Act

for soprano and 12 players

David Coll
2011/2014

Instrumentation:
Woodwinds: Piccolo/C flute
Bb Clarinet/Bass Clarinet
Baritone Saxophone
Brass:

Tenor Trombone

Percussion:

Percussion (1)
Percussion (2)
Piano

Voice:

Soprano

Strings:

2 violins
Viola
Cello
Contrabass

Stage Layout:

(Trio 2)

(Trio 3)

perc. 1

perc. 2
pno.

cl.

(Trio 1)

trb.

vla.
picc.

sax.

vc.

(Trio 4)

vln. 2

vln. 1

cb.
cond.
sop.
~ 40 ft.
~12 m.

Note: If this stage width is too large, reduce only to the point where the percussion setup can still exist in its
specified arrangement (see percussion setup notes). The width of the ensemble must always be equal to the
width of the percussion setup.

Amplification:
The piece consists of the following materials:
- those meant to be heard in a purely acoustic manner (decided by sound engineer at the mixer)
- those meant to be heard in a generally amplified manner (in particular the strings and piano amplification)
- the three laryngophones, worn by the clarinetist, saxophonist, and trombonist.
- the piezo contact microphone in the micro setup for the Percussion 1 part.
Lastly, the work may use, in addition to the regular speakers, also the electronic sound sculpture that I often
use, consisting of transducers attached to resonant materials- in particular, thin sheet metal.

Performance Notes:

Woodwinds and Trombone:

tone

Flute:

no tone

transition from
one state to the other

play highest note possible

at given dynamic

- whistle tone: minimal breath, attaining a very soft pitch that may be modified by rotating the flute
- overtone gliss: shooting up the harmonic series via breath pressure/change of emouchure. A jet whistle is an
example of one such gliss, using a lot of air in a short amount of time.

Clarinet and Saxophone:

- harmonic sweep: changing embouchure, break upwards from initial pitch towards the middle, high, and highest
range of instrument- at given dynamic.
- teeth on reed: a shrill and often unstable sound produced by the teeth applied directly to the reed. The contour
line seeks neighboring pitches facilitated by variation of this teeth pressure.

Trombone:

- the only truly uncommon technique involves placing a bassoon or a contrabassoon reed into the mouthpiece
and playing the reed. The desired effect is explained in a footnote. Mutes: cup, plunger, harmon.

*Special note on laryngophones (worn by the clarinetist, saxophonist, and trombonist):

- the laryngophone is a microphone that functions much like a contact piezo microphone. It fits around your
neck and is designed to amplify the sounds directly from the larynx, before vowels are formed. The single-line
ossia staff that appears in these parts is a representation of vocal multiphonics that spans the range of your
speaking voice (not your singing voice). The contour lines that follow the notehead indicates the vocal variation
within that range.

Piano:

- clicks: with plastic card or nail, apply a downward pressure on indicated low coiled string and with a
slight lateral motion, click from one space to the next along the length of the string.

Soprano:

- nothing out of the ordinary.

Percussion:

The total percussion setup in this piece is large, diverse and visually engaging. It spans the entire width
of the ensemble and is a sort of wall behind the players (the soprano, however, is above and behind you).
The piece begins with a shared space in the center, consisting of the roto-toms and hi-hats, then a movement
away from each other towards the outside end of each setup.

Performance Notes, continued:

chime
(low f)
Perc. 1

fff

tam

tam

picc.
snare

bass claves
drum

wind
micro-setup elevated
chimes. (supplied by chime.
(high g)
metal,
composer)
glass,
bamboo

sand- bass histyrofoam metal claves paper drum hat

ball
pipe
f f

f f f

f f
f f ff f

Perc. 2

f ff

fff f

china
cymb.

hi-hat

twisty
whirling brake
tube
drum

lions chime
toms, congas crumpled brake twisty
low,
plastic
drum whirling roar (low g)
tube
bottle
med.

elevated
chime.
(high a)

Additional:
roto-toms shared: 8, 12, 18. Whistle (around each players neck on a string). Percussion1: timpani (30),
vibraphone, crotales, glockenspiel, power drill, hammer and pieces of wood
Percussion Setup Diagram (please note that the entire setup must not reflect this diagram. I only ask that the rototoms and the four chimes be arranged like-so, and that the rest of the instruments span the length of each
percussionists half-stage, on a large plastic folding table, perhaps):
(elevated
chime- high g)

Percussion 1
(glockenspiel)

micro
setup

cl.

(bamboo
wind
chimes)

(crotales)

brake
drum

( chimelow f )
hihat

(crotales)

roto
toms
8, 12,
18

brake
drum

hihat

(whirling
tube)

pno.

trb.

(elevated
chimehigh a)

plastic
bottle

sandpaper

(whirling
tube)

sax.

vc.

Percussion 2

( chimelow g)

vla.

metal
pipe

styrofoam

picc.
vln. 2

vln. 1

cb.
sop.

Strings:
- The abbreviation for vertical bow position are
as follows: msp = molto sul ponticello, sp = sul ponticello,
ord = ordinario, st = sul tasto, mst = molto sul tasto
-

= touff (dampen with entire hand).

cond.
- The harmonic noteheads indicate left-hand
pressure, Depending on the position along the
fingerboard (node or anti-node), a harmonic
may or may not sound.

- Lastly, and most importantly, there are

brackets that determine, from a horizontal point of view, how much bow and where each bowing is to occur. This,
combined with the dynamics and the
use the
use only
use only
vertical bow placement, creates an
entire
the
top
the tip of
incredibly diverse, and often uncertain
use only
use only
bow
for
half
of
the bow
world of sound that isnt readily apparent
the bottom
the bottom
each
the bow
upon first glance. Brackets are as follows:
half of
extreme of
bowing
the bow
the bow

Act, for soprano and 12 players

Transposed Score
= 56

Violin

III
st

pp

Violoncello

David Coll

III
* st

mf

mf

pp

(Have bass clarinet around your neck and ready for a quick switch)
Clarinet
(B )

&
Piano

8" roto-tom, tuned below lowest discernible pitch.

hard snare mallet
Percussion
1

teeth on reed

Baritone
Saxophone
(E )

pp

chime mallet
l.v.

mp

fff

18" roto-tom
hard snare mallet
fff

(hi-hat)

mp

Soprano

Percussion
2

= 56

chime mallet
l.v.

hi-hat
hard snare mallet

mp

mf

Trombone

Viola

contrabassoon reed
in mouthpiece

III
s.t.

pp

bell up,
brassed tone,
if possible

fff

1
fff

mf

Piccolo

Violin 2

IV
s.t.

pp

Contrabass

I
s.t.

pp

f
mf

12" roto-tom
hard snare mallet

mf

* if this bracket symbol is unfamiliar to you, please see performance notes. Briefly, play each bowing with a
certain amount of bow (until negated by the next symbol). In this case, use the entirety of the bow.

f
1

Vln.
1

Vc.

