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Liebeslied (2011, revised 2012 & 2014)
for voice, live electronics & chamber orchestra
transposing score
music and text by Alex Temple
Liebeslied is licensed under a Creative Commons Attribution Non-Commercial Share-Alike license. This means that other musicians may quote the piece or create derivative works, as long as they credit Alex Temple for the original work, don’t use their new creations for
commercial purposes, and license them 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.
Instrumentation
fluteoboeclarinet in Bbassoon
horn in Ftrumpet in Ctenor trombonetuba
percussion 1 vibraphone glockenspielpercussion 2 triangle flexatone hi-hat low (c. 12”) mounted tom floor tom kick bass drum
pianoamplified harp (see “Technical Notes” for amplification details)
amplified voice (F#3 – Eb5) (see “Technical Notes” for amplification details)
live electronics operator
violin 1 violin 2 viola cello double bass
b
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 an 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 spoken to. The music reinforces the dreamlike quality of the lyrics with excessive reverb, rhythmic dislocation 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, cypress trees 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. Throughout, the vocal soloist should use informal American vowels and consonants, rather than trying to purify or Europeanize the language.
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.
Technical Notes
The electronics are operated using a Max/MSP patch. The patch both applies effects to the singer’s 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 the vocal mic 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 electronic part on two lines. “Electronics (control)” shows the keys that the operator 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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Notation key
(5 q )
Percussion 2
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 gliss to the second note.
Strings: gradually gliss 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: quickly wobble the pitch up and down.
Cello, bass: bow too slowly, producing an intermittent scratch tone.
Violins: extremely high note.
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 IPA.
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30
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nn# ### #
nn# ### #
nn# ### #
nn# ### #
nn# ### #
nn# ### #
nn# ### #
nn# # # # #
nn# ### #
nn# ### #
nn# ### #
nn# ### #
nn# ### #
nn# ### #
Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
"
"
"
œ œ œ œ œ œ3 3
"
"
"
"
ww ww
"
"
Œ L L L ‰ Œ
"
"
Œ Œ œ œ œ5
Be hind you,
"
"
50
œœ œœæ>
˙
ww
ww
œ œ œ œ œ œ3 3
"
"
"
"
œ œ œ œ3
"
"
"
"
..˙ ..˙
"
"
L L L ‰ Œ
"
"
œ Jœ .œthe mist
"
"
51
..˙
œœæ>
˙
..˙
œ œ œ œ3
"
n
"
"
"
œ œ œ ˙3
"
Ó ˙+
Í"
"
ww ww
œp
œ œ œ œ œ œ œ!
œ Œ Œ .7 7
"
L L L ‰ Œ L L
"
"
œ Œ ˙# œ5
forms a
"
"
52
ww
˙ ˙
œœæ> œœ ˙
œ œ œ ˙3
?
"
"
"
"
"
"
œ+
Fœ
oœ+ Œ Óremove mute
"
"
..˙ ..˙
"
"
L ‰ Œ Œ
Œ ˙ggggggggggggggF
Œ˙
œ .œ jœ œ3
lu mi nous
"
"
53
œF
ord
suddenly more expressive
œ œ œ3
.Ford
.˙Ford
œFpizz Œ œ œ
œpizz
FŒ Œ
wp
wp
wpwnp
wop
"
wop
wÍ
"
"
œœœggggggggggggg
-F
‰ Œ Ó
œœ-
‰ Œ Ó
"
œ
p
œ œ œ œ œ œ œ œ œ œ œ5
3
œF
Œ Œ œ œcloud in the
"
"
54
œ. ‰ Œ Ó
œ. ‰ Œ Ó
œ. ‰ Œ Ó &
œ Œ Ó
œ Œ Ó
- - - - -
12
&
&
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&
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?
&
ã
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&
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&
&
ã
&
&
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?
# ### #
# ### #
bbbbb
# ### #
# ### ##
# ### #
# ### ## ### #
# ### #
# ### #
# ### #
# ### #
# ### #
# # # # #
# ### #
# ### #
# ### #
# ### #
# ### #
# ### #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
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 1
Vn 2
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
œ#f
$œ
p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
55 5 5
œbf
$œ
p
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
7
7 7 7
.œ#
fJœ œ œ œ œ
3
œ# .F
‰ Œ Ó
"
œ# .F
‰ Œ Ó
œ# .F‰ Œ Ó
œf
Glockenspielbrass malletsœ œ ‰ $ œ œ œ ‰ œ œ œ ‰ œ œ œ
3 3 3 3 3
—F
Triangle— — — — — — —!
