Iannotta Dissertation 2018
Uploaded by
JingulemastanIannotta Dissertation 2018
Uploaded by
JingulemastanSonic Instability: A Composition Portfolio
The Harvard community has made this
article openly available. Please share how
this access benefits you. Your story matters
Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40049994
Terms of Use This article was downloaded from Harvard University’s DASH
repository, and is made available under the terms and conditions
applicable to Other Posted Material, as set forth at http://
nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of-
use#LAA
Sonic Instability: A Composition Portfolio
A dissertation presented
by
Clara Iannotta
to
The Department of Music
in partial fulfillment of the requirements
for the degree of
Doctor of Philosophy
in the subject of
Music
Harvard University
Cambridge, Massachusetts
May 2018
© 2018 Clara Iannotta
All rights reserved.
Dissertation Advisors: Professors Chaya Czernowin and Hans Tutschku Clara Iannotta
Sonic Instability: A Composition Portfolio
Abstract
This dissertation represents the result of four years of study at Harvard. Before the beginning
of my doctoral research, my music was above all focused on creating layers of surfaces across which
things move, blend, and work together to hide what lies beneath. These surfaces reflect and absorb
light, and in constructing them I constantly veiled the animating energy hidden in their depths,
probably also because I was not sure of what this energy was, even if I knew what its shadow looked
like. During my Ph.D., the core of my research shifted from the outside — the creation of surfaces
— to the more direct representation of the inside.
Included in this portfolio are seven works that represent my output over the past four years.
Among these works are compositions exploring instrumentations from solo performer to string
orchestra, including both acoustic and electronic pieces. An important feature of this music is a
compositional approach in which traditional instruments and everyday objects are brought together
in order to create a sonic representation of a spatial environment. I understand space as a metaphor
for temporal experience: time unfolds linearly, but it enables you to inhabit a space whose
dimensions and properties are revealed in time.
This research also documents an increasing interest in the productive potential of unstable
sounds. My use of fragile sounds, whose quietness and sonic irregularity underline the physical
gesture made to produce them — almost as though the sound needed a visual component in order to
be fully understood — complements this approach to sonic instability. As an artist, I am drawn to
uneasiness, dirt, and imperfection. During my time at Harvard I have been able to integrate these
qualities into my music by finding a way of producing scores that direct the performers’ energies
iii
towards controlled but unpredictable results. My scores are meticulously notated, but most of my
sounds are so unstable, because of the techniques used to produce them, that the same passage
played several times would give as many sonic results. The energy and aesthetic experience remain
the same, but what changes is a question of shifts in the shade of a color. I feel that it is this breach
into imperfection that makes my sonic environments alive.
iv
Table of Contents
1. Title Page i
2. Copyright Page ii
3. Abstract iii
4. Table of Contents v
5. Front Matter vi
6. Body of Text
I. Troglodyte Angels Clank By (2015), for amplified ensemble 1
II. dead wasps in the jam-jar (i) (2014–15), for violin 39
III. dead wasps in the jam-jar (ii) (2016), for string orchestra, objects, and sine waves 45
IV. dead wasps in the jam-jar (iii) (2017), for string quartet, objects, and sine waves 88
V. smudged — a carbon copy (2016–17), for 5 singers/performers, transducers, and 119
electronics
VI. smudged — a carbon copy (ii) (2017), for viola, accordion, objects, and 5 146
transducers
VII. paw-marks in wet cement (ii) (2015–17), for piano, two percussionists, and 159
amplified ensemble
7. Back Matter 203
v
Acknowledgments
The years spent at Harvard have been fundamental for me both personally and professionally. I thank
my professors and colleagues, who pushed the boundaries of my imagination with their insights and
questions. I thank my students, for their engagement, curiosity, and trust. And I thank my family
and friends, for being present every single day of this journey.
vi
Clara Iannotta
TROGLODYTE ANGELS CLANK BY
pour ensemble amplifié
(2015)
1
Commandée par Radio France pour le Festival Présences 2016
Création : le 10 Février 2016 à la Maison de la Radio, Paris
2
Je tiens à remercier:
Justine Mergnac-Hertenstein, Radio France, le Festival Présences et tous les musiciens de l’Ensemble 2e2m ; Chris Swithinbank, pour
l’électronique, son aide dans la traduction français-anglais, et pour sa présence ; ma famille, pour le soutien quotidien ; Dorothy Molloy, pour
ses poèmes, qui ont inspiré et inspirent ma musique depuis deux ans ; et en particulier, Chaya Czernowin, pour m’avoir aidé, à travers ses
magnifiques cours, à sortir d’une période musicalement difficile.
3
Effectif / Instrumentation
- Flûte en Do + cliquet en métal fixé sur un morceau de bois + waldteufel
Flute + metal ratchet fixed on a piece of wood + waldteufel
- Clarinette en Sib et clarinette basse + waldteufel (petit) + appeau gelinotte
Clarinet and bass clarinet + small waldteufel + gelinotte (grouse) birdcall
- Cor + papier aluminium + cliquet en métal fixé sur un morceau de bois (à partager avec la Trompette) + appeau gelinotte
Horn + tin foil + metal ratchet fixed on a piece of wood (to be shared with the Trumpet player) + gelinotte (grouse) birdcall
- Trompette + cliquet en métal fixé sur un morceau de bois (à partager avec le Cor) + waldteufel + appeau gelinotte
Trumpet + metal ratchet fixed on a piece of wood (to be shared with the Horn player) + waldteufel + gelinotte (grouse) birdcall
- Percussion 1 : Gong Étouffé (horizontal sur une table) || Damped Gong (horizontal on a table)
Plaque tonnerre (grande) || Thunder sheet (large)
Crotales sur une grande timbale
Vibraslap (le son ne doit pas être trop long) || Vibraslap (the sound must not be too long)
Caisse Claire (avec timbre) avec un egg-vibrateur (low power) || Snare Drum with an egg-vibrator
Gong grave à frotter avec le bord d’un petit Dobaci || Gong to be rubbed with the edge of a small singing bowl (Dobaci)
- Percussion 2 : Spring Drum (grand)
Waldteufel (petit)
Grosse Caisse || Bass drum
Guiro
Cymbale médium (18’’)
TAM (36’’)
Waterphone
- Piano préparé avec 3 aimants + scotch + vibrateur + billes + fil de pêche + trombone circulaire en métal
Prepared piano (3 magnets + tape + vibrator + marbles + fishing line + circular, metal paperclip)
- Harpe (3 cuillères à miel + baguette de triangle pour les glissandos + superball) + waldteufel
Harp (4 honey spoons + trianle beater for glissans + superball) + waldteufel + vibrator
- Violon 1 + 2 trombone circulaire en métal || Violin 1 + 2 circular, metal paperclip
- Violon 2 + 2 trombone circulaire en métal + waldteufel || Violin 2 + 2 circular, metal paperclip + waldteufel
- Alto + waldteful || Viola + waldteufel
- Violoncelle
- Contrebasse 5 cordes (scordatura de la 5ème corde accordée une octave une octave inférieure)
5-string double bass (5th string tuned one octave below)
- Laptop performer
laptop connected to a pair of stereo loudspeakers placed on the ground at the back of the ensemble
4
Indications générales
- Les altérations affectent uniquement les notes devant lesquelles elles sont posées, à l'exception des notes répétées.
Accidentals apply only to those notes before which they are placed, with the exception of repeated notes.
Bois et Cuivres || Winds and Brass
Waldteufel : cet instrument est joué en deux façons || this instrument is played in two ways.
Le fil en plastique doit être tendu et le mouvement circulaire || The thread has to be tight and it has to move in circle.\
Le fil doit être attaché et rayer sur la peu de l’instrument || The thread has slide on the skin of the instrument.
Appeau Gelinotte : il peut être acheté ici http://www.qbc.fr/index.php?cPath=23_21&osCsid=4cb45019efa6d2cff5c3cf7396045f26. Il doit
être joué en deux façon : mes. 97 (pour la Trompette) — souffler et couvrir/ouvrir le petit trou avec un doit (un peu comme avec la sourdine
wa-wa) ; mes. 142-157 (pour Clarinette, Cor, et Trompette) — souffler en laissant toujours le trou ouvert.
Gelinotte (grouse) Birdcall: it can be purchased here: http://www.qbc.fr/index.php?cPath=23_21&osCsid=4cb45019efa6d2cff5c3cf7396045f26. It has to be played
in two ways: bar 97 (for the trumpet player) — blow and cover/uncover the little hole with a finger (like a wa-wa mute); bars 142-157 (for clarinet, horn, and
trumpet player) — blow leaving the hole uncovered.
Préparation de la clarinette basse : couvrir le pavillon de la clarinette avec un papier en plastique très rigide — un papier A4 plastifié suffit. Il
devra être fixé avec un trombone. L’effet sonore peut être entendu ici http://heatherroche.net/2014/03/24/on-bass-clarinet-preparations/
Preparation of the bass clarinet: cover the bell of the clarinet with a stiff sheet of paper — a laminated A4 sheet is suitable — fixed with a bulldog clip.
Piano
Préparation : Mettre du scotch sur les cordes marquées || Put some tape on the indicated strings
Aimantes : (3 Néodyme Cylindriques : hauteur 60mm, diamètre 12mm) : positionner les aimants sur les cordes marquées.
Toucher légèrement la pointe des aimants et les laisser vibrer (effet trémolo).
Magnets (3 Neodymium Cylinder: 60mm height, 12mm diameter): position the magnets on the indicated strings. Lightly touch the tip of the magnets and let
vibrate (tremolo effect).
Trombones circulaires et Fil de pêche : placer les 3 trombones sur 3 cordes de 3 touches (l’un à coté de l’autre, par exemple
sol-sol#, et la) dans le registre médium, horizontalement (chaque trombone doit couvrir les 3 cordes de chaque touche), et
dans 3 positions différentes. Faire passer le fil de pêche sous ces cordes. || Circular paperclips: put the 3 paperclips on 3 strings of 3
consecutive piano keys in the medium register (e.g. G-G#-A). Place them horizontally (each paperclip has to cover the 3 strings of piano key).
Put the fishing line underneath these strings.
Billes : Avant le début de la pièce, mettre 15-20 petites billes dans le piano à la fin des cordes en direction opposée aux touches. Pousser
doucement les billes avec les mains (pas toutes ensmble) pour le faire glisser lentement sur les cordes. || Before the beginning of the piece, put 15-20
little marbles inside the piano, at the end of the strings, in the opposite direction of the piano keys. Push gently the marbles with your hands (not all together) to
allowthem to slide on the strings.
Vibrateur : Mettre un vibrateur sur les dernières deux cordes du piano dans le registre grave. Le vibrateur doit pouvoir vibrer très doucement.
Voici celui conseillé : http://www.amazon.com/gp/product/B00GL50RI8?psc=1&redirect=true&ref_=oh_aui_detailpage_o00_s00
Vibrator: put a vibrator on the last two strings of the piano in the low register. The vibrator has to capable of very low power settings.
Harpe || Harp
Cuillères à miel : Positionner 3 cuillères entre deux cordes. La position n’est pas importante, mais la première doit être placée entre deux cordes
dans le registre médium, et la deuxième et troisième cuillère dans le registre aigu. L’effet sonore peut être entendu ici
http://sites.siba.fi/web/harpnotation/wooden-object-in-strings
Honey spoons: place 4 honey spoons between 2 strings. The pitch and the position are not important, but the first has to be places between two strings in the medium
register, and the second and third ones in the high register.
Waldteufel : Poser l’instrument sur une base en bois et toucher la peu du waldteufel avec le vibrateur (low power)
comme sur l’image. || Waldteufel: place the instrument on a flat wood base and touch the skin of the waldteufel with the vibrator
(low power).
5
Cordes || Strings
Violon 1 : Préparer les cordes 1 et 2 avec des trombones circulaire en métal (un AST et un MSP) || Prepare the strings 1 and 2 with
circular paperclips (one AST and one MSP)
Violon 2 : Préparer les cordes 2 et 3 avec des trombones circulaire en métal (un AST et un MSP) || Prepare the strings 2 and 3 with
circular paperclips (one AST and one MSP)
Pression main gauche :
Left hand pressure
Pression main droite : = presque pas de pression
Right hand pressure
Effet Radio : l’archet doit passer entre les deux doigts.
Radio Effect : the bow should pass between the two fingers, continuously vary the bow pressure. The result should
saound like radio static moving between frequencies.
Étouffer les cordes et jouer avec une vitesse d’archet très lente. Le son doit être brisé, avec des petits silences à
l’intérieur. Un grain à la fois. || Damp the strings and play with a very slow speed of the bow. The sound must be broken, with
small silences inside. One grain at a time.
Les trois lignes représentent les trois registres de l’instrument : aigu, médium, grave. Main gauche toujours demi appuyée.
The three lines represent the three registers of the instrument: high, medium, low. Left hand always half pressure.
Main gauche : demi appuyée. Main droite : col legno tratto (clt), très peu de pression, près de la main gauche, suivre les
mouvements de la main droite (gliss. vers l’aigu=MSP // vers le grave=AST)
Left hand: half pressure. Right hand: col legno tratto (clt), very little pressure, close to the left hand, follow the movements of the right hand
(gliss up = MSP // gliss down =. AST).
Pizz. Fluide : effectuer le pizzicato avec la main gauche. Après avoir pincé la corde, utiliser le bouton de l'archet et parfois le bois de l'archet.
Poussez horizontalement avec la main droite, tout comme un bottle-neck pour une guitare. Cette action donne un glissando résultant de la
division de la corde et du déplacement du bouton de l'archet.
Pizz. Fluide : perform the pizzicato with the left hand. Once you have pinched the string, use the metal button of the bow, and sometimes the wood of the bow.
Push horizontally with the right hand, like a bottle-neck for a guitar. This action gives a glissando resulting from the division of the string and moving the knob of
the bow.
AST = alto sul tasto
T = al tasto
PO = posizione ordinaria
SP = sul ponticello
MSP = molto sul ponticello
MV = molto vibrato
V = vibrato
NV = non vibrato
l.b. = legno battuto
c.l.t. = col legno tratto
1/2 = 1/2 legno
6
Amplification : tous les instruments doivent être amplifiés. Pour le piano, prévoir 3-4 dpa 4099 micros et deux micro condenser.
Amplification: all the instruments have to be amplified. Amplification for the piano: 3-4 dpa 4099 microphones and a couple of conderser microphens.
Laptop performer/Conductor:
The laptop performer (conductor, or other musicians) should have a laptop running a patch for Cycling 74’s Max software that produces sine
waves (provided by the composer) connected to a stereo pair of loudspeakers.
Numbers above the stave indicate that a change in the sine waves should be triggered by hitting the laptop’s spacebar. The cue numbers match
bar numbers, so for example the first cue of the piece is number 13, the second 25, etc.
Instruction on how to play and use the patch will be found in the package provided by the composer/publisher alongside separated parts for
the musicians, and explanatory audio files and videos.
[email protected]
www.claraiannotta.com
Durée : 12’ ca.
7
aux musiciens de l'Ensemble 2e2m
TROGLODYTE ANGELS CLANK BY
for amplified ensemble
Score in C
Clara Iannotta
Libero (2015)
~5" ~5" simile
[rotation time]
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
y= [5/4]
ã œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
RATCHET
Flute
[rotation time]
y= [3/4]
ã œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
WALDTEUFEL
Clarinet
P
[gently crumple the tin foil. The sonic result
㠜 YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
ALLUMINIUM should be very crispy and granulated.]
Horn
P
[rotation time]
㠜 YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
y= [3/4]
RATCHET
Trumpet
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
[slowly scratch the damped gong with a metal brush.
& œ
GONG damped The sonic result should be very crispy and granulated.]
( )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Perc. 1
P
[rotation time]
㠜 YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
y= [3/4]
WALDTEUFEL
Perc. 2
ã
?
Piano [scrape the strings vertically and irregularly with the nails,
or a plectrum. The sonic result should be very granulated.]
œœYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
√YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
p
&
?
Harp [scrape the string vertically and irregularly with the nails,
or a plectrum. The sonic result should be very granulated.]
œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
√
P
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
Violin 1 ã
Violin 2 ã
Viola ã
Cello ã
Double Bass ã
8
TROGLODYTE ANGELS CLANK BY
~5" ~5"
A
simile
7
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
y= [5/4]
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
rall. molto
Flute
towards a more continuous sound (the thread
y= [3/4]
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
has to slide on the skin of the instrument
(P) p
Clarinet
[gently crumple the tin foil. The sonic result
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[ALLUMINIUM] should be very crispy and granulated.]
(P)
Horn
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
y= [3/4]
Trumpet
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
[slowly scratch the damped gong with a metal brush.
The sonic result should be very crispy and granulated.]
& œ
[GONG damped]
( )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Perc. 1
(P)
towards a more continuous sound (the thread
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
has to slide on the skin of the instrument
y= [3/4]
(P) p
Perc. 2
?
Piano [scrape the strings vertically and irregularly with the nails,
or a plectrum. The sonic result should be very granulated.] rall. molto
( œœ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(√)
YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(p)
&
?
Harp [scrape the string vertically and irregularly with the nails,
or a plectrum. The sonic result should be very granulated.]
( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(√)
(P)
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
III
AST [damp the strings with the left hand and play on the indicated string(s) with a very slow bow speed. The
Ï
IV sound must be broken, perforated, with small silences inside. One grain at a time.]
high
Violin 1 ã [register] medium ã
p P
low
I MSP
rall. molto
[damp the strings with the left hand and play on the indicated string(s) with a very slow bow speed. The
sound must be broken, perforated, with small silences inside. One grain at a time.]
h
Ï
Violin 2 ã m ã
p P
l
I
AST
II
[damp the strings with the left hand and play on the indicated string(s) with a very slow bow speed. The
sound must be broken, perforated, with small silences inside. One grain at a time.]
h
ã m ã
P
Viola
Ï
p
l
III AST
IV
[damp the strings with the left hand and play on the indicated string(s) with a very slow bow speed. The
sound must be broken, perforated, with small silences inside. One grain at a time.]
h
Cello ã m ã Ï
p P
l
rall. molto
I
AST
II
[damp the strings with the left hand and play on the indicated string(s) with a very slow bow speed. The
sound must be broken, perforated, with small silences inside. One grain at a time.]
h
Double Bass ã m ã Ï
p P
MUTE
l
9
TROGLODYTE ANGELS CLANK BY
* For the electronics operator: Press the space-bar of the computer to trigger the sine waves (see key page).
NB: the numbers above the stave indicate that a change in the sine waves should be triggered by hitting the laptop's space-bar.
The cue numbers match the bar numbers, so for example the first cue of the piece is 19, the second 25, etc.
~t
[1257 Hz] &
= * 13 SINE WAVES
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
13
ã ( œ)
rall. molto [scrape the thread against
ã
the skin of the instrument]
Flute YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY WALDTEUFEL
ã ( œ)
(p)
Clarinet
[gently crumple the tin foil. The sonic result rall. molto
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYo
[ALLUMINIUM] should be very crispy and granulated.]
(P)
Horn
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[scrape the thread against
rall. molto
the skin of the instrument]
Trumpet WALDTEUFEL ã
p
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
[slowly scratch the damped gong with a metal brush.
The sonic result should be very crispy and granulated.]
& œ
[GONG damped]
( )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Perc. 1
(P)
Perc. 2 ã
(p)
?
Piano rall. molto
( œœ )YYYYYYYYYYYYYYYYYY
(√) o
[scrape the thread against
& ã
the skin of the instrument]
WALDTEUFEL
p
?
Harp rall. molto
( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(√)
(P) o
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
rall. molto
Ê
Violin 1 ã
(P) o
rall. molto
AST
ã Ê
[scrape the thread against
the skin of the instrument]
Violin 2 WALDTEUFEL ã
o p
rall. molto
[scrape the thread against
ã Ê
the skin of the instrument]
Viola WALDTEUFEL ã
(P) o p
rall. molto
Cello ãÊ
(P) o
rall. molto
MSP
ãÊ
[MUTE]
Double Bass
10
TROGLODYTE ANGELS CLANK BY
,
~t
[1257 Hz] &
=
U
SINE WAVES
~5" ~5" simile
19 (~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30") 3
4
ã
[scrape the thread against
the skin of the instrument]
Flute
(p) o
ã
[scrape the thread against
the skin of the instrument]
Clarinet
(p) o
Horn ã
ã
[scrape the thread against
the skin of the instrument]
Trumpet
,
(p) o
U
~5" ~5" simile 3
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30") 4
& œ
[GONG damped]
( )YYYYYYYYYYYYYYYYYY
Perc. 1
(P) o
ã
[scrape the thread against
the skin of the instrument]
Perc. 2
(p) o
?
Piano
ã
[scrape the thread against
the skin of the instrument]
(p) o
?
Harp
~5" ~5"
,
U
(~ 5") (~ 10")
simile
(~ 15") (~ 20") (~ 25") (~ 30")
3
4
Violin 1 ã
ã
[scrape the thread against
the skin of the instrument]
Violin 2
(p) o
ã
[scrape the thread against
the skin of the instrument]
Viola
(p) o
Cello ã
ã
[MUTE]
Double Bass
11
TROGLODYTE ANGELS CLANK BY
( ) ( ) ( )
[1248 Hz] ‚ ‚ ‰. Œ ‚ ‚ ‰. Œ ‚ ‚ ‰. Œ simile
[beating between the two frequencies]
[1257 Hz] 25 SINE WAVES
B = 60
25 3
4
Flute ã
Clarinet ã
Horn ã
Trumpet ã
3
4
Perc. 1 &
Perc. 2 ã
?
Piano
ã
?
Harp
3
4
Violin 1 ã METAL
MUTE
Violin 2 ã METAL
MUTE
Viola ã WOODEN
MUTE
Cello ã WOODEN
MUTE
ã
[MUTE]
Double Bass
12
TROGLODYTE ANGELS CLANK BY
SINE WAVES 36
31
C
Flute ã
Clarinet ã
Horn ã
Trumpet ã
:[with bow]
#˙ œ ˙ œ
& =
& ‰.
p
Perc. 1 CROTALE
o
on TIMPANI
P Œ
Perc. 2 ã
?
Piano
?
Harp
poco SP [fast bow, flautando]
[bright sound]
~
Œ ‰ O O O. O.
[METAL IV
( )
ã =
MUTE]
&
Violin 1
o p
[fast bow, flautando]
T [bright sound]
Œ ‰ œO œO
[METAL
Ȯ .. Ȯ ..
IV
ã =
MUTE]
Violin 2 &
o p
[bright sound]
OȮ ..
poco SP [fast bow, flautando]
OȮ ..|v
I 15
. .
[WOODEN
ã =
MUTE]
Viola &
II o p
poco SP [fast bow, flautando]
ṙO .
˙O ..
15 [bright sound]
.
[WOODEN
?
III
ã =
MUTE]
Cello
o p
T [fast bow, flautando]
# #ÇœO .. ˙O ..
I 15 [bright sound]
ã
B Ó ≈
[MUTE]
Double Bass
= o π
13
TROGLODYTE ANGELS CLANK BY
37 SINE WAVES 38
37
Flute ã
Clarinet ã
Horn ã
Trumpet ã
Perc. 1 &
Perc. 2 ã
ã
?
Piano
ã
?
Harp
& O. O. O. O O O O ‰.
[METAL ( ) ( )
Œ
MUTE]
Violin 1
(p) o
[METAL
& Ȯ .. Ȯ .. Ȯ .. Ȯ .. Ȯ .. Ȯ ..
MUTE]
Violin 2
(p)
OȮ .. OȮ .. OO OO
œ œ ‰ Œ
[WOODEN
& . .
MUTE]
Viola
(p) o
? ˙O .. ˙O .. ˙O .. œO œO ..
[WOODEN
≈Œ
MUTE]
Cello
(p) o
O.
[MUTE]
Double Bass
B ˙.
o
14
TROGLODYTE ANGELS CLANK BY
SINE WAVES 48
43
Flute ã
Clarinet ã
Horn ã
Trumpet ã
Perc. 1 &
Perc. 2 ã
?
Piano
?
Harp
[METAL
&
MUTE]
Violin 1
V NV V NV
[METAL
& Ȯ .. ((((((
(((((( Ȯ .. Ȯ .. œO (((( O O .. Ȯ
Ȯ (((( œ œ Ȯ ..
MUTE]
Violin 2
(p) [slow, medium-large glissando] [slow, medium-large glissando]
[WOODEN
&
MUTE]
Viola
?
[WOODEN
MUTE]
Cello
[MUTE]
Double Bass
B
15
TROGLODYTE ANGELS CLANK BY
SINE WAVES 50
49 D
Flute ã
Clarinet ã
Horn ã
Trumpet ã
n œ-
:[with bow] p[soft beater]
#˙ œ ‰.
Ó
ã =
& & ‰
on TIMPANI =
p π
Perc. 1 CROTALE CROTALE
o
on TIMPANI
P ΠP
( )
o cc
: [with bow]
p[soft beater]
‰ œ- Ó
l.v.
ã ã ã
p ∏
WATERPHONE BASS
Perc. 2
DRUM
π
[gently bowing the strings using the fishing line
≥˙ ˙≤ ≥˙ ˙≤ ≥˙
in the directions indicated.]
ã CORDIERA
(on the strings) ã Œ Œ Œ Œ Œ
∏ π p simile (p)
T T
?
Piano T T
T T
°
# O-
[glissando using a tuning key]
ã ‰ # œç Ó
=
&
p
[superball on the strings]
?
Harp
u
? ‰
l.v.
= # ˙˙ œœ
√
p ∏
-O Ó
[METAL
& ‰
SP [flautando]
&
MUTE] IV
Violin 1
=
p
V NV SP [flautando]
Ó & ‰ œO Ó
[METAL
& œO œ(
O(Ȯ Ȯ .. Ȯ .. œO
IV
=
MUTE]
p-
Violin 2
o
- SP [flautando]
O
O
‰ œ Ó
[WOODEN I
&
MUTE]
=
SP
&
Viola
II -
[seagull effect using an artificial harmonic
of 4th starting as high as possible]
>O
( )
p
— III -
? ? ‰ œO Ó
[WOODEN III
SP [flautando]
MUTE]
?
Cello
= =
P o p
I - [flautando]
#O
B ‰# œ Ó
SP [bow]
B
[pizz.]
? ‰ Ó
= +œ
[MUTE] IV
Double Bass
= p
∏
16
TROGLODYTE ANGELS CLANK BY
SINE WAVES
55
Flute ã
Clarinet ã
Horn ã
Trumpet ã
Perc. 1 &
Perc. 2 ã
[CORDIERA] ã Œ ˙≤ Œ ≥˙ Œ ˙≤ Œ ≥˙ Œ ˙≤ œ ˙
(p)
?
Piano
(°)
&
?
Harp
[METAL
&
MUTE]
Violin 1
[METAL
&
MUTE]
Violin 2
[WOODEN
&
MUTE]
Viola
?
[WOODEN
MUTE]
Cello
[MUTE]
Double Bass
B Take the mute off
17
TROGLODYTE ANGELS CLANK BY
SINE WAVES
61
Flute ã
Clarinet ã
Horn ã
Trumpet ã
:[with bow]
#˙ œ ‰.
& =
&
p
Perc. 1 CROTALE
o
on TIMPANI
P Œ
( )
o cc
: [with bow]
ã ã
p
Perc. 2 WATERPHONE
≥˙ ˙≤ ≥˙ ˙≤
[CORDIERA] ã Œ Œ Œ œ ˙ œ ˙ Œ
(p)
?
Piano
(°)
&
[superball on the strings]
?
Harp
u
? ‰
l.v.
= # ˙˙ œœ
√
p ∏
[METAL
&
MUTE]
Violin 1
[METAL
&
MUTE]
Violin 2
[WOODEN
&
MUTE]
Viola Take the mute off
SP
[seagull effect using an artificial harmonic
of 4th starting as high as possible]
>O
( )
—
?
III
[WOODEN
MUTE]
?
Cello
=
P
Take the mute off
o
+ [pizz.]
+ œ
B
IV
t ‰ Ó
Double Bass
= ˙ ˙. ˙. ˙. ˙.
V
.
Ø
AST
18
TROGLODYTE ANGELS CLANK BY
67 SINE WAVES
67
E
Flute ã
Clarinet ã
Horn ã
Trumpet ã
THUNDER [slowly scratch the thunder sheet with a metal brush.
( )
& œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY ‰ Œ
SHEET The sonic result should be very crispy and granulated.]
Perc. 1
π o
- œ- ‰ ‰ œ- Ó
BASS
p[soft beater]
ã œ ‰ Ó Ó
DRUM
ã
Perc. 2
π π π
≥˙ ˙≤ ≥˙ ˙≤ ≥˙
[CORDIERA] ã Œ Œ Œ Œ Œ œ ˙
(p)
?
Piano
(°)
&
?
Harp
O
always harmonic
≥ ≥ ( ) ≥ ≥
pressure glissando ( )
AST
≤ ±± . ≤ ± ±± .. ≤ . ±±
( )
. ≤
( )
≤
[almost no bow pressure]
( ) ( ) ( )
. . ±
+O
* I T ( + O ) ((+ + OO )) ( + Oœ) œ . (+ Oœ)
[METAL
O +O
& ( )
+
MUTE]
Violin 1
To
p
≥ ( ) ≥
II
± ±.
.. ±≥
AST
( )
≤ . ± ≤ ±. ≤ ( ) .
[almost no bow pressure]
( )
[METAL
& + + OOT..
* II
. ( + OO ) ( + Oœ) œ œœ
MUTE]
˙ ˙
Violin 2
p
To
III
F [behind
1/2 legno
˙ .. ˙ .. ˙ .. ˙ .. ˙ .. ˙ ..
:I
the bridge]
Viola
I
II ˙ ˙ ˙ ˙ ˙ ˙
∏
III
IV
? ‰ Ó Ó ‰ ? ‰ Ó
IV [pizz.]
=
+œ +œ +œ
Cello
∏ ∏ ∏
t ‰ Œ Ó ‰ Ó ‰ Œ
œ œ œ œ œ.
Double Bass
( pppp ) o Ø o Ø o
*= always as legato as possible.
19
, F
TROGLODYTE ANGELS CLANK BY
= 96
73 3 2 7 4 7
U 8 y= [4/4] 4 16 8 16
Flute ã RATCHET ã œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[rotation time]
U .
[scrape the thread against [scrape the thread against
ã
the skin of the instrument]
ã ã
the skin of the instrument]
Clarinet WALDTEUFEL
P P
y= [6/4]
U œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
ã ã
[rotation time]
Horn RATCHET
[share the Trumpet's
o
WA-WA
+̇
ratchet]
MUTE
œœ
ã U ≈Œ
Trumpet
=
&
p
TRUMPET
<P
, 38 2 7 4 p-
8 nœ
[soft beater] 7
U >YYY Œ
4 16
‰ Œ
16
& ã =
&
p
Perc. 1 VIBRASLAP CROTALE
p
on TIMPANI
p-[soft beater]
œ- Œ
p[soft beater]
ã U BASS
ã œ Œ ã ‰
BASS
DRUM
π π YY
DRUM
> YYYY ≈ Œ
Perc. 2
ã GUIRO ã .
p
√ √
[guiro effect: glissando using nails or a plectrum on the strings in the
last fifth of the high register (prepared with tape).]
>¿ YYYYYYYYYYYYYY [guiro effect] >. YYY
¿ YY >¿ YYYYYYYY. YYYYY
YY
ã ˙. U ≈Œ
not too fast not too fast
CORDIERA
=
& =
&
P P P
[CORDIERA] (on the strings)
o
?
Piano
ã 3œYYY Œ
Magnets
P
(°) ° [guiro effect : glissando P.d.ch. using
nails or a plectrum.]
U YYŠΠY YYYY
& >YYYYYYY .
[guiro effect]
( )
>. YYY
YY
ã >YYYYYYYY ã
YYYYYY Y
p p p
not too fast not too fast
?
Harp
œYYY Œ
l.v.
ã
Honey spoons between 3
((AST)) P
the strings
,3
(T) ≤
I ± 3
œ. œœ œ
±±.
2 7 4 7
&
±. U 8 4 16 O
( )
. 8 ±± 16 ±
˙. œ. ˙ œ . +O .
[METAL
& œ) œ œ ˙. œ. ˙ œ +( O . )) œ.
MUTE]
Violin 1
(
II
T
(p)
3
(II) ( ) U O) ±
(AST)
( )
(
. O
[METAL
& ˙Ṫ.. ˙. œ. ˙ œ œ.
œ . ((++O ))
MUTE]
˙. œ. ˙ œ œ. ˙
Violin 2
( )
(p)
(III) T
U
˙ .. ˙ .. œ .. ˙ œ œ .. ˙ œ .. œ
(1/2 legno)
I
˙ ˙ œ ˙ œ œ ˙ œ œ
Viola II
( ppp )
III
IV
Cello
? U
Double Bass
t U
20
TROGLODYTE ANGELS CLANK BY
83 SINE WAVES
G = 60
80 3 2
y= [4/4] 4rall. molto 4
ã œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY ‰ . Œ
[rotation time]
Flute
[muffled attack = very gentle attack mixed with a lot of air
Œ Œ Œ
using the "tongue-on-reed" technique.]
Clarinet ã CLARINET
in B b =
&
œ O. œ- O . œ O.
P- P p-
y= [6/4]
O- ‰ O- ‰ O-
rall. molto
( )
ã œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
‰ Œ Œ Œ
[breath sound]
[rotation time] ( ) HORN
ã
Horn
π o π o π
Trumpet &
3 2
4 4
& >YYYY Œ ≈ ˙ ˙ ˙
VIBRASLAP
ã
Perc. 1 SNARE ON
p p
DRUM
[turn on the vibrator
on the snare drum]
BASS
ã œ- Œ œ- ‰ Œ œ- œ- ‰
p[soft beater] p[soft beater]
≈ ‰ Œ Œ
DRUM
BASS
ã
Perc.
DRUM
∏ P p p
ã
Piano
œ Œ
ã 3YYYYY ≈ ã 2œ YY Œ ‰ Œ
Magnets Magnets
P P
°
ã
Harp
œ Œ
ã 2YYYYY ≈ œ YY Œ ‰ Œ
l.v. l.v.
ã
Honey spoons Honey spoons 2
P P
3 2
(±T)
( )
( )
( )
±. ±. ±.
4 . 4
± ± ± ±.
(I) c.l.t.
¿¿ ¿¿ ¿¿
[METAL
& ( œ) œ. œ œ. œ œ.
MUTE]
Violin 1
(p)
(II)
T
( ) ( ) c.l.t.
( T)
( )
. ±± ±± . ±± ±± . ±± . ¿¿ ¿¿ ¿¿
. . . .
& (T )
[METAL (II)
MUTE]
Violin 2
(III) ( p )
œ œ .. œ œ .. œ œ .. ˙ .. ¿ ¿ ¿
(1/2 legno) c.l.t.
I
œ œ œ œ œ œ ˙ ¿ ¿ ¿
Viola II
( ppp )
III
IV
? ‰ ‰. ? ‰ Œ ‰ Œ ‰ Œ
IV [pizz.] IV [pizz.]
=
+œ +œ +œ +œ
Cello
∏ ∏ ∏ ∏
tV
‰ Œ
AST V AST
t
=
œ œ. œ ˙ ˙ ˙
Double Bass
Ø o ∏
21
TROGLODYTE ANGELS CLANK BY
87
Flute ã
& Œ Œ Œ ‰ ‰ Œ ≈ Œ
[muffled attack]
Clarinet
=
&
œ O. œ O. œ O. œ O. œO œ O.
p- π- π- π- π- π-
- O- ‰ O- ‰ O- . O- ‰ Œ
ã O ‰ Œ Œ Œ ‰ O OO ≈
( ) ( )
ã
Horn
π o π o π o π o π o
Trumpet &
& ˙ ˙ ˙ ˙ ˙ ˙ ˙
[SNARE [with vibrator]
DRUM]
Perc. 1
(p)
ã œ- ‰ Œ œ- ‰ Œ œ- ‰ Œ ‰ œ- Œ Œ ≈ œ- ≈ œ- ‰ Œ
[BASS
DRUM]
ã
Perc. 2
p π π π π π
ã
Piano
ã
Harp
(¿T)
(c.l.t.)
¿ ¿ ¿ ¿ ¿ ¿
[METAL (I)
& ¿ ¿ ¿ ¿ ¿ ¿ ¿
MUTE]
(T)
Violin 1
(II) ( p )
(II) ( )
¿T ¿ ¿ ¿ ¿ ¿ ¿
(c.l.t.)
[METAL
¿ ¿ ¿ ¿ ¿ ¿ ¿
& T) (
MUTE]
Violin 2
(p)
(III)
¿ ¿ ¿ ¿ ¿ ¿ ¿
(c.l.t.)
Viola
I
II ¿ ¿ ¿ ¿ ¿ ¿ ¿
( ppp )
III
IV
? ‰ Œ ‰ Œ ‰ Œ ‰ Œ Œ ≈ ≈ ? ‰ Œ
IV [pizz.]
= œ
+œ +œ +œ +œ +œ
Cello
+
∏ ∏ ∏ ∏ ∏ ∏
t
˙ ˙ ˙ ˙ ˙ ˙ ˙
Double Bass
( ppp )
22
TROGLODYTE ANGELS CLANK BY
H
3
U
94 [whistle tones]
4
Flute ã FLUTE
=
&
O. O.
p
& ‰ ‰ Œ Œ
[muffled attack]
Clarinet
=
& =
&
œ O. œ O.
π- π-
‰ O- ‰ O- ‰ Œ Œ
( )
ã
[breath sound]
ã ã
Horn
π o π o
± . 444444444444444444444444444444444444444444444444444444444444444444444
[blow and cover/uncover the end of the
( )
instrument with one finger (like a wa-wa mute)]
& ã
π
Trumpet GELINOTTE
U 3 :
4 #˙
[with bow]
l.v.
& =
& Œ
p
CROTALE
o
on TIMPANI
Perc. 1 P Œ
ã ˙ ˙ ˙ ˙ ˙. ˙.
[with vibrator]
[SNARE
DRUM]
(p) ( ) ( )
o [with
: bow]
‰ œ- Œ
[BASS
ã ‰
DRUM] cc
ã ã
p
Perc. 2 WATERPHONE
π
T
T
˙. ˙.
[gently bowing the strings using the fishing line.]
ã
T
CORDIERA
(on the strings) ã
Piano p
ã
°
ã
[superball on the strings]
Harp
u
ã ? Œ
= # ˙˙
√
p
(AST) hair ≥
U 3 ≤ ±± . ≤
[almost no bow pressure]
( ) ( )
(¿T) O .
(c.l.t.)
¿¿ ¿¿ ¿¿
4 +O ( + O )
[METAL (I) (I) ( )
& ¿ +O +O
( )
MUTE]
(T)
Violin 1
(p) (p)
(II)
(II)
(II) ( )
¿T ¿ ¿ ¿
(c.l.t.)
≤
(AST) hair
¿ ¿ ¿ ¿ .
[almost no bow pressure]
O
.
[METAL
& T) ( +O
+ O ..
(II) ( )
MUTE]
Violin 2
(p)
( p )hair
(III)
(III)
bow from beyong the bridge
to ordinary position
¿ ¿ ¿ ¿
PO [flautando]
O lœO l Oœ Oœ O. l O . l Oœ Oœ n O . O n œO ..
(c.l.t.) I
I
¿ ¿ ¿ ¿ lO
( )
Viola II
&
( ppp ) (p)
III
IV
5 5 5
SP
>O of 4th starting as high as possible]
[seagull effect using an artificial harmonic
( )
—
?
III
? ‰ Œ ?
IV [pizz.]
= =
+œ
Cello
p o
∏
t
˙ ˙ ˙ ˙ ˙. ˙.
Double Bass
( ppp )
23
TROGLODYTE ANGELS CLANK BY
100 ( )
& O Œ
O O
Flute
(p) o
Clarinet &
Horn ã
(—)444444
& Ó
[GELINOTTE]
Trumpet
o
ã ˙. ˙. ˙. ˙. ˙. ˙.
[SNARE [with vibrator]
DRUM]
Perc. 1
(p)
Perc. 2 ã
[CORDIERA] ã ˙. ˙. ˙. ˙. ˙. ˙ Œ
Piano (p)
ã
(°)
ã
?
Harp
≥
≤
± 3
≥ ( ) ≥ ≥ œ. œœ œ
± ±± .. ≤ . ± ≤ = &
( )
.
( )
± ≤ ± ±.
.
(I)
((+ + OO )) ( + Oœ) œ . (+ Oœ) œ ˙.
[METAL
& œ œ ˙.
MUTE]
Violin 1
(p)
≥ ( ) ≥ o
(II) 3
± ±.
. ±≥
( )
. ± ≤ ±. ≤ ( ) ( )
.
(II)
( + O )
[METAL
& ( + OO ) œ ˙. ˙.
MUTE]
(p) ˙ œ œ ˙ œ ˙. ˙.
Violin 2
o
(III)
œO O O O ‰.
(I)
& WOODEN
o
Viola
MUTE
Cello
?
t
(AST)
˙. ˙. ˙. ˙. ˙. ˙.
Double Bass
( ppp )
24
TROGLODYTE ANGELS CLANK BY
~10"
I = 96
106 3
4 ˙.
˙. ˙˙ .. ˙˙ ..
Flute & =
&
o π o
Clarinet & & d ˙˙
= œœ ˙˙ .. ˙˙ .. ˙˙ Œ
o π o
[gently crumple the tin foil. The sonic result
˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
should be very crispy and granulated.]
Horn ã ALLUMINIUM ã
P
Trumpet &
~10" 3
4
ã œ œ ‰ .. Ó
[SNARE
DRUM]
Perc. 1 OFF
(p)
p-
ã BASS
ã œ ‰ Ó
DRUM
Perc. 2 P
˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
[scrape the string vertically and irregularl with a plectrum.
( ) ( )
ã ã
SPRING The sonic result should be very granulated.]
DRUM
S p
ã
Piano
ã ã œ ‰ Ó
YYY
Magnets 3
(°) P
[scrape the string vertically and irregularly
ã ? Œ
with the nails, or a plectrum.]
= ˙. .
√YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYo
p
?
Harp
Honey spoons ã 1œ
YYY‰ Ó
P
AST O œ ( œ O
) O œ ( )
( ) ( ) O
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
( )
~10"
3 T± — ± ± — ±
.
3
4 +O ± — . ± — ±
œ ˙
. .
[METAL I
& & +O œ œ œ ˙
MUTE]
Violin 1
=
π P
O p P p
IIT
O O
3
œ œ
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
— —— ±. ± — ±
( )
≤
AST
[METAL II
— œœ œœ ± . ± — ±
& & + + OO œ.
œœ œ
MUTE]
=
T
œ.
Violin 2
π
T P p P p
III
[circular bow passing from AST to MSP and viceversa]
r+ OO .. O. O. O.
I
âââ
O. O. O.
[WOODEN II
& & j O. O. O. O.
III
=
MUTE]
Viola
p
[bow passing between the fingers changing continuously
œ œ œ œ œ.
the pressure. See key page to understand exactly the technique]
? œ œœ œ œ œ œœ œ œ œ œ œ
III-IV
œ œ œœ œ œ œ œœœ œ œ. œœ œ. œ œ œœ.
finger 1
Cello Take the mute off RADIO
EFFECT SEV. :
P
finger 2
(hair) c.l.t. [Left hand: half pressure. Right hand: col legno tratto (clt), very little
III pressure, close to the left hand, follow the movements of the left hand
( )
t . .
(AST) PO 5 (glissando up = MSP // glissando down = AST).]
IV
œ
Double Bass
( ppp ) P
3 5 5 3
5 5
25
TROGLODYTE ANGELS CLANK BY
111
y= [4/4]
Ó œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
rall. molto
&
[rotation time]
Flute RATCHET ã
y= [6/4]
Ó ‰. œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
rall. molto
&
[rotation time]
Clarinet WALDTEUFEL ã
P o
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[ALLUMINIUM]
Horn
(P)
+̇ . o
[WA-WA
˙ œ œœ y=
MUTE]
[5/4]
Ó œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
rall. molto
&
[rotation time]
=
& ã
RATCHET
Trumpet
p
TRUMPET
<P
p-
nœ
[soft beater]
‰ Ó Ó >YYY ‰
& on TIMPANI =
& VIBRASLAP ã
P
CROTALE
Perc. 1
P
p
p-
ã BASS
ã Ó ‰. œ
DRUM
Perc. 2 π
YYYYYYYYY Ó Ó ‰.
YYYYYYYYYY
YYYY.YYYYYY
( )
ã
slowly
YYYY
ã
S o
GUIRO
P
√
> . YYYYYYYYYYYYYY
YYYYY
[guiro effect] ¿ YYYY
slowly
ã Ó ‰.
=
&
CORDIERA
P
(on the strings)
Piano
ã
(°)
# O-
[glissando using a tuning key]
? & # œç ‰ Ó Ó ‰.
[guiro effect]
= ¿ YYYY. YYYYYYYYYY
slowly
YYYYYYYYY
Harp
P P>
ã
œ O
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥≤≥ ≤ ≥ ≥ ( )
± ± — — —— . ±. ≥ ≤ ( )
±. ( )
≤
( )
. ±
± — — . ±. . ±
œ. +O +O O ( + O )
œ + O .. œ + O ..
[METAL (I)
œ . œ œ. œ O +O
& ( )
MUTE]
Violin 1
(p)
(II)
œ P p
≤ ≥ ≤ ≥ ( )
±±
±
±
—
— ≥ ≤ . ..
(II)
.
[METAL
œ O œ ˙. O
& +( ( + O ..))
MUTE]
++œ O œ ˙. ˙
Violin 2
(III)
P p
O. O. O. O. O. O.
(â ââ)
& OO .. O. O. O. O. O.
[WOODEN
O. O. O. O. O.
MUTE]
Viola
(p)
œ œ œ œœ œ ˙ œ œ œ
‰ Œ
[RADIO
:œ œ œœ. œ œ œœ œ ˙ œ œ œ
EFFECT SEV.] finger 1
Cello
(P) o
finger 2
t . Œ
( )
Double Bass
26
TROGLODYTE ANGELS CLANK BY
119 SINE WAVES 122
, 34
rall.
117
U
rall. molto ~ 12"
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYY Ó
( )
Flute
U
Clarinet ã
U
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
rall. molto
[ALLUMINIUM]
Horn
?
(P) o
U
ã ( œ)YYYYYYYYYYYYYYYY
rall. molto
, 34
Trumpet
rall.
n œ- U
p[soft beater]
~ 12"
‰ Ó
ã on TIMPANI =
&
p
Perc. 1 CROTALE
U
Perc. 2 ã
[play the indicated key and slide the
magnet along the string at the same time]
& =& œ ‰ Œ ‰ ‰
Piano P U
ã Magnets ã Œ ‰ 2œYY Œ
° p
# O-
[glissando using a tuning key]
& # œç ‰ Ó
=
&
U
Harp
P
ã Honey spoons ã Œ ‰ 3œYY Œ ?
p
O œ O ≥ rall.
≤
I ±
, 34
3
( )
≥ ≥ œ. œ œ œ
±± .. ≤ . —— ≤ =
( )
&
U
( )
≤
~ 12"
±.
((+ + OO )) ( + Oœ) œ . (+ Oœ) œ œ œ
˙.