Cl.

&
Pno.

Sax.

5:6x

18"
hi-hat
Perc.
1

l.v.

detune 12" roto-tom to G#

fff

Sop.

Perc.
2

Trb.

f
1

hi-hat

5:4x.

fff

Vla.

Picc.

Vln.
2

Cb.

Vln.
1

Vc.

Cl.

&
Pno

lip
gliss
Sax.

Perc.
1

fff

fff

mp

mf

detune 12" roto-tom to below pitch

hi-hat

bass drum

Sop.

bass
drum
Perc.
2

Trb.

mf

detune 18" roto-tom to F#

Vla.

Picc.

Vln.
2

Cb.

5:4x.

Vln.
1

Vc.

Cl.

&

mf

Pno

Sax.

Perc.
1

ffp

ff

fffp

ff

fffp

ff

fffp

center

ff

edge

hi-hat

5:4x. center

fff

Sop.

detune 18" roto-tom to below pitch

Perc.
2

Trb.

Vla.

hi-hat

fff

bass drum
mf

hi-hat

l.v.

12"

mf

Lions
roar

4:3x

edge
fff

remove reed

pp

mp

Picc.

Vln.
2

Cb.

10

Vln.
1

Vc.

Cl.

ff

Pno

Sax.

mp

edge
Perc.
1

center

edge

center

edge

timpani,
2 superballs

Sop.

Perc.
2

lions roar

ff

(reed removed)
Trb.

f
f

4:3x

IV
st
Vla.

f
f

Picc.

mf

II

III

f
f

f
p

f
f

f
I

p f

ff

f
p

IV

ffp

mf

f
Bf

ff

4:3x

ff

ffp

mf

f
f

Vln.
2

Cb.

mf

fff

mp

IV

ffp

mf

mf

ffp

chime,
chime
hammer, l.v.

III

IV

f
ff

R
f

rall.

a tempo

= 63

accel.

= 44

12

Vln.
1

Vc.

Cl.

mp

Perc.
1

Pno

Sax.

mf

bass drum

brake
drum

glockenspiel

ff

to vib,
soft yarn

ff

Sop.

rall.

a tempo

= 44 brake drum,

hard plastic

Perc.
2

= 63

accel.

ff

metal pipe

Trb.

f
(st)

Vla.

f
f

III

4:3x

Picc.

mp

IV

III

IV

III

sub.
p

I
sp

ff

4:3x

f
f

f
p

W
f

Vln.
2

Cb.

mf

crotales

mp

III
IV
ord.

f
f

14

Vln.
1

mf

III
IV
st

Vc.

f
f
f
f

mf

Cl.

spectral
multiphonic

to Bass Cl.

<>
f

Sax.

glockenspiel,
hard plastic

f
f

vib., soft yarn

Perc.
1

harmonic
sweep/ spectral
harmonic

ff

china
cymbal

vib.

mf

Pno

f
f

ff

pp

(tam)

ff

Sop.

Perc.
2

pp

Trb.

Vla.

picc.
snare

st
f

Picc.

ff

mf

ffff

III
IV

5:4x.

f
f

(to
toms)

4:3x

fff

Vln.
2

Cb.

f
I
sp

mp

f
ffff

f
mf

rall.
16

Vln.
1

f
f

f
f

f
f

f
f

f
f

4", app.

mf

III
ord.
mf

slap tongue

each notehead is a click along the length of

the wound string

ff

col legno
battuto

(bow still at tip)

fff

(play keyboard )

slap tongue,
until m.27

mf

tam

Perc.
1

IV
ord.

ff

ff
f
f

Sax.

(bow still at tip)

f
f

ff

Pno

= 54

col legno
battuto

ff

Vc.

Cl.
bass

= 20

elevated chime

hit side,
near bottom

until
inaudible

4", app.

mf

ff

Sop.

rall.
med. tom

Perc.
2

Trb.

Vla.

ff

(dead
strike)

= 54

= 20

hit side,
near bottom

elevated chime

ff

until
inaudible

mf
tongue
ram/slap

ffff

IV
ord.

col legno
battuto

(still at tip)

mf

4", app.

to Flute

whistle
tone

Picc.

pp

Vln.
2

Cb.

(still at tip)

col legno
battuto

(still at tip)

col legno
battuto

IV
ord.

ff

mf

f
ff

IVord.

mf

= 116
21

Vln.
1

Vc.
ff

ff

mf

ricochet
fi

fi

fi

fi

ff f f f f f

ff f f f f f

ff f f f f f

ff f f f f f

fffif f f f f

ff f f f f f

ff f f f f f

fff

ricochet
fi
ffff f f

mf

Cl.
bass

= 72

fi

fi

fff

mp

fff

Pno

Perc.
1

f
f

Sax.

ff

until
inaudible

mf

l.v.

mp

ff

Sop.

= 72

= 116

until
inaudible

l.v.

Perc.
2
ff

Trb.

Vla.

mf

fff

ricochet
fi
fff

mf

ff

Fl.

Cb.

fi

ff f f f f f

ff

mf

ff

mf

fi

ffffff

fi

ffffff

b
f

fi

ff f f f f f

ff f f f f f

ricochet
fi
ffffff
fff

overtone
gliss

mp

to picc.

