Vacuum of the Mind (2013)

for clarinet(s), harp, violin, and violoncello

Andrew A. Watts
CP-023
 Vacuum of the Mind (2013) - Andrew A. Watts
Instrumentation
Bass Clarinet in Bb (doubling Clarinet in Bb)
Double-Action Pedal Harp
Violin
Violoncello
(recommended setup)
Performance Notes
Duration (approx.): 7 minutes 30 seconds
Transposing full score
Accidentals apply only in the measure and register in which they appear.
Microtonal accidentals (in diagram from left to right):
¾ tone flat, semi tone flat, ¼ tone flat, natural,
¼ tone sharp, semi tone sharp, ¾ tone sharp.
Grace notes always occur before the beat or note they are going to.
Feathered beaming– rhythmic accelerando and ritardando (notated below).
Play note(s) or passage as fast as possible.
For boxed notation repeat phrase in box as fast as possible for the duration
indicated before moving on.
Stems connected to glissandi lines are used merely as guides to help
indicate the meter (i.e. where the beat is in relation to the slide). Please do
not accent these. Rather, re-articulate freely and staggered according to
the demands of the phrase.
Diminuendo al niente / Crescendo da niente
Change gradually from one sound or one way of
playing (etc.) to another.
BASS CLARINET in Bb/CLARINET in Bb
The use of the fingering chart above the pitches is strongly
recommended in order to hear the intended subtleties in timbre.
It may be optimal to use subtones for the longer notes in
measures 5-6, as well as measures 12-13.
Slap tongue (s.t.)
Breath tone (b.t.)– use the fingering needed to produce the marked
pitch. However, do not produce the normal tone, just blow air
through the instrument. The desired result is half breath sound
and half pitch.
X Key click (k.c.)
Flutter-tongue or Flatterzunge (flz.)
Pronouncing syllables into the instrument with the rhythm
marked, while simultaneously fingering the pitches shown
(notated with “x” note-head):
“ch” as in English chat
“sh” as in English shut
i
HARP
Dampen resonance immediately.
T Près de la table (pdlt).
Dampen at the middle of the designated strings and play “a la
table”.
Dampen “a la table” and play at the middle of the strings.
Strike the strings with the palm of the hand.
Play at the lower end of the strings, letting the finger slide
immediately and vigorously to the body of the instrument.
Place the palm of one hand at the upper end of the strings
designated by quadratic notes; with the other hand, play these
notes at the middle of the strings and make a quick and powerful
glissando in the direction shown by the arrow.
Glissando with the palm of the hand over the entire length of
the strings (from top to bottom or bottom to top according to
the arrow).
Pluck with the fingernails.
Strong glissando with the 2 nd finger of the right hand, letting the
strings strike against each other.
Strike the body of the instrument with the knuckles.
VIOLIN AND CELLO
X Scratch tone (s.t.)
... Ricochet bowing (ric.)
Snap or Bartok pizzicato
Fingernail pizzicato– a brittle, nasally sound is desired. It may be
necessary to try different angles and motions plucking with the
fingernail in order to properly achieve this.
col legno battuto col legno tratto
Circular bowing (slow) (fast/aggressive)
Bow position diagram [example]
BB – “behind bridge”/often used with scratch tone.
sp/m– “maximum sul ponticello” / as close to the bridge as possible
but still pitched.
SP – descending degree of distance from the bridge.
ord – halfway between the bridge and the fingerboard.
ST – descending degree of distance from the bridge.
st/m – “maximum sul tasto” / substantially over the fingerboard.
Transposing Full Score for the 2013 Etchings Festival

Vacuum of the Mind Andrew A. Watts (2013)

As fast/aggressive as possible 6" A Moderato q = 84 x123456qwerty -

    
  Eb


Bass Clarinet 
in Bb 
    

fp 

6"

  
 bisbigliando
 



Harp MMNOMNNM let the strings strike sfffffz C#
against each other
     

 
   


 fp ppp

 SP 
              
ord 


Violin 6"

      

  

7:4 11:8 11:8
fffff


st/m

Violoncello 6"

sul C (non vib.)
        

        
 pppp
fp

4
x123456qwerty -E
subtly lower pitch - control the
low "e" opening by pressing at
a point just above the left calf (e = e)
       
(F)

B. Cl. 

 
     
    



     
bisbigliando




p sfz
Hp. ped. gliss. p sfz ped. gliss.