[METAL
& ˙.
MUTE]
Violin 1 Take the mute off
(p) P p II o
œ
3
≥
≤ ±. ( )
≥ U
±. ≤ ( ) ( )
. —
( + O )
[METAL
& ( + OO ) œ ˙ œ ˙ Œ
MUTE]
œ œ ˙ œ ˙ œ ˙
Violin 2 Take the mute off
(p) P o
(â ââ) U
O. O. O.
( )
& OO .. O. O.
[WOODEN
‰ Œ
O. O.
MUTE]
Viola Take the mute off
(P) o
U
? œ œ œ œ œ œ œ œ œ œ.
III-IV
Ó ≈Œ
finger 2 œ œ œ œ œ. œ œ œ œ. œ œ.
finger 1
Cello RADIO
EFFECT SEV. :
p o
I ±. ±. ±. U
( ) ( )
±
[bow close to the finger]
t ‰ Ó
hair
Double Bass
=
&
π o
27
TROGLODYTE ANGELS CLANK BY
SINE WAVES 127
J = 96
123 3 [increase, gradually, the speed]
4 [speed]
㠜 YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[don't start too slow]
Flute
[increase, gradually, the speed]
œ[don't
[speed]
ã
start too slow]
Clarinet YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
P
? #˙ œ ˙. œ œ bœ œ nœ Ó # œ œbœ œ n œ Ó ? #œ œ #œ œ œ
MUTE "SONS
BOUCHÉS"
Horn
æ æ æ @@ @ @ @ @ @ @@ @ = æ æ @@æ
o p 5
P ∏5 p ∏
+ o+ o @+ o +
œ bœ ‰ Œ
[WA-WA
ã & ‰
œ œœœ œ ˙. œ
MUTE] ( )
Trumpet
=
π pπ sub.
<P
[scrape the edge of the gong with a small singing bowl.
The sonic result should be extremely metallic.] [gradually increase the pressure of the
3 [pressure] singing bowl in order to get more distortion.]
4
œ
( ) ( ) ( )
ã
GONG
âââ
p <P
Perc. 1
<P p sub.
p sub.
—YYY —YYY ( ) —Y. YY — Y. YY
[scrape the string vertically and irregularl with a plectrum. fast fast slowly fast fast
SPRING
ãS œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY YYY YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY YYYYYY YYYYYY
The sonic result should be very granulated.]
DRUM
slowly
P P p P P
Perc. 2
&
Piano
ã 3œ YY ‰
Magnets ã Ó ã 3œ YY Œ œ2 YYŒ
p p
°
œ . l.v.
[whistle sound]
&
? ≈Ó Œ ‰ 3œ YY Œ
= Honey spoons ã
[scrape the strings vertically and irregularly with the nails, P p
? bœ
Harp or a plectrum. The sonic result should be very granulated.]
b œœ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
√
YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
p O œ ( )
AST ≥ ≥
3
I ≤
± . ( )
≤ . ——
±.
( + Oœ) œ .
4 OO
&
++T
Violin 1
=&
p P
T
II
o
II ≤
AST ( )
& =
Œ ‰ +T O
& œ œ
Violin 2
T
III
π
[damp the strings with the left hand and
I play with a very slow bow. The sound must
[bow close to the finger]
±. ±. ±. ±. ±.
II
.
be broken, perforated, with small silences
inside. One grain at the time.]
I
Viola &
π p
I [bow passing between the fingers changing continuously
˙. ˙ œ œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ œ
RADIO II the pressure. See key page to understand exactly the technique]
EFFECT SEV.
˙. ˙ œ œ œ. œ œ œ. œ œ œ. œ œ œ œ œ. œœ˙
finger 1
Cello
:
p
finger 2
I ±
SP
. ±. ±. ±. ±. ±.
Double Bass
t
π
28
TROGLODYTE ANGELS CLANK BY
SINE WAVES 130 134
129 [slowing down to
one grain at the time.]
Flute ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Clarinet ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(P)
? œ œ œ# œ œ œ Œ ? ˙. ˙. œ œ ‰. Œ
[MUTE SONS
= æ @
BOUCHÉS]
æ @@ @ @ @ æ æ
Horn
( ppp ) 5 o ∏ o
+ o + o o@ +
& Œ œ bœ ≈ Œ & ‰
œ œœœ œ ˙. bœ ‰. Ó
[WA-WA
MUTE]
Trumpet
= o
∏< p π pπ sub.
ã ( œ)
[GONG] (â ââ)
F p
Perc. 1
(p)
S —YYYYYY( ) —YY —YY —YYYYYY —YYYYY
slowly fast fast slowly
ã ( œ)YYYYY YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY YYYY YYYY YY YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
P p
Perc. 2
(p) P p P P P
&
Piano
ã ã Œ 2œ YY ‰ 3œ YY ‰ œ YY ‰ Ó
Magnets 2
(°) p
œ.
[whistle sound]
œ . l.v.
[whistle sound]
ã Œ ≈Œ Ó œ YY ‰ ? ≈ Ó
?
l.v.
ã
=
P P
Honey spoons 1
p
? bœ
Harp
(b œœ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(√)
YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(p) o
≥ O O
O ≤ O œ œ O œ ( )
I ± 3
( ) ( ) ( )
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥
( )
œ. œ œ œ
± — ± ± — ±
≤ = ±.
( )
&
.
3
± — ± — ±
.
(+ Oœ) œ œ œ
O
++ O . . œ œ œ ˙
œ ˙
Violin 1 &
p II
P p P
O p
O
3
œ
3
œ
≥ ≤ ≥ ≤≥ ≤ ≥ ≤ ≥ ≤ ≥ ( )
— ≥ ≤ — — ± . ± — ±
. — — œœ œœ ± . ± — ±
( )
& ˙ œ ˙ œ + O œ. œ
œ ˙ œ +O œ. œ œ
Violin 2
p P p
P
( )
MSP
( ) ( )
Ï
( )
± ±. ±(III) O± ( )
( )
ã
# # Ȯ
Viola
(p) π
p π P3
(I-II) II-III III
EFFECT SEV.] finger 1 ˙ . œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ.
[RADIO
Cello
: ˙. œ œ œ. œ œ œ œ œ. œœ˙ œ œ œ œ. œ œ œ. œ œ
(p)
finger 2
±. ±. ±. ±. ±. ±.
Double Bass
t
( pp )
29
TROGLODYTE ANGELS CLANK BY
SINE WAVES
K = 60
135 [slowing down to [increase, gradually, the speed]
one grain at the time.]
Flute ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[increase, gradually, the speed]
Clarinet ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(P)
?
œ ‰.
[MUTE SONS
Ó ‰ œ ˙. ˙. ˙. ˙
BOUCHÉS]
Horn
=
&
o ƒ o
& PRACTISE
=
& ‰. bœ ˙ ˙. ˙. œ ‰ Ó ã
o
Trumpet
o ƒ
MUTE
[gradually increase the pressure of the singing
bowl in order to get a lot of distorsion.]
ã ( œ)
(â ââ)
(p) F
[GONG]
˙ on the snare drum] ˙. ˙.
Perc. 1
ã
[turn on the vibrator
SNARE ã ON
o p
DRUM
S —YYYYYY( ) —YY —YY —YYYYYY —YYYYY l.v.
slowly fast fast
[pressure]
ã ( œ)YYYYY YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY YYYY YYYY YY YÓ
ã Ó ‰ œ
f
Perc. 2
(p) P p P P F
CYMBAL
[scrape the cymbal with a wooden beater (the
one used for snare drums]. The sonic result p
should be a distorted sound consisting of high,
screeching partials. Change the pressure to have
more or less distortion.]
&
˙. ˙. ˙.
Piano
ã Œ œ YY ‰ Œ Œ ˙
( )
ã
Magnets 2 Vibrator (low register) ON
(°) p o p
œ.
[whistle sound] [put the waldteufel on a flat surface and gently
? Œ
touch the top of the instrument with the vibrator
≈Œ œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
l.v.
to get a sort of ricochet sound.]
ã
P
WALDTEUFEL ON
P
[turn the vibrator ON]
?
Harp
ã Œ Œ œ YY ‰
Honey spoons 3
œ P
≤≥ ≤ ≥ ≤ ≥ ≤ ≥≤≥ ≥ ≤ ≥ ≤ ≥≤≥
±±
±
— — —— .
— — —— —— —— . —≤ — —≥ —≤ — — — —≥ — —≤ . — — —≥ .
( )
. .
III
œ. +O
œ + O ..
(I)
Violin 1 & œ. œ
(p)
(II)
œ P ƒ
≤ ≥ ≤ ≥ ≤ ≥
—. —. —≤ — —≥ —≤ —.
±± —
— ≥ ≤ — — ( ) ( )
— —
(II) I
Violin 2 & ++ œœ ˙.
˙. ++ OO
(III)
P ƒ
≤ ( ) ≥ ≤ ≥
—
( )
—. — — —— — —. ——
.. ..
I
.. ..
( ) ( ) ( )
Viola &
p P p P p F P ƒ
3
œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. ˙. ˙. œ œ. œœ
[RADIO
œ œ œ œ œ œ. œ œ œ œ œ œ. ˙. ˙.
EFFECT SEV.]
œ œ œœœ œ œœ
finger 1
Cello
:
f
finger 2
(p)
±. ±. ±. ±. ±. ±.
Double Bass
t
( pp ) f
30
TROGLODYTE ANGELS CLANK BY
SINE WAVES
141
Flute ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Clarinet ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(P) o
[blow leaving the hole uncovered, to produce
˙. ˙. œ œ œ œ ˙.
a flat, continuous sound.]
Horn & GELINOTTE ã
o F
[blow leaving the hole uncovered, to produce
ã Œ ˙ ˙. ˙ œ ˙. ˙. ˙.
GELINOTTE a flat, continuous sound.]
Trumpet
o F
ã ( œ)
(â ââ)
(F)
[GONG]
Perc. 1
ã ˙. ˙. ˙. ˙. ˙. ˙.
[with vibrator]
[SNARE
(p)
DRUM]
[pressure]
ã ( œ)
[CYMBAL]
Perc. 2
(p) F
&
Piano
Vibrator
ã ˙. ˙. ˙. ˙. ˙. ˙.
(p)
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (P)
ã
— —≤ —≥ . —≤ — — — —≥ — — —≤ —. —≥ — —≤ . —≥ —. —≤ — —≥ —≤ —≥
( ) ( ) ( )
Violin 1 &
( ff ) 3
—. —≥ — —≤ . —≥ — . —≤ — —≥ . — — —≤ —≥ —≤ . —≥ — —.
( ) ( ) ( )
Violin 2 &
( ff )
—. —. —≤ . — —≥ — — —≤ —≥ — —≤ . —≥ —
( ) ( ) ( )
Viola &
( ff ) 3
œ œ œ œ œ. œ œ œ. œœ ˙. œ œ œ œ œ œ œ. œ
[RADIO
œ. ˙. œ œ. œ.
EFFECT SEV.] finger 1
Cello
:
finger 2
œœ˙ œ œ œ œ œœ œ œ œ œ œ
(f)
±. ±. — — —≥ —≤ —. —≥ — ±. ±.
( )
Double Bass
t
(f)
31
TROGLODYTE ANGELS CLANK BY
SINE WAVES 151
147 rall. molto
‰ Œ
Flute ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[blow leaving the hole uncovered, to produce
Ó œ ˙. ˙. ˙. ˙.
a flat, continuous sound.]
Clarinet ã GELINOTTE ã
o F
ã ˙. ˙. ˙. ˙. ˙. ˙.
[GELINOTTE]
Horn
(F)
ã ˙. ˙. ˙. ˙. ˙. ˙.
[GELINOTTE]
Trumpet
(F)
ã ( œ)
(â ââ)
(F)
[GONG]
o
Perc. 1
[SNARE
ã ˙. ˙. ˙. ˙. ˙. ˙.
( p ) [with vibrator]
DRUM]
ã ( œ)
[CYMBAL]
Perc. 2
(F)
&
Piano
Vibrator
ã ˙. ˙. ˙. ˙. ˙. ˙.
(p)
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (P)
ã
—≤ . —≥ — —≤ . —≥ — — —≤ —≤ — —≥ —≤ —≥ — —≤ —≥ . —≤ — —. —.
( ) ( ) ( )
Violin 1 &
( ff )
—. —≤ — —. —≥ — . —≤ — —. —.
( ) ( )
Violin 2 &
( ff )
— —≥ — — —≤ —≥ — —≤ . —≥ — —. —. —≤ .
( ) ( ) ( )
Viola &
( ff )
3
œ œ œ œ œ. œ œ œ ˙. ˙. ˙.
[RADIO
œ. ˙. ˙. ˙.
EFFECT SEV.]
œœ˙ œ œ œ œœ˙
finger 1
Cello
:
finger 2
±. ±. ±.
Double Bass
t
o
32
TROGLODYTE ANGELS CLANK BY
SINE WAVES
153
L = 50
Flute ã
ã ˙. ˙. ˙. ˙ Œ
[GELINOTTE]
Clarinet
(F) o
ã ˙. ˙. ˙. ˙. œ œ ‰ Œ
[GELINOTTE]
Horn
(F) o
ã ˙. ˙. ˙. ˙. ˙. ˙.
[GELINOTTE]
Trumpet
(F) o
ã
Perc. 1
[SNARE
DRUM] ã ˙. ˙. ˙. ˙. ˙. ˙.
( p ) [with vibrator]
ã ( œ) Ó
[CYMBAL] ( )
Perc. 2
&
Piano
Vibrator
ã ˙. ˙. ˙. ˙. ˙. ˙.
(p)
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (P)
ã
—. —
( )
Violin 1 & Ó
o
Violin 2 &
—. —. —
( ) ( ) ( )
Viola & Œ
o
Cello
?
t
AST
t V
Double Bass
= ˙. ˙. ˙. ˙. ˙.
o ∏
33
TROGLODYTE ANGELS CLANK BY
SINE WAVES
M Libero (= 60)
159 ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20")
Flute ã
Clarinet ã
Horn ã
Trumpet ã
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20")
ã
Perc. 1
ã ˙. ˙. œ œ œ œ
[with vibrator]
[SNARE
DRUM]
(p)
Perc. 2 ã
&
Piano
Vibrator ã ( ˙ .) ˙. œ œ œ œ
(p)
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (p)
ã
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20")
Violin 1 &
Violin 2 &
Viola &
[the bow follows the movements
of the left hand]
c.l.t. (MSP) (MSP) (MSP)
I (AST) (AST) simile
ñ cccccccccc
II
Cello
? ã
o π
t
˙. ˙. œ œ œ œ
Double Bass
( ppp )
34
TROGLODYTE ANGELS CLANK BY
~5" ~5" simile
165 (~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
œ
[scrape the thread against
ã ã
the skin of the instrument]
Flute WALDTEUFEL
o π
Clarinet ã
Horn ã
œ
[scrape the thread against
ã ã
the skin of the instrument]
Trumpet WALDTEUFEL
o π
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
ã œ œ œ œ œ œ
[SNARE
DRUM] [with vibrator]
(p)
Perc. 1
Perc. 2 ã
&
Piano
ã œ œ œ œ œ œ
(p)
Vibrator
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (p)
ã
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
Violin 1 &
Violin 2 &
Viola &
( ñ)cccccccccccccc
(MSP) (MSP)
(c.l.t.) (AST) simile
Cello ã
( pp )
t
œ œ œ œ œ œ
Double Bass
( ppp )
35
TROGLODYTE ANGELS CLANK BY
~5" ~5" simile
171 (~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
ã ( œ)
( pp )
Flute
BASS
? ?
ã
CLARINET [prepared with laminated paper — check the key page]
œ œ œ œ œ
Clarinet
o π o o π
Horn ã
ã ( œ)
( pp )
Trumpet
simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
ã œ œ œ œ œ œ
[SNARE
DRUM]
(p)
Perc. 1
[slowly scrape on the rear side of the TAM with the tip of a
knitting needle. The sonic result should be very high, metallic,
and continuous.]
âââ
ã ã œ œ œ œ
∏
Perc. 2
o
TAM
?
& [slowly going towards the marbles]
=
Piano
ã ( œ) œ œ œ œ œ
(p)
Vibrator
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (p)
ã
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
Violin 1 &
± ± ± ±
V
II
Violin 2 & METAL
&
o π
MUTE
I ± ± ± ± ±
& &
π
Viola
o
( ñ)cccccccccccccc
(MSP) (MSP)
(c.l.t.) (AST) simile
Cello ã
( pp )
t
œ œ œ œ œ œ
Double Bass
( ppp )
36
TROGLODYTE ANGELS CLANK BY
N
~5" ~5" simile
177 (~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
ã ( œ)
( pp )
Flute
o
?
œ
Clarinet
o
[gently crumple the tin foil. The sonic result
œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
should be very crispy and granulated.]
Horn ã ã
π
ALLUMINIUM
ã ( œ)
( pp )
Trumpet
o
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
[slowly scratch the damped gong with a metal brush.
㠜 YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
The sonic result should be very crispy and granulated.]
ã
p
THUNDER
SHEET
o
Perc. 1
[SNARE
ã œ œ œ œ œ
(p)
DRUM]
[gently remove the vibrator
from the strings]
(â ââ)
ã œ œ œ œ
[TAM]
( ppp )
Perc. 2
o
[gently push the marbles with your hands, one by one
to make them roll along the strings. Once all the marbles
have started to roll, go to the piano.]
Marbles
?
Piano p ( )
ã œ)( œ œ œ œ œ
(p)
Vibrator
(°)
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[with vibrator]
Harp (p) o
ã
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
Violin 1 &
± ± ± ±
V
[METAL
&
MUTE]
Violin 2
( pp ) o
( )
± ± ± ±
Viola &
( pp ) o
( ñ)cccccc
(MSP) (MSP)
(c.l.t.) (AST) simile
Cello ã
( pp ) o
t
œ œ œ œ œ
Double Bass
( ppp ) o
37
TROGLODYTE ANGELS CLANK BY
O
183 ~45"
Flute ã
Clarinet
?
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[ALLUMINIUM]
Horn
( pp )
Trumpet ã
~45"
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[THUNDER
SHEET]
Perc. 1
( pp )
Perc. 2 ã
?
Piano
ã ( œ)
(p)
Vibrator
(°)
[gently remove the vibrator
from the strings]
ã
Harp
~45"
Violin 1 &
Violin 2 &
Viola &
Cello
?
Double Bass
t
Berlin, London, Munich, Somerville
April - December 2015
38
39
40
41
42
43
44
Clara Iannotta!
dead wasps in the jam-jar (ii)
for string orchestra !
(2016)!
!
45
Eine Auftragskomposition von Musica Femina München für das Münchener Kammerorchester, Oktober 2016
World première: 13 October 2016, Prinzregententheater, Munich, Germany
!
46
I would like to thank:
Anne Holler-Kuthe, Susanne Wosnitzka, and musica femina münchen e.V., for giving me the possibility of writing this piece;
Florian Ganslmeier and Anselm Cybinski, from the Münchener Kammerorchester, for being so kind and allowing me to use all my
imagination (which includes objects of all kind!);
Chris Swithinbank, always present, helpful, and caring.!
47
Instrumentation !
₋ Violin I!
1) violin
metal mute
preparation with circular paperclips
low electric guitar string
two metal thimbles!
2) violin
metal mute
preparation with circular paperclips
large crystal wine glass with water (on a small low table)
low electric guitar string
two metal thimbles!
3) violin
metal mute
preparation with circular paperclips
large crystal wine glass with water (on a small low table)
“Waldteufel”
low electric guitar string
two metal thimbles!
4) violin
wooden mute + ordinary (rubber) mute
piece of polystyrene attached to the music stand
“gelinotte” birdcall
low electric guitar string
two metal thimbles!
5) violin
ordinary (rubber) mute
piece of polystyrene attached to the music stand
“gelinotte” birdcall
low electric guitar string
small plastic tupperware on rigid A4 sheet of plexiglass
two metal thimbles!
6) violin
piece of polystyrene attached to the music stand
large crystal wine glass with water (on a small low table)
“gelinotte” birdcall
“Waldteufel”
low spring drum hung from percussion stand
two metal thimbles!
₋ Violin II!
1) violin
metal mute
preparation with circular paperclips
low electric guitar string
two metal thimbles!
2) violin
metal mute + ordinary mute
preparation with circular paperclips
large crystal wine glass with water (on a small low table)
“Waldteufel”
small plastic tupperware on rigid A4 sheet of plexiglass
low electric guitar string!
3) violin
two metal thimbles
low electric guitar string!
4) violin
large crystal wine glass with water (on a small low table)
low electric guitar string!
48
5) violin
large crystal wine glass with water (on a small low table)
piece of polystyrene attached to the music stand
“gelinotte” birdcall
“Waldteufel”
low spring drum hung from percussion stand
small plastic tupperware on rigid A4 sheet of plexiglass!
₋ Viola I!
1) viola
wooden mute
small plastic tupperware on rigid A4 sheet of plexiglass
low electric guitar string
two metal thimbles!
2) viola
wooden mute
large crystal wine glass with water (on a small low table)
“Waldteufel”
low electric guitar string
two metal thimbles!
₋ Viola II!
1) viola
metal mute + wooden mute
preparation with circular paperclips
large crystal wine glass with water (on a small low table)
“Waldteufel”
small plastic tupperware on rigid A4 sheet of plexiglass
thick block of very hard polystyrene with metal-bristle brush!
2) viola
metal mute + wooden mute
preparation with circular paperclips
large crystal wine glass with water (on a small low table)
“gelinotte” birdcall
piece of polystyrene attached to the music stand
“Waldteufel”
low spring drum hung from percussion stand
small plastic tupperware on rigid A4 sheet of plexiglass
thick block of very hard polystyrene with metal-bristle brush!
₋ Cello!
1) cello
wooden mute
small plastic tupperware on rigid A4 sheet of plexiglass!
2) cello
wooden mute
low electric guitar string!
3) cello
ordinary (rubber) mute
scordatura: string IV tuned down a minor 7th to a low D
large wine glass with water!
₋ Double bass (5-string)
ordinary (rubber) mute
scordatura: string V tuned down one 8ve!
₋ Laptop performer (potentially could be the conductor)
laptopDPOOFDUFEUPBQBJSPGTUFSFPMPVEQFBLFSTQMBDFEPOUIFHSPVOEBUUIFCBDLPGUIFPSDIFTUSB
! !
49
General Notes !
₋ Accidentals apply only to those notes before which they are placed, with the exception of repeated notes.!
₋ Phrases should aways be played legatissimo, unless marked otherwise!
!
!
“Waldteufel” !
Waldteufel can be purchased at www.thomann.de or at http://suono.at/wordpress/produkt/waldteufel/. This instrument is played in two ways:!
The thread must be tight and move in circle.!
The thread should scrape against the skin of the instrument.!
!
“Gelinotte” [Grouse] Birdcall !
To be played in two ways:!
1. blow and cover/uncover the end of the instrument with one finger (like a wa-wa mute);
2. blow leaving the end uncovered.!
The “gelinotte” can be purchased here: http://www.qbc.fr/index.php?cPath=23_21&osCsid=4cb45019efa6d2cff5c3cf7396045f26!
Polystyrene on music stands (vln. I, 4–6; vln. II, 5; vla. II, 2)!
Polystyrene should be attached to the music stands so that it can be comfortably bowed.
Bow to create a consistently high pitched, continuous sound (e.g. violins b. 30ff.).!
Electric guitar strings (vln. I, 1–5; vln. II, 1–4; vla. I, 1–2; vc. 2)!
The electric guitar string should be pulled tight using a foot to hold one end against the floor and
the left hand to hold the other. The sound produced is a quiet, airy thrumming.!
It may be best to attach the guitar string to small pieces of wood at either end in order to make
pulling it tense more comfortable for the player.!
!
Tupperware on plexiglass (vln. I, 5; vln. II, 2 + 5; vla. I, 1; vla. II, 1 + 2; vc. 1)!
The plexiglass should be placed on a flat surface so that it can be scraped with one hand.!
Scraping the plexiglass with pressure will produce a very loud, distorted screeching, while
applying very little pressure should produce a very high-pitched, intermittent whistling sound.
Tupperwares: the best option would be to use the transparent lid of the plastic case of the iPhone 6S earplugs. Try different kinds in order to
find the good sound.
Plesiglass Sheet: 12’’x12’’x3/16’’ or an A4 size with a thickness of 5mm. !
Metal thimbles (vln. I, 1–5; vln. II, 1, 3 + 5; vla. I, 1 + 2)!
!
The thimbles should be placed on two fingertips of the right hand and used to perform a kind of two-
finger, irregular trill percussively tapping the string.!
50
Strings (general) !
Lefthand pressure:!
Righthand (bow) pressure:!
= almost no pressure!
= ordinary pressure!
= half overpressure!
= overpressure!
Bow position:!
AST = alto sul tasto!
T = al tasto!
PO = posizione ordinaria!
SP = sul ponticello!
MSP = molto sul ponticello
7 WJCSBUP
!!
Bow techniques:!
l.b. = legno battuto!
c.l.t. = col legno tratto!
crini = hair
Special techniques:!
Damp the strings and play with a very slow speed of the bow. The sound must be broken, perforated, with small
silences inside. One grain at a time.!
!
!
!
The three lines of the stave represent the three registers of the instrument: high, medium, low.
Left hand always half pressure; right hand col legno tratto.!
!
Left hand: half pressure. Right hand: col legno tratto (clt), very little pressure, close to the left hand, follow the
movements of the left hand (glissando up = MSP // glissando down = AST).!
!
Violin & Viola Preparations !
!
Violin I, 1+2
Viola II, 1
Prepare strings I + II with two circular paperclips each (one AST and one MSP)
Paperclips have to be metal, and circular.
Violin
! I, 3
Violin II, 1
Viola II, 2
Prepare strings II + III with two circular paperclips each (one AST and one MSP)!
Violin II, 2
Prepare strings III + IV with two circular paperclips each (one AST and one MSP)!
51
Cello (2+3) !
Radio Effect: the bow should pass between the two fingers, continuously vary the bow pressure.
The result should sound like radio static moving between frequencies.!
!
!
Laptop performer/Conductor
The laptop performer (conductor, or other musicians) should have a laptop running a patch for Cycling 74’s Max software that produces sine
waves (provided by the composer) connected to a stereo pair of loudspeakers.!
Numbers above the stave (as shown left) indicate that a change in the sine waves should be triggered by hitting the
laptop’s spacebar. The cue numbers match bar numbers, so for example the first cue of the piece is number 32, the
second 43, etc.!
Instructions on how to download and use the patch will be found in the package provided by the composer/publisher alongside separated parts
for the musicians, and explanatory audio files and videos.
[email protected] !
www.claraiannotta.com !
+49 (0)157 75686990!
Duration: 15' ca.! !
52
!
!
a Marco Frei,!
per il sostegno e l'entusiasmo!
53
dead wasps in the jam-jar (ii)
for string orchestra
Clara Iannotta
= 54 always legatissimo !
%
(2016)
%
( )
( )
AST
2 $ O ±
± $
. ±
± $
( )
[almost no bow pressure] ( )
( )
4
o
glissand
+ OT +O . +O
harmonic ays)
&+ O + O +O
I (alw
&
Metal Mute
1
[strings I-II prepared with 2 circular paperclips
— one close to the MSP and one close to the T] =
o " [almost no bow pressure]
T
II
AST $
I ±
O %
( )
II ±
T ( )
harmonic glissa ( )
+O
+ O ..
ndo
Œ ‰ T
(always)
always legatissimo !
&
Metal Mute
=
&
2 [strings I-II prepared with 2 circular paperclips
— one close to the MSP and one close to the T]
o "
Metal Mute
&
[strings II-III prepared with 2 circular paperclips
3 — one close to the MSP and one close to the T]
poco SP
fi
c.l.t. ( )
± [damp the strings with the ± ± ± ± ± ± ± ±
Vln. I
I
& ‰.
left hand (high register)]
p
4
o o
± ± ± ± ± ± ±
[bow close to the finger]
( ) ( ) ( ) ( ) ( )
‰.
III
& & Œ
= ‰
"
5
o o
6 &
Metal Mute
1 & [strings II-III prepared with 2 circular paperclips
— one close to the MSP and one close to the T]
˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙
T
Metal Mute
&
!
2
—
[strings III-IV prepared with 2 circular paperclips
+ œ ( )
— one close to the MSP and one close to the T]
.
SP
& & ‰
.
(# œ )
#
Vln. II 3
=
o p o
4 &
5 &
Wood Mute (SP) MSP
2 II
‰.
I poco SP
= œO œ œ nO
always legatissimo !
+ + œO .. b Oœ œ
( )
I
Ȯ # # Ȯ + + Oœ Oœ # œO # œOœ jj Oœ . = œ
4 T PO poco SP
(œ )
b œœ
( )
& . # œO .. œ
II
W
‰ * .
‰
1
o " p p P PI p
(II) (II) 5
3
I
É
lœ
Vla. I always legatissimo ! * = the open string should not be more present than
‰.
the other sounds.
( )
poco SP
( )
MSP
( )
# Oœ lO O Oœ .
Wood Mute II
( )
& ‰ œO rw œO
(III)
# œO
+ + Oœ .
II
& = . + =œO =œO . #œ œ œ = =œO
.
K
2
œ œ œ III W W
(II)
*
p P P p
3
o I o
* = the open string should not be more present than AST
$
[almost no bow pressure]
$
O
±±T ±±
( )
% %
the other sounds.
.
( )
harmo
I nic glis
san
+ + OO .. +O
(always do
.
Metal Mute always legatissimo !
&
II )
=
+ O
& T
[strings I-II prepared with 2 circular paperclips
1
— one close to the MSP and one close to the T]
o "
$ $
[almost no bow pressure]
Vla. II
%
±±
( )
O ±
±
harmonic( )
+ + OO ..
AST II glissan
‰
Metal Mute always legatissimo ! (always do
& B
III )
=
2 [strings II-III prepared with 2 circular paperclips
— one close to the MSP and one close to the T]
always legatissimo ! o "
T
+œ
poco SP
+ + œO .. œ .
l
? b Ȯ œO œO œO œO œO ‰ Œ
Wood Mute II
=
&
œO œ .
1 W W
o p P p o
+ + Ȯ
always legatissimo !
? Œ # # Oœ .. + = Oœ # Oœ ‰ Œ
Wood Mute T
( # œO )
Cellos 2
=
&
o p P o
?
Mute
?
Mute
Db
54
dead wasps in the jam-jar (ii)
O œ œ)
A ( )
$
(
% %
( )
% % %
( ) (I)
œ œ % $ % $ %
(AST)
±± $ ±± $ ±± $ ±± $ ±± =
& —— —— ——
( )
— —
9
.
( )
T) — —
+O +O + OO +O
(
.
(I)
+
&(II)(T) +O +O œ œ +O
(II)
[Metal Mute]
1
( pp )
P
$ ( ) $ $ O œ œ)
$
(open string)
$) ±.
( )
( ) (
(I) (±
%
% . ±± % ±± % % ±±
( )
± ±.
( )
(open strings)
T ( ) ( )
.
&(II)T + + OO +O
+ O
+ OO
œ
œ
œ
œ +O .
+ O.
[Metal Mute]
2
( )
+
( pp )
( œ) P ( œ)
$ ( ) 3 $ $ % $
AST ( )
T % . %
II —
III — .
always legatissimo !
& =& T
[Metal Mute]
œ œ
3
Vln. I o 3
P
(open string)
4 &
[LH: half pressure. RH: col legno tratto (clt),
very little pressure, close to the left hand,
I follow the movements of the right]
II
5 & =
&
o F
3
[LH: half pressure. RH: col legno tratto (clt),
II very little pressure, close to the left hand,
III follow the movements of the right]
& =
&
6
AST [flautando]
o
(LH: ordinary pressure)
5
œ F
$ $ $
[almost no bow pressure]
II ± .
±. —— %
% % —
( )
III ± . ±.
(open strings)
T ( )
always legatissimo !
& & Œ
= # T O
++ O œ œ
[Metal Mute]
œ œ œ
1
"
o P
œ $ $
( )
$ %
AST [flautando]
±± ±±
O
%
( )
%
( )
III
&
harmonic glissan
‰ Œ & ‰
always legatissimo ! do
IV (always)
=
+ + OO + Oœ
[Metal Mute]
2
o
T
T
"
(open string)
o I
[LH: half pressure. RH: col legno tratto (clt),
very little pressure, close to the left hand,
& ‰
.
II
&
follow the movements of the right]
=
Vln. II 3
o 3
[LH: half pressure. RH: col legno tratto (clt),
very little pressure, close to the left hand,
follow the movements of the right]
II
& Œ
III
4 & =
o
[LH: half pressure. RH: col legno tratto (clt),
III very little pressure, close to the left hand,
& Œ Œ
IV follow the movements of the right]
5 & =
5
o
œ +œ œ
(SP) T
#œ ( )
‰ Œ
&
[Wood Mute]
1
p3 " o
Vla. I
& O œ œ) O
[Wood Mute]
2
( ) (
$ $ $ $ $ $
±. ±. % ±.
( ) ( )
±± ±± ±± %
( )
% % % %
( ) ( )
±±
( ) ( )
±. ±. ±.
(AST) (open strings)
(I
& + OO O œœ œœ + Oœ
II)
T
[Metal Mute]
+ ++ O œ
1
( pp )
T
P "
O œ
% œ) O
( )
(
$ $ $ $ $
Vla. II
+œ . œ
(II)
=
B
±± . %
( )
% ±± ±± —— % ±±
( ) ( )
%
(AST)
( )
. ( )
B T+ + OO .. + OO . . œ œ œ +œ.
(II-III)
œ œ œ + O. œ. œ œ
[Metal Mute]
2 +
T
( pp ) P "
(III)
&
[Wood Mute]
1
Œ œ
Tail piece [with bow]
&
[Wood Mute]
Cellos 2
o
AST
? t Œ ‰.
[Mute] [open string — scordatura] IV
=
œ
3
? ˙
[Mute] Tail piece [with bow]
Db
55
dead wasps in the jam-jar (ii)
O
B
$ %
% %
œ œ % % œ œ %
.
( ) ( )
( )
$ ±±
$ ±± & ±± $ . ±± $ =
& $ ±±
( )
17
±
( ) ( )
( ) ( )
œ œ +O . + œO +O +O
(I)
& œ œ +O +O œ. O +O
(T)
[Metal Mute]
1
+
O "
(T)
$ ( )
(II)
$ $ $ $ $
±±T) ±±
% ±± ±. ±. ±±
( )
% . % % %
( )
±.
( )
(I) (
.
&(II)T + + OO œ
+œ œ
œ + + OO œ. + + OO
œ
œ
œ
œ
[Metal Mute]
2
) (
+
"
O$ %
$
% % $ $ $
&œ
= ±. ±.
± ±± ±± % ±± % % %
T. ) ± ±. ±.
( )
(II) ( (open strings)
& . œœ œœ œœ
œœ + OO + OO œœ
[Metal Mute]
œ +O
3
+ +
T)
(
"
(III)
Vln. I
[flautando]
poco SP
Wood Mute IV
4 & & # # œO œO # œO œO
= jO O O # œO œO n œO ..
o F o
(c.l.t.)
.
& . Œ
(I-II)
(F) 5 o
(c.l.t.)
. #
(II-III)
( )
6 & .
(F) ( œ)
3
O
o
$ $ $ ( ) $
$ ±. & œ
$
$ %
( )
——T) % %
( )
= % ±± ±± ±±
±. ± % %
(II-III) (
& (T) + œœ + Oœ œœ . œœ . +O Œ
[Metal Mute]
œ
. . + O
1
o
(P) " % % ( )
% % %
( )
±± ±± ±± ±± ( )
±±
$ $ $
( )
$ .
.
(III-IV)
& (T) .
[Metal Mute]
œœ . œœ œœ + OO + OO
+O + + OO
. + O ..
2
+
. +
( pp ()T)
.
(c.l.t.)
. ‰ Œ
(I-II)
Vln. II 3 &
F 5
o
bO O O O O O O
PO
(c.l.t.)
.
crini
(II-III)
& . # Œ ‰.
!
4
o
F o
bO O O O O O O
PO
(c.l.t.) crini
.
(III-IV)
‰. ‰.
( )
&
!
5
o o
F
3
[flautando]
poco SP
# n Oœ O # Oœ .. Oœ rO
I
O
[ordinary bow]
O + Oœ
PO
Oœ # œO
poco SP
Π.
II ( )
& =B &+
=
[Wood Mute]
1
o
[flautando]
F o 3
o p
r O O r Oœ Oœr œO O
[ordinary bow]
Vla. I poco SP II
poco SP
‰. Œ & ‰
# IIOœ ( )
& =
B
3 =
[Wood Mute]
2
o F o
$ ( ) $ o
$ $ $ $
( ) ( )
$ %
( )
±±T) ±± ±± ±± ±± ±±
% % % % % % $
( ) ( ) ( )
(I (
II)
& (T) + Oœ œœ . œœ . + OO + OO + Oœ . O œœ ..
[Metal Mute]
1
. . + + . ++ O
( pp )
$ $ $
Vla. II
% ±± % ±± ±± . %
( )
. ( )
% .
B ++ TOO . + + OO .. O . . œœ œœ œœ . # Œ
(II)
++ O .
[Metal Mute]
2
[flautando]
( pp )
(III) T
poco SP o
Oœ Oœ
O O # Oœ ..
II
jO O
‰ .
‰
?
& = &
[Wood Mute]
1
o F 3 o
œ œ ˙ ˙ ˙
[Wood Mute]
Cellos 2
P o
t # Œ
(AST) MSP
[Mute]
˙ ˙ œ. œ ˙ œ. œ ˙ œ.
3
! o
˙ ˙ ˙ ˙
[Mute]
Db
(P) P o
56
dead wasps in the jam-jar (ii) * For the conductor: press the space-bar of the computer
to trigger the sine waves (see key page)
O
* 32
œ O
SINE WAVES
( )
% % % % % % $ %
%
( )
( )
$ $ &œ
3 $ = 2 $ ±± .
3
25 ±± $ ±± $
. ±± $ ±± . ±± ±±
8 +O —
( )
T.) .
( )
+O 4 +O . .
+ + OO +O +O
. +O
(I) (
& (T.) +O
+ O +O œ œ +O + O.
[Metal Mute]
"
1
( pp ) O
œ P
(II)
$
3
$ ( ) $ $ $ $ %
$
( )
œ
% ±± ±± % ±± % ±± % % %
±± ±±
( )
&
% .
( )
±
3
.
( ) ( )
T) + O . .
+ + OO +O + Oœ . œ œ O + + OO ++ OO
(I)
& (T)+ O . O . œ œ +œ œ.
(
[Metal Mute]
2 +
(II)
( pp ) $ $ % œ $3 P O "
$ $
( )
$
( )
$ % % $
% œ œ %
( )
±± % ±± . ±± % ±± ±± .
± ±± %
&
% —— ±± % ±± % ±
3
±±
± . . ±
3
( )
& œœ + Oœ ++O œœ
+ OO
+ Oœ œœ œœ +O
(II)
[Metal Mute]
+
O +O +O
(T)
3
Vln. I
)
( pp )
(III)(T
3
P " 3
[with bow] :
& Œ ‰ œ œ. œ œ
[Wood Mute]
ã
4 remove the mute POLYSTYRENE
[with bow] : o F
5 & POLYSTYRENE ã Œ œ œ. ˙
o F
œ.
:
& ‰ œ œ
[with bow]
ã
6 POLYSTYRENE
O F
AST
œ œ) o
œ) O
[flautando]
$ %
(LH: ordinary pressure) ( ( )
$ % $ $ $
( ( )
% $ $ %
( ) ( )
&œ.
±T.
±.
% ±± = ±± . ± % ±± %
±
.
II
T +O. œœ œœ . +O
III
&
[Metal Mute]
1
=
& œ. + O. . œ
o P
" P œ"
% % % % œ O
% 3 $ % $ 3
±± ±. $ ± $. & œ œ $ ± $ $
±± ±± ±±
$ ±. ± ± ± ± ±
$ $ ± ±
( )
)
(III) ( )
& T + O .
[Metal Mute]
+ OO + OO
(
2
+O + œ +
( pp ) " P
(IV) T
( ) 3 3
P
c.l.t.
[LH: half pressure. RH: col legno tratto (clt), very little pressure,
close to the left hand, follow the movements of the right] ( )
I
( ) 3
( )
& .
Vln. II II
3
=
&
o F
3 3 5
O O O O. O O
[LH: half pressure. RH: col legno tratto (clt), very little pressure,
close to the left hand, follow the movements of the right]
.
II c.l.t. ( )
‰.
( )
& & Œ ‰
III
=
( ppp)
4
o
o F5
3
O O O
3
c.l.t.
[LH: half pressure. RH: col legno tratto (clt), very little pressure,
III
.
close to the left hand, follow the movements of the right]
‰.
IV ( ) ( )
& =
&
( ppp)
5
o
o F 3 3 3
(SP) MSP T
II œ #œ +œ œ 3 2
‰.
I poco SP
poco SP
œO œ œ nO
( ) (II)
+ + œO .. b Oœ œ
3
I
œ
jj Oœ . ==œ jj œO œO œO
( )
8 4
(III)
(œ )
bœ .
(III)
& # Oœ # œO .. œ œ jO O jœO
[Wood Mute]
B œ. œ
W
‰ .
‰ Œ
1
œ IV
p P PI P p "
3
P F
(II) (II) 5 III
3
3
I
lœ
Vla. I
‰. Œ Œ
(MSP)
( )
PO
( )
MSP
( ) (III)
lO O Oœ . j Oœ
II
œO ..
III
œO rw œO +++ œœO œ # œO # œO + +jœOO #
(III)
# œO
+ + œO . O
( )
& . + =œOœ =œO . #œ œ = =œO
B jœ
[Wood Mute]
œ .
K
‰.
2
œ œ W
p (IV)
W
P " P "
(II)
P " F "
III
3 IV
P % % % % ( ) $
3
%
I
% $ $ $ % $
± $ ± $ ±± ± ± . ± ± . ±
( )
± . ± $ ± $ ± ± % ± % ± %
‰.
3
.
. .
(I)
& œœT + + OO +O œ O
++ O
+ + OO .. O
++ O œ œ
[Metal Mute]
+O œ œ œ œ
( )
1
o
( pp )
(II) (T)
Vla. II 3
[Metal Mute]
2 B
MSP PO MSP
[ordinary bow]
(SP)
(III)
# Oœ .. Œ
T 3
+œ + + œO
SP
+ + œO .. œ .
l
œO œO œ
(II)
& b Ȯ œO O œ
II
? # œO
œO œ .
K K
œ O +œ
[Wood Mute]
Œ
W
1 W
o p P " W
F
W
F F "
III 5 3
3
+ = œO # Oœ + + Oœ ..
? Œ # # Oœ ..
SP
[Wood Mute]
?
Cellos 2
=
o P F
MSP
IV [flautando]
t
6 5
œ œ# œ œ bœ œ œ œ œ bœ œ
5
t Œ ‰
[almost no bow pressure]
#œ œ nœ #œ œ œ œ œ œ œ
[Mute]
3
=
o 3
MSP
F
? œ œ b œ œ# œ
V [flautando] 6 6
t ‰. œ œ œ œ œ œ #œ œ nœ œ œ# œ
[Mute] [almost no bow pressure]
Db
=
5 o 3
F
57
dead wasps in the jam-jar (ii)
SINE WAVES
O œ O
$ % %
( )
$ ±. ( ) $
( ) $ $
( )
$ —— $ ±±
( )
$ ±± . % ±± % ±±
.
33 ( )
3
. .
+O + œO . +O +O . + + OO + OO
T
(I)( )
& (T) + O œ . +O O
[Metal Mute]
1
+ +
( pp )3 P
œ O "
(II)
% ( ) ±.
±T.)
±. ±.
(I (
+ + OO œœ ‰ .
II)
& T)
[Metal Mute]
( ( )
2 ( )
P " o
$
(II) (
(III)
±±T)
[Metal Mute]
& (T) ‰
3
Vln. I o
[POLYSTYRENE]
ã œ ‰ Œ
4
o
[POLYSTYRENE]
5 ã œ œ œ Œ
(F) o
[POLYSTYRENE]
6 ã œ œ ‰.
oO
( ) œ O
$ %3 $ $ $
$ % $ $
( ) ( )
( )
( )
. œ œ %
±± ±± ±
±± ±± ±±
3
± ± % % %
( )
( ) ( )
( )
. .
(II)
+O + Œ
& œ + + OO .. + OO + + OO . + OO
[Metal Mute]
1
+O +
( pp ) O P
" o
3 3
% ( )
(III)
$ $ $
$ %
( )
%
3
&œ ±± . ±
± ±
± ±± . ± ± ±
( )
$ % %
(III) ( ) ( )
& +T ‰.
+ OO ++ OO + OO
[Metal Mute] 2
+
(IV) T (P) "
3
o
‰
( )
(c.l.t.)
Vln. II
& . .
3
(F) 5 5
3
o
(c.l.t.)
.
3
‰.
5
& . Œ
o
4
(F)
(c.l.t.) ( )
‰ Œ
3
5 &
(F) o
MSP poco SP T
±
n n œO
III
Œ . b b Oœ b œ œ
3
# # œO
(SP) IV
B œO .. ‰.
( ) ( ) ( )
+ + œO œO
III
#œ # œO œ
[Wood Mute]
œ Œ
l
+œ
1
Œ ‰
F F " P " o
(IV)
3
SP T
Vla. I
II
œ .
3
b b œO + + Oœ + = œO ‰
l
# Oœ Œ Œ
(III)
nœ Oœ
B œ ‰ Œ
[Wood Mute]
&
# œ œ
2
œ œ
III
F "
IV
3 3
P "
III
o
&
[Metal Mute]
remove the mute
1
Vla. II
B
[Metal Mute]
2 remove the mute
(MSP) AST
? O + + Oœ .
œO ‰
(III)
# œO .. Œ
( ) ( )
œO
[Wood Mute]
œ
œ + œ cccc
1
P IV
" o
O
[very slow glissando. No need to
? œ
follow the drawing]
‰ ‰
[Wood Mute]
Cellos 2 ( # œO )
(F) o
(MSP)
t
6
Œ
5 5
[Mute]
# œ œ nœ œ œ œ bœ œ œ # œ œ œ œ b œ œ œ œ
3
" o
(MSP)
t
5
# Œ
6 remove the mute
[Mute]
n œ œ# œ œ n œ œ œ œ
˙ ˙ œ.
Db
" o
58
dead wasps in the jam-jar (ii)
~30"
SINE WAVES
41 % ± 5
± 8
+ OT
(I) ( )
& +( O)
[Metal Mute]
1
T
(II)
o
&
[Metal Mute]
2 ã
&
[Metal Mute]
3 ã
Vln. I
4 ã Mute &
5 ã Mute &
6 ã
&
[Metal Mute]
1
&
[Metal Mute]
2 ã
Vln. II 3 &
4 & ã
5 & ã
~30" 5
8
B
[Wood Mute]
1 &
Vla. I
&
[Wood Mute]
2 ã
1 & remove preparation Wood Mute
ã
Vla. II
2 B remove preparation Wood Mute
ã
[Wood Mute]
1
? &
[Wood Mute]
Cellos 2
? &
[Mute]
3
t ã
Db
t
59
dead wasps in the jam-jar (ii)
C = 60
44 SINE WAVES
5 III
2 5 5 2
œ œ.
