a rhetorical guide to ebb - digital library/67531/metadc5236/m2/1/high_res_d · tempus ex machina.5...

APPROVED: Joseph Klein, Major Professor Jon Nelson, Minor Professor David Schwarz, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse

School of Graduate Studies

A RHETORICAL GUIDE TO EBB

Daniel James Zajicek, B.M..

Thesis Prepared for the Degree of

MASTER OF MUSIC

UNIVERSITY OF NORTH TEXAS

May 2006

Zajicek, Daniel James, A Rhetorical Guide to Ebb, Master of Music (Composition), May

2006, 46 pp., 8 examples, references, 21 titles.

In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art,

and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of

those influences, the boxes of the American artist Joseph Cornell played a particularly important

role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay,

instead of being driven by a single thesis, involves the creation of conceptual boxes. These

conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers

Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb’s

creation is included.

ii

Copyright 2006

by

Daniel James Zajicek

iii

TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS....................................................................................................... iv

PART I: RHETORICAL GUIDE TO EBB .................................................................................. 1

Introductory Note.............................................................................................................. 2

Conceptual Boxes ............................................................................................................. 3

An Artist’s Boxes and Ebb ................................................................................... 3

Framing Ebb.......................................................................................................... 5

Disturbing vs. Innocent......................................................................................... 6

Transformational Structures.................................................................................. 8

Electronic Associations and Art.......................................................................... 16

Ebb: Genesis ....................................................................................................... 20

Bibliography ................................................................................................................... 23 PART II: EBB, FOR 13 MUSICIANS AND ELECTRONICS.................................................. 25

Program Note .................................................................................................................. 27

Instrumentation ............................................................................................................... 27

Symbols and Special Notation ........................................................................................ 27

Electronic Notation ......................................................................................................... 27

Ebb .................................................................................................................................. 28

iv

LIST OF ILLUSTRATIONS

Page

1. Joseph Cornell, Soap Bubble Set, 1948........................................................................... 3

2. Xenakis’ Jalons, measures 37-39 ................................................................................... 10



5. The original formal sketch for Ebb................................................................................. 12

6. Ebb mm. 1-6 ................................................................................................................... 13

7. Ebb mm. 83-90 ............................................................................................................... 14

8. Ebb mm. 91-96 ............................................................................................................... 15

1

PART I

RHETORICAL GUIDE TO EBB

2

Introductory Note

When confronted with the task of compiling materials related to Ebb in a linear, thesis-

driven essay, the process became overwhelmingly difficult. Having based much of Ebb’s content

on music and art that were full of non-linear features, it became increasingly clear that this

traditional method of writing would not effectively reflect the multitude of interconnections that

were present among the artists, composers, and the work Ebb. Therefore, after considerable

struggle, David Schwarz suggested I try a different approach—a rhetorical structure based on

Joseph Cornell and his boxes.

In the same way that a Cornell box focuses a moment, feeling, mood, or time through the

combination of diverse objects, each of the following rhetorical boxes focuses on ideas and

concepts related to Ebb. I also utilized a system of notation to clarify these connections. Derived

from simple relational principles, these notations allow for connections among ideas through a

wide variety of associational and logical means. In addition to the notation, subject headings are

provided acting as the conceptual framework in which the ideas are presented.

Notation:

[ = ] Used to express like-minded modes of thinking

[ + ] Expresses an extension in the same line of thinking

[ ] A conceptual leap made when relating ideas

[ ~ ] Used to articulate an afterthought

[ yet ] A reflection of being similar but not the same

[ not ] Used when ideas are related through differences

[ * * * ] Signals the end of a box

3

Conceptual Boxes

[ An Artist’s Boxes & Ebb ]

Ex. 1: Joseph Cornell, Soap Bubble Set, 1948, stained, glazed wooden box for a kinetic assemblage of velvet, wood, clippings, glass, painted wooden ball, glass marbles, cordial glass, coral, driftwood and clay pipe, 22.5 x 33 x 9.5 cm, Lindy and Edwin Bergman Joseph Cornell Collection, 1982.1861 front view. Photograph by Robert Hashimoto. Photography © The Art Institute of Chicago. In surrealism, there exist three types of objects: (1) objects encountered “ready-made” in

a dream, (2) the object encountered through chance in the real world (usually of special

significance to the finder), and (3) the surrealist object as defined by Salvador Dalí. A Dalí object

“needs to function symbolically, a quite elaborate construction using found materials, which

either moves or gives the impression of movement, so as to arouse a frisson of desire in the

spectator.”1

1 Dawn Ades, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago. (London: Thames and Hudson Ltd., 1997), 29-30.

4

Each box by Cornell grasps moments—his moments—that exist in their own time and

space. This time, trapped behind glass, allows a fantastic scenario to be realized as the different

objects interact in our minds. In Example 1, the suspended marble and white ball set against a

black backdrop suggest planets in space, or the time frame of planets. This planetary temporality

is then juxtaposed with the porcelain pipe and the wine glass suggesting something entirely

different, something from the past.

[ = ]

In Ebb, the way time is experienced is built around the image of a swing:

Imagine a dried up old porch swing creaking away in the middle of an overly green field

of grass. Suspended somewhere beyond the clouds, the swing is a symbol of nostalgia

and sentimentality. Moving erratically at times, and others not at all, this swing bends and

pulls the world around it; a world that bows to the swing’s fading will.2

This image defines the way the material in Ebb was composed. In Ebb, rhythms, gestures,

registers, and textures all relate back to the erratic motion of this swing. Bending and pulling, the

swing image also allowed for time to move in a non-linear fashion.

[ = ]

In a Cornell box, non-linearity manifests itself through the mixture of differing time worlds,

[ = ]

while non-linearity occurs in Ebb through the presence of differing sound spaces and rhythmic

motion. When an instrumental texture merges with the sound of flapping paper (mm. 55-58), or

the moaning sounds of an old French language recording is paired with a jagged texture in the

2 Daniel Zajicek, “Ebb, for 13 musicians and electronics,” Score, 2005.

5

ensemble (mm. 146-162), past and present are commingling. When the ensemble stops playing

and the electronics slowly crescendo (m. 116), temporality is suspended.

[ * * * ]

[ Framing Ebb ]

In traditional art, the most common location of a frame is around a painting. More

functional than integrated, the frame informs where the painting ends and the wall behind begins.

It is a practical, and at times ornamental, attachment that protects and defines the edges of a

painted image. In twentieth century art, frames become less stable in their framing function.

In music the frame is temporal. The frame in music is clearly defined by the beginning of

the piece (when the conductor lifts his baton and the players start playing) and the end (when

they stop). Traditional visual frames and traditional musical frames are absolutely functional;

they delineate the boundaries of a cohesive whole.

[ = ]

In a Cornell box, the box itself is the frame. Acting as a container, it defines the perimeter of

where the object ends and the world begins. Looking at a box from the front embodies this

structure most clearly. The Soap Box presented in Example 1 works in this way.

