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University of Southern California Dissertations and Theses
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Six musical compositions: Phreneticals; Guraj; Auto-dox; Lake Llagio; into the bilaterum; little big horizon...
(USC Thesis Other)
Six musical compositions: Phreneticals; Guraj; Auto-dox; Lake Llagio; into the bilaterum; little big horizon...
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Content
Phreneticals
for oboe, clarinet, percussion, piano,
violin, and cello
Elbert Liu
Notes
The primary basis of this piece concerns the mentioning of two or
more elements that do not seem to be relevant to each other in any single
way. This particular phenomenon is a common trait of perception that
people diagnosed with the brain disorder known as schizophrenia share:
from their point of view, they seem to perceive things in front of them that
other people cannot see in reality. The way that the themes and motives in
this piece are utilized works in a very similar fashion to what may usually go
on in a schizophrenic’s mind during the majority of its length. One might
want to expect passages in a particular rhythm that does not appear relevant
to the rhythm of another motive or theme that is being heard simultaneously,
hence the title Phreneticals.
-Elbert Liu
Oboe
Clarinet in Bb
Percussion
Piano
Violin
Violoncello
sffz sffz sffz sffz
sffz
ff
In a Stalking Manner
Dreamy
q = 152 (3 + 2)
q = 75
q = 152
Tempo I
sffz sffz sffz sffz
sffz ff
mp pp
pp
sffz sffz sffz sffz
sffz ff
In a Stalking Manner
Tempo I
q = 152 q = 152
(3 + 2) Dreamy
q = 75
sffz sffz sffz sffz sffz ff
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp mf
Tempo II
q = 76 9
p
pp mf pp
pp
p mf
Tempo II
q = 76
p mf
Transposed Score
Phreneticals
Elbert Liu
Claves
3 3
3
Suspended Cymbal
(bowed)
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p
ff
Tempo I
q = 152 A
21
ff
ff
Tempo I
q = 152
A
ff
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
pp
ff
29
pp ff
ff mf p
pp sffz
p
gliss.
2
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
p cresc.
35
mp
p cresc.
mf
mp
mp
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f mf
cresc.
39
f
mf cresc.
cresc.
mf cresc.
p
p
3
3
3
3
3 3 3 3 3
Xylophone
3
3
3
3
3
3
3
3
3 3 3
3 3
3
3
3
3
3
3
3
3
3
3
gliss.
gliss.
3
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
mp
cresc.
43
ff
p cresc.
ff
ff dim.
pp
sffz
p
cresc.
sffz
mp cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mf mp
50
mf
mp
mf
mp
mf
4
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
60
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
68
3
3
3
3
5
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff sffz
B
77
ff sffz mp
ff
ff
ff
ffp
B
ff
ffp
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
fp fp fp
f sfz p
83
fp fp fp
f sfz p
sfz sfz sfz p
f
sfz
mp f p
mp
f
p
3 3
3 3
4
4
6 6 6
6 6 6
6
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
pp
rit. q = 90
90
pp
p
mp
p
rit.
q = 90
p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
98
p
p
mf
p mf
mp
mf
p
mf
mp
Marimba
6 6 6 6 6 6
6 6 6 6 6 6
3
3
3
3
3
3 3 3 3 3
7
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
108
cresc.
cresc.
cresc. f mp
cresc. f
mp
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
accel.
Tempo I
q = 152
C
117
ff
ff
cresc.
ff
accel. Tempo I
q = 152
C
cresc. ff
3
3
3
3 3 3
3 3 3
3
3
3
3
3 3
3 3
3 3
3 3
3 3 3
3
3 3
3
3 3
3 3
3 3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
3 3
6 6 6
3 3
3 3 3
3
3 3
3
3
3
3
3 3
3 3 3 3
8
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
124
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mf
128
mf
f
mf
9
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
cresc.
133
cresc.
f
f
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
138
ff
mp
p
p
Xylophone
gliss.
gliss.
gliss.
gliss.
10
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
143
mp
cresc.
mf cresc.
cresc.
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
150
f cresc.
mf
mf cresc.
3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3
Sul A
gliss.
Sul C
gliss.
11
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
fp fp fp fp fp
155
fp fp fp fp fp
sfz sfz
sfz sfz sfz
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
dim.
mf
160
ff
dim.
mf
ff mp
ff
f
ff
dim.
mf
ff
dim.
mf
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
gliss.
gliss.
3 3 3 3
3 3 3 3
gliss.
gliss.
12
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
dim.
rit.
Dreamy, Hazy
q = 66
D
165
dim.
mf
dim.
f
dim. mp
rit.
Dreamy, Hazy
q = 66 D
dim.
mp
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
170
dim.
mf
Mark Tree
6 6
6 6
gliss.
gliss.
13
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp mf
176
p
mf
p mf
p
p mf
p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
dim.
p
182
mp
dim.
p
mp
6
6
Bass Drum
14
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p
188
p
p
mf p
p mf p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
dim. pp
Even Hazier
q = 53 E
194
dim.
pp
dim. pp
dim.
pp
Even Hazier
q = 53
E
dim. pp
15
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
202
p f
mf cresc. f p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
207
mf
dim.
Marimba
3 3
3 3 3 3
gliss.
gliss.
6
6
6
6
16
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p
209
p
p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mf
211
mf
mp mf
p
p
17
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f
214
f
f
f mp
f
mp
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
216
mp
3
3
3
3
3
3
18
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f
218
f
f
mf
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
220
3 3
3 3
gliss.
gliss.
3 3 3 3 3 3 3 3
3 3 3
3 3
3 3
19
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
q = 76
Gradually Sobering Up
F
222
mp
dim.
pp
mf
dim.
p
p
q = 76
Gradually Sobering Up
F
p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
227
cresc.
mp
6
3
6
3
6
3 3 3 3
3 3 3
6
6
6 6
6 6 6
3 6 6 6 6 6
6
20
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp cresc.
231
mp cresc.
cresc.
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
accel.
235
accel.
6 6 6 6
6
6
6
6
6
6 6
3
6 6
6
6
6
6
6
6
6
6
6
21
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f subito mp cresc.
q = 110
239
f subito mp cresc.
f
f
f subito mp cresc.
q = 110
f subito mp cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f
accel.
q = 126 G
244
f
f
f
accel. q = 126 G
f
6 6
6
6 6 6
22
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
250
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
254
mp
ff
p
ff
p
ff p
mp
5
6 6 6 6
23
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mf cresc.
f
257
mf
cresc.
f
f
f
cresc.
mp cresc. f
cresc. f
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
260
6
6
6
6 6 6
6 6
6
24
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp cresc.
