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I am

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aking a personal trajectory
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male voice
Female
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Violoncello
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Female voice
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Female voice Bass clarinet
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2] Global space
This piece deals essentially with issues related with space
in its various dimensions. With regard to physical space for
the performance, the piece is designed to be played at open
or closed spaces that allow listeners to move around, such as
parks, plazas, museums, galleries, schools, warehouses, roads
etc. The place chosen for the performance doesnt need to be
totally silent, and moderate interference noise proper to each
of these environments are welcome. But one should be careful
so that the piece does not have to compete with environmental
sounds, compromising the work of the performers or
completely avoiding the enjoyment of listeners.
The performers should take their places forming a kind of
circuit, in which each of them is understood as a pit stop. The
positioning of the musicians and the distances between them
are two variables that must be set according to the specificities
of each area (topographic conditions, existence of obstacles
etc.). However, as a general guideline, it should be considered
that: 1) the performers belonging to each of the following pairs
must be at opposite ends: Pair A (Female voice + Violoncello),
Pair B (Viola + Accordion), Pair C (Bass flute + Double bass),
and Pair D (Bass clarinet + Percussion); 2) Each performer must
be sufficiently far from the others so that she/he does not listen
to them (or at least not clearly); and 3) taking into account the
total length of the piece (30 minutes), each performer must
be sufficiently close to the others so that listeners can move
between them in a comfortable walking speed and can also
perform brief stops in front of each one of the performers,
if they wish. One suggestion would be to consider about 3
minutes for the stops in front of each musician and a total of 6
minutes to displacements. In a space without of obstacles, this
would result in a distance of approximately 20m between the
nearest performers.
If the space does not favor the immediate visual
understanding of the total circuit, an introductory oral
presentation or the provision of some graphic materials (texts,
indicative arrows, maps etc.) can assist the audience. However,
the listeners should not, in any case, be led to predetermined
trajectories. Listeners must have the freedom to make their
personal choices autonomously, deciding the direction to be
taken and the time to be spent at each stage of her/his trajectory.
3] Possible versions and titles
The abstract title of the piece is I am [where?], making a
personal trajectory of listening. However, that is an interactive
title. At each performance, the musicians must fill the field
[where?] indicating the specific location where the performance
will take place, turning this abstract title in a concrete title. As
a general recommendation for filling this field, it should be
sought a great degree of specificity, clearly stating in which
space the performers and the listeners are in the course of the
piece. As an example, the premiere received the title I am at
Dalehead Arch, making a personal trajectory of listening, which
refers to the specific area of a tunnel located in Central Park in
New York, USA.
Although the performers, being isolated, see themselves
and are seen as soloists, a detailed chamber music writing
operates throughout the piece. Thus, the piece offers the
audience both the possibility of solo music or chamber
music listening and can be performed in three different ways:
A] Version of the acoustic solo music listening in live
performance.
In this version, whose title should be I am [where?], making
a personal trajectory of listening (replacing the field [where?]
by the name of the place of the performance), listeners
move during the performance and have an individual and
fragmented understanding of the piece as a result of her/his
personal trajectory in the circuit formed by 8 soloists.
B] Version of the digital chamber music listening, from a
recording.
In this version, which title should be The defrag version
of I am [where?], making a personal trajectory of listening
(replacing the field [where?] by the name of the place where
the live performance happened), audience remain still and
listen to the same recorded chamber music version of the
piece. For this digital version, it should be placed 8 directional
microphones to record each one of the musicians. Some
recording of ambient noise is acceptable. Microphones must
be mixed so as to mitigate but without compromising the
particular energy used by each performer the dynamic gaps
that would naturally result from a performance where the

This version is the simultaneous combination of the two


previous versions, but with the digital version running in
real time on a different space from the space of the acoustic
performance. Both spaces can be close to each other in
order to allow listeners to move from one space to another (a
museum or gallery with independent rooms could be favorable
to this proposal), or significantly far, allowing, for example,
that someone in country A listens the digital version of the
performance that is happening in country B via netconcert. The
miking, mixing and diffusion should follow the same guidelines
already presented in item 2). This version does not have a
specific single title and should receive the two titles mentioned
above, one for each place.
Versions 2) and 3) may also include capture/projection of
visual images. In this case, a camera should be used for each
performer, preferably focusing only on her/himself and her/his
instrument. Unlike audio diffusion on individual channels, the
video projection may happen on a single screen divided into
8 independent sections. Working in partnership with a video
artist who can interfere creatively in capture, treatment and
mixing of images is recommended.
4) Individual space: ambient and presence
Although seats, banks, and music stands may be necessary
(consider the possibility of having the score on the ground) to
ensure good workability of the piece, the performers should
organize their personal spaces (their particular environment)
in the most informal way, as do street performers, for example.
Although sensitive spatial boundaries are naturally built at the
time of performance, explicit segmentation (use of platforms,
sealing strips etc.) between the performer space and the
space of the audience is not desirable. Complementing this
policy of rapprochement between performers and audience,
it is suggested to display some personal contribution of the
performer to this environment (such as the use of personal
objects or significant decorative elements). It is also important
that the performers are dressed according to the specific
conventions of the chosen space (in a presentation in a park
during the summer, for example, consider the use of sandals).
These are some suggested strategies to mitigate the
conventional symbolic distance between performer and
audience. The intention is to seek a higher level of empathy
through an environment where informality and intimacy are
most favored.
Nevertheless, verbal interactions with listeners should be
avoided during performance (including during the long rest
moments).
5) Synchrony
The piece depends essentially on the use of chronometers.
Each performer must have her/his own chronometer so that
she/he can be guided independently throughout the piece.
The performers must start and finish the piece together,
and it is vital that they are as synchronized as possible in the
whole piece. Some level of dyssynchrony (a few seconds) is
tolerable. However, the performers should seek to follow the
chronometers accurately, avoiding advance or delay in the
overall map of the piece, especially in the transitions from
one section to another.
Therefore, it is essential to find a solution (appropriate to the
space where the performance will take place) to synchronize
the beginning of the piece, i.e. the exact moment to activate
the chronometers. If there is any common point of visibility to
the 8 performers, one solution can be to use a visual signal
(one checkered flag, for example) given by another person
so that the musicians, having been already positioned in their
respective places, can trigger the chronometers and start
the performance at the same moment. Another possibility
that can be used in greater distance contexts is that the
performers gather to trigger their chronometers and, soon
after this, move to their respective places, beginning the
piece in the X minute previously combined. Other solutions
using technological aid can also be considered (such as the
use of electronic hearing points, for example). It should be
avoided the use of sonorous signs.
Due to the length of the piece, it is recommended to
prepare security strategies so that performers can synchronize
again if some accident occurs along the piece. Thus, some
extra signals may be given at specific points of the piece.
II - SCORE

2] Musical material: gestures

At the top of the score the performer will find a chart that
gathers information about the musical form, with clear marks
that indicate the 7 different sections over 30 minutes. In this
chart the performer also find an activity curve that gathers

Pair A: Female voice + Violoncello


thread cloud

cumulus congestus
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2,0
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cumulus congestus
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Pair B: Viola + Accordion


cumulus congestus
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The musical
material material
is disposed
into 4 quadrants
with
The musical
is disposed
into 4 quadrants
with
differentdifferent
colors. Each
of these
should be
understood
colors.
Each quadrants
of these quadrants
should
be understood
as a zone, characterized
by a specific
type of gesture.
Thus, Thus,
characterized
by a specific
type of gesture.
Cello, T2starting in
the upper
quadrant
and turning
the
starting
in theleft
upper
left quadrant
and clockwise,
turning clockwise,
the
following areas are: Thread Zone, Grain Zone, Dot Zone and
and
Powder Zone. Each zone encompasses a set of cores which are
which are
represented
by a small
which
the center
represented
by circle
a small
circlebrings
whichinbrings
in thethe
center the
2
2.2) Length
first zonefirst
name
letter
followed
by a number:
T1, G3, D2,
Q4 D2, Q4
zone
name
letter followed
by a number:
T1, G3,
etc. Each color groups from two to four musical gestures that
that
There are two categories of gestures with regard to length:
share even
more
specific
within a specific
share
even
more characteristics
specific characteristics
within a zone.
specific zone.
A] fixed length gestures: those which length correspond to
Gestures are named with Greek letters: (alpha), (beta),
the gestural
the gestural
movement
movement
itself (e.g.
itself
string
(e.g.
pizzicato,
string pizzicato,
finger stroke
finger stroke
(gamma), or (delta).
etc.) andetc.)
cannot
andhave
cannot
its length
have itsmanipulated;
length manipulated;
Gesture Gesture
is a complex
energetic
structure,structure,
condensed
is a complex
energetic
condensed
and expressive.
Its personality
(specific (specific
sonic characteristics)
and expressive.
Its personality
sonic characteristics)
was carefully
designed
taking taking
into account
idiomaticidiomatic
was carefully
designed
into account
aspects aspects
of each of
instrument
and is expressed
in the score
each instrument
and is expressed
in the score
through through
a musical
writing fairly
accurate.
The gesture
is not is not
a musical
writing
fairly accurate.
The gesture
characterized
only by only
one by
or other
but by the
characterized
one orparameter,
other parameter,
but by the
association
of a specific
set of parameters
such as such
pitch,as pitch,
association
of a specific
set of parameters
Accordion, D1duration,duration,
dynamics,
timbre, timbre,
articulation
etc. Thus,
forcare for
dynamics,
articulation
etc.care
Thus,
an accurate
performance
of each of
gesture
is very important.
an accurate
performance
each gesture
is very important.
However,However,
for the for
gestures
not to be
only as only as
the gestures
not understood
to be understood
B] flexible length gestures: those which length can be set
recurringrecurring
icons during
most of them
have
some
iconsperformance,
during performance,
most of
them
have some
by the musician
by the musician
and varied
andeach
varied
time.
each time.
flexibilityflexibility
that allows
energy
be varied
thatitsallows
itsprofile
energytoprofile
to beaccording
varied according
to the contexts.
For flexible length gestures, the minimum and maximum
length
length
are
values
indicated
are indicated
in the score.
in the
Importantly,
score. Importantly,
in the case
in the case
The performer
may manipulate
the gestures
essentially
in
The performer
may manipulate
the gestures
essentially
in values
of gestures
of gestures
that havethat
dynamic
have dynamic
curve (cresc./dim.,
curve (cresc./dim.,
for example),
for example),
two parameters: pitch and duration (length). Some ).gestures
Some gestures
this should
thisbe
should
considered
be considered
to the full
toextent
the fullofextent
the gesture,
of the gesture,
no
no
can also have their global profile retrograded,
being read
retrograded,
being read
matter
matter
short
how
or long
shortisoritslong
length.
is itsThe
length.
min The
and min
maxand
length
max length
backwards.
In this case,
thecase,
manipulations
are also are
related
backwards.
In this
the manipulations
also to
related
to how
values are
values
displayed
are displayed
in three different
in three different
ways: ways:
the dynamic
curve of curve
this gesture.
Such gestures
are marked
the dynamic
of this gesture.
Such gestures
are marked
in the score with the letter R. In the specific
of Percussion,
In the case
specific
case of Percussion,
in seconds: min 1 / max 5; min 3 / max 8; min 4 /
which almost
deals with
defined
pitch in pitch
this piece,
which doesnt
almost doesnt
deals
with defined
in this piece,
max 10;
the gestures
can be manipulated
in relation
their duration
the gestures
can be manipulated
in to
relation
to their duration
(length),(length),
intensityintensity
(dynamic(dynamic
range), and
timbre
range),
and(some
timbregestures
(some gestures
in pulses, when quarter note = 40-60: min 3 pulses /
can happen
in different
instruments).
For the For
Female
voice voice
can happen
in different
instruments).
the Female
max 8 pulses; min 4 pulses / max 10 pulses;
there is also
possibility
of varying
phonemes
in
therethe
is also
the possibility
of words
varyingand
words
and phonemes
in
each gesture.
in technique action: one fast bow, slow glide, one blow
etc.

