rust thumb - ecm.qc.caG20cahier_de_la_compositrice.pdfflute/piccolo, bass flute, f horn, violin I,...
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1 rust thumb Eb/bass clarinet & Bassoon soloists, flute/piccolo, bass flute, f horn, violin I, violin II, viola, cello, piano, percussion Bekah Simms Commissioned by l'Ensemble contemporain de Montréal (ECM+), Véronique Lacroix, Music Director (world premiere performance October, 2020), as part of the ECM+ Génération2020 Workshop
Transcript of rust thumb - ecm.qc.caG20cahier_de_la_compositrice.pdfflute/piccolo, bass flute, f horn, violin I,...
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rust thumb
Eb/bass clarinet & Bassoon soloists,
flute/piccolo, bass flute, f horn,
violin I, violin II, viola, cello, piano,
percussion
Bekah Simms
Commissioned by l'Ensemble contemporain de Montréal (ECM+), Véronique
Lacroix, Music Director (world premiere performance October, 2020), as part of
the ECM+ Génération2020 Workshop
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Table of contents Cover page and acknowledgements………………1
Schedule…………………………………………..2
Instrumentation, background, goals……………………3-4
Clarinet preparation information……………….....4-5
Notation legend…………………………………....5-11
Score excerpt 1: “rattle your bones”……………….13
Score excerpt 2: “your guts out”……………14-15
Score excerpt 3: “they slither”…………………..15-18
Schedule 20 mins
Sound gathering/clarification: heavy, distorted, noisy, mechanical. Multiphonics (Eb
clarinet and bassoon.) Preparation (bass clarinet, piano, horn) sound testing.
40 mins
Going through excerpts for clarification, effectiveness, contrast, and pacing (particularly
potential transitionary material between excerpts):
Excerpt 1: checking balance, texture, audibility, dynamic accuracy, sense of
metre/timelessness (15’)
Excerpt 2: with maximal heaviness in mind – do things get as loud as they can? Are there
better alternatives? Carefully notated or should gestures be free/boxed within the specified
metres? (10’)
Excerpt 3: checking effectiveness of glissandi gestures, sense of forward momentum, and
transitions/tempo changes (15’)
15 mins
Ensemble/director feedback on existing materials, additional experimentation as required
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Rust Thumb Sketches, ~5’1 piccolo/flute
1 bass flute
1 Eb/bass clarinet soloist
1 bassoon soloist
1 F horn
2 violins
1 viola
1 cello
1 piano
1 percussion
background “rust thumb” is taking shape during a “regularly scheduled” period of insecurity, self-
deprecation and doubt as well as physical illness, one that other folks with seasonal
affective disorder are likely to be familiar with. Its title comes from a poem (excerpt found
below) written at the same time.
A rust thumb is the opposite of a green thumb, where the tended garden fails not only to
thrive but possess the flavours of decay, injury, and deterioration. The belief that one
possesses it is likely self-fulfilling and infectious.
I have been trying to allow my emotions to filter into my soundworld more consciously.
Typically, it is unavoidable that my anxiety takes hold in the type of musical gestures I
write. More complex and sometimes insidious emotions though – particularly the idea of
worthlessness or feeling poisonous – feel much more vulnerable to express, let alone
acknowledge (in this formal way especially!) However, I do feel that allowing myself to
more readily activate these emotional filters in which to funnel the sounds through is a
necessary and honest step in my development as a composer. Even when the sounds seem
sterile, this is its own form of self-censorship: abstract conveying of emotions in an attempt
to be granitic. Perhaps this will translate – I am interested in whether it will or not.
Much of my music, then, is an attempt at grabbing at adjectives – does this sound
mechanical? What will? Does this sound shattered? How can I shatter a sound? Does it
sound messy, uneven? Does this sound broken or unwell? What will?
(still surprised
by the ease in which they slither) - excerpt
more and more bone
in the gardensoil,
more and more bile
tend to it with
rust thumb
dangerfun
skin as red ochre,
peeking open
shyly
main goals
4
For this workshop, I am interested in the following:
Instrumental sonic possibilities There are a number of desired types of sounds that I want to integrate into the finished
piece:
Heavy – What is the loudest sound possible? What are the sounds that resonate/punctuate
the longest and most fearfully?
Distorted – What disrupts the sound production of your instrument but allows some
recognisability of its sound to remain? What is the most disruptive/gnarly/crunchy sound
while still sounding like the instrument?
