Irkalla

for bass flute, baritone saxophone, double bass, prepared piano and live-electronics

Onur Dülger
2019

© 2019by ONUR DÜLGER

All rights reserved

2 Program notes: Slap Tongue: This is also called
tongue pizzicato. Those are short
Irkalla, the name of the piece comes from Sumerian religion, and it means the ancient percussive sounds. Tip of the tongue
Mesopotamian underworld, was a dark, dreary cavern located deep below the ground, lies firmly on the roof of the mouth
where inhabitants were believed to continue "a shadowy version of life on earth". Sumerian and then supported by a strong air
civilisation is the earliest known civilisation in the world and located in the historical region steam, is explosively trown to the
of southern Mesopotamia. bottom.
In the piece, the idea of a shadowy version of life of an ancient world is processed. Sounds Re-Re# Trill: This While playing the
are depicting not necessarly a place where souls suffer but a place where they are given notes , the player should make
interacting and living in a different, strange version of life. Sounds, interacting and imitaing D-D# foot trill in order to obtain a
each other can be seen as developing sound obejects but also as an energy which is fabulous glissando sound
building narrative sound story.
Air to sound: It is possible to
The live-electronics are using the proporties of sounds of four instruments independently deliberately mix any amouth of
as an input for the modulations of themselves. Therefore, the result is mostly a natural additional air withthe pure flute sound.
sounding extension of themselves. It is used to both enhance the different characteristics of This is done through the flexible use of
lip tension. In the example, the player
instruments and also for formal musical solo extension of this music.
should go from air to puer sound,
Performance notes: while turning sound into overblow
multiphonic. The sound should get
_________________Bass Flute _______________
more and more multiphonic character.
Rolling Tongue: With the simple roll of the Multiphonic flutter: It is possible to mix
tongue, almost without breathing. Only cover the multiphonics with singing, flutter
the hole with the tip of the lips. It should tongue.
sound like a roar.
Multiphonic singing trill: It is possible to
mix the multiphonics with singing trill. If
the frequency of the voice is not
Jet Whistle: It is a forceful, loud attack of air. The modulating the sound of the instrument,
embouchure hole of the flute is completely covered one can choose another pitch for singing.
with the lips while exhaled air forced into the flute
For writing this piece Carin Levine's book The Techniques of Flute Playing
with a strong air/diaphram impulse.
I and II are used.
_________________Double Bass _______________
_________________Bariton Saxophone _______________
Reed tapping granulation: This technique
Tongue ram: it is an explosive percussive gesture
involves flicking or tapping the reed with the
produced by sealing the embouchure hole
right hand while holding down different keys
completely with the lips and strongly propelling the
with the left hand, producing short articulated
tongue into the embouchure hole. It sounds a major
pizz-style sounds. For more information and
seventh below the fingered/written pitch.
how to produce them and also see the video of
it, visit: https://heatherroche.net/2017/01/08/reed-
tapping-articulation/
Air sound, sing and play: Lower system is for
flute and the upper is for voice. Air sounds are here Multiphonic slap tongue: It is possible
a mixture of pitch and air. to mix the multiphonics with singing
trill. It should resonate strongly.
For writing this piece Marcus Weiss's book Techniques of Saxophon
Playing is used.
Some of the techniques are similar to bass clarinet. You can find infos for
them here: https://heatherroche.net
Quarter tones
one quarter tone higher
semi tone higher
three quarter tone higher
Right Hand Positions
tp : tail piece
ws : wrapped strings
bb : behind the bridge
msp: molto sul ponticello
sp : sul ponticello
ord : ordinario
st : sul tasto
mst : molto sul tasto
Tongue ram: With this articulation, the
tongue rams against the reed. The closing
action creates a darkly resonating sound.
This one is with the mouth piece.
Air to sound transition: Sound
should go from air to pitch, means
that pitch components will gain
while air noise components lose.
In the example we see also
spectral multiphonics. These are
produced by over blowing.
Slap: It indicates an especially sharp
tonguing of a percussive character. During
the shotrt moment of the attack, the tongue
is pressed against the reed and almost
immediately spit away from the vacuum
created.
Multiphonic singing trill: It is possible
to mix the multiphonics with singing trill
and flutter tongue. Aim is to create more
complex sound. If the frequency of the
voice is not modulating the sound of the
instrument, one can choose another pitch
for singing.
one quarter tone lower
semi tone lower
three quarter tone lower
For more information about playing techniques for
strings visit the following page:
http://www.cellomap.com
http://www.themoderndoublebass.org.uk

Bow pressure levels

Multiphonic Trill: It is a trill of two
multiphonics which have very close : under pressure
fingerings. In the example it is also : ordinary pressure
Multiphonic trill: It is a trill of two multiphonics
: partially over pressure, halfway between "ordinary" and "over pressure"
which have very close fingerings. mixed with singing with glissando : over pressure
: noise symbol for over pressure

