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Illinois State University ISU ReD: Research and eData eses and Dissertations 4-13-2014 Philosopher in a Jar Christopher Castillo Illinois State University, [email protected] Follow this and additional works at: hp://ir.library.illinoisstate.edu/etd Part of the Music Commons is esis and Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in eses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Recommended Citation Castillo, Christopher, "Philosopher in a Jar" (2014). eses and Dissertations. Paper 141.
Transcript of Philosopher in a Jar - COnnecting REpositories · Philosopher in a Jar is composed for vibraphone,...
Illinois State UniversityISU ReD: Research and eData
Theses and Dissertations
4-13-2014
Philosopher in a JarChristopher CastilloIllinois State University, [email protected]
Follow this and additional works at: http://ir.library.illinoisstate.edu/etd
Part of the Music Commons
This Thesis and Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Thesesand Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected].
Recommended CitationCastillo, Christopher, "Philosopher in a Jar" (2014). Theses and Dissertations. Paper 141.
PHILOSOPHER IN A JAR
Christopher Castillo
28 Pages May 2014
Philosopher in a Jar is composed for vibraphone, piano, electric guitar, and
amplified contrabass. The music was inspired by the unpublished short story, “The
Galleon,” by T.V. Swantek. Drawing from the ideas of the seventeenth century French
philosopher René Descartes, the story is a fictional realization of Descartes “evil demon”
scenario and references his philosophical idea: “Cogito Ergo Sum.” In “The Galleon,"
the artificial intelligence entity is the “evil demon” and is represented in the music by the
use of perfect fourth intervals and steady rhythmic phrases. The protagonist of the story
is a consciousness (the philosopher), presumably a former human, which has been placed
into a robotic body and is confined to the artificial intelligence vessel. The philosopher is
represented in the music with freely performed phrases, improvisation and serial
passages. The story is presented in the form of a message being sent by the philosopher.
The music incorporates the use of Morse code to convey the moral of the story: “Cogito
ergo sum.” The title refers to the preservation of the consciousness being held in the AI
vessel.
PHILOSOPHER IN A JAR
CHRISTOPHER CASTILLO
A Thesis Submitted in Partial
Fulfillment of the Requirements
for the Degree of
MASTER OF MUSIC
School of Music
ILLINOIS STATE UNIVERSITY
2014
Copyright 2014 Christopher Castillo
PHILOSOPHER IN A JAR
CHRISTOPHER CASTILLO
COMMITTEE MEMBERS:
Chen Yao, Chair
Martha Horst
William Koehler
i
CONTENTS
Page
CONTENTS i
KEY COMPOSITIONAL COMPONENTS & CHARACTERIZATIONS 1
PERFORMANCE INSTRUCTIONS 2
PHILOSOPHER IN A JAR 4
1
KEY COMPOSITIONAL COMPONENTS & CHARACTERIZATIONS
Instrumentation: The piano and contrabass represent the machine. The coarse
sounding harmonics in the contrabass and the clashing overtones of the un-dampened
piano passages are used to convey the mechanical ambiance of the A.I. vessel. The
vibraphone at rehearsal letters “C,” part of “D,” and “E” represent conscious thinking
of the philosopher. The Electric guitar represents the soul of the philosopher and
could be thought of as the voice of humanity. The element of improvisation also
presents a contrast to the conscious-less machine.
Harmonic language: The perfect fourth interval is used to represent the machine.
Stacked fourth chords are presented in octave displacement as a means for the
machine to trick the philosopher (see example in the vibraphone at rehearsal letter
“K”). Pitch content from tone rows are presented in quasi-serial passages, and
represent the philosopher’s freedom of conscious thought
(P0:0,7,11,2,4,1,6,9,3,10,8,5).
Tempo/Rhythm: Sections marked “Freely” represent the philosopher’s consciousness
(rehearsal letter “C”) or represent the idea of freedom presented in the “Programmed
Dream Sequence.” Passages in strict tempo sections that feature steady pulsed
rhythms, such as the piano and contrabass in the “Mechanical” sections, represent the
machine.