2.1) Pitches

Considering these limits, the length of such gestures can


There are three categories of gestures in respect to pitch:
be manipulated
be manipulated
in the following
in the following
ways: ways:
A] undefined
pitch gestures:
those that
do not
withdeal with
undefined
pitch gestures:
those
that deal
do not
a] for gestures without metronomic indication: stretching/
this parameter;
squeezing
squeezing
the individual
the individual
durationduration
of the figure
of thewhere
figure the
where the
fermata is
fermata
placedistoplaced
achieve
to the
achieve
desired
the global
desiredgesture
global length;
gesture length;
stretching/squeezing
stretching/squeezing
the entire
thedesign
entireas
design
muchas
asmuch
necessary
as necessary
to achieve
to achieve
the desired
the global
desiredgesture
global length;
gesture or
length;
keeping
or keeping
the
the
design as
design
muchasasmuch
necessary
as necessary
to achieve
to achieve
the desired
the desired
global global
Bass flute, P1);
gesture length
gesture(this
length
gestures
(this gestures
has the signal
has the signal

B] fixed pitch
gestures:
those which
closely
fixed
pitch gestures:
thosepitches
which are
pitches
are closely
linked tolinked
the gestural
profile itself
anditself
cannot
manipulated;
to the gestural
profile
andbe
cannot
be manipulated;

Pair C: Bass flute + Double bass


cumulus congestus
cloud 1

thread cloud

2,5
2,0
1,5
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cumulus congestus
cloud 2

grain cloud

10

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powder cloud

dot cloud

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cumulus congestus
cloud 3

time
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0,5
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Pair D: Bass clarinet + Percussion


cumulus congestus
cloud 1

grain cloud

thread cloud

2,5
2,0
1,5
1,0

10

cumulus congestus
cloud 2

11

12

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powder cloud

dot cloud

15

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cumulus congestus
cloud 3

time
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3.1) Cumulus Congestus Cloud 1-3


Sections Cumulus Congestus Cloud 1-3 (initial, intermediate
and final) are characterized by instability of the musical material,
since in each of them the four pairs of performers pass through
the four different zones that make up the piece. Each of these
sections has specific characteristics. The Cumulus Congestus
Cloud 1 is characterized by the idea of gestural polyphony.
In this section each pair of musicians perform a certain activity
curve and follow a particular path between the different
zones. The Cumulus Congestus Cloud 2 is characterized by
the idea of gestural heterophony. Represented with a black
line, the activity curve along this section does not indicate
which zones should be used in every specific moment. This is
actually a section where performers are free to move between
all zones establishing interactions between gestures with very
different characteristics. Finally, Cumulus Congestus Cloud 3
is characterized by the idea of gestural homophony. In this
section all the performers follow the same activity curve and
move between the different zones making the same trajectory.

on a common pulse. The idea is to create a section where the


pulse sensation is evident, but where each performer maintains
her/his own tempo. These are the only moments where all
the gestures available in the score including those with long
durations should have their length reduced to 1 pulse. The
performers have the freedom to select the most adequate
gestures to this operation within the indicated zones.
During the long rests performers must stop the flow of
musical activity, but keeping a performance attitude. They
should perform this interruption discreetly, seeking to avoid
any abrupt action. During the 4-minute break, the performers
can act as they wish. They may remain seated or standing, still
or busy with some activity. The actions are free, provided they
are not sonorous and are restricted to the individual space
previously established for each performer. Some applause
may occur, but should not be encouraged. The performer
must remain watchful to the chronometer to return to musical
activity at the right time. In the case of video filming the focus
should not be removed from the performer.

3.2) Others Clouds

3.3) Gesture interactions: activity curves and index

Unlike the sections Congestus Cumulus Cloud, the Thread,


Grain, Dot, and Powder Cloud sections are characterized
by great stability of the musical material, since each one is
dedicated to one of the zones that make up the piece. These
sections are marked by the presence of a kind of duo
(foreground) that is performed by one pairs of musicians and
accompanied (background) by other two pairs, resulting in
sections that are marked by the idea of gestural accompanied
melody. During these sections long moments of rest are
indicated to the last pair of performers. Such sections are so
arranged as follows:

Each pair of performers has a specific activity curve


presented at the top of the score. In the horizontal axis is
projected a timeline from 0 to 30 minutes, segmented at
every 1 minute. On the vertical axis it is showed a gradation
of the activity index that the performer should consider at
every moment.
Activity index

2,5

Very high level of activity. Almost no gaps between gestures.

2,0

High level of activity. Short gaps between gestures.

Thread Cloud

1,5

Moderate level of activity. Confortable gaps between gestures.

Par A (Female voice + Cello): Duo (foreground) attached score

1,0

Low level of activity. Large gaps between gestures.

0,5

Very low level of activity. Very large gaps between gestures.

0,0

No events.

Par C (Bass flute + Double bass): Accompaniment (background)


Par B (Viola + Accordion): Accompaniment (background)
Par D (Bass clarinet + Percussion): Long rest
Grain Cloud

Bass flute, G1Cello, P1-

Bass clarinet, T3-

Par B (Viola + Accordion): Duo (foreground) attached score


Par A (Female voice + Cello): Accompaniment (background)
Par D (Bass clarinet + Percussion): Accompaniment (background)
Par C (Bass flute + Double bass): Long rest

C] flexible flexible
pitch gestures:
those which
can be can be
pitch gestures:
thosepitches
which pitches
selected by the musician and varied each time.

Dot Cloud

For flexible pitch gestures, the set, of


pitches is
theavailable
set of available
pitches is
always displayed
at the beginning.
It is important
to emphasize
always displayed
at the beginning.
It is important
to emphasize
that the that
pitches
transposed
or octaved.
The pitch
the cannot
pitches be
cannot
be transposed
or octaved.
The pitch
sets are indicated in two different ways:

Par B (Viola + Accordion): Accompaniment (background)

Par C (Bass flute + Double bass): Duo (foreground) attached score

Bass clarinet, G3-

a] for Female
Bass
flute,
Bass
clarinet
Accordion:
forvoice,
Female
voice,
Bass
flute,
Bassand
clarinet
and Accordion:
b] for gestures with quarter note = 40-60: repeating
the available
pitches are
displayed
in a box.in
For
the Accordion,
the available
pitches
are displayed
a box.
For the Accordion,
as necessary
todesired
get the length.
desired length.
pulses aspulses
muchas
asmuch
necessary
to get the
bracketsbrackets
indicate indicate
the possible
harmonicharmonic
groupings
for eachfor each
the possible
groupings
hand;

Par D (Bass clarinet + Percussion): Accompaniment (background)


Par A (Female voice + Cello): Long rest
Powder Cloud
Par D (Bass clarinet + Percussion): Duo (foreground) attached score
Par C (Bass flute + Double bass): Accompaniment (background)
Par A (Female voice + Cello): Accompaniment (background)
Par B (Viola + Accordion): Long rest

1] Introduction
The score is written essentially in traditional music notation,
aided by graphical notation and some explanatory texts. It
should be printed in color and on large sheets of paper (A1 is
recommended).

3) Musical Form

activity index

C] Version of acoustic solo music listening and digital


chamber music listening, running simultaneously.

between open and stopped strings. In the case of microtonal


information
through
the use the
of colors
about which
information
through
use of colors
aboutare
which are
beatings
a different
a different
tablaturetablature
is proposed.
is proposed.
In it, beyond
In it, stating
beyond stating
and howand
should
used be
theused
musical
on each on
of the
howbe
should
the materials
musical materials
each ofbeatings
the
the strings
thethat
strings
can that
be used,
can be
theused,
tablature
the tablature
are also are
informs
also the
informs the
different sections.
pitches (normal
pitches (normal
in the higher
in theopen
higher
string
open
and
string and tone higher
In the remainder
of the score
performer
has at hasin at
In the remainder
of the the
score
the performer
the lower
in thestopped
lower stopped
string) that
string)
should
that be
should
played.
be played.
These These
her/his disposal the musical material itself, arranged
in
itself, arranged
in
gestures
gestures
are easily
are
recognizable
easily recognizable
by the presence
by the presence
of a mirror
of a mirror
four quadrants
in different
colors, which
four quadrants
in different
colors, relate
which directly
relate directly
treble clef
treble
at the
clef
beginning
at the beginning
of the tablature.
of the tablature.
to the colored
markingsmarkings
that appear
on the chart
to the colored
that appear
on theabove.
chart above.
There is There
still another
score attached
that the performer
should should
is still another
score attached
that the performer
use at a specific moment, when the main score indicate extra extra
score. This is a. kind
ofaduo,
i.e.duo,
a moment
of greater
This is
kind of
i.e. a moment
ofproximity
greater proximity
with a second
who alsowho
works
an extra
score
with a performer
second performer
alsowith
works
with an
extra score
Strings, T2at the same
This
attached
score relies
on
at thetime.
same
time.
This attached
scoreexclusively
relies exclusively
on
traditional
musical musical
notationnotation
and does
require
extra
traditional
andnot
does
not require
extra
explanation.

