CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
BREATHE.
FOR QUINTET
An abstract submitted in partial fulfillment of the requirements
For the degree of Master of Music in Composition
BY
PATRICK GUTMAN
May 2014
The abstract of Patrick Gutman is approved:
__________________________________
__________________
Milen Kirov, D.M.A.
Date
__________________________________
__________________
Alexandra Monchick, Ph. D.
Date
__________________________________
__________________
Liviu Marinescu, D.M.A., Chair.
Date
California State University, Northridge
ii Table of Contents
Signature page
ii
Abstract
iv
Breathe. (score)
1
iii ABSTRACT
BREATHE.
FOR QUINTET
By
Patrick Gutman
Master of Music in Composition
“I am this shortness of breath. Disconnected, I view myself as separate parts of a
whole. While the shapes of lines flow in circular motions, I am grasping and searching
for stability, connectedness, and flow. But I am deprived. Irregular pulses of varying
rhythmic durations jolt me, and I speed up and down trying to find the balance of rhythm
and time in relation to the ensemble; to my whole. I feel like an artist’s paintbrush that is
constantly being dipped into different colors, and painted onto a canvas with varying
brush strokes, lengths, and speeds. With each different rhythmic layer, texture, or color
added to this canvas, I feel I am always in transformation, like an organism undergoing
evolution. My perception is constantly masked as I continue to try on the ever-changing
rhythms, textures, and colors.” – program notes, Patrick Gutman
Breathe. is a journey of the transformation of the breath. It is the process of going
from complexity, irregularity, and density to simplicity, stability, and unity. The breath in
this piece of music is presented both literally and figuratively. Each instrument or player
iv is part of the whole, the oneness or unity of the breath, and as the piece transforms the
players begin to synchronize with one another until ultimately they reach this
connectedness through the physical act of breathing together. The overall concept of the
piece is the transformation or transition from a state of instability and irregularity of this
breath, to the smoothness and simplicity of synchronized, continuous deep breathing. To
achieve this transformation musically, the piece undergoes development in three primary
ways: rhythm, timbre, and texture.
The breath or the act of breathing, is used both symbolically and literally in this
piece. Each section of the piece can be viewed as an aspect of breath-at some points
irregular, unsteady, gasping, while at other times calm, smooth, and enriching. The first
aspect of breath can be viewed in the shapes of the lines. From the opening measure there
are shapes and focused directions in four of the five instruments. Sometimes the direction
is straight up or down, while other times it arcs and cycles. The overall texture of the
opening section contains lines that are constantly shifting directions so that one does not
know whether they are breathing on an in breath (ascending), or an out breath
(descending). Peaks and valleys are always changing and the overall effect becomes
somewhat like a rollercoaster, where you are pulled and tugged in every which way
possible without feeling like one has landed somewhere stable. The listener is
immediately emerged into this state of apparent chaos, instability and panic in the breath.
The shapes of the lines have much importance throughout the entire piece, often
continuing cycles of scalar patterns which form the basis of many of the textures in the
piece. The phrase lengths are irregular and never constant or the same. One phrase might
be two beats long, and then the next phrase five beats long. This constant change in
v phrase length keeps this instability and irregularity, which ultimately leads to a deeper
appreciation of the transformation of the lines towards the end of the piece. To contrast
the scalar runs that represent inhales and exhales of breaths, there is repetition on single
notes to create this stasis and lack of motion, or a state of panic in the breath. In the
opening this can be seen in the horn and the cello. The runs revolve around these static
pitches and gives the illusion of movement, and yet at the same time feels as if there is
something holding it all back from constantly moving forward. The runs typically all
share a pitch class set, or set of intervallic patterns which each instrument plays and
passes off to one another. Examples of these scalar shapes of runs and the repetition of
single notes can be seen from the opening until Rehearsal F, where there is the first big
change of texture. As the piece continues these opening textures begin to combine with
new material so that the piece is always continuing to evolve, grow, and transform into
something fresh and new.
Additionally, to further this idea of instability or irregular breathing within
phrases, often they are cut off almost abruptly and then greeted with silence. Brief
moments of silence occur throughout the piece at ends of phrases or sections to help give
the listener and the players a glimpse of stillness. It is a brief pause of reflection to allow
what was played before to sink in and to try to hold on and capture this quiet moment of
stillness as best as one can. However, I purposely take away much silence and pause until
the end of the piece to not only push along the development of material, but to also allow
for a deeper sense of satisfaction with the physical act of deep breathing that comes at the
end of the piece.
vi To contrast the scalar and repetitive musical figures/phrases in the piece, there are
moments such as in sections F and G where there are slow and long phrases on a minimal
amount of notes, representing deep breathing that has been denied for the first part of the
piece. At F there are deep sustained notes from the bass clarinet and cello that shift
between playing in unison on a single note and playing a quartertone apart from each
other. The listener almost gets the sense of relief from the constant flux of pulse, but
above the low sounds are irregular pulses on a static pitch from the flute and later the
violin. The instability and irregularity of the pulses keeps the tension and idea of lacking
air apparent, and to heighten this the violin player is instructed to breathe in randomly to
literally create the sound of gasping for breath-continuing the denial of full and deep
breathing.
Lastly, in regards to the idea or concept of breath in this piece, there is something
to say about the technical difficulty of the piece. There are lots of very fast passages that
are very difficult for players to play, and at times it almost gives the feel that certain parts
are unplayable. There is intent behind the technical aspects of performing the piece. To
visually see the performers play so many notes and gasp for air helps further this idea of
breath and the denial of that breath. Visually seeing the bass clarinet player at rehearsal A
playing all the pitches and gasping for air, gives a more realistic and tangible feeling of
