A life at the radio's threshold

a life at the radio's threshold

Abel Paúl 2014

1) INSTRUMENTS AND APPLIANCES

Percussion:

-Steel sheet (approximate size: 100cm*50cm*1mm). The sheet must be completely smooth, without any cracks and/or bumps. A small fragment of sandpaper should bestuck to the upper part of the sheet's surface.-Pedal timpani (range: D3 to A3).-Glockenspiel with pedal. A couple of moderately heavy metal bars are required to play clusters on the glockenspiel's diatonic and chromatic rows. Four or five light metal chains(ideally sink plug chains) are required to be rubbed and slid on the metal bars.-Güiro. Its acoustic box should be as large as possible. Preferably, the notches should be relatively shallow. Avoid extremely deep ones-A kalimba (thumb piano) with at least 12 metal tines.-Tubular bells (ideally with damping pedal). The above mentioned metal bars are also used to perform clusters on the tubular bells.-A glass sheet (approximate size: A3 paper format). A small, rigid plastic box lid (such as the lid of a sewing needles box or similar) is required. The plastic lid should be rubbed against the glass sheet, producing very high harmonics at the friction with the glass surface. Select the plastic lid that creates the highest possible overtones.-Litophone. This instrument consists of a stone sheet (a small slate board or similar) and a smaller piece of stone which is rubbed against the sheet.-Small cardboard box (i.e. a shoe box).-Small bucket filled with pebbles. These pebbles are stirred and moved with the hand.-Superball-A small vibration speaker (see notes on speakers and media).

Piano:

-A small piece of sandpaper should be stuck to or placed on the keyboard lid.

A LIFE AT THE RADIO'S THRESHOLD Abel Paúl 2014

PERFORMANCE NOTES

-A small fragment of bike tyre is needed. It should be extracted from the tyre's inner tube (air chamber).-A small, rigid plastic box lid (such as the lid of a sewing needles box or similar) is required. The plastic lid should be rubbed against the keyboard lid, producing very high overtones at the friction with the instrument's surface. Select the plastic lid that generates the highest possible overtones.-Small vibration speaker (see notes on speakers and media).-The piano lid should remain open throughout the entire performance. Alternatively, it may be removed.

Violin, viola, cello:

-Small vibration speakers (one for each instrument). See notes on speakers and media.

2) GENERAL

Duration: aprox. 16' 30"

Fermatas: = short (around 3") = moderate (around 5") = long (around 7")

= very long (around 10")

3) SPEAKERS AND MEDIA

5 mini vibration speakers are needed for the performance of this piece (one for each of the performers). The recommended brand and model is "Auvisio VI-88". These speakers are used as resonators, occassionally substituting bows, beaters and hammers. The speakers are slid and rubbed on different surfaces (strings, acoustic boxes, etc.)The audio samples projected by the speakers are amplified by the specific physiognomy of every surface, creating a hybrid between the nature of the projected materials and the sonic identity of the instruments.A considerable number of audio samples needs to be played through the speakers for the performance of this piece. In order to realize this, a playback sampler software capable of multiple audio output routing such as Kontakt or Reaper-Rea Samplomatic (or similar) is recommended. It is strongly advised that the software patch is controlled with a midi keyboard (with at least 37 keys). Additionally, an external audio interface with a minimum of 5 mono outputs is necessary for the practical materialization of the patch. 5 RCA audio extension cables are necessary to connect the interface's outputs to the vibration speakers. Their length may vary depending on the size of the room and the specific position of the performers. Alternatively, conventional samplers may be used for the performance of this piece.

A midi keyboard controller score was produced for the first performance of the piece (see parts).All the individual mp3 samples may be downloaded here as a zip folder: www.abelpaul.net/materials1.htm

The correspondence between each midi key (according to the already existing score) and each concrete audio sample works as indicated below. Each sample is labelledwith a capital letter (from A to L) and a number indicating the specific output channel (1= percussion, 2=piano, 3=violin, 4=viola, 5=cello).

