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Local Time flute clarinet violoncello John Rot 2013

Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 1: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

LocalTime

fluteclarinet

violoncello

John Rot

2013

Page 2: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and
Page 3: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

for Talea Ensemble

flute piccolo alto flute bass fluteclarinet E clarinet B clarinet bass clarinetvioloncello

@@

In the decade preceding the 1905 publication of Albert Einstein’s paper on special relativity, the Dutch Physicist Hendrik Lorentz developed

Ü�>Ì�V>�i�Ì��Li����Ü��>Ã���Ài�Ìâ� Ì�iÀ�/�i�ÀÞ�­� /®°�Ɓ� /�ÃÕ}}iÃÌi`�>�Ãi«>À>Ì����LiÌÜii���>ÌÌiÀ�>�`�ºiÌ�iÀ]»�Ì�i��i`�Õ��Ì�À�Õ}��Ü��V��i�iVÌÀ��>}�iÌ�V�>�`�}À>Û�Ì>Ì���>��v�ÀViÃ�ÜiÀi�Ì��Õ}�Ì�Ì��«À�«>}>Ìi]�>�`ƁÀi��i`����Ì�i�V��Vi«Ì��v�º��V>��Ì��i]»�`iv��i`�>Ã�t’ = t - vx/c , where

t’ and t�ÀiviÀ�Ì��Ì�i�Ì��i�V��À`��>ÌiÃ��v�>���LÃiÀÛiÀ�>Ì�ÀiÃÌ�>�`�Ì��Ãi��v�>���LÃiÀÛiÀ������Ì���]�ÀiëiVÌ�Ûi�Þ°�ƁÞ�`�vviÀi�Ì�>Ì��}�LiÌÜii��Ì�i�time experience of different observers, Lorentz defined time as a relative (rather than absolute) measure, contradicting the notion of absolute

Ã��Õ�Ì>�i�ÌÞ�>�`�«>Û��}�Ì�i�Ü>Þ�v�À�Ì�i�`iÛi��«�i�Ì��v�ëiV�>��Ài�>Ì�Û�ÌÞ°�Ɓ�i�À��*���V>Àj]�>�V��Ìi�«�À>ÀÞ��v���Ài�Ìâ�Ü���vÕÀÌ�iÀ�`iÛi��«i`���Ã�Ì�i�À�iÃ]�V>��i`���V>��Ì��i���Ài�Ìâ½Ã�º��ÃÌ���}i���ÕÃ��`i>°»

Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of

velocity, duration, and the very experience of time.

»7i��>Ûi���Ì�>�`�ÀiVÌ���ÌÕ�Ì�����v�Ã��Õ�Ì>�i�ÌÞ]���À��v�Ì�i�iµÕ>��ÌÞ��v�ÌÜ��`ÕÀ>Ì���ð���v�Üi�Ì�����Üi��>Ûi�Ì��Ã���ÌÕ�Ì���]�Ì��Ã��Ã�>�����ÕÃ���°»� � � � � � � � � � � ������i�À��*���V>Àj]�/�i��i>ÃÕÀi��v�/��i]�£n�n

2

Page 4: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

Flute / Clarinet - bisbigliando, achieved by trilling with any key that affects the pitch modestly enough to be considered a “tone color trill”

- key click. If the x appears simultaneously with another pitch, the key click should function as a percussive, resonant articulation of the played pitch

y, aggressive air stream that incorporates a “sh” sound into the written pitch

target pitch is indicated, the pitch should bend roughly as much as it can in the notated direction.

s New Directions for Clarinet

CelloThe following abbreviations apply to bow placement and technique:

mst - molto sul tastost - sul tastopst - poco sul tasto

psp - poco sul ponticellosp - sul ponticellomsp - molto sul ponticelloob - on bridge

Page 5: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

The following symbols are used to indicate bow pressure:

- very light pressure

- normal pressure

- overpressure resulting in excitation of upper partials and a very “alive” sound, but not yet a scratch tone

- overpressure resulting in a perforated, complex scratch tone

- normal (full) pressure

- half-harmonic pressure

- harmonic pressure

r. For example, II.7 refers to the seventh partial on the D string, and IV.3 refers to the third partial on the C string. Multiphonics are touching the string with harmonic pressure directly between two adjacent nodes on a string, and are indicated by the partials of these neighboring nodes. For example, III.6/7 refers to the multiphonic located between the sixth and seventh partials on the G string, and (approximately) the indicated pitch. surrounding music.

