66
Malte Giesen $88 or the poetry of capitalism for ensemble, solo piano, solo viola and solo soprano 2015 © 2015 by Malte Giesen
Malte Giesen
$88or the poetry of capitalism
for ensemble, solo piano, solo viola and solo soprano
2015
© 2015 by Malte Giesen
Instrumentation:
Solo-SopranoSolo-PianoSolo-Viola
Flute, doubling PiccoloOboeBass-ClarinetBassoonHornTrumpetTrombonePercussionElectronicsPiano/E-Piano2 ViolinsViolaVioloncelloDoublebass (5-string)
Staging
LS1 LS2
Perc.
Vln1
Vln2Vla
Vc
Fl Ob Cl
Bsn
HrnTpt
Tbn
Pno/Key
Solo-Pno without topCond.
Sopr.Vla
Kb
General
Explanations
Solo-Soprano
Solo-Viola
1. Accidentals apply only to the notes they precede2. Dynamic indications: In some cases, the written dymamic does not indicate the physical result, but the relative energy being used for certain actions.
Microtones: 1/4-tone down, 1/4-tone up, 3/4-tone up, arrow: slightly detuned; about 1/8-tone(3/4-tone down has not been used for simplification)
text
In this piece, the singer uses a 0,4l soft plastic cup and a highlighter-pen as a resonator and distorsion effect:
This applies only to the note it precedes.
by holding the cup very close to the mouth and letting the pen vibrate on the cup, distorsion effects and, depending on thesung pitch, multiphonics can be produced (CD: track 01)
The passages where these sounds are used, are notated as following:
The viola has to be prepared with two pieces of plastic-wire. The are each placed on two strings (I+II, III+IV)
The second clip in the picture is opened to showhow it is attached.
Solo-Piano
m.s.p. = molto sul ponticello, almost directly at the bridge
There are two positions on the strings where the clips are placed, indicated as following:
2b
2a
1b
1a
the same positions apply to the clip on string III+IV.
position "b" is as close as possible to the bridge, so that the influence of the clip on the sounding resultis strongly reduced.
clip 1 is the clip on string I+II, position "a" is exactly between bridge and beginning of fingerboard.
triangular noteheads: play between clip and bridge
normal noteheads: play between clip and fingerboard, "ordinario"
three different degrees of bowpressure, from slightly (still with pitch) to very strong (noise and undertones)
the sound has to begin and end (stop bow on string) as mechanically as possibleand has to be as stable as possible
glissando to as high as possible
sometimes, additional notational systems are used to indicate other changes in soundqualities.In most cases they indicate the resultant sound (ringmodulation-quality, undertone-range)in other cases fingering notation with unstable sound results. Precise indicationscan be found throughout the score.
behind the bridge on indicated string
for the piano part, a 0,4l plastic cup an an e-bow is needed. there are different actions performed with the plastic cup:
1. 2. 3.
put the plastic cup either with the one side or the other side (bottom or rim, see arrow) on the indicated string and play on the keyboard at the same time.1. almost no pressure on the string, pitch is clearly audible, but shortened and distorted2. strong pressure on the string, very percussive and sharp sound, almost no pitch3. place the rim of the cup on the string
1.
2. 3. 1. hit the string with the edge of the plastic cup, while sliding it shortly on the strings2. slide on the covering of the string in the indicated duration3. tremolo by sliding the plastic cup on the deep strings
f
glissando on the indicated strings with the edge of the cup. if the pedal is not depressed, almostno pitch is heard. the end point of the gliss may differ, depending on the used piano model
dampen the strings, avoid harmonics
2
Ensemble
General
Accidentals apply to each bar, if indication is no different.
Time signatures:
= normal 4/4
= Number of beats in different lenghts within one bar (incl. tempo indication)
Quartertones:
= a quartertone lower; a quartertone higher; a threequartertone higher
Flute, doubling Piccolo
indications throughout the score
Oboe
= perforated, very high teeth-note. A relatively dry and unused reed is recommended.
