eduardo moguillansky

double
for ensemble

2007

Double
Solomon saith: There is no new thing upon the earth. So that as Plato had an imagination, that all knowledge was but remembrance; so Solomon given his sentence, that all novelty is but oblivion FRANCIS BACON, Essays, LVIII

Ensemble:
two piccoli (both change to normal flute) oboe two clarinets. Es and B (muta in A-Clarinet at the end). bassoon (soloist) trumpet (soloist) horn (soloist) trombone (soloist)

percussion: crotales, two octaves Grosse Trommel suspended cymbal suspended sizzle cymbal chinese cymbal Tam-Tam, medium size two bows superball triangel stick metal bar (aroung 1 cm diameter x 50 cm, size is not decisive) used to scrape the side of the Tam-Tam: a porous texture is welcome.

piano

without lid + blackboard eraser or wide piece of wood (used to mute)

string quartet double bass (soloist)

Piccolo 1

Viola

Horn

Oboe

Trumpet

Cello

Piccolo 2

Piano (without lid) Percussion

Picc. Clarinet

Clarinet

Violin I

Violin II

Bassoon Trombone

Contrabass

Conductor

Disposition
The rather inconvenient disposition is thought to enhance the understanding of the way in which the players are grouped in the musical structure. Throughout the piece all instruments are either soli or they are the shadow (or double) of a different instrument. The Trombone is the soloist par excellence. He has two shadows very near, the Bassoon and the Contrabass, which, at some moments, take the role of the soloist, building, all three together, a sort of mega-instrument. Two other shadows play also an important role: Horn and Trumpet. They have the function of representing a version of the soloist which is further away, anticipating or remembering what the soloist group will do/has done. The other instruments are, with some exceptions, almost always shadow. In particular the two piccoli belong to a rather independent layer which stands for the higher resonances of the soloists and of the room. This layer is joined often by the violins, the piccolo clarinet the percussion and the piano. This disposition is thought for a rather big stage, particularly for a rather deep stage, where the difference in the distance of the players to the audience has an audible effect. As is seen on the diagram, the piano and the percussion are put between the last row, in order to help covering them. That is why this last row should be put on a higher level, to be able to see the conductor. If all this proves impossible on the given stage, a different solution might be looked after, having always in mind that it is of particular importance, that the horn and trumpet do sound as if they were further away, and that the piccoli are written in an extremely high register and any means to help them achieve the written dynamics should be taken. If a podium is not available for the last row, an alternative solution is: Piano Pic. 1 Viola Picc. Clarinet Violin 1 Bassoon Trombone Contrabass Horn Oboe Perc Trumpet Cello Clarinet Violin 2 Picc. 2

Conductor

General remarks
Unless indicated through an accent, a subito dynamic or any other action which asks for a sudden change on some parameter, great care must be taken to perform each action in very smooth way. In particular, rhythm is always subordinated to the smoothness in the different musical transitions and should not be interpreted to be strict, unless, of course, events which are supposed to be played by more than one instrument simultaneously, timbral transformations between instruments, etc.

Dynamics

Dynamics in this piece are absolute, unless otherwise indicated:

Any two gestures having the same dynamic sign should sound at the same level of loudness, independent of the techniques used. Since textures are generally very dense, balance becomes of capital importance in order to render an understandable performance of the piece. The other relevant issue in relation to absolute dynamics is that certain techniques, like playing col legno, or molto flautando, sound naturally softer than the same gesture performed with normal bowing. These natural tendencies should be compensated as long as possible. effort dynamics: they are written between quotation marks, like f. They are to be interpreted as playing with the effort normally involved in playing forte even if the result does not reproduce this effort. NB: the dynamics written indicate which dynamic the audience should hear. Particular attention deserve very soft passages at the end of the piece, where care must be taken that the gestures are actually heard. If this is not the case, they should be played louder.

Microtones
Ordered from low to high, they represent intervals of 1/8 tone. The 1/8 tones are mostly used to indicate the exact position of a node for playing a harmonic multiphonic.

DJ b jBK n kL m l
Articulation, legato, bowing and breathing
The piece consists of many gestures encapsulated between silences. These gestures are to be played legato, if not indicated otherwise. This is true also for accents and tenuto marks: they do not imply a change of bow or the use of the tongue to articulate them, they are only a way of locally indicate a change in dynamic. In general these gestures are notated with slurs (bindungen) above them in the most classical tradition. In some cases, however, where the denstity of information is very big and the gesture is long, this slurs have been left out, to make the score more readable. This doesnt contradict the fact that they are expected to be played legato. Only where staccato signs or keile are used, is the sound expected to be articulated. On the other hand, depending on the context and the action being played, the player is left free to tongue or change the bow as best suits him/her if the resulting sound retains the idea of an uninterrupted action. For the strings, where no bowing is indicated over a very long passage, this does not mean, of course, that they are meant to be played in one bow, but that the bowing should give the illusion of continuity. For wind-players, this same thing applyes to breathing.

Signs and abreviations

For those instruments capable of playing with different ratios of pitch / air content, the following scale is used:

k
pitch

h
pitch/air

l
air (some pitch should be always present)

< > < > < > : crescendi und decrescendi around the given dynamic. Avoid regularity or pulsating effects. Try to perform the gesture as organic
as possible.

<

> < > <

> : cresceni und decrescendi accompanied with the appearance and dissappearance of flatterzunge (in the winds), tremolo (in

the strings).

suono mobile: mobile sound. With the given note/notes and dynamics variate the sound trying to imitate gestures that you have already played,
or that you have heard, as organic as possible. For multiphonics, variate the brightness/darkness of the multiphonic, bringing different pitches to the front. For multiple harmonics, variate the balance of the notes, changing the focus from one to the other. For single notes, variate the vibrato and different types of vibrato, timbral mordents, etc. For strings variate also ad lib. the speed and the amount of bow used. All transitions as smooth as possible, try to avoid any patterns. Move slowly and try to react to the environment. The amount of mobility, or the speed of the variations in sound should follow the dynamics.

Wind Instruments

: airy, equivalent to a note having a

sign above

: multiphonic. Find a multiphonic which includes the given note. Preferably, the given note should be the most important note in the

multiphonic. Also, if the sign is below the note, the given note should be the highest in the multiphonic. If the sign is above the note, the note should be its lowest note. Unless indicated otherwise, multiphonics with few (2 or 3) notes are widely preferable. In particular should the notes of a multiphonic be percievable as such and not so much as a general timbre: for this reason, noisy multiphonics are not desirable. If a second note is given (between parenthesis) a multiphonic should be looked for, which has also this pitch or a pitch close to it. If this is not possible, it serves at least as an orientation regarding the range and harmonic content of the desired sonority.

: voice. Sing the given note. For transposing instruments the voice IS ALSO TRANSPOSED. In all cases it is supposed to be an

enrichment of the spectrum of the instrument and has no polyphonic function. Try always to blend in, always coming from the sound of the instrument and submerging again into it. If in any case it shows easier and results in a better blend to switch the sang and played pitches, this could of course be done.

: flatterzunge

: slow tongue vibrato, move the tongue to change the oral cavity and touch the air stream, in order to produce changes in timbre.

For Brass: Touching the air stream makes the overtones to come out and it`s even possible to make artificial multiphonics buy underlining certain partials.

: fast tongue vibrato. As if playing staccato but without artculating (in oboe and bassoon, without touching the reed)
coco~~~~~~~~~~~~~~~~~~~ : bisbigliando. Alternate between two fingerings with different timbre.

coc : timbral mordent. Like a normal mordent, but alternating between two different fingerings (with different timbre) for the same pitch.

: tremolo between two different harmonics.

: diaphragm vibrato irregular variation of the pressure in the air-column. Depending on the register and the context it could be
accompanied by some jaw-vibrato (smorz.) if a more dense result is asked for and cannot be achieved through diaphragm vibrato alone.

!:

keile. Play as short as possible (independent from the rythmic value above which it is written.

p :.growl (pitch ad lib., preferably unisono with the note played).

Glissandi
Two different types of glissando are used, in order to indicate which action is asked for.

________ : used when bending a note, doing a valve gliss, slide gliss, etc.

--------------:

overtone gliss; no finger action; transition between one overtone (or multiphonic) to another.

This line is also used to indicate a smooth transition between two notes, a blending from one sound into the other, which might need both changes in embouchure AND FINGERING.

For woodwinds:

emb. gliss.: embouchure glissando. Keep fingering, perform the indicated changes in intonation with the embouchure
or, in the case of piccoli, with the playing angle.

Woodwinds

: veiled tone. Choose a fingering which results in a dark tone, with very few overtones (almost like a sine tone)

: overblow at the attack, then come back to the main note. The amount of overblowing depends on the dynamic.

Piccolo

: for piccoli only. Indicates the blowing angle. In particular, a very sharp timbre should be found (very rich in overtones, eventually with
some extra air noise and some unfocused quality to it) WITHOUT altering the given pitch. That means that, because of the higher intonation which results when shifting the flute outwards, probably a different fingering should be used, which in normal position would give a lower pitch.

Clarinet

: playing angle of the embouchure.

The Clarinet is NOT notated in C. All fingerings and multiphonics are given for the GERMAN SYSTEM. A scheme of the fingering system used can be downloaded as a PDF file at www.multiphonics.de. If a clarinet with french system is used, corresponding fingerings must be found.

Coloration of multiphonics:

The bigger notehead is used to indicate the level of brightness or darkness of a multiphonic, as in the previous example.

The

multiphonic begins with the lowest pitch and the other appear gradually. After that, without losing the upper part of the multiphonic completely, darken the colour of the chord as indicated and then make it bright again. The rythmic accuracy in such passages is secondary to the smoothness in the transition.

. : very soft double staccato. Tip: put lots of tongue in contact with the reed.
For the last part of the piece an A-Clarinet is needed to play the low C#. Piccolo Clarinet

The part of the piccolo clarinet could be eventually played on the normal clarinet if the player is able of performing the high passages at the given dynamic. In general, since the Eb clarinet has not been so thoroughly investigated and since it seems to variate more from model to model, no reliable fingerings could be found to be suggested for the multiphonics written. It is the player who must find the best solutions for his/her instrument.

Bassoon

fingerings can be used)

: the same as bisbigliando but slowly changing, trying to produce transitions between the two states (more than two

: a special case of bisbigliando: choose three or four different fingerings, ranging from dark to bright. Play in order to produce a cycle, for

example: dark- normal- bright very bright bright normal- dark- normal -, etc...

Brass

Horn is notated in F: it transposes a fifth down ALWAYS (also in bass clef).

Multiphonics
Multiphonics allow to sound two adjacent overtones. They are not expected to be either stable nor to last the exact length which is prescribed by the notation. By force a rather unstable and not totally reliable sound will be produced. This is expected but not desired and, in fact, every effort to develop a controlled production of multifonics will be welcomed.

Mutes

See score. NB: it is possible to consider the use of different mutes in the brass. For trombone and trumpet: the DENIS WICK mute has proven to be very helpful for its use with multiphonics, since it allows to play with a good air support (which makes it easier to control the multiphonics) without actually sounding loud. For horn, very interesting results were obtained with a STONELINED cup mute, and also with a FARKAS Omnimute (straight). It is left to the player to find what best suits his/her instrument.

: air+pitch, unfocused sound (loose embouchure, not fully formed sound) For the trombone: another way to produce the desired type of

sound is to play with false slide positions.

: bisbigliando. Alternate between two fingerings for the same note (ventil tremolo)

Fingerings

[1]~~~~~~~~~~ or [3] :

Fingerings between brackets mean half depressed and are used either for ventil vibrato (where one of the ventils is played fast as if playing a trill but not pushed down all the way) or for cases where the normal fingering should be avoided in order to achieve a more unstable sound or to produce a gliss. which in other case would not be possible. Horn: B1 indicates for instance that it must be played with the 1 ventil on the B division. F123 (like this or the numbers above each other) indicate the F division, all ventils down

Trombone: B6 F3 B1+ F4 play normally on 6th position with F trigger on 3rd position play in B between 1st and 2nd position play in B between 3rd and 4th position

Pedal notes:

Some pedal notes are written which could prove unplayable or, at least, unplayable in the context where they are written. In many of these cases they have been written between brackets. This means, an attempt should be done to play them, but it is not expected that a fully formed pedal note comes out. This is also the case where the lowest note for a given position is asked for (triangular notehead). H.V.: Hand Vibrato.