Vln.
2

ff f f f f f

fff

fi

ricochet
fi
ffffff
fff

fi

fff

fi

ff f f f f

ffffff

ffffff

ffffff

fi

fi

B
msp

27

Vln.
1

= 72

ppp

msp

Vc.

ppp

Cl.
bass

ppp

Pno

f
f

W
f

pp

Sax.

ffp

place cymbal upside down on timpani

Perc.
1

f
R

metal wind
chimes
fi
f
mf

mp

crotales

(to timp)

l.v.

mp

Sop.

= 72

Perc.
2

Trb.

msp

Vla.

ppp

(piccolo)
Picc.

Vln.
2

Cb.

msp

ppp

msp

ppp

10

mf

II
III
msp

31

Vln.
1

pp

II
III

Vc.

msp

pp

Cl.
bass

ppp

Pno

Sax.
strike cymbal
and timpani
Perc.
1

3:2y

3:2y

3:2y

bass drum,
soft mallet

3:2y

Sop.

Perc.
2

Trb.
II
III
msp

Vla.

pp

Picc.

mst

Vln.
2

pp

mst

Cb.

pp

11

tune up to A

to vib.

IImsp
I

35

Vln.
1

msp
I
II
Vc.

Cl.
bass

mp

pp

f
Pno
mp

ff

mp

f
f

slaptongue, until m.43

Sax.
mp

vib.
Perc.
1

soft
yarn

f
f

f
f

mp

Sop.

sandpaper,
no feeling of pulse
Perc.
2

Trb.

Vla.

Picc.

Vln.
2

ppp

f
f

msp

I
II

msp
I

II
msp
p

I
II

Cb.

f
mf

12

fff

fff

W
f

(no tone)

mp

II
III
msp

39

Vln.
1

II
III
msp
Vc.

<> f

Cl.
bass

pp

mp

mp

Pno

Sax.
p

Perc.
1

f
f

3:2y

3:2y

3:2y

mp

3:2y

glass
chimes

soft
vib. yarn
ppp

mf

f
f

6:5x

ff
6:5x

mp

to
crotales

6:5x

Sop.

Perc.
2

( W)
Trb.

II
III
Vla.

Picc.
II
III
Vln.
2

f
f

bass drum

lions
roar

Cb.

(to chime)

mf

ff

II
III

ff

13

fff

rall.

msp

I
II

43

Vln.
1

= 54

II
III
msp

mp

ppp

I
II
msp
Vc.

ppp

Cl.
bass

II
III
msp

mp

mf

sub.
p

Pno

teeth
on 1
reed

Sax.
f

mf

crotales
l.v.
Perc.
1
f

ff

glck.
mf

china
cymbal

sub.
p

l.v.

vib.

Sop.

rall.
chime

l.v.

Perc.
2

Trb.

I
II
msp

ff

mf

f f

ff

f
W
f
mp

f
f

ff

f
f

W
f

= 54

bass
drum

(tone)

mp

II
III
msp

Vln.
2

Cb.

fp

II
III
msp

ppp

I
II

f+
f

mp

mp

I
II

plunger
mute
+

ppp

mp

Vla.

Picc.

subdivide
each duration into
four movements

sand
paper

II
III

mp

14

mf

multiphonic- bow in between fingers

mp

ppp

ff

47

Vln.
1

<>
<>
<>

Vc.

Cl.
bass

f
Pno

6:5x

pp

6:5x
6:5x

6:5x

6:5x

6:5x

6:5x

Sax.
6:5x

vib.
Perc.
1

pp

mp

6:5x

f
fff

6:5x

mf

Sop.

Perc.
2

Trb.

Vla.

Picc.

Vln.
2

Cb.

<>
<>
<>

<>
<>

<>f

mp

f
,

f+

mp

15

ffp

bass
drum, l.v.

f
+
f

fff

mp

mf

f+

fff

fffp

ff

51

Vln.
1

<>
<>
<>

Vc.

Cl.
bass

mp

Pno

f
f

6:5x

Sax.
dead stroke
Perc.
1

fff

bamboo
wind chimes

fp

l.v.

Sop.

Perc.
2

harmon mute
stem in

<>
<>
<>

Picc.

<>

Vln.
2

<>

Cb.

to toms, soft yarn

Trb.

Vla.

f
f
ffp

16

msp
III
IV

55

Vln.
1

fp

st

fp

fp

fp

ff

III
IV

Vc.
fp

Cl.
bass

Bf

f
sub.
pp

fff

ff

ff
f

ff
f

ff
f

Pno

mp

f
f

(next: 'clicks' )

Sax.
p

(timp tuned to A, w/cymb.)

Perc.
1

Sop.

Perc.
2

Trb.

mp

ppp

pp

IV
Vla.

Picc.

fff

st
III
IV
Vln.
2
fp

Cb.

mp

fp

III

fp

fp

f
4:5x

fp

II

fp

ff

mf

fp

ff

fp

17

mp

=
72
I
II
st

59

f
f

col legno battuto

Vln.
1

III
IV
st col legno battuto
Vc.
p

Cl.
bass

<>f
p

f
f

click along coil string. Faster than

before, more gestural. Okay if it
ends up being 6-7 clicks

Pno

mf

slap
tongue

Perc.
1

ppp

mp

Sax.

timp (w/cymb.), timp mallets

mf

stretch gliss as evenly as

possible through the fermata

norm./subtone

ppp

brake drum,
hard plastic
f

3:2y

3:2y

mp

Sop.

C
Perc.
2

= 72
brake drum,
hard plastic

mp

Trb.
I
II
st

f
f

col legno battuto

Vla.
p

Picc.

Vln.
2

II
st
mp

III
IV
st col legno battuto
Cb.
mf

f
f

18

63

Vln.
1

Vc.

Cl.
bass

Bf

mp

Sax.

f f

3:2y

ppp

bamboo
Perc.
1

ff
f

mf

3:2y

3:2y

f
glass

3:2y

3:2y

f f

f f

3:2y

3:2y

ff
f

f
3:2x

ppp

ppp

mp

ff
f

mp

3:2

3:2x

f
ff
f

Pno

3:2y

f f

(15ma)

f
f

3:2y

glockenspiel

3:2x

Sop.

brake drum,
scrape with metal mallet
Perc.
2

pp

pp

cup
mute
Trb.
pp

Vla.

Picc.