      

                  

 fp ppp C# 
C§ # § # § C§ # § # §

 ord ord

ST ST 
st/m st/m st/m

Vln. arco, col legno tratto - circular bow

sul G nail pizz.

  
       
     



sfz p fp ppp p ppp


ST ST  ST
st/m st/m


Vc.
        
3 5
    

                        

ppp p pppp p
© 2013 by Andrew A. Watts. Published by Counterpoint Printworks (ASCAP). International Copyright secured.
All Rights Reserved. Copying or reproducing this publication in whole or in part violates the Federal Copyright Law.
2 Vacuum of the Mind (2013) - Andrew A. Watts

9
x123456qwerty - F# control the "f#" opening
with the left calf x123456qwerty -E
control the low "e" opening by
pressing at a point just above
the left calf

  
5 (F)

B. Cl.   
8:7

 
               

fp mp p mp p

 
dampen at the middle of the string and play "a la table"

      
     


Hp. fp mp

      
       



  ord
ST
st/m st/m
Vln.
  
     
  
 
p ppp p ppp

 ord ord
 ST ST ST
st/m st/m

 
Vc.

      
   g liss .   g l i s s .                           
pppp p ppp p ppp p ppp


control the "a" opening with right knee

13
x123456qwert x123456qwerty x123456qwert
- - - x123456qwert - x123456qwery - x123456qwert x123456qwery x123456qwert
- - -

      
C G# C F F

B. Cl. 
3


                        
 
fp    f-mp p mf

 
        
     
Hp.

 
pp

  
         
mp


   
MMNOMNNM

(p.d.l.t.) sfz
 
  

BB

Vln. sul G, scratch tone

     
       
       
sffz poco f ff

SP SP
ord ord ord

 
sul D
  


Vc.
 
sub p mf sub pp


scratch tone norm. molto vib. non. molto vib.
        
                 
mf ff
 
18
B. Cl. 
B

Vacuum of the Mind (2013) - Andrew A. Watts

 
x123456qwerG
B§
-
control the "b§" opening by placing the
R.H. thumb on b§ lever, obtaining leverage
between thumb and R.H. third finger 
3


5:4

          

strike the body of the instrument with the knuckles fp
R.H.
   
R.H. R.H. 3



      
ff mp
Hp.
poco f
  
                      g l i s s .  
 

 ord
ST
st/m st/m

Vln.
col legno tratto circular bow  
  
  
p ppp p ppp

sp/m
SP
ord
ST


   5

Vc.
         
f sub p ppp
    
           

21 
x123456qwet -
breath tone

B. Cl.    
  


poco f pp

ped. gliss.

ped. gliss.
       
          
5 7:6

       


 





Hp. poco f  mp sfz Ab § b § b § sfz b

       
             





 ord
ST
st/m st/m


Vln.
norm.

    
5

 g liss .             g li ss.
   
ppp mp ppp

ord ord
ST ST
st/m st/m

ric. ric.


3 3

 
           

Vc.
 
ric.

   
  

3

      g l is s .          
   g lis s.   g li ss. 

 
  p
sfz poco f mf sfz sfz mp f sub ppp pp sotto voce
4 Vacuum of the Mind (2013) - Andrew A. Watts

25
subtly raise pitch by controlling the
air space below the R.H. second finger 23456qwe%1x 123456qwex
-
ord.
-
b.t.
C#
subtly lower pitch by controlling the
"c" opening with the L.H. little finger
ord.
slap tongue
  
    

B. Cl. 
         
  
p  sfz sfz sfz
ped. gliss. ped. gliss.

 
3 3
   
bisbigliando
    

Hp. sffz 
     
   
  
p ppp C#
 § C# § # §
mp poco f
BB
 ord

Vln. scratch tone

          
         

g li s s .

f mf

ord
ST
st/m st/m

espress.
 
 


  
           
Vc.