Carton Preparation: This preparation is a sheet

Overblow Multiphonics: These are produced by
over blowing with air components. In Sciarrino's
music these are called clusters.
of card. It's fixed to the sax's bell opening with a Pizzicato Multiphonics: The open string is much more present in
bulldog clip (the bass clarinet can be protected by the sound than for bowed multiphonics. The mid-high harmonics are
gluing felt to the metal edges of the clip or by using weak; harmonics above the 10th seem to be inaudible. The
bluetack). It’s actually not so easy to find the right multiphonic effect is notably more pronounced on the lower strings.
balance of the carton, so having a few different
thicknesses to try is probably not a bad idea. When
you make a crescendo on the lowest note "A" at
some point it begins to make a clattering noise.
These can be combined with singing, flutter tongue
and overblown spectral multiphonics. For more Very slow bow granulation: The combination of slow bow
information and how to produce them you can visit with little overpressure will result a granulation.
Heather Roche's clarinet page:
https://heatherroche.net/2014/03/24/on-bass-
clarinet-preparations/
 _________________Piano _______________
3
Piano Part: It consists of 5 systems: for voice, right
Double Bass Part: It is consisting of 5 Artificial Multiphonic Glissando: The hand on the strings, right hand on the keyboard, left
systems: for voice, right hand, sounding artificial multiphonics are played with hand on the strings, left hand on the keybard and live-
pitches (loco), left hand, live-electronics. glissandi. It is difficult to sustain a consistent electronics.
multiphonic effect, but reliability improves
with practice.
Multiphonics: The right hand finger touches the
Multiphonics: In general, to perform a node which lies at the given procent of the
multiphonic, one plays with light left-hand string(top staff), then quickly lifts after playing the
finger pressure and a medium-slow, fairly Pizz. Metal Clip Preperation: The It is a given note with the left hand(bottom staff) on the
normal bartok pizzicato but since the IVth keyboard, so that overtones occurs (middle staff).
heavy bow stroke, further from the bridge than string is prepared it sounds very noisy.
for normal harmonic playing. These This technique should be perfomered like a gutiar
harmonic playing technique.
conditions are relative to the ‘usual’ playing
technique for the highest harmonic that
contributes to the multiphonic, so they vary Wrapped Strings' Sound: It is played on the
from multiphonic to multiphonic: the bow wrapped part of the string behind the bridge. If
stroke will be lighter, faster and closer to the you move the bow vertically towards the fine
tuning screws, the sound gets higher and
bridge if the multiphonic contains high brighter.
components (e.g., 12th, 13th harmonics) than
for multiphonics with only mid-range
harmonics.
http://www.cellomap.com/index/the-string/multiphonics-and-other-multiple-sounds.html Pluck on the string: The right hand holds the
plectrum and plucks the given string inside the piano.

Controling Loudness and Overtone Content

Pizzicato on Two Strings: Pizzicati are applied on the given
strings by using two fingers, one finger or each string while
making a glissando.
The scope for varying bow pressure, bow speed and point of contact in multiphonics is limited Muted String: The right hand mutes the given string
compared to normal playing, and even compared to performing harmonics. In general, these inside the piano while left hand plays on the keyboard.
factors control the loudness and noisiness of a multiphonic. However, they also influence
which harmonics take part in a multiphonic and can block high/low components. Therefore, Clattering Minor Seconds: These are played on two
when trying to change the loudness or colour of a multiphonic, it is very easy to ‘break up’ the adjacent strings. The higher note should played on the
multiphonic and find yourself playing a single harmonic. A balance between flexibility of lower string. In this example for instance A 3 quarter
colour/loudness and reliability of multiphonics is difficult to achieve. In summary: sharp is played on the 4th string where B on the IIIth.

Trill with growing interval: Trilling

-Increasing bow pressure increases loudness and encourages a distortion-like sound. High
finger goes further away from the lower
bow pressure favours the lower harmonics, making them loudest in the mix of harmonic Slow Granulation: The right plays the given
components. It also encourages the open string (‘first harmonic’) to contribute to the sound finger while the overall glissando.
string so what it creates a slow granulation by
and can restrict high harmonics. scratching each winding of the string with the
given rhythm.
-Decreasing bow pressure makes a multiphonic sound quieter and ‘purer’. Low bow pressure Superball Rubing: A superball is
can restrict the lower harmonics in a multiphonic. played on the body of the instrument.
Stave position of the acivity indicate
-Increasing bow speed increases loudness and encourages higher harmonics, eventually cutting contact point of the superball to the
out lower harmonic components. instrument.

-Decreasing bow speed decreases loudness and encourages lower harmonics, eventually
Line going down in the stave means going down on the body of the instrument. Wavy
cutting our higher harmonic components.
lines indicate wavy movements of the superball. Pressure of the superball is also Book Mute: A A4 size book should be placed on
indicated on the top of the stave. the indicated bar between A0 and Ab1. The right
-Contact points quite close to the bridge encourage noisiness and favour low components,
sometimes restricting high harmonics and allowing the open string to sound. plays the given notes on the keyboard.
Cassette band: The rosined cassette's
-Contact points very close to the bridge produce a ‘purer’ sound and favour high components, magnetic tape is tied to all four strings and
sometimes restricting low harmonics. they stay on the bridge from the beginning of
the piece. There is special string-clef used to
indicate which string going to be played. Pull Tuning Pin Granulation: The right hand plays
the tape band with your fingers to create a on the tuning pins to create metallic noises with the
Artificial Multiphonics: These function in a same way as pure continuous noisy sound. given rhtyhm.
multiphonics but they are produced as stop multiphonics. The
principe is the same. Fork Harmonics Trill:The right hand is trilling with
the back of the metal fork between two indicated
Horizontal Glissando: The right hand holds the
strings forth and back vertically showen in the upper
plectrum and makes a horizontal glissando (top
stave, while left hand dampenes indicated pitches.
Metal Clip Preperation: The IVth string will be prepared with a staff) by straching the winding fast on the given
One will hear the harmonics of those strings goig up
metal clip so that, it stays on the bridge in order to make noise while string (bottom staff) which causes very noisy sound.
and down.
playing.

Chewing the Bow Hair: Turn the backside of the instrument.

Bow the back plate of the instrument and pressing down on the Seagull effect: The effect is performed so that
hair of the bow, making rotation motions. If the middle part of the the left hand interval should be kept fix between
bow is used, the sound quality will be bright. If the frog part used, the stopped and harmonic fingers while making
Vertical Glissando: All chromatic tones should
the sound will be darker. the glisssando. As a result broken upwards be played between the given notes with a plectrum
glissandi are heard. inside the piano towards the given direction.
Double stop harmonics: Two different harmonics on the neighbour strings are
played simultanously.
 _________________Voice _______________
4

Patafix Preperation: All strings tones
between G#4 amd C#6 should be prepared
with a patafix on somewhere close to the
hammers so that it causes bell-like sounds
means multiphonics.
Closed Mouth: The given note should be sang while
mouth is closed by saying "hmm". Black circle on the top
of the note indicates that mouth should be closed.

Whistle Glissando: This notation is used for whistling

glissandi.