Bf

mf
mp

ff

Vln.
2

Cb.

19

W
f

ffff

= 44
67

pizz.

IV

Vln.
1

ff

pizz.

IV

Vc.

Cl.
bass

ff

Pno

Sax.

ff

3:2y

3:2y

ff

(+/- a m3rd)

pp

mf

ff
f
f

ff

ff

Perc.
1

(f)

mp

fpp

<>

teeth
on
reed

ff
f

3:2y

3:2y

ff

3:2y

f f

3:2y

3:2y

f f f

3:2y

f
fp

f
fl.v.

f 3:2yf

mp

f
3:2y

f
f

20", app.
circular breathe,
or subtle breaths

ppp

Sop.

= 44

Perc.
2

crumple plastic bottle, delicately

and not necessarily continuously

mf

to toms, snare
(snares off),
congas

20", app.

Trb.

pizz.

IV

Vla.

ff

highest notes possible at given

dynamic. Lip gliss/embouchure
variation for following squiggly
line microtonally.

to C flute

Picc.
pp

mf

pizz.

IV

pizz.

IV

Vln.
2

ff

Cb.

ff

20

D = 44
ord.
II
f III
f
f
f

71

Vln.
1

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

pp

II
III
ord.
Vc.

f
f

f
f

pp

Cl.
bass

pp

Pno

Sax.

bass drum
Perc.
1

ppp

Sop.

= 44

Perc.
2

large ppp
mallet

nail,
scrape

f
f

f
f

f
f

f
f

f
f

ff f

f
f

(cup
mute)
Trb.
II
III
ord.
Vla.

f
f

f
f

f
f
f

f
f

f
f

f
f

f
f

ppp

f
f

pp

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

whistle
tone
Fl.
pp

II
III
ord.
Vln.
2

pp

II
III

(as before)

Cb.
p

21

f f

(snares
off)

79

<>

Vln.
1

Vc.

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

f
f

= 38 - 46
10'',
app.

2'',
app.

Cl.
bass

Pno

Sax.

Perc.
1

10", app.
pp

Sop.

2", app.

No

= 38 - 46
Perc.
2

Trb.

f
f

<>

Vla.

f
f

BBf
f

f
f

f
f

f
f

Vln.
2

<>

f
f

f
f

f
ff

f
f

whistle
tone
Fl.

f
f

f
f

f
f

f
f

f
f

sandpaper

pppp

f
f

f
f

f
f

f
f

f
f

<>

Cb.

22

ADD piccolo. Freely alternate

between flute and piccolo for
measures 86-96. Articulate and
transpose freely.

= 38 - 46
f

Vary tempo to give weight and slight

anticipation to the repeated phrase

ff

sp I II
86

Vln.
1

fI

IV

ff

fff 5:4y

f
f
f f
f
f f
f

ord.
Vc.

ff

f
f

fff

ffp

5:4y ffp ffp

f ff
f

f
f

fff

ffp

f
f

ffp 5:4y ffp ffp

ffp

f
f

f
ff

ffp 5:4y ffp ffp

ffp

5:4y

ff

ffp

ff
f
ff
f

f
ff

f
ff

ffff

fff

ffff

fff

Sop.

Perc.
2

= 38 - 46

brake drum
ffff

ff

Trb.

ord.

Vln.
2

Cb.

fffp

f
mf

f f
f

mf

fff

ff

ff

mf

f f

f
mf

fffp

fff

23

3:2x

3:2x

mf

f f
f

fff

sub. p

fff

f f
f
ff

3:2q

mf

3:2x

f
ff

fff

3:2q

fff

f
fffp

sub. p

fff

mf

3:2q

fff

fff

ff

fff

3:2x

sub. p

breathy attack.
Breathe freely
and re-articulate
as you wish

3:2x

fff

Picc.
or
Fl.

3:2q

fff

Vla.

claves

fffp

mf

fff

ff

ff

fff

f f

mf

ff

molto
vib.

ff
f

fff

f
f

f
f f

ff
f

ffff

f f
f
f

f f f
f f
f
f
f

fff

ffp

f
ff

ff
5:4y

5:4y

molto
vib.

f
ff

f
ff

fff

f f

3:2x

5:4y

f f f
f f
f
f
f

molto
vib.

f
ff

ffff

f
ff

timp w/bowed cymb.

very active bowing

brake drum

ff
f
f

ffp ffp

5:4y

f f f
f f
f
f
f

fff

ff

ff

Pno

Perc.
1

II

ff

ff

break/
spectral
multiph.

Cl.
bass

Sax.

molto
vib.

f
f

ffp 5:4y
ffp ffpffp

f
mf

f
ff

f ff
f

90

Vln.
1

f
f f f f
f
f
f

Vc.

ffp

5:4y

ffp ffp

f f

5:4y

f
f

ffp

5:4y

f
f

ffp

f
f f f f
f
f
f

5:4y

fff

ff

ffp

f f
f
f

ffp

5:4y

ffp ffp

5:4y

ff
f

fff

ffp

ffp

ff

f
f f f f
f
f
f

5:4y

5:4y

5:4y

ffp ffp

f f

f
f

ffp

5:4y

f f
f

5:4y

fff

ff
f

ff
f
ff
f

Pno

ff

!
Sax.

f
f
f

ff
f

ff
f

f
3:2x

Perc.
1

fff

ffff

ffff

fff

f
f

fff

ffp

f
ff
f

ff
f

ff
f

ff
f

f
ff
f

f f
f
f

ffp 5:4y ffp ffp

ffp

ffp

f
ff
f

f
f f f f
f
f
f

5:4y

Cl.
bass

ff

3:2x

fff

ffff

fff

ffff

Sop.

Perc.
2

3:2x

Trb.

Vla.

fffp

Vln.
2

fff

Cb.
f

mf

f f
f
ff

f
mf

f
ff

fff

fffp

fff

mf

fff

ff

ff

fffp

f
mf

fff

ff

24

mf

fff

ff

f f

f
mf

ff

fff

mp

f
f

3:2x

3:2q

f
f

3:2q

fff

f
mf

3:2x

f
f

fff

mf

f
3:2q

3:2x

3:2x

Picc.
or
Fl.