the need to breathe. This draws in the audience to focus on the journey that the player
themselves are going through physically and technically, which helps continue to
immerse the audience deeper into the piece.
Rhythm has a very important role in this piece. From beat one of the piece until
measure 222, no player ever plays the same rhythm ever with anyone else. The ensemble
vii never plays anything in unison or together rhythmically until they begin to have
synchronized breathing at measure 222. The piece contains many polyrhythms because
different rhythmic strata add to the instability and complexity of the breath that is needed.
Primary sections of this can be seen in the opening until rehearsal F and rehearsal I
through rehearsal K. These sections are generally at a faster speed. In looking at the
opening one can see how there are patterns of four, five, six, and seven all against one
another. This constant speeding up and down within each part relates back to the
instability of the breath. On the larger scale, the texture creates this fluidity that is
intangible and one feels that they are immersed into chaos.
There is also a constant denial of pulse throughout the piece. I never wanted
anyone to be able to feel a beat with this piece. The goal was to be unpredictable and
unsteady so that it can undergo transformation by the end into something beautiful and
stable. In looking at the opening the horn player plays the repeated static notes while the
other instruments are playing some sort of scalar run pattern. However, this pulse is
erratic, never falling into any specific pattern. The effect is of course irregularity and a
sense of panic. By constantly hiding or avoiding any sort of rhythmic patterns in this
piece, there is a denial of pulse and thus a lack of stability.
Another way to avoid a pulse is to break down the rhythms into slower speeds so
that time seems to stop, and with it all rhythmic pulse as well. The manipulation of time
is an aspect of this piece, and rhythm is a big supporter of this. Sections F and G are
prime examples. Slow glissandos and irregular rhythmic pulses on a single pitch seem to
create this stasis and stillness, while overhead is the sporadic pulsing from the repetitive
viii single pitch bobbing along. In these sections once again the instruments never line up to
play a rhythm together as they are continuously offset with one another.
The climax at rehearsal M is a big moment in the piece, because from the often
dense polyrhythmic textures emerges this section where everything interlocks. There are
still polyrhythms occurring which delays the satisfaction of rhythmic unity in that
regards. However, the feeling is one of synchronization where each player seems to be
working towards the whole, realizing how his or her line fits in with the ensemble. At
rehearsal M the climax is reached in a complexity of densely polyrhythmic lines, and the
ensemble works together to slowly break down the interlocking patterns into disjointed
and disjunct rhythms and pitches. It is as if for a brief moment the ensemble worked
together much like a clock does, and then beginning at measure 199 slowly but surely
that clock begins to run out of battery and the rhythms and intense interlocking begins to
break down. The breath is needed now as the body has over exerted and exhausted itself.
It is time to breathe. Slowly the rhythms up to measure 222 begin to synchronize as the
pitches transform themselves into syllables, which form into the phrase “just breathe.” In
this last section of the piece, the players begin to change the rhythmic complexities into
steady, regular and unified patterns by speaking the words “just breathe” together and
breathing deeply with one another. The end of the piece has not only unison rhythms and
words, but the pulse is simple and on the beat so that the message can be presented
clearly. The transformation is complete as the ensemble breathes in and out together in
the last two measures. The beauty of this section is that in many ways I have been able to
also give breath back to the listener. Subconsciously and even consciously for some
individuals, the listener does breathe with the performers and feels the same sense of
ix satisfaction and gratitude for the breath as the performers do. In this way, I have been
able to unite and connect the performers with the audience and myself, the composer.
Timbre plays an important role in the transformation of color in this piece. The
quality of the sounds that are being performed are very important and undergo
transformation as well. Timbre in this piece can be seen as “colored-breath.” While more
dense and chaotic sections such as the opening give us an array of colors, there is contrast
within the slower and thinner sections as well. For example, beginning at letter F there is
a blend between the cello and the bass clarinet. Here, the breath is represented by low,
deep tones that sustain and pulse throughout the section. Timbre is a primary focus here
as it is the blending of the tones that I am interested in at this part of the piece. While a
section like the opening shows the contrast of timbres from each instrument, with the
phrasing and ranges of the instruments creating heightened contrast, in this section it is
the merging of tones and timbres that creates interest. Keeping the pitches a quartertone
apart keeps just enough differentiation so that the listener can subtly perceive two
different tones.
The idea of blending timbres and creating colors continues in sections such as G
and J. At measure 153 there is a resonance idea where an instrument will attack a pitch at
a forte, and the resonance that comes from that attack is heard softly underneath from a
different instrument. Playing with the listener’s perception of what one initially hears and
the resonance or end result thereafter helps keep the music interesting, colorful, and
visually stimulating, as what we are seeing and hearing might not match initially.
Additionally, in section J there is an aleatoric passage where the players are given a set of
pitches to play randomly at half pitch and then play ordinary the written pitches
x thereafter. The idea here is the blending of timbres within a strict pitch range to then clear
and distinct timbres when the written pitches are played. This constant blend and contrast
is a key aspect in regards to timbre, and plays a transformative role in the piece.
The spoken syllables and words can also be viewed as a focus on timbre. In this
case, not only are the individual voices affecting the timbre of the sound, but the attacks
of each syllable also create different timbres. The syllables undergo transformation from
mere vocal sounds to ultimately the phrase “just breathe” at the end of the piece. The
sections with the syllables have a strong focus on the hardness or softness of each
syllable, and often alternate between hard attacks such as “kuh” and softer attacks such as
“shhh.” It is the syllabic quality of the spoken words here that creates the musical interest
and focus point.
I would like to end the discussion by talking about the construction of different
