Jarkko Hartikainen: Astragal

Jarkko Hartikainen (1981)

Astragal 1.3

2007–08

Instrumentation 2 Flutes (both doubling piccolo) 2 Oboes 2 Clarinets (2nd doubling bass clarinet) 2 Bassoons (2nd doubling contrabassoon) 2 Horns 2 Trumpets in C 2 Trombones Tuba Percussion (2 players)

1. Vibraphone (+bow), snare (+brushes), 5 woodblocks, 2 bongos, Tam-Tam, 2 susp. cymbals, splash cymbal, Gran Cassa

2. Marimba, snare (+brushes), 4 toms, 1 susp. cymbal Harp Piano Strings 14–12–10–8–6, in the normal seating order, where the celli are on

stage left, on the right from the audience Work written under the auspices of 'Tactus – Young Composers’ Forum 2008 First performance (reduced “Viitasaari” version):

Jyväskylä Sinfonia, cond. Tapio Tuomela, Time of Music Festival, Viitasaari (Finland), July 5, 2008

First realisation of the complete version: Orchestre National de Lille, cond. Jonas Alber, ‘Tactus Forum 2008, Mons (Belgium), September 5, 2008

Duration: ca. 15’

Jarkko Hartikainen

NOTE:Special, reduced "Viitasaari" version exists.It is scored for 2222(senza cbsn)/2221/02/1 pf 6-5-4-3-2

Jarkko Hartikainen

Jarkko Hartikainen

Jarkko Hartikainen

Jarkko Hartikainen

The unique, spacey dreariness of Icelandic nature, the quick and local changes of the weather on this volcanic island and the visible gradations of erosion and geothermic phenomena on its soil felt surprisingly familiar when spending an unforgettable week at the time of writing the orchestra piece at hand. The panorama view from Reykjavík's Perlan – a seamless process from fields bathing in the sun to a thunderstorm on the sea – made me exclaim to the travelling companion and colleague of mine: "look, that's how my new piece is like!" Astragal (2007–08) is music of sonic surfaces. A surface heard at any given time is in the process of eroding and cleaving with the surrounding surfaces. I have long been thinking about writing a piece of constant transition: when one process has ended in one parameter, another one has already started in another parameter. In the DNA of this constantly mutating music there is also a curve (or a theme, if you will) that stays unchanging, manifestating itself in the parameters that are not taking part in the transitional processes (for example, spatial possibilities). The principle of constant gradual transition changes (quite gradually) into sharp blocks of music in the two-phase coda, where the previously introduced surfaces return, dim and brittle, then just as noises – like a concrete instrumental erosion. The larger form of the piece is thus like a space rocket leaving the strong surface of the earth (fortissimo of the beginning) and ending up in the ionosphere with almost no oxygen (pitches) left. In other words, ad astra – or til stjarnanna, like one would say in Icelandic. © 2008 Jarkko Hartikainen Islannin luonnon ainutlaatuinen, tilava jylhyys, tuon vulkaanisen saaren säätilan nopeat, paikalliset muutokset ja sen maaperän eroosion ja geotermisten ilmiöiden luomat näkyvät asteittaisuudet tuntuivat yllättävän tutuilta ja läheisiltä, kun vietin siellä ikimuistoisen viikon nyt kuultavan orkesteriteoksen sävellysprosessin keskellä. Reykjavíkin Perlanista avautunut panoraamanäkymä, jossa eteen levittäytyi saumaton prosessi auringossa kylpevistä pelloista ukkosmyrskyyn merellä – pilvien kiila paisteen ja veden akselilla – sai huudahtamaan mukana olleelle kollegalle: "Katso, juuri tuollainen on uusi orkesterikappaleeni!" Astragal (2007–08) on soivien pintojen musiikkia. Kullakin hetkellä kuultava pinta on jatkuvassa eroosio- ja liuskettumisprosessissa ympäröivien pintojen kanssa. Mielessäni on pitkään ollut idea kappaleesta, joka olisi jatkuvaa transitiota: kun yksi prosessi jossakin musiikin osatekijässä on tullut tiensä päähän, on toinen prosessi jo käynnistynyt toisaalla. Tällä tavalla jatkuvassa muutoksessa olevan musiikin dna:ssa on lisäksi tietty musiikkia ohjaava graafinen teema, joka toistuu läpi teoksen eri tavoin musiikin eri ominaisuuksissa, joihin myös tila tässä kappaleessa lukeutuu. Asteittain muuntuvuuden periaate vaihtuu (kieltämättä melko asteittain) teräviksi leikkauksiksi teoksen kaksivaiheisessa koodassa, jossa aiemmin esitellyt pinnat palaavat, himmennettyinä, haurastuen, erillään: eräänlainen konkreettinen instrumentaalinen eroosio. Koko teoksen jännevälistä käytinkin sävellystyön aikana mielikuvaa avaruusraketista, joka tekee suuren prosessin maan multaiselta ja juurevalta pinnalta aivan avaruuden kylmälle kynnykselle ionosfääriin, jossa happea (säveltasoja) ei juuri enää ole. Toisin sanoen: ad astra – tai til stjarnanna, kuten islanniksi sanottaisiin. © 2008 Jarkko Hartikainen