A1

A2

A3

A4

A5

B1

B2

B3

B4

B5

C1

C2

C3

C4

C5

D1

D2

E1

E2

E5

F3

F4

F5

G1

H1

I2

I3

I4

I5

J2

J4

K1

L1

L2

L3

L4

L5

For the first performance of this piece a Reaper Samplomatic patch was designed. It may be downloaded here: www.abelpaul.net/materials1.htm

The output routing must be modified according to your own external interface.

Speaker preparation

-All the speakers must be switched on individually before the performance starts.-A small, light piece of very fine sandpaper must be stuck to each vibration speaker so that friction is created when it is rubbed against a particular surface. All these speakers include an adhesive area in order to fix them to a particular surface/object. This area can be used to stick the fragment of sandpaper.

Samples

The audio samples have been designed by the compilation and mixture of conversations, speeches and readings of several artists, writers and filmakers. The piece is conceived as a crossbreed between the human voice and the acoustic and timbral identity of the instruments. The intelligibility of the semantic content of these samples is never intended.

Most of the actions performed by the percussionist involve the use of a vibration speaker. It should be rubbed and slid on the indicated instruments/surfaces in a delicate way.If excessive pressure is applied to the speaker it will not work properly and may result in irreparable damage.

4) TECHNIQUES AND NOTATION

PERCUSSION

1) METAL SHEET

The speaker should be exclusively rubbed against the sandpaper attached to the upper part of the sheet. The metal sheet should always be placed on the ground. It should be bent to the indicated degrees in order to obtain diverse tones and/or glissandi as indicated.Bending degrees:

=small curvature (around 160º) = large (around 100º) =extreme (less than 90º)=straight (180º) = moderate (around 130º)

(ACTIONS WITH THE VIBRATION SPEAKER)

�

These arrows indicate the direction (right/left)in which the speaker is to be rubbed on the sandpaper.

Transititions between two different bending positions.

moderate speed��

...

circles as fast as poss.

...

Rub speakers with a circular motion changing the speed as indicated. The arrows indicate the direction of the circular motion (right/left)

(ACTIONS WITHOUT THE SPEAKER)

Accent produced by a fast and transitionless change of positions (swiftly press down the sheet)


2) TIMPANI

Rub speaker on the timpani's head as fast as possible (brush). Meanwhile control the pedal in order to perform the indicated glissandi and pitch variations.

Pedal

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Rub speaker with a circular motion in the indicated rhythm. The arrows symbolize the direction of the circular motion (left or right).Each circle's duration is indicated by the underlying rhythmic figuration and is followed by a new circle in the oppossite direction.Meanwhile control the pedal in order to perform the indicated glissandi and pitch variations.

3 3

3 3

Rub speaker

Rub speaker with the right hand on the timpani's head. Rub superball with the left hand on the timpani's head.Meanwhile control the pedal in order to perform the indicated glissandi and pitch variations.

Rub superball

3) GLOCKENSPIEL

Cluster with metal bars. Hit each of the two rows (diatonic and chromatic) with the metal bars so that all the notated pitches are played simultaneously.

Lightly rub the metal chains(sink plug chains)on the diatonic and chromatic bars with a constant circular motion. Follow a gradual

ascending outline. Take two or more metal chains with each hand.

4) GÜIRO


Top

Rub the speaker along the güiro's surface following the indicated direction (from top to bottom or vice versa). A granutlated effect shouldbe obtained as the projection of sound materials through the speaker is challented by the small irregularities (notches) of the güiro's surface. Bottom

5) GLASS SHEET + PLASTIC LID

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7

Slide plastic lid with almost no pressure on the glass sheet, obtaining the highest possible harmonics. The arrows indicate a change of direction (right/left).

6) CARDBOARD BOX


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7

Rub speaker with a circular motion in the indicated rhythm. The arrows indicate the direction of the circular motion (left or right).Each circle's duration is indicated by the underlying rhythmic figures and is followed by a new circle in the oppossite direction.

7) TUBULAR BELLS

8) KALIMBA

Cluster with metal bars on the chromatic and diatonic rows. Use the same metal bars as with the glockenspiel.