Cassette Band: G#3 and B3 strings should

Closed Mouth Glissando: This notation is used for
be prepared with cassette band. The right
closed mouth glissandi.
hand should pull the tied band on the given
string to create a noisy granulation.
Tongue Snap: This is a clicking noise, made by
snapping the tongue to the teeth. "ieaou" clef is
indicating high and low sounds respectively.
This is used to imitate similar instrumental
noises like reed tapping of sax.
Superball Rubing:: A superball is
played on the given strings. Pressure of
Vocal Fry Granulation: Vocal Fry is the lowest vocal
the superball playing is given on the top
of the stave.
register and is produced through a loose glottal closure
which will permit air to bubble through slowly with a
pressure levels
popping or rattling sound of a very low frequency.
: ordinary pressure
: little over pressure
: over pressure
Breath Noise: Vocal This signs indicate the breating
noises first one while exhaling while the second one is
Fork Harmonics Trill:The right hand is inhaling.
trilling with the back of the metal fork
between two indicated strings forth and
back vertically as it is showen in the upper
stave, while left hand dampenes indicated For more information about the techniques please see the
pitches. One will hear the harmonics of book called "The Techniques of Singing" by Nicholas
those pitches goig up and down. Isherwood.

Glass Bottle Preperation: The Glass If you have question, please do not hesitate to write me. My
bottles or glasses should be placed on e-mail adres is
on the strings between G4 and C#6 so
that while left hand or right hand
playing them on the keyboard, they
make some characteristic noisy sounds. dulger@bu.edu
How to Play the Multiphonics

1) A light and small object (a node-obstacle)

such as a plectrum is put on a mono- chord
string, to rest on a slot of the copper winding.
(kept in the right hand)

2) The corresponding key is hit quite loudly

and held pressed. (left hand)

3) The plectrum is soon released upwards

away from the string (right hand)

4) The key is released at latest after the sound

has faded completely, or earlier (left hand).
Also, the pedal can used, in which case the
decay can be regulated more.

For more information about playing the

multiphonics on the piano visit the following
page to download the thesis regarding the
multiphonics:

http://ethesis.siba.fi/files/
vesikkala_thesis_2016_fulltext.pdf
 IRKALLA
for bass flute, baritone Saxophone, double bass, prepared piano and live-electronics
0" 3" 7" 9" 12" 16" 20" 5
pre-1 pre-2 pre-3 Onur Dülger
q=58 2019
2 1 2 3 4 5 sing while playing
° 3loco ∑ 4 ∑ 5 ∑ 3 ∑ ∑ 4 ∑ 5
Voice & 4 4 8 4 4 4
jet whistle jet whistle œ
pp mf
tongue ram3 3 3 3 3 3
R ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 3 3 3 3 3 3 3 air/pitch
3 ∑ 4 5 ‰™ Œ ® 3 ‰™ Œ ‰ ‰ 4 O 5 nf nf #f f f f #f f f
O 4 O #O nO O O #O bnO8 O nO #O bnO8 #nO8 bnO8 #nO8 nO8 b8. # O O nO #O nO #O bnO8 #nO8 4 nf
Bass Flute &4 4
O # O O#O O OnO O n O # O O#O O O O OnO OnO# O n O # O nO#O O O O OnO ® nO 8 #O 4 #O O
8 b 8 8 n 8 b 8 n 8 b 8
8 b 8. n 8. . 8. . . . n 8. . . . . . . >. > 8. n 8. b >8. n>8. >. >. >. >.n 8
>p. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >.mf>. p> > > > > > > > > > > > > >
pp mf mp pp mf
With the simple roll of the tongue, almost without breathing. sfz
f sfz
f >> f
Only cover the hole with the tip of the lips

3 4 5 3 4 5
Live-Electronics ¢/ 4 xn_2 4 8 4 ensig_2
xn_1_off
4 4 harm_4
ensig_1_off

s
mf
° 3 loco ∑ 4 ppp
‰ 5 ∑ 3 ∑ ∑ 4 ∑ 5 ∑
Voice & 4 4
µœ
8 4 4 4
hmm
slap
µB œœ
µ >œœ. >. >. µœ
˜# œœœ #œ ˜œ
reed tapping granulation
œ
bO
3 ã ã ããã ããã ã ããã4 ã ã ã ã 5 3 4 #œ 5
Baritone Saxophone & 4 #e 4 Ó ‰ nœ 8 ∑ 4 #œ 4 4 µœ
p
f 3
sfz p mf p f pp
3 harm_2 4 5 3 ring_3 4 5
Live-Electronics ¢/ 4 4 8 4 harm_1_off
4 4
mouth closed
s
s ppp mf
ppp
° 3 loco ∑ 4 ∑ 5 µppp mf
3 4 œ 5
Voice & 4 4 8 œ J 4 ∑ ∑ 4 bœ 4
µœ
hmm hmm hmm
granulation: very slow bow

3 4 5 3 4 5
4 4 8 4 ∑ ∑ 4 ∑ 4 ~~~~~~~~~~~~~ ~~~~~~~~
J ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
o mp o mf ppp

loco
n e[10+19+9] [7+13+6] [5+9+13+4]

ne
[10+19+9] µn ee µe
3 4 5 3 4 #µee 5
& 4 ## ee 4 8 J 4 nBee Ó ∑ 4 #e Ó™ 4 ∑
pizz.
e
M
arco
10,53% M
?3
M 10,53%
4 5 O 3 O
M
4 ˜O 5 ã6 ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã
J Ó ∑ Ó™
Double Bass
‹ 4 #O IV (sul F#)
4 8
I (sul A)
4
mp II (sul E) G§ -10¢
4
III (sul B) D# +55¢
4
mf
3 ring_2 4 5 3 harm_3 4 5 cop_2 sog_2-rec
Live-Electronics ¢/ 4 4 8 4 4 4

mouth closed
s
pp
° 3 4 5 3 4 #ppp mf
5
Voice & 4 ∑ 4 ∑ 8 ∑ 4 ∑ ∑ 4 œ 4
œ
hmm hmm

touch the node … ã ãslow granulation

ã ã ããã
touch the node
3 Ó 4 ∑ 5 3 ãããã ∑ 4 ∑ 5 ∑
4 4 8 4 G≈ 4 4
11,8% %10,53
[A0] p mf [A0-B1]
Piano
[9+17+8] [10+19+9]
Right Hand
3 ne 4 5 ?3 #7 44 Π7 5
& 4 ## ee ‰ Ó 4 Ó n7 8 ∑ 4 ≈b œ Ó & ‰™ ‰ b7 Œ 4 ne ‰ ∑ ?
n7 ◊Ÿ µn ee
mp
mp p mf