activity index

This piece is thought as a space for interaction between


composer, performers and audience, as well as between
sound, listening, time and space. As a composer I offer two
specific contributions: 1) a set of ideas presented through a
music score; and 2) a set of ideas presented through a text.
These two contributions have close relationship with each other
and should be understood complementarily. Both the score
and the text have a certain degree of openness, but always
within limits or well-established guidelines. Anyway, beyond
the possibilities established herein, unexpected musical
solutions related to the specific realities of each performance
are welcome, provided that they are in line with the ideas here
exposed, relying in the artistic and musical sensitivity of the
performers.

musicians do not listen to each other. Mixing and diffusion


in 8 channels (one for each performer) is ideal for concert
situations, but a 2 channels version would also be acceptable
for documentation purposes.

activity index

1] Introduction

activity index

I - GENERAL ASPECTS

Accordion, P1-

b] for Viola,for
Violoncello,
and Double
theBass:
numerical
Viola, Violoncello,
and Bass:
Double
the numerical
indication
that appears
at the beginning
of the tablature
indication
that appears
at the beginning
of the tablature
informs informs
which strings
be used.
general,
these three
which can
strings
can beInused.
In general,
these three
instruments
use exclusively
open strings.
are usedare used
instruments
use exclusively
open Fingerings
strings. Fingerings
only in two
cases:
forcases:
natural
or microtonal
beatingsbeatings
only
in two
forharmonics
natural harmonics
or microtonal

Bass Clarinet, T2-

Each of these four sections is preceded by a short time (1


minute) of sync around the gestures that make it up, functioning
as a kind of introduction to the accompanied duos that follow.
These moments are marked in the score with the symbol of a
quarter note. The pair who will perform the duos should take
a break during this minute (quarter note pause marked in the
score), so they can properly prepare the change for the extra
score. The other two pairs that will perform the accompaniment
should choose a pulse between quarter note = 40-60 and
keep it in evidence throughout this one minute, creating a sort of
rhythmic ostinato. The performers should not previously agree

It is important to clarify that a high level of activity does not


necessarily mean using a large number of different gestures.
Eventually, it is possible to achieve a high level of activity using
few gestures. The opposite is also true. In a low level of activity,
various gestures can be used. Thus, the activity index informs the
performer about the gestural density to be built at each moment,
i.e. the frequency of physical action on her/his instrument.
In the activity curve performers can also get through color
variation information about which zones should be used for
each moment. Momentary approaches on the same core and
even subsequent repetitions of the same gesture are allowed,
but in this case avoid creating patterns or structures that can be
recognized as new gestures. As a general remark, it is desirable
that the available set of gestures be used in a balanced way
seeking great sonorous richness in all the sections.
A personal engagement in handling the offered gestures is
not only desired, but also essential for the efficient performance
of the piece. It is recommended that the performers assimilate
the set of gestures available as a kind of personal vocabulary
and can thus manipulate and move between gestures with
fluency and naturalness. However, it is important to emphasize
that despite the openness that the performer has to handle
(pitches, length, global profile etc.) and combine gestures, she/
he should not feel encouraged to create new gestures or modify
certain parameters that do not have been indicated in the score.

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2,0
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1,0

10

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17

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time

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0

*crystalline*

U
fi
n n
#

&

n
nn#

fp

q = 40-60 *intense*
into
onto

&

stressing the phoneme [t]


length: min 3" / max 8"

[__________________]

nn
#n#
#

&

R
[]
[e] [ ]

nn
#n#
#

&

length: min 3" / max 8"

length: min 3" / max 8"

or

or

U
&

&

bo ttom__________

be tween_________

ord.

fp

be_________low

mp

U
m
n> gliss. #
.

##n

below
beyond
beside

&

###n

*intense*

[r_______]

nn
# n#
#

&

mf

without changing the sung phoneme


only round mute phoneme modulation
length: min 4" / max 10"

fast

q = 40-60 *intense*

&

mf

randomic " wah" effect


length: min 3" / max 8"

[fr]

nn
# n#
#

[tr]

[kr]

randomic phonemes [fr] [tr] [kr]


length: min 3 pulses / max 8 pulses

length: min 1" / max 5"

slow

[ __ __ __o__ ]

n
n n. . n. n. #. #
# . # . #. .
. #.

&

[______]

&

gradual transition between phonemes


length: min 4" / max 10"

###n

*nervous*


n n n n #
# #
# # # n

nn

mf

U
& # n n n

# #

[r_________________________]

G2

mf

[ o ]

#. . . . .

...

n
.... .

upward or downward arpeggio


reversible dynamic curve
length: min 3" / max 8"

up-downward or down-upward arpeggio


reversible dynamic curve

randomic " wah" effect


length: min 3" / max 8"

up-downward or down-upward arpeggio


reversible dynamic curve

&

. . . .

###n

repeated note: C# [ ] / accented notes: A and C [ o ]


alea rhythm of accented notes
length: min 3" / max 8"

*anxious*

[r_________________________________]

[h ]

stressing the phoneme [h]


almost as laugh
length: min 1" / max 5"

mf

*introspective*

&

G3

&

*introspective*

upward or downward arpeggio


reversible dynamic curve
length: min 3" / max 8"

& #
>. . . . o
f

T4

&

T3

*nervous*

[ ]

*anxious*

U
n. n
&
n

#
.
#. . .

3rd tremolo: A#-C#, C#-E or A-C


stressing the phoneme [n]
relaxing the [r] to achieve great velocity
starting and finishing with closed mute
randomic half/open mute changes
lenght: min 3" / max 8"

*anxious*

[ ]

upward or downward 3rd gliss: A#-C# or C#-E


length: min 3" / max 8"

*anxious*

*nervous*

[ ________]

*extravagant*

fp

{ _

n
n#n
#

&

G1

in____________side

[tr]
[fr ]
[kr ]

stressing first phonemes [k] [t] [f]


length: min 1" / max 5"

*introspective*

U
&

ne ar

fp

T2

*sweet*

m_________id dle

&

[ ][ ]
[ ]

nn
# n#
#

*nervous*

[kr________ ]

[ _____ _____ _____]

randomic phonemes
length: min 3 pulses / max 8 pulses

T1

U
&
o

q = 40-60 *intense*

length: min 4 pulses / max 10 pulses

*intense*
ord.

*extravagant*

i___________n to

*crystalline*
o_______n

*percussive*

*introspective*
[ __o__ __ __ __ __ __o__ ]

*explosive*

s_______outh

*crystalline*

&

UO
wt O

mp

south
side

mp

length: one long air flow

*anxious*

west

[f]

P3

P2

[s]
[f]

mf

fast

*introspective*

across_________

mf
randomic " wah" effect
length: min 5" / max 12"

behind

after
before

west
east

north

length: one short air flow

mf

alea rhythm
lenght: min 3" / max 8"

[ ]

[h]

step

D3

&

right
left
step

&

-.

mf

-.

-.

mf

Y.
o

&
.

. . .......

##

nn

&

D1

on
in

mp

way

1 >
f

<

>

*introspective*

way
by

n
nn#

length: min 3" / max 8"


[ ] [ ]
[ ] [e]

D2

[] [ ]

randomic phonemes
length: min 3 pulses / max 8 pulses

*explosive*

&

down

###n

'

*explosive*
down
path
back

stressing first phonemes [p] [b] [d]

out

&

upward short portamento

top
map

&

[p]

#.
f

. .

stressing first phonemes [p] [b]


alea rhythm
length: min 3" / max 8"

+
.

*sweet*

m
#

*extravagant*

stressing last phonemes [p] [t] [k]

[ _____ _____ _____]

on
in

track
back

top

*intense*

n
'

*sweet*

*anxious*

= 40-60

appoggiatura: up to two notes


upward, downward, or zigzag motion

*percussive*

[p]
[t]
[k]

*anxious*

. . . . . . .

[p]
[t]
[k]

*percussive*

stressing the phonemes [s] [f] [ ] [h]

[ ]

n
nn#

in

P1

*explosive*
[fr___]

alea rhythm
length: min 3" / max 8"

[t]

*percussive*

far
front

stretching the phonemes [s] or [f]


lenght: min 3" / max 8"

length: min 5" / max 12"

[k]

&

' .

[p]
[b]

mf

up
at
out

n
nn#

mp

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2,5
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1,5

1,0

10

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12

11

13

14

15

16

19

18

17

cumulus congestus
cloud 3

powder cloud

time

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0

123

G#, D or G

234

1
2
3
4

>

1
2
3
4

T3

both strings simultaneously


length: min 4" / max 10" (one bow)

1-4

single or double strings


length: min 1" / max 5"

or using the 4th partials, sounding 15th


up/downward or down/upward arpeggio

1
2
3
4

mf

mf

upward or downward arpeggio


length: min 4" / max 10" (one bow)

p.n.
arco gettato
quasi legno

p.n.
a la punta

s.p.

s.p.

oU
n
o

p.n.

p.n.

<

p.n.
arco gettato
quasi legno

>

1-4

mf

upward or downward arpeggio

<

>

stroke hand tremolo


quasi tambourine

U
o

single or double strings

G3
G1
T1

s.p.

p.n.

1-4

1-4

4th

single or double strings


length: min one fast whole bow
max 10" (one bow)

4th partial, sounding 15th


length: min one fast whole bow
max 10" (one bow)

p.n., dtach

123
234

mf

p.n.

G#, D or G

T4

2 3 4

n
p

length: min 4" / max 10"

mf

T2

123

G#, D or G

length: min 4" / max 10"

-.

mp

-.

234

nn

mf

1
2
3
4

1-4

5th partial, sounding 17th


length: min 3" / max 8"

1-4

stroke hand tremolo


quasi tambourine

p.n., dtach
tallone
G2

123
234

-.

single or double strings


length: min 3" / max 8"

1
2
3
4

q = 40-60

G4

s.p.

n B nn h
- -

shuffled single and double strings


length: min 4" / max 10"
stretch or squeeze the design as much as necessary
free number of attacks

single or double strings


length: min 1" / max 5"

shuffled double strings


length: min 3 pulses / max 8 pulses

q = 40-60
s.t., dtach
p

-.

s.t., dtach
1
2
3
4

s.p.
tallone

U~~~~~~~~~~~~~

5th
< O>

mf

q = 40-60

4th partial, sounding 15th


length: min 3 pulses / max 8 pulses
1 2 3

1-4

= 40-60
4th

p.n.

p.n.
a la punta

single or double strings


length: min 3 pulses / max 8 pulses

123
234

s.p.

p.n.
arco gettato
quasi legno

p.n.

