Trapani CogCon Complete Score
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Transcript of Trapani CogCon Complete Score
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CHRISTOPHER TRAPANI
COGNITIVE CONSONANCE
Two studies for two plucked-string soloists,ensemble, and electronics
(2010)
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Cognitive Consonance (2010)I. Disorientation (qanûn solo)
InterludeII. Westering (hexaphonic electric guitar solo)——————
Duration: ca. 23 minutesScore in C
Instrumentation:
Qanûn SoloHexaphonic Electric Guitar Solo
Alto Flute / Flute (only in II. Westering)Clarinet in B flat / Bass Clarinet in B flat (only in II. Westering)
Mandolin / Just Intonation Autoharp in GHarp
Guitar (nylon strings, only in I. Disorientation)
Percussion (1 player): Crotales, Glockenspiel, Vibraphone, Marimba, Zarb, Bendir,Snare Drum, 2 suspended Cymbals, 5 tuned gongs (G#2, B2, D3, F3, C#4)
ViolinCello
Contrabass (with low C string or 5th string retuned to C)——————
Cognitive Consonance was written in conjunction with the Cursus 2 at IRCAM, and premiered during theAgora festival on 9 June 2010 at the CENTQUATRE in Paris, with Julien Jalâl Eddine Weiss on qanûn,
Christelle Séry on hexaphonic electric guitar, and the Ensemble L’Itinéraire conducted by Mark Foster.The electronics were realized at IRCAM by the composer, under the guidance of Eric Daubresse.
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Performance Notes:
1. Disorientation was written specifically for the qanûn player Julien Weiss, using his system of intonation — with 15 microtonal possibilitiesbetween C flat and C sharp — and notation, with the accidentals outlined in figure 1.2. The hexaphonic electric guitar is a custom instrument, fitted with a hexaphonic pickup (such as the Roland GK-3) capable of sending out aseparate signal for each string. These six signals must be sent to the patch, so a converting device such as the RMC fanout box may also beneeded.3. The scordatura required of the ensemble for Disorientation is detailed in figure 2.4. The just intonation autoharp used in Westering is an adapted version of the Appalachian folk instrument, retuned and fitted with newchord shapes. It is easily played by any guitarist or mandolinist. Its tuning and chord shapes are described in figure 3. The instrument isavailable from the composer.5. Microtonal accidentals are used throughout the piece. For the strings and winds, these generally denote tempered quarter-tones, though theplayers are sometimes asked to tune to a pitch already sounded by the soloist or electronics. Microtones a quarter-tone or greater on frettedinstruments are notated using the fretted pitch with an up or down arrow attached to its accidental as a reminder. This same accidental isused for the open string and octave harmonic of the cello’s retuned A string during the first half of Disorientation. Diamond-head harmonicsfor retuned strings however are notated at the fingered position, without any microtonal alteration. Dotted lines in the score between stavesindicate a microtonal unison
6. A glissando is an incremental change in pitch that lasts the duration of the note to which it is attached, whereas a portamento denotes aquick slide just before the final pitch.7. For strings, an x on the note stem denotes a duller color, obtained by using a harmonic-style touch at the end of an open string, deadeningthe upper partials and creating a “palm-muting” effect.8. The guitar part in Disorientation is intended for a classical nylon-string guitar; It can however be played by the same player who performsthe solo part of Westering, as long as two separate guitars are used.9. The electronics are controlled by a Max/MSP patch, whose events are triggered by the guitarist using a MIDI foot pedal. The patch isavailable from the composer.10. The players should be seated as outlined in Figure 4.
Technical Note:
The live electronics in Cognitive Consonance require a Macintosh computer equipped with Max/MSP (and certain supplementary patches, such
as IRCAM’s Spat 4.0, sogs~, and SuperVP objects) with a minimum 2.93 MHz processor and 8 MB of RAM. The audio output is in eightchannels, intended for eight equidistant speakers configured in a ring around the audience. The ensemble should be amplified in the front leftand right speakers, while a ninth central speaker positioned on stage simulates a local amplification for the soloists. A video monitor can bepositioned onstage to display event numbers for the guitarist or conductor. Further details are available from the composer.
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5880 5902 5918 5933 5945 5958 5972 5994 6016 6 032 6047 6059 6072 6086 6108
5496 6198 6900 76023594 4296 4998 5634 2394 3300 3798 4296
5496 6148 6900 7602 3980 4562 4998 5496 5882 6402 2394 2626
difference in centsfrom central pitch
MIDI
CENTS
MANDAL NUMBER
-114
- 7
-92
- 6
-78
- 5
-65
- 4
-53
- 3
FIGURE 1: QANÛN ACCIDENTALSdevised by Julien Weiss
-38
- 2
-22
- 1 0
0 +22
1
+38
2
+53
3
+65
4
+78
5
+92
6
+114
7
differencefrom A= 440
MIDI
CENTS
VIOLIN
-4 -2 0 +2
FIGURE 2: SCORDATURA in ENSEMBLE to be retuned and verified before the piece begins
-6
CELLO
-4 -2 -66 -6
CONTRABASS
0 -2 -4
difference
from A= 440MIDI
CENTS
MANDOLIN
-4
* To tune the guitar: first, tune in just 4ths around = 440. Then:1.) Tune the 4th partial of the B string to the 5th partial of the G string2.) Tune the 3rd partial of the E string to the retuned B string3.) Tune the 5th partial of the A string to the 7th partial of the retuned E string
