wind chimes
Transcription
wind chimes
CORRESPONDANCES SHANE HOOSE A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2009 Committee: Elainie Lillios, Advisor Mikel Kuehn Elainie Lillios, Advisor ABSTRACT Correspondances, a work for soprano voice, viola, percussion, and live electronics, explores the intricate timbral relationships that are possible between the human voice, acoustic instruments, processed sounds, and realtime electroacoustic processing. A poem of the same title by Charles Baudelaire comprises the text, which appears in the original French and in the English translation. Baudelaire’s poem emphasizes themes of adventure, imagination, and the richness of nature, which allowed for exploration of a variety of musical characters. The work lasts approximately twelve minutes and contains aleatoric sections, counterpoint, and live electronics. Formally, Correspondances is one continuous movement containing an introduction, throughcomposed sections determined by the poem’s stanzas, and a closing section. The introduction contains spoken text, aleatoric elements, and a large scale crescendo. The throughcomposed section features the stanzas of text and instrumental and electroacoustic interludes. The closing section recapitulates the opening by presenting similar aleatoric elements and a largescale decrescendo ending with the vocalist whispering the final lines of text. Melodic and harmonic material is derived from synthetic scales. Melodic gestures and contrapuntal interplay emphasize specific melodic intervals including major sevenths, major sixths, tritones, and minor seconds. The soprano part features extended performance techniques including sotto voce ii techniques, whispers and speech. The percussion instrumentation includes vibraphone, bass drum, suspended cymbal, tam tam, log drum, and a mounted rainstick. Its timbral palette is enhanced through the use of soft mallets, brushes, and snare sticks. The percussionist controls the electroacoustic portion of the work with a foot pedal. Electroacoustic material is derived from various sources including percussion and environmental samples such as sounds of water, wind, and fire. Along with sound file playback, digital signal processing techniques such as delay, reverberation, and ring modulation modify the acoustic instruments in real time. All processing and sound file playback is accomplished using Cycling 74’s Max/MSP, a visually oriented, interactive, real time audio processing application. In live performance, Correspondances requires technical support in the form of four condenser microphones, an audio interface, one foot pedal, a Macintosh computer equipped with Cycling 74’s Max/MSP, and a stereo sound system. iii Program Notes Correspondances explores the intricate timbral relationships that are possible between the human voice, acoustic instruments, processed sounds, and realtime electroacoustic processing. A poem