��

��

Rub speaker with a circular motion on the kalimba's tines with very little pressure. Change direction according to the arrows.3

9) BUCKET WITH PEBBLES

Stir pebbles with the hand producing a constant, granular effect.10) LITOPHONE

��

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Rub a small stone/pebble on the litophone (slate board) with a circular motion.


PIANO

Rub vibration speaker along the indicated string in the given rhythm. The upper lines indicate the overall direction (upwards or downdwards)The speaker will be amplified by the actual contact with the string, generating a hybrid between the projected sound file and the actual acoustic nature of the string.

( )

"Tremolo": rub speaker as fast as possible (discreet up-down movement, like brushing) The upper lines indicate the general direction of the brushing motion (upwards or downdwards).

Slide vibration speaker delicately on the keys, without depresing them. Cover the indicated ranges.

( )

��

��

Rub the speaker on the upper strings of the piano within the indicated range with a circular motion. The circular motion should be crosswise, coveringall the strings within the indicated range.

Rub the speaker on the sandpaper (the sandpaper must be stuck or placed on the keyboard lid)


Rub piece of tyre rapidly and robustly along the indicated string. The friction will trigger a resulting tone (it sounds approximately 2 octaves and a minor seventh higher than the notated pitch).

Slide plastic box lid with almost no pressure on the keyboard lid, obtaining the highest possible harmonics. The arrows indicate the sliding direction (left/right)

STRINGS

ppp

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Violin,Viola Cello

Fingerboard clef: it cancels the traditional clefs and symbolizes the surface of the instrument: fingerboard, strings, bridge.The roman numerals (I,II, III, IV) indicate the actual string on which actions should be performed. (I=highest string, IV= lowest string)

Violin,Viola Cello

Loosely cover the string(s) at its base with the left hand to avoid vibration. This is always required for actions performed with the vibration speakers.

Bridge clef: it cancels the traditional clefs and it is used to notate actions performed exclusively on the bridge (only for actions with the speaker).

IV

Rub the speaker along the indicated string in the given rhythm. Follow the indicated overall direction symbolized by the lines. The speaker should be rubbed very delicately. Do not apply excessive pressure.

II

( )

( )

"Tremolo": rub speaker as fast as possible (discreet up-down movement, like brushing). Follow the indicated overall direction symbolized by the lines.

IV


Rub the speaker along the indicated string in small circles with a regular speed. Change speed when indicated.

"Tremolo" effect on the bridge (discreet up-down, brushing-like movement). The movement should be perpendicular to the bridge(up-down, not left-right).

� � � � Speaker spiccato on the bridge. Hold the speaker with the right hand and perform a delicate, controlled ricochet on the bridge. The ricochet shouldbe performed from left to right or right to left (as indicated by the arrows above). Increase/decrease the number of attacks progressively according tothe number of stacatto dots displayed.


tasto

ord

ponte

Lengthwise displacements of the bow between different positions (tasto, ordinario, ponte).

(vibr)

Slight vibrato on artificial harmonic

(brush)

Arco brushing on the indicated tone. The extent and intensity of the brushing is indicated by the graphic over the notes.

7 7

Highest possible artificial harmonic.

flautando

Flautato execution, symbolized by harmonic-headed noteheads. It signifies an uncompromisingly veiled effect with a relatively intense bowing sound. The notes are played very loosely, practically as harmonics. The bow should be drawn very lightly, with almost no pressure. This technique is combined with lengthwisedisplacements of the bow between different positions (tasto-ord-ponte).

legno

ord

ponte

Col legno execution, symbolized by harmonic-headed noteheads and the word "legno". It should always be performed "legno battuto" (using the bow's wood exclusively, no hair). The bow displacements lenghtwise to the string shouldalways be performed "appoggiato", not striking or bouncing.

arcoon the bridge's wood

Exclusively for cello (bar 60-86)

Toneless bowing on the wood of the bridge. The strings might be loosely covered by the left hand in order to avoid any unintentional response of the strings. If necessary, bow transversally on the wood of the bridge in order to avoid any residual pitch. The result must be completely toneless.

(h)

on the wood of the bridge

(h.)