textures to create form in the piece. The piece is not constructed thematically or even
motivically, but rather texturally. Form comes through the contrast of different textures,
and the transformation of these textures. The opening until F consists of rhythmic vigor
and intensity, and through often an additive rhythmic process the textures morph and
develop. The next section of F, G, and H consist of slower and thinner textures where the
blends of timbre become a primary focus. Sections I and J take the opening textures and
fragment the scalar lines, becoming more disjoint and irregular. This section transforms
slowly into the spoken syllables, a sound world that had not yet been introduced in the
piece. The syllables at this time make no sense in terms of a coherent phrase, and are a
seed for the syllables that come back towards the end of the piece which forms the phrase
“just breathe.” Section M consists of the strict interlocking of rhythms which had not
xi occurred yet in the piece, and the texture slowly breaks down and transforms into deep
continuous breathing. It is the shifting of these textures and its musical components of
rhythm and timbre that create contrast and development in this piece.
xii Patrick Gutman Breathe. For Flute, Clarinet/Bass clarinet, Horn, Violin, Cello Duration: appx. 12 minutes 2013 1 Program Notes I am this shortness of breath. Disconnected, I view myself as separate parts of a whole. While the shapes of lines flow in circular motions, I am grasping and searching for stability, connectedness, and flow. But I am deprived. Irregular pulses of varying rhythmic durations jolt me, and I speed up and down trying to find the balance of rhythm and time in relation to the ensemble; to my whole. I feel like an artist’s paintbrush that is constantly being dipped into different colors, and painted onto a canvas with varying brush strokes, lengths, and speeds. With each different rhythmic layer, texture, or color added to this canvas, I feel I am always in transformation, like an organism undergoing evolution. My perception is constantly masked as I continue to try on the ever-­‐
changing rhythms, textures, and colors Yet with each new section and texture I develop in, I discover more of myself. At times even if brief, I find moments of stability, calmness, and alignment with the ensemble. I begin to understand that I am the whole, that I am each part, and with this clarity suddenly we interlock, caught in a strict mechanical cycle of chaos. Now more than ever I cannot breathe, and so in defense we breakdown-­‐crumbling, transforming, and changing colors. I realize I am like the butterfly that escaped the cocoon. I have been transformed, connected back to my essence-­‐back into the oneness of breath. 2 1. Flute and Clarinet: Notes Key click as fast as possible, creating irregular groupings of random pitches. Include brief moments of rest and flutter tongues. Horn: Blow air through the horn and make key click noises as fast as possible. Have rhythms be random and varied. Include brief moments of rest and flutter tongues. Strings: Use col legno behind the bridge to play irregular groupings of random pitches. Include brief moments of rest. 2. Flute and Clarinet: Play the pitches so that a small audible pitched sound is produced. Play as fast as possible with no rests except to quickly breathe. As you play the written pitches move to full pitch at the end of the fragment, then return back to playing the random pitches at ½ pitched sound. Strings: Randomly finger the pitches as fast as possible. Play sul ponticello when you arrive at the written pitches, and then return back to playing the random pitches with your fingers only. 3. Flute and Clarinet: Play given pitches randomly as fast as possible. Create irregular groupings and brief moments of rest. Play pitches so that a small audible ½ pitched sound is produced. When you arrive at the x note head, quickly breathe in through your instrument, and then continue playing the boxed pitches. Play written pitches as they occur. 3 Strings: Play given pitches randomly as fast as possible with sul ponticello. Create irregular groupings and brief moments of rest. When you arrive at a X note head, quickly breathe in loudly and then continue to play the boxed pitches. Play written pitches as they occur. 4. Flute and Clarinet: Play given pitches randomly as fast as possible. Create irregular groupings and brief moments of rest. Play pitches so that a small audible ½ pitched sound is produced. When you arrive at the X note head, speak the syllable and then continue playing the boxed pitches at ½ pitched sound. There are 3 inflections to be used when speaking the syllables. The top line is a high inflection, the middle line is a medium inflection, and the bottom line is a low inflection. Horn and Strings: Play given pitches randomly as fast as possible. Create irregular groupings and brief moments of rest. When you arrive at the X note head, speak the syllable and then continue playing the boxed pitches. There are 3 inflections to be used when speaking the syllables. The top line is a high inflection, the middle line is a medium inflection, and the bottom line is a low inflection. 5. At letter L: Flute: Upon first time playing use ½ pitched sound beginning at PPP and cresc. to a P. Upon repeat play ordinary and cresc. to a FF. at letter M. Bass clarinet: Upon first time playing use the sub tone effect to create a soft ½ pitched audible sound beginning at PPP and cresc. to a P. Upon repeat, play ordinary and cresc. to FF at letter M. When 4 indicated play a split multiphonic sound using the given pitch, creating a harsh and loud noise. Horn: Upon first time playing blow and key click the indicated pitches and rhythm, but do not make audible pitched sound. Upon repeat, play at P with open horn and cresc. to FF at letter M. Strings: Upon first time playing use sul ponticello beginning at PPP and cresc. to P. Upon repeat play arco and cresc. to FF at letter M. 6. After playing your pitch, follow the indicated breathing direction until you play your next pitch or given syllable. It should be a continuous motion of breath, either in or out. As it progresses towards the end, the rate of breathing should slow down into deep breaths. Up arrow means breath in, down arrow means breathe out. Breathe in or out through your instrument always. Strings breathe in or out using your mouth. 5 Syllable Pronunciation Bb = As in “Boy” Cha = As in the beginning of “CHArge” Chk = As in “check”…skip the “e” and go straight to the “ck” sound Ffft = As in “FooT” without the “oo”…close to the “T” sound Hah = As in “HAWk” Jj = the sound of the letter “J” Kah = As in “CAught” Kaht = As in the word “caught” Kuh = As in “CUt” Ree = As in “REAd” Sssht = As in “SHooT” without the “oo”…close to the “T” sound Ssss = As in “Snake” Ssst = As in “STop” Tah = As in “TOm” Tsss = As in the last syllable of “parenTS” Tt = The sound of “T” Tuh = As in “TOngue” Zaht = As in “thought” if you replaced it with a “Z” in the beginning 6 Breathe.
Copyright © 2013
Flute
 