M 11,8% >. M 10,53%

? 43 4 5 3 ‰™ …
… ‰™ 4 5
# #Oœ Oœ‰ Ó ∑ Ó Ó ∑ Oœ ‰ ∑
Piano 4 8 … 4 … 4 4
Left Hand …
mp “‘
◊Ÿo … mf Ÿ
mf
mf ◊
° ° ° °
3 reson_2 4 5 3 reson_3 4 5 reson_4 sog_2-rec
Live-Electronics ¢/ 4 4 8 4 4 4
© 2019 by ONUR DÜLGER
All rights reserved
6 25" 30" 33" 37" 40" 44"

gliss. while playing

pre-4 11 rit.
°6 7
3 3 3 3
8
4 ‰™
9
3 ∑
10
4 ∑ ∑ 7
Voice & 4 4 4 4 8
œ #œ œ œ œ œ œ œ œ œ œ bœ nœ œ bœ œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ
pp mf
jet whistle
R ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f ™ bf 3 4 bf ≈™ 3 ® nO ObO 4 OnO ObO nObO ObOnObO ObOnO O ObO bO 7
nO O 8
Fl. & 4 f ™ 4 f O O #O 4 O# O O OnO O ObO ObOn O # O nO O O OnO O O
4 bO ObOn O # O nO OnO O#OnO O#O O O#OnO#OnO#OnO O O#O O#O O#O bO OnO O O OnOnO#OnO#OnO O O#OnO#O
pp mf pp
sfz
f
3 4 3 harm_5 4 7
L-Elec. ¢/ 4 4 4 4 8

° ∑ 3 4 3 3 3 3
3 ∑ 4 ∑ ∑ 7
Voice & 4 œ bœ œ œ œ œ 4 œ bœ œ œ œ œ œ œ œ œ œ œ 4 4 8
p mf

n# œœ n# œœ B œ ˜# œœ
œ œB œ
‰™ 3 ˜œ 4 ˜œ œ 3 4 BBœœ µœ 7
Bari. Sax. & ∑ 4 4 4 µµœœ 4 ‰™ Ó™ 8
mf p mf pp mp

3 4 3 ring_4 4 7
L-Elec. ¢/ 4 4 4 4 8

mf
° ‰™ ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ ∑ 7
Voice & 4 4 4 4 8