[ yet ]

Cornell regarded each box as an integral object, covering the entire work with paper and varnish,

even the back.3 This all-around coating of a box allows the frame to function quite differently

than in a painting. First of all, an all-around coating constantly places the relationship between

the canvas and the frame in a state of flux.

3 Dawn Ades, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago, (London: Thames and Hudson Ltd., 1997), 31.

6

[ ]

In Ebb the electronic sounds define the conceptual frame, and, like the found objects in a Cornell

box, they are also an integral part of the work. Appearing clearly in the foreground (m. 116) or

lurking ominously behind (mm. 2-4), the electronic sounds frame the music by either setting the

mood for sections or pointing the listener to a world outside of the performance space. As the

electronics pull the listener out of the concert hall, the instrumental sounds pull the listener back

to the performance arena—back into the present (mm. 46-54).

[ * * * ]

[ Disturbing vs. Innocent ]

Built around a suspended experience of nostalgia and sentimentality, Ebb combines

materials in ways that evoke darker places in the past—places in my own past along with the

shared past of history.

Starting at the first senza misura marking at m. 3, the nostalgic space is tense. The

strings, symbolizing the slow creaking of the chains on the swing, move back and forth through

sul ponticello quarter-tone intervals. This texture, in combination with the electronics, creates an

ominous sound world at the opening of the composition.

At the close of the work, I introduced another disquieting relationship into the work. Here

the electronic part and instruments work in contrast to one another to create an absurd space;

while the electronic part consists of the sound of an old French language record, the instruments

are marching through a jagged, pulsating texture. Although the French recording by itself

contains no dark associations, in this context the French vowels transform into moaning sounds

reminiscent of torture when combined with this special texture.

7

[ yet ]

Cornell’s boxes deal primarily with objects from the past and they tend to express a sense of

nostalgia or a “constant regret about the passage of time.”4 Despite the fact that Cornell was

known to have had relationships of varying degrees of intimacy with the daughters of his friends

and acquaintances, I find that the world his work creates is not a dark one but one of innocence

and discovery.

A quiet, obsessive man, Joseph Cornell dealt with his love of the past by bringing it into

the present. He captured something universal and poetic by boxing in his experiences.

[ = ]

Through a similar process Ebb confronts the passage of time by placing sounds from the past

with those of the present. Transfixing the listener’s mind somewhere between then and now, Ebb

disturbs

[ = ]

while Cornell inspires.

[ * * * ]

[ Transformational Structures ]

French composer Gérard Grisey, outlines his approach to composition in his lecture

Tempus ex Machina.5 For Grisey, musical time is experienced in a continuum, from periodic to

statistical or from order to disorder. These time intervals are categorized by degrees of

4 Mary Ann Caws, Theater of the Mind: Selected Diaries, Letters, and Files, (New York: Thames & Hudon, 1993), 29. 5 Gérard Grisey, “Tempus ex Machina: A composer’s reflections on musical time,” Contemporary Music Review, Vol. 2 (1987) 244. This lecture was given at Darmstadt in 1980 and revised in 1985.

8

dissonance and timbres by the “extent to which they are non-harmonic.” Therefore, music that is

not repetitive and non-harmonic (statistical) has zero predictability while music that is totally

repetitive and harmonic (periodic) has maximum predictability. Although no piece of music

exists entirely at either end of this spectrum, this unique approach to time and timbre becomes

very clear when listening to a composition by Grisey.

For example, the third installment—Partiels for 18 musicians, from his epic work Les

Espaces Acoustique—clearly follows several slow curves from order to disorder. Designed

around the spectral analysis of a trombone playing the note E, Partiels begins with a periodic

orchestration of that very timbre. Transforming this harmonic orchestration by applying different

filtering processes (analogous to electronic processes), the music becomes more and more noisy,

or less and less harmonic. This shift is manifested in the rhythmic periodicity as well, moving

from periodic (the music literally repeating at the outset) to aperiodic (no repetition). 6

Partiels demonstrates a quality of continuous transformation from order to disorder,

harmonic to non-harmonic, and periodic to aperiodic. Harmonic content is derived from spectral

analysis, while rhythmic change happens gradually. Everything happens gradually in this music,

the entire work unfolding as a transformational result of the trombone timbre.

[ not ]

Iannis Xenakis, coming from an earlier generation than Grisey, created music using large

clusters of sound. Built from the combination of many smaller parts, these clusters realize

independent compositional processes that are not necessarily continuous from one cloud of

sound to the next. Explaining the reasons behind his compositional approach, Xenakis had this to

say:

6 Jean-Luc Idray, (2001). Une analyse interactive de la pièce de Gérard Grisey, (October, 10, 2005), http://www.ac-grenoble.fr/Partiels/shock.html

9

In 1954 I denounced linear thought (polyphony), and demonstrated the contradictions of serial music. In its place I proposed a world of sound-masses, vast groups of sound-events, clouds, and galaxies governed by new characteristics such as density, degree of order, and rate of change, which required definitions and realizations using probability theory. 7

Influenced strongly by the composer Edgard Varese, Xenakis’ sought to redefine music through

mathematics. Xenakis escapes both traditional rhythmic and harmonic structures by composing

clouds that are noisy spectrums filled with overlapping glissandi and non-traditional rhythmic

divisions. In Metastasis, Xenakis creates continuous cloudlike textures through overlapping,

discontinuous glissandi that allow for a never-ending evolutionary musical texture.8

In a later composition, Jalons for 15 musicians, Xenakis creates continuity through more

traditional means. Comparing measures 37-41 with measures 42-48 Xenakis’ use of shared

rhythmic relationships becomes apparent. Starting with measures 37-41, the pitch content clearly

moves from high registers to low and then back to high. These measures (mm. 37-39) are

comprised of nested tuplets; at m. 41 a tutti collision regroups the ensemble into single massive

chords, only to disperse again beginning in m. 42. In measures 43-48 the pitch content suddenly

becomes static, although

7 Iannis Xenakis, Formalized Music, (Bloomington: Indiana University Press, 1991), 182. 8 Ibid. 9-10.

10

Example 2, Xenakis’ Jalons, measures 37-399

rhythmically the material points back the previous measures (mm. 37-41). These two sections

both contain nested tuplets and both move in and out of rhythmic alignment. While the first

section (mm. 37-41) divides these two rhythmic worlds, the latter section (mm. 43-38) moves

between them seamlessly, and can be seen as a development of the previous section along with

being of another transformation in this changing texture.

9 Iannis Xenakis, Jalons, pour quinze musiciens, (Paris: Salabert, 1987).

11

Example 3, Xenakis’ Jalons, measures 40-4210

Example 4, Xenakis’ Jalons, measures 43-45.11

10 Iannis Xenakis, Jalons, pour quinze musiciens, (Paris: Salabert, 1987). 11 Ibid.

12

When this cloud of music comes to a close in measure 71 (occurring much later than the

examples given), a clarinet playing noisy multiphonics erupts out of the texture signaling the

beginning of a new cloud. Although the multiphonic does stick out of the previous texture, the

clarinet shares an essentially noisy quality with it, uniting the two very different musical ideas.