U
o

1-4

= 40-60

rotating the wrist


on the surface or side
lenght: min 4" / max 10"

-.

rotating the wrist


on the four strings
lenght: min 4" / max 10"

-.

length: min 3 pulses / max 8 pulses

shuffled double strings


length: min 4 pulses / max 10 pulses
= 40-60

1-4

2 or 3

mf

O&
o

after the end of the fingerboard


single or double strings
length: min 3" / max 8"
stretch or squeeze the design as
much as necessary

123
234

s.p.

U
O

5th partial, sounding 17th


single or double strings
length: min 4" / max 10"

p.n.

mp

4th

1-4

<f >

mf

4th partial, sounding 15th


harmonic with 3rd finger
muffled string with 1st finger
length: min 3" / max 8"

pizz quasi chitarra

mf

--

D2
1
2
3
4

mf

upward or downward arpeggio

P3
123

234

with fingernails
circular scrape

fifififi
U
o

mf

p.n.
pizz

n
f

m.s.t.
pizz

both strings simultaneously

1
2
3
4

--

fingers
slap
p.n.

one finger
slap

on the surface (near f-hole)


length: min 5" / max 12"

D3

f
strike the surface or the side

1
2
3
4

strike the four strings

length: min 1" / max 5"

4th partial, sounding 15th

G#, D or G

U~~~~~~~~~~~~~~~~~~~

1-4

4th partial, sounding 15th


length: min 5" / max 12"

2 or 3

single or double strings


length: min 5" / max 12"

fifififi
U 4th

4th

D1

1-4

1
2
3
4

pizz quasi chitarra

-- - -- --

glide

P2

mp

P1

s.p.

circular bowing
flaut.

p.n.
pizz

p.n.

s.p.

U
~~~~~~~~~~~~~~~~
5th
< O>

on the bridge, border, or scrow


length: min 4" / max 10"

single or double strings


length: min fast glide
max slow glide (one bow)

s.t.
pizz

mp

4th partial, sounding 15th


single or double strings
length: min 3" / max 8"

mp
single or multiple strings

mf

4th

1-4

2 or 3

O&

mp

upward or downward arpeggios


lenght: min 3 pulses / max 8 pulses

glide

1-4

with the bow

p.n.

1
2
3
4

p.n.
pizz

s.p.
a la punta
flaut.

s.t.
pizz

length: min 4" / max 10"


stretch or squeeze the design as much as necessary
free number of arpeggios

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cloud 1

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1,5

1,0

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11

13

14

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time

16

19

18

17

20

22

21

23

25

24

26

28

27

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30

extra score

0,5
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p.n.

123

G, C# or A

234

1
2
3
4

>

1
2
3
4

T3

1-4

single or double strings


length: min 1" / max 5"

or using the 4th partials, sounding 15th


up/downward or down/upward arpeggio

1
2
3
4

mf

mf

upward or downward arpeggio


length: min 4" / max 10" (one bow)

both strings simultaneously


length: min 4" / max 10" (one bow)

p.n.
arco gettato
quasi legno

p.n.
a la punta

s.p.

s.p.

oU
n
o

p.n.

<

p.n.
arco gettato
quasi legno

>

1-4

mf

upward or downward arpeggio

<

>

stroke hand tremolo


quasi tambourine

U
o

single or double strings

G3
G1
= 40-60

T1

s.p.

p.n.

1-4

1-4

single or double strings


length: min one fast whole bow
max 10" (one bow)

4th

4th partial, sounding 15th


length: min one fast whole bow
max 10" (one bow)

p.n., dtach

G, C# or A

T4

2 3 4

mf

p.n.

1 2 3

n
p

length: min 4" / max 10"

1-4

mf

T2

123

G, C# or A

length: min 4" / max 10"

-.
mp

U~~~~~~~~~~~~~

5th
< O>

-.

-o
nn

234

mf

1
2
3
4

1-4

5th partial, sounding 17th


length: min 3" / max 8"

1-4

stroke hand tremolo


quasi tambourine

p.n., dtach
tallone
G2

123
234

-.

single or double strings


length: min 3" / max 8"

1
2
3
4

q = 40-60

G4

s.p.

-o
-o
n B nn
- -

shuffled single and double strings


length: min 4" / max 10"
stretch or squeeze the design as much as necessary
free number of attacks

single or double strings


length: min 1" / max 5"

shuffled double strings


length: min 3 pulses / max 8 pulses

q = 40-60
s.t., dtach

-.

s.t., dtach
1
2
3
4

s.p.
tallone

mf

q = 40-60

4th partial, sounding 15th


length: min 3 pulses / max 8 pulses

123
234

= 40-60

123
234

p.n.

p.n.
a la punta

single or double strings


length: min 3 pulses / max 8 pulses

4th

s.p.

p.n.
arco gettato
quasi legno

p.n.

1-4

rotating the wrist


on the surface or side
lenght: min 4" / max 10"

-.

rotating the wrist


on the four strings
lenght: min 4" / max 10"

-.

length: min 3 pulses / max 8 pulses

shuffled double strings


length: min 4 pulses / max 10 pulses
= 40-60

single or double strings


length: min fast glide
max slow glide (one bow)

123
234

s.p.

U
O

5th partial, sounding 17th


single or double strings
length: min 4" / max 10"

123

G, C# or A

234

U~~~~~~~~~~~~~~~~~~~

p.n.

mp

4th

1-4

<f >

mf

4th partial, sounding 15th


harmonic with 3rd finger
muffled string with 1st finger
length: min 3" / max 8"

with fingernails
circular scrape

fifififi
U
o

mf

mf

on the surface (near f-hole)


length: min 5" / max 12"

upward or downward arpeggio

1
2
3
4

--

fingers
slap
p.n.

one finger
slap
D3

f
strike the surface or the side

1
2
3
4

strike the four strings

length: min 1" / max 5"

m.s.t.
pizz

both strings simultaneously

mf

p.n.
pizz

o
n

--

1
2
3
4

4th partial, sounding 15th

P3

4th partial, sounding 15th


length: min 5" / max 12"

1-4

single or double strings


length: min 5" / max 12"

1-4

pizz quasi chitarra

D2

O&
o

P2

fifififi
U 4th

4th

D1

1-4

1
2
3
4

pizz quasi chitarra

-- - -- --

mf

circular bowing
flaut.

mp

P1

1-4

U
~~~~~~~~~~~~~~~~
5th
< O>

p.n.

on the bridge, border, or scrow


length: min 4" / max 10"

s.t.
pizz

p.n.
pizz

s.p.

1-4

glide

mp

4th partial, sounding 15th


single or double strings
length: min 3" / max 8"

single or multiple strings

1-4

after the end of the fingerboard


single or double strings
length: min 3" / max 8"
stretch or squeeze the design as
much as necessary

p.n.

mf

mp

with the bow

4th

glide

1-4

mp

upward or downward arpeggios


lenght: min 3 pulses / max 8 pulses

1-4

s.p.

1
2
3
4

p.n.
pizz

s.p.
a la punta
flaut.

s.t.
pizz

length: min 4" / max 10"


stretch or squeeze the design as much as necessary
free number of arpeggios

cumulus congestus
cloud 1

activity index

2,5

2,0
1,5

1,0

grain cloud

thread cloud

cumulus congestus
cloud 2

10

12

11

13

14

dot cloud

15

16

powder cloud

cumulus congestus
cloud 3

time
19

18

17

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0

bellows shake

&

l.h.

n#
nn
n#
bbn
n
#
n

r.h.

q = 40-60
one bellow

nU

n#
o
n

#n

n
& n

b
? n
mp

&

one or both hands


alea combination of l.h. and r.h. trichords
length: min 3" / max 8"

n#
n

? n#wnw
w

one or both hands


length: min 4 pulses / max 10 pulses

q = 40-60

mf

b nb

n
n#

U
& b b
n

b nb

length: min 4 pulses / max 10 pulses

bellows slaps tremolo

mp

U
#nn

n
n
n n#
b

&

length: min 4" / max 10"


stretch and squeeze the design
as much as necessary

length: min 1" / max 5"


stretch and squeeze the design
as much as necessary

length: min 4" / max 10"

bellows slaps tremolo

l.h.

r.h.

n n

b
n
n
#
n
#

n #

mp

V'

one or both hands


length: min 1" / max 5"

one or both hands


always on contrary direction
alea combination of l.h. and r.h. bichords
lenght: min 3" / max 8"

T2

G3
T3

T1

G1

registers mixtures

&

n
n
b

r.h.

&

U
n
b

mp

Db-C: changes between upper switches


C-B: changes between lower switches
length: min 5" / max 12"

alea " filtered" pitches


length: min 3" / max 8"

n
nn#
n#

l.h.

n#
n

r.h.

bass
switches

-.
#nn

bbn
n
#
n

G2

stroke tremolo
quasi tambourine

q = 40-60

sudden
filtering

U
& n n #
mf
b
? b U

&

leg slow vib

arm fast vib

.
p

&

one or both hands


alea combination of l.h. and r.h. trichords
length: min 3 pulses / max 8 pulses

n#
nn
n#

r.h.

nU

n#
o

opposite
corner

bass
switches

&

extend the bellows slightly


right hand, rotating the wrist
length: min 4" / max 10"
stretch and squeeze the design
as much as necessary

length: min 4" / max 10"

#U

finger tremolo

#
n

mp

U
#nn

finger tremolo

n n
#

bellows shake

&

mf

length: min 1" / max 5"

lenght: min 4" / max 10"

n#
nn
n#

l.h.

r.h.

bbn
n
#
n

n#U

o
U
n
#n

one or both hands


alea combination of l.h. and r.h. trichords
length: min 1" / max 5"

guiro effect
r.h., with fingernails (or plectrum)

mf
fast dragging over the bellows or keyboard

U
_
o

#n

U
#

&

tone gliss

mp

length: min 3" / max 8"

#U

arm fast vib

#
n

&

bass switches clicks


R

length: min 5" / max 12"

alternating between different switches


length: min 4" / max 10"
stretch and squeeze the design as much as necessary
free number of clicks

n
nn#
n#
bbn

r.h.