AllThe use of a triangular notehead as the target of a glissando indicates an indeterminately high note.

tempo, so a slightly different system is used. Only notes with articulation markings (staccato or accent) are tongued/rebowed, with all other notes slurred. A staccato mark indicates the note is to be tongued/bowed at a normal intensity, and an accent indicates a slightly more direct articulation (all within the context of ppp). Beaming groups are intended to facilitate the reading of these patterns of articulation. Note also that breath should be taken wherever necessary from this point to the end of the piece, always as unobtrusively as possible.

Page 6: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

alto flute

bass clarinet

violoncello

b5:4

5:4

B B5:4st

II. ( )

.II.3/5

ppp

ppp

ppp

e = 66bbb b

B3:2

5:4 3:2

m µ3:2 5:4 3:2 3:2

µ n µ m3:2 3:2

III. II.3III.5

arcoord

fmp

mp(mf)

fmp

mf p

f pmp mf+ pp

bbb

b

3:23:2 3:2

b3:2

5:4

m 7:4 3:2II.4

III.5

psp msp

fmp mf pp p mf

mp pp mp

mp p mp

a fl

b cl

vlc

4

µ m Âb

bbb

bbb

5:43:2

bm n3:2

5:45:4

m m µ B µ µ m Â5:4 3:2

pst

II.5/3

II.I.

mstsp

mp mf mp f

mp+ pp f(pp)

mp mf pp f(pp)

b µ B bbb5:4 3:2

3:2

bb m

3:2 5:4 3:2

m µ µ B3:2 3:2 3:2 3:2

msp mst

III.5/3II.

psp.

mp mf p

mf mp+

mf mp

mp f

mp

Local Time John Rot

Page 7: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

b cl

vlc

6

B b b bbµ m

5:43:2

5:4 3:2

non dim.

b bm3:2 5:4 5:4

Âmn

5:4 3:2pizz

arco pstIII.5

ord

p+ ppp mp+

p mp+

mp+ p pmp+ mp

m m n µb

5:45:4

µ

º º

bB nbB n3:2

msp.

II.6mst

mf mp(pp) mf

mfp

mp+mp p

b bB

m m n m µ6:4 3:2 5:4

5:4

mm

l

k5:4

3:2( )

( )

µ µ3

.sp

II.6III.7

mpmf p fp pp mp mf mp

mp+

a fl

b cl

vlc

9

bbb

3:2

3:25:4

non cresc.

n

nmb

b5:4

K5:4

ord psp msp n.pizz(msp)

arco ordI.7

º

l.v.

III.

p fmp f

f f p

f f poss. mp

m B µ n5:4 3:2

b b n m b b n7:47:4 6:4

mK

mn 3:2 3:2

II.5

I.7

mpmp+

ff

ff

ff pp

Bb

b3:23:2

m m m n b nbb

3:2 3:25:4

ob µ Â

n µ Â µn

3:23:2

5:4ord pst mstI.3 (III.)

p

mppp

mpmp+

mp

a fl

Page 8: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

12

bb

n b µ µ Â m m µ3:2 6:4

mm4:3 3:2

5:4

µ b n m5:4

( )pizzarcoI.

(I.5)

mp mf

mp

pp

mp+mf+ pp

m m m n mbb3:2

3:23:2

TO PICCOLO

b b m n m5:4 3:2

5:4 3:2

mn

nµ µ nµ µn m m

3:25:4

pspI.5II.6 (psp)

f

f

p+mp+ f

14 m B3:2

3:2

mn

b m m bm n n

3:23:2 3:2 5:4

B B Bmm n

µ3:2 3:2 3:2

( )

psp st

I.7pizz(III.)

arcoII.(5/3)III.

III.3

mf

mfmf+

mf

mf+

bB B3:2

6:4

3

6:4

mm

b bb n

5:43:2

( )

non cresc.