[ yet ]

In Grisey’s music the transformation is smooth and pervasive.

[ not ]

In Jalons transformation happens inside clouds—not from cloud to cloud.

[ yet ]

In Ebb, the structure is based upon both continual transformation of materials and moments of

suspension (clouds). Through the combination of ideas used in Grisey’s Partiels, and Xenakis’

Jalons, Ebb makes use of transformational textures that suspend time in cloud-like moments,

providing periodic stasis through repetition.

The structure of Ebb can be seen as reflecting the many ways in which music could

depict the motion of a swing (shown in the sketch below). Additionally, the swing’s motion has

the ability to control the contour of time, and at any point during its swaying it may even suspend

time altogether. The opening measures suspend time in exactly this way.

Example 5, the original formal sketch for Ebb.

The beginning of the composition (seen in example 6) opens with a chord that then dissolves into

a slowly moving senza misura string texture. This string texture—analogous to the small motions

13

of a swing moving in the wind—alternates between quarter-tone pitches in a narrow intervallic

range. Already containing a suspended character, this opening gesture (mm. 1-3) is then repeated

(mm. 4-6) causing a circular suspension as the music returns to where it started.

Example 6, Ebb mm. 1-6

Another point of suspension that occurs in Ebb starts at measure 76 and lasts until measure 116

(See examples 7 & 8). This series of rhythmic clouds approaches the motion of the swing

through rhythmic expansion and compression while at the same time reflecting the peaks of the

swing motion through abrupt shifts from high to low registers.

14


15


16

To allow for the continuity achieved by Grisey, I composed periodic structures throughout each

new transformation of the musical texture. I needed shared materials to clearly link both pitch

and rhythmic content as the music changed. Accordingly, each cloud contains a similar rhythmic

trajectory, picking up where the previous one had left off. Comparing the rhythmic content in

mm. 86-90 with that of mm. 90-95, the rhythms are clearly oscillating between faster sixteenth-

note groupings and slower eighth-note groupings. Once the rhythmic motion slows down in m.

90, the clouds elide, briefly lining up before the higher register cloud begins its own accelerando

and ritardando.

[ * * * ]

[ Electronic Associations and Art ]

When Xenakis composes acoustic music, the effect is often abstract and far removed

from real world associations. In this music there are no stories, images, poems, or narratives. For

Xenakis, “to make music means to express human intelligence by sonic means.”12

[ yet ]

His electronic music is filled with the sounds of the natural environment. These recognizable,

concrete sounds beckon the listener towards a multitude of metaphors and associations. Although

Xenakis chose these sounds because of their special timbral characteristics, he makes use of a

limited pallet of techniques when putting them together in a composition.13 This limited amount

of manipulation allows the original associative quality of the sounds to remain, thus creating a

sonic environment that is still both recognizable, and not. This blurred reality is quite similar to

12 Iannis Xenakis, Formalized Music, (Bloomington: Indiana University Press, 1991), 178. 13 Iannis Xenakis, Electro-Acoustic Music. (Nonesuch, 1970). [Sound Recording] See liner notes for a list of techniques that Xenakis uses.

17

[ = ]

that of a Cornell box. In a Cornell box concrete objects are displaced in time, and

modifications—if any—are minimal.

[ yet ]

Xenakis uses electronic sounds with a focus on timbre. This means that associations, although

unavoidable, are not his primary concern. Following in the footsteps of Pierre Schaeffer—the

father of musique concrete—Xenakis may have felt that through the removal of the original

context, “sounds could be given new meanings and could be set within non-metaphoric

contexts.”14

[ = ]

Gérard Grisey also favors the timbral characteristics of natural sounds and his music is also very

abstract. Using the spectral analysis of instrumental timbres as the basis of his harmonic

structures, he builds nature directly into his compositions. This direct natural connection allows

for a rich harmonic language; but here natural sounds are used abstractly and without

association.

[ yet ]

In the closing measures of Partiels, Grisey introduces a sound environment akin to the

associative power of concrete sounds. Here the members of the orchestra begin tearing their

music, noisily packing up their instruments, and even chatting to each other as if the performance

is already over. These sounds, theatrical and humorous, lead this abstract musical work in a very

14 Robin Minard, “Musique concrète and its importance to the visual arts,” in Resonances: Aspects of Sound Art, ed. Schulz, Bernd (Heidelberg, Germany: Kehrer, 2002), 44-50.

18

different direction. At the close, Grisey has created his final transition, from abstract sound to the

sound world of reality.

[ + ]

Xenakis’ concrete sounds create noisy textures much like those in his acoustic music, but where

the thick textures of his acoustic music may suggest noisy crowds, Xenakis’ electronic music

contains the very sounds themselves:

Everyone has observed the sonic phenomena of a political crowd of dozens or hundreds of thousands of people. The human river shouts a slogan in a uniform rhythm. Then another slogan springs from the head of the demonstration; it spreads towards the tail, replacing the first. A wave of transition thus passes from the head to the tail. The clamor fills the city, and the inhibiting force of voice and rhythm reaches a climax. It is an event of great power and beauty in its ferocity.15

Xenakis uses this description of a political protest to describe how the stochastic-like structure of

an angry crowd reflects a structure that is almost musical. However, this detailed narrative could

also describe a number of his acoustic and electronic works.16 In addition, I believe that these

images of protest, which so drastically changed his own life, are forever etched in the

associations of both his electronic and acoustic music.

[ yet ]

Although I can only suggest that this image of protest guided the sound world of Xenakis’ music,

I may clearly affirm that an image guided the sound world in Ebb. It is also true that the sounds

contained in Ebb were chosen not only for their special timbral qualities, but for their associative

pull as well. The ability of a concrète sound to refer and direct allows Ebb to pull the listener

through more specific metaphors while still maintaining an abstract musical space.

[ ] 15 Iannis Xenakis, Formalized Music, (Bloomington: Indiana University Press, 1991), 9. 16 For a good example of this, listen to Xenakis’ 1970 tape composition, Hibiki-Hana-Ma. OHM: The Early Gurus of Electronic Music, 1948-80. (Ellipsis Arts, 2000). [Sound Recording]

19

Through embracing associations as a compositional tool, I liken myself more with ideas of the

visual art than that of music. Beginning with Luigi Russolo’s famous 1913 futurist testament The

Art of Noises, the sounds of the industrial revolution were now allowed equal footing in a

musical work.17 These profound words, however, were couched in a musical practice that didn’t

quite live up to its claims. Contradicting his own written statements, Russolo composed works

and created instruments that “diminished a play of the aural signification of worldly sounds to

their timbral signatures in order to engineer ‘a great renovator of music.’” 18

[ = ]

Grisey and Xenakis both use sounds based primarily on timbral features.

[ yet ]

In a collage painting by Rauschenberg or a box created by Cornell the visual response relies

heavily on the associations the viewer brings to the work. This visual recognition permeates

these works and presents itself on the surface, not hidden.

[ = ]

Ebb places the associative quality at the forefront of the musical experience. When the

whispering voice enters during the electronic solo, it offers a moment of precise signification.