 
Patrick Gutman
chaotic q = 104
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
   
   
mf




    




 
  
7

       

 
   


             
6
f
5
       
 
  

  



6
f
5
f
6

 
f
mf
     
  
mf
f
8
f
6

    


  



 
   
6
3
mp
switch to bass clarinet



    
   
5



  
   
mp

6
5
3
f


   
5
mp
5
7
   

   
5



   
     
f
  
 
f
f
    

f
  

 


9
       
          
   
Fl.   
5
mp
Cl.
7
f
5
      
  
  




6
mp

 
Hn.
mp
  
Vc.
   

5
mp
mp


  
  
7
f
6
3
mp
3
6
3
5


     
       
 






     

f
 
Vln.     

  
    
      






 
      

5

  



      
7
f
mp
 
   





   
 

7
 

 
mp
6


3


f

  

5
mp
 
        

     




       
   
  
6
mp



5
f

mf
f
mp
f
7
f
5
3
6
  
    
5

A

  
Fl. 

slightly slower q = 96
11

mp
B. Cl.




Hn.




Vln. 
 
  

  
 
Vc.

f





3
3
 
  

  



 
   





















  
 
 
  
    

   
  


7
sub tone

3










f
9


14
B. Cl.
7
       
sub t.

  

5
 

 






 
  
3
3






B. Cl.
sub t.
 

    
Flt.
p
6
 
 
      
 

Flt.
3
6

 

 

3
3
       




fast random pitches, irregular rhythms
p





  
 

 


stopped
Hn.


   
 
 


 


    
    
    


















  
  

   
    
  
  
6
21
B. Cl.
 
6
6
3
3
6
sub t.

Fl.
5
3
 
  

    



   



17
5
6
p

B


  


  




mf
 

 
  
 


3




  






6
     
 sub t.

3
3
7
5
5
  sul p.


  
 

Vln.  
   









 

  
 
  






 
 
p
breathe in loudly, keep rhythm random till letter C


5
5
 
             


Vc.

             
     


    
5
p
6
sul p.
7
3






ord.
p
10
  
mf


3







  

 

24
B. Cl.
Vln.
Vc.








 
 


 




 



3


  


3
 

 
 

  
sub t.

 

 
6
 
 




5
6
3
 
 
 
   



       
        
5
sub t.
3
5
3
   3 



  
 
B. Cl. 






     

     
   
27
Vln.
Vc.








    
  




   
      







  
 


 
   
   
 


 





7
        

sub t.




   
 

  

 

3

 
3
    

 
  

5
  
    


 



 
B. Cl. 


30
Vln.
Vc.










    
  
 
3



  





 







 
 

 


6
    
sub t.


 


11
 
 


 


 

 
  

 
  

  

  
sub t.

     
 
  
7
   


 
B. Cl. 

33
Vln.
Vc.




 



 





 





 




 

7
      


sub t.



3
3

     

 
  





  





 

3
3

 


 


5


 



 

 
   
3


        
       
 

3
3
5
5

C
        3       3    
Fl.      


36
q = 80
mf
B. Cl.
Vln.
 
 
 
 
 
Vc.


5
 



      

 


mf

 

 


 


 





3
   
mf
 


 
12

  

3




  
 
  
 


3



                 

 
3

 




   


39



      
Fl. 
B. Cl.

Hn.

3


  
 





     
   





Vln. 
Vc.


 


           

 


      

3
  
  
mf



 

      
  
  
3

5





  

        
3
   

3






mp
ord.




 


3


                 


 

 



 
mp
 

     
3


   





Fl. 
42
B. Cl.

  


Hn.

Vln. 
Vc.


   


 

 
 

3


          

3
 
    


  
 
 


 3
 

3
      



3
3




3
   
   
  
  


  

3



 


   

    




 
       




  





    
13

 


 
3


3









 

    

3

 
3

 
   
 
5

 
 

   

 
3

Fl. 
45
B. Cl.

Hn.



    

  


Vln. 
Vc.

 
 
 


   


 
      

 


3
    

  
 
   




 




  
3

           
 


6


3
3
 

   
    


 
   



    


3
 


  
 

 

 
 
 
     
3

 






 





 
    
  

      
3
  

 

    
 



48
Fl.
B.Cl.
Vc.
         








   
3
5



Hn.
Vln.


 
 
 
  
 


 





3

  







          
 



3
3




 



  



  


 

  


   
 

  
    
14




  
3
3




3
3
3
 
 





 






 
  



 







 
        









  
D gaining momentum q = 88
50
 
Fl.  
B.Cl.


 
Hn.
Vln.

 
 
 



mp
open

mp


  

3

 



    
 
 

    
p
 

  
 

 
Vc.
      

mp




 





3

 
 




 

 



mf p





  

  


3
 

 
        
mf


 
  
  

3


   

3

    

p


5
3
          
  


 
mf


 
5



 

p


Fl. 
52
B. Cl.


Vln. 
Vc.




3
   




 






   


  

   

6


 
 
 

5
 


mf







  
5
3
p


Hn.


   


  
mf

3
  

3
 

p
 




    



flt.




  

 
   


  


5

15

mf

 






p
 
   

  
 
5
3
p
switch to cl.

mf


 

3
 
    
  








 


 





mf p




Fl. 
54



Hn.
Vln.
Vc.




5



 
   

   

3
  





 


  


56
Cl.

 

Vln.
Vc.






 
mf


3





 
mf


   
 
3

  






  
6


  

  

3
    


mf




 
    

p


 

  

p
3
mp


5
      
  

5


  
    
mf
   

3
5
3
    

       




mf p




6
 
 

6
      


 



  

3
mp
   
3
3
5

  



   

  
16

 


   
3
 

5
   

  

3
3
3
3
   
 

f
mp
     
    
f

  
f
mp


 
  
mp
 
  

mf

 




  
     
   

mf
3
mp
5
5
mf
 
mf
     
 

  
mp



     
 



5

  
5

5
3
   
3
 
 

3
3
   

      

p

3
3
 

    




    


p
mf
5



3




       
 


Hn.
p
  
  
     


mf p
 
 mf
  
mp

Fl.
 

3
p
Cl.

    



5

3


       

mp

  
3


Fl. 
  
   
58
5
3
mp

Vln.


        







6
 

   
 
5
 







 
 


Fl. 
5
  
   



Hn.