Flute 1

Fl. 2

Oboe 1

Oboe 2

Clarinet in B 1

Clarinet in B 2

Bassoon 1

Bassoon 2

Horn in F 1

Horn in F 2

Trumpet in C 1

Trumpet in C 2

Trombone 1

Trombone 2

Tuba

Perc. 1

Perc. 2

Harp

Piano

Vl 1

Vl II

Vla

Vc

Cb

maestoso, luminoso

maestoso, luminoso

PICCOLO

BASS CLARINET

TAM-TAM

MARIMBA

bow on the bridge ("wind", no pitch/squeaks!)



bow on the right side of the rim of the bridge("wind", no pitch/squeaks!)

bow on the right side of the rim of the bridge("wind", no pitch/squeaks!)

trem.

trem.

trem.

trem.

trem.

sempre

sempre5 3 3

sempre

3

3

3 6

6

6 6 6

5 5

6

6 5 5 5

5

6 6 5 5

5 5

6 5 5

Astragal (1.3) - version 091117 (transposing score)

© 2007–08 Jarkko Hartikainen

AstragalJarkko Hartikainen 2007–08

Full Score (transposing)

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

6

TAM-TAM

MARIMBA

6

5

3 3

5

3 3 3

3

blow air through the instrument

3 3 3

3 3 3

3 3


3 blow air through the instrument


muta in cymbals

3

3


muta in snare

ORD

ORD

3

ORD

" "

" "

3

3


EPadd bow pressure

EP

EP

bow on the right side of the rim of the bridge

trem.bow on the right side of the rim of the bridge

" "

" "

3


2 SUSP. CYMBALS place the cymbals between the bristles of the brushes

SNARE DRUM (brushes)

noise

add bow pressurenoise

noiseadd bow pressure

trem. trem.

trem.

2 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

" "

12

(brushes)

SNARE DRUM (brushes)

12bow on the bridge (wind-like, no squeaks!)

bow on the bridge (wind-like, no squeaks!)


trem.

3

" "

2 SUSP. CYMBALS

rit. al

rit. al

rit. al

pesante

pesante ord.

ord.

ord.

ord.

ord.

ORD.

ORD.

ORD.

ORD.

3

ORD.

5

3 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

20

20

2 SUSP. CYMBALS

SNARE DRUM

WOODBLOCKS

MARIMBA

muta in cl.

medium (or hard) mallets

4 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

25

WOODBLOCKS

25 con sord.

con sord.

con sord.

5con sord.

3

3

con delicatezza

con delicatezza

7 7 7 7

3 6 3 6

5 5 5 5

sul G

sul G

77

sul A

77

7

sul A

sul D(suoni reali)

sul E

7 7 7 7

3 6 3 6

5 5 5 5

77

77

77

77

5 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

29

297 7 7 7

3 6 3 6

5 5 5 5

77

7

77

7

3

3

3

7 7 7 7

3 6 3 6

5 5 5 5

77

77

77

77

5 5

77

7

77

6 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

32( )( )( )( )( )( )( )

( )( )( )( )( )( )( )

( )( )( )( )( )( )( )

3

( )( )( )( )( )( )( )

3

( )( )( )( )( )( )( ) ( )( )( )( )( )( )( )

( )( )( )( )( )( )( ) ( )( )( )( )( )( )( )

32

trem.

trem.