— Œ Œ .7 7
"
"
œœ##.
F‰ Œ Ó
"
.œ# jœ œ œ œ œ3
moon
œ Œ ÓD[undulating orchestralsample loop]
55
ww##psul tasto
unexpressive
ww##psul tasto
ww#npsul tasto
"
Ó œ#F
col legno batt
œ œ œ œ œ œ7
œn .‰ . $
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
.˙
"
"
"
"
‰ $ œ œ œ ‰ œ œ œ ‰3 3 3
"
"
"
"
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.˙light.
"
56
œœæ
˙
..˙
..˙
"
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œ Œ Œ . Œ7
n
"
"
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w
"
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—F
— — — — — — —!
— Œ Œ .77
Óœn .(
P
œ. œ. œ. œ. œ. œ.7
"
œœœgggF
œœœggg œœœggg œœœggg œœœgggp
Ó5
"
"
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57
ww
œœ œœæ˙
ww
"
"
"
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"
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— —7
œn .
!
œ.Œ Œ . Ó7
"
"
"
"
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58
ww
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œœ œœæ
˙
"
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- - - - - - - -
13
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&
ã
&
&
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# ### #
# ### #
bbbbb
# ### #
# ### ##
# ### #
# ### #
# ### #
# ### #
# ### #
# ### #
# ### #
# ### #
# # # # #
# ### #
# ### #
# ### #
# ### #
# ### #
# ### #
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
nn nnnbb
nn nnnbb
nn nnn
nn nnnbb
nn nnnnb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nnnnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
nn nnnbb
44
44
44
44
44
44
44
44
44
44
44
44
44
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 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
"
"
"
"
"
"
"
"
— — — — — —!
‰ Ó7
Œ. ‰ œn .
P
œ. œ. œ. œ. œ. œ. œ.
!
œ. ‰ ‰7 7
"
œœœgggF
œœœggg œœœggg œœœggg œœœgggp
Ó5
"
Ó Œ œp
œ3
As we
"
59œœ œœæ
˙
ww
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"
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"
"
"
"
"
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"
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Ó ‰ —F
— — — — —7
Ó Œ Œ Œ Jœn .
P7
"
"
"
˙ .œ jœ œ3
stand side by side
"
60ww
œœ œœæ˙
ww
"
"
"
"
Ó Œ ‰ œpœ œ œ
" ?
"
"
"
"
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— — —!
‰ Œ . Ó7
œn . œ. œ. œ. œ. œ. œ. œ
!
‰ Œ Œ .7 7
"
œœœgggF
œœœggg œœœggg œœœggg œœœgggp
Ó5
"
˙ ‰ œ œ œbe neath the
"
61ww
ww
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"
"
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.wp
.w
.wp
.wp
"
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p
.wÍ
"
"
"
"
˙gggggggggggF
Ó Ó˙
œ
p
œ œ œ œ œ œ œ œ œ œ œ5
3
œ ˙ ˙ œ Œ5
cy press trees
"
62œœ. ‰ Œ Ó Ó
œœ. ‰ Œ Ó Ó
œœ. ‰ Œ Ó Ó B
" B
"
- -
14
&
&
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&
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&
ã
&
?
&
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&
ã
&
&
B
B
?
bb
bb
bb
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
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
bbbbb
bbbbb
bbb
bbbbb
bbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
44
44
44
44
44
44
44
44
44
44
44
44
44
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 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
œb .F
‰ Œ Ó
œn .F‰ Œ Ó
œnF
œn œ œpœ œ
3 3
œn .
F‰ Œ Ó
œb .F
‰ Œ Ó
"
œb .F
‰ Œremove muteÓ
œb .F‰ Œ Ó
wwbn p
soft malletsmotor offVibraphone
ww
"
"
"
œœ##.