Vl, Vla:Toneless bowing on the wood of the bridge. The strings might be loosely covered by the left hand in order to avoid any unintentional response of the strings. If necessary, bow transversally on the wood of the bridge in order to avoid any residual pitch. The result must be completely toneless.

5) SPEAKERS & DYNAMICS

6)SETUP

The manipulation of the speakers allow little variation in dynamics. The notation of detailed dynamics in the score suggests a specific musical intentionality (even if the actual result cannot be as accurate as notated). Try to exaggerate the indicated directionality as much as possible within the limited scope permitted by the vibration speakers.

Irregular tremolo

The person in charge of controlling the sampler/computer must remain at an invisible location but should be able to keep visual communication with the conductor.

x Piano

Vl.

Vla.

x

Cello

x

x

x Percussion

x Conductor

a life at the radio's threshold

q=50

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Abel Paúl 2014

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Glockenspiel

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bars on both rows.

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the surface

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discard güiro,

take kalimba

kalimba:

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with a circular motion.

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34 4

4

Perc.

Pno.

Vln.

Vla.

Vc.

��

3

��

3p

��

pp

��

ppp

��

��

3

��

5:q

p

5:q

��

��

3

ppp

��

3

��

3 3 3 3

��

3

��

3

p

��

ppp

��

3

��

p

��

3

��

ppp

��

3

��

3 3 3 3

3

3

pp

3

3

3

3 3 3 3 3

pont

tasto 3

ord.

3

pont.

ord.

pont.

ord.

3

tasto ord.

tasto 3

ord.

3

pont.

ord.

3 3 3 3 3

tasto

pont

3

ord.

3

p

tasto

p

pp

pp

ord.

ppp

ppp

tasto ord.

3

p

p

ord.

pont.

3

ppp

ppp

ord.

3

tasto ord.

3

3 3 3 3

3

3

p

pp

ppp

3

p

3

ppp

3

3

3 3 3 3

Sampler 3

1

4

5

2

110

58

38

24

316

34

44

Perc.

Pno.

Vln.

Vla.

Vc.

��

3

��

��

6:q.

p

6:q.

ppp

��

��

6:q

p


...

discard kalimba3

��

3

��

6:q.

mp

6:q.

pp(h)

��

discard speaker

mf

3

tasto 3

ord.

pont.

mp

pp

ord.

tasto

mf

tasto

pont.

pppp

take speaker

pont.pont. pont.

3

ord.

tasto ord.

mp

pp

ord.

mf

tasto (h.)

pppp

take speaker

3

mp

pp

(h.)mf

(h.)

pppp

Sampler

1

2

5

4

3

8

119

34

14

24

Perc.

Pno.

Vln.

Vla.

Vc.

Timpani

ppp

Rub in circular motion along the membrane's edge.

(Only 1 circumference!)

��

take hard mallets

p

tubular bells

pppp

(simile: let vibrate always)

5 5 5 5 5

Pedal

p

(loco)

Keyboard

pppp

5 5 5 5 5

III rub speaker on string

� �

Speaker spiccato on the bridge.

Right and left overall

motion as indicated.� � � � � �

5

II

II

(w)

ppp(w)

rub speaker on string

ppp(w)

(w)

(h)

(h)

8

7

p

p

� �

pp



motion as indicated.

pp

� �

pp

pp

pp

pp

�

�

pp

pp

pp

pp

�

pp

pp

�

5

ppp

9

p

� �



motion as indicated.

pp

� �

pp

pp

� pp

� pp

�

�

pp

5

Sampler

2

1

3

4

5

(w)

B1

B5

B3

B4

(w) (h)

F3

F4

F5

126

34

24

34

Perc.

Pno.

Vln.

Vla.