(testing of prepared clarinet, exploring similar sounds elsewhere)
Noisy – Which sounds can include integrations of noise so that they fall closer to the
“noise” edge of the tone-noise continuum? What is the most disruptive/gnarly sound while
not sounding like the instrument?
Mechanical/machine-like – Can you sound like a motor? Something electric? Something
operated by a machine rather than a human?
Pacing of existing musical material I am working towards establishing amorphous temporal worlds, where sounds or pulse are
suspended or highly unpredictable. At times, I want to create a noisy sound mass rather
than a clear musical/rhythmic landscape. In particular, I want the resulting sound to
suspend any notion of metre in excerpt 1 and 2.
Extremity in contrast in existing musical material As a symptom of my listening habits, I appreciate and desire extreme contrasts in music. I
want to represent my listening self fully – that means the heavy and the tender in equal
measure. My goal is for the contrasting parts of a single work to sound related,
interconnected, and necessary. Another goal is for the contrast to be as extreme as possible,
i.e. static vs. hyperactive, extremes in volume vs. barely audible, etc.
Clarinet Preparation In the first excerpt, the bass clarinet is prepared. This particular technique/sound comes
from Heather Roche’s very helpful blog (https://heatherroche.net/2014/03/24/on-bass-
clarinet-preparations/). More information and sounds can be found there.
For Excerpt 1, the bell of the bass clarinet is prepared as described on the website:
A piece of paper (harder than normal – think a sheet of card or something similar) is fixed
to the bass clarinet with a bulldog clip (the bass clarinet can be protected by gluing felt to
the metal edges of the clip or by using bluetack). For the purpose of the workshop, various
thicknesses of this paper as well as a laminated piece would be ideal to bring. The
image on Heather’s website demonstrating a similar preparation with a laminated card
looks like this:
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In the same excerpt, the clarinettist is asked to cover and uncover the vent hole to alter the
pitch by about a quarter tone. As per Heather’s instructions, this can be done with the
performer’s large toe plugging and unplugging the vent hole (pictured below on the right.)
This cannot be done while wearing shoes, so the performer must play this work wearing
only socks (at least on one foot – their choice to wear one shoe instead of none is left to the
performer’s discretion/sense of playful aesthetics.)
Legend To silence.
From silence.
Slightly – about 30 cents – sharp; +30 from the notated pitch.
Quarter sharp; +50 from the notated pitch.
Three-quarters sharp; +75 from the notated pitch.
Slightly – about 30 cents – flat; -30 from the notated pitch.
Quarter flat; -50 from the notated pitch.
Three-quarters flat; -75 from the notated pitch.
Strings (metal practice mute, thimbles [1 each for vln. 1 & II] required)
s.t. Sul tasto.
s.p. Sul ponticello.
m.s.p. Molto sul ponticello.
c.l.b. Col legno battuto.
c.l.t. Col legno tratto.
Gradual change of bow position; short arrows change quickly and long
arrows slowly.
Unspecified pitch but high as “possible;” some very small pitch
variations are welcome throughout the piece (i.e., within a whole tone
of the actual highest pitch possible.)
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A creaky, overpressure/distorted sound produced on the string while
fingering the indicated note. Little pitch actually audible –
grumbly/granular. There is some residual pitch (10-15%) so that
changes in pitch are detectable, but noise should be the overpowering
element.
A multiphonic harmonic; with the indicated harmonic played in a high
position, playing with the bow behind the LH finger (i.e., bow
between LH and nut) should produce the following multiphonic:
X-noteheads indicate a very harsh sound produced by bowing the
wrapping of the string beneath the bridge. Very crunchy.
Unspecified pitch (other than very high)/rhythmic gesture but fast as
possible; no need to be regular, just extremely quick.
The same as above, but with slight (microtonal) pitch
variation/inflection rather than on a repeated/static high pitch.
Trill to the bracketed note (microtonal trill.)
A touch major second artificial/stopped harmonic. Played in the same
way as other artificial/stopped harmonics, but using the interval of a
major second. The sounding result is noisy, grainy, and with only a
hint of the resulting pitch (three octaves above the higher pitch.) The
intention with these harmonics is a sound closer to noise than pitch on
the noise-pitch continuum, but with phantoms of the high pitch still
discernible.
Ricochet – very bouncy, with a clear diminuendo sound profile
Wild, wide vibrato. Kinetic, with energy.
Staff indicating with thimble. Diamond note heads indicate the left
hand pressure - should be muted as if playing a harmonic. The right
hand should tap gently with the thimble. Should be slightly mechnical,
clinking softly. Bow position indication now indicate thimble position
on the string.