µ nµ µn

B µ5:4 5:4 3:2

pst msp ord

mp

a fl

pic

b cl

b cl

vlc

vlc

( )

Page 9: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

pic

b cl

vlc

pic

b cl

vlc

16

��-nnn e ��- x �m ��

G� �Bd x � x

G� �BÅ x �b� �Å6:4

5:4

� �bÅ ± ± ± �Å5:4

x ���µ¬

� ��B� �bÅ ± ��BB e ��BB d ���BB ¬

3:2 5:4 3:2 5:4

pizz arcopst mst

l.v.

f

mfmf

(mp) p

� � x ���µe � x x �m x � �b

� � � �6:4 3:2

�� �B x� � x �µ �µ

�b3:23:2

3:2

mf+mp mp+

mpmf

p+ mf

�B � � � �m ± x � � �µ �b��

3:23:2

6:4

�x �Å

�m �­

±3:2

3 TO B CLARINET@

º º

± ± �� � -3:2

�(L.H.)

arco psp

mf mp

p

f

f

mp

§[[[[[[[[[[

19

x ­b �m �B � x � �µÅ� � � �µ

5:43:2 3:2

± �Å x �b � � x � � �¬5:4 5:4

�x � �B x �

�-µm Å ��n Š��µ e �� �B � 6:43:2

5:4

ordclb

I.II.5

pstarco mst ord

mf mp

mf mp p

mf mp p

± x �m �m � ± �bB � � 3:2

3:2

�Âd � � � ­ x� � �

� 3:2

5:4

�m �µ �m -J � - - - - - - - - - - - --µm �3:2

5:4 7:8

pizz

arcoIV.7

msp pst

ordI.7II.5

mp mf

mf mp p

�e �Â�b x �b � �B� �b � �µ

�x

5:4

3:2

3:2

� �B À�

� � � � �B �n �m � ­

3:2 3:23:2

5:4B

(-- (-- -- -- -- --µm e3:2 3:2ord

mf p+ mp+ p p+ p poss.

p mf p+ mf mp

L@

Page 10: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

pic

22

x �µ x �m� x �n �b ­n x � È � x �b � ­�� 3:2

5:4 3:2 3:2

���knm

(���

���

���e ��

����mln

3:2

�� ± �m �µ � �µ x �n �µ �n x

3:25:4mst staccatissimo

mp mfmp

mp mf

mp+ mp

x �B x � � x �e G� � G�5:4 5:4

(���

��� ± �m

� x � x �m x �m 5:4 3:2 3:2

x�b �B �b

x�-µe -µ � �-µ �n �µ3:2 5:4

3:2 5:4

clbpst

II.7I.II.2

p mp+

mp f p+

mf p mp

p

24

�- �- � G� �Â

3:2

�n �µ �m x�n �µ x � �m

3:2 3:2

º

� x x � � � -B x �b ��B3:2

clbpsp msp

arcoIV.6/7 pizz

III.II.

arcopsp

pp mp+

�-µµG�- �- �m � x

3:2

� G�B � �n �m x ��3:2

º º

(� (� � �B x � � �3:2

mst

(gliss on III.)

IV. III.msp

mf mf

p mf+

b cl

vlc

@

pic

b cl

vlc

@

L L

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈL

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈ

Page 11: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

pic

26

x � �µ x �Be �n ± �m ��-ne

�5:4 3:2

3:2

� � (� � � �m �m � �b �n �m x����mm

± -� -�-µ --mK --3

3:2

IV.3 III.4I.7

pstpsp ob

I.7II.5

� �

p mp+ f mp

p

mf mp+ mp mf

�B � �� x �B� G��3:2

(���� (

����

���� ±

­� �n3:2

-� -� x �m� (-µ �3:2I.3

psp

II.7

mp+ mp f p+

mff

pp

mp+ mp f p+

§[[§[[[[§[[[[

28 G� G� � �µ � (��

� ��bÅ

x � G� � �m � � �b �� �b � �m �n�

3:2

5:4 5:4

(- (- - -m �(-µ �

I.5II.7

p pp

� �K (� (� x � � �bÅ5:4(just-intoned M3 with cello)

K @

� � �m � � � � � x x�mÅ

�Å �mÅ

5:4 3:23:2

5:4 3:2

º

(- (- - ± �m� 5:4 IV.(psp)

mf f

mp+mf+

mf

��-bbb � ± x � �µ x �µÅ �

3:2

5:4

��x �m �B � (� �

�Å

3:2

�n�

� ± x--nJ �x

3:2

�n(L.H.)

