Professional Documents
Culture Documents
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aking a personal trajectory
making aofpersonal
listening
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I am [where?],
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voice
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Accordion
Voice
Bass
clarinet
I
am
[where?],
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a
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a
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Accordion
Double bass I am [where?],
making
a personal
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a
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I
am
[where?],
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making
a
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Bass
flute
Bass
flute
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Viola
Viola
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making a personal trajectory of lis
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I
am
[where?],
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Female
voice
I
am
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I am [where?],
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am
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I
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[WHERE?],
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bass
MAKING
A
PERSONAL
TRAJECTORY
OF
LISTENING
Violoncello
Percussion
making
a
personal
trajectory
of
listening
Valria Bonaf
Bass
clarinet
Violon
Viola
Viola
I
am
[where?],
Violoncello
I
am
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Bass clarinet
I
am
[where?],
I amAccordion
[where?],
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Double
bass
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Bass
flute
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[where?],
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a
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trajectory
of listening
Female
voice
Percussion
Ba
Valria
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for
8
musicians
male voice
Female
voice
Accordion I am [where?],
Violoncello
I am [where?]
Bass flute Accordion
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ello
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Viola
Female voice
Percussion
Violoncello
I
am
[where?],
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am [where?],
Bass flute
Accordion
Acc
Bas
I am [where?],
I am [where?],
Female voice Bass clarinet
making
a
personal
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of
listening
making a personal
trajectory
m [where?],
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[where?],of listening
Vio
making a personal
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a personal
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of listening
Viola
Double
bass
Valria Bo
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[where?],
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flute
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making
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personal
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listening
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a
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I am [where?],
e bass
I
am
[where?],
I am
making
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emale
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Accordion
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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
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
cumulus congestus
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2,0
1,5
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dot cloud
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11
12
13
14
15
16
17
18
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cloud 3
powder cloud
19
20
time
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22
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24
25
26
27
28
29
30
extra score
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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
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;
thread cloud
2,5
2,0
1,5
1,0
cumulus congestus
cloud 2
grain cloud
10
11
12
13
14
powder cloud
dot cloud
15
16
17
18
19
20
cumulus congestus
cloud 3
time
21
22
23
24
25
26
27
28
29
28
29
30
extra score
0,5
0,0
grain cloud
thread cloud
2,5
2,0
1,5
1,0
10
cumulus congestus
cloud 2
11
12
13
14
powder cloud
dot cloud
15
16
cumulus congestus
cloud 3
time
17
18
19
20
21
22
23
24
25
26
27
30
extra score
0,5
0,0
2,5
2,0
Thread Cloud
1,5
1,0
0,5
0,0
No events.
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
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;
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
activity index
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
thread cloud
cumulus congestus
cloud 1
2,5
activity index
2,0
1,5
1,0
10
dot cloud
cumulus congestus
cloud 2
grain cloud
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
*crystalline*
U
fi
n n
#
&
n
nn#
fp
q = 40-60 *intense*
into
onto
&
[__________________]
nn
#n#
#
&
R
[]
[e] [ ]
nn
#n#
#
&
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
fast
q = 40-60 *intense*
&
mf
[fr]
nn
# n#
#
[tr]
[kr]
slow
[ __ __ __o__ ]
n
n n. . n. n. #. #
# . # . #. .
. #.
&
[______]
&
###n
*nervous*
n n n n #
# #
# # # n
nn
mf
U
& # n n n
# #
[r_________________________]
G2
mf
[ o ]
#. . . . .
...
n
.... .
&
. . . .
###n
*anxious*
[r_________________________________]
[h ]
mf
*introspective*
&
G3
&
*introspective*
& #
>. . . . o
f
T4
&
T3
*nervous*
[ ]
*anxious*
U
n. n
&
n
#
.
#. . .
*anxious*
[ ]
*anxious*
*nervous*
[ ________]
*extravagant*
fp
{ _
n
n#n
#
&
G1
in____________side
[tr]
[fr ]
[kr ]
*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*
*intense*
ord.
*extravagant*
i___________n to
*crystalline*
o_______n
*percussive*
*introspective*
[ __o__ __ __ __ __ __o__ ]
*explosive*
s_______outh
*crystalline*
&
UO
wt O
mp
south
side
mp
*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
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#
D2
[] [ ]
randomic phonemes
length: min 3 pulses / max 8 pulses
*explosive*
&
down
###n
'
*explosive*
down
path
back
out
&
top
map
&
[p]
#.
f
. .
+
.
*sweet*
m
#
*extravagant*
on
in
track
back
top
*intense*
n
'
*sweet*
*anxious*
= 40-60
*percussive*
[p]
[t]
[k]
*anxious*
. . . . . . .