= perforated, very high teeth-note with rising sound density, quasi-crescendo
= Air with saliva in the reed with indicated fingering, similar to the sound of sucking on a straw in an empty glass.
All multiphonics can be found in the book „the playing-technique of the oboe“ by Peter Veale and Claus-Steffen Mahnkopf.
Bass-Clarinet
= different degrees of overblown fundamental, the thicker, the richer in harmonics
= slap = teeth-note
= diamond-shaped note ist sung, possibly in an another octave
Fingerings of Multiphonics can be found throughout the score.
Bassoon
All multiphonics can be found within the text „A FEW EASY MULTIPHONICS FOR BASSOON“ by John Steinmetz.
Brass in general:
= very high, „dirty“ embouchure, possibly with blowing cheeks
Horn
A standard mute is required. Further indications throughout the score
Trumpet
A wawa/harmon-mute is required.
Trombone
A wawa/harmon-mute is required.
Percussion
Standard percussion instruments:
– kickdrum– small hihat– crash-cymbal (small or medium)– china-cymbal (medium)– two woodblocks (high and low)– medium gong (unspecific pitch)– hard mallets, felt mallets, drumsticks, bow
adhoc-percussion and electronics:
– two speakers which are to be placed on the left and on the right behind the ensemble.– three small cardboard boxes or Tupperware containers, at each of which a contact microphone will be placed. The signal from the
microphones is processed in a Maxpatch and routed on the two speakers. They are referred to as "box1", "Box 2", and "bassdrumbox".
– A piece of corrugated cardboard, played with a credit card, is used as a "guiro".– A MIDI controller to trigger a total of 17 different samples (via Maxpatch), eg Korg NanoPad.– A square metal box (without cover), about 20x20cm, filled with about 20 small metal clipsl. The box is played with the bow and
produces rich spectra, in which the clips ad a „snare“-effect.– A piece of smooth, damp floor tile and two pieces of Styrofoam (ca. 10x10x2cm), which are rubbed either to each other (white
noise) or on the damp tile (very high squeaking).
Piano/Keyboard
Zusätzlich zum Flügel wird ein Keyboard mit 88 Tasten benötigt, welches sehr gute Klavierklänge um einen Viertelton erhöht darstellen kann. Es empfiehlt sich den Lautsprecher dazu direkt untem Flügel, das Keyboard selbst anstelle des Notenpults zu platzieren.Alle Noten, die auf dem Keyboard zu spielen sind, sind rautenförmig und mit entsprechendem Vorzeichen in der Klavierstimme notiert.
In addition to the grand piano, an e-piano with 88 keys is required. It should contain high quality piano samples and it has to be tuned a quarter-tone higher than the grand piano. It is recommended to put the speaker of the e-piano under the grand piano. All diamond-shaped notes are to played on the e-piano.
Strings
A 5-string doublebass is required
ord. = ordinarios.p. = sul ponticellpm.s.p. = molto sul ponticello
= different degrees of increased bow pressure. from slightly scratchy pitch to complete scratching noise (with no clear pitch)
= very high; high (undetermined pitch, on 1st string unless otherwise indicated); Dampen strings with the palm of the left hand; exaggerated vibrato
= Glissando ends immediately or continues immediately, without emphasizing the target pitch or intermediate pitches
= Glissando with exaggerated vibrato; Glissando with only briefly played "intermediate points"
= Glissando with graphic curve; Glissando with clearly audible target note and additional stems for clarification of the exact duration (will not be specially emphasized!)
= small, short glissando, about a semitone; short, sharp line directly at the bridge in muted strings.
= Transition from different positions of the bow, here from ordinario to molto sul ponticello.
Exclusive offer for email: [email protected] for the next 48 hours, only.
%First Name%,
You have $88 that are waiting for you to claim. You may also be qualified for an additional $1,400 bonus.
Kindly login to your account to see the funds.
Should you have any further questions, please click here.
Cheers,
Nicole PetersonAccount Rewards ManagerRewards Department
Account Manager <[email protected]>An: [email protected] an: [email protected]$88 exclusively for: .
