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Liebeslied (2011)for female voice, live electronics &
chamber orchestra
C score
music and text by Alex Temple
Liebeslied is licensed under a Creative Commons Attribution
Share-Alike license. This means that other composers may quote the
piece or create
derivative works, as long as they credit Alex Temple for the
original work and license their new creations under identical
terms.
Liebeslied was commissioned by American Composers Orchestra for
its Orchestra Underground series and for the opening of its Sounds
of a New
Century Festival. It was written for ACO and vocalist Mellissa
Hughes.
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Instrumentation
fluteoboeclarinet in Bbassoon
horn in Ftrumpet in Ctenor trombonetuba
percussion 1vibraphoneglockenspiel
percussion 2triangleflexatonehi-hatlow (c. 12”) mounted tomfloor
tomkick bass drum
pianoamplified harp
(see “Technical Notes” for amplification details)
amplified female voice + live electronics soloist (see
“Technical Notes” for amplification details)
violin 1 (6)violin 2 (5)viola (4)cello (3)double bass (2)
b
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Stylistic Notes
The love songs of the 1940s and 50s are pleasant and
light-hearted on the surface, but a closer look often reveals a
deeper strangeness. Songs like “I Only Have Eyes For You,” “Till
There Was You,” “Laura” and “Some Enchanted Evening” paint a very
unsettling picture of romance if you take the surreal imagery in
their lyrics literally. They describe people who are blinded to the
physical world by the intensity of their love, or by the fact that
they have not yet found someone to bring that world to life —
people who are haunted for years by visions of lovers lost, or of
people they glimpsed only once and have never even spoken to. The
music reinforces the dreamlike quality of the lyrics with excessive
reverb, rhythmic dislocation and dynamic imbalance between the
voice and the orchestra, and stylized, emotionally detached
spoken-word passages.
Liebeslied brings this latent ominousness to the foreground. It
begins as an exaggerated version of a mid-century ballad, but as
the piece continues, the jazz and pop elements are increasingly
distorted, fragmented and blurred, and the vocal soloist finds
herself in ever stranger, lonelier and more frightening worlds. The
piece also alludes to the more overtly surreal repertoire of
19th-century German orchestral Lieder, both musically (for
instance, in mm. 17-21) and lyrically (references to foreign lands,
cypresses and portentous skies).
In the first half of the piece (before Rehearsal E), the
performers and conductor should bring out these stylistic
references as much as possible, particularly in the passages marked
“schmaltzy,” “over-the-top” and “Hollywood.” In the second half
(from Rehearsal E on), the music should be increasingly cold,
abstract and unfriendly.
The piece begins (before Rehearsal B) and ends (from Rehearsal I
on) with passages in which the orchestra emulates the sound of
electronic reverb. In the opening passage, the reverb is applied to
a trumpet solo; in the ending passage, it’s applied to the voice.
All string harmonics, long wind and brass notes, and ringing piano
and vibraphone attacks should be played with this in mind.
Liebeslied is follows a strict proportional scheme based on
units of 40 seconds each. Tempi should be observed as strictly as
possible in order to preserve these proportions. The one exception
is the molto rallentando in m. 11, which introduces the love
song.
Technical Notes
The vocal soloist also operates a Max/MSP patch on a laptop. The
patch both applies effects to her voice (varying levels and types
of reverb, including an undulating, pitch-shifted reverb starting
at Rehearsal I), and triggers samples and loops. Because the the
signal from her microphone goes directly into the patch, only the
output from the laptop needs to go to the house PA system. In order
to make the text comprehensible, and to reflect the way that pop
studio recordings were typically mixed in the mid-20th century, the
vocalist should always be audible above the orchestra, even if this
means that some orchestral detail is obscured.
The score shows the soloist’s electronic part on two lines.
“Electronics (control)” shows the keys that the soloist presses on
the laptop keyboard to trigger the effects and samples, and
“Electronics (sound)” is a loose graphical representation of all
effects other than straightforward reverb.
The harp should also be amplified, but it should be run through
a small amp or speaker near the instrument rather than through the
house PA. The amplification should be just enough to make the harp
stand out in the orchestra, as if it were high in the mix of a
studio recording. Ideally, the audience should find it hard to tell
whether the harp is amplified or not.
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Percussion 2 Notation
kick bass floor tom mounted tom triangle hi-hat (open) hi-hat
(closed) flexatone
Trumpet, strings: hold the first note steady for most of its
duration, then quickly glissando to the second note.