Functioning musically as a cadential event, this sound object couches itself in a plethora of

associations relevant to the work.

[ ~ ]

17 Luigi Russolo, The Art of Noises, Translated by Barclay Brown, (New York: Pendragon Press. 1986). 18 Douglas Kahn, “Track Organology,” in Critical Issues in Electronic Media, Edited by Simon Penny, (State University of New York Press, Albany, NY. 1995). 206.

20

This spoken text comes from the poem “Ebb” written by the American poet Edna St.

Vincent Millay.19 In this poem, the narrator likens her heart to a “little tepid pool, left there by

the tide, drying inward from the edge.” This vivid, temporal image demonstrates how time dries

up our emotions. Through a nostalgic act, we relive experiences from our past, or imagined

experiences from history, and pair them with new emotions of loss and regret. Much like the

character in Millay’s poem, our emotions for past things may have dried up and that awareness

adds yet another layer of emotion. All of these emotions trapped in different times and with

different meanings are linked through images and associations.

Ebb, like a painting, puts these associations out there for the listener to sift through and

connect at will. Couched in musical language inspired by Xenakis, and Grisey these associations

fit in a textural transformational form like objects carefully placed in a Cornell box. As the swing

image guides the music, it also guides the listener through a sentimental journey—evoking

images both clear and vague. This image is one of this world and that of the imaginary.

[ * * * ]

[ Ebb: Genesis ]

Spring 2001 Became fascinated by the transformational nature of Gérard Grisey’s music. Fall 2003 After listening to Tristan Murail’s L’esprit des dunes was inspired to write a large ensemble piece with electronics. May 2004 After visit home was inspired by the image of my mother’s porch swing.

19 Collected poems Edna St. Vincent Millay. Ed. Norma Millay, Second April (New York: Harper & Row., 1956), 95.

21

August 2004 While camping in Amarillo, TX the practical choice of wind quintet, string quintet, percussion, and electronics was decided. October 2004 During a search for experimental filmmakers, I stumble across the art works of Joseph Cornell. Spring 2005 After many failed attempts, opening sul-ponticello texture realized after hearing Kronos Quartet performing Fratres, by Arvo Pärt 2/20/05 The idea of using rusty hinge noises is introduced as the sul-ponticello string section develops. 2/25/05 Began studying Iannis Xenakis’ Jalons. 3/01/05 Made formal sketch of structure based on the swing image. 3/15/05 Discovered the short films of the Czech surrealist animator Jan Svankmajer, and the inclusion of boxes in one of his films reminds me of Cornell. 4/12/05 Extended musical idea thorough registral swings – pitch material derived from modified octatonic scale. 4/13/05 Ebb title is added to the note page 5/26/05 Taipei, Taiwan – Developed first sustained textures based on Xenakis’ ideas. 6/10-21/05 During a visit to the library I checked out a surrealist art collection containing many Joseph Cornell boxes, and after several discussions centered on the profound impact of the box, the idea of providing an electronic frame was devised. 6/22/05 Extended sustained cloud textures, and slowed down the opening tempo. 6/30/05 Reached electronic solo section and the pitches became less clear.

22

7/05/05 Lightly sketched out rest of the composition, each page less specific than the one preceding. 7/06/05 Officially stuck 7/10/05 Began recording sounds 7/11/05 Began entering score into computer. 7/15/05 Discovered a germinal chord during the electronic solo section. This chord is the harmonic basis for most material for the end of the composition. 7/24/05 Developed a string canon out of sketches for the clarinet solo. 7/25/05 Completed the first version of Ebb, without electronics. 7/30/05 Realized a rough version of the electronics. 8/04/05 Completed the rough version of the max patch used for performance. 9/05/05-10/01/05 Continued revising score and changing notation, adding extended note heads in string opening section, and revising rhythmic and orchestrational problems. 10/12/05 After recording new sounds, I completely revised the electronics—extending the solo sections, eliminating sounds and adding several new ones. I also chopped longer sounds into smaller segments to aid in better coordination during the performance and changed the notation of the electronics in the score. 10/22/05 Finalized Max patch.

[ * * * ]

23

Bibliography Ades, Dawn. Surrealist Art: The Lindy and Edwin Bergman Collection at the Art

Institute of Chicago. London: Thames and Hudson Ltd., 1997. Caws, Mary Ann. Theater of the Mind: Selected Diaries, Letters, and Files. Thames &

Hudson: New York: 1993. Collected poems Edna St. Vincent Millay. Edited by Norma Millay. Second April. New

York: Harper & Row., 1956. Grisey, Gerard. Partiels: pour 18 musiciens. Milano: Ricordi, 1976. Grisey, Gérard. “Tempus ex Machina: A composer’s reflections on musical time.”

Contemporary Music Review, 1987, Vol. 2, 239-275. Hartigan, Lynda Roscoe, Richard Vine, Robert Lehrman, and Walter Hopps, eds. Joseph Cornell: Shadowplay Eterniday. New York: Thames & Hudson, 2003. Idray, Jean-Luc (2001). Une analyse interactive de la pièce de Gérard Grisey. October,

10, 2005. http://www.ac-grenoble.fr/Partiels/shock.html Iliescu, Mihu. “Notes on the Late-Period Xenakis.” Contemporary Music Review. Vol. 21, Nos 2/3, 2002, 133-142. Kahn, Douglas. “Track Organology,” in Critical Issues in Electronic Media. Edited by Simon Penny. State University of New York Press, Albany, NY. 1995. 205-217. Lebaron, Anne and Denys Boulaine. “A report on the 1980 Darmstadt conference, at

which the main lecturers were Wolfgang Rihm, Brian Ferneyhough, and Gerard Grisey.” Perspectives of New Music. Vol. 19 1-2, 1980-81, 420-441.

Minard, Robin. “Musique concrète and its importance to the visual arts.” In Resonances:

Aspects of Sound Art, ed. Bernd Schulz, 44-50. Heidelberg, Germany: Kehrer, 2002.

Murail, Tristan. L'esprit des dunes: pour 11 instruments et sons de synthèse. Paris: Editions Henry Lemoine, 2001. OHM: The Early Gurus of Electronic Music, 1948-80. Ellipsis Arts, 2000. [Sound Recording] Pärt, Arvo. Fratres: für Streichquartett. Wien: Universal Edition. 1977/89. Russolo, Luigi. The Art of Noises. Translated by Barclay Brown. New York: Pendragon Press. 1986.

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Svankmajer, Jan. The Collected Shorts of Jan Svankmajer, Vol.2 - The Later Years. Image Entertainment, 2005. DVD.

Williams, Nicholas. “In memoriam: Gerard Grisey. “ The Musical Times. 140 (Spring

1999 ): 7. Xenakis, Iannis. Electro-Acoustic Music. Nonesuch, 1970. [Sound Recording] Xenakis, Iannis. Jalons, pour quinze musiciens. Paris: Salabert, 1987. Xenakis, Iannis. Formalized Music. Bloomington: Indiana University Press, 1991 Zajicek, Daniel. Ebb, for 13 musicians and electronics. Score. 2005.