Morse code: Represents the message being sent from the philosopher.
2
PERFORMANCE INSTRUCTIONS
In the vibraphone part, notes with a cross through the stem ( ) are to be struck on the
edge of the bar with the shaft of the mallet stick.
The note values in the “Ad lib” section at rehearsal letter “C” are approximate note
values and should be realized at the performer’s discretion. This section should be
performed at a “forte” dynamic level though the performer should vary the dynamic
levels to shape the phrase as to their liking.
The “Freely” section at rehearsal letter “E” is to be performed in the same manner as
the above mentioned section (“C”). The vibraphonist and guitarist are independent of
each other; there is no need for any rhythmic alignment. However, the distinct phrase
in the guitar part which directly precedes rehearsal letter “F” should act as a cue into
the next section.
Rehearsal letters “P”, “Q”, and “R,” up to “S,” include boxed pitches of sixteenth
notes in the vibraphone and piano parts. The players should perform the boxed notes
and repeat them with no pause after the note successions. The result should be a
constant flow of sixteenth notes. In the first measure of rehearsal letters “P,” “Q,”
and “R,” the performers should vamp their part until the guitar and bass cue the next
measure. The vamped measures should last three to five seconds. The vibraphone
player and piano player should listen to the guitar and bass parts to receive a cue into
letter "S.”
3
Morse code passages are to be played rhythmically just as a typical Morse code
telegraph message would sound, but using the notes or note areas as provided in the
boxed figures. The performer can think of the “dashes” and “dots” as (relatively) long
notes and short notes. For example the code:
sum can be interpreted as:
The slashes represent a space in between letters and should be observed
with a rest. A blank space in between two slashes represents a space between words
and should be observed with a rest longer than the duration of the rest in between
letters. The rhythmic example provided above does not serve as a necessary solution,
and the performers should interpret the code as best as they see fit. There is no
rhythmic dependence among the individual parts from rehearsal letter “T,” up until
“V,” and it is not intended to be in any rhythmic unison.
In the piano part, hand symbols ( ) should be performed as tone clusters in the
general note area of where the hand image is placed on the staff. The performer
should play a mix of white and black keys.
{
{
{
{
Vibraphone
Piano
Electric Guitar
Amplified
Contrabass
"The Machine"
10" 10" 10" Mechanical q = 60A
p
p coarse
Vib.
Pno.
Cb.
p
8
2
4
2
4
2
4
2
4
2
4
2
4
&∑
U
∑
U
∑
U
∑ ∑ ∑ ∑
Christopher Castillo
PHILOSOPHER IN A JAR
&∑
U
∑
U
∑
U
∑ ∑ ∑ ∑
?∑
U
∑
U
∑
U
?
P hold until rehearsal C
U U U
l.v.
‘“
— — — —
&∑
U
∑
U
∑
U
∑ ∑ ∑ ∑
?U U U
sul pont.
IV III II IV III II
&∑
Hard mallets
P hold until rehearsal C
strike on the edge of bars w/ shaft of sticks
?
l.v. – – – –
?
‘“>
l.v.
— — — —
‘“>
—
?
III II IV III II III
”“”“ ”“
”“
∑
IV III
Œ
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˙˙
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=
4
{
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{
Vib.
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B
15
p expressive - w/o pick attack (volume swell and finger slide)
Vib.
Pno.
E. Gtr.
Cb.
21
&
?
?
— — —
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— —
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?
II IV III II IV
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&
?
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{
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27
f
pf
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32
1
4
1
4
1
4
1
4
1
4
&
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&
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II III II III IV III IV II III IV III IV
&
3
&
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=
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6
{
{
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{
Vib.
Pno.
E. Gtr.
Cb.
mppp
°
Quasi-mechanical q = 60
D
32
pp
°
p
ppp
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Pno.
E. Gtr.
Cb.
39
mp ppp mf pp
2
4
2
4
2
4
2
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2
4
&
( )
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∏∏∏
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3
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?