3:2x

3:2 q

fff

fffp

fff

mf

ff

ff

f f

f
mf

fff

94

Vln.
1

f f

f
ff f f ff
f

Vc.

f f
ff

ffp ffp ffp ffp

f
f

f
f
ff f

f
f f
f

ffp ffp

ffp ffp

fff

ffp

f f

f f
ff

f f
f

f
ff f f ff
f

fff

ffp

<>

Pno

Perc.
1

ff

f
f

fff

ffp

fff

fff

fff

fff

f
!

f
fff

fff

f
ffff

5:4y

f f

5:4y

fff

!
Sax.

ffp ffp ffp ffp

Cl.
bass

f f

ffff

fff

ffff fff

pp

Sop.

f
No

Perc.
2
ff

Trb.

f
f

Picc.
or
Fl.

Vln.
2

fffp

fff

Cb.

f
mf

fff

ff

mf

fff

mf

f
mf

fffp

fff

mf

3:2x

ff

ff

fffp

f
mf

fff

f
fff

25

f
f

fff

mf

ff

fffp

3:2x

3:2q

fff

fff

f
f

3:2q

brake
drum

3:2x

3:2q

fff

Vla.

3:2x

metal
pipe

(Flute)

f
mf

f
ff

fff

3
8

= 116

98

Vln.
1

&

f f #f

mf

Vc.

3:2x

Pno.

Sax.

&

&

&

#f

teeth
on reed

&

mp

# ff
f
f

ff

china cym.
'tone scrape'
w/stick

(brake
drum)
Perc.
1

Sop.

&

3
8

Perc.
2

ff

&

to
vib.

&

2
8

= 58

cup mute

Vla.

= 116

mf

Trb.

mp

mf

Cl.
bass

I
ord.

&

2
8

= 58

bf

(lion's
roar)

bass
drum

#f

nf
mp

Fl.

Vln.
2

Cb.

&
&
?

jet whistle

fff

To Piccolo

#f

I
ord.

ff

III
msp

ff

#f

snap pizz.

&

26

ff

2
8

102

Vln.
1

Vc.

Cl.
bass

Pno.

Sax.

Perc.
1

Sop.

&

&

IV
ord.

fp

I
msp

mp

&

fp

msp

mst

Trb.

Vla.

Picc.

Vln.
2

f nf

ff

f
msp

4
8

#f

#f
f

msp

sp

ord.

pp

ff

ff

pp

3:2x

#f

mp

#f

mst

fff

&

&

&

vib.,
soft yarn

#f

2
8

soft yarn
mallet

&

IV
ord.

#f

&
&

? #f
f

mp

f
p

II
msp

# f

mf

#f

fp

msp

nf

mf

5:4x

IV

# f

ffp

IV
mf

nf

3
16

#f
f

pp

mf

27

3:2x

sub.
p

#f

fp

nf

# f
f

fp

#f

ord.

fp

IV

mf

R
f

fp

mf p mf p

3
8

nf

&

2
8

III

fffp

IV

#f

5:3x

msp

ppp

nf

pp

#f

#f

#f

fp

mf

pp

f f

III

ord.

msp

#f

#f

3
8

fp

f
f

ff

#f

pp

fp

fp

nf

ord.

#f

fp

IV

ord.

4
8

picc.
snare,
snares off

nf

mf

2
8

(cup mute)

nf

mf

3:2x

med.
tom

f
#f

5
16

fp

5:3x

3
16

R
W R
#f
#f
f

&

IV

Cb.

mst

#f

fp

= 58

Perc.
2

5
16

= 58

arco

mp

IV
mst

#f

fp

msp
f

fff

107

Vln.
1

Vc.

&

3
8

IV
ord.

mp

fp

pp

fp

ff

II
msp

O
p

#f

ff

pp
f

Cl.
bass

nf

#

b f nf

&

Pno.

Sax.

Perc.
1

fff

&
(

Perc.
2

#f
nf

#f

&

W
f.

f
nf f

#f

f #f

Vla.

Picc.

B
B

&

#f

f
f
#f
f nf

5:3x

nf
#f

IV
sp

Cb.

&

#f

7:4y

3:2x

pp

#f

f
f

mf

mp

III
mst

mp

#f

fp

mp

nf

W
f

fp fp

ff

&

bf

ff

pp

ff

mf

bowed
styrofoam

#f
p

fp

R
f

&

28

ff

ff

ff

#f

fff

II

&

ff

fff

fff

3
8

#f

III
msp

#O

3
16

p ffp

mf

ffff

fp

p f

ff

f f

bow freely to support dynamics in various

ways (but not tremolo until the following bar)

f
f

ff

3
8

mf

ff

ff

ff

move toward power drill, hammer and

planks of wood. Lines are for the drill
and x noteheads are for the hammer.

#f

n#

n#n

nf

ff

ff

mp

f
p

!
R f

3
8

nf

f p

IV
sp

Vln.
2

bn

nf

#f

6:4y

mp

Trb.

bn

#f

fp

&

n#

#f

mp

&

Sop.

fp

bn ff
f

&

bb

f

3
16

ffff

O
f

ff

msp

fp

fff

111

Vln.
1

Vc.

&

3
8

legno
crin

mp

ff

ffp

f
legno
crin

&

IV
mst

#f

pp

ord.

#f

fff

II
ord.

mf

3
16

msp

ord.

fp

O
I

Pno.

#f

Perc.
2

Trb.

Vla.

Picc.

Cb.

#III
f
p fp

To Cl.

mp

ff

mf

3
8

mp

mf

ff

&

&
?

f mf ff mp ff

ff

legno
crin

I
ord.

f mf

pp

arco
norm.

mp

f
#f

nf

ff

pp

ff

nf
pp

ff

fff

bf

mp

&

&

!
1
ff

&

ff

ff

&

IV

Vln.
2

&

3
8

mst

pp

Sax.

Sop.

&

Perc.
1

ord.

fff

fp

Cl.
bass

msp

pp

mp

ff

nO

ff

II

ff
f

d
f

plunger
mute

III

#f

ff

3
16

ffp

#f
I

6:4x

mp

II

III

ff

f
mf

pp

mf

msp

f
f

29

III

pp

mp

#f
f

bf

mf

fff

ff

pp

ff

f
f

fff

3
8

nf
ff

to C flute

(pizz.)