Strings

Playing on multiple and non-adjacent strings

A particularity of this work is a technique for playing on multiple and on non-adjacent strings. This is achieved by pressing one of the two middle strings all the way down to the fingerboard and fingering the other strings with very little finger-pressure, only enough to make the note sound as a real note and not as a harmonic, but avoiding pressing down the strings. As a result, the different angles of the strings make it possible to play on two non-adjacent strings (G-A, D-E on the violin). More important, depending on the bow position, it is possible to make very smooth transitions between the two outter strings and the inner one (or the other way around), by shifting from tasto to ponticello. Of course it is also possible to play on three strings together and even on four (by depressing both inner strings). The finger pressure is notated by using different noteheads, as following:

f: i:

press the string all the way down to the fingerboard

press the string only slightly (its not a harmonic!). Avoid pressing the string down.

Other signs for finger pressure

K:

harmonic.

D:

false fundamental. Press the string as a harmonic but mute it between the finger and the tuning peg in order to

prevent it from sounding as a natural hamonic. The indicated pitch for the harmonic turns into an unstable fundamental, thus making it possible to sound the different partials of this note depending on the position and pressure/speed of the bow. The result has been notated through the desired overtone to be made audible with the bow: 1 represents the fundamental, 2 the second overtone (octave), 3 the third (fifth+octave) and so on. The arrow pointing up indicated the highest overtone of the given false fundamental.

qwerty
This indications are to be understood as an ORIENTATION, and the smoothness of the transitions between positions is of much greater importance than the rigour of finding the exact overtone and maintaining it unchanged throughout. The approximative nature of these indications is particularly obvious where they are notated as the beginning or ending point of a harmonic gliss. In these cases it is expected to serve as bounding range, giving an idea of which portion of the spectrum of the given note is desired to be made audible.

The zero (

0)

means play as near the left hand as possible, almost on the finger (almost no pitch discernible, only bow noise). : bow position vibrato. Around the given position (in this case, the highest position) produce a vibrato like movement in the direction of the string (paralel to the string), resulting in an irregular sound. Best produced near to the frog.

: the same but slower

Notation of fingerings In some cases where it turns obscure which finger is playing on which string, the following system has been used:

For example, II, 3 III, 1 I, 0 IV, 2 means: the highest note written in the chord is to be played on the II string (A on the violin, D on the cello) by the 3. finger. The note

that follows is played on the III string by the 1. finger. Then the I string is made sound open (0), and the IV string is fingered by the 2. finger. The fingering, thus, corresponds to the written chord read from top to bottom and from left to right (in the case where there is an unisono). Important: To be able to differentiate between fingered and open strings when they are playing the same note, notice that fingered notes in this system will ALWAYS have one of the noteheads explained above, whereas the open string will have a normal notehead.

Bow position

MT: T: P: MP:

molto sul tasto. sul tasto al ponticello molto al ponticello

ORD: ordinario. Normal position.

MP!!: extremely near to the bridge

legno: play with the wood of the bow crini: normal bowing, with the hair legno: play with half hair, hald wood. The wooden part should the nearer to the tuning peg, the hair should be facing the bridge

tall.: frosch (talone) punta : tip of the bow

Bow Pressure
Indicated through a black shape In this case, the gesture starts with normal bow pressure (which is always dependent of the kind of action performed) and increases the bow pressure to return to normal pressure. If the notehead IS NOT between brackets, it is expected that the pitch will be audible. On the contrary, if the notehead IS between brackets, no clear pitch should be audible, only bow noise. The higher the shape, the stronger the pressure of the bow on the string. Unless specified, the pitch, even if faintly in cases of strong dynamics, must remain perceptible throughout.

An alternate way of indicating an increased bow pressure is through the now stablished form used first by Lachenmann:

6666666666666
In this case the extra bow pressure is expected to remain constant throughout the gesture. On last case is the use of the bow pressure to change the pitch. In the following example, the left hand does not move and the modifications in pitch must be achieved through modification of the bow pressure. Evidently, when extra bow pressure is used the pitch raises.

normal press. returns to normal playing.

Scratch on a node : scratch (extra bow pressure) on the given note (small notehead) on the indicated string (notehead with an X). The result is a low and dark band of noise. Play with slow bow, pay attention to dynamics. Notice that if you want to avoid playing so high in the tasto (and get all the fingers sticky afterwords!), the same can be achieved on the other end of the string.

Bow vibrato
Different types of bow vibrato are used, indicated through a line which describes graphically the kind of movement asked for. In can fluctuate from smooth and slow to irregular and fast. They are indicated as follows, orderer from sparse to dense.

Piano

Fig.1 Fig. 1: Scrape the indicated string with nails or plastic card. Ad lib. and depending on the dynamic and the context given, other neighboring string could be scraped together with the indicated one (for example, all strings between lowest A and lowest C). The action is performed always in the direction TOWARDS THE PLAYER, on the portion on the string between the further end and the dampers. If the key corresponding to the scraped string is simultaneously played (on the keyboard, of course), this action should produce an overtone of the given note (for instance, measure 36),

: The same as above, apply extra pressure on the string as indicated by the black triangle.

: Flageolet. Play the normal note on the keyboard, a1 (a4 = central a) stopping the strings on two different nodes. One of the resulting flageolets is given, the 5th overtone (C# in this case). As notated in this example, the second flageolet is not precisely given but must be a higher flageolet than the accurately given. A variation of this gesture is presented in Fig. 2, where two notes are played on the keyboard, each stopped at a different flageolet position. Also here only one of the nodes is notated with precission, the other one is left ad lib., but, again, the relative range (higher or lower than the given flageolet) should be preserved. In all cases where this double flageolet is asked for, the accurately given flageolet corresponds to the higher to be played in the keyboard, whereas the ad libitum flageolet should be stopped on the lowest one. The main idea of these gestures is that for the same dynamic in the played key/keys, the different overtones have a decreasing dynamic according to their order in the overtone series: the lower this order is, the louder this overtone will result. That means that the free overtone, which is always the higher one, should act as a sort of shadow or aura of the lower (main) overtone.

Fig. 2 Fig. 2: the flageolet A is the 5th harmonic of the played F, the played E is stopped at an ad libitum position, which must result in a flageolet being higher than the A. Pay attention to the transposing cleff (8va bassa) in the lowest staff.

: One hand playes the indicated cluster (the highest note of the cluster must be clearly audible, the others are a sort of colouring of this highest note, a sort of shadow), the other one mutes ALL the strings involved and releases them as indicated to let the upper harmonics resonate. In order to mute so many strings together the hand might be not enough. An ideal element is a blackboard eraser, which is a wide piece of wood with one of its sides having a material attached to it very similar to that covering the hammers of the piano. In case that there is no access to such an object, any piece of wood long enough and covered in a soft material would do the job.

: Whistle the given pitch, as a resonance of the played tone in the piano. +: muted with the hand. o : open

: scraped flageolet. Only inside the piano (no keys played on the keyboard): scrape the string very fast (E string, as indicated by the note between parenthesis) and then stop it (with the same hand) at the given node (the 5th partial).

X : muted. Mute the strings with one hand, then play.

Percussion
The percussion set consists of:

Grosse Tromel, played with superball It is notated freely, only giving an approximate time-line. The black contours give a general idea of the sound, which is to be achieved through variation of speed/pressure of the superball. This contour indicates mainly the dynamic, but changes in pitch could also be applied ad libitum, either with the pressure of the superball itself or, in the cases where the other hand is free, through changes in the tension of the skin. In any case it should be always played rather freely and with attention to the context, since it is almost always in connection with some other instrument playing a similar gesture. A special case of free notation is like the one seen in the next example, where the time frame is given in space notation. The vertical lines indicate the beats in the bar and the dynamic below indicates within which range the black contours are to be interpreted. In this case, the whole passage must be played within the dynamics ppp to p. The rugosity and difference in hight can be interpreted freely as changes in the pressure of the skin (which changes the pitch), changes in direction with the superball, etc.

Y
Suspended Cymbal + bow Produce a multiphonic like sound by rubbing the cymbal with the bow. Even if it is always notated in the same way, it is desired to look for different positions in the cymbal which render variated types of results when bowed. As in the case of the Grosse Tromel, great care must be put to blend the sound with its surrounding, particularly with the high notes in the piccoli.

[
Suspended Sizzle-Cymbal + bow

v
_

Suspended Chinese-Cymbal + superball Make the cymbal vibrate with the superball, resulting in a multiphonic sound of a darker character than the one produced with the bow on the normal cymbal.

Crotales, played with bow and with a trianel stick

Tam-Tam: scrape the side with a metal bar of preferably porous texture in direction perpendicular to the plane of the tam-tam, so that the metal bar bows the tam-tam (one legato movement, no tremolo). In this example, the movement is performed up-bow, meaning moving AWAY from the player. The result is a high screeching sound. Tam-Tam: rub the center with a metal stab.

the score is NOT in C

4 q=34_40 4 b5 5
5
Piccolo 1
sounds an octave higher

double
harmonic gliss, same fingering

eduardo moguillansky
2007

5
3

5 f

5 5
harmonic gliss, maintaining the multiphonic voice

bisbigl.

& & &

5
3

5 5 5

+ 5 ~~~~~~~~~ + 5
o5 o

iD i
o
2

.
tongue vibrato (u-i-u-i)

s5
o

l
air

air+pitch

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Piccolo 2
sounds an octave higher

p +5 5
5

bisbigl.

harmonic gliss, do not change fingering

veiled

Oboe

5 b 5 + 5 d 5 d> f + +5
3

>

harmonic and valve gliss

I
1 3

.
o

MUTE: CUP - DENIS WICK

5
o
3

ID

smorz.

Trumpet in C

lip multiphonic

+5 5 P

b 5 .. 5 p

5 5

5 b5

lowest pitch

MUTE

Horn in F
sounds ALWAYS a 5th lower (also with F cleff)

s5 s 5 + s5
o

5j 3

(sounds two octaves higher)

appear gradually lip multiphonic

crot.

[v Y u \
Piano

_ &

b 5

arco

5 P

j 5

harmonic gliss, only with lips

s5

1 2 3

s5 5 + 5j ..

s5 5
voice

5 p
no pitch

5 5 F b5 b5 5 5
suspended CYMBAL

5
ventil tremolo

J
5

flatterzunge

1 3

5 p

K 5
o

K p

b5 b 5

5 b5

5 5

VT~~~~~~~

VT ~~~~~~~~~

K.

GT + superball

flageolet

..
o

s Y

&

scrape lowest strings with nails

sK

5 5 5 F

s5

ped.

j 0 j
5 D5
5 f

fp

Clarinet in E b
sounds a minor 3rd higher

& &

legno
II III IV

5 5 5
o
3

pitch+air

5d s 5 5 5
3

Clarinet
sounds a major 2nd lower

overblow

q r
crini

5
3

o
H B

D5

I
o

find a multiphonic with the given pitch as its most audible note. If the M is below the given note, the note should preferably be also its highest one. Preference should be given to multiphonics of 2 or 3 notes where these are audible as individual notes and not as a general timbre

b5

s 5
o
5

I
MP

5 5 p K s5 K
o
3

55

5 F

5 p

55 .

Ii

s5

Violin I

& &

T i MP T MP s f i s if f if f s 5f i T

II III I IV

f
5

s 5 5
K ssK 5 f i 5 f

n b55 > > > > > > 55

E.
r

sE F

i
E
w

.
t

P5
3

J J
s5 5
w

Violin II

.
II, 1 III I, 0

legno

s DD . .
r

> >>
t

&
MP

s5

Viola

b if if f & 5 5 5 p
legno

the hair facing you, the wooden part facing the tuning pegs

s n DD DD 5 D f
o
T legno

>
B

5 D
r
crini

>

>
r

Violoncello

? ?

D = D

D D D>= D>
3

b D n D D ..D D D + D sD 5 5 5 5 p f f 4 4 4 t
w

&

K 5 sK

P
3

555 5

5 5 5

Kn

s5

MP

crini

sD D

DD K K K

rK

+5

> J >> > > > >s K

3

D D

D.
3

w r

> D

Bassoon

5
o

5
SORD DENIS WICK

5 P

o
3

b5 p
B3

5 b5 5 p

s5 5~~~~~~~~~~~~~~~~~~~~~5 5 P n s 5 .. 5
B2 3 voice (1)

+5

5 5s5 5 n 5 ~~~~~~~~~~~~~~~~ 5 5 5 5
tr

5 5 s5 b5 b5

>

5 5 5

+D sD D>>
5 n5

very little finger pressure, play as if they where harmonics: most of them are not over a node and will not sound as such. For that reason, no resulting pitch is given.

K K K K s5 s5 p
> > dK K => > + K K K
6

MP III

! > ! ! K ! DK K sK =K nK !