&

n .

P1

n#n. . . . . . . . . . . .
mp

&

n
nn#
n#

l.h.

r.h.

n#
n
sfz

bbn
n
#
n

#n
n
'

one or both hands


alea combination of l.h. and r.h. trichords

D2

P3

P2

bbn

one bellow

length: min 3" / max 8"


stretch and squeeze the design as much as necessary
free number of attacks

appoggiatura: up to three notes


upward, downward, or zigzag motion

bellows shake
air sound

air sound

n r.h.
nn#
n#

D1
D3

mf

length: min 5" / max 12"

length: min 4" / max 8"

= 40-60

air sound

-_

mf

_-

-_

length: min 3 pulses / max 8 pulses

air

n
#

#_

pitch

air

length: min 5" / max 12"


stretch and squeeze the design as much
as necessary

&

&

#
n

#
n

U
#

finger tremolo
bass switches clicks

U
#
o

length: min 5" / max 12"

mf

alea switches, alea rhythm


length: min 3" / max 8"

knocking sound

mf

on the front or top of the bellows


alea rhythm
length: min 3" / max 8"

&

n r.h.
nn#
n#

?
l.h.

bbn
n
#
n

one bellow
. n . . n . . .
n. # n. # .

n. # n# .

.n . .n . . .
.

one or both hands


alea combination of l.h. and r.h. trichords
length: min 4" / max 10"

&

sfz

V
'

one or both hands

cumulus congestus
cloud 1

activity index

2,5

thread cloud

2,0
1,5

1,0

cumulus congestus
cloud 2

grain cloud

10

12

11

13

14

powder cloud

dot cloud

15

16

19

18

17

cumulus congestus
cloud 3

time

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0
q = 40-60

&

bb

&

n- 3 - n- 3 mf

bU b

length: min 4 pulses / max 10 pulses

T1

&

fp

n
3#n
3#

q = 40-60

&

n3 #n
& 3#

n3 #n
3#

U~~~~~~~~~~~~~~~~

b ~~~~~~~~~~~~~~~~

&

U
n ~~ ~~~~~~~~~~
#
3 n <n >
& 3#

multiple color trill


different bisbigliando or microtonal fingerings
seeking great variations around central pitch
lenght: min 4" / max 10"

&

q = 40-60

&

bb

mp

&

bb

&

length: min 4" / max 10"

bb
mf

length: min 4" / max 10"

T4

length: min 3 pulses / max 8 pulses

&

bb

double/triple tonguing
length: min 1" / max 5"

n
3 #n
#
& 3

length: min 1" / max 5"

length: min 3 pulses / max 8 pulses

&

b
f

G3

lenght: min 3" / max 8"

length: min 3" / max 8"

&

lip gliss

b b

&

b b

&

T3

&

b b
p

[u]

gliss

mp

length: min 4" / max 10"


stretch or squeeze the design as
much as necessary

gliss.
mp


b b
&

gliss.

mf

mp

mp

all the holes closed


length: one blow

&

wt

&

bb

mp

length: min 5" / max 12"

appoggiatura: up to three notes


upward, downward, or zigzag motion

&

..... ... ....

b
b

up/downward or down/upward arpeggio


reversible dynamic curve

&

double/triple tonguing
repeated note: D or G / accented notes: A, C and Eb
alea rhythm of accented notes
length: min 3" / max 8"

b b
b b

&

G2

[u]

_
o

mf

upward or downward arpeggio


reversible dynamic curve
length: min 4" / max 10"

[]

_
o

gliss

bb

length: min 1" / max 5"


stretch or squeeze the design as much
as necessary

upward or downward arpeggio


reversible dynamic curve
length: min 4" / max 10"

up-downward or down-upward arpeggio


reversible dynamic curve
length: min 1" / max 5"
stretch or squeeze the design as much as necessary

&

>. . . .

G1

n3 #n
3#

length: min 4" / max 10"

G4

T2

q = 40-60

length: min 3 pulses / max 8 pulses

length: min 4" / max 10"

length: min 1" / max 5"

b
b

TR

&
or

TR

&

key clicks

mf

& Y

[t ]

alea rhythm
length: min 4" / max 10"

TR

& b
b

& _

& __

P2

lenght: min 5" / max 12"

= 40-60

& _
-

mf

[u]

jw
f <

>

P1

all the holes closed

-_

length: min 3 pulses / max 8 pulses

_
o

_
[

gliss

all the holes closed


length: one blow

key clicks

-_

f
mp
alea key clicks
length: one blow

D1

D4
D3

P3
D2

[s_______ ]

& Y
o

lenght: min 1" / max 5"

&

bb

mp

. . ........

length: min 3" / max 8"


stretch and squeeze the design as much as necessary
free number of attacks

&

slap

mf

&

&
p

[k ]

key clicks

length: min 4" / max 10"


stretch and squeeze the design as much as necessary
free number of clicks

& bY

[b ]

cumulus congestus
cloud 1

activity index

2,5

thread cloud

2,0
1,5

1,0

cumulus congestus
cloud 2

grain cloud

10

12

11

13

14

powder cloud

dot cloud

15

16

19

18

17

cumulus congestus
cloud 3

time

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0

oU
n
o

p.n.
123

B, C or G#

234

1
2
3
4

>

T3

1-4

single or double strings


length: min 1" / max 5"

or using the 4th partials, sounding 15th


up/downward or down/upward arpeggio

1
2
3
4

mf

mf

upward or downward arpeggio


length: min 4" / max 10" (one bow)

both strings simultaneously


length: min 4" / max 10" (one bow)

1
2
3
4

p.n.
arco gettato
quasi legno

p.n.
a la punta

s.p.

s.p.

p.n.

p.n.
arco gettato
quasi legno

<

>

1-4

mf

upward or downward arpeggio

<

>

stroke hand tremolo


quasi tambourine

U
o

single or double strings

G3
G1
= 40-60

T1

p.n.

1-4

1-4

single or double strings


length: min one fast whole bow
max 10" (one bow)

4th

1-4

4th partial, sounding 15th


length: min one fast whole bow
max 10" (one bow)

p.n., dtach

1 2 3

B, C or G#

T4

2 3 4

mf

p.n.

1-4

n
p

length: min 4" / max 10"

mf

1
2
3
4

T2

123

B, C or G#

234

length: min 4" / max 10"

-.
mp

-.

1-4

5th partial, sounding 17th


length: min 3" / max 8"

-o
nn

mf

-o
n

1
2
3
4

1-4

stroke hand tremolo


quasi tambourine

p.n., dtach
tallone
G2

-.

123
234

-.

single or double strings


length: min 3" / max 8"

1
2
3
4

q = 40-60

s.p.

-o
-o
n B nn
- -

G4

shuffled single and double strings


length: min 4" / max 10"
stretch or squeeze the design as much as necessary
free number of attacks

single or double strings


length: min 1" / max 5"

shuffled double strings


length: min 3 pulses / max 8 pulses

q = 40-60
s.t., dtach

-.

s.t., dtach

s.p.
tallone

U~~~~~~~~~~~~~

5th
< O>

mf

q = 40-60

4th partial, sounding 15th


length: min 3 pulses / max 8 pulses

123
234

= 40-60
4th

p.n.

p.n.
a la punta

single or double strings


length: min 3 pulses / max 8 pulses

123
234

s.p.

p.n.
arco gettato
quasi legno

p.n.

s.p.

rotating the wrist


on the surface or side
lenght: min 4" / max 10"

rotating the wrist


on the four strings
lenght: min 4" / max 10"

-.

length: min 3 pulses / max 8 pulses

shuffled double strings


length: min 4 pulses / max 10 pulses
= 40-60

1-4

P2

123
234

mp
P1

p.n.
1 or 4

mf

5th partial, sounding 17th


single or double strings
length: min 4" / max 10"

O&
o

single or double strings


length: min fast glide
max slow glide (one bow)

U~~~~~~~~~~~~~~~~~~~

p.n.
4th

1 or 4

single or double strings


length: min 5" / max 12"

1-4

<f >

mf

4th partial, sounding 15th


harmonic with 3rd finger
muffled string with 1st finger
length: min 3" / max 8"

1-4

mf

P3

with fingernails
circular scrape

fifififi
U

B, C or G#

234

on the surface (near f-hole)


length: min 5" / max 12"

fingers
slap
p.n.

one finger
slap
D3

f
strike the surface or the side

1
2
3
4

--

1
2
3
4

strike the four strings

length: min 1" / max 5"

m.s.t.
pizz

mf

p.n.
pizz

o
n

--

1
2
3
4

upward or downward arpeggio

both strings simultaneously

mf

pizz quasi chitarra

D2

4th partial, sounding 15th

123

4th

D1

1-4

4th partial, sounding 15th


length: min 5" / max 12"

U
s.p. O
mp

fifififi
U 4th

1
2
3
4

pizz quasi chitarra

-- - -- --

glide

p.n.

circular bowing
flaut.

s.t.
pizz

p.n.
pizz

U
~~~~~~~~~~~~~~~~
5th
< O>

on the bridge, border, or scrow


length: min 4" / max 10"

s.p.

single or multiple strings

after the end of the fingerboard


single or double strings
length: min 3" / max 8"
stretch or squeeze the design as
much as necessary

mp

mp

p
4th partial, sounding 15th
single or double strings
length: min 3" / max 8"

mp

upward or downward arpeggios


lenght: min 3 pulses / max 8 pulses

1-4

1-4

mf

with the bow

4th

1 or 4

O&

glide

1
2
3
4

p.n.
pizz

s.p.

s.p.
a la punta
flaut.

s.t.
pizz

length: min 4" / max 10"


stretch or squeeze the design as much as necessary
free number of arpeggios

cumulus congestus
cloud 1

activity index

2,5

grain cloud

thread cloud

2,0
1,5

1,0

cumulus congestus
cloud 2

10

12

11

13

15

14

powder cloud

dot cloud

cumulus congestus
cloud 3

time

16

19

18

17

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0
q = 40-60

&

b
n
nb

b - Bb - b - Bb -

&

mf

1/4 tone up or down


length: min 4 pulses / max 10 pulses

&

T1

( f)

b -

&

fp

length: min 4" / max 10"

q = 40-60

bU b

nn
b

length: min 1" / max 5"

&

&

length: min 3 pulses / max 8 pulses

lenght: min 3" / max 8"

~~~~~~~~~~~~~~~~
/0
( f)

length: min 4" / max 10"

&

G4
T2

q = 40-60

&

b- b- b-

length: min 4" / max 10"

b
& n n
b

T3

mult.

