Hush

Performance Notes
General

Alternate accidentals

Quarter tone sharp

Three-quarter tone sharp
Quarter tone at

The notation of this piece is as follows. Note lengths are show by lines instead of ties.
Rests above the stave are used as a means of showing how long the note is played for, or
where a change happens within a bar. All bars in this piece are 4/4 unless stated
otherwise. So for example if a note is played at the beginning of a bar, it is held for 4 beats
plus however many beats the rests indicate in the following bar(s).

Examples

Play note continuously for duration of line.

( )
The bracketed rest above the stave show how long
to play the note for, after it crosses a bar line. Here
the note is held for four and a half beats.

( ) ( )
They can also show how long to play a note for
within a bar, if the note is re-taken or changed. Here
the frst note is held for two and a half beats, the
second for one and a half.

When hairpins coincide with the beginning or

ending of a note duration, unless a dynamic is
specifed, the sound should appear/disappear
to/from nothing.

Note
Figure numbers refer to different sections within the piece, although they should be
used as rehearsal marks.
 Winds

There are a number of timbral/colour trills within the winds. They are done by
alternating fngerings of the same note (given in the parts).

Trilling on the same note by

alternating fngering.
Moving from slow to fast to slow.

Strings

There is a lot of subtle movement between similar sounding timbres in this piece.
Sometimes they are between two different harmonics on two different strings, other
times they are between harmonics and stopped notes (which are in the same position
on the same string). There are also instances of double stopping, where one note is a
normal stopped note and the other is alternating between a natural harmonic and a
stopped note in the same position on the same string. Here are some examples:

Consistently playing the harmonic on the E string,

then adding in the E harmonic on the A string, with
the speed gradually going from slow to fast to slow.

Double stop consisting of a stopped note (D half

sharp), and a natural harmonic on the E string, which
is alternating between the E harmonic and the
stopped E. The speed of alternation should be
rhythmically irregular and not relate to the demi semi
quavers shown.

Gradual movement of bow position between sul

tasto and sul ponticello.

Tuba
With regards to held notes, break where necessary
in order to articulate lines as clear as possible.
Mouthpiece slap, open embouchure and pure tongue.
No pitch should sound.

Air note. No pitch.

 Instrumentation

Piccolo (doubling ute)

Oboe
Clarinet (tuned down one quarter tone exactly)

Tuba

Snare (12-14'', snares on)

Marimba

Violin 1
Violin 2 (tuned down one quarter tone exactly)
Viola
Cello
Contrabass
 Hush
1

(2013)
For Piccolo, Oboe, Clarinet, Tuba, Snare Drum, Marimba and Strings
q = 60

1
æ etc. æ æ æ æ
Snares on
Brushes (irregular circles creating a wash of sound)
Snare Drum / 44 w NNNNNNNNNNNNw w w w w
ppp
* Tip of brushes should always remain in contact with the snare skin.

‹
soft mallet
irregular tremolo creating continuos/constant wash of tone
4
Marimba { & 4 ∑ ∑ ∑ Œ ‰ ‰ næœJ æ˙ æ
w
3

=
(n) pp

2
°
bisbigliando (timbral trill)
6

‰ nœ
(finger change) 1 2 12 etc. normal (1)
Picc. & ∑ ∑ ∑
(n)
n œo very brittle
p

Ob. ¢& ∑ ∑ ∑ ∑ Œ ‰

æ æ æ æ æ
(n)

S. D. / w w w w w

‹
w w w w w
Mar. { æ
& æ æ æ æ
=
°
11

Picc. & ∑ ∑ 43 ∑ 44 ‰ nœ
(n)
Œ
¢&
Œ Ó 43 ∑ 44 ∑
( )
Ob.