25

PART II

EBB, FOR 13 MUSICIANS AND ELECTRONICS

DANIEL ZAJICEK

EBBfor 13 Musicians and Electronics

2005DENTON,TX

COPYRIGHT 2005BY DANIEL ZAJICEK

ALL RIGHTS RESERVED.

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˙bUpUæ∏

sus. cymbalsoft mallets

ÓU Œ œæB.D.soft mallets

p

ÓU44

Œ œnsul pont

π

Innig q»60

ÓU Œ œsul pont

πµ

ÓU Œ œsul pont

πUsul pont

∏

˙Usul pont

∏

.˙

34

12

.˙n

.˙

˙n

Œ

.˙34

˙ Œ

œ ‰ Œ Œ

.æ

˙34

œ˜ sempre legato

˙ œµ

˙ œn -

.˙

.˙

œn

Senza misura10"

˙n

Jœn

Senza misura

Jœ

Senza misura

œµ œµ

œsempre legatoœ# œn

œsempre legatoœ# -

œ

œ

œ# œn

œn œ˜

œ-µ œ-µ

œn

œn œ˜

œnp

œµ

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œn

œnp

œµ

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œn - œ-˜

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rall.

µ

rall.

œ˜

œ˜ œ˜

œ-˜

œ˜ œ˜

œ# œ

œn - œ# -

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3

10"

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π

.-π

.-π

.˙b-p‰ œ>

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P‰ œ> œ œ œ

3

jœ œ>B.D.soft mallets

ßŒ Œ

.˙# gliss

.˙ gliss˜

.-Pµ

.-p

sul pont

œ.pizz.

FŒ Œ

.æ

a tempo

p

34

4

.˙p.æp

.p n

.˙F

34

a tempo

.P n

œ-π

‰ Œ Œ

∑

˙na tempo

π

34

œ˜

˙πµ

œµ

-π˜ œn -

.˙

.˙arco

πsul pont

æn

Senza misura10" 7"

œn

.æn

.œn

rall.Senza misura

œµSenza misuraœµ

œ œ# œn

œ œ# -

œ

œ

œ# œn

œn œ˜

œ-µ œ-µ

œn

œn œ˜

œnp

œµ

œ# -

œnp

œµ

œµ œ˜

œn - œ-˜

œrall.

rall.

µ œ˜

œ˜ œ˜

œ-˜

œ∏

Ebbfor 13 musicians and electronics Daniel Zajicek

2005

Copyright © 2005 by Daniel Zajicek, All Rights Reserved.

Transposed Score

28

÷

&

&

&

?

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

16

16

16

16 œ˜ œ˜

œ œ#

œn - œ# -

.-æπ

3"

564

.-π.˙# -æ

π

.-π

.-π.˙# -p‰ œ>

Anvil2 hammers

P‰ œ> œ ‰ œ

3


ßÓ

.˙# -

.-˜ gliss

-µ œ-µ

.-psul pont

œ.pizz.

F Œ Œ

.æ

a tempo

p

34

7

.˙p.æp

.p n

.˙F

34

a tempo

.P n

œ-π

‰ œ œ ‰ œ œ ‰ œ∏3 3 3

∑

œ34 a tempo

Pgliss ˙˜ gliss

œnP

gliss ˙µ

Pœ# -

.˙

.˙arco

πsul pont

æn

Senza misura11"

œn

æn

.œn

Senza misura

‰snare drumwood sticksœ.p

œ. œ. ‰. œ. œ. œ. ‰3 3 3

œnSenza misuraœpµ

œ œ#p

œ œn -pœ

œ

œp F

œ>f

Jœ.

œ#

œ˜ œn

œ-µ œ-µ

œn

Jœp

œ˜ œn

œµ

œn -

œn

Jœp

œµ

œµ

œ# - œ-˜

œµ

œ˜ œn

œ-˜

œ-p F

œ>f

œ˜ œn

œn

œ# - œn -

œ-n π

11"

Jœp

œn

œ# œn œµ

œ-µ

Jœp

œ# œn œµrall.

rall.

œ˜

œ-µ œn -

œ˜

œ˜

œ# -

œ˜

œµ

œ-˜ œ-˜

.æ

rall.34

gliss

-π

gliss œ#p

-æπ

gliss œ#

Œ -π

.-π

34

.˙# -p‰ œ>

Anvil2 hammers

P‰ œ> œ œ œ

3


ßÓ

.˙µ34

gliss

.˙n gliss

˙# - œ-µ

Œ ‰ œn

con sordinoord. .œ

fœ

∑

29

÷

&

&

&

?

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

30

.˙#æp

a tempo

87

œ ˙n

˙p

œnn

.p n

30 .˙#F

a tempo

.P n

30œ-π

œ œ œ œ œ œ œ œ∏3 3 3

∑

30 œ#Pa tempo

˙˜

œnP

˙µ

Pœ# -

œ œ œ> œ œ œ œ œ œ ‰ œ#Í3 3

3

∑

˙næn

Œœ

nŒ Œ

œ Œ Œ

∑

.œn

‰ Œ

∑

œ œ ‰ Œ Œ3

‰snare drumwood sticksœ.p

œ. œ. œ. œ. œ. œ. ‰3 3 3

œn ˙µ

œ ˙#

œ ˙n -

.˙‰ œœ.P

quasi guitara œœ.œœ.œœ.œœ.œœ.œœ. ‰

3 3 3

∑

∑

∑

Œ ˙b>f

∑

∑

∑

∑

œ ˙#

œ œ˜ œn-µ œ-µ

œœ>fœ ‰ Œ Œ

3

∑

∑

∑

∑

.˙

∑

∑

∑

Œ ‰ œ.p

snare drumwood sticks œ. œ. œ. œ>æ

3 3

œ œ˜ œn

˙n œµ

œ ˙n

∑

∑

∑

∑

∑

œ œœF

œ

∑

∑

∑

œæ œ. œ. Œ Œ3

œ ˙µ

˙ œµ

˙# œ˜

‰ œn

con sordinoord. .œ

f œÍ

sul pont

œ

∑

Œ ‰ œ>fœ. œ. œ œ

p‰

Œ Œ œ#fœ œ>

3

Œ œ>fœ. œ. œœ œ

p‰

.˙

∑

‰ œP œ œ>œ> œÍœ œ3 3

∑

∑

œ ˙µ

˙˜ œnœ ˙˜

œn

‰ Œ Œ

∑

∑œ œ# œ

p‰ Œ

∑

œn

Œ Œ

∑

œ œ>F œ> œ- œ- œ-3 3

∑

‰ jœ œF

œ æ3

œ˜ ˙n

˙ œn

˙#crescendo

œn

∑

∑

∑

∑

∑

∑

∑

œ œπ‰ Œ

Œ Œ ‰ œP

Anvil2 hammers œ œ œ

œn

‰ Œ Œ

œ ˙n

œ#crescendo

œn œµ

œ ˙µ

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sul pont

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∑

∑

Œ Œ œPœ œ œ œ5

Œ ‰ œp œ

Œ œ# .+Pœ.+ œ.+ œ.