III.

II.arco

IV.7 III.5

ord

fmp+ mf

fmf

mf+

mf

fmf

b cl

vlc

@

pic

b cl

vlc

@

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈÈ

LÈLÈLÈLÈLÈ LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈ

Page 12: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

pic

vlc

§[[[[

31

(� � x �Š� x � �b �n�3:2

± �����lK

(���

��� 3:2

psp

µ

± �B � �-e -

± x �-µµe3:2

3:2

msp

arco

clb(msp)

I.2

I.II.7

mf+ mpmf+

mpmf+

mpmf mp+ mf+

�µe � �Å x ± �µ3:2 3:2

�bŠ�Š�����

�lmm

(������

������ ±

3:2 3:2

± �-µÂ e �- �e ��mÅ3:2

3:2 3:2I.II.(4/5)

pstord

mf f mf

f mf f

f mf+ f

33 �µ �n G �Be G�BÅ

�µ (� � play

sing

�e

x �m� � � �� � � �b� � � � �n �m� � �b � � (

�bÅ5:4 5:4

5:4 3:2

��mµ e ( ( ��B �� �

d�

mspordII.

I.

mf f

pf

�bŠ���

-mmmme

x x �Âe G 5:4

x �m ( play

sing

�nÅ

�e x x�µe (

5:4

± G-J� � x �3:2

ordIV.6/7�

mf f

mf f

ff mf

G G G G �m( ( ( ( �m

rall. ad lib

( �m

(����Jb

(���� (

����

G- G-�G

G maintain multiphonicthroughout gliss

b cl@

pic

vlc

b cl@

L L

L

Page 13: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

��

��

��

36 ���-µBµµ �

± ± ���-bBbBbB

3:2

3:2

��m�

�b � �µ± �m �3:2

3:2

��B� ��B � x -m � ±3:2

ordpst III.3/4

ff mp f

ff mp f mp

ff mp fmp f

�� x ��µ� ±��-�

��- x ± ��m�

3:2

3:2

� x��µ�

x ���bnb � ��

� ± ± ��m�3:2 3:2

± x��B�

x ��µ � ± --bµ � --��ÂB �3:2

msppsp

ord

III.6IV.7

mp ff mp f ff

f

ff mp fff

ff mp f ff

��

��

��

38

x �µ x � �b ����� ��µ� �µ �

3:23:2

x ����B �

��

��5:4

x��B � ± ��m � �

x��B� ��B �5:4

psp

II.I.

ordst

ff mp mf ff p

ff mp+ mf+ff p

ff mf f ff p

�B �b ��µ� �� �m �µ � ��n� x �m� �n �m � �

5:4

3:23:2 3:2

�µ � ��µ

� x�m � � �m �

G� �� ��µ�

��3:2

3:23:2 3:2

��B �� ��B� ��µ� �-L �- x

��Bn � � �n � �3:2 3:2

3:2 3:2ordI.II.

mst pspst

II.7

ff pff pp

ffp ff mf

ff p ff pp

pic

vlc

b cl@

pic

vlc

b cl@

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈ

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈÈ

LÈ®ÈLÈ®ÈLÈ®ÈLÈ®ÈLÈ®ÈLÈ®ÈÈ

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈÈ

L

Page 14: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

§[[[[[[[[[[[[[[[[

40

�b� � � �� � � � �m �� �n � �m��B� x �m �m �n� �n �n � �m� � � �b � �b� � �b � �b �b� � �n ���

3:23:2 3:2 3:2 3:2

3:2 3:2

3:23:2 7:4

3:27:4

�m � � � �n���

x �m � ����

�� � �m�

� ���3:2

5:4 3:2

(semitone)

�m� � � �� �m �m �n �n �b� � �m �m ��µ� �n� �b � �n� �n �b � �m �� �n � � �b� � � �b� � �m ��µB�3:23:2 3:2 3:2

3:23:2 3:2 3:2

3:2 3:2 3:2

3:23:2 3:2

ord stord

ffff

ffmp mp mf ff

mfmp

mp

f ff fff

��

��

��

��

��

��

41

± ± x �m � �B �n � �� �m � �B x �b

5:4 3:23:2 3:2TO ALTO FLUTE

� �m �n �b �

G� � �µd �b x � � �b �n �Å5:4 3:2

5:4

-m � �µ�

��

�� � �µ � -µ 3:23:2

3:2II.5 pizz

arcopst

msparco

clbl.v.