F‰ Œ Ó
œ# . ‰ Œ Ó
Ó Œ œn œn5
and
"
œ Œ ÓX[end loop]
63
wwbb
wwnnwwnn
œnp
arcosul tasto
œ œ œ œ œ3 3
œnF
col legno batt
œ œ œ œ œ œ œ#
œ Œ Œ .7 7
ÓL- L- L- L- L-
5
"
œ œ œ œ œ œ3 3
"
"
"
"
"
˙ ˙œ
F
œ œ œ œ5
"
"
"
Ó œn o Œ
"
˙ œ ˙3
dis tant songs
"
"
64
ww
wwww
œ œ œ œ œ œ3 3
Ó œF
œ œ œ œ œ œ7
L- L- L- L- L- L L- œ œ œ œ5
"
œ œ œ ˙3
"
"
"
"
"
œ œ œ œ œ#
5
"
"
"
"
"
Ó ˙fill
Ó '
Ó œ ŒA[flexatone sample]
65
ww
wwww
œ œ œ ˙3
œ#
œ Œ Œ . Œ Œ7
.wsubito p
w#
œP œ œ œ œ œ œ œ œ œ œ5
6
.˙#
œP œ œ œ ˙
œpœ œ œ œ œ œ œ .˙5
3
.wp
.wpno mute
.wp
no mute
.wp
"
"
"
"
Ó Ó œ œ œ œ œ œ œ œ œ œ œ5
6
œn
p
œb œn œb œn œ œ œ œ œ œ œ Ó5
3
˙ œ .˙F
Œ3
the night.
.' .'
"
66
œœ. ‰ Œ Ó Ó
œœ.‰ Œ Ó Ó
œœ. ‰ Œ Ó Ó
œ. ‰ Œ Ó Ó ?
"
-
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~
15
&
&
&
?
&
&
?
?
&
ã
&
?
&?
&
&ã
&
&
B
?
?
bbbbb
bbbbb
bbb
bbbbb
bbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
44
44
44
44
44
44
44
44
44
44
44
44
44
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 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
q = 90
q = 90
E
E
œ.F
‰ Œ Ó
œ.
F‰ Œ Ó
œ.F‰ Œ Ó
œb .F
‰ Œ Ó
œ.F
‰ Œ Ó
œb .F
‰ Œ Ó
œb .
F‰ Œ Ó
œb .F‰ Œ Ó
"
"
œœœ-
F‰ Œ Ó
œœ- ‰ Œ Ó
wf
"
"
"
"
67
wwp
ord cold, non vibrato, like an electronic sound fading in and out
wwbp
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
wbarco
p
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 out
n
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
.p
Glockenspielbrass mallets
œ"
"
"
..˙ œœ
"
Œ ¿f
unexpressive, even robotic, with very precise diction;crescendo and diminuendo ad lib. on long notes spoken syllables: highly inflected Sprechgesang, blending seamlessly into the sung line
œ œ œ5
But when you take
"
"
68
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 ˙ Œ œ5
my hand, the
"
"
69
wwn
wwn
wwn
wwn
wn
˙F
wF
wF
wF
wn
wn
wn
wn
œ .˙"
"
"
œœ ..˙
"
jœ.œ .œ J¿
waves stop
"
"
70
"
"
"
"
"
n
n
n
n
w
w
w
w
"
"
"
"
"
"
"
"
"
"
Ó jœ .œflowing,
"
"
71
wwn
wwn
wwn
wwn
wn
n
n
n
n
"
"
"
"
w
w
w
w
wwwwnhard malletsmotor: slow
Ï
Vibraphone
"
wwwwbÏwww
"
"
.˙ Œ
"
"
72
wwF
wwF
wwF
wwF
wF
n
n
n
n
w
w
w
w
wF
wF
wF
wF
wwww
"
˙ ˙bp˙ ˙
"
"
¿ ¿ ˙ œ5
the moon stops
"
"
73
wwn
wwn
wwn
wwn
wn
n
n
n
n
w
Fw
Fw
Fw
F
w
w
w
w
wwww
"
wwwwwww
"
"
Œ œ œ ˙3
glow ing,
"
"
74
"
"
"
"
"
- -
16
&
&
&
B
&
&
?
?
&
ã
&
?
&
?
&
&
ã
&
&
B
?