( )( )( )( )( )( )( ) ( )( )( )( )( )( )

( )( )( )( )( )( )( )

(suoni reali)

3

(suoni reali)

( )( )( )( )

( )( )( )( )( )( )( )

( )( )( )( )( )( )

( )( )( )( )( )( )

( )( )( )( )( )( )

( )( )( )( )( )( )

( )( )( )( )( )( )

5

3

( )( )( )( )

( )( )( )( )

( )( )( )( )

( )( )( )( )

3

( )( )( )( )

( )( )( )( )

( )( )( )( )

( )( )( )( )

3

3

( )( )( )

( )( )( )

( )( )( )

( )( )( )

( )( )( )

( )( )( )

Glissando Glissando Glissando Glissando Glissando Glissando Glissando Glissando

Glissando Glissando Glissando Glissando Glissando Glissando Glissando Glissando

7 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

36 ( )( )( )( )( )( )( )

( )( )( )

( )( )( )( )( )( )( )

( )( )( )( )( )( )( )

muta in bcl.

36 senza sord.

senza sord.

GRAN CASSA (soft beaters)

FR

senza sord.

senza sord.

IVsolo

3

Gliss. Glissando

Glissando Glissando

8 / 50


IMPORTANT: Bars 36–48 are spatial. In order to acquire this properly, soli of the strings have been distributed to instruments according to their location on stage. Only players sitting on the front row are used. Desks are numbered from the closest one to conductor to the furtherst (F in case of 5 of more than five desks of first violins) one on either side. Since there are two players per desk, letters L and R are used to indicate (their) left and right, respectively. Thus, the concertmaster is (on Vl 1 stave) 1R, and the ultimate first violin player is FR (far left to audience), and so forth. Note that this follows the seatingorder, where cellos - not second violins! - are on stage left (right to the audience). (Order is thus, from left to right: Vl 1, Vl 2, Vla, Vc, Cb.)

Perc. 1

Perc. 2

Hp.

Vl 1

Vl II

Vla

Vc

Cb

IV

41 GRAN CASSA

MARIMBA

41

4R IVsolo

2R

3Rsolo

1R

3 3solo

solo

1R

1L

5 6solo

solo

solo

sul tasto

sul tasto

1R

1L III

3

solo

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

1L

2L

47 VIBRAPHONE motor off

MARIMBA

47

solo

solo

3L

4L5 5

solo

solo

1L

2L

6 3solo

solo

2R

2L

solo

solo (suoni reali)

1R

FRsolo

3

solo

bowed

TUTTI, div. in 2

TUTTI, div. in 2

TUTTI, div. in 2

9 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

54

(bowed)VIBRAPHONE

MARIMBA

54

3

3

TUTTI, div. in 2

6

5

pizz.

pizz.

6 3

5 5 5 5

Gliss.

Gliss.

Gliss.

10 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

60

TAM-TAM

MARIMBA

3 3

5 5

60

3 5

3

6

5

3

3

3 5

5 6

3

3

3

3

Gliss.Gliss. Gliss.

11 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

64

6 5

5

3

3

5 WOODBLOCKS (on the lines)2 BONGOS (in the first and second space)TAM-TAM (below staff)

4 TOMS (in the spaces)SNARE (on the fourth line)

3

64

5

3 3 3

3 3

3 3

TAM-TAM

3

3 3

3 3

3 3

3WOODBLOCKS

4 TOMS SNARE

(in the spaces)

3

5

2 BONGOS

33

12 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

68

3

3

3

5 WOODBLOCKS (on the lines)2 BONGOS (in the first and second space)TAM-TAM (below staff)

3

4 TOMS (in the spaces)SNARE (on the fourth line)

68

3

5

3

3

3

3

3

3

3

3

muta in Marimba

13 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

72

3

3

3 33

5 WOODBLOCKS (on the lines)2 BONGOS (in the first and second space)

33

MARIMBA soft mallets

72

3 5

6 5

3

3

3 3

3 3

33

3

3

3

6

5

3

6 3

6

3

3

muta in Vibraphone

56

7

3 3

3 3

14 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

76

3 5

6 5

3

3

5

6 7

VIBRAPHONE

6

56

MARIMBA

76

5

5

55

6

6

5

3

6

3

muta in cl.

muta in cfg.

3 6

6

5

5

15 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

80

3

3 3

5

VIBRAPHONE

MARIMBA

3

3 3

80

3

3 5

3

3 5

3 3

3

3 3

5

6

( )

( )

35

arco

arco

3

3

3

3

5 6 6 5

5 5

trem.