&∑ ∑ ∑
4
Artificial harmonics
3
2
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ord.
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>>
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&
1
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b
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7
{
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
* mf expressive
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E
46
*
mf expressive
mf
Vib.
E. Gtr.
Cb.
46
pp
Vib.
Pno.
E. Gtr.
Cb.
p
Quasi-mechanical q = 60
F
47
poco a poco cresc. to rehearsal H
P hold until rehearsal H
pp
p
poco a poco cresc. to rehearsal H
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
&
3
&∑
U
?U
&
use bar to bend up, hammer on, and/or slide to notes
?U
&
( )
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∏∏∏∏
∏∏∏∏
∏∏∏∏
&
3
3
?
U
∑
&
?∑ ∑ ∑
?
‘“
l.v.
—
&
w/ pick 3
?
sul pont.
Œ
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œ#
œn
˙# œn
œ#
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œ
œn
œn
œ
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n
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j
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j
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j
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j œ
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#
˙
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b ˙˙
n ˙˙b
b ˙˙
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# ˙˙#
# œœ#
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˙ ˙ œ œ ˙ ˙ ˙
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j œb ™ œ œœ
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œ
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œb ˙
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œ ‰
œ
J
=
=
8
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
poco a poco cresc. to rehearsal H
53
P hold until rehearsal I
poco a poco cresc. to rehearsal H
p
Vib.
Pno.
E. Gtr.
Cb.
( mp )
Slightly faster (q = 66)
G
59
( mp )
( mp ) ( mf )
( mp ) ( mf )
&
&∑ ∑ ∑
?
?
— —
‘“>
— — —
&
?
&
&
?
?
‘“>
— — — —
&
sim.
(bend lower note from
semi-tone below)
?
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b ˙
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œb
b œ
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œ
n
n
œ
œ
œ
œ
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œ
œ
n
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œn
b œ
œ
œ
œ
b œœ
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b
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# œœ
˙˙
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# œœ#
# œœ
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˙˙
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œ œ ‰ œ
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‰
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J
‰
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œ
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‰
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œ
œ
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œ
œ
œ
œ
œ
˙˙bb
œ
œ
n œ œ œœbb
œœ
˙
˙#
#
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œ
œœ
œ
œ<b><b> œ
œb
b œ
œ
œ
œ
b ˙˙
˙
˙b
b œœn
n œ
œ#
# ˙˙n œ
œn
œ
œ#
œœ
œœœ
##
œœ#
# ˙˙˙n
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œœœ
##
œœ#
#
˙˙n
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##
œœn
œœ
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## œ
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#
œœn
œœ
#
˙˙
œ<#> œn œb œ œ# œ ™œ
J
˙ œ#
j ˙̇b˙̇n# œœ œœ#
œbœb œ
œœ
œœ œ
œ œ
œb œ œœ œ
œb œ
œ œœ
œb œ œb œb
=
9
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
( mf )
Slightly faster (q = 72)
66
( mf )
Vib.
Pno.
E. Gtr.
Cb.
( f )
ff
Slightly faster (q = 80)
Slow down (gradually
into the tempo at "H"
q = 60
"Transition"
H
71
( f )
ffp
P ad lib
( f ) ff
ffp
( f )
&
&
?
?
>‘“
&
?
&
&
> > >
l.v.
– –
&
>
> >
— —
?> > > > >
?
>
> > > > >
*
“< >
&
> > >
&
> > >
>ord.
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n
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n
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#
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n œœ
bb
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bb
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œœ
bb
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œœ œ
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œœ
##
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œœ
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œœ
œœ
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œœ
œœ
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œœ ˙n œ
œn
œ œœ# œœ œ œ œ œ# œ œ œ# œ œb œœ œœb œœn# ˙̇ ˙̇
œn œ œn œbœb
œb œ œn œ# œ œb ˙ ˙
=
10
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
p
78
p expressive - w/o pick attack (volume swell and finger slide)
Vib.
Pno.
E. Gtr.
Cb.
84
ppp mp
&
– – –l.v.
–
&
— — — —
?