Vc.

pp

pppp

pp

pppp

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

pp

pppp

pp

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

pppp

� �

pp

�

pp

�

pp

�

�

pp

pp

�

�

pp

5

pp

�

�

pp

5

pp

�

pp

�

pp

� �

5 5 5 5 5 5 5 5

��

pp

�

pp

�

pp

�

�

pp

pp

�

�

pp

5

pp

�

�

pp

5

pp

�

pp

�

pp

��

5 5 5 5 5 5 5 5

� �

pp

�

pp

�

pp

�

�

pp

pp

�

�

pp

5

pp

�

pp

�

5

pp

�

pp

�

pp

� �

5 5 5 5 5 5 5

5

Sampler

2

1

4

3

5

9

24

133

34

Perc.

Pno.

Vln.

Vla.

Vc.

pp

5

pppp

5

pp

pppp

5 5 5 5 5 5:4x 5 5 5

pp

5

pppp

5

(damping pedal)

simile 5 5 5 5 5 5:4x 5 5 5

pp

pppp

� �

pp

�

�

�

pp

pp

�

�

pp

pp

�

5

pp

�

5

pp

� �

pp

�

5

5 5 5 5

� �

pp

� �

�

pp

pp

�

�

pp

pp

�

5

pp

�

5

pp

� �

pp

�

5

5 5 5 5

� �

pp

� �

�

pp

pp

�

�

pp

pp

� 5

pp

� 5

pp

� �

pp

� 5

5 5 5 5

Sampler

5

1

4

3

2

142

24

34

24

Perc.

Pno.

Vln.

Vla.

Vc.

pp

pppp

5

5

ppppp

5 5 5 5 5 5 5 5 5 5

pppp

5

5

ppppp

5 5 5 5 5 5 5 5 5 5

pp

�

�

�

�

pp

�

�

5

pp

�

5

�

pp

�

pp

� �

�

pp

�

ppp

5

5

5

5

5

55 5 5 5

pp

�

�

5

pp

�

5

�

pp

�

�

pp

�

pp

� �

ppp

5

5

5

5

5

55 5 5 5

� �

pp

�

�

5

pp

� 5

pp

�

�

pp

� �

pp

� �

ppp

5

5

5

5

5

55 5 5 5

Sampler

1

4

2

3

5

10

14

152

44

78

34

24

58

24

Perc.

Pno.

Vln.

Vla.

Vc.

Discard mallets.

Take speaker and

plastic box lid.

R.H.

-R.H: Cardboard box. Rub speaker with a circular motion

��

ppp

5:q

p

��

7

pp

��

p

��

��

pp7

��

pppp

��

7

��

7

7 7 7 7 7 7

L.H.

-L.H: Glass sheet. Slide plastic box lid with almost no pressure

ppp

��

7

��

��

7

7

7 7 7 7 7 7

Take plastic box lid.

keyboard

p

pp

Slide plastic box lid on the keyboard lid

with almost no pressure

ppp

�� 7

��

��

7

7

7 7 7 7 7 7

discard speaker,

take bow

arco

sul pont.

I

pp

7

(vibr)

ppp

(arco brush)

p

ord

pp

(vibr)

pppp

7

7

7 7 7 7 7 7 7

(arco brush)

discard speaker,

take bow

arco

sul pont.

I

pp

7

(vibr)

ppp

p

ord

pp

(vibr)

pppp

7

7

7 7 7 7 7 7 7

discard speaker,

take bow

arco

sul pont.

I

pp

7

(vibr)

ppp

(arco brush)

p

ord

pp

(vibr)

pppp

7

7

7 7 7 7 7 7 7

Sampler

1

2

3

4

5

G1

161

38

24

Perc.

Pno.

Vln.

Vla.

Vc.

��

7

pp

��

p

��

pp

��

��

��

7

p

pp

7

��

pppp77 7 7 7

��

7

�� p

��

pp

�� 7

7

7 7

ppp

p��

pp

��

�� 7

��

�� 7

7

7 7

7

(brush)

7

7

ord.

77 7 7 7

7

pp

pp

(brush)

p

p

pp

pp

p

p

pp

pp

ppp

ppp

7

p

p

pp

pp

7

pppp

pppp

ord.

77 7 7 7

7

pp

(brush)

p

pp

ppp

7

p

pp

7

ord.

pppp

77 7 7 7

Sampler

1

2

5

3

4

p pp

11

171

58

24

34

78

Perc.

Pno.