44
8 +œ œ U
T poco SP ~ 5"
4 16 4 4
& & Œ
[Metal Mute]
p
1
o o
W [with the finger]
U
œ. œ œ.
âââ
WINE
ã œ œ œ œ œ œ ˙ ˙ œ & Œ
GLASS
2
o p o
W [with the finger]
U
œ œ œ œ œ œ ˙ œ œ Œ & Œ
âââ
WINE
ã
GLASS
3
o p o 3
U
AST poco SP
Vln. I
lœ )
(
& Œ
&
l l œO œO œO .. œO
[Mute]
4
o p o
AST poco SP
(y œ) U
& & Œ
[Mute]
r y œO œO œO .. œO
5
o p o
W [with the finger]
U
œ ‰.
âââ
WINE
ã œ œ œ œ œ œ ˙ Œ & Œ
6
o
GLASS
o p
U
jœ œ œ. œ
T poco SP
& & Œ
[Metal Mute] IV
1
o p o
W [with the finger]
U
œ ‰.
âââ
WINE
2 ã œ œ œ œ œ œ ˙ ˙ œ œ & Œ
o
GLASS
o p
U
[white noise:
bow on the bridge]
& Œ
( )
Vln. II 3 & O O O. O
o p o
W [with the finger]
âââ U
WINE
ã œ œ œ œ œ œ ˙ & Œ &
4
GLASS
o p o
W [with the finger]
âââ U
WINE
ã œ œ œ œ œ œ ˙ ˙ ˙ & Œ
GLASS
5
o p o
5 2 5 5 2
PO
œ)
U
(y
~ 5"
8 4 16 4 4
& r y œO œO œO .. œO œO œO œO Ȯ Ȯ Ȯ œO œO .. Ȯ Ȯ Œ
[Wood Mute]
1
o p o
U
Vla. I
[with the finger]
œ.
âââ
W ã œ œ œ œ œ œ ˙ # Œ & Œ &
2
WINE
o p o
GLASS
W [with the finger]
U
œ ‰.
âââ
WINE
ã œ œ œ œ œ œ ˙ œ œ œ & Œ &
1
o
GLASS
o p
Vla. II
[with the finger]
U
œ.
âââ
W ã œ œ œ œ œ œ ˙ ˙ # Œ & Œ &
WINE
2
o p o
GLASS
PO
(+ œ)
U
dO OO O O O O Ȯ Ȯ Ȯ O O Ȯ Ȯ
& +œ œ œ .. œ œ œ œ œ œ .. Œ
[Wood Mute]
1
o p o
œ)
PO
U
(
O O O. O O O O O O O O O. O O Œ
I
&
[Wood Mute]
Cellos
2
o p o
W [with the finger]
U
œ ‰.
âââ
ã œ œ œ œ œ œ ˙ ˙ Œ & Œ
WINE 3
p o
GLASS
o
U
[white noise:
bow on the bridge]
t ( )
& Œ
O O O. O
Db
o p o
60
dead wasps in the jam-jar (ii)
D = 54
53 SINE WAVES
[flautando]
( )
œ
58
O
% $ % $ % %
—.
AST
2 $ ±± ±± $ —— $
III 3
51
+œ œ œ —.
T poco SP
4
‰ + + OO + + œœ O
++ O ..
I
& ‰ & Œ
Œ
T
[Metal Mute] II
=
& =
P
1
o o To
" 3
P o
$ $ 3 % $
( )
AST
[flautando]
I ±
% ±± ±± . % ±±
II ±
.
T ( )
+O + OO
œ. + O .. ‰.
[with the finger]
œ œ # Œ
âââ
ã
[Metal Mute]
2
Wã = & T
+
o p o " o
o O
3
[flautando] $
% $ % $
% $ $
AST
——
3
II — . —— ( ) —— ——
III — .
%
T
œ ‰.
[with the finger]
œ œ œ Œ # T
âââ
ã œœ .
[Metal Mute]
3
Wã =
& .
o p o o p 3
Vln. I [flautando]
o
AST poco SP
poco SP
lœ)
IV
‰ Œ # # œO œO # œO Œ
(
& & lO œO
œO œO jO O O # œO œO n œO ..
[Mute]
4
= l œ =
&
o P o
o F o
AST poco SP [flautando]
poco SP
yœ)
# Oœ Oœ r O . O Œ
( II
‰ #O Œ
&
[Mute]
5
=
& yO
rœ œO œO =
&
o P o o F o 3
PO
(y œ)
ã & r y œO œO œO ‰
[Mute]
6 VIOLIN
=
o P o
jœ œ œ
T poco SP
& ‰
[Metal Mute] IV
1
=
&
o P o
œ.
[with the finger]
œ œ œ #
âââ
ã
[Metal Mute]
2
Wã
o p o
I œ œ œ.
Vln. II
& Π#
"
3
o PO
b(O) O
( )
O
#˙ ˙ œ.
VIOLIN
# Œ & ‰
I
& =
"
4
o o 3
!
PO bO O O
œ ‰.
[with the finger]
œ œ œ Œ ‰
âââ
5 ã W ã =
&
o !
VIOLIN
o p o 3
2 I
Oœ Oœ # œO # œOœ œO .
jj Oœ # œO ..
4 T poco SP
(œ )
AST
.
( )
‰ Œ
( )
&
[Wood Mute]
1
o p P P o
II (II)
3
±± ± ± ±.
( ) ( )
Vla. I I
Oœ # œO .. œ
+ + Oœ
VIOLA poco SP
& Œ . # Oœ #
[Wood Mute] II
2
o
p P p
(II)
o 3
œ +œ œ
PO
#œ
SP
+ + œO ..
( )
nO b Oœ œ
‰ b œœ
VIOLA AST SP (II)
b Oœ
( )
‰ # Oœ .. Oœ Oœ ‰ . Œ ‰ Œ
( )
œ
( ) II
&
[Wood Mute] III
W
.
‰
1
o p o 3
œ œ
" P " p "
* 5 III
I
Vla. II
Oœ
[flautando] MSP T
+ + Oœ # œO ˙O œO
T poco SP AST * = the open string should not be more present than
VIOLA
‰. . ‰ Œ Œ # œ.
the other sounds. 3
( )
œ b œO O
I
&
[Wood Mute]
B
IV
2
= œ œ.
P "3
3
o o p
PO
œ)
(+
& dO
& +œ
O O ‰
œ œ
[Wood Mute]
1
=
o P o
œ)
PO
(
O O O ‰ Œ ‰ œ ˙ ˙ ˙ œ. œ
[Wood Mute] I Tail piece
Cellos
& =
&
2
o P o
"
œ ‰.
[with the finger]
œ œ ˙ ˙ œ
âââ
ã
[Mute]
3
Wã o
o p [flautando]
dœ
T
œO
[white noise: SP
t ‰ O
IV
( )
?
= + +œ
bow on the bridge]
O. O O O O O O
Db Mute
o p o o " 3
61
dead wasps in the jam-jar (ii)
SINE WAVES
% %
( )
AST
59 [almost no bow pressure]
$ O
( )
glissand
o ±± $
. ±± ( )
$
( )
O +O . +O
harmonic ays)
+T
&+ O + O +O
I (alw
&
[Metal Mute]
1
=
T II
o p
[with the finger]
‰. œ œ œ œ œ œ ‰ Œ
âââ
&
[Metal Mute]
2
Wã
o p o
[with the finger]
Œ # œ. œ œ
âââ
&
[Metal Mute]
3
Wã
o p o
Vln. I
4 & remove the mute
[with the finger]
Œ ‰. œ œ œ œ ‰.
âââ
5 & remove the mute
Wã
o p o
6 & remove the mute
AST
$ $
[almost no bow pressure]
( )
±±T O ±±
( )
% %
( )
( )
( )
II harmonic
glissand
Œ ‰ T
(always) o
+O + + OO
& + O ..
[Metal Mute] III
1
=
&
o "
[with the finger]
Œ ‰. œ œ œ œ ‰.
âââ
ã
[Metal Mute]
2
Wã
o p o
Vln. II 3 &
O O O O O O O
& ‰ Œ
( ppp)
4
o
O O O O O O
( )
& Œ
( ppp)
5
o
&
[Wood Mute]
1
Vla. I
[with the finger]
Œ # œ. œ œ
âââ
&
[Wood Mute]
2
Wã
o p o
[with the finger]
‰ Œ Œ œ œ œ œ œ œ ‰
âââ
&
(SP)
# œO
[Wood Mute]
œO Wã
1
œ.
o
3 o p o
Vla. II
MSP
B œ ‰ Œ
[Wood Mute]
2
o
&
[Wood Mute]
1
œ œ ‰.
[Wood Mute]
Cellos 2 remove the mute
o
ã
[Mute]
3 remove the mute
(SP) AST
[Mute]
t + + œO œO O ‰ Œ
œ œ
Db remove the mute
p o
62
dead wasps in the jam-jar (ii)
SINE WAVES 70
%
% œ œ %
( )
% %
( ) % ( )
(AST)
± $ =
& $ ±± $ ±± $ ±± $ ±± $
( )
( )
67
± ± . .
( ) ( )
(I) T
+O +O +O + + OO +O . +O
( )
& (T) + O +O . +O
+ O +O
[Metal Mute]
1
(p)
(II)
$ ( ) $
( )
$
$
AST
( )
% ± ± % ± % ±
[almost no bow pressure]
% .
( )
± ± ± ±
( ) ( )
# + + OOT.. + + OO .
+ OO + Oœ .
I
ã .
[Metal Mute] II
2
= T
& +
o p O
$ $ %
$ $ $ $
( )
( )
$
AST
%
( )
œ œ
( )
%
( )
±. ±± ±± ±± % ±± . & ±± % ±± ±± .
[almost no bow pressure]
% % % %
3
±± . .
( )
II
±.
Œ + OT œœ œœ + Oœ +O œœ + OO
ã
[Metal Mute] III
3
=
&
+O +O +O +
Vln. I To p
3
4 & ã
5 ã
6 &
$ $ ( ) $ $ $ ( ) 3
% $
( )
$ $
% % % œ œ % %
(AST)
±.
±± ±± ±± ±±
T. ±± . &
±±
( )
% . % ±. ±
( )
(II)
.
( )
( ) ( )
+ OO . +O + OO .
[Metal Mute]
& T
+ O
+
1
+
( )
( pp )
œ)
(III)
œ
3
AST (
$ % $ $
[flautando]
% $
( )
—— .. ±±
T
%
III
T
[Metal Mute] IV
2 ã =
& + Oœ .
o P .
Oœ ..
MSP
Vln. II
& & + + œO
III
3
=
o p
œO ..
MSP
& & + + œO
IV
4
=
o p
5 &
MSP
II œ #œ
‰.
I poco SP
Oœ œ œ nO + + œO .. b Oœ œ
Oœ # œOœ
I
+ + Oœ # œO jj Oœ . ==œ
( )
(œ )
b œœ
PO poco SP
. # œO ..
[Wood Mute]
œ
II ( )
&
W
=
&
‰ .
‰
1
o p p P PI P F
5 3
(II) (II)
3
I
Vla. I
lœ
‰.
( )
SP MSP
( )
poco
# Oœ lO O Oœ .
II
& ‰ œO rw œO
(III)
( )
# œO
ã + + œO .
+ =œO =œO . #œ = =œO
II
= . œ œ
[Wood Mute]
.
K
2
œ œ œ W
p
W
P " F p
(II)
o
III
3
I
P ( )
‰ œO b Oœ .. Oœ
SP T SP T
Oœ
T
Œ n œO
ã # # œO œO œO + + œO ..
II
=
&
[Wood Mute]
1
o 3
p P p P
Vla. II
:[with bow]
[Wood Mute]
B ã Œ ‰ œ
2 remove the mute POLYSTYRENE
o
[ordinary bow]
+œ # Oœ ..
T SP (SP)
+ + œO .. œ .
l
b Ȯ œO œO œO
II
?
& = œO œ .
[Wood Mute]
1 & W W
o p P " F
œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ
I [the bow passes between
:Œ
II the two fingers]
œ œ œ œ. œ. œ œ œ. œ œ œ œ. œ œ œ œ. œ
finger 1
Cellos 2 RADIO
EFF. SEV. finger 2
3 o p 5 3
3 ã
V sempre
— — —
SP ( )
t
I
t ‰.
Db
= o "
63
dead wasps in the jam-jar (ii)
O œ
SINE WAVES
= 60
( )
% %
V sempre
% % $ % $ % $ % %> $ % $ %
$
( )
&œ
%—
$ 3 $ = 2 $ —— . —> —> —> —> —. —>
3 III
75 ±T. ±± —— — $ — — —
±. 8 +O — —
( ) 3
4 +œ . .
+O œ
1 & œ œ +O + œ. œ
[Metal Mute]
T ( )
(p)
F f
3
œ
3 3
$ %
IV
$ $ $ %3 $ V sempre
% $ %> $ %
— % = &œ — >— . — —> —> — >— .
( )
% ± % — — — — — —. — —
± — — —
3
œ œ +œ
.
+ + œœ ++ œœ
(
T)
&T œ œ œ œ.
[Metal Mute]
2
( )
F f
œ
3 3
$ O $
3
% % % $ %
—$ —> — —> . — —> .
V sempre
— — — — —
T ——
±
I
±± ±±
( )
± % % 3
( )
( )
& T + Oœ œœ œœ +O
[Metal Mute]
+O
3 ( )
Vln. I
P p 3
f
[with bow] :
ã Œ ‰ œ œ. œ œ œ. # Œ
POLYSTYRENE
4
o F o
:[with bow]
ã Œ œ œ. ˙ œ œ
POLYSTYRENE
o F o
œ. œ ‰.
:
& ‰ œ œ ˙ œ
[with bow]
ã
6
œ
POLYSTYRENE
F o
o
O œ % 3 %
$
V sempre
$ $ % $ % 3 % $ $ %
I
%
—%
V sempre
±T ± ± — % $ —— —— $ — —> — —. —> —
±±
—
( )
% —
( )
± ± ± —
( )
+ OO œ. œœ
& T
[Metal Mute]
œ
œ .
( )
+
1
P F f
pœ
3 3 3
O V sempre
% $ $ $ $ $3 $ $ $
%
II
%
T) œ . ±± ± —± —. — —— —— .. —. — —
& ( ) ( )
(
. ± % % % — % %
. œ
&(
[Metal Mute]
œœ . + œœ œœ œœ . œœ
2
T) + O . œ . œ. .
f
p F $ % $
%— V sempre —> —> — —> >—% $
— —> .
%
—>
3
Oœ —. —. — —
( )
— — —
Oœ
(III)
Oœ b b Oœ
Vln. II
3 & œO ..
" P F f
%— V sempre —
( )
— — >—$ %
— >— . — —
$
—> —.
%>
— —
Oœ Oœ
(IV)
Oœ b b Oœ
4 & œO ..
" P F f
3
:[with bow]
5 & POLYSTYRENE ã œ. œ œ œ œ ‰.
o F o
V sempre
$ % $ % >—$ % $ %
T
—% —> — —> —> —> —> —> —> —
SP
( ) (II)
+œ œ 3 (III) 2 —. — — —. — — — — —.
8 4
&
[Wood Mute]
1
œ œ
P
3
f
III V sempre
$ % $
—% —> — —> —>
(MSP) SP
— — —. — — —
Vla. I ( ) ( )
œO
(IV)
+ + œO ..
(III)
& œO .. B
+++ œœO Œœ jœ # œO
[Wood Mute]
2
‰. # œO + + œO
F F f
F p
V sempre
>—$ % $ %
IV
—% — >— — >— —> —
3
MSP
—. —
( )
—
Oœ Oœ .. Ȯ Oœ Oœ
SP
& + + œO
[Wood Mute]
1
F p f
3 3 3
Vla. II
ã œ. œ œ œ. ˙ œ œ. #
[POLYSTYRENE]
2
" F o
% $ % $ % $ %
—> —> —> —> >— —> — —> .
V sempre
— — — — — — — — —
MSP
( )
Œ
3
? + + œO
(II)
œ œ
[Wood Mute] (III)
1
Œ œ
3 3
F f
III 5
3
œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ ˙
[RADIO
œ œ. œ œ œ.
EFF. SEV.]
:œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
fg. 1
Cellos 2
(p)
fg. 2
f
3 3
œ. œ œ œ œ. œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ
SP [the bow passes between
: # œ.
the two fingers]
œ œ. œ.
II-III
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fg. 1
RADIO 3
EFF. SEV.
fg. 2
o P f
% $ % $ % $
3
— —. — — —> —> >— — —. —> — — —> . — — —>
( ) ( )
Db
t
( pp ) F 3
12.07.2016 — to Celine, my very first niece, who is born today, while I am writing this page !
64
dead wasps in the jam-jar (ii)
SINE WAVES
>$ >$ >%3
V
$ %>
%> >$ %> >$ >
>
>%
NV
( )
III
— >— .
(III)
83 —
( )
— —
( )
— — I — T. — —
( )
—
( )
II —
T
.
( )
& T T
[Metal Mute]
1
( )
(f) F 3
f
%> %> >% V
>$ >$
IV
>—$ >%— — . >—$ (—)
NV
— — — — —. I — . — — — —
3
T
(IV) ( ) ( ) ( )
—
T
.
( )
& ‰. T ‰
II
[Metal Mute]
F
2 T)
(
(f) f
>$
3 3
$ >% >$
V
> >% >% >$ %
>—$ %
NV
—>
>
I
— — — — — — II ——T —T — — —
3
(I) ( ) ( ) ( )
.
( )
—
( )
& ‰ T . T ‰
III
[Metal Mute]
3 ( )
(f) F
Vln. I
3
f
:[with bow]
ã ã ˙ œ œ œ. # Œ
4 POLYSTYRENE
o F o
:[with bow]
ã ã ˙ œ œ ‰
5 POLYSTYRENE
o F o
:[with bow]
ã ã ˙ ˙ œ œ ‰
6 POLYSTYRENE
o F o
%>
V
%> %>
$ % $3 $ $>
NV
( )
>— — >—
I
—. — — — II —
T > > — — — —
( ) ( )
(I)
( ) 3
( )
III — T)
(
& T
[Metal Mute]
T)
1
(f)
(
F 3
3 f
%> >%
>$
II
% $>
>—$ — %>
NV
V
— >— . —. — — — —— T. — — — — —
( ) ( ) ( ) ( ) ( )
(II)
T
.
III ( )
& T T # Œ
IV
[Metal Mute]
2 ( )
(f) F f
$ % $ >—
— — —> — — >— — —> . — — — — — —
(III) ( ) ( ) ( ) ( ) ( )
Vln. II
3 &
(f) 3
$ %
— —> — —> . — — — — — — — —
(IV) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
4 &
(f) 3
oæ+
5 ã GELINOTTE ã Œ ‰. œ œ œ œ
o P
$
( )
—> —
( )
—
( )
—
( )
—
( )
—
( )
—
( )
— —. —> — —> —. —>
(III)
&
[Wood Mute]
1
(f)
% $ % )
— —> — —> —. —> (— — — — — — —> — >— . — —>
Vla. I (IV) ( ) ( ) ( ) ( )
B
[Wood Mute]
2
(f)
$ % $
( )
— — —> — — —> . — —> — — — — —
(II) ( ) ( ) ( ) ( ) ( )
&
[Wood Mute]
1
(f) 3
Vla. II
oæ+
ã ã # œ. œ
2 GELINOTTE
o p
$ % >—$
—. —> — — —> . — — — — — — — —
(III) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[Wood Mute]
1
?
(f)
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
[RADIO (I-II)
œ œ. œ œ œ. œ œ œ.
EFF. SEV.]
:œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ
fg. 1
Cellos 2
fg. 2
(f) 3 3 3
(II-III)
œ œ œ œ œ. œ œ œ. œ œ œœ 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 œœ œ œ œ. œ œ œ œ œ. œ œœ œ œ œ.
[RADIO fg. 1
EFF. SEV.]
3
(f)
fg. 2
%
3 3
— — —> — — — — — — — —
(I) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Db
t
(F)
65
dead wasps in the jam-jar (ii)
SINE WAVES
%> >$
III V
%> $
>
NV
( 3)
— — —T T) — . — — — — — — —
( ) ( ) ( ) ( ) ( ) ( )
92
—
(III)
(
I
T T) ‰ .
II
&
[Metal Mute] (
1
(f) F 3
f
(IV)
— — — — — — — — —
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
&
[Metal Mute]
2
(f)
(I)
— — — — — — — — —
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
&
[Metal Mute]
3
Vln. I
(f)
o + o +
ã ã # œæ . œ. œ œ œæ . œ
4 GELINOTTE
o P o
ã ã œ œ ˙ œ œ ‰
5 GELINOTTE
o P o
o +
ã ã ‰ æœ œ œ. # Œ
6 GELINOTTE
% % $> %> % o P o
I V
> >$ >
3
>
NV
— ——T — — — — — — —
3
(I) ( ) ( ) ( ) ( ) ( ) ( ) ( )
( ) ( )
& #T
II
T)
[Metal Mute] (
III
1
F T) f
(
3
NV V
>% %> >$
>$
II
(II)
— — —T. — — — — — — — —
( ) ( ) ( ) ( ) ( ) ( ) ( )
— . T)
(
& Π#T #
III
[Metal Mute] IV
2
F f
(
T)
—> >— —> —> >— . >— (—) — — — — — —
( ) ( ) ( ) ( ) ( ) ( )
Vln. II
3 &
(f) 3
— >— . —> >— >— . >— >— . >— (—) — — — — — —
( ) ( ) ( ) ( ) ( ) ( )
4 &
(f)
oæ+ o + oæ+
ã ˙ œ. œ œ æœ œ œ œ œ. # Œ
[GELINOTTE]
5
(P) o
— — — — — — — — —
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
&
[Wood Mute]
1
(f)
— >— — — — — >— . >— . —> — — — — — —
Vla. I ( ) ( ) ( ) ( ) ( ) ( )
B
[Wood Mute]
2
(f)
—
( )
—. >— —. >— — — — >— —
( )
—
( )
—
( )
—
( )
—
( )
&
[Wood Mute]
1
(f)
Vla. II
oæ+
ã œ œ ‰ ã ‰. œ œ œ œ œ œ ‰
o
2 GELINOTTE
o P o
( ) ( )
— — — — — — — — — — — —
( ) ( ) ( ) ( ) ( )
[Wood Mute]
1
?
(f) [keep the finger 1 in order to play as
high as possible, ordinary bow pressure]
SP
— —
I ( ) ( )
œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ?
[RADIO
œ œ. œ œ œ. œ œ œ.
EFF. SEV.]
:œ œœ œ œ œ œ œ œ œ œ œ œ œ œ
fg. 1
Cellos 2
fg. 2
(f) 3 3 3
œ œœ 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. ˙ ˙ ˙ ˙
[RADIO fg. 1
3
EFF. SEV.]
(f)
fg. 2
o
( ) ( ) 3
— — — — — — — — — — —
( ) ( ) ( ) ( )
Db
t
(F) o
66
dead wasps in the jam-jar (ii)
SINE WAVES
%> $ %> %> >$ %> >$ %>
>$ >$
3 2 3 2 7
4 4 >3 8 4 16
— — — — —. — —T .
( ) ( ) ( ) ( ) ( ) ( )
—
101
.
I
& .. .. T
II
[Metal Mute]
1
(f) F 3 ! F
%> $ %> >$ %>
>3
%> >$ >% >$ >$
— — — — —. — I — .
( ) ( ) ( ) ( ) ( ) ( )
II —
T
.
[Metal Mute]
& .. .. T
(f)
2
F 3 ! F
%> $
>3
%>
>$ >% >$ >% >$ >% >$
— — — — —. — II — .
( ) ( ) ( ) ( ) ( ) ( )
III —
T
.
[Metal Mute]
& .. .. T
(f)
3
! F
Vln. I
F 3
.. .. ˙ ˙ œ. ˙
[with bow]
ã ã ˙ ˙ , œ. ˙
POLYSTYRENE
4
!
GELINOTTE
[fixed sound]
f ! f
.. .. ˙ ˙ œ. ˙
[with bow]
ã ã ˙ ˙ , œ. ˙
POLYSTYRENE
5
GELINOTTE
[fixed sound]
! f ! f
.. .. ˙ ˙ œ. ˙
[with bow]
ã ã
˙ ˙ , œ. ˙
POLYSTYRENE
6
GELINOTTE
[fixed sound]
! f ! f
%> $ %> %> >$ %> >$ >%
>3 >$ >$
— — — — —. — — .
( ) ( ) ( ) ( ) ( ) ( )
III —
T
.
II
& .. .. T
[Metal Mute]
(f)
1
F 3 ! F
%> $ %> %> >$ %> >$ %>
>3 >$ >$
— — — — —. — III — .
( ) ( ) ( ) ( ) ( ) ( )
IV —
T
.
& .. .. T
[Metal Mute]
(f)
2
F 3 ! F
— — — — —. — — —. —. —
( ) ( ) ( ) ( ) ( ) ( ) ( )
.. ..
Vln. II
&
(f)
3
(f) ! f
— — — — —. — — —. —. —
( ) ( ) ( ) ( ) ( ) ( ) ( )
& .. ..
(f)
4
(f) ! f
.. .. ˙ ˙ œ. ˙
[with bow]
ã ã ˙ ˙ œ. ˙
POLYSTYRENE
5
!
GELINOTTE
[fixed sound]
f ! f
3 2 3 2 7
—
( )
—
( )
—
( )
—
( ) 4 —.
( ) 4 —
( )
—
( ) 8 —.
4 —. —
16
& .. ..
[Wood Mute]
1
(f) (f) ! f
— — — — —. — — —. —. —
Vla. I ( ) ( ) ( ) ( ) ( ) ( ) ( )
B .. ..
[Wood Mute]
2
(f) (f) ! f
— — — — —. — — —. —. —
( ) ( ) ( ) ( ) ( ) ( ) ( )
[Wood Mute]
& .. ..
(f) (f) ! f
1
Vla. II
.. .. ˙ ˙ œ. ˙
[with bow]
ã ã ˙ ˙ œ. ˙
POLYSTYRENE
2
GELINOTTE
[fixed sound]
! f ! f
— — — — —. — — —. —. —
( ) ( ) ( ) ( ) ( ) ( ) ( )
[Wood Mute]
? .. ..
(f)
1
(f) ! f
— — — — —. — — —. —. —
( ) ( ) ( ) ( ) ( ) ( ) ( )
2
? .. ..
(f) (f) ! f
Cellos
SP ( ) ( )
— —
? .. .. t
IV
3
= ˙ œ.
! f ! f
SP ( ) ( )
— —
t .. .. t
V
Db
= ˙ œ.
! f ! f
67
dead wasps in the jam-jar (ii)
[repeat twice]
SINE WAVES
( )
>% %> %> >% %>
% % >$ %> >$ >$ $
7 2 3 2 2 5 2
16 U 8 >$ > >$ >$ > 8 8 $> 4 16 >% > 4
—T.
. — — —
—. — —. — — — — —
110 ( )
— —. .. — —
(I)
.. .
& T
[Metal Mute]
(II) (
)
1
! ( ppp) F ! F ! F !
( )
>% %> %> >% %>
U %
>$ > >$
%
>$ > >$ %> >$ $> >$ $
>% >
—T.
. — — —
—. — —. — — — — —
( )
— —. .. — —
(I)
.. .
& T
[Metal Mute]
(II) ( )
2
! ( ppp) F ! F ! F !
( )
>% %> %> >% %>
U %
>$ > >$
%
>$ > >$ %> >$ $> >$
—T — — —
— .. —— —— . — —— . — — —
( )
.. —
(II)
. .. . ‰ #
& T
[Metal Mute]
(III) ( )
3
! ( ppp) F ! F ! F ! o
U
Vln. I
œ œ. . œ œ œ œ œ. œ . ˙ œ œ œ
ã œ œ. , . œ œ , œ œ , œ. œ ,. ˙ œ œ œ
[POL]
4
[GEL]
! f f f f
U
œ œ. . œ œ œ œ œ. œ . ˙ œ œ œ
ã œ œ. , . œ œ , œ œ , œ. œ ,. ˙ œ œ œ
[POL]
5
[GEL]
! U f f f f
œ œ. . œ œ œ œ œ. œ ..
[POL]
ã œ œ. , . œ œ , œ œ , œ. œ ã ‰ œ YYYYYY
.
6 WALDTEUFEL
[GEL]
f f f o
! o
( )
>% %> %> >% %>
U %
>$ > >$
%
>$ > >$ >% >$ $> >$ $
>% >
—T. — — —
—. —— —— . — —— . — — —
( )
.. —
(II)
. .. .
& T
[Metal Mute]
(III)
( )
1
! ( ppp) F ! F ! F !
( )
>% U >% %
>$ > >$
%> % >$ %> >$ >% $> %> >$ $
>$ > >% >
(III) — . —— —— ——
—. —— —— . — —— .
T ( )
[Metal Mute]
& T
. .. — .. .
(IV) ( )
2
! U ( ppp) F ! F ! F !
( )
— —. — — — — — — — — — — — —.
.. ..
Vln. II
&
! ( ppp) f ! f ! f !
3
( )
— —. — — — — — — — — — — — —.
& .. ..
! ( ppp) f ! f ! f !
4
U
œ œ. .. œ œ œ œ
ã ã .. Œ œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( )
œ œ. œ œ œ œ
[POL]
5 WALDTEUFEL
F
[GEL]
! f f o o
7 U 2 3 2 2 5 2
16 8 ( ) 8 8 4 16 4
— —. — — — — — — — — — — — —.
& .. ..
[Wood Mute]
! f ! f ! f !
1
( ppp)
( )
Vla. I
— —. — — — — — — — — — — — —.
B .. ..
[Wood Mute]
! f ! f ! f !
2
( ppp)
( )
— —. — — — — — — — — — —
[Wood Mute]
& .. .. ã
! ( ppp) f ! f ! f !
1
o
U
œ ‰. ‰.
Vla. II
ã .. ( ) ( ) ( )
..
œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( )
.
œ ‰. ‰.
ã
[POL]
2 WALDTEUFEL
F
[GEL]
! U
( )
— —. — — — — — — — — — — — —.
[Wood Mute]
? .. ..
! ( ppp) f ! f ! f !
1
( )
— —. — — — — — — — — — — — —.
? .. ..
! ( ppp) f ! f ! f !
Cellos 2
U — — — —
t .. .. .
œ œ. œ œ œ. ˙
3
! f ! f ! f ! f
U — — — —
t .. .. .
œ œ. œ œ œ. ˙
Db
! f ! f ! f ! f
68
dead wasps in the jam-jar (ii)
SINE WAVES
2 >% >$ >%
2 3 %> 2 %>
>$ % $> 3 >% >$ %> >$
4 8 8 >$ 4 > %>
3
119 — —. —. . .
. — —. —.
( )
T)
— — — . — — —
(
. . — — — — — — ‰ Œ
(I)
[Metal Mute]
& T
(II)
1
F ! F !
( )
3
F !3 o
>% >$ >%
%> %>
>$ % $> 3 >% >$ %> >$
>$ > %>
3
— — —
— .. .
T) . — — .. . — — — . — —
(
. . — — — — — ‰ Œ
(I)
[Metal Mute]
& T
(II)
2
F ! F !
( )
3
F !3 o
œ .YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( ) ( ) ( )
.
( ) ( ) ( )
&
[Metal Mute]
3 WALDTEUFEL ã
Vln. I o F f !
˙ œ œ. œ. ˙ ˙ ˙ ˙ ˙
ã ˙ , œ œ. œ. ˙ , ˙ ˙ œ œ ‰.
[POL]
4
[GEL]
! f ! f !
˙ œ œ. œ. ˙ ˙ ˙ œ ‰.
[POL]
5 ã ˙ , œ œ. œ. ˙ , ˙ ˙ œ ‰. Œ
[GEL]
! f ! f o
( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( ) ( ) ( )
. .
( ) ( ) ( ) ( ) ( )
6 ã
F
>% >$ >%
%> %> $ % $
% $> 3 > >
%> >$
>$ > > %>
3
—
— —.
— —.
— . .
. .
( )
(II) T
. — — — . — —
( )
[Metal Mute]
& T . . — — — — —
(III)
1
F ! F !
( )
F ! o
3
3
%> >$ %>
(III) T
. —— —— ..
( )
. Œ œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( ) ( ) ( )
& T
[Metal Mute]
WALDTEUFEL ã
(IV)
2
F !
( )
o F
( )
— — —. — — — — — —
[damp the strings and play with a very slow bow. The sound must be broken,
perforated, with small silences inside, between each sound (one grain at a time)]
Vln. II II ( ) ( ) ( )
& ã
III
f ! !
3
f f
( )
— — —. — — — — — —
[damp the strings and play with a very slow bow. The sound must be broken,
perforated, with small silences inside, between each sound (one grain at a time)]
( ) ( ) ( ) ( )
III
& ã
IV
f ! f ! f
4
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
5
(F)
2 2 3 2
4 ( )
8 8 4
— — —. — — — — — —
[damp the strings and play with a very slow bow. The sound must be broken,
perforated, with small silences inside, between each sound (one grain at a time)]
II ( ) ( ) ( )
& ã
[Wood Mute] III
f ! !
1
f f
( )
Vla. I
— —
B ‰ Œ œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[Wood Mute] ( ) ( ) ( ) ( ) ( )
ã
f !
2 WALDTEUFEL
o
o F
ã ˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
WALDTEUFEL ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[Wood Mute] 1
Vla. II
o F
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
2
(F)
( ) [damp the strings and play with a very slow bow. The sound must be broken,
— — —. — — — — — —
perforated, with small silences inside, between each sound (one grain at a time)]
( ) ( ) ( )
?
(III) I
ã
[Wood Mute] II
f ! f ! f
1
( )
— — —. — — — — :[tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the
? Œ ˙ ˙
floor, producing a low, airy, trembling sound]
ã
f !
Cellos 2 E-GUITAR
f o
F
STRING
o
( )
—. —
t
˙ œ œ. ˙ ˙ œ œ ˙
3
! f ! f !
( )
—. —
t
˙ œ œ. ˙ ˙ ˙ ˙
Db
! f ! f !
69
dead wasps in the jam-jar (ii)
E Libero (= 60) F
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
128 : [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ œ
floor, producing a low, airy, trembling sound] to maintain a continuous sound]
& E-GUITAR
ã
F
1 remove the mute
o
STRING
2 & remove the mute
towards a more continuous sound (the thread has
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
to slide on the skin of the instrument)
remove the metal mute and
(F) p
3
the preparation on the violin
Vln. I
ã œ œ œ
[POLYSTYRENE]
( ppp) o
4
: [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ œ œ œ
to maintain a continuous sound]
ã
floor, producing a low, airy, trembling sound]
ã
F
5 E-GUITAR
o
STRING
towards a more continuous sound (the thread has
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
to slide on the skin of the instrument)
(F) p
6
: [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
& œ œ œ œ œ œ
floor, producing a low, airy, trembling sound] to maintain a continuous sound]
ã
F
1 E-GUITAR
o
STRING
towards a more continuous
sound (the thread has to slide
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
on the skin of the instrument)
remove the metal mute and
(F) p
2 the preparation on the violin
(II-III)
ã
Vln. II
3
(f) P
(III-IV)
ã
P
4
(f)
towards a more continuous sound (the thread has
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
to slide on the skin of the instrument)
(F) p
5
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
(II-III)
1 ã remove the wood mute
(f) P
put the normal mute
Vla. I
towards a more continuous
sound (the thread has to slide
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
on the skin of the instrument)
(F) p
2
towards a more continuous
sound (the thread has to slide
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
on the skin of the instrument)
(F) p
1
Vla. II
towards a more continuous sound (the thread has
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
to slide on the skin of the instrument)
(F) p
2
(I-II)
ã
[Wood Mute]
remove the mute
1
(f) P
[bow changes ad libitum, trying
[E-GUITAR
ã œ œ œ œ œ œ
to maintain a continuous sound]
STRING]
Cellos
(F)
2
[slow, very wide vibrato. It should cover an 'irregular' (always
different) interval of a minor third (from F) up and down]
t
(SP) AST SP AST
œ œ ccccccccccc
3
( ppp) [very slow glissando. No need to
follow the drawing]
t
[keep moving the bow slowly between AST
AST MSP and MSP, varying the alternation ad libitum]
œ œ œ œ œ œ
Db
( ppp)
70
dead wasps in the jam-jar (ii)
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
134 [E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
1
2 &
3 ã
Vln. I
4 ã
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
5
6 ã
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
1
2 ã
ã
Vln. II
3
4 ã
5 ã
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
1 ã
Vla. I
2 ã
1 ã
Vla. II
2 ã
1 ã
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
Cellos 2
t
SP AST SP AST SP AST
( œ)ccccccccccccccccc
3
( ppp)
t
[keep moving the bow slowly between AST
and MSP, varying the alternation ad libitum]
œ œ œ œ œ œ
Db
( ppp)
71
dead wasps in the jam-jar (ii)
G ~5" ~5" ~5" ~5" H = 144 = 60
(~ 5") (~ 10") (~ 15") (~ 20")
3 2
140 4 4
œ ‰. Ó
[E-GUITAR
ã œ œ œ œ
STRING]
(F)
1
: [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ ˙. ˙. ˙
to maintain a continuous sound]
&
floor, producing a low, airy, trembling sound]
ã
F
2 E-GUITAR
o
(F)
STRING
: [tensing the guitar string between your foot and left
hand, bow the string close to the left hand, producing [bow changes ad libitum, trying
ã œ œ œ œ ˙. ˙. ˙
a low, airy, trembling sound] to maintain a continuous sound]
E-GUITAR
F
3
o
(F)
STRING
Vln. I
: [tensing the guitar string between your foot and left
hand, bow the string close to the left hand, producing [bow changes ad libitum, trying
œ œ œ ˙. ˙. ˙
to maintain a continuous sound]
ã
a low, airy, trembling sound]
4 E-GUITAR
ã
o
STRING
(F)
œ. # Ó
[E-GUITAR
ã œ œ œ œ
STRING]
(F)
5
SPRING S
㠜
[very gently shake the spring-drum,
producing a quiet, continuous sound]
.
( )
.
( ) ( )
"
DRUM 6
o
[E-GUITAR
ã œ œ œ œ œ ‰ Ó
STRING]
(F)
1
( ) ( )
ã
using the tupperware as a pen, write your
2 Mute TUPPERWARE
name (once or twice) very quickly and
F/ f
ON PLEXIGLASS
with a lot of pressure on the plexiglass
poco SP
[tap the strings alternating
Y. Y
the 2 fingers irregularly]
Y.
±± . ±± Y
2 fingers
.
(thimbles)
ã put down the bow and prepare the
=
& Œ ‰
P
3
Vln. II 2 thimbles on the right hand's fingers
[tap the strings alternating
poco SP ( )
Y. Y.
the 2 fingers irregularly]
Y. Y.
±± . ±± .
2 fingers
. .
(thimbles)
ã & Œ
= ‰ ‰
put down the bow and prepare the
P
4
2 thimbles on the right hand's fingers
( ) ( )
ã
using the tupperware as a pen, write your
5 TUPPERWARE
name (once or twice) very quickly and
F/ f
ON PLEXIGLASS
with a lot of pressure on the plexiglass
~5" ~5" ~5" ~5"
(~ 5") (~ 10") (~ 15") (~ 20")
3 2
4 ( ) ( )
4
1 ã TUPPERWARE
ON PLEXIGLASS
using the tupperware as a pen, write your
name (once or twice) very quickly and
F/ f
with a lot of pressure on the plexiglass
Vla. I
: [tensing the guitar string between your foot and left
hand, bow the string close to the left hand, producing
ã œ œ œ œ œ Ó
a low, airy, trembling sound]
E-GUITAR
F
2
o
STRING
( ) ( )
ã
using the tupperware as a pen, write your
1 TUPPERWARE
name (once or twice) very quickly and
F/ f
ON PLEXIGLASS
with a lot of pressure on the plexiglass
Vla. II
( ) ( )
ã
using the tupperware as a pen, write your
2 TUPPERWARE
name (once or twice) very quickly and
F/ f
ON PLEXIGLASS
with a lot of pressure on the plexiglass
( ) ( )
ã
using the tupperware as a pen, write your
1 TUPPERWARE
name (once or twice) very quickly and
F/ f
ON PLEXIGLASS
with a lot of pressure on the plexiglass
œ ‰. Ó
[E-GUITAR
ã œ œ œ œ
STRING]
(F)
Cellos 2
( )
t Ó
SP AST SP AST SP
( œ)cccccccccccco
3
( ppp)
[keep moving the bow slowly between AST
t ‰ Ó
and MSP, varying the alternation ad libitum]
œ œ œ œ œ
Db
( ppp)
72
dead wasps in the jam-jar (ii)
I Libero (= 60) J
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
147 :[tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ
floor, producing a low, airy, trembling sound] to maintain a continuous sound]
ã ã
F
1 E-GUITAR
o
STRING
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
2
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
3
Vln. I
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
4
: [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ
to maintain a continuous sound]
ã
floor, producing a low, airy, trembling sound]
ã
F
5 E-GUITAR
o
STRING
ã ( œ)
S ( pp )
6
: [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ
to maintain a continuous sound]
ã
floor, producing a low, airy, trembling sound]
ã
remove the metal mute and E-GUITAR
F
1
o
the preparation on the violin STRING
:[tensing the guitar string between your foot and left
hand, bow the string close to the left hand, producing
œ
a low, airy, trembling sound]
2 ã E-GUITAR
ã
o
STRING
: [tensing the guitar string between your foot and left
hand, bow the string close to the left hand, producing [bow changes ad libitum, trying
œ œ
a low, airy, trembling sound] to maintain a continuous sound]
Vln. II
ã E-GUITAR
ã
F
3
o
STRING
4 ã
5 ã
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
1 ã
Vla. I :[tensing the guitar string between your foot and left
hand, bow the string close to the left hand, producing
㜠œ
a low, airy, trembling sound]
ã
F
2 E-GUITAR
STRING
o
1 ã
Vla. II
2 ã
1 ã
Cellos 2 ã
3
t
[keep moving the bow slowly between AST
t t
AST MSP and MSP, varying the alternation ad libitum]
Db
= œ œ œ
!
73
dead wasps in the jam-jar (ii)
~5" ~5" ~5"
(~ 5") (~ 10") (~ 15")
simile
(~ 20") (~ 25") (~ 30") 2
153 [E-GUITAR
4
ã œ œ œ œ œ œ
STRING]
(F)
1
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
2
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
3
Vln. I
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
4
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
5
ã ( œ)
S ( pp )
6
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
1
[E-GUITAR [bow changes ad libitum, trying
ã œ œ œ œ œ œ
STRING] to maintain a continuous sound]
2
F
[E-GUITAR
ã œ œ œ œ œ œ
STRING]
(F)
Vln. II 3
: [tensing the guitar string between your foot and left
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
œ œ œ œ œ
floor, producing a low, airy, trembling sound] to maintain a continuous sound]
ã ã
F
4 E-GUITAR
o
STRING
[very gently shake the spring-drum,
SPRING S
㠜
producing a quiet, continuous sound]
"
DRUM 5
o
~5" ~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
: [tensing the guitar string between your foot and left 2
hand, bow the string around 3/4 of the way from the [bow changes ad libitum, trying
4
œ œ œ
to maintain a continuous sound]
ã
floor, producing a low, airy, trembling sound]
ã
F
1 E-GUITAR
o
STRING
Vla. I
[E-GUITAR [bow changes ad libitum, trying
ã œ œ œ œ œ œ
STRING] to maintain a continuous sound]
(F)
2
1 ã Mute
Vla. II
[very gently shake the spring-drum,
㠜
producing a quiet, continuous sound]
SPRING
ã
"
2
DRUM
S o
?
1 ã Mute
Cellos 2 ã Mute
[very slow glissando. No need to
follow the drawing]
t
SP AST SP AST SP AST
œ ccccccccccccccccc
3
o !
[keep moving the bow slowly between AST
t
and MSP, varying the alternation ad libitum]
œ œ œ œ œ œ
Db
( ppp)
74
dead wasps in the jam-jar (ii)
K = 54
159 2
[bow changes ad libitum, trying
to maintain a continuous sound] top top
4 3/4 3/4 3/4
[E-GUITAR 1 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
[bow changes ad libitum, trying
to maintain a continuous sound] top top
3/4 3/4
[E-GUITAR 2 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
[bow changes ad libitum, trying
to maintain a continuous sound]
top top top
3/4 3/4 3/4
[E-GUITAR 3 ã ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙ œ œ
(F)
STRING]
[bow changes ad libitum, trying
Vln. I to maintain a continuous sound]
top top top
3/4 3/4
[E-GUITAR 4 ã ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ œ œ
(F)
STRING]
[bow changes ad libitum, trying
to maintain a continuous sound] top top
3/4 3/4
[E-GUITAR 5 ã ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ
(F)
STRING]
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 6
( pp )
[bow changes ad libitum, trying
to maintain a continuous sound]
top top top
3/4 3/4 3/4
[E-GUITAR 1 ã ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ œ œ
(F)
STRING]
[bow changes ad libitum, trying
to maintain a continuous sound]
top top top
3/4 3/4
[E-GUITAR 2 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
[bow changes ad libitum, trying
to maintain a continuous sound]
top top
[E-GUITAR 3/4
˙ ˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙
STRING]
ã
Vln. II
3
(F) [bow changes ad libitum, trying
to maintain a continuous sound] top
3/4 3/4
[E-GUITAR 4 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 5
( pp )
[bow changes ad libitum, trying
2 to maintain a continuous sound]
top top top
4 3/4 3/4 3/4
[E-GUITAR 1 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ
(F)
STRING]
[bow changes ad libitum, trying
to maintain a continuous sound]
Vla. I top top
3/4 3/4
[E-GUITAR
STRING] 2 ã ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙
(F)
ã
[Mute]
1
Vla. II
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 2
( pp )
[fast, airy bow, always delicate
and legatissimo]
?
AST
œ ‰
3 3 ( ) 3
3
œ œ rœ œ jœ jœ . œ œ dœ
[Mute]
œ. rœ . +œ +œ œ. œ œ œ +œ +œ œ =œ +œ œ jœ
1 K
o " ! W
" ! W " ! "! " ! " ! o ! " !
[fast, airy bow, always delicate
AST
( )
‰
and legatissimo]
( )
ã ?