>

=5

F2

lip multiphonic (do not sing)

b5 5 5 5 P
&

find a multiphonic with this pitch as its highest and most present pitch

Trombone

1) the voice is always a colour of the trombone, used to create internal beatings and should never be seen as an independent layer. Try alwyas to match the colour of the trombone and blend in as much as possible.

legno

b5

. j5 s 5

F3

s5 5
j5
MP

5 5j 5j p
j s 5

5j

Contrabass
sounds ALWAYS an octave lower

o V s 55
o

crini

legno
3

55 f

55 ..

5 5 D5

d5

s5

t { w

1) find two natural harmonics which are as close as possible to the given pitches. If it is not possible to play them on the given strings, play the same pitches as normal notes on any other two strings, trying to resemble the sound of the harmonics.

D D

D D

F 4 4 4
3

nD sD

n D D . d D

bD D

D D

(II)

K p

rK

K.

o d 5o5
o

IV/V (1)

3 Picc. 1

~~~~~~~~~~~~~

l
o

5 s5 5 5
o3

5
o

5
3

J
5

5
o

o
3

5 s5 5

air

sK j5
o

j
5

5 p
3

5 5 j5 5

5 5

K p 5 5 5 p +i

Picc. 2

Ob.

&5 5 P &5 5 F

.
~~~~~~~~~~~~~~~~

air

j sK

ad lib.

5
3

p
3

5 5 P

.. 5
~~~~~~~

+i i
o

I J

K f
G#

5 5

K i

smorz.

5 5 p

J
5
o

DF 5I

.
HV
3

D iI
5 .
o

C Tpt.

5 5 5

1 2

s5 5

I
5

s5
o
3

Hn.

& s 5j 5j + 5j s 5j 5 5 j o
&
crot.

5j 5 5 S s s5
o

5 5

5 5 5 5

Perc.

5.
o

5 5 A
o

i K

SIZZLE CYMBAL (susp.)

&
Pno.

b5

5 p

mute strings with a blackboard eraser or some wide piece of wood which has a soft side and a hard side. Hit the notated cluster while muted and release the mute just after the keys where hit to let the resonance sound.

5 ?

jp

j K
5

q..
i P 0 s0 0 J

s 5
5
3

play two different flageolets on each of the strings. One is given accurately (5th overtone), the other one is ad lib., but must be higher than the first one, as notated.

sK K = = 5

the note in parenthesis should serve as a reference to what kind of multiphonic should be looked for

veiled sound

E b Cl.

&

j s5
l
p
T
frosch

5 5
3

b 5

5
3 3

+i
o
5

l
i ..
6 3 3

smorz.

Cl.

b5 & 5 +5 n5s5 +5 P

o >b 5

> 5I

.
o

l k l s 55 n 5 b 5 5 D 5 J o P o
MP

b5 5 +5 n5 d5 +5 p diaphragm accents, quasi smorz. k l o > b5 5 5 >>>>>>> E n5 55 b 5 b 5 n 5 5 b 5 5E b 5E 5E b 5 P S 5 p tongue vib. -fast

>

12

>

>
3

Vln. I

&
T
frosch

b 5 d5

K 5
o

K 5

5 5

J
o

bK 5
o

MP

K 5 K

f
3

J
K 5

K 5 K p
o

II, 3 IV, 2 III, 1 I, 0

f. f .. i5
T

F
MP

55
3

Vln. II

&

5 b5 d5

MP!!
3

K 5 K

p
legno T
3 IV III

&

MP

b n 55 5

bK 5 K

legno

Vla.

K K K B 5 s5 5
o

+ 5 n 5s 5 5 5 F

mute strings

Vc.

?J K
3

&
I II

j5 s5

K K

crini MP!!

5
o

5,

sjK K
o

poco

MP

K .. K K K K K p p
3

brK K
3

..

+E

tr

Bsn.

5 55

gliss.

b5
b5

P b5 5 p

unfocused sound, unstable (like beginners when they try to play a note with the wrong slide position). Rythm and pitches are only an orientation. rubato

5
o
diaphragm vib.

s5 5 5 i n i d i >.
3

5. n 5 ..~~~~~~~~~~~~~~~~~~ 5 5 id i s i .
3

Tbn.

F ?5
o

&

ji

i d i s i i + i s> i = i i
i

o +

deep tongue vib.(like german 'ich'-->'uch', etc.)

S
5

>

i
E

> s> i i
3

bi

i Di i s i

>

s> i p

666 666

i si ?
o

legno

Cb.

V F

55 55 55 55 p

55
o

+ D

-3-

5 Picc. 1

& & P + ?K

if possible, lip gliss. throughout

s5 d5 n5 s5
3

D
o

5
o

5 5
3

5 5
bend

. b5

Picc. 2

~~~~~~~~~~~ 5 5 =5 5
3

s5

5 > > > > 5 5 5 5 d5 5 5 p 5 5

d5 5 5 b5
5

+5

K s5 5
3 3

5 F
C

Bb

5 p
3

j5
o

smorz.

Ob.

C Tpt.

> 5

5 5 =5 +5 5 o + K K
3

s5 5

s5.

>>>> 5 5 5 5 5
3

5 -

smorz.

2 3 4 -2 3 4

j5 5

p r5
o

5 . &

b5 5

Hn.

P .

5 b5 5 5
valve

i K
o

y sy +y y sy
1)

bb5 5 p

5 5

g 55s 5 s 5 5 5 j P o S
s5 5 5 5

2 3

1 2 3 3 3

+ b 5j

_ &
crot.

5
5

1) 1/2 valve: unfocused timbre and pitch

>

+p 5 F
growl

> > A A d 5 5 sA
3

5 s5. 5 s5.

o
5 5 P
5 5 5 5 5 b5

.
fast tongue vib. in the throat (like german 'uch'-'ich')

b 5 .. g 5 5 b5 p b5
3

improvisando

?
3

Perc.

&

5
o

5E

crot.

J
3

> >S

b5

&

cuivr

two flageolets are played at the same time: A as 5th partial of F, and an undeterminate flageolet of E, which should be higher than the A.

u \
3

&

j
5 s5

bA

muted

?
Pno.

0 55 5 p
3

K K }

> 0

5 . 5 . p

o
3

J I J

extra pressure

E b Cl.

& &

bl d 5 5
o

+5

sk 5 P

0.

J V
5

l
o

0 0 0 p p

0
o

0 p

soft staccato (du or du-gu); fast

Cl.

I J
MP

5 5

b 5 5 5 + .. P

I J

l s 5
S

kd 5
5
Cis B

5
5

ri

5
5

5 smorz. s 5 .
3

DF

5 5 n5 5
III II III IV II I, 0

5 5 5 5

5 5 p
II III IV

I
5

5
3

MP

P p

Vln. I

& &

bK 5 K

J o

J
p
o
legno

K 5 K

+H
o

legno

crini

o q sD dD D nD

.
3

MP

ddK 5

> K 5 I
f

Gis

J ..
legno 5 d 5 55 55 MP

>
5

crini

+D
5

P .

legno 5 d 5 55 55

55 .
crini
5

MP crini

i i f bi i i i nf 5 f 5 f 5 i i i
3

Vln. II

Vla.

B EE d> P ?
5

p
3

r
3

p
q

o
w

>

s> E E p

5
P

i f si

.
o

..

ij E sE
D D

ric.

nE. E sE E > P
r~ t w

j L
A

on the IV string: apply extra bow pressure on the indicated place (where you would finger the G) to produce a dark bow noise without pitch.

R >S

i f i

bi if

MP

nK 5 K

5 6 66 66 6 66 66 66 66 6 66 66 66

Vc.

fast tongue vibrato: as if playing stacatto but without artculating (without touching the reed) slow tongue vib.

sD
o

j D

D D P

D D => 5 s 5 5 P
F5

D D

j Di D D D

legno b

with upper semitone if not otherwise indicated

MT P MP!! j legno >u u u > s> - - u u u u n = u -d P

3

Bsn.

b5

5 p n 5j
w

5 5 5 n5

d5 n5
5

Tbn.

? .

> 5 > 5 5j 5 s s 5 n 5 5
S
5

> s5 5

B5 5

5 5

5 ..

I J

m 5 5 n5 5 5
?

the wooden part nearer to you, the hair nearer to the bridge

5 b5

b5

s5 5 ~~~~~~ 5 5

.
o

5 5 5
5

p
5 5
legno P

s s 5 s 5 5 5 s

B7

5 5

5 5 o + 4o + 4o + 4
highest flageolet on the IV and V strings

.
=5 5 5 +5 s 5

highest partial

Cb.

D D D t > d D D +> f F

dD bD D

K K

> > > > K D K D

p

crini

D D P

(w)
3

MP
IV V

oo d
d

MP!! MP

o
-4-

= D.
o

w e = D.

try to achieve a unison by playing with a slightly different bow position and bow preassure on the two strings. It is not expected to sound unison throughout.

F F

D > DD+ + DDss> DD dd DD >ss DD nn>nn DD s D D D D D D D D f P

3 3

sD

7 Picc. 1

I J
3

.
o

. 5
3

d5

d5
3

.
o
4 -A2 3

n2 3

n5 +5
5 p
3 3

Picc. 2

5 5 5 r5 & p

Ob.

s5 5

> > > J

5

o p p smorz. 5 5 5 5 s 5 5 5bbbbccdccbbbb5 5 5 5 5 p
5

s5

5 5

l5
o

change the blowing angle to produce a very bright sound, compensate the variation in intonation

5
..
o

+5

+5

s 55 5 P
3

I J

DJ
sn5
1 3

Ab Ab

> <

C Tpt.

5 &s5 p & &

[1]~~~~~~~~~~~~~ 2

s5 5j 5j s 5 S

b5
5

.
o

~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~ D 5 5 5 5 s s 5 + 5 s P o o + o +

tongue vib.

smorz.

+ 5+ 5 5 p
3

> > > > > 5i

5

o
1 2 3

+5 5 s5 P

E E E E

5 s5 5 +5 5

3

bb5 s5 5 5 F
1 2

s 5 .. 5
1

ss5 5

. sj5
1 2

j
-

5 b5 bb5
2

5
3

Hn.

> >>

d 5 5 +

> P

s5 5
5

j5 5 5 5

I
5
5

j 5

s5 5

ss5 5 P

>

ss5 s5 5 5 5 5 -

nn5 5 F

>

Perc.

crot.

I
o

5 5
o

5 5 f

s5 5

>
p

j
p P

&
Pno.

.
o

? t

P s 55

q . j
i

t

s5 p 5

i 0
5 5

E b Cl.

&

s5
o

5. 5 = .
o

5 P

.
o

b5
5

0 F

i 0
5 p 5

.
o

Kj sK F
s 55

J
p

J
P p
3

Cl.

&5

o b l b> + 5 > b 5 n 5 s 5 5 5 5

+5
3

. .
q

J
5

g5 5 5 5 5

o3

5 5 5

5 5 5 55
o

5 P

5 55

Ps s 55
II III

P P

55

p
3

Vln. I

i 5 & . & =5 = = K ... K

K + + K K s s K5 ... 5 5
3

++K 5 p

Vln. II

K ++K . 5 5.
MT crini
3

MP
III, 1

2 i5 5ij.. 5 5
!

MP!!

s s s KK .... 5 5
o

su f p
mute

ric.

Vla.

MP

u .. . .u.u ..

r
legno

iu

s b i + i . K f b i i . K > p P
II III IV

II I, 0 III IV

P
T

ric.

R F
3

sf. 5f .. i.

sf f5i F

+D

.
q

D D. D sD.
r

Vc.

>s u . ? u + u .u

6 (1)

P n n n

u u

f n

crini

# !u

5 =5 d5

D n> b D s D D D D f

7 Bsn.

? ?

5 5 5

>

+q D +D
5

+5 5 p

..

H
5

5 -p

5 U

5.

5 s5 5 p

b5

P
3

5 b5

5 p

s5 5 5

5 E 5 5 ~~~~~~~~~~~~~ 5 5 P

5 .
b5 5

5
3

Tbn.

D tD D > D D D p
3

d d 5 5 55 > 5 5 5 P

5 5 55 s 55 n 55 5 5

5 > d> + 5 n 5j 5j j 5 b> 5 5

> >

F -

S p
3

p o

s5 5 5 5 5 5 5 5 o P
5

5j 5j s 5 5 b n 5 5 5 5

- 5 b5 5 5 b5 S
-

S
w

P p
3

D D

Cb.

D D ..

IV V

js5 5

MP

DD d DD s D D

R S p

DD f

s Dq D

1) fagot: Find a multiphonic with the E2 as its lower note. Begin through the upper note and reach down the E without losing the upper part of the multiphonic.