A “white noise” sound achieved through muting the strings with the
left hand. An airy, quiet sound should be produced with very little
pitch. The notated pitch indicates which string this sound should be
produced on.
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Boxed gestures are performed rhythmically free and repeated for the
length of the dark line that follows them. Boxed gestures are meant to
be elastic and free of tempo, with inexact repetitions and pushing
and pulling of the length of notes/silences between notes/silences
between repetitions/etc. Do not repeat the exact gesture over and
over.
Winds/Brass:
Triangle noteheads indicate an “Aeolian,” or air, sound achieved
through blowing air through the instrument without conventional pitch
activation. Residual pitch is appropriate; if possible, the notated
pitches/positions should be the residual pitch. Crescendos indicate an
allusion to a gust or burst of wind/air sound.
An air noise sound (with fingering/residual pitch indicated written)
moving back to a more conventionally pitched/sounding note. Can
occur in either direction.
Bisbigliando: timbral trills where the colour/timbre is changed through
trilling keys that do not alter the pitch substantially (more than a
quarter tone.)
Fluttertongue (here combined with an air sound.)
Glissandi are always done by pitch bends, not fingerings; if at all
possible, use the embouchure or playing position to slowly and
microtonally perform these glissandi.
Wild, wide vibrato. Kinetic, with energy.
Flutes
Tongue pizzicato, dry and poppy. Can also denote keyclicks if
accompanied by indicating text.
Jet whistle: a very loud glissando-like sound produced by blowing a
fast, high-pressure air stream through the instrument. The line
indicates the pitch contour (here, low then high.)
Whistle tone; change between partials ad. libitum.
Harmonic, produced by overblowing the lower (fingered) pitch.
Tongue ram. At quieter dynamics, this can be achieved with an inhale
or exhale as opposed to a forte burst of air.
Multiphonics:
C Fl. Bass Fl.
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Boxed gestures are performed rhythmically free and repeated for the
length of the dark line that follows them. Boxed gestures are meant to
be elastic and free of tempo, with inexact repetitions and pushing
and pulling of the length of notes/silences between notes/silences
between repetitions/etc. Do not repeat the exact gesture over and over.
Clarinets (Bass & Eb) (card stock paper or similar required)
Please see notes on preparation above.
While the bell of the bass clarinet is prepared, the o indicates
that the vent hole is open/unplugged, while the + indicates that is
completely closed/plugged by the player’s toe. The arrow indicates
that the hole is being plugged or unplugged gradually. This will alter
the pitch.
The noise of the preparation will, at a point, not grow any louder (while the normal clarinet
tone can.) These star dynamics indicate the volume of the preparation; do not play beyond
the loudest point of the preparation, as the clarinet sound will obscure the balance.
Preparation as noisy/activated as possible (unrelated to clarinet
dynamic.)
Preparation at medium noisiness/activated.
Subtle activation of prepared sound.
Cross-slashed notes indicate a vocalization/singing simultaneous with
playing; this is intended to create distorted/noisy sounds. Also known
as growling.
Low register diamond noteheads are spectral multiphonics, produced
with the same fingering as the notated pitch but with an adjusted
embouchure/air stream. They are loud, noisy, and complex.
The arpeggio arrow with circle indicates a spectral “sweep,” isolating
an overtone and ascending (or descending, depending on the arrow’s
direction) the harmonic series. This should be done
quickly/arrhythmically.
Slashed boxed gestures are performed rhythmically free and very fast,
repeated for the length of the dark line that follows them. Boxed
gestures are meant to be elastic and free of tempo, with inexact
repetitions and pushing and pulling of the length of notes/silences
between notes/silences between repetitions/etc. The semi-circle arrow
denotes that the notes can be played in ANY ORDER, and must
change/cycle through orders. Do not repeat the exact gesture over and
over.
Unspecified glissandi, originating from/returning to/orbiting around
the specified pitch.
Bassoon
Performed directly into the bocal without the reed, square noteheads
indicate a thunky and gummy bassoon articulation that is almost
mechanical in nature. Ensure that this is audible as it is a very quiet
sound.
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Fingering alternation in the indicated rhythm, ideally sounding like a
microtonal ascending figure (may not be possible – will see in
workshop.)
Note that there are both regular, tremolo articulation (tongued) and flutter tongue (flz.) in
the opening section. Flutter tongue will always be accompanied by “flz.”
Cross-slashed notes indicate an “overblown” technique, with
overtones changing quickly and randomly at will. The notated pitch is
the fundamental/fingered pitch. The desired effect is noisy and
unpredictable.