III. II.

non dim.

mp

mp

mp

�� ± �-bb� �n � ­ �B � �B � �

��-µB3:2 5:4

x �b � �n �b �b �x �B � � �b �b

�� � �m�n

4:3 4:3

3:2 5:4

(

± ± ± -�µ � -�� -� -�3:2

5:4�PHHW�ERZ�ZLWK�/�+��ÀQJHU�DQG�SXVK�LW�RYHU�EULGJH�

pst msp7 (art.)

p f mp mf f

p mfmf+

mpmf

p

mf mp

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈ È È

LÈLÈLÈLÈLÈLÈLÈLÈLÈÈ

pic

vlc

b cl@

pic

vlc

b cl@

Page 15: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

��

��

��

��

��

��

§[[[[[[ §[[[[[[[[[[[[[[43 ��- - - -b - -n -b - �b

��-mnn e �b � � �� �µ �

3:23:2

3:2

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Page 16: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 17: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 18: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 19: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 20: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 21: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 22: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 23: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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�µ x �d x �m �3:2 5:4

� �

(��� 0¼

��� (���

(- 0¼- - xº

mp+

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�µ x �d x �m �3:2 5:4

� �

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(�

ºº

-m 0¼- (-º

I.3/4

mp+

�µ x �d x �m �3:2 5:4

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0¼�

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Page 25: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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x �µ �m � � �µ x �e x � �5:4 3:2

(�

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º

(- (-º

!

p+

mp+(mf)

�m �m � � �µ x �e x � � x �d x �µ 5:4 3:2 3:2

(� � �µ (� � �m (�m3:2 3:2

(-� -� -�µµ (-� -� -�BB (-�bBb3:2 3:2

II. (for entire phrase)sul tasto possible

p

p

(mf+)mp f p

� � x 0�µ �m � � x x �µe5:4

� �m �3:2

-� -� ��3:2

mf mp+ p+(f+) mf

!

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101 � �m � � �µe �m � x �µ��µ �e5:4 4:5 5:4 4:5

�� �b � x � x�nex � �

x � x�e 0¼� x � �m�

�ne3:2

3:2 3:2 5:4

non cresc.

�m � �µ � x � x �µe x �B �b x � x �µe 0¼� x

� �µ� ��µnd

3:23:2 3:2

5:4

ord

non cresc.

(f)mp mf (f)

mp fmp f

p

p

mp

mp

mf

mf

mf+

mf+

�e �µ �n �µ �µ �µ �e �µ �n �µ x �µ x �µ 3:4 4:5

�� �b � x � �m �e � � x � �b � �µ 3:2

5:4

�m � �µ � x� �µ �µe � �m x �B �b

�n �m 3:25:4

mp+ mf mp+ mf

pic

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pic

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Page 26: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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x �e �µ � O�µ �µ x x �µ �e �µ �n 4:5

�me �µ x �µ � �b �µ x �b � �µ

3:4

�� e �m x � �m �µ �m x �� �B3:4 mst

� !

mp+ mp mff

f mf f

fmf

�µ x x �µ ± ±�µe

TO ALTO FLUTE

x �b � �µ � �bd � � x

�µ �bd �

�µe3:4

x �m � �µ � �µe �m � x �m �µd �m �me3:4

ord

ff

mf+

mf+

f+

f+

O)�d � � �µ x �µ x �m � �n �m � 3:4

�bdx ± xTO E CLARINET@

�µ � �B x �b x �� �m �µ �µ x3:4

mf+

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x �bÅ x �B �B �n �d �n �m �B �

�b �

�Å x � �µ � �µe � �B �m � �

mf+ mf mf+

mf+

f mfmf+

�� �B � x � x �µe � �B3:23:2

�b � �� x �µ x �e � �µ3:23:2

�� e � �b � � �b �� e � �b 3:4st ord st ord

mf

mf

�� �B � x �� �m� x � x �µe � �B �n � x�µ

3:23:2

�b � �� x �µ� �µ� x �µ x �ne � �µ x �µ � �m 3:2

3:24:5

x ��nn � -� �� e � �b � � �b �� ��nne x � �b 3:5III.4 stord mst

ord

mf+

mf+

mf

mf

mf+

mf+

f mp+mf+ mf

pic

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a fl

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LÈLÈLÈLÈLÈLÈLÈÈÈ

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Page 27: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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109

x �B � x �n � �µe � �B � �b �n � x �B5:4

x �n � x �µ �m �e � �µ � � �µ � �B x �5:4

��nÂe� �b x �� -µ � - -µ � x � �B x À �b x5:4

III.3/4IV.7st

ord msp ord

mf

mf

mf

mf

mf

(f)

�b �B �B�x �n � x �n �µÅ

x � �m � �B �be 0�3:5 3:4 3:4

�µ �µ �� x �µ � x � �mÅx �µ �µ �µ �m �be 0�3:5

3:43:4

st ord

x ��� x �

� x x �n� x �

� �� ��

�� �µ -µ

eO-

6:5 3:4

(� 0� (�(L.H.)

arco msp

ord III.7

f

f

mf

mf

f

f

f+

f+

f f+mf f

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111

x � �µ � � �µ�

�e � �

� � �µ� �

e � � �e � �µ 3:4 3:4 3:4

x �m �n �

�m �n� �

e � �n �

�m �n� �

e � �n �e �m �n 3:4 3:4 3:4

x �m -n ��nµ �m -n�

��nµe �m -n

��nµ �m -n� ��nµ

e �m -n ��nµe �m -n 3:4 3:4 3:4I.4

x � �µ �

e � �

�e � � �BÅ

� 4:5

x �m �n �

e � �n �e � � �Š�m

4:5

x �m -n ��nµ

e �m -n ��nµe � � -Å �m

4:5

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Page 28: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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113

O�d � �B �b �µ � �µe � �b� x �d � �B �b x �b�3:2

5:4

3:2

O�d � � �m � �m �e �

�m� x�d � � �m x �m�

3:2

5:4

3:2

O��µd �� � � �m � �e � �µ� x ��µd �� � � x �µ�3:2

5:43:2

� �

mf

mf

mf

f+

f+

f+

mf

mf

mf

f+

f+

f+

O�µd � �B �b �µ � �µe � �b�3:2

5:4

O�d � � �m � �m �e �

�m�3:2

5:4

O��md �� � � �m � �e � �µ�3:2

5:4

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f+

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115

�ne � �µ � �µe

(�

�b�5:4

�ne �m �n �m

�e(�

�m�5:4

��nµe �m -n � �e (� �µ�

5:4I.4

� �

mf

mf

mf f+

f+

f+

O�Bd � �B �b �µ � �µe � �b�

3:2

5:4

O�d � � �m � �m �e �

�m� 3:2

5:4

O��µd �� � � �m � �e � �µ� 3:2

5:4psp

� �

mf

mf

mf

f+

f+

f+

O�d � �B �b �µ � x�µe

�b�3:2 5:4

O�d � � �m � �m x�e

�m�3:2 5:4

O��md �� � � �m � x �e �µ�3:2

5:4

ord psp

� �

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f+

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vlc

a fl

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Page 29: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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G�d � �B �b �µ � �µe � ��bÅ �e3:2