Strings: gradually glissando over the entire duration of the
first note.
Flute, clarinet, trombone: slowly bend the pitch, as far as you
want or are able, for the duration shown.
Winds, brass, strings: slowly bend the pitch up and down ad lib.
for the duration shown. Stop for breath whenever necessary.
Someinstruments will be able to bend further than others; the
important thing is that the pitch be unstable.
Strings: "wobble" the pitch up and down quickly.
Trombone: "Wobble" the pitch up and down, quickly at first but
then slowing down.
Strings: bow too slowly, producing an intermittent scratch
tone.
Violin I: extremely high note; do not try to match the pitch of
the rest of the section.
Piano: damp strings with one hand while playing note with the
other. Flute: blow across mouth-hole for an airy, breathy tone.
Piano: depress keys silently.
Flute: slap tongue — place your tongue on the roof or your mouth
as if you are going to pronounce a T," and then release it sharply
to produce a percussive puff of air.Tom-tom: rimshot.
Bassoon: remove reed and tongue mouthpiece while fingering low
Bb to create a nasty, percussive noise.
Voice: highly percussive consonant, very close to the
microphone.Consonants are written in the International Phonetic
Alphabet.
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43
43
43
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43
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43
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43
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43
43
43
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
Ÿ~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~
Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
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.œP
Jœ. œ œ
œP
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Œ œn œ œœ œ
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œ œ œ
œ œ œ7
7
Œ œn
p
œœ œ œn
œ œ7 &
.˙n ‰ jœname, the
"
"
25
æ̇ .œæ ‰
æ̇ .œæ ‰
æ̇.œæ ‰
æ̇ .œæ ‰
Ó Œœ
fœ
˙f
œ œ œ œ œ œ œ Jœ.
‰6
˙f
œ œ œ œ œ œ Jœ. ‰5
˙f
œ œ œ# œ œn Jœ# . ‰
"
w+p
w+
p
big band feel; vibrato ad lib. on long notesstem in
w+
pharmon mute — stem in big band feel; vibrato ad lib. on long
notes
.˙Í
jœ.ß
‰
"
.±næTriangle
fJ—. ‰
...˙˙˙#F
œœœn
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œƒ œœœgggg f mechanicalœœœgggg œœœgggg œœœgggg œœœgggg
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sim.
"
.˙ Jœ.ƒ
‰birds stop
"
"
26
˙schmaltzy, "Hollywood"
fœ Jœ. ‰
˙schmaltzy, "Hollywood"
fœ Jœ. ‰
œpizz.
Fœ œ œ œ œ œ œ3 3
Œ œpizz.
Fœ œ œ œ œ œ3 3
œ Œ œ Œ
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f
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œœf
brass mallets
œœ Ó
"
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œb .œn œ .œ Jœn
œœœgggg œœœggggœœœgggg Ó
"
œ .œ œ œ ‰ jœ#f
sing ing, the
"
"
27
˙ .œ jœ#
˙ .œ jœn
œ œ œ œ œ œ œ œ3 3
Œ œ œ œœ œ œ œ
3 3
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43
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43
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
Ÿ~~~~~~~~~~
Ÿ~~~~~~~~
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œ œ œ œ œ œ œ œ Jœ.