3
= œ œ
[Mute]
. yœ . +œ œ +œ #œ jœ
Cellos 2
o " ! " o o
t
SP AST SP AST
( ˙)ccccccccccccccccc
3
( ppp)
[keep moving the bow slowly between AST
t
and MSP, varying the alternation ad libitum]
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Db
( ppp)
75
dead wasps in the jam-jar (ii)
168 top
3/4
top
3/4
[E-GUITAR 1 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
top top
3/4 3/4 3/4
[E-GUITAR 2 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
top top top
3/4 3/4
[E-GUITAR 3 ã ˙ ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙
(F)
STRING]
Vln. I
top top
3/4 3/4 3/4
[E-GUITAR 4 ã ˙ œ œ ˙ ˙ œ œ ˙ œ œ ˙ ˙
(F)
STRING]
top
3/4 3/4
[E-GUITAR
STRING]
5 ã ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙
(F)
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 6
( pp )
top top top
3/4 3/4 3/4
[E-GUITAR 1 ã œ œ œ œ ˙ ˙ œ œ ˙ ˙ ˙
(F)
STRING]
o
top
3/4 3/4
[E-GUITAR 2 ã ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
o
top top top
[E-GUITAR 3/4 3/4 3/4 3/4
ã ˙ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙
STRING]
Vln. II
3
(F)
top top
3/4
ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[E-GUITAR
STRING] 4
(F)
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 5
( pp )
top
3/4 [fast, airy bow, always delicate
AST
ã ˙ œ Œ ‰
[Mute] and legatissimo] ( ) ( ) ( ) 3 ( )
B
= œ œ. œ +œ +œ n œ œ
[E-GUITAR
+œ rœ
STRING] 1 VIOLA
o o ! " ! " !" ! o
Vla. I top
3/4
[E-GUITAR
ã ˙ ˙ ˙ ˙ œ œ œ. # Œ
STRING] 2
(F) o
AST [fast, airy bow, always delicate
œO ‰ .
and legatissimo]
‰
3
ã
3
B jœ
3 3
= +œ +œ +œ #œ
[Mute]
. rœ rœ . œ œ +œ +œ . #œ y œ r œ r ˙O œ
1
Vla. II o " ! " ! o o ! " o o " ! "
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 2
( pp )
[fast, airy bow, always]
? œ œ +œ # Oœ
( )
‰ Œ # # œO ‰ . œ.
3 ( )
œ œ yœ œ yœ . rœ œ. +œ rœ
[Mute]
œ œ jœ + œo .
1
( ppp) o " ! " ! o o ! " o o ! "3
.
œO ‰
(III)
œccccœ + œ + œO œO
?
( ) ( )
‰. ‰. œ +œ
( )
III
( )
[fast, airy bow, always] 3
dœ œ jœ + œ + œ jœ . œ. œ dœ
[Mute]
œ . œ
Cellos 2
" ! " ! " o !
p ! " o o "
3 IV 3
towards white noise
t
SP AST SP AST (on the bridge)
( ˙)ccccccccccccccccc
3
( ppp)
[keep moving the bow slowly between AST towards white noise [white noise:
t
and MSP, varying the alternation ad libitum] (on the bridge) bow on the bridge]
˙ ˙ ˙ ˙ O O O O
Db
( ppp) " F"
76
dead wasps in the jam-jar (ii)
L
177 top top top
3/4 3/4
[E-GUITAR
STRING]
1 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
top top
3/4 3/4
[E-GUITAR
STRING]
2 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
top top top
3/4 3/4 3/4
[E-GUITAR
STRING]
3 ã œ œ ˙ ˙ œ œ ˙ œ œ ˙ ˙ œ œ
Vln. I
(F)
top top top
3/4 3/4
[E-GUITAR
STRING]
4 ã œ œ ˙ œ œ ˙ ˙ œ œ ˙ œ œ ˙
(F)
top top
3/4 3/4
ã œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙
[E-GUITAR
STRING] 5
(F) o
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 6
( pp )
(AST)
AST [fast, airy bow, always delicate II
O. O
and legatissimo] ( )
ã ‰ +œ nœ
3
1
=
&
jœ . # œO œO œO .. œ œ jœ + + œO
+ œo
Mute VIOLIN
" ! " o o "
AST [fast, airy bow, always delicate III
and legatissimo]
( )
3 3
& #
‰ # œ.
œO œO b œO rO O r œO r œO œO
( )
œ.
3 3
ã œ jœ jjœO jœ œ œœ jœ œ .
3
= œ jœO O +
jœ
2
+œ.
Mute VIOLIN
o " ! " ! o o " ! " ! "
[E-GUITAR top top
STRING] 3/4 3/4
ã ˙ ˙ œ œ ˙ ˙
Vln. II
3 &
(F) o
top
3/4 3/4
[E-GUITAR
4 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 5
( pp )
œ dœ l œ O. l Oœ lœO n O O. œ œ +œ l O l Oœ Oœ l Oœ .. O œO
œ
(I)
d œ n # œO .. œO œO œO ‰ .
[fast, airy bow, always] I
B #œ ‰ #
3
jœ .
3
+ œ = œO œO
[Mute]
œ
1
o " ! " ! " o o "3 ! " ! o o "
Oœ Oœ # Oœ .. Oœ œ jœ
Vla. I AST [fast, airy bow, always delicate
+œ œ Oœ Oœ œ . œO
œ œO Oœ œO #œ
and legatissimo]
# . Oœ ‰ . ‰ œ œ
3 3
ã jœ œ + œ .
[Mute]
B
2
= œ rœ œ. +œ
!
VIOLA
" ! "
" ! "3 ! "
o ! " 3 o o
3
jO O l Oœ l œO .. nO
poco SP
= Oœ Oœ + O
( )
(AST)
‰. O jœ +œ + œ = Oœ .. O.
[fast, airy bow, always]
B + œ œO œO œ . ‰ # œO
3 IV III
jœ œO œ .
3
œ . +œ œ
[Mute]
œ œ +œ œO # œO œ.
1
Vla. II
o o " o o ! " ! 3
"
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 2
( pp )
I (AST)
Oœ # Oœ œ jœ rœ ‰
[fast, airy bow, always]
? Oœ œ j œ ( )
‰ œ Oœ .. rO O œ
( )
œ ‰. œO .. .
( )
( ) ( )
rO
[Mute] II 3 3
jjœO l œO .. O O
& œ
+œ lO O
1
( pp ) o o 3
" ! o o "
Oœ .. Oœ Oœ œO œO jœ‰
( )
œ
[fast, airy bow, always]
? ( )
II I
œ.
(II)
Œ O r œO ‰ ‰
II 3
œ +œ . rO . O. œ
( )
œ #O
œO #œ
[Mute]
&
œ +œ
+œ.
2
œ rœ
Cellos
! " o o " ! " ! o
3
III 3
[white noise:
t
bow on the bridge]
O O O O O O O O O
3
"F"
t
O O O O O O O O O
Db
("F ")
77
dead wasps in the jam-jar (ii)
186 3/4
top
3/4
top
[E-GUITAR
STRING]
1 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
top top top
3/4 3/4
[E-GUITAR
STRING]
2 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
top top
3/4 3/4 3/4
[E-GUITAR
STRING]
3 ã ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙ œ œ
Vln. I
(F)
top top top
3/4 3/4 3/4
[E-GUITAR
STRING]
4 ã ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙ œ œ
(F)
5 ã
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 6
( pp )
[fast, airy bow, always]
b Oœ b Oœ
poco SP
l O lO r O . b n Oœ œO œO + O . O œO .. # Oœ b Oœ .. O l O l œO l Oœ l Oœ r O . b n Oœ œO œO + O . O œO .. # Oœ b Oœ .. O l O l œO l Oœ l Oœ
(II)
& O l O l œO œ œ ‰ O ‰ O
(SP) (SP)
[Mute]
1
( pp ) 3 " 3 " 3
[fast, airy bow, always] (AST) poco SP
(III) (SP)
3 3
œO # œO # œO œO ‰ b œO œO + O jO . r O O r œO r œO œO ‰ b œO œO + O jO .
3 3
& œO O . œO # œO jœO jœO n O œO b œO œO œO O . œO # œO œO # œO # œO jœO jœO
3 3
œ. nO
[Mute]
2
( pp ) "
[fast, airy bow, always delicate
O r œO r Oœ .. O O r œO r Oœ .. O
poco SP
O. O O O œO O. O O O œO O.
and legatissimo] (SP) (SP)
O rO O Oœ Oœ rO O Oœ Oœ rO
(II)
[Mute] II ( ) (II)
( )
& ‰ ‰. ‰.
Vln. II
3
" " "
top
[E-GUITAR
4 ã ˙ ˙ ˙
(F)
STRING]
ã ( ˙)
( ) ( ) ( ) ( ) ( )
S 5
( pp ) o
[fast, airy bow, always]
O. l O l Oœ Oœ l Oœ .. O œO O.
poco SP (SP)
(AST)
r O O r Oœ Oœ Oœ O œO œO Oœ r O O r Oœ Oœ Oœ O œO œO Oœ
(I)
O O # Oœ .. jO . O O # Oœ .. jO .
(I)
# # l O l Oœ
(SP)
B # #
(I)
& B &
[Mute]
1
( pp ) " "
jœO .. j Oœ Oœ
[fast, airy bow, always] poco SP
Oœ œO Oœ Oœ .. # Oœ (O) Oœ œO Oœ Oœ .. # Oœ O
Oœ Oœ .. œO œO œ
Vla. I
O lO O
(AST)
# Oœ
( )
O O # œO œO #O O O # œO œO #O O
(SP)
‰ # O œ œ
I
B ‰
(I)
[Mute]
2 &
( pp ) " 3 3 3 3
" 3
O jœO œO jOœ j Oœ O . Oœ Oœ œO O. Oœ Oœ œO O. Oœ Oœ œO
(SP)
O. Oœ .. O w Oœ j O . Oœ .. jO . jœO œO jOœ Oœ Oœ ..
+ O O w Oœ + O O w Oœ
(SP)
[fast, airy bow, always] (III)
j(III) +O
[Mute]
1 B ‰ #
Vla. II
( pp ) " "
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 2
( pp )
[fast, airy bow, always]
poco SP
& O r œO œO r œO .. œO ‰ . Œ
[Mute]
1 remove the mute
( pp )
[white noise:
bow on the bridge]
‰.
( )
&
O O O O O O O O O
Cellos 2 remove the mute
o F"
"
t
O O O O O O O O O
3
("F ")
t
O O O O O O O O O
Db
("F ")
78
dead wasps in the jam-jar (ii)
M
195 3/4
top
3/4
top
3/4
[E-GUITAR 1 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
top top
3/4 3/4
[E-GUITAR 2 ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
(F)
STRING]
top
[E-GUITAR 3
ã ˙ œ œ ˙
(F)
STRING]
o
Vln. I
top top top
3/4 3/4 3/4
[E-GUITAR 4
STRING] ã ˙ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙
( ) ( )
ã
using the tupperware as a pen,
5 TUPPERWARE write your name very slowly
ON PLEXIGLASS ccc
and with almost not pressure
o pp / p
on the plexiglass
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 6
( pp )
[fast, airy bow, always]
rO. b Oœ b Oœ b Oœ
b n Oœ œO œO + O . # Oœ b Oœ .. O l O l œO l Oœ l Oœ r O . b n Oœ œO œO + O . # Oœ b Oœ .. O l O l œO l Oœ l Oœ r O . b n Oœ œO
(II)
O œO .. O œO ..
(SP) (SP)
‰ O ‰ O
(II) (II)
&
[Mute]
1
( pp ) " 3 " 3
[fast, airy bow, always]
(III) (SP)
3 3 (III) 3 3
rO O r œO r œO œO œO # œO # œO œO ‰ b œO œO + O jO . r O O r œO r œO
3 3
& œO b œO œO O . œO # œO jœO jœO n O œO b œO œO œO O . œO # œO œO # œO # œO
3
[Mute]
2 œ. œ.
( pp ) "
O r œO r Oœ .. O O O O r œO r Oœ .. O O O O r œO r Oœ .. O
[fast, airy bow, always]
O œO O. O œO O.
(SP) (SP)
O Oœ Oœ rO O Oœ Oœ rO
(II)
( ) (II) ( ) (II)
‰. ‰.
[Mute]
&
Vln. II
3
( pp ) " "
4 ã
( ) ( )
ã
using the tupperware as a pen,
5 TUPPERWARE write your name very slowly
ON PLEXIGLASS ccc
and with almost not pressure
o pp / p
on the plexiglass
Oœ Oœ
[fast, airy bow, always]
O lO . O œO r O O r Oœ O O # Oœ .. Oœ Oœ O œO œO jO . Oœ l Oœ .. r O O r Oœ O O # Oœ .. Oœ Oœ O œO œO
O. # # l O l Oœ O œO O.
(I) (SP)
& œ œ.
(I)
[Mute]
1
( pp ) "
Oœ .. # Oœ (O) Oœ Oœ .. # Oœ Oœ Oœ .. # Oœ ( O) Oœ Oœ .. # Oœ
[fast, airy bow, always]
Oœ œO Oœ œO Oœ œO
Vla. I
#O O O #O O #O O O #O
(SP) ( ) (SP) (SP) ( ) (SP)
‰ # O œ œ ‰ # O œ œ ‰ # O œ œ ‰ # O œ
(I) (I) (I) (I)
&
[Mute]
2
( pp ) 3
" 3 3
" 3 3
" 3 3
"
jO . jO . jœO œO jOœ Oœ O . Oœ Oœ œO Oœ .. O w Oœ j O . jO . jœO œO jOœ Oœ O. Oœ Oœ œO Oœ .. jO . jO . jœO œO jOœ Oœ O . Oœ
+ O O w Oœ
(SP) (SP) (SP)
[fast, airy bow, always]
+O
(III) (III) (III)
[Mute]
1 B # # #
Vla. II
" " "
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 2
( pp )
1 &
Cellos 2 & O O O O O O O O O
("F ")
t
O O O O O O O O O
3
("F ")
t
O O O O O O O O O
Db
("F ")
79
dead wasps in the jam-jar (ii)
204 top 3
4
put down the bow and prepare the
ã ˙ ˙ œ ‰ Œ
2 thimbles on the right hand's fingers
[E-GUITAR 1 &
(F)
STRING]
o
3/4
ã œ Œ &
[E-GUITAR put down the bow and prepare the
2 2 thimbles on the right hand's fingers
STRING]
3 ã put down the bow and prepare the
2 thimbles on the right hand's fingers &
Vln. I top
3/4 3/4
ã œ œ ˙ œ œ ˙ ˙ ˙ &
[E-GUITAR
put down the bow and prepare the
4 2 thimbles on the right hand's fingers
STRING]
(F) o
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[TUPP. ON 5
ã
( pp/p)
PLEXIGL.] ccccccccccccccccc
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 6
( pp )
[fast, airy bow, always]
œO + O . O œO .. # Oœ b Oœ .. O l O l œO l Oœ l Oœ r O . b n Oœ œO b Oœ œO + O . O œO .. # Oœ b Oœ .. O l O l œO l Oœ l Oœ r O . b n Oœ œO b Oœ œO + O . O
(II) (SP) (SP) (SP)
‰ O ‰ O ‰
(II) (II) (II)
&
[Mute]
1
" 3 " 3 "
[fast, airy bow, always]
(SP) (SP)
(III) 3 3 (III) 3 3
& œO ‰ b œO œO + O jO . rO O r œO r œO œO œO # œO # œO œO ‰ b œO œO + O jO .
r O O r œO r œO
3
jœO jœO n O œO b œO œO O . œO # œO jœO jœO n O œO b œO
3 3
œ. œ.
[Mute]
2
" "
O O O r œO r Oœ .. O O O O r œO r Oœ .. O O O
[fast, airy bow, always]
O œO O. O œO O.
(SP) (SP)
O
( )
Oœ Oœ rO O
( )
Oœ Oœ rO O
( )
(II) (II)
‰. ‰.
[Mute]
&
Vln. II
3
( pp ) " "
4 ã
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
5 ã
( pp/p)
ccccccccccccccccc
3
r O O r Oœ Oœ Oœ O œO œO Oœ r O O r Oœ Oœ
jO . # # l O l Oœ Oœ l Oœ .. O œO O. O O # Oœ .. jO . # # l O l Oœ Oœ l Oœ .. O œO O. O O # Oœ .. 4
[fast, airy bow, always] (SP) (SP)
(I) (I)
&
[Mute]
1
" "
œO Oœ .. # Oœ (O) Oœ Oœ .. # Oœ Oœ œO œO Oœ .. # Oœ (O) Oœ Oœ .. # Oœ
[fast, airy bow, always]
O Oœ œO Oœ œO
Vla. I
œO O œ O
# O # œO œO #O O # O # œO œO
(SP) ( ) (SP) (SP)
œ ‰ ‰ # O œ œ ‰
(I) (I) (I)
&
[Mute]
2
( pp ) 3 3
" 3 3
" 3 3
" 3
Oœ œO O. Oœ Oœ œO Oœ O . Oœ Oœ œO
[fast, airy bow, always]
Oœ .. jœO œO jOœ Oœ Oœ .. jœO œO jOœ Oœ ..
O w Oœ j O . O. + O O w Oœ jO . O. O w Oœ j O .
(SP) (SP)
+O j(III) j(III) +O
B # # #
[Mute]
1
Vla. II
( pp ) " "
ã ( ˙)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
S 2
( pp )
( )
( ) ( ) ( ) ( ) ( ) ( ) ( )
&
using the tupperware as a pen,
1 TUPPERWARE write your name very slowly
ON PLEXIGLASS cccccccccccccc
and with almost not pressure
pp / p
on the plexiglass
Cellos 2 & O O O O O O O O
("F ") o
t
O O O O O O O O O
3
("F ")
t
O O O O O O O O O
Db
("F ")
80
dead wasps in the jam-jar (ii)
O = 60
N = 44 219 SINE WAVES
3 2 3 2 poco SP 3 ( )
4 4 8 4 Y 4 Y Y
213 ±± Y
±± Y
±± Y
2 fingers
(thimbles)
‰.
I
& Œ
II
1
=
&
p o
poco SP ( ) ( )
Y Y
±± Y
±± ±±
Y
2 fingers
(thimbles)
I
& Œ
II
2
=
&
p o
poco SP
Y
±±
Y
2 fingers
(thimbles)
I
&
II
3
=
&
p
Vln. I poco SP ( )
Y Y
±± Y
±± Y
2 fingers
(thimbles)
I
& Ó
II
4
=
&
p
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[TUPP. ON
5 ã ccccccccccccccccc
( pp/p)
PLEXIGL.]
fi [damp completely the resonance!]
ã ( œ)‰ .. Ó put down the bow and prepare the
S 6
( pp )
2 thimbles on the right hand's fingers
top
O :
& œ ‰ .. Ó ã œ œ ã
[Mute] put down the bow and prepare the E-GUITAR
1
2 thimbles on the right hand's fingers
( pp ) p
STRING
remove the mute
o
: 3/4
& œO ‰ .. Ó œ œ. #
[Mute]
ã ã
( pp )
2 E-GUITAR
remove the mute
p
STRING
o
top
O :
& ‰ .. Ó œ œ. #
[Mute]
ã ã
Vln. II put down the bow and prepare the
( pp )
E-GUITAR
3
2 thimbles on the right hand's fingers
p
STRING
remove the mute
o
: 3/4
4 ã E-GUITAR
ã œ œ
p
STRING
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[TUPP. ON
5 ã ccccccccccccccccc
( pp/p)
PLEXIGL.]
3 2 3 2 poco SP 3
4 4 8 4
4 # Y.
±± .. Y.
Y
±± Y
2 fingers
Oœ
(thimbles)
& ‰ .. . #
I
Ó & ‰ Œ Ó
II
=
[Mute]
p
put down the bow and prepare the
p
1
( pp )
2 thimbles on the right hand's fingers
remove the mute
poco SP
# Y Y
±± ±±
Vla. I
Y Y
2 fingers
O
(thimbles)
& ‰ .. # # Œ
I
Ó ‰ Ó
II
=
[Mute]
&
p
put down the bow and prepare the
p
2
( pp )
2 thimbles on the right hand's fingers
remove the mute
1 B remove the mute
Vla. II
fi [damp completely the resonance!]
ã ( œ)‰ .. Ó
S 2
( pp )
? ‰ Œ
[pizz.]
1 & CELLO
= œ
+
"
[white noise:
& Œ
bow on the bridge]
Cellos 2 ã O-
P o
t ‰ .. Ó t ‰ Œ
IV AST
3
O = œ
- o
!
t ‰ .. Ó ‰.
t
V PO SP
Db
O = œ œ
! o
81
dead wasps in the jam-jar (ii)
SINE WAVES
2 5 3
poco SP 2 5 3poco SP
4 8 8 Y. 4
8 8 Y
I ±. ±±
Y.
Y
±±
Y Y
221 2 fingers
±.
2 fingers
(thimbles) (thimbles)
‰. ‰.
I
& Œ ‰ ‰
II II
1
=
&
p p =
&
p
poco SP poco SP poco SP
Y. Y. Y
±± .. Y. ±± .. Y. ±± Y
2 fingers 2 fingers 2 fingers
(thimbles) (thimbles) (thimbles)
# Œ
I I I
& & ‰ ‰
II II II
2
=
&
p = p =
&
p
poco SP poco SP T
Y Y Y
±± Y
±± Y
±± Y
2 fingers 2 fingers
(thimbles) (thimbles)
‰. #
I
‰
I
&
II II
3
=
&
p =
&
p o
ã
poco SP
Vln. I
‰ Y
±± Y
2 fingers
(thimbles)
I
& ‰ ‰
II
4
=
&
p
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[TUPP. ON 5 ã ccccccccccccccccc
( pp/p)
PLEXIGL.]
6 ã
top top top top
:
ã E-GUITAR
ã œ œ. # œ œ. #œ œ ‰ ‰. œ œ œ Œ
1
p
STRING
p o p o p o o
3/4 3/4
: 3/4 3/4
2 ã E-GUITAR
ã œ œ. # œ œ. #œ œ ‰ ‰. œ œ œ
p
STRING
p o p o p o o
top top top top
:
ã E-GUITAR
ã œ œ. # œ œ. #œ œ ‰ ‰. œ œ œ ‰ Œ
Vln. II 3
p
STRING
p o p o p o o
3/4 3/4
: 3/4 3/4
ã E-GUITAR
ã œ œ. # œ œ. #œ œ ‰ ‰. œ œ œ Œ
4
p
STRING
p o p o p o o
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[TUPP. ON 5 ã ccccccccccccccccc
( pp/p)
PLEXIGL.]
2 5 3 2 poco SP T 5 3
4 8 8 4 Y Y 8 8
±± Y
±± Y
2 fingers
(thimbles)
‰
I
&
II
1
=
&
p o
poco SP
‰ Y
±±
Vla. I
Y
2 fingers
(thimbles)
I
& & ‰ Œ
II
2
= p
1 B
Vla. II
2 ã
? ‰.
‰ Œ ‰ Œ ‰.
? ?
[pizz.] [pizz.]
= =
+œ +œ +œ +œ œ
1
" " " "
‰.
[white noise:
ã Œ Œ Œ #
bow on the bridge]
ã
O- O- O- O O- O .
Cellos 2
P o P o P o P o
t t ‰ Œ ‰ Œ t ‰. ‰.
IV AST
= =
œ- œ- œ- œ- œ
3
! o ! o ! o ! o
t
‰. ‰ . ‰. ‰.
t
V PO PO SP SP
=
œ œ œ œ œ œ. œ œ
Db
! o ! o ! o ! o
82
dead wasps in the jam-jar (ii)
232 SINE WAVES
( )
229 poco SP
poco SP
5 ( ) ( ) ( ) ( ) 2
Y. 8 Y Y. Y Y. 4 Y.
±± ..
2 fingers
Y. Y. Y. Y.
Y
±± Y
±± . ±± Y
±± . ±± Y
±± .
2 fingers (thimbles)
. . .
(thimbles)
& ‰. ! Œ
I I
‰
II II
1
p =
&
p o
poco SP poco SP ( ) ( ) ( ) ( )
Y Y. Y Y. Y Y. Y
±± ±±
2 fingers
Y. Y. Y.
Y
±± . ±± Y
±± . ±± Y
±± . Y
2 fingers (thimbles)
. . .
(thimbles)
I I
& ‰ ‰ ‰ Œ
II II
2
p =
&
p o
œ. œ. œ.
[with the finger]
œ œ ˙ ˙ ˙
âââ
3 ã Wã
P
Vln. I poco SP poco SP T
Y.
Y
Y. ±± Y
Y
±±
Y
±± .
2 fingers 2 fingers
.
(thimbles) (thimbles)
‰. ‰ Œ.
I I
& ! Œ
II II
4
p =
&
p o
( ) ( ) ( )
ã
prepare the 2 thimbles on
[TUPP. ON the right hand's fingers to be
5 cccccc
( pp/p)
PLEXIGL.] used later on the violin
poco SP
Y
±± Y
2 fingers
(thimbles)
I
& ‰ ‰
ã
II
6
= p
poco SP
( ) ( )
poco SP T
Y. Y Y Y. Y.
±± . Y.
±± Y ±± Y
±± . Y. ±± .. Y.
2 fingers
. .
(thimbles)
‰ Œ. ! Œ
I
ã
II
=
&
p
p
1
o o
VIOLIN
œ. œ. œ.
[with the finger]
œ œ ˙ ˙ ˙
âââ
2 ã Wã
P poco SP T
Y. Y.
Y. Y.
±± . ±± .
2 fingers
. .
(thimbles)
‰. ! Œ.
I
ã
II
=
&
p
Vln. II 3
o
VIOLIN
: 3/4
ã E-GUITAR
ã œ œ œ ‰. Œ.
4
o
STRING
p
( ) ( )
œ. œ. œ.
[with the finger]
œ œ ˙ ˙ ˙
âââ
[TUPP. ON 5 ã cccc Wã
( pp/p) P
PLEXIGL.]
o
5 2
poco SP
poco SP ( ) ( )
8 Y Y.
4
Y.
Y Y Y
±± Y
±± Y
±± . ±±
Y
±±
Y
2 fingers 2 fingers
.
(thimbles) (thimbles)
& ‰. ‰ =
& ‰. Œ. ‰. Œ
p p p
1
poco SP
Vla. I
Y.
Y.
±± .
2 fingers
.
(thimbles)
! Œ.
I
&
II
2
=
&
p
[with metal brush]
[slowly scratch the polystyrene with the metal brush.
B . . .
The sonic result should be very crispy and granulated]
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
1 POLYSTYRENE ã
"
Vla. II [with metal brush]
[slowly scratch the polystyrene with the metal brush.
. . .
The sonic result should be very crispy and granulated]
ã
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
2 POLYSTYRENE ã
"
? ? ‰ ‰
[pizz.]
1
= œ
+
#
[white noise:
ã ‰
bow on the bridge]
ã
O-
Cellos 2
P o
t t ‰ ‰
IV AST
3
= œ
-
" o
t
!
t
V PO SP
Db
= œ œ
" o
83
dead wasps in the jam-jar (ii)
239 SINE WAVES
3 poco SP 5 3 2 2 poco SP
3
8 Y 8 8 8 4 Y 8
238
±± Y
±± Y
2 fingers 2 fingers
(thimbles) (thimbles)
I I
& ‰ ‰ Œ
II II
1
=
&
p =
&
p
poco SP poco SP
Y Y
±± Y
±± Y
2 fingers 2 fingers
(thimbles) (thimbles)
I I
& ‰ ‰ ‰ Œ
II II
2
=
&
p =
&
p
œ. Œ.
(â ââ)
W 3 ã ˙ œ
(P) o
poco SP T poco SP T
Vln. I
Y. Y Y Y
±± . Y. ±± Y
±± Y
±± Y
2 fingers 2 fingers
.
(thimbles) (thimbles)
‰. Œ.
I I
& ‰ ‰
II II
4
=
&
p o =
&
p o
top top top top
:
ã
E-GUITAR
ã œ œ. # œ œ. # ‰ œ œ. # Œ œ œ. #
5 STRING
poco SP
p o p o p o poco SP
p o
Y Y.
±± Y ±± ±± Y .
2 fingers 2 fingers
(thimbles) (thimbles)
‰.
I I
ã ‰ ‰ ‰
II II
6
=
&
p =
&
p
poco SP T poco SP T
Y. Y Y Y
Y.
±± . ±± Y
±± Y
±± Y
2 fingers 2 fingers
.
(thimbles) (thimbles)
Œ.
I
ã ‰ ‰
II
1
=
&
p o =
&
p o
( ) ( ) ( )
œ.
(â ââ)
ã ˙ œ œ ‰
using the tupperware as a pen,
W 2 TUPPERWARE write your name very slowly
cccccc
and with almost not pressure
(P)
ON PLEXIGLASS
o pp / p
on the plexiglass
poco SP T poco SP
Y. Y. Y
Y. Y.
±± . ±± . ±± Y
2 fingers 2 fingers
. .
(thimbles) (thimbles)
‰. # Œ.
I I
ã ‰ ‰
II II
=
& =
&
Vln. II
p p
3
o
3/4 3/4 3/4
: 3/4
ã E-GUITAR
ã œ œ. # œ œ. # ‰ œ œ. # Œ œ œ. #
4
STRING
p o p o p o p o
( ) ( ) ( )
œ. Œ.
(â ââ)
ã ˙ œ
using the tupperware as a pen,
W 5 ã TUPPERWARE write your name very slowly
cccccc
and with almost not pressure
(P)
ON PLEXIGLASS
o pp / p
on the plexiglass
3 5 poco SP
3 2 2 poco SP T 3
8 8 Y.
Y.
8 8 4 Y 8
±± . ±± Y
2 fingers 2 fingers
.
(thimbles) (thimbles)
# Œ.
I
&
II
1
=
&
p =
&
p o
poco SP poco SP
Vla. I Y. Y
Y.
±± . ±± Y
2 fingers 2 fingers
.
(thimbles) (thimbles)
# Œ. Œ
I
&
II
2
=
&
p =
&
p
1 ã
( )
.
( ) ( )
.
( )
.
( ) ( )
‰ .. Œ
[POL]
( ppp)
Vla. II
2 ã
( )
.
( ) ( )
.
( )
.
( ) ( )
‰ .. Œ
[POL]
( ppp)
? ‰ Œ ‰ = œ ‰ Œ
? ? ?
[pizz.] [pizz.] [pizz.]
= =
+œ +œ +œ
1
+
" " " !
[white noise: [white noise:
Œ ‰ ‰ Œ
( )
ã
bow on the bridge] bow on the bridge]
ã ã
O- O- O O- O
p-
Cellos 2
P o P o P o o
t t ‰ Œ t ‰ t ‰ Œ
AST AST AST
= œ
IV
3
= œ- œ- = œ-
! o ! o ! o -
! o
t
‰. ‰. # ‰ Œ # ‰
t
V PO PO PO SP
=
œ œ œ œ. œ œ œ œ
Db
! o ! o ! o Ø o
84
dead wasps in the jam-jar (ii)
SINE WAVES 247
3 2 5 2
poco
SP T poco SP
8 4 Y Y 8 Y 4
246
±± Y
±± Y
±± Y
2 fingers 2 fingers
(thimbles) (thimbles)
Œ.
I I
& ‰
II II
1
=
&
p o =
&
p
poco SP poco SP
Y Y
±± Y
±± Y
2 fingers 2 fingers
(thimbles) (thimbles)
Œ.
I I
& ‰ Œ ‰
II II
2
=
&
p =
&
p
[with the finger]
˙ ˙ ˙ ˙ ˙ œ œ Œ
âââ
ã W
3
P poco SP
( )
T
o
Vln. I
Y Y
±± Y
±± Y
2 fingers
(thimbles)
I
& ‰
II
4
=
&
P p o
( )
poco SP
Y
±± Y
2 fingers
(thimbles)
Œ
I
ã
II
5
=
&
p
[with the finger]
˙ ˙ ˙ ˙ ˙ œ œ œ
âââ
ã Wã
6
P o
top
:
1 ã E-GUITAR
ã œ œ
p
STRING
o
[TUPPERWARE
ON PLEXIGLASS]
( ) ( ) ( ) ( ) ( ) ( ) ( )
2 ã
( pp/p)
ccccccccccccccccc
3/4
:
Vln. II
ã E-GUITAR
ã œ œ. #
3
p
STRING
[with the finger]
˙ ˙ ˙ ˙ ˙
âââ
4 ã Wã
P o
[TUPPERWARE
ON PLEXIGLASS]
( ) ( ) ( ) ( ) ( ) ( ) ( )
5 ã
( pp/p)
ccccccccccccccccc
3 2 poco SP T 5 poco SP
2
8 4 Y 8 Y.
Y.
4
±± Y
±± .
2 fingers 2 fingers
.
(thimbles) (thimbles)
& # Œ.
1
=
&
p o =
&
p
poco SP poco SP
Vla. I Y Y.
Y.
±± Y
±± .
2 fingers 2 fingers
.
(thimbles) (thimbles)
Œ # Œ.
I
&
II
2
=
&
p =
&
p
[with metal brush]
[slowly scratch the polystyrene with the metal brush.
.
The sonic result should be very crispy and granulated]
ã
( ) ( )
1 POLYSTYRENE ã
!
Vla. II [with metal brush]
[slowly scratch the polystyrene with the metal brush.
.
The sonic result should be very crispy and granulated]
ã
( ) ( )
2 POLYSTYRENE ã
!
? ? ‰ Œ
[pizz.]
=
+œ
1
!
beyond [fast, airy bow, always delicate beyond
AST
? # Œ
and legatissimo] bridge
ã
bridge 3
O =œ
ã ã
. +œ +œ œ rœ O.
Cellos 2
P- ! o
t t ‰ Œ
AST
=
œ-
3
! o
t
# ‰
t
PO SP
Db
= œ œ
Ø o
85
dead wasps in the jam-jar (ii)
SINE WAVES
2 3 3 2
253
4 8 16 4
1 &
2 &
3 ã
Vln. I
4 &
5 ã
6 ã
top top top top
:
E-GUITAR
ã œ œ. # œ œ œ # # œ œ. # ã œ œ. #
1
p p o p p
STRING
o o o
[TUPPERWARE
ON PLEXIGLASS]
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
2 ã ccccccccccccccccc
( pp/p)
top top top top
:
E-GUITAR
ã œ œ. # œ œ œ # # œ œ. # ã œ œ. #
Vln. II 3
p p o p p
STRING
o o o
3/4 3/4 3/4 3/4
:
E-GUITAR
ã œ œ œ œ œ # œ œ ã œ œ
4
p p p p
STRING
o o o o
[TUPPERWARE
ON PLEXIGLASS]
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
5 ã ccccccccccccccccc
( pp/p)
2 3 3 2
4 8 16 4
1 &
Vla. I
2 &
. .
( ) ( ) ( ) ( ) ( ) ( ) ( )
ã
[POL] 1
( ppp)
Vla. II
. .
( ) ( ) ( ) ( ) ( ) ( ) ( )
ã
[POL] 2
( ppp)
? ‰ Œ ‰ ‰ ? ‰ Œ ? ‰ Œ
[pizz.] [pizz.] [pizz.]
= = œ
+œ +œ +œ
1
+
" " " "
beyond [fast, airy bow, always delicate beyond
AST
[white noise: bridge and legatissimo] [white noise:
Œ # Œ Œ
bridge
?
ã =
bow on the bridge] bow on the bridge]
ã
O- O- + œ +œ jœ O. O-
Cellos 2
P o P ! o P o
t ‰ Œ ‰ ‰ t ‰ Œ t ‰ Œ
AST AST AST
= œ
IV IV
3
œ- œ- = œ-
! o ! o ! o -
! o
t
‰. # ‰. ‰.
t t
V PO V PO SP PO
= = œ
œ œ œ œ. œ œ œ
Db
! o ! o ! o ! o
86
dead wasps in the jam-jar (ii)
3 poco SP
4 Y
261
±± Y
2 fingers
(thimbles)
I
& ‰ Ó
II
1
=
&
p
poco SP
Y
±± Y
2 fingers
(thimbles)
I
& ‰ Ó
II
2
=
&
p
poco SP T
Y. Y
Y.
±± . ±± Y
2 fingers
.
(thimbles)
ã =
& Œ
p
3
o
poco SP T
Y. Y
Vln. I
±± . Y. ±± Y
2 fingers
.
(thimbles)
‰. Œ
I
&
II
4
=
&
p o
poco SP
Y
±± Y
2 fingers
‰ Œ
(thimbles)
I
ã ‰ ‰
II
5
=
&
p
poco SP
Y.
Y.
Y
±± ±± .
Y
I
2 fingers
. ‰ Œ
II
(thimbles)
ã =
& ‰
p
6
o
poco SP T
Y. Y.
I
Y. Y.
±± . ±± .
II
top 2 fingers
. .
(thimbles)
:
ã œ œ. # ‰. # ‰
=
&
p
E-GUITAR
1
o
VIOLIN
p
STRING
o
[TUPPERWARE
ON PLEXIGLASS]
( ) ( ) ( ) ( ) ( )
2 ã ccccccccccc
( pp/p) poco SP T
Y. Y.
I
Y. Y.
±± . ±± .
II
top 2 fingers
. .
(thimbles)
:
œ. ‰. # ‰
E-GUITAR
㠜 #
STRING
Vln. II 3
VIOLIN
=
&
p o
p o
3/4
:
E-GUITAR
4 ã œ œ
p
STRING
o
[TUPPERWARE
ON PLEXIGLASS]
( ) ( ) ( ) ( ) ( )
5 ã ccccccccccc
( pp/p)
3 poco SP T
4 Y
±± Y
2 fingers
(thimbles)
& =
& Œ
p
1
o
poco SP
Vla. I Y
±± Y
2 fingers
(thimbles)
I
& Ó
II
2
=
&
p o
.
( ) ( ) ( ) ( ) ( )
[POL] 1 ã
Vla. II
( ppp)
.
( ) ( ) ( ) ( ) ( )
[POL] 2 ã
( ppp)
[white noise:
?
bow on the bridge]
‰ Œ
[pizz.]
( ) ( ) ( )
ã
+œ O O O
1
" o " o
[white noise:
bow on the bridge]
‰.
[white noise:
Π#
( )
ã O
bow on the bridge]
ã
- O O O.
Cellos 2
P o " o
tIV ‰
[white noise:
Œ # ‰.
AST
bow on the bridge] ( )
ã
œ- O. O O
3
! o o " o
t
[white noise:
‰. #
V PO bow on the bridge] ( ) ( )
ã
O. O O
Berlin, Darmstadt, Cambridge
œ œ
Db
April - September 2016
! o o " o
87
Clara Iannotta
dead wasps in the jam-jar (iii)
for string quartet, objects, and sine waves
(2017)
88
Commissioned by the Festival d’Automne à Paris, with the support of the Ernst von Siemens Foundation
and the Proquartet Association.
World première: The Arditti Quartet, 9 October 2017, Théâtre des Bouffes du Nord, Paris, France
89
I would like to thank:
Joséphine Markovits, for her constant support and trust throughout these years.
The Arditti Quartet, for their patience and curiosity in exploring my sound world.
Jan Bernstein, for making the buzzing-bow machines.
Chris Swithinbank, for being always present.
90
Instrumentation
Violin 1
ordinary (rubber) mute
metal mute
wooden mute
preparation with 4 circular paperclips
“jay” birdcall
2 motorised buzzing-bows
small plastic tupperware on rigid A4 plexiglass sheet
Violin 2
metal mute
wooden mute
preparation with 5 circular paperclips
“jay” birdcall
1 motorised buzzing-bows
small plastic tupperware on rigid A4 plexiglass sheet
Viola
wooden mute
preparation with 5 circular paperclips
“jay” birdcall
low electric guitar string
small plastic tupperware on rigid A4 plexiglass sheet
Cello (IV string detuned one octave lower)
ordinary (rubber) mute
wooden mute
2 bows
large crystal wine glass with water (on a small, low table)
preparation with 2 circular paperclips
“jay” birdcall
laptop
91
Performance notes
- Accidentals apply only to those notes before which they are placed, with the exception of repeated notes.
- Phrases should aways be played legatissimo, unless marked otherwise
“Jay” Birdcall (violins 1-2, viola, cello)
The birdcall is played by blowing into the mouthpiece. The sonic result is like loud white noise.
The “jay” birdcall can be purchased here: http://www.qbc.fr/index.php?
cPath=23_21&osCsid=4cb45019efa6d2cff5c3cf7396045f26
Electric guitar string (viola)
The electric guitar string should be pulled using a foot to hold one end against the floor and the left hand
to hold the other. The sound produced is an airy thrumming.
It may be best to attach the guitar string to small pieces of wood at either end in order to make pulling it
tight more comfortable for the player.
Tupperware on plexiglass (violins 1-2, viola)
• small, hard, plastic tupperware — the best option would be to use the transparent lid of the plastic case
of the iPhone 5 or 6 earplugs.
• plexiglass sheet — A4 size with a thickness of 5mm.
The plexiglass should be placed on the ground, close to the musicians’s foot of choice. The small
tupperware should be attached to the sole of the performer’s foot using velcro, and positioned over the
plexiglass sheet. Very gently, with almost no pressure of the foot, slide the tupperware on the plexiglass
sheet. The aim is to allow the sound to “speak” before closing the gesture. The exact timing of this action
doesn’t need to be precise.
Buzzing bows
The buzzing bows are motorised. They require 220V power sockets and will be activated through a hand
switch. They will be positioned around 1.5m in front of the musicians, facing the audience.
The buzzing bows have been built by Jan Bernstein and are the property of the composer. Please get in
touch with her in order to discuss their use.
They can also be substituted by three live performers with non-motorised buzzing bows.
Preparation
Strings are prepared with up to 5 circular, metal paperclips, that should be
positioned close to the fingerboard (AST) or to the bridge (MSP), or both, as
shown in the picture.
92
Lefthand pressure:
= ordinary pressure
= half pressure
= lightly touching, as you would when playing harmonics
Righthand (bow) pressure:
Bow position and techniques:
AST = alto sul tasto
T = al tasto
PO = posizione ordinaria
SP = sul ponticello
MSP = molto sul ponticello
NV = non vibrato
V = vibrato
MV = molto vibrato
c.l.t. = col legno tratto
Radio Sev. Effect
The bow should pass between the thumb (AST, marked ‘fg. 1’ in the score) and two fingers (MSP, marked
‘fg. 2’ in the score). Variously lift either the thumb (AST) or the two fingers (MSP), while varying the
pressure of the bow continuously. The result should sound like radio static moving between frequencies.
Laptop performer/Cello
The laptop performer (cello) should have a laptop running a patch for Cycling 74’s Max software that
produces sine waves (provided by the composer). Although a Macbook Pro’s internal speakers are
powerful enough to allow the electronic sounds to blend with the string quartet, if possible, it is
recommended to connect the laptop to a stereo pair of loudspeakers.
Instructions on how to download and use the patch will be found in the package provided by the
composer/publisher alongside the parts for the musicians, and explanatory audio files and videos.
93
[email protected]
www.claraiannotta.com
Music publisher: Edition Peters
www.edition-peters.de
Duration: ~12’
94
à Joséphine Markovits
95
dead wasps in the jam-jar (iii)
for string quartet, objects, and sinewaves
Clara Iannotta
(2017)
= 60
Preparation
O ≥
AST
e 24 ≥ ≥
I II III IV
( ) ( )
≤ ( )
[l.h. — harmonic pressure]
±± ≤ ±± ±± ≤
(MSP) TT
( )
:I
≤
[almost no bow pressure]
( )
O
(bow)
onic 3 ( )
+O ++ OO .. ++ OO + OO .
(AST) TT th harm ( )
gliss. wi
pressure
& +O + .
I T
Metal Mute
Vlno. 1
II To always legatissimo ! π
3
O
AST
Preparation
≤ ≤ ≤
[l.h. — harmonic pressure]
e
I II III IV
≤ ±
[almost no bow pressure]
O
≥ ≥ ≥
(MSP) TT 3
±T ±. ±
± ..
:I ( )
± ±. ±
(bow)
( )
( )
( ) ( )
gliss. with
(AST) TTT harmonic
O +O +O
I pressure
++ O + O + O
II
& T
Metal Mute
Vlno. 2
o always legatissimo ! π
3
AST
O
Preparation
e
I II III IV
[l.h. — harmonic pressure]
≤ ≤ ≤
[almost no bow pressure] ( ) ( )
O
(MSP) TT
II ± ± ≥ ±
:I
≥ ≥
(bow)
III ± ± . ±
( ) ( )
( )
T ( ) ( ) ( ) ( )
gliss. with
(AST) TTT harmonic
+ + OO + OO + + OO
pressure
B .
Wooden Mute
+
Vla. T
Preparation
o always legatissimo ! π
e
I II III IV
(MSP)
(bow)
:I
?
(AST) T NB: the IV string is tuned one octave lower.
Vlc.
≥ ≥
( ) ≥ ( ) ≥
(AST)
± ±± ≤ ±± ±± . ≤
( )
( )
( ) ( ) ( ) ( )
7 ≤ ≤3
( )
± O
3
.
(I) (T)I
O + OO .. O ++ OO
& (T)I
( )
++ O ++ O
[Metal Mute]
Vlno. 1
+
( pp )
(II)
3
3
(AST)
≤ ≤ ≤
( )
≤
( )
±. ≥ ≥
( )
≥
( ) ( )
≥
( )
± . ± ( ) ( )
±
O ±. ± ( )
± ±
3
O )I
+T
++ OO . ++ OO O
++ O
(I) (
&+O
( )
[Metal Mute]
Vlno. 2
( pp )
(
(II)
T)I
3
≤ ( ) ≤
( )
≤
±
(AST)
T.)I O ±± ≥ ±± ≥ ± ..
( )
≥
( )
( )
( ) ( )
B (T.)I ++ OO + OO ++ OO ..
(II) ( ( )
[Wooden Mute]
+
Vla.
( pp )
(III)
Vlc. ?
96
dead wasps in the jam-jar (iii)
≥ ≥ ( ) ≥
( )
≤
(AST)
≤ ( )
±± ±± ≤ ±± .
( ) ( )
( )
( )
13 O . .
( ) ( )
.
3
++ OO . +O . +O
( )
.
(I) (
T)I
& (T)I + O. +O
[Metal Mute]
Vlno. 1
( pp )
(II)
3
≤
( )
≤ ≤
( )
(AST)
≥ ≥
( ) ( )
( ) ( )
± ( )
±. ≥
( )
±
± 3 ±. ±
( ) ( ) ( )
O
++ OO . O O
T
(I) ( )I
. ++ O ++ O
( )
&(II)(T)I
[Metal Mute]
Vlno. 2
( pp ) 3
≤
(AST)
≤ ≤
( ) ( )
( )
( )
≥ ( )
3
( )
O ± ≥
( )
± ( )
± ≥
± ± ±
( )
( )
( ) 3
T)I
+O O ++ OO
(II)(
B ( )I +O ++O
[Wooden Mute]
Vla.
T
( pp )
(III)
3
3
Vlc. ? ã
A [the open string should never be louder than the other string]
≥
[open string]
(AST)
≤ ≤
( ) * [NB: the III string is not prepared. Find a bow position AST
≥ ≥ œ œ
( ) ( ) and speed that allows a very clear, bright sound]
(I)
[almost no bow pressure] 3
19 (I
±T)I ≤ ± ≥ ( ) ( )
± . & ±
± ± ±
( )
b œO œO œO œO œO œO I + T
O
II) (
.
* III
+OO ‰ + OO +O œ œ
( )
& (T)I Œ
[Metal Mute] I
+ ( œ)
( pp )
Vlno. 1
P π
II II T I 3 (II)
[open string]
≤ ≤ ≤3
( )
≤3
( )
≥ ≥ ±.
±. ±± ±
(AST)
≥ ≥
[open string]
( ) ( ) ( )
±. ±. ±
( )
T.)I
(I
+O œ œ œ + OO +O
II) (
& (T.)I œ œ œ œ œ œ œ œ
[Metal Mute]
Vlno. 2
+
( pp ) [open string]
[open string] [open string] 3 3
[the open string should never be louder than the other string]
≥ ≥
(AST) poco SP AST
±
** I
≤ (II) ±
± ..