[p]
[t]
[k]
*percussive*
[ ]
n
nn#
in
P1
*explosive*
[fr___]
alea rhythm
length: min 3" / max 8"
[t]
*percussive*
far
front
[k]
&
' .
[p]
[b]
mf
up
at
out
n
nn#
mp
thread cloud
cumulus congestus
cloud 1
activity index
2,5
2,0
1,5
1,0
10
dot cloud
cumulus congestus
cloud 2
grain cloud
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
1-4
1
2
3
4
mf
mf
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
<
>
U
o
G3
G1
T1
s.p.
p.n.
1-4
1-4
4th
p.n., dtach
123
234
mf
p.n.
G#, D or G
T4
2 3 4
n
p
mf
T2
123
G#, D or G
-.
mp
-.
234
nn
mf
1
2
3
4
1-4
1-4
p.n., dtach
tallone
G2
123
234
-.
1
2
3
4
q = 40-60
G4
s.p.
n B nn h
- -
q = 40-60
s.t., dtach
p
-.
s.t., dtach
1
2
3
4
s.p.
tallone
U~~~~~~~~~~~~~
5th
< O>
mf
q = 40-60
1-4
= 40-60
4th
p.n.
p.n.
a la punta
123
234
s.p.
p.n.
arco gettato
quasi legno
p.n.
U
o
1-4
= 40-60
-.
-.
1-4
2 or 3
mf
O&
o
123
234
s.p.
U
O
p.n.
mp
4th
1-4
<f >
mf
mf
--
D2
1
2
3
4
mf
P3
123
234
with fingernails
circular scrape
fifififi
U
o
mf
p.n.
pizz
n
f
m.s.t.
pizz
1
2
3
4
--
fingers
slap
p.n.
one finger
slap
D3
f
strike the surface or the side
1
2
3
4
G#, D or G
U~~~~~~~~~~~~~~~~~~~
1-4
2 or 3
fifififi
U 4th
4th
D1
1-4
1
2
3
4
-- - -- --
glide
P2
mp
P1
s.p.
circular bowing
flaut.
p.n.
pizz
p.n.
s.p.
U
~~~~~~~~~~~~~~~~
5th
< O>
s.t.
pizz
mp
mp
single or multiple strings
mf
4th
1-4
2 or 3
O&
mp
glide
1-4
p.n.
1
2
3
4
p.n.
pizz
s.p.
a la punta
flaut.
s.t.
pizz
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
powder 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
p.n.
123
G, C# or A
234
1
2
3
4
>
1
2
3
4
T3
1-4
1
2
3
4
mf
mf
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
<
>
U
o
G3
G1
= 40-60
T1
s.p.
p.n.
1-4
1-4
4th
p.n., dtach
G, C# or A
T4
2 3 4
mf
p.n.
1 2 3
n
p
1-4
mf
T2
123
G, C# or A
-.
mp
U~~~~~~~~~~~~~
5th
< O>
-.
-o
nn
234
mf
1
2
3
4
1-4
1-4
p.n., dtach
tallone
G2
123
234
-.
1
2
3
4
q = 40-60
G4
s.p.
-o
-o
n B nn
- -
q = 40-60
s.t., dtach
-.
s.t., dtach
1
2
3
4
s.p.
tallone
mf
q = 40-60
123
234
= 40-60
123
234
p.n.
p.n.
a la punta
4th
s.p.
p.n.
arco gettato
quasi legno
p.n.
1-4
-.
-.
123
234
s.p.
U
O
123
G, C# or A
234
U~~~~~~~~~~~~~~~~~~~
p.n.
mp
4th
1-4
<f >
mf
with fingernails
circular scrape
fifififi
U
o
mf
mf
1
2
3
4
--
fingers
slap
p.n.
one finger
slap
D3
f
strike the surface or the side
1
2
3
4
m.s.t.
pizz
mf
p.n.
pizz
o
n
--
1
2
3
4
P3
1-4
1-4
D2
O&
o
P2
fifififi
U 4th
4th
D1
1-4
1
2
3
4
-- - -- --
mf
circular bowing
flaut.
mp
P1
1-4
U
~~~~~~~~~~~~~~~~
5th
< O>
p.n.
s.t.
pizz
p.n.
pizz
s.p.
1-4
glide
mp
1-4
p.n.
mf
mp
4th
glide
1-4
mp
1-4
s.p.