?
“< >
&
& gliss.
&
– – – – –
&
— — — — —*
?
?
“< >
&
&
?
‰ ˛
œœn ™™ ˙
˙œœ
˛
œœ
bb
‰˛
œ
œb
b
™™ ˙
˙
œ
œ
˛
œœn
œœbb
œœ
b œœ œ
œbb
˙
˙b
b œ
œ
bœœbb œœ œ
œb ˙
˙bb
˙
˙n œ
œn ˙
˙n
˙n
œœ<#> œ ˙ œœ
œ#
˙# œ
œ œ
œ#
˙<b> ˙ ˙
œœbb
œ
œ
b œ
œœœn ˙̇b
œ
œb
b œ
œ
œ
œœœbn
˙˙bb
œ
œ ˙ ˙˙n
œn œn œœn
˙ ˙ œ ™œb
J
œb
œ
œ
œœb
˙
˙b ˙ ˙ œ
œ ˙̇ ˙
=
11
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
ppp
I
90
p mp
Vib.
Pno.
E. Gtr.
Cb.
96
p
&
T E
Soft mallets
cogito
At an independent tempo, play the Morse code signal using the provided notes. Repeat until "J."
?
?
“< >
&
?IV
&
(Morse code)
?
U
&
?
U
“< >
&
U
?U
œ œb
˙˙b ˙
˙
b
b
˙˙b ˙
˙bb
œœ
œ
œ
b
b
˙˙bb
œnœ ˙
œn
œn œ
œœn
œ œ œn
˙ œ
œbœb
œ œ
œbœb
œœb
œb œn
œb œ œ œ ˙ œ œœb
œ
˙˙b œ
œbb
œ
œ
b œ
œ
œ
œ
b
n˙˙b ˙
˙˙˙
˙ ˙n ˙ œ œn ˙ ˙
˙ œœb
˙b œ œœ ˙ ˙
˙b˙b
˙ ˙b˙ ˙
=
12
{
{
{
{
{
Vib.
E. Gtr.
Cb.
Freely (approx. 15")
J
102
Vib.
Pno.
p sim mp
G.P.
Freely Freely
"Programmed Dream Sequence"
e = 112
K
L
103
p mechanical
P hold until measure 124
Vib.
Pno.
p
e = 112
Freely
M
107
p mechanical
&
(Morse code)
&
wide vibrato w/ bar,
gradually decrease frequency
¯¯¯¯¯¯¯¯¯¯¯¯¯ slo
w d
ive
r
a
p
i
d
gradually increase
vib. frequency
¯¯¯¯¯¯¯¯¯¯¯¯¯¯
dive w/ bar & let
loosened strings
“grumble”
/
¿¿
¿¿¿
¿
?U
Œ
&∑
U
∏∏∏∏
∏∏∏∏ l.v. –
∑
U
&∑
U U
∑
>
>
U
l.v.
”“
–
∑
U
?∑
U U
∑ ∑
U
∑
U
&
3
b
U
l.v.
U
&∑
U
>
>>
> l.v.
”“
– U
∑
?∑
U
∑
U
∑
w
œ
j
w w w
w
˙
˙̇
˙
b
bb
˙
˙˙˙b
n œ
œœœb
˙
˙̇
˙
b
bb
˙
˙˙˙b
œ
œœœ
b
bb
˙˙˙
˙b
b
˙
˙̇
˙
b
bb
œœœ
œb
b
œ
œœœ
b
bb
˙
˙˙˙b
n
œ
œb
œœ
œb
œ
œœ
˙
œ
œœœ
b
n
b
œœœ
œb
b
œ
œœœ
b
b
nb
w
www
œ
œœœ
b
n
b˙
˙̇
˙
b
b
nb
œ
œœœ
n
b
n
˙˙˙
˙
b
˙
˙˙˙
b
nb
b
Œ
œ
œb
œœ
œb
œ
œœ
œn
œbœb
œnœ
œb
œ
˙b
=
=
13
{
{
{
{
Vib.
Pno.