?
bbbbb
bbbbb
bbb
bbbbb
bbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
bbbbb
nnn nn
nnn nn
nnn
nnn nn
nnn n
nnn nn
nnn nn
nnn nn
nnn nn
nnn nn
nnn nn
nnn nn
nnn nn
nnnnn
nnn nn
nnn nn
nnn nn
nnn nn
nnn nn
nnn nn
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 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
n
n
n
n
w
w
w
w
"
"
"
"
˙fast
Ó
"
"
"
"
"
œ ‰ ¿ ˙the mu
"
"
75
wwn
wwn
wwn
wwn
wn
"
"
"
"
"
"
"
"
"
"
"
"
"
"
œ œ Œ Œ .œ jœ3 3
sic dies a
"
"
76
wwF
wwF
wwF
wwF
wF
n
n
n
n
"
"
"
"
w
w
wn
w
wwwwbslow
"
wwwwnÏwww
"
"
¿ Œ Óway,
"
"
77
wwn
wwn
wwn
wwn
wn
n
n
n
n
w
wn
w#
w
wF
wF
wF
wF
wwww
"
˙ ˙np˙ ˙
"
"
Œœn œ ˙5
and I find
"
"
78
"
"
"
"
"
n
n
n
n
w
Fw
FwFwF
w
w
w
w
wwww
"
wwwwwww
"
Ó˙
p
œ œn ˙ Œ5
my self
"
"
79
"
"
"
"
"
put mute back in
w
w
w
w
"
"
"
"
˙fast
Ó
"
"
"
"
œ œ œ œ œ œ œ3
œ œ ˙ ˙5
in a no ther
"
"
80
"
"
"
"
"
w
w
w
w
"
"
"
"
"
"
"
OOOOOnnn#sostenuto pedal
silently depress keys
Ó œ œ œ œ œ œ33
œ œ œ œ œÓ
5
wntime...
"
"
81
"
"
"
"
"
- - - -
17
&
&
&
B
&
&?
?
&
ã
&
?
&?
&
&ã
&
&
B
?
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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 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
F
œnsubito p
Fslow pitch bend ad lib.
(6 q )
"
œ#subito p
slow pitch bend ad lib.(6 q )
œn .
߉ Œ Ó Ó
˙f #
˙b ˙n3
"
œp
slow pitch bend ad lib.(6 q )
"
œœœn
nn
°p
vary motor speed ad lib.
Œ Ó Ó
œKick bass
ƒŒ Ó Ó
œœœnnn -
p‰ Œ Ó Ó
œœœnnn - ‰ Œ Ó Ó
wnf
Ó
"
˙ Ó Ó
œ Œ ÓG[undulating harpsample loop]
82
—#
extremely high note; bend pitch slowly up and down ad lib
—#
extremely high note; bend pitch slowly up and down ad lib
˙p
˙ ˙# ˙n3
˙bp
˙ ˙ ˙b3
œƒcol legno battŒ œ Œ œ Œ
"
"
"
"
˙p
˙ ˙b3
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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 3 3
Com plete ly sur round ed by re
œ Œ Ó7[heavy reverb]
83
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˙ ˙#3
˙#
˙b ˙n3
œ Œ œ Œ
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3
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¿ ¿ ¿ ¿ Ó3
ver ber ant noise,
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˙p
˙# ˙n3
˙bp
˙n ˙b3
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˙p
˙ ˙b3
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Œ j¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ ¿ ¿3 3
as hun dreds of voi ces ri co
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85
˙##
˙ ˙#3
˙#
˙b ˙n3
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#˙b ˙n3
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¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿3
3
chet off the hard mar ble
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˙p
˙# ˙n3
˙bp
˙ ˙b3
"
- - - - - - - - - - - -
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Œœ
Ó(3 q )
"
Œ œ# Ó(3 q )
˙n
˙#
˙n ˙b3
œp
Ón
(4 q )
"
Œ œ# Ó(3 q )
"
Œ œœœ# Ó Ó
Œ ¿Tom-tomsrimshotÓ ¿ Œ
Œœœœ# -
‰ Ó Ó
Œ œœœ# - ‰ Ó Ó
"
"
J¿ ¿ Œ Œ ¿
as if artificially slowed down;elongate all the vowels
¿ j¿snapping back to normal
¿ j¿ ¿3
33
3
walls of the mas sive for mal
"
87
˙##
˙psim ˙ ˙#
3
˙#
˙psim ˙b ˙n
3
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˙p
˙b ˙n3
"
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"
¿ ¿ ¿ Œ ‰ ¿ ¿3
di ning room in an
"
88
˙#
˙# ˙n3
˙b#
˙ ˙b3
"
n
Œœ(5 q )
"
Œ œ#(5 q )
œ#
Ó(4 q ) slow pitch bend ad lib.
