Boston University
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Theses & Dissertations Boston University Theses & Dissertations
2017
Fort/ Da for ensemble
https://hdl.handle.net/2144/23361BOSTON UNIVERSITY COLLEGE OF FINE ARTS
Dissertation
FORT/ DA FOR ENSEMBLE
by
LUCIANO DE SOUZA LEITE BARBOSA
B.M., Universidade Federal do Estado do Rio de Janeiro, 2009
Submitted in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts 2017
© 2017 by
LUCIANO DE SOUZA LEITE BARBOSA All rights reserved
Approved by
First Reader
Joshua Fineberg, D.M.A.
Professor of Music, Composition and Theory
Second Reader
Martin Amlin, D.M.A.
Professor of Music; Chair of Composition and Theory Department
Third Reader
Ketty Nez, Ph.D.
DEDICATION
ACKNOWLEDGMENTS
I would like to deeply thank Prof. Joshua Fineberg for his patience, dedication and incredibly thoughtful composition lessons during my seven years of studies at Boston University. I would like to thank Prof. Martin Amlin for his support and passionate teachings, and to Prof. Ketty Nez for her encouragement and insightful feedbacks. Additionally, I would like to extend this acknowledgment to the faculty at the School of Music, and the innumerous guest composers and performers who contributed to a very inspiring environment for the study of music. Others that have helped me during the process of this work are Jeffrey Means and the musicians from Sound Icon, with their excellent performance of Fort/ Da. Finally, this work would not have been at all possible without the support of my grandmother Maria Graziela, my parents Luciano and Maria Luiza, my siblings Renato and Fernanda, and my partner Lara.
FORT/ DA FOR ENSEMBLE
LUCIANO DE SOUZA LEITE BARBOSA
Boston University College of Fine Arts, 2017
Major Professor: Joshua Fineberg, D.M.A., Professor of Music, Composition and Theory
ABSTRACT
The present work consists of a composition for ensemble, Fort/ Da, and a theoretical paper that will provide insights on some of the ideas contained in the music. This work is therefore divided in three sections: concepts and materials, analysis, and the score of Fort/Da. The first chapter presents a reflection on the aesthetics behind the piece, in order to provide an overview of the techniques used in the composition. Among them, the concept of formal process and instrumental synthesis elaborated by Gérard Grisey, and the notion of complex sounds from Tristan Murail are discussed. The second part presents an analysis of the piece, which will consist on a detailed commentary on the music and its elements. The third part of the work is the score of Fort/Da.
TABLE OF CONTENTS DEDICATION ... iv ACKNOWLEDGMENTS ... v ABSTRACT ... vi
TABLE OF CONTENTS ... vii
LIST OF TABLES ... ix
LIST OF FIGURES ... x
CHAPTER ONE: Concepts and Materials ... 1
The Didgeridoo Sound ... 2
Continuity and Formal Process ... 5
The State Between the "Sonic Object" and the "Sound Mass" ... 8
Instrumental Synthesis ... 11
CHAPTER TWO: Analysis ... 17
Part One, First Section ... 18
Second Section ... 21
Third Section ... 22
Part Two, First Section ... 23
Second Section ... 24
Part Three ... 27
SCORE COVER AND INSTRUCTIONS ... 34
SCORE ... 40
BIBLIOGRAPHY ... 97
VITA ... 99
LIST OF TABLES
Table 1. Table of objects and their transformation throughout the piece. The “end state”
LIST OF FIGURES
Figure 1. Sonogram analysis of a didgeridoo sound on IRCAM’s software
AudioSculpt. 3
Figure 2. The use of the harmonics glissando in the violin, viola and cello
(m. 199-201). 4
Figure 3. Example of the “metallic drops object” on the percussion and piano
(m.42–47). 8
Figure 4. Example of the clarinet solo, the “didgeridoo object” (m.13–17). 10
Figure 5. The “saw object” in Resina, for string quartet (m.7–8). 12
Figure 6. Another version of the “saw object” in Resina, in a less harmonic version
(m.93–95). 13
Figure 7. Chord sequence analysis of the didgeridoo on AudioSculpt. 19
Figure 8. Chord sequence analysis extracted from the sonogram above. The chords
correspond with the beginning of the section until half of second 5. 20
Figure 9. First accumulation of the piano and percussion (m.22). 21
Figure 10. Oscillations around G on the double bass and cello (m.26–29). 22
Figure 11. Bass clarinet half step figuration, with the baritone sax doubling the C
(m.98–101). 24
Figure 12. Longer figuration on the “metallic drops object,” on the percussion
(m.110–113). 25
Figure 13. The “metallic drops object” on its densest version (m.128–129). 26
Figure 14. The alto flute solo (m.147–150). 27
Figure 15. The “welding object” on the strings (violin, viola, cello and double bass),
CHAPTER ONE Concepts and Materials
Fort/ Da1 is a piece for ensemble, inspired by the sound of the Australian instrument didgeridoo. The idea of this work was to create a low, deep, and very
continuous sound that had aspects of the didgeridoo, but that had its own life and identity at the same time. The intention was to work with the sound of an instrument that is not part of the ensemble, to fuse the instruments as much as possible in order to evoke the didgeridoo and its unique timbre. This idea and the techniques used in the composition of
the piece are derived from the “instrumental synthesis technique”2, a term coined by
Gérard Grisey to describe a process in which the orchestra “synthesizes” a sound. This process itself was inspired by the sound synthesis experiments, which were rapidly
developing during the first decades of the second half of the twentieth century3, as well as
the work Stimmung by Karlheinz Stockhausen4.
The piece therefore consists of a low drone that is gradually affected by a very bright percussive metallic object, performed on the piano and the percussion. The idea is
1 The term “Fort/ Da” was coined by Sigmund Freud in his book Beyond the Pleasure Principle. The
term refers to a childhood game in which the child throws an object away from his sight and then “finds” it, repeating the game compulsively. The word “Fort” (gone away) and “Da” (there) relate to vocal noises that the little boy would speak as it played with the object. Freud believed that through the repetition of this game the child would master the anxiety caused by the absence of the object. Regarding the piece, the “Fort/ Da” concept is borrowed from Freud’s theory to reflect on the idea of representation of an object, as well as the presence and absence of the didgeridoo in the ensemble. Sigmund Freud, C. J. M. Hubback, and Ernest Ed Jones, Beyond the pleasure principle (London: The International Psycho-Analytical Press, 1922), 11–16.
2 Gérard Grisey, “A propos de la Synthèse Instrumentale,” In Ecrits, ou, L’invention de la Musique Spectrale, ed. Guy Lelong (Paris: MF éditions, 2008), 35-37.
3 Paul Griffiths. Modern music and after. New York: Oxford University Press, 2010, p. 334. 4 Richard Toop, "Stockhausen, Karlheinz," Grove Music Online, Oxford Music Online (Oxford
University Press), accessed April 30, 2017,
to distort the didgeridoo sound as the metallic object repeats and intensifies, until the maximum tension of the didgeridoo is reached, followed by its dissolution. The end of the piece consists on a contrasting section, in which a very noisy and loud texture gradually reconstructs the didgeridoo. The choice of the didgeridoo sound is due to its powerful timbre and its very low register. The continuity of the sound was also an important characteristic of the didgeridoo “gesture,” since the instrument is strongly associated with the circular breathing technique. Aspects of its social and historical background, although extremely important, are beyond the scope of this work.
The Didgeridoo Sound
In the preliminary stages of the composition of Fort/ Da I analyzed several samples of didgeridoo sounds with the aid of the IRCAM software AudioSculpt. Unlike my previous experiences working with sound analysis, the goal was purely to understand the sound and its properties, to use it as a model for a sonic object that represents the Australian instrument. In the piece, there are two ways of representation of the
didgeridoo; a “poetic” one, which captures aspects of the sound and transforms it into a new object; and a “realistic” one, which is a more faithfully rendered version of the instrument. The intention of these two approaches was to explore more and less evocative versions of the instrument. The following figure (fig. 1) presents one of the samples analyzed, where it is possible to see the energy of the higher partials increasing between seconds 3 and 5, creating the “glissando” effect that is commonly heard on the
Figure 1. Sonogram analysis of a didgeridoo sound on IRCAM’s software AudioSculpt.