æ æ æ æ 44 wæ
p

S. D. / w w w 43 ˙ ™

‹
w w w ˙™ 44 w
Mar. { æ
& æ æ 43 æ æ

° (
16 Œ) 1 2 1 2 etc. normal
Picc. & ∑

n œo
p

Ob. & Œ ‰

‹
p
bisbigliando (timbral trill)
Ó
Cl. ( B ) ¢& ‰ nœ
( ) (finger change) 1 2 1 2 etc.
∑

æ æ æ
(n) mp

S. D. / w w w

‹
w w w
Mar. { & æ æ æ

Copyright © Elis Czerniak

 Ó ™)
2

°
19

‰ nœ
( 1 2 1 2 etc. normal (1)
Picc. & Ó

Œ
p
( )
Ob. & Œ Ó ∑ ∑
(n)

‹
B ¢&
normal (1)
Ó nœ 1 2 1 2 etc. normal (1)
Cl. ( )

(n) mp

æ æ æ
S. D. / w w w

‹
Mar. { & æ æ æ
w w w

3
° (Ó)
22

Ó ∑ Ó nœ
Picc. &

‹
B ¢&
Cl. ( ) ∑ ∑

æ æ æ
S. D. / w w w

‹
æ æ æ æ æ
œ œ œ ˙ w w
Mar. { & æ
mp ppp
sub.

° ‹ sulnœo E
(always playing the E string, just adding in and taking away the E on the A string)
Ó
( ) o o o o o o o o o
E A E A etc.

Vln. I & œo œo œo œo œo œo œo œo
(n) mp

ne ) Œ
(always playing the D string, just adding in and taking away the E on the A string)

œo œo œo œo œo œo œo œo
Vln. II ( B) & n3
sounding ( D A DA etc.
( )
∑ Œ sul D

(n)

#“(”e )
mp

≈ #3
¢&
sounding

Vla. ∑ ∑ sul A

(n)
 3

° ( Ó) ( ‰)
25
1 2 1 2 etc. normal (1)
Picc. &

p
n œo
Ob. & Ó Œ

‹
p

B ¢&
Cl. ( ) ∑ Œ ≈ #œ

æ æ
S. D. / w w

‹
{ æ æ æ æ æ
w œ œ œ œ ˙
Mar. & æ
mpsub.pp

°‹(
Œ)
(switching between harmonic and stopped note)
o o o o o o o o o
E A E A etc. Ó
( ) oœoœoœoœ oœoœoœoœ
E E etc.
Vln. I & œo œo œo œo œo œo œo œo
p mp p

Ó ≈ Œ
B & œo œo œo œo œo œo œo œo œo œo œo œo œo
( ) ( ) D A D A etc. ( ) D A D A etc.
Vln. II ( ) Œ ‚
J
p mp (n)

Œ
œ œ œ œ œ œ œ œ #3 œ œ œ œ œ œ œ œ#3
(always playing the A string, just adding in and taking away the D on the D string)
o o o o o o o o
A D A D etc. ( )
o o o o o o o o
A D A D etc.

Vla. ¢&

=
mp p mp p

Œ ™)
° (
27 4
Picc. & ‰ Ó ∑

Ó
( ) ‰
‰ Œ
( )
Ob. &

‹
B
normal (1)
Cl. ( ) ¢&
1 2 1 2 etc.

æ æ
mp

S. D. / w w

‹
w w
Mar. { æ
& æ

° ‹ oœoœoœoœoœoœoœoœ
Vln. I & ∑

mf (n)

œo œo œo œo œo œo œo œo œo œo œo œo Œ ‹
B &
Vln. II ( ) ∑ &

mf
Œ
#3
( ) ‰ o o o o o o
A D A D etc. o o o o
œ œ œ œ œ œ œ œ œ œ
( )
Vla. ¢&
mf (n)
 æ æ æ
4
29
S. D. / w w w

‹
w w ˙™ œ œ
Mar. { æ
& æ æ æ æ
mp pp

“#”( e ) “”# ( e )
sub.