__
_

_ = 40-60
-_

mf

key clicks

P3

&

b_
o

length: min 5" / max 12"


stretch and squeeze the design as
much as necessary

n
b
n

n
nb

mp

port. port.
mf

b
o

length: min 1" / max 5"

mp

&

length: min 5" / max 12"

G3

n nU

b
& n n
b

G2

mp

&

nn
b
n
b

b . . . . .

n
...

mf

n
....

b
.

double/triple tonguing
repeated note: Bb or E / accented notes: B, D and Eb
alea rhythm of accented notes
length: min 3" / max 8"

upward or downward arpeggio


reversible dynamic curve
length: min 4" / max 10"

floating harmonic

-_

-_

&

b o b o
b

lenght: min 5" / max 12"

U
_
o

P1

&

nn
b
n

n n

length: one blow

_
f

_
o

appoggiatura: up to three notes


upward, downward, or zigzag motion

&

nn
b
n
n b

&

n
b
n
n b

key clicks

lip pitch
bend

>
b
f

< >

using a very resonant key, alea rhythm


length: min 3" / max 8"

D1

& n n
b

&

n o n o
b

lenght: min 5" / max 12"

&

nn
b
n
n b

mf

up or down short portamento

P2

articulating at the end


length: one blow

_
o

floating harmonic

multiple color trill


different bisbigliando or microtonal fingerings
seeking great variations around central pitch
lenght: min 4" / max 10"

lip pitch bend

double/triple tonguing
length: min 1" / max 5"

U~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~

&

up/downward or down/upward arpeggio


reversible dynamic curve

mp

&

&

length: min 3" / max 8"

subtone

&

length: min 1" / max 5"


stretch or squeeze the design as much
as necessary

alea key clicks


length: one blow

air

length: min 4" / max 10"

alternating exhaling and inhaling


length: min 3 pulses / max 8 pulses

pitch

upward or downward arpeggio


reversible dynamic curve
length: min 4" / max 10"

air

&

n n

length: min 5" / max 12"


stretch and squeeze the design as
much as necessary

air

G1

(f)

up-downward or down-upward arpeggio


reversible dynamic curve
length: min 1" / max 5"
stretch or squeeze the design as much as necessary

air

mf

b . . . .
>
f

T4

n
bn n b n
n
n
n b

__
& B_
o

&

nn
b
n
nb

length: min 3 pulses / max 8 pulses

length: min 3 pulses / max 8 pulses

b
n
nb

mp

&

&

q = 40-60

- - & B B B

nn
b
n
n b

bn

&

D2

b
f

n n
b

smacking
sound

D3

bF

mf
key clicks

b .

mp

. . . ........

length: min 3" / max 8"


stretch and squeeze the design as much as necessary
free number of attacks

&

nn
b
n
n b

b_
o

length: min 1" / max 5"

bursting
sound

alternating between some very resonant keys


length: min 3" / max 8"
stretch and squeeze the design as much as necessary
free number of clicks

cumulus congestus
cloud 1

activity index

2,5

grain cloud

thread cloud

2,0
1,5

1,0

cumulus congestus
cloud 2

10

12

11

13

15

14

powder cloud

dot cloud

cumulus congestus
cloud 3

time

16

19

18

17

20

22

21

23

25

24

26

28

27

29

30

extra score

0,5
0,0
U

l.v.

mp
length: min 4" / max 10"
alternating up and down bow

mp

length: min 4" / max 10"


shuffled pitches

mp

mp

mp T f

mp

A
6

mp T f

mf

A
6

>

fifififi
U

p T mf

l.v.

mp

or

.T
f

. .
. >.

mp .
>. . .

u
o

mp

secco

mp

l.v.

mf

fifififi
U
A

mp T f

length: min 1" / max 5"

edge

D3

I I

l.v.

cup/rim

length: min 3" / max 8"

I I

l.v.

P3

mf
both chimes

I I

L P
c d

'

secco

> >

mp

mp

fifififi
U


mp T f

length: min 3" / max 8"

U
p T mf

length: min 10" / max 20"


>

>

>

mf

suspended cymbal: cup; snare drum: rim


alea rhythm, alea accented strokes
length: min 3" / max 8"

mp

D2

length: min 1" / max 5"

>

mp

quick roll
R

>
f

length: min 4" / max 10"


shuffled high, medium and low pitches

appog.: up to three pitches


accented pitches: high, medium or low
length: min 1" / max 5"
stretch or squeeze the design as much as necessary
free number of strokes

D1

mp

appog.: up to three pitches


accented pitch: high, medium or low

with fingernails

P4

w.bl. and almglocken simultaneously


alea pitches combinations
alea rhythm, alea accented strokes
length: min 4" / max 10"

rim shot

mf

length: min fast scrape


max slow scrape

mp

length: min 3" / max 8"

susp. to sizzle or the contrary


length: min 5" / max 12"

l.v.
mp

length: min 3" / max 8"

U fifififi

slow twirl

length: min 1" / max 5"

length: min 4" / max 10"

A6

l.v.

mf

G3

cup

A
%

l.v.

alea rhythm, alea accented taps


length: min 3" / max 8"

l.v.

P1

length: min 1" / max 5"

tap

length: min 3" / max 8"

on the side

length: min 1" / max 5"

mp

length: min 3" / max 8"

secco

tap

shuffled bichords
length: min 4" / max 10"

G2

length: min 1" / max 5"

P2

A
6

A6

l.

length: min 3" / max 8"

l.v.

T3

l.v.

on the edge
alea rhythm, alea accented strokes
length: min 4" / max 10"

l.v.

length: min 3" / max 8"

sweeping

l.v.

length: min fast scrape


max slow scrape

l.v.

A%

mp

Tf

mf

fast shake

U
A
6

>
mp

mp

with chain

length: min 1" / max 5"

A6

U
+

G1

upward or downward arpeggio

T1

l.v.

always short buzz


alea rhythm, alea accented strokes
length: min 3" / max 8"

l.v.

length: min 3" / max 8"

A
A

mp

snare sticks: stri king


wire brushes: sweeping

U
+

or

quick roll

buzz

short or long buzz

length: min fast bow


max slow bow

T2

7 77 7 77 7 7

>
>

buzz

l.v.

INSTRUMENTATION

* multiphonic suggested fingering

words in a box: set of available phonemes/words to be chosen for each specific


gesture.Vary the chosen phonemes/words during the piece.

Female voice (+ megaphone)

Viola [D, G, C#, A]

Bass flute

Violoncello [C, G#, D, G]

Bass clarinet in Bb

Double bass [F#, B, C, G#]

Accordion

Percussion

unvoiced whispered sound

[use the grey key for the trill]

voiced whispered sound: a blend of whispered and spoken voice


whistle: alternating freely between the two given notes
bocca chiusa: with mouth closed

+
INSTRUCTIONS

Bass clarinet
all the holes closed / all the holes opened

exaggerated vibrato

General

flutter-tongue

very articulated lingual trill: using [r]


pitches in a box: set of available pitches to be chosen for each specific gesture.
Varying the chosen pitches during the piece. In the case of the Accordion, the
brackets indicate the possible harmonic groupings for each hand.

trills: always irregular and as fast as possible

open/closed shell hand mute: make a shell with both hands and cover completely
the nose and mouth (like a steam inhaler) to get a closed shell hand mute. Separate
hands to get an open shell hand mute.

quarter-tones

open half shell hand mute: remove right or left hand

somewhat lower / somewhat higher

open/closed hand rounded mute. To get the open hand rounded mute, make a
circle with left hand by connecting the thumb and the index finger (OK gesture)
and let the other three fingers down (completely rounded hand shape). To get the
closed hand rounded mute, use right hand palm to cover it completely.

accented staccatissimo
gradual transition between one state to another

continuous fast vibrato: variations in pitch, not in velocity


discontinuous and irregular slow vibrato: downward/upward movements of the
jaw to produce jerking type of single-strokes vibrato
slap tongue
smacking sound produced by explosively opening the lips which are sucking firmly
on the mouthpiece
non pitched air sound: cover the embouchure hole completely with the lips and
blow down to produce a white noise. Noise intonation can be controlled by
opening (high frequencies) or closing (low frequencies) holes.

fast/slow opening/closing hand round mute: right hand back and forth movement
to get an wah effect

crescendo from nothing

with/without megaphone. The megaphone is used as a resource to deform the

ord. voice and not just as an amplifier. Its level must be adjusted to produce a slight

diminuendo to nothing

bursting sound: open the mouth suddenly to produce a short and explosive wah
effect

louder intensity comparing to the normal voice, but not in an exaggerated way.

* floating harmonics suggested fingerings:

exponential crescendo

Bass flute

exponential diminuendo

normal mouthpiece position / inward mouthpiece position

always as fast as possible

mouthpiece covered by lips

gradual acellerando

tongue in the mouthpiece

gradual rallentando

flutter-tongue

* multiphonics suggested fingerings:

trills always irregular and as fast as possible

alea rhythm

continuous fast vibrato: variations in pitch, not in velocity

keeping the same design as much as desired


relative duration: stretch the respective sound as much as desired in each specific
context

discontinuous and irregular slow vibrato: downward/upward movements of the


jaw to produce jerking type of single-strokes vibrato
whistle tones: free floating of harmonics
non pitched air sound: cover the embouchure hole completely with the lips and
blow downto produce a white noise. Noise intonation can be controlled using
the phonemes [u] from too (low frequencies) and [ ] from in (high frequencies).

Female voice
The text is presented in two different ways: complete words conventionally written and sounds
(monophthongs, diphthongs, consonant clusters or syllables) phonetically notated (always
between brackets). The horizontal line (__) indicates when a phoneme must be stretched.
The black dot () indicates when a specific phoneme must be stressed (strongly accented).

in
left
at
up
far
on

o
p
t
k
b
d

below
side
path
top
back
beside
down

w
f
h
s
r*

way
far
behind
south
north
left
lingual trill

* The [r] must be trilled only when it appears between brackets (alone or in the consonant clustes [fr] [kr] [tr].
When it appears in a word, use the normal USA pronunciation [ ] .