264
mp cresc.
mp cresc.
mp cresc.
mp
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
accel.
268
mf cresc.
mf cresc.
accel.
mf cresc.
25
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
q = 152
H
272
ff
ff
ff
ff
q = 152
H
ff
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
276
mp
mp
dim.
mp
mp
f
5 5 5 5
6 6
6 6
26
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
cresc. mp
281
cresc.
mp
ff
ff cresc.
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff mp ff ff ff mp ff mp
285
ff mp ff
ff ff
mp ff
mp ff mp
ff
mp
ff
mp
ff
mp
ff
mp
mp ff mp ff mp ff mp ff mp ff
mp
6
gliss.
gliss.
6 6 6 6
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
27
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
ffp ff
288
mp ff
ffp ff
p
ff
ffp ff
ff
ffp ff
p
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
cresc.
292
mp
cresc.
mp cresc.
p
cresc.
mp cresc.
28
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f
cresc.
296
f
cresc.
f cresc. ff
mp cresc.
ff
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp ff mp ff mp ff mp ff mp ff
300
mp ff mp ff mp ff mp ff mp ff
mp ff mp ff mp ff mp
ff
mp ff mp
mp ff mp ff
mp
ff
mp
ff
mp
ff
mp
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
29
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
ff
mp
ff subito mp
cresc.
304
mp ff mp ff subito mp
cresc.
subito mp cresc.
subito mf cresc.
ff mp ff
subito mp
cresc.
ff mp ff subito mp
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
308
3 3 3 3 3 3 3 3 3 3
gliss.
3 3 3 3 3 3 3 3 3 3
gliss.
gliss.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
30
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
ff
312
ff
ff
ff
sffz
cresc.
ff
mf
cresc.
ff
mf
cresc.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
f
cresc.
316
f
cresc.
3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3
3 3 3 3
sul C
gliss.
3
3
3
3 3 3 3 3 3
3 3
3
3
3 3
3
3
3 3 3 3
gliss.
gliss.
31
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
rit.
319
rit.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
fff p fff p
fff p
Grandiose, Colossal
h = 53 I
322
fff
p fff p fff p
fff
fff
fff
mp
fff
fff p
fff
p
fff p
Grandiose, Colossal
h = 53
I
fff p
fff p
fff p
3 3 3 3
3 3
3
3
3
3
3
3
gliss.
gliss.
Glockenspiel
32
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
fff
p fff
330
fff p fff
mp
fff
mp
fff
fff p fff
fff p fff
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p fff dim. mf dim.
338
p fff dim. mf dim.
dim.
mf dim.
dim.
mf dim.
mp
fff
p fff dim.
mf dim.
p fff dim.
mf dim.
33
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
Dreamy
q = 76 346
mf
mp
mp
Dreamy
q = 76
mp
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p mp p
mp
356
p mp p mp
p
dim.
p
dim.
p
mf
p mf
dim.
p
mf
p
mf
34
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p
365
p
pp
dim.
mf
p
mp
dim.
p
mp
dim.
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
mp
369
mp
p
p
p mp
p
p mp
Tam-tam
3 3
3 3 3
3 3 3 3
3 3 3
35
Ob.
Cl.
Perc.
Pno.
Vln.
Vc.
p
373
p
p
p
36
Guraj
for SATB a cappella choir
with alto solo
Elbert Liu
Notes
The term “Guraj” means push in Serbo-Croatian, a language native to
the Eastern European-Slavic countries. In this sense, it refers to the stress
that one usually has to put up with right after facing a traumatic occurrence,
both physical and psychological. In this sense, the poem “Essential Serbo-
Croat” by Ken Smith loquaciously depicts the suffering that typically results
from one’s firsthand experience in war. The poem’s text even implies that
the degree of this particular suffering may be so immeasurable that it can
even break up the victim’s psyche and render that person’s mind
permanently unstable in mental terms. The mentioning of how people’s
psychological tolerances can be immensely limited is a prominent factor in
this particular topic, which is reflected in the tone of the alto solo’s vocals,
the chorus’ tendency to iterate glissandos, and the usage of percussive foot-
stamping effects throughout the piece.
-Elbert Liu
Pronunciation Guide
Guraj (goo-rah-ee)
Pomozi mi (poh-mah-zee mee)
Boli (bah-lee)
Boli me (bah-lee meh)
Boli me ovdje (bah-lee meh ohv-dyeh)
Bole me grudi (bah-leh meh groo-dee)
Bole me prsa (bah-leh meh prr-sah)
Boli me oko (bah-lee meh ah-koh)
Boli me stopalo (bah-lee meh stah-pah-lo)
Boli me glava (bah-lee meh glah-vah)
Hitno je (heetnoh yeh)
Ozbiljno je (ohdz-bee-lee-nyoh yeh)
Boli me ovdje (bah-lee meh ohv-dyeh)
Boli puno (bah-lee poo-noh)
To je jaka bol (toh yeh yah-kah- bohl)
To je mrtva bol (toh yeh mrrt-vah bohl)
To je uporna bol (toh yeh oo-porr-nah boh)
Vecinom vremena (veh-chee-nohm vrreh-meh-nah)
Vrti mi se u glavi (vrr-tee mee seh oo glah-vee)
Zlo mi je (zloh mee yeh)
Slabo mi je (slah-boh mee yeh)
Nije dobro (nee-yeh dah-broh)
Izgubio sam sve (eez-goo-byoh sahm sveh)
Ne mogu vam pomoci (neh moh-goo vahm poh-moh-chee)
Text and Translation
Text English Translation
Guraj Push
Pomozi mi Help me
Boli It hurts
Boli me I have a pain
Boli me ovdje I have a pain here
Bole me grudi I have a pain in my breast
Bole me prsa I have a pain in my chest
Boli me oko I have a pain in my eye
Boli me stopalo I have a pain in my foot
Boli me glava I have a pain in my head
Hitno je It's urgent
Ozbiljno je It's serious
Bolime ovdje It hurts here
Boli puno It hurts a lot
To je jaka bol It's a sharp pain
To je mrtva bol It's a dull pain
To je uporna bol It's a nagging pain
Vecinom vremena Most of the time
Vrti mi se u glavi I feel dizzy
Zlo mi je I feel sick
Slabo mi je I feel weak
Nije dobro It's no good
Izgubio sam sve I have lost everything
Ne mgu vam pomoci I can't help you
Alto Solo
SOPRANO
ALTO
TENOR
BASS
q = 53
Ah
p
Ah
ppp
Ah
p ppp
Ah
p
Ah
ppp
Ah
p ppp
Ah
p
Ah
ppp
Ah
p ppp
Gu
p
ra - j - Gu ra - j - Po mo - zi -
5
Ah
p
ppp
Ah
p
ppp
Ah
p
ppp
mi Po mo - zi - mi Po mo - zi - mi
Elbert Liu
Guraj
Words by Ken Smith
div.
div.
div.