Vln.

Vla.

Vc.

��

��

pp

p

��

pp

7

��

7

7 ppp

��

pp

��

7

pppp

��

��

(circles as fast as poss.)��

�� ...

7 7 7 7 7 7 7 7

��

7

�� 7

7

�� 7

�� 7 7 7 7 7 7 7

ppp

pp

ppp

�� 7

�� 7

7

�� 7

��

��

7 7 7 7 7 7 7

(vibr)

(brush)

pp

p

pp

(vibr)

7

7

7

ppp

(brush)

pp

ord. (vibr)

7

pppp

7 7 7 7 7 7 7 7

(vibr)

(brush)

pp

p

pp

(vibr)

7

7

7

ppp

(brush)

pp

ord.

(vibr)

7

pppp

7 7 7 7 7 7 7 7

(vibr)

(brush)

pp

p

(vibr)

pp

7

7

7

ppp

(brush)

pp

ord.

(vibr)

7

pppp

7 7 7 7 7 7 7 7

Sampler

1

2

5

3

4

180

34

58

14

Perc.

Pno.

Vln.

Vla.

Vc.

pp

... Discard speaker.

Take metal chains

ppp

Glockenspiel.

Lightly rub chains on the diatonic and chromatic bars

with a constant circular motion. Follow a gradual ascending direction.

Two or more chains per hand.

pppp

Discard metal bars.

Take speaker & superball.

��

pppp

rub piece of tyre

on string

discard pieceof tyre

pp

Take piece of tyre

p

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

��

(highest possible artificial harmonic)

pp

pppp


pp

pppp


pp

pppp

take speaker

Sampler4

2

5

3

1

12

44

187

24

Perc.

Pno.

Vln.

Vla.

Vc.

R.H.

ppp

Rub speaker

Timpani

p

ppp

p

ppp

p

ppp

p

Pedal

L.H.

ppp

Rub superball

p

ppp

p

ppp

p

ppp

p

keyboard

p

pppp

pp

pp

pppp

pppp

pp

III

legno

pppp

ord

ponte

ord

tasto

gliss. ord

ponte

ord

tasto

ord

tasto

ponte

legno

pppp

ord

IV

pp

ponte

pp

ord

pppp

tasto

pppp

gliss. ord

ponte

pp

pp

ord

pppp

pppp

tasto

pp

pp

ord

ppp

ppp

tasto

ponte

pp

pp

legno

pppp

ordIV

ponte

ord

tasto

gliss. ord

ponte

ord

tasto

ord

tasto

ponte

Sampler4

2

5

3

1

H1

pp pppp pp pppp pp ppp pp

197

38

24 3

8

Perc.

Pno.

Vln.

Vla.

Vc.

ppp

p

ppp pp

p

pp

p

pp

p

pp

p ppp

p

ppp

ppp

p

ppp pp

p

pp

p

pp

p

pp

p ppp

p

ppp

ppp

pp

take speakerpp

ppp

pp

ppp

ord

pppp

tasto

ord

ponte

pppp

tasto

ord

tasto

ord

ponte

ord

tasto

ppp

ord

pp

ord

ppp

tasto

ord

ponte

ppp

ord

tasto

ord

tasto

pppp

ponte

pp

ord

ord

pppp

tasto

ord

pp

ponte

pp

pppp

tasto

ppp

ord

ppp

tasto

ord

pp

ponte

pp

ord

ppp

tasto

ord

pp

ord

ppp

tasto

ord

ponte

pp

pp

ppp

ord

tasto

pp

ord

pp

tasto

pppp

pp

ponte

ord

ppp

ppp

ord

pppp

tasto

ord

pp

ponte

pppp

tasto

ppp

ord

tasto

ord

pp

ponte

ord

tasto

ppp

ord

pp

ord

ppp

tasto

ord

pp

ponte

ppp

ord

tasto

pp

ord

tasto

pppp

pp

ponte

ord

ppp

Sampler

1

4

2

5

3

13

34210

44

58

44

Perc.

Pno.

Vln.

Vla.