*sweet*

the words written between the stars are character indications to help the performer
to define specific voice expressivity for each gesture. An exaggerated theatrical
performance (face, hands and body gestures) is not desirable.

pitched air sound: blow down without covering the embouchure hole to produce
a mix between air and pitch
jet whistle: similar to non pitched air sound, but achieved with quick and forceful
attack of air
strong tongue pizzicato
key click

[use the grey key for the trill]

Accordion
Transposing registers are always notated as sounding pitch. The performer should carry
out the transposition her/himself. In the case of combination registers, only the respective
lowest reed rank is notated. During moments of high level of activity, register changes may be
eliminated to achieve greater speed in switching between different gestures. In this case, use
the 8 'register in treble and bass sides.

beatboxing: half flute/half whispered voice sounds. Reinforce the consonants to


achieve a very percussive sound. Use [t ] from top, [k ] from cup, [s ] from said,
and [b ] from be.

bellows shake or finger tremolo, always irregular and as fast as possible

tongue ram: sounding a minor seventh lower than the fingered tone

fast vibrato: using left arm, always as fast as possible


slow vibrato: use the leg to produce clear short impulses

registers mixtures

tone gliss

using the switches located on the casing parallel to the keyboard, push the
switches slowly to achieve a gradual sound change from one register to another.
Octaves and eventual deteriorations of the intonation are desired (adding reed
ranks: minimal detuning / retiring reed ranks: pronounced detuning).

flaut.

arco flautato

Hard mallets: Wood blocks, Almglockens, and Snare drum

overpressure

Brass mallets: Crotales, Triangle, Cymbal, and Thai gongs

from flautato (at the tip) to overpressure (at the frog)

gradual downward bending

from overpressure (at the frog) to flautato (at the tip)


chromatic cluster

arco gettato: single bow action. Unforced bounces as quick as possible

Medium/Hard gong beater: Thai gongs


Bow: Cymbal and Crotales

percussive sounds

1) with the bow: standard tremolo, always irregular and as fast as possible; 2) with
the hand: stroke hand tremolo (rotating the wrist), always irregular and as fast as
possible.

only the noise of the mechanism

1) with the bow: circular bowing, always irregular and as fast as possible; 2) with
the hand: circular scrape using the fingernails on the body of the instrument.

air sound

bass switches
clicks
knocking
sound

upward/downward arpeggios: always as fast as possible

with the right hand, knock the bellow: on the front (more muffled sound) or on the
top (more bright sound)

stroke
tremolo

make a percussive tremolo rotating the right wrist. Extend the bellows slightly and
move from the bass switches (on the left) to the opposite corner (on the right) and
backwards, passing across the bellows.

bellows slaps
tremolo

with the right hand flat, put the fingers between two bellows pleats (on the top)
and move the fingers back and forth to make the pleats hit each other creating a
type of flapping noise

guiro effects

with the right hand, using the fingernails (or a plectrum), fast sweeps over the
keyboard or dragging over the bellows

directional glide: glide the finger up or down the length of the string producing
the overtone series

with the fingers (pizz) on the open strings


stopped strings: with the bow or fingers (pizz)

percussive sounds on the strings or body of the instrument using hands, fingertips,
or fingernails

Strings
The instruments must be tuned in the following way:

viola

violoncello

natural harmonic: 4th partial (sounding the fundamental two octaves higher) or 5th
partial (sounding the major third two octaves higher)
sparkling natural harmonics: rapidly, softly and irregularly hit the fingers on
different nodes

double bass

muffled string

* For double bass it is suggested to use four solo tuning strings F#, B, B (+1/2ton), A (-1/2ton) or two solo tuning
strings F#, B and two common strings D (-1ton), G (+1/2ton).

The use of scordatura favors two important aspects: 1) it allows more sound projection of the
instrument since in most cases only open strings are used (for this purpose, keep in mind a
lascia vibrare always as possible); 2) it allows the performer to have the left hand available
to play some gestures (pizzicati and percussive gestures) simultaneously with the right hand.
The possible uses of the left hand are obviously more limited for the viola. However, it is
desirable that the cello and double bass largely explore this aspect.

Snare sticks and Hard mallets

Suspended Cymbal

3 Wood blocks (high, medium, low)*

with exception of the duos (extra score), the piece is written in tablatura, using
one, two or four lines. The strings available for use are indicated in the beginning
of each gesture. Keep scordatura during the duos, but be aware that only during
the duos, the score is written in real pitches, i.e. everything sounds as written. The
performer should carry out the transposition her/himself.

3 Crotales (C5-F#5-B5)

3 Almglockens (high, medium, low), muffled*

Triangle

Snare drum (with snares off)

some specific gestures that require microtonal beating between open and stopped
strings are written with a different kind of tablature that can be easily identified by
the mirrored treble clef. In this case the pitches that should be played (normal in
the higher open string and tone higher in the lower stopped string) are also
indicated.

posizione normale: ordinary position

s.t.

sul tasto: on the fingerboard

m.s.t.

molto sul tasto: at the very beginning of the fingerboard

s.p.

sul ponticello: near to the bridge

punta

at the tip of the bow

tallone

at the frog of the bow

quasi legno

half wood/half hair

Triangle

Suspended cymbal
Sizzle cymbal
Thai gongs
Maracas
Egg shakers
Rain stick
Wind chimes
most of the instruments are written in a single line. However, for Wood blocks,
Almglockens, Crotales, and Thai gongs, two notations are used: single line (any
pitch can be chosen) or three lines (respecting the pitch scale).

fast dampening
Soft/Medium mallets, Brass mallets, and Bow

p.n.

Snare drum (with snares on/off)

lascia vibrare: avoid playing the same instrument again to not interrupt resonance

Percussion
Dot set

arco ordinario

Almglockens

intensity range: dynamic can vary within these limits

Thread set

ord.

Wood blocks

Crotales
zigzag glide: frenetically glide the finger up and down the length of the string
producing the overtone series

toneless: with the bow on the body of the instrument

2 3 4

Superball mallet: Snare drum and Thai gongs

Grain set

Suspended Cymbal

Snare sticks and Wire brushes

Powder set

Snare drum (with snares on)

Medium/Hard gong beater, Brass mallets,


Wire brushes, and Superball mallet

Sizzle cymbal (adding chain to Susp. cymbal)


Pair of Maracas (large seeds, low sound)
Pair of Egg shakers (small seeds, high sound)

3 Thai gongs (F#1, G#2, D3)

snare drum buzz: short (single stroke, one bounce) or long (single stroke, multiple
unforced bounces)
wind chimes: strike and let it jangle freely
wind chimes: grasp and release suddenly
1) suspended cymbal: straight scrape from center to edge. Fast or slow movement,
crescendo; 2) thai gongs: straight scrape on the side. Fast movement, crescendo.

Rain Stick
2 Wind chimes: one bamboo, one glass
Snare drum (with snares off)

* Wood blocks and Almglockens can be placed on a table together with the hand instruments (using a padding).
Almglockens must be muffled using a cloth inside.

Snare sticks: Snare drum and Cymbal


Wire brushes: Snare drum and Cymbal
Soft/Medium mallets: Cymbal

quick (a fast gesture) or sustained (indicated with a fermata, as long as desired


respecting the indicated limits) rolls. Rolls always as closed as possible.

thai gong: continuous scrape on the surface. Fast movement, crescendo.


1) cymbal: chain circular scrape. Gently scrape cymbal surface using a chain. This
gesture can be used for converting suspended cymbal to sizzle cymbal, and vice
versa; 2) snare drum: rub surface using fingernails or superball mallet; 3) thai gong:
rub side using superball mallet.
1) cymbal: cup/edge; 2) snare drum: center/border.
bowing: from the tip to the frog
rain stick: moving it slowly to get a controlled drop of the seeds

Thread Cloud - Female Voice and Violoncello


05:00
TIME

Voice

5
4

Fixed pulse, q = 60

ord.
[ _____________ ____________________ _____________]

&

05:30

mp

[ ______________________________________]

mf

o
o
?

#n-. -. -. -. -. #n-. -. -. -. -. #n-. -. -. -. -. n# #n-. -. -. -. n# #n-. -. -. n# n# #n-. -. n# #n-.


-.
-.
-.
-.
-.

ord.

[ ________________________________________]

j

3

mf

ord.

j
# fi

n
mf

ATTENTION: Keep scordatura! Score in real pitches. Everything sounds as written.

Vlc.

mp

sfz

sfz

#n-. -. -. n# #n-. n# #n-. n#


-.
-. -. -. -.
-.

sfz

06:00

sfz

sfz

sfz

#n-. -. # #n-. -. -. # #n-. -. -. -. # #n-. -. -. #


-. -.
n -. -.
n -.
n -.
n -.
sfz

sfz

sfz

sfz

sfz

06:30

TIME

[ ____________________________]

13

&
3

Voice

Vc.

ord.

j
# fi

+
n

[ _____________________]
3

sfz

sfz

mf

?
n# #n-. -. n# #n-. #n-. -. -. n# #n-. n# #n-.
-.
-.
-.
-. -. -. -.
sfz

sfz

n# -.

#n-.
-. -.

sfz

+
j n
3

# fi

# #n # #n #
-. n -. -. -. -. -. n -. -. -. -. n -.
sfz

ord.

ord.

sfz

mf

n
n n
n
n# -. # -. -. n# -. # -. # -. -. -. n# -. # -.

sfz

07:00

[ ______________________]

sfz

sfz

fin
#

[ ___ ___ ___o___ ___

n# -. -. -.
sfz

j
# # #
>
3

-o. -. -. -. -.
n # #n nn
#

#
.
.
- n -. n -.

#n-. n# #n-. n# #n-. n# #n-.


-.
-.
-.
-.
sfz

sfz

07:30

08:00

TIME

25

Voice

Vc.

&

o___ ___ ___ ]

<#>

ord.

? n-. -. -. -. -.
n

-. -. -. -. -.
nn

randomic " wah" effect

[_____________________________________________________] [__________________________________________________________________________]

#
mf

-. -. -. -. -.
nn
mp

-. -. -. -.
nn
mp

-. -. -.
nn
mp

-. -.
nn
mp

mp

-.
nn
mp

III
IV
nOJ nOj
3
o f o f

m
j
#

sfz

sfz

s.p.