The strongest energy is perceived at the fundamental level, which oscillates between 34 and 35 Hz (D2 and C sharp2). The second one being the octave, which is constantly strong throughout the sample, and is around 146 Hz. Between seconds 5 and 7, it is possible to see the vibrato effect, adding transient attacks to the sound, and creating a jagged shape on the sonogram. The comparison of different versions of the instrument provided an average of its spectral behavior, which inspired the main features of the “didgeridoo object.” In analyzing the samples, we can observe the curve of energy in the higher harmonic partials, as well as the density in the high register, a phenomenon that results from the mouth position filtering of the harmonic content.
For the composition of the first part of the piece, which attempts to represent the
“aura” of the didgeridoo5, fewer features of the original instrument were used. Among
5 The term “aura” is defined by Walter Benjamin to explain the essence of the work of art. In the case
of the piece, the didgeridoo is not exactly represented, but its essential features evoke the actual instrument.
them is the low register, the microtonal oscillations of the fundamental, the octave doubling, and the wide vibrato. For the later representation of the instrument, the main difference is that the glissando resulting from the movement of the partials is also included in the sound, blending with the bass clarinet, which is itself more rich in harmonics due to a variation of the embouchure position, as well as the lip pressure on the reed.
Figure 2. The use of the harmonics glissando in the violin, viola and cello (m.199–201).
The figure above represents the interior of the didgeridoo sound, with the
harmonics in the strings simulating the movement of the partials from the original sound. Differences in extended techniques of the strings create a variety of colors in the higher register, simulating the richness of the original instrument. The depth of the low register is emphasized by the tam-tam in combination with the pianist tapping the lower strings
Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” In Aesthetics: A
inside the piano. Alto flute air sounds were also used in the texture in order to add a higher layer of noise to the didgeridoo sound. The complete fusion of the instruments with the bass clarinet sound becomes absolutely necessary for the didgeridoo effect to come across.
Continuity and Formal Process
Gerard Grisey’s approach to music composition has inspired my recent work and its influence is significantly present in the piece Fort/ Da. The idea that sounds are not fixed objects, that are permutable among themselves and with other objects, have strongly transformed the way I approach composition and even listening itself. For Grisey, sound is a force oriented in time. These are mobile forces, in the same manner as a living cell, which have a birth, a life, and a death. According to the French composer, sounds are energy in continuous transformation.
Furthermore, the composer explains his approach to composition as being the
process of mutation of one sound into another sound6. His material is extracted from the
“becoming of sounds”, i.e. from the macro structure, rather than having the form of his music defined by the development of motivic cells and small structures. The composer also explains that the idea of process is central for his work, and this process is what generates the transformations of the musical tissue.
Since I became acquainted with Grisey’s music and ideas in composition, his approach became strongly influential in my work. Following a similar route, the
6 Gérard Grisey, “Devenir du Son,” In Ecrits, ou, L’invention de la Musique Spectrale, ed. Guy
conception of Fort/ Da started from the macro structure, the overall form, i.e. from the general idea to the specific. The elaboration of the large form is at the very center of this work. During the first stages of composition of this piece, I concentrated on the larger movement of energy, on the transformation of the musical substance, and then arrived at the materials. The “objects” and materials in the piece were defined as the large form was clarified. In his text Devenir du Son, Grisey explains that in his music, the sound is never
considered on its own, but in reference to its past and in relationship with its future7. For
him, the material doesn’t exist in an autonomous form, but is in a perpetual state of mutation. The sound, therefore, can only be understood when placed in its temporal context.
In my compositional method, I am interested in the network of elements in the context of a larger form. In my work, I “discover” the specificities of a piece, the material, and the nuances of the sound as I compose the larger picture, the shape of the work. In my piece Música Longínqua, the idea for the general form was the expansion and compression of a descending line. From this departure idea, I elaborated a
descending line performed by the clarinet and the soprano, and how the expansion would happen, as well as the compression process. Similarly, in Fort/ Da, the initial idea was to have a low didgeridoo sound that would be deconstructed by “drops” of metallic sounds and reconstructed in the end. From this idea, I was able to explore the details of how this deconstruction process would take place, arriving also at the nuances of the didgeridoo. In addition, another challenge in the piece was to establish the timing of the distortion/
deconstruction of the “didgeridoo object.” The distortion effect is inspired by the idea of harmonicity and inharmonicity defined by Tristan Murail.
Thus, there are three main processes in the piece:
Object Initial state End state Measures
Didgeridoo Object Harmonicity Inharmonicity m.2–128
Metallic Drops Object Sparseness Accumulation m.6–128
Welding Object Inharmonicity Harmonicity m.176–195
Table 1. table of objects and their transformation throughout the piece. The “end state” refers to the point of greater contrast.
Following the table above, it is possible to see how the processes in the piece relate to each other. The “didgeridoo object” and the “metallic drops object” (fig. 3) happen in parallel, and the didgeridoo is affected by the accumulation of the drops. As the “drops” accumulate throughout the piece, the harmony of the “didgeridoo” moves towards inharmonicity and greater density. The “welding object,” on the other hand, is independent from the other processes and, although it has the opposite direction of the didgeridoo object, it is completely different from the other two. This process is shorter and its transformation is less gradual, bringing the didgeridoo sound out of a mass of noises, and therefore reconstructing the first object of the piece.
In the context of my work, this piece is a further step in the development of a sonic continuum, a state of the sound in which the transformations are gradual, and in which sounds are in constant interaction. In the late 1970s, Gérard Grisey described the
continuous sound as being part of the beginning of a “new era” that integrates all sounds, and in which form is derived from the relationships between them.
Figure 3. Example of the “metallic drops object” on the percussion and piano (m.42–47).
The State Between the “Sonic Object” and the “Sound Mass”
On his article The Revolution of Complex Sounds, Tristan Murail discusses how the use of tools such as spectrograms, digital recording, synthesis and the enrichment of
the material of sound itself have led composers, throughout the twentieth century, to profoundly rethink the compositional act. The opening to a “complex” world of sounds, influenced by electroacoustic music, had changed traditional listening as well, allowing composers to explore a new sense of time, in addition to subtleties of sounds and colors that were not taken into account previously. Furthermore, Murail explains how the attitude towards music composition is shifted with the notion of complex sound:
Rather than describe a sound by describing its ‘parameters’ (timbre, register, volume, duration), it is more realistic, more in keeping with physical reality and perception, to consider a sound as a field of forces, each force pursuing its own particular evolution. Such an approach empowers us to work more precisely upon sounds, to perfect instrumental techniques in the context of an understanding of sonic phenomena. It allows us also to develop a compositional technique based on the analysis of sounds, and to make of their internal forces a starting point for the
composer’s task8.
The influence of electroacoustic music has affected the compositional technique as a whole. The development of tape music allowed composers to work with continuums and sound masses, as in the iconic work Atmosphères, by György Ligeti. According to Murail, the approach to masses of sound replaced the traditional thinking of lines and counterpoint, opening the possibility for composers to “sculpt” the sonic material, in an approach similar to the technique of sound synthesis.
Considering Tristan Murail’s concept of complex sounds, the piece Fort/ Da works with an idea that is in between the “sonic object” and the “sound mass.” There are
8 Tristan Murail, "The Revolution of Complex Sounds," Contemporary Music Review 24, no. 2–3
three main “objects” in the piece, that behave in accordance with some specific principles that unite them, such as the “metallic drops object.” However, these objects are sustained for long periods of time, behaving in the manner of a “mass”. The main sonic object in the piece being the “didgeridoo object,” which is presented mainly in two versions throughout the piece. For the most part of the piece the representation is subtle, as only a few aspects of the Australian instrument are featured.
Figure 4. Example of the clarinet solo, the “didgeridoo object” (m.13–17).