+

∑

œ ‰ Œ Œ

∑

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œ ˙˜

˙µ œn

œ œœnn .Pœœ. œœ. œœ.

œœœn>

ß

µ ‰Œ Œ3

œ-p œ- œ- œ- œ- œ5

Œ Œ œ#Fœœœœ

œ œ œ œ œ œ œ5

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œ# .+ œ>

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∑

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∑

œ ˙˜

œ ˙˜

œ ˙# fœœ. œœ>

Sp˙

Œ ‰ œp

œ

œ œ.F œ. œ. œ. Œ Œ5

œp

œ#Fœœœœ Œ

œp ‰ Œ Œ

œp‰ ‰ œÍ œ

œ ‰ ‰ œ+P œ+ œ+

‰ œ>ß

‰ ‰ œ>ß

‰ ‰ œ>Sp3

3

Œ œœœœœ ‰ ‰

∑

œ ˙˜f

œ ˙µf

˙˜ œ˜

.œ Jœœnn.F

œœ. œœ.

œœœn>

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ß‰ ‰ œn>

Sp3

3

Œ Œ œ œ œ œ œæfl.5

Œ ‰ œ# œœœœ œ œ œ œ

Œ œP œ# œ œ œ œ œ œ œ œ5 5

.˙

jœ+ œ+- œ+- jœ+âFœ œ œ œ œ œ œ œ œ œ

3 3 3

‰ œ>B.D.soft mallets

pœ> Jœæ

>Fp

Œ Œ ‰ œæFsnare drumsnare off

œ ˙µ

œ ˙n

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>æÍ

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30

÷

&

&

&

?

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

Ÿ~~~~~~~~~~~~~~~~~~~~~

42

œæ

accel.8

œæ œæ œæ œæ œæœ# œ œ œ œ œ

P‰ œ# œ œ œ œ œ œ œ œ

5

œ œ> œ>f œ œ œ#Pœ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ3

5

œ >f42

œaccel.

œ+ œ+ œ#+ œ+3

œ œ œ œ >3

42 .æ

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42 œaccel.

˙n

œ ˙˜

˙˜ œµ

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œæfœ#ä œä

œäæ

œæ

œæ œ# œ œn œ œ œ

6

œ œ# œ œ œ œ œ œ œ œf œ œœ œ œ œ œ ˙#5

œ#äf

œä œäœä œä œ#ä ˙

3 3

>

44

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œ#+44

œ+> œ

+> œ

+> œ#

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3 3

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œæ œ>f

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œæ œæ œ œ œ œ œ œ6

œ44

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œn .˙˜

˙ ˙n

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ƒœœ œœ œœ œœ

3 3 5

> ˙>f

œäƒ

q»6934piu mosso

œä œä œä ‰ .9

Œ

œ#äƒ

œä œä œä ‰ . Œ

œ#äƒ

œä œä œä ‰ . Œ

œâƒ œâ œâ œâ ‰ . Œ

œ#â

34

q»69piu mosso‰ . Œ Œ

œâ ‰ . Œ Œ

œ œ œ>ƒ

œ>B.D.on rim œ> œ> ‰ œæp

sus. cymbalsoft mallets

œ œ œ>ƒ

œ> œ> œ> ‰ . Œ

œ>ƒ

34˜ œn>

q»69piu mossoœ>˜ œn> œ>µ œ

œ>ƒ

œn> œ>˜ œ#> ‰ . œ>µœ-ƒ

œ-µ œ-

œn> œ> œ> Jœ> Jœnßpizz.

Œ

œb>ƒœ> œ> jœ> Jœ

pizz.

ßŒ

∑

œp

˙#

Œ ˙#p∑

∑

∑

.æ

∑

œnp

˙#

œ œnp

œn

œ ˙#F

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sul pontarco œ˜

∑

∑

œ ˙

˙ œ

∑

∑

∑

.æ

∑

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accel.

œn ˙n

˙ œµœ ˙µ

∑

∑

œ ˙

˙ œb

∑

∑

∑

.æ

∑

.˙µœ

accel.

accel.

˙n

˙ œ˜˙# œ#

∑

∑

˙ œP

.˙P

∑

.p

.˙#pœæP

‰ Œ Œ

∑

˙˜ œnœ ˙#

.˙P.˙

∑

∑

Jœ ˙

˙ jœ#

∑

âF n

q»76

q»76 ‰

âF n

‰

∑

∑

.œn q»76

Jœ˜ œn - œ-˜ œn -3

.œ œ œ-µ œn - œ-µ6

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œ

JœµF

œ œ˜

∑

∑

œp

‰ œ œ .œ œb œ œ œb œ5

w

∑

∑

∑

∑

∑

.œ>µ44

44

44

œn> œ ˙

œn> .œ>˜ .˙n

wnPœ .˙n

PÓ ˙n

p

31

÷

&

&

&?

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

51

œnp

œ .œ œb œ œ œb œF3

˙F

œp

‰ Œ

œp‰ Œ Œ œ#

Fœ# œ œf

3

Ó Œ œFœ œ# œ#

f3

51 Ó Œ ‰ œπÓ Œ ‰ œ#π

51 ∑

Ó Œ œB.D.soft mallets

Pœ œ œæF3

51 w#pw#pwwn

w

œp

‰ Œ Ó

∑

œ œ .˙

˙ ˙#

œ œP .˙

˙ ˙#P∑

œæ œp

Œ Ó

.˙˜ œµ

œ ˙µ œ˜

w˜Í˙ ˙˜

pw

∑

∑

œp‰ Œ Ó

œ œp

‰ Ó

w

w

∑

∑

˙ ˙#F

œF

.˙

wwFw

∑

∑

∑

Ó ˙#

œn‰ Œ Ó

˙ œn‰ Œ

∑

∑

˙ ˙µP

˙nP

œµ œn

wµÍ˙p

œµ œn fw

∑

∑

∑

˙ œ œP

10

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Ó Œ ‰ œn

Ó Œ ‰ jœœ>P

snare drumwood sticks

Ó Œ œ-P

‰

wn

.˙ œ˜

˙ ˙#

˙ œnF

œ>µ

˙ œ ˙nF3

∑

∑

∑

œp‰ Œ Ó

w Pw P‰ ‰œœ œœ> ‰ œ> Ó

3

œæ œ ‰ ‰ ‰ œ- ‰

w˜

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Œ

˙Í

œ ‰ Œ

œ ˙n> œ#>

w

∑

∑

∑

wp

11

œn

‰ Œ Ó

œn

‰ Œ Ó

œ œœœ> ‰ Œ Ó

∑

œn

Œ Ó

∑

∑wnfwf

∑

∑

Ó Œ œp˙F

œ ˙3

∑

∑

Œ .æπsus. cymbalsoft mallets

∑

∑

∑

∑˙˜ ˙µ

˙ œ ˙µ3

∑

Ó Œ œpw

w

∑

∑

wæP∑

∑

∑

∑w

w

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w

F œn

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∑

wpwæ

∑

∑

Ó Œ ‰ œ#pÓ

pw˜P

wP

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Œ œp œ œb œ œb

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˙ Ó

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∑˙ ˙

∑

∑

∑

∑

œbF

œ œ.œπ

œb œ jœb3

œF .˙bœF

œ œ œπœb

œbF

œ œ œ Jœ œ3

3

∑

32

÷

&

&

&

?