‰6
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œ œ œ œ# œ œn Jœ# . ‰
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f'æ 'æ
˙˙˙n# œœœn
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"
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‰bells stop
"
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28
œ œ Jœ. ‰
œ# œ Jœ. ‰
œ œ œ œ œ œ œ3 3
œ œ œ œ œ3
œ Œ œ
Œ . ® œnjarring, intrusiveÏ
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w+
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‰
Œ ‰ œœ œœ Ó
"
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œœœgggg œœœggg œœœgggg ‰ œœœgggg œœœgggg œœœgggg"
œ .œ œ œ ‰ jœf
ring ing, the
"
"
29
˙ .œ jœ
˙ .œ jœ#
œ œ œ œ œ œ œ œ3 3
œ œ œ œ œ œ œ œ3 3
œ Œ œ Œ
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‰6
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"
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30
˙ œ Jœ. ‰
˙ œ jœ. ‰
Œ œ œ œ Œ œ œ œ3 3
œ œ œ Œ œ œ œ Œ3 3
œ Œ œ Œ
~~~~~~~~~ ~~~~~~~~~~~~~~~~
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43
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44
44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
Jœ. ‰ Ó
Jœ. ‰ Ó
jœ. ‰ Ó
"
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3
&
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"
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31
œ .œ jœ
œn .œ jœ
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œ Œ œ
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espressivo
œ œ œ# œ ‰ œ œ œ3
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3
and I find my self in a fo
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32
.˙ œ
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œ œ# œ Œ œb œn œ Œ3 3
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5 5
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33
œ ˙n >suddenly unexpressive, non vibrato
sÍ
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suddenly unexpressive, non vibrato
s͜
3
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sÍ3 3
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sÍ
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‰ . rœœnnp
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34
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44
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nnnn bb
nnnn bb
nnnn bb
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nnnn bb
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nnnn bb
nnnn bb
nnnn bb
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
"
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7
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35
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3 3 3
œp
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5 5 5 5
œp
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 œ7 7 7 7
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Lb
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notesp
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36
wwbbsul tasto
ƒpwwnnsul tasto
ƒpwwnnarcosul tasto
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subito p
sul tasto
fluid
œb œ œ œ œ3 3
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ƒ‰ Œ Ó
œn . œ.‰ Œ Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ5 5 5
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7
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lent sea rolls
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37
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- - - -
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43
43
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43
43
43
43
43
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43
43
43
43
43
43
43
43
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
n
"
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cease less ly
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38
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39
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ww
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the sand.
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40
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41
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42
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~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~- - -
10
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43
43
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83ˆ2
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nn# ## ##
nn# ## ##
nn# ## ##
nn# ## ##
nn# ## ##
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44
44
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44
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44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
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Pno.
Hp.
"
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44
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45
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glow of the
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46
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ord.
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47
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48
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44
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44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
D
D
œ# .
ƒ
œ. œn . œ#. œn . œ# œ œn
‰ #œn œn œ œ# œ# œ. œn . œn . œ# œ# œn œ
3 3 3 3
œnf
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pœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 5 5 5
œ#f
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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7 7 7 7
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fJœ œ œ œ œ
3
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"
"
Jœœ##.
‰ Œ Ó
Jœ# . ‰ Œ Ó
.œ# jœ œ œ œ œ3
moon
œ Œ ÓD[undulating orchestralsample loop]
49
ww##psul tasto
unexpressive
ww##psul tasto
ww#npsul tasto
"
Ó œ#F
col legno batt.
œ œ œ œ œ œ7
Rœn .
‰ . #œ# . œ# .
# Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5 5 5
œ œ œ œ œ œ œ œ œ ‰ ‰ . Ó7
7
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50
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n
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—F
— — — — — — —!
— Œ Œ .7
7
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œ. œ. œ. œ. œ. œ.7
"
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51
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# ### #
# ### #
# ### #
42
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83ˆ4
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nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
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nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnnbb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
nnnnn bb
44
44
44
44
44
44
44
44
44
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44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
"
"
"
"
"
"
"
"
— — — — — —!
‰ Ó7
Œ. ‰œn .
P
œ. œ. œ. œ. œ. œ. œ.
!
œ.Œ
7 7
"
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Ó5
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œ3
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Ó Œ Œ Œ Jœn .
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walk arm in arm
"
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œn . œ. œ. œ. œ. œ. œ.7
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a mong the
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wpwp
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pœn œ# œn œ# œ
œ œ œ œ œ œ53
œ ˙ ˙5
cy press groves
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56
Jœœ. ‰ Œ Ó
Jœœ. ‰ Œ Ó
Jœœ. ‰ Œ Ó
"
"
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œ. œ œ œ. œ- # œ
jœ.FŒ Ó
jœ.FŒ Œ ‰ jœ
pJœ.
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p
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œœ ..œœ œœœ Jœ .œ Jœ
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57
"
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"
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13
-
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44
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23
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23
bbbbb
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44
44
44
44
44
44
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44
44
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44
44
44
44
44
44
44
44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
Jœ# . ‰ Œ Ó
"
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Jœn .
F‰ Œ Ó
"
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Jœ# . ‰ Œ Ó
Ó .œb Jœn œ5
and the sad
' '
œ Œ ÓA[flexatone sample]
58
wwbb
wwnnwwnn
œn
p
arcosul tasto œ œ œ œ œ
3 3
œnF
col legno batt.