of the same title by Charles Baudelaire comprises the text, which appears in the original French and in the English translation. Baudelaire’s poem emphasizes themes of exploration, imagination, and the richness of nature. The subjects of Baudelaire’s text allowed me to explore a variety of musical characters. Correspondances1 Correspondences 2 La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles; L'homme y passe à travers des forêts de symboles Qui l'observent avec des regards familiers. Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent Il est des parfums frais comme des chairs d'enfants, Doux comme les hautbois, verts comme les prairies, — Et d'autres, corrompus, riches et triomphants, Ayant l'expansion des choses infinies, Comme l'ambre, le musc, le benjoin et l'encens, Qui chantent les transports de l'esprit et des sens. Nature is a temple, in which living pillars Sometimes utter a babble of words; Man traverses through forests of symbols That observe with knowing eyes. As prolonged echoes merge far away In a dark and profound unity, Vast as darkness and vast as light, Perfumes, sounds, and colors answer to each. There are scents as fresh as the flesh of children, Sweet as oboes, green as meadows, — And others, perverse, rich and triumphant, With the infinite expansion of infinite things, Such as amber, musk, benjoin, and incense, That chant the ecstasies of the mind and the senses. 1 2 Scarfe, Francis, ed. Baudelaire: Selected Verse.Hammondsworth: Penguin Books, 1964. Baudelaire, Charles. Correspondances. trans. S. Hoose 2008. iv v Instrumentation soprano viola percussion (vibraphone, bass drum, 18” suspended cymbal, log drum, tam tam, rain stick, USB pedal) Stage Setup Percussion Setup The following setup is suggested for the percussion instruments: suspended cymbal log drum percussion viola trap table tam tam rain stick microphone microphones isolation shield (optional) vibraphone isolation shield (optional) foot pedal soprano bass drum microphone vi General Notation Percussion Notation (continued) Gradually change from one texture or tempo to another. For instance, shift from a fast to slow articulation. !"""""The circular symbol, refers to the use of brushes. !"""""Notes should be allowed to ring unless indicated. !"""""The use of mallets, sticks, and bows is indicated in the score. !"""""The use of the bow is indicated by the word arco. . Timelapse notation is indicated by a solid line and numerical figure representing time. For example, the following represents a duration of 10 seconds. The following symbols are used in the vibraphone part. (pedal) (lift pedal) (release pedal) (dampening) 10" A hollow notehead followed by a slur indicates the approximate duration of a note. !"""""Full pedaling should be used throughout. !"""""Dampening refers to the act of silently stopping the sustain of a note by pressing the mallet head onto the appropriate bar. !"""""The motor