5. Juli 2013 00:56
q = 89
q = 89
Sopran
Viola
Piano
Flute
Oboe
Bass Clarinetin Bb
Bassoon
Horn in F
Trumpet in C
Trombone
Percussion
Piano
Violin 1
Violin 2
Viola
Violoncello
Contrabass
5
ex
mf
clue
rough
soft
rm-sound
1a
2a
mf
m.s.p.
mp
(very high pitch)
ff
5
mf mf
mp
mp
mp
p ff
p ff
sffz
sffz
pp pp pp
harmon mute
mp pmp p
5 5
pp pp pp
mf
box 1 pp
"guiro"
mf
mf
pp
5
ff
ff 3 3
mp
p sempre p pp
p sempre p
flag.
p
p
s.p. pizz.
ff
arco
p
s.p. pizz.
ff
pizz.
f mf
arco s.p.
ff pizz.
f
mf
arco s.p.
ff
f
ff
3
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4
4
mf
jet whistle
ff
mf
mp
mp
p ff
p
sffz
sffz
pp
mp p
mp 5 5
pp pp
mf
box 1
mf
pp mf
mf
box 1
3 5
4
ff
3
5
arco
p
s.p. pizz.
ff
arco
ff
s.p.
p
pizz.
f mf
arco s.p.
ff
pizz.
f
f
mf5
ff
ff
2
5
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
[s] ive
molto vib.
pizz.
ff
pp
ff
5
mf mf
mp
ff
p p
sffz
sffz
pp pp
p
mp p
5
pp pp pp
mf
box 1 pp mf
mf
box 1 pp mf
5
fff
3
mp
p sempre ff
p sempre ff
pizz.
p sempre
ff
p sempre pizz.
ff
arco
p
s.p.
p
s.p. pizz.
ff
arco
s.p.
ff pizz.
f
mf
pizz.
f mf
arco s.p.
ff ff
f
3
7
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4
non vib.
of
pp
- - - - - -
rm-soundrough
soft
arco
mf
ff
pp
mp
4
mf
mf
p mf
sffz
pp pp
mp p
5
pp
mf
pp mf
4
p
arco
pp
ff
p
flag.
p
arco
p
s.p.
p mf p
pizz.
ff
pizz.
f
mf
arco s.p.
ff
ff
4
10
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
- fer
mp
m.s.p.
ff
mf
mf
p
sffz
sffz
pp
mp p
5
pp pp
mf
pp mf
mf
box 1
5
pizz.
ff
arco
p
s.p.
pizz.
mf
arco s.p.
ff
pizz.
f
f
mf5
ff
5
13
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5 4
ff
ff
5
5 4
mf mf mf
mp
mp
mp
mp
p ff
p ffp ff
sffz
sffz
pp pp pp
mp p
mp pmp p
5 5 5
pp pp pp pp
mf
box 1 pp mf
mf
pp mf
box 1
mf
pp3
5 4
ff
ff
ff 3 3
3
mp
p sempre p pp
p sempre p
flag.
p
p
s.p. pizz.
ff
arco
p
s.p. pizz.
ff
arco
p
s.p. pizz.
ff
arco
m.s.p.
mf
pizz.
f mf
arco s.p.
ff pizz.
f
mf
arcos.p.
ff
pizz.
f mf
arco s.p.
5
f
ff
ff
6
16
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
5
mf mf
mp
mp
p ff
p
sffz
sffz
pp pp
mp p
5
pp pp
mf
mf
box 1
mf
box 1 pp mf
5
5
5
3
p sempre
p sempre
p
s.p. pizz.
ff
arco
p
s.p.
ff
pizz.
f
f
mf
arcos.p.
ff pizz.
f
mf ff
ff
7
18
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
for
mp
2a
2b ord.
p
ff
ff ff
ff mp
ff mp
ff
mp ff
mp 5 5
sffz
sffz
pp pp pp
ff
ff
pp pp pp
mf
box 2 pp mf
mf pp3
3
3
ff ff
ff sempre
ff sempre
arco s.p.