Two overtones activated at once; as aggressive/noisy a sound as
possible.
The arpeggio arrow with circle indicates an overblown “sweep,”
isolating an overtone and descending (or ascending, depending on the
arrow’s direction) the harmonic series. This should be done
quickly/arrhythmically for the duration of the attached note.
Indicates the fundamental pitch for a multiphonic.
When performed with the bocal, the square represents a vocalization
or “growl” that accompanied the sound, creating a distortion.
Slashed boxed gestures are performed rhythmically free and very fast,
repeated for the length of the dark line that follows them. Boxed
gestures are meant to be elastic and free of tempo, with inexact
repetitions and pushing and pulling of the length of notes/silences
between notes/silences between repetitions/etc. The semi-circle arrow
denotes that the notes can be played in ANY ORDER, and must
change/cycle through orders. Do not repeat the exact gesture over and
over.
Similar to the bassoon “flaps,” but with the mouth covering the whole
reed rather than directly into the bocal. Ad. lib. as per boxed gestures.
Horn (bassoon reed required)
A low, rumbly sound with vague pitch produced with the lips
over the mouthpiece and the tongue inside the mouth piece. Air
is then blown into the instrument, with the tongue flapping.
Should sound mechanical/industrial.
Mouthpiece whistle: air stream directed across the back/more
narrow part of the mouthpiece while detached from the horn.
Should make a high-pitched airy whistling sound.
Cross-slashed notes indicate split tones; when two pitches are
shown, the desired note split should be between them. When one
pitch is shown, any partial can be split above the given
fundamental. This can be achieved on the Bb side of the horn and
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not quite “reaching” down from the upper partial. This should be
quite noisy and crunchy.
Plugged horn to open (or vice versa.) Any change in pitch is
desired.
A “pinched” buzz; the result should be a quiet and high squeal
with an unclear pitch profile (that may slightly oscillate/alternate,
as per the squiggly line.)
Slight gliss down with the lip/embouchure; should be
noisy/messy.
Hand “pops”. Use the flat of the palm of the right hand to strike
the normally inserted mouthpiece. Direct the bell away from the
body for the greatest projection.
Piano:
Played directly on the string with a coin rubbed across the string,
towards the dampers.
Fast as possible “guiro” sound performed on the keys;
unspecified pitches but should be in the given direction/register.
May be more effective with a piece of cardstock/cardboard (?)
than with fingers – test in workshop. Should be quiet but audible.
There are several preparations on the piano, divided roughly by register:
Lower register: C#1, G1,
Erasers placed to create a low, thunky almost gong-like attack.
Upper mid register: A5, B5, E6, G6, A6
Detuned by preparing with a coin or screw (or something
similarly metallic) akin to Part’s Tabula Rasa.
Extreme upper register: E7-A7.
Prepared with masking tape to create a muted, percussive attack
but with clear pitch profile.
Percussion
Instruments
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1x Concert bass drum (played with hand, beater, and wire brushes)
2x Ratchets, mounted for rhythmic precision (mechanical sounding).
1x Sheet of plastic (large), must be malleable and noisy (amplified?) Think wrapping
plastic from packaging.
1x Slapstick, bright and piercing
1x Glockenspiel
1x “Choked” metal; something unusual/found sounding with a strange decay, not too wet.
1x Glass bottle – bright but quite dry.
Performance Notes
Tremolos are used throughout to denote the relative speed of the attack. Please ensure that
these sounds are arrhythmic and irregular with swells and dissipation ad. lib., not highly
metric sixteenths, eights, etc. These sounds are continuous but unmetered.
Very fast ratchet tremolo indicate a free flourish with the crank.
When performing with the plastic, feel free to incorporate crumping, uncrumpling, rustling
etc.
Legend
Played by rubbing with the hand; be free and kinetic with
movements.
Played by striking or rubbing with wire brushes.
Fast as possible brushing of wire brushes over the key of the
glockenspiel; pitches unspecified, but use the indicated direction
of gesture and register.
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{
°
¢
{
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Flute
Bass Flute
Bass Clarinet
in Bb
Bassoon
Horn in F
Percussion
Piano
Violin I
Violin II
Viola
Violoncello
q=42, alive and heavy and quiet
ppp
o
***
o o
**
o* ***
o*** **
o
p - match B.C.
dynamics
ppp
p -
match
ppp
pp -
underneath B.C.
o
pppo
p
pppo
p
q=42, alive and heavy and quiet
Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
ppp
8
ppp
***
of
pp p
pp f
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&
Score in C (with octave transpositions)
Excerpt 1 - rattle your bones
U ≈
∑
flz.