(whispering)
Bo
f
li
q = 66
9
Ah
p
Ah
mf
Ah
p
Ah
mf
Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j -
pp
Bo
mf
li me
12
Ah
pp
Ah
Ah
pp
Ah
Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j -
(sung)
(stamp feet on ground)
7
2
Ov dyeh Gru
15
Ah Ah
Ah Ah
Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j - Gu
p
ra - j -
di
18
Ah
mp
pp
Ah
Ah
mp pp
Ah
Bo
p
li Bo li
pp
Gu
p
ra - j - Gu
p
ra - j - Gu ra - j - Gu ra - j - Gu ra - j - Gu ra - j -
6 3
3
unis.
(stamp feet on ground)
3
Me
mf
pr sa - O
21
Bo
mp
li - Bo li -
Bo
mp
li - Bo li -
me Bo li me
Gu ra - j - Gu - ra j - Gu ra - j - Gu - ra j -
cresc.
ko Sto
f
23
Bo
pp cresc. poco a poco
li
- -
Bo
pp
cresc. poco a poco
li
- -
Bo
cresc.
li me Bo li me
Gu
cresc.
ra - j - Gu ra - j - Gu ra - j - Gu ra - j -
5
div.
div.
3 5 6 7
4
pa lo Glah
25
Bo li - Bo li -
Bo li - Bo li -
Bo li me Bo li me
Gu ra - j - Gu - ra j - Gu ra - j - Gu -
vah
27
me
mf
mp
Bo li - bo li - bo -
me
mf
Me
mp
me
mf
Hi
mp
mp
ra ra
-
j - Gu ra
mf
- j -
Hi
mp
mp
7
3
3
unis.
unis.
div.
div.
5
Je
mf
Je
30
li Bo li - bo li - bo li - bo li - Bo li -
Me Me
tno Oz bil jno
tno Oz bil jno
Ov dje Pu
f
no
33
bo li - bo li - bo li
cresc.
- Bo li - bo li - bo li - bo-
Me
cresc.
Bo li - me
cresc.
Bo li -
Bo li - me
cresc.
Bo li -
3
3 3
6
36
li Me
f
f
f
f
f
Me
f
e
38
e e
Me
f
e
(stamp feet on ground)
3
(stamp feet on ground)
3
3 3
3
3 3
3 3
3 3 3 3
3 3
7
e e
40
e e
Me
f
Me
f
e
42
Me e
e
3 3
3 3
unis.
3 3 3 3
unis.
3 3
3 3
3 3
3 3 3 3
3 3
8
e e
44
e
e e
Me
poco accel.
h = 66
46
mp
mp
e
mp
Me
mp
3 3
3 3
3 3 3 3
3 3
3 3
3
3 3
3
9
Me
f
48
51
cresc.
cresc.
To
mp cresc.
je To je
To
mp cresc.
je To je
10
54
Ja
f
ka - bol Mr tva bol
Ja
f
ka - bol
Mr tva bol
f
To je
f
To je
57
U por - na - U por - na - bol
U por - na - U por - na - bol
To je To je Ve ci - nom -
To je To je
Ve ci - nom -
div.
div.
3
3
3
11
ff
Vr ti - mi
60
f
f
vre me - na -
f
vre me - na -
f
se u gla vi - Zlo mi je
63
Ah
Ah
Ah
Ah
3
3
3
3
3
3
3
unis.
unis.
12
Sla bo - mi je
66
mf
Je eh
cresc.
mf
Je
eh
cresc.
mf
Je eh
cresc.
mf
Je eh
cresc.
Ni
ff
je
69
eh
cresc.
eh
cresc.
eh
cresc.
eh
subito mf
Bo li - Bo
cresc.
li - me Bo li -
cresc.
3 3
3
3
3 3
3
3
13
do bro
72
f
Bo
cresc.
li -
mf
Bo
cresc.
li - Bo li - me Bo li -
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
75
f
Bo
cresc.
li - me Bo li - Bo li - Bo li - me Bo li -
me Bo li - Bo li - me
Bo li - Bo li - Bo li - me Bo li -
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
3
3
3 6
3
14
78
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
me Bo li - Bo li - me Bo li - Bo li - Bo li - me Bo li -
q = 53
81
me Bo li - Bo li - me
fff
fff
me Bo li - Bo li - me
fff
Me
mp
Me
fff
me Bo li - Bo li - me
fff
fff
me Bo li - Bo li - me
fff
fff
q = 53
15
I
mf
zgu bio
86
Me
p
e Me
Me
p
e Me
Me
p
Me e Me
Me
p
Me e Me
sam sve
91
Me Me Bo li -
Me Gu ra - j
Me Me Me
Me Me
3 3
3
7 5
div.
16
96
me Bo li - me
Gu ra - j - Gu ra - -
Me
pp
Ne mo gu - vam po mo - ci - vam po mo - ci -
99
Me
j
Me
vam po mo - ci - vam po mo - ci -
(whispering)
17
Auto-dox
for Solo Piano
Elbert Liu
Notes
The title “Auto-dox” is a portmanteau of the words
“autograph” and “paradox,” and represents that the piece itself is a
paradox on 3 parts of my overall personality, which are each
represented by a single movement. The first movement, “Impulsis
Theory,” centers around the foremost part of my character, which
involves reacting impulsively towards anything intriguing that
comes up concerning my interest or situation, and is characterized
by heavy chordal accents and winding triplet lines. The second
movement, “The Immersion,” is rather meditative and brooding in
nature with some brief percussive effects that occur momentarily,
which is reflective of my tendency to brood about what I should be
doing next and suddenly doing something random that pops in my
head. The third movement, “Fuel for the Foresight,” is
representative of how I tend to have some things planned out in
mind and work out whatever pertains to those particular objectives
as quickly as I can while simultaneously pondering about the
quality of my efforts.
-Elbert Liu
f
q = 132
6
11
mp
17
Elbert Liu
Auto-dox
I. Impulsis Theory
3 3 3
3
3
3
22
26
ff
sffz
mf
29
cresc.
ff
sffz
33
sffz sffz
mf
h = 66
37
sffz
3 3 3 3
3
3 3
3
3
3
3
3 3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3 3
2
cresc.
41
mf
cresc.
44
ff
mf cresc.
47
ff
mf
50
ff
cresc.