          
  
         
(p) mf pp


29
 
123456qrtDx
   
-
Eb

  
123456weryx
G#
-

C
 

B. Cl. 
 
           

poco f p f


ped. gliss. ped. gliss.

  
3 3

      
          
mp

Hp. ped. gliss. ped. gliss. MMNOMNNL
 3
   
3
 
       
 §
 § C# § # § C# § §
C# § # C# #
poco f f p sotto voce
mp
 SP
ord
ST ST

Vln.
col legno battuto norm., ric.

                       
3

  
  
             
mp f

f sfz

ord
ST ST
st/m

  
ric. ric. ric. ric. ric.
      
Vc.
  g l is s .
                
    

slow, wide vib.
  
           
  
         
 g liss .

  
mp pp f
6 Vacuum of the Mind (2013) - Andrew A. Watts

Greater sense of urgency

40  s.t.
   
lip-bend  

 
B. Cl.
     




glis s .

sffz sffz

 
bisbigliando (with palms)
   


Hp.


D#
    


f mf sfffz

 ord
SP 

st/m
circular bow
Vln.  
tratto


 
  
   gliss.
p ppp ff

ord ord
 SP
ST 
scratch

 
7 tone
              
6

Vc. 

               gliss.   
 
5
p fff

Abruptly- as fast/aggressive as possible

43 
 *




Hp.  E§ NMNOMNNL
 


*
sp/m
 

norm.
  
Vln.

                 
      
               
7 7 7 7 7 7
6:4
fff
sp/m
ord



 
 
 
 5:4 
           
Vc.

    
    
  

(fff)

*Without pause transition immediately to harp in the next measure.

 Vacuum of the Mind (2013) - Andrew A. Watts 7

D Moderato q = 92
44
1 123456q -
1q 123456qw
Bbtr
-
  

    
b.t. ord.
 
B. Cl.         

 p mf

play at the lower end of the strings, dampen at the middle of

letting the finger slide immediately and the string and play "a la table"
vigorously to the body of the instrument
                 

   


sfz sfz mf sfz mf mp f
  3
      
Hp.
                           
           

 3

  ord ord ord

 ST ST


Vc. surging

  
sul D, norm., poco vib.
           
   
f    


RA R A R
G#


1q 123456 -
1q 123456qw
Bbtr



-

1 123456
B§tr
-
1 123456
B§tr
-
1 123456 -

 
50 b.t. ord.
B. Cl.                  
3
  

    
p  p f espress.
5:4 3
mp

ped. gliss. ped. gliss.

bisbigliando

          

5:4
    


p poco f p mf
Hp.   3
           
           
ped. gliss. ped. gliss.

3  G§ #  G§ #  G§ # § pp mf pp
#

sp/m sp/m
 ord
SP
ST

Vln. vib: wide, slow quick slow

norm.
      
              
 
gl is s .

sffz sffz-pp mp pp

ord
ST ST
st/m st/m

                    

(pizz.)

Vc.
                 
    
7:4 3 3 3
p pp
7:4 3
pp
sul G, ric.
  
 
mp
      

mp
8 A Vacuum of the Mind (2013) - Andrew A. Watts

 
55
B. Cl.     
1 123456 1 123456
B§tr
-
B§tr
- 

timbral

  
lip-bend

  g lis s .   
1q 123456qwerty
(F)
-E


"growl"

 

mf p sfz p

sfz
  
    
 
     
 



3 3
Hp. NMNOMNNL

  
  

     
3 3

   


gli
ss.
mp mf sfffz mf

sp/m
 ord ord
SP
ST

Vln. 
     
                        g l i ss.    

g lis s .

p ppp sfz p poco f

SP
ord
ST ST ST

(arco)
     
3
  3   3 3   3   3

   
Vc.
 

            
sul C

          
pp p sotto voce 3 3 3 3 3


1 123456 1q 123456qwerG 1 123456 1 123456
control the "b§" opening by placing the
B§tr B§tr B§tr
R.H. thumb on b§ lever, obtaining leverage
E - - between thumb and R.H. third finger
- -
B§
slap tongue

     
59 b.t.    

B. Cl.                
       

ppp
   sub p   poco espress.
p sfz f

 4:3  10:12 7

 
10:12

         
Hp.