Œ
° #3 #‚
( )

Vla. ¢& Ó
sounding
sul A Œ Ó Œ
mf mf

= 5
32
æ æ
S. D. / w w

‹
w w
Mar. { & æ æ

°‹ ‰ µœœ œœ œœ œœ
(changing between E harmonic
sul E o o
and stopped note on the E string)

Vln. I & ∑ Œ sul A

‹ # (changing between harmonic, c sharp,

n oand stopped
o note on the A string)
Vln. II ( B) &
sul A(c )
∑ Œ ‰ n#œœ œœ œœ œœ
sul E(c )

##( e‚ ) Œ
( ) sounding ( # e ) (changing between harmonic
& Œ Œ Œ n‚ œ ‚ œ ‚ œ ‚ œ
and stopped note on the D string)
Vla. sul D
mf
p

?
¢ µœ
S.T. S.P.
Cb.

=
(n) f

34
æ æ æ
S. D. / w w w

‹
w w w
Mar. { & æ æ æ

°‹ ∑
Vln. I &

mp mf

‹ Œ
B &
( )
Vln. II ( ) Œ Ó
mp mf

Vla. &
mf
Ó
( ) ‰
?
( )

˜œ
‰ Œ
S.T. S.P. S.T.
Vc.

(n) mf (n)
S.T. ORD.
?
Cb. ¢
 æ æ æ
5
37
S. D. / w w w

‹
w w w
Mar. { & æ æ æ

°‹
‰ µ œœ œœ œœ œœ
sul E o o
Vln. I & ∑ Œ sul A

‹ #
mp
no o
B
sul A(c )
∑ Œ ‰ n#œœ œœ œœ œœ
sul E(c )
Vln. II ( ) &

#e )
mp

sul D n3
(
slow irregular trem.
∑ ∑
& æ
Vla.

ff
ORD.
H
≈ v
S.P.
?
˜œ
Vc. ∑
sffp mf sff mf

? H æ
H
vj
S.P.

¢ ™
slow irregular trem.
Cb.
sff mp f (n)

40
æ æ æ
S. D. / w w w

‹
w w w
Mar. { æ
& æ æ

°‹
‰ µœœ œœ œœ œœ ˜œ
o o Ó
æ
sul E ( ) irregular trem.
Vln. I & Πsul A

‹
mf fff pp
Œ
Vln. II ( B) &
( )
Œ Ó ∑
mf

Ó
( )
Ó ∑
normal
Vla. &
mf

Vc.
? ∑ ∑

¢
? ‰™
µœ
∑ ∑
ORD.
Cb.

mp
6
43 6
? ∑ ∑
pitch bend

µ
Tba.

nœ
(n) mp

æ æ æ æ
S. D. / w w w w

‹
Mar. { & æ æ æ æ
w w w w

°‹ ( )Œ
Œ Ó ∑ ∑
S.P.
Vln. I &

‰ ‰µœ
(to trem.)

Vla. & ∑ ∑ ∑ Œ
3

Œ ™)
?
¢
(
‰ Ó
S.P.
Cb.

mf

47 Œ Œ Œ)
?
( ) stop flz. (

æ
‰ Œ
flz.

µ µ
Tba.

œ nœ
mp sfmp sfmp mp

æ æ æ æ
S. D. / w w w w

‹
Mar. { & æ æ æ æ
w w w w

Œ ™) Œ
° ˜œ #œ
( ( ) trem.
trem.

Vla. ¢&
tremolando
‰ Ó Ó ‰ Œ ≈
fff fff fff
 7
7 8
° nœ Ó
51

43
( )
Picc. & Ó ∑
fff p
nœ
Ob. & ∑ 43 ∑

‹
fff p

B ¢& #œ 43
1 2 1 2 etc.
Cl. ( ) ∑
fff p pp

æ 43
Tba.
? flz
∑ ∑ ∑

ffff (n)