3
3
3
3
3
3
3
3 3
3
3 3
3
3
3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3 3 3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
53
f cresc.
56
59
fff
f
cresc.
fff
61
3 3
3
3
3
3
3
3 3
3
3
3
3 3
3
3
3
3
3 3
3
3
3 3 3 3 3
3
3 3
3
3 3 3
3
3
3 3 3 3 6 6
3 3
3
3 6 6
3
6
6
6
3
4
f
cresc.
fff
63
ff
ffff
p
65
68
dim.
71
3
6 6
6 6
3
3
6
3
3 3
3 6
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3 3
3
3 3 3 3 3 3 3 3 3
5
pp
rit.
74
sfz
q = 132
77
mp
80
molto cresc.
83
3 3 3 3
6
86
fff
89
94
mp
ff
mp
ff sffz sffz mf
cresc.
99
3 3
3
3
3
3
3
3 3
3 3
3
3
3
3
3
3
7
104
fff
107
3
3 3 3 3 3 3 3 3
3
3 3
3
3 3 3 3 3
3 3 3 3 3
3 3 3 3 3
8
p
q = 50
p
mf
3
p
6
11
mp
13
7 7 7 7 7 7 7 7
II. The Immersion
(tap strings with
hard-headed mallets)
7 7 7 7 7 7 3 3
3
ord.
6 7
7
7
7
7
7
7 7 7 7 7
7 7
7 7
7 7
7 7
mf
15
p cresc.
20
24
cresc.
ff
26
f
mp
33
p
dim.
36
pp
7
7
(place finger on string
of struck key and produce
harmonic)
ord.
7 7
7 7 7 7
7 7 7 7 7
7 7 7 7 7 7 7 7
7 7 7 7 7 7 7 7
(tap strings with
hard-headed mallets)
ord.
7 7
7 7 7 7
7 7 7 7 7
2
mp
q = 120
cresc.
f
4
p
6
cresc.
8
III. Fuel for the Foresight
accel.
10
ff
q = 152
12
14
16
2
mp cresc.
18
mf
21
23
cresc.
25
27
3
ff
29
31
33
rit.
35
4
37
q. = 72
39
mp
43
48
5
53
cresc.
f
accel. q. = 90
58
62
cresc.
accel.
65
6
sffz
mf
q = 152
68
71
cresc.
accel.
74
77
ff
h = 92
79
7
83
87
90
93
cresc.
molto rit.
97
8
fff
h = 66
100
rit.
104
mf molto cresc.
h = 92
109
112
9
fff
114
10
Lake Llagio
for Clarinet, Bassoon, Horn, Piano,
and Double Bass
Elbert Liu
Notes
The Las Vegas resort hotel known as Bellagio has an
immense water pool established right in front of it, and this
particular pool isn’t just for decoration. It is the site for its
exclusive periodical water shows, which are considered a visual
wonder in their own respect among the spectators, hence the
innovative term “Lake Llagio.” The pool’s water shows
completely involve the usage of water jets in extravagant patterns
and formations, that occur briefly at night, with a break occurring
between each consecutive show set at a fixed time interval. It
should be noted that no two water shows exhibit the same jet
pattern or formation, but the moments in each show are no less dull
than in the one preceding it, which is represented by the premise
that the piece is laden with piano rises and clarinet trills to best
reflect the brilliant, unchanging nature of how the water jets are
utilized in the shows.
Clarinet in Bb
Bassoon
Horn in F
Piano
Double Bass
mp
f
q = 72
mp
mp
f
f
f
Cl.
Bsn.
Hn.
Pno.
Db.
dim.
3
dim.
dim.
dim.
Transposed Score
Lake Llagio
Elbert Liu
Cl.
Bsn.
Hn.
Pno.
Db.
p
f p
q = 132
5
p mp
p
mf p
f
sfz
mp
Cl.
Bsn.
Hn.
Pno.
Db.
f
mf
10
mp
f
mp
mf f
sfz
mp
3 3 3 3 3 3 3 3
6
pizz.
3 3 3 3
6
2
Cl.
Bsn.
Hn.
Pno.
Db.
mf
mp
17
mf mp
mf
mp
mf
mp mp
Cl.
Bsn.
Hn.
Pno.
Db.
mf
f
mp
A
24
mf
f mp
mf
f
mp
mp
mf
f
mf
sfz
mp
f
arco
3
6
3
3
Cl.
Bsn.
Hn.
Pno.
Db.
f
29
sf mp sf p
sf mp sf p
mp
f mf
mp
f p
Cl.
Bsn.
Hn.
Pno.
Db.
mp cresc.
f
mp cresc.
34
mp cresc.
f mp
cresc.
mp cresc. f mp cresc.
cresc. f mf
cresc.
cresc.
f mp
cresc.
6
3
3
3 3
pizz.
6
5
3
3
4
Cl.
Bsn.
Hn.
Pno.
Db.
f mf cresc. sfz
B
39
f mf
cresc.
sfz
p
f
mf cresc.
sfz
mf
cresc.
f
sfz
f
mf cresc.
sfz p
Cl.
Bsn.
Hn.
Pno.
Db.
44
p
6 6
arco
5
5
Cl.
Bsn.
Hn.
Pno.
Db.
mp cresc. poco a poco
51
cresc. poco a poco
mp
cresc. poco a poco mp
cresc. poco a poco mp
Cl.
Bsn.
Hn.
Pno.
Db.
57
mf
cresc.
mp cresc. poco a poco
mf
mf
3 3 3 3
6
Cl.
Bsn.
Hn.
Pno.
Db.
cresc.
63
cresc.
f mf
cresc.
cresc.
f
mf cresc.
Cl.
Bsn.
Hn.
Pno.
Db.
ff
68
ff
ff
ff
mp
ff
6
7
Cl.
Bsn.
Hn.
Pno.
Db.
f
q = 80 q = 132
q = 80 C
72
f
mf
mp
mf
Cl.
Bsn.
Hn.
Pno.
Db.
f
q = 132
q = 80
77
f
mf
mp cresc.
mf
3 3
3 3 5
7
5
3
3 5 3 3
5
3
3
3
3
7
5
3
3 3 3
8
Cl.
Bsn.
Hn.
Pno.
Db.
mf cresc.
q = 132
82
mf cresc.
mf
cresc.
mf cresc.
mf
cresc.
Eb Cl.
Cl.
Bsn.
Hn.
Pno.
Db.
q = 120
D
85
ff
ff
mp
ff mp
sffz
f
sfz
sffz
f
3
3 3
7
5
5
6
6
6 6
(switch to Eb Clarinet)
6
6
6
6
9
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf cresc.
f
91
cresc. f
cresc. mf
mf
mf cresc. mf
Eb Cl.