f ff
pizz. s.p.arco
f ff
pizz. s.p.
pizz.
f mf
arco
molto vib.s.p.
ff pizz.
f mf
arco
molto vib.s.p.
ff
ff
ff
8
21
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3
m.s.p.
p
very low bowspeedperforated sound
ff mf
5
mp
3
ff ff ff
ff mp
ff mp
ff
ff
mp ff
5
sffz
sffz
pp
ff
ff
ff
pp pp
mf
mf mf
mf pp
ff3
3
3
5
pizz.
f
arco
pizz.
mf
arco
arco
f mf
arco
f
pizz.arco
f
pizz.
fmf
arco
molto vib.
s.p.
ff
pizz.
f
arco
ff
ff
9
23
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
e
p
3m.s.p.
pp
ff
3 f
ff
ff
loco
ffff
5:4
p
ff
5
mp
mp mp
mp 5 5 5 5
+W
MF
pp
-W +W -W +W
mp
-W +W
pp
+W
MF
pp
-W +W
-W +W
mp
-W +W
pp
bassdrumbox
mp
5
p sempre
p sempre
p sempre
10
26
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4 5
f
f
ff
ffff
ff
ff
4 5
mp
5
MF
pp
-W +W -W +W
mp
-W +W
pp
MF
pp
-W +W -W
4 5
11
28
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
for
mf
the next
sounding result will be different/distorted
mp
mp
ff
ff mp
mp
pp mp ff
mp 5 5
mp
+W
-W +W
ppsffz
pp
ff
pp pp
mf
box 2 pp mf
3
3
ff ff
ff sempre
ff sempre
arco s.p.
f ff
pizz.
pizz.
f mf
arco
molto vib.s.p.
ff
ff
12
30
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
four ty- - - eight- - - - - - hours
f
ff
ff ff ff
ff mp
ff mp
ff
ff
mp ff
mp 5 5
sffz
sffz
pp pp
ff
ff
ff
pp pp
mf pp mf
mf mf
3
3
3
s.p.arco
f ff
pizz. s.p.
arco
f
arco
f
pizz.
f mf
arco
molto vib.s.p.
ff pizz.
fmf
arco
molto vib.
s.p.
ff
ff
ff
13
32
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 5
on
p
pp
m.s.p.
ff pp
3 5
ff
mp
ff ff sempre
MF simile
ff pp
sffz ff sempre -4
MF
-4
MF
pp pp ff
pp ff ff
5 5
ff
wawah mute pp
ff
pp
ff
pp
wawah mute pp
ff
pp
ff
mf pp
ffpp ff
pp ff
pp ff
3 5
mp
5
3
mp 3
mf
senza dim. simile
6 6
6
mf
senza dim. simile
6 6 6
pizz.arco
f
pizz.
f
arco
ff
14
35
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
mf
ly
p
ff
MF
MF
MF
slap
mf
mf
mf
-4
MF
-4
MF
-4
MF
pp ff ff
pp ff ff
5 5
pp
ff
pp
ff
pp
ff
pp
pp
ff
pp
ff
pp
ff
pp
ff
pp ff
pp ff
pp ff
pp
f
mp
ff mp
f
mp
ff mp
ff
6
3
ff
6
3
15
37
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 2 5
pp
ff
mf
3 2 5
MF
MF
mf
-4
MF
-4
MF
ff pp
ff pp ff ff
5 5
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
ff
pp ff
pp ff
pp
3 2 5
5 ff
mp
ff
5 ff
mp ff
mp ff
6 6 6
3
mp ff
6 6 6
3
16
40
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
ff
per cent- first name per cent- per - -
ff
fff
fff
MF
MF
mf
mf
-4
MF
-4
MF
pp ff ff
pp ff ff
5 5
pp
ff
pp
ff
pp
ff
pp
pp
ff
pp
ff
pp
ff
pp
ff
ff
pp ff
pp ff
pp ff
mp 3
mp 3
mp
66
mp
6
6
17
42
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 2 4
cent first name per cent- per cent- - first name
3 2 4
MF
MF
MF
mf
mf
mf
-4
MF
-4
MF
-4
MF
ff pp
ff pp ff
5
ff
pp
ff
pp
ff
ff
pp
ff
pp
ff
pp
ff
ff
pp ff
pp ff
3 2 4
5 ff
mp
ff
5 ff
mpff
ff
mp
con sordino6 3
ff
mp
6 con sordino 3
con sordino
con sordino
18
45
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
per cent- per cent- -
3
individualacc/rit
sim. 5 3
pizz.