-5-

9 Picc. 1

5 5 b5

5
3

+5
o

5 5D
o

+5 5
3

5
3

> 5
P
sb.

5
3

.. + bbbcdcbbb 5 5 5 P
3

dad lib. 5

5
3

5
3

Picc. 2

&Ds 5555 p
~~~~~~~ ~~~~~~~ ~~~~~~~

smorz.

Ob.

> 5
f
3

5
o

P
3

5 5

s5 5 5 s5 5 5 sK nK o p S 5. 5.
5

666666 vib 6diaphragm 666666

s5 5 5
o

j K

growl+flatterzunge

bK

b5 5

b5 5

diaphragm accents

C Tpt.

5 &b 5 F & 5j &

Hn.

+ d 5j

s 5j 5j F >>> o+

s5 s5 5

n5 s5 5 5 5 P

s5 5 + F

j
s5 5 p 5
o
3

A s A A d A

p s 5 s 5 S

s5 5 p

>

s5 5

irregular bowings, asynchronous between both hands

o+ + sA A sA A .

s5 s5 5 5 o p open the mute slightly o + + s 5 s 5 5j 5 o P

I .. J
3

Eb

J
5 + b5

5j p

.
o

_ 55
o

Perc.

>
5

b 55
o

?
Pno.

K i K

&

> b5 5
f
3

F
55

} .
.

p sK = 55 s=

E b Cl.

& &
3

s5
MP!!

n5 s5

y5
o

Cl.

l j

o l s5 5 d5 +5

5 F

5 5 5 + 5 5 p
s5 s 5
B Gis

.
o

I l

> > F >

s5 5

l5 5 5 r5 5 5 5 5
A H E

5 5 P
e

5 5

tr 12 B Gis

~~~~~~~~~~~~~~~~~ 5 s 5 5 5 o P
3

e q

Vln. I

& &

ssK 5
o
3

MP

K K 5 5 F
MP

sK 5

MP!!

K 5 K 5
3

P
3

e
5

si f i
T

+f fi5 =
q

p
5

MP

Vln. II

Vla.

B b> s> H H ? p
9

III IV

+ K +5

&
5

g n 55 5

s + E E EE .

> p

>

+E nE

>

sE E s > > H P

25 > 5 I
f

b n d E Ed E E E E EE E . F F o

q
3

> >
MT

> i
T

+5

bow vib.

J ..

s i i A f f i si F p
3

>
J

q
3

s K + K 5 +5 F

MP!!

>

=K + 5
3

gK K i f i P

legno T

K K F
3

K K

Vc.

Bsn.

5 y+y5 5 5 ? +5 5 5 5
5

5GCC 5
smorz.

II III IV

si sf i

K K K K F i si f f i i .

bE +E bE P
crini MP!!

&b

b5 5

b> 5 5

d> b >~~~~~~~~~~~~~~~~~~5 5 5
E

rubato 7

brK bK 5 o n5

5 5 5 5
3

underblow

Tbn.

?5 5

5 .. 5

5 5

5 j5 5

p 5

s5 5 5 =5 +5
3

> >

tongue vibrato (u-i)

j5

5 5 E
5

5 b 55 5 5 5 55 5

5 5

F p

r w

b5

b5 b5

b> 5 d> b 5 5 5 5 5 p
3

b5 5

+5 +5 +=5 5 5 P p

Cb.

=D = DDDD D s DD H t

>

>

+ D> > >> D > DD

..

dH

+ > b >n > H H H H

n Hb Hb H . H H b H

-6-

11 Picc. 1

5 &

Picc. 2

Sp 66 66 6 66 66 5 5 5 5 5 p p
3

i K

J
o

I
o

K K F .

ij .. K
o

o
s5 5 +5. o F 666666 5 5 5 .

k
5 d5 s5 d5 5 P

+5 5 5

.. s5 5 n5 5 5
5

5 5 5 5 5 5
3

Ob.

5 5 5 5 p
3
2 2 3 2 2 3 2 3

5 s5 s5 5 5 p
o

C Tpt.

5 &5 p
o

5 5 5 5 5 55
3

> s> 5! 5! 5! > 5 5

5 5 5 5 s5

Hn.

&5j +
hit with metal stab

F F
3

>

> => 5 5
S

+
1 2 3

> > s s 55 5 5
j
-

I J

> > >

3

i > I
5 5

I
o

. 5 5
o

s5
o

5 b 5 .. 5

=5 5.
HV
5

P 5 +5 5

I
5

HV
3

s5 5 +5 bend

5j 5 5j

isj I> J

&
Perc.

crot.

_ 5! .
F

b5 5

> > > n>s 5 5

5j 5 5
3

.. .
3 3

s A b A A b A.
5

s 5 5 s 5j d 5j s 5 5 p
dA A

5 5 5 5 5 5 5
s5
5

A n A b

4 4 4
3

>s 5 5
S

! ! 5555

1 2

1 2

5 5

5 5

5j
3

5j

b 5 5
o

>

&

5 5 5
s 55 5 f
3

sP . 5

&

Pno.

5 5 b 5 5s s 55 5

3

E b Cl.

&
o

+5 5 5 5 5 P
3

find a multiphonic where the upper note remains stable and the lower portion or note can be trilled

~~~~~~~~~~~
p
3

Cl.

&

j5
o3
MP
3 III IV II

=5

12 Cis

5 j5 p

5 5

o
3

- - - - - - - - 5 5 5 5 5 5 5 5 5

veiled

3 3

+i
o

i p

o
b5 5 > Fp

Vln. I

I .. J &

q
3

5!

MP
5

III IV

Vln. II

5D 5 . 5 &+ 5 5 5 + F ric. F F
q q

D 55 D 555 s 5+ 5n E = E E F > > F

e

>

> >
q

>

R
ric.

b 5 5 5 p P
q

> >>
e q

Ebbbcdcbbb E

= E.

q
3

q
3

MT f + is if f f n 5f fi5 = si i i f 4n 5 4 4 p b5

t q

D D

>

bK 5
o

u b 55 ddK 5 K +K bK 5+ 5 5
3

bE K 5
I II

bE P

MP!!

K 5 bbK 5
bow vib

P P
T

Vla.

B E E n E . E b E E E d > P P > Sp ?
11
5

E
t

&

K 5

K 5

F
MP!!
3

Vc.

p 5 5 p .

p 5 5

p 5 5

+ D >D >b J J F D D p
B7 3

&

+ j 5 5

K 5 K P
3

i + i i nf = if if B i P
MP

> >

B2

DK
3

s> 5 5 s5 5
E
3

MP!!

K r5 K

K 5 K

K 5 K

Bsn.

?5 5

5 ss5 5
B5

s5 5 ~~~~~~~~~~~ 5

j 55 P
F5

F
3

s5 55 5 55 5 5 s 5 5 5 P P P
3

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ = K . ( =K) 5 5 F 5 5 = 5 > 5

Tbn.

5 ?5

s5

5 5 P

s5
IV

s5 5

ss5 5

F2

B2

ns5 5

5 5j 5 o 5 5
5

s5

5j F
ad lib.

s5 5

5,j5 s F
t

Cb.

-7-

MP

o s5

o o o 5 5 +5 s5
3

oo s 5
IV/V

p
3

3 5

13 Picc. 1

5
n2 3
4 G# -3 4

I
5

. l5.

5 5 5 5 5
3

5
o

+5 5 5 n5 5 5

Picc. 2

&
3

J
o

s5

Ob.

d5 s5 s5 S

. 5

p + 5 b 5

P
5

> > > 55I 5 5

P 5 5 5 5
3

s5

l5 5 F

P
5

K
o

K P

> 5
3

K P +5 5
o

p s5

. .
1 3 1 2

C Tpt.

&5 5 & &

> >

. 5 bbbbccdccbbbb 5 n 5 5 bbbbccdccbbbb 5 5 . + o+

i
2

1 2

Hn.

b5

5 5

n5 ss5 5 5 F

s 5 5 5j 5j 5j 5 p P A

j
-

HV

5 s=

s 5 s 5 5 s p 5 5 5 S

s 5

n s 5
o

d5 n 5 b5 5 +5 5 5 b 5 5 F

>

5j

Perc.

Y
F

>

higher pitch
3

I
55 n s 55 55

Pno.

&

K sK
s 55

q
s5 n 0.. . 0 0

sK sK
5

E b Cl.

&

5.

Cl.

&

j5
3 3

.
> 5 5

o
b5
3

> 5 j5

b5 5

> >>
J

5 b5 +5 5p

k o + 5 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n5 5 5 5 o P
5

d5

l d5
3

o
d 5 5
A H F Fis

5
5

5
5 F

5
5 p

5
5

s5
o

>

P .

12 H E

do

ss5 5 . .

5 p
3

5 5 5 F

Vln. I

&J & B

D D

i ni + f = if i f
T

f fi5 F
q e

sK 5 K 5
3

Vln. II

s DD .

f
hand gliss.

>D D

w
3

T sf s s 5f i P
5

>..
..

>
3

P
3

Vla.

i b5 5 5
f

5J 5

5 DD P

s5
5

# !

sb.

f s 5f s 5 P s 55
MP

Vc.

? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b5 s5 5 n5 s5 P
13
ad lib.

K 5

D D+ D s F > P

e r
3

K b 5 sK 5 p
3

I J &

F
o

>
I
5 5

Bsn.

? ? 5 ss5 5

j5
E

ddddddddd b 5 b> > > 5 5 5 5 5 5

5

s5 5

.
o

P s5 5 5 5.

()

5 5 5

> 5

+5

s5

>s 5DAA 5 5 .
smorz.

++DssD D D > P

D sD > p F 5 b j5 p

j D sD

P n 5j
3

j5

5 b5 5 5

b5

F
o

5 b5 5

5 5 5

5 5
3

Tbn.

5s 5 5 s5

s5

5 5

5 = 5j

b5 s5 5 5 s5 5 5 bn5 55 5 5 s5
E

> >
3

q.
Cb.

. .. . . H + H -

P p P

5 s5

>

> 5

5 b> 5

5 b5 p 5j d i

b H H

D D

H H H H s n H H . p -8-

>

. w ...~

>

) (w D b -H b DDbD nb n H D H D -

GC

15 Picc. 1

+5 & 5 5 5 5 p
7 3

s5

s5 5 5 p
3

5 p
o

5
3

smorz.

. 5 .
2

s5 r 5 5 5 5 5 5 5 5 5 5 5 5 + 5 5 5 o P

3 4 -2 B D#

I
o

P 5

I
p
3

5 5 5
o

. sK

Picc. 2

5 .. 5 5 5 .

s5 5 5 5 5 p

5 5

s5 5 5 5
3

5 5

Ob.

5 =
5

5
1 2 3

C Tpt.

&5 5 5 5 5 5 5 5 5 5

> >

Hn.

&

s5 o +
3

5j o

s5 5j s 5

5
o

s5 5 5 s

>

n5 s5 p o

3 3

falsetto
3

1 2 3

5 5j 5j 5j 5j 5j 5j = 5j 5
2

> > >

o

5 b5

5 s5 s5
crot.

s5 5 F
o

b n 5 .. b 5 5 p b5

5 5

ns5 5 F

l5

.
&

5 5
o

_
Perc.

v
u

chinese CYMBAL + superball

sY

5 ..
&

Pno.

&

I} J

55 ss5 5

E b Cl.

& s5 &s 5

+5
o

l
3

nk 5 5
H B F

diaphragm vib

.
5

5 5 5

b 5
3

5 66 6 66 6 6 66 6 66 6 66 6 .

Cl.

5 5

5 5 5 F

5 5

5 5 5

+5

J
12 F

> =5 5
Cis

5 p s5 5

o l 5 5 b5 +5 b5 bbbcdcbbb 5

>

> b5 5 5 5 b5 5 5 5 n5 s5 s5
3

d 5 5
3

o
666666

legno

Vln. I

& & B

&

s5 5 d5 5 5
3

crini

5 5

+ 55

s5 s5
MP

Vln. II

I J

p
5 hand gliss.

F
MP!!

n5

I
5
o

punta

D F
r

i K ss5 K
s5

>

K K K 5 bb5 5 K K K 5 b b5 5 p .

>

Vla.

s5 & s5
Vc.

s5
y

sl 5

y
3

dE sE E P

... s5 d5. 4 F 4 4 e q

>

5
q

5 5 5 5

s Es E E d E F p F
MP T
5

>

J E d E sE n E d H
F

&

f F
w

i i i f s i s if if F p F
3

?s K K s5 ?
3

MP!!

K sj5 f

D p p
E

e
3

sD p s5

5 s5 5 s5

5 d5 5 s5 5 5 n5 E
5

15 Bsn.

5 > > > > 5 5 5 5 >

E

5 d > s 5j 5 F
MP!!

.
ad lib.

5 j 5> 5
5

s 5 5 5 s 5 5 5 + 5 5 P
&
5

D b D D d D D D D > p >
3

5 5 5 5

b5 5

Tbn.

i ? ss5 5 ns5 5 5 5 P
3

d 5j

! ! n5 b5

+ 5 b 5 + 5 P
5

Sp i b D D
do

(t) D
3

si

sounds:

Cb.

yK 5

K 5 p
3

(t) D

D P

D
3

yK 5 p

K 5

-9-

DD F

D>.. D p
3

s DD DD ..
w

legno

= DD
5

n n2 3
4 -- G#

3 4 -- G#

17 Picc. 1

5 K
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3

s5
o

P
5

.
3

3 4

legatissimo

lK
o

K F s K K

l5 K 5 K 5 5 5 P K K K
3

5
o

Picc. 2

j sK
o

K P s5
2

Ob.

& &5 5 & &

3

5 5 F

5 5

5 5

5 5 5 5

5 5
3

p ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5.
3

+5 5

5 5 p

+5 5 5 5 p 5

3 34

5 5 5

5 5 5

5 5

~~~~~~~~~~~~~~~

5 r5 p
3

5
o

I .. J
o

j sK

C Tpt.