3 4 3 4 7
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~ ~~ ~~ ~~ 4~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~ 4 ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~~~~ 4 ~~~~~ ‰ ™
~~~~~~~~~ Ó 4 ∑ ∑ 8
~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~ ~~~~ ~~ ~~~~~~~~~~~~~~~~~~~~~~ ~~~ ~~~ ~~~
~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf

∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ ∑ 7
& 4 4 4 4 8

ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 3 ã ã ã ã ã ã ã ã ã ã ã ã 4 ã ã ã ã ã ã ã6 ã ã ã ã ã ã ã ã6 ã 3 ã 4 7
Cb. 6 4 6 n6 4 6 6 6 6 6 4 ≈ ‰™ Ó 4 ∑ ∑ ?
‹ 8
2 3 G
4

3 4 3 4 7
L-Elec. ¢/ 4 4 4 sog_3_play 4 ∑ 8
cop_1_off
rit.
mf
° ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ ∑ 7
Voice & ‰™ 4 4 4 4 8

ã ã slow granulation
ã ã ã ã ã ã ã ã ã
ã ã ã ã ã 43 ã ã ã ã ã 4 ã ã ã ã ã ã 3 4 7
Ó ã ã ã 4 ã ã ã ã ã ã ã ã ã ã 4 ã ‰™ Ó 4 ∑ ∑ 8
pp mf
…
Pno. ? Ó 3 4 nœ #œ
[B0]
œ œ nœ 3 G ≈ ‰™ Ó 4 ∑ ∑ 7
R.H. bœ 4 nœ 4 4 4 8
◊Ÿ
Pno. ? ∑ 3 ∑ 4 Œ ≈™ 3 ‰™ Ó 4 ∑ ∑ 7
L.H. 4 4 4 4 8
◊oŸ… mf
°
3 4 3 sog_3_play 4 7
L-Elec. ¢/ 4 4 4
reson_1_off
4 8
 50" 53" 59" 1'02" 1'04" 1'08" 1'12" 7
pre-5 pre-6 pre-7 pre-8
A tempo
°127 ∑
13
5 ∑
14
3 ∑
15
2 ∑
16
4 Ó™ ‰™
17
>.
‰ ™™ Œ Ó
18
6 ∑ 4
Voice & 8 4 4 4 4 . 4 4
>. >
ho ha he

>, . >,, . >, . nœ

~ ˜œ ˜œ , , ,,, slap µœ ˜œ
overblow multiphonics
7 #O ‰ ™ Ó ‰ 45 3 œ œ 2 ‰™ 4 Ó™ ‰™ >. >. >>. #>>. >. >. n>#> 6 4
& 8 ∑ 4 4 Œ 4 n>#> > >. > >n> ‰ 4 µœ nœ 4
œ œ œ >#> n>#> >. >. n>>. #>>. >. >. >. > >. >. >. >>. n>>. #>>. n>>. >>. b>>. >>. b>> >.
B. Fl.

mp p mf > p mp
p mp p
sfz

7 5 harm_6 3 2 4 ensig_3 sog_4-rec 6 4

L-Elec. ¢/ 8 harm_1_off
4 4 4 4
harm_1_off
4 4

° 7 ∑ 5 ∑ 3 ∑ 2 ∑ 4 ∑ ∑ 6 ∑ 4
Voice & 8 4 4 4 4 4 4
slap
#n>œœœ. >.
slap
˜ >œ. >. >. reed tapping granulation
µœ µ œ œ ã ã ã ã ã ã ã ã 6 ã ã ã ã ã ã ã ã ã ã ã ã ã
7 5 3 #œ ‰ Œ ‰ ‰ ˜œ 42 4Ó 4
Bari. Sax. &8 ∑ 4 µµœœ 4 nœ œ
≈‰ Œ 4 #œ ‰™ Œ e be 4 ne be ne ‰™ Ó 4
p mp pp mp pp
f 3 f 3
7 5 harm_6 3 2 4 harm_7 sog_4-rec 6 4
L-Elec. ¢ / 8 ring_1_off 4 4 4 4 harm_1_off
4 4

whistle gliss. s tongue snap to teeth

° 7 5 bœo o
œ œo o
œ œo 3 o 2 4 6 (imitate reed tapping granulation of bariton sax)
ã ã ã ã ã ã ã ã 4
Voice & 8 ∑ 4 4 œ ‰™ Ó 4 ∑ 4 œ bœ ‰™ Ó™ 4 Œ ã ã ã ã ã ã ã ã ã ã ã
ã 4
p mf mp
p mp

7 5 3 2 4 6 4
8 ∑ 4 4 ‰™ Ó 4 4 4 4
mp pp p mp p
[10+19+9] [9+17+8]
[7+13+6]
ne be bw ™™ bœ
7 5 µe 3 2 µ#ee 4 nee 6 ™™™™ n œœ 4
& 8 ∑ 4 B# ee 4 ‰™ Ó 4 4 4 nww R 4
mp pp

M M M 11,8%
10,53%
?7 5 3 2 4 6 ™™ œO 44
Cb.
‹ 8
∑ 4 O 4 ‰™ Ó 4 #O 4 œO 4 R
IV (sul F#) A§ -10¢ III (sul E) IV (sul F#)

7 5 ring_5 3 2 4 6 4
L-Elec. ¢/ 8 4 sog_1_off
4 4 4 4 4

whistle gliss.
A tempo 6
s
° 7 5 o bœo o œo œo œo o 3 bœ ‰ ™ 2 4 6 4
∑ œ œ œ Ó ∑ œ ‰™ Ó™ ∑
Voice & 8 4 4 4 4 #œ 4 4
p mf mp

touch the node

7 ∑ 5 ∑ 3 ∑ 2 ∑ 4 Ó™ 6 ‰™ 4
8 4 4 4 4 4 ∑ Œ 4
11,8%
%10,53
[G5] [9+17+8]
be 7 7 [10+19+9]

Pno. ? 87 ∑ 5 b77 ∑ 3 ∑ 2 ∑ 4 ∑ nee ‰ ™ Ó ‰™ 6 #7 Œ Œ ‰™ ne 44

R.H. &4 4 4 4 4 #77 µn ee
mp mf
11,8%
mf M 10,53%
M 3
Pno. ? 87 ∑ 5 ∑ 3 ∑ 2 ∑ 4 …b … … ™ Ó™ ? Oœ ‰ ™ Ó™ 6 œ ‰™ 4
L.H. 4 4 4 &4 4 Ó Œ ‰ bœ Œ nOœ 4
° mp “‘mp œ
◊Ÿ p
°
7 5 3 2 4 6 4
L-Elec. ¢/ 8 4 reson_5 4 4 4 4 4
sog_1_off
8 1'18" 1'22" 1'27" 1'33" 1'36" 1'39" 1'43" 1'46"
pre-10 pre-11 pre-12
pre-9 20

°194 ∑ ∑
21
6 ∑
22
3 ∑
23

∑
24
7 ∑
25
3 ∑
26
4 ∑
Voice & 4 4 4 8 4 4

flutter
tongue ram
3 flutter bœ bœ slap 6
4 3 3 3 3 3 3 3 µf nœ 6 3 7 ∑ 3 œ 4 6 6 6

B. Fl. & 4 O # O n O # O #O nO #O O # O n O # O n O # O n O # O O O n O # O O O O nO #f 7 7 4 7 ‰™ Ó Ó™ 4 ∑ ∑ 8 4 7 77 4 >. #> >. > >. b>. >. >. n>. >>. >. b>. n>. b>. >. b>. n>. b>. n>#> >#>n>. b>.
>. > >. > > > > > > > > > > > > > >. >. >. >. > >
b 8. n 8. >8. #>8. >8. #>8. >8. b>8. ## O8 # 8. b 8. n 8. b 8. n 8. n>8. #>8. n>8. n 8. n>8. #>8. 8 8 #8 7
>. #>8. >. >. pp
7
mf pp
>
>>
p >. > > > > > > mf

4 sog_5_play 6 3 7 3 4
L-Elec. ¢/ 4 4 ensig_1_off
4 8 4 ring_7 4
sog_1_off

° 4 ∑ ∑ 6 ∑ 3 ∑ ∑ 7 ∑ 3 ∑ 4 ∑
Voice & 4 4 4 8 4 4

flutter
>clattering > > >
> noise > > > > > > > > > >> æ ææ ææ ææ
ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã
tongue ram

3 3 3 3 3 3 3 3 3 3 3 Ͼ
4 nO 6 O ™ 3 7 3 4 µœ
Bari. Sax. & 4 prepared with carton O #O nO O O bO bnO8 O O bO nO8 bbO8 nO8 bbO8 nnO8 b 8 bO n O nO #O nO O O #O 4 bnO8 #O O8 #O nO #O nO #nO8 nnO8 b8 ≈Œ Ó 4 ∑ ∑ 8 ∑ 4 µbœœ 4æ
æ ææ ææ ææ
f b 8 8 n 8 b 8 n 8 b 8 b 8 n 8
b>8 n>8 > >8 > > > >8 > > > > > > > b 8 n 8 b >8 n>8 > >8 > > > > > n>8 > > > > >
> 8 b 8 n 8 # 8 > pp
p mf >>
pp mf
4 cop_3 sog_5_play 6 3 7 3 4