( )
( )
lO l œO O O # Oœ # œO œO O ≤ ≤
( ) ( )
O II TI ±
( ) (T)I ( ) ( )
B (T)I Bœ . œ IIITI +Oœ +O
T(II) ( )I
œ
[Wooden Mute]
Vla. &
Œ œ +O
( pp )
(III)
P 3
π
[open string]
[open string]
** [NB: the I string is not prepared] [the open string should never be louder than the other string]
W:
ã Œ œ œ œ. ≈
WINE
[with a light bow] l.v.
GLASS
Vlc.
o ∏
19 SINE WAVES
[press the space-bar of the computer
to trigger the sine waves (see key page)]
NB: the numbers below the stave indicate that a change in the sine waves should be triggered by hitting
the laptop's spacebar. The cue numbers match bar numbers, so for example the first cue of the piece is 19,
the second 55, etc.
97
dead wasps in the jam-jar (iii)
≤
( ) ≤ ≤3 [smaller glissando]
( )
I
± ≥
( )
≥
( )
≥ ≥
(AST)
±± ±
3
( )
) [open string] ( )
25 (
T)Iœ.
( )
± ± ±
œ ++ OO ++ OO .. ±
(I
II)(
& œ œ. œ
[Metal Mute]
Vlno. 1
T)I [open string]
( pp )
( 3 3
≤[open string]
≥ œ O
≥
œ œ. œ œ ≤ ≥ ≤
( )
( )
(AST)
≤
3
± ± ±± ±±
( ) ( )
≥
( )
( )
(I ( )
3
( )
+O . +O + œœ œ O
T
II) ( )I
& (T)I +O œ œ +O ++ O
[Metal Mute]
[open string]
Vlno. 2
( pp ) 3
p π 3
[open string]
≥
œ O
≤
[open string]
≥ ≤
(AST)
) ( )
Bœ œ œ. œ œ ≤
( ( )
3
(II) ( )I ±
( )
±
( )
— ≥ ±
T ± ± ± ≥ — ±
( )
( )
B (T)I O ++ OO ≈
+O œ. œ œ ++ O
[Wooden Mute]
Vla.
( pp ) 3
p o
(III)
[open string]
poco SP
II
Mute
Œ Œ = = œO ˙O
3
Vlc.
ã =
&
o
≤ ( ) ≥ ≤ ≤ ≤ ≤
≥ ≥
( ) ( )
≥
(AST) ( )
)
( )
(I) T I ± ± ± . ± ±
( ) ( )
31
± ±± ± ±± . ± ±± ± ±± ±
(
. .
&(II)(T)I
[Metal Mute]
( pp )
Vlno. 1
≥ ≥
±( )
(AST)
±±
( )
T. )I ≤
( )
±
(I (
. ++ OO ‰
II)
& (T)I
[Metal Mute]
Vlno. 2
( pp ) o
B
[Wooden Mute]
Vla.
[bow changes ad libitum, trying
(II) to maintain a continuous sound]
& ˙O ˙O ˙O ˙O ˙O ˙O
[Mute]
Vlc.
98
dead wasps in the jam-jar (iii)
≥
[open string]
≤
≥ ≤ œ œ. ≤ ≥ ≤
( )
≤ ≥
≥
( )
≥
(AST)
37 (I) (T)I
±± = ±± ±± ± . ±±
( )
( )
& ( )
±. . ± ±. ± . ±
±. ± ± ± ±
& (T)I œ . œ œ
[Metal Mute]
Vlno. 1
( pp )
(II)
[open string]
[bow changes ad libitum, trying
(II) to maintain a continuous sound]
& ˙O ˙O ˙O ˙O ˙O ˙O
[Mute]
Vlc.
( ppp)
≤ ≤ ≥ ≤
≥
( )
(AST)
( )
±± ± ± . ±± 3
( ) ( )
43
±± . ±±
(I)
. ± . 8
T
( )I
& (T)I œ Œ
[Metal Mute]
Vlno. 1
( pp ) o
(II)
[open string]
U
[bow changes ad libitum, trying ~ 10"
(II) to maintain a continuous sound]
& ˙O ˙O ˙O ˙O ˙O
[Mute]
Vlc.
( ppp)
B (= 60)
AST
œ œ O [l.h. — harmonic pressure]
( )
>≤ ≥> ≤> ≥> ≤> ≥ >≤ ≥> ≤3
[l.h. — ordinary pressure]
( )
( )
2 > ≤
( )
3 3 3
8 4 I — — —— —. —— 4 — —— — ±± ≥ ±± ( )
≥
( )
II —
48 TI O ( )
— —. — —
++ OO .. +O
( )
& ‰ TI +O
[Metal Mute]
Vlno. 1 &
o P3 π 3
O
AST
[l.h. — harmonic pressure]
≤ ≤ ≤3
( )
≤
[almost no bow pressure]
≥ ≥ ≥ ≥
3
I ± ±. ± ±
( )
( ) ( )
( )
II ± ±. ± ±
T
O ( )
( )
‰ Œ T ++ OO +O
+O
++ O .
O.
++ O
O
( )
&
[Metal Mute]
Vlno. 2
o π
3 3
always legatissimo !
poco SP AST [bow as close to the paperclip as possible]
Œ ‰
# # Oœ ..
I IV
# œO # œO
+ + Oœ .
& . + =œO = œO . (œ) ‰
[Wooden Mute]
BTI
Vla.
œ œ œ œ jœ
K
jœ . +œ
T T W
o p P P π o
[open string]
II
(SP) AST [bow as close to the paperclip as possible]
II
+ +œO ..
always legatissimo !
œO .. œO n OO œ +œ œ ‰ Œ
(II)
& ‰. n œ œ
[Mute]
T.)I œ œ
Vlc. (
K
( ppp) p T W
I
P p o
99
dead wasps in the jam-jar (iii)
≤ ≤
(AST) ( ) ( )
* [NB: the III string is not prepared. Find a bow position
± ±
( )
≥
and speed that allows a very clear, bright sound]
54 ( )
± ±
( ) ( )
b œO œO œO œO Ȯ Ȯ
(AST)
* III
+O
(I
T)I II)(
& (T)I +O Œ
[Metal Mute]
Vlno. 1 ( œ)
( pp ) P π
II
≤ ≤ ≤3 ≤
(AST)
( )
( ) ± ±.
( )
≥ ≥
3
( )
±±
± ..
±± ≥ ±±
[open string]
( ) ( ) ( )
(I
. ±.
+ Oœ œ œ œ œ +O
T
.
II)( )I
[Metal Mute]
& (T)I œ œ œ œ +O
Vlno. 2
( pp ) 3
[open string] [open string] 3
≥
poco SP AST
I
( )
≤ ± ±.
l O l Oœ O O # Oœ # œO œO O ± ≤
( ) ( )
O II TI ±.
(T)I
Bœ. œ IIITI + Oœ
(II)
B Œ œ
[Wooden Mute]
Vla.
=
& œ
o P 3
π
[open string]
[open string] ( pp )
W:
Œ œ ˙ ˙ œ ‰ Œ
WINE
&
[Mute] [with a light bow] l.v.
ã
GLASS
Vlc.
o ∏
55 SINE WAVES
[press the space-bar of the computer
to trigger the sine waves (see key page)]
C = 72
1 2 3
Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~
SP
60
Ȯ Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ )
(III)
&
[Metal Mute]
( pp ) P π P π P
Vlno. 1
O œ O O œ O O œ
(AST)
( )
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
±TI ± — — ± ± — — ± ± —
± ± — — ± ± — — ± ± —
( )
(I
II)
&T
[Metal Mute]
( )I
( pp ) P π P π P
Vlno. 2
(AST) AST [bow as close to the paperclip as possible]
œ œ œ œ œ œ œ œ œ œ
( )
( )
B (( œœ)) ‰ .
(II) (
[Wooden Mute] T)I IV
TI
P π P π P
Vla.
T)I o
(
(III)
o
AST [bow as close to the paperclip as possible]
Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~
#œ œ ( Oœ ) œ ( Oœ ) œ œ œ ( Oœ ) œ ( Oœ ) œ œ œ ( Oœ )
I
ã
[Mute]
=
&
Vlc.
P π P π P
TI
o
SINE WAVES
100
dead wasps in the jam-jar (iii)
4 5 6
66 ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~
(III)
Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ )
&
[Metal Mute]
π P π P π P
Vlno. 1
O O œ O O œ O O œ
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
—T ± ± — — ± ± — — ± ± —
— ± ± — — ± ± — — ± ± —
( )I
(I
II)
&T
[Metal Mute]
( )I
π P π P π P
Vlno. 2
(AST)
œ œ œ œ œ œ œ œ œ œ œ œ
B (T)I
[Wooden Mute] (IV)
π P π P π P
Vla.
(AST)
~~~~~~~~~~~~~
(I)
Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~
& ( œ)I( œ ) œ œ œ ( Oœ ) œ ( Oœ ) œ œ œ ( Oœ ) œ ( Oœ ) œ œ œ ( Oœ )
O
[Mute]
Vlc.
π P π P π P
T
SINE WAVES
7
72 ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~
(III)
Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ . Oœ (Oœ) Oœ ( Oœ ) Oœ ( Oœ)
.
&
[Metal Mute]
π P π P π P
Vlno. 1
O O œ O œ O œ
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
—T)I ± ± — — ± ±± . —— — — ± ± — —
— ± ± — — ± . —— — — ± ± — —
(
(I
II)
& (T)I
[Metal Mute]
π P π P π P
Vlno. 2
œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
(AST)
B (T)I
(IV)
[Wooden Mute]
Vla.
π P π P3 π 3
P
~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~
(AST)
(I)
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
& ( œ)I( œ ) œ œ œ ( Oœ ) œ ( Oœ ) œ œ œ. œ (Oœ) œ . ( Oœ ) œ (Oœ) œ ( Oœ ) œ œ
[Mute]
Vlc.
O
π P π P π
T
SINE WAVES
101
dead wasps in the jam-jar (iii)
(III)
78 Ÿ~~~~~~~~~~~~~~~~~~~
Oœ . Oœ (Oœ ) Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ Oœ
. ‰. Œ
&
[Metal Mute]
π P π o
Vlno. 1
O œ O œ O œ O
( ) ( ) ( ) ( ) ( ) ( )
±±T ±± —— —— —— ±± ±± —— —— ±± . —— —— —— —— . ±± ±±
. .
( )I
(I
remove the metal mute
Œ
II)
& TI
[Metal Mute]
) (
π P π P π P π
Vlno. 2
o
(AST)
œ. œ œ œ
B (T)
[Wooden Mute] (IV)
Vla.
(P) o
(AST)
Ÿ~~~~~~~~~
(I)
Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~
& ( œ) œ œ œ .( Oœ ) œ (Oœ )œ ( Oœ ) œ œ œ ( Oœ ) œ ( Oœ ) œ œ œ ( Oœ ) œ ( Oœ ) œ
(O )
[Mute]
Vlc.
P π P π P π P π
T
SINE WAVES
84 (AST)
2
Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ U
~ 15"
4
& ( œ)I œ ( Oœ ) œ ( Oœ ) œ œ œ (Oœ ) œ ( Oœ ) œ œ. ≈ Œ
(I)
[Mute]
Vlc.
P π P π o
T
SINE WAVES
D = 60 NV
AST
O
[almost no bow pressure]
[l.h. — harmonic pressure]
±
VM (vibrato molto)
2 — — —. .
II ± .
[flautando]
T ( )
90
4 * III
I
T
& ≈ & Œ
≈ ( œ )Œ
(œ)
=
[Metal Mute]
T
p π
Vlno. 1
T
o o o o
* = the string III is not prepared. NV
[flautando]
VM (vibrato molto)
— — —
poco SP
[flautando]
** IV
‰ & Œ œO ‰ Œ
IV
Vlno. 2 & = jO l œO l œO
o3 ∏ o
o π o
** = the string IV is not prepared.
AST
[put the viola in a vertical position (like a cello), c.l.t. (col legno tratto)I
‰
so that you can bow the open strings with the
right hand, and pizz. behind the bridge with the 3
B Œ œœTI ˙˙ ˙˙
[Wooden Mute] left hand at the same time]
B
II
Vla.
= III ‰
TI
o 3
π
W :[with a light bow]
& Œ œ. ≈
[Mute] l.v.
ã
Vlc. WINE
[take the second bow]
∏
GLASS
o
90 SINE WAVES 93
[press the space-bar of the computer] [press the space-bar of the computer]
102
dead wasps in the jam-jar (iii)
VM (vibrato molto)
96 5 2 — — —.
[flautando]
8 4 III
& ≈
[Metal Mute]
Vlno. 1
=
&
o π o
VM (vibrato molto)
— —. — —
[flautando]
IV
Vlno. 2 & =
& ‰ ‰ Œ
o3 ∏ o
(c.l.t.)I
B T ˙ )I ˙ ˙ ˙ œ œ. ˙ ˙
[Wooden Mute] (II) (
Vla.
˙ ˙ ˙ ˙ œ œ. ˙ ˙
( pp )
(III) (T)I
t
ã
[Mute] IV [open string — scordatura]
=
Vlc.
˙ ˙
∏
SINE WAVES 101
[press the space-bar of the computer]
NV
œ O E
≥
[open string]
AST
O
[almost no bow pressure]
≤ œ
( )
œ
œ ≤ ≤ (
O
)
[l.h. — harmonic —
≥
pressure]
≥
( )
3
103 ( )
±T.I . =
& ±. ± 3 ≥
3
II ± . ±. ±
( ) ( )
8 4
++ OO + OO + Oœ
I
& ≈ œ. œ +O
[Metal Mute]
T I
+
π
Vlno. 1
o ( pp )
p π
3
[open string]
[open string]
AST
O
[almost no bow pressure]
≤
NV
[l.h. — harmonic pressure]
[flautando]
3
±T
poco SP
II ±
I
& jO l œO l œO œO ‰ ‰ Œ T
IV
Vlno. 2 Wooden Mute
=
&
o π o o
3
( pp ) o
poco SP
# # Oœ ..
always legatissimo !
(c.l.t.)
œœ œœ œœ ‰ .
I
B T Œ
[Wooden Mute] (II)
=
( )I
Vla. &
T> o
œ ≈ >œ œ ≈ >œ >œ
≈
>
≈œ
>
≈ œ œ ≈ >œ ≈ >œ ≈ >œ ≈ œ œ ‰.
(III) ( )I
I
[pizz. behind
∏ o
II
the bridge (ongles)] III
IV
W
:o
∏
WINE
ã œ. ≈Œ
t ‰ ..
GLASS
Vlc.
Π&
œ
( ppp)
[Mute]
SINE WAVES
103
dead wasps in the jam-jar (iii)
(AST)
œ œ O
( )
≥> ≤> ≤> >≤
3(I) >≤ ≥> ≥ ≥>
( )
2 > ≤
( )
3
—— 4 —
3
109 4 (T)I —
— — ——
—
—.
—. —
—— —
—
±± O ≥ ( )
((±±))
++OO .. ‰.
( )
& œ
[Metal Mute]
π
Vlno. 1
)I
(II)(T
P o
3 3
(I-II) III
œ
(AST) poco
—≤
( )
≥ — — — —
( ) ( ) ( ) ( ) ( ) ( )
T O ( )
+O
(I ( )I
& T +O
( )
[Wooden Mute] II)
TI
Vlno. 2 ( )I
π p
(MSP) AST
(SP) AST [bow as close to the (hair) c.l.t.
Œ ‰
paperclip as possible]
‰
(I) IV
+ + Oœ # œO
# œO
.
+ =œOœ = œO .
(c.l.t.)I
. (œ)œ ˙˙ ˙˙
&
[Wooden Mute]
BTI
+œ œ ˙
(II)
(Ṫ)I
œ œ œ jœ
K
jœ .
Vla.
T [openTstring] W
II
III T (III)
( T)I
p III
P P p π
poco SP AST [bow as close to the paperclip as possible]
II
+ +œO ..
always legatissimo !
& + + œO n OO œ +œ œ ‰ Œ
‰. n œ œ
[Mute]
T.)I œ œ
Vlc. (
K
o p T W
I
P p o
œ O 3 œ 2
>≤ ≥> >≤ ≥> ≤3 4 4 >≥ 3 ≤> ≥> >≤
≥>
( )
3
[open string]
115 I —TI — —
± II & œ . œ Œ I —
= —— —— .. —
(T)
—— II — ——
( ) TI
II — — ± —
—
œO r Oœ O O‰ # œO ≈
TI
& T
r Œ
+ + œO ..
r
[Metal Mute]
Vlno. 1
I ( T)I remove the metal mute
o P π3 3
3
P o
always legatissimo ! III
P p
[NB: the III string is not prepared. Find a bow position
and speed that allows a very clear, bright sound]
[damp the four strings (medium-high register.
— —
always circular bow following the written rhythm]
( ) â â âI
3 3 3
(III) I
& ‰. ‰
[Wooden Mute]
T
( )
MSP
II
(p)
Vlno. 2 bow
o AST
TI
o3 3
π 3
(c.l.t.)I
B (Ṫ ˙ ˙˙ ˙˙ . ˙˙ ˙˙ ˙˙
[Wooden Mute] (II)
.
)I
Vla.
>œ > > > > >œ œ >œ >
( pp ) ≈œœ≈œ ≈œ ≈œ ≈œ
(T)I
≈ ≈ ≈
(III)
I
[pizz. behind II
∏
the bridge (ongles)] III
IV
PO poco SP
I
& Œ +œ ‰
[Mute]
= j O lO O œ.
+ œ . jœ œ œ
Vlc.
& TI
(œ)
o p π P o
104
dead wasps in the jam-jar (iii)
U 3
~ 5"
121
b Oœ Oœ Oœ Ȯ Ȯ
T
8
& ‰
.
Mute III
Vlno. 1 & = 3
o π
Preparation
e
(c.l.t.) I II III IV
(â â â )I [take off the paperclips close to the bridge
U
(MSP)
3 3 on strings I and II, and close to the tasto ~ 5"
Œ
(I-II) on string II, without making noise]
[Wooden Mute] 3 (AST) TT
&
MSP
Vlno. 2
AST
(T)
( pp ) 3 3 3 o
U
(AST)
(c.l.t.)I ~ 5"
B Ṫ ˙ ˙˙ ˙˙ œœ œœ œœ ‰ Œ
[Wooden Mute] (II) ( )
I
Vla.
( pp )
(III) T I
( )
o
c.l.t. 1/2 legno c.l.t.
.
5 3
.
MSP
bow
AST I (AST)
U
~ 5"
( )
≈
O O. .
high
[Mute]
Ï Ï
& ã ã ïcc
&œ œ.
Vlc. [register] medium
Ï Ï=
low ï
o P πII P π o
IV III-IV
122 SINE WAVES
[press the space-bar of the computer]
F = 72 rall.
(AST) poco SP
127 3 2 Ÿ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~
Oœ ..
8 4 Oœ Oœ ( Oœ ) Oœ ( Oœ ) Oœ Oœ . Oœ (Oœ) Oœ ( Oœ ) Oœ ( Oœ) Oœ . Oœ (Oœ ) Oœ ( Oœ ) Oœ ( Oœ ) Oœ
(III)
. .
[Mute] ( )
&
( pp ) F π F π P π
Vlno. 1
MSP AST
O œ O œ O œ O
( ) ( ) ( )
±T.I
( ) ( )
[not prepared, just I
±. —— —— —— —— ±± ±± —— —— ±± ±± —— —— —— ±±
II
&
[Wooden Mute] harmonic sound]
=
&
π π
F π F F
Vlno. 2
o
hair
AST [bow as close to the paperclip as possible]
œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ
B
IV
[Wooden Mute]
B
=
Vla. TI
o F
3
π
3
P o
hair
AST [bow as close to the paperclip as possible]
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~
Œ #œ. œ (Oœ) œ . ( Oœ ) œ (Oœ) œ ( Oœ ) œ œ œ ( Oœ ) œ œ . ( Oœ ) œ (Oœ )œ ( Oœ ) œ
[Mute]
&
I
=
&
Vlc.
F π F π P π
To I
127 SINE WAVES
[press the space-bar of the computer]
105
dead wasps in the jam-jar (iii)
= 60 = 50
always legatissimo ! (SP) AST
[very bright sound] (hair) c.l.t.
133 III I-II
&# œO
Oœ # Oœ Oœ jO
O # Oœ œO œO r O . r œO r Oœ œTI
œ
˙
˙
˙
˙
˙
˙
[Mute]
Vlno. 1
TI
( pp ) P3 π
(AST) poco SP
AST
œ
( ) ( )
±T)I —
[very bright sound] (hair) c.l.t.
± —
I
( ( ) IIV III
( )
œ œO ..
II
& œO œO œO O O
[Wooden Mute] 3
Vlno. 2
jO O œTI ˙ ˙
P π P π
poco SP
Preparation
[very bright sound]
e
I II III IV
# Oœ O œ # Oœ .. œO r O
I
O O O
[take off the paperclips close to the bridge
( )
(MSP)
put the viola down and
on strings II and III, and close to the tasto
take the e-guitar string
B Œ ‰ ‰.
[Wooden Mute] (AST) TT
on string III, without making noise]
Vla.
o 3
P π o
[very bright sound]
(SP) AST MSP
Ÿ~~~~~~~~~~~ O O # Oœ Oœ Oœ ..
III III IV
O ( )
& (Tœ)I œ ( Oœ ) ? jO O t
[Mute] (I)
Vlc.
œ. ˙ ˙ ˙
( pp ) P π P
∏
3
SINE WAVES
G = 60
3 2 F
[blow in the birdcall]
>
œ
( )
139
(AST)
(c.l.t.)
[take the jay-birdcall and put it in the mouth, 4 JAY-Birdcall ã
4
˙ ˙ ˙ ˙ ˙. ˙
ready to blow into it without using your hands]
(I)
(T)I
& ˙ ˙ ˙ ˙ ˙. ˙
[Mute]
Vlno. 1
( pp )
(T)I
œ
(II)
BUZZING
BOWS 1-2
ã ON
F
[turn the buzzing bow's switch ON]
> ( )
œ
[blow in the birdcall]
(AST)
(c.l.t.) [take the jay-birdcall and put it in the mouth, JAY-Birdcall ã
ready to blow into it without using your hands]
& (˙T)I
[Wooden Mute] (III)
˙ ˙ ˙ ˙. ˙
Vlno. 2
( pp ) BUZZING 㠜
ON
BOW 3
[turn the buzzing bows 2-3's switches ON]
top
[tensing the guitar string between your foot and left
f
hand, bow the string around 3/4 of the way from the
[take the jay-birdcall and put it in the mouth,
˙
floor, producing a low, airy, trembling sound]
ready to blow into it without using your hands]
B
[Wooden Mute] E-GUITAR
㠜
STRING
Vla.
>
JAY-Birdcall
F
[blow in the birdcall]
[take the jay-birdcall and put it in the mouth,
ready to blow into it without using your hands]
AST MSP AST
t
[Mute] (IV)
Vlc.
˙ ˙ ˙ ˙ ˙ œ ˙
( ppp) 㠜
>
JAY-Birdcall
F
[blow in the birdcall]
106
dead wasps in the jam-jar (iii)
o
145 ( F ) ( ) ( ) ( ) ( ) ( )
‰.
ã ( œ)
( )
[JAY-Birdcall]
˙ ˙ ˙ ˙ ˙ ˙
(c.l.t.)
& ˙ ˙ ˙ ˙ ˙ ˙
[Mute] (T)I
Vlno. 1
ã ( œ)
T)I
(
[BUZZING
BOWS]
o
(F) ‰ Œ
ã(c.l.t.)( œ)
( ) ( ) ( )
[JAY-Birdcall]
& (˙T)I
[Wooden Mute]
˙ ˙ ˙ ˙ ˙
Vlno. 2
[BUZZING
BOW]
ã ( œ)
top top
3/4 3/4
(f)
œ œ œ œ œ. œ ˙ œ œœ. œ œœ. ˙
[E-GUITAR
ã ( œ)
STRING]
‰.
Vla.
[JAY-Birdcall]
(F) o
(AST)
( ppp) F π P p F ∏
always legatissimo !
— —
3
t
(IV)
œ œ bœ
3
( ) ( )
6 6 6 6
œ#œ œ œ œ . œ.
[Mute]
œ œ bœ . œttœ # œ œ n œ œ
Vlc.
œ ccccc
ã ( œ) ‰.
3
(F)
[JAY-Birdcall]
o
H
151 ((c.l.t.)
pp )
5 2 2 3
˙ ˙˙
8 œœ œœ .
4 ˙˙ ˙˙ ˙˙
& ˙ .
[Mute] (T)I
Vlno. 1
ã ( œ)
(T)I
[BUZZING
BOWS]
.
( pp )
(c.l.t.)
& (˙T)I
[Wooden Mute]
˙ œ œ. ˙ ˙ ˙
Vlno. 2
[BUZZING
BOW]
ã ( œ) .
top
3/4 3/4
ã œ. œœ œ œ œ œ. ˙ ˙ ˙
[E-GUITAR
STRING]
Vla.
(f) π
(AST) SP AST
[Mute]
t ( ) ( ) ( ) ( ) ( ) ( )
.
Vlc.
( ˙)
( ppp)ccccccccccccc
107
dead wasps in the jam-jar (iii)
4 5 6 7 8 9 10
157 ((c.l.t.)
pp )
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
& ˙
[Mute] (T)I
Vlno. 1
ã ( œ)
(T)I
[BUZZING
BOWS]
( pp )
(c.l.t.)
& (˙T)I
[Wooden Mute]
˙ ˙ ˙ ˙ ˙ ˙
Vlno. 2
[BUZZING
BOW]
ã ( œ)
ã ˙ ˙ ˙ ˙ ˙ ˙ ˙
[E-GUITAR
STRING]
( pp )
Vla.
SP AST SP AST
t(IV) ( ) ( ) ( ) ( ) ( )
[Mute]
Vlc.
&
( ˙)
( ppp)ccccccccccco
163 SINE WAVES
[press the space-bar of the computer]
I V sempre
œ O
≥
œ
≥> ≥> ≤ >≥ >≤ >≥ >≤ >≥
>
III
≥> ≤
>≤
( )
±± ≤ —— . —— —— >≤ —>
(AST)
—— —
3
164 (I (c.l.t.) ≤
hair 3
œT œ ++ OO +œ . .
& œ œ + œ. ++ œœ
II)( )I
[Mute]
Vlno. 1
( pp ) F
F œ> f
(T)I
3 3
ã ( œ)
JAY-Birdcall
[BUZZING
BOWS]
(AST) MSP
F> ( pp ) p π P F f
(c.l.t.) hair
ã œ ≤ ≥
( )
IV I
Oœ —≥ —. —> — . —> —
V sempre
œO .. Oœ
JAY-Birdcall
Oœ b b Oœ
& (˙T)I + + œO œO ..
[Wooden Mute] (III)
Vlno. 2
[BUZZING
㠜 OFF
[turn the buzzing bow 3 switch OFF]
BOW]
top top top
3/4 3/4
( pp ) f
˙ œ œ. œ œ œ. œ ˙ ˙ œ œ œ
[E-GUITAR
㠜
STRING]
Ó
Vla.
F> [blow in the birdcall]
JAY-Birdcall
(SP) MSP
(T) SP
œ # Oœ .. Œ
jl œO
3
l
œ
T always legatissimo !
& b Ȯ œO + +œO .. œO œ .
. œO œO ? œ
[Mute] II (II) (III)
Vlc. W W
o p P π F Œ III œ
ã œ Ó
√
F>
JAY-Birdcall
5
[blow in the birdcall]
3
π F
SINE WAVES
108
dead wasps in the jam-jar (iii)
≥ ≤ ≥ ≤ ≥ ( ) ≤
—> — —> —> —> —> — — —> .
(AST)
170 — —. — — — —
( )
(III) ( )
&
[Mute]
(f)
Vlno. 1
ã ( œ)
3
[BUZZING
BOWS]
≤ ≥ ≤ ≥ ≤ ≥ ≤
—> —> — —> . —> —> —>
(MSP)
— — — — — — — — —> — .
(IV) ( )
&
[Wooden Mute]
Vlno. 2
(f)
3
top
3/4 3/4
ã œ œ. œ ˙ œ œ >œ . >œ >œ >œ . >œ œ >œ >œ œ >œ . œ œ œ
[E-GUITAR
STRING]
Vla.
(f)
RADIO
EFF. SEV.
≤ ≥
[maintain the previous pitch with the thumb on II and III, while placing two
>—≥ ≤ ≥ ≤
V sempre
—> >— —> —> — —>.
fingers very close to the bridge. The bow should pass between the fingers and
— —.
(MSP)
the thumb. Variously lift EITHER the thumb OR both fingers, while varying
œ ˙ ˙
(III)
?
II-III the pressure of the bow continuously.]
œ
[Mute]
:œ ˙ ˙
finger 1
Vlc.
f (f)
3 finger 2
SINE WAVES
NV V
>≤ >≥ ≥
>≤ (>)3 >≤ >≥ >≤ >≤ >≥
>≥
III
176 I —TI
— .
(T)
— —
( )
—
( )
— —. —>
[Mute]
.
& TI
II
Vlno. 1 (
T)
F f
ã ( œ)
3
[BUZZING
BOWS]
V
NV
>≥ >≤
IV
V
>≥ >≤
—>
——
(MSP) ( )
— — T. —— — —
( ) ( ) TI ( )
.
(IV) III
≈ Œ
[Wooden Mute] IV
Vlno. 2 &
(f) F f
top top
3/4 3/4
ã ˙ œ œ œ œ œ. ˙ œ. œ œ œ œ œ.
[E-GUITAR
STRING]
Vla.
(f)
V
[RADIO
— — — —.
EFF. SEV.]
˙ ˙ ˙ ˙ œ
II
(II-III)
[Mute]
Vlc.
: ˙ ˙ ˙ ˙ œ
(f)
SINE WAVES
109
dead wasps in the jam-jar (iii)
>— >— — —> —>
(III)
182 — —. —
( )
—
( )
—
( )
—
( )
&
[Mute]
π
Vlno. 1
(f)
[BUZZING
BOW] ã ( œ)
V [maintain the previous pitch with the thumb on II and III, while placing two
fingers very close to the bridge. The bow should pass between the fingers and
—> —>
(MSP) RADIO
the thumb. Variously lift EITHER the thumb OR both fingers, while varying
EFF. SEV.
the pressure of the bow continuously.]
œ ˙ ˙ ˙ ˙ ˙
(IV) III-IV
& fg. 2: œ
[Wooden Mute]
˙ ˙ ˙ ˙ ˙
fg. 1
Vlno. 2
(f) 3
∏ sub.
top
3/4
ã œ. œ> œ> œ> œ œ> œ> œ œ> œ> œ ˙ ˙ ˙
[E-GUITAR
STRING]
Vla.
(f)
[maintain the previous pitch with the thumb on II and III, while placing two
( ) RADIO fingers very close to the bridge. The bow should pass between the fingers and
—
EFF. SEV. the thumb. Variously lift EITHER the thumb OR both fingers, while varying
( )
œ ˙ ˙ ˙ ˙ ˙
the pressure of the bow continuously.]
?
II-III
[Mute] (II)
:œ ˙ ˙ ˙ ˙ ˙
fg. 1
Vlc.
(f) ∏
fg. 2
sub.
SINE WAVES
Preparation
e
I II III IV
( )
188 — ( )
—
( )
—
( )
—
(MSP)
[take off the paperclips close to the bridge
Œ
on strings I and II, without making noise]
&
(AST) TT
[Mute]
( pp )
Vlno. 1
o
ã ( œ)
( ) ( ) ( ) ( )
[BUZZING
BOW]
[RADIO
EFF. SEV.]
˙ ˙ ˙ ˙ ˙ ˙
(II-III)
[Wooden Mute]
: ˙ ˙ ˙ ˙ ˙ ˙
fg. 1
Vlno. 2
( ppp)
fg. 2
ã œ œ
[E-GUITAR
‰ B
STRING]
Vla.
o
[RADIO
EFF. SEV.]
˙ ˙ ˙ ˙ ˙ ˙
(II-III)
[Mute]
: ˙ ˙ ˙ ˙ ˙ ˙
fg. 1
Vlc.
( ppp)
fg. 2
SINE WAVES
110
dead wasps in the jam-jar (iii)
194
J = 66
P/ p ( )
& U œ
~ 10"
ã
ã
Vlno. 1
JAY-Birdcall
ã ( œ) Ó
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
[BUZZING
OFF
BOWS]
P/ p
[turn the buzzing bows 1-2 switches OFF]
[RADIO
EFF. SEV.]
U
~ 10"
㠜
˙ ˙ ˙ ˙ ˙ ˙
JAY-Birdcall
(II-III)
[Wooden Mute]
: ˙ ˙ ˙ ˙ ˙ ˙
fg. 1
Vlno. 2
( ppp)
fg. 2
U
~ 10"
Vla. B JAY-Birdcall 㠜 ( )
P/ p
P/ p
[RADIO
EFF. SEV.] U
~ 10"
㠜
˙ ˙ ˙ ˙ ˙ ˙
JAY-Birdcall
(II-III)
[Mute]
: ˙ ˙ ˙ ˙ ˙ ˙
fg. 1
Vlc.
( ppp)
fg. 2
SINE WAVES
K Libero (= 60)
~5" ~5" ~5" ~5"
200 5 (~ 5") (~ 10") (~ 15") (~ 20")
8
ã ( œ) .
p
[JAY-Birdcall] put down the birdcall
( ) ( ) ( )
Vlno. 1
(P/p) p
T
T
* Tupperware
(P/p)
on Plexiglass
ã ( œ) . put down the birdcall
œ.
[JAY-Birdcall]
fg. 1 ˙ œ
œ * Tupperware
:˙ œ œ. p
[Wooden Mute]
ã
on Plexiglass
Vlno. 2
œ
( ppp)
[RADIO fg. 2 T
EFF. SEV.]
ã ( œ)
Tupperware
.
*
p
[JAY-Birdcall] put down the birdcall
( ) ( ) ( ) on Plexiglass
Vla.
(P/p)
T
Preparation
I II III IV
(P/p)
ã ( œ) . put down the birdcall
(MSP)
(AST) e T
[take off the paperclip close to the tasto on
string I, and ADD a paperclip close to the
tasto on string II, without making noise]
œ.
[JAY-Birdcall]
fg. 1 ˙ œ
œ ?
œ.
[Mute]
Vlc.
:˙ œ œ
( ppp)
[RADIO
fg. 2
EFF. SEV.]
SINE WAVES
* = the small tupperware (transparent lid of the plastic case of the Iphone 5 or 6 earplugs) will be attached to the
sole of the performer's foot through velcro, and it will be positioned on a plexiglass sheet. VERY GENTLY, with
almost no pressure of the foot, slide the tupperware on the plexiglass sheet. The aim is to allow the sound to
"speak" before closing the gesture. The exact timing of this action doesn't need to be precise.
111
dead wasps in the jam-jar (iii)
L = 60
~5" ~5" ~5"
(~ 5") (~ 10") (~ 15")
206 2
4
ã
Vlno. 1
[Tupperware] p T p T p T
ã
Vlno. 2
[Tupperware]
pT p T
&
ã
Vla.
[Tupperware] p T
&
?
SP
[Wooden Mute] I
=
&
Vlc.
˙ ˙
o "
SINE WAVES 209
[press the space-bar of the computer]
AST
1/2 legno
3
‰ œT j œ ˙ j˙ j˙ j˙ j˙
211
I
˙ ˙ ˙
ã Œ œ œ œ œ. œ œ œ. œ œ. œœ
[Wooden Mute]
=
&
Vlno. 1
[Tupperware] p T II
‰ TI
o3 !
p "
AST
& Œ ‰
c.l.t. (col legno tratto)
[Wooden Mute] III
œ¿TI ˙¿ ˙¿ ˙¿ ˙¿ œ¿ œ¿
Vlno. 2
[Tupperware]
o
" p
IV
[damped, medium-
high register]
o
T
[with a light bow]
â â â [circular bow between AST and MSP following
the written rhythm, arpeggiando on the three strings]
3 3 3 3 3
+O
hair
Œ
AST [with a light bow] I
III K O
=
& jO
IV + œ
III
& B Œ T ‰ & Œ
[Wooden Mute]
Vla.
= = œ ˙ ˙
P o
VIOLA
[Tupperware]
p
T p T
II
To I "
Preparation
[with a light bow] [with a light bow, always]
I II III IV
[Wooden Mute]
Vlc.
&
(SP)
(I)
* O [always on the I string]
O
#O
O
O
‰
(MSP)
(AST)
e TT
[add a paperclip close to the tasto on string III,
without making noise]
œ œ ˙ œ œ œ œ œ
( pp ) o
* NB: high harmonics should be obtained by lightly touching the
open string with no bow changes.
SINE WAVES
112
dead wasps in the jam-jar (iii)
(1/2 legno)
œT)jœ ±. ± ± ± ±
[LH: half pressure. RH: col legno tratto (clt), c.l.t. hair
218 (
very little pressure, close to the left hand, follow III-IV III ( ) ( ) ( )
.
the movements of the right]
& œ ‰ Œ & ‰
[Wooden Mute]
=
p
Vlno. 1
) o o
P
(T
o
[Tupperware] T
5 5
[LH: half pressure. RH: col legno tratto (clt), c.l.t. hair
± ±
( )
±
very little pressure, close to the left hand, follow I-II II
the movements of the right]
[Wooden Mute]
& Œ ‰ ‰
=
&
p p
Vlno. 2
[Tupperware]
o5 P o
T
T
5
(â ââ) (hair) c.l.t.
3 3 3 3 3 3 3
wO O O O O Œ
(I)
&
(III)
jO O O O O
& ˙ Œ
[Wooden Mute]
˙ œ œ œ
p
Vla.
( pp ) o
[Tupperware]
(II)(T)I T
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
[with a light, but slow bow]
AST 1/2 legno
? ‰.
III
œT( IœO )œ ˙ œ. # Œ
=
t . #Œ
& = ‰
[Wooden Mute]
Vlc.
œœ ˙ œ.
IV
o ! o
220 SINE WAVES
[press the space-bar of the computer]
225
M
&
[Wooden Mute]
p p p
Vlno. 1
[Tupperware] T T T
AST
c.l.t. (col legno tratto)
&
[Wooden Mute] III
=
& œTI œ¿ ˙¿
p
Vlno. 2
IV ¿
[Tupperware]
o "
T
[damped, medium-
high register]
& B
[Wooden Mute]
p p p
Vla.
[Tupperware] T T T
[with a light bow, always]
SP O
t & ‰
I hair
=
Vlc.
œ œ ˙ ˙ œ œ ˙
o "
SINE WAVES
113
dead wasps in the jam-jar (iii)
(1/2 legno) hair ( œ)
>≤ ≥> ≤> ≥> ≤> 2 ≥> >≤
AST
≥>
( )
1/2 legno
3 3 (III)(T)I 3
—— — —— — . —— 4 — ——
3
8 4 —
‰ œT j œ ˙ j˙ j˙ j˙ œ jœ
232 I
˙ ˙ — —. — —
& Œ œ œ œ œ. œ œ œ. œ œ œ œ )I
[Wooden Mute]
(T
‰ TI
Vlno. 1
o3 ∏ p π P
II 3
[LH: half pressure. RH: col legno tratto (clt),
very little pressure, close to the left hand, follow
the movements of the right]
( )
(c.l.t.) (III-IV) 3 (c.l.t.)
& (Ṫ)I .
[Wooden Mute] (III)
˙ ˙ ˙ œ.
Vlno. 2
¿ ¿ ¿ ¿ ¿.
P
[Tupperware]
( pp )
(IV)
p T p T
hair [bow as close to the
poco SP AST paperclip as possible]
AST [with a light bow]
III K O Œ ‰
# # Oœ ..
I
IV + œ
IV
. + + Oœ # œO
# œO
B Œ T ‰ + =œO = œO ..
[Wooden Mute]
B TI
Vla.
=
&
œ œ œ jœ
P o T T
œ
o p II P P
always legatissimo ! [open string]
[with a light bow] âââ
‰
3
[circular bow between AST and MSP
#O
following the written rhythm, arpeggiando 3
on the three strings]
Œ ‰ T
OI
[with a light bow, always] I
O O
O =
&
#O
(I)
‰ . Œ
III
&
? Œ ‰ œ
[Wooden Mute]
Vlc.
œ œ œ œ œ œ œ œ œ œ œ œ
( pp )
II TI
o o3
SINE WAVES
O [l.h. — harmonic pressure]
[almost no bow pressure] N
≤
( )
≥
239 (±T)I O
SP
± +œ œ œ œ œ
[slow bow]
œ. ˙ œ œ ‰. .
( )
III
& œ. ˙ œ œ & ‰
[Wooden Mute]
=
(T)I
p
Vlno. 1
[Tupperware]
π o T
o π
—.
hair
— — — — — — —
(III-IV) IV
( ) ( )
3
( )
& ≈Œ
[Wooden Mute]
p
Vlno. 2
[Tupperware]
(P) 3 o T
III
œO
(AST)
œO
3
‰. O O œO + = œO
(IV)
B (T)I + œ œ œ œ + œ + œO # œO .. œ œ Oœ œ. ‰ Œ
[Wooden Mute] 3 3
Vla.
jœ . j œ b œ œO œO œœ œ œ œ
π p π P π p
π
IV
P o
(â ââ) hair c.l.t.
3 3 3 3 3 3 3 3 3 3
#O. O
? O .
(I)
& O
? ˙
(III)
˙ ˙ ˙ ˙
[Wooden Mute]
Vlc.
π
T)I
o
(
(II)
114
dead wasps in the jam-jar (iii)
(SP) SP
œ œ œ jœ . r˙ œ. jœ œ
[slow bow]
246 (III) ( ) ( )
1/2 legno
[slow bow]
& ‰
+ œo = œO œ = œO = Ȯ
[Wooden Mute] IV
Vlno. 1
˙
( pp ) p π ∏
[Tupperware]
p T
o
(hair) c.l.t.
SP
AST MSP
IV [slow bow] ( ) ( ) ( )
Œ
& Œ dO O œ . # œO .. ≈ Œ
III
œTI# œO # Ȯ œ # œO œ # œO
3 3
œO .. n n œO
[Wooden Mute]
dœ œ dd œO ˙
Vlno. 2
π p P
p o o
p o o
p
[Tupperware]
T T T
1/2 legno
âââ [circular bow between AST and MSP following
the written rhythm, arpeggiando on the three strings]
3 3 3
+O
& Œ
poco SP MSP
I
K O Ȯ O. OO = jO
+ œ œ. œœ
‰ . T .
III III
B Œ o ‰ & Œ
[Wooden Mute]
B
IV
Vla.
= o π œ ˙
[Tupperware]
p T p
T
II
To I
π
[slow bow]
SP MSP [The bow should pass between the fingers and the thumb.
rO O O.
Variously lift EITHER the thumb OR both fingers, while
( ) varying the pressure of the bow continuously.]
? œ œ
‰.
I-II
≈Œ : ‰ œ
I
?
[Wooden Mute]
= œ
finger 1
p
Vlc. RADIO
o o
EFF. SEV.
finger 2
o3
251 SINE WAVES
NB: the sine wave will start after about 18''
253 —
(1/2 legno)
[slow bow] ( )
& œ = œO ≈‰ . Œ
[Wooden Mute]
Vlno. 1
[Tupperware]
( ppp) o
3
p T p T p T
AST
c.l.t.
& ‰.
[Wooden Mute] [slow bow]
œ¿T œ¿ ˙¿ ˙¿ ˙¿ ˙¿ ˙¿ ˙¿
Vlno. 2
III
[Tupperware]
IV
o π p p
[damped, medium-
high register] III-IV
T T
(1/2 legno)
(â ââ)
3 3
(I)
& wO O
jO O
& ˙ B
[Wooden Mute] (III)
p p p
Vla.
( pp )
[Tupperware]
o
T T T
(II)(T)
[RADIO
EFF. SEV.]
˙ ˙ ˙ ˙ ˙ ˙ ˙
(I-II)
[Wooden Mute]
: ˙ ˙ ˙ ˙ ˙ ˙ ˙
fg. 1
Vlc.
π
fg. 2
SINE WAVES
115
dead wasps in the jam-jar (iii)
O
poco SP
[very bright sound]always legatissimo !
260 III
[Wooden Mute]
Vlno. 1 &# œO
Oœ # Oœ Oœ jO
O # Oœ œO œO r O . r œO r Oœ Oœ Ȯ Ȯ Ȯ
P 3
"
poco SP
[very bright sound] always legatissimo !
IV
O œO ..
O O Ȯ Ȯ Ȯ Ȯ
3
& jO O œO œO œ O
[Wooden Mute]
Vlno. 2
P "
poco SP
[very bright sound] always legatissimo !
I
# Oœ O O # Oœ .. œO r O O ( O) O O O O
B
[Wooden Mute]
Vla.
P 3
"
poco SP
[very bright sound] always legatissimo !
Oœ Oœ .. Oœ
I
O O # Oœ O. O # Oœ Ȯ Ȯ Ȯ Ȯ
?r
[Wooden Mute]
Vlc.
P 3
"
SINE WAVES
266
O jO l O lœO l Oœ jOœ Ȯ Ȯ Ȯ Ȯ Ȯ
(III)
& œ œ
[Wooden Mute]
Vlno. 1
P 3
"
( 3)
(IV)
& œ rO r œO œ O
O O O O O O O
[Wooden Mute]
Vlno. 2 w
P "
O # œO # Oœ O œO .. ˙O ˙O ˙O ˙O ˙O
(I)
B
[Wooden Mute]
Vla.
P "
O O Oœ # Oœ Ȯ Ȯ Ȯ Ȯ Ȯ
? œ
(I)
[Wooden Mute]
Vlc.
P 3
"
SINE WAVES
116
dead wasps in the jam-jar (iii)
272
U U U
(III)
jO l rO . r œO ( O) O œ.
&l œ œO r O O œ .
( )
# Œ
[Wooden Mute]
Vlno. 1
P "3 o
U U U
O O Oœ jO
(IV)
O O ‰.
& jO l œ œ
[Wooden Mute] ( )
Vlno. 2
P 3
" o
# Oœ # œO .. # Oœ n O .
(I)
O U U U
B ‰ Œ
[Wooden Mute]
Vla.
P o
# Oœ O
(I)
U U U
? b œ d O O ‰
[Wooden Mute]
Vlc.
P 3 o
SINE WAVES 277
P
O
AST
278 [l.h. — harmonic pressure]
[almost no bow pressure]
+O O O O O O O O
I
( ) ( )
& ‰+ O O O O O O O O
[Wooden Mute] II
Vlno. 1
Ø
TI
o
3
AST
c.l.t. (col legno tratto)
Œ ‰.
III [slow bow]
&
[Wooden Mute]
Vlno. 2
=
& œTI ˙ ˙ ˙
o !
AST [bow as close to the paperclip as possible]
1/2 legno
[slow bow]
B Π#
[Wooden Mute] IV ( ) [slow, irregular glissando] ( ) ( ) ( ) ( ) ( )
œT. cccccccccccc
Vla.
o !
AST [bow as close to the paperclip as possible]
1/2 legno
. . .
[slow bow]
? œ.
III ( ) ( ) ( ) ( )
[Wooden Mute]
Vlc.
!3 " ! "3 <p ! " !
TI
o 3
SINE WAVES
117
dead wasps in the jam-jar (iii)
(O)
285 (AST)
O O O O O O O
( )
& O O O O O O O
[Wooden Mute]
Vlno. 1
( pppp)
(T)I
(AST)
(c.l.t.)