˙n
˙#
˙ ˙b3
"
Œ œ(5 q )
"
Œœœœ Ó Ó
Œ ¿ Ó Ó
Œœœœ-
‰ Ó Ó
Œ œœœ-
‰ Ó Ó
"
"
¿ ¿ ¿ Œ Œ ¿
as if artificially slowed down
¿ ¿3
e le gant old ho
"
89
˙#p
˙ ˙ ˙#3
˙p
˙ ˙b ˙n3
Œ œ Œ œ Œ œ
"
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p˙b ˙n
3
"
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¿ Œ Ó
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j¿snapping back to normal
¿ Œ Ó3
tel.
"
90
˙#
˙# ˙n3
˙b#
˙ ˙b3
Œ œ Œ œ
œ#(6 q )
"
œ(6 q )
"
œ#
(6 q )
Œ œ-
harmon mute — stem out
ƒœ- jœ# œ. œ. œb . ‰ jœ œ œ œb œ3
œ(6 q )
"
œœœ# Œ Ó Ó
œ Œ œ Œ œ Œ
œœœ#-
‰ Œ Ó Ó
œœœ-
‰ Œ Ó Ó
"
"
"
"
œ Œ Ó ÓX[loop out]
91
.w#p
.wp
"
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
n
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˙p
˙ ˙#3
w
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Œ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3 3 3
All of the fa ces are ob
œ Œ ÓG[loop in]
92
˙bP
˙ ˙b3
˙
P˙# ˙n3
"
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˙P
˙# ˙n3
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J¿ ¿ ‰ ¿ ¿ ¿ ¿33
scured by the glare
"
93
˙p
˙b ˙n3
˙p
˙ ˙#3
"
n
Ó Œœ(3 q )
"
Ó Œ œ#(3 q )
˙n
˙p
˙b ˙n3
œp
Ó(4 q )
"
Ó Œ œ(3 q )
"
Ó Œ œœœ Ó
Ó Œ ¿ Ó
Ó Œœœœ-
‰ Ó
Ó Œ œœœ- ‰ Ó
"
"
Œ j¿ .¿ ¿ ¿ J¿ ¿ Œ Œ ¿
as if artificially slowed down
¿3
33 3
of af ternoon sun light stream ing
"
94
˙bP
˙ ˙ ˙b3
˙
P
˙ ˙# ˙n3
Ó Œ œ Œ œ
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˙n ˙b3
"
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"
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¿snapping back to normal
‰ ¿ ¿ ¿ ‰ ¿ ¿3 3
in through a gap where your
"
95
˙p
˙b ˙n3
˙p
˙ ˙#3
Œ œ Œ œ
- - - - - -
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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˙b ˙n3
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¿ ‰ ¿ ¿ .¿ ¿ j¿ ¿3 3
hand has dis placed the hea vy
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96
˙bP
sim ˙ ˙b3
˙
P
sim ˙# ˙n3
Œ œ Ó
Ó Œœ(3 q )
"
Ó Œ œ#(3 q )
˙P
˙ ˙n ˙b3
"
"
Ó Œ œ#(3 q )
"
Ó Œ œœœ# Ó
Ó Œ ¿ Ó
Ó Œœœœ# -
‰ Ó
Ó Œ œœœ# - ‰ Ó
"
"
¿ ¿ ¿ Œ Ó Œ ¿
as if artificially slowed down
¿3 3
dra per y. But I
"
97
˙p
˙ ˙b ˙n3
˙p
˙ ˙ ˙#3
"
n
"
"
"
œp
Ó(4 q )
˙n
˙p
˙ ˙#3
"
Ó Ó
"
"
¿ Œ Ó Ó
"
"
"
"
j¿snapping back to normal
¿ $ ¿ ¿ j¿ ¿ Œ Œ ‰ ¿ ¿3 3 3
can't catch your eye through the
"
98
˙bP
˙ ˙ ˙b3
˙
P
˙ ˙# ˙n3
"
remove reed
"
"
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"
˙ ˙# ˙n3
"
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j¿ ¿ Œ Ó3
crowd.
"
99
˙p
˙b ˙n3
˙p
˙ ˙#3
"
œ#(6 q )
"
œ(6 q )
"
œ.F‰ Œ Ó Ó
Œ œ-ƒœ- jœ# œ. œ. œb . ‰ jœ œ œ œb œ3
œ(6 q )
"
œœœ# Œ Ó Ó
œ Œ œ Œ œ Œ
œœœ#-
‰ Œ Ó Óœœœ-
‰ Œ Ó
"
"
"
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œ Œ Ó ÓX[loop out]
100
œb .