3
Bekah Simms
rust thumb
&
U ≈
∑
key clicksq ™
&
o
prepared bell -see notes
U 3
, o +
.
+(
flz.)
>
≈+ o
∑
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flz. +
3
o
?
without reed
∑
fast & regularas possible
3, h e
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- - - - -
gliss.
5
q ™5
&
U ≈ remove mouthpiece
/
Concert Bass DrumU ≈
ªA
Ratchet(continuous but highly regular)
∑
to plasticLarge sheet of plastic
&
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∑ ∑
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&
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5
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accents = sharp crumple>
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>>
3
3
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?∑ ∑ ∑
&∑ ∑
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&∑ ∑
trem. fastas possible
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Ó™ Ó Ó Ó Ó Ó™
Ó™ Ó Ó Ó Ó Ó™
Ó™ Ó Ó æææ
™
æææ
æææ
æææ
æææ
™
Ó™ Ó Ó æææ
™
æææ
æææ
æææ
æææ
™
Ó™ Ó Ó Ó Ó Ó™
Ó™ Ó Ó Ó Ó Ó™
=
{
°
¢
{
{
°
¢
{
Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
ff fp
q=50, roiling13
ff f p
subito
o
p
ff (ffff) fff
(ffff) fff
(ffff)mp sub. ff
ff
(ffff) fff (ffff) fff (ffff)
f sub. p sub. ff (ffff)
ff
p
f po
fff
f fff mfff
f p
p
fo
° *
fffo
ff
f
omf ppp
q=50, roiling
fffo
ff
f
o mf ppp
fffo
ff f po
f p ppp
fffo
ff f po f ppp
Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
fo
pppo
pp
21
f
oppp
opp
fff
f
mfff
ff
fff f
mf ff
(p) f
ff p ppp
fff ff pff f
pp
ff
° *
° *
ppp p ppp po
f pp ffp
ppp p po
f pp ffp
ppp po
f ppff
p
ppp p pppo
pp
ff p
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
8
7
4
5
4
2
4
6
4
4
4
3
8
3
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
3
4
2
4
3
4
7
8
5
8
3
4
3
8
5
4
4
4
&
Excerpt 2 - your guts out
∑
≈
∑
pizz.
∑
bisb.Ÿ~~~~~~~~~~~~~~~
&∑
≈
∑
pizz.
>
3
∑
bisb.Ÿ~~~~~~~~~~~~~~~
&
o
>
∏∏∏∏∏∏∏
, o
∏∏∏∏∏
≈ o
∏∏∏∏∏∏∏
o
∏∏∏∏∏
≈
>
o
∏∏∏∏
o o
∏∏∏∏∏
o
∏∏∏∏∏∏∏ ∑
3
?
o
>
∏∏∏∏∏
,
>
ÍÍÍÍÍÍÍÍ ≈ ≈
> >
5
>
∑
3 3
&∑
bassoon reed in mouthpiece≈
distortedas possible
>
∑
mouthpiece out or as long as possible...
.
∑
/∑
AB.D.> ≈ > > >
3
6
slapstick> B.D.
>
&
Glock.
&∑
≈
∑ ∑ ∑ ∑
?∑
≈
∑ ∑
>Ÿ◊
∑ ∑
&∑
≈
m.s.p..
∑
ord.
>
&∑
≈
m.s.p..
∑
ord.
>
B ∑
≈
m.s.p..
∑
ord.s.p.
>
m.s.p.5
> .
?∑
≈m.s.p.
.
∑?
ord. »
&
oIV (ord. harmonic)
>
o
.
>
m.s.p.Ÿ~~~~~~~~~~~~
&
Ÿ< >
>
∑
flz.
∑
o o
3
&
Ÿ< >
>
∑ ∑
bisbŸ~~~~~~~~~~~~~~~~
5
&
3
o
∏∏∏∏∏∏∏ ∑
->
->
->
o
∏∏∏∏∏
∑ ∑
w+
e
3
?
>
flz.
∑
-> -
>
->
ÍÍ
∑ ∑
we+
5 5
&
.
o+ + o
&∑
/
B.D.>3
>Ratchets
. .
B.D.> 3
&∑ ∑ ∑ ∑
?∑ ∑ ∑
>Ÿ◊
∑ ∑
&
.
”“
>
trem. fast as possible”“ ”“
.
&
.