5j 5 p

5j 5

i D 5j

A P
n} A

HV
3

s5 S
5

smorz.

K f
3

s5 5 p 5 5
5 5

5 5

5
2 // 0 3

hand vib.

Hn.

sA sA A

HV

>

&

p s 5 .. 5 p

5j p

5j D 5j F 5 5 p 5 5 }

5 5 5 5j b 5j 5 .. p

>

s5 5 5 5 5 5 P

>

>

> 5

HV VT

5
5

b5

s5

Y
Perc. Pno.

_ .

5.I s 5.J.

s5 5 s} 5 5

I J

f p

u
s 5 +. o F o
fischio suolo

&

s 55 55 5

o o
p
3

5
o

&

s 5
5 s5

s5 n5

I J

s5 n5 5 b5 5

i
E b Cl.

i
o

& &

+5
o

overblow slightly

J i r 5

5
p 5 s5 5 P F n5 bbK K 5
t

5
3 5

Cl.

A E

A H E

variate colours according to the dynamics: if the dynamic gets louder, focus the sound on the upper part of the multiphonic; if the dynamic is softer, the lower part should be brought out

s5 5 5 5 . s p o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 p p f p
5

P
5

i i

. .
o

MP

T
5

e r
Vln. I

MP!!

& &

D ssD D D o F .
5 3

D D s5 5

.
o

nK bb5 K 5 4 4 4 K 5 K 5 P 5 5 K 5 K 5 P
B
3

punta

K 5
o
MP

K sK 5 5 P ++K 5

I
K 5

. K sK 5 5

f s if 5
II III IV I, 0 II III

s5 s5

5 5 5

MP!!

Vln. II

5 5
t

P
o

sK 5 K

MP!!

5> 5

5 ryK K P 55

Vla.

&

+ b DD

DD
y

bD D f
3

Vc.

?D
17

p .

f
w

P
5

K 5

sD D
3

+D D > p

bD +D D D

>

D D f

D D

+ H H + DD P

Bsn.

? ?

d d 5 .. 5 o oo 5 55
IV/V 5

5 5 > 5 >
E
3

s5 5
B2

bm 5 5

5 P

5 5

espressivo

5 5 p

5 b5 5 5 5 5 5
F5 B2

Tbn.

( )
IV

-5-

Cb.

crini MP!!

o o s5 +5

>

s5 sn5 5 5
B5

B7

ss5

5 .. 5 p

s5 5 5 5

5 5j 5j 5j 5j 5j o p P
MP!!

55

55 p

o +5

o oo 5 + 55

IV: 11 V : 14

F p

- 10 -

2 3 4 --

19 Picc. 1

j5 j 5 5 p s K & &

3 4

3 4 -2 3 4

5 5

55 p

55
3

55 55

3 4 --A 2 3

5 5 5 5 5 5 5
5

D#

5 5

s5 5 5 P
3

5 5

s5 5 5

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Picc. 2

sK K K p

>5. 5
f
3

p P ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s 5 .. s5 5 s 5 5 5 .

J
.

J
K 5

+5
o

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

.
&

always same fingering

5.

5 5

Ob.

.
F 1 2 3

p
E

I
5

5
E

b5

b5 p

. 5 5 s5

o o

>

s5 5 5 5 5
3

p
o

C Tpt.

J
5

i i i b i p
3 3

bp p 5 5 o P s5 5 5 bend p

p f 4 4 4 F
5

I
5 5

.
5

Hn.

? &

K
o

K K K K P

>

.
o

j 5 5 b5 o p

5 5 b5 bb5 5 5 5j 5 n 5 p F

>

5 5
3

(? )

o+

o +

& b5 5

d A F

>

bn5 5 5 5 5 5 5 5 F

> >

Perc.

& ?

u vu
A

> P

s[
o

[ A
o

extra pressure

p

on the beat

Pno.

j
"

sK .
"

K "

only inside the keyboard: scrape the string (E string, as indicated by the note between parenthesis) and then stop the string (with the same hand) at the given node (the 5th partial).

"
3

0 0

I
5
o o

E b Cl.

& &

12

bl 5
o

Cl.

5 +5 5 s5 5 5 5 P F p
H Cis

k 5

p 5 nad lib. 5 5 5
s5

poco

n5 s5
3

fast and legatissimo

j s5

f 5 5 5 5 5 5 5 5 b5 5 5 5 F 66 p f 124/91
3

l d5

s5

k b5

5
5

b
5

- 5 5

k
5

l
5 b5 +5
5

5 5 P

Vln. I

& & B sD D
3

I J

s5 5

. .
e t w
3

MP!!

K 5 K 5
3

bK s5 K 5

legno T

F
o

P
T

legno

!6

6666666666666
3

D5 5

>

Vln. II

D D

F
w

e r

p
3

=5 5 s5 +5 o
5

Vla.

D D
3

+D f

j dD

D D p

nbD D P

&
MP

55

n5 f
3

Vc.

?55 55 55 55 55 p p
19

u 55 F

55 5 j b> 5 5 5 f .
ad lib: IV:12 V: 16

55

J
smorz.

55 p

Bsn.

? s5 ?

5 f

+5

>
3

smd 5 n b 55 5 5 p f

bend with lips, the slide does note move F6 3

y5 + 5 y 5 + 5 5 5 n 5 5 p E E E F i > p
t

K K b5

. F

p 4 4 4 ~~~~~~~~~~~~~~~~ b5 5 5 S b5 P
B3 F2

Tbn.

5 s i d> i i
3

i 5

5j 5 5j s 5 5

5 n b> 5
F3 5

b5 5

>5

j 5improvisando
5 b5 5 b5

5 b5

F
legno

Cb.

J
f

oo nj55

=> >D 5 5 5

..
F

>

- 11 -

x 3 4 --2

21 Picc. 1

D5 5
E

l
p

k 5 5 D> r 5 s 5 5

B D#

5 5 5 5 5 5 5 5
3

n5
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

n5 5
o

5
3

s5
o

Picc. 2

& &
5

s K ~~~~~~~~~~~~~~~~~~~~5
5

smorz.

r5 5 p

5 5 5 .. 5 5 5 S P + b j5
o
6

5 5
~~~~~~~~~~~

5
3

d5
o
f 5

>
o

5 5 5 5

s5 5
3 3

Ob.

5
HV
5

5 5 5
3

s5 5

s5 5 F

5 p

D5

s5 +5 5

J
5

p .

s5 p 5 =5 f p s 5
o

HV

C Tpt.

1 3

Hn.

& b 5j
&

5j

5 s5 ns5 n5 5 5 s 5 F

>

5 s5 5 5 5 5
2 1 2

>

>
p
2

+ 5j P p S

+5 5 .

p 5 5 5

.
1

1 2 3

J
o

5 b5 5 5 p
3

cuivr

Perc.

&

f F

.
o

Pno.

& .. ?

s5K s5 f

ij I J

K 5 . .
muted - hard side

ij w I J

5 sA A

b5 n5 f
3

! 5
3

I . J
3

E b Cl.

& & .

s5
5 s5
MP!!

3 3

+5 b5
o

0 > f

i
5 ~~~~~~~~~~~
3

Cl.

r5
5 5

5
5

5
5
sn5 5
MP!!

5
5
s5 5

J
5

5
o3
c c c c o E c F c

5
K s5 K
o
s5

j5 5

s5 j5

r5 d5 5

Vln. I

& & B ?
21

K s5 K 5

J
P

K 5 K 5

bK K s5 5
MP!!

5 nK K 5 P K 5 K 5
o

I
P .
&

.
o

K 5 K P
3

K 5 K

sK 5 K

I .. J

Vln. II

MT legno

trmolo BETWEEN the strings involved, legato (bariolage)

Vla.

us y u

R>
f

yy us u.

>

2 J 5I 55 5 I ..

D D D D

MP

s 55

MP

Vc.

smorz.

K K
o

K K

P j 55 5 s 55 b5 5

K .. K

D D 5
5 b5 b5 5 5

Bsn.

F6

= 5 bbbbbbbccdccbbbb + 5 D 5 s 5

>> >>

>

~~~~~~~

Tbn.

p d d i i i i p i i n i i i d . d d i d o p

>

Cb.

L
5

j 66666666666666666666
3

- 12 -

23 Picc. 1

s 5 5

s5

5 5
3

5 5 5

s5 5 p

5 5

5 5

5
5

accent and overblow , then return to the note written

5 5

..

+ 5 5z

5
3

Picc. 2

D =
~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~
smorz.

p
accent and overblow, then return to the note written

I J

>

= 5z

>

P + 5 5z 5

>

Ob.

& & ? &

1 2 3

5
3

5 f
2

5 p

D5
S

5 5 n5

smorz.

keep same fingering

5
3

~~~~~~~~~~~~~~~~~~~~~

C Tpt.

s5
o

HV
3

HV

I
5

. b5 5 F

5.

+ 5 5

F smorz. +5 5 5 p F
3

5j

5 5j s 5j 5 b 5 d 5j i si n5 f

5j p
&

5 5 b 5j f p

b d 5j

b5 5

s5 5 P
3

o
F[1]
F1 B0

Hn.

Perc.

u[ AJ
o

D 5 5 5 f .

o
5j p

+ 5 5 f 5
5 5

I .. J
I J

Pno. 23

&

s5

55 s 5 5 5s 5 55 5 5 55 5 5

j j
55
?

..

. ? b0
o

ij f b5
!

..

5 s s 55 s n 55 5 5 5

&

P
ped.

>

>

E b Cl.

& 5 &5 5
y5 s 5

Cl.

5 5

r5 5 5 5 F 4 4 4

~~~~~~~~

smorz.

5 F r5 5 5 5 , gr5 5
12 c c Hc Bc c c c

.. 5 5 p g5

+5 5 5 g5 5
c c A c H c c F# c F c

I J

5 5 5 5 P P 5 5
3

5
12 c c c H c C# c c o

5 l5

5 5
55 s n 5

5 5
b5 5

b 55

I II

F
3

Vln. I

rry K 5 & K
o

MP!!

K 5 K rry K 5 K
o

K 5 K K 5 K

rryK 5 K
o

K 5 K

5 KK p

5 b b b KK

n b b 5K 5

I, 0 II, 1+4

b n 55

K 5 K 5 K 5 K 5 K 5 K 5

MP!!

b K .. K

KK K 5 F

MP!!

Vln. II

& B 5 ?5
23

K 5 K F

K 5 K

K 5 K

K 5 K
b 55
I II

K 5 K KK ..

suono mobile
1)

K K bb5 5
MP!!

P KK

p d d K .. 5
o

1) variate colour smoothly: variate the balance of the notes given, the speed and the amount of bow used in order to create a mobile sound. All transitions as smooth as possible, try to avoid any patterns -move slowly.

Vla.

MP!!

b KK
o

KK P

KK ..

KK ..

.
3

o
w

&

j 5
b 5
MP!! suono mobile
3

Vc.

J
5 d5
smorz.

5 bbbcdcbbb
E

5
3

Bsn.

DF5F
poco

L J
A
o
5

5 6 66666 66666 666666 66666 666666 66666 66666

DD DD
o

DD f

r g KK .