Bsn.
Hn.
Pno.
Db.
cresc.
98
cresc.
cresc.
cresc.
cresc.
10
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
101
ff
ff
ff
dim.
ff
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf
mf
E
105
p
mf
f
mp
mp
p
mf p
6
6
3
3 6 6
6
3
3
3 3
6
3 3 3
3
3
3
3
3
3
3 3
6
6
6
11
Eb Cl.
Bsn.
Hn.
Pno.
Db.
110
mp
mp
pp
p
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf
116
3 3 3 3
3
3 3 3
6
3
6
6
3 3
3
3
3 3
3
3
3 3
3
3
6
6
6
6
12
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf cresc.
F
123
mp
cresc.
mp
cresc.
mf
cresc.
mp
cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf cresc.
135
f
mp cresc.
f
mp cresc.
f
mp
cresc.
f
mp cresc.
3
3
3
3 3
3
6
6
3 3
6
13
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
ff
mf
G
142
ff
ff
mf
ff
ff
mf
ff
mf
ff
ff
mf
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf cresc.
147
mf cresc.
mf cresc.
mf
cresc.
mf cresc.
6
6
6
6
3
3
6
6
6
6
6
6
3 3
3 3
3
3
3
3 3
6
6
14
Eb Cl.
Bsn.
Hn.
Pno.
Db.
f
mf cresc.
153
f
mf
cresc.
f mf cresc.
f
cresc.
mf
f mf
cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
157
ff
ff
ff
ff
6 6
3 3 3 3 3
3 3
3 3 3 3
3
3
3
3
6
3
3 3 3
(in the foreground)
(stopped)
3
3
6 6 6 6
3
3 3 6 6 6 6
6
15
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf
160
mf
dim.
ff
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff sffz
164
mf
ff
sffz
sffz
mf dim.
mf ff
6
6
3 3 3 3 3 6
6
6
6 6 6 6 6 3 3 3 3
6 6 6 6 6 3 3 3
3
6
6
6
6
6
6 6
3
3
3
3
3 3
6
3
3
3
3
3 3
6 6
6
16
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
q = 66
H
168
mp
ff
mf
p
mf
mf
mp
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mp
mf
171
p
mp
mf
p
mp mf
ff
mp
pp
ff
p
mf
6
3
3
6
3 3
(open)
3 6
6
6
6
3
6
3
6
7
(switch to Bb Clarinet)
Bb Cl.
3
3
3
3
6
3
3
3
3
7
6
17
Eb Cl.
Cl.
Bsn.
Hn.
Pno.
Db.
mp
175
mp
mf
pp
mp
p
mp
p
pp
Cl.
Bsn.
Hn.
Pno.
Db.
mp mf
181
p mf
p
mf
mf
p
5
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
5
5
(stopped)
3 3 3 3 3 3
3 3 3 3 3 3 3
3
18
Cl.
Bsn.
Hn.
Pno.
Db.
p cresc.
187
p
mp
cresc.
p
mp cresc.
Cl.
Bsn.
Hn.
Pno.
Db.
mp
I 192
mf
mp
mf
mf
mp
mf
mp
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
(open)
3
5 3
5
3 3 3 3 3 3
3
5 3 3 3 3 3 3
19
Cl.
Bsn.
Hn.
Pno.
Db.
p
196
mp
p
Eb Cl.
Cl.
Bsn.
Hn.
Pno.
Db.
200
mf
p mf
p
p
p
5
5
3 6
5
3 3 3 3 3
3
7
3
(bend tone)
(switch to
Eb Clarinet)
3 3 3 5
20
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
q = 144
J
208
ff
ff
Eb Cl.
Bsn.
Hn.
Pno.
Db.
214
ff
subito mp
sffz
ff
subito mp
3 3 3
3 3 3
(stopped)
3
3
3
3
3
3 3
3
3
3
3 3
3 3
3 3 3 3 3
3
3
3 3 3 3 3
21
Eb Cl.
Bsn.
Hn.
Pno.
Db.
222
mf
Eb Cl.
Bsn.
Hn.
Pno.
Db.
f
mp
cresc.
231
f
mp
cresc.
mf f
mp
cresc.
mf cresc.
sfz
f
mp cresc.
3 3
3
3
3
3
(open)
3
3
3
6
3
3
3
3
3 3
22
Eb Cl.
Bsn.
Hn.
Pno.
Db.
f
mp
cresc.
K
239
f mp cresc.
f mp cresc.
f mp
cresc.
f mp
cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf cresc.
f sfz
249
mf cresc.
f sfz
mf cresc.
f sfz
mf
cresc.
f
sfz
mf cresc.
f
sfz
3
3 3 3 3
3
(in the foreground)
3 3
3
3
3
3 3 3 3
3 3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
3 3 3 3
3
3
3 3 3
6
6
3
23
Eb Cl.
Bsn.
Hn.
Pno.
Db.
f sfz f
257
f sfz
f
f
sfz
f
f
f
sfz
sfz
Eb Cl.
Bsn.
Hn.
Pno.
Db.
sfz sfz
mp
L
264
sfz sfz
mf
sfz sfz mf
sfz sfz mp
sffz sffz
sffz
sffz mf
3
3 3 3 3 3 3 3 3
3 3 3
3
3 3
3
3 6 3
3
3
3
3
3
3 3
3
3
3 3 3 3 3 3 3 3 3
6
3
3
3 3 3 3 3 3 3
3
3 3 3 3 3
3
3
3
3 3
3 3 3 3 3 3 3 3 3 3 3
3
3 3 3
3
3 3
24
Eb Cl.
Bsn.
Hn.
Pno.
Db.
272
Eb Cl.
Bsn.
Hn.
Pno.
Db.
f
281
f
f
f
f
3 3
3
3 3 3 3 3 3 3 3 3
3
3 3
3
3 3
3 3 3 3 3 3 3 3 3 3 3 3
3
3 3
3
3
3
3 3 3 3
3
3
3
3 3
3 3 3 3 3 3 3 3 3 3
3 3
3
3 3
3
3 3
3 3 3 3 3 3 3 3 3
3 3
3
3
3 3 3 3 3
3 3
3
25
Eb Cl.
Bsn.
Hn.
Pno.
Db.
sfz cresc.
289
cresc.
cresc.
cresc.
sfz
cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
296
ff
ff
ff
ff
3 6
3
6
3 3
3
3
3 3
3
3
3
3
3
3
3 3 3 3 3 3 3 3
26
Eb Cl.