5




     

3
Vln.
Vc.


  




5

3

mp

 


   



3
 
    


 



 




6

  




  
f

 



 





   

17


5

f


 

5
mp
6


 
         

mp
 5
          


  
   


   
5
    
3
6

   



 
5


     
     

mp
 




 








  
   





f


5
f
5
 

mp
5
     

3
     




  

 
f
3
  
6
  
    

5
mp

  
   
f
3

 
   

 

3

5
3


       

f
 
 


3


 






  
     

mp
mp
6
6
     


   








       
60
Cl.

mp
f
f
f
Vc.
     
6

   

 
  3
  
Cl. 

Hn.

 






  





 
   

      
3



6






3




3
5



 
f



E
 
 
62
Fl.
chaotic q = 110
  
   
  








     
 
5
  
  
 




      
  
 
 
7
6
5
6
mp
f


     
     
6
5










  
     

 
     

 
 
7
7
   
3
7
7
f
Cl.
 

  
 
mp
Hn.
  
 


5


  
 
5
5

5
mp


3

 
6


       
5

       






      
  
    
 
Vln.    

7
6
mf
mp
Vc.

 


mf


Fl.  
64
Cl.
Hn.
 
 
6


 
 

mp
6
f


 

5
   

      
   
7


  




 



 
7
6
f
3


  
  
3


   

    



   
Vln.  

6
5
6
 
Vc.
  

 

5


  


mp
3


mf



mp

 

 
 
 
f
   



6


 



  

5
7
mf
  
  


18
3


 3
  

 
  
5
6



6
f









     
3




3
mp
5
     
 


5
5


     
     
  
   


5
5
5


    
   
   
f

  

3
3
 


     
mf
f

5
             





  
 
  


   
  




mp


mp
5
 
 
 
    
  
     



5

  
 

 

5
f
  
 
6
5



5

    
  

                






 
  

Fl. 
67
Cl.

Vc.





5
5
mp


6
f
   
   




      
3
  
5
mp
3
        







      
  
   

      
  

 
Hn.
Vln.
5


   

   



 
 

 

3



3
 
   
 






5
3
mp
5


 

mp

   

 
5
3
 



6
f


3
 



3
mp

  
 
  
 


       
5
5
   
3
     






   

   
     

3
     

3


6
f
3
  
   




3
 
 





      
5
    
5
6
7


    


     

Fl.  
        
                       
6
5
6
f
p


loud key clicks, barely audible blowing
7
5
6
                   
5
6

   
    






















Cl.  


















         
5
6
5
p
loud key clicks, barely audible blowing
69

  
Hn.
f
  



3


kiss/smack
      
 
 
5

  


 




 3  
       

             col legno







7
5
 

   
        
          
Vln.  

      

        
5
6
7
Vc.

   
  
 

mp

   
 

5
p
f


p
3
 

mp


         
col lengo
19
6

   


5
3

 
          

     




     
Fl.  
72
ord.
6
5
mp
 
Cl.   


ord.
5

 

mp
6
6
5
5
f
6
5
    
5
f
   
mp

           





   
  

5
6
f
mp

mf

     





     
f

ord.
            
   
  
Vln.  

Vc.
5
 

         







   

mp

 
Hn.
f
 
5




mp

         




 
   

5
6

f
5
mp


 
   


5




F

q = 72

74
    



6
5


3
3
  
5



   
Fl.  
                                        
5
6
5
chk
chk
sfz mp
f
mp

to bass cl.
          switch

  
      






Cl.  
   


5
mp

 
6




breathe in loudly, keep rhythm random till m. 106
       
3







 




       
      
Vln.  
 
Hn.
Vc.

 


f
6
f
5




20


3


   



Fl. 

5
3
3
6
5
            
                 
        
   
  

  

 
 
 
78
B.Cl.
Vln.
Vc.


chk
chk
breathe as needed
 


n



sfz mp
chk chk




p


3
  


3
      



chk
      


fp
 

fp

fp



ord.
sul tasto




ppp
p




 

fp

     


fp
fp


Fl. 

3
5
3
     6     
                        
   


 
    
  

82
B. Cl.
Vln.
Vc.







chk
sfz mp
chk

   













 


pp
sul tasto

chk
 

n
  

pp
21
    
    
5
chk

    5    
   
sfz mp

3
  
ppp
p

5

p


Fl. 
86
B. Cl.
Vln.
Vc.

Fl.
B. Cl.
Vln.







 
       
           
   
    
 

chk chk






 
 
Vc.



fp


ppp

 
fp
ppp
fp
fp
fp
     


fp


fp

       
 

fp
fp


fp
6
 
   
      


 

 
sfz mp
6
  3 

 


 
fp


3
3
            
 

  
chk
chk
3 
3
3


      



3
3
         
    
fp
fp
fp
fp




chk
           





ord.
90



 



        
 
 
5
3
3


n

ppp
fp

fp
sfz mp
chk


 
p
22

3



fp
3



chk
    
   


mp



sul tasto

3
3
5
                   
 

   

 

3
5
3
      



fp
p
ord.

  
fp


3
     



3



  
  

5

 
mp






94
Fl.
B. Cl.
Vln.
Vc.

Fl.
B. Cl.







continuously gliss between notes till m.97
 
 
   

   

continuously gliss between notes till m.97
98

 



simile
 
Vln.  
Vc.
3

3
5
5
                      
  
    


  



sfz mp
chk chk
3
   
           


5
5
5
5
3
3


accel.

                
  

 
 


 
sfz mp
chk chk
3
3
3
3
3




              
5
5
5






             
                   
5
 
5

3
5
6

                      
   

   


  
chk chk
chk chk
sfz mp
3
5

 




   


sfz mf
5
sfz mf
6

sfz
q = 88
 
  





3
sfz mf
mf
6
5
                                                      
5
5
 


             
mf
 
3
3
    
3

23
     
   
5
6
5
    
6
               
mf


Fl. 
101
B. Cl.
Vln.
Vc.