&

&

&

Vln.
1

&

Vc.

Cl.
bass

3
8

115

Pno.

Sax.

Perc.
1

&

Sop.

&

Perc.
2

Trb.

3
8

metal
pipe

fff

fi

mf ffff

Vla.

Fl.

&

Vln.
2

&

Cb.

30

= 84

rall.
&

= ~15 U

U U

(bass drum/ brush)

119

Vln.
1

Vc.

Cl.
bass

Pno.

&

Switch to B-flat Clarinet

Sax.

Perc.
1

Sop.

Perc.
2

&
?

&

nf

l.v.

ff

ff

crotales

&

'clicks' - as before

&

to micro-setup

rall.
edge

scrape
tam

pp

#f

pp

mp

U
bf

pp

sound

low
tom

center

= ~15

edge

= 84
U

Vla.

Fl.

&

Vln.
2

&

Cb.

Trb.

pizz.

ppp

31

U
nO

(arco)

123

Vln.
1

= 84

circular bowing
III
IV

&

mp

ff

Vc.

pp ff

Cl.

bf

&

!
f

tiles,
w/mallet stick

circular bowing
III
IV

ff

W
f

&

III
IV

Cb.

mp

#f

p
p

mp

&

III
IV

pp

ff

harmon
mute

mf

mp

ff
circular bowing

pp

ff

pp ff

whisper
tone

mp

pp

ff

pp

bf

pp

pp

bf

mp

circular bowing

nf
force

= 84

Bass drum,
w/brush

Vln.
2

bf

No

mp

mp

mp

&

Fl.

Sop.

Vla.

Trb.

&

Perc.
1

Perc.
2

&

Sax.

pp

ff

III circular bowing

IV

ff

Pno.

32

127

Vln.
1

&

mp

ff

Vc.

fp

ff

fp

large beat 2 for soprano to almost touch

upon the earlier nos?

ff

p
p

Cl.

&

Pno.

Sax.

Perc.
1

&
f

f
mp

mf

Sop.

Perc.
2

Trb.

Vla.

&

Vln.
2

mp

Cb.

&

W
bf

&

ppp

#f

pp

pp

nf

nf

nf

pp

ppp

mp

No

mp

mf

mp

pp

mp

f
ppp

force

nail

No

ff

Fl.

&

whisper tone

mp

33

Vc.

131

Vln.
1

&

ff

ff

Pno.

Sax.

Perc.
1

pp

&

(as if cut off by the

soprano shout)

ff

pp

mf

ff

&

Cl.

&

pp

nf

pp

brake
drum

(as if cut off by the

soprano shout)

microsetup

fff

high-pitched shout

Sop.

&

Trb.

Vla.

mp

Vln.
2

Cb.

&

mp

#f

No

fff

(as if cut off by the

soprano shout)

mf

pp

pp

ff

bf

whisper tone

mp

ff

pp

ff

metal pipe

W
f

No

mf

sub.
p

&

ff

Fl.

fff
p

way

(nail)
Perc.
2

pp

ff

pp

34

ff

rall.
&

135

Vln.
1

Vc.

mf

ppp

mf

ppp
p

Cl.

Pno.

Sax.

Perc.
1

Sop.

&

Vla.

Fl.

&

&

&

W
#f

R
p

Vln.
2

&

Cb.

mf

f
-

rall.

=
34
(low chime)

2
8

ppp

35

to piccolo

mp

ppp

pp

- ther

mf

whisper tone

mp

ppp

mf

o -

pp

#f

ff

&

(low chime)

2
8

Trb.

+ lions
roar
Perc.
2

= 34

= 84

= 84

28

139

Vln.
1

&

Vc.

Cl.

Pno.

&

Sax.

Perc.
1

III
IV
ord.

I
II

mf

#O

28

5
16

mf

mp

slap
tongue

mf

bass
timp. drum

f f

#f f

B
R

Picc.

&

48

sandpaper

f f

Vln.
2

&

Cb.

3:2y

R
p

f
mp

nf

36

f f f

3:2y

ff

f f

p mf

3:2y

f
f

f
p mf

28

f f f

3:2y

(clavs,
bass drum)

3:2y

p ffp

ffp

fff

#f

3:2y

pizz.

ff

cup mute

#f
ffp

f
ff

3:2y

mf

28

ffp

thing

R
f

3:2y

Vla.

mf

ffp

ffp

ppp

f
-

ff

5:6x

ffp

low
chime

ffp

#O
nO

mf

f
-

b#OO
st

ffp

& #f

48

ffp

= 84

Trb.

ff

ffp

O
O

(barline fermata
if necessary)

mf

no

Perc.
2

O
bO

#IIOO

Sop.

ffp

III
IV

ff

n#OO

&

&

I
II

III
IV

5
16

= 84

4 nO
8

I
ord.
Vln.
1

&

ff

ff

W
f

Cl.

&

ffp

Sax.

Perc.
1

f nf

ffp

ffp

ffp

ff

ffp

ffp

f f

2
8

ff

ff

3
16

III
IV

4:3x

&

Pno.

mf

III
IV

Vc.

II

143

R
f

mp

&

superball mallet, 2 hands

#f
f

fff

&

Perc.
2

&

Vla.

Picc.

Vln.
2

Cb.

B
B

&
&
?

3:2x

where

4
8

ffi

3
16
p

Trb.

nf

#f

&

(vib.)

&

fff

mp

#f

4
8

mp

Sop.

b ff
f

ff

pp

ffp

3
16

(senza
sord.)

ff

No

mp

3
16 f

(strike w/
clav)

4
8

mp

#f

IV
msp

nf

ff

37

clavs

2
8

No

nf

fff

IV
msp

ff

IV
msp

ff

W
ff

ffff

148

Vln.
1

Vc.

&

4
8

ff

III
IV

&

ff

#f

mp

&

&

Pno.

Sax.

Perc.
1

&
&

f
pp

#f

f
Sop.

Perc.
2

Trb.