In contrast with the “didgeridoo object,” the “metallic drops object” is performed most of the time by a combination of percussion and piano. This object is very bright, and initially performed very quietly, but performed very loudly later in the piece. It sharply contrasts with the didgeridoo, due to its sparseness and unpredictability. These “drops” are made by a combination of crotales, vibraphone, and glockenspiel timbres, with occasional addition of triangle and almglocken. This object is then accelerated, achieving moments of dense accumulation, in which the piano and percussion blend in a very bright texture.
The “welding object” is only present in the last section of the piece, and it is characterized by a complex juxtaposition of noises that together simulate a welding machine sound. This object is very loud and sudden, and it is preceded by a very quiet
noise performed on the strings “on the bridge” and with the strings blocked9.
Instrumental Synthesis
One of the most important aspects of my compositional work is the use of the instrumental synthesis technique. In previous pieces, I have worked with this approach and reconstructed sounds from wood saws, voices, and musical instruments such as cymbals and tam-tams.
During the 1970s spectral composers have become interested in the interior of
sounds, influenced by research in acoustics10, as well as electronic music and its interest
in music perception11. For Grisey, the electronic music allowed the listening act to
concentrate on the “microscopic” level of the sound, which contrasted with the approach of the music of the previous centuries, described by the composer as macroscopic. The discovery of this new “field” of the microscopic sound, still unexplored, has reshaped music perception and proposed new possibilities of musical form. Therefore, according to Grisey, the electronic synthesis of sound and the instrumental synthesis of sounds were the paths to the exploration of the newly discovered sound universe. The instrumental synthesis concept consists on having each instrument recreating a different component of the internal structure of the sound, and unlike the electronic synthesis, each atom of the synthesis is already a complex sound with its own internal structure. Thus, instrumental
9 The effect of blocking the strings with the left hand results in a similar effect as performing “on the
bridge,” but with more pitched sound.
10 Gérard Grisey, “A Propos de la Synthèse Instrumentale,” In Ecrits, ou, L’invention de la Musique Spectrale, ed. Guy Lelong (Paris: MF éditions, 2008), 35.
synthesis became to Grisey a macro-synthesis, which aims for the elaboration of sound
forms12.
This approach to the internal structure of the sounds became important in my work as I first learned the softwares OpenMusic and AudioSculpt, developed at IRCAM, in addition to learning about the works by Grisey, Murail and Hugues Dufourt, as well as works of other composers influenced by the spectral school. In my piece Resina, for instance (fig. 5 and 6), I analyzed the sound of wood saws and recreated it with a string quartet. With this approach, my intention was to work with different degrees of
representation of the wood saws, varying the colors, the energy, the amount of noise, until present it only with noise, in a more realistic approach to the object being
represented. The idea was to use the sound analysis and the understanding of the internal components of the sound to recreate a sound that had features in common with the target sound, but that not necessarily reproduced it realistically.
Figure 5. The “saw object” in Resina, for string quartet (m.7–8).
Figure 6. Another version of the “saw object” in Resina, in a less harmonic version (m.93– 95).
Another piece that explores a similar concept is Still-life, which I wrote in 2016. This is a piece for solo harp, and therefore the idea of orchestral synthesis is only remotely linked to how the piece is conceived. The piece is inspired by the sound, and also by the timing and movement, of the wind chimes. In this case, it would be
impractical to work with sound analysis, therefore the target sound is only analyzed aurally.
In Fort/ Da the question of instrumental synthesis is present, even though the relationship between sound analysis and representation has taken even more poetic freedom. The use of sound analysis has only informed the content of the sound, which is not perfectly represented in the music. Instead, aspects of the sound were observed and recreated in the music, preserving a relationship with the target sound. However,
spectral music works, the idea of having a sound target and the reproduction of this sound with the ensemble is at the center of the work.
Moreover, the notion of instrumental synthesis in Fort/ Da is affected by influences of other aesthetic movements that have emerged in the contemporary music scene during the first decade of the twenty first century. The last section of the piece, specifically, is influenced by the aesthetics of the saturationnistes composers, active mostly in France. The saturationisme movement has initially begun as an extension of
synthesis and “extrapolation,”13 but quickly gaining autonomy as an attitude towards the
exploration of the unknown territory of the saturated sound. Inspired by the inharmonic sounds from both the spectral composers and from the concept of musique concrète
instrumentale from Helmut Lachenmann, the composers Franck Bedrossian, Raphaël
Cendo, and Yann Robin have focused on the use of noise and the energy of the sound as
material for composition14.
The impact of this movement in the composition Fort/ Da is clear in the last section of the piece, specifically in the “welding object”. This object is a composite of several smaller noisy objects, and it is highly saturated and distorted. The approach of assembling smaller parts together into a larger whole is done in a similar way as the instrumental synthesis. The idea was to recreate the sound of a welding machine, which itself is made of smaller parts. The role of this object is to contrast with the first part of
13 Pierre Rigaudière, "La saturation, Métaphore pour la Composition?," Circuit: Musiques contemporaines 24, no. 3 (2014): 48.
14 According to the author Pierre Rigaudière, the term “Saturation” was first mentioned to describe
this style that unites the three French composers during a colloquium organized by the CDMC in Paris, an event that had Franck Bedrossian and Raphaël Cendo as speakers.
the piece, in which sounds are highly harmonic, or periodic.
A similar notion to instrumental synthesis is the idea of musical model, mentioned by Tristan Murail in his 1992 Villeneuve-lès-Avignon conference at the Centre Acanthes. According to Murail, the interior of the sound is approached as a model for
composition15. As an example, Murail describes his piece Gondwana, in which the sound
of bells has been a model for the construction of harmonies derived from inharmonic partials. In addition, Murail mentions the piece Mortuous Plango, Vivos Voco for tape, by composer Jonathan Harvey. In this piece the analysis of the bell sounds served as a model for the form of the piece as well, with pitches selected from the analysis having a
structural role in the architecture of the piece. In writing with a model, the composer is able to accurately extract the spectra of a sound and use it as a structure for the form or the harmonic material, among other possibilities.
Regarding the use of the musical model, the musicologist Philippe Lallite explains the difference between two possible approaches to modeling in his analysis of Tristan Murail’s L’eprit des Dunes: the “scientific model” and the “poetic model.” The former is the one which aims to adapt an extreme complex phenomenon into a practical version of that phenomenon, whereas the latter serves to stimulate the imagination and is
approached freely. According to Lallite, the poetic model has connections with the
allegorical and the metaphorical16. Thus, this concept was particularly important in Fort/
Da, as it frames the use of musical modeling as merely a departure for a compositional
15 Tristan Murail. "Villeneuve-lès-Avignon Conferences, Centre Acanthes, 9–11 and 13 July 1992." Contemporary Music Review 24, no. 2–3 (2005), p. 199–200.
16 Philippe Lalitte, "Le Spectre d’une Voix. Une Analyse de L’Esprit des Dunes," In Tristan Murail,
idea.
The possibility of working with instrumental synthesis has opened the doors for a different approach that I have explored in my work, which is the relationship between metaphor and music. The possibility of recreating a sound allowed me to explore the recognition of sounds by the listener and to use sounds as representation of other sounds. As a composer, I am interested in the evocative aspect of music, in how a sound can be evocative of other sounds, poetic images, and natural phenomena. I have always been intrigued by how poets explore words, images, symbols, and multiple meanings, and wanted to be able to express the same poetics in my music.
CHAPTER TWO Analysis
Fort/ Da is a very continuous piece and to divide it into sections may contradict
its fluent nature. However, there are certainly landmarks and phrases that help organizing the events on the piece as well as providing arrivals and departures, which aid the listener throughout the journey of the piece. This analysis will use these points as a reference, although they may not be a rule to the understanding of the music.