Bsn.
Hn.
Pno.
Db.
303
Eb Cl.
Bsn.
Hn.
Pno.
Db.
h = 72 M 310
p
mf
mf
mf p
p
3 3
3
3 3
3
3 3 3
3
3
3 3
5
6 3 3 3 3
3
6
3 3 3 3
27
Eb Cl.
Bsn.
Hn.
Pno.
Db.
mf
314
mf
mp
p
dim.
p
Eb Cl.
Bsn.
Hn.
Pno.
Db.
f
319
f
mf
mp
mf
f
mp
mf
3 3
3
3
6
6
6
3
3
6
5 5
3 3 3 3
6 6 6 6 6 6
28
Eb Cl.
Bsn.
Hn.
Pno.
Db.
cresc.
324
cresc.
cresc.
cresc.
cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
rall.
q = 100 N
330
ff
ff
ff
ff
3 3 3 3 3 3
3 3 3 3 3 3 3 3
5 5
3 3 3
3 3
6
6
29
Eb Cl.
Bsn.
Hn.
Pno.
Db.
333
Eb Cl.
Bsn.
Hn.
Pno.
Db.
336
3 3 3 3
5 5 5
3 3 3 3
3 3 3
6 6
6
3 3 3 3 3 3 3 3 3
5 5 5
3 3 3 3 3
3 3 3
6 6
6
30
Eb Cl.
Bsn.
Hn.
Pno.
Db.
339
Eb Cl.
Bsn.
Hn.
Pno.
Db.
rit.
342
3 3 3 3 3
5 5 5
3 3 3 3
3 3 3
6
6
6
3 3 3
5 5 3 3
3 3 3 3
3 3
6
6
31
Eb Cl.
Bsn.
Hn.
Pno.
Db.
sffz mf cresc.
q = 144
O
345
sffz mf cresc.
sffz mf cresc.
sffz
ff
ffp cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
ff
351
ff
ff
ff
3
5 6
3
3 3
3 3 3
3 3 3
3
3 3
3 3 3 3 3 3 3 3 3 3 3
3
3
3 3
3
3
3 3 3 3
3
32
Eb Cl.
Bsn.
Hn.
Pno.
Db.
fff p cresc.
358
fff
mf
fff
ff
fff
mf
fffp
cresc.
Eb Cl.
Bsn.
Hn.
Pno.
Db.
fff
364
cresc.
fff
fff
cresc.
fff
fff
3
3 3
3
3
3
3 3 3 3 3
3 3 3 3 3
3 3 3
3 3
3
3
3
3
3
3
3
3
3
33
into the bilaterum
for Percussion, Harp and
Double Bass
Elbert Liu
Notes
It is commonly said that every material object in existence
has a single absolute counterpart, or antithesis, to it, depending on
said object’s attributes. Just as light will inevitably produce the
appearance of shadows, so will one’s body temperature react
accordingly to the surrounding environment’s temperature by
going the opposite direction. The same can be said for the overall
design of this particular piece, given that it is especially divided
into two brief parts; the first representing the wild proverbial
instincts inhibited within the human mind, and the second a
characterization of the desire to assert one’s full mental control of
said instincts.
-Elbert Liu
Percussion
Harp
Double Bass
sffz sffz sffz
sffz sffz sffz sffz sffz sffz sffz
q = 53
sffz
LMMOMMML
sffz
sffz sffz sffz sffz sffz sffz sffz sffz
pp
ff
mp
q = 53
Crot.
Hp.
Db.
sffz sffz sffz
6
sffz sffz
sffz
Gb
mp
cresc.
ff
pp
Crotales
Elbert Liu
into the bilaterum
1.
(let ring)
5 3
Crot.
Hp.
Db.
sffz sffz
f
12
mf
mf
sffz
f
sffz
mf mf
f
Crot.
Hp.
Db.
mp cresc.
sffz
18
mp
cresc.
sffz
mp
mp cresc.
sffz
mp
pizz.
(let ring)
arco
2
Crot.
Hp.
Db.
23
Crot.
Hp.
Db.
sffz
27
ff
sffz pp
To Mar.
3
6 6
l.h. pizz.
3
Crot.
Hp.
Db.
31
MMLOLMML
p
cresc.
cresc.
Crot.
Hp.
Db.
accel.
35
mp
cresc.
mp
cresc.
accel.
4
Crot.
Hp.
Db.
q = 72
39
mf
cresc.
mf
cresc.
q = 72
Crot.
Hp.
Db.
f
q = 144
43
sfz
q = 144
Marimba
5
Mar.
Hp.
Db.
46
MMLOLMML
sfz
sfz
Mar.
Hp.
Db.
cresc.
49
sfz sfz sfz sfz
cresc.
sfz
sfz
sfz sfz cresc.
arco
6
Mar.
Hp.
Db.
sffz
52
dim. ff
sffz
Mar.
Hp.
Db.
55
p
mp
3 3
3 3
7
Mar.
Hp.
Db.
pp f
58
mp
Mar.
Hp.
Db.
pp mf
61
pp
pp f
3 3
gliss.
(flip the mallets)
gliss.
gliss.
col leg.
8
Mar.
Hp.
Db.
pp
64
mp
NNMOMNNN
mp f
mp
Mar.
Hp.
Db.
f
pp
67
p
pp
ord. (flip mallets back)
arco
gliss.
gliss.
9
Mar.
Hp.
Db.
mp
cresc.
70
mf
cresc.
mp cresc.
Mar.
Hp.
Db.
f
72
f
f
3 3
10
Mar.
Hp.
Db.
75
Mar.
Hp.
Db.
77
3 3
11
Mar.
Hp.
Db.
sffz
mf
cresc.
80
sffz
mf
cresc.
sffz
mf
cresc.
Mar.
Hp.
Db.
sffz
ff cresc.
82
sffz
cresc.
ff
ff
cresc.
12
Mar.
Hp.
Db.
fff
84
fff
fff
Mar.
Hp.
Db.
sffz
86
sffz
sfffz mf
13
Mar.
Hp.
Db.
sffz
sffz
90
sffz sffz
Mar.
Hp.
Db.
sfz sfz
96
sffz
MMLOLMLL
sffz
p
mp
To B. D.
Bass Drum
dampened
(yarn mallet)
14
B. D.
Hp.
Db.
sfz sfz sfz
102
sffz sffz sffz
B. D.
Hp.
Db.
sfz sfz
107
sffz
LMLOLMLL
sffz
mf
15
B. D.
Hp.
Db.
sfz sfz
112
sffz sffz
cresc.
B. D.
Hp.