f
IV. p
arco
ff
ff f
5
5
19
47
S.
Vla.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
To 7:4x 3
ebow (needs some time,should arrive in full volume in bar 48)
(p)
hold until
bar 101
high Woodblock
ffff sempre
ffff sempre
20
49
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4
4
atmen ad lib. - möglichst unauffällignon vib.
pp
4
non vib.
pp
non vib.
pp
non vib.
pp
non vib.
pp
21
53
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 4
produce slow beatings betweenpiano and voice
ppp sempre
You
3 4
3 4
22
57
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3
have
3
3
fffff
23
61
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4
eight
y- eight-
(undertonerange)
HML
I.
ff
4
fffffff !!!
4
fffffff !!!
24
65
q = 37
q = 37
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
dol lars
- - that are
III.
mf
(distorted)pizz.
p
1b 1a
5
5
25
68
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
wai
5
ting
- - - for you
3
HML
III.
p
arco 34
5
very low bowspeedperforated sound
pp mp
ff
26
71
accel.
accel.
S.
Vla.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4ossia:
to claim
mf
to claim
HML
m.s.p.
pp
f
3
(ebow)
4
27
q = 75
q = 75
74
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
You
f sempre
may al - - -
(resulting pitches are distorted)
f
rm-sound
ff sempre
ff sempre
MF simile
pp
ff sempre -4
MF
-4
MF
pp ff
pp ff ff
5 5
wawah mute pp
ff
pp
ff
pp
ff
pp
ff
ffff
pp ff
pp ff
pp ff
5
ffff
mp 3
ffff
mp 3
senza sordino simile
mp 6
6
senza sordino simile
mp 6 6
senza sordino
senza sordino
ff sempre
s.p.
28
77
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 2
- - so be qua li- fied-
5
for an
3 3 3
simile
5
33 3
mf
f
mf
f
mf
5
pp
3 3
3 2
MF
MF
MF
MF
slap
mf
mf
mf
mf
-4
MF
-4
MF
-4
MF
-4
MF
pp ff ff
pp ff ff
ff pp
ffsubito fff
5 5 5
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
subito fff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
subito fff
pp ff
pp ff
pp ff
pp ff
pp
3 2
f
mp
ffmp 5 ff
f
mp
ff mp 5 ff
ff
mp6
3
6 6 6
ff
mp
6
3
6 6 6
29
81
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
ad
5
di- - tio- - - - - - nal one -
5
mf
III. f
f
f
ff
f
5
MF
MF
mf
-4
MF
-4
MF
pp ff ff pp
ff ff
pp
5 5
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
pp ff
pp ff
pp ff
5
mp
ff mp
mp ff
mp
ff
mp
36
ff
mp
3
6
30
83
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 2
- - - - - thou
3
- - - - - - sand
I.
3
pizz.
f
arco m.s.p.
mf
mf
3 2
MF
MF
MF
mf
mf
-4
MF
-4
MF
-4
MF
ff ff
ff pp
ffsubito fff
5 5
pp
ff
pp
ff
pp
ff
subito fff
ff
pp
ff
pp
ff
pp
ff
subito fff
pp ff
pp ff
pp ff
pp
3 2
5 ff3
5 ff3
6
ff
mp
6 3
6
ff
mp
63
31
86
q = 60
q = 60
S.
Vla.