-52 0 +2
GUITAR *
-20 +62 -2
** Only the two lowest strings of the harp should be retuned.The rest of the instrument should be tuned to A = 440.
-4 -18 +2 -6
HARP **
+26
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3984 4300 4820 5002 5184 5318 5388 5500 5704 5800 5886 6020 6090 6202 6286 6384 6466 6588 6700 6722 6904 7000 7086 7220
7252 7402 7486 7540 7666 7788 7900 8004 8104 8198 8286 8370
ORIGINAL PITCHES
FIGURE 3: TUNING and CHORDS for JUST INTONATION AUTOHARP in Gto be retuned and verified before the piece begins
differencein cents
MIDI
CENTS
RETUNED PITCHES
-116 0 +20 +2 -16 +18 -12*
0 +4 0*
-14 +20 -10*
+2 -14 -16 -34 -12*
0 -78 +4 0*
-14 +20
G3 F9 G11 E1 G21
includes allhigh strings
differencein cents
MIDI
CENTS
-48 +2
* Asterisks denote pitches which do not appear in the final chord shapes for the piece, and thus need not be precisely tuned.
-14 -60 -34 -12 0 +4 +4 -2 -14 -30
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FIGURE 4: SEATING DIAGRAM
P O W E R B O O K
1 5 "
i a i s o n
E t h e r n e t
[courtesy of Clément Marie]
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Composer's Note:
Cognitive Consonance: A state of internal harmony arising from the reconciliation between two initially contradictory ideas.
Here, a single piece divided into two parts, linked by an electronic interlude. Two plucked-string soloists from two disparate worlds. Two
different sets of tools for composing with electronics, and two different approaches to the practicality of writing non-tempered ensemblemusic.
Or, a two-word manifesto, for a music as "cognitive"—capable of provoking thought and reflection, engaging the faculties of association andmemory—as it is "consonant"—a notion that the piece aims to explore, expand, and redefine, the common thread between its superficiallydisjunct episodes.
The title of the first section, Disorientation, should be understood in a second, more etymological sense: a turning away from the orient, thedisassociation of the qanûn from its Middle Eastern context. The spotlight here is on the custom-made instrument and microtonal tuningsystem devised by Julien Weiss, which specifies fifteen non-equidistant intervals per string (between a given flat and sharp). The pitch isaltered by raising or lowering small levers under the string (mandals), often in the middle of playing, or even while executing a phrase with theother hand. Based on a Pythagorian rather than tempered framework, Julien's instrument is capable of closely approximating several just
intervals with reliable precision. With a scordatura for the strings onstage—a mixture of plucked and bowed—and retuned samples in theelectronics, the goal is to explore the combinatorial possibilities offered by the qanûn while maintaining the same precise control of pitch in theensemble writing.
The electronics mirror the soloist with several shades of plucked strings, created with IRCAM's physical modeling software Modalys, whichsynthesizes each pitch according to the physical parameters of three separate strings given a slight variation in pitch—as would be the case ona real qanûn. The final eight-channel sound files are created via an OpenMusic interface, where pitch, synthesis, and spatialization (using theOMPrisma library) are controlled in a single integrated process.
Disorientation is divided into three sections, with the following subtitles:
1.) Inici (Falling): Starting from a high E (later understood as the 81st partial), a prolonged descent over about five minutes, duringwhich the partials of a low C (from the 17th, a C sharp, to the 5th, a natural third) will serve as the local tonics of 'makams' constructed fromhigher partials. The descending curve ends with a mass of resonant strings, a harmonic spectrum perturbed by 'commas' derived from whole-number frequency ratios.
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2.) Meyan (Midpoint): An exploration of the division of the perfect fifth (or twelfth), with pitches derived from inverted ratios movinginwards from each of the two poles.
3.) Croissant (Crescent): An episode written with an approximation of the Bohlen-Peirce scale and its odd-ratio intervals (5/3, 9/7, 9/5,etc.) triggers a progressive accumulation of string sounds, then tactile models in Modalys—sweeping motions over a plane of tuned strings,
modeled on Harry Partch's harmonic canons. Mirrored harmonies, with the same ascending and descending ratios around a central pitch(often the D above middle C) create an increasingly dense texture that spills over into the electronic interlude.
The title of the second section, Westering, evokes the idea of a westward movement; the piece is largely inspired by music associated with thewest—country and western guitar timbres, West African balafon music, but above all music from California: the just intonation ratios andplucked-string instruments of Harry Partch (to whom the adapted autoharp played by the mandolinist pays homage), Los Angeles folk/rock(Joni Mitchell's chains of consonant harmonies, Jeff Lynne's superimposed layers of strummed guitars), as well as psychedelic rock from SanFrancisco, and its rig of classic guitar effects.
Here the soloist is a hexaphonic guitar—an electric guitar fitted with a hexaphonic pickup that sends out a separate signal for each string.With an independent transposition control for each string, an even finer degree of microtonal precision than the qanûn's can be obtained.Effects can be applied with a different rate to each string, creating a polyrhythmic tremolo for instance, a six-voice wah-wah effect, or a
dynamic delay that transforms a strummed chord into an arpeggio or a fingerpicking pattern. Spatializing each string separately as well, theelectronics control the pitch, timbre, and movement of several independent layers in real time. The computer-aided orchestration softwareOrchidée was also used to reproduce the timbre and pitch content of distorted electric guitar chords in the ensemble.