5:4

O�d � ��m � �m

�e0� �

�m�3:2

5:4

O��µd �� �� �m � � �e 0� � �µe

3:23:2ord

� �

mf

mf

mf

f+

f+

f+

O� � �B �b �µ � �µe 0�

x �b�3:2

5:4

G�d � � �m �� �m � x 0�e

�m�3:2

O��Âd �� � � �m � � (�e � �µÅ3:2

5:43:2

sp

� �

mf

mf

mf

f+

f+

f+

�µd � � �µ � �µe �xx �b

¬ �B¬ �nd

3:2

�d � � �e �e

0�

�m¬ x �¬ x3:4

x ��µd �� �m � (�e �µ¬ x �¬ ��µdO)��

4:3

mst

� �

mf

mf

mf

f+

f+

f+

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121

G� � �Bd�be �be �µe � �e3:4

G�dO� �d �md �md � �e �me

�e3:5

G�� �� �d � �Âd �µd � �me �Âe �e3:24:5

mf

mf

mf

(�µe � �e �e � �e � �e3:2

� �e � �e �e0� �e �e3:2 3:2

� �e 0¼� �e �e �e � �e3:5

psp msp

ff

ff

ff

�ű ±

G�m �� � �B �3:2

�Å �mÅ G�m �nÅ �be � �Å �¬

G�m �m¬

3:2 3:23:2

3:2 5:4

�ÅÅ x ��m ��m -�Be �

�Be

� �-�B

¬��m¬ �¬

3:2 3:2

psp st

ord

II.3/5

III.3

mf

mf+ mf

mf+

mf

mf

LÈLÈLÈLÈLÈLÈÈ

vlc

a fl

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TO PICCOLO

Page 30: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

�����

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124 � �� x � ± �b� x

G�n �Bd �� ± �

3:23:2

6:4

3:2

x G�m �m¬

G�n �m¬G�m �n¬ x � �m �

Å �mÅ�Å �b¬ x �b � �b

Š��5:43:2( )

� -µ � �¬ x ��¬ ��µ¬ x ��nµ ¬ x ��¬ ��¬ �µ - � - � �n¬

3:2 5:4 5:4

( )

I.7

pizz(III.)

arco

pst msp ord

mp

x �b�G�n �Bd

��-nnn e

6:4

(cresc. possible)

as fast as possible(not strict 64ths)

� �n � �b¬

non cresc.(cresc. possible)

as fast as possible(not strict 64ths)

��Be ��µÅ x ���µ¬ � � �

3:2

mst msp

f

mf

p

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126 0�bű ± ± ± ±

0�Å ± ± ± ± ±

G� Æ0�psp

ff

ff

ff

p

e = 72

(�- Æ-

�¬± ± ± ± ± ±

��µ¬± ± ± ± ± ±ord

p

ff

�B¬± ±

���mK

�Å ± ±

ff

mp

O�¬0�mÅ

(-ÂpstI.4/5

ff

mp+

�µ � (� ( ( ( (poco)

� � (� ���ll(poco)

�mÅ ± ± ± ± ± ± ± ±ord

!

ff

pp

ff

O�¬

0�mÅ

(�Âmsp

ff

ff

mp

ÆÆ-µµµ

ÆÆÆKm

�Å ± ± ±ord

mp+

mp+

ff

vlc

pic

vlc

e cl@

pic

e cl@

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈÈÈ

3:2

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Page 31: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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133

�bÅ ± ��µ G� G�º

�m¬� � � � � � � G

G � �G

� G�3:2 3:2

º

(�µ � �� (�� (� � �� (�� (�3:2 3:2psp ord msp

ff pp+

ff

pp p

p p+ mp mf

0�n �

0� �

0��µÅ ± ± ±ADD MUTE

mf

mf

ff

(�B (�

G� G�

0�Å ± ±

mf+

ff

mf+

(�e (�µe � �e � �µe � �be3:2

3:2

(�me (�e � �me � �e � �me3:23:2

(�Âe (�me � �Âe � �e � �µe3:23:2

psp

f

f

f

ff

ff

ff

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137 (�

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This is the sound of exhaustion, of no longer being able to adequately support the sound. The breath runs out; the embouchure falters; air and noise infiltrate, then dominate, the sound. The exertion required by the sound explodes at the downbeat, then fades for three beats, cascading downward toward the lower register and a chance to catch ones breath.%RQXV�SRLQWV�LI�LW·V�UHDO�

fff

fff

fff

�b�±

**

**

�m�±

**

�µÅ� �b �b � � � � � � � � � � � � � � �

6:4 6:4 6:46:4 6:4 6:4 6:4mst

e = 96

ppp

TO BASS FLUTE

� �b �b � � � � � � � � � � � � � � � � �b �n � � �b

repeat ad libXQWLO�ÁXWH�LV�UHDG\�

� �b �b � � �6:4

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[

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pic

vlc

e cl@

pic

e cl@LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈL

LÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈLÈÈÈÈÈ LÈLÈLÈLÈLÈLÈÈ

3:2

3:2

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TO B CLARINET@

Page 32: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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141