[slow bow]
& (Ṫ)I
[Wooden Mute] (III)
˙ ˙ ˙ ˙ ˙ ˙
Vlno. 2
( ppp)
(AST) [bow as close to the paperclip as possible]
(1/2 legno)
B
[Wooden Mute] [slow bow] ( ) ( ) ( ) ( ) ( ) ( )
( ˙T)
Vla.
( )I
( ppp)
(IV) ccccccccccccc
(AST) [bow as close to the paperclip as possible]
(1/2 legno)
[slow bow]
.
( ) ( )
? .
( ) ( )
. .
[Wooden Mute] (III)
Vlc.
( T)I
( ppp) 3 " ! " p ! " ! "!
3 3
SINE WAVES
(O)
292 (AST)
O OO OO OO OO
( )
& O
[Wooden Mute] [without fading out]
Vlno. 1
( pppp)
(T)I
(AST)
(c.l.t.)
[slow bow]
& (Ṫ)I
[Wooden Mute] (III) [without fading out]
˙ ˙ ˙ ˙
Vlno. 2
( ppp)
(AST) [bow as close to the paperclip as possible]
(1/2 legno)
B
[Wooden Mute] [slow bow] ( ) ( ) ( ) ( ) [without fading out]
˙TI
( ) ccccccccc
Vla.
( )
( ppp)
(IV)
(AST) [bow as close to the paperclip as possible]
(1/2 legno) [without fading out]
? .
[slow bow]
( ) ( ) ( ) ( )
.
[Wooden Mute] (III)
b
Vlc.
( T)I
( ppp) " !3 3
Berlin
April - September 2017
118
Clara Iannotta
smudged — a carbon copy
for 5 singers/performers, transducers, and electronics
(2016–17)
119
120
Kompositionsauftrag von Musik der Jahrhunderte Stuttgart
World première: 2 February 2017, ECLAT Festival Neue Musik, Stuttgart, Germany
121
I would like to thank:
Christine Fischer, for giving me the opportunity to write this challenging piece;
Chris Swithinbank, for building the electronics and designing the layout diagrams. Without him this piece would have not been possible;
Seth Torres and the Harvard University Music Department for allowing me to work on the electronics in the best possible conditions;
Hans Tutschku, for a great semester and for being so kind to show his patches to my colleagues and I;
Tony Arnold, for her time recording crazy multiphonics with her voice.
Performance material
1 long table where singers 1, 2 & 3 will be seated.
2 smaller tables where singers 4 & 5 will be seated.
1 wooden table top, or a very low wooden table for the 8 transducers and tin foil.
• Singer 1 (Mezzo or Alto): Susanne
small hard plastic tupperware — the best option would be to use the transparent lid of the plastic case of the iPhone 6S earplugs.
plexiglass sheet — 12" x 12" x ³⁄16" or an A4 size with a thickness of 5mm. It should be attached to the table with tape, so that it does not move.
metal ratchet fixed on a piece of wood. It should be attached to the table with tape, so that it does not move.
• Singer 2 (Soprano): Johanna
a block of very hard polystyrene. It should be attached to the table with tape, so that it does not move.
wire brush — suggested brand: http://amzn.to/2jQLi0v.
122
• Singer 3 (Mezzo or Alto): Truike
small hard plastic tupperware — the best option would be to use the transparent lid of the plastic case of the iPhone 6S earplugs.
plexiglass sheet — 12" x 12" x ³⁄16" or an A4 size with a thickness of 5mm. It should be attached to the table with tape, so that it does not move.
a block of very hard polystyrene. It should be attached to the table with tape, so that it does not move.
wire brush — suggested brand: http://amzn.to/2jQLi0v.
• Singer 4 (Tenor): Martin
small tupperware.
plexiglass sheet — 12" x 12" x ³⁄16" or an A4 size with a thickness of 5mm. It should be attached to the table with tape, so that it does not move.
metal ratchet fixed on a piece of wood. It should be attached to the table with tape, so that it does not move.
low electric guitar string with a violin/viola bow.
• Singer 5 (Bass): Andreas
small tupperware.
plexiglass sheet — 12" x 12" x ³⁄16" or an A4 size with a thickness of 5mm. It should be attached to the table with tape, so that it does not move.
low electric guitar string with a violin/viola bow.
General notes for the performers
• Please visit the page: http://bit.ly/2jJP3Rq
It contains videos and audio files that will explain the following sounds:
- tupperware on plexiglas (“video-1_tupp-plex”)
- polystyrene with wire brush (“video-2_pol-wirebrush”)
- e-guitar string (“video-3_e-guitar”)
- e-guitar string audio file (“smudged_e-guit-string”)
- metal ratchet (“video-4_ratchet”)
- section F — improvisation on breath/change of pressure on the voice: the singers will have to improvise on their breath (inhaling and exhaling) taking the audio
file named “section-F_breath-impro” as an example. The change of pressure on the voice means that they will have to pass to ordinary voice and give an effect of
distortion — take the audio files named “section-F_pressure-voice1” and “section-F_pressure-voice2” as an example. It can be in the register you prefer, and you
can change the vowels and breath ad libitum. In the score the white part represents the improvisation on breath and the black part the improvisation on the
distorted voice.
• E-guitar string: The electric guitar string should be pulled tight using a foot to hold one end against the floor and the left hand to hold the other. The sound
123
produced is a quiet, airy thrumming. It may be best to attach the guitar string to small pieces of wood at either end in order to make pulling it tense more
comfortable for the player.
124
Electronics
• 8 Transducers/vibration speakers
suggested brand: http://amzn.to/2jJNx1H
attach a piece of tin foil to the transducer
each transducer requires an ⅛" (3.5mm) female jack to plug into
• Computer
running Max 7 software.
• Audio interface
with at least 10 inputs and 10 analog outputs.
• Mixer
125
with at least 13 microphone inputs, 2 line-level inputs, and a
stereo output.
• Loudspeakers
- two high quality, powered monitors for audience projection
(e.g. Meyer UPJunior)
- (optional) additional smaller loudspeakers for onstage
monitoring for the performers.
• Microphones
- 5 vocal microphones to amplify the singers
- 5 directional instrumental microphones for live-processing and
amplification of objects
- 3 directional instrumental microphones to amplify the
transducers
126
for all questions and information, please write to:
[email protected]
website: www.claraiannotta.com
smudged — a carbon copy
for 5 singers, objects, and electronics
Clara Iannotta
(2016-2017)
Libero
~5" ~5" ~5" ~5" ~5" ~5"
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
&
Susanne TUPPERWARE [scrape slowly, in a circular way the tupperware on the plexiglass
ON PLEXIGLASS applying very little pressure in order to get a high pitch]
âââ
㠜
!
&
Johanna
127
&
Truike TUPPERWARE [scrape slowly, in a circular way the tupperware on the plexiglass
ON PLEXIGLASS applying very little pressure in order to get a high pitch]
âââ
㠜
!
V
Martin
?
Andreas
ã
[live sine waves into the frequencies of the tupperwares
+ sound-file tupperware]
Elect. ã 1
smudged — a carbon copy
A = 60
~5" ~5" ~5"
(~ 5") (~ 10") (~ 15") 1 5 1 2
7 always NV
4 o
! o 4 4 o
! o 4
& VOICE & œ œ œ & œ œ œ
Susanne a a
= =
(â ââ)
[TUPP.
PLEX.] ã ( œ)
[whistle]
[whistle]
( pp )
o " o o o
"
Johanna
‚ ‚ ‚ ‚ ‚ ‚. ‚
& & &
= ‰ Œ
always NV
o ! o o ! o
& VOICE &
=
b œ œ œ &
=
bœ œ œ
Truike a a
(â ââ)
[TUPP.
PLEX.] ã ( œ)
( pp )
[open mics voices and objects]
Elect. ã 8
128
5 1 2 3 7 1 always NV 2
15 o o o
8 4 ! 4 4 16 4 ! o4
& & œ œ œ & œ œ œ
Susanne a a
= =
(â â â )
[TUPP.
PLEX.] ã ( ˙)
( pp ) [whistle] [whistle]
o " o o "
Johanna
‚ ‚. ‚ ‚ ‚.
& ΠΠ&
= ‰ Œ &
=
always NV
o ! o o ! o
& &
= b œ œ œ & b
= œ œ œ
Truike a a
(â ââ)
[TUPP.
PLEX.] ã ( ˙)
( pp )
Elect. ã
smudged — a carbon copy
B Libero
~5" ~5" ~5"
2 1 always NV 2 1 (~ 5") (~ 10") (~ 15") 2
23 o o
4 4 ∏ o4 4 ∏ o 4
& œ œ œ & œ œ œ ..
& ..
a a
= =
Susanne
(â ââ)
[TUPP.
PLEX.] ã ( ˙) .. ..
[whistle]
( pp )
o o π o
Johanna
O ‚ ‚ ‚ ‚ ‚ .
& ‰ Œ . ..
always NV
∏ o o o ∏ o
& &
= b œ œ œ &
= b œ œ œ .. ..
Truike a a
(â ââ)
[TUPP.
PLEX.] ã ( ˙) .. ..
[only breath with open mouth —
129
( pp )
hot air, mouth position: A vowel]
π
( ) ( )
VOICE ã O O O
V .. ã ..
h(a)
Martin [tensing the guitar string between your foot and left hand, bow the string
around 3/4 of the way from the floor, producing a low, airy, trembling sound]
E-GUITAR
STRING
ã ã œ ˙ œ .. œ œ œ ..
o P
breath with open mouth —
hot air, mouth position: A vowel]
π [only
( ) ( )
VOICE
? ã O O O .. .
ã.
h(a)
Andreas [tensing the guitar string between your foot and left hand, bow the string
around 3/4 of the way from the floor, producing a low, airy, trembling sound]
E-GUITAR
STRING
ã ã œ ˙ œ .. œ œ œ ..
o P
[low frequencies fade-in]
Elect. ã 24
.. ..
smudged — a carbon copy
C = 60 Libero
~5" ~5" ~5" ~5"
2 1 always NV (~ 5") (~ 10") (~ 15") (~ 20") 2
30 o
4 4 ! o 4
& œ œ œ
& .. ..
a
=
Susanne
(â ââ)
[TUPP.
PLEX.] ã ( ˙) .. ..
[whistle]
( pp )
o "
Johanna
‚ ‚. ‚ O
& .. ..
always NV
! o o [rallentando only the second time]
& &
=
b œ œ œ .. ..
Truike a [the rall. molto applies only to the tupperware]
(â ââ) rall. molto
[TUPP.
PLEX.] ã ( ˙) .. ..
o
130
( pp )
[only breath with open mouth —
hot air, mouth position: A vowel]
"
ã O O .. ..
h(a)
Martin [tensing the guitar string between your foot and left hand, bow the string
around 3/4 of the way from the floor, producing a low, airy, trembling sound]
[E-GUITAR
STRING] ã œ œ ˙ œ œ .. ..
(P) o
[only breath with open mouth —
hot air, mouth position: A vowel]
"
ã O O .. ..
h(a)
Andreas [tensing the guitar string between your foot and left hand, bow the string
around 3/4 of the way from the floor, producing a low, airy, trembling sound]
[E-GUITAR
STRING] ã œ œ ˙ œ œ œ .. ..
(P) o
[low frequencies fade-out
+ sound-file gelinotte fade-in]
Elect. ã 30
.. ..
smudged — a carbon copy
D = 60
38 2 always NV and legatissimo 3 2
o o o o o
4 ∏ 4 ∏ 4 ∏ o
& œ œ. œ. bœ & œ œ. œ . #œ & œ œ œ Œ
a a a
= =
Susanne
[the rall. molto applies only to the tupperware]
(â ââ) rall. molto
[TUPP.
PLEX.] ã ( ˙)
o
singing, always NV and legatissimo
( pp )
o ∏ o o ∏ o
#œ . nœ. œ #œ œ. œ . nœ ˙ œ. œ
& & Œ
a a
=
Johanna [put the wirebrush on the polystyrene [take off the
and *slowly* start to scrap] wirebrush]
[with wirebrush]
D C
ã POLYSTYRENE ã ˙ œ ‰ .. Œ
always NV and legatissimo
P
o ∏ o o ∏ o o ∏ o
& bœ . . bœ &
=
bœ œ. œ . nœ & bœ œ œ Œ
=
a a a
Truike [put the wirebrush on the polystyrene [take off the
and *slowly* start to scrap] wirebrush]
[with wirebrush]
D C
131
ã POLYSTYRENE ã ˙ œ ‰ .. Œ
[only breath with open mouth —
P
hot air, mouth position: A vowel]
o f
ã ã Œ ‰ O O O ‰ .. Œ
TUPPERWARE [scrape slowly, in a circular way the tupperware on the plexiglass h(a)
Martin ON PLEXIGLASS applying very little pressure in order to get a high pitch]
âââ
[only breath with open mouth —
ã ˙
π hot air, mouth position: A vowel]
o f
ã ã Œ ‰ O O O ‰ .. Œ
TUPPERWARE [scrape slowly, in a circular way the tupperware on the plexiglass h(a)
Andreas ON PLEXIGLASS applying very little pressure in order to get a high pitch]
âââ
ã ˙
π
[transducers 1-2-3-4-5 ON
+ high dust and low-grid ON [sound-file tupperware fade-out
+ rev. and transpositions on female singers] + live sine waves on singer 1 fade-out]
Elect. ã 38 43
smudged — a carbon copy
7 5 3 always NV and legatissimo 5 3 5 3
46 o
( )
o o o o o
16 8 4 !
! 8 !4 8 4
& &
= œ . #œ œ ‰
œ #œ nœ œ. œ œ‰ œ #œ œ œ Œ Œ
Susanne
a a a
ã
always NV and legatissimo
o ! o o ! o o! o
#œ œ œ . # œ . # œ( ) œ œ. œœ œ
‰ ‰. Œ Œ
3
& & ‰.
a a a
=
Johanna [put the wirebrush on the polystyrene [take off the [put the wirebrush on the polystyrene
and *slowly* start to scrap] wirebrush] and *slowly* start to scrap]
[POLYSTYRENE] D C
ã œ œ. œ ‰ .. Ó ã
D˙ . œ œ.
ã
NV and legatissimo
3
P oalways! o o
P o
!
( )
& & Œ ‰ bœ œ œ ‰ œ . bœ œ. œœ œŒ Œ
a
=
a
Truike [put the wirebrush on the polystyrene [take off the [put the wirebrush on the polystyrene
and *slowly* start to scrap] wirebrush] and *slowly* start to scrap]
132
[POLYSTYRENE] D C
ã œ œ. œ ‰ .. Ó ã
D˙ . œ œ.
ã
[only breath with open mouth —
hot air, mouth position: A vowel]
P P
o f o f
( ) ( )
ã ã O O. O ‰ .. Œ. ã Œ O. O ‰ .. Ó
Martin h(a) h(a)
(â â â )
[TUPP.
PLEX.] ã ( ˙)
[only breath with open mouth —
hot air, mouth position: A vowel]
( pp )
o f o f
( ) ( )
ã ã O O. O ‰ .. Œ. ã Œ O. O ‰ .. Ó
Andreas h(a) h(a)
(â â â )
[TUPP.
PLEX.] ã ( ˙)
( pp )
[transposition on Susanne, Johanna, and Truike]
Elect. ã 49
smudged — a carbon copy
E
54 3 always NV and legatissimo 2
o o o
4 ! ! o 4
& œ œ œ ‰ Œ & œ œ œ Ó
a a
=
Susanne
[rotation time] y= [2/4]
ã RATCHET ã ˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
always NV and legatissimo
o ! o o ! o
#œ #œ œ œ ‰. #œ œ œ
& & Ó
a a
=
Johanna [take off the [put the wirebrush on the polystyrene
wirebrush] and *slowly* start to scrap]
C
[POL] œ ‰ .. Ó ã
D˙ . ˙ ˙ ˙ ˙ ˙
ã
always NV and legatissimo
(P) P
o ! o o ! o
& bœ œ ˙ œ ‰ Ó & bœ œ œ Ó
=
a a
Truike [take off the [put the wirebrush on the polystyrene
wirebrush] and *slowly* start to scrap]
C
133
[POL] œ ‰ .. Ó ã
D˙ . ˙ ˙ ˙ ˙ ˙
ã
P
[only breath with open mouth —
(P)
hot air, mouth position: A vowel]
F
ã ã
Martin h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a)
O. O. O. O. O. O. O. ‰ O. O. O. O. ‰ O. O. O. O. O. O. O. O. ‰ O. O. O. O.
(â ââ )
[TUPP.
[rotation time] y= [3/4]
PLEX.]
RATCHET
ã ( ˙ .)
[turn the ratchet with the free hand]
ã ˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( pp )
[only breath with open mouth —
hot air, mouth position: A vowel]
F
ã ã
Andreas h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a)
O. O. O. O. O. O. O. O. O. O. ‰ O. O. O. O. O. ‰ O. O. O. O. O. O. O. ‰ O.
(â ââ)
[TUPP.
PLEX.] ã ( ˙ .)
( pp )
[transposition on Susanne, Johanna, and Truike]
Elect. ã 54
smudged — a carbon copy
= improvisation on breath
= improvisation on distorted voice
[improvisation on breath/change of pressure — see
performance notes and listen to the example audio file]
F
63
œ ˙ ˙ ˙ œ. œ ˙
& Œ ‰
o
Susanne
p
[the rall. molto applies only to the ratchet] rall. molto
ã ( ˙ )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[improvisation on breath/change of pressure — see
performance notes and listen to the example audio file]
˙ ˙ œ œ œ
& o
Johanna [the rall. molto applies only to the polystyrene] rall. molto
p
[POL] ã ˙ ˙ œ. œ ˙ ˙ ˙ œ. #Œ
(P) o
&
Truike [the rall. molto applies only to the polystyrene] rall. molto
134
[POL] ã ˙ ˙ ˙ ˙ ˙ œ œ œ ˙ ˙ œ œ ‰.
(P) o
(F)
‰ Œ ‰
h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a)
ã 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.
Martin (â ââ)
[TUPP.
PLEX.]
( pp )
rall. molto
ã (( ˙˙ ))YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[the rall. molto applies only to the ratchet]
(F)
‰ ‰ ‰
h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a)
ã 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. ‰
Andreas
(â ââ
)
[TUPP.
PLEX.] ã (˙ )
( pp )
[dac 8-9-10 fade-out] [granulation all voices]
Elect. ã 65 69
smudged — a carbon copy
( )
73
œ œ. œ œ œ. œ ˙ ˙ œ œ. œ ˙ œ. œ œ œ œ œ œ œ œ. œ ˙
&
Susanne
(p)
ã
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 ˙
&
Johanna
(p)
[improvisation on breath/change of pressure — see
ã
performance notes and listen to the example audio file]
œ ˙ œ œ œ œ œ œ ˙ œ œ. œ œ œ œ ˙ œ. œ œ œ
& Œ
o
Truike
p
135
ã
(F) F F
‰ Œ ‰ Œ ‰
h(a) h(a) h(a) h(a) h(a)
ã O. ‰ O. O. O. ‰ O. Œ
Martin (â ââ)
[the rall. molto applies only to the tupperware]
[TUPP. rall. molto ( )
PLEX.]
( pp )
‰
rall. molto
ã (( ˙˙ ))YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
[the rall. molto applies only to the ratchet]
(F) F
ã ‰ ‰ ‰ ‰ Œ Œ Œ Œ ‰
h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a) h(a)
O. O. O. O. Œ O. Œ O. ‰ O. O. ‰ O. ‰ O. ‰ O.
Andreas
ââ [the rall. molto applies only to the tupperware]
(â ) rall. molto
[TUPP.
PLEX.] ã (˙ )
( pp )
[granulation all voices]
Elect. ã 74
smudged — a carbon copy
G
83
œ. œ œ ˙ œ œ œ œ œ œ ˙ œ œ. œ ˙ ˙ ˙ ˙
&
Susanne [rotation time]
(p)
[2/4]
y= YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
ã RATCHET ã Œ œ
˙ œ. œ œ œ ˙ œ œ. œ œ œ œ ˙ ˙ ˙ œ œ. œ ˙
&
Johanna
(p)
ã
œ œ. œ œ œ œ œ œ œ œ. œ ˙ œ. œ œ ˙ œ œ. œ ˙ ˙ ˙
&
Truike
(p)
136
[improvisation on pressure-voice — see performance
ã
notes and listen to the example audio file]
œ . œ ˙ ˙
ã #
Martin [rotation time]
p
[3/4]
y= YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
ã RATCHET ã Œ œ
F
ã ‰
h(a)
O. Œ
Andreas
(â â â ) [the rall. molto applies only to the tupperware] rall. molto ( )
[TUPP.
PLEX.] ã ( ˙) ‰.
( pp )
[transducers 6-7-8 ON || vibration]
Elect. ã 88
smudged — a carbon copy
93 ( )
˙ ˙ ˙ ˙ œ
& Œ
Susanne [the rall. molto applies only to the ratchet]
(p) o
rall. molto
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
˙ ˙ ˙ ˙ ˙ ˙ œ
& ‰ Œ
Johanna
(p) o
ã
( )
˙ œ œ ˙ œ œ
& ‰
o
Truike
(p)
137
ã
( )
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ
ã ‰ Œ
Martin
o
[the rall. molto applies only to the ratchet]
(p)
rall. molto
[improvisation on pressure-voice — see performance
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
notes and listen to the example audio file]
˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙
ã
o
Andreas
p o
[sfplay transducers 1-2-3-4-5 fade-out]
Elect. ã 95
smudged — a carbon copy
H Libero
103 ~5" ~5" ~5" ~5" ~5" ~5"
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
Susanne &
Johanna &
Truike &
Martin ã
Andreas ã
[high-dust fade-out]
Elect. ã 103
138
~5" ~5" ~5" ~5" ~5" ~5"
109
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
Susanne &
Johanna &
Truike &
Martin ã
Andreas ã
[transducers 6-7-8 fade-out
+ low frequencies]
Elect. ã 109
smudged — a carbon copy
~5" ~5" ~5" ~5" ~5" ~5"
115 (~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30") 2
4
&
Susanne
&
Johanna
&
Truike
139
ã
ã V
Martin
?
ã
Andreas
[sound-file spring-drum 1 slowly fade in] [sound-file spring-drum 2 fade in]
Elect. ã 115 120
smudged — a carbon copy
I = 40
121 2
always NV
4 o " o o " o o "
& & Œ ‰ # ‰ Œ ‰. & Œ
[scrape very slowly, in a circular way applying
= œ œ œ œ œ œ =
Susanne
œ œ œ œ
o
œ œ. œ. œ.
very little pressure in order to get a high pitch]
o o
TUPPERWARE
âââ
ON PLEXIGLASS ã
ã Œ ‰ œ
o !
o " o o " o o "
‰ ‰. ‰ # Œ
& &
= &
=
o
bœ œ œ. œ œ œ. œ œ
Johanna o
œ œ œ. œ. œ œ
o
3 3
o " o o " o o " o o " o
# Œ ‰ ‰ ‰. Œ ‰
&
[scrape very slowly, in a circular way applying
= ‰ œ œ œ
Truike o
œ œ œ œ œ œ œ œ œ œ œ œ
o
& œ. œ.
very little pressure in order to get a high pitch]
o o
âââ
140
TUPPERWARE
ON PLEXIGLASS ã
ã ˙
o !
o " o o " o o " o o " o
œ. œ œ œ ‰ œ. œ œ œ ‰ # œ œ œ œ œ. œ œ ‰. Œ ‰ œ œ œ. œ œ ‰ Œ
V
Martin o o o o
[scrape very slowly, in a circular way applying
[TUPP.
âââ very little pressure in order to get a high pitch]
PLEX.] ã ˙
o !
o
? ? Œ ‰.
[scrape very slowly, in a circular way applying
=
Andreas
œ
very little pressure in order to get a high pitch]
o
âââ
TUPPERWARE
ON PLEXIGLASS
ã ã Œ ‰. œ
o
[chorus and transposition on voices]
Elect. ã 121
smudged — a carbon copy
129 o " o
o o " o o "
! & Œ ‰ ! ‰ Œ œ œ œ ‰
o
=
Susanne
& œ œ œ œ. œ œ
o
#œ œ œ. œ. œ œ
o
[TUPP.
(â â â )
PLEX.] ã ( ˙)
( pp )
o o " o o o o o o
" ( ppp) " "
Œ œ. œ œ œ œ ‰ Œ ‰ ‰. ‰ bœ. œ œ œ. œ
& œ œ œ œ œ œ
Johanna o o o
œ. œ œ œ
o
ã
3
o o o
" o " o o " o o " o
‰ ‰ ‰. ‰ ‰
& ‰. œ œ œ œ œ œ œ œ œ œ ‰ œ
Truike o o o o
œ. œ œ œ œ œ œ œ. œ œ
o
141
[TUPP.
(â â â )
PLEX.] ã ( ˙)
( pp )
o " o o " o o " o o " o
Œ œ œ œ. œ. œ œ ‰. œ. œ ˙ œ Œ ‰ œ œ œ. œ ‰ Œ bœ. œ œ. œ œ ‰.
3
V Œ
3
Martin 3 o
o o o
[TUPP.
(â ââ)
PLEX.] ã ( ˙)
( pp )
o o o o "
" "
? Œ ? Œ ‰ ! Œ ‰
= œ œ œ.
Andreas o
œ œ œ œ œ œ œ œ. œ œ œ
o
[TUPP.
(â â â )
PLEX.] ã ( ˙)
#
Elect. ã
smudged — a carbon copy
137
o o ! o o ! o o
‰ Œ # # ‰ Œ Œ ‰
&
= œ
Susanne o
& œ œ. œ œ œ œ œ. œ œ. œ œ
o o
[TUPP.
( âââ )
PLEX.] ã ( ˙)
( pp )
o o o o o o
! o ! !
œ œ œ œ. œ œ
Œ ‰ Œ Œ ‰ .
3
& # ‰ œ. œ œ œ œ ‰
Johanna o o o
œ œ œ. œ œ
! o
o ! o o ! o
# Œ ‰. ‰ Œ ‰
& œ œ œ œ. œ œ œ œ
Truike o o
œ œ œ œ œ
âââ
142
[TUPP.
( )
PLEX.] ã ( ˙)
( pp )
o ! o o ! o
V ‰ œ œ œ. œ œ # Œ Œ œ œ œ œ œ #
3
Martin o o
[TUPP.
(â â â )
PLEX.] ã ( ˙)
( pp )
o o o
!
? ‰ ? Œ ‰ # Œ
œ œ =
Andreas o
œ œ œ. œ œ œ
[TUPP.
( âââ )
PLEX.] ã ( ˙)
( pp )
Elect. ã
smudged — a carbon copy
145 o o
o o o "
"
"
& œ œ. ‰ ‰ # Œ & œ
= œ œ ‰
œ bœ œ œ. œ œ
Susanne o o
[TUPP.
( âââ )
PLEX.] ã ( ˙)
( pp )
o " o o " o o " o o
œ œ œ œ œ œ œ œ œ œ œ œ "
. bœ. œ
# Œ ‰
3
& & ‰ & ‰
o o o
= =
Johanna o
o " o o " o o "
& ‰. & ‰. ‰
=
o
œ œ œ œ œ œ œ œ œ œ œ
Truike o o
œ œ œ. œ
143
[TUPP.
(â â â )
PLEX.] ã ( ˙)
( pp )
o " o o " o o "
œ œ œ œ ‰ Œ ‰ œ œ œ. œ œ ‰ Œ bœ. œ
V
3
V ‰
3
=
Martin o o o
[TUPP.
(â ââ)
PLEX.] ã ( ˙)
( pp )
o " o
? ? ‰. ‰. Œ
=
Andreas o
œ œ œ œ œ
[TUPP.
( âââ )
PLEX.] ã ( ˙)
( pp )
[low frequencies fade-out]
Elect. ã 149
smudged — a carbon copy
153
o " o o " o o "
‰ Œ ‰. & Œ ‰
=
Susanne o
& œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ
o o
[TUPP.
( âââ )
PLEX.] ã ( ˙)
( pp )
o o " o o " o o
œ œ œ œ "
œ œ. œ œ # ‰ Œ Œ ‰ ‰ Œ ‰
& & &
o
bœ œ = =
Johanna o o
œ œ œ.
o o " o o " o o " o
‰ ‰ # Œ # Œ
= =
o
& bœ œ œ
Truike o
& œ œ œ œ. œ œ & œ. œ œ œ œ
o
âââ
144
[TUPP.
( )
PLEX.] ã ( ˙)
( pp )
o o " o o " o o " o o
œ œ ‰. ‰ œ œ œ. œ. œ œ ‰. œ. œ œ œ ‰ œ œ œ œ ‰ # œ
V œ. V
=
Martin o o o
o
(â ââ) rall. molto
[TUPP.
PLEX.]
[the rall. molto applies only to the tupperware]
ã ( ˙)
( pp )
o " o
? ‰
œ œ œ. œ œ ‰
Andreas
o
[the rall. molto applies only to the tupperware]
( âââ ) rall. molto
[TUPP.
PLEX.] ã ( ˙)
( pp ) o
Elect. ã
smudged — a carbon copy
161
o o ! o o ! o U
Π&
=
‰. Œ ‰.
Susanne o o
& œ # ‰ œ œ œ œ œ œ œ œ œ œ œ
( âââ ) rall. molto
[TUPP.
U
PLEX.] ã ( ˙)
o
( pp )
o o ! o
œ œ œ œ U
‰. & ‰
=
#Œ
Johanna o3
& œ. œ œ
3
o ! o o ! ( ppp) o o ! o
U
& ‰ ‰ ‰. Œ # . Œ
o
œ ˙ œ ‰
Truike o o
œ œ œ œ œ œ. œ œ
rall. molto
145
[TUPP.
(â â â )
PLEX.]
[the rall. molto applies only to the tupperware]
ã ( ˙)
o
( pp )
! o o ! o U
œ œ œ. œ œ ‰. œ. œ ˙ œ. œ
V œ V Œ
=
Martin o
(â ââ) rall. molto
[TUPP.
PLEX.] ã ( ˙)
( pp ) o
? U
Andreas
[sprin-drum 1 fade-out
U
+ transducers shakers fade-in]
Elect. ã 169 1000
Berlin, Vienna, Cambridge
September 2016 - January 2017
Clara Iannotta
smudged — a carbon copy (ii)
for viola, accordion, objects, and 5 transducers
146
Commissioned by Duo 2KW, mit Unterstützung der Ernst von Siemens Musikstiftung
World Première: 21 May 2017, Sprengel Museum Hannover, Germany
147
Instrumentation
- Accordion
- Viola, 2 circular metal paperclips , 2 metal thimbles
Performance Material
A long wooden table (150x75x3.5cm) where the performers will be seated at and where to put the following
objects:
• 2 small, hard, plastic tupperwares — the best option would be to use the transparent lid of the plastic
case of the iPhone 6S earplugs. The tupperwares will be on a plexiglass sheet — 12" x 12" x 3⁄16" or an A4
size with a thickness of 5mm. It should be attached to the table with tape, so that it does not move.
• 6 singing bowls of these dimension:
- n.1 (7.5cm of diameter) with a soft base in order to bow the edges
- n.2 (6cm of diameter)
- n.3 (12.5cm of diameter)
- n.4 (11.5cm of diameter)
- n.5 (12cm of diameter)
- n.6 (10.5cm of diameter)
• 5 transducers/vibration speakers (suggested brand: http://amazon.to/2jJNx1H.
Each transducer requires an 1/8’’ (3.5mm) female jack to plug into.
The transducers will be put inside the singing bowls and on the table as following:
- transducer n. 1 inside singing bowl n. 3
- transducer n. 2 inside singing bowl n. 4
- transducer n. 3 attached to the table with some tin-foil attached to it in order to produce a vibrating
sound
- transducer n. 4 inside singing bowl n. 5
- transducer n. 1 inside singing bowl n. 6 with some tin-foil attached to it in order to produce a vibrating
sound
• Computer running Max 7 software.
• Audio Interface with at least 5 analog outputs.
General notes for the performers
Accidentals apply only to those notes before which they are placed, with the exception of repeated notes.
Viola: Prepare the strings 1-2 with circular paperclips (one AST and one MSP), see the image below:
148
Bow preparation: roll several fishing lines around the whole length of the wooden part of the bow.
Right hand pressure:
Left hand pressure:
AST = alto sul tasto
SP = sul ponticello
MSP = molto sul ponticello
c.l.t = col legno tratta
[email protected]
www.claraiannotta.com
149
to Klaus-Peter Werani & Kai Wangler
smudged — a carbon copy (ii)
for accordion, viola, and objects
Clara Iannotta
= 60 A = 126 (2017)
5 5 :[take the bowl in your hands. Bow horizontal touching the
two edges of the singing bowl. Try to get as many harmonics
4 8
œ-! œ. "œ- œ. œ-! œ. "œ- œ. œ-! œ.
as possible. The bow changing should be very gentle]
Viola ã SINGING
ã
p
BOWL 1
[VIOLA:
strings I-II are prepared with two circular,
o
metal paperclips (one close to the tasto and
b œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ ..
[as stable as possible]
one close to the bridge + METAL MUTE]
† =
†
Accordion
nœ œ. œ œ. œ œ. œ œ. œ œ.
† =
†
o #
[automatically triggered]
ã 1 TRANSDUCERS [2]
[press the space-bar to trigger the event 1. You will see a stopwatch counting
from five seconds (0-4''). The event 2 will be automatically triggered]
NB: the numbers of the events correspond to the bar number.
"-
7
[SINGING
BOWL] Viola
ã œ œ. œ-! œ. "œ- œ. œ-! œ. "œ- œ. œ-! œ. "œ- œ.
(p)
œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ ..
†
Accordion
œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ.
†
( pp )
ã TRANSDUCERS
-!
14
œ. "œ- œ. œ-! œ. "œ- œ. œ-! œ. "œ- œ. œ-! œ.
㠜
[SINGING
BOWL] Viola
(p)
o o
[gradual appereance
œœ "œœ œœ! "œœ œœ! "œ œ! "œ œ! "œ ! " !
of the rhythm]
œœ œœ .. œœ œœ .. œœ œœ .. œœ œœ .. œ œ œ œ œ œœ œœ œœ ..
†
Accordion
œ œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ.
†
( pp )
ã TRANSDUCERS
150
smudged — a carbon copy (ii)
-!
21
[SINGING
BOWL] Viola
ã œ œ. œ-! œ. "œ- œ. œ-! œ. "œ- œ. œ-! œ. "œ- œ.
(p)
o o o o
œœ œœ .. œœ œœ .. œœ "œœ œœ! "œœ œœ! "œ
œ œœ .. œœ "œœ œœ! "œœ œœ! œœ œœ .. œœ œœ ..
†
Accordion
œ œ. œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ.
†
( pp )
ã TRANSDUCERS
-!
28
"œ-
[~1'07''] [~1'19'']
[SINGING
BOWL] Viola
ã œ œ. œ.
o
o o
œœ œœ .. œœ "œœ œœ! "œœ œœ! "œ œ! "œ œ! "œ œ "œ œ! "œ œ!
œ œ œ œ œ bœ œ œ œ œ
"œ œ! "œ œ! "œ
œ œ œ œ œ œœ! "œœ
† Œ.
Accordion
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.
( pp ) o
ã TRANSDUCERS
B ~15"
35
ã 35 TRANSDUCERS
[press the space-bar to trigger the event 35, you will see the stopwatch counting
fifteen seconds (0-14'') and the event 36 will be automatically triggered]
C = 60
( œ)
[~12'']
O œ ( )
AST
~1" ~1" " ! " " ! " " " ! " ! "
! !
( ) ( ) ( )
!3 !
simile 3
36 VIOLA I — . .
II — . .
T
B B ‰. T
Viola
=
o P 3 3
[~6'']
†
Accordion
t
[passage from cluster to one pitch
( ) ( )
‰ t ‰
[cluster] as legato as possible]
––– œ œ œ = ––– #œ œ œ œ œ
o p o o p $
ã [ 36 ] TRANSDUCERS
[automatically triggered]
151
smudged — a carbon copy (ii)
[~14'']
O O O (O) œ
[~25'']
œ
AST
( )
! " ! ! " ! ! "3 ! ! " !
[almost no bow pressure]
( ) ( )
" "
3
I . " —
3
( ) ( ) ( ) ( ) ( )
T
II .
. — .
+ + OO
49
B ‰. %T . .
Viola
o o P 3
# ( pp ) 3 3
P
n œœ œœ œœ œœ
[~17''] [~24'']
† † ‰
. ‰.
=
Accordion
$ o
t
[as legato as possible]
= ‰ b œœœ
t
.
3
œ œ œ œ ––– œœœ
( pp ) P o #
ã TRANSDUCERS
D
O œ
AST [very slow bow, put more pressure of the
( )
bow. The sound gets perforated, saturated,
" ! ! 3" ! " ! " ! " ! " !
although always soft]
I —
T . —— —
II — . —
62
B B
Viola
=T
(P) o o 3
P $
n œœ œœ œœ
[~32''] [~37''] [air]
O
( )
† =
† ‰.
$ o
..
Accordion
t
( ) ( )
‰
( )
r t
3
r
œœœ ... n œ
3
œ bœ nœ. œ œ = #œ #œ nœ #œ
( pp ) d w P $w F
ã TRANSDUCERS [ 74 ]
[automatically triggered]
~29"
75 ——
B
( ppp)
Viola
( O)
†
t
Accordion
(P) o
ã TRANSDUCERS
~15"
76 ((——))
3
4
B
( ppp)
Viola
ã 76 TRANSDUCERS
[KAI (accordion): press the space-bar]
152
smudged — a carbon copy (ii)
E = 60
3 (—)
77
4 ( —)
Viola B ‰ .. Ó
( ppp)
( )
..
†
t ‰ Ó
= œ. œ ˙ œ
o $
t ‰ Œ ‰ Œ ‰ Œ ‰ Œ ‰ Œ ‰ Œ
Accordion
n œœœ œœœ œœœ n œœœ œœœ œœœ n œœœ œœœ œœœ n œœœ œœœ œœœ n œœœ œœœ œœœ n œœœ œœœ œœœ
o # o o # o o # o o # o o # o o # o
ã 82 TRANSDUCERS
[KLAUS-PETER (viola): press the space-bar]
[NB: strings III-IV are not prepared!] O
I ±.
AST
PO
II ± .
83 T
B B O O O. O. O.
= IVœO ˙O ˙O .. œO .. œO .. B T
III
Viola
=
o # o o
‰ Œ # ˙˙˙ ...
t t
= #œ œ ˙ ˙. œ œ œ =
†
$
o # o
t
Accordion
‰ Œ ‰ n œ œ œ ˙ ‰ .. Ó
n œœœ œœœ œœœ n œœœ œœœ œœœ ‰ Œ n œœœ œœœ œœœ ‰ Œ Œ
œœ œœ œœ ˙˙ œœœ œ
o # o o # o o # o o # o F
ã TRANSDUCERS [ 84 ]
[automatically triggered]
~1" ~1" ~1"
(O) œ
simile
( ) ( ) O œ
AST
! "3 ! ( )! " ! " ! ! " !
"
.
3
—— ——T
3
89
+O . . .
.
I
B + O.
II
B
Viola
=T
# 3 3
P o o 3
P
œœœ œœœ œœœ # œœœ œœœ
† Œ =
†
$ o 3 $
..
Accordion
t
[as legato as possible]
t‰ 3 ( )
‰
œœœ ... n œ
r œ
3
= b œœœ œœœ
r
œ bœ nœ. œ
o # d w F
ã TRANSDUCERS 96
[KLAUS-PETER (viola): press the space-bar]
( œ) O
( ) (= 60)
" ! " ! " ! " ! !
——
3 " ±± . "
+O . +O
+ O .. + O ..
100 4 ( )
.
Viola B
(P) #
œœœ
[air]
O.
( )
† o ‰ . ã
Accordion
t
( ) ( )
3
#œ #œ nœ #œ
$ w P o
ã TRANSDUCERS
153
smudged — a carbon copy (ii)
F !
±± . " ±± . " ±±
108
. +O . . +O .
Viola B + O. + O. ‰ .. Ó
SINGING [take the singing bowl 1 and rub its edges using the singing bowl's 2
BOWL 1-2 edges — in order to do so, hold the singing bowl 2 upside down]
ã Œ ‰ œ
âââ
. . . . . .
( ) ( ) ( ) ( ) ( ) ( )
Accordion o #
t
[SINGING
115
ã ( ˙ .)
BOWL 1-2]
. . . . . .
(â ââ) ( ) ( ) ( ) ( ) ( ) ( )
Accordion ( pp )
t
G [scrape slowly, in a circular way the tupperware on the plexiglass
applying very little pressure in order to get a high pitch]
âââ
( )
. . . . .
122 ( ) ( ) ( ) ( ) ( )
. œ
ã ã ‰ œ
. . . . .
2 TUPPERWARES
Viola ON PLEXIGLASS
o #
[SINGING
ã ( ˙ .)
BOWL 1-2]
. . . . . .
(â ââ) ( ) ( ) ( ) ( ) ( ) ( )
Accordion ( pp )
t
ã
[automatically triggered]
122 TRANSDUCERS [ 123 ]
[KLAUS-PETER (viola): press the space-bar]
[2 TUPPERWARES
ON PLEXIGLASS]
129 ( â â â )
. . . . . .
( ) ( ) ( ) ( ) ( ) ( )
( ˙ .)
Viola ã ( ˙ .) . . . . . .
( pp )
[SINGING
ã ( ˙ .)
BOWL 1-2]
. .
(â ââ) ( ) ( )
†
Accordion ( pp ) o
t †
ã TRANSDUCERS
154
smudged — a carbon copy (ii)
H
1 5 1 2
[2 TUPPERWARES
ON PLEXIGLASS]
136 ( â â â )
.
( ) ( ) ( ) ( ) ( ) ( )
( ˙ .) 4 4 4 4
Viola ã ( ˙ .) .
( pp )
œ œ œ œ
# œœœ œœœ # œœœ œœœ
† =
† =
†
Accordion b œœ œœ
œ œ œœœ œœœ b œœ œœ
œ œ œœœ ... œœœ
† Œ ‰ =
†
o ! o o ! o
ã TRANSDUCERS
5 1 2 3 5
[2 TUPPERWARES
ON PLEXIGLASS]
142 ( â â â )
. .
( ) ( ) ( ) ( ) ( ) ( )
( ˙) 8 4 4 4 8
Viola ã ( ˙) . .
( pp )
œ œ ˙ œ
# œœœ œœœ ˙˙˙ œœœ ‰ Œ
† =
†
b œœ œœ
Accordion
œ œ
† =
†
o ! o
ã TRANSDUCERS
[2 TUPPERWARES
5 ON PLEXIGLASS]
(â ââ) 1 2 1 2 1 2
.
148 ( ) ( ) ( ) ( ) ( ) ( )
8 ( œ) 4 4 4 4 4 4
Viola ã ( œ) .
( pp ) o
œ œ œ œ
# œœœ œœœ # œœœ œœœ
† =
† =
†
b œœ œœœ ˙˙˙ œœœ œœœ b œœ œœœ
Accordion
œ œ
† =
† =
†
o ! o o !
ã 148 TRANSDUCERS
o
[KAI (accordion): press the space-bar]
154
2
4 [take off the metal mute and the paperclips on the II string.
B
Prepare the 2 metal thimbles on fingers 3-4 (right hand)]
Viola
˙ ˙ ˙ ˙ ˙ ˙ ˙
†
Accordion
( pp )
ã 159 TRANSDUCERS
[KLAUS-PETER (viola): press the space-bar]
155
smudged — a carbon copy (ii)
I O
[the thimbles should be placed on two fingertips of the
right hand and used to perform a kind of two- finger, 1/2 hair
irregular trill percussively tapping the string] 1/2 wood
œ
[with fingers] AST
c.l.t. [with fingers]
!
( ) ( ) ( )
"
[with bow]
Y Y Y Y Y Y
poco SP
>— ——> >— .
c.l.t.
Y Y
±± ±±
Y Y
±±
Y
±±
Y
——T .
( ) 2 fingers
— ± —. ±
(thimbles)
161
± ± .
II I
B
III II
Viola
F P F F P #
[slide the fingers on the keys to have a glissando
>––~~~~
of the cluster and shake the accordion with the
[key-click]
~~~~~~~ [air] ––
other hand in order to have a very tight vibrato]
–– ~~~~~~ –
~~~~~~~~~~~
~~ O > >¿ ~~O
( ) ( ) ( )
~ ‰ Œ
[air]
† ~~~
P p F ƒ >–– .. ~~~~
~~
~~~
–.
~~~
Accordion
~~~
t t ‰
† = ––– † = œœœ œœœ
>
F P p #
ã [ 161 ] TRANSDUCERS
[automatically triggered]
O
SP
c.l.t.
[going from strings I-II
! !
[with fingers]
" "
(1/2 hair to strings II-III] SP
Y
" —> >— .
1/2 wood) ( )
II
167 (T) —> ( )
c.l.t.
.. Y
3
—.
III 2 fingers
—
I
— ±
(thimbles)
II
±
II
B ‰. B ‰
III
=
Viola
( pp ) 3
F o F F P
>–– ~~~~~ ( ) >–– .~~~~~
– ~~~~~~~~~~~
~~~~~~~~
~~~~~~~~~~~ . – .. ~~~~~~~~~~~
~~~~~~
~~~~~~
~~~[air]O
† † Œ
= ‰
‰ =
† ‰
Accordion
P p
t
˙˙˙ œœœ œœœ
( pp )
P o
ã TRANSDUCERS
O 1/2 wood œ
1/2 hair
AST
( ) ( )
! ! "
[with fingers] [with fingers]
"
173
Y Y Y Y Y Y Y
±±
Y
±±
Y
±±
Y
±±
Y
±± Y
±±
Y
±±
Y
——T.
2 fingers 2 fingers
.
(thimbles) (thimbles)
I
B ‰ Œ ‰ ‰
Viola II
(P) o P o o #
( O) ( ) ( ) ( ) ( )
[air]
†
Accordion
(p)
t t Œ
3
= œœœ œœœ ˙˙˙
#
ã TRANSDUCERS
156
smudged — a carbon copy (ii)
SP AST SP AST
( )
(1/2 hair SP AST SP
1/2 wood) 1/2 hair 1/2 hair
O
1/2 hair
c.l.t. 1/2 wood c.l.t. 1/2 wood c.l.t. 1/2 wood c.l.t. [with fingers]
! " ! "
II II
!
I I II I
! " "
I II
! !
III
!