æ æ æ æ
S. D. / w w w 43 ˙ ™
mp

‹
‰ æJ æ
nœ œ
{ æ
w
Mar. & ∑ ∑ 43 Œ
sff

°
Vla. & ∑ ∑ ∑ 43 ∑

? æ
¢ #œ
nœ 43
irregular trem.
∑
S.P.
Vc. #œ
fff mp

9
° 4 #œ
55 normal (1)
1 21 2 etc.
Picc. &4 ∑ ‰
mp

Ob.
4
&4 ∑ ∑ ∑

‹
B ¢& 44
Cl. ( ) ∑ ∑ ∑

S. D.
4 æ
/4w
æ
w
æ
w
ppp

‹ w
4 æ
Mar. { & 4
æ
w
æ
w

°‹4 ∑ ∑ ∑
Vln. I & 4 &

ne ) ( ne )
(alternating between stopped note and

‹
artificial harmonic, in the same position)

nn3œ
Ó
sounding(

Vln. II (B) & 4

4 ∑ & Ó Œ
sul D ( )
œœ ‚ œ‚œ‚œ‚œ‚œ‚œ‚œ‚

mf

4
Vla. ¢& 4 ∑ B ∑ ∑
8

° n1œ 2 1
58
2 etc.
Picc. & ∑ ∑ Ó

# œo
pp

Ob. & ∑ Œ ‰™
p
Œ
‹ #œ
( )

‰™
1 2 1 2 etc. normal (1)

Cl. ( B ) ¢& ∑ & Œ

p

æ æ æ
S. D. / w w w

‹ w w w
æ æ æ
Mar. { &
ne )
°
sounding (

∑ ∑ Ó Œ nn‚œ
sul D
Vln. I &

Œ
B &
( )

Vln. II ( ) Œ Ó ∑

sounding ( ne )
n‚
¢B Ó æ
sul D irregular trem.
Vla. ‰

=
mf

° ≈ nœ
61 normal (1)
Picc. & Ó Œ

p
Ó # œo
Ó Ó Œ ≈
( )
Ob. &
p

Ó™) #œ
Cl. ( B ) ¢& Œ Ó Œ ≈
(

æ æ
S. D. / w w

‹ w w
æ æ
Mar. { &

(alternating between stopped note and

ne )
° ( Ó)
artificial harmonic, in the same position) (

Vln. I &
œœ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚

mf
nœ
B & Œ
Vln. II ( )
mf

¢
Vla. B ∑ ∑ &
 9
Œ
°
63 ( ) normal (1)
1 2 1 2 etc. 1 2 1 2 etc.
Picc. &
mf fff

Ob. &
fff

Œ
( )
1 2 1 2 etc. normal (1) 1 2 1 2 etc.

B ¢&
Cl. ( )

mf fff

æ æ
S. D. / w w

‹ w
æ æ
w
Mar. { &

° µœ
Vln. I & ∑ ‰

S.P

æ
irregular trem.

B &
Vln. II ( )
mp fff

( Œ)
(alternating between natural harmonics

n œo œ œo œ
and stopped notes on both strings)

¢& nœo œ œo œ
sul A
Vla. Ó ‰ sul D

=
Ó ™)
10
° nœ Ó
65 (
to flute
∑ Ó Œ ≈ nœ Ó
( ) to picc.
Picc. &
p

µœ
‰ o
∑ Œ ‰ Œ Ó ≈ nœ
( )
Ob. &
mp
Œ
B ¢& ∑ bœ Œ ® nœ
( )
Œ Ó
Cl. ( )

Ó™)
mp
?
nœ ™
(
Tba. ∑ Ó Œ ≈ Œ
nœ
æ æ æ æ
mp
S. D. / w w w w

‹ w
mp

æ æ æ æ
w w w
Mar. { &

<µ> ˜ ˜œnormal bowing

mp p
≈
°
espressivo (free bowing) ( )
Vln. I & ‰ nœ ≈‰ Œ Ó
f mp
no trem.
‰
B & ‰ ≈#œ
( )
Vln. II ( ) ∑ ‰ Œ Ó
pppp
Œ
mp