The image of a westward wandering is also embodied in the loose form of the piece, a chain of interlocking events that unfurl like a series ofdiscoveries in an unfamiliar landscape, the western myth of perpetual possibility…
Cognitive Consonance is deeply indebted to all the researchers, developers, and musicians at IRCAM who contributed their time and expertise,notably Nicholas Ellis, Marlon Schumacher, Jean Lochard, Clément Marie, Jean Bresson, René Caussé, and Yan Maresz. Special thanks toCyril Béros, for his vision and his encouragement, and Eric Daubresse, for his invaluable advice and guidance throughout the project.
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Qanun Solo
Electronics
Mandolin
Guitar
Harp
Percussion
Violin
Violoncello
Contrabass
pppp pp pppp pp
I. Inici (Falling)
= 60
p pppp pp pppp p pppp pp pppp pp
p
pppp pp pppp pp
pppp pp pppp
ppp
Score in C
ca. 12"
"Further, I am quite optimistic over the prospect of new exoticisms— in Louisiana, Wisconsin, and California,to pick a few random spots from the map—regardless of what India and Arabia do." — Harry Partch, Genesis of a Music
I. Disorientation
for Julien Jalâl Eddine Weiss
CHRISTOPHER TRAPANI (2010)
1sfile in back of hall
soundfile continues
l. v.
very thin knitting needles
CROTALES
l. v.
sul tasto
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
n pppp ppp pp p ppppppp pp pppp
= 132without changing character
A11
p pp
pppp n n pp pppp
p ppp ppp p pppp pp ppp
ppp mp ppp
n p n n mf
pp ppppn ppp n
start mandal trill without striking stringD
rattle chopstick betweentwo lowest strings
l. v.
sul tastoIII. IV.
col legno battuto
punta d'arco ricochet l. v. sul tastoarco
2
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p ppp pp f mf pp f
B20
pp p ppp sfz mf
sfz mp pppp p pppp pppp pp
n pp p
mp pp n
n n mp
pp pppp p
pp pppp
(in the style of a Taksim improvisation)
SOLO until rehearsal mark S
near bridge
(put chopstick down)
hit with chopstick
con Ped.
VIBRAPHONE
with bow
(irregular tremolando)
col legno battuto punta d'arco
ricochet pizz.
col legno battuto punta d'arco ricochet l. v.
3
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf mp pp f pp p ff mf
C29
ppp mp ppp
ppp mp pppp ppp p pp ppsfz mf
mp ppp p ppp sfz mp
ppp
pp ppp n pp pppp
ppp n
n p ppp
p
pppp p n
near bridge near bridge
2Mlys sfile in center
high plucked sounds continue
(palm-muted)
P. M.4
P. M.
l. v.
scrape
l. v. l. v. soft mallets
sul tastosenza vib.
pizz. trem. l. v. IV. l. v.
arco sul pont.l. v.
4
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
pp mf ff fp
38
mp ppp mf ppp p
mp pppp ppp mp pp p
pp
p pppppp ff pp
ppp p
n mp n pp ppp
n p
one hand
2 l. v.
l. v.
scrape
(harmonics sound oneoctave higher than written)
l. v. knitting needles
CROTALES
l. v. VIBRAPHONE soft mallets
col legno tratto
arcocol lengo battuto punta d'arco ricochet
(sul pont.)
5
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f mf
p ppp f f
D45
ppp sfz f p mf pp mp ppp p p mf
pp ppp pp pppp ppp
pppp pp p ppp
n pp f
ppp mp
nn p pp f pppp
mandal trill
3
Mlys and retuned glock sfile
21
2 finger trill('hammer on')
2
l. v. reversed thin mallets l. v.
arco ord. III.
arco ord.III.
sul tasto l. v. ord.I.
6
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p mf mp ppp p ppp mp pp f ff
mp p f
E53
ppp mp ppp
ppp mp ppp
mp
mf p ppp sfz
mf mf
pp mp p
mp pppp
ppp f pp
ppp f p n
pp n n mf
mp n
near bridgeone hand
near bridge
4
III.
1 2
5
2
5 2 5
2
l. v.
CROTALES
bundlesticks l. v.
III.
sul pont.III.
7
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mp f pp mf pp p
F G63
fp ppp
pp
ppp fp
ppp f f
n f p n
gliss.
one hand
5trem. and gliss.
6
(repeated in sound file)
high partials sfile
5
GLOCKENSPIEL
bundlesticks (wood)
II.molto sul pont.
harmonic gliss. to bridge
pizz.I.
near bridgearco
8
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f mf f pp mp mf pp
74
sfz f pp mf pp
pp f pp
f pppp f p pp f pp
p f p n fp n
ppp mp pp
near bridgenear bridge
7 Mlys trem sfile
l. v.near bridge
près de la table
pizz. (pizz. trem.)l. v.
arcosul pont. sul tasto
II. sul tasto ord.I.
9
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf mf-p f p mf mf ppp mf f pp mp p
H82
mf
p mf p mf mf
ppp mf pp p
sfz p
n mf
pp f fp ppp mf n mp
f pp mf n pppp
near bridge
one hand
8 Mlys trem sfile
IV.