should not be used in the vibraphone part. Electroacoustic sounds and processing are notated on the bottom staff. The type of sound is described within a box and is indicated by a solid line representing the approximate duration of the sound or process. Technical Requirements Pitched material contained in the electronics is indicated inside a box. The following items are required for the electroacoustic portion of the work: "Rattlelike" Sounds (G/ A) !"""""Four condenser microphones (cardioid, hypercardioid, or supercardioid) !"""""An audio interface containing four inputs and two outputs !"""""One USB foot pedal (for the percussionist) !"""""A Macintosh computer equipped with Cycling 74’s Max/MSP runtime (available at www.cycling74.com) !"""""A stereo sound system For detailed information on running the live electronics, see the associated readme file in the main screen of the accompanying Max/ MSP patch. Soprano Notation Special techniques used in the soprano part are defined as follows: gliss. gliss. (breathlike) (glissando) glissando (indeterminate pitch) !"""""Breathlike refers to a sound with a greater than normal amount of air. !"""""Speech and whispering are only used in conjunction with a cutaway score. Percussion Notation Unpitched percussion instruments are notated as follows: Tam Tam Bass Drum Rain Stick Log Drum Suspended Cymbal (18") Additional Notes !"""""A plexiglass isolation shield may be placed between the percussionist and vocalist to prevent unwanted microphone pickup. !"""""The assistance of a sound technician may be desirable. !"""""Rehearsal numbers correspond with the cues in the Max/MSP patch and the pedal markings in the percussion part. Rehersal/ cue numbers are designated by a boxed number. For instance, represents cue/ rehearsal number #1. 1 !"""""Performers should read from full score. Pedal CORRESPONDANCES for soprano voice, viola, percussion, and live electronics Shane Hoose text by Charles Baudelaire 1 Freely ca. 10" ca. 8" ca. 8" spoken delicately Soprano ! Viola " ! Percussion " Nature is a temple, in which living pillars sometimes utter a babble of words. Man traverses through forests of symbols, that observe with knowing eyes. mp Bass Drum, w/ wire brush ! with no perceived pulse $ # p PED. % n "Rattle-like" Sounds (G/ A) 2 ca. 9" # S. & & ' ' n ! Perc. E.A. ' slow fast slow +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, * )( * $ ( & * - . / & " Vla. ! Expressive, q=76 mf # $ mf " n & & ' & % & PED. Viola Delays Higher-Pitched Ringing Sounds (G/A) / ' 0 ' $$ ! )** 0 n 2 ' slow +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, $ )( * $ * n $ $$$ fast ' fast n Vibraphone, w/ mallets Rainstick ' 1 (( . / slow mf ' ' ' 3 2 Intimately mf ! $ S. $ La " Vla. Perc. E.A. (- na $ ! ! " . gliss - 3 )( % & tu ( - - / re 3 4( % ( ( & $ $ )( % 3 & / ' 3 & un / temp - le ( 5 - ( ( 45( & 6$ & ( ( mf ' 1 )(" (" (breath-like) est 4( gliss. ( && ("% - p )( $(% gliss. ( ( ( ( $$ ( 9 ' ' $ $$ ' ( . / - ' / n & & ' PED. % ' Viola Delays cont. / ord. +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 8 8 8 8 8 8 8 (( $ $ ( ( ( ( ( ( ( 7 n ** $ ' 0 3 & ' sul pont. sul pont. $$ $ slow & & ( 4( $ ((( ( ( ( p mf 2 ' ' $ $$ 5 3 5 ' p 2 ' fast Suspended Cymbal w/ soft mallets mf p (( - . / ' * $ ' 3 & 3 & 3 & ' Vla. Delays "Scrape-like" Metallic Sounds (G) # S. 3 ! & )( % gliss. (1 ( ( 4( où Vla. $ " &3 de gliss. vi ( ! 3 ( !& 3 " & - & 4( & / pi vant ( - 0 ' / / ' liers Lais slow 0 & & ' & & f ' n / PED. % Suspended Cymbal w/ soft mallets Rain Stick 3 / ( $ / 0 $ $ $$ p ' Vla. Delays E.A. Perc. Ring Modulation "Scrape-like" Metallic Sounds (Ab) - sent ; )( % gliss. ( : 6$ & - &" par - fois p (breath-like) gliss. (" sor tir - f &0 & / . (1 && de +,,,,,,,,,,,,,,,,,,,,,,,,,,, 5 5 4( $% ) ( & . < ( ( ( && ( 4( % & slow +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 1 . / & ( 4( ( ( ( ) * $ ( & ( ( ( fast 5 % gliss. ( ( : )( & f 3 mf Perc. 4 mf * $$ : & ' : ( & f ' : & / / ' :0 ord. ; & ' ; & ' : & ' & & ' !& ; & ' : & ' & & ' & & !& 3 mf & 5 S. ! && 4( gliss. ( - fu - p (8 (8 (8 (8 (8 (8 (8 (8 (8 (8 4( &+',,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ( & $ - . / !& con Vla. 4( 3 ses slow pa - 7 roles ' p ! & ! & 4( Vibraphone p 2 Perc. " && ( $ 3 ( (! !4(! (! ( ( ! 0 (! 4( ( mf / PED. % ' 0 = & ' = & ' =( &- ( $ mp 4( ( ( 4( ( ! ( (! ( 3 = & ( & & ' & & ' & (! 1 & 4( ( 3 $ L'hom Tam Tam, w/ soft mallets #$ $ $% p & & ' ' f ( - me ' $ *$ ' ( / 45( gliss. . (1 &: . . (1 && (% 4( ( y pas - se à tra - vers . (- &: des ' : & ' & & ' : & 0 : & ' & & ' : & ' : & ' & & ' : & f ' Soprano Delays E.A. Metallic Sounds (G) # S. 6 : ! & 6( % . gliss fo Vla. Perc. E.A. ! &: ! : #& : " & - ( )( & ( - . - & rets ' de gliss. sym "& & p (8 (8 (8 (8 (8 (8 (8 (8 (8 (8 - 0 ' &/ & ' &% & PED. 7 boles . ( 5 / mf $% Soprano Delays Perc. Ring Modulation Metallic Sounds (B) 3 / / 5$ 1 ( 4( ( ' 3 ( ( 4( (% ( ( ( 4(1 $ 3 ( . / - mf / ' ( 4( ( % ( ( ( ( 4( ( ( 4( p Suspended Cymbal w/ bow ' 0 ' ' ' ' ' ' $ 4*$ mf ( $ $$ Qui gliss. ( ( ( / 3 & )( l'ob - ser - vent gliss. Vibraphone 3 1 1 ( . ( (% a - vec 1 ( . / n ' ! ( ( ( (! ( (! mp 2 ' ' 3 5( ( ( 3 & des re - & 1 ( ( )( & gards fa - mi - ' 3 3 () ( ( ( ( 1 & ( ( ( (! ( ( 3 ( ( 3 ' & & & & & & & 4 8 7 S. Calmly ! && ( / 0 ' ' ' ' liers Vla. Perc. ' ' ! & 4* !& * ' ' & " & % / 0 ' ' mf ;( !& . qui E.A. Suspended Cymbal w/ snare sticks $ $$ 0 * $$ p ' / 3 &% / / PED. 0 / longs & )( ( )( ( & é 3 - 0 ( / ' ; & ' chos +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, ; * )( * & slow & & ' f ' de 3 & 3( & ' me ( ' p Tam-Tam w/ soft mallets $ $$ &0 & p & & ' $ *$ / ( ; & 0 f ' ; & ' Percussion Delays 4( &: ( % de gliss. loin 1 4( / 3 &/ 4( ( . (1 ( ( 4( ( ( ( ( : ( ( 4( ( % ( (% ( 3 ( ) ( ( ; ( ( "& ( ( & ! & ( % 3 fast Perc. ' ( Soprano Reverb "Wooden" Sounds (G) # Vla. ' - ( - / Processed Wind Chimes (G) E.A. S. Com " && PED. 3 (% & f ! ; !