Cb.
e = 112Freely
e = 112
N
110
mp mechanical
mp
Vib.
Pno.
E. Gtr.
Cb.
mf
Freely
O
112
mf
mp
mf
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
&
improvise on this chord
until bass pizz.
U –l.v. U
&
>
>>
>
>
U
>
”“
–l.v.
∑
U
?∑ ∑ ∑
U
&∑
pizz.
UU
&
l.v. –
∑
U
&
>
>
>
>> >
”“
l.v.–UU
∑
?∑ ∑ ∑ ∑ ∑
U
&∑ ∑ ∑
vol. swells
.
U
?∑
U>
U
˙˙˙
˙
bn
www
w
b Œ
www
wb
b Œ
œ
œb
œœ
œb
œ
œœ
œn
œbœb
œnœ
œb
œ
œb
œn
œbœb
œnœœ
œ œ ˙b
Œ
Œ
˙# ˙#œ
˙#˙ ‰ œ
J
˙
˙˙˙
b
nb
b ˙
˙˙˙
n
b
n
n
œ
œœœb ™™™™ œ
œœœb
J
˙
˙˙˙
œb
œ œ
œbœ
œ
œœb
œn
œb
œ
œbœ
œœb
œ
œœ
œ
œ
œ
œœ
œœ
œb
œn ™
Œ ≈
œ ™
j
œb
jŒ
œ
œ# ≈ œ
R
‰ ≈ œ#
r
‰ ‰œ#
Jœ#
œ
≈œ#
R‰ ≈ œ ™
J
=
14
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
mp
e = 112
117
mf
mp
mp
Vib.
Pno.
E. Gtr.
Cb.
P ff
120
ff
ff
ff
2
4
2
4
2
4
2
4
2
4
&
Hard mallets
&
”“
?∑ ∑
&
¿
?
arco
&
&
“< >
?∑ ∑ ∑ ∑
*
&
?
Œ
œ
œœœb
œ
œœœ ™™™™ œ
œœœ
b
n
b œ
œœœ
œ
œœœnb
‰
œb
œ
œ
œ
œb
œœ
œ
œbœb
œ
œb
b œ
œ
œb
œnœ
œ
œn
n œbœb
Œ
œ ˙ ˙b
Œ˙ ˙
œ
œœœ<b>
œ
œœœ
b
nb
b œ
œœœ œ
œœ
œ
œœœ
b
nb
b
œœ
œ
œ
œœœ
œ
œœœ œ
œbœb
œ
œœœ
b
œœ
œb
œ
œœœb
b
œb
œ
œœœ œb
œ
œœœ
œb
œ
œ
œ
b
b œnœ
œb
œ
œ
œ
b
b œnœ
œb
œ
œ
œ
b
b œnœ
œ
œ
b
b œnœ
œ
œ
b
b œnœ
œ
œ
b
b œnœ
œ
œ
b
b œn
œ
œ
b
b œ
œ
œ
b
b œn
œ
œ
b
b
˙˙#
œ#
œ#œ#
œ#
˙ ˙ ˙ ˙
=
15
{
{
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Vib.
Pno.
E. Gtr.
Cb.
P hold until rehearsal T
mp
(e = 112) 3" - 5" vampP
124
mp
P hold until "T"
mf
mf
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Vib.
Pno.
E. Gtr.
Cb.
Vamp (same as before)
Q
128
&
*
Play boxed notes and vamp this measure. Continue playing these notes
into the next measures as the E. Gtr. & Bass start to play. Tempo does
not change and there should be no pause inbetween note groups.
&
Play boxed notes and vamp this measure. Continue playing these notes
into the next measures as the E. Gtr. & Bass start to play. Tempo does
not change and there should be no pause inbetween note groups.