P‰ Œ Ó Ó
œ.
P‰ Œ Ó Ó
"
- - - -
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
VVVVVV
VVVVVV
VVVVVV
VVVVVV
~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
G œn .‰ Œ Ó
"
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¿b .
tongue mouthpiece while fingering low Bbto create a nasty, percussive noise
f‰ ‰ ¿.
Œ¿.
‰
"
œ. ‰ Œremove muteÓ
œ# .f
‰ Œ Ó
"
"
œp tense
œ œ œ
"
Lÿ%
damp strings with hand
tenseF
Lÿ Lÿ Lÿ
"
œp
œ œ# .˙3
ÓG
¿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 loop pitch shifts down]
101
"
"
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œœ#tenseF
œœ œœ œœ
"
"
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‰ ¿b .Œ
¿.‰ ‰ ¿.
Œ
"
"
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"
Lÿ Lÿ Lÿ Lÿ Lÿ
"
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¿ j¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿ ¿ ¿ ¿3 3 3
guests are hol ding their heads at the same un com for ta ble
"
102
"
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"
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¿b .‰ ‰ ¿.
Œ¿.
‰
"
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"
Lÿ Lÿ Lÿ Lÿ
"
Ó Œ œ# œ# œn3
¿ ¿ ‰ Œ Œ j¿ ¿ ¿ ¿ ¿3 3
an gle. They're look ing at the
"
103
"
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œœ# œœ œœ œœ
n
n
n
n
"
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‰ ¿b .Œ
¿.‰ ‰ ¿.
"
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"
L# ÿ Lÿ Lÿ Lÿ
.˙n .˙ Œ
.˙bŒ
j¿ ¿ Œ Œ Œ j¿3 3
clouds. The
"
104
œ#æmolto sul pont
pœf
wide pitch wobble
œnæmolto sul pont
pœf
wide pitch wobble
œ#æmolto sul pont
pœf
wide pitch wobble
œ#æmolto sul pont
pœf
wide pitch wobble
œœ# œœ œœ œœ
- - - - - - - - -
22
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
VVVVV
VVVVV
VVVVV
VVVVV
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
"
"
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‰
"
"
"
"
"
œ œ
"
L# ÿ Lÿ
"
Œ œ œn œ3
.¿ ¿ ¿ ¿ ¿ ¿3 3
clouds are a map of the
"
105
"
"
"
"
œœ# œœ
n
n
n
n
"
"
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‰ ¿b .Œ
¿.‰
"
"
"
"
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œ œ œ
"
L# ÿ Lÿ Lÿ
.˙# .˙b
.˙
j¿ ¿ Œ Œ3
world.
"
106
œnæpœf
œæpœf
Ͼp
œf
œnæpœf
œœn# œœ œœ
"
"
"
‰ ¿b .Œ
¿.‰ ‰ ¿.
"
"
"
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œ œ œ œ
"
Ln ÿ Lÿ Lÿ Lÿ
"
"
‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿3
3 3
As I stare at the con tinents, all of a
"
107
"
"
"
"
œœ#n œœ œœ œœ
"
"
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Œ¿b .
‰ ‰ ¿.fŒ
"
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Œ
"
Lÿ Lÿ LÿŒ
f
"
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¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿3 3 3
sud den I feel your hand on my spine.
Œ
Ó Œ œX[loop out]
108
"
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œœ# œœ œœ Œf
- - -
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
H q = 108
œ
Ï
H bend pitch slowly up and down ad lib.; breathe whenever necessary
œnÏ
bend pitch slowly up and down ad lib.; breathe whenever necessary
œb
Ï
bend pitch slowly up and down ad lib.; breathe whenever necessary
¿b .ω Œ Óput reed back in
œÏ
bend pitch slowly up and down ad lib.; breathe whenever necessary
œbÏ
no mute
bend 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
"
¿o
ƒ
Œ Óœ Œ Ó
"
–––ÿ
ÏŒ Ó
"
"
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109
œ#
Ï
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
œÏ
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
œbÏ
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#Ïarco
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
"
"
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"
110
"
"
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"
Œ œƒ loud and intense, as if struggling to be heard through the noise
œ œBut when I
"
"
111
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"
.œ jœ œ œb œbturn to meet your
"
"
112
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wbkiss,
"
"
113
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Ó Œ ‰ œthe
"
"
114
24
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
"
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"
"
.˙ Œ .œb jœbcrowd dis ap
"
"
115
"
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.˙ ˙ ‰ œnpears, their
"
"
116
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œ ˙b Œ .œ jœvoic es leave my
"
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117
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.˙ ˙ ‰ œears the
"
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118
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.˙b ˙ œ#sky goes
"
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119
- - -
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
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violentÏ
hard malletsmotor off
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œœœœ## .