&

m
j
#

II

#O

nO
J
f o

sfz

n O
o

sfz

nO #O
J
3
o f
o

sfz

n#OO
o

Grain Cloud - Viola and Accordion

5
4

09:00
TIME

Accord.

Fixed pulse, q = 60

bellows shake

n#

& n

& n#n

mp

09:30

< s.p.>

bellows
shake

mp

mf

ord.

#j

>
n#

fast arm vib

n#n
>

fp

j
n n
J

stroke tremolo
quasi tambourine
bass
opposite
switches
corner

bass
switches

bellows slaps tremolo

bellows shake

&

ATTENTION: Keep scordatura! Score in real pitches. Everything sounds as written.

s.p.

mp

tallone

, o

o
f
/0

j
#
J
3

III

p.n.

o
j
#
Jo

fp

stroke tremolo
quasi tambourine

p.n.
arco gettato
quasi legno

s.p.
tallone

arco gettato
quasi legno

>
f<

Vla.

p.n.

3
f<

10:00

s.p.

arco ord.
punta

j
j
# #

>

j #

J

mp

III

p.n.

s.p.

o
j
#
Jo

fp

10:30

TIME

&
Accord.

Vla.

ord.

nj

nJ

mp

j
# n

mf

&

(s.p.)
arco ord.
punta

B <#>

mp

stroke tremolo
quasi tambourine

p.n.
arco gettato
quasi legno

f< >

stroke tremolo
quasi tambourine

>
n#

fast arm vib

fp

13

s.p.
tallone

p.n.
arco gettato
quasi legno

3
f< >
f

nbn
>

bass
switches

opposite
corner

bass
switches

j
j
# #

s.p.

III

bellows shake



o
f

&

p.n.

#
3

fp

mp

mf

ord.

#j n

nj

nJ

o
j
#
J
o

j #
J
3

11:00

# ##

mp

arco gettato
quasi legno

arco ord.
punta

bellows slaps tremolo

j n- #-

J - -
3
mf

stroke tremolo
quasi tambourine

11:30

12:00

TIME


&

n#>
n

& b n b

n
bn
>

Vla.

arco gettato
quasi legno

f< >

Accord.

stroke tremolo
quasi tambourine

fast arm vib

25

fp


s.p.
tallone

p.n.
arco gettato
quasi legno

3
f<
f

>

arco ord.
punta

j
j
# #
mp

bass
switches

arco gettato
quasi legno

opposite
corner

bass
switches

# ##

bellows slaps tremolo

s.p.

3
j #

J
III

o
j
#
J
o

fp

&



o
f

p.n.

#
3

#
o

#
f

j - -
n #
J - -
3
3

mf

mp

bellows shake

3 j
j
n n

-
-o

# #
-o
p

n
J
>
n
>
f

-o

#
-o

mf

s.p.

bellows slaps tremolo



o f

stroke tremolo
quasi tambourine

Dot Cloud - Bass flute and Double bass

3
4

TIME

B. Fl.

&

Fixed pulse, q = 60

n. . . . . . . . . . . . . . . . . . . . . . . .

................

mp

n. . . . . . . . . . . . . . . . . . . . . . . .

................

mp

n fin

fij n fi

b. bfij n n n b n b b bfij n n

b
J
.
n

. . .
...
3
mf

fp

ATTENTION: 1) Keep scordatura! Score in real pitches. Everything sounds as written.

Db.

l.h.

#o
#o
#o
nn#
nn#
nn#
o
o
o
#
#
? nn#
nn#
nn#

#o
#o
nn#
nn#
o
o
#
#
nn#
nn#

use only fingers until the end

mp

#o
#o
#o
nn#
nn#
nn#
o
o
o
#
#
#
nn#
nn#
nn#

#o
#o
nn#
nn#
o
o
#
#
nn#
nn#

mp

near f-hole

side


j
fi

mf

fi

mf

mp

#-

n-

o
? n #
n#

fi

j
#>-

n-

&

n OI II O O O
nO O O O ? #-
n-

mp

[k ]

#n--

mf

[k ]

[k ]

3
j j
nY Y Y
'
' '

nO bO
n - b - nn O-

n
w

o
#nn#---
o
#nn#---

r.h.

fp

b n b
w w nO
w
nf

17:00

mf

17:30
TIME
11

B. Fl.

mf

D.b.

r
/

near f-hole

mf

side

fp

fi

fi
n. b b. n b
J n J
mf

3
j

fp

fi

n. . .

mp

?
?

mf

o
nn#
#

. . .

fi

n-

n nO
w
n-

#-

n-

j
#>-

&

n OI

II

nO

n
w

n
w
w
O

w
O

mp

n
w
O

bY

[b ]

nO bO
n - b - nn O-

#-
n-

#n--

mf

[b ]

o
#nn#---
o
nn#---
#-

mf

fi n
b nb bJ.

fp

near f-hole

j
fi

fi

mf

side

j
fi

mf

fi

fij

n
nn
n fi
j3
n b nfij b b. b
R

Y Y
J
J

[b ]

# fi
n

nfib r bfij n
n.
&

mf

18:00
TIME

b fibb n n
J n
fp

D.b.

j

o

n
. . .
mp

? n #

n#
f

. . .

fi

n-

j
#>-

mf

#-

n-

n nO
w
n-

b
w

n
w

b
w

n
w

b
w

n
w

nO #O O O O O O O O #O O O O O O O O O O O O O O O
&
II III

mp

nO bO
n - b - nn O-

n#--

#n-f

[t ]

nY
'

o
nn#---
#o
nn#---
#-

/ j

21

B. Fl.

# fi
n


&

mf

[t ]

fi n
b. fij b fib n n n b
n
n
n

# fi
n

n fin 3

[t ]

j j
Y
Y
'
'

fp

mf

near f-hole

/
/

side

j
fi
mf

j

o

fi

fp

mf

n
b b fib J
n
J
fp

mf

fp

mf

fi n
nb J

fp

mf

18:30


&
31

B. Fl.

D.b.

fi n
nb J

fp

mf

n
n
. . . . . .

ff

mp

nO
I

o
nn##


b b
b b b
b.

n. . . . . n. . . n. . n. . . n. . . .
II

b
w

n nO
w
n-

o
nn##---o
nn##----

#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 O O O O O
& #O O O O O

IV III

mf

mp

[k ]

nY
'

b n
b
w w w nw w

&

nO

TIME

o
#/

j bY
J
Y
'

[t ]

[b ]

j
nY
'

o
j o
n- n-j #-

j j

surface f

# .

fin
b

[t ]

fp

fin

#o
nn#
o

nn#

mp

fp

#o
nn#
o

nn#

mp

19:00
TIME

&
41

B. Fl.

b
b
b
b
n. . . . . . . . . . . n. . . . . .
mp

?
Db.


b b b
b

b b
n. . . . . . . . . . . n. n. . . .

nO 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 O O O O O O O O O O O O O O O
nO 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 O O O O O O O O O O O O O O O
I

o
? nn#
#

&

fib
n

#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 O O O O O O O O O O O O O

& #O

mp

o
?
#-

IV j
n-

j
n-

#-o

n . n fi . b n . fi n n
bb

b
J
3

near f-hole

# fi
n

fi#

mf

II

IV III


b b
b b b
b b
b b

n. . n. . n. n. . . . . . . . n. . n. n. . . n. . n. . . .

fp

j
j

j
fi

side mf

fi

n. n b
J
mf

mf

# #
fp

&
?

19:30
TIME

&
48

B. Fl.


n
n

n b n. . . . . . . . b . . . . . . .
. . . .
. . . . .
mp

#
#
# #
# #
n

n b
. . . . . . . . . . .
n . . . . . . . . . . . .
. . . . .

nO #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 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 O O O O#O O O O O O O O O O O O O O O
&
o mp

j
o
IV j
IV
j
#-o
? #

-
nn#
#3
3
II III

Db.

# fin
b

n
fp

side

mf

fp

near f-hole

# fi
n
b

mf

# fin
b

fp

mf

&

20:00
TIME

B. Fl.

56
n


b b
b n
b
. . . . . . . . b . . . . . . .
&
n

. . . . . . . . . . . . . . . . .
nO #O O O O O O O O O O O O O O O O O O O O O O O
&

Db.

mp

o
nn#
#
f

nO#O O O O O O O O O O O O O O O O O O O

#
n n n
n
n b . . . . . . . . . . . .
. . . . .

o
nn#
#
f

nO#O O O O O O O O O O O O O O O O O O O ?

# #
# # #
# #
# . # # #
# . . . . . . . . . . . . . . . . . . . . . . . .
.
.
.
.
.
.
.
.
.
.
.
.
n

o
#

nn
#

mp

#o
nn#

o
#

nn
#

#o
nn#

o
#

nn
#

#o
nn#

o
#

nn
#

#o
nn#

o
#

nn
#

#o
nn#

o
#

nn
#

#o
nn#

Powder Cloud - Bass clarinet and Percussion

5
4

21:00
TIME

B. Cl.

Fixed pulse, q = 60

&

21:30

##

o

A
!

Perc

mf

l.v. sempre

mp

mp

w
o

F#

mf

3
3
J J

OO
O

mp

j J
w
o

j 3
J

mp

##

mp

mp

mf

3 3
J
J

mp

mp

F#

22:00

OO
O

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n n ee
5 A
n

l.v. sempre

mp

j
3

J
J

##

o
A

mf

22:30

TIME

&

##

B. Cl.

Perc

/
o

mp


J
p

F#

mf

#n#

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n 5 ee A

mp

13

p
3

mp

mp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n 5 ee A

mp

mf
3

mp

mp

# # A
#
B
C

mp

mf

o
B

F#

mf

C
B
C
# #n#

B n B
D

mp

mf

23:00

OO
O

##

mp

##

mp

mp

mf

23:30

24:00

TIME
E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~
B
n n ee
n ee
# w
w
5 A
5 A
w
w
n
B

OO

& O

C
# #n#
n
D

25

B. Cl.

/
Perc

mp

mp

mp

o o

mf
3

j
J

mf
3

mp
3
J

mp


J
p

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
B
n n ee

# w
w
5 A
w
w
n

mp

mp

3
j

J

##

o
A

OO
O

3 J

3
J J

mp

w
o

F#

mf

##

o

A fifififi

mp

OO
O

mf

OO
O

fifififi

mf

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