2
3 1
scrape
VIBRAPHONE
soft mallet
sul tasto
ord. sul pont. pizz. arco
sul pont. sul tasto pizz.
sul pont.II. ord.
sul tasto
10
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
pp f mp p f mp pp f
I91
pp mf pp p f pp f
mp f
mp f pp mf mp p
ppp mf pp ppp
ppp mp ppp
n ppp p pp pp f p
n mp p
n
sfz f pp f p
p ppp mp
one hand near bridge
9 retuned vibraphone trem samples
+Mlys staccato or slide with adhere
III. IV.III. l. v.
5 5 4 6 4
reversed sticks
ord. l. v.
arco
(l. h. pizz.) l. v.
(arco)
l. v.
ord.harm. gliss.
11
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mp p f mf f p f
J98
mf pp p f pp f pp mf pp pp f
pp f p f
pp mf pp pp f pp
pp f pp f p p
f p
near bridgenear bridge, very noisy
10 Modalys soundfile in center
IV. III.II.
III.
soft mallets l. v. reversed mallets
sul pont.
III. sul pont.III.
12
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
ppmf
ppp mf pp
K 106
p mf ppmf-p ppp
p ppp
f p f p
f
p p fpmf fp
mp pp ppp
n n f n
mp ppp mf f mp fp ppp
fp n ppp
l. v. l. v.
11
spin out and gliss.
IV. l. v.
P. M.3
4 2
l. v.CROTALES bundlesicks (wood)
VIBRAPHONE
l. v.
gliss. ord. III.
pizz. l. v.
sul pont.II.ord.
13
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf p ppp f pp f
mf mpp pp
M
123
ppp mp pp fp fp mf-p
p f p fp
p f
pp ff
pp f pp ppp
p f n mf
mp n ppp f n
ppp
near bridgetwo hands ord.
13slow gliss to reflected C spectrum (ca. 20 sec)
IV.
l. v. 3
près de la table
l. v.
l. v. l. v.
pizz. vib.
sul pont.
sul tasto
15
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f
N130
mf pp ppp mp ppp
ppp p ppp p pp ppp fp
mf p mf p p p
mp p p
ppmf
pp
f ppn pp
mp p
ppp p n pp ff
mf ppp mf n ppp mp ppp
pp pp mp pp f
14
III.
4 3
5
4
6 25
f
near bridge
bow l. v.
sul pontarco
port. ( = 7th partial) col legno tratto
pizz. vib. arco III.
gliss. ord. harm. gliss.
16
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf p
f fp f f
mp p f mp f
P147
mf p f pp fp f mf
f f
fp pp f f mf
f
mf
n mpn mp
n
p f n ppp
f n
one hand mandal trill
16 sfile layer of vibe sec
l. v.
65
26
5 25 6
3 2
(bow) l. v.
III.ord.
molto sul pont.
IV. III.
18
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
ff f f mf f
QR
157
mf f p
sfz f p f p f f mf
f f
mpn p
f
f f f f mp
ppp f n f
mandal trill mandal trill F mandal trill mandal trill
17 sfile sec vibes + Mlys figures of single plucks 18 modalys sound file
finger trill finger trill finger trill
3 5finger trill 2 finger trill
3
5finger trill
6 finger trill
près de la table près de la table
pedal trill
(put down bow)
pizz.
IV.III.
I. finger trill
II. finger trill
con vib.
ord. pizz.
gliss. con vib.
I.finger trill
19
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f p
mf p
rall. = 90S165
f
mf mf mp
mf mf mp
f mf mp
mandal trill mandal trill
19modalys sound file
4
5
5
6
4
6
5
6
4
6
pedal trill pedal buzz pedal gliss.
pedal trill
III.
gliss. con vib.
finger trill
gliss. con vib.
IV. finger trillcon vib.
gliss.
finger trill gliss. con vib.
20
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
pp ppp
poco rit.= 69T
172
p pp mp pp
mp ppp mp pp
sfz mf mp
pp
n p n pn p
p
mp pp mf pp ppp p
pp f
pp pppp pp
then high
5 1
pedal gliss.l. v.
l. v.
arcoIII. pizz.
arco l. v.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f
p
f
pp
II. Meyan (Midpoint)
Subito Animato
= 80U
180
n pp pppp ppp p ppp
p sfz f
mp p ppmf
sfz f
pp ppp ppp pppp
sfz f
pp pppp pp sfz p pp sfz mf
pp f pp
p pp mp
p pppmp
l. v.
20fade out longer file,short Mlys file in 21 longer sfile off
l. v.
(l. h.) I.
5 6
retune
5 to 4 (repeat ad lib.)
with chopstick as before
fingertips near rim
ZARB knuckles on wood
I.
arco ord.I.
(pizz.)I.
III.pizz. l. v.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf f f p
V189
p ppp mp f
f
f
f pp mf pp f
mp pp
pp pp sfz mf pp f
mp n p p p
pp mf
ppp
near bridge
near bridgel. v.
retune
2 to1 (repeat ad lib.) retune
6 to 5 (repeat ad lib.)
près de la table
low dull sound incenter of membrane
high resonantsound near edge
harmonic gliss to scroll
retune to A (repeat ad lib.) II.arco I.
arcoII.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f mf f mpmp f mf f-mp p
W198
mp p fp ppp
mf p f p mf pp
pp mf mp mf p f
p
ppp f sfz p
pp sfz mf sfz f
mf p mf sfz f
22 Modalys sfilein center
(I.)(l. h. pizz.)