Db.
sfz sfz
116
sffz sffz
f
3
3
3
16
B. D.
Hp.
Db.
sfz
119
sffz
B. D.
Hp.
Db.
sfz sfz sfz sfz sfz sfz sfz sfz sfz sfz
121
sffz sffz sffz sffzsffz sffz sffz sffz sffz sffz
3
3
3
3
3 3
17
B. D.
Hp.
Db.
sfz sfz
pp cresc.
124
ff
sffz sffz
subito mf
B. D.
Hp.
Db.
127
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
18
B. D.
Hp.
Db.
ff
130
ff
B. D.
Hp.
Db.
sfz sfz
133
sffz sffz
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
19
B. D.
Hp.
Db.
sfz sfz sfz
136
sffz
sffz sffz
B. D.
Hp.
Db.
sfz sfz sfz sfz sfz sfz
138
sffz f cresc.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
20
B. D.
Hp.
Db.
fp cresc.
140
LLLOLMLL f
sffz mf
cresc.
B. D.
Hp.
Db.
sffz sffz
subito mf
143
sffz
mf
sffz
gliss.
gliss.
21
B. D.
Hp.
Db.
145
sfz mf sfz
mf
B. D.
Hp.
Db.
sfz
subito mf
147
f mp
f
sfz subito mf
22
B. D.
Hp.
Db.
cresc.
sfz
sfz
150
cresc.
sfz mf
cresc. f cresc.
B. D.
Hp.
Db.
sfz
fp
f
152
cresc.
ff
ff
23
B. D.
Hp.
Db.
subito mf cresc.
154
subito mf cresc.
subito mf cresc.
B. D.
Hp.
Db.
fp f
156
ff
ff
24
B. D.
Hp.
Db.
158
B. D.
Hp.
Db.
fp
cresc. f
160
sffz
subito mp cresc.
subito mp
25
B. D.
Hp.
Db.
162
ff
B. D.
Hp.
Db.
cresc.
164
mf cresc.
cresc.
26
B. D.
Hp.
Db.
166
B. D.
Hp.
Db.
fff
167
fff
fff
gliss.
gliss.
27
q. = 60, q = 90
q. = 60, q = 90
2.
Percussion
Harp
Double Bass
6
Perc.
Hp.
Db.
Vibraphone
mp
LMLOMMML
mp
cresc.
sfz
mf
mf
12
Perc.
Hp.
Db.
18
Perc.
Hp.
Db.
cresc.
mf
gliss.
sfz
gliss.
2 2 2 2
gliss.
gliss.
2 2 2 2
f
sfz
sfz
mp
sfz
sfz
2
24
Perc.
Hp.
Db.
29
Perc.
Hp.
Db.
sfz
sfz
sfz
p cresc.
sul tasto
pizz.
mf
cresc.
cresc.
3
35
Perc.
Hp.
Db.
40
With a Swing Feel
With a Swing Feel
q = 66
q = 66
Perc.
Hp.
Db.
mf cresc.
sfz
f
sfz
sfz
sfz
3
f
MMLOLMMM
sfz
sfz
sfz
3
3
arco
sf
mf
4
46
Perc.
Hp.
Db.
51
Perc.
Hp.
Db.
sfz
sfz
sfz
sfz
3
sfz
sfz
sfz
mf
3
mf
3
3 3 3 3
(slap fingerboard)
sfz
sfz
f
sfz
3
sfz
mf f
mf
3
3 3
3
3
3
3
3
3
3 3
3
sfz
sfz
sfz
5
55
Perc.
Hp.
Db.
59
Perc.
Hp.
Db.
mf
3
sfz
sfz
sfz
3
3
3
3
sfz
sfz
3 3 3
3
3
3
3
sfz
3 3
sfz
sfz
sfz
sfz
sfz
mf
sfz
mf
3
3
3
3 3
mf
3
3 3
3
3 3
sfz
mf
6
63
Perc.
Hp.
Db.
66
Perc.
Hp.
Db.
mf
3
3
3
3 3
3 3
sfz
sfz
3
mf
3
3 3
3
3
3 3
3
cresc.
3 3
3
3 3 3
cresc.
3
cresc.
7
70
A A
Perc.
Hp.
Db.
74
Perc.
Hp.
Db.
ff
3 3 3 3
3
3 3
ff
3
3 3
3
3 3
ff
3 3
3
sffz
3
3
3
3
3
ff
3
3
3
3
3
3
3
3
3
3
3
arco
sffz
p
3 3 3
8
79
Perc.
Hp.
Db.
84
Perc.
Hp.
Db.
p
3
3
3
3
3
3
3
3
3
3
mf
pizz.
3
3
3 3
mp
cresc.
3 3 3
3 3
3 3
9
88
Perc.
Hp.
Db.
91
Perc.
Hp.
Db.
f
mf
3
3
3
3 3
3 3 3 3
3
3 3 3 3 3
sfz
sfz
3
3
cresc.
3 3 3 3
3
cresc.
3
3 3 3 3 3 3 3
10
94
Perc.
Hp.
Db.
98
Perc.
Hp.
Db.
sfz
sfz
sfz
sfz
sfz
3
3
f
sfz
sfz
sfz
3 3
3
3
3
3
mp
cresc.
mf
3
f sfz
sfz
sfz
mf
cresc.
3 3
3
3 3
sfz
sfz
sfz
To Side Drum + Castanets
3
3
f
sfz
sfz
sfz
sfz
3
3
3 3 3
(thunder effect:
produced by clusters)
sffz
3
sffz
3 3 3
3
3
f
sfz
sfz
sfz
sfz
3 3 3
11
101
q = 132
q = 132
Perc.
Hp.
Db.
105
Perc.
Hp.
Db.
Side Drum + Castanets
f
3
sfz
cresc.
ff
3
3
3
3
3
3
3
sfz
sfz
3
sfz
3
sfz sfz
arco
ff
3
mf
3 3
NMMOMNNN
f
12
109
Perc.
Hp.
Db.
112
Perc.
Hp.
Db.
sfz
3
sfz
f
mp
3 3
13
115
Perc.
Hp.
Db.
118
Perc.
Hp.
Db.
mf
3
pizz.
mf
sfz
14
121
Perc.
Hp.
Db.
124
Perc.
Hp.
Db.
sfz
sfz
arco
15
127
Perc.
Hp.
Db.
131
Perc.
Hp.
Db.
f
f
5
mf
mf
3
3
3 3
mf
16
134
Perc.
Hp.
Db.
136
Perc.
Hp.
Db.
cresc.
3
cresc.
3
3
3
3
3
3
3
cresc.