1
2
3
4
p.n.
pizz
s.p.
a la punta
flaut.
s.t.
pizz
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
&
n#
n
? n#wnw
w
q = 40-60
mf
b nb
n
n#
U
& b b
n
b nb
mp
U
#nn
n
n
n n#
b
&
l.h.
r.h.
n n
b
n
n
#
n
#
n #
mp
V'
T2
G3
T3
T1
G1
registers mixtures
&
n
n
b
r.h.
&
U
n
b
mp
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
&
.
p
&
n#
nn
n#
r.h.
nU
n#
o
opposite
corner
bass
switches
&
#U
finger tremolo
#
n
mp
U
#nn
finger tremolo
n n
#
bellows shake
&
mf
n#
nn
n#
l.h.
r.h.
bbn
n
#
n
n#U
o
U
n
#n
guiro effect
r.h., with fingernails (or plectrum)
mf
fast dragging over the bellows or keyboard
U
_
o
#n
U
#
&
tone gliss
mp
#U
#
n
&
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
'
D2
P3
P2
bbn
one bellow
bellows shake
air sound
air sound
n r.h.
nn#
n#
D1
D3
mf
= 40-60
air sound
-_
mf
_-
-_
air
n
#
#_
pitch
air
&
&
#
n
#
n
U
#
finger tremolo
bass switches clicks
U
#
o
mf
knocking sound
mf
&
n r.h.
nn#
n#
?
l.h.
bbn
n
#
n
one bellow
. n . . n . . .
n. # n. # .
n. # n# .
.n . .n . . .
.
&
sfz
V
'
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
T1
&
fp
n
3#n
3#
q = 40-60
&
n3 #n
& 3#
n3 #n
3#
U~~~~~~~~~~~~~~~~
b ~~~~~~~~~~~~~~~~
&
U
n ~~ ~~~~~~~~~~
#
3 n <n >
& 3#
&
q = 40-60
&
bb
mp
&
bb
&
bb
mf
T4
&
bb
double/triple tonguing
length: min 1" / max 5"
n
3 #n
#
& 3
&
b
f
G3
&
lip gliss
b b
&
b b
&
T3
&
b b
p
[u]
gliss
mp
gliss.
mp
b b
&
gliss.
mf
mp
mp
&
wt
&
bb
mp
&
b
b
&
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
[]
_
o
gliss
bb
&
>. . . .
G1
n3 #n
3#
G4
T2
q = 40-60
b
b
TR
&
or
TR
&
key clicks
mf
& Y
[t ]
alea rhythm
length: min 4" / max 10"
TR
& b
b
& _
& __
P2
= 40-60
& _
-
mf
[u]
jw
f <
>
P1
-_
_
o
_
[
gliss
key clicks
-_
f
mp
alea key clicks
length: one blow
D1
D4
D3
P3
D2
[s_______ ]
& Y
o
&
bb
mp
. . ........
&
slap
mf
&
&
p
[k ]
key 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
1
2
3
4
mf
mf
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
<
>
U
o
G3
G1
= 40-60
T1
p.n.
1-4
1-4
4th
1-4
p.n., dtach
1 2 3
B, C or G#
T4
2 3 4
mf
p.n.
1-4
n
p
mf
1
2
3
4
T2
123
B, C or G#
234
-.
mp
-.
1-4
-o
nn
mf
-o
n
1
2
3
4
1-4
p.n., dtach
tallone
G2
-.
123
234
-.
1
2
3
4
q = 40-60
s.p.
-o
-o
n B nn
- -
G4
q = 40-60
s.t., dtach
-.
s.t., dtach
s.p.
tallone
U~~~~~~~~~~~~~
5th
< O>
mf
q = 40-60
123
234
= 40-60
4th
p.n.
p.n.
a la punta
123
234
s.p.
p.n.
arco gettato
quasi legno
p.n.
s.p.
-.
1-4
P2
123
234
mp
P1
p.n.
1 or 4
mf
O&
o
U~~~~~~~~~~~~~~~~~~~
p.n.
4th
1 or 4
1-4
<f >
mf
1-4
mf
P3
with fingernails
circular scrape
fifififi
U
B, C or G#
234
fingers
slap
p.n.
one finger
slap
D3
f
strike the surface or the side
1
2
3
4
--
1
2
3
4
m.s.t.
pizz
mf
p.n.
pizz
o
n
--
1
2
3
4
mf
D2
123
4th
D1
1-4
U
s.p. O
mp
fifififi
U 4th
1
2
3
4
-- - -- --
glide
p.n.
circular bowing
flaut.
s.t.
pizz
p.n.
pizz
U
~~~~~~~~~~~~~~~~
5th
< O>
s.p.
mp
mp
p
4th partial, sounding 15th
single or double strings
length: min 3" / max 8"
mp
1-4
1-4
mf
4th
1 or 4
O&
glide
1
2
3
4
p.n.
pizz
s.p.
s.p.
a la punta
flaut.
s.t.
pizz
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
&
T1
( f)
b -
&
fp
q = 40-60
bU b
nn
b
&
&
~~~~~~~~~~~~~~~~
/0
( f)
&
G4
T2
q = 40-60
&
b- b- b-
b
& n n
b
T3
mult.