Following the thoughts of Gérard Grisey, the piece works with the idea of process, which is the gradual unfolding of elements in a piece. Grisey described this
attitude towards composition in his essay Devenir du Son17. In his text, Grisey talks about
the transformation between states of a sound, in a technique similar to morphing. According to Joshua Fineberg, the piece Gondwana by Tristan Murail is an example of process as a formal concept, as the piece transitions from a bell sound, instrumentally
synthesized, to a brass sound18. In Fort/ Da, the idea of process is what guided the
development of materials and unfolding of the music, as the objects gradually evolve towards different states. Thus, there are three main processes in the piece:
1- the distortion process of the “didgeridoo object;”
2- the accumulation process on the “metallic drops object;”
17 Gérard Grisey, “Devenir du son,” In Ecrits, ou, L’invention de la Musique Spectrale, ed. Guy
Lelong (Paris: MF éditions, 2008), 27.
18 Joshua Fineberg, "Guide to the Basic Concepts and Techniques of Spectral Music," Contemporary Music Review 19, no. 2 (2000): 107.
3- the reconstruction process in the end, in which a bass clarinet sound is built by the “welding object.”
Generally, the form of the piece consists of a single section, divided in two main parts, followed by a much shorter final section, or coda. The first section consists of mainly a low drone, which oscillates harmonically. This drone is affected by a high object on the percussion and piano, which starts as sparse “metallic drops,” and accumulates into denser figurations on both instruments. Gradually, the density of the “drops” start to provoke a distortion on the low drone, which slowly ascends. The “metallic drops object” then accumulate into a mass of metallic sounds at m.128, where the low drone splits into a dense chord, the maximum tension of the “didgeridoo object,” and then dissolves into an alto flute melody. The “metallic drops” finally slow down until complete suspension at m.172. The final section is made of sudden bursts of noise that emerge and fade, and that reconstructs the “didgeridoo object” at the end of the piece.
Part One First Section
The piece starts with air sounds in the flute and harmonic glissandos with the wood of the bow on the violin, arriving at a bass clarinet attack that is linked to a sustained sound. This simple gesture simulates the initial attack and sustain of a didgeridoo, with a little air before the first attack simulating the air of the player. The double bass immediately follows the bass clarinet, first by entering in unison with it and then by bending a quarter tone higher, simulating the microtonal oscillations that are
present in the didgeridoo sonogram analysis. Immediately after, the cello fuses with the double bass and the bass clarinet, adding more depth to the sound. The percussion also takes part in the first measures of the piece and adds a higher sustain with the temple bowl, and immediately after a first “drop” of crotales, which later will become an object in contrast to the didgeridoo object.
The indication “(w/bcl)”19 is recurrent in the piece and is one of the most
important aspects of it. It means that instruments should blend with each other as much as possible when indicated, even if for a brief moment. The idea is to clarify the fusion of the instruments and to help players hear each other when playing in unison. Microtonal deviations often follow the indication, creating subtle beatings between pitches.
Figure 7. Chord sequence analysis of the didgeridoo on IRCAM’s software AudioSculpt.
19 The sign “(w/bcl)” means “with bass clarinet” and it is used in the piece to indicate that instruments
Figure 8. Example of an OpenMusic chord sequence analysis extracted from the sonogram seen in Figure 7. The chords correspond with the beginning of the analysis until half of second 5.
Through the sound analysis and chord sequence analysis displayed at figures 7 and 8 it is possible to see the microtonal movement of the fundamental (oscillating between D and C sharp), as well as the movement of the partials. The piece adapts the microtonal movement found in the sonogram analysis by exploring small quarter tone deviations.
In m. 13, the clarinet interrupts the texture to present a short solo on its lowest Bb in which features of the didgeridoo are evoked, such as the movement of the lips along the reed, and which alters the timbre of the instrument and imitates the movement of partials on the Australian instrument. Another feature that is used here is vibrato, which is also repeated in the double bass on m.20.
A few measures further, at m.22 we have the first piano and percussion accumulation. Throughout the piece, the percussion and piano sections are contrasted with the lower and continuous textures of strings and woodwinds, and as a result, these
instruments play very sparse and metallic objects that accumulate into longer and denser textures. This is exemplified by figure 9.
Figure 9. First accumulation of the “metallic drops object,” performed by the piano and percussion (m.22).
Second Section
The next measure, m.23, sets the start of the second section of the first part. This moment maintains the same atmosphere of the first part of the piece, but is characterized
by an alternation between the cello, the bass clarinet, and the double bass, which are oscillating around G, as observed in figure 10.
Figure 10. Oscillations around G on the double bass and cello (m.26–29).
The result of this effect is a very “muddy” texture, low in register and unstable in pitch. The viola and the trombone add to the muddiness of the section playing oscillations around E, adding “inharmonic partials” to the fundamental G. High sustained harmonics in the violin add higher sounds to the texture, as these partials prolong the resonance of the piano and percussion “drops.”
The pitch oscillation shifts to F and F sharp in the next measures, and at m.33 is the start of a subtle accelerando that leads to another percussion and piano accumulation. This accumulation, which happens at m.38, is followed by a codetta on the cello, viola, and double bass, with doublings of the baritone sax, accompanied by the fragile drops of the crotales, piano, glockenspiel, and vibraphone.
Third Section
This section starts with an E three-quarters flat double bass attack, immediately followed by the cello at the same pitch. At m.45 the bass clarinet attempts a second solo
that recalls the one from m.13–18. Nevertheless, this time the bass clarinet is in the middle of a much more complex network of microtonal oscillations, and barely stands out as a solo, but at the same time adds a significant energy to the passage, liking this section with the beginning of the piece.
After the brief solo, the piece starts to accelerate again, at m.57. The accelerando also includes a network of pitch oscillation, in addition to more activity on the piano and percussion “drops,” and drives the harmonic movement to another accumulation at m.63. This time the baritone sax player and the trombone player perform percussion
instruments (triangle and temple bowl, respectively), adding more volume to the bright texture of the “metallic drops object.”
Part Two First Section
M.65 starts the second part of the piece. Following the cyclical character of the didgeridoo instrument, this section brings back the very beginning of the composition, with a similar instrumentation. The clarinet plays an E, instead of the initial E flat, and is soon joined by the double bass in unison. The percussion brings back the temple bowl, in the same way as at the beginning, with the function of adding a high and very subtle sustain to the low register of the double bass and bass clarinet. From this section onward, the harmony will start to diverge from its gravitational center, i.e. the unisons with microtonal deviations will not be as common in this section, and the harmony will spread gradually into a wider range of pitches, creating the effect that the didgeridoo object is
being gradually distorted. This distortion process has already started at m. 73, in which a cluster is reached after the usual low register pitch oscillation. Likewise, two other clusters are reached at m. 80–81 and m.87–88, bringing more of the harmonic tension to the overall mass of sound. Another accelerando at m.92 will lead the musical fabric into a new interruption caused by the “metallic drops object.”
Second Section
The second section of the second part of the piece is characterized by a C-B figure that is performed mainly in the clarinet, but is doubled by the double bass, cello, baritone saxophone, as we see in the figure below:
Figure 11. Bass clarinet half step figuration, with the baritone sax doubling the C (m.98– 101).
What is remarkable about this portion of the second section is the long version of the “metallic drops object” (fig. 12), which for the first time is spread out along several bars, rather than located on one or two bars. At m.110 we find the first example of a longer accumulation of the “metallic drops.” By this moment, the relationship between the “accumulation” object and the didgeridoo start to become clearer, as the “didgeridoo object” slowly distorts in the same pace as the accumulation intensifies. This distortion occurs at the same time horizontally, as the overall harmony shifts to a higher register,
and vertically, as the “didgeridoo object” itself splits into different voices, generating clusters.
Figure 12. Longer figuration on the “metallic drops object,” on the percussion (m.110–113).
M.121 brings another instance “metallic drops object” and a much denser
harmony with it. The harmony keeps expanding at the same rate as the accumulation gets more substantial. Strings playing in sul ponticello position provide a harsher and distorted sound that follows the harshness of the harmony. At this point, the harmony extends into a much higher register, from the lower E of the bass clarinet until a C sharp harmonic an octave above the first ledger line on the violin.
The following appearance of the “drops object,” at m.128 (fig. 13), is the most substantial version of this object and the climax of the piece. Here, the percussion is mainly performing the glockenspiel, with a few other sounds such as the vibraphone, coil spring, triangle, and crotales. The strings achieve their most “distorted” version of the didgeridoo, and the point of highest harmonic density. The strings alternate between ordinary position and sul ponticello, in order to create instability of timbre, also distorting the sound with overpressure bow.