Vc.

take metal bars

mp

Tubular bells:

cluster with metal bars

on the diatonic and chromatic

rows.

ppp


on string

3

8p

pp

rub speaker

ppp

3 3 3 3

(keyboard)

p

keyboard

ppp

take speaker

IV

Rub speaker with a

very slight circular

motion following the

general outline

ppp

ord

pp

ppp

circles

crine,

on the bridge's wood

ppppp

(w)

(w)

(w)

( q.)

7

pp

take speaker

crine,

flautando alla punta

ppppp

��

sul tasto

molto sul tasto

6

pp

take speaker

Sampler

2

1

4

5

3

A2I3

I2

24

216

38

44

24

34

38

78

34

Perc.

Pno.

Vln.

Vla.

Vc.

ppp

Litophone (rub pebble in circles)

��

pp

ppp

��

pp

ppp

��

pp

��

ppp

(h)(h) (h.) (h)

pp

ppp

pp ppp

pp ppp

pp

ppp

pp

ppppp

ppp

III

ord

(h)pp

ppp

ord

ppp

ord

pp

(h)ppp

ord

pp

ppp

ord

(q.)pp

ppp

ord

(h.)

pp

ord

ppp

(h)

Rub speaker with a



indicated general

direction

I

ord

(h)pp

ppp

ord

pp

pp

ppp

ord

pp

(h)

ppp

ord

pp

ord

ppp

(q.)

pp

ppp

ord

(h.)

pp

ord

ppp

(h)

Rub speaker with a



indicated general

direction

(h)pp

ppp

ord

pp

ppp

ord

pp

(h)ppp

ord

pp

ord

ppp

(q.)pp

ppp(h.)

pp

ord

ppp

(h)

Sampler

1

4

2

3

5

I4

I5

14

78

226

38

34

44

24

44

Perc.

Pno.

Vln.

Vla.

Vc.

��

pp

��

ppp

pp

��

ppp

��

p pp

8

mp

8

pp

5 5 5 5

L.H: take speaker rub speaker on the stone sheet in circles

8

8

5 5 5 5

pp

(h)

ppp

pp

(h.)

(h.)

ppp

p

ppp

p

ppp

ord

pp

(h)

ppp(q.)

(h.)

pp

(h.)ppp

ord

p

discard speaker, take bow

ord

pp

(h)

(q.)ppp

(h.)pp

(h.)ppp

ord

p

ord

pp

(h)

(q.)ppp

(h.)pp

ppp

(h.)

ord

p


Sampler

1

4

2

5

3

A1

34

233

38

58

Perc.

Pno.

Vln.

Vla.

Vc.

rub speaker on sandpaper

with a regular circular motion

p

ppp

p ppp

5

pp

ppp

p

pp

ppp

p

5 5 5 5 5 5 5 5 5 5 5

ppp

��...

sul pont

p

7

ppp

p

7

ppp

5

5

pp

5

5

ppp

p

7

ppp

p

7

ppp

5 5 5 5 5 5 5 5

I

pp

7

7

5

5

5

5

7

7

5 5 5 5 5 5 5 5

sul pont

p

J2

6

ppp

p

6

pp

ppp5

pp

5

ppp

p

6

ppp

p

6

ppp

5 5 5 5 5 5 5 5

Sampler

4

1

2

5

3

J4

15

38

240

34

24

Perc.

Pno.

Vln.

Vla.

Vc.

ppp

pppp

5 5 5 5

(irregular vibr.)

ord.

pppp

7

7

7

ppppp

( ) 5

5 5 5

II

(irregular vibr.)

pppp

ord.

ppppp

Sampler

1

2

3

4

5

249

44 1

4516

24

316

Perc.

Pno.

Vln.

Vla.

Vc.

pppp

Tubular bells

with very soft mallets

take plastic

box lid

glass sheet:

rub plastic box lid

pebbles (stir)

ppp

ppp

Slide contact speaker

on the keys without

depresing them.