5 5 5

5 5 5 5 5 F

5 5 5 p

5 5 5 5 5 F

5 5 5 5 p

p 5 b5 . 5 5 p + } pp b
legno MT
3

KK

KK P d5
~~~~~~~

5 b 55 55

Tbn.

+ 5 s5 b5 b5 5 n5 5 5 5 b5 s P y d u n u d 55 p p

5j p
legno
3

o 5j
F y d5 d u 5 P

5+ j
o

Cb.

- 13 -

d u.
o

+5 5 p

bH

2 play as soft as possible: if not able to play pp/p, find a different multiphonic n3 (with a different lower note, the upper one must remain F) which makes it
possible to play at this dynamic.

25 Picc. 1

F 5z 5 & p
3

>z 5

5.

2 B D#

5 5z .

>

b 55

55

. s5
o
1 2 3

+5 5 5 5 5 P
3

I
o

55

55 5 55 5 55 5 5
6

Picc. 2

I
o

+5

.
2 n3 4 3 D#

5
ventil vibrato

s5.
3

Ob.

bcdccbbbbbbbb5 . .

>

b5 5 +5 . o P .

>

1 3 0 3 2 3

>D 5
f
3

s5

P dolce s5 > 5 > ~~~~~~~~~~~~~~~~~~~~~ smorz. 5 >5 5 5 5 5

s> 5 5 5 F

> 5 5
P~~~~~~~~ 5 b5
0

C Tpt.

&
B1 3

HV

5 > 5 5
o

>

3 3

~~~~~~~~~~~~~~~~~~~~~~~~~~~

DF

Hn.

& 5 5 &

ss5 5
with metal bar, scrape edge of tam-tam in perpendicular direction to the plane of the tam-tam

>-

5 = 5 5 > >F

>

5 pp p

5 s5 5s 5 F

s5. s 5.

s5 s5 s 5 5 5 5

+ o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3

[3]

5
5

5 5 5

Perc.

P
TAM-TAM

1 >
()

Pno.

& 5 &

b 5. 5

b5 5 5 b5 5

j
5 5

P
3

>

}
s5

A
3

b> 5

. }

n5

0 0 0 5 s5 f

E b Cl.

&

s5
o

5 p

+5

I
5
o

s5

> 5

5 > 5 5 F

> 5

5.

Cl.

&
5 s5

c c c H c C# c c taG#c

(+ 5 ) (l 5 )

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > 5 5 > 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 . F p F o p

apply extra bow-pressure if necessary

I, 0 II, 1 III, 4

Vln. I

&

KK

s KK F

KK

KK ..

5fi 5fi

=d 5f i f s n K ... 5 K
5

suono mobile

p K 5 K F
6

J
K 5 K p K K 5 5 K K P
legno

K s5 K f
crini

K 5 K .

Vln. II

ddK K K K 5 5 5 5 & F
3

d+K 5 p

.
o

MP!!

legno MT

legno

Vla.

B ?
25

nu
o
q

u= u
w

>u
6

u f E

d u un u u = u P

w w

Vc.

KK

KK .. p 5.
smorz.

Schwartz 27

5.
3

5 55

nE
o

E =E

E E f p

dE E nE p

E =E f p

E 5

j
3

Bsn.

?5

~~~~~~~~~~~~~~~~~~~~~~~
mouthpiece gliss.

n5 5
E E

b5 5 d 55 55

ta

/5 5 5 .. 5 s 5 .~~~~~~~~~~~~~5 5 5 p
4

f
7

5 b n j .. 5 f

b5 n 5j

Tbn.

2 5 > > > >> >>j = =

E b2 E E E E E

q
Cb.

tE

E. P

y y E nE

y +E

- 14 -

27 Picc. 1

+5 > 5 5 5 5

f 5

first overblow (high pitch ad lib.) with the given fingering, then focus on the multiphonic.

s5 5

>

. s)

overblow

ss5 5
3

+5

+5

Picc. 2

Ob.

p s5 ~~~~~~~~~~~~~~~~ 5 s5 5 5 5 &
3

5 s) s5 5 5 5 5

z >

>z j
J

+5
3

> 5

j 5z 5 5 5

>

2 n3 4 A2 B D#

p o F ~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ D 5 = 5 5 5

3 3

p f p F 5 5 5 F

>z 5 > 5I 5 5

f
o

5 5
3

m
"

. s5
o

f"

/ s5 5
P

smorz.

C Tpt.

&

HV
3

5j 5 5

j 5 .. p 5 5 5 p

>

5j 5j .. ..
5

= 5j 5j P

5 s5
o

5 5 5 b5

Hn.

&5 &

5 5 5 5 5 D 5j 5 5 5 >>>

>

> >

5 5 f

5 5 >

b5

>

[
&
Pno.

Perc.

>
p F

s5

!j
s5

1 >

A
o

>

F
sm

so
o
fischio suolo

J
5

d o. p
o

0
E b Cl.

> >>>> > P

i

5

J
5

> s5 A

& &
55

Cl.

.
s5

+5
o

. 5
s5 s5

s5

5
3

5 5. F

>5> 5 5
F p F
o

5
3

s5

+5

Vln. I

K b5 K 5 &
MP!!

> K 5
K 5
3

> K 5
K 5

K 5 K 5

> K 5
p

> K 5
p

s> K 5 P

5.

66 66 666 666 666 66 666 666 66 666 q

3

(pitch remains clear)

( MP!! ) j5 K p
punta

P F

b5 5

5o K 5 K 5

MP!!

Vln. II

& B ?
27

bbK K b5 5

> K 5
K 5 .
(1)

> K 5
K 5
MT

b5 5

5 f K K 55 p s s KK 5
(1)

D p K K 55

D F

K 5 " "

5 5

K K 55 p
3

K K 55
o
2~3

>
MP!!

p F

Vla.

i5 5 j 5 5

tall.

> p
II III

>. 5 KK ..
F
3

K 5 5

sK 5

Vc.

+H dHsH H

p f
"

>

n DD

Fp 5

H. y p

"
3

H y

Bsn.

? 5 ?

n. 5

b5 5. P

5 p

5 p

5 5

5 5 s5 5 ~~~~~~~~~5 ~~~~~~~~ 5 5 f

>
.

p + 5
B6

I
5
B4

.
o
B6-

Tbn.

> I p +5
f

o 5

+ +5 +5
3

5 5
E

o5+
p p

Cb.

q
3

V !! IV

s5 D

D 5 P

D 5

D 5

D 5
- 15 -

29 Picc. 1

5 5 5
o

m . & 5 5 5
5

> m

m j5
o
2 3 4 -2 3 4

> m

o
smorz.

>

coc

2 b 4 A D#

s5 5

suono mobile

5 5

5 5 5
5 5 5 P 5 5
o c c o c c
2 m3 4 2 A 3

5
3

Picc. 2

5 j5 5 5
coc

Ob.

D5

m 5

/ r5 5 5 5 5 5 5 f 5 +5 5 +5 5 5 5
h o o o o o Eb h c c o o o Eb

2 m3 4 2 3 D#

jj5 5 5 5 5 5 5
3

5. 5

2 m3 4 2 3

D#_

j5 5 5
3

>

5 5 P

3 4 D#

p 55

5 5

5
3

+ 55

55 p

C Tpt.

& &5 5 s5 5 f

h c cBn c Fo o

>

P f ~~~~~~~~~~ ~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 D 5 5 =

HV

use mute to help shape the dynamics 3

s5

>D

P ad lib. 5 / > + 5bbbbbbcd5 5 >> 5 > 5 5 5 5

D#

I
5
0

.
o

>

5bbbbbccdccbbbbb
1
[2]

Hn.

s 5 j

d 5j F A

+ 5j

s5

5j = 5j 5j F

>

5j .. p

s p 5 d 5 5 n 5 5 5 5 f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

P
3

HV
5

s
5

5 5 5

5j F

Perc.

sY
jn sn s5 f

sv Y

A
o

>

A
5

. A;;;;;;;;;;;;;;;;;;;;;;; . o o p

Pno.

rub center of tam-tam with a metal stab

& . ?

5 s s n 55

n s 55 5

5 5 55 5

&

5
5

t
o

o
3

I
smorz.

s5

E b Cl.

&

+5

b5

coc

/ > >D 5

s5

5 s5

> 5
F

> >>P> >>> > p >. > f

5
3

(t )

=s 55

n sn

5 5 b 5 5 s 55 s 5 s 5 s5 5

> 5

try to match the colour of the other clarinet as if you where a part of its multiphonic

Cl.

&

Vln. I

& & B

..

MP!!

K K s5 5 K K 5 5 K K 5 5

12 c c c B c c c F o

+5 5 K 5 K 5

> 5
5

P 5 5
5 s5

J
5 > 5 5 5
3

suono mobile

5 5

P > >
o
5

+5 5 5 5 5

>

P K 5 K 5 P

F 5 5 5 5 5 5 5 5 F p F s5

> 5 I

5 5 5 p

5 K 5 f
o

5 5

I J

bK n5 K 5

Vln. II

MP!!

++K K K 5 5 5
o

>

>

f sK 5 p
3

K 5 K 5

MP!!

> 5

nK 5
3

K 5

o c c B c c E c F c

K 5

P p
3

K K s5 5
o

K 5 K K K 5 5 K 5 K K 5 5 5

poco

> K 5

K D 5 D K 5

D D
3

.
q

d5
4

p F p " "
5

. sK K ss5 5

I I
D D

Vla.

s D D y

s 55

MP!!

DD I

Vc.

WWWWWWWWWWWWW bH ?s H + H o P
29

5 5 s5 5 5 p
3

5 p
3
tr.

~~~~~~~~~~~~~~~~~~~~~~ 5 5 5 5 5 5 5 5 5 5 5

q s DD ..

Bsn.

? 5 ?b 5

s 5j
3

J
+
o

do

=5 5 5
E

>

> =5 > 5 5

5 5 5

5bbbbbccdccbbbbb

3

5 5

5j

Schwartz, 4

f P

Tbn.

q w
MT

Cb.

pitch hardly recognizable

( s 55)

6666666666666666666666666

( 55)

DD

DD b DD DD
q

DD
3

>

bq. D 5.

n DD = DD
3

DD

- 16 -

fp

J
IV V

DD D 5

bD D p

D D F
3

m3 4 2 3

31 Picc. 1
2 m3 4 -G# 3 4

D#

j5. 5. F l5
o
3

2 m3 4 -G#

5 5 5 s5
o

I
5

. 5.

. +5 5 l5 F 5 5
o
5 5 5 5

3 4

l5

5 +5
3 4 -

/ 5

Picc. 2

& & s 5j p & &

> 5 > 5
5 j f 5 p > 5 5

+5 5
3

> 5
5

D
5
3

> 5

5 55

55 p

>

>

55

Ob.

> 5
f

> J

[2]