 




3





3

  
C#





5


Bb

     

f espress.

 



sp/m
 ord
SP
ord ord
SP

Vln. pizz.
  arco

         
7

         
p poco f sffz sffz
 p
sfz
SP
ord ord
ST

if necessary, ad lib. rearticulation

     sul A
       


           sul
D
Vc. gliss.

 
mp poco f


           
sul G
    
 5 6 6
fp mf
 R R

1q 123456qwerty 1q 123456qwerty
Vacuum of the Mind (2013) - Andrew A. Watts 9
- -
F# 
    
63
            
 
F
B. Cl.

ff 3 3

    
sfz sfz sfz
Hp.
 
A#
 B§

            

sp/m
 SP
ord
SP
ord

Vln. 5:4   

 
3 3

                     

poco f p f p sffz p

SP
ord
ST

  
(pizz.)
                  
(arco)

   
      
 
Vc.
 
espress.

                        

 3 5 6 6 5 3
mf pp

 R R

      flz.
B. Cl. 
67
 
F q = 84 flexible tempo for outbursts*
              
1q 123456qwerty  
F
-
 
1q 123456qwerty
G#
-
 
b.t.

    
3 3 3
sub ppp

  
bisbigliando

     

Hp.

  
Cb  NLMOMNNN

  
sffz p


f
  

 

 sp/m

 SP

st/m st/m

   
Vln. arco
pizz. pizz.

              

 
    
    
      

sffz fff sffz
 
sp/m
SP
ord
st/m

pizz. arco, norm. s.t.

 
Vc.

vib: wide, slow fast

5 5 5 5
     
 
               
sffz p fff   
*Fluid, appoximately matching the rate each lead voice needs for an outburst.
10 Vacuum of the Mind (2013) - Andrew A. Watts
R R R R

1q 123456qwerty 1q 123456qwerty 1q 123456qwerty

Control "e"

G#
-E
1q 123456qwert -
opening with
R.H. third
finger
- -E
k.c.

   
G# G# G# 5
  
70 ord. flz.
         
B. Cl.
  

  
  
   

5:4
f sub p ff

 


 

    
3
 


D§
Hp.  F§
C§
A§ A#
C#
G§
F# MNMOLNMN
Eb
   

   
  
fff
5:4

   
sp/m sp/m
 SP SP
ST

Vln.
       

arco

                 
               
7

  

g li s s .
3
8:9 8:9 8:9 3 3:2
fff sfz p sfffz fff

BB
SP
ord ord ord

Vc. off the string ric. ric. scratch tone

          
 3 3

            
 
f sffz sffz f fff

 R
R

73
1q 23456qwer1 1q 123456qwery
-

  
F
-





                    
B. Cl.   
 

7:4
mp fp fp fp fp fp fp fp

 3


      
fff C§ Bb E§
Hp.
C# MNLOMMMN
3 F§

    
5:4 
    


 
 
BB sp/m
 SP SP

 
7 6 3
 
Vln.

3 4:5
            
5:4

                 
3



  
sffz  fff 3

BB BB

ord
ST

Vc. 3 col legno battuto

 
3

 
     
   
  
 
sffz sffz mf fff
 Vacuum of the Mind (2013) - Andrew A. Watts 11
R R
Control the "B§"

75
 
k.c.
3
1q 123456qwerG
B§
-
lever with R.H.
third finger

b.t.
   
1q 123456qwer -

     

ord.

 
3 3
B. Cl.  
      

5 3 3 3

( ff) sub p mf

     


 
    
       
    
3:2 3:2 3:2


D# C§ B§ C#
Hp. ( fff)
A§
G# A# G§ F#
NNMOMNMN f
5:4
 
     
 
     



  

5:4
3

 
sp/m
 ord
SP

Vln.
                  
  
         
  
3 3 3 3
3 :2 7
f fff 
sp/m
ord

     
norm.
          
Vc.

   
         
 
   3
f 3 3
fff


R R

 
78
1q 123456qwerG
 
B§
-
k.c.

"growl" 1q 123456qwetG
 
B§
-
k.c.