( )

5 3

5

6

6

3 3

5

5 3

6 6 5 5

5 5

5

( )

3

3 3

16 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

84

3

3 5

5

6 6 5 5

5 5

MARIMBA

84 ( )

5

6

3 3

5

3 3

6 6 5 5

5 5

6

6

3

5 3

5 3

( )

6

3

6

3

3

6 6 5 5

5 5

5

6

3

3

( )

( )

( )

17 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

87

3 5

3

6 6 5 5

5 5

5

6

87

3

3

6

5 5

muta in picc.

6 6 5 5

5

6

5 5

18 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss.

91

6 6

MARIMBA

91

6

3

3

3 3

33

3

3

3

5

3

6

6 6 6 6

6 6 6 6

5

5

5

5

5 5

5 5

circular glissandi

GlissandoGlissando

Gliss.

19 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss.

Gliss.

Gliss.

Gliss.Glis

s.

Glis

s.

giocoso

giocoso

97

secco

secco

con sord. (harmon mute, without stem)secco

secco

VIBRAPHONE motor off

63

MARIMBA

3

97

3

3 3

con sord. (harmon mute, without stem)

3

3

3

3

3

3 5

3 3 3

33

3

5

5

3

6

5

5

Gliss.Gliss.

Gliss.Gliss.

Gliss.Gliss.Gliss.

Gliss. Gliss.Gliss.

Gliss.

Gliss.

20 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss. Gliss.

102

3

3

VIBRAPHONE

3

3

102

muta in fg.!

3

3 3

3 3

3

3

3

3 3

staccato = secco poss., près de la table

3 3

3 3 3

3 3 3

con sord.

con sord.

con sord.

con sord.

muta in flute

FLAUTO

3

3

3

3

inquieto

con sord.

con sord.

con sord.

5 5

5

5

3 3

3 3

BASSOON

3

3

Gliss.Gliss.

Gliss.Gliss.

Gliss.Gliss.

Gliss.Gliss.

Gliss.

Gliss.

Gliss.Gliss.

Gliss.Gliss.

Gliss.

Gliss.

21 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

107 5 55

5

3

3

VIBRAPHONE

107

5 5

5 5

3 3

3 3

3 3 3

3

3

3

senza sord.

senza sord.

5 5

55

3

3 3 3 3

5 5

5

5

muta in bcl.

3

3

3

senza sord.

senza sord.

senza sord.

senza sord.

5

5 5 5

5 5

3 3

22 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

112

5 5 5

3 3 3

112

5 5 5 5

3 3 3 3

55

3

3 3

3 3

3 3 3 3

3 3 3

3 3

5

3

3

5

3 3 3

3 3 3 3

3

3 3

3

3

5

3

3 3 3

5 5 5 5

3

3 3 3 3

5 5

5 5

5

3 3 3 3

5 5 5 5

3 3

5

23 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss.Gliss.

Gliss.

Gliss.

117

5 5 5

3 3

5 5 5 5

senza sord.

senza sord.

117

3 3 3 3

5 5 5 5

3 3

3 3 3 3

5 5 5 5

3

5 5 5

3 3

3

5

5

5

3 3

3

5 5

5

3 3

3

3

3 3

5 5 5

3 3 3

6

6

6

3

3muta in cl.

5 6

3

5 6

55

6

35

6

56

3

56

6

3

6

3

pizz. sempre

3

pizz. sempre

pizz. sempre

3 3pizz. sempre

3

3 3

come una macchina

come una macchina

5(pizz. sempre)

3 3(pizz. sempre)

(pizz. sempre)

3 3(pizz. sempre)

5

3 3

3 3

24 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

123

WOODBLOCKS

3 3

4 TOMS

5

3 3

(match the harp's)

quasi pizzicato

123

3 3

3 3 3 3

3 3

3 3

3 3

3

3

3 3

3 3 3

25 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

127

WOODBLOCKS

4 TOMS

127

3 3

3

arco

arco

arco

arco

57

5

6

extended bow pressure (noise)

poss.


poss.


poss.


poss.

3

3

3

detaché

detaché

detaché

detaché

detaché

Gliss. Gliss.

Gliss. Gliss. Gliss.