µœ
( )
‰ ≈ nœ Ó ‰‰
3
Vla. &
pppp nœ
Ó
mp
? nœ ( ) nœ
Vc. ∑ Ó ‰ Ó Œ

Ó ™)
mp

?
¢ nœ ™
(
∑ Ó Œ ≈ Œ
nœ
Cb.
mf
 °
10
#œ
Œ ‰ µœ
69

Picc. & Ó ∑ Ó
Ó™)
ff
n œo
f
(

Ob. & ∑ Ó ‰ Œ ∑ ∑
f
‰
B ¢& ∑ #œ ‰ Œ Ó Œ ‰ #œ
( )
Cl. ( )

f mp f

? ∑ ∑ ≈ Ó æ
flz.
Tba.
nœ #>œ
æ æ æ æ æ
f fff
S. D. / w w w w w

‹ w w w w w
Mar. { & æ æ æ æ æ
nœ
Ó™) µœ
° Ó
Vln. I & Ó Œ Œ ≈ nœ
( ( )

f fff
Ó #œ
B & Ó Ó ∑
( )
Vln. II ( ) nœ
f n fff
‰ ‰
‰ Œ Ó ∑ ‰ nœ ‰ Œ Ó ∑
( ) ( )
Vla. &
f
Œ
( )

Vc.
? Œ Ó ∑ ∑ Ó nœ
S.P.

sfff

? ≈ µœ
¢
∑ ∑ Ó
S.P.
Cb.
nœ
f sfff

11
° ( Ó)
74

Picc. & Ó ∑ ∑ ∑ ∑
Ó ‰ Œ Œ
#œ nœ #œ
Cl. ( B ) ¢& Ó
nœ
( ) ( ) ( ) ( )
Œ ‰‰ Œ Ó ≈
pp 3

Œ Œ)
? stop flz. (
Tba. ‰ ∑ Ó
#œ nœ #œ
æ æ æ æ æ
mp p

S. D. / w w w w w
pp

‹ w w w w w
Mar. { & æ æ æ æ æ

° ∑ ∑ ∑ ∑
Vln. I &
p

Vc.
? ∑ ∑ ∑ ∑

?
¢
Cb. ∑ ∑ ∑ ∑
 ‰ ® Œ Œ Œ)
° nœ( Ó Ó)
11
nœ 44 #œ nœ (
Cl. ( B ) ¢&
nœ
79 ( ) ( ) ( )

42 ∑ ‰ Ó
3

™ ≈ ‰ Œ Œ ‰)
? (‰) ‰
42 44 ‰ ( ) (
∑
( )
Tba.
nœ #œ #œ nœ #œ
æ æ æ 44 wæ æ æ
S. D. / w w 42 ˙ w w

‹ w w ˙
Mar. { & æ æ 42 æ 44 wæ w
æ
w
æ

=
12
Ó™
mouthpiece slap
(open embouchure and
85

æ æ æ æ æ æ æ
( )
?
pure tongue, no pitch) flz.
‰ j Œ ≈
air (no pitch)
Œ ≈
flz. flz. flz.

n f ™ >¿ # œ œ n œ
Tba.

>¿ # ˙ œ >¿ n œ œ ˙ #œ œ œ >¿ # œ. # ˙

fff mp f mp ff sf p mf p sff p

æ æ æ æ æ æ
S. D. / w w w w w w
pppp

‹ w
æ æ æ æ æ æ
w w w w w
Mar. { &
pppp

=
13 timbral trill (slow)
nœ
°
1 2 1 2 1 2 1 2
91 to picc.

Picc. ¢& ∑ ∑
f mf

æ æ
? flz. ORD. flz.
∑
n>¿ # œ ™ f
Tba.