    
5
B. Cl. 
         

  
ff sfffz ff


    




Hp. C§
   
           
     
     
   sp/m

 ord
SP

                          5 
 
Vln.  gli ss.

       
 
5:3 6:5 5:3 6:5
mf fff 5


ord

Vc.
  
5:3

    
g lis s .
   
   
5 f
12 Vacuum of the Mind (2013) - Andrew A. Watts
R R Control the air space above the
R

80
1q 123456qwetG

B§
-

1q 123456qwe -
   
       
1q 123456qwe - C#
"G#" opening with one of the
R.H. fingers, or with the L.H.
"G#" lever

B. Cl.         
gliss.


sub p f

 
    7

     
 

    
5




MLMOMNMN
  
Hp. C# D§ Cb

 
       


sfffz  sfffz
sfffz
 
sp/m
 ord ord
SP
ST

   
    
          
Vln. pizz. arco

s.t. 
               
      
  6:5 5:3
sub p f sffz f fff
 
SP SP
ord ord ord

  
         
3 5 s.t. espress.
     
Vc.
 
         
    7:4
fff 5 sub p f

R R

  
83
G




1q 123456qwe - C#



lip-bend
g lis s . 
1q 123456qw
Eb


-
  
B. Cl. 
  
ff sfz sffz f


   
  
 
6
    



 3 3
Hp. Bb Ab C§ Db
  
    
f
 
sp/m
 ord
SP

             3 
    
Vln.
ric. ric.   
   
           
  
7:5
sfz sfz
fff 5
 
sp/m
SP
ord

   
Vc.

   

5:4

          
        
f
fff
7:4
 Vacuum of the Mind (2013) - Andrew A. Watts 13
R

85
b.t.

  5:4

ord.

   
1q 123456qw - s.t.

1 123456qwe -



B. Cl.     




sub p f sfz sfz mp


 
  
 
gliss. 
        


3 3   
Hp. LMLOMNML

ff
 

 
sp/m
 ord ord

 
Vln.

 
5:4

         
    
    
        
f
7:4
  fff
SP
ord ord

    
    
Vc.
      
    
5:4
   
   
5:3 5:4 f
fff


R R

1 123456qwe 1 123456qwe
- - C#

87 k.c. k.c.      
    
B. Cl.
       
  
sfz sfz mf

(accel.) 
     
 g l is s .




Hp. (accel.) sfz sfz
   

   

 

g l i ss.
  
  
mf ff   
 
sp/m
 ord ord

  
 
Vln. 5:3 5:4

            
       

g li ss.
   
6:4
f fff
 
SP
ord

Vc.     
             
5:3

      
    
     
5
fff f
14 Vacuum of the Mind (2013) - Andrew A. Watts
R

89


 
    





k.c.
5:3
1 123456qwD -

Eb


lip-bend
 g liss.    
lip-bend
g lis s .  
     
  

B. Cl. 
    

ff f ff

 
        
 gl 
i ss. g lis s.

       
Hp. f

     
   gl i s s .
   
g liss .
 g
lis s .

 
 ord
SP

     
    
Vln. ric. ric.
   
    
           
3

3 
sfz sfz fff
 
sp/m

Vc.
 
 
 
fff ff


R R R R R R

1q 123456wert!y 1q 123456wer!y 1q 123456wert!y 1q 123456wer!y 1q 123456wert!y 1q 123456wer!y

G# G# G#

- - - - - -
91             k.c. To Cl. 6"
     

B. Cl.

fff
5:3 
flat hand gliss. 6"
     
 
bisbigliando

    


glis
ss. s. s. let the strings strike sffffz sub p

Hp. g li g lis

 B#

 
against each other
    
 
     

fff

 
sp/m
 SP
ord

                

Vln. 6"

   

5:3  
ff   ff 5:3 f fff

sp/m
SP
ord

6"

Vc.



f fff
 Vacuum of the Mind (2013) - Andrew A. Watts R 15


94
H Tempo giusto q = 92

    
1q 123456qwer 
 
-
b.t.