”“>
trem. fast as possible”“
m.s.p.”“
.
B
s.t.
&
ord.”“
>c.l.b.
gliss.
. .. . . .
. .. .
B
arco
.
&
&∑
.
IVo o o
.o
trem. fast as possibleo
g
liss.
o o o o
.
?
.
&
Ó Ó Ó Œ Ó Ó™ Ó™ Œ Œ ‰™
¿
r
4
Œ Ó
‚µ ™
Ó Ó Ó Œ Ó Ó™ Ó™ Œ Œ ‰™
¿
r
- - - -
‰ Œ
‚ ™
‚b ™ ‚b ‚ G OB ™
Œ
‚b
æææ
g™
æææ
g ‚
j
‚ ™ g
æææ
g ‚
j‰
O
Ó™
3B
r
‚b
r
g
r
~B ‚
j‰
gb g
r≈≈
‚B
r
‚
j‰
g™ Gb
7
g O ™
Œæææœb ‚
j
‚ ‚
7
g™
7
g™‚ ‚
j‰
Ob
Ó™
7
gb
r
‚
r
g
r
6b ™ œ
j
œ ™™ œ
r‰ ‰
7
gb
j
7
g
r≈‰ ≈
‚ 6
Ó Ó Ó Œ Ó Ó™
˙b GG
b GG
gg
j‰ Œ
œŒ Œ
æææ˙ ™
Œœ
Œ Œ Óœ
Œœœ
≈‰ Œ Œœœ
≈œœ
≈Œ Œ
œ
Œ Ó Ó Œœ ææ
ææææ
ææææææææææææ
Ó Ó Ó Œ Ó Ó™ ææææææ
ææææææææææææ
Ó Ó Ó Œ Ó Ó™Yb ¿
j‰ Œ
Ó Ó Ó Œ Ó Œ
œb
ϵ
R≈‰
)µ ™ ) ™
Y
Ó ‰
¿
jŒ Ó
Ó Ó Ó Œ Ó Œ œb
œB
R≈‰
)B ™ ) ™¿ ™
j
≈ Œ Ó ‰ ¿
j
Œ Ó
Ó Ó Ó Œ Ó Œ œ
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R ≈‰)Bb ™ ) ™
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™
™
œ
œ
œ
œ
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œ
œ
œ
œ
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™
™
œ
œ
œ
œn
µ ™
™
Ó Ó Ó Œ Ó Œ
œ
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r≈‰
)b ™ )‰™
œ
r
‚B ™∏∏∏∏
‚ ‚ Ó Ó Œ ‰ ‚B
j
∏∏∏∏ ≈ œb
r
œ œBb
-µ
j ‰ Œ Œ Ó
-
æææ-
æææ-
j Ó
œ
‚b
b
œB
œ
‚
-≈Œ Œ
¿n ¿ ¿ ¿
‰ Ó™ Ó
-
j ‰ Œ Œ Ó
-
æææ-
æææ-
jÓ
æææ-Bb ™ ‰ Œ
6
r ≈ ≈
6
r ≈ ‰ Ó™ Ó
gb gb
j
‚ ‚ ‚ ‚b ‚ ‚
Œ Œ Œ ™ ‰™
g g
‰
gbgBb
g ‚
j
3
r
gb
r
3b
r‰
gb ™ g g ‚b
æææœ
j
‚ 6 ‚
Œ Œ Œ ™
6b 6
≈
6 g
≈ 7
g 6 6 7
gb
r
‚
r
6n
r‰
Ó
gg
b GG
gg
j‰ Œ Œ Œ Œ Œ ™
gg
b ™™
gg - ™
j≈ Œ Œ
-
‰ Ó™ Ó
ææææææ
ææææææ
ææææææææææææ Ó
œœ≈‰ Œ Œ Œ ™
œŒ ‰
œ≈ Œ Œ
œ‰
œŒ Œ Œ ‰
œ
ææææææ
ææææææ
ææææææææææææ Œ Œ Œ ™
f
‰ Ó™ Ó
Œ Œ Œ ™œœb
j
‰ Œ ‰ Ó™ Ó
R≈‰ Œ Œ
R≈‰ Œ
œµ ˙ œ œ
J6µ ™
Œæææ
œµ ™
J≈ Œ Œ
ææ朵
æææ
œB ™
‰
)µ ™ 6 6
J ‰
R≈‰ Œ Œ
R≈‰ Œ
œB ˙ œ œ
J
6 ™
ŒæææœB ™
J≈ Œ Œ ææ
æ
œB
æææ
œ ™
‰)B ™ 6 6
J‰
R
≈‰ Œ Œæææ
Obb
Ó
œB ˙ œ œ
J
6 ™
Œ œBœµ≈Œ Œ œB
œµ‰ ‰
)Bb ™ 6 6
j‰
œObb ™™
æææœO
jœObb Œ œb ˙b œb ™ œb
J
‰ Œ ‰
æææœb ™
J
≈ Œ Œ œb
œ
‰ ‰)b ™ 6 6
j‰
=
14
{
°
¢
{
{
°
¢
{
Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
ppp ppo
29
mp audible
ppo
f possibilie
p mf
f sub. pppo
po pp - placid and beautiful
o
o o
p
po
ppp
p
ppp
p p
° *
p
° * °
pp ppp ppp p ppp p ppp
pp ppp ppp p ppp p
pp
mp
oppp
p
pp pppmp
ppp
po
Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
ppp pp
37
po
pp
ppmp pp
p o pp mp
pp
ppp ppo
ppo
pp ppp mp p
ppp
*ad. lib.