œ œ œ œ œ œ œ%
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Vibraphone
soft malletsmotor off
œ œ œ œ5
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"
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se re nades
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59
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5
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60
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w%
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œ œ œ œ œ œ œœ œ5
6
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œ œ .˙53
.wbp
.wnpno mute
.wnp
no mute
.wn p
"
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6
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pœb œn œb œn œ
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jœœ.‰ Œ Ó Ó
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Jœ. ‰ Œ Ó Ó
"
~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~- -
14
-
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44
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44
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44
44
44
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44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
q = 90
q = 90
E
E
Jœ.
F‰ Œ Ó
Jœ.
F‰ Œ Ó
jœ.F‰ Œ Ó
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‰ Œ Ó
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jœn .F‰ Œ Ó
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jœn .F‰ Œ Ó
"
"
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w
f"
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"
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62
wwp
ord. cold, non vibrato, like an electronic sound fading in and
out
wwb p
ord. cold, non vibrato, like an electronic sound fading in and
out
wwbpord. cold, non vibrato, like an electronic sound fading in
and out
wwbbarco
pord. cold, non vibrato, like an electronic sound fading in and
out
wbarcop
cold, non vibrato, like an electronic sound fading in and
out
"
"
"
" B
wcold, like an electronic sound fading in and out
n
wcold, non vibrato, like an electronic sound fading in and
outn
wb cold, non vibrato, like an electronic sound fading in and
out
n
wcold, non vibrato, like an electronic sound fading in and
out
n
"
"
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..˙̇ œœbb
"
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unexpressive, even robotic, with very precise dictioncrescendo
and diminuendo ad lib. on long notesspoken syllables: highly
inflected Sprechgesang, blending seamlessly into the sung line
œ œ œ5
But when you take
"
"
63
wwF
wwF
wwF
wwF
wF
n
n
n
n
wcold, non vibrato, like an electronic sound fading in and
out
wcold, non vibrato, like an electronic sound fading in and
out
wcold, non vibrato, like an electronic sound fading in and
out
wcold, non vibrato, like an electronic sound fading in and
out
wF
wF
wF
wF
"
"
"
"
˙̇ ˙̇
"
œ œb .˙ œ5
my hand, the
"
"
64
wwn
wwn
wwn
wwn
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wF
wF
wF
wn
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"
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"
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waves stop
"
"
65
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n
n
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66
wwn
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n
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n
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"
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Ï"
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"
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"
"
67
wwF
wwF
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wwF
wF
n
n
n
n
w
w
w
w
wF
wF
wF
wF
wwww
"
˙̇̇̇ ˙̇̇̇bp˙̇̇ ˙̇̇
"
"
¿ ¿ ˙ œ5
the moon stops
"
"
68
wwn
wwn
wwn
wwn
wn
n
n
n
n
w
Fw
Fw
Fw
F
w
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glow ing,
"
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69
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- -
15
-
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bbbbb
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
nnnnn
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
n
n
n
n
w
w
w
w
"
"
"
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"
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"
"
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"
"
70
wwn
wwn
wwn
wwn
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"
"
"
"
"
"
"
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"
"
"
"
œ œ Œ Œ .œ jœ3
3
sic dies a
"
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71
wwF
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72
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5
and I
"
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73
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n
n
n
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"
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74
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"
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œ œ œ œ œ œ œ3
˙ Œ Œ œ œ5
self in a
"
"
75
"
"
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"
"
w
w
w
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" ?
"
"
"
"
"
"
OOOOOnnn#sostenuto pedal
silently depress keys
Ó œ œ œ œ œ œ3
3
œ œ œ œ œ Ó5
wndream.
"
"
76
"
"
"
"
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- - -
16
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23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
F
F
œnsubito p
Óslow pitch bend ad lib.(4 q )
"
œsubito p
Óslow pitch bend ad lib.(4 q )
Jœn .
߉ Œ Ó Ó
˙f
˙%
˙b ˙n3
"
œp
Óslow pitch bend ad lib.(4 q )
"
œœœn
nn
°p
vary motor speed ad lib.