& ; " & mf 3 f 3 & & 3 se con - fon - dent $ 3 ' ' 3 5 (% ) ( ( ( 3 3 ( 45( % (% ( (% ( & ( 4 ( ( ( ( ( ( ( ( ( ( ( ( ( & ( ( ( - p mf p mf 5 rit. ' 5 ( ( ( % 5( 5( )( )( ( ( 3 3 ' $ *$ ord. f ' : & ' 3 & ' & & ' ' ' ' ' : & ' 3 & ' & & ' ' ' ' S. Reverb cont. 5 9 Ethereal, q=72 ' ! S. $ ! *$ Vla. mf : & 4( (% Dans u - 3 1 = . ) ( )( % 1 && ( ( & ( ( 4( ne : 1 & ( . / / sul tasto té - né - breu - se & & et pro - fon - de = & ' ( ( ( ( ( 4( 4( - & & 3 ' & & ' ' ' : & & & ' Vibraphone = & 0% ' / Perc. " ' : & & & ' = / &% ' 6( (! ( 4( 4( ( ( 6 ( %! ( - ( p 2 0% / PED. / 4( ( 4( . 1 && ( ( ( ' & & ' ' ' ( ( 4( ( 4( ( 6( ( . ( ( 4( &: 4( ( 4( ( ' " 0 mp 6( (! ( 4( 4( ( ( ' 3 mf ( ( )( ( - : ( (! ( ( & ( ' mf : & ' ( Viola Reverb & & ' ! S. " 4$ % Vla. E.A. 6 ( %! 5 Processed Flutes # Perc. ' con sord. Soprano reverb E.A. : & ' u - ni - té n ! ! ' ! ! " : & ' / ( (4( ( &: ( ( ( 4( ( 6( ( && 4* & 0 & mp ( ( ( ( )( ( ( ( (6( ( && ( ( 4( ( ( ( & ' & 5 Vla. Reverb cont. Processed Flutes cont. & & ' ( 4( ( (%! ' 3 mf ( - : & : & 4( ( ( ( ' ( ( ' ' ' ' ! / senza sord. (non vib.) 4( p ( $ ( ( 4( ( ( ( ( ( 4( ( ( ( ( ( 4 ( ( 4( % 3 ( )( ( ( ( & ( ( ( 1 )( ) ( & )( ( 3 3 3 ( ( ( ( & ' ' ' & : & ' ( : ( ( ( ( (4 ( & (vib.) mf 4( % : (% & : & 5 )( (' (% f pizz. " 4(1 3 5 ' & & ' & & ( ( 4( ( ( (& ( & ( % ( )( 3 ( 3 ( ( & ' & 6 ! && S. " && Vla. : & ' : & ' ! & ! & )( ( ( 4 ( (%! Perc. & " & ' 3 & ' ' & & ' % ! & 4( (% & ( ( 4( ( ( ( ( 4 ( (%) ( 6 ( ( 5 ( ( ( : 3 (( 1 & )( & )( ( 3 3 ( ( ( ( : 3 ' ' & & 5 ( 3 $% 4$ % & & )( 3 = & ' & & ' ' 5% ( ( ( ()( % 6( ( ( ( ( (% 5( : ( ( ( & 4$ (( & & - ( ( = 1 43(( (& ( 3 ( : & ' (8 ( ( ( ()( (4( = & arco mp & & = & ' ( ! )(( %% 3 mf ((!! ( : )6$$$ %%% & (( ( ' : & ( ' ( . 9)( ()( ( ( 5 p )* & * & * +,,,,,,,,,,,,,,,, ( (% ( $% mf 0 / . 1 ( p & & ' ' 2 ' Vla. Reverb cont. E.A. # ! S. &+',,,,,,,,,,, ( ( - /% ! Vla. ' ! ! Perc. ( ' 6( (! ( ( ( 4( ( 4( 3 ' Viola Reverb cont. ' ' ' " ' ( ( 4( ( 4( ( . ( ( 4( 5 0 p 4( ( 4( ( " ' / n E.A. 3 & ' 6 ( (%! 3 ' 1 ( ( 4( ( 4( ( 6( (! ( ( ( 4( ( 4( 3 ' 3 mf 6( $ mf ' ( ( 4( ( 4( ( ' ' ( 6( ( 4$ ' ( . - 3 / 0 9 ( (4( ( 5 / n 6( ( ! ( ( mf ( 3 ( 4( ( (% ( ( ( 4( ( 4( 4( 6( ( ( ( 4( 3 3 3 ' ( ( 6( ( ( f ' ( 10 ! S. 3 5 5( % 5( 4$ ( ( 4 ( ( " ( ! 4( ( ( Vla. 3 6( ( ! 4( ( 4( ! ( ! ( mp Perc. " 4( 4( ( ( ' ( (% 4( ( ( 6( $ ( ( )( ( ( 4$ 6( 3 (! ( E.A. 5 4( ( ( ( 4( 4( ( ( ( 5 3 6( * $$ f (! ( ( ' ' ' ' f > 4( ( (% & ( ( 13 / (( - Vas - te com - me la 5 (4( 5( ( 5( 4* $$ ( p (! ' fast ' $ $$ * * * * ' % / 0 ' slow ( . / - ' > & ' ' > & 0% 3 & nuit 3 & ' n 0 / 3 3 1 4( ( & (( 3 mp f PED. ' ' > & 2 ' 3 & Soprano reverb Wooden Sounds (G#) 12 11 3 !& 0 8 8 8 8 8 88888 . (1 ( ( ( 4( ( ( ( ( ( ( ( ( ( ( && 0 ! &3 ! 3 ( ( ( ( ) ( ( ( ( )( ( $ !