(check tuning, thencorrect if necessary) pizz.
sul pont. molto sul pont. pizz.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f p f
207
fp ppp f
sfz f
f
sfz f mf mp f
f p f mf mp
mf f
sfz f p ppp
sfz f ppp fp fp ppp
p mf pp f mp sfz f
23 Modalys sfilein center 24 Modalys sfile
center -> out
I.
I. pizz. l. v. (arco)
I. sul pont.arcoord.
arco ord. sul pont. pizz.
III.I. slap left hand on strings, no pitch
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
sfz f p mf pmp f mp
Poco più mosso
= 88X Y216
f p mf p p f pp f sfz p ppp
pp mf pp p f pp f sfz p
sfz f
sfz p
f sfz f p
p f p f fp n
mp pp mf p p mf
mp p mf p n
mp pp mf n f
25maquette sfile center
26360 maquette sfile
27
III. l. v.
6
près de la table
VIBRAPHONE bundlesticks (wood)
pizz. arco
pizz. vib.sul tastoarco sul pont.
(pizz.) vib.arco
sul pont. pizz.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p f p
mf sfz f
Z226
p ppp
pp mp pp f pp
p f p
sfz f sfz f mp
f n
f mf
p
n
p
pp mp ppp
p f p n
near bridge ord.
28 sfile 11/8 fifths outward 29 sfile with retunedvibraphone samples
(=7ths)
l. v.
6
sec
scrape
CROTALES
I.arcosul pont.
(sul pont.)
arco sul pont.
27
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
234
fp mf p f mf p
f mf sffz
mf
mp f p f mf
sfz mf
mf
pp sfz f
p
sfz f
psffz
mf
ppp p fp
mp
fp fp fp
mp
mp mf-pp n mf
30 Mlys sfile with retuned trem samples
(=7ths)
31 sfile retuned ricochets and reversed sticks
III. IV.
vib.
32
gliss.
VIBRAPHONE
soft mallets
sec
dead-stick reversed sticks
white gliss.
ord. pizz.
III.ord. IV.
col legno battuto
ricochet gliss.
col legno battutoricochet
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
sfz f p ppp
AA243
ppp f p f
f sfz f
p ppp pp sfz f
f
p f
sfz f
fp
f p fff
pp
p ff pp
p f p
32Modalys sound file,moves to back 33 Modalys sound file,
high RM partials back swirl to front
34retuned bundlesticks
rev sticks sfile
mute strings, no pitch
mute strings, no pitch
gliss ad lib.
bundlesticks (wood)
vib. gliss. III. I.II.
arco sul pont.
sul tasto senza vib.
II.III. arco
sul pont.ord.
arcosul pont. ord.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
ppp mf f pp f p sfz f mf
BB
255
p f mp pp f
mp
f p f sfz f
pp
f p f pp f n mp
mp p sfz mf mp p
mf p
gliss. gliss.
35
III.
près de la table, secgliss.
soft mallets
pizz.I.
II. III.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
poco rit.
f
mp
ppp p pp
Meno mosso
= 66CC263
p pp mf mp pp pp mf p p sfz mf
p
f pp
mf ppp
p f mp sfz mp
pp
sfz p pp
pp
n
n mp nmf p
36sfile qanun plane in center
37 sfile planes38 sfile planes
IV.
ord. lightly with palm
reversed malletsl. v.
ord. IV.
IV.arco
senza vib.sul tasto pizz.
vib.
(pizz.)
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mp p
pp f pp f
III. Croissant (Crescent)
Subito più mosso
= 84DD274
pp pp ppp pppp
p pppsfz mp
p pp
pp
ppp p pp mf
mp n pp
p n
pppp p n
39 soundfile with canontranspositions, then 7ths
40 BP burst(higher partials)
l. v. l. v.
3
fingertips near rim
BENDIR low sound in center
l. v.
sul tasto, senza vib.arco I.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf f p f p f p
EE285
mp p pp mp pp
pp mf pp
p mf
sfz mp
pp mf p mf p mf p ppp
p f
pp
sfz p mp sfz p
41RM burst
42 RM burst 4344
near bridge, noisy
près de la table
sharp, near rim
col legno tratto
II.
col legno tratto
pizz.col legno battuto
gliss.ricochet
pizz.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf p f-mp
fp f
f f
mp
293
mp ppmf pp
p mf pp
mp pp mp pp
pp mp p f pp mf p
mpp
f pp
mf
gliss.l. v. near bridge
45 46
near bridge
près de la table
col legno battutoricochet
pizz.
harmonic gliss.to bridge
gliss. con vib. pizz.
gliss. con vib.
34
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f p mf f mf p f
FF
GG302
mf
n mf pp
f mp pp mf
pp f pmp f-pp f
ppp f mp
mf mf mp
l. v.
47 48 rising 3/7s sfile 49 rising 5/3s sfile
etc.
scrape con vib. l. v.
con sord.arco sul pont.
IV. SOLOmolto vib.
ord. port. port.
sul pont. ord. port. l. v.
arco molto sul pont.
col legno battuto
gliss.
gliss. con vib.
col legno battuto gliss.