26 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

detaché

detaché

detaché

detaché

detaché

131

131

27 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

135

poco

poco

poco

135

135

poco

poco

poco

poco

poco

poco

poco

poco

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3

3 3

3 3

3 3

3 3

3 3

3 3

3 3

3

3

33

3

3

3 3

3 3

3

3

3

3

3

3

3

3

33

28 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

140

3

3

140 35

3 5

3 5

3 5

3

5

3

5

più mosso

più mosso

GRAN CASSA

SUSP CYMBAL

added bow pressure (noise)

added bow pressure (noise)

simile

simile

5

scrape on the rim

simile, behind the bridge (on the clothing of the strings)

simile, behind the bridge (on the clothing of the strings)

pizz.

4 TOMS

29 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

144

GRAN CASSA

4 TOMS

144

3

3

5

possible

5

5

5

Gliss. Gliss.

Gliss.

Gliss. Gliss. Gliss. Gliss.

Gliss. Gliss. Gliss. Gliss.Gliss.

Gliss. Gliss.

Gliss. Gliss. Gliss. Gliss.Gliss.

Gliss. Gliss.

Gliss. Gliss.

30 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

1496

5

3 6 5

5

7

6 5

6

5

7 3

6

possible

GRAN CASSA

4 TOMS

3

6

3

3

3

3

3

3

3

3

3

3

arco

6

3

5

6 3

5 3

3

5 5

5 5

3

3 7

6 7

Gliss.Gliss.

Gliss.Gliss. Gliss. Gliss. G

liss.

Gliss. Gliss.

Gliss.Gliss.

Gliss.Gliss. Gliss. Gliss. Gliss.

Gliss. Gliss.

Gliss. Gliss.

Gliss. Gliss. Gliss.

Gliss.

31 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

153

3 6 7 3

5 6

3 7

6 7 3

3 7

3 3 7 6

GRAN CASSA

4 TOMS

153

3 3

3 3

turn the mouthpiece overto form an ANGLE

4:3

5

con sord.

subito


" "

" "

blow air through the instrumentturn the mouthpiece overto form an ANGLE



PICCOLO

3 3

5 5

5 5

" "


3

3

3

3

3

3

3 5

3

3


3

3SNARE DRUM

3

3

3

3

3

3

3

3

3

3

3

" "

" "

" "

" "

5


3



scrape with brush

3 5soft mallets

MARIMBA

3

Gliss. Gliss. Gliss. Gliss. Gliss.

Gliss.

Gliss.

Gliss. Gliss. Gliss. Gliss. Gliss.

32 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

" "

" "


158

5

3 5

6


3


SNARE DRUM

MARIMBA

158

" "

" "

" "

" "

" "

3 5






" "

rit. al

rit. al

3


" "

" "

" "

muta in fg.




" "

" "




33 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

con sord.

con sord.

con sord.

164


MARIMBA

164

con sord.

con sord.



con sord.

come una macchina

come una macchina

3 3(quasi pizz.)

5

3 3

pizz. sempre

34 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

170

2 SUSP. CYMBALS

SNARE DRUM

3 3

170

5

3 3

" "

" "

" "

" "

" "




3blow air through the instrument




place the cymbals between the bristles of the brushes

with brushes

trem. trem.(wind-like, no squeaks!)

trem. trem.

trem. (wind-like, no squeaks!)

" "

" "

" "

" "

" "

" "

" "

FLUTE






trem.

inquieto

inquieto

5 5

5

5

5 55

35 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss.

FR

1R

175

175

solo

3

solo

solo

bowedVIBRAPHONE

TUTTI, div. in 2

TUTTI, div. in 2

TUTTI, div. in 2

(bowed)

giocoso

giocoso

secco

secco

3 3

(match with flutes)

BASSOON

3

5 3 6

3

3 3(match with flutes)

3 3circulat glissandi

3

solo

solo

col legno batt.

col legno batt.

flautato2 solidiv. Gliss.

Gliss.

36 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss.

Gliss.

1813

6 6 6

3

3

181

solo

solo

solo

con delicatezza

con delicatezza

7 7 7 7

con sord.

3 6 3 6

con sord.

5 5 5 5

con sord.

con sord.

sul G

sul G

77

sul A

77

7

sul A

sul D

TUTTI

sul E

senza sord.

senza sord.

senza sord.

senza sord.

7 7 7

3 6 3

5 5 5

77

77

7

3

3

3

3

trem.

5

6

6

Gliss.

Gliss.

Gliss.Gliss.

Gliss.Gliss.