L-Elec. ¢/ 4 harm_1_off
4 cop_1_off
4 8 4 ring_7 4
sog_1_off

s
pp mf
° 4 ã ‰™ 6 3
3 7 3 4
Voice & 4 Œ Ó Ó
#œ
4 œ œ œ œ œ œ œ œ 4 œ œ œ œ ‰™ Ó 8 ∑ 4 ∑ 4 ∑
pp hmm

4 ‰™ Ó™ 6 3 7 3 4
4 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑
mp mf
[10+19+9]
ne
4 6 3 7 3 4
& 4 µnee ‰™ Ó™ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ 4 ∑

M 10,53% prepare the IVth string with metal clip!!!

Cb.
? 44 O ‰™ Ó™ 6
4 ∑ 3
4 ∑ ∑ 7 3
8 ∑ 4 ∑ 4
4 ∑
‹

4 ring_6 6 3 7 3 4
L-Elec. ¢/ 4 4 ring_1_off
4 8 4 4
s
pp mf
° 4 ∑ Ó 6 5
3 2
™ 7 3 4
œ‰ Ó
Voice & 4 4 œ œ œ œ œ 4 œ œ 8 ∑ 4 ∑ 4 ∑
œ œ œ œ
hmm

… …
4 ‰™ ∑ 6 ∑ 3 ∑ ∑ 7 3 4
4 4 4 8 ∑ 4 4
[A0-Ab1]
[D#2, F3] [A0-Ab1]

#7 7 ∏∏∏∏∏ 77
7 77
4 6 3 7 3b 7 4
Pno.
R.H. &4 ‰™ Ó™ Œ Œ 4 ‰ Œ Ó™ 4 ∑ ∑ 8 ∑ 4 7 ‰Ó 4 ∑
mp mf f p

? 44 ‰™ Ó™ 7 ‰™ 7 6 3 7 3 4
Pno.
L.H. & b7 Œ 4 ∑ 4 ∑ ∑ 8 ∑ 4 ∑ ?
4 … ‰™ Œ ≈™ ¿
mp
f
#… ◊Ÿ
:◊; mf mp p
° ° ° °
4
L-Elec. ¢ / 4
ring_6 6 3 7 3 4
4 4 8 4 4
reson_1_off ring_1_off reson_6
 1'50" 1'54" 1'58" pre-14 2'01" 2'04" 2'08" 2'13" pre-16 2'17" 9
pre-13 pre-15
rit.
°27 ∑
28

Ó
29
3 ‰™ Ó
30

∑
31
4
32
r
33

∑
34
5 ∑ 4
Voice & 4 4 ˙™™™ œ 4 4
#œ #w
p mf p mf

˜w 3 nœ
3 47 5 5 4
& w f
#f 7 f 4 bf ‰ ™ Ó ∑ 4f bf f7 f7 bf 7 bf 7 f7 f7 4 ‰™ Œ Ó 4
#f 7
B. Fl.
7 7 7 7
p mf p mf pp mf

3 4 xn_3 5 4
L-Elec. ¢/ 4 4 4 4
ring_1_off

° 3 ‰™ 4 5 4
Voice & Ó 4 Ó ∑ 4 ∑ ∑ ∑ 4 Ó™ Ó 4
#œ w œ
p mf

˜˙ µœ ™
#˙
Bari. Sax. & µµœœ BBœœ 3
4 ‰™ Ó ∑ 4 µ˙
47
5
4 ‰™ Œ Ó 4
4
7 7
p mp mf 3
pp mf pp mf

3 4 xn_3 5 4
L-Elec. ¢/ 4 4 4 4
ring_1_off

tongue snap to teeth

(imitate reed tapping granulation of bariton sax)
° 3 4 Œ ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 5 ã ã ã ã ã ã ã ã 4
Voice & ∑ ∑ 4 ∑ ∑ 4 ã ã ã ã ã ã ã ã ã
ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 4 ã ã ã ã ã ã ã ã ã ã ã ã 4
p mp

press & rotate bow hair

3 4 5 ‰™ Œ 4
4 4 ‰™ 4 4
p mf sub. pp mf pp mf pp

# ee
? ∑ 3 ∑ ∑ 4 ∑ ∑ 5 ‰™ Œ 4
Cb.
‹ 4 4 & 4 4
B# OO I.II.

harm_8 sog_6-rec 3 4 sog_7_play 5 4

L-Elec. ¢/ 4 4 4 4
harm_1_off

tongue snap to teeth

(imitate reed tapping granulation of bariton sax)
3 3 3 3 3 3
° 3 3 3 3 3 3 3
ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 44 ã ‰™ ã ã ã ã ã ã ã ã ã ã ã ã
ã ã ã ã ã ã ã 5 ã ã ã ã ã 4
Voice & ∑ ∑ 4 Ó
ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 4 ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 4
pp p mp

granulation on tuning pins

∑ Ó ≈ 3 4 ‰™ Ó™ ∑ 5 ∑ 4
4 4 4 4
ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã
pp mf

? b¿ ¿ n¿ b¿ ¿ n¿ b¿ ¿ n¿ ¿ ¿ b¿ ¿ b¿ b¿ 3 4Ó ¿b¿ 5 4
Pno. ¿ ¿
n¿ ¿
#¿
#¿ n¿#¿ ¿ 4 n¿
‰ Ó ∑ 4 ‰ ™™ #¿ ¿ ¿ #¿ ¿ #¿ ¿ ¿#¿ n¿b¿ ¿ ¿ ¿n¿ ¿b¿ ¿n¿ ¿n¿ ¿b¿ ¿n¿ ¿ ¿ ¿b¿ ¿.n¿.¿¿¿.¿
n¿¿¿¿ ‰ Œ Ó 4 ∑ 4
L.H.
:◊; ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ #¿ ¿
>>> >.
mf p mf
° ° ° ° ° ° ° ° ° ° ° ° °

sog_6-rec 3 4 sog_7_play 5 4
L-Elec. ¢/ 4 4 4 4
reson_1_off
 pre-17 pre-18
10 2'25" 2'29" 2'32" 2'35" 2'38" 2'41" 2'46" 2'49"
pre-19
A tempo
3 3 3
°354
36
7
37
3 ™
38
5
>. >. >. >. > >
. . >. >. >. >. ≈
39
3 ™
40
5
3 3 3
3 41
3
42
7 4
Voice & 4 ∑ 8 ∑ 4 8 Œ 4 ≈ ™ 4 >. >. >. >. >. >. >. >. >. >. ≈‰ Œ 4 8 J 4
fo fi fo fi hi hi hi hi he he he he
>. >. >. >. >. >. >. >. >. >. fu
ha ha ha ha ho ho ho ho hu hu hu hu
hi hi he he ha ha ho ho hu hu
>. >. > >. >, . >, . >, .
,,, ,,, ,, . >, . >. >. jet whistle
,, ,,, ,,, ,,, >, . >, . >, . >, . >, . >, . >, . >, . >. >. >. >. jet whistle

,, ,, ,, ,, ,, ,, >, . >, . >. >. ,,, , , , ,,, ,,, ,,, ,,, ,, ,, ,, ,, ,, ,, ,, ,, >, . >, . >, . >, .
, , , , , , , (more overtones) (more overtones)
(more overtones)
4 ∑ 7 ∑ 3 5 ≈ ‰ ® 3 5 3 ® 7 j 4
B. Fl. &4 8 4 8 #O 4 #O f (air
™ to sound) 4 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ™ O O #O 4 f ™ 8 4
#f (air to sound)
œ# œ œ œ œ œ œ œ œ œ (air to sound)
3 3 3 3 3 3 3
o sfz p sfz
f o sfz p sfz
f o
4
L-Elec. ¢ / 4
7 3 harm_9 5 3 5 3 ensig_4 7 4
8 4 8 4 4 4 8 4
xn_1_off

° 4 ∑ 7 ∑ 3 ™ 5 ∑ 3 ™ 5 ∑ 3 7 4
Voice & 4 8 4 8 4 4 4 8 J 4
fo fi fo fi fu
3
3 e#e eeee
BBµeeeee n eeeee
µ# œœ œœœ œœ œœ œ œ 3 eee eee eee ee ee ee e e
(more overtones) nµ˜ œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ ≈ ‰ ee ee ee ee ee ee ee ee ee ee ee e e ® Œ Ó (more overtones)

(more overtones) clattering noise

4 ∑ 7 ∑ 3 5 3 5 3 ã ã ã ã ã ã 87 ã ã ã ã ã ã ã ã ã ã ã ã ã j ã 44
Bari. Sax. &4 8 4 8 4 (air to sound)
4 4
#f #œ œ œ œ œ œ œ œ œ œ œ œ f nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ™ f (air to sound)
(air to sound) prepared with carton
3 3 3
o f p o f p o
4
L-Elec. ¢ / 4
7 3 harm_9 5 3 5 3 ensig_4 7 4