 

         
 

   

 





chk
chk
sfz mf



rall.
6
sfz mf
sfz mf
sfz mf
3
3
3
                

5




sfz mp
mp
3
 


 
5



3
q = 72




p
3
                      
    
 

  

 3
5
5
               

  
    sfz mp
chk chk


       












p

3
 
         
Fl.    
     
105
chk chk
B. Cl.

  
 

 
Hn.
3

 

 



sul p
 
ppp

blow 1/2 air, fast random key clicks
flt.

flt.








blow 1/2 air, fast random key clicks
flt.
mp
 




flt.
mp



mp
 






  



24


  






flt.
col legno behind bridge, fast random pitches
 


flt.
col legno behind bridge, fast random pitches

breathe in loudly, keep rhythm random till m. 126
flt.
flt.
flt.
G


 
flt.
mp



  



ppp
 
Vln.  
Vc.

1. blow 1/2 air, fast random key clicks
flt.
flt.

col legno
3

  

   5           



 
 
3
mp



3

Fl. 
108



B. Cl. 

Vln.
Vc.
  
  

pp
   

breathe as needed


      

5


3
pp




 
breathe as needed
 
Hn.
  3 
       
 
  
p





5

p



         



fp
fp


fp
3

  

fp
fp


    


   
fp
fp
fp
3
fp
3
3
     
  5                     

  
         
   


pp

3
5
ord.


5


p



    


fp



fp
3
fp
fp

3



6
             5 
 
     
      



fp

 
fp





Fl. 
112
B. Cl.

Vc.

pp
 
Hn.
Vln.








5
 
pp
 



 






 
   
5

p


 
p
3
3
3
3

5


5
                                                                
3
mp
3

 
pp







25
 




5

p

Fl. 
poco accel.
116
B. Cl.





mp

Vln. 


 


 


 

  
 
3
3

       
continous gliss till end of slur
 
Hn.
Vc.
continuous gliss till end of slur


 
         
mp



   
     
6
3
  
 


 


   



  
     
   5     5        3     3    




   
   
 
     
continuous gliss till end of slur
mp
 

    
 
5
     
5
5
 5 
   
3
3
          


Fl. 
120
B. Cl.


Vc.
 
accel.




3
3
5
 3



                      
                                         
5
5
5
5
  
                            

Hn.
Vln.
q = 84




3
3
3
3
3
3
                  
3

5
6
3
3



               

5
5
  3
 5  

 
                         
3
5
ord.


5
col legno
      
3
3
3
3
5
5

 3
                                             
26

Fl. 
B. Cl.
Vc.


6
6
5
6
7
7
7
7


                                                 




ff
mf cresc.

     
Hn.
Vln.
q = 80
q = 100
124



3
ord.



 
mf cresc.
mf
cresc.



                                  
  
  
  
  
  




3


      
6
    
      
mf cresc.


     
3


5
 
 

5
  
    


 



        


 







  
     
5
5


5

6


5
ff
5
6
ff
6
ff




H
 
Fl.   
blow into instrument in wave-like patterns
127
 
B.Cl.   

Hn.












 

7
   
       














      
3

     
  



   

6

blow into instrument in wave-like patterns

   
blow into instrument in wave-like patterns


 
Vln.   
finger pitches only
7
7
 
mp
3
   3          
Vc.
   
   

finger pitches only
mp




3
6
6



3













              







7
7
6
6
27


5






 
Fl.   
131
B. Cl.

 
  

  
Hn.
blow/pulse into instrument


    


    


3

blow/pulse into instrument

  



3


5
 


blow/pulse into instrument



5

    
3






7
sul p.
7
7
7
7
7
 
   
   








  
Vln.   













 
      





           



  

      
7
7
7
7
bow as smooth as possible
Vc.
6
6
sul p.

                
6

 
          

     
           






 

  

 




6
6
   
6
6
6
6
6
bow as smooth as possible


Fl. 
B. Cl.
Vln.
3



 


Hn.
poco accel.
quickly breathe in
135




3

  
quickly breathe in
5


quickly breathe in








   


7


  




3






3
 

7
7
7


                       
7
Vc.



                       
6
6
6
6
      


5

  

 


 

 




6
5
     







 

 



6
5
    

   



 

7

              
    
7
7
  
    
6
6
28
  
     
   
6
6
6
 

5
 











7

   
6
 

I

Fl. 
Cl.


Hn.

Vln. 
Vc.




  




  
 



   
   
mf
ord. 3
  





  

     
 
5
ord.
3
   
    
 
      

3

7
 

3
   

   
5





   

       


6
  


 
5
    



 

   



    




   
  
3





  
3
mf



5



5
5




29




 

 
mf










  



 


3

   
5
mp
mf
 

  
6
mf
3
   
    

5


   
 
  
 
5



mf
       

mp
   
   
3

5
3
mp
3





     
  







    
3
6    

3
3
5



   
   
  
 
   

3
5
3
3
mf



    

 

5



  

 
         
  
Vln.  
Vc.


3
         

Cl.  


  
  
     


5
6
mf
 
 
Hn.
     

5



3
mf






141
Fl.


3
mf
 switch to cl.


   
   
5
q = 108
137
3
    
  
mp
3
   


mp
 

Fl. 
  
  

144
Cl.


3

Vln. 


 

mf

 
 
 
  

3

5
 

6
5
  

 
 
Hn.

mp
Vln.
Vc.





mp

 
3
 
 


5

    
 
3
mp
 
3
5
3
 
   
 
   


 

 

   

 



   

  
mp

mp
   

3

 
 

3
   

 



mf
5
 

mp
  

5

mp
5
 
mf
30
mp


 
6

3




mf
mf

 

mf
3
5

   

6
5
  
  
3
5
3
  

   
  

3
  
  

 
   
  
 
    

 

3
3
mp
 
 
mf
 
3
mp



mf



5

 
6
mf
mf



   
 
5
  

   
 
 
   
     
5
mp
5
mf
3


    



  

 

mp
mf


  


       






5
  

Cl.
 
mf
5
5
146
 
6
3
 

Vc.
  