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

√

√

63

wb

˙ œb .œp

œ

Œ .pœ œb ˙ œ

p‰

63 ∑

∑

63 ∑

∑

63œ Jœb œ œ œb

Fœ3

jœπœ œ œ œ œ œb œ .œb

F3

5

œ œ œ œbF

œ

œ œbP

Œ Ó

∑

œ

34

œb œ œ œb œbœ

34

œ œb œb œ œ

œ œ œ# œ# œn œn

∑

∑

∑

∑

∑

œ34 ‰ Œ Œ

œ Œ Œ

œ Œ Œ

∑

∑

.P

.˙bP

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∑

.˙p

∑

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∑

∑

∑

∑

.p

œ

44

p‰ Œ Œ

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∑

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44

œ

44

œb œ œF

œ

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∑

∑

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œ œ œb œ œF œ

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34

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44

44

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34

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pl.v.Œ

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p‰ Ó

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33

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&

&

&

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ã

ã

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&

B

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Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

(√)

(√)

√

√

73

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∑

.˙ œ ‰

∑

˙ œ ‰ œ#œ ‰ Œ Ó

w

œ# æF

œ œN œb œb œ> ‰ Ó

œ. ‰ Œ œ.P œ. œ. œ.

œ œ ‰ ˙

w

∑

ÓP

Œ œ.snare drumwood sticks

PÓ

œ-B.D.soft mallets

PŒ Ó

w

œ.F œ. œ# . œ. œ# . œ. œ. œ.

w

∑

œ ‰ Œ Ó

Ó œ œb‰ Œ

œ. ‰ Œ œF

œ. ‰ Œ

w

œ ‰ .˙

Œ .˙P

˙ ˙b

∑

∑

wœ# . œ. œ. œ. œ. œ. Œ

.˙ œ# ‰

Ó Œ œ.Fœ.

∑

‰ œP

œb . œb ˙p

‰ œP

œb œ œ œ œb ˙p3

œ ‰ .˙#

w

w

.˙ œ ‰

Ó œ- Œ

œ- Œ Ó

œ ‰ Œ Ó

Œ œ.F œ. œ. œ. œ. œ# .

∑

œ# . œ. œ. œ. œ# . œ. œ# . œ.

œ.Fœ. œ# . œ. œ. œ. œ# . œ.

43

÷

&

&

&

?

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

146

w

˙

28

30

œ ‰ Œ

w

.œ ‰ Ó

146˙ œ ‰ Œ

w146Œ ‰ œ>

FÓ

Œ œ-F

Ó

146Ó˙#p

œ œ. œ. œ# . œ. œ# . œ. œ.

Œ œ.F

œ. œb . œb . œ. œ.œ. œ. œ. œ. œ. œ# . œ. œ.œ# . œ. œ. œ. œ. œ# . œ. œ.

œ ‰ Œ Ó

∑

œ œ ‰ Ó

∑

∑

w

œ Œ Œ ‰ œ

Œ œ Œ œ

w

w#pœ. œ. œb . œ. œ. œ. œ. œ.

œ. œ# . œ. œ# . œ. œ. œ. œ# .

œ. œ# . œ. œ# . œ. œn . œ. œ# .

∑

∑

Ó Œœ.F

œ.

Ó œ# .F

œ. œ. œ.

∑

œ ‰ Œ Ó

∑

Ó œ Œ

w

w

œ. œ. œ. œb .œb . œ. œ. œ.

œ. œ# . œ. œ. œ. œ# . œ. œ.œ. œ# . œ. œn . œ. œ# . œ. œ.

Ó œ.F

œ. œ. œ# .

∑œ. œ# . œ# . œ. œ. œ. œ. œ.

œ# . œ. œ. œ. œ. œ. œN . œ.

∑ ?

∑

∑

Ó Œ œ

œ ‰ Œ Ów

œ. œ. œ. œ. œb . œb . œ. œ.

œ. œ. œ# . œ. œ# . œ. œN . œ.

œ. œ. œ. œ. œ# . œ. œ# . œ.

œ. œ. œ. œ# . œ. œ# . œ. œ.

Œ œ.F œ. œ. œ. œb . œb .œ. œ# . œ. œ. œ. œ. œ. œ.

œ# . œ. œ# . œ. œ. œ. œ. œ# .

Œ œ.P

œ. œ# . œ# . œ. œ.

Ó Œ œ.P

œ.

∑

Œ œ Ó

∑œ ‰ Œ Œ œ# .

Fœ.

œ. œ. œb . œ. œ. œ. œ. œ.

œ# . œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ# . œ. œ. œ. œ. œ.

œ. œ. œ# . œ. œ. œ. œ# . œ.

œb . œ. œ. œ. œb . œ. œ. œ.œ# . œ# . œ# . œ. œ. œ. œ. œ.

œ. œ. œ. œ# . œ. œ# . œ. œn .

œ. œ. œ. œ. œ. œ. œ# . œn .& ?

œ# . œ. œ. œ. œ. œ. œ. œ.

∑

Œ œ Ó

Ó Œ œ.F œ.œ. œ. œ# . œ. œ. œ. œ. œ.

œ. œ. œ. œb .œb . œ. œ. œ.

œ. œ. œ# . œ. œ# . œ. œ. œ.

œ. œ. œ# . œ. œ# . œ. œ. œ.

œ# . ‰ œN . ‰ œ# . œ. œ# . ‰

œ. ‰ œ. œ. ‰ œb . œb . œ.œ# . ‰ œ. œ.

‰ œ. œ# . œ.

œ. ‰ œ. œ# . œ. œn . ‰ œ# .

œ. ‰ œ. œ. œ. œ. œ# . ‰

œ# . ‰ œ# . œ. ‰ œ. œ. œ# .

∑

œ Œ Ó

œ. ‰ œ. œ. œ. ‰ Œœ# . ‰ œ. œ. œ# . œ. œ# . ‰

œ. ‰ œ. ‰ œb . œb . œ. ‰œ. ‰ œ. œ# . ‰ œ. œ. œ# .

œ. ‰ œ. œ. œ. ‰ Œ

Œ œ. ‰ œ. œ. œ. œ# .

œ. ‰ œ. ‰ œ. œ. œb . œb .œ# . ‰ ‰ œ. œ# . œ# . œ. œ.

œ. œ. œ. œ. ‰ œ. œ# . œ.

œ# . œ. œ. œn . œ# . œ# . Œ

œ. ‰ Œ œ. œ# . œ. œ.

∑

‰ œ Œ Ó

œ. œ. œ. œ. Œ œ. œ.

œ. œ. œ. œ. Œ œ. œ.