8 4 8 4 4 4 8 4
xn_1_off

° 4 7 3 5 3 5 3 7 4
Voice & 4 ã ‰Ó™ ™ 8 ∑ 4 ∑ 8 ∑ 4 ∑ 4 ∑ 4 ∑ 8 ∑ 4
p

4 7 3 5 j 3 5 3 Π7 4
4 ∑ 8 4 8 4 4 4 8 4
‰ ® ™ J
o f o f o
[3+8+13+5] [10+19+9] [3+8+13+5]
ne[10+19+9]
µe ne µ% µœ
4 7 3 5 ##ee 3 # e 5 #% œ
3 7 4
& 4 ∑ 8 ∑ 4 ## ee 8 4 #e 4 ##%% #œ
nœ 4 ∑ 8 ∑ 4
#e J
arco pizz.
M M
µO D +41¢
j µ ~ E +41 ¢ µO l.v.
3»
M 10,53% M 10,53%
4 7 ∑ ‹? 43 ## œO 5 #œ 3 5 #w œ 7 4
Cb. &4 ∑ 8 8 J 4 ## œO 4 4 #\ Œ ‰ ®
˜\ 8 4
III (sul B) IV (sul F#) III (sul B)
III (sul B) mp
mf prepared with metal clip
4 7 3 ring_9 5 3 5 3 7 4
L-Elec. ¢/ 4 8 4 sog_1_off
8 4 4 4 harm_10 8 4
ring_1_off
A tempo
° 4 7 3 5 3 5 3 7 4
Voice & 4 ã ‰Ó™ ™ 8 ∑ 4 ∑ 8 ∑ 4 ∑ 4 ∑ 4 ∑ 8 ∑ 4
p

… touch the node horizontal gliss. touch the node horizontal gliss. horizontal gliss.
~~~~~~~~~~~~~~~~~~5 ~~~~~ ~~~~~~~~~
4
4 ∑ 7
8
3
4 Œ 8~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ ™™ ‰ 3
4 ‰ ~~~~~~~~ ~~~~~~~~~~~~~~45~~ ‰ ™™ Ó™ 3
4Π~~~~~~~~~~ 7 ~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~8~~~~~~~~
4
~~~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~~ 4
11,8%
~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~
11,8%
[A0-Ab1] mp f p mp
p f p
[9+17+8]
[9+17+8]
ne ne
Pno.
R.H.
4
&4 ∑ 7
8 ∑ 3 ## ee
4 ‰Œ ?
œ
5
8 G ® ‰ ™™ ‰ & 4 ee ‰ ™ ‰ ? œ
3 ## 5
4 # nœœ G ® ‰ ™™ Ó™ 3
4Π? ?7
8
4
4
“‘ “‘ œ œœ
mp
M 11,8% M 11,8%

Pno. ? 44 ∑ 7 ∑ 3 5 ≈ 43 5 3 7 4
L.H. 8 4 ‰Ó 8 ¿
# #Oœ ‰
™Ó 4 b¿
. . . . . . . . . . . . . . .
4 #œ Ó 8 ∑ 4
# #Oœ
mp
>‘ > > > > > > > > >> >>>>>>
“ mf
“>‘ > > > > > > > > > > > > > > > >>>>>>>>> >>>>>>>>>>>>>> > mf
f pp f p
° ° °
° °
4 7 3 reson_7 5 3 5 3 7 4
L-Elec. ¢/ 4 8 4 sog_1_off
8 4 4 4 8 4
 2'53" 2'57" 3'00" 3'02" 3'06" 3'11" pre-20 11

6 6 6
°43 4 3 2
44 45 7 7 46
4
6 6 6 6 47
5 3
48
2 4
Voice 4 >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. 4 >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. 4 4 ‰ 4 ∑ & 4
hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi he he he he he he he he he he he he he he he he he he he he he he he he he he he he he he he he he he
>ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >ha. >. >. >. >. >. >. >. >. >. >. >. >. >.
ho ho ho ho ho ho ho ho ho ho ho ho ho

>. >. >. >, . >, . >, . >, . >,, . >,, . >,, . >, .
>, . >, . >, . >, . >. >, . >, . >, . >,, . >, . >, . >. >. >, . >, . >, . >,, .
>, . >, . >. >. >, . >, . >, . >. >. >. >. >. >, . >, . >, . >, . >, . > > > >>
,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, >, . >, . >, .
,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, >, . >, . >, . >, . >, . >, . >, . >, . >, . >,, . >, . >,, . >,, . >,, . >,, . >,, . >,, . >,, . ,,, . >,, . ,,, . >,, . ,,, . ,,, . ,,, . >,, . >,, . >,, . >, . >,, . >, . >, . >, . >. >. >. >. >.
>, . >. > >, . >, . >, .
,, ,, ,, , , , ,
,,,
, ,
,,,,,, ,,, ,,, ,,, ,,, ,,, ,,, ,, ,,, ,,, ,,, ,,, ,,, ,,, ,,, ,,
,
,,, ,,, ,,,
, , , , , , ,
,,, ,,, ,,,
,, ,, ,, ,, ,, ,, ,, ,, ,, , ,, , , , , , , , , , , , , ,, , ,, ,, ,, ,,, ,, ,,, ,, ,, >. >, . >, . >,, . >,, . >,, . >,, . >,, . >,, . ,, . , , ,
, , , , , , , , , , ,, , ,
4 bœ 3 œnœbœ œ œnœ 42 œ œ#œnœ œ œ#œnœ#œ œ œ œbœ œ 44 #œnœ œ œbœ œ œ œ œbœ œ œ œnœ#œ œ œ#œnœ#œnœ#œnœ œ bœ ‰ 2 ∑ 4
B. Fl. &4 œbœnœ#œ œ œ#œ œ œ œ nœ œ bœnœ œnœ œ#œ œ œ œ œnœ œ œ#œ œ œ œ œnœ 4 œ œ#œ œbœ œ œ nœ œ œ#œ œ # œ n œ# œ œ#œ œ#œ#œ œ œ œ #œ 4 4
6 6 6 7 7 6 6 6 3
6 5 p
sfffz p p mf p
mf

4 3 2 4 2 4
L-Elec. ¢/ 4 4 4 4 4 ensig_1_off
4

° 4 ‰™ 3 2 4 5
2 4
Voice 4 Œ Ó 4 ∑ 4 ∑ 4 ∑ Œ &
œ œ 4 œ ‰™ Œ 4
tih
#œ œ
p mf

ææ ææ
ee ææ ææ ææ ææ ææ ææ
B ææ
B##µ eeee ‰™
Bari. Sax.
4
&4 ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã 3
4 ã ã ã ã ã ã ã ã ã ã ã ã 42 ã ã ã ã 4Ó
4 BBœœ 2
4 ‰™ Œ 44
ææ\ ‰™
ææ ææ ææ ææ ææ ææ ææ ææ æ p mf p mf
fff p

4 3 2 4 2 4
L-Elec. ¢/ 4 4 4 4 4 4
ensig_1_off

° ‰™
4 ‰ ™™ 3 2 4 2 Œ 44
4 Ó 4 4 4 4 ‰™
mf fff p mf p mf p mf

arco n eee
EEE ‰™ clattering noise
ee
? 44 b\ ‰ ™™ Ó 6 3 2 e ? ã
ã ã ã 4ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã nbœœ nœœ 2 ‰™
Π44
Cb.
‹ 4 4 G≈ ‹ ˜œ\ 4 4
e E e prepared with metal clip
fff p p
mf p mf mf
mf fff

4 3 2 4 2 4
L-Elec. ¢/ 4 4 4 4 4 4
harm_1_off

° ~~~~~~~~~~~~~~~~~~~~ ~
4~
4 ~~~~~~~ ‰ ™™ ~~~~~~~~~~~~~~~~~~~~ 3 ~~~~~~~ ~~~~~~~~~~~~ ~ ~~~ 2 ™™ 4 Ó™ granulation on tuning pins
2 ‰™ Œ 44
Π4
~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ ~~~ ~~~ ~ ~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~4~~~~~~~ ‰ Œ 4 4
~~~~~~~ ~ ~~ ~
fff mf fff p
ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã ã
mf