35
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p
f sffz mf
309
pp sfz f
pp mp ppp sfz f
f
mp
f
p
f ppp p
f
ppp fp f mp f mf
p f p f
50 rising 9/5s sfile
etc.
51 rising 7/5s sfile
(+3pitch burst quicker/softer) etc.
52 rising 9/7s sfile
etc.
near bridge
near bridge
scrapel. v. pedal buzz l. v.
very resonantspiccato
sul pontmolto sul pont. ord. l. v.
con sord.
SOLO
molto sul pont
arco con vib. ord. port. l. v.
pizz.gliss. con vib. arco
III.
36
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
mf pp
f
ff
HH315
mf pp
mf ppp
mf ppp mp
mp f p
n
f p f pp mf p
p f mf f p f p mf p
n p f pp mf p pp mf p
near bridge
53Mlys sfile: burst, spiral steps, then spiral rising ratios to high A
near bridge
near bridge
près de la table
pedal buzz l. v.l. v.
col lengo battutoricochet gliss. l. v. l. v. arco gliss.
l. v.
gliss. molto vib. port. sul pont.spiccato l. v. col lengo battuto
ricochetarco gliss.
l. v.
molto sul pont. sul tasto gliss.
37
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p
poco rit.
Meno mosso
= 72II JJ322
p pp n ppp mp pp mp p
sfz mf
p sfz mp
sfz p
p f p p f pp fp f psfz p
pp mf mp n p
mf-p
sfz p mf-p
pp mf
brushes on retuned crotalesand vibes descending
54 Mlys sfile
IV. III. II. IV.
6
4
près de la table
VIBRAPHONE
bundlesticks (wood)
sec
II. senza sord. III. l. v. pizz. arco
pizz.II. arco
II.ord.
38
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
pp mp ppp pp
Più vivo
= 92KK 331
mp p mp p p ppp
p mp p mp
pp pp f psfz mp
ppp f
pppp
p
pp p
pp p
mp pp
ppp ppp mp n
pp p f p fp n
ppp mf n ppp mp
55 large sweep, then BP burst plus sweep
5
near bridge
l. v. près de la table
bowed
con Ped.
l. v.
possibile
leggero port. gliss.
I.senza sord.
sul tasto ord.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
f
= 100MM347
sfz p p mf n pp mp pp p p fp
f p
mf sffz f
sfz mp sfz mp f mf sfz p
mp pp sfz f
p p f p f
p
sffz
mf p mp pp f p f p fp
ppp mf n pp f pp f pp
59D = 11th partialsplintering sfile
IV. III. IV.IV.
II.IV. noisy, near bridge
4 5
noisy, near bridge
près de la table
dead-stick dead-stick reversed sticks dead-stick
l. v. III. col legno battuto ricochet arco sul pont.III.
gliss.l. v.
pizz. I.arco
ord. sul pont. gliss.molto vib.
I.sul pont. II. molto sul pont.molto vib.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
pp
NN356
f-mp f fp f pp
pp sfz p pp sfz p pp
pp
p f f mp
pp fp
fp
ppp
pp
p f n p ff
pp p f ff
f p n pp ff
60 sweep forward
gliss.
l. v.with guitar pick gliss.
près de la tablewith guitar pick
gliss.
bundlesticks (wood)
molto sul pont l. v. sul pont. gliss.
molto vib.
sul pont.
sul pont.
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p
369
f fp f mf p
pp f pp n
fp fp
mf f
mp f mf
mf
gliss.
gliss. ad lib.
gliss.
ricochet
ricochet ricochet
44
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Qanun
Elec.
Mand.
Gtr.
Hp.
Perc.
Vln.
Vc.
Cb.
p mf
f ff
OO372
f fp sfz f fp sfz f sffz
mf f
f fp ff fff
mf ff
ff
f ff
alternating handsgliss.
l. v.
INTERLUDE
ca. 1' 40"
62
sweep, high to low
63massive 8chMlys sfiles
l. v.
gliss. l. v. gliss. l. v.
gliss.
l. v.
45
f P l Ed d
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Flute
Clarinet in B
HexaphonicElectric Guitar
(sounding)
Electronics
Mandolin /Just Intonation
Autoharp
Harp
Percussion
Violin
Violoncello
Contrabass
= 56
ppp
ppp mp p
ca. 20 "
"On this my thirtieth birthday, I know nothing and there is nothing to do but fall prey to desire... Nothing remains but desire, and desire comes howling down Elysian Fields like a mistral."
—Walker Percy,The Moviegoer
II. Westering
for Paul Edmonds
ca. 20 "64
strum with flesh of fingers, very light
buffer record on, all strings front and center
unmeasured gliss. ad lib.under sound file
46
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
4
mp p
pppp
65
move gradually towards bridge very near bridgechoke strings with left hand
trigger sogs, one voice at a time to matrix, spat in back of hall amp volume down
string buffers read with 8 sec delay granulation patterns
l. v.
47
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
A6
ppp
ppp p n ' pp' ' f '
ppp p
n ' pp' ' f ' ' p'
ppp p n
n
' pp' ' f '
inaudible
66 random raking motions on mutedstrings (something like this)
+ spat figures
SNAREwith one hand, back and forth
wire brush
arco sul tastocon sord.
ord. sul pont.
transverse bowing
(measured)
arco sul tastocon sord.