Fl. 

 

mp
  
 


Hn.
6
  
 

   
3





3


J

Fl. 
Vln.
3
p




p




3

  

     
p
   

5
3
Cl.
Hn.
 

 


  
  
 
mf

play as written
ord.
5
 

Vln.  


  
mf
play as written
    
Vc.
 

mp
    
    
3
3
ord.

5
sfz
 
         
 
mf
mp


    
 
    

  


        


sul p
 
 
  
3

p
p

    

3
5
     

3
3

   
6
play as written


 


play as written
152
 
     
      
     
 

Fl.  

mf

3
   
sul p
sul p.
p
3

3
   

5

 

5
   
5


3
3
sul p.

  

  
3


    
 

    
finger only

5
 

move from air to pitch

p finger only
Vc.
  

      





Hn.
move from air to pitch
       
 
148
Cl.
q = 90
2. play randomly, as fast as possible, with 1/2 pitch


    3 




sfz

    
 
 

   
5
31
p











sfz

3
3
  



3
 



sfz
  
p

   
  





 

    




3
sfz
 
  
sul p
p

sfz


3
 
p



3. play pitches randomly, as fast as possible, 1/2 air

        

    
Fl.  
158
p
quickly breathe in



  
p
Hn.
 
Vln.  



 
 

p
sul p.
 
Vc.
   


  


Fl. 
160
Cl.


Hn.
Vln.
Vc.
quickly breathe in
  
 












3






 




3









 
pp
pp
3

5

mp
mp
pp





7
5

mp
pp
pp



mp
6
6
5
   








 
       
pp
mp
pp
32
6



pp




mp


pp


3
6
pp
mp
 


                    
5
3
7
7




    


                      
pp
3

pp

                   

5
5
mp
3

                   






5







pp
7
pp
quickly breathe in

     
pp
                
quickly breathe in
p

mp
7

 
sul p.

pp
3

 
              
quickly breathe in

 
 
    

Cl.  




5










 
 




pp
3





3
3


3







 


  









Fl. 
164
Cl.


Hn.


Vln. 
Vc.











  















 








  
   



    

6
sfz





       






7

   








 


arco
p
   







arco
     



  
    
Fl.  
3
sfz
 
 
 
Cl.       


3
sfz
4. play pitches/rhythm randomly, as fast as possible, 1/2 air

         

 
 
p
p

sfz




   



  
sfz
p
3
  
 
    

sfz


 
 
p
Hn.

3



      
p

 


spoken


kah
hah
p
 


         


    

    
sfz
p


p
sul p.

 




ssst
sshht


kuh
sul p.
             

p
33
tsss
tah
  

 



 

tuh


Bb


 
 
p
 
          
 
stopped
Vc.
3
      



p
 

p
sfz

slow q = 63
169
Vln.
 
  
  



      


3




Bb
K



174
Fl.
Cl.

Hn.
Vln.
Vc.
hah
  












sshht

kuh
tuh
hah
kah


  

  
tuh kah

 
kuh
kuh
mf

 


179
B. Cl.
Hn.
Vln.
Vc.




kah







   
sshht

kah
tsss


kah
Tt
Tt


 

   
sshht

Bb
 
Bb
Bb



tah
 
Bb

Bb

sshht


 
Bb
Bb


 
  
tuh
Tt
ffft
kah



tuh
tsss
 
tuh
tah
 

  

 

 
kah

sshht
Tt


Tt
 

tah kah


Bb
34
 
 

cha
Tt


tah
 

kah
Tt

tah
(whisper)
 
 
tah
(whisper)

 
  
kah
 

tah
(whisper)
 
 

kah
tah
(whisper)



Bb
mf


Fl. 
kah
  







sshht
mf
tah
  

Tt
mf


 

Ssst
kah
Bb


hot tuh


  



ffft


  
kah




hah
(whisper)
switch to bass clarinet
kah
tah



hot
mf
 
ssst

 
 
no instruments
 


kah

tah




3
tah
tah

hot

tuh
 
 


kah

Tt
Bb

 


Bb







Bb
 

 
Tt
Tt tsss
ffft

Bb
kah

tah
3
 




Tt
 



Bb

kah


Tt


Tt
 
kah
ssst
Bb


cha
 

Bb tah
(whisper)

   
tah
shot


cha
Bb
 
ffft


Tt sshht
 
Bb
 




kah
tah

Bb

3

Tt
tah

Bb

Bb

Fl. 
181



 


        
tah kah
tah kuh
tah
 

B. Cl. 


Hn.

sshht


Vln. 
Vc.


ffft





tah
kuh tuh

Tt



tah

sshht Tt
 
Bb

sshht
Tt


sshht


 
Bb
Bb
Bb
kuh

3
tah kuh

ffft
Bb


tah tsss

 
 
tsss
kuh pop


sshht
 
Bb
Tt
 
Bb

Bb

3
kah

  

Tt
 


kuh tuh

shot

tah
tah
cha


   

kah
kah

 

kah
cha
tsss


tsss


 
Bb
tah
tah
Tt
Bb
Bb



cha
Tt




3

 

3

cha kah tsss

kah
 

cha kah
Tt


Bb



  

Zaht! Kaht!



Bb



cha kah tsss
Bb


Zaht! Kaht!




Zaht! Kaht!
cha kah Zaht! Kaht!
 
Bb

Tah

  



kah
sshht

Bb







Zaht! Kaht!
L
growing more and more q = 88

Fl. 
183
5. 1x, 1/2 air...2x ord.

 
 
            



 

ppp cresc.
 
  
Hn.

Vln. 



 

 
  
6
ppp cresc. 7
split multiphonic sound

1x key clicks/blowing...2x stopped
open
Vc.
tah

Tt kuh tsss
 

 
Bb

B.Cl.