violentÏ
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œœœœ œœœœ œœœœ œœœœ œœœœ œœœœsim
"
.w#blank,
œ Œ Ó ÓL[wild loop in]
120
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æ œ.ç‰ Œ
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œb œb œ œ œ œ œ œ œ œ ˙5 5
"
œ œ œ œ# œ# œ œ œ ˙
Ó˙##
œœœœ# œœœœ œœœœ œœœœ ˙˙
"
Ó Œ œ# œ3
and I
Ó
Ó œ Œspace[wild loop fades out]
121
ww#
#
sul pont
ww#
sul pont
wwb#
sul pont
w##
sul pont
w#
sul pont
"
"
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Ó ˙p
Ó ˙bp
Ó ˙p
Ó ˙#p
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ww
"
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.œ Jœ œ ˙b3
find myself wan
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122
ww
ww
ww
w
w
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26
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
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˙ æf˙ æ
f˙ æ
f˙ æ
f
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Ó OOOOOb#b#
"
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œ œ œ# ˙3
der ing
"
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123wwF
wwF
wwF
w F
wF
q = 72I"
"
wæf
w# æf
œ.ß
‰ Œ Ó
œb .
߉ Œput mute back inÓ
œ.ß
‰ Œput mute back inÓ
w#ß
"
¿Ï
Tom-tomsrimshot
Œ Ó
œœœœœb#b# .>
ç‰ . Œ Ó
OOOOO
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œ Œ Ó0[pitch-shifted reverb]
124
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w#P
ordbow very slowly, producing a harsh, ugly, intermittent scratch tone
wP
ordbow very slowly, producing a harsh, ugly, intermittent scratch tone
"
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w
w#
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w
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OOOOO
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125
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w
w
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w
w
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w
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OOOOO
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Œchant-like
œ#F
œ .œ jœ3
in un end ing
œ# œ"
126
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w
w
n
n
n
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w
w
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w
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œ œ .œ jœ# œ5
dar kened corr i dors.
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127
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w
w
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.˙ œ
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128
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w
w
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129
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w
w
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27
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42
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!
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Ó Œ ‰ . . ¿oHi-hat
ƒ jarring, intrusive
"
OOOOOn###sostenuto pedal
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130
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w
w
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Œ ¿Ï
dry slap‰ Ó
"
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Œharmon mute — stem in
œ#+
ƒ jarring, intrusive
œo
œ+
‰ Œ
Œharmon mute — stem in
œ+
ƒ jarring, intrusive
œo œ+ ‰ Œ
œ# .߉ œ# .
æƒ
‰ Ó
Œ œ#° ƒ
Ó
¿+ ¿ ¿ ¿ ¿ ¿æo
Ó3
‰ œ#ƒ jarring, intrusive
œ# œ# œ. ‰ Ó3
"
‰ œƒ jarring, intrusive
œ# œ# œ# œœ# . ‰ Ó3
"
Œ ¿ç
‰ Ó/!t"!/
¿
"
131
Œ O## æÏ
molto sul pont Œn
Œ OæÏ
molto sul pont
Œn
"
œ œ# .߉ Ó
œ œ.߉ Ó
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132
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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 ‰ œb5
Whosefoot steps were
œ œb œ œb
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133
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œ Œ Óthose?
œ
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134
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135
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Ó Œ ‰ œÍ
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Ó Œ ‰ œœœ##ƒ
motor on — fast
"
Ó Œ ‰ œœœ##p
Ó Œ ‰œœœn#n .
Ï
"
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Œ ‰ œ œb œ# œ‰ ¿
ç3
Ma ho ga ny— /!p'!/
œ œb œ# œ¿
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136
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w
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www
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137
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- - - -
28
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
"
.˙n
Œ
wn
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www
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Ó Œ œ
pœb
3
Some one
œ œb
"
138
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wp
" B
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www
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jœb œ jœb .œn jœblaughing be hind the
œb œ œb .œn œb
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139
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wn
Œ . Jœb -
! like an echo
.œ Jœ
w!