II II III II III II III
> Y
179 (T) —> . —> . >— . —>
3
—. Y
3
( ) ( )
2 fingers
—. —. —. — . — ±±
(thimbles)
B
Viola
( pp ) 3
F # F # 3
F F # F P
>– >–– [air] >–– ~~~~
–– – >O . – ~~~~~~~~~~~~~~~
~~~[air]O
† =
† Œ †
Accordion
>¿
[key-click]
t >–
˙˙˙ ˙˙˙ ˙˙˙ –– œœœ
( pp ) ƒF # P p
F
ã TRANSDUCERS
SP
( ) ( ) ( )
185
Y Y Y Y Y Y Y
±
Y
±
Y
±
Y
±
Y
±
Y
±
Y
±
Y
2 fingers
± ± ± ± ± ± ±
(thimbles)
B ‰ Œ ‰
Viola
B
(P) o = P o
( O) ( ) ( ) ( ) ( ) ( )
†
Accordion
(p)
t
ã TRANSDUCERS
SP SP
( ) ( ) ( )
Y Y Y Y Y
±
Y
±
Y
±
Y
±
Y
±
Y
2 fingers 2 fingers
± ± ± ± ±
(thimbles) (thimbles)
191
B = Œ
B ‰ Œ B Œ ‰
Viola
P o = P o
( O) ( ) ( ) ( ) ( ) ( ) ( )
†
Accordion
(p)
t
ã TRANSDUCERS
SP
( )
Y Y
±±
Y
±±
Y
2 fingers
(thimbles)
198
B B Œ ‰ Œ
Viola
= P o
( O) ( ) ( ) ( ) ( ) ( ) ( )
†
Accordion
(p)
t
ã TRANSDUCERS 199
[KLAUS-PETER (viola): press the space-bar]
157
smudged — a carbon copy (ii)
205
( O) ( ) ( ) ( ) ( ) ( ) ( )
†
Accordion
(p)
t
ã TRANSDUCERS 208
[KLAUS-PETER (viola): press the space-bar]
212
( O) ( ) ( ) ( ) ( ) ( ) ( )
†
Accordion
(p)
t
ã TRANSDUCERS
219
( O) ( ) ( ) ( ) ( ) ( ) ( )
†
Accordion
(p) o
ã TRANSDUCERS
o
Cambridge, Berlin
January - May 2017
158
Clara Iannotta
paw-marks in wet cement (ii)
for piano, two percussionists, and amplified ensemble
(2015–17)
159
Commissioned by the Ensemble Orchestral Contemporain
Aide à l’écriture d’œuvres musicales originales 2014
World première: 6 May 2017, Wittener Tage für neue Kammermusik
160
Instrumentation
- Flute + metal ratchet fixed on a piece of wood [watch the video in the Explanatory-Files folder] + gelinotte birdcall + buzzing bow
- Clarinet in Sib and bass (1) + A4 plastified paper with a paperclip to fix it on the clarinet + waldteufel + block of very hard polystyrene
+ wirebrush (suggested brand: http://amzn.to/2jQLi0v) [watch the video in the Explanatory-Files folder]
- Clarinet in Sib and bass (2) + A4 plastified paper with a paperclip to fix it on the clarinet + waldteufel + block of very hard polystyrene
+ wirebrush (suggested brand: http://amzn.to/2jQLi0v) [watch the video in the Explanatory-Files folder] + gelinotte birdcall
- Horn + mute sons bouchés + polistyrene with a cello bow + corrugated conduit (diameter 1.5, lenght 1.5-2m) + small metal pan with 3
metal thimbles + waldteufel
- Trumpet + wa-wa mute + polistyrene with a cello bow + small metal pan with 3 metal thimbles + waldteufel
- Trombone + + wa-wa mute + polistyrene with a cello bow + small metal pan with 3 metal thimbles + waldteufel
- Percussion 1 : Check the piano’s preparation
Wa-Wa tube medium registre
Crotales on a timbale (from bar 291)
Crotale prepared with tin foil
Corrugated Conduit
Tam-Tam with a cello bow
Gelinotte birdcall
- Percussion 2 : Check the piano’s preparation
Bass Drum
Metal ratchet fixed on a piece of wood [watch the video in the Explanatory-Files folder]
Corrugated Conduit
Cymbal 18 with a cello bow
Gelinotte birdcall
Waterphone
Audio Interface with at least 5 analog outputs + Laptop running Max/MSP
- Prepared piano — see the key page
- Harp + 2 singing bowls + fishing line + gelinotte birdcall + waldteufel
- Violin 1 + metal mute + 2 circular, metal paperclips + 2 metal thimbles
- Violin 2 + metal mute + 2 circular, metal paperclip + 2 metal thimbles
- Viola + wooden mute + 2 metal thimbles
- Cello + wooden mute + 2 metal thimbles + spring-drum shared with the Double Bass
- 5-string double bass (5th string tuned one octave below) + ordinary mute + low spring-drum
161
All performers
Accidentals apply only to those notes before which they are placed, with the exception of repeated notes.
Winds and Brass
Waldteufel: this instrument is played in two ways.
Sound 1: The thread has to be tight and it has to move in circle [watch the video in the Explanatory-Files folder].
Sound 2: The thread has slide on the skin of the instrument [watch the video in the Explanatory-Files folder].
Gelinotte (grouse) Birdcall: it can be purchased here:
http://www.qbc.fr/index.php?cPath=23_21&osCsid=4cb45019efa6d2cff5c3cf7396045f26.
Preparation of the bass clarinet: cover the bell of the clarinet with a stiff sheet of paper — a laminated A4 sheet is suitable — fixed with a
bulldog clip. The sonic result is low buzzing sound.
Brass: the three musicians need to have a table in front of them where to put the objects that they have to use.
Piano and Percussions
Position of the 2 percussionists: the first percussionist has to be close to the strings in the higher register ; the second percussionist has to be
close to the strings in the lower register.
Preparation: Put some tape on last fifth (f-c) in the high register to damp the strings.
Magnets: (5 Neodymium Cylinder: 60mm height, 12mm diameter): position the magnets on the indicated strings in the image. Lightly touch
the tip of the magnets and let vibrate (tremolo effect).
Vibrator: put a vibrator on the last two strings of the piano in the low register — cover with tape in order to damp a bit the vibration. The
vibrator has to capable of very low power settings. Suggested brand:
http://www.amazon.com/gp/product/B00GL50RI8?psc=1&redirect=true&ref_=oh_aui_detailpage_o00_s00
Pata-fix: check the image on the following page to understand where to put the pata-fix. For the natural harmonics, here is where the pata-fix
has to be put.
Strings
Violins 1-2: Prepare the strings 1 and 2 XJUIDJSDVMBSQBQFSDMJQT POF"45BOEPOF.41
Left hand pressure
Right hand pressure: = presque pas de pression
162
Damp the strings and play with a very slow speed of the bow. The sound must be broken, perforated, with
small silences inside. One grain at the time.5IFUISFFMJOFTSFQSFTFOUUIFSFHJTUFSPGUIFWJPMJO MFGUIBOE
IJHI
NFEJVN
MPX
AST = alto sul tasto
T = al tasto
PO = posizione ordinaria
SP = sul ponticello
MSP = molto sul ponticello
MV = molto vibrato
V = vibrato
NV = non vibrato
l.b. = legno battuto
c.l.t. = col legno tratto
1/2 = 1/2 legno
Laptop performer/Percussionist 2
The laptop performer (conductor, or other musicians) should have a laptop running a patch for Cycling 74’s Max software connected to an
audio interface with at least 5 analog outputs. Four transducers/vibration speakers (suggested brand: http://amzn.to/2jJNx1H) will be attached
with pata-fix at the base inside the singing bowls 1-2-3 and directly to the piano strings (check the image on the following page).
Numbers above the stave indicate that a change in the transducers should be triggered by hitting the laptop’s spacebar. The cue numbers
match bar numbers, so for example the first cue of the piece is number 1, the second 10, etc.
Instructions on how to download and use the patch will be found in the package provided by the composer/publisher alongside separated parts
for the musicians, and explanatory audio files and videos.
Amplification: all the instruments have to be amplified.
163
KEY
To be prepared before the start of the piece
singing bowls — the smallest bowl (4)
should be upside down
position of blu-tack in order to produce
a naural harmonic
position of blu-tack in order to damp
the string
to audio magnets
interface
T 1 fork, inserted between the strings
tape
T
fishing line
T
transducers, connected to audio
interface
2
T
ebow (precise string unimportant)
Objects to be added during the piece
vibrator wrapped in tin foil
4
2
STEINWAY D
164
to Wilhem Latchoumia, Claudio Bettinelli, and Roméo Monteiro
paw-marks in wet cement (ii)
for piano, 2 percussions, and amplified ensemble
Score in C
Clara Iannotta
= 50
_____ (2015–17)
5
‰ œœ
4
Flute & =
& Ó Ó
o3
Clarinet 1 & CLARINET
& ‰ d œœ œœ
= ˙˙ ..
#
IN B b
o
Clarinet 2 & CLARINET
& Œ
= ‰ . d b œœ œœ ˙˙
#
IN B b
o
Horn &
Trumpet &
Trombone
?
CORRUGATED
CONDUIT
5 [breath every time needed. Start/end always
4 $ with a short fade-in/out]
ã ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙.
Perc. 1
: ˙
. . . . . .
[with irregular
ã
bow changes] ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
TAM-TAM
o #
[very small singing bowl upside down: gently, with not too much pressure, slowly
rub it horizontally on the strings in the middle register without touching the strings
where the e-bow is placed.The sonic result is a cluster of high harmonics]
âââ
Y ccccccccccccccc
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
& ˙
Singing bowl
. . . . . .
# (it takes a few seconds for the e-bow to produce a sound)
E-bow
Piano
&
°
[hit the space-bar to trigger
ã
the event numebr 1]
1
#
TRANSDUCERS
o
:[with ˙ . . . . .
Perc. 2 irregular
Œ
Ó
CYMBAL
bow changes]
ã ˙ ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ Ó.
CORRUGATED
CONDUIT $ [breath every time needed. Start/end always o
with a short fade-in/out]
Singing bowls
&
[rub slowly and softly, as legato as possible, with not too much
pressure, the 2 singing bowls on the low strings of the harp]
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
Harp
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
R.H.
L.H.
#
O œ
! " ! " ! simile ( 3)
. . 3
AST
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
5 I —T. . . . . .
3 3
—
* 4 II . . . . . .
. .
METAL
& T
MUTE
# œ 3
Violin 1
o
O
3 3 3
" ! "! " ! "
. . 3
( ) ( ) ( ) ( )
. . . . .
simile
——T —— ——.
3
. .
3 3 3 3 3
3
.
AST
. . . . . . .
. .
II
METAL
* III
&
MUTE
Violin 2 T
o # 3 3 3 3 3 3 3 3
*= always as legato as possible, also the bow changes
[whole-tone artificial harmonic. Try to find the position
˙O ˙O .. ˙O ˙O .. ˙O ˙O .. ˙O ˙O .. ˙O ˙O .. ˙O ˙O ..
WOODEN Ü
B
of the bow that gives you the most sound possible]
MUTE q
Viola
o $
Cello
?
SPRING
DRUM
Double Bass ãS ˙
[very gently shake the spring-drum,
.
producing a quiet, continuous sound] ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( )
o #
165
paw-marks in wet cement (ii)
A = 112
______
7 2 7 3 2 7
U
~ 7"
˙ ˙˙ .. ˙˙ ˙˙ œœ
4 16 8 4 16
& ˙
[breath — white noise]
‰ ‰ Œ
( )
ã
O. O
Flute
" o o p
U
Clarinet 1 & ˙˙ œœ œœ .. #Œ ‰ ‰ Œ
( pp ) o
U
Clarinet 2 & ˙˙ ˙˙ .. œœ œœ ‰ . Ó . ‰ ‰ Œ
( pp ) o
U
MUTE [breath — white noise]
& Ó ‰ ‰ ‰ Œ
SONS BOUCHÉS
3 ( )
Horn ã O. O
œ œ œ ˙ ˙. ˙ ˙. p
!
o
o
+ U
[like a drop of water] [breath — white noise]
Ó ‰ ‰ Œ
( )
Trumpet & WA-WA
=
& œ œ œ ˙ ˙. œœ ã O. O
! p p
MUTE
o o
+ o U
œ. œ ˙. ˙.
[like a drop of water]
? ˙ œœ‰
[breath — white noise]
? Œ
( )
= ã
O. O
Trombone WA-WA
o ! p p
MUTE
2 7 3 2 7
( ppp ) U
~ 7"
o 4 16 8 4 16
[CORRUGATED
CONDUIT]
ã ˙ œ Ó ‰ ‰ Œ [turn off the e-bow,
but leave it on the strings]
Perc. 1
fi ‰ .. U
ã ( ˙) . . . Œ
( ) ( ) ( ) ( ) ( )
[TAM-TAM]
( pp )
o
U
(â ââ)
( Y)ccccc ..
( ) ( ) ( ) ( ) ( )
(Singing bowl)
& ( ˙) ‰ Œ
. . .
( pp )
(E-bow)
Piano
? Ó
( )
?
& = . .
. .
[depress the keys silently to prepare for the III pedal. Try to depress
several keys (not simply a full, big cluster) copprespondent to the
(°)
strings where the singing bowls and transducers are laying]
III °
ã TRANSDUCERS 10 11 TRANSDUCERS
Perc. 2
: fi U
ã ( ˙) . . . ‰ ‰ Œ
( ) ( ) ( ) ( ) ( )
[CYMBAL]
( pp )
(Singing bowls)
& fi
U
Y Y. Y Y. Y Y. Y ..
Harp
Y Y. Y Y. Y Y. Y‰ Œ
R.H.
L.H.
( pp )
( ) O
. 3
[harmonic pressure (left hand)]
( ) ( ) ( ) ( ) ( )
T. .
[almost no pressure of the bow]
. ±± .. 2 ±
3
2 7 3 AST ( ) 7
. 4 ±
( )
. U
~ 7"
. . 4 16 8 16
I
‰ .. Œ
[METAL
& T
MUTE] II
=
&
T
"
( )
Violin 1
( pp )
( )( )
3 3
( ) ( )
3 . . .
3 3 3
3 3
T . . . U
( )
‰ .. Œ
[METAL
& T
MUTE]
Violin 2 ( )
( pp )3 3 3 3 3 3
U
[white noise — play
˙O .. ˙O .. ˙O ..
on the bridge]
B ˙O ˙O ˙O œO ‰ .. Œ
[WOODEN
MUTE] ( )
ã
O. O
Viola
( ppp ) p
c.l.t.
U
I
Ï 6.
AST MSP AST
II
*6 Ï
( ) ( ) ( )
? Ï.
Ï 6 Ï.
high
ã
[register] medium
"
Cello
low Ï
c.l.t.
U
I
Ï 6 . ( Ï)
MSP AST
II
( )
Ï.
( )
Double Bass ã
S ( ˙) .
( ) ( )
Ó
l.v.
ΠDOUBLE
high
[register] medium ã
*6
Ï. Ï.
"
BASS
( pp )
low
*= damp the four strings with the left hand.
166
paw-marks in wet cement (ii)
15 7 2 7 2 2 1 7 3
16 16 16 16 4 4 16 16
ã ( )
O. O
Flute
(p) o
.. ‰.
Clarinet 1 & =
& ‰
˙ œ œ
#
Clarinet 2 &
‰ Œ
( )
ã
[MUTE]
O. O O O
Horn
(p)
o of water]
+[like a drop +[like a dropo of water]
% . % Œ ‰.
[WA-WA
ã ‰ %
MUTE]
Trumpet
O =
& œ œ =
& œ œ
o o p o p
o of water]
+[like a drop o of water]
+[like a drop
% . % Œ œ œ ‰ ‰. œ œ %
[WA-WA
? ?
ã
MUTE]
O = =
Trombone
o o p o p
7 2 7 2 2 1 7 3
16 16 16 16 4 o + o 4
po [soft+ mallet] 16 16
ã ã ‰. œ œ œ œ œ œ ‰
l.v.
% ‰ Œ
[pizz. the string and WA-WA
#
slide the magnet] TUBE
[touch the fork,
>œ YYYY % %
Perc. 1 [pizz. + gliss.]
% % ‰ ‰
let it vibrate]
ã Magnets
ã
>
Magnets
PIANO
>
2 3
ƒ p
(On the strings)
ƒ
2
&
&
b –– –.
b –– – Y.YYYYY
[guiro = glisser on the white
‚ % ‚ % ‰ . YYYYYY
keys with a metal thimble]
Œ % % % YYY ‰ . ‰.
& =
&
Piano
# # F
?
[touch the fork,
% ‰. % % ‰. ‰ % ? ‰. ã % YY‰ ? ‰. ‰.
* Magnets let it vibrate]
= >p =
-‚ ‚ #‚
3
# #- $ œ.
(III °) ° ° °
*= Magnets have to be played always inside the piano
ã 15 TRANSDUCERS
p [soft mallet]
œ-
Perc. 2
ã BASS
ã ‰ ‰.
DRUM
$
& [whistle sound = vertically scrub
% >œ
quickly the string with your nails]
?
Harp
‰ œ ‰. ? Œ
[whistle sound]
l.v.
>
l.v.
=
P> P
>
16 ±± .. ±± ±± 16 ±±
7 2 7 2 2 1 7 3
[METAL
16 16 4 4 16 16
MUTE]
&
( pp )
Violin 1
o
[METAL
&
MUTE]
Violin 2
( )
( )
‰ .. Œ
Mute off
Viola ã O. O O O. O O O
(p)
(c.l.t.)
Ï 6.
MSP AST MSP
Ï. ( )
( ) ( ) ( ) ( )
ã Ï Ï Ï Ï.
Ï 6 Ï. Ï Ï
6. Ï
( pp )
Cello
(c.l.t.) MSP AST
Ï. ( )
( ) ( ) ( )
Ï. 6 Ï.
Ï
ã Ï
Ï.
Double Bass
( pp ) Ï 6. Ï Ï
Ï Ï
167
paw-marks in wet cement (ii)
B
23 2 3 5 2 7 2 1 7
4 16 16 4 16 4 4 16
Flute ã
. ‰. œ ˙ œ
Clarinet 1 & # # =
&
œ ˙ œ
œ. ˙ œ o "
"
Clarinet 2 & =
& # œœ .. œœ ˙˙ œœ
o "
[breath — white noise]
Œ
( ) ( ) ( ) ( )
ã
[MUTE]
ã
O O. O O O. O O O O
Horn
o p o
+ o
[like a drop of water] [breath — white noise]
# ‰.
[WA-WA
# ‰
( ) ( )
&
MUTE]
Trumpet
=
& œ œ ã
O O. O O
o p o p o
+ o
[like a drop of water] [breath — white noise]
? œ œ #
[WA-WA
? ‰ # # Œ
MUTE] ( ) ( )
= ã
O. O O. O O.
Trombone
o p o p o
2 3 5 2 7 2 1 7
po o + o 4
4 16 16 4 16 4
‰. + 16
ã ã œ œ œ œ œ œ ‰
l.v.
WA-WA
"
TUBE
>1 YYYYYY#
Perc. 1 [touch the magnet,
ã
let it vibrate]
ã
[PIANO
(On the strings)] Magnets
p On the keys
On the strings
[guiro = glisser on the white
Y. YYY
>1 YYY ‰
[touch the magnet, keys with a metal thimble]
# –‚ # ‰. b # –‚‚ # ‰ .
&b ‚ # # Œ Œ # YYY
let it vibrate]
YY
=
& Magnets ã
Piano ƒ F
? ? ? ‰ Œ
= =
-‚
" -‚
"
"‚
° ! œ. °
(III °)
ã
p [touch gently the singing bowls
TRANSDUCERS 28
to make them vibrate]
Y|||
Perc. 2 PIANO PIANO
œ-
p [touch gently the singing bowl
Œ ‰ ‰. Œ ‰
(On the strings) (On the strings)
ã
l.v. to make them vibrate]
Y||| ã Y|||
S. bowl 1
ã
BASS
DRUM
!
S. bowl 2
p p
S. bowl 2
&
[whistle sound]
?
Harp
? Œ ‰ œ
>
l.v.
=
P>
O [harmonic pressure (left hand)]
[almost no pressure of the bow]
2 3 5 2 7 ±± 2 ± 1 ± 7
( )
4 ± 4 ±
( )
4 16 16 4 16 AST I
16
‰.
[METAL
II
&
MUTE]
=
&
T
"
Violin 1
o
O
AST
±± ±±
[almost no pressure of the bow] ( )
[METAL I
&
MUTE] II
=
&
T
"
Violin 2
o
Viola ã
(c.l.t.)
6.
AST MSP AST MSP
Ï 6 ( )
Ï
( )
( ) ( ) ( )
Ï Ï
( ) ( )
ã Ï Ï.
Cello Ï 6 Ï
Ï Ï 6. Ï
( pp ) Ï
hair
(c.l.t.)
MSP AST PO
( ) ( )
Ï 6 Ï.
ã .
( ) ( ) [scordatura: the V string should
Ï Ï. Ï t
be tuned one octave lower]
Ï
Ï
œ. œ ˙ œ
Double Bass
6
( pp )
I " " "
II III IV V
168
paw-marks in wet cement (ii)
31 7 2 5 2 1 7 3 2
16 4 8 4 4 16 16 4
œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
( )
ã
( )
ã
Flute RATCHET
[not too fast]
& œ. œ ‰
œ. œ
Clarinet 1
( pp ) o
Clarinet 2 & œœ %Œ
o
[breath — white noise]
‰
( )
ã
[MUTE]
ã O O
Horn
o
+ o
[like a drop of water]
+ o + o + o + o
% % Œ. ‰.
[WA-WA
ã
=
MUTE]
Trumpet & œ œ =
& œ œ œ œ œ œ œ œo
o p p
+ o +œ œo +œ œo +œ œo +œ œo +œ œo %
[like a drop of water]
% œ œ % Œ.
[WA-WA
? ?
ã =
MUTE]
=
Trombone
o p
p o
7 2 5 2 1 7 3 2
16 4 8 4 o + o 4
po [soft+ mallet] 16 16 4
ã ã ‰. œ œ œ œ œ œ ‰
l.v.
WA-WA
#
TUBE
>
[touch the magnet, [pizz. + gliss.]
Perc. 1 [pizz. + gliss.] [touch the fork,
% |% Œ ‰ œ2 Œ % ‰ ‰ ||||‰ Œ
let it vibrate]
ã
let it vibrate]
ã ã
[PIANO
ƒ>
Magnets
3
>
3
(On the strings)]
ƒ ƒ p
2
&
&. –. –.
b –– – b –– – Y.YYYY
.
[guiro]
‚ % % % ‚ % ‰ YYYYY
ã .
YYY ‰ ‰. =
& % ‰ % % % YY ‰ . ‰. =
& b # –‚‚ % % % ‰. Œ
Piano
# # F
?
[touch the fork,
‰. ‰. ? % ‰ ‰ ‰ % ‰. ã % 3 YY‰
? ‰. ‰.
Magnets let it vibrate]
= >p =
#‚ -‚ #‚ ‚ #‚ -‚
$ œ. # $ œ. #- $ œ. #
° ° °
(III °)
ã
p S. bowl 1
TRANSDUCERS
YYYY $p % Œ
œ-
Perc. 2
p PIANO
‰ ‰ % ‰ ‰ YYY œ
BASS
ã
(On the strings)
œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
ã
DRUM
. .
BASS ( )
DRUM
ã
$
RATCHET
p
S. bowl 2 [not too fast]
M
œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
( )
&
( )
WALDTEUFEL
ã
(sound 1)
[whistle sound]
o p
?
Harp
œ
> ‰ Œ
?
=
P>
7 ( )
AST
(AST)
16 ±± .. ±± 2 ± ±± ±± .. 16 ±± ..
( ) 5 ( ) ( ) 2 1 7 3 2 ±
4 ± 8 4 4 16 4 ±
(T)
[METAL
MUTE]
& T
Violin 1
( pp ) o
=
&
o #
( )
(AST) AST
±± .. ±± ±± ±± ±± ±±
( ) ( )
(T) Œ.
[METAL
&
MUTE]
=
&
T
( pp ) #
Violin 2
o o
Viola ã
(c.l.t.)
AST MSP AST MSP AST
6 6 6
( ) ( ) ( ) ( ) ( ) ( )
Ï Ï
Ï. Ï
ã Ï. Ï.
Ï
Ï 6 Ï.
Ï
Cello
Ï Ï 6. Ï
( pp )
t
œ. œ ˙ œ œ. ˙ œ œ. œ œ. ˙
Double Bass
( pp )
169
paw-marks in wet cement (ii)
C
39 3 2 3 2
8 4 4 4
Flute ã ( ˙)YYYYYYYYYYYYYYYYYYYY % . % ‰ .
(p)
Clarinet 1 &
Clarinet 2 &
% . % ‰ .
ã
[MUTE]
O O
Horn
p
[WA-WA
&
MUTE]
Trumpet
?
[WA-WA
MUTE]
Trombone
3 2 3 2
8 4 4 4
ã prepare for the birdcall (gelinotte)
Perc. 1
ã
&
–. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –. –.
& =
& ‰. ‰ % % % % % % ‰. % ‰ % % % % ‰. % % ‰ ‰ % ‰. %
Piano #
? ? ‰ ‰ .
=
#‚
œ
$.
(°)
(III °)
ã TRANSDUCERS 40
Perc. 2
ã ( ˙)YYYYYYYYYYYYYYYYYYYYY % . % ‰ . prepare for the birdcall (gelinotte)
M ã ( ˙)YYYYYYYYYYYYYYYYYYYYY % . % ‰ .
(p)
?
Harp
( )
±± 3 ±
(AST)
2 3 2
8 ± 4 4 4
% . % ‰ .
[METAL
& T
MUTE] ) (
( pp )
Violin 1 Mute off
((AST))
±± ±±
% . % ‰ .
[METAL
& T
MUTE] ( )
( pp )
Violin 2 Mute off
Viola ã
(c.l.t.)
MSP
( )
. .
ã
Cello
Ï% %‰
( pp )
t % . % ‰ .
˙ œ
Double Bass
( pp )
170
paw-marks in wet cement (ii)
D E = 96
_____
48 3 3 2
L ˆ
[blow and cover/uncover the end of the instrument
‰ œæ
16 8 4 with one finger (like a wa-wa mute)]
Flute ã GELINOTTE ã Œ
[son fendu]
o 3
?
Clarinet 1 & BASS
=
˙
CLARINET
#
[son fendu]
?
Clarinet 2 & BASS
CLARINET = ˙
#
ã ã Œ ‰ œ ˙ ˙
[MUTE]
Horn POLYSTYRENE
o3 # f
+ o
[like a drop of water]
‰ ‰ ˙ ˙
[WA-WA
& =
MUTE]
ã
& œœ
Trumpet POLYSTYRENE
o p o f
+ o
[like a drop of water]
? œœ‰ ‰ ˙ ˙
[WA-WA
?
=
MUTE]
Trombone
ã
o p
POLYSTYRENE
o f
3 3 2
16 8 4 po + o + o
ã ã ‰. œœœœœ œ ‰ Œ
l.v.
WA-WA
#
TUBE
% >3 YYYYY
Perc. 1 [touch the fork,
‰ ‰ % ‰. Œ
let it vibrate] [pizz. + gliss.]
ã PIANO
ã
(On the strings)
>p
p
1
L æˆ
[blow and cover/uncover the end of the instrument
(&) –. –. –. –. –. –. –. –. –. –.
with one finger (like a wa-wa mute)]
o
b ––
%. % ‰ . %. ‰ ‰ ‚ ‰ ˙
& ‰ % % % ‰
GELINOTTE
㠜
[turn on the e-bow]
( pp ) #
E-bow
> YYY
Piano [touch the magnet,
? ? Œ Œ ‰ %
let it vibrate]
?
Magnets
= ã
-‚ #‚
2
# p
° $ œ. °
(III °)
ã 52 TRANSDUCERS
p [touch 57
to make them vibrate]
gently the singing bowls
Y||| l.v. ‰ œ-
p
Perc. 2 BASS
Y|| ‰
㠌
S. bowl 1 DRUM
ã
$
S. bowl 2
p
PIANO
(On the strings)
ã
[whistle sound]
?
Harp
? œ ‰ Œ
= >
P>
3
16
3
8
2
4 III ±±
&
IV
Violin 1
=
&
#
III ±±
&
IV
Violin 2
=
&
#
±± .. ±± ±± ±± ±±
( )
I
ã
II
B
Viola
= #
o #
hair
±±
?
III
?
IV
Cello
=
#
±
t
V
t Œ ‰
3
Double Bass
= œ ˙ ˙
o $ f
171
paw-marks in wet cement (ii)
= 60
_____
58
(L æ ˆ)
ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
[GELINOTTE]
Flute
p
,
?
‰
[BASS
CLARINET]
Clarinet 1
˙ ˙ ˙ ˙ œ œ
P ! P ! o
,
?
‰ .
[BASS
CLARINET]
˙ ˙ ˙ œ œ
Clarinet 2
P ! P ! o
ã ˙ ˙ ˙ ˙ œ œ œ ‰ Œ
[POLYSTYRENE]
Horn
! f ! f ! 3 o
ã ˙ ˙ œ œ ‰
[POLYSTYRENE]
Trumpet
! f ! o
ã ˙ ˙ ˙ ˙ ˙ œ œ œ ‰. Œ
[POLYSTYRENE]
Trombone
! f ! f ! o
[blow and cover/uncover the end of the instrument
L æˆ
with one finger (like a wa-wa mute)]
ã ‰ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
GELINOTTE
Perc. 1 o p
ã
(L æ ˆ)
p
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
ã ( œ)
[GELINOTTE]
( pp )
(E-bow)
Piano
(°)
°)
(III
ã TRANSDUCERS
L æˆ
[blow and cover/uncover the end of the instrument
Perc. 2 with one finger (like a wa-wa mute)]
ã Œ ‰ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
GELINOTTE
o p
[blow and cover/uncover the end of the instrument
L æˆ
with one finger (like a wa-wa mute)]
‰ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
ã ã
GELINOTTE
o
?
Harp
±± ±± ±± ±± ±± ±±
Violin 1 & METAL
f ! f ! o
MUTE
±± ±± ±±
( )
±±
( )
±±
Violin 2 & ‰ Œ METAL
f ! o
MUTE
±± ±± ±± ±± ±± ±± ±±
Viola B
f ! f ! o
±± ±±
Cello
?
f ! o
±
t ‰
˙ ˙ œ œ
Double Bass
! f ! o
172
paw-marks in wet cement (ii)
67 5
(L æ ˆ) 4
ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
[GELINOTTE]
Flute
(p)
Clarinet 1
? ã
?
Clarinet 2 ã
Horn ã
Trumpet ã
Trombone
ã
5
(L æ ˆ) 4
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
[GELINOTTE] ã
Perc. 1 (p)
ã
(L æ ˆ)
(p)
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
ã ( ˙)
[GELINOTTE]
( pp )
(E-bow)
Piano
?
(°)
ã TRANSDUCERS
(L æ ˆ)
Perc. 2
ã ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
[GELINOTTE]
(p) o
(L æ ˆ)
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
[GELINOTTE] ã
(p)
?
Harp
5
[METAL 4
&
MUTE]
Violin 1
[METAL
&
MUTE]
Violin 2
Viola B
Cello
?
t
Double Bass ã
173
paw-marks in wet cement (ii)
F = 56
_____
75 5
4 (L æ ˆ)
˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙. Ó
[breath every time needed. Start/end always with a short fade-in/out]
ã
[GELINOTTE]
Flute
(p) o
POLYSTYRENE with WIREBRUSH
˙
[using the wirebrush, slowly start to scrap the polystyrene.
ã . . . . . .
The sonic result is a very crunchy sound (check video)] ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 1
p
POLYSTYRENE with WIREBRUSH
˙
[using the wirebrush, slowly start to scrap the polystyrene.
ã . . . . . .
The sonic result is a very crunchy sound (check video)] ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 2
Horn ã
Trumpet ã
M Ó
( )
˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
ã .
very slow not too fast
Trombone WALDTEUFEL
ã
p
(sound 1)
5
4 (L æ ˆ) [breath every time needed. Start/end always
˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. Ó ‰ œ ˙
[breath every time needed. Start/end always with a short fade-in/out]
ã
with a short fade-in/out]
CORRUGATED
ã
[GELINOTTE]
(p)
CONDUIT
Perc. 1 o o
Ó ‰ œ
: [with irregular
ã ã
bow changes]
TAM-TAM
o
(L æ ˆ)
[very small singing bowl upside down: gently, with not too much pressure, slowly
rub it horizontally on the strings in the middle register without touching the strings
(p) o #
where the e-bow is placed.The sonic result is a cluster of high harmonics]
o
âââ
˙ ˙. ã
ΠY ccccccccc
( ) ( ) ( ) ( ) ( ) ( )
( ˙)
Singing bowl
. . . . . .
[GELINOTTE]
( pp )
(E-bow)
Piano
(°)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
ã 75
#
TRANSDUCERS
:[with irregular o
˙ . .
Perc. 2 bow changes]
ã
ã ˙ ˙. ˙ ˙.
CYMBAL
CORRUGATED
ã
o $
CONDUIT
[breath every time needed. Start/end always
with a short fade-in/out]
(L æ ˆ)
Singing bowls
ã ˙ ˙. ˙ ˙. ˙. Ó
[breath every time needed. Start/end always with a short fade-in/out]
[rub slowly and softly, as legato as possible, with not too much
[GELINOTTE] pressure, the 2 singing bowls on the low strings of the harp]
(p) o
? Y Y. Y Y.
Harp
Y Y. Y Y.
R.H.
L.H.
O œ
#
! " ! " ! simile( 3)
o
. . 3
AST
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
5 I —T. . . . . .
3 3
[METAL 4 II — . . . . . . . .
& T
MUTE]
Violin 1
o # 3 3
O œ
AST 3 3
" ! "! " ! " simile
.
( ) ( ) ( )
—T — ——. 3 . . . 3 .
3
.
3 3 3
— — .
3
. . . . .
.
II
[METAL III
&
MUTE]
Violin 2
=
& T
o # 3 3 3 3 3 3 3
Viola B [put down the bow and prepare the
2 thimbles on the right hand's finger]
Cello
? [put down the bow and prepare the
2 thimbles on the right hand's finger]
SPRING
DRUM
Double Bass
S
ã ˙
[very gently shake the spring-drum,
.
producing a quiet, continuous sound] ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( )
o #
174
paw-marks in wet cement (ii)
G
81
( ) ( ) ( ) ( )
ã Œ œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
. . . . .
RATCHET very slow not too fast
Flute
[POLYSTYRENE with WIREBRUSH]
ã ( ˙) . . . . . .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 1
(p)
[POLYSTYRENE with WIREBRUSH]
ã ( ˙) . . . . . .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 2
(p)
Horn ã
Trumpet ã
M
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. . . . . .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Trombone
(p)
[CORRUGATED
ã ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙.
∏
CONDUIT]
Perc. 1
ã ( ˙) . . . . . .
( )
[TAM-TAM]
π
( pp ) )
(â ââ
( Y)
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
ã ( ˙)ccccccccccccccc
(Singing bowl)
. . . . . .
( pp )
(E-bow)
Piano
(°)
ã
( pp )
TRANSDUCERS
( Y) . . . . . .
Perc. 2
ã ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙. ˙ ˙.
[CYMBAL]
[CORRUGATED
∏
CONDUIT]
Singing bowls
ã
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
Harp
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
R.H.
L.H.
( pp )
( )
. .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
T. 3 . . . 3 .
3 3
. .
( )
. . . . .
‰Œ
[METAL
&
MUTE] [mute off; remove preparation;
T
( )
Violin 1
( pp )
put down the bow and prepare the
o
2 thimbles on the right hand's finger]
3 3 3 3
( )
.
( ) ( ) ( ) ( ) ( ) ( )
T. . . . . .
( )
3 3 3 3 3 3
3 3 3
.
3 3
. . .
( )
[METAL
. . . . .
&
MUTE]
Violin 2 T ( )
( pp ) 3 3 3 3 3 3
poco SP
3 3 3 3 3
Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± ±± .. ±± ±± .. ±± ±± ..
2 fingers
(thimble)
I
B
II
Viola
=
&
p poco SP
Y. Y.
±± ..
2 fingers
(thimble)
?
I
? Ó
II
Cello
= p
Double Bass
S
ã ( ˙) .
( ) ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( )
( pp )
175
paw-marks in wet cement (ii)
87
( ) ( )
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Flute . . . . . . .
[POLYSTYRENE with WIREBRUSH]
ã ( ˙) . . . . . . .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 1
(p)
[POLYSTYRENE with WIREBRUSH]
ã ( ˙) . . . . . . .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 2
(p)
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
[tap irregularly on the metal pot
Y. Y. Y. Y. Y. Y.
METAL POT
Y Y Y Y Y Y
with 3 fingers (with the thimbles)]
ã ã
3 fingers
Horn (with thimble)
o π
Y. Y Y.
[tap irregularly on the metal pot
METAL POT
Ó Y. Y Y.
with 3 fingers (with the thimbles)]
ã ã
3 fingers
Trumpet (with thimble)
o π
M
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. . . . . ‰ Ó Œ
( ) ( ) ( ) ( ) ( ) ( ) ( )
Trombone
(p) o
[CORRUGATED
ã ˙ ˙. ˙ ˙. ˙ ˙. ˙ Ó.
( ppp )
CONDUIT]
Perc. 1 o
ã ( ˙) . . . . . . .
( )
[TAM-TAM]
( pp ) o
( pp ) ) ( )
(â o
ââ
( Y)ccccc
( ) ( ) ( ) ( )
ã ( ˙)
(Singing bowl)
. . . . . . .
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
( pp )
(E-bow)
Piano
(°)
ã o
( pp )
TRANSDUCERS
. . . . . Ó.
( ) ( ) ( )
( Y)
Perc. 2
ã ˙ ˙. ˙ ˙. ˙ ˙. ˙ Ó.
[CYMBAL]
[CORRUGATED
∏ o
CONDUIT]
Singing bowls
ã
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
Harp
Y Y. Y Y. Y Y. Y Y. Y Y. Y Y.
R.H.
L.H.
o
( pp )
SP T
Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± ±± .. ±± ±± ±± ..
2 fingers
(thimble)
. .
I
&
II
Violin 1
=
&
p
( ) T
.
( ) ( )
T. .
( )
Y Y.
3
. Y Y.
3 3 3
.
2 fingers
±±
( )
. . .
(thimble)
.
[METAL I
&T Œ Ó Œ
MUTE] II
=
[mute off; remove preparation;
&
( )
p
Violin 2 put down the bow and prepare the
( pp ) o
2 thimbles on the right hand's finger]
3 3 3 3
(SP) T
Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± ..
2 fingers
(thimble)
&
(p)
Viola
(T) SP T
Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± ..
2 fingers
? ±
(thimble)
(p)
Cello
Double Bass
S
ã ( ˙) .
( ) ( )
.
( ) ( )
.
( ) ( )
.
( ) ( )
.
( ) ( ) ( )
.
( )
.
( )
l.v.
( pp ) o
176
paw-marks in wet cement (ii)
H = 112
______
94 5 4 2 7 3
( ) ( ) 8 8 8 16 16
ã ( ˙)
( ) ( )
.
( ) ( ) ( ) ( ) ( ) ( ) ( )
. . . .
YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Flute
[POLYSTYRENE with WIREBRUSH]
ã ( ˙)
( )
.
( ) ( ) ( ) ( )
. . .
( ) ( ) ( ) ( ) ( )
Clarinet 1
(p) o
[POLYSTYRENE with WIREBRUSH]
ã ( ˙) Œ
( )
.
( ) ( ) ( ) ( )
. . . .
( ) ( ) ( ) ( ) ( )
Clarinet 2
(p) o
Y Y. Y Y. Y Y. Y Y. Y Y Y. . Y
ã Y Y. Y Y. Y Y. Y Y. Y Y Y Y‰
[METAL POT]
Horn
( pp ) o
Y Y. Y Y. Y Y. Y Y. Y
ã Y Y. Y Y. Y Y. Y Y. Y
[METAL POT]
Trumpet
( pp ) o
Trombone
ã
5 4 2 7 3
8 8 o + o 8
po [soft+ mallet] 16 16
ã WA-WA
ã ‰. œ œ œ œ œ œ l.v.‰
#
TUBE
Perc. 1
ã
&
&. –. –.
b –– – b –– –
‚% %% ‚ %‰ % .
On the keys
ã ( ˙) . . . %‰ %
( ) ( ) ( ) ( ) ( )
&
# #
(E-bow)
Piano ( pp )
?
[touch the fork,
? ‰. ã % 3 YY‰
?
Magnets let it vibrate]
= >p
-‚
#
‚
#-
(°) °
ã [touch gently the singing bowl
PIANO to make them vibrate]
YYYY‰
(On the strings)
Perc. 2
S. bowl 1
ã ã
p
?
Harp
(T) 5 SP
4 2 7 3
2 fingers Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
8 Y Y Y. Y.
8 Y Y
8 Y Y
16 Y. Y. Y Y
16
±± ±± ±± .. ±± ±± .. ±± ±± ±± .. ±±
(thimble)
& . .
(p)
Violin 1
(T) SP
Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y Y Y. Y. Y Y
±± ±± .. ±± ±± .. ±± ±± ±± .. ±±
2 fingers
(thimble)
Violin 2 & . .
(p) SP
2 fingers Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y Y Y. Y. Y Y
±± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±± ±± .. ±±
(thimble)
&
(p)
Viola
SP T SP
Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y. Y. Y Y Y Y
± ±± .. ±± ±± .. ±± ±± .. ±± ±± .. ±± ±±
2 fingers
? ±
(thimble)
(p)
Cello
o
t
Double Bass ã
177
paw-marks in wet cement (ii)
101 3 4 3 3
16 8 16 8
( œ . )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( ) ( ) ( ) ( )
. . .
( ) ( ) ( ) ( ) ( )
ã
Flute
Clarinet 1 ã
Clarinet 2 ã
Y. Y. Y.
[tap irregularly on the metal pot
Y. Y. Y.
METAL POT with 3 fingers (with the thimbles)]
ã ã
3 fingers
Horn (with thimble)
o #
Y.
[tap irregularly on the metal pot
Y.
METAL POT with 3 fingers (with the thimbles)]
Trumpet ã 3 fingers
(with thimble)
Trombone
ã
3 4 3 3
16 8 16 8
ã
% >3 YYYYY
Perc. 1 [pizz. + gliss.] [touch the fork,
%
let it vibrate]
ã
PIANO
PIANO
ã
(On the strings)
>
(On the strings)
ƒ p
Magnets 2
&
–. –. –. –. –. –. –. –. –. –. –. –. –.
b ––
& b # –‚‚ % % %. % ‰. ‰ % % %. % ‰. %. ‰ ‰ % ‰ ‚ ‰
#
Piano
? ‰ ?
= ã
#‚ ‚ -‚
$ œ. #- #
(°) °
ã p [touch gently the singing bowls
to make them vibrate]
PIANO
Y|||| l.v.
œ-
Perc. 2
p [soft mallet] (On the strings)
BASS
ã % S. bowl 1
ã Y||| ‰
DRUM
$
S. bowl 2
?
Harp
3 (SP) 4 3 3
16 Y. Y. Y. Y.
8 Y Y Y Y Y Y Y Y
16 Y. Y. Y. Y.
8 Y. Y.
±± .. ±± .. ±± ±± ±± ±± ±± .. ±± .. ±± ..
2 fingers
(thimble)
Violin 1 &
(p)
(SP)
Y. Y. Y. Y. Y Y Y Y Y Y Y Y Y. Y. Y. Y. Y. Y.
±± .. ±± .. ±± ±± ±± ±± ±± .. ±± .. ±± ..
2 fingers
(thimble)
Violin 2 &
(p)
(SP)
Y. Y. Y. Y. Y Y Y Y Y Y Y Y Y. Y. Y. Y. Y. Y.
±± .. ±± .. ±± ±± ±± ±± ±± .. ±± .. ±± ..
2 fingers
(thimble)
Viola &
(p)
Cello
?
t
V
œ. œ. ˙ ˙ ˙ ˙ œ. œ. œ.
Double Bass
178
paw-marks in wet cement (ii)
I = 56
_____
110 2 5
4 4 U
~ 8-10"
ã ( œ .)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
Flute . . .
U
POLYSTYRENE with WIREBRUSH
˙
( ) ( ) ( ) ( ) ( ) ( ) ( )
Clarinet 1 ã ã . . .
o p
U
POLYSTYRENE with WIREBRUSH
˙
( ) ( ) ( ) ( ) ( )
Clarinet 2 ã ã . . .
o p
Y. Y. Y
Y Y Y
Y.
Y. Y Y
Y.
Y. Y Y
Y.
Y. U
ã
[METAL POT]
Horn
( pp )
Y. Y Y Y. Y Y. Y Y. U
ã Y. Y Y Y. Y Y. Y Y.
[METAL POT]
Trumpet
"
Y Y Y. Y Y. Y Y. U
[tap irregularly on the metal pot
Y Y Y. Y Y. Y Y.
METAL POT with 3 fingers (with the thimbles)]
Trombone
ã 3 fingers
(with thimble) ã
o "
2 5
4 4 U
~ 8-10"
ã
Perc. 1
ã ‰ ‰ # ‰. Œ
[pizz. + gliss.]
>p
1
U
&
> YYYY
Piano [touch the magnet,
ã Œ ‰ . Œ Ó.
let it vibrate]
?
Magnets
=
"‚
2
p
! œ.
(°)
U
ã
œ- ‰ Œ
Perc. 2
p
ã ã Ó.
BASS
DRUM
U
ã
?
Harp
(SP) 2 5
Y. Y.
4 Y Y
4 Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± .. ±± ±± ±± .. ±± ±± .. ±± ±± ..
2 fingers
(thimble)
U
~ 8-10"
&
(p)
Violin 1
(SP)
Y. Y. Y Y Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± .. ±± ±± ±± .. ±± ±± .. ±± ±± ..
2 fingers
(thimble)
U
&
(p)
Violin 2
(SP)
Y. Y. Y Y Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± .. ±± ±± ±± .. ±± ±± .. ±± ±± ..
2 fingers
(thimble)
U
&
(p)
Viola
SP
2 fingers Y Y Y Y Y. Y. Y Y Y. Y. Y Y Y. Y.
±± ±± ±± .. ±± ±± .. ±± ±± ..
(thimble)
? U
I
II
Cello
=
&
o p
t U
‰ .. Œ Ó.
(V)
œ. ˙ œ
Double Bass
( ppp )
179
paw-marks in wet cement (ii)
J = 60
_____ K = 56
_____
116 ~5" ~5" 3
(~ 20") 4
ã œ œ œ œ ˙. ˙.
BUZZING BOW âââ (~ 5") (~ 10") simile (~ 15")
Flute
Clarinet 1 ã
Clarinet 2 ã
Horn ã
Trumpet ã
Trombone
ã
~5" ~5" simile 3
(~ 5") (~ 10") (~ 15") (~ 20") 4
ã [turn off the e-bow]
Perc. 1
ã
[block the resonance-pedal of the piano so that
is always ON. You can use, for example, a pen
stuck in the back of the pedal or a heavy brick]
&
[put gently the vibrator on the last 2-3 strings in the low register. The sonic result
Piano
? position
should be a low halo-sound. Take all the time you need in order to find the right
œ
of the vibrator on the strings]
VIBRATOR
o !
°
ã 116 TRANSDUCERS
Y. Y.
Perc. 2
PIANO
ã
(On the strings)
Y.
R.H.
Ó.
Singing bowls
!
[rub slowly and softly, as legato as possible, with not too L.H.
much pressure, the singing bowls 1-2 along the strings] o
?
Harp
~5" ~5" 3
(~ 5") (~ 10")
simile
(~ 15") (~ 20") 4
Violin 1 &
Violin 2 &
Viola &
Cello
?
Double Bass
t
180
paw-marks in wet cement (ii)
122 [BUZZING BOW]
ã ˙. ˙. ˙. ˙. ˙. ˙.