&

cup
mute

f
5:4x

#f

mp

l.v.

mf

nf

Cb.

bf

5:4x

f
mf

#f

nf

nf

mf

b ffi

accel.

ff

mf

f
f

pp

mp

f
f

bf nf #
f
5:4x

f mf
f

mf

W
f

pp

III
IV
pp

ff

B
#f
f

mf

mf

IV
msp

ff

38

f
p

(snare)

bf

II
III

f
p

pp

bf
p

#f
mf

f
IV
msp

bf

ff

IV
msp

ff

#f

f
f

#f

&

can

ff

&

fp

fp

III
IV
Vln.
2

nf

vib.

pp

ff

Picc.

ff

III
IV
Vla.

pp

mf

#f

3:2e

p
mp

#f

crot.,
hard plastic

III
IV

mf

pp

ff

word

4
8

III
IV

pp

mf

b ff
f
f

vib.,
soft yarn

#f

IV
msp

ff

Cl.

ff

accel.

IV
msp

III
IV

ff

pp

bf

nf

II
III

ff

pp

III
IV

ff

pp

= 116
IV

& f

151 msp

Vln.
1

ff

IV
msp

? #f

Vc.

Pno.

&

& f

&

fff

!
f

bF

nF

#f

bf

ff
f to bari
sax

mp

#f

harmonic
sweep

ff

to tam,
hard plastic mallet

fff

3:2e

bf

mp

f
f

ff

#f

3:2e

hide

fff
ff

Trb.

?
mf

f
IV
msp

Vla.

B #f
ff

Picc.

& f
IV
msp

Vln.
2

&

Cb.

f
f

mp

ff

f
mp

pp

3:2x

3:2x

ff

?
ff

#f

sub.
p

3:2x

pp

fff

(to tam)

bf

pp

III
IV
pp

f
f

bf
pp

III
IV

I
II

pp

3
8

pp

fff

fff

= 116

#f &
fff

ff

I
II

fff

No

piccolo snare

fff

pp

_____________________________

Perc.
2

pp

ff

&

Sop.

#f

I
II

pp

& f
( )

II
III

mp
ff

pp

fff

&

Sax.

Perc.
1

mp

ff

Cl.

3
8

III
IV

II
III

39

fi f
f

fif
f

pp

154

Vln.
1

&

Vc.

&

Cl.

&

38I

= 116

&

Sax.

&

Perc.
1

&

Pno.

mp

Sop.

Perc.
2

No

38 I
mp

&

No

No

No

= 116

Vla.

&

Picc.

&

Vln.
2

&

Cb.

Trb.

40

Vln.
1

&

Vc.

&

Cl.

&

158

freely- unconducted

&

Sax.

&

Perc.
1

&

Pno.

clavs

U
f

freely

ppp
Sop.

&

movement

clavs

Perc.
2

Trb.

&

Picc.

&

Vln.
2

&

Vla.

Cb.

freely

to Flute

41

conducted

Vln.
1

&

Vc.

&

Cl.

&

&

Sax.

&

Perc.
1

&

Sop.

&

&

Fl.

&

Vln.
2

&

162

Pno.

Perc.
2

Trb.

Vla.

Cb.

42

conducted

166

Vln.
1

Vc.

I
sp

&

&

?
ff

Cl.

IV
mst

msp

#f

mst

mf

3:2x

&

mf

&

f f #f

= 116

&

b ff
# f

Perc.
1

Sop.

&

conducted

&

glass
chimes

#f
f

Vla.

&

ff

nf

bf

3:2x

rim
shot

3:2x

brake
drum

cup
mute

IV
sp

mf ff p ff p ff

ff

(lions roar)

fp

hide

ff

Trb.

slap
tongue

fp

can

snare

conducted

mp

= 116

J
Perc.
2

#f

teeth
on
reed

&

fff

Pno.

Sax.

fff

&

jet whistle
Fl.

Vln.
2

Cb.

&

&

C flute

to Picc.

fff

43

III
msp

ff

&

rall.
170

Vln.
1

&

28

38

= 88

28

I
ord.

Vc.

&

mp

!
Cl.

&

Pno.

Sax.

Perc.
1

&

&

teeth
on reed

tam

mp

mf

ff
l.v.

(metal wind chimes)

fff

freely

Sop.

Perc.
2

Trb.

Vla.

Picc.

&

rall.
f

lion's
roar

bass
drum

&

&

Vln.
2

&

Cb.

&

low tom,
superball

l.v.

#f f

mp

28

ff

#f

with -

= 88

f
-

38

nf

out

#f
No

28

ff

ff

44

174

Vln.
1

Vc.

Cl.

&

Sax.

accel.

= 88)

ff

brake
drum

ff

&

ff

Perc.
2

2
8

( = 88)

Trb.

Vla.

?
B

mp

ff

bf

vib.,
dead
strokes

bamboo
wind
chimes

&

&

?
Cb.

&

3
8

low
conga

ff

snare

tongue
ram/slap

ff
f

b ff

crotales

l.v.

mf

fff

2
8

= 116

(twisty
tube)

low f: very
nasal, crass

#f

fff

nf

Strike__________

I
mst

ff

45

(twisty
tube)

4
8

&

glck.

&

mf

Vln.
2

mp

mf

ff

mf

Picc.

(cup
mute)

IV

accel.

low tom,
superball

4
8

ff

&

Of

ff

Sop.

f
f

ff

f
f

III mst
IV

2 = 116
8

mp

slap
tongue

(teeth on reed,
gliss)

3
8

metal
wind chimes
Perc.
1

I
ord.

&

&

&

&

Pno.

2(
8

178

Vln.
1

&

4
8

rall.

ord.

#f

#f

3
8

f
Vc.

Cl.

&

&

f f #f

ff

2
8

= 88

mp

Pno.

Sax.

Perc.
1

Sop.

Perc.
2

Trb.

Vla.

mf

&

#f

mp

3:2x

ff

&

&

#f

f f f

Picc.

&

ord.
Vln.
2

Cb.

&
?

#f

#f

3:2y

nf

fff

ff

46

f
f f #f

IV

ff

brake
drum

st

ff

1
8

brake
drum

ff

III
IV

I
II

ff O

3:2x

III
IV

I
II

3:2x

col legno
battuto III
IV

I
II

ff

f bf f f

5:4y

Bass Clarinet
in Bb

col legno
battuto III
IV

ff

ff

pppp

f!