& 3 " & S. reverb cont. 3 f ' ' 7 ' ' ' mf 3 )( & ( ( ( 0 Les par - fums sul pont. ord. +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 8 8 8 8 8 8 8 8 8 8 & )( ( ( ( ( ( ( ( ( ( $ / * )( & ' 5 Tranquilly f et com - me la clar - té Perc. ( ' # Vla. mf ' Viola Reverb E.A. S. ' 3 f ( ' Passionately, q=76 ))))))) ' accel. 7 p 7 mf ' & & ' &% & ( . / n ' PED. $ / ' 0 ' ' ' suspended cymbal w/ soft mallets * $$ * $$ p ' 3 &0 ' ; & ' : & 5( % ( 5 ( ( ( 4( ; ( ( / . )( ( (4( ( &: 4( ( ( 4( ( &: & ( 555 5 3 mf f 3 ( & / 0 / : & ' ; & ' : & 3 &% / 0 / : & ' ; & ' : & f ' : & PED. Metallic Sounds (D) Perc. Ring Modulation Viola Ring Modulation Processed Hi-Hat (Eb) 8 14 13 : !& S. mf & & )( ( )( ( ' 3 / ' 0 les cou - leurs : ! & )$$$% Vla. Perc. ! : !& " &: $ $$ & & ' & & ' &% & 1 : ( &$ (% et 1 . / ( ' les Tam Tam/ w/ snare sticks $ *$ $ $$ p / 0 ' . sons 1 . / ( f ' : & : & ' 1 & 4( ( ( &( ( 3 se : & ' p ' PED. mf / ' ' ' ' ré - pon - dent & & &0 & ' &% & PED. ' Tam Tam/ w/ soft mallets $ / : & )( ( % gliss. Il ' ' mf * f 0 ' est ( & 4( % )( ( / - & f des par - fums ' ' ' : & ' & & ' ' ' ' : & ' & & ' ' ' ' : & ' & & ' Processed Hi-Hat Metal Sounds (Eb) E.A. Viola Delays # mp 3 frais com - me des chairs ( % ) (- ( / f ' ' ' ' ' 17 (breath-like) p mf gliss = )( & Doux d'en - fants . " ( ( ( )( % ' com - me les haut - bois 1 1 ( 4( 6( % )( && 0 ( 4( % / Verts com - me les prai - ries mp . 4( &: et ' ' ' ' ' ' ' = & ' ' ' & & ' : & ! ! ' ' ' ' ' ' ' = & ' ' ' & & ' : & ' = &% & & ' : & " ' % / PED. 0 ' ' ' ' PED. / S. Reverb cont. E.A. 1 (" (" Ethereal mf ! Vla. Perc. 16 15 ! ( ( ( 4( (- ( S. Soprano Reverb Perc. Ring Modulation / 0% ' % / PED. / "Wind" Sound Processed Wind Chimes (Eb) "Wind" Sound 0 / 9 18 :( 1 !& ( ( / & )("% & : !& & & 3 S. d'au - tres Vla. (breath-like) p ' ! : !& ' 1 (" (" / cor - rum - pus / )(" (" ri - ches ' & & mf . (1 ( ( 4( ( / et 3 ' ' 0 / . 1 ( ( ' & & ' / PED. % ' "Wind" Sound cont. E.A. ' ' ' ' ( (! 4( ( 4( ( p 2 Perc. : " & ' 0 4 ( ( 4 ( (%! ( ( - ( ' ( mp 4 ( ( 4 ( (%! ( ( & & ' 4( ( : ( ( 4( ( 6( ( & . ( ( & ( & 0 ( (! 4( ( 4( ( ' : & ' tri - om - phant ' ' ' ' 5 ( (% - : & ( ' 3 mf ( mf : & (( (( - & & ' & & ( Processed Flute Sounds Viola Reverb # S. Vla. 19 & !& ' & ! & 4( ( 4( (% ( ( ( 4( ( ( ( ! & ! & )$$ Perc. E.A. ' & " & 3 (( !! f ( ' Processed Wind Chimes cont. Vla. Reverb cont. (! ( ( ( ( ( ( 4( % ( ( 4 ( ( ( )( 6( % ( ( 3 4( ( 4( 3 ( ' ( (! 5 ' ( ( ( ( ( 1 4( (% mf ( 4( % ' ( 4( 4( 3 ' 1 ( ( )( ) ( 5 5 ( $ 3 3 ( ( 4( ( 6( ( % ! 3 ' ( )* ' ( 4* : & ? $ ' : & ' : &% p ' : & )( % Intimately A )) ** 3 3 1 (( (( ( ( ' mf 1 ( ( - yant 1 . &3 @( p 3 & ' PED. 3 & / Soprano Reverb / 3 & 10 3 ! & )( S. / ( ( ( l'ex - pan - si - on ! &3 Vla. . (1 &= )( % des - $ ses nie in - fi - = & ' ! 3 !& cho 1 ( ( 4( & & / . # mp ! 0 S. ! ( Vla. E.A. ( ' 1 && ( ( 0 ( (! ( 4( ( 4( ( . 