?∑ ∑
&
add left hand
&∑ ∑
U vol. swell every note
?∑ ∑
Uvol. swell every note
&
&
&
&∑
U
?∑
U
œœœ
œ
<b><b>
<b>
œbœb
œbœb
œbœb œn
œbœb
œbœb œn
œn
œœ
œœb
œœ
œb œn œbœb œb
œnœn
œb œ
œn ™ œ#
j
œ
Œ
œ ™œ
J
œ
Œ
œœ
œœ
œœ
œn œnœn œ
œ
œnœ
Œ
œn œ#œ œ
Œ
œ# œn
Œ
œn œ#œ œ
‰
œ#
j ‰
œ#
j
Œ œœ
œ œ
Œœ
œ Œ œœ
œ œ
‰œ
J‰
œ#
J
=
16
{
{
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Vib.
Pno.
E. Gtr.
Cb.
Vamp (same as before)
R
135
Vib.
Pno.
E. Gtr.
Cb.
142
&
&
&
&∑
U
?∑
U
&
&
&
&
?
œ#œ# œn
œ#
œ œ#
œn œbœn œb
œ
œœ
œ<#>
Œ Œ
œ#œ#
œn
Œ ‰
œ#
j
œ# œ
Œ
œ# œ#œ#
œ<#>
Œ Œœ
œn œ#
Œ ‰
œ
J œ œŒ œ
œœn
œ<#>
‰
œ#
j
˙
œ#œ# œ# œ# œn
Œ
œn œ#
j‰ ‰
œ#
j
œn
j‰
œ
‰ œ
J
˙
œœ
œœ#
œ# Œœ#
œ#
J
‰ ‰œ#
Jœ#
J
‰
=
17
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
f
S
148
f
p
p
Vib.
Pno.
E. Gtr.
Cb.
n
152
n
n pp
n
&
&
&
&∑
”“
?
gli
ss.
&∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑
?
&∑ ∑ ∑ ∑ ∑
?
&∑
“< >
∑
”“ ”“
?
”“glis
s.
∑ ∑ ∑
œbœb œ
œ
œbœb
œnœn
œbœb œ
œ
œbœb
œnœn
œœ
œœ
œœ
œœ œb
œbœ
œbœb
œœb
œb
œ œn
œb œb
œbœ œn
œb œb
œbœn œn
œb
œ
œb œb
œb
œb œb
œ
œb œb œbœb
œbœb
œbœb
œb œnœn
œ
œ œn œ œ œ œ œ œ œ œ œ œ œœ œn œ œn œ
œn œn
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿# ¿ ¿# ¿ ¿# ¿ ¿
˙n˙ ˙ ˙
œnœn
œ œ œ œ œœ
œ œ œ œ œ œ œ œ
œœ
œ œ
œ œ œ#œ œ œ#
œ œ œœ œ œ
¿# ¿ ¿# ¿ ¿n ¿# ¿n ¿# ¿ ¿ ¿ ¿
Œ
¿ ¿
‰ Œ
œ
J‰ Œ
=
18
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
ffff
p
"Frustrated message"
Play morse code signals at independent tempo
using pitches from the boxed figures
T
157
ffff
p
ffff
p
ffff p
Vib.
Pno.
E. Gtr.
Cb.
159
˛
cogito
&
?
&
*
cogito
?
‘“ *
&
l.v. –
TE
/
O #
/O
cogito
?
/œœcogito
&bb
˛
cogito
& bnqœ
cogito
& ergo cog
//gradually lower pitches to next box
?
& ergo ergo
?
ergo co
bœ
˙˙
˙˙
#
˙˙˙
b
bb
˙˙˙b
b
˙˙˙˙
˙˙
˙˙
=
19
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
Gradually increase intensity and speed
U
160
Vib.
Pno.
E. Gtr.
Cb.
( mp )
161
( mp )
( mp )
( mp )
& ergo ergo s
& ergo ergo s
& ito erfo c
?
& cogito c
TE
#
/O
#
/O
?
gito ergo s
&um cogito
q
q
& um cogito/qq
& ogito erg
?
& ogito co
TE
#
/O
#
/O
?
um cogito
=
20
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
162
( mf )
Vib.
Pno.
E. Gtr.
Cb.