Pno.
Fl.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4 5
four hun- - - - - - - - - - - - - - -
mf
col legnoclip ord.
f
f
mf
4 5
To Picc.
Piccolo
f
5
MF
"f "
(Speichel)
mf
mf
-4
MF
pp ff
pp
ff
ff
"f "
pp
ff
ff
"f "
Nanopad
NOISE1.aiff
mp
ff
StyoporMetallkisteCardbord
"f "
5
4 5
mp
ff
mpff
ff
salt.
pp
3 5
I. / II.
f
mf
mp
32
89
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4 3 3
dred dol lars- - - - - - - -
pizz.
f
arco pizz.
ff p
arco
3
f
(other strings will be heard)
4 3 3
3
3
p "f "
Percussion
3
4 3 3
pp ff
f f f mf
f
33
92 e = 170
e = 170
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
43 2
3 4
bo
f
- - -
HML
mp
ff
mp
f
(other strings will be heard)
3 23 4
f
MF no. 4 MF no. 5
f
f
-1
MF
-2
MF mf
-1
MF
rip
ff
(sung)
mf
f
f
harmon mute (stem out)mf
NOISE2.aiff
f
sfz
ch
f
StyroporMetallkisteCardbord
f
3
3 23 4
f
f
I.
I.
fff
I.
fff
(I.)
f
3
fff
34
97
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
25 7
- nus
ff
ff
ff
fff
25 7
f
f
5
ff
5
wahwah mute (stem in)
p
ff
p
ff p
ff
Styropor auf Fliesef
5 p
(Metallk.)
p sffz p sffz25 7
ff
3
ff
ff
35
q = 60
q = 60
101
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5 3
(untertones)HML
bow change ad lib To
3
ff
5 3
mp
senza sordino
senza sordino
NOISE3.aiff
mf
5 3
36
q = 140
q = 140
rit.
rit.
106
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
7
f
see see
microtonal fingering ad lib.proposal:IV.
f
simile rit.
5
ff
fff
p p
3
7
fff
fff 5
fff
3
fff
3
fff
3
fff 5
fff 5
fff
box2 box1 Woodblock
mf fff
5
7
fff
3
fff
5
fff
3
3
pizz.
fff3
pizz.
fff 53
pizz.
fff
3
fff
pizz.
fff
pizz.
5
37
q = 60
q = 60
107
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5
see
fpf
3
kind ly- log in
p f
kind3
ly- log in5
mf
f
acc.
f
fff
I. pizz.f
arco
f
rit. I. pizz. 6 7:4
mp
ff
5
pp
fff
5
"f "
(Speichel)
NOISE4.aiff
p
mp
5
3
5
(auf Styropor)
"f "
5
5
arco
mp
(I.)
mp
(I.)
mp
arco
arco
38
109
e = 170
e = 170
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
4 35
3f
see see kind ly
p
- - log
fmp
in
3 f
to your
3
arco
f
rit. 5
mf
rit. alla punta
mf
3
rit.5 3
ff fp5
pp
5
pp
mp
f
f
fff
4 35
3
ff
3
ff
ff
-3
simile
5
p ff p ff p
p ff p ff p
NOISE5.aiff
f
p "f "
Percussion
f
box2box1
p3
5
4 35
3
mf
5
arco
IV. (q.)
fff sempre
(q)
fff sempre
arcoIV.
(q.)
fff sempre
(h)
arco I. / II.
fff sempre
extr. vib.
ff sempre
ff gliss.
5
39
113
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
2
to your
3to your
pp3
to
p f
to
pp
your
3 3
5
acc. 7:4
mp f
3
ppff
p
5
2
5
ff p ff p ff p ff p ff p
ff p ff p ff p ff p ff p
ff
ch chp ff 5
3 5
2
(q)
(q)
I. IV.(q)
IV.
I.(q)
gliss.
