, dolce f mp
sf-p
sf-p
sf-p
mf
sf p non-sf
fz
ff
sf
quasi sf
sf-mf
sf sff
Quasi-cadenza 3ca. 10-12"
sff
sff
sff
sff
5
To Alto Fl. 5
To Oboe
5
Open
3 3
Cup Mute Senza sord.
Cup Mute Senza sord.
Vibraphonew/ bow
(senza motor) fast motor
Timp.
3
Small Tam-tam in Gw/ wooden mallet
E§ C§
6
Harpsichord
3
3
(Sempre L.V.)
"air" sound
"air" sound
"air" sound
"air" sound
Senza sord.
"air" sound
31
A. Fl.
Ob.
BCl.
Hn.
C Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff, tenuto mp, tenuto
q = 9088 89 90 91 92
ff, tenutomfp
ff, tenuto mp, tenuto
ff sffmp, non-dim.
mp, tenuto mp
f mp f
ffp sf-mp "sff" sf-mf
f mp f mp
mf
(mf)
sf-mf
mf
mp
sff mptenuto
f p
q = 90
sff mptenuto
f mp, non-dim.pp
sff mptenuto
f pp
sffp
f sf-mp
IV. Conclusion
p
mp, tenuto
Con sord.
p
senza sord
To Bb Tpt.
Flexatone
Crotales w/ brass beaters
Whistle
Splash Cym.
w/ fingertips
Roto-tomsSlap stick
5:3
Flexatone
Glock.
Small Tam-tam
Bongos w/ fingertips
sf-mp
5
(Harpsichord)
(Pedale sempre) (A)
una corda
3 5
"Dead" pizz.
3 5
IIIIV molto flautando
3 5 mp, non-dim.
molto flautando
3sul pont.
gliss.
"Dead" pizz.
mp
32
A. Fl.
Ob.
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f
93 94 95 96
sf-mf mf
mp, non-dim.
mp mf
mp mf
mp mf
sf p pp sf-mp
mp
sf-"mf"
p
mp, cantabile mf
p, sonore pp
mp
mp
mp
mp pp sf
pp pesante
sempre cresc.
sf-mf p mp
To Flute
sf p
3 8
Congas w/ palms
Peking Opera Gong
7:8 5
Log Drum
5
Pedal gliss.
""sf"
gliss. w/ spoon
(15ma) (loco)
1/2con Pedale
arco
ord.
ord.
arco
over-pressure
gliss. 3
33
Fl.
Ob.
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ad lib. poco a poco rall.
Cadenza97 98 99 100 101
p, dolce
mp, tenuto
mf mfpp
ppp
pp ppp
mf pp
ff mf
mp
sf ff sf-mf pmp p pp
sf-p mf mfpp sempre pp, free-bow
ad lib. poco a poco rall.
Cadenza
pp ppp
pp ppp
pp ppp
pp sf-p mp
harmonic fingering
5
Vibraphone
poco motor
3
3
Chimes
5 5
Marimbaw/ bow
Glock. 3
(Celesta)
(15ma sempre)
RH semprechromatic cluster
5
(sempre L.V.)
5
5 3
Pedale sempre
(15ma)
55 3
3
3
"air" noise
3
IIIIV (vib.)
3
"air" noise
3
III
3
(7th)
gliss.
34
Fl.
Ob.
BCl.
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
102 103 104 105 106
p mp
(sempre pp)
sf-mp
p
ppp p
(p)
p
p mp pp
mp
sf-mp
"sff"
"sff"
To A Clar.
Play:
Sing:
3
Bucket Mute
BD
Harpsichord
quasi pedale
3
mf
5
(loco)5
35
Fl.
Ob.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Hp.
Kybd.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
107 108 109 110
ppp p pp
pp
ppp p ppp pp
pp
sfp
f mp p, tenuto ppppp mp
sf-mp quasi niente
mp
mp mf
Tacet al fine
Vibraphonew/ bow
slow motor
Timp.3
Gong Timp.
55
Marimba
Tacet al fine
(Harpsichord)
quasi pedaleTacet al fine
3 5:3
3 5:3
36
Fl.
Cl. in A
Hn.
Bb Tpt.
Tbn.
Perc.L
Perc.C
Perc.R
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p, tenuto
(a tempo)
Finale111 112 113 114 115 116
pp mp
pp mpsubito
pp mpsubito
sf-pp
mp p quasi niente p
sfffp pp mp ppp sf-p
sf-mp
(a tempo)
Finale
f
f
sf-mp fmp fp
(Flute)
Tacet al fine
Tacet al fine
Tacet al fine
Tam-tamw/ triangle beater
Glock.
Field Drum(muted)
(sempre 15ma)
(8va)
(C#)
5
(A)
Pedale sempre
3
3
3
3 mf
37
Fl.
Cl. in A
Perc.L
Perc.C
Perc.R
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p, dolce
117 118 119 120 121
pp, non-dim.
quasi niente pp
ppp
pp pp
mp p
sfp
pp
pp
quasiniente
p
p, tenuto
sf-pp
pp, tenuto
Tacetal fine
Tacet al fine
Sus. Cym.
3
Splash Cym.
Gong
Ride Cym.
Una corda
3
(C) 5
1/2 1/2
Tre corda
Tacetal fine
3
3Tacetal fine
Tacetal fine
3 Tacetal fine
gliss on harmonics
ppp, cresc.
gliss.3 3 Tacet
al fine
38