(measured)
transverse bowing
arco sul tastocon sord. I. II.
transverse bowing (measured)
48
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
10
ppp
mp ppn pp n
n
p p pp
' f ' np
p
n mp p
67
high
low
mid
JUST INTONATION AUTOHARP in G
G3* notated with chord button, strumrhythm, and approximate position
pitchless, mute stringswith left hand
ma ben sentito
pizz.
col legno battutoricochet
pizz.
col legno battutoricochet pizz.
pitchless, mute strings
with left hand
ma ben sentito
pizz.col legno battuto
ricochet pizz.col legno battuto
ricochet
pitchless, mute strings withleft hand high on fingerboard
col lengo battuto, punta d'arco
ma ben sentito
I. ricochetricochet
49
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
B14
ppp mp
mp
pppp mp
6869
gliss.
record non-transposed to delay buffer (1 echo) transpose with pattr
strum pattern sim.
molto sul tastoI.
arco
50
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
16
ppp
pppp
pp p pppp
p
p ppp
n p
70
71
delaybuffer - transposed layer [remove A string]
record off tranpose delay fade out low string with pattr
VIBRAPHONE
soft mallets l. v.
(pizz.)
pizz. arcosul tasto
pizz.
51
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
C19
mp p mf mp p ppp
p mp mf
mp pp
p
f
f p
f
p
f
mp pp
ppp mf
mf n mf p
ppp
72
7374 75
record on play delay2record off
+ second time
F9 G11
l. v.
bundlesticks (wood) l. v.
II. arco sul tasto
pizz.
arcoII.
52
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
D24
p mp mf p
p pp
fp ppp f
mp
p mf-pmf p mf-p
pp n ppp mp
mp ppp mp pp n
mp n
7677 78
79
record off
l. v.
MARIMBA soft yarn mallets
sul pont.sul tasto
senza vib.
arco sul pont. poco vib. gliss.
53
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
f
E F30
mp f
mf
p mf
mf
fp ppp
mp p pp mp p
n ppp p n mp pp
f mpf
n p ppp
mp pp
ppp mf n mp pp
ALTO FLUTE in G
80 81 gliss.82
83
84
3
2
l. v.
record gran onbuffer2 on
delay (or gran) onrecord off record delay on, trigger echoes
E1
près de la table l. v.
scrape
l. v.
l. v.
senza vib.ord.
sul pont. col legno battuto
pizz.
arco
IV.
gliss.
senza vib.
col legno battuto IV.
col legno battuto
54
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
n f mp n
G37
mp n mp p n
mp mf mf f
p
fp ppp ppp p ppp p
pp p ppp
ppp p mf pp mf ppp
pp f ppn f pp
n mp n
CLARINET in B
85 86 87 88 89
43
2
1 90
record delay on regular at first, then diffuse
record off retrigger B C motion (new env)
retrigger buffer play, retuned
B - C motion, retuning
retrigger buffer play, retuned
diffuse patterns now
près de la tablel. v.
bundlesticks (wood)
senza vib.arco ord.
poco vib. senza vib. poco vib.
arco
gliss.
gliss.
arcosul pont.
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
pp fp n
I
52
pp ppp
sfz f pp p p mf p
pp
sfz f
sffz ppp mp ppp mp
p ppp mf pp p n
p ppmf
pp p pppp ppp
ppp pp
breathy
95
6
gliss.
3vib. 2
96 97 98tap srings lightly with open palm
99
Spat reset transpose rec off retunerecord gran, play through
grains appear (dac) record off add pitches
G21slow gliss.
bundlesticks (wood)
VIBRAPHONE bundlesticks (plastic)
col legno battuto
gliss. arco sul tastosenza vib. slow gliss.
II.col legno battuto
gliss.
arcosul tasto
III. senza vib. slow gliss.l. v.
ord.I.
col legno battutopunta d'arco
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Fl.
Cl.
Guitar (sounding)
Elec.
Autoharp
Hp.
Perc.
Vln.
Vc.
Cb.
f pp f ppp
L66
n mf p mp pp mp pp
n
p mf mp mf p p
mf mpp
pmf p pp
n p f p
ppp n
103
104
1
sostentuto, molto vib.
2
1 105 106 (slower strum)
record off
distortion, record on, other strings off
remove attacks, SVP trans to DAC? stretched version in SVPlaySVPlay rampdown
record off clean, remove A
to Spat butterfly motiondouble up E string
sul pont. molto vib. gliss. ord.
arco sul tasto
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
n p f
n
O
89
mf p mp n
mf
mf pmp f ppp p pp p
f mf
sfz mp pp f
ppp mf ppp fp ppp n mp fp
p f mp pp p f ppp pp
mf ppp p n f-mp ppp fp
115 put down slide
1163
1172 118 119
4
1
record off
retrigger stacc chord,retuned and farther away
record D delay 1
polyrhythms with single delay buffer, doubling notelower envelopes than attack, halo effect
record off, delay1 to Spat 1 & 2record F and G delay 2, to Spat 3 & 4
IV. IV.near bridge
l. v.
près de la table
SOLO
MARIMBA
hard yarn mallets
sul pont.con vib.
molto sul pont. sul pont.
arco sul pont. col legno
battuto ricochetarco ord.
gliss.
ricochetarco ord. gliss.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
P99
f mp p pp
ppp p ppp n p pp pp p n
ppp p mf pp mpmf p
p f p ppp pp f mp f mf
ppp mf pp mf
f ppp ppp f ppp pp
pppn mp
120 121
122
record off +stretch
guitar to Spat 5 & 6
record all to granretune
gliss. l. v.
l. v.