p ppp
mf ppp mf ppp mf ppp
p pppmf ppp mf ppp
mf ppp
p ppp
mf ppp mf ppp mf ppp
p pppo
pp
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
4
4
2
4
4
4
5
8
4
4
7
8
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
3
8
7
8
2
4
3
8
5
16
4
4
5
4
&
(roll in)
∑
j.
j
&
5
low key clicksÍÍÍÍÍÍÍÍÍÍÍÍ
∑
j.
j
&
air, away from mouthpiece
>
low key clicksÍÍÍÍÍÍÍÍÍÍÍÍ
>
∑ ∑
to clarinet in Eb Clarinet in Eb
∑
?∑ ∑
>
flz.¯¯¯¯
3
&
o +
∑ ∑
+ +
∑
flz.
∑
/
q
Ratchetse ™
.
∑ ∑ ∑
•AB.D.
∑
&∑ ∑ ∑
?∑
>‘“
∑ ∑ ∑
5
&
”“c.l.b.. . . .
m.s.p.arco
∑
metal practice mute
∑
&
ord. m.s.p.”“
c.l.b.. . . .
arco
∑
metal practice mute
∑
&
c.l.b.
. .. .
Bgliss.
. . . .
arcom.s.p. ¯¯¯¯¯¯ pizz. metal practice mute
∑
& g
l
i
s
s
.
o o o o
.
fast as possible
?
m.s.p.
gliss.
¯¯¯¯ metal practice mute
∑&
3
&
Piccolo
Excerpt 3 - they slither
∑
bisb.ÍÍÍ
∑
bisb.; roll inÍÍÍÍÍÍÍÍÍÍÍÍ
gliss.
.
∑
&
G# key onlyŸ~~~~~~~~~~~~~~~~~~~
∑ ∑
bisb.
5
ÍÍÍÍÍ
∑ ∑
roll out
gliss.
∑
&∑
(breathe ad. lib.) bisb.ÍÍÍ
bisb.ÍÍÍÍÍÍÍÍ
bisb.ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
gliss.
gliss.
5
?
bisb.ÍÍÍÍÍÍÍÍÍ
3
(breathe ad. lib.) bisb.
5
ÍÍÍÍÍbisb.ÍÍÍÍÍÍÍÍÍ
3
&
+
∑ ∑
¯¯¯¯¯¯¯¯
∑
¯¯¯¯¯¯¯
∑
/
ªAB.D.unmeasured, changing speed
∑ ∑ ∑
&∑ ∑ ∑ ∑
.
5
5
3
ÿ◊
?∑ ∑ ∑ ∑
°
∑ ∑
&
ord.
∑
5
3
&
ord.
∑
3 3
B
ord.arco
∑&
&
ord.IIIo o
∑
1/2 s.p.o o o o
?
(slow as possible)
gliss.