Figure 13. The “metallic drops object” on its densest version (m.128–129).
After the point of greatest tension of the piece, m.128–133, the didgeridoo texture starts to dissolve, as glissandos in the strings start to gain prominence. The lower sounds
of the double bass, bass clarinet, and baritone sax gradually becomes sparser, as the “metallic drops object” is rarified.
This movement connects with the section that starts on m.149, which has the alto flute as the most important voice, as seen on figure 14. The flute gives continuity to the dissolution of the “didgeridoo object,” which ends with a lament-like melody. This melody is repeated in alternation with the “didgeridoo object” on the double bass, cello, and bass clarinet.
Figure 14. The alto flute solo (m.147–150).
This section is at a slower tempo and gradually slows down, arriving at a fermata on m.172, in a complete suspension of the musical movement for the first time.
Part Three
This final section represents a complete contrast to the music heard thus far. It starts with a reminiscence of the “metallic drops object,” which slowly loses strength, in addition to the air sounds on the strings (cello blocking the strings, and viola playing on the bridge). This quiet texture is soon interrupted by a sudden appearance of the “welding object,” which is made of air noises and glissandos played by the whole ensemble, with the cello as the loudest voice in the object (fig. 15).
Figure 15. The “welding object” on the strings (violin, viola, cello and double bass), in the last section of the piece (m.174–176).
At m.181 the same object is repeated, this time lasting longer than before, allowing enough time for the baritone saxophone’s multiphonic to ring loudly. The idea is that this constellation of noises will fuse into one highly complex entity. On the next repetition of the “welding object” (m.185), the longest one, the bass clarinet sustains a low C that gradually emerges from the noisy texture, as if the “welding object” was building this clarinet sound.
The last section of the piece starts on m.195 and brings the didgeridoo sound back, this time as a more faithful version of the Australian instrument. The bass clarinet sound merges with air sounds on the flute, harmonic glissandos on the strings, sounds that mixes tam-tam and piano (performing on the strings inside the instrument), in a mass of low frequencies. Natural harmonics are heard on the cello at m.201, in a way to imitate the harmonics of the didgeridoo. The piece ends with a fade-out of the bass clarinet, which leaves the harmonics glissando on the strings and the air sounds on the flute to conclude the piece.
Conclusion and Future Projects
Throughout the process of writing Fort/ Da, for ensemble, I reflected on some of the techniques used in my recent compositions. Firstly, I wanted to continue developing my own approach of the “formal process,” but at the same time I felt the need to break with the predictability of my previous use of this composition method. In Fort/ Da, for instance, the evolution of the harmonic progression is gradual; however, the harmony does not suggest an arrival point to the listener. In order to achieve that effect, the
unfolding of the harmony avoids a strictly “sequential” order, and not all the steps in the progression are followed. The overall harmony evolves from a unison into a wide opened chord, with the densest chords appearing at the steps immediately before the arrival. In addition, the fundamental slowly rises throughout the piece, but instead of following a
“linear progression” the fundamental pitch evolves through a circular movement20. The
idea was to keep a sensation of circularity, which would be characteristic of the
didgeridoo, and at the same time maintain a constant progression. Exploring this paradox of linearity and circularity seemed an interesting challenge that would avoid the
predictability of the linear progression.
Another important aspect of this work is the relationship between the musical model and its representation. In Fort/ Da, my intention was to work with the technique of modeling, applying it in two layers: at the formal level of the composition and at the object level of it. Thus, the first part of the piece is based on two models for the objects; the didgeridoo, which served as a model for the “didgeridoo object;” and water drops, which served as a model for the “metallic drops object.” Regarding the form, the model was the idea of corrosion of metal, which inspired the distortion of the didgeridoo harmonies. The second part of the piece is based on the idea of welding, both in the object level, with the “welding object”, and in the formal level, with the sustained noise “reconstructing” the didgeridoo. In working with the formal model, I search for a clear directionality in the music. In considering this work method, I am interested in less realistic approaches to the model, in a “poetic” interpretation of it. The “scientific” side is
extremely important, on the other hand, to a better understanding of the target sound. Furthermore, one of the most recurrent ideas in my works is that of extreme continuity. In recent years, I have been interested in masses of sound and on the music of composers such as Grisey, Ligeti, and Scelsi. I have been mostly inspired by the
possibilities of the sustained sound, the limits of it, both for composition and for music perception. In Resonant Choirs, for eight instruments, I have explored the sustained sounds of cymbals and tam-tams, which permeate the whole piece in the same register. In
Paysages, for chorus, the intention was to work with masses as well, but having a
different medium, the human voice. Still-life also attempts the extreme continuity by transforming the sound of a wind chime into the sound of a tubular bell.
My current project Vanishing Point works with the sustained sound of two
traverso flute multiphonics. In this piece, I have been working with an extremely limited
material, in order to explore the internal complexities of the flute timbre. In working with masses of multiphonics, the intention is to explore the fusion of elements inside the mass and to shift the listener’s attention to the subtleties of the sound.
In considering the idea of continuity, my next substantial project is a piece for harpsichord and electronics to be performed during the Cursus program at IRCAM. My idea for this piece is to explore the transformation of the harpsichord sound into the sound of a piano, with the aid the electronics. Furthermore, this project will be also focused on ideas of representation and metaphor. Since my earliest piano studies, I have been fascinated by the piano music of Robert Schumann, especially the Études
solo instrument, the piano, but that it has the power to evoke another medium, which is symphonic music. Through the density of the chords, the octave doublings, and complex textures, the listener associates the sound of the piano with that of the orchestra. With that idea in mind, I would like to evoke the sound of the piano with the harpsichord. I would like the electronics to gradually add sustained sounds to the harpsichord, in a simulation of the use of piano pedals. I would also like to add a wider range of dynamics to the baroque instrument, as well as slowly expand its register. Finally, the last step in the transformation is to gradually shift the timbre of the harpsichord, in a process known as convolution. Another important aspect that I would like to explore is a deceleration of the musical objects in the piece. I would like this composition to start in the style of a
baroque toccata and to slowly evolve into gestural based music, which will be typically pianistic. The process of change from the harpsichord sound to the piano sound will occur in parallel to this deceleration process, but not at the same rate. I want both processes to converge in the piece, and that each process keep a distinct pacing and a unique unfolding. I plan to end the piece with a final electroacoustic section made
exclusively of piano sounds, which would complete transition from the harpsichord to the piano.
In conclusion, I expect that in my future musical projects I will expand the ideas presented in Fort/ Da, such as extreme continuity, the formal process, and the work with the musical model. The need for that expansion comes from the challenging nature of these subjects, both from a compositional and a perceptual standpoint. Among those topics, the possibilities of musical modeling seem to be especially vast, considering the
contributions from recent developments in music technology, opening new frontiers for sounds and meaning.
For t/ Da
2017
Luciano Leite Barbosa
Percussion instr uments Alto flute
Bass clar inet
Bar itone Saxophone
Trombone Percussion (1 player) Piano Violin Viola Violoncello Double Bass Duration: ca 13' Instr umentation Glockenspiel Crotales (2 octaves) Vibraphone 1 Tr iangle 1 Temple Bowl Almglocken (F#, B, Bb, A) Coil Spr ing Tam-tam (large) Snare Dr um Large Cymbal Additional percussion
Wind Chimes (bass clar inet)
1 Tr iangle (bar itone Sax)
woodwinds
The score is notaded in C. Octave transpositions apply. Bass clar inet, bar itone sax and double bass sound an octave lower than wr itten. Crotales, glockenspiel sound two octaves higher than wr itten.
Str ings and woodwinds play poco vibrato throughout the piece, unless other indicated. in this case, a g raphic will suggest the intensity of the vibrato.