37 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

185

3 3

5

5 3

2 SUSP. CYMBALS

185

3 3

3

3

3

3 3

5

gli altri

3

6

3

3

60

60

( )( )( )( )( )( )( ) ( )( )( )( )( )( )( )

( )( )( )( )( )( )( ) ( )( )( )( )( )( )( )

3

3

on the bell

3

3 3

first desk, soli

( ) ( )

trem.

trem.

( )( )( )( )( )( )( )

( )

( )( )( )( )( )( )

( )( )( )( )( )( )

3

3

3

( )( )

( )( )( )( )

( )

Glissando Glissando Glissando

Glissando Glissando Glissando

38 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

189

2 SUSP. CYMBALS

SNARE DRUM

189

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

muta in bcl.

3

3

3

3

3

3

3

3

" "

" "

" "

" "

" "








2 SUSP. CYMBALS place the cymbals between the bristles of the brushes

SNARE DRUM brushes

trem. trem.

trem. trem.

trem." "

" "

" "

" "

" "

" "

" "

" "







trem.

3

39 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

inquieto

inquieto

198

5 5 5

3 3 3

198

5 5 5 5

3 3 3 3

55

3

3 3

3 3

5 5 5

3 3 3

5 5 5 5

3 3 3 3

55

3

3 3

3 3

5 5 5

3 3 3

40 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

203

PICCOLO

5 5 5 5

3 3 3 3

55

3

203

3 3

3 3

muta in cfg.!

con sord.

con sord.

solo

solo

CONTRABASSOON

1 non div.

2,3 divisi

41 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

" "

" "

" "

" "

" "

" "

209

remove mouthpiece








2 SUSP. CYMBALSplace the cymbals between the bristles of the brushes

SNARE DRUM brushes

209

trem. trem.

trem. trem.

trem.

trem." "

" "

" "

" "

" "

" "

" "

" "







trem.

trem.

3

come una macchina

" "

" "

" "

" "

come una macchina

blow through the instrument, finger the pitches

blow through the instrument, finger the pitches

blow through the instrument, finger the pitches (without mouthpiece)

blow through the instrument, finger the pitches (without mouthpiece)

5strike the mouthpiece with flat of the hand

3 3strike the mouthpiece with flat of the hand

3 3strike the mouthpiece with flat of the hand

col legno battuto (pitches approx.)




5

3 3

3 3

" "

" "

" "

" "

" "

" "









(brushes)

trem. trem.

trem. trem.

trem.

trem.

42 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb " "

" "

" "

" "

" "

" "

215

additionalkeys to be hit:

215bow on the bridge (wind-like, no squeaks!)





trem.

trem.

inquieto

inquieto

5 5key clicks

5 5key clicks

5 5key clicks

+A +E +E

5 5

+E +E +Dadditionalkeys to be hit:

5 5key clickss, as loud as possible



5 5

key clickss, as loud as possible





r.h. dampen at the middle

l.h. play à la table

5 5 5

5 5 5

+D

5 5 5

5 5 5

soloairy sound, almost no pitch

3

soloairy sound, almost no pitch

dead strokeWOODBLOCKS

dead strokeMARIMBA

flautato (minimal pitch, maximal bowing sound)





flaut.

blow air through the instrument (mouthpiece off)


EP

EP

EP

EP

EP

EP

43 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

220

noise

blow air through the instrument (mouthpiece off)

220SP

SP

SP

SP

SP

SP

noise tone

tone

ORD

ORD

ORD

ORD

ORD

ORD

giocoso

giocoso

33

key clicks

poss.

3 3key clicks

poss.

slap tongue (without reed)



poss.


poss.





[u]


relative brightness (with mute):

con sord.

[u]


relative brightness (with mute):

con sord.

col legno batt. (mute the strings: only random pitches caused by bow)








5 3 6

5 3 6

5 3 6

5 3 6



[e]

[e]

3

3

3

3

6 6 6

6 6 6

6 6 6

6 6 6

[e] [u]

simile

[e] [u]

simile

3

3

3

3

44 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

con delicatezza

con delicatezza

225 Whistle tones(libero assai)

Whistle tones(libero assai)

7

7

7

7blow air through the instrument (without mouthpiece)

3 6 3 6blow air through the instrument (without mouthpiece)

5 5 5 5blow air through the instrument (without mouthpiece)

blow air through the instrument (without mouthpiece)

[e]


= relative brightness (with mute)

con sord.