¿ ¿ ¿
≈ Œ Ó
-b ™ -Bb
Œ Ó
˙
˙˜
œ
œ
™
™
œ
œ
œ
œ
j
‰ Œ Ó
œ
œ˜
œ
œ
™
™
œ
œ
˙
˙Œ Ó
6
r ≈ ≈
6
r ≈ Œ Ó
¿
Œ Ó
˙
˙˙BB
œ
œœ ™™
™ œ
œœ
œ
œœ
J
‰ Œ Ó Œ
œ
œœBB ™
™
™ œ
œœ
˙
˙˙
œ
œœ Ó
- ™
j≈ Œ Ó
¿
Œ
‚B
r≈ ‰ Œ Ó Œ ™ Œ Œ Œ ™ Œ
œb œ ™ œ ˙ ˙
æææœ
Œ Œ ™ Œ
˙ œ œ
J
œ œ œ ™ œ œ ™
‰ Œ
˙
-
Œ Ó
gb g
Ó Œ ™ Œ Œæææ- ™
Œ
œ ≈ Óœ
RÔ
®≈ ‰ Œ Œ ™ Œ Œæææœ ™
Œ
f
Œ Ó Œ ™ Œ
f
Œ Ó Œ Œ ™ Œ
f
Œ Œ Ó
∑
6b œ 6 œn 6b
Œ Ó Œ ™ Œ Œ Œ ™ Œ
ææ朵
æææ
œB ™
Œ Ó
œµ‰ Œ Ó Ó Œ ™ Œ Œ Œ ™ Œ
æææ
œB
æææ
œ ™
Œ ÓœB
‰ Œ Ó Ó Œ ™ Œ Œ Œ ™ Œ
œBœµ
‰ Œ Óœn
œb
Œ
œb œ œ ™ ˙ œ ™ œ
j
œ
Œ Œ ™ Œ
œb
Œ Ó Œ Œ ™ Œ
œn‰ Œ Ó
æææœb ™
J ≈ Œ
œb œ œ
j æææ˙ w œ ™ ˙
Ó Œ Œ ™ Œ
_ ™ _
Œ Œ Œ ™- ™
j≈ Œ
- -B
r≈ ‰™ ‰
O ™
Ó Œ ≈
- - ™
j
-µ
r ≈
œ ™ ˙ œ ™ œ ™ œ œ ˙ œB ™ œ ™j
œ
j
œ ™ œ œ œ œ œb
œ œ
‰ Œ Ó
œ ™ ˙ œ ™ œB œ
R
œ ˙ œ ™ œ ™
J
œ
J
œ œb
J
œ ™ œBb
J
œ ™ œB
G™Ó Œ Œ Œ ™ Œ
œB œ ™
j ‰
æææ˙ ™
ææ˙
æææææœ
j
‰ ‰
æææææœ
j
‰ ‰ Ó ‰™æææææœ
j
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j
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Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
(pp)
o
q=66accel.
q=10045
po
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mp
f pp
ppo
ff
mpf
°
mp
ppp
mp pp mf
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accel. q=100
mp
ppppp sub.
mf
mp
ppp
mp
ppp
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f
Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
fo
f p
49
ffff
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o
ff dynamic?p
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2
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3 5 3
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Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. 1.
Vln. 2.
Vla.
Vc.
pf
p
f
55
p
f
p f p
ppp - quiet and high/meandering as possible,
noisy
ffo
f pp
ppp - quiet and as fast
as possible
f
pp
ppp - quiet and high/meandering as possible mf
pp
p
p
f p f
p
p p f
° * ° *
pp
° *
p
mp
p
(audible)
p mpp
(audible)
f
pp
f pp sub.
f
pp
f pp sub.
Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. 1.
Vln. 2.
Vla.
Vc.
fo
f mp f
62
f
f
f p f sfz sfz sfz f
f
p f
ff f
mp possibile
ff
ppp f ff
ff
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(f)o
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ff p sub. (f) p sub. fo
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4
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7
8
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.
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fast as possible
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1/4 s.t.
IV
53
m.s.p
∑
I
bow position ad. lib.
≈ ≈
∑
(sim.)
∑
&
IV
1/4 s.t.
3
. . . . m.s.p
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I
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(sim.)
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3
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q
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∑ ∑
IVo o
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q
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Violin II
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B.
m.s.p.
.
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{
°
¢
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Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
f f mf p
69
f
mf f mp
sfz sfz sfz ff ff
ff ff
ff
f p sub.
f off
off
f pp pp
f
° *
° *
ppp p ppp ppp p ff pp
ppp p ppp p
pp
pppp
p
ff
ff
pp
ppp p ff pp
Picc.
B. Fl.
Eb Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
pp ppp
78
pp
ppo
fpp
ppp
ppo
f pp ppp
fff
f
pp f ff
p
pp
f ppp
° * °
oppp
oppp
o ppp
oppp
3
4
2
4
9
16
4
4
5
8
3
4
4
4
7
8
3
4
2
4
9
16
4
4
5
8
3
4
4
4
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3
4
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4
9
16
4
4
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3
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4
7
8
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16
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4
5
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3
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3
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3
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