5
40
q = 60
q = 60
117
q = 80
q = 80
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
5 3 5
f f
to
your
p
your
f
ac count- -
3 3
f
rit.
mp
IV. pizz.
f
pp
arco m.s.p.
mf
acc.
sub. ff
f
(distorted) pizz.
f
3 57:4
ff
3
ff
fff
fff
5 3 5
ff
con sordino
harmon
ff
harmon
NOISE6.aiff
mf
Nanopad layer 2
Styropor
mp
5
3
Percussion
5 3 5
mf
5
mp
pizz. (I.)
mp
pizz. (I.)
mp
41
120
S.
Vla.
Pno.
123
S.
Vla.
Pno.
f
ac count- - - - ac
p f
count- ac
3
count- - -
3 5
arco
f
rit.
sub. fff
m.s.p.
p
pizz.
ff f
arcoacc. 5
mf
ff
mf
ff
[a]
f
[a]
pp
[a] to
to to
to
to
to
to
to
f
III. p
pizz. III. ff
arco m.s.p
mf
III.
p
f
arco
3
ff
3mp
f3
ff fff
42
126
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
non vib.
f
to
to
f
see
f
see see
simile
see
high undertone
ff3
I. pizz.
ff
3
arco
f
3
f
"screaming" sound
3
3
3
ff
3
fff
f mf
pp
3
fff
ff
f sempre
MF no. 4 MF no. 5
f sempre-1 -2
f sempre
harmon
f sempre
f sempre
(f sempre)
pads halten!
arco
f sempref sempre
f sempre
43
129
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
see to see the to
3
see3 the funds funds funds
55 5
III.
f
mp
ff
3
3 5 7:4
mf mf
fff
f fff
f
fff
f
5
ff
5
-3 -1
5
5
5
5
5
5
5
44
132
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
7 5pen contact on cup
funds funds shouldf you
5
2a result: instable harmonics and multiphonicsIII./IV.
f
bow changings ad lib. with small fluctuations3
move the cup on the strings in eight-shaped figures
fff
fff
mp
� � � � �f
7 5
MF no. 8b
-3
7 5
45
� � � �
135
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
have a - - - - - - -
sub. mp
� acc. �! change direction� � � �
ff
MF no. 11a MF no. 11b
3
-1 -3
3
3
3
3
3
3
Ped. hold until bar 94
46
� � � � �
138
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
ny- fur
3
- - - - - - - ther ques
5
- - -
�sub. ff
sub. mp
rit. acc.
47
� � � � �
141
q = 110
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
S.
tions- - - please
fsempre
click here
3
III./IV.
f
pizz.
fff
f
ffff rit.
Ped.
48
144
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
please click
5
here please click here
3
please click here
3
arco
f
fff
pizz. arco
f
m.s.p. pizz.
fff
arco ord.II./III.
m.s.p. pizz.
fff3
f 5
ffff f
3
ffff f
ffff
3
Ped.
49
147
beaten! shall be clearly visiblemeccánico and concentrated
q = 10 q = 90
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 5
please click here
3
arco ord.III./IV.
f
II./III. I./II. fff
pizz.
f ffff
fffff
3 5
3 5
Ped.
50
150
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
51
153
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
non. vib. f
cheers
distorsion-sound
rough
soft
arco
mf
fffff
ff
f sempre
MF no. 4 MF no. 5
f sempre
-1 -2
f sempre
f sempre
f sempre
pads halten!
arco
f sempref sempref sempre
Ped.
52
156
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
-3
53
159
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
multiphonicdistorsion
try to alternate the quality of the multiphonic by microtonal gliss. and light changes of pressuredirty
light
ff
cheers
54
162
S.
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
mp
1a
1b
fffff
ff
MF no. 8b
-1 -3
Ped.
55
165
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
multiphonicdistorsion dirty
light
ff
Cheers
5
5
ff
MF no. 11a
-1
56
168
q = 66,6
S.
S.
Vla.
Pno.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
3 5 +
mp
stop the bow on the string
ebow *
* turn ebow off, click should be clearly audible, then pedal also clearly audible up.
3 5 +
3 5 +
Ped.
57