163
( mf )
( mf )
( mf )
&ergo sum C
gradually lower pitches
to next box
&ergo sum C
/
& o cogito
gradually raise pitches to next box
?
cogito
gradually lower pitches to next box
& gitoergo s
?
ergo sum c
##œœ
alternate pitches
randomly
&ogito ergo
&ogito ergo
&ergo cog
//
gradually raise pitches
?
ergo cog//
gradually lower pitches
& um cogiton
/OO
b
/bOO
?
ogito co
TE
œbœ
alternate pitches randomly
=
21
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
164
( f )
( f )
( f )
Vib.
Pno.
E. Gtr.
Cb.
165
( f )
&sum cogi
gradually raise pitches
& sum cogi/qq
& ito ergo c
//
”“
?
ito ergo c//
‘“
&ergo sum c#
/#/OOOO
OOOO
?
gito cogi
œœ
#
/
œœ
alternate pitches randomly
TE
&to ergo sum
& to ergo sum
&ogito ergo
?
ogito ergo
&ogito ergo
?
to cogitoœ
n
/
œ alternate pitches randomly
=
22
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
166
( ff )
( ff )
( ff )
( ff )
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Vib.
Pno.
E. Gtr.
Cb.
Vamp until all players have arrived
here. Continue upon consensus.
Vamp and gradually slow
down. (not necessarily in
rhythmic unison)
167
2
4
2
4
2
4
2
4
2
4
2
4
& sum sum sum
&sum sum sum
& sum sum sum
?
sum sum sum
& sum sum sum
?
sum sum sum
&
sum
fff
t
& q
qsum t
&
//
”“
sum
fff
//
”“
t
?
?
//
E T
‘“
sum
alternate
//
‘“
t
&
/
œœœœœœ
w/ bar
sum
fff
t
?b
/
œœ
/
œ
œ
E T
sum
fff
t
=
23
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
q=60
V
170
Vib.
Pno.
E. Gtr.
Cb.
176
2
4
2
4
2
4
2
4
2
4
2
4
&
&
?
h
?
&
sim.
?
&
&
?
h
?
>‘“
&
?
œœb
b œœ
œœb
b
Œ
œœb
b œœ
˙˙b
b
Œ
œœb
b œœ
œœb
b
œœ
œœ
œœ
Œ
œœ
œœ
˙˙
Œ
œœ
œœ
œœ
Œ Œ
Œ Œ
œœœœœœ
œœœœœœ
œœœœœœ
Œ
œœœœœœ
œœœœœœ
˙˙˙˙˙˙b
bb
bb Œ
œœœœœœ
n
n
nn
œœœœœœ
œœœœœœ
b
b
b
b
b
b
œœ#
œœ#
œœ#
Œ
œœ#
œœ
#
˙˙#
Œ
œœ# œ
œœœ
#
œœ<b>
<b>
Œ
œœb
b œœ
œœb
b
Œ
œœb
b œœ
˙˙b
b
Œ
œœb
b
œœ
Œ
œœ
œœ
œœ
Œ
œœ
œœ
˙˙
Œ
œœ
Œ Œ Œ
œœ
Œ Œ
œœœœœœ
<b>
<b>
<b>
<b>
<b>
<b> Œ
œœœœœœ
n
n
b
nn
œœœœœœ
œœœœœœb
bb
bb Œ
œœœœœœ
n
n
nn
œœœœœœ
˙˙˙˙˙˙b
Œ
œœb
œ
œ Œ
œœ#
œ
œ
œ#Œ œ#
œ˙# Œ
œ
=
24
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
ff
"The Philosopher's Lament"
Freely
approx. 10"
q = 60
182
ff
ff
Vib.
Pno.
E. Gtr.
Cb.
ff
ff
Freely
(10") q = 60
Freely
(10")q = 60
188
ff
ff
ff
ff
&
l.v.
–
∑
U
&∑
–
&
—
∑
U
∑
—
?
h
–
∑
U
&
–
?
l.v.
—
∑
U
—
œœb
b œœb
b
&
Improvise freely: the philosopher's lament
U
?∑
U »
pizz.
arco
> »
pizz.