( )

ppp

Keyboard

(keyboard)

rub speaker on

sandpaper

ppp

take speaker

IV

pp

rub speaker

(w)

IV(w)

(w)

(IV)

pp

rub speaker

take speaker

pp

IIVrub speaker

Sampler4

5

3

1

2

F4

C2

16

A3

A5

A4

28

257

38

716

516

28

38

78

316

716

38

Perc.

Pno.

Vln.

Vla.

Vc.

Sampler4

2

5

3

1

28

267

54

58

24

38

Perc.

Pno.

Vln.

Vla.

Vc.

pppp

p ppppp

take metal sheet

and speaker

take pebble

pppp

Litophone (rub pebble)

p

rub piece of tyre

on string

f

discard speaker,

take piece of tyre


arco

ppppp

molto sul pont.

mp

7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7

(behind the bridge)

I on the bridge

(behind the bridge)I

on the bridge

Sampler

1

2

3

4

5

C4

C5

17

44

276

38

34

38

316

Perc.

Pno.

Vln.

Vla.

Vc.

ppp

�

Metal sheet:

rub speaker on the sandpaper.

pp

�

ppp

�

�

pp

�

�

�

ppp

�

pp

�

�

ppp

�

pp

3 3 3 3 3 3 3 3 3 3 3 3

ppp pp

pp

3 3 3 3 3 3 3 3 3 3 3 3

ppp

pp ppp

pp ppp

K1

Sampler3

1

4

2

5

316

283

38

34

316

34

44

14

Perc.

Pno.

Vln.

Vla.

Vc.

rub speaker in

regular circles ...

p


...

moderate speed

...

ppp p

as fast as poss.

...

moderate speed

...

pppp

pp

take speaker

ppp

p

Rub speaker in circles

IV

ppp

(h)

p


(h)

regular speed

ppp

(h.)p

(w)

regular speed

pppp


III


ppp

(h)

p



(h)

regular speed

regular speed

ppp

(h.)

p

(w)

regular speed

regular speed

pppp

ppp

I

(h)

p

(h)

ppp

(h.)

p

(w)

pppp

Sampler3

4

2

5

1 B1

B3

B4

B5

18

24

291

14

54

44

24

14

44

38

Perc.

Pno.

Vln.

Vla.

Vc.

ord.

��

� � ��

�

�8

�

�

p

�

�

�

8

�

��

�

ppp

pp

�

ppp

pp

6 6

ppp

rub speaker on string

ppp

7

p

7

(h)ppp

pp

ppp

pp

ppp

IVord.

9

p

9

(h)

circles

(w)

ord.

3 7 7 3

ppp

III

circles

ord.

8

p

8

(h)

ppp

ppp

(w)

pp

pp ppp

ppp

pp

pp

circles

ppp

ord.(I)

(h)

7

p

7

(h) (h)

ppp

pp

(w)

ppp pp

5 5

Sampler

1

2

5

4

3

L2

L1

L3

L4

L5

�

�

�

�

�

�

�

�

24

299

34

14

24

14

24

34

14

Perc.

Pno.

Vln.

Vla.

Vc.

ppp

p

� ppp

p

ppp

�

pp

rub in circles

...

�

ord.

�

�

�

15:q.

��

�

�

ppp

�

pp

ppp

3

ppp

(h)p ppp

p ppp pp

14:q.

ppp

pp

(h)

ppp

3

3 3

ppp

p

ppp

p ppp pp

13:q.

ppp

circles

3 3

(h) (h)

p ppp pp

12:q.

ppp

pp

(h)

ppp

circles

33

Sampler

2

3

4

5

1 �

�

�

�

�

�

19

�

�

�

24

309

78

34

14

24

58

34

14

24

Perc.

Pno.

Vln.

Vla.

Vc.

�

pp

�

�

p

�

ppp

pp

circles

...

ord.

ppp

pp

ppp

p

ppp

p

ppp

pp

pp

(h.)

ppp

circles

Sampler4

3

5

2

1

�

�

�

� �

�

38

318

34

44

14

54

14

Perc.

Pno.

Vln.

Vla.

Vc.

�

�

p ppp pp pppp

Sampler

2

5

1

3

4

20

A life at the radio's threshold

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Transcript of A life at the radio's threshold