Œ Ó Ó
œ>Ï
Kick bassŒ œ>Œ œ>
Œ
Jœœœnnn-
p‰ Œ Ó Ó
Jœœœnnn - ‰ Œ Ó Ó
wnf
Ó
"
˙ Ó Ó
œ Œ ÓG[undulating harpsample loop]
77
—%
extremely high note; bend pitch slowly up and down ad lib;
players should not try to match the pitch of the rest of the
section
"
"
˙bp
˙ ˙ ˙b3
"
"
"
"
"
˙p
˙n ˙b3
"
"
"
"
œ>Œ œ>
Œ
"
"
"
"
Œ
stylized, highly rhythmic speech — in the manner of the spoken
passages inSkeeter Davis's "The End of the World" or Rosemary
Clooney's "Hey There"(the placement of noteheads represents
contour, not approximate pitches —don't try to "speak" in the
octave above middle C!)P
j¿ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3
3 33
Com plete ly sur round ed by re
œ Œ Ó7[heavy reverb]
78
"
"
˙%
˙b ˙n3
"
"
"
"
"
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˙b ˙n3
"
"
"
"
"
"
"
"
"
¿ ¿ ¿ ¿ Ó3
ver ber ant noise,
"
79
"
"
˙bp
˙n ˙b3
"
"
"
"
"
˙p
˙n ˙b3
"
"
"
"
"
"
"
"
"
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as thou sands of voi ces ri co
"
80
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3
chet off the hard mar ble
"
81
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˙ ˙b3
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Œœ
Œ(4 q )
"
Œ œ Œ(4 q )
˙n
˙%
˙n ˙b3
œp
Ón
"
Œ œ# Œ(4 q )
"
Œ œœœ# Ó Ó
"
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‰ Ó Ó
Œ Jœœœ# - ‰ Ó Ó
"
"
J¿ ¿ Œ Œ
as if artificially slowed down
¿ ¿ j¿snapping back to normal
¿ j¿ ¿3
33
3
walls of the mas sive for mal
"
82
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di ning room of an
"
83
"
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˙ ˙b3
"
n
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"
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"
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Œ œ>
Œ Jœœœ-
‰ Ó Ó
Œ Jœœœ-
‰ Ó Ó
"
"
¿ ¿ ¿ Œ Œ ¿
as if artificially slowed down
¿ ¿3
e le gant old ho
"
84
"
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"
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j¿snapping back to normal
¿ Œ Ó3
tel.
"
85
"
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(4 q )
"
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Œ œ-harmon mute — stem out
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jœ Jœ œ œ# œn3
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86
"
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.wp
"
- - - - - -
18
(4 q )
(4 q ) (4 q )
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
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w
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The din ner guests' fa ces are ob
œ Œ ÓG[loop in]
87
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"
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3
scured by the glare
"
88
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˙p
˙ ˙#3
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n
Ó Œœ(4 q )
"
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"
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Ó Œ Jœœœ-
‰ Ó
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as if artificially slowed down
¿3
33 3
of af ternoon sun light stream ing
"
89
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"
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in through a gap where your
"
90
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19
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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hand has dis placed the hea vy
"
91
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3
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"
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"
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‰ Ó
Ó Œ Jœœœ# - ‰ Ó
"
"
¿ ¿ ¿ Œ Ó Œ ¿
as if artificially slowed down
¿3
dra per y. But I
"
92
"
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˙p
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n
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"
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j¿snapping back to normal
¿ # ¿ ¿ j¿ ¿ Œ Œ ‰ ¿ ¿3 3 3
can't catch your eye through the
"
93
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P
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"
remove reed
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j¿ ¿ Œ Ó3
crowd.
"
94
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˙p
˙ ˙#3
"
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"
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"
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‰ Œ Ó Ó
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95
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P‰ Œ Ó Ó
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- - - -
20
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
VVVVVV)))))))
VVVV
VVVV
VVVV
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~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
G
G
Jœn .
‰ Œ Ó
"
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¿b .
tongue mouthpiece while fingering low Bbto create a nasty,
percussive noise
f‰ ‰ ¿.
Œ j¿.‰
"
"
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f‰ Œ Ó
"
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"
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damp strings with hand
tenseF
Lÿ Lÿ Lÿ
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œ œ# .˙3
Ó ¿lower register, ominous, like a figure in a dream who's about
to reveal a great and terrible truthp
¿ ¿ ¿ ¿ ¿3 3
Sud den ly all of the
œ Œ ÓJ[sample looppitch shifts down]
96
"
"
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col legno batt.
tenseFœœ œœ œœ
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‰ ‰ j¿.Œ
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Œ Œgradually decelerating pitch wobble
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jœ.߉ Œ Œ
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¿ j¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿ ¿ ¿ ¿3 3 3
guests are hol ding their heads at the same un com for ta
ble
"
97
"
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¿ ¿ ‰ Œ Œ j¿ ¿ ¿ ¿ ¿3 3
an gle. They're look ing at the
"
98
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"
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j¿ ¿ Œ Œ Œ j¿3 3
clouds. The
"
99
œ# æmolto sul pont.