Cl. 

pppp


glissando with the palm


of the hand over the entire

  
bisbigliando

      
length of the strings


  

sfz sffz
LMNOMNML

Hp. C# D§
           

ppp

sffz fp

sp/m
 SP SP
ord
SP
ST

Vln.       
            

scratch tone pizz. arco

                 

7:4  
ff f fp fp fp ppp p sfz

SP
ord ord

  g li s s . 
st/m

Vc. arco  
     
pizz.
    
        
   f
sfz p

ord.

98
 
Cl. 
   
p

place the palm of one hand at the upper end of the strings designated by
f quadratic notes; with the other hand, play these notes at the middle of

    
the strings and make a quick and powerful glissando




  
Hp. B§


F§
 
       
p sfz

sp/m
 ord

3
Vln.
   3   3  
sul E

   

       
sul A

 3
mf
3 3

SP
ord

Vc.            
                  

      
f
16 Vacuum of the Mind (2013) - Andrew A. Watts

R R

101
1q 123456qwrt
G#
 
- I
1q 123456qwrty
  
G#
- C#
         
Cl.      


ppp mp sfz
ped. gliss. ped. gliss.
 3 3

   
f

           

  



CL F# MNMOMNML C§ A§

sffz ped. gliss.
  
F# 3 3

         
3
   
sfz    p
§ F# § # § F# § # §
poco f mp sfz

sp/m
 SP
ord ord ord
ST

    
(arco)
         
   
gl is s .
Vln.  
 5

 
mp mf
sul G, pizz.
                
   
p
sp/m
SP
ord

Vc. 5 5 5:3      g liss .  

               
   
      

ff
mf
R R

1q 23456qw1 1q 123456qwe 1q 123456qw

R R R

1q 123456qw 1q 123456qwD 1q 123456qty

 R

1q 123456qwe
Eb Bbtr
C#
Eb - C# Eb - Eb - - -
Eb - - (timbral bisbigliando)

     
106
      

   

       
Cl.
 
poco f sub p f


ped. gliss. ped. gliss.

 
3 3 bisbigliando
     
     


 

B#
Hp.

ped. gliss. sfz Ab G#

    
            
3
 
  
§ F# § # § F# § # §
fp ppp
poco f mp
sp/m


sul D
     
Vln.       

    
arco

  
sul A
   
        
  
sffz-p sffz-p
sp/m
SP
ST
st/m

Vc.    g lis s .   scratch tone norm.

        
    
g li ss.
      

p f   sub ppp
 Vacuum of the Mind (2013) - Andrew A. Watts 17


110
Cl.  


1q 123456qety
G#
- 
 
J

 
  
 
     
f sfz sfz


  
bisbigliando bisbigliando

     
MMNOMMNL

Hp. C#
 

 
       
 
fp ppp f mf

sp/m
 SP
ord
ST

                                    

scratch tone norm.
   

g l iss.
Vln.       
5 5 6 6
sub p

        
ff 3 3

ord
ST ST
st/m st/m

Vc.

    
3

6:5

             
p mf

114 k.c.

1q 123456qery
G#
- C#


  k.c.
5 5
 
5 5
Cl. 
 
                          
ff
  

           
ped. gliss. bisbigliando

    



Hp. sfz
      
   

 

sfz C§ # § # § f mf

 SP

Vln.
                                     
              
        
 
f

sp/m
ord ord
ST

Vc.


scratch tone norm.

 
    
                        

p ppp sfz f
18 Vacuum of the Mind (2013) - Andrew A. Watts

1q 123456qw 1q 123456wer
R A

1q 123456wey
R
K Flexible tempo for outbursts
R R

1q 123456we 1q 123456we
Eb
- - - C# Bbtr
- 
     
- C#
        
s.t. "scream" lip-bend

G#
g lis s .
117
 

     
  
G#

Cl.

 5
sfz ff



ff

 3
     
  
  
 
    

Hp. sfz sfz MMNOMMNL

sffz
 
  

       
  f


sp/m
 SP

          
Vln. 5:3

             
g li s s .

     

    
   
fff

 
sp/m
SP

 
ric.

Vc.

           

g liss .
 
   
   
 
  
 
 
   
 
   



      

fff 5:3 5

R R R

1q 123456weqyr 1q 123456wetqry 1 123456wertq 1q 123456werty

G#

- - C# - -

       
-eb
s.t.
F

 
120 flz.
  