3 3 3
3
3
3
3
3
3
3
3
3
3
gliss.
gliss.
gliss.
gliss.
17
139
Perc.
Hp.
Db.
143
Perc.
Hp.
Db.
mp
gliss.
gliss.
gliss.
gliss.
3 3
gliss.
mf
gliss.
gliss.
gliss.
3
3
3
f
cresc. 3 3
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
cresc.
gliss.
gliss.
gliss.
gliss.
gliss.
cresc.
18
147
Perc.
Hp.
Db.
151
Perc.
Hp.
Db.
f
3 3
gliss.
gliss.
gliss.
ff
gliss.
gliss.
gliss.
(thunder effect)
sffz
3 3
3
sffz
sffz
ff
19
155
Perc.
Hp.
Db.
158
Perc.
Hp.
Db.
cresc. 3 3
3 3 3 3 3
cresc.
3 3
3
3
3
3
3
3
3
3
cresc.
3
gliss.
3 3
3
gliss.
3
3
3
gliss.
3
3
3
3 3
3
3
20
161
Perc.
Hp.
Db.
fff
3
gliss.
gliss.
gliss.
fff
gliss.
gliss.
gliss.
gliss.
fff
3 3 3 3
3
3 3
21
little big horizon…
for flute, clarinet, percussion, piano, violin, and cello
Elbert Liu
Flute
Clarinet in Bb
Percussion
Piano
Violin
Violoncello
sffz
ff
f
Swiftly, Spontaneously
q = 152
sffz
f
sffz
p
both hands 8vb
sffz
p
Swiftly, Spontaneously
q = 152
p ff p p
(Jet Whistle)
(partially vocalized)
(f.t.)
3 3
3
3
3 3
Elbert Liu
Commissioned by Eighth Blackbird
Transposed Score
little big horizon...
Whip
pizz.
arco
1/2
gliss.
gliss.
gliss.
gliss.
Fl.
Cl.
Perc.
Pno.
Vln.
Vc.
f
ff
6
f
p ff
f
sffz
sffz
sffz
f
sffz ff
mp
ff p
sffz
ff
p
p
ff
p ff p
(f.t.)
3 3
ord.
3 3
To Chim.
3 3
gliss.
gliss.
2
Fl.
Cl.
Perc.
Pno.
Vln.
Vc.
mp ff f
sffz
A
11
sffz
ff
p cresc. sffz
A
sffz
p
3
3
(f.t.)
3
3 3
Chimes
sul pont.
3
3 3
gliss.
ord.
pizz.
arco
3
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
p ff
f
16
ff
sffz
ff
p
sffz
p
ord.
(f.t.)
3
5
3
3
3
5
3
6 6 6 6 6
5 5 5 5 5
4
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
ff
mf
20
sffz
p
ff
mf
sffz mf
(f.t.)
ord.
3 3 3 3
3
6 6 3 3
5 5 3 3
(non vib.)
5
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
mf ff p f p
26
mf p f p
sffz
sffz f
p
sffz p
3
(f.t.)
ord.
5
7
7
7
ord.
6
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
f
ff
33
f
ff
p
ff
ff
sffz p
sffz
p
5
7
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
p cresc. ff
mf
40
mp cresc.
ff mf
mf
cresc. ff mf
cresc.
ff
mf
3
8
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
ff ff
h = 66 q = 152
B
46
ff
ff
ff
f
ff
f
ff
h = 66 q = 152
B
f
ff
ff
3
5 3
3
9
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
ff
sffz
h = 66
q = 152
50
ff
ff
ff
ff
h = 66 q = 152
ff
(Jet Whistle)
3 3 3
3
gliss.
gliss.
gliss.
3
10
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
sffz sffz
ff
sffz mp
ff
h = 66
q = 152
55
ff
mp
ff
ff
ff
ff p
sffz
h = 66
q = 152
ff p ff p
ord.
(f.t.)
ord.
3
gliss.
11
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
h = 66 q = 152
60
ff
ff
ff
mf
cresc.
h = 66
q = 152
mf
cresc.
3 3
3
5
arco
12
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
ff
mf ff
fff
w = 58
65
mf
fff
fff
fff
ff
mf
fff
w = 58
ff mf
fff
3
5
(f.t.)
3
5
3
3
3
gliss.
gliss.
gliss.
13
Fl.
Cl.
Chim.
Pno.
Vln.
Vc.
dim. p
70
dim.
p
dim.
dim.
p
3
3
To Mar.
14
Fl.
Cl.
Mar.
Pno.
Vln.
Vc.
sffz p f
q = 76 C
76
f
p
p
mf
p
p
pp
p
q = 76
C
pp pp
mf
(f.t.)
ord.
5
5
3
3
Marimba
3 5
gliss.
gliss.
15
Fl.
Cl.
Mar.
Pno.
Vln.
Vc.
sffz
83
p
sfz
p
(f.t.)
2'00.1"
85.2.86
Hit 01
p
(notes connected by gliss. sul. A)
gliss.
gliss.
16
Fl.
Cl.
Mar.
Pno.
Vln.
Vc.
sffz
mp
89
cresc.
sfz sfz
cresc.
sffz mp
cresc.
3 3 3 3 3
cresc.
gliss.
3
gliss.
17
Fl.
Cl.
Mar.
Pno.
Vln.
Vc.
ff
f
q = 152
D
94
ff
f
sfz sfz
mf ff
f
f
ff
ff f
q = 152
D
ff
f
3
ord.
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Asset Metadata
Creator
Liu, Elbert C. (author)
Core Title
Six musical compositions: Phreneticals; Guraj; Auto-dox; Lake Llagio; into the bilaterum; little big horizon...
Contributor
Electronically uploaded by the author
(provenance)
School
Thornton School of Music
Degree
Master of Music
Degree Program
Composition
Publication Date
05/04/2012
Defense Date
05/01/2012
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Music,oai:digitallibrary.usc.edu:usctheses,OAI-PMH Harvest
Language
English
Advisor
Muhl, Erica (
committee chair
), Hartke, Stephen P. (
committee member
), Lesemann, Frederick (
committee member
)
Creator Email
elbertli@usc.edu,shoaf-aaab@usc.edu
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c3-29887
Unique identifier
UC11289984
Identifier
usctheses-c3-29887 (legacy record id)
Legacy Identifier
etd-LiuElbertC-760-0.pdf
Dmrecord
29887
Document Type
Portfolio
Rights
Liu, Elbert C.
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Abstract (if available)
Abstract
Composition portfolio submitted for degree: Phreneticals for oboe, clarinet, percussion, piano, violin and cello
Linked assets
University of Southern California Dissertations and Theses