? 44 G ® ‰ ™™ 3 2 ® 4 2 4
Pno.
R.H.
Œ 4 #œœ #œœ 4 G ‰ ™™ Œ 4 ∑ ∑ 4 ∑ ?
4
œ œœ
fff

Ÿ~~~~~~~~~~~
? 44 #¿ n¿ #¿ n¿ ¿ b¿ ¿ ¿ n¿ ¿ #¿ ¿#¿ ¿ ¿ n¿ ¿ n¿ ¿ n¿ ¿ b¿ ¿ ¿ 43 n¿ ¿#¿n¿#¿n¿ ¿n¿¿ ¿#¿ ¿ ¿n¿ ¿ ¿b¿ ¿ ¿ ¿b¿n¿#¿. ¿. 42 #¿. ‰ ™™ 4 ¿#¿¿ 2 b¿ Œ 44
¿#¿¿¿#¿n¿n¿#¿¿b¿ ¿¿n¿ 4 ‰ ™™
Pno. Œ Œ ∑ Œ
L.H. 4 n¿
◊Ÿ >> > ◊pŸ
mf fff mf
° °
4 3 2 4 2 4
L-Elec. ¢/ 4 4 4 4 4 4
reson_1_off
© 2019 by ONUR DÜLGER
All rights reserved