¿#œ
sff mp sff p fff p

æ æ æ æ æ
S. D. / w w w w w
p

‹ w
æ æ
w
Mar. { & ∑ ∑ ∑
f

#e )
°
sounding (
sul A
#‚
Vln. I & ∑ ∑
ff mp

(alternating between natural harmonic

n œo œ œo œ
and stopped note, in the same postion)
sul E

B ¢&
Vln. II ( ) ∑ ∑
ff mp
 14
°
12
96
nœ 44 nœ
Picc. ¢&
∑ ∑ 43 ∑
p p

æ æ æ æ 44 wæ
S. D. / w w w 43 ˙ ™

‹
43 44 Ó ‰ næœ æœ
{&
∑ ∑ ∑ ∑
Mar.
J

°
#œ #œ #œ
Vln. I & ∑ 43 ∑ 44
ppp ppp ppp

nœ nœ nœ
Vln. II (B ) ¢& 43
∑ ∑ 44
ppp ppp ppp

15
° µœ
101

Picc. &
pp

# œo
Ob. &
pp
timbral trill (slower)
# œ1 2 1 2 etc.

B ¢&
Cl. ( )

pp

æ æ
S. D. / w w

‹
Mar. { & æ æ æ æ æ
œ œ œ œ ˙ w
æ
mp pp
sub.

° Ó
B ¢&
( )
Vln. II ( ) Ó
 °
103 16 13

Picc. & ∑

Ob. & ∑

normal (1)

B ¢&
Cl. ( ) ∑

æ æ æ
S. D. / w w w

‹
Mar. { & æ æ æ
w w w

°?
S.T.

Cb. ¢
˜œ
∑ Ó Œ ‰
3

106
?
Tba. nœ

æ æ
n fff

S. D. / w w

‹
{& æ æ
Mar.
w w
(alternating between natural harmonic

° nnOO œœ OO œœ
and stopped note on both strings)
sul E

& Ó ≈
sul A
Vln. I

(alternating between natural harmonic

nn Oœ œœ Oœ œœ
and stopped note on the D string)

B & Ó
sul D
sul A
Vln. II ( )

nµOœ œœ Oœ œœ
(alternating between natural harmonic
and stopped note on A string)
sul D
Vla. & ∑ ‰ sul A

? Ó
S.T. (to S.P.)
Vc. Œ #œ

?
¢
S.P.
Cb.

fff
 Œ ™)
° nœ œ œ œ
14 (
108 1 2 1 2 etc.

Picc. & ‰ Ó
p # œo
Ob. & ∑ ‰
p
#1œ 2œ 1œ 2œ etc.
B ¢& Ó
Cl. ( )

æ
?
p flz.
Tba. ∑ Ó Œ
æ æ æ
nœ
w w w
p
S. D. /
‹
Mar. { & æ æ æ
w w w

°
Vln. I & ∑
ff

B &
Vln. II ( ) ∑
ff

Ó ‰
‰ Œ
( ) ( )
Vla. &
ff

?
S.P. S.T.
Vc.
fff

?
¢ ∑
S.T.
Cb.

=
°
111 n1œ 2œ 1œ 2œ etc.

Picc. & ∑ ∑ Ó ≈
Œ
( )
p
n œo
Ob. & Œ Ó ∑ ∑ Ó ‰
p
#1œ 2œ 1œ 2œ etc.
B ¢&
Cl. ( ) ∑ ∑ ∑
p

Tba.
?

æ æ æ æ
fff

S. D. / w w w w
‹
Mar. { & æ æ æ æ
w w w w

° nnOO œœ OO œœ
Vln. I & Ó Ó ≈
ff
nO œ O œ
nœ œ œ œ
B & Ó
Vln. II ( ) Ó
ff

µ
Vla. & ∑ ∑ ‰n Oœ œœ Oœ œœ
ff
Vc.
? ∑ ∑ ∑ ∑
S.T.
? Œ
¢
S.P.
‰#œ
3
Cb.
n fff
 °
115 15

Picc. & ∑ ∑ ∑
Ó
Ó ∑
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