p œfŒn
wide pitch wobble
œ# æmolto sul pont.
p œfŒn
wide pitch wobble
œ# æmolto sul pont.
pœf
Œn
wide pitch wobble
œ#æmolto sul pont.
pœ
fŒn
wide pitch wobble
œœ# œœ œœ œœ
- - - - - - - - -
21
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
VVVV
VVVV
VVVV
VVVV
))))))))VVVVV
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
"
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"
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"
L# ÿ Lÿ
"
Œ œ œn œ3
¿ .¿ ¿ ¿ ‰ ¿ ¿3 3
clouds form a map of the
"
100
"
"
"
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œœ# œœ
n
n
n
n
"
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‰
"
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L# ÿ Lÿ Lÿ
.˙# .˙b
.˙
j¿ ¿ Œ Œ3
world.
"
101
œn æmolto sul pont.
p œf
œn æmolto sul pont.
p œfœæmolto sul pont.
pœf
œnæmolto sul pont.
pœf
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"
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‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿3
3 3
As I stare at the con ti nents, all of a
"
102
"
"
"
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œœ#n œœ œœ œœ
"
"
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Œ j¿b .‰ ‰ j¿.f
Œ
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f
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¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿3 3 3
sud den I feel your hand on my spine.
Œ
Ó Œ œX[loop out]
103
"
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- - -
22
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46
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46
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
q = 108
q = 108
H
H
œ
Ï
bend pitch slowly up and down ad lib.; breathe whenever
necessary
œnÏ
bend pitch slowly up and down ad lib.; breathe whenever
necessary
œ#Ï
bend pitch slowly up and down ad lib.; breathe whenever
necessary
j¿b .ω Œ Óput reed back in
œÏ
bend pitch slowly up and down ad lib.; breathe whenever
necessary
œbÏ
no mutebend pitch slowly up and down ad lib.; breathe whenever
necessary
œ#Ï
bend pitch slowly up and down ad lib.; breathe whenever
necessary
œÏ
bend pitch slowly up and down ad lib.; breathe whenever
necessary
"
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ƒ
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"
–––ÿ
ÏŒ Ó
"
"
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104
œœ#div.
Ï
bend pitch slowly up and down ad lib., but never more than a
third from the initial pitch.
œœdiv.
Ï
bend pitch slowly up and down ad lib., but never more than a
third from the initial pitch.
œœbÏ
div.
bend pitch slowly up and down ad lib., but never more than a
third from the initial pitch.
œ#Ï
bend pitch slowly up and down ad lib., but never more than a
third from the initial pitch.
œ#unis.Ï
bend pitch slowly up and down ad lib., but never more than a
third from the initial pitch.
"
"
"
"
"
"
"
"
"
"
105
"
"
"
"
"
"
"
Œ œƒ loud and intense, as if struggling to be heard through the
noise
œ œBut when I
"
"
106
"
"
"
"
"
"
"
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"
"
107
"
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wbkiss,
"
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108
"
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"
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109
23
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46
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
"
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"
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"
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110
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"
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111
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"
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112
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"
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113
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.˙b ˙ œ#sky goes
"
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114
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44
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44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
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violentÏ
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5
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sim.
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œ Œ Ó ÓL[wild loop in]
115
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and I
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116
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sul pont.unis.
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wwb%
sul pont.unis.
w#%
sul pont.unis.
w%
sul pont.unis.
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find my self wan
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117
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Tpt.
Tbn.
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Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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118 wwF
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119
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wP
ord.
bow too slowly, producing a harsh, ugly, intermittent scratch
tone
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120
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in un end ing
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121
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dar kened corr i dor
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122
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123
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124
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26
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Fl.
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Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
!!!!!!!!!!!!!!!!!!!
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Ó Œ ‰ . . RÔ¿oHi-hat
ƒ jarring, intrusive
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OOOOOn###sostenuto pedal
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125
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Œ j¿#tongue pizz
ω Ó
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Œharmon mute — stem in
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Œharmon mute — stem in
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126
Œ Ȯ## æÏ
molto sul pont. Œn
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molto sul pont.
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127
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Ldamp string with hand
PŒ Ó
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Œp fragile, breathy, non-vibrato, very close to the mic
œ œb œ‰ jœb
5
Whose foot steps were
œ œb œ œb
"
128
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129
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130
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Ó Œ . JœÍ
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Ó Œ . Jœœœ##
ƒ
motor on — fast
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ç3
Ma ho gany— /!p'