__
_
_ = 40-60
-_
mf
key clicks
P3
&
b_
o
n
b
n
n
nb
mp
port. port.
mf
b
o
mp
&
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"
floating harmonic
-_
-_
&
b o b o
b
U
_
o
P1
&
nn
b
n
n n
_
f
_
o
&
nn
b
n
n b
&
n
b
n
n b
key clicks
lip pitch
bend
>
b
f
< >
D1
& n n
b
&
n o n o
b
&
nn
b
n
n b
mf
P2
_
o
floating harmonic
double/triple tonguing
length: min 1" / max 5"
U~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~
&
mp
&
&
subtone
&
air
pitch
air
&
n n
air
G1
(f)
air
mf
b . . . .
>
f
T4
n
bn n b n
n
n
n b
__
& B_
o
&
nn
b
n
nb
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
. . . ........
&
nn
b
n
n b
b_
o
bursting
sound
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
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
edge
D3
I I
l.v.
cup/rim
I I
l.v.
P3
mf
both chimes
I I
L P
c d
'
secco
> >
mp
mp
fifififi
U
mp T f
U
p T mf
>
>
>
mf
mp
D2
>
mp
quick roll
R
>
f
D1
mp
with fingernails
P4
rim shot
mf
mp
l.v.
mp
U fifififi
slow twirl
A6
l.v.
mf
G3
cup
A
%
l.v.
l.v.
P1
tap
on the side
mp
secco
tap
shuffled bichords
length: min 4" / max 10"
G2
P2
A
6
A6
l.
l.v.
T3
l.v.
on the edge
alea rhythm, alea accented strokes
length: min 4" / max 10"
l.v.
sweeping
l.v.
l.v.
A%
mp
Tf
mf
fast shake
U
A
6
>
mp
mp
with chain
A6
U
+
G1
T1
l.v.
l.v.
A
A
mp
U
+
or
quick roll
buzz
T2
7 77 7 77 7 7
>
>
buzz
l.v.
INSTRUMENTATION
Bass flute
Bass clarinet in Bb
Accordion
Percussion
+
INSTRUCTIONS
Bass clarinet
all the holes closed / all the holes opened
exaggerated vibrato
General
flutter-tongue
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/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
fast/slow opening/closing hand round mute: right hand back and forth movement
to get an wah effect
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.
exponential crescendo
Bass flute
exponential diminuendo
gradual acellerando
gradual rallentando
flutter-tongue
alea rhythm
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
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.
tongue ram: sounding a minor seventh lower than the fingered tone
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
overpressure
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.
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
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
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.
Suspended Cymbal
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)
Triangle
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.
s.t.
m.s.t.
s.p.
punta
tallone
quasi legno
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.
lascia vibrare: avoid playing the same instrument again to not interrupt resonance
Percussion
Dot set
arco ordinario
Almglockens
Thread set
ord.
Wood blocks
Crotales
zigzag glide: frenetically glide the finger up and down the length of the string
producing the overtone series
2 3 4
Grain set
Suspended Cymbal
Powder set
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.
Voice
5
4
Fixed pulse, q = 60
ord.
[ _____________ ____________________ _____________]
&
05:30
mp
[ ______________________________________]
mf
o
o
?
ord.
[ ________________________________________]
j
3
mf
ord.
j
# fi
n
mf
Vlc.
mp
sfz
sfz
sfz
06:00
sfz
sfz
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
#
n# -. -. -.
sfz
j
# # #
>
3
-o. -. -. -. -.
n # #n nn
#
#
.
.
- n -. n -.
sfz
07:30
08:00
TIME
25
Voice
Vc.
&
<#>
ord.
? n-. -. -. -. -.
n
-. -. -. -. -.
nn
[_____________________________________________________] [__________________________________________________________________________]
#
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
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#
n#n
>
fp
j
n n
J
stroke tremolo
quasi tambourine
bass
opposite
switches
corner
bass
switches
bellows shake
&
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#
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
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
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
# ##
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.
o f
stroke tremolo
quasi tambourine
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
Db.
l.h.
#o
#o
#o
nn#
nn#
nn#
o
o
o
#
#
? nn#
nn#
nn#
#o
#o
nn#
nn#
o
o
#
#
nn#
nn#
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#
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