  

 
kah




p cresc.
sul p. 1x...arco 2x
7


            

6


ppp cresc.

 





 




3





   

  

 
 
7






35

6


 




 









 
            
      
   
7
3


 
6
7
6
5
          

 
6
    
      
    
   
6
3
7
ppp cresc.
sul p 1x...arco 2x
    
 


 
 

 
6



 
 
7


  

M



Fl. 
185
Cl.
B.

aggressive q = 88

 
 



 
Hn.
7
6

 


6
      






3



  
   
   
   
   


 
       
     


6





 



6
       
    
          

          
 
Vln. 
7
Vc.

6


6
        

 
6

 
7
3

     

 

 



 
 

 

 



 
ff



 



ff
5



  
 



ff
 


 
  
 
 
  
 
ff


 

ff


5
3









5




  
5






5


  




 
  
  


 

3









 5
  
 
 
 
  
  

5
3
 





5





3






Fl. 
187
B.Cl.




Hn.






 


Vln. 
Vc.



 
 


5


  



 

 


 



5


  









     
  
 



5



3
 

5


 

3






 
 


 


 

5


  
 






5
3

 


 


3
  
 



 

 



   











5

3
 



 5
  


 
   
  
3


 
 







36
3


 
3





 


 

 
3
3
  





   



 
3


 

3



 
    
 
 
 
 
 
 
 
                   
6


 


 


 

6





6





6








Fl. 
189
B. Cl.



 
 

3
3
3


 
 

3


      



 
   
 



Hn.

Vln. 
Vc.






 



 

6





 


 


6




3
 






 
 




 

6







 



 

6
 
  

    

  
 

  
 

3
3
3
 
 
      
  


  
 

3
3
3
3
3

 
3


            
               


















                  
3
3
3
3



           




6




3
3


     




 


 




3
3



 
 




6





6








3
3
3
3




  
   







         















 






 












6






6
6
6
6
6

 
 
192
Fl.
 

 
 
   

 

Hn.  
 

5

 
B. Cl.
Vln.
Vc.

  


 





3
   
 



 
 



 

5

 



 


  

3
 
 

 






5

 




 
 


 
3


 

 
5

 



 


3
   



 

 



 

 





  


 
5

 




  



 
37



3


 
 
 


 




 


5

 





3


 
   
 

 


 

 

 
5




 

 

 










3
 
 
 


 


 
5

 



 


3


 



 
5

 





3

 



  
  

 

 


 

 


 
 
 
194
Fl.
B. Cl.

Hn.
 

 


decresc.
 

 
 

 

5

 

decresc.
 
    
 
Vln.  
Vc.

 
 
decresc.

 
5



 
decresc.
5


  
 

 
 
decresc. 3






            
  


  



 
 


3
3






 




 
 
 












                          
   



 
 
5





 
5
 
 



 


 










 





  



  
 

 
 
3
3



 
 
5

 

3
3





3
3
5



 
3




 
3



 
5
 

3
3




 










3
3

3










        5    
                        
  




 


Fl. 
196
B. Cl.


Hn.

Vln. 
Vc.


5
5

  



  
 


 








 

 
3
3








 
   
 
3

5

 

 



 
mp 3



 
3
3
3
3
3
3
mp
     
mp
 
 
3
3
3
  

   

       
   
      
       


3
3







                   





 







 

3

mp
38


     
mp 3
3












3

 




 

   
3
 




     
3






         
3



3




3



 
3
3
3
3
3
 3
199
 3
 3  
  

   


    
  




  
 
   
        
Fl. 
3
B. Cl.

Hn.

  



Vln. 
Vc.

3


   

 
 




     
    
 


      

     

  


  
          

 
 


 
3




 
 
3

3



 
 
3
3
   
  
 
3

3
3

 




 

  

 
  
3
3
 
 
3
 

     
  





 3

 
3
 
  


 



  
3
   

3
3
 
    
   



 
 

 
 
3
3

  
3
  
 



 
 
  

 
3
 

 
3

3

Fl. 
203
B. Cl.


Vln. 
Vc.





Hn.

6. follow breathing patterns until your next pitch



3
3







3

simile


simile






 






simile
39


3



simile

3
3

simile


3



3
3
3

3





      





N







Fl. 
B. Cl.





Uh



3
3





Ssss
3


3

3

3

Uh


3


The

Tt


Jj
Bb


3

3



Vln. 
Vc.

3

Jj



Hn.

3
206


Ree
Tt
Ssss


Fl. 

210
B. Cl.

Vln.
Vc.






3
Ree



Hn.
3
Bb
3
rit.


Jj




3
3
Ree

Uh

The

Ssss


continue breathing pattern until next breath mark
q = 72


Jj
The


Bb


Uh
3
3


O
3
Ree



Bb

The


Tt
Tt


Ssss
40



Fl. 
216
B. Cl.


Hn.





Tt
Jj
Ssss


Uh


Jj



Bb

The
Jj
Uh
Ree
Tt

Ree

Bb

Ssss




Ssss


Vln. 
Vc.

Bb
Bb



Bb
Uh
Ree


Juh









Juh

St


The
Juh



St
Juh




Jj


q = 66
poco rit.


Juh
The


Fl. 

223
B. Cl.
Vc.
The



Hn.
Vln.

Bb





The


Bb

Bb


Ree
The

The

The


 



 



 



 



 

poco rit.
Ju
Ju
Ju
Ju
Ju
-
-
-
-
-


st
Brea


st
Brea


st
Brea
-

st
Brea


st
Brea
q = 60
- the
-



Ju


-
the
Ju


the
Ju

-
Ju
- the
-
st

st



-
the
Ju
-
41
st

-


st

st


Brea (whisper)


Brea
(whisper)


Brea (whisper)


Brea (whisper)




the.


the.


the.


the.

Brea
- the.
(whisper)





(inhale)
(exhale)
(inhale)


(exhale)




(inhale)
(exhale)




(inhale)
(exhale)
(inhale)
(exhale)