� �b �b � � � � � � � � � � � � � � � �6:4 6:4 6:43:2

� �b �b � � � � � � � � � � � � � � � �6:4 6:4 3:2

ppp

�n� �b �b � � �b� �b � � � � � �b �b � �� �b �b � � � � � � � � � � � � � �n� � �b �b �b12:8 12:8 12:8

�n� �b �b � � �b� �b � � � � � �b �b � �� �b �b � � � � � � � � � � � � � �n� � �b �b �b12:8

12:812:8

��

��

��

143 �b �b � �b �b � � �� � � � �b� �n � �b �b �b �b �b �n � � � � � � � � � �b� � �b � � � � �b �b� �n � �b �n �b �b� � �b � �n �m �m �n �m �n� � � � �� � � � �m � � � � � � � �� � � �24:16

24:1624:16

�b �b � �b �b � � �� � � � �b� �n � �b �b �b �b �b �n � � � � � � � � � �b� � �b � � � � �b �b� �n � �b �n �b �b� � �b � �n �m �m �n �m �n� � � � �� � � � �m � � � � � � � �� � � �

24:16

24:16

24:16

vlc

b fl

vlc

b fl

(see performance notes for explanation of articulation)

(see performance notes for explanation of articulation)

6:4

b cl@

b cl@

Page 33: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

144 �b� �b �b � �b � � � � � �� �n �n �n� � �b �b �b �n� � �b �b �b �n �n� � �b �b �� � � � �b � �b � � � � � � �� � � � � � � �n� �b �b �b �b � � � � � � � � � � � � � � � � � � �24:16 24:16 24:16

ÆÆ ÆƵµ ��BB

sempre legato possible

very freely and expressively, within context of piano dynamic

�b� �b �b � �b � � � � � �� �n �n �n� � �b �b �b �n� � �b �b �b �n �n� � �b �b �� � � � �b � �b � � � � � � �� � � � � � � �n� �b �b �b �b � � � � � � � � � � � � � � � � � � �24:16 24:16 24:16

p

145 �� � � �b �� � �b �� �b �b � �b� � � �b � � �b �m �n �n � � �m � �n � �� �b �b �b� �b � � � � � � � �n �n� � �b �b � � �n �n� �b �b �b � � � �n� �n �m � �b� �b �n �b � �b � �n � � �b� � �24:16 24:16 24:16

ÆÆBµ TTTm

�� � � �b �� � �b ���b �b � �b� � � �b � � �b �m �n �n � � �m � �n � �� �b �b �b� �b � � � � � � � �n �n� � �b �b � � �n �n� �b �b �b � � � �n� �n �m � �b

� �b �n �b � �b � �n � � �b� � �24:16 24:16 24:16

vlc

b fl

vlc

b fl

b cl@

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Page 34: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 35: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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Page 37: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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154

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Page 39: Local Time - John Rot · Local Time approaches this concept from a musical standpoint, investigating the relativity of simultaneity and the inconstancy of velocity, duration, and

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157

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�b �b �b � � �b � � � � � � � � � � � � � � � � � � � � � �b� � � � � �� � � � �� � � � � � � � � �n � � � � � � � � � � � � � � � � � � � � � � �b � � � � �24:16 24:16 24:16

air only pitch, but barely air only

� �b �b � � �b � � � � � � � � � � � � � � � � � � � � � �� � � � � �� � � � �� � � � � � � � � �n � � � � � � � � � � � � � � � � � � � � � � �b � � � � �24:16 24:16 24:16

air only pitch, but barely air only

�b �b �b � � �b � � � � � � � � � � � � � � � � � � � � � �b� � � � � �� � � � �� � � � � � � � � �n � � � � � � � � � � � � � � � � � � � � � � �b � � � � �24:16 24:16 24:16

noise only pitch, but barely noise only

��

��

��

165

� �b �b � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ± 324:16 24:16 12:8

� �b � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ± 3

24:16 24:1612:8

� �b �b � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ± 324:16 24:16 12:8

vlc

b fl

vlc

b cl

b fl

b cl

6:4

6:4

6:4