+5 5 l5 F 5

+5 5

>D 5/ 5
3

.. s5 5
3

+5 d5
3

coc

D#

+5 d5 F

> 5

I J

HV

~~~~~~~~~~~~~~~~~~~~~~

o
5 5 p

C Tpt.

E E E

5 5 5 F

>

s5 5

Hn.

5j ..

s 5j 5 Sp

5 >j n 5j = 5j F > >

&

Perc.

u \
&
Pno.

v
3

j > A

> I

}.

P
..

&

I J

E b Cl.

& &5 F K 5

. 5 g 55 5 g 55 F 5
3

d5
o

o / >D 5 > 5 5

i 0

p 55 5

I
5

. p
o

. b5 5
3
c c A c H c c F# c F c

improvisando

.
o
55

Cl.

D
3
o c H c B c c c F c

J
5
5

g 55
s 5
MP!!

g 55

> 5 5
F

coc coc coc 5

p
o

I
5

Vln. I

&

5
3

K F

yK
s5

> K
K 5 F

> K
s j5

> K
3

MP ric.

J
K K 5 K
bn5 5

K +j 5

R F

K 5

j + 5 5 K K
p

bK bb5 K 5

MP!!

s 55

Vln. II

&

5 s5
4

5 f

MP!!

K 5

K 5 p

K 5 K

K 5 K

> > K K 5 5 K K
P
3

p K 5 K 5 F

4~6

K 5 ss5 sK

i
&

Vla.

ssK K B5 5

suono mobile

K 5 K 5 F

K 5 K 5 p

K 5 K 5 p

K 5 K 5

ssK K s5 5

K 5 K 5
3

D DD

D D K .. 5

MP!!

J
o

> K 5
P DD

K 5
3

D
s5
&

P K5 5

Vc.

31 Bsn.

w s D D .. s DD DD DD D D ? y y y o P

>

t 3

D D
o

DD . F

r.

t 1+3

s K5 5 p

MP!!

K5 5

F .

? ?

5
o

b5 5

5 > P> >5

5 5

b5
o

Tbn.

&
MP!! ad lib. sul IV + V (NB: sounds an octave lower)

s5
MP

s 55

ss5

bow-position vibrato, slow

Cb.

V .

j n KK

KK

KK

KK f

KK p

KK F

KK

666666 s K . 666666 s 5. 5 s 55 5 p

5 KK 5 P

suono mobile

5. KK ... 5

MP!!

D 5 p

5 KK 5

5 KK 5

K 5 s 5K f

K s 55 K

DD

- 17 -

3 4 -

33 Picc. 1

D#

> 55
P
5

5 p 5 s> 5 5z

5 5 5 5> 5 5> 5 5>

3

5 5

.
3

+> 5 5
Sp l5

coc 5

k l d5 5
o

k
5 p
3

Picc. 2
c c h c c c Eb

& &

5
=5 5

Ob.

F s5 5j

d5. 5bbbcdcbbb

5
5
3

5 5 5 P
s5 5

coc

>

+5 5 l5 p 5
o

= 5 5 bbbbbbbbbbccdccbbbbbb Fp s5 5 5> => 5

3

I
5

coc

s5 * 5 5 5

n5 =5 S p

>

J
1 3

S
o

> 5 > 5 5

o
1 2 3

F
3
0

HV
5

C Tpt.

5 .

=5

5j 5 F s 5

j 5j 5

>>

5js 5

s S

5 5

Hn.

? &
3

s_
p
s5 F

33 Perc.

. P

>

>
F

+ s5.

>s

5 5

5 .. 5 F

d5 p

J
o

5 5 F

5 5 p

J
5

\ ()
&
Pno.

s 555/ b 5 .. .
b 55 .. 5

u \ pppP
..
secco

n b 55 5 5 b 55 b 5 n 55 n 5 5 5 5 5 s5

P .. p

I!J

E b Cl.

& &
whole hand gliss. = 1/4 tone higher

=5
o

> > >> > >

J I
c c c Ebc c c G#o

coc coc 5 5 5

P s5 5
o

Cl.

s5 5

P K K

l5 5 j5

b5
o

k
5 5 5 5 5
3

+5

l/

> 5 5
5
6

F 5 5 5 5 5 5 5 5 5

FF 5 5S
smorz.

5.

>

>

J 5 I

o c H c B c c c F c

.
o

5
normal fingering

J
5

Vln. I

dK d+d 5 5 & K

K 5 K 5 F
3

D D p

D D
bn5 5

yK K

MP!!

>K> K K
3

K K K K K

> K
K
r

change pitch thorugh bow pressure ( + pressure = higher pitch )

bow pressure -> pitch

K 5 K 5 F

f p f P

r r

o
5 j5

&

+5 +5

5 b5 5 b5 P

+5 +5 K 5 K

b5 5 b5 5 P +K

+5 +5

! d5 d5 5 d5 d5 5 f
w

normal press.

D K .. 5 .. K 5

D p

Vln. II

&

K 5 K 5 F

K 5 K 5

n 5 K K 5 DDK 5

D D D D D D D D p f p fP5
n K

D D
5 5

K 5 ... K K K

K K 5 5 K K F
5

j + 5K

> K5 K 5
K K 5 5 p

> K 5
K 5 F
3

Vla.

& ?
33

MP

> K 5
Fp
5

MP!!

K S
w

j K

nK K
w

K sK f DD p
3

K K p DD
c o
3

K K

g K. K.
w

D f
w

j n 55
p DD DD

MT

y 55

Vc.

.
o

DD DD > F

= DD DD p F s 5 5 5
B2

DD ..
c

DD DD

d DD p

y DD F

Bsn.

? 5 p ?

5 > b5 S b5
o

i j

.
F4

i 5
o

5 5 5 5 5 > > >bbbcdcbbb

vib.

> p

Tbn.

5 55 ..
MT

5
o

5 5 5 bbbcdcbbb s 55 i fi

5 5 p i fi 5 5
- 18 -

m m
"

Cb.

"
3

I
m m s si f i f

tD

DD

fi 5

55
3

1)

f =

5 5

I
5 5

.
o

1) in some instruments with a strong curvature it might prove impossible to play over 3 strings. If this cannot be compensated with a stronger bow-pressure, then do NOT play the UPPER voice (on the III string) and stay always on the two lower ones.

35 Picc. 1

5 & .. &5 ?

= 5 .. 5 F
3

k >. =5

5 5 .. 5 5 ..

>z 5 5

=5 5 p

= 5z

>

*. 5

=5 5
3

c o c F c c c C
Veale 120

Picc. 2

Ob.

D =

ij 5 . 5
dd5 5

~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

emb. gliss.

smorz.

=5 p

5 5 5 bbbbcddccbbbb d5 p
5 3

coc

coc

=5 s s5 s5 5 5

+5 5

C Tpt.

J
5 5 p

HV

[1]~~~~~~~~~~~~~~~~~~~~~~~~~~~

5. > > > > > 5 5 . o p

diaphragm accents

Hn.

+5
o

p 5 5 5 5j o

>

p 5 5 S

s 5j p + 5

5j .

n5 b5

j
&

Perc.

?
Pno.

f5
3

0
3

E b Cl.

& g & 55

+5

j
5

> >>> > > f

+> 5 fp
*

Cl.

> 55

suono mobile

55

55 f

55 ..

5 f

b5

j
c c A c H c c F# c F c

+5

+
5

same multiphonic as before, this time bring the upper note/notes more to the front

P b5.
3

b5 5 5 5 F =K K 5 5

g 55 F
3 o c H c B c c c F c

5 p

l k 5bbbbbbccdccbbbbbb5
f
3

n5 F

Vln. I

& &

MP!!

K n5 K 5

> K 5
K 5
MP!!

K ++K . 5 = 5 .. K 5 +K . 5 p
3

> K 5
f

K 5 K 5

Vln. II

K bb5 r KK F

K 5 K 5

K 5 K 5

K .. 5. K. 5
3

> K 5

I
f

K 5

.
o

K K 5 5 K 5

s K .. 5. K. 5

>
J

MP!! suono mobile

Vla.

y B KK
5

g KK KK p d5
try to blend with trumpet 1)

KK ..

K 5

& g5
Vc.

b 5 5

5 f
3

g5 K
n5
n K 5o

K 5 ..

MP!! suono mobile

?g KK ? ?

KK .. 5

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

KK d5

KK s5

5
coc 5 overblow slightly

35 Bsn.

d5 5

d5 D5 5 5

>n -5 n -5 d>5bbbbbbbcdccbbb 5 >5 5 s

3

>
3

s5

o
3

Tbn.

HV o d5 5

>

I .. J

+ p s
o

j p
f
- 19 -

+
o

+ 5
3

diaphragm accents, quasi smorz.

n 5z

>

D> 5 > D 55 5 5
coc coc

smorz.

n5

>oj 5jD s 5
p

p 5 5

5 5

b5 5 p

[1]~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3

5 5

F
3

Cb.

1) here the dynamic has the highest priority: if it proves impossible to play the given multiphonic inthe notated dynamic, a different timbral modification should be searched which can be performed together with the given dynamic. In each case try to match the sound of the trumpet in order to make a transition trumpet-bassoon possible.

DD
o

+ DD P

D D

"

37 Picc. 1

& &5 g5 &

3

[1]~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ss5 5 F
/
>> S

Picc. 2

Ob.

C Tpt.

j 5

5j
poco

Hn.

j bb5 p

j
} -

j = 5 ..

5 5

.
3

5 >= 5

>

5 5 F

5 5 p

b5

j 5

+ 5 5

Perc.

Pno.

E b Cl.

& 5 &5 5 5 5
5

5 5 5 5 b5
3

d5 5
o
12 o c c B c c c F c

5 5 5 5 5 5 5 5 5 5 5 5

.
o

k
s5
o

Cl.

5 5

> 5 5
f

suono mobile

> > > >

5 5 5 5 5 5 p F

5 5

Vln. I

& & B ?
37

Vln. II

Vla.

Vc.

Bsn.

? + 5 b5 5
B5

b5 5 b 5 .. 5
o

Tbn.

5 ?5

&

5
r
3

Cb.

- 20 -

from horn

DD
o

DD

DD f

= DD

39 Picc. 1

& & &5

smorz.

Picc. 2

bbbbccdccbbbb

666666 3

j5 5 r 5 p cantabile

5 5

5 5

5 5

5 5

in spite of the trombone having a much louder dynamic, the piccolo should still be in some way audible. Eventually use a different multiphonic (always with the upper note as E6) with a larger dynamic flexibility.

5. D5 + =5
o

~~~~~~~

Ob.

d5

n5 f

>

C Tpt.

5j
&

Hn.

j
o

HV

>

Perc.

1 >

5
o

Pno.

E b Cl.

& &

lk
3

5 +5 +5 5 S

>

l d 5 ..

k *

The voice is also TRANSPOSED

666666666666 3

l k

> F

Cl.

+5 5 p

>

+ 5j

5 s5 S

Vln. I

& & B ?
39

Vln. II

Vla.

Vc.

Bsn.

quasi improvisando
B2+

+5
o

Tbn.

J
5

+ 5j > > >>>>5j = p

B4

>

sj 5
3

B7

B4

5j

d5

B4+

d5 5
3

d5 5

> 5
Sf

d5 5

5 5

do

Cb.

t D. D.