Fusion is among the most impor tant aspects of the piece, instr uments should blend as much as possible in one meta instr ument.
instr uments should blend as much as possible. The indication of doubling (w/db) suggest that one or more instr ument should fuse at the moment indicated, but may quickly change to another pitch.
the ar row -> (w/db) inticates that another instr ument will enter and fuse for at least a br ief moment.
woodwinds: Symbols Notes general: 1/2 air fltz air st jw
the clar inet also plays wind chimes (w/ hands); saxophone also plays tr iangle (w/ tr iangle beater). blend with percussion and piano when playing these intr uments
slap togue (bass clar inet, bar itone saxophone)
timbre tr ill
air sound
air sound and pitch combined
flutter tongue
ver y close
nor mal
ver y open
air sounds glissando, blow air and move keys following the suggested range.
jet whistle shor t fer mata
long fer mata
quar ter tones
eighth tones
transition between techniques
str ings: trombone:
1/2 legno alto sul pont
col legno
molto flaut.
the trombone also plays a tibetan bowl, (w/ tibetan bowl beater). Blend with percussion and piano
sordinas: bucket, har mon, plunger
air sounds
closed
open
f ast alter nation between open and closed
cr ine flaut. nor m. sp air sul pont
as close to the br idge as possible
on the br idge, no pitch
block the str ing , minimum pitch, breathy sound
col legno tratto
1/2 hair, 1/2 wood
cancels col legno or 1/2 legno. Ordinar y playing
flautando, low bow pressure
minimum bow pressure
cancels flautando
over pressure, identifiable pitch
over pressure, noise only
cancels over pressure
highest note possible
undefined high har monic
har monics glissando
undefined glissando
percussion:
piano:
the piano and percussion are par t of the same str ucture, blend the timbres as much as possible throughout the piece
keep pedal depressed, ever y sound should be sustained
har monics, the fundamental is indicated with the diamond notehead
pluck the str ings inside the piano with nails
r ub nails on the str ings inside the piano, search for a metallic fr iction sound
tap the str ings inside the piano, keep pedal depressed and avoid the loud attack, search for a low noise, with attacks impercetiple. Blend with percussion.
the piano and the percussion are par t of the same str ucture, blend the timbres as much as possible throughout the piece
f ast circular motion
regular circular motion
slow circular motion
f ast diagonal motion, like a tremolo
crotales tr iangle snare dr um temple bowl tam-tam coil spr ing almglocken large cymbal
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{
° ¢ ° ¢ Alto FluteBass Clar inet in Bb
Bar itone Sax.
Trombone Percussion Piano Violin Viola Violoncello Double Bass p o ppp o q = 60 accel. q = 69 ppp ff pp p f p ppp o pp o ppp o q = 60 accel. q = 69 ppp p pppp pppp f mf pppp
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& air q h √ ∑ ∑For t/ Da
Luciano Leite Barbosa (2017) for ensemble & ∑ √ _ (blend w/db) f p ppp _ (w/vc) 3 & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ / ∑ √ Temple Bowl ∑ & / ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ &
IV. col legno
√ ∑ ∑ B ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ sul tasto (w/bcl) ? ∑ √ (blend w/bcl) sul tasto 3 ord ≈ O™ j O™ O O O j ‰ Œ Œ œ b ˙ ˙™ ˙™ Œ œ j w œ œ#œœ Ó™ )™ 6 J ‰ Œ Ó Œ Ó™ ‰™ œ r w œ™ j ≈ Ó™ ‰bœ ˙ Bw ˙™ Ó™
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. r it. A tempo 8 5 f pp fp f ppp pp mf ppp p r it. A tempo p ppp mp pppp f mf ppp f p f2
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& ∑ ∑ ∑ ∑ & , st ∑ & ∑ (w/bcl) 3 3 ∑ ? ∑ ∑ ∑ ∑ & Crotales 3 ∑ ∑ ∑ / / ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ B ∑ ∑ ∑ sul tasto ? (w/db) ∑ 5 ? _ ord (w/vc) > sp > 3 ord 3 ˙ b8 œ™ œ w œ Œ Œ ‰ œ b ˙™ œ ‰ Œ Œ ‰ O Œ Ó™ ‰™ œ b r Œ Œ œ n r ˙ w œ œ r ‰™ Œ ‰ nœ J œ œ Bœ J w™ œ R ≈bœ ˙™° ¢
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. (4+3) poco rall. 9 pp mp pp pp mp ppp o pp p (4+3) poco rall. f mf pp pp mp o mp f mf pp3
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& ∑ ∑ ∑ ∑ & ∑ (w/db, vc) _ (w/bsax) ≈ , & ∑ (w/bcl, db, vc) 5 ≈ ? ∑ ∑ ∑ ∑ / Temple Bowl ∑ Glockenspiel & / ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ Bord sul tasto
≈ ? ∑ sul tasto (w/db) 3 ≈ ∑ ? _ (w/vc) sul tasto , ≈ 3 5 Œ ≈ œ b ™ j œ ˙ œ œ™ j Ó ≈ œ b ˙ œ ‰™ )™ ) 6™ J ≈ Œ ‰ œ j œ R ˙™ ˙™ ˙ œ œ r ‰ ‰ œ b ˙ œ œ™ j ≈ ˙™ œ bœ™ ˙ œ Bbœ œ J œ œ R œ # œ™ j
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. q = 60 poco accel. 14 13 ppp ff pp fff ffp ff p ffpp ff p ff pp p p q = 60 poco accel. mf o ppp f p f p6
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& ∑ ∑ ∑ ∑ ∑ & ‰ √ , st > , st _ (w/db, tbn) > ï ó ppp _ pp vib (w/bsax) 5 & ∑ ∑ ∑ ∑ (w/bcl) ? ∑ ∑ ∑ ∑ ∑ & ∑ ∑ Crotales ∑ ∑ / ∑ ∑ ∑ ∑ ∑ & ” “ √ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ B ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ? √ ∑ sul tasto (w/bcl) ord , sp > 3 ord 3 œ b w œ b8 œ œ b8 œ™ ˙ œ ‰ œ b œ ˙ ≈ œ b ™ j œ Ó Œ O b Ó Œ œ # Œ Œ ˙ ˙™ Œ ≈ œ b ™ j œ Bœ j ˙ œ œ j œ B œ° ¢
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. q = 69 poco rall. (3+2+2) 18 f p f ppp p f mf pp pp p pp o pp pp p p f ppp p q = 69 poco rall. (3+2+2) pp mf o o pp p mf o p mf pp p p4
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& ∑ ∑ ∑ ∑ & 3 ≈ & 3 ∑ ∑ ∑ ? ∑ ∑ (w/db, pno resonance) 3 ≈ & / Temple Bowl 3 3 & Crotales ≈ / ∑ ∑ ∑ Vibraphone & & ∑ ∑ ∑ ” “ 5 ? ∑ ∑ > 3 ∑ & ∑ ∑ sul tasto flaut. ≈ B sul tasto (w/vc) (with vibraphone) 5 ≈ ? _ sul tasto (w/vla)ord sul tasto
≈ ? , sp ord > , sp ord > _ vib (w/tbn, pno resonance) sul tasto ≈ 5 ˙™ nœ œ™ ˙ œ™ j ≈ Œ ‰ œ n œ#œ™ ˙™ œ ˙ œ ‰ Œ Œ ‰ œ b ˙ ˙™ œ Ó Œ ‰ 6 6™ ) 6 6 ‰ Ó Ó Œ ≈ O™ J Ó œ n Œ Œ Œ œ # RÓ ‰ œ b Œ Ó Œ ≈ œ b ™ j ˙ ˙™ œ Ó ‰ œ µ j œ #œ™ ˙ ˙™ œ j ‰ Ó ≈ O œ O œ Œ ‰™™ µœ R Ô ˙ œ™ ˙ ‰™ œ µ r ˙™ ˙™ Œ œ B ™ nœ˙ œ bœ r œ™ œ œbœ w ˙™ œ
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. ppp pp pppp p q = 60 q = 66poco accel. r it. 23 22 p f ppp pp f p ppp p ppp pp mp ppp mf mp pp p pp mf mp mf pp ppp f pppp p o q = 60
poco accel. q = 66 r it.