4 ( ( 4 ( (% ! ( 5 2 ' & & ' - me $ ( ( ( 4( p mp 1 ( ( ( ' ( ( l'am )( - / bre $ ( (! ( 4( ( 4( ( 4( ( $ le musc ( ( ( ( 4( ( )( 3 3 (% 4( ( 4( ( ' 1 ( ( ' S. Reverb cont. E.A. Perc. = & ' ' p Perc. 3 " & ' mp Com ' = &' ' & & ! ! ( " ( ( le ben )$ ( (4( ( ( 4( ( 5 4( ( ' ( (! ( )( - join / 8 8 8 8 ( ( ( ((( (( mf ( 3 ( 3 4 ( ( 4 ( (% ! ( ' rit. 1 . ( ( et " ( ( ( - ( l'en - ( cens 0 = & pushing forward, q=80 & & ' 3 +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 3 (% $ ( ( (% ( $ ) ( = ( 1 !( ( ( ( & ( ( (5 5( ( ( 4( ( 4( ( % 3 )( ( 3( = ( ( (1 & 4 * % * 3 ** %%% ( = ' ' & ( 4( ( ( && ( ( ' (% ( ( (4( ( ( ( 3 1 (% ( 5 5( 3 & ' 1 )( ( ( 3 & 5( & & ' ' 3 & & & ' ' 3 & S. Vla. 3 !& ! 3 !& 3 " & f Qui chan - tent 3 ( &$ & $ 3 mf Perc. & ( 4( ( . . ( ( % )(1 / . (1 3 ( % ( ( / . (1 & ( %gliss. 4(- $ & & & mf ' 3 ! & $% 1 (%)( ( ( ( ( ( 2 ( ( 4( ( 4( ( 3 (. / - de 5 4( & ((( & ' l'é - sprit 3 & ' n ' ' ' ' 5 5 4$ % . ( (4( ( &: ( ( ( 4( (% ( ( 0 &0 & / . 1 ( 4( ( 4( ( ( 4 ( (! ( ' 3 & ' &% / & PED. ' 0 2 4( ' ' & & ' 5 mp Vibraphone ' : & ' sens & & ' 3 & des et p p & & ' les trans - sports E.A. ( 4( ( (% 3 mf ( : (%! )( ( - & ) (- ( ( : & ' & & ' ( )(( %% ( 3 1 (( ( && 4 ( (! ( ' & & Ringing Sounds # S. & !& ' Vla. & !& ' ! & !& Perc. & " & E.A. 11 20 Calmly, q=76 rit. 4( ( 4( ( ( ' : & ' 0 4( ( ( 4( ( / ( 4( ( (% ! ' & & ' ' ( ( )( ( ( (4( ( &: ( ( ( 4( ( ( 4( && mp ( ( : & : & 4( 3 3 mf ( 4( ( ( ' 4( $ & & & & 3 (( ( : & ' ' ' : & ' ' ' 6( )( ( 4( ( (( ( ( ( (( : ( )( ( ( ( )( 6 ( ( (% ( ( & (( 4( ( ( ( ( 6( 3 3 ' ( : & ' ( 3 ( 3 ( ' ' 0 3 . 4( ( ( ( ( 3 p 1 ( %! 4 (1 (! ( ( (! ( (! 4 ( %! 4 ( ( ( ( ' ' 4( ( 12 ' ! S. ! $ Vla. ( )( ( Perc. mf " ( $ ( (4( mf ( ( ( ' ((( ( * 7 mp ! ! $ 4$ ' ' ( ( ( 3 (! ( ! 4* 4( ( ( ' 3 & ' ) ( ) ( )( 7 )( ( ( % (4( $ (( 3 3 mp ' & & ' ; & ' & & ' ' 3 +,,,,,,,,,,,,,, ( 4( ( (4( ( ( ( 6(4( 4( ( ( 3 3 ( ( ( 4 ( & 1 ( ; & ( ( 1 & 4$ % ( (% ( ( 4( ( ( ( ( !( & & ( ( ( ( ( ( 5 ( mf 5 5 mp 3 ( ( ( & 4$ 3 3 p ' 3 & ' & & ' ; & ' & & ' ' 3 & ' & & ' ; & ' & & ' E.A. # S. Vla. ! ' ! 6$ ( ( ( 5( ! ! ' 3 ' +,,,,,,,,,,,,,,,, 6* ( $ E.A. ' ( . / - p ' Perc. " ' ' 0 ; & ; & rit. ' & & ' & & ( ( )( 3 ( ( ;& (( 4( ( ( ( ( (( 5 mp 2 ( ; ' ' & & & Ethereal, q=72 ' ' * ( ( ( ( ( (8 (8 (8 $ p mp ( ( ( $ $ mf & & ' ' ( 3 3 ( ' ( (((( ' )( * $ 5 mf 4 (( %% 4* * ( ' ( ' . / " n 4$ $ 4(( $$ - ( - ( )$ $ ' ( $ $ ( p 4( ( ( ( )( ( 6 ( 4( ' ( 21 " Vla. Perc. ' = &0 ' ! )(% ! (% ( ( ( )( = & )$! (- ( 4( ( ( ' f " = & ' ! S. 3 ( = & p )( mf ) ( ( ) ( 6 ( ( 5( 5( ( ( 3 5 * * f ' E.A. Freely spoken delicately : & ' : (% & slow +,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, * * $ ( ( ( % 5( & )* ( - . / ( & : & ' & & ' & & : & & & 13 15" ' ' ' ' fast ff There are scents as fresh and cool as the flesh of children, sweet as oboes, green as meadows; and others, perverse, rich, and triumphant, mp p ' % / 0 PED. ' ' ' ' ' ' Rattle Sounds # 10" 15" whisper softly with the infinite expansion of infinite things— such as amber, musk, benjoin, and incense, that chant the ecstasies of the mind and senses. S. " Vla. Perc. E.A. ! ! " Bass Drum, w/ wire brush no !with perceived pulse $ p Rattle Sounds cont. n