Cl.  
     
f ff
  sfz sffz

      

ped. gliss. ped. gliss. ped. gliss.
  
          
4:3

    



ped. gliss. 
D# 4:3
Hp. ff
# § 
         

       

4:3 # § #
§ # § # §
 

sp/m sp/m


     
Vln.

5

   
         
    
 3

   
sp/m sp/m sp/m
SP

 
 

Vc.
           
5:3

  
5:3
 R R

1q 123456we 1q 123456we
Vacuum of the Mind (2013) - Andrew A. Watts G# 19

122 k.c.
1q 123456qery
G#
- C#

 
F#
-
   F#
-
    
4:3



Cl. 
5 5
 
           
  

f ff

 ped. gliss. 
        
     
gliss.
          
     


Hp. G§ mf sffz

             

gl i s s .
      
  5:3  
b § b §
sp/m
 SP SP SP

                
Vln.
   
5:3

        


5:3 5:3 5:3 5:3

   
sp/m sp/m
SP SP

        

      
                   
Vc.
       
  
   

4:3 5
5:3 5:3

1q 123456qwet 1q 123456qw
R

- -
 
125 (clarinet is still transposing)  
Cl. 
 
 

f ff

Voice
  
    

g liss .

(with palms)

  
 
 
Hp.

  
 
 
mf sfffz mf sfffz

 
 SP SP
ord
SP

   
      
Vln. 5:3 5:3

        
        

   
 
sp/m
SP
ord

Vc.
    
  
 
     
5:3
     
20 Vacuum of the Mind (2013) - Andrew A. Watts

1q 123456qwtD
R

Eb L
  
Eb molto vib.

-
127
    
Cl. 
fff

   
Voice
   

 
flat hand gliss.

 
      


B§ A#
Hp. NMNOMMML gli s
s. F#

   
    

 
mf fff  
    sp/m
 ord
SP

Vln.
 
scratch/

          
   
dist.
     
5
 
   glis s .
5 5 5 5:4
ffff

 
sp/m
SP
ord ord

scratch/
  
Vc. 5:3 5:3

       

dist.

                 
   g lis s.
5:3
ffff

high/wild: with pintched embouchure

3
 3  3
              
131
Cl.

                  
f

    
            
Voice

low octave: avoid P8

 SP
ord

Vln. non glissando

   
5 5 6 6 7 7

  . 

 g l i s s 
 ff

SP
ord

Vc. non glissando

    
5 5 6 6 7 7

 g li s s .  
 


ff
 Vacuum of the Mind (2013) - Andrew A. Watts 21

Senza misura [15-20"]

out of control: as high as possible while still producing a full sound

    
pintched embouchure + teeth + flz.

     
135
   
Cl.         
ff
 g li ss.  g lis s .  g liss .  glis s .     
Voice 
high octave: avoid unison

sp/m
 SP SP

 
ord ord

Vln.
gradually move gesture up in pitch just beyond end of fingerboard

sp/m
SP SP

 
ord ord

Vc. just beyond end of fingerboard

gradually move gesture up in pitch

 


M [10"]

sp/m sp/m
 SP SP SP

molto vib., wide + fast

    
norm. scratch/dist. norm. scratch/dist. norm.
Vln.
 

fffff    f

sp/m sp/m
SP SP SP

molto vib., wide + fast

    
Vc. norm. scratch/dist. norm. scratch/dist. norm.

 

fffff    f

 Lyrical, tempo giusto e. = 92

      
                                                        
 
       

E#


Hp. C#

       


 
pp sotto voce

 
                   
      
22 Vacuum of the Mind (2013) - Andrew A. Watts

N
                           

                    
       
   
        

Hp.
    NNMONNMN     
                        

 

whooshing sound desired

   SP
 ST  ST

col legno tratto, mute strings with left hand

Vc.
  

    
 
 
[ad lib. - brush across several strings]
  


rit. e. = 84

   
 
 
              
   
       

Hp.

     

 ord ord
st/m st/m st/m

Vc.
    
 

    

June 21, 2013

Oxford, England

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