2
8

ff

bf

= 88

fff

sp

b ff
f
f

fff

(twisty
tube)

3:2y

b ff
f
f

1
8

3:2x

f f

No

3
8 f

f
f

pppp

!
f

ff

fff

rall.

4
8

&

ff
b ff
f
f

fff

f.

B
&

(twisty
tube)

I
II

fff

b ff
f
f

III
IV

3:2x

f
f

I
II

ff
III
IV

col legno
battuto

col legno
battuto
III
IV

3:2x

I
II

3:2x

183

Vln.
1

3
8

&

arco/
touff

I
II

&

Pno.

Sax.

Perc.
1

Sop.

Perc.
2

Trb.

Vla.

Picc.

&

&

&

?
B

&

Vln.
2

&

Cb.

ffff

b fff
f

fff

mp

(twisty
tube)

ff

f
pppp

nf

nor

time

(twisty
tube)

f
fight

bass
drum,
superball

mf

O
fp

3
8

#O
f

whisper
tone

nf

fff

(twisty
tube)

4
8

fff mf

ff

pppp

(twisty
tube)

pppp

bass
drum,
superball

#f

mf

b ffff

thought

3
8

mf

spectral
harmonic

&

#O
O

mp

&

ord.

OO

ff

Cl.
bass

3
8

fff

arco/
touff
III
IV

Vc.

4
8

I
II
III

arco/
touff

mp
II
III
IV

mp

47

arco

IV
sp

mp

187

Vln.
1

Vc.

&
&

rall.

38
f

28

sp, bow freely

38

28 = 76

ff

pppp

f!

&

pppp

&

Sax.

Perc.
1

Sop.

Perc.
2

ff

&

&

f
f

28

fff

Cb.

&
?

ord.

ff

fff

nf

ff

28 = 76

(superball)

mf

mp

sp

pppp

#f

f
#f

#f

48

bf

mp

#f
ff

38

pizz.

ff

No

f
fff

fff

mp

fff

38

ff

fff

&

arco/ II
touff/ III
circular IV
bowing
Vln.
2

(cup mute)

ff

Picc.

ff

mf

(superball)

rall.

arco/touff/
circular
III
bowing IV
Vla.

38
f

ff

Trb.

fff

fff

&

f!

ff
teeth
on
reed

fff

&

Pno.

38

ppp

I
II

ff

Cl.
bass

#f

&

3# f
8

#f

fO

fO

fO

fO

192

Vln.
1

&

Vc.

&

Cl.
bass

Pno.

&

Sax.

Perc.
1

pppp

&

&

R
f

mp

pppp

spectral
harmonic

pppp

bf

mp

Perc.
2

Trb.

&

3
8

Picc.

&

Cb.

p
mp

ff

= 54

(twisty tubes)

pp

49

for

ord.

&

&

Vln.
2

3:2x

pp

pp

ord.

Vla.

2
8

= 54

pp

fight

#f

(twisty tubes)

pp

Sop.

fO

pppp

spectral
harmonic

&

2
8

197

Vln.
1

&

4
8

<#> f
III
IV

Vc.

Cl.
bass

Pno.

ff

Perc.
1

&

f
f

&

& f

tam,
large
mallet

&

&

pppp

tam,
large
mallet

4
8

pppp
Trb.

Picc.

Cb.

ff

&
?

#f

&

ffff

ffff

metal
mallet

ffff

ff

ff

f
f

III
IV

f
f

f
f

this should be
very scratch-tone-like

msp

&

f
f

f
f

f
f

fff

#f

f
b ff
f

b f
f
ff

ffff

fff

to crotales, vib.
(hard plastic)

U
f

&

50

ff

1
8

teeth
on
reed

ff

&

No

= 116
to brake drum

this should be very

scratch-tone-like

I
II

f
f

fff

f
f

I
II

f
f

f
f

metal
mallet

f
III
IV

Vln.
2

I
II

f
f

f
f

msp

And

III
IV

Vla.

ff

ff

ffff

&

sale

Perc.
2

f
Sop.

I
II

f
f

1
8 ff

this should be
very scratch-tone-like

Sax.

= 116

msp

this should be very

scratch-tone-like

f
f
f

pp

fff

fff

&

f
f

msp

f
f

f
f

ff

fff

f
f

f
f

f
f

ff

4
8

204

Vln.
1

Vc.

Cl.
bass

&
&

&

f
f

<#> f

#f

&

Perc.
2

Trb.

&

&

b ff
ff

4
8

mf
vib.

crotales

Sop.

&

Perc.
1

&

Sax.

= 116

fO

fO

fO

ff

fff

(again, insert bassoon

reed into mouthpiece)

b#b f
ff
f

f
f

whistle

ff
fff

f
f

bfO
ff

f
f

f
f

Picc.

Vln.
2

Cb.

fff

1
8
fff

= 116

f
f

f
f

whistle

f
f(8'' roto-tom)

fff

bell
up

&

&

&

&

(glck.)

mf

51

b Of

Bf
ff

ff

ff

Of

4
8

= 54

f
f

f
f

f
f

fff

= 54

f
b ff
f

No

brake drum

fff

Vla.

4
8

= 54

ff

mf

Pno.

1
8

= 54

Of

211

Vln.
1

Vc.

Cl.
bass

Pno.

&
&

&

Sax.

Perc.
1

Sop.

Perc.
2

4 f= 54
8
bfO

fO

&

&

&
&

1
fff

fff

Vla.

Picc.

B
&

&

Vln.
2

&

Cb.

&

ff

nf

ff

9:8

f f f
f
#f nf f bf f
f
f
nf bf

f f

bf f

f #f f

f bf

nf

nf

#f

9:8

nf

nf

f f

4
8

= 54

ff

<B> f

<> f

fff

<b> Of

roto-tom

10'', app.

U
f

mp

And

ff

&

fff

mf

Trb.

fff

#f
nf f
ff
#f f f
#f f
f f f bf

#f nf nf f #f f #f f
f

b Of

Of

f f #f

#f nf

U
U

Of

52