Œ œb . œ. œ. œ. ‰ œ.

œ. œ# . œ. ‰ Œ œ. œ# .

‰. œN . œ. œ# . œ. œ# . Œ

œ. ‰ œ. œ. œ. ‰ Œœb . ‰ œ. ‰ œ. œ. œ. ‰œ. ‰ Œ

œ. œ. ‰ œ.

œ# .‰ œ. œ. œ. œ# . œ. ‰

œ. ‰ œ. œ. œ. œ. œ# . ‰& ?

œ. ‰ Œ ‰ œ. œ. ‰

∑

œ ‰ œ Ó

œ# . œ. œ# . ‰ Œ ‰. œ.

œ. ‰ Œœ. œ. œ# . œ.

‰ œ. œ. œb . Œ ‰ œ.

œ. œN . œ. ‰ Ó

Œ œ. œ. œ. œ. œ. œ.

44

÷

&

&

&

?

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bsn.

Hn.

Tuba

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

elec.

155

œ. ‰ œ# .

28

30

œ. œ# . œ. œn . ‰

œb . ‰ œb . œ. œ. œ.œ. ‰

œ. œ. œ# . ‰ ‰ œ. œ. œ.

œ. œ# . œ. œ# . ‰ œn . œ. œ# .

155œ. œ. œ. œ. œ. œ.Œ

œ. œ. œ# . œ. Œ ‰ œ.

155Œ ‰ ‰ œ Jœ Œ3

Œ ‰ œ ‰ œ Œ

155œ# . œ. Œ ‰ œ. œ. œ.

œN . ‰ œ# . œ. œ. œ. Œ

œ. œ.œ. ‰ œb . ‰ œ. œ.

Œ œ# . œ. ‰ œ. œ# . œ.

œ# . œ. Œ ‰ œ. œ# . œ.

œ# . ‰ œ# . œ. œ. ‰ Œ

œb . ‰ œ. œ. œ. ‰ œ. ‰œ. œ. œ# . ‰ Œ œ. œ.

œ. œ# . ‰ œn . œ. œ# . œ. ‰

œ. œ. ‰œ. œ. œ. œ. œ.

œ. œ. œ# . œ. Ó

œæFœp

‰ Ó

œœœF

Œ Ó

œ. ‰ ‰ œ# . œ. œ# . œ. œ.

œ# . œ. œ. ‰ Œ œ# . œ.

œ. ‰ Œ œb . œ. œ. œ.

œ. œ.œ. ‰ Œ œ# .

crescendo

œ.

Ó œ.crescendo

œ# . œ. œ.

œ. ‰ œ.crescendo

œ# . œ. œ# . œ. ‰

œb . œ.crescendo

œ. œ. œ. ‰ œ. ‰

‰ œ# .crescendo

œ. œ. œ. ‰ ‰ œ# .

œ.crescendo

œ. œ. œ. œ# . ‰ œ# . œ.

‰ œ.crescendo

œ# . œ# . œ. œ. œ. ‰

œ.crescendo

œ# . ‰ œ. œ. œ# . œ. ‰

Œ œæFœp

‰ Œ

Œ œ œœcrescendo

Ó

Óœ. œ# . œ. ‰

œ.crescendo

œ. œ. ‰ œ. œ# . œ. œ.

‰ œ.crescendo

‰ œb .œb . œ. Œ

œN . œ. œ. ‰ Ó

œ. ‰ Œ ‰. œ. œ. œ# .

œa . œ. œ# . ‰ Œ œ. ‰.œ. œb . œb . ‰ œ. ‰ œ. œ.

œ. œ. œ# . œ. œ# . ‰ Œ

œ. œ. ‰ œ# . œ. œ. œ. œ.

‰ œ. œ# . ‰ œ. œ. œ. œn .

Œ œ. œ# . œ. œ. œ. ‰

Ó œæFœP

‰

Ó œ œœ Œ

Œf

œ. œ# . œ. œ. Œ

Œ œ# . œ. œ. œ. Œ

‰ œb . œb . œ. œ. ‰ œ. ‰

Œ ‰. œ# . œ. ‰ œ.f

œ.

œ. œ# . œ. œ# . œ. ‰ Œ

œ.f

œ. œ. œ# . œ. ‰ œ. œn .

œ.fœ. œb . ‰ œb . ‰ œ. œ.

œ# .f

œ# . ‰ œ. œ.œ. œ. ‰

‰fœ. œ# . œ. œ# .

‰ œ. œ.

œ# .f

‰ œ. œ. œ. œn . œ. œ.

Œf

‰ œN . œ. ‰. œ. œ# .

Ó œæFœP

‰

Ó œœœ Œ

œ# . œ. œ. œ. œ# . ‰ Œ

‰fœ# . œ. œ. œ. œ# . ‰ œ# .

œb .f

œ. œ. ‰ Œ œn . œb .

œ. œ# . œ. œ# . Œ ‰ œ# .œ.f

œ# . œ. ‰ Œ ‰ œ.

œ. ‰ ‰ œ. œ. œ. Œœ. ‰ œ. ‰ œb . œb .

œb . œ.

‰ œ. œ# . œ. œ. œ. œ. ‰

œ. œ# . œ. ‰ œ. œ# . œ. œ# .

Œœ# . œn .

‰ œ. œ. œ.

œ. œN . Œ ‰ œ. œ# . œ.

Œ œæFœ ‰ œæf

Œ œ œœ Œ œ œœf

‰. œ. œ# . œ. Œ ‰. œ.œ. œ. œ# . ‰ ‰ œ. œ# . œ.

œb . œ. ‰ œ. ‰ œ. œ. œ.

œ. œ. œ. œ. Ó

œ. œ. œ. œ. Ó

‰ œ. ‰. œ. œ# . œ. œ# . œ.

œ. ‰ œb . ‰ œ. œ. œ. ‰.

Œœ. œ.

‰ œ. œ# . œ.

‰ œ. œ. œ# . œ. œ# . ‰ œn .

œ. œ. ‰ œ# . œ. œ. œ# . œn .

œ. œ. Œ Œ œ# . œ.

œ œ œ œ œ œ œ> œ>

‰ œœ œæ Jœ œ œ œ> œ>

œ# . œ. œ. ‰ ‰ œ. œ. œ# .

œ. ‰. Œ œ# . œ. œ. œ.

Œ ‰ œ. œ. œ. œb . ‰

Œ ‰. œ. œ. ‰ œ. œ.œ. œ. œ# . œ. œ. œ. œ. œ.

‰ œ. œ.

31

œ# . Óœ. ‰ œ. œb . Óœ. ‰ ‰ œ# . Ó

œ. œ# . œ. œ. Ó

œ. ‰ œ. œ. Ó

‰ œ. œ. œ. Ó

œ> œ> œ> œ> Ó

œ> œ> œ> œ> Ó

œ. œ# . ‰ œ. Ó

œ# . ‰ œ# . œ. Ó

œb . ‰ œ. œ. Ó

œ# . œ. œ# . œ. Ó

Œ. ‰. œ. Ó

Denton, TX 2005

45

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