[u]


= relative brightness (with mute)

225

7

7

7

3 6 3

5 5 5

[u]

[e]

6

air tones "à la Sciarrino" (cover embouchure hole, sounding a major 7th lower)

(match oboes')

air tones "à la Sciarrino" (cover embouchure hole, sounding a major 7th lower)

(match oboes')

5

air tones (pitches denote fingerings only)

poss.

6air tones (inhaling, pitches denote fingerings only)

poss.

muta in cl.

3ST (sul D & A), overpressed

ST (sul D & A), overpressed

press bow on the wood of the back of the instrument, hair between the instrument and stick of the bow: roll (crackling sound, resembling wood breaking)

poss.press bow on the wood of the back of the instrument, hair between the instrument and stick of the bow: roll (crackling sound, resembling wood breaking)



poss.press bow on the wood of the side of the instrument, hair between the instrument and stick of the bow: roll (crackling sound, resembling wood breaking)

poss.press bow on the wood of the side of the instrument, hair between the instrument and stick of the bow: roll (grinding sound, resembling wood cracking)

poss.press bow on the wood of the side of the instrument, hair between the instrument and stick of the bow: roll (crackling sound, resembling wood breaking)

poss.

45 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Cl. 2 (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

228simile

33simile

3 3

SPLASH CYMBAL

SNARE

228

3 3

3

3

3

6

3

60

60

3

Jet Whistle Jet Whistle

3

Jet Whistle

teeth on reed

[s]

air through

[s]

air through

3

SPLASH CYMBAL

3

with brushes

Jet Whistle

Jet Whistle

3

3

air tones

muta in bcl.

air tones

air tones



blow air through the instrument, finger the pitches






46 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

233

3

3

3

3

3

3

3

3

3

2 SUSP. CYMBALS

SNARE DRUM

233 3ST (sul D & A), overpressed




3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

" "" "

" "

60









wiith brushes

trem. trem.

trem.

" "

" "

" "

" "

" "

" "






trem.

47 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

240

3

240



5 3 5strike the mouthpiece with flat of the hand

3 5 3strike the mouthpiece with flat of the hand

TAM TAMtrem.

5 5 5 5blow air through the instrument



3 3 3 3



3 5 3

5 3 5

5 5 5 5



3 3 3 3



5 3 5

3 5 3

48 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

246

5 5 5 5



3 3 3 3



246

" "

" "

" "

" "

" "

" "

as much air in the sound as possible

(match the others)as much air in the sound as possible

(match the others)

air sounds (inhaling)

air sounds (inhaling)

air sounds

















poss.

bow on the side of the bridge (wind-like, no squeaks!)

poss.


poss.


Slap Tongue(no pitch)




strike the mouthpiece with flat of the hand










Bartók-pizz.(no pitch)





49 / 50


Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1 (B )

Bcl. (B )

Bsn. 1

Bsn. 2

Hn. 1 (F)

Hn. 2 (F)

Tpt. 1 (C)

Tpt. 2 (C)

Tbn. 1

Tbn. 2

Tuba

Perc. 1

Perc. 2

Hp.

Pno.

Vl 1

Vl II

Vla

Vc

Cb

Gliss.

Gliss.

251





2 SUSP. CYMBALS

SNARE DRUM

251

" "

" "

" "

" "

" "





blow air through the instrumentcon sord:

blow air through the instrumentcon sord:



with brushes

trem. trem.

trem. trem.

" "

" "

" "

" "

" "

" "

blow air through the instrument(without mouthpiece)


blow air throughthe instrument









blow air throughthe instrument

[o]position of the mouth:

(support the "glissando" by using valves: shortening the tube)

sul A

col legno tratto ST

sul A

col legno tratto ST

STsul G

col legno tratto

3 3blow air through the instrument

3 3blow air through the instrument



[o]

(support the "glissando" by using valves: shortening the tube)

[y]blow air through the instrument, finger the pitches


près de la table(as "noisy" as possible)

on the strings

sul pont., flautato (minimize pitch-content!)

sul A D


sul A D


sul G C non divisi


sul G C

non divisi

EP

3

[y]


sul E


sul E

EP

EP

Helsinki 15.5.2008

Gliss.

Gliss.

Gliss.

Gliss.Gliss.

Gliss.

Gliss.

Gliss.

Gliss.

Gliss.Gliss.

Gliss.

Gliss.

50 / 50


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Jarkko Hartikainen: Astragal

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