SOLO
pizz. l. v.arco ord.
III. III. IV. molto sul pont.
sul tasto
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
n ff p f p f p f p ff p f n p
Poco più mosso
= 72Q106
ppp f p ff p f p f n ppp f p f p f p fp n
f
sfz p f mf mp f
mp
ff
f p
n
f
n f mf n f p f
BASS CLARINET in B
123 with pick
5 43 2 1
124
retuned, different tremolo ratesdistortion w/o attacks to delay buffers->spat
gran buffers to dac w long offset, cascade record off
l. v.
gliss.
pizz.arco con vib.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
p f p pp f p f ppf fff
141
p mf n ppp mp n f ff
f
mp f
pp mf ppp
mf pp pp mf
pp
p mf fp ff
p mf f ff
p fp f fp ff
alternate fingerings,tone color change breathy ord.
136
137
harmony expands to meet melody
+ retuned dist swirl - with gliss interpolation with matrixclean trm sound -> dist.
senza vib.
(ord.) sul pont.
senza vib.
(ord.)
sul pont.
sul pont.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
p ff f mf f
X166
f mf sffz f
mf f mf
f
fp sfz f f p
sfz f
p
sfz mf
mf
fp fp f p pp
fp fp
fp
f p f
p pp p
mf ff mf f p sfz mp
(put down slide)
148 149 inaudible
low strings resonate freely to Spat E -66, A 0, D -80
III. IV.
(pedal buzz) with palm
PITCHED GONGS soft mallet
col legno tratto
gliss.col legno
tratto
sul pont.arco
pizz. vib.
72
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
p f p f
Più vivo
= 92Y173
p sffz mf sffz mf sffz
f
f
p
sfz mf
f mf
p ppp
p f pp p n pp f
f p
ppp p f pp mp n pp f f
p
sfz p f
mp f
breathy
turn outgliss.
ord. breathy
tongue-sla p
tongue-slap
tongue-slap
150 inaudible
151
5
3
low strings resonate freely to Spat E + 33, A + 100, D - 100
stacc dist hits to gran, swirl
with palm
sul pont.arco gliss. col legno tratto
sul pont.arco IV. molto vib.
sul pont.
arco
gliss.col legno
tratto sul pont.arco
arco ord.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
fff
186
fff
f
ff fff
ff fff
mp f fff
154 molto staccato
port.
port. port.
gliss.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
Meno mosso
= 56AA BB190
n pn mp n
n p n p
n mf n
n mf n
n mf n n p n
155156
with fingersSOLO
poco rubato, con vib.
157
gliss.
158gliss.
159gliss. 160 poco vib.
161molto sostenuto,
pedal steel guitar effect
with slide
play retuned chops from gran gliss down
gran to spat, distant spinto SVPplay gliss, ramptime
triggers sfile, with delay
sfile retuned vibesisolated attacks record to SVPlay,
bowed, notor off
VIBRAPHONE
con Ped.
l. v.l. v.
con sord.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
CC204
p
n pn mp
n mp
n mp n pp f p f p n
n mp n pp f p f p n
n mp n pp f p f p
162163 164
poco vib.
165
166sostenuto 167 168
without slideinaudible
strum with flesh of fingers 169
retuned vibes sfiles
gliss. sfile vib.
ramp in tremolo sfile vibes gliss. + motor
l. v. bowed, motor at 1.5 Hz l. v.motor at 2.5 Hz l. v.
con sord.
sim.
con sord. sim.
con vib. sim.
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
ppp mf
DD213
n mf p mp n
f
ppp p ppp pp mp p
pp p ppp
n p n
ppp p n
ppp p
ppp p n ppp p n pp p pp n
pp mf
détimbré
with slide 170171
con vib.172
without slide173 174
inaudible175
plus gran envs, trem ramp vibes + gran sfileretune granremove string record to SVP, echoes to Spat
gran in, retuned
attacks on ?bowed vibes sfile, plus 2nd layer gran attaacks-removed, sent to delay buffer and Spat1
sfiles retuned vibes, Mlys strumming
IV. II.
II.sul tasto punta d'arco
sul tasto port.
punta d'arcosul tasto
(punta d'arco)
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Fl.
Cl.
Guitar (sounding)
Elec.
Mand.
Hp.
Perc.
Vln.
Vc.
Cb.
n pp f p mf pp
EE223
ppp mp n ppp mp
p ppmp
p pp
ppp ppp mp ppp ppp
mp pp p pp mp
mf pn p
n
n p f p f p mf
ppp f n pp
p pp n
176 177 178
3
1
port. 1791
2 6
+trem, sent to dela y 2 buffer playback minus low E string
trem to dacrecord distorted version to SVPlay
trem to Spat, trem+ dist no attacks to SVPlay see about buffer append mode!
I.
l. v.SUS. CYMBALS reversed mallets
I. sul pont.
I. ord. punta d'arco
sul tasto
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