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www
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˙ Ódoor—
œ
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140
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.œ Jœb .œ Jœ
w
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www
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141
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" B
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.œ Jœb .œ Jœ
w
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www
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142
Œ .˙nn
molto sul tasto
Ó˙n
molto sul tasto
Ó . œn
molto sul tasto
Ó Œ . Jœn
molto sul tasto
Own
molto sul tasto
J
J
Ó œ.p œ. œ. œ. œ. œ. œ.7
"
"
œ- ‰ Œ Ó
œ ‰ Œ Ó
"
"
"
"
!
rub drum head with drumstickTom-toms
ΠΠ.7 7
Óœœœ# .(
p
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.7
œn .%
#
‰ Œ Ó°
œ
#
p.d.l.t.œ# œ# œ# œ# Ó5
"
"
"
143
œ-#
Œ Ó
œ-#
Œ Ó
œ-#
Œ Ó
œ-#
Œ Ó
Oœ-#
Œ Ó
œ. œ.Œ Œ . Ó7
"
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œœœ# . œœœ.
!
Œ Œ . Ó7
"
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"
¿ Œ Ó/!t!/
¿
"
144
Own
molto sul pont
Ow##n
molto sul pont
"
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"
- - -
29
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ã
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&?
&
&
ã
&
&
B
?
?
Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
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145Ow#
Ow#
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Ó Œ ‰œb
#œb œ œb œb
5
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Ó Œ ‰ œ#soft malletsmotor off
#black key gliss
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146Ow
Ow
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Ó œ.p œ. œ. œ. œ. œ. œ.7
"
œ. ‰ . Œ Ó
"
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"
œ# ‰ Œ Ó
ΠΠ.7 7
Óœœœ# .(
p
œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.7
œn .%
‰ Œ Ó°
œ œ# œ# œ# œ# Ó5
"
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147Oœ ‰ Œ Ó
Oœ ‰ Œ Ó
"
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œ. œ.Œ Œ . Ó7
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œœœ# . œœœ.
!
Œ Œ . Ó7
"
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¿ Œ Ó/!ts!/
¿
"
148Own
Ow##n
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" &
Œ ‰ œn œ Œ
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"
Œ ‰ œ œ œ œb œ œbThe house is growing.
œ œ œb œ œb
"
149Ow#
Ow#
"
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$ œœ##
Glockenspielplay with stick side of mallets
!
œœn# Œ Ó
‰ 'æ
#
Flexatone Œ Ó
"
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"
"
150Own
Own
"
"
"
~~~~~~~~~~~~
~~~~~~
30
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42
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Fl
Ob
Cl
Bsn
Hn
Tpt
Tbn
Tba
Perc 1
Perc 2
Vox
Elec(sound)
Elec(ctrl)
Vn 1
Vn 2
Vla
Vc
D.B.
Pno
Hp
"
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151
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152
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153
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Ó Œ œ#!
vibrato in this rhythm
"
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"
Ó Œ œ#+
pœ
oœ+
"
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"
œ%
Œ Ó
"
"
‰ œ##
œ œ œ œ œ3
A glimpse of a face
œ# œ œ œ
"
154
"
"
"
"
œpizz
#
Œ Ó
L!
L L L L L3 3
vibrato in this rhythm
œ œ œ œ
"
Ó Jœ## like an echo
.œ
"
"
"
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"
"
"
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"
"
œ œ œ# œ œ œ Œ3
in the win dow.
œ
"
155
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L L L L L L3 3
œ œ œ œ
"
Jœ# .œ Jœ .œ
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156
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"
L L L3
œ œ
"
Jœ# .œ
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"
‰ œ#!
œ"Du ar
œ#
"
157
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L L L L L L3 3
œ œ œ œ
"
Jœ# .œ Jœ .œn
"
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"
Œ œo Ó
œ œ jœ Œ Ómes Kind."
œ
"
158
Œ .˙n
molto sul tasto
Ó ˙n
molto sul tasto
Ó Œ œn
Ó Œ ‰ œn
Own
arcomolto sul tasto
œn ‰ Œ Ó
œn ‰ Œ Ó
"
"
"
"
"
"
"
LHi-hat
#Œ Ó
on the bell
"
"
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œn o Œ Ó
"
"
159
œn -p
Œ Ó
œn -p
Œ Ó
œn -p
Œ Ó
œn -
pŒ Ó
Oœbn -
pŒ Ó
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
160
"U
"U
"U
"U
"U
- -
31