&∑
U –∑
U
&∑
U
—
∑
U
&∑
U –
∑
U
?∑
U
—
∑
U
œœb
b œœb
b
&
(gtr. solo)
U U
?∑
Uarco
»
pizz.
–l.v.
∑
Uarco »
pizz.
»
œœ<b>
<b> œœb
b ˙˙
Œ
œœ
˙˙
œœ
œœ
˙˙
Œ
œœ
# ˙˙
#
œœœn
bb
Œ
˙˙˙n
bb
œœœ
b
œœbb Œ
œœœ
b
˙˙bb
œœ<b> œœn# ˙̇
œ
œ
œ
Œœœ
œœ Œ
œœ
˙˙
œœ
œœ Œ
œœb
b
Œ
œœ Œ
œœ
œœ
# œœ
Œ
œœb
n
Œ
œœ
#
Œ
œœ
#
œœœn
bb
œœœn Œ
œœœn
bb
Œ
œœœn
bb
œœbb
œœ Œ
œœœ
b œœœ
b
œœbb Œ
œœbb
œœ
œœ Œ
œœ
œœ
œœ Œ
œœ
=
25
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
Freely
(10"- 20")
q = 60
"The Machine"
194
mp
mp
mp
Vib.
Pno.
E. Gtr.
Cb.
W
200
p
p
mf p
&
–∑
U – – –
&
—
∑
U
— — —
&
–
∑
U
∑ ∑ ∑ ∑?
?
—
∑
U
‘“
˙˙b
b
&
(gtr. solo)
∑
U
End solo but continue improvising
and gradually fade away to the end
?
»
∑
U
(pizz.)
∑ ∑
& cogito erg
Play morse code using previous chord (independent tempo)
& cogito erg
P hold until end
?
?
‘“
P hold until end
— — — —
‘“
— — —
&
(improvisation)
?
arco sul pont.
o o
oo o o o
o o
˙˙b
b ˙˙b
b
˙˙b
n ˙˙b
˙˙˙
b˙˙˙b
nb
œœœ
œœœ
˙˙˙
˙˙˙
˙˙
˙˙ Œ
œœ
œœ#
# œœ
œœ
œœ
œœ
˙˙#
# œœ
œœ
˙˙
œœ
œœœb
œœ
œœ
˙˙
˙˙˙
˙˙˙
Œ
œ œœ
œ ˙ ˙ œ
R ‰ ™ Œ Œ
œ œ
Œ Oœ
Oœ
Oœ
=
26
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
pp
208
sfz p
Vib.
Pno.
E. Gtr.
Cb.
X
215
pp
& o sum cog
brush mallet head across bars
&o sum cog
?
?
—
‘“
— — — —
&
(improvisation)
?
o o o
& ito ergo d
& ito ergo d
?
?
‘“
— — — —
‘“
— —
&
(improvisation)
?∑ ∑ ∑
&
o
œœœ#
##
œœ
˙˙
œœ
œœœb
œœœ
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n œœ
œœ
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œœ
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˙˙˙
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R‰ ™
œ ˙ œ
R‰ ™ O
œ
Oœ Œ
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æææ
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æææ
O˙
æææ
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œœ
œœ
˙˙
˙˙
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œœ
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˙˙˙
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æææ
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æææ
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æææ
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æææ
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æææ
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æææ
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˙
=
27
{
{
{
{
Vib.
Pno.
E. Gtr.
Cb.
ppp
222
Vib.
Pno.
E. Gtr.
Cb.
n
10"
229
n
n
& oleo dol
&oleo dol
brush mallet head across bars
?
– – –
?
— —
‘“
— — — —
&
(improvisation)
&
oplay code and improvise with any high pitched harmonics (independent tempo)
cogito er
& eo doleo
U
& eo doleo
?
– – – – –
∑
U
?
‘“
— — — —
‘“
U
&
(improvisation)
U
&go doleo
U
œœœ#
##
œœœ
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æææ˙
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=
28