o pp mf f p ppp p ppp f mf pppp
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& 3 ∑ & , _ (w/db) 3 (w/vc) 3 , 3 & ∑ ∑ (w/vc) ? ∑Con sord : bucket
∑ (w/vla) & Glock. > 3 / Temple Bowl 3 3 & ∑ ∑ œ J & > 5 o ” “ 3 ? ∑ ∑ ∑ > 3 & 3 (w/pno) ord 5 B sul tasto _ (w/tbn) 3 mf ? ∑ ∑ ord_ > (w/bsax) sul tasto 5 ? sul tasto (w/bcl) 3 ord ‰ œ # ˙ ˙™ œ r ‰™ Ó™ Œ ‰™ œ r ˙ œ #œ j w ˙ œ j Œ Œ Œ ‰ œ # œ ˙ Œ ≈ œ™ j ˙ ˙ œ j ‰ Œ Œ Ó Œ ‰ œ J ˙™ œ Œ œ # œ j Œ #œ ‰™ œ n r ‰nœ Ó Ó ≈ œ # ™ J Œ Œ œ Œ ‰ 6 Œ ‰™ œ # R Ó Ó ≈ œ # ™ J ≈ œ ≈ œ™ J Œ œ # J Œ Ó Ó ‰ œ O J Œ Ó Œ ≈ œ # ™ J Œ Ó™ Œ Œ œ j œ œ j Œ Œ Œ œ O # # r ˙ O ™ ™ w ~ ˙ O ™ ™ ˙ O O ˙™ ™ O œ Œ Ó Ó ‰ œ j œ œ j œ µ w Œ œ r ˙ œ™ œ # ˙™ œ™ ‰ œ j ‰ Œ Œ ‰ œ # œ œ ˜œ œ œ™ w œ Œ Œ Ó
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. mf ppp q = 66 poco accel. 26 ffp f p ppp pp mf ppp ppp mf ppp pp mf p mf ppp mf p mf mf o p o q = 66 poco accel. ppp mp mf ppp p pp mf ppp pp mf pp mf f ppp3
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& ∑ & _ (w/db, pno resonance) st > (w/db) ∑ & ∑ (w/db) 3 (w/vc) ? ∑ (w/vla) ∑ / ∑ & Crot. ∑ 5 3 & ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ & III. (w/pno) o o o o o 5 B (w/tbn) 3 ? ∑ (w/db) ord 3sul tasto ord
? (w/bcl, pno resonance) sul tasto vib , sp > ord 3 3 ˙™ w œ œ™ j ≈Œ Ó 8 œ™ ˙ œ j ‰ Œ ‰™ œ r œ w œ™ j ≈ Ó Œ ‰ œ j ˙™ œ ‰ ≈ œ # ™ j ˙ ‰™ œ R ˙™ ˙ œ™ J ≈Ó Œ ‰™ O J ≈ O # ™ J Œ Ó Œ O b J Ó Œ ‰ œ # J Ó œ O j ‰ Œ Œ Œ ‰™ œ # J ˙ ˙ ˙™ ˙ ˙ œ r‰™ Œ ‰ œ œ œ œ ˜ ™ w œ œ™ j ≈ œ ˜ ≈ œ µ ™ j ˙™ œ ‰ Œ ˙ # ™ ˙ Œ œ J œ µœ ˙ n˙ w œ œ J œ œ™ J ≈
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. q = 58 poco rall. 31 30 ffp mf ppp ppp pp pp p pp mp mf p p p f mp mf o q = 58 poco rall. mf ppp mf p f ppp pp mf pp f mf f4
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& ∑ ∑ ∑ & ∑ st _ (w/db) vib > & ∑ (w/vc) 3 ? (w/vla) 3 , _ (w/vla) 3 & / Temple Bowl 3 ∑ & Crot. 3 & ∑ ∑ & > ” “ ∑ o ò ? ∑ ∑ ∑ & o ∑ ∑ B (w/tbn)ord. sul tasto
3 5 ? 3 (w/db) ? ∑ sul tasto (w/bcl) ord _ (w/vc, bcl) 3 5 Œ 8 # œ™ ˙ ˙™ œ j ‰ Œ ˙™ œ™ j ≈ Ó Œ œ j ˙ ‰ Bœ ˙™ œ œ J ˙™ ˙ ˙™ Œ ‰ 6 Ó Œ Œ O J Œ Ó ≈ œ™ J Œ Ó œ Œ Ó #O œ # Œ Œ ≈ ¿ # ™ J Œ œ™ ‰ Ó ˙ œ #œ™ œ ˙™ œ ≈ œ œ œ™ #œ ˙ œ j œ n œ µœ™ nœ j œ ˙™ œ ‰ Œ ‰™ œ r ˙™ Œ ‰™ #œ R ˙ œ nœ J ˙ œ Bœ R œ™ œ B
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° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. ppp p ppp accel. 33 pp mf ppp pp mf ppp mf pp mf f pp p mf ppp pp mp ppp pmf p mf p mp mf mf f mf o p o pp accel. ppp mf f pp ppp p f mf7
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& , (w/vl) 3 5 (3+2+2) & (w/vla) (w/db) & (w/vc, pno resonance) (w/vc) 3 3 ? (w/vla) 3 & Glock. ∑ 5 3 & ∑ Vib. ∑ & ∑ ” “ ∑ ? > > ∑ ∑ & (w/pno resonance) 5 sul tasto _ (w/afl) (3+2+2) B 3 (w/bcl) _ (w/tbn) ord ? sul tasto(w/bsax, pno res.)
ord
3
sul tasto
?
sul tasto sul pont.
_ > (w/bcl) ord. 5 Ó Œ œ B r ˙ œ™ ˙ ˙™ ˙ œ j œ B Œ ≈ œ b ™ j ˙ œ j ‰ Œ™ Œ ‰™ œ b r ˙™ ˙ Œ ˙™ Œ œ # j œ œ™ œ œ j ‰ Ó ‰ œ n ˙™ ˙ œ J ‰ Œ ≈Bœ™ J œ™ ˙ œ nœ J ˙ œ Œ Œ Ó™ O # O n ™ Œ Œ™ Œ Œ œ # R Ó Œ œ J Œ™ œ # Œ Œ œ Œ Œ œ b Œ Ó Ó œ # Ó™ ‰™™ œ # K rŒ Œ ≈œ R Ó Œ ≈ œ O b b ˙ O ™ ™ œ O ™ ™ ˙ O ˙ O Œ ≈ œ B ™ J ˙ œ ‰ œ # œ ˜œ™ ˙ œ œ j ˙ ˙™ œ œ™ j ≈Œ œ™ ‰ Ó œ # ™ ˜œ œ™ ˙ œ j œ µ œ nœ™œ ˙™ w œ œ™ ‰™bœ R œ ˙ œ Bœ R ˙™
° ¢
{
° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. p pp q = 76 q = 66 poco rall. 38 37 p f pp pp p mf ppp pp mp pppp pp mp pp pp mf ppp mf fff mp p p p mf f mf ff f fff p ppp o p o q = 76 q = 66 poco rall. mf f ppp p mf p mf f ppp mf f pppp ppp pp f ppp p f5
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& ≈ ∑ ∑ 5 & _ (w/db) 3 ∑ ∑ ∑ & (w/vc, pno) 3 ≈ (w/vc) 3 ? (w/vla) 3 3 ≈ (w/vla) 3 & / Temple Bowl & Glock. ≈ Crot. Glock. ∑ 3 5 5 5 > œ œ œ # œ # & ∑ ∑ œ & > ” “ ” “ ∑ ∑ > œ œ œ ? > > & ∑ ∑ ∑ 3 œ # & (w/glock) ord ≈ 3 ∑ ∑ 5 Bsul tasto ord ≈
_ sul tasto 3 (w/tbn) ord ?
