2. 2
suggestions
clarinet
- glissandos should be as incremental as possible
- mouthpiece should be lifted off enough to produce a wailing sound but not enough to make it
inconvinient
- the last notehead in the piece represents the highest note possible; this should be the highest
note possible in context of the phrase leading up to it
violin
- whenever sul ponticello markings are paired with tremolo markings, the desired effect is a wild
scratch
- double stop harmonics should sound unstable
- "chops" consists of a pitchless upbow and an accented, pitched downbow
- the left and right hand pizz alternations should be played in the style of a guitar to create
desired sound
- in the col legno battuto section, the strings should be compressed with a heavy-pressed palm
- as for the clarinet, the last notehead in the piece represents the highest note possible; in order to
reach it, there should be a glissando from the second to last note to the last note
piano
- x noteheads represent muting by placing palm over strings in front of the hammers
- harmonics should be marked in the piano beforehand for accuracy
duration
7'
3. {
{
Violin
Clarinet in Bb
Piano
sfz p mf
Quickly, then slowly accel.
sfz p
p mf
Quickly, then slowly accel.
sfz
ppp
Vln.
Cl.
Pno.
sfz
In Time
As fast as possible
2
sfz
In Time
As fast as possible
Vln.
Cl.
ppp
4
ppp ff
5
16
5
16
5
16
5
16
5
16
5
16
5
16
5
16
&
»
pizz
>
arco ----------------------------------> molto sul pont.
b
o
45"
nat., sul pont., trem.
gliss.
dedicated to Evan and Allen - thanks for sharing the floor
Fifth Floor
Scott Etan Feiner
&
##
breathing whenever necessary
> >
> >
>
45"
∑
&
.>
20"
45"
muted taking breaks to strike strings occasionally
.
. . . .
25"
∑
?
5"
∫
cluster inside piano
(behind hammers) keep striking strings
&
g liss.
.> .> .>
.> .> .>
.>
.> .>
.>
&
##
.> .>
.> .> .>
.> >
& ∑ ∑
? ∑ ∑
&
from nothing directly on bridge ----------------------------> sub pont.
10"
&
##
subtone, breathing when necessary
10"
œ
œ
œ
#
˙O
˙
œ
R
œ œ
œn
œb
œ
œ œ
œ
œ
œ Ó
œœœ#
¿
¿b ¿b ¿b ¿
Œ
æœ æœb æœb
æœb æœ
æ
œn
æ
œ
æœb æ
œb
œ
‰™
œb œ œn œ
œn œb
œ
Œ
˙
w
3
4. {
{
{
Vln.
Pno.
ff
5
fff
Vln.
Cl.
Pno.
sfz
In Time
As fast as possible
6
sfz
sfz
In Time
As fast as possible
Vln.
Cl.
Pno.
ff
pp mf
8
f pp
f pp
5
16
5
16
5
16
5
16
5
16
5
16
&
nat.
tremolo, sul pont.
5-7"
&
5-7"
?
cluster inside piano
(behind hammers)
∫
&
. »
pizz.
arco ,
. . . .
&
##
,
&
muted ,
&
very gritty
approximate pitches
10"
20"
ghost tone, blurring notes
col legno tratto
10"
&
##
breathing when necessary
20"
&
from nothing
5"
muted
20"
10" 5"
?
mute behind hammer
œ
œœ#R
≈ ≈
œ
œœR
≈ ≈
æ
œb
æ
œb
æ
œb
æ
œ
œ œ
œn œb
œ
œ œ
œn œb
œ
¿
¿b ¿b ¿b ¿ ¿n
¿
¿b
¿b
¿
w
w
n
w
wn
œ œ œ œb œ œ
Œ ∑
œ œb
œn
œ
œ Œ ≈ ‰ Ó ∑ ∑ ∑ Ó Œ ≈
Ó
¿
¿b ¿b ¿b ¿
≈ ‰ Œ ∑ ∑ ∑ ≈ Ó™
¿ ¿ ¿ ¿ ¿
˙˙
˙
bb
4
5. {
{
Vln.
Cl.
Pno.
sfz
9
ppp ff
mp
Vln.
Cl.
Pno.
mp
10
from concert C (7th below)
ppp
&
"chops"
nat.
on each iteration, notes grow farther apart until barely together
≥ ≤
.
15"
&
##
from nothing
5"
15"
breathing when necessary
10"
&
15"
?
&
gritty
hitting clear microtones
10"
&
##
subtone, breathing when necessary
gliss.
10"
&
10"
?
¿¿## œœ Ó Œ Œ ∑ ∑ ≈ Œ Ó
w
≈ ‰ ≈ Œ Ó
w
wb w
w#
n w
wn
n
w
w
w
w
b
wwnb
wwwbb
Œ ≈
œ
œ œ
œb
b œ
œ œ
œ ‰ Œ ‰ ‰ Œ Ó Œ ≈
w
∑ ∑
w
wn
w
w
wn
w
w
n
w
wn
#
5
6. {
{
Vln.
Cl.
Pno.
mp
11
ppp ff
mp
Vln.
Cl.
Pno.
slow and gritty ppp ff
accel.
12
ppp ff
mf
ff
accel.
7
8
7
8
7
8
7
8
&
4"
gritty
hitting clear microtones
alternating sul pont. and sul tasto
20"
15"
&
##
from nothing
2"
breathing when necessary -----------------------------------> growl
20"
15"
?
keep repeating until end of time mark
5"
20"
15"
&
gliss.
30"
20"
detune violin randomly
&
##
from nothing
5"
30"
25"
---------------------------> overblown
&
10"
30"
muted
20"
?
ww ww#
∑ ∑
∑ w Œ Ó™ Ó™ Ó™ Ó™ Ó™
w
w
b w
wb w
w# ≈ ‰ ∑ ∑ Ó Œ ≈
~w~bb ≈ ‰ ∑ ∑ ∑ ∑
w Œ Ó™ Ó™ Ó™
w
¿
¿b ¿b ¿b ¿
‰ Œ Ó ∑ Ó Œ ≈
œœœn
6