8-i

D .. D

nnD D

- 21 -

41 Picc. 1

~~~~~~~~~~~~~~~~~~~~~~~~

b5 5

5 5

p
3

> 5

smorz.

5 5

5 5

5
3

5 5

55

55

I
5

.
o

Picc. 2

c c h c c c Eb

Ob.

&5 & = n 5j &

3

5 5 j s5

5 5 > > > g> > > > 5 5 5 5 5 5 5 5

6

5 P

f 5

> > * 5J 5 5 > 5

3

B 1 2 B 1

C Tpt.

5j

s 5j 5 F

5 5

n 5j b 5j

blend with Horn

5
*
HV

Hn.

s5 5

b5 +5 n5 5 5 F

>z

5j

j s5 p

5 5j p

s5 5 P
5

5 n5 n5 j

s5 f

5 s 5j .. j .. S

Perc.

Pno.

E b Cl.

& &5
3

coc ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3

suono mobile

5 5

Cl.

5 f

5 F

5 5 5 5 p

5
3
12 o c G# c c c E c F c

3 5 5

5 5

5 5

(5 )

5
etc.

5 (5) 5

5 (5) 5 5 5 5

5 (5) 5 P

5 5

(5 )

Vln. I

& & B ?

Vln. II

Vla.

Vc.

t ta s

,
41 Bsn.

coc ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

5
o

Tbn.

?5

+5
3

+ 5

b5 5

5.

b5 5 S

> >
,

&

5 rd5 5 5
3

5 5 5 P

5 5 5 5 5

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 5 5 >> > > > >5 5 >> 5 5 5 5

3

55 5 5 p

5 55 5

5 5 f + 5j
o
legno crini
B4

d 5j

s> 5

5 5 5
3

b n 5 .. 5

F3

F5

b5 b5

b5 b5

b5 5 p

I
5 5

>

5j
3

+ 5j

F sH dH

Cb.

it is evident that at the beginning of the gesture it is rather improbable that the indicated overtone can be made audible. This is intenden and, through the shifting of the bow to normal playing should a transition be produced from an unfocused type of sound to the given overtone.

..

>

H H . H

>

H . bbbbbbbbbbbcccddd f

- 22 -

43 Picc. 1

& &5
3

s5 5 5 5
dolce

.
o

Picc. 2

Ob.

C Tpt.

5 5 S
3

>
I

>
?

5 5

5 5

5 5

blend with Horn as if they were the sane instrument (Horn a bit more prominent)

b5.
o

Hn.

j &5 &

5 5 S

5
dolce

r5 s5

+
o

&

blend with Trumpet as if they were the sane instrument (Horn a bit more promunent)

b5.
o

Perc.

Pno.

n n n sn n n 5 55 5 5 5 ===

E b Cl.

& &5
3

ss5 5
o

5 5 > 5 5 5 5 > 5 5 5 5 >

Cl.

a shadow of the trumpet

5 5 >

5 5

Vln. I

& & B ?
43

Vln. II

III IV

Vla.

sD D

D D

Vc.

E E

Bsn.

5 5

b5

5 do

5 5

>

5 >

5 > p

5 >

Tbn.

?5

o 5

5 5
3

+ ss5 5
B3

s5 5

B7

HV

5 5

H n DD

>> >
p
5

5. p p >s . >

mute ad lib. HV

>

Cb.

t Hd H

DD Sp

+ b DD
3

DD

V IV

suono mobile

s5 D

D 5 P

s5 D
- 23 -

D 5

>

D 5

D D 5 5 5 P

>

>

>

>

5D

45 Picc. 1

+5

&
2 3 0

* 5 s5. 5

5 5

>
p

5 s5

5 * 5. 5

>
3

=5

3
2 b 4 A B 4

Picc. 2

coc ~~~~~~~~~~~~~~~~~~~~~~~~~

F f d5 * 5 5
3

> 5 +

smorz.

Ob.

.
3
1 3 [1] 3

5 5 I > 5 > d5 5
3

vib.

> 5
p 5

smorz.

C Tpt.

&b 5 5 &b 5 5 &

5 5
3

5 5 p 5 d 5j F

s5 5 s 5j

n5

b5 5

5 5

n5 5

5 b5 p cantabile g5 5
cantabile

> 5 >>

>s

> =5 5 s5 5 5 5 5 f S

>

d5

F p f * 5 * 5 * 5 5 5 F 5! P

5 5

[2] ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3

5 5
3

o
3

Hn.

5 5 p

>

5j

J
5

n5 5

Perc.

n5

J
5

J
5

5
3

1 >

A p

>

}
5
. .

& t
Pno.
3

s s 55 5

b5 " f

V. . V f

5" n 5" p f

5"

&

> 5

5 s5 5

> Sp > f

> >

E b Cl.

& &

55

Cl.

Vln. I

& &

&
3

+ 5 g n 55

MP!!

K 5 K 5

K 5 K 5
3

K 5 K 5

Vln. II

s5 g5 5

MP!!

Vla.

BD D ?
45

D D

D D

D D

r KK

KK

KK

r g KK .. p

Vc.

Bsn.

? d 5j F b 5j p

suono mobile
3

Tbn.

5 ?5

5j p
3

5 5

5 5

I
5 5

Cb.

- 24 -

47 Picc. 1

5 5

5
3

5 5 ) ) 5 5 )

j j
3

Picc. 2

& &

p 5

Ob.

s5 5

suono mobile

5 5

5 5

I
5

C Tpt.

HV
3

Hn.

&

5 s5 5 p

>

s5 5 f

s 5j

d 5j ..

n5 s5 5 5

5 5 5 5

Perc.

Pno.

&

E b Cl.

& &

as you move the bow towards tasto the pitch disappears

Cl.

js5 5

Vln. I

& & B ?
47

K 5 K 5 F
MP!!

K 5 K 5

sK 5 K

> K5 > K K K 5 5 K K
p K 5 K 5
3 3

move the bow very slowly

MP!!

K K 5 5 K
o

K 5 K 5

K 5 K 5

. sK 5 K

sK 5 K
o

K 5 K

K 5 K

move the bow very slowly

D. D.

K .. 5. K

J J

suono mobile

K 5 K 5

K 5 K 5

~ 4-6

Vln. II

dolcissimo

K 5 K

D D

Vla.

Vc.

Bsn.

? ?

5 5 b5 5 o

>

> 5

smorz.

5 5 5 5 ~~~~~~~~ 5 P

6666666

>

>

5 ~~~~~~~~ 5 5 5

j 5

coc

5
o

b5

5 5

Tbn.

Cb.

- 25 -

49 Picc. 1

&
with Horn, like one instrument

Picc. 2

Ob.

C Tpt.

& &

d 5 5 d 5 b 5

>

with Trumpet, like one instrument

5 5 p 5 5 p

=>>>>> >n 5j b 5j 5 5 > >> > > > 5

5j

b5 5 p
3

b5 5 5 5

5
3

+ b5
o

a shadow of the trombone

suono mobile

Hn.

5 5

j 5
5

s5 5 p

b5 5 p

5 5

5 5

Perc.

& .
5

u \

>
o

.
o

5" f p

Pno.

t 0
E b Cl.

> >>P > >

& &

Cl.

Vln. I

& & B ?
49

Vln. II

Vla.

Vc.

L
A
o

5 666666 6666666 666666 6666666 6666

>

Bsn.

Tbn.

o + o + o +5 5 5 5 5 5 b5 n5. 5

> > >

5 5

5 5
3

F p Fp F p

Cb.

- 26 -

51 Picc. 1

& &5 5 &

smorz.

s5
o

5.

Picc. 2

again, one instrument with horn

Ob.

C Tpt.

5j

5j

5j

again, one instrument with trumpet

b5.
o
5

b5 d5 5d 5 5 5 5 +5 5
3

b5 5 F s5 F

5 5 n5 5

n5 5

s5 5

s5 5

5 5

5 n5 5.

5
3

o o

Hn.

b5
o

s5 5

Perc.

ppppp

Pno.

&

E b Cl.

& &

c c c c C# c E c F c 3 3

Cl.

.
o

. Sp

Vln. I

& & B ?
51

Vln. II

Vla.

..

legno

Vc.

L
5

> A666666666666666666
3

w
3

DD
o

Bsn.

? + ?5 5

DD

Tbn.

Cb.

DD
o

s DD

.
o

eventually put sordino

- 27 -

53 Picc. 1

m m & & &

m
3

j 5 5. 5 5.
5

2 m3 4 A 3 4

3 3

Picc. 2

blend with Horn

Ob.

C Tpt.

55
o

belnd with Trumpet

b5 j p

5 s5 5

5 5

5 5

5 p +5 5 p

5 5 5 5

5j
3

b5 j

5j p
3

b 5j

j 5 b5

b5 5 5 b 5 ..

s 5

j s5

5 5 F
3

5 5j b5

j j

o o

Hn.

5 =5 o p

>

5 D5.

5 +5

> >

E 5 5 5 d 5 + 5 p

5 b 5 5j bb5 5 5 F

>

Perc.

pppp/pp

Pno.

&

E b Cl.

&

.
o
MUTA IN A-CLARINET

Cl.

5 5 > >s l> > > > > &> > 5 5 5 5 5 5 5 5 5

6

dolcissimo

I
5

Vln. I

& & B
almost no pitch perceptible

Vln. II

Vla.

Vc.

?
53

= DD

DD

Bsn.

coc

5 E E b 5 5 5 5 n5 5 5 o p

E j

+5 5 5 5

>

>

d5 p cant.
B4 B7 F6

B6

Tbn.

Blend with bassoon as if you were a part of it. The trombone should always be somewhat beneath bassoon, as an aura.

5 5

5 5

5 5

5 5

5 5

Cb.

- 28 -

55 Picc. 1

& & ?

from trombone

s5
o

Picc. 2

Ob.

C Tpt.

Hn.

5 s 5 ..

5 5

5 5

5 5 p

5 5

.
o

Perc.

Pno.

&

E b Cl.

& &

Cl.

Vln. I

& & B ?
55

Vln. II

MT
3

Vla.

MT

sK
p
5

K K > > >

3

Vc.

circular bisbigliando

ss5 5
o

5 5

5 5 .

>

5 5

5 5 5 5

>

>

D > > >

D D

D D

Bsn.

1 ?
?5 5

ohcho

smorz.

n 5 ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; 5 5 p
B7 B5

d5 S
3

+5

5. 5.
legno

+ 5j

+ b 5j
to horn

j 5j
p

5j

5j

Tbn.

5 5

5 5

5 5

ss5 5

Cb.

0 ~ 1

con sordino ad lib.

l b DD
o

suono mobile

DD DD DD DD
- 29 -

57 Picc. 1

& & ?

&

always below the horn, like an aura

Picc. 2

Ob.

C Tpt.

o
5

5 5
o

i i

Hn.

Perc.

Pno.

&

E b Cl.

& &

very soft flatterzunge

5
o
3

j j

5 5 5

5
apena audibile

Cl.

.
o

5.

l5 5

Vln. I

& & B ?
57

Vln. II

MP!!

L
j 5
A o

bow on the octave node on the IV string, to produce a very dark tone, a bit like a clarinet (do not confuse with scratching!)

apena audibile

Vla.

K.

>

>
q
suono mobile

i K
sD D D D

move the bow very slowly

4 ~ 8

Vc.

>

D.

>

D D

D D

D D

D D

D D

Bsn.

Tbn.

Cb.

tDD

DD DD

DD

- 30 -

59 Picc. 1

& &
5 3

s5 5 5 5 5. 5. 5 .. 5
3

s5 5 b5 5 5 5
vib.

Picc. 2

Ob.

C Tpt.

5 5 5

> >
5

5 5
3

5 5 5 5

5 5

5. 5 .. 5

5 5

5 5

5 5.

5 5

5 n5 g5 p

5 5

Hn.

&5

5 5 5

>

>

5 5

J
5

5 5

5 5 5 5

>

Perc.

Pno.

&

E b Cl.

& 5 &

j 5

Cl.

Vln. I

& & B ?
59

Vln. II

Vla.

Vc.

Bsn.

Tbn.

Cb.

- 31 -

61 Picc. 1

& &5 5 &b 5 P

5

hollow sound: use fingering of the 3rd octave

j 5
o

NB: some pitch always remains audible

j j

hollow sound: use fingering of the 3d octave

Picc. 2

j b5
o

NB: some pitch always remains audible

Ob.

C Tpt.

5 5
5

i i

5. 5.

o o

. .

5
o

i i
o

5
5

s5. 5. 5 >.

5 5 5

5 5
3

5 5

Hn.

5 5 .. 5 5

5 5

5 5

Perc.

Pno.

&

E b Cl.

&

very soft flatterzunge

o o

. .

5 5
c c H c B c c c c

5
3

5 5

j j

very soft flatterzunge

Cl.

&

5 5

Vln. I

& & B ?
61

Vln. II

Vla.

Vc.

Bsn.

Tbn.

Cb.

- 32 -

63 Picc. 1

& &5 5 & 5 .. 5 5 .. 5 s5 5 b5

suono mobile

5
o

5 5

suono mobile

Picc. 2

b5
o

Ob.

b5 n5 5 5 b5 5 p g5
5

C Tpt.

5. b 5 .. 5

5 5

5 5
3

b5

5 5.

5 5

5 5
5

5 5 .. 5 5

i i

o o

vib.

Hn.

J
5

5 5

5 5

5 5

>
p

b5

5 5 .. 5 5

Perc.

Pno.

&

E b Cl.

& &

Cl.

Vln. I

& & B ?
63

Vln. II

Vla.

Vc.

Bsn.

Tbn.

Cb.

- 33 -

65 Picc. 1

5 5 K 5 o

j j

&

Picc. 2

5 5 K 5 o

Ob.

& & ?

C Tpt.

5
o

senza espressione

s5 5

Hn.

5
o

senza espressione

5 5

Perc.

Pno.

&

wide trill: trill with a note which us audibly different from the main note

E b Cl.

& &

suono mobile

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
only air

K K

suono mobile

Cl.

A A K K. o P only air ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ K. K A A K o P K

wide trill: trill with a note which us audibly different from the main note

Vln. I

& & B ?
65

Vln. II

Vla.

Vc.

Bsn.

Tbn.

Cb.

- 34 -

67 Picc. 1

& &
3

3
1 2 3

s5 5

Picc. 2

Ob.

C Tpt.

5
3

5 5 5 5

5 5

5j n b 5 .. 5

s 5j

5j 5 5

5 5
3

s5 5 5

5 5 5

b5 b5 5

W
3

b5 b5 b5 5

n5 n5 5

5 5
W

Hn.

&5

5 5

J
5

J
5

5 5

5 5

5 5

Perc.

Pno.

&

E b Cl.

& &

Cl.

Vln. I

& & B ?
67

Vln. II

Vla.

legno

D D bD
q

(cello has ppppp)

Vc.

legno

ppppp

(vla has pppp)

Bsn.

Tbn.

Cb.

- 35 -

69 Picc. 1

& & 5 .. 5 & 5 .. 5

o

Picc. 2

Ob.

C Tpt.

Hn.

Perc.

Pno.

&

E b Cl.

& &

Cl.

Vln. I

&

crini

bD
o

i i
D D
o

Vln. II

& . B D. D D.

4~6
legno

crini

D D

D D D .. D D.

D D
p

crini

Vla.

D D

D D

D D
pochissimo

D D

D D
4~6

D D D

D D

D D

Vc.

?
69

legno

crini

D
pochissimo

Bsn.

? ?

Tbn.

Cb.

- 36 -

71 Picc. 1

& & &

U U U U U

Picc. 2

Ob.

C Tpt.

Hn.

Perc.

Pno.

&

E b Cl.

& &

Cl.

U U
p W

Vln. I

&D &D D B ?
71

legno

D
r

D
p
legno

j D
W

U U U U U U U
- 37 -

Vln. II

D D

D D

D D

j
o

Vla.

Vc.

Bsn.

Tbn.

Cb.