ord(w/pno, bsax)
≈ , (w/bsax) sul tasto 3 3 ? (w/Bcl) sul tasto ord ≈ sul tasto 3 œ nœ™ w œ œ Œ Ó ˙ b ˙™ œ ‰ œ™ ‰ Œ ‰ œ # œ œ œ œ ‰ œ # œ ˙™ œ œ™ j ≈ Œ Ó ‰ œ ˙ œ œ J Œ Œ Ó Œ œ # J ˙ ˙ œ R ‰™ Ó Œ 6 J Œ ‰™ œ r œ n Œ Œ ≈ O™ J ‰™ œ # J Œ ‰#œ™ J œ # j ‰™ œ R Œ Œ œ # Œ Œ œ™ œ b Œ œ # Œ Œ Ó ≈ œ # ™ j Œ œ n J Œ œ j ˙™ œ R ‰™ Œ œ O r œ O œ O œ O œ O ‰Œ Ó œ œ™ #œ œ œ œ œ ˙ ‰ œ # ˙ œ µœ™˙ œ µœ œ #œ j ˙ œ œ œ#˙ ˙™ ˙ œ ‰ œ™ J ≈ Œ bœ J ˙™ œ œ Œ Œ ‰Bbœ J ˙™ ˙™
° ¢
{
° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. q = 56 poco accel. 42 ppp f ffp f ffp ffp f p mp mf mp mf mp f p p q = 56 poco accel. ppp p mp mf p pp f pppp p f p p mf ppp pp2
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& ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ (w/vc) 3 , st > , st > ,st > 3 & ∑ ∑ ∑ ∑ > _ (w/vc) ? ∑ ∑ (w/vla) (w/vla) 5 & Crot. ∑ ∑ Glock. Crot. ∑ & ∑ ∑ ∑ ∑ > ∑ & ∑ ∑ ∑ 5 ò 3 ∑ & ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ B 5 ∑ _ (w/tbn) 3 _ (w/tbn) , sul tasto ? ∑ (w/db) ≈ mford sul tasto
(w/Bsax) ord 3 _ (w/db) 3 5 3 ? , _ sp > (w/vc)
ord sul tasto
∑ (w/vc) 3 Ó ‰ œ b ˙™ œb8 œ˙ œ œ™ b8 œb8 œ™ Œ Œ œ # ˙™ Œ ≈ œ™ J œ #œ R ˙™ ˙ œ ˜œ ˙™ Œ O n Œ ‰™ œ RŒ Œ ≈ O # ™ J Œ Œ œ b Œ Œ ≈ œ # Œ Ó ‰ ¿ # œ œ™ j ‰ ‰ œ j ˙ ˙ œ j œ # œ™ ˜œ˙ ˙ œ µ Œ œ Bb j ˙ œ œ bœ r œ ˙™ œ Œ Œ œ # j œ œ j œ µ œ ˙ Bb˙™ ˙™ ˙ œ J ‰ Œ Œ œ µ J œ
° ¢
{
° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. pp mp p ppp q = 66 50 48 ppp ppp ffp f p ffp ffp pp f p f pp pp pp mp p o pp f p f p pp mp ppp q = 66 f pp mf mp pppp ppp f fp ppp p f ppp f4
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& 5 ∑ & 3 _ f > (w/db) st vib > , st > , st > ó ï 3 3 & 3 st > ? (w/vla) 3 3 & ∑ ∑ / Temple Bowl & Glock. > 5 & ∑ ∑ ∑ ∑ & 5 ” “ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ & sul tasto flaut. ∑ ∑ 3 Bord sul tasto
_ (w/tbn) ? sul tasto (w/Bsax) 5
ord sul tasto
?
ord sul pont ord
≈ œ µ ™ j ˙ œ œ r œ n ˙ w œ Œ Œ œ œ j Œ Œ w Œ 8 # œ˙™ ˙™ œ™#8 œ #8 œœ ˙™ œ j Œ Œ Œ ‰™ 8 r w ˙™ ˙ œ r ‰™ ˙™ w Ó Œ Œ œ µ J ˙™ œ œ J œ œ Œ )™ )™ 6 J ‰ Œ Œ œ # R Ó œ # Ó ≈ œ ‰™ œ R Œ Œ Œ Œ œ µ j œ w œ œ j ‰ Ó œ œ nœ™ œ w œ j ‰ Œ Œ ≈ œ µ ™ j œ œ œ™œ ˙™ ˙™ ˙™ œ r ‰™ Œ ≈ œ ˙ ˙™ ˙™ ˙™ ‰ œ J œ ˙ ˜ w Œ Œ œ ˜ ˙™
° ¢
{
° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. poco accel. 53 f f pp p ppp pp mf pp pp mf pp f pp f mp ppp mf f mf f p f f p o o p o poco accel. pp mf f mf pp ppp pp p f pppp4
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& ∑ ∑ ∑ ∑ ∑ & ó ï ó ppp ∑ ∑ ∑ (w/pno resonance) & (w/vc, pno resonance) 5 3 (w/db, tbn) ? (w/vla) ppp 3 (w/db, bsax) & ∑ ∑ Crot. Glock. > ∑ 5 & Almglock. ∑ ∑ Vib. 3 > 3 & ∑ o ∑ > 3 & ? > ∑ ∑ ∑ > & ord o 5 o o o ∑ B 3 _ st (w/tbn)ord sul tasto
3 ? 3 ord 3 sul tasto ? ∑
sul tasto ord
˙ œ r ‰™ Ó Œ œµœ Ó ≈ œ b œ œ œ œ ˙™ ˙™ œ j Œ ‰™ œ r ˙™ ˙ Œ ≈bœ™ J ˙ ˙™ œ J Œ Œ Ó ≈ œ n ™ j ˙™ Œ O # R Œ Œ Ó ‰ œ J Œ œ ≈ 1™ J Œ Œ ‰ œ # Ó Œ Œ œ # JÓ Œ Œ O œ Œ ≈ œ # ™ J Ó Ó ‰ œ # Œ Œ Œ œ b Ó ‰ œ j Œ ≈ œ ˙ ˙™ ˙ Œ Ó ‰ O œ b b J O œ ˙ œ j Œ œ b œ Bbœ j œ Bœ ˙™ w ˙ œ r ‰™ Œ œ jŒ ‰ œ b œ œ ˙ œ œ™ bœ œ Bw w ˙™ ˙ œ R ‰™ Œ ‰ ˜œ J ˙ w
° ¢
{
° ¢ ° ¢ A. Fl. B. Cl. Bar i. Sax. Tbn. Perc. Pno. Vln. Vla. Vc. Db. p mf mp 58 mf ppp ppp mp ppp pp mf ppp ppp mp pp p mp pp p f pp mp mp p mp mp f mp mf f mf f o o p mf f ppp mf f mf pp p f3
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& _ (w/tbn) 3 & 3 (w/db) & 3 (w/vc) (w/vc) ? , (w/afl) 3 & ∑ / Tr iang. Almglock. & 3 & ∑ Vib. & ò 3 > 5 ò ∑ ” “ ò 3 5 > œ ? ∑ ∑ > & ∑ ≈ œ & III. (w/pno) o o o o 5 Bsul tasto ord
? 3 _ (w/pno res., bcl) ord _ (w/bsax) _ (w/bsax) 5 ? sul tasto (w/bsax) ord _ (w/bcl) 3 3 ‰™ œ n r ˙ œ µœ ˙™ ˙ œ j œ n w œ n˙ w ˙ œ ‰ ≈ œ™ j ˙™ œ œ ‰ ‰ œ # j ˙™ œ r ‰™ Œ ≈ œ™ j œ w ˙ œ n w ˙™ ˙ œ ‰Œ Œ Œ Œ œ J Ó Œ œ - Œ Ó Œ Œ ‰™ œ # R Ó Œ ‰™ œ # R Ó ≈1™ J œ Œ ‰ ¿ Œ ≈ œ™ J ≈ œ Œ ¿ R Œ Ó ‰ ¿ Œ œ Œ O ˙™ ™ ‰ œ™ J ˙™ ˙™ w Œ ‰™ œ µ r œ w œ™ nœ˙ w œ r‰™ ‰ œ œ #œ™ œ œ n r ˙™ ˙™ w ˙™ Œ Œ œ J œ œ ˜œ J œ œ œ™ œ w