(â ââ)
Flute
(p)
Clarinet 1 ã
Clarinet 2 ã
Horn ã
Trumpet ã
Trombone
ã
ã
Perc. 1
&
Piano
[VIBRATOR]
? ( ˙ .)
( pp )
(°)
[blocked by the percussionist 1]
ã TRANSDUCERS
Y. Y. Y. Y.
Perc. 2
Y Y Y Y
Y. Y. Y. Y. Y Y Y Y
R.H.
(Singing bowls) ( ) ( )
( pp )
L.H.
?
Harp
Violin 1 & METAL [prepare the strings 1-2 with circular
MUTE paperclips, exactly like at the beginning]
Violin 2 & METAL [prepare the strings 1-2 with circular
MUTE paperclips, exactly like at the beginning]
Viola &
Cello
?
Double Bass
t
181
paw-marks in wet cement (ii)
L
128 [BUZZING BOW]
ã ˙. ˙. ˙. ˙. ˙. ˙.
(â ââ)
Flute
(p)
Clarinet 1 ã
Clarinet 2 ã
[breath every time needed. Start/end always
Ó ‰ œ ˙. ˙. ˙.
with a short fade-in/out]
ã CORRUGATED
ã
Horn
CONDUIT
o #
Trumpet ã
Trombone
ã
ã
PIANO
(On the strings) Fishing-line ã Œ ˙! "˙ simile
œ!
Perc. 1 o p
ã
Y. Y. Y Y Y.
[move vertically, along the strings, the singing bowl using almost no pressure]
& Singing bowl (3) ã
Piano o p ( )
[VIBRATOR]
? ( ˙ .)
( pp )
(°)
ã TRANSDUCERS
Y. Y. Y.
Perc. 2
Y Y Y Y Y Y
Y Y Y. Y. Y. Y Y Y Y
R.H.
[PIANO
(On the strings)] ( ) ( ) ( )
L.H.
( pp )
?
Harp
AST
" "
( )
! ± !
( ) ( )
± !
± ±
[almost no bow-pressure]
( )
O)
O + + OO +O
[METAL I
+T
O +O
&
(
MUTE]
Violin 1
=
& +
II To #
AST
! !
[almost no bow-pressure]
±T. " ±. "
[METAL
I
±. ±.
& + OO .. + OO ..
II
+ +
MUTE]
=
&
Violin 2 T
o #
Viola &
Cello
?
Double Bass
t
182
paw-marks in wet cement (ii)
M
134 [BUZZING BOW]
ã ˙. ˙. ˙. ˙. ˙.
(â ââ)
Flute ˙ œ
(p) [cover the bell of the clarinet with a stiff sheet of
paper (laminated A4 sheet) fixed with a bulldog clip]
ã ? Ó ‰
3
=
BASS
œo
Clarinet 1
CLARINET
[cover the bell of the clarinet with a stiff sheet of
Ó ‰
paper (laminated A4 sheet) fixed with a bulldog clip]
?
ã
3
=
BASS
Clarinet 2
œo
CLARINET
ã ˙. ˙. ˙. ˙. ˙. ˙ œ
[CORRUGATED [breath every time needed. Start/end always with a short fade-in/out]
CONDUIT]
Horn
( pp )
Trumpet ã
Trombone
ã
"˙ ˙! "œ ˙! "˙ œ! "˙ ˙! "œ
ã œ œ œ
Fishing-line
[PIANO
(On the strings)]
Perc. 1 (p)
ã
˙. ˙.
[turn on the e-bow]
?
=
E-bow
#
& Y. Y Y Y. Y. Y. Y.
Singing bowl (3)
Piano (p) ( )
[VIBRATOR]
? ( ˙ .)
( pp )
(°)
ã TRANSDUCERS
Y. Y. Y.
Perc. 2
Y Y Y Y Y Y
Y Y Y. Y. Y. Y Y Y Y
R.H.
[PIANO
(On the strings)] ( ) ( ) ( )
L.H.
( pp )
Fishing-line (bow the string)
ã & b˙.
= ˙.
#
?
Harp
" " " "
±
±
±
( )
±
! !
( )
!
( )
± ± ± ±
( )
( )
+ + OO + + OO +O
[METAL
& +O
MUTE]
Violin 1
( pp )
! ! !
±. " ±. " ±. "
[METAL ±. ±. ±.
& + OO .. + OO .. + OO ..
+ + +
MUTE]
Violin 2
( pp )
Viola &
Cello
? Tail piece
Ó ‰ œ
:
o 3
t
T
= Ó ‰
t
V
3
œ
Double Bass
183
paw-marks in wet cement (ii)
140
ã œ œ ‰ Œ
[BUZZING BOW]
&
o
Flute
? Œ
[BASS
CLARINET]
&
˙ œ ˙. ˙
Clarinet 1
# o
? Œ
[BASS
CLARINET]
Clarinet 2 &
˙ œ ˙. ˙
# o
[MUTE
.
[CORRUGATED
˙ Œ ‰ Œ
SONS BOUCHÉS]
ã
CONDUIT]
Horn
=
&
˙. œ œ
HORN
o
$ o
[WA-WA
+ o + o + o + o + o
+ o
‰. Œ
MUTE]
Trumpet ã TRUMPET
= & œ
œ œ œ œ œ œ œ œ œ œ œ œ. œ o
$
o + o + o + o + o + o
? œ œ œ œ œ œ œ œ œ œ œ œ ‰.
[WA-WA
㠌
MUTE]
=
Trombone
o
TROMBONE
œ ˙! "˙ œ! œ "˙ ˙! "œ œ ˙! "˙ œ!
Fishing-line
[PIANO
(On the strings)] ã
Perc. 1 (p)
ã
? ˙. ˙. ˙. ˙. ˙. ˙.
( pp )
(E-bow)
& Y Y Y. Y. Y Ó
( )
Piano
(p) o
[VIBRATOR]
? ( ˙ .) ( )
( pp )
(°)
ã TRANSDUCERS
Y. Y. Y. Y. Y.
Perc. 2
Y Y
Y Y Y. Y. Y. Y. Y.
[PIANO R.H.
(On the strings)] ( )
L.H.
( pp )
(Fishing line)
& ˙. ˙. ˙. ˙. ˙. ˙.
( pp )
?
Harp
"
" " " œ œ œ
± ± ! ± ! = ±
&
!
( ) ( )
!
( ) ( )
± ± ±
+O + + OO +O œ
[METAL
&+ O œ œ œ œ œ +O œ
MUTE]
Violin 1
( pp )
" " !
! ±
( )
±. " ! ±. ! ± ! " "
[METAL ±. ±. ( )
±
& ˙˙ . + Oœ + + OO ˙˙ ++ OO œœ œœ
MUTE]
. œ œ
( pp )
Violin 2
Viola & WOODEN
MUTE
˙ œ ˙. ˙ Œ ?
METAL
MUTE
Cello
# o
t Π?
MUTE
˙ œ ˙. ˙
Double Bass
# o
184
paw-marks in wet cement (ii)
N
œ ˙. ˙ œ œ œ.
146
b œœ ˙˙ .. ˙˙ œœ œœ œœ ..
& Ó %Œ
FLUTE
Flute
o # o
& ˙ œ ˙. œ œ œ ‰
CLARINET
IN B b
?
˙ œ ˙. œ œ œ
Clarinet 1
o # o
CLARINET
& ‰. œœ ˙˙ ˙˙ .. ˙˙ .. œœ œœ ‰ Œ
IN B b
Clarinet 2
?
o # o
[MUTE
& Ó
.
‰ Œ
SONS BOUCHÉS]
Horn & =
œ œ ˙ ˙. ˙. œ œ
o $ o
+ o + o + o + o + o + o
Ó ‰. Œ
[WA-WA
&
MUTE]
Trumpet
=
& œ ˙. œœœœœœœœœœ œ œ œ. œ
o $ o
o + o + o + o + o + o
? ‰ œ œ œ ˙. œœœœœœœœœ œ œ œ ‰. Œ
[WA-WA
?
=
MUTE]
Trombone
o $ o
㠜
"˙ ˙! "œ œ ˙! "˙ œ! œ "˙ ˙! "œ
(Fishing line)
[PIANO
(On the strings)]
Perc. 1 (p)
ã
&- - -
P œ– ‰ . œ– . œ– . œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–-
‰ ‰
Keys
&
‰. Ó ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰.
(E-bow)
Piano œ [take gently the e-bow
[VIBRATOR]
? ( ˙ .)off the strings]
( pp )
(°)
ã TRANSDUCERS
Y. Y. Y.
Perc. 2
Y Y Y Y Y Y
Y. Y. Y Y Y Y Y Y Y.
R.H.
( )
[PIANO
( ) ( )
(On the strings)]
( pp )
L.H.
l.v.
& œ ‰. Ó
?
Harp
" ! "
( )
!
± " ± ± " ±
( )
! ! "
( ) ( ) ( )
± ± ± ( )
±
+ OO +Oœ œ œ +O œ. œ ++O
+ O ..
+
[METAL
& ˙ œ œ œ œ. œ O
MUTE]
Violin 1
( pp )
" ! "
± ± ! ±
! ± ! " ± " ±
( ) ( ) ( )
( )
( )
O ‰.
[METAL
& œœ O
++O
˙˙ + O˙
+ + OO œœ œœ œœ . ++ O
MUTE]
œ .
Violin 2
( pp ) o
( l œœ )
poco SP
lO OȮ OȮ . OȮ . OȮ OO OO .
& Oœ .. .. œ .. %Ó
[WOODEN I
œ
MUTE]
Viola Mute off
II
o # o
?
œ ‰
[METAL AST
IV
˙. ˙ œ ˙. ˙. ˙. ˙
MUTE]
Cello
o $ o
? Ó
T
‰ Œ
IV
t
b œO Ȯ .. Ȯ .. Ȯ œO œO œO
[MUTE]
Double Bass Mute off
o # o
185
paw-marks in wet cement (ii)
152
˙. ˙. ˙. ˙. ˙.
âââ
Flute & BUZZING BOW ã
p
[cover the bell of the clarinet with a stiff sheet of
? Ó
BASS
‰ ‰. Œ
paper (laminated A4 sheet) fixed with a bulldog clip]
CLARINET 3
œ œ œ œ
Clarinet 1
o
[cover the bell of the clarinet with a stiff sheet of
P o
? Ó ‰.
BASS
‰ Œ
paper (laminated A4 sheet) fixed with a bulldog clip]
CLARINET 3
Clarinet 2
œ œ œ œ
o P o
Horn &
Trumpet &
Trombone ?
ã œ ˙! "˙ œ! œ "˙ ˙! "œ œ ˙! "˙ œ!
(Fishing line)
[PIANO
(On the strings)]
Perc. 1 (p)
ã
(&)
œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–-
& ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰. ‰.
Piano
(P)
[VIBRATOR]
? ( ˙ .)
( pp )
(°)
ã TRANSDUCERS
Y. Y. Y.
Perc. 2
Y Y Y Y Y Y
Y. Y. Y. Y Y Y Y Y Y
R.H.
[PIANO
(On the strings)] ( ) ( ) ( )
L.H.
( pp )
&
?
Harp
˙. œ ‰
[METAL
& ˙. œ Ó
MUTE] Mute off
Violin 1
( pp ) o
[METAL
&
MUTE]
Violin 2 Mute off
[WOODEN
&
MUTE]
Viola
œ ‰.
[METAL
Ó ‰ œ œ œ Œ
MUTE] Mute off
Cello
o 3
P o
t Ó
T
‰
V
3
œ œ œ ˙ ˙. ˙. ˙. ˙.
Double Bass
o P $
186
paw-marks in wet cement (ii)
O _____
= 96
158 2
[BUZZING BOW]
4
˙.
fast
(â ââ)
˙ Œ ˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
slow slow
ã
( )
Flute RATCHET ã
(p) o
[son fendu]
, ,
?
[BASS
?
=
CLARINET]
Clarinet 1
˙ ˙ ˙ ˙ ˙
# P # P #
[son fendu]
, ,
?
[BASS
?
=
CLARINET]
˙ ˙ ˙ ˙ ˙
Clarinet 2
# P # P #
˙.
:[with bow]
Horn & POLYSTYRENE ã ˙ ˙ ˙ ˙ ˙
o f # f # f
˙.
:[with bow]
Trumpet & POLYSTYRENE ã ˙ ˙ ˙ ˙ ˙
o f # f # f
Trombone ? :[with bow]
POLYSTYRENE ã ˙. ˙ ˙ ˙ ˙ ˙
o f # f # f
2
4
œ Ó
(Fishing line)
ã
[PIANO
(On the strings)]
Perc. 1
ã Unblock the pedal
of the piano
(&)-
œ– œ–- œ–- œ–- œ–- œ–- œ–-
& ‰. ‰. ‰. ‰. ‰. ‰. ‰. Œ
Piano
(P)
[VIBRATOR]
? ( ˙ .) OFF
( pp ) Take off the vibrator
(°)
from the strings
ã TRANSDUCERS 160
Y. Y.
Perc. 2 Take out all the singing
bowls from the piano
L.H. Y . Y.
R.H.
[PIANO
(On the strings)]
( pp )
&
? M
Harp
WALDTEUFEL ã ˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
f # f # f
(sound 1)
o
2 ± ± ± ± ±
4 ± III
± ± ± ±
&
IV
Violin 1
=
&
# f # f #
I
± ± ± ± ±
Violin 2 & =
&
# f # f #
I ±± ±± ±± ±± ±±
&
II
Viola
=
&
# f # f #
III ± ± ± ± ±
IV ± ± ± ± ±
?
Cello
=
# f # f #
± ± ±
t
(V)
˙. ˙. ˙ ˙
Double Bass
( ppp ) f # f # f
187
paw-marks in wet cement (ii)
165 3 3 2
4 8 4
˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY œ . YYYYYYYYYYYYY
slow fast slow slow fast slow fast fast
˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY ˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
slow slow slow
ã .
( ) ( ) ( )
Flute
, , , ,
?
[BASS
CLARINET]
Clarinet 1
˙ ˙ ˙ ˙ ˙. œ. œ.
P " P " P " P
, , , ,
?
[BASS
CLARINET]
˙ ˙ ˙ ˙ ˙. œ. œ.
Clarinet 2
P " P " P " P
ã ˙ ˙ ˙ ˙ ˙. œ. œ.
[POLYSTYRENE]
Horn
" f " f " f "
ã ˙ ˙ ˙ ˙ ˙. œ. œ.
[POLYSTYRENE]
Trumpet
" f " f " f "
ã ˙ ˙ ˙ ˙ ˙. œ. œ.
[POLYSTYRENE]
Trombone
" f " f " f "
3 3 2
4 8 4
ã
Perc. 1
&
Piano
? ? ‰ ‰ ‰
6 6 6 3
= bœ œ #œ œ nœ bœ œ
œ œ bœ bœ œ bœ œ #œ œ nœ bœ œ
! ƒ
#
°
ã
Perc. 2
&
Harp
M ã ˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( )
˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( )
œ . YYYYYYYYYYYYY
" f " f " f "
3 3 2
4 8 ( ) ( )
4
± ± ± ± ±. ±. ±.
± ± ± ± ±. ±. ±.
Violin 1 &
f " f " f " f
± ± ± ± ±. ±. ±.
Violin 2 &
f " f " f " f
±± ±± ±± ±± ±± . ±± . ±± .
. . .
Viola &
f " f " f " f
±± ±± ±± ±± ±± . ±± . ±± .
. . .
Cello
?
f " f " f " f
± ± ±.
t
˙ ˙ ˙. œ.
Double Bass
" f " f " f "
188
paw-marks in wet cement (ii)
172 2 3 3 4 3
4 4 8 4 4
( ˙)YYYYYYYYYYYYYY ˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY œ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYY w YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
fast slow slow fast slow slow fast slow slow fast slow
ã . .
( ) ( )
Flute
, , ,
?
[BASS
CLARINET]
Clarinet 1
˙ ˙. œ. œ. œ. w w
" P " P " P "
, , ,
?
[BASS
CLARINET]
˙ ˙. œ. œ. œ. w w
Clarinet 2
" P " P " P "
ã ˙ ˙. œ. œ. œ. w w
[POLYSTYRENE]
Horn
f " f " f " f
ã ˙ ˙. œ. œ. œ. w w
[POLYSTYRENE]
Trumpet
f " f " f " f
ã ˙ ˙. œ. œ. œ. w w
[POLYSTYRENE]
Trombone
f " f " f " f
2 3 3 4 3
4 4 8 4 4
ã
Perc. 1
&
Piano
? ? ‰ ‰ ‰ ‰ ‰ ‰
6 6 6 3 6 3 3
= bœ œ #œ œ nœ bœ œ œ bœ œ œ bœ œ nœ œ œ
œ bœ œ bœ œ #œ œ nœ bœ œ œ bœ œ
!
# ƒ # ƒ
° °
ã
Perc. 2
&
Harp
ã ( ˙)YYYYYYYYYYYYYY ˙ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( )
œ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
.
( )
w YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
M
f " f " f " f
2 3 3 4 3
4 4 8 ( ) ( ) ( )
4 4
± ±. ±. ±. ±. ± ±
± ±. ±. ±. ±. ± ±
Violin 1 &
" f " f " f "
± ±. ±. ±. ±. ± ±
Violin 2 &
" f " f " f "
±± ±± . ±± . ±± . ±± . ±± ±±
. . . .
Viola &
" f " f " f "
±± ±± . ±± . ±± . ±± . ±± ±±
. . . .
Cello
?
" f " f " f "
± ±. ±. ±
t
˙. œ. w
Double Bass
f " f " f " f
189
paw-marks in wet cement (ii)
179 3 2 3 3 2 3
4 4 8 4 4 8
( ˙ . )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY œ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
fast fast
˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
slow slow slow slow
.
(slow)
ã
( ) ( ) ( )
Flute
,
?
[BASS
CLARINET]
Clarinet 1
˙. ˙ œ. œ. ˙ œ œ œ ˙ ˙
P ! P !
,
?
[BASS
CLARINET]
˙. ˙ œ. œ. ˙ œ œ œ ˙ ˙
Clarinet 2
P ! P !
[POLYSTYRENE]
Horn ã ˙. ˙ œ. œ. ˙. ˙ ˙ ˙
! f ! f !
ã ˙. ˙ œ. œ. ˙. ˙ ˙ ˙
[POLYSTYRENE]
Trumpet
! f ! f !
[POLYSTYRENE]
Trombone
ã ˙. ˙ œ. œ. ˙. ˙ ˙ ˙
! f ! f !
3 2 3 : 3 2 3
8 œ. œ. 4 ˙. 4 ˙ ˙ ˙
[irregular bow changing]
4 4 8
ã CROTALE
=
&
o p
pr. with tin-foil
Perc. 1
&
Piano
?
(°)
ã
Perc. 2
&
Harp
ã ( ˙ . )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY œ . YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. ˙ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
( ) ( ) ( ) ( )
M
! ! f ! ! f !
3 2 3 3 ( )
2 3
4 4 8 ( ) ( ) 4 4 ( ) ( )
8
±. ± ±. ±. ± ± ± ± ± ±
±. ± ±. ±. ± ± ± ± ± ±
Violin 1 &
f ! ! f !
±. ± ±. ±. ± ± ± ± ± ±
Violin 2 &
f ! ! f !
±± . ±± ±± . ±± . ±± ±± ±± ±± ±± ±±
. . .
Viola &
f ! ! f !
±. ± ±. ±. ± ± ± ± ± ±
±. ± ±. ±. ± ± ± ± ± ±
Cello
?
f ! ! f !
±. ±
t
˙. ˙ œ. ˙. ˙ ˙
Double Bass
! f ! f !
190
paw-marks in wet cement (ii)
P = 56
_____
187 3 2
8 4
( œ .)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
extreme rall. (more silences than sounds)
ã . .
( ) ( )
Flute
? Œ
[BASS
CLARINET]
Clarinet 1
œ. œ. œ. œ
( pp ) P # o
?
[BASS
CLARINET]
œ. œ. œ.
Clarinet 2
( pp ) P # o
ã œ. œ. œ. œ. ‰
[POLYSTYRENE]
Horn
( pp ) f # o
ã œ. œ. œ.
[POLYSTYRENE]
Trumpet
( pp ) f # o
ã œ. œ. œ. œ ‰ Œ
[POLYSTYRENE]
Trombone
( pp ) f # o
3 2
8 œ. œ. œ. 4 ˙ ˙ ˙ ˙ ˙
[irregular bow changing]
[CROTALE
&
(p)
pr. with tin-foil]
Perc. 1
&
Piano
? ? ‰ ‰ ‰
6 3 3
= œ œ bœ œ nœ œ
œ œ bœ œ
&
$ ƒ
°
ã
Perc. 2
&
Harp extreme rall. (more silences than sounds)
ã ( œ .)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
. .
( ) ( )
M
( pp ) f # o
3 2
8 ( )
( ) ( )
4 ( )
±. ±. ±. ±
±. ±. ±. ±
Violin 1 & ΠMETAL
( pp ) f # o
MUTE
±. ±. ±.
& METAL
( pp )
Violin 2
f o
MUTE
±± . ±± . ±± . ±±
. . .
& WOODEN
( pp )
Viola
f # o
MUTE
±. ±. ±. ±
±. ±. ±. ±
? ‰ Œ WOODEN
( pp )
Cello
f o
MUTE
±.
t
œ. œ. ˙
Double Bass MUTE
( pp ) f # o
191
paw-marks in wet cement (ii)
195
Flute ã
Clarinet 1
?
Clarinet 2
?
Horn ã
Trumpet ã
Trombone
ã
˙ ˙ ˙ ˙ ˙ ˙ ˙
[CROTALE
&
(p)
pr. with tin-foil]
Perc. 1
&
Piano
ã
Perc. 2
&
Harp
[METAL
&
MUTE]
Violin 1
[METAL
&
MUTE]
Violin 2
[WOODEN
&
MUTE]
Viola
?
[WOODEN
MUTE]
Cello
[MUTE]
Double Bass
t
192
paw-marks in wet cement (ii)
Q R
202
L æˆ
[blow and cover/uncover the end of the instrument
with one finger (like a wa-wa mute)]
ã ˙ ˙ ˙ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
GELINOTTE
Flute
o #
?
M
ã Œ ‰ œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Clarinet 1 WALDTEUFEL
p
(sound 1)
o
L æˆ
[blow and cover/uncover the end of the instrument
with one finger (like a wa-wa mute)]
? ‰ œ œ ˙ ˙ ˙ ˙
[breath every time needed. Start/end always with a short fade-in/out]
ã
Clarinet 2 GELINOTTE
o #
M Œ œYYYYYYYYYYY
Horn ã WALDTEUFEL ã
o
(sound 1)
Trumpet ã
Trombone
ã
˙ ˙ ˙ ˙ ˙ ˙ ˙
[CROTALE
&
(p)
pr. with tin-foil]
Perc. 1
&
Piano [scratch vertically the strings with your nails]
? ? ‰
( ) ( )
=
# œœYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
&o p
:[with bow]
o ccccc
( )
˙YYYYYYYYYYYYYYYYYYYYYY
l.v.
ã
slowly
ã
o #
WATERPHONE RATCHET
Perc. 2
&
Harp [scratch vertically the strings with your nails]
( )
?
ã = œ YYYYYYYYYYYYYYYYYYYYYY
&
o p
"
( )
"
± ± "
( )
.
AST
! ! !
( )
( )
±
( )
±
O +Oœ œœ œœ œœ œœ +OO .
[METAL
+T
&+ O œ œ. + .
I
MUTE]
Violin 1
II To #
AST
! ! " ( )
! &œ œ.
±T " ±± = ±±
" !
( )
( )
. .
[METAL I
& œ + OO œœ œœ œœ œœ œœ ˙˙
MUTE]
œ. +O
Violin 2
+
# o
T
o
II
[flautando]
O # Oœ Oœ œO l O O # Oœ Oœ Oœ
I
œO œO lO O O.
SP
l lœO nO O O. O.
[WOODEN
( )
Π%
poco
&
MUTE]
Viola
=
& o
o p
# Oœ Oœ ..
[flautando]
O Oœ Oœ .. Oœ
III II
O Oœ Oœ O œO O jO O O # Oœ œO œO .. # Oœ Oœ
SP II
?
[WOODEN
?
poco
MUTE]
Cello
=
o 3
p3
Oœ .. œO œO .. # Oœ Oœ Oœ
[flautando]
t
I
[MUTE]
Double Bass
=
&
p
193
paw-marks in wet cement (ii)
~5" ~5" simile
209
(L æ ˆ)
(~ 5") (~ 10") (~ 15") (~ 20")
[GELINOTTE]
ã ˙ ˙ ã
M
œ
#
Flute WALDTEUFEL
( pp ) o
(sound 2)
M
Clarinet 1 ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(p)
(L æ ˆ)
[GELINOTTE]
ã ˙ œ. % Œ
Clarinet 2
( pp ) o
M
Horn ã ( ˙) YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(p)
WALDTEUFEL
M œYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
ã
(sound 1)
Trumpet
o p
Mã Œ ‰ œ YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
Trombone
ã
WALDTEUFEL
o p
(sound 1)
~5" ~5" simile
˙ ˙ œ œ œ
(~ 5") (~ 10") (~ 15") (~ 20")
[CROTALE
&
(p)
pr. with tin-foil]
Perc. 1
o
&
Piano
? ( )
( # ˙˙ )YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(&) o
(p)
[rotation time]
ã ( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(slowly) y= [3/4]
Perc. 2
&
?
Harp
( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(&)
(p)
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20")
±
SP
±
( ) I [Damp the strings and play with a very slow speed of the bow. The sound must
[METAL II be broken, perforated, with small silences inside. One grain at the time]
& %
MUTE]
Mute off
Violin 1
p
Take off the preparation
o o
III AST
IV
&
Mute off
p
Violin 2 Take off the preparation
AST SP
I [Damp the strings and play with a very slow speed of the bow. The sound must
II be broken, perforated, with small silences inside. One grain at the time]
Viola &
p
Mute off
o
T
III [Damp the strings and play with a very slow speed of the bow. The sound must
O Oœ
? œ
IV be broken, perforated, with small silences inside. One grain at the time]
[WOODEN
‰
MUTE]
p
Cello Mute off
o o
MSP
Oœ
[Damp the strings and play with a very slow speed of the bow. The sound must
be broken, perforated, with small silences inside. One grain at the time]
I
& Œ
[MUTE]
II
Double Bass
#
Mute off
o o
194
paw-marks in wet cement (ii)
215 ~5" ~5" simile 2
M (~ 5") (~ 10") (~ 15") (~ 20") (~ 25")
U (~ 30") 4
Flute ã ( œ)
( pp )
M U
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
towards Waldteufel sound 2 WALDTEUFEL
(sound 2)
Clarinet 1
(p) #
U
Clarinet 2 ã
M U
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
towards Waldteufel sound 2 WALDTEUFEL
(sound 2)
Horn
(p) #
M U
Trumpet ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(p) o
M U
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
towards Waldteufel sound 2 WALDTEUFEL
(sound 2)
Trombone
(p) #
~5" ~5" simile 2
œ bœ
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25")
U (~ 30") 4
& #œ œ œ
Crotales on
Perc. 1 the Timbale
U
& †
Piano
?
&
U
ã ( œ)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
like
rall. molto
"al niente"
Perc. 2
U
&
?
Harp
( ˙)YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
(&) o
(p)
~5" ~5" simile
(~ 5") (~ 10") (~ 15") (~ 20") (~ 25") (~ 30")
(SP) AST 2
U
rall. molto
4
Violin 1
(p) o
U
(AST) rall. molto
Violin 2
(p) o
U
(SP) rall. molto
Viola
(p) o
SP
(T)
rall. molto
U
Cello
(p) o
(MSP) AST
rall. molto
U
Double Bass
(p) o
195
paw-marks in wet cement (ii)
S = 60
_____
221 2
M 4
Flute ã ( ˙)
( pp ) o
M ( ˙) ‰
ã
Clarinet 1
( pp ) o
Clarinet 2 ã
M ( ˙)
Horn ã
( pp ) o
Y
( )
Y
Y ‰.
Y
( )
Y
Y ‰.
METAL POT
Trumpet ã
3 fingers
(with thimble) Y 3 fingers
(with thimble) Y
# o # o
M ( ˙)
Trombone
ã
( pp ) o
2
4 p- [soft mallet]
-œ
pp
& ! œ ! Œ & œ
=
‰ Œ
CROTALES
on TIMBALE
p p
Perc. 1 P P
œ- œ- œœœ- œœ œ–- œ–-
œœ-
-
œ
! ! ‰. ! ‰.
œ
† =
† ‰ Œ Ó Œ
" " " "
# œ- # œ-
sempre
Piano
& ‰ Œ =
&
"3 "
° ° °
sempre
( )
.
3
ã ‰ Œ ! Œ
Magnets
PIANO 2
ƒ ƒ
(On the strings) 2
Perc. 2
O- # O-
# O- O- œ # O- #œ
[with tuning key] [with tuning key]
& ‰ # çœ ‰. œ ‰ Œ ! # çœ ! Œ ‰ Œ
l.v. l.v. l.v.
=
& =
&
# # #
#3 #
?
Harp
2 SP AST SP
( )
AST
4 Y Y Y Y Y Y Œ
± ±
2 fingers 2 fingers
± ±
(thimble) (thimble)
I I
&
(œ) (œ )
Œ
II II
Violin 1 (œ)
o =
& (œ )
P P o
SP SP
Y Y Y Y Y Y
±± ±± ±±
2 fingers 2 fingers
(thimble) (thimble)
I I
&
II II
Violin 2
P o =
&
P o
AST SP AST SP AST SP
Y Y Y Y ‰ Y Y Y Y ‰ Y Y Y Y ‰
±± ±± ±±
2 fingers 2 fingers 2 fingers
(thimble) (thimble) (thimble)
I I
& ‰ ‰ ‰
II II
=
& =
&
P P
Viola
P o o o
( )
SP ( )
Y Y Y Y ‰ Y Y Y Y ‰
I ± ±± ±± ±±
2 fingers 2 fingers
II ±
(thimble) (thimble)
? ? ‰ ? ‰
Cello
=P o
=P o
Double Bass &
196
paw-marks in wet cement (ii)
228
L æˆ
Flute ã GELINOTTE ã ˙
# o
—.
[with the teeth]
.
ã ‰ ! Œ
=
&
CLARINET
#
Clarinet 1
IN B b
o
—.
[with the teeth]
ã ‰
=
&
CLARINET
#
Clarinet 2
IN B b
o
Y Y Y. Y.
Y
Y Y Œ ‰ Y Œ
METAL POT
ã
3 fingers
Horn (with thimble)
# o # o
Y Y Y
ã Y Y ‰. ‰ Y ‰
[METAL POT]
3 fingers 3 fingers
Trumpet (with thimble) (with thimble)
# o # o
Y
Y
Y
Y ΠY. Y.
‰
METAL POT
ã
3 fingers
Trombone (with thimble)
# o
# o
-
(p)
-
& =
& ! œ ! Œ =
& ‰ # œ- ! œ !
[CROTALES
on TIMBALE]
P
p
P
p
Perc. 1
- œ–-
œ- œ- œ– œœ- œ-
† =
† ! ! ‰. ‰. Œ =
† ‰ ! ! ‰. Œ
" "
# œ- # œ- # œ-
sempre
Piano
& =
& ‰ Œ œ- ‰ Œ ‰ Œ Œ ‰ œ- ‰ Œ
"3 3 3
°
sempre
( ) ( ) ( )
( ) ( )
. œ1 . .
3 3 3
[PIANO
ã ‰ Œ Œ ‰ . Œ Œ ‰ œ1 . Œ
ƒ
2 2
(On the strings)]
2
Perc. 2
# O-
[with tuning key]
O- # O-
[with tuning key]
# O-
‰ # œç ‰. œ ‰ # çœ Œ Œ ‰ # œç O ‰ Œ
l.v.
&
l.v.
=
& =
&
œ-ç
#3 # #3 #3 #
?
Harp
SP AST
( )
Y Y Y Y Œ
±
2 fingers
±
(thimble)
& =
&
(œ )
(œ ) Œ
P
Violin 1
o
SP
Y Y Y Y
± ±
2 fingers
± ±
(thimble)
& =
&
P
Violin 2
AST
o
( )
SP
AST SP
Y Y Y Y ‰ Y Y Y Y ‰
± ±
2 fingers 2 fingers
± ±
(thimble) (thimble)
& =
& o ‰ =
& ‰
P
Viola
P o
( )
SP
Y Y Y Y ‰
±± ±±
2 fingers
(thimble)
? ? ‰
Cello
=P o
poco SP
Double Bass & & ˙O
= œO Œ
" o
197
paw-marks in wet cement (ii)
235
L æˆ
ã ‰ œ.
[GELINOTTE]
Flute
! o
—.
[with the teeth]
& ‰
!
Clarinet 1
o
Clarinet 2 &
Y. Y
ã ‰ Y. Y Œ
[METAL POT]
Horn
! o
Y Y. Y. Y
ã ‰ Y ‰ # Y
[METAL POT]
Trumpet
! o ! o
Y. Y. Y. Y. Y Y ‰
ã ‰ #
[METAL POT]
Trombone
! o ! o
-
pp
& ‰ œ-œ Œ ‰ # œ- Œ œ- ‰ Œ # œ # Œ =
& Œ ‰. œ-
[CROTALES
on TIMBALE]
p p p p p
Perc. 1
P P
ã
œœœ- œœ- œ- - œ- œ–-
œœ- œœ
œ œ
† ‰ Œ ‰ # ‰ Œ # # Œ † Œ
= ‰.
" " œ-
œ- # œ- # œ-
sempre
Piano
& Œ Œ Œ ‰ =
& ‰ Œ =
& Œ ‰.
" "3 "
(°)
3 3
sempre
( ) ( )
.
3 3
[PIANO
ã Œ ‰ . ‰ 2 Œ
ƒ ƒ
(On the strings)]
2
Perc. 2
O- # O-
[with tuning key]
# O-
[with tuning key]
& Œ Œ œ Œ ‰ # œç ‰ # œç Œ
l.v. l.v.
=
&
! !3 !3
?
Harp 3
SP ( )
AST SP
‰ Y. Y. Y Y Œ Œ ‰. Y Y
±. ±
2 fingers 2 fingers
±. ±
(thimble) (thimble)
& & ‰
=
(œ )
(œ ) Œ =
& Œ ‰.
P P
Violin 1
o
SP SP
‰ Y. Y. Y Y Œ ‰. Y Y
±. ± ±
2 fingers 2 fingers
±. ± ±
(thimble) (thimble)
& =
& ‰ =
& Œ ‰.
P P
Violin 2
o
AST
‰ Y. Y.
±
2 fingers
±
(thimble)
Viola & & ‰
=
P o
SP
Y Y Y Y
± ±
? ?
± ±
Cello
=P o
poco SP
Double Bass & ‰ œO .. œO œO
" o
198
paw-marks in wet cement (ii)
242
L æˆ
ã % œ. œ
[GELINOTTE]
Flute
# o
Clarinet 1 &
?
Clarinet 2 &
ã
[METAL POT]
Horn
Y. Y. Y
ã % Y
[METAL POT]
Trumpet
# o
Y. Y. Y Y ‰
ã %
[METAL POT]
Trombone
# o
œ-
(p) -
& Œ ‰. =
& % œ % Œ
[CROTALES
on TIMBALE]
p p
Perc. 1
P P
ã
œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ–- œ- œ–-
† ‰. Œ =
† ‰. ‰. ‰. ‰. ‰. ‰. % ‰.
$ œ- $ œ-
# œ-
sempre
Piano
& =
& Œ ‰. & ‰
=
‰.
$ $3
°
( )
3
[PIANO
ã ‰ . Œ
ƒ
(On the strings)] 2
Perc. 2
# O-
[with tuning key]
O-
& ‰ # çœ ‰. œ
l.v.
=
&
#3 #
?
Harp
SP
Y Y‰ Œ Œ ‰. Y Y Y Y‰ Œ
± ± ±
2 fingers
± ± ±
(thimble)
& ‰ Œ Œ ‰. ‰ Œ
P
Violin 1
o o
SP
Y Y‰ Œ Œ ‰. Y Y Y Y‰ Œ
± ± ±
2 fingers
± ± ±
(thimble)
& ‰ Œ Œ ‰. ‰ Œ
P
Violin 2
o o
PO ( )
% Y. Y. Y Y
±± . ±±
2 fingers
% .
(thimble)
& =
&
P
Viola
o
SP ( )
% Y. Y. Y Y
±± . ±±
2 fingers
% .
(thimble)
? ?
Cello
= P o
ã
poco SP
& =
& % œO .. œO t
$
Double Bass
o
199
paw-marks in wet cement (ii)
249
U U L æˆ
[GELINOTTE]
Flute ã ‰ œ.
! o
U U
‰.
?
&
[prepared]
=
œ.
BASS
œ ˙ ˙ ˙ ˙ œ œ
Clarinet 1
CLARINET
o ! o
U U
? Œ
BASS
CLARINET [prepared]
Clarinet 2
œ ˙ ˙ ˙ ˙
o ! o
U U Y. Y.
ã ‰
[METAL POT]
Horn
! o
U U Y. Y.
ã ‰
[METAL POT]
Trumpet
! o
U U Y. Y.
ã ‰
[METAL POT]
Trombone
! o
(p)
U U
[CROTALES
on TIMBALE] & =
& ‰ # œ- Œ
Perc. 1
p
P
ã
-
( )
œœ- œœ- œ- œ–
. U U
‰.
3
œ
[PIANO
† ‰ Œ =
† ‰ # Œ
"
2
ƒ
(On the strings)]
# œ- # œ-
sempre
Piano
& ‰ Œ & Œ
=
‰
"3 ° "3
°
sempre
u [with superball] U U
BASS
ã ˙cccccccccc‰
o
DRUM
Perc. 2 "
ã
# O- U # O-
[with tuning key] [with tuning key]
U
& ‰ # œç Œ & Œ ‰ # œç
l.v. l.v.
=
!3 !3
?
Harp
AST
3 SP
‰ Y Y Y Y ‰ ‰ Y. Y.
±± ±± ±± .
2 fingers 2 fingers
.
(thimble) (thimble)
U U
& ‰ ‰ & ‰
= P
Violin 1
o
P3 o
3 SP
Y Y Y.
AST
‰ Y Y ‰ ‰ Y.
±± ±± ±± .
2 fingers 2 fingers
.
(thimble) (thimble)
U U
& ‰ ‰ & ‰
=
P
Violin 2
o
P3 o
3 AST
Y Y Y.
AST
‰ Y Y ‰ ‰ Y.
± ± ±
2 fingers 2 fingers
± ± ±
(thimble) (thimble)
U U
& ‰ ‰ =
& ‰
P
Viola
P3 o o
SPRING
S U U
ã ˙ ˙ ˙ ˙ ˙
DRUM l.v.
Cello
"
U U
t
V
˙ ˙ ˙ ˙ ˙ ˙
Double Bass
" o
200
paw-marks in wet cement (ii)
256
L æˆ
ã ˙
[GELINOTTE]
Flute ã
! o
Clarinet 1
?
Clarinet 2
?
Y Y
ã Y Y Œ
[METAL POT]
Horn
! o
Y Y Y Y ‰.
ã
[METAL POT]
Trumpet
! o
Y Y
ã Y Y Œ
[METAL POT]
Trombone
! o
(p)
œ- # Œ
& & #
=
[CROTALES
on TIMBALE]
Perc. 1
ã
P
p
œ–- œ- œ–- œ–-
† =
† ‰. Œ =
† # # Œ =
† ‰. ‰.
œ- " " œ- œ- "
# œ-
Piano
& & Œ
= ‰. & ‰
=
‰. Œ ‰.
" "3
°
( )
.
3
ã PIANO ‰ 2 Œ
ƒ
(On the strings)
Perc. 2
O- # O- O- O-
[with tuning key] [with tuning key]
& Œ ‰. œç ‰ # œç ‰. œ Œ ‰. œ
l.v. l.v.
=
& =
&
! !3 ! !
?
Harp
SP ( )
SP AST
Œ ‰. Y Y Y Y‰ Œ Y Y Y Y Œ
±± ±± ±±
2 fingers 2 fingers
(thimble) (thimble)
& & Œ
=
‰. ‰ Œ =
&
(œ )
(œ ) Œ
P P
Violin 1
o o
SP SP
Œ ‰. Y Y Y Y‰ Œ Y Y Y Y
± ± ± ±
2 fingers 2 fingers
± ± ± ±
(thimble) (thimble)
& & Œ
= ‰. ‰ Œ =
&
P P
Violin 2
o o
AST SP
Y Y Y Y ‰
±±
2 fingers
(thimble)
& =
& ‰
P
Viola
o
( )
SP
Y Y Y Y ‰
±± ±±
2 fingers
(thimble)
ã ? ‰
Cello CELLO
=P o
poco SP
t ˙O œO œO
Double Bass
=
&
" o
201
paw-marks in wet cement (ii)
263
Flute ã
Clarinet 1
?
Clarinet 2
?
Horn ã
Trumpet ã
Trombone
ã
&
Perc. 1
œ–- œ–- œ–- œ–-
† ‰. ‰. ‰. ‰.
Piano
( ppp )
&
ã
Perc. 2
&
?
Harp
Violin 1 &
Violin 2 &
Viola &
Cello
?
Double Bass &
Somerville, Berlin, Paris, Cambridge
March 2015 — April 2017
202
List of Enclosed Supplementary Materials
1. Recording of Troglodyte Angels Clank By, performed by Ensemble 2e2m, conducted by Pierre
Roullier
2. Recording of dead wasps in the jam-jar (ii), performed by Münchener Kammerorchester,
conducted by Clemens Schuldt
3. Recording of smudged — a carbon copy (ii), performed by Duo2KW
4. Recording of paw-marks in wet cement (ii), performed by Wilhem Latchoumia, Ensemble
Orchestral Contemporain, conducted by Daniel Kawka
203
You might also like
- Kozyrev's Mirrors and Electromagnetic Null Zones: Reflections of Russian Cosmic Science100% (10)Kozyrev's Mirrors and Electromagnetic Null Zones: Reflections of Russian Cosmic Science6 pages
- William Egginton How The World Became A Stage100% (1)William Egginton How The World Became A Stage217 pages
- Survey On FSD's Students' Time Management Skills: Hanoi UniversityNo ratings yetSurvey On FSD's Students' Time Management Skills: Hanoi University16 pages
- Dimpker, Christia - Extended Notation - The Depiction of The Unconventional PDF100% (2)Dimpker, Christia - Extended Notation - The Depiction of The Unconventional PDF363 pages
- 2 RADULESCU, Capricorn - S Nostalgic CricketsNo ratings yet2 RADULESCU, Capricorn - S Nostalgic Crickets3 pages
- Self Mastery and Fate With The Cycles of Life100% (1)Self Mastery and Fate With The Cycles of Life96 pages
- Crumb - Vox Balaenae For Three Masked Players100% (1)Crumb - Vox Balaenae For Three Masked Players10 pages
- Are Communication Gadgets Good For Us?: B2.5 Reading AssessmentNo ratings yetAre Communication Gadgets Good For Us?: B2.5 Reading Assessment4 pages
- Exodus - Moses Brings The Jews Out of Egypt100% (4)Exodus - Moses Brings The Jews Out of Egypt17 pages
- Graphic Organizer Powerpoint - DR - AvilaNo ratings yetGraphic Organizer Powerpoint - DR - Avila22 pages
- Clare McNiven, The Inner Touch Archaeology of A SensationNo ratings yetClare McNiven, The Inner Touch Archaeology of A Sensation9 pages
- Robust Ship Scheduling With Multiple Time Windows: Marielle Christiansen, Kjetil FagerholtNo ratings yetRobust Ship Scheduling With Multiple Time Windows: Marielle Christiansen, Kjetil Fagerholt15 pages
- Professor Bad Trip: Lesson I Analysis (Handout) - José Martínez - UT Austin (Spring 2019)No ratings yetProfessor Bad Trip: Lesson I Analysis (Handout) - José Martínez - UT Austin (Spring 2019)2 pages
- Imaging Architecture The Uses of Photogr PDFNo ratings yetImaging Architecture The Uses of Photogr PDF49 pages
- Saariaho - The Music of Karja Saariaho (Julian Anderson)100% (1)Saariaho - The Music of Karja Saariaho (Julian Anderson)5 pages
- Quarter 3 Narrative Izzy Poulson: Progress Towards ProficiencyNo ratings yetQuarter 3 Narrative Izzy Poulson: Progress Towards Proficiency14 pages
- Tristan Murail: Villeneuve-le's-Avignon Conferences, Centre Acanthes, 1992100% (2)Tristan Murail: Villeneuve-le's-Avignon Conferences, Centre Acanthes, 199282 pages
- Procedure For The Determination of Time Required To Perform A Task Involving Either Human or Machine Under Certain Standard Conditions of MeasurementNo ratings yetProcedure For The Determination of Time Required To Perform A Task Involving Either Human or Machine Under Certain Standard Conditions of Measurement23 pages
- Behavioural Epidemiology As A Tool For Accident ResearchNo ratings yetBehavioural Epidemiology As A Tool For Accident Research16 pages
- Competition Among Memes in A World With Limited Attention: Scientific ReportsNo ratings yetCompetition Among Memes in A World With Limited Attention: Scientific Reports9 pages
- Haas - Limited Approximations For 6 Micro-Tonally Tuned Pianos and Orchestra - Universal Edition0% (1)Haas - Limited Approximations For 6 Micro-Tonally Tuned Pianos and Orchestra - Universal Edition4 pages
- Francesco Filidei - Esercizio Di Pazzia INo ratings yetFrancesco Filidei - Esercizio Di Pazzia I16 pages
- Matthias Pintscher: Sonic Eclipse - III OcultationNo ratings yetMatthias Pintscher: Sonic Eclipse - III Ocultation63 pages
- Romitelli Fausto Professor Bad Trip PDFNo ratings yetRomitelli Fausto Professor Bad Trip PDF49 pages
- Brian Ferneyhough - The Tactility of Time (1988 Darmstadt Lecture)100% (2)Brian Ferneyhough - The Tactility of Time (1988 Darmstadt Lecture)12 pages
- On My Second String Quartet-Helmut Lachenmann PDF100% (3)On My Second String Quartet-Helmut Lachenmann PDF22 pages
- Gilles Deleuze, Hugh Tomlinson, Barbara Habberjam - Bergsonism-Zone Books (1988)No ratings yetGilles Deleuze, Hugh Tomlinson, Barbara Habberjam - Bergsonism-Zone Books (1988)144 pages
- Cornicello, A. Timbre and Structure in Tristan Murail's Désintégrations PDF100% (1)Cornicello, A. Timbre and Structure in Tristan Murail's Désintégrations PDF90 pages
- WAEC Physics - Lesson Notes On Time For WASSCE SuccessNo ratings yetWAEC Physics - Lesson Notes On Time For WASSCE Success7 pages
- Simon Steen Andersen Insideout Side In...No ratings yetSimon Steen Andersen Insideout Side In...13 pages
- 2003 - Je Sens Un Deuxième Coeur For Viola, Cello and Piano PDFNo ratings yet2003 - Je Sens Un Deuxième Coeur For Viola, Cello and Piano PDF35 pages
- Elements of Serialism in The Music of Thomas AdèsNo ratings yetElements of Serialism in The Music of Thomas Adès2 pages
