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Nick Bentz master's composition portfolio
(USC Thesis Other)
Nick Bentz master's composition portfolio
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Content
Compressor
(2019)
for flute, clarinet, trumpet,
and string trio
NICK BENTZ
Phaëthon Press
ii
performance notes
--extended techniques
(winds/brass)
-timbral trill – trill between two fingerings that create a similar pitch.
-split-tone – allow the lips to vibrate at different speeds in order to split the
tone into two pitches. Aim at hitting the top note of the multiphonic
and allow the embouchure to create the lower note in the dyad.
Numbers indicate valves to be depressed.
-air in the sound
ordinary ½ air air
(strings)
-pressure trill – vertical trill between harmonic pressure and normal pressure
in the left hand.
-highest note possible – play the highest note possible on the string marked
--bow pressure
overpressure scratch
pitch noise
--bow placement
poco sul pont syl pont molto sul pont
--finger pressure
half-pressure harmonic pressure
iii
--general
-sv = senza vibrato
-accidentals last through the bar without octave displacement
-glissandi last the entire duration of the note marked
-transitions in technique: arrows with filled bodies relate to changes in bow pressure
arrows with dashed bodies relate to changes in bow placement/air usage and vibrato
program note
Compressor is a piece that looks at the way material reacts when parameters become forcefully
constricted. The piece revolves around a game of textural upheaval between two gestures. As each gesture
develops, it accrues rust and begins to become compressed in one parameter or another until the process
ushers in the opposing material. This back-and-forth continues until the piece bucks its own
programming and begins to expand, rather than compress. Compressor was written for yMusic.
DURATION: 6’
score is in C
iv
Copyright © Phaëthon Press (BMI) - 15
Flute
Clarinet in B b
Trumpet in C
Violin
Viola
Violoncello
ff
Overwrought q=96
f ff
f
ff
ff
ff
3 3 3 3
3
3 3
Nick Bentz (2019)
Compressor
Written for yMusic
6 6
6 6
6
straight mute
scr
ord
op ord
6 6
3 3
3
3 6 6
3
6
3
6
scr
op
ord
6 6 3
3
scr
ord
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
ff
4
f f
m f
p mf
m f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f f f f
A
6
ff
p f
ff m p s ff z
3 3
3
3
5
5
5 5
I, II
3
II, III
3 3
3
3
3
3
5
3 3 3
3
3
7
timbral
3
7
III, IV
II, III
3
3
6
msp ord
msp
ord
III, IV
3
3 3
2
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
fp f f
ff
9
f
m f ff
m f f p
sub p p s f f z
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
fp sf f z f f
11
f
p f p
fp ff f
ff
3
7
3 5 3
msp
3
3
6
3
III, IV
3 3
3
3
timbral
6
6
7
3
3
3
6
3
msp
msp
3
6 6 6
II, III
3
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
[sh]
sf z p
Propelled q=136
B
14
m p sff z f p
sf z
f f
m f m p
m p sf f z
p
sf f z
pp
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f
sf f z
C
19
f
f
m f f f
m f
m p
m f
air ord
3
III, IV
pizz
II, III
scr
msp
II, III
scr
slow bow
III ( )
air noise
air noise
senza sord. - air noise
II, III
ord
op
4
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
fp s ff z ff f
D
27
m f f m f m f
m f s fz
m p ff
f
f
f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f f f f f
33
f m f m f f
pp f
m f f m f f
f
f f
f f
ord
ord
ord
arco
pizz
sim
3
sim
3
arco
ord
msp
5
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f f p
E
38
m f f p
m f f m f pp
m p f
p
m f f
p
m p f
p
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f
m p f f
F
43
m f m p f f
m f p m f
f
f f p f
f
ff fp ff
f
p f
pizz
arco pizz
arco
pizz
arco
pizz
arco
msp
ord
pizz
arco pizz
arco
espr
3
espr
3
espr
3
II, III
espr
IV
3
msp
3
3
scr
3
ord
ord
II, III
pizz
arco - espr
3
msp
3
3
scr
3
(scr)
I, II
pizz.
arco scr ord
6
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p sfz fp
50
m p sfz p f
p sfz
p f
ff f
ff f
f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f m f sfz f f f
G
55
f f f f
f mf m f m f
f p f
fp f
f
sim
espr.
3
msp
3
ord
ord - espr
3
msp
3
ord
pizz
arco
7
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
61
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p
p
H
67
m p
p
pp
ff
p
ff
p
ff
p
sim
3
sim
3
sim
3
msp
3 3
msp
3 3
msp
3 3
air
ord
3 3 3
air ord
3 3 3
3
3 3
ord
msp
ord
3 3
ord
msp
ord
3 3
ord
msp
ord
3 3
8
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p p p m f f f
73
m p p p m f f f
p p p p
m p sub f f f
m p sub f f f
m p sub f f f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
I
77
sf z
f mp f m p
sf f z f m p
sf f z f
3
3 3 3
7
3
3 3 3
7
7
3
3 3
3
3 3 3 7
3 3 3
7
3 3 3
7
pizz
msp
(scrape)
scr
pizz
msp
(scrape)
scr
pizz
9
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f
J
83
m f
m p
m f f p f p m f
m f f p f p
m f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
89
ff m f p m f m p
f ff m f p m f m p
f m p p m f m p
bridge
ord
bridge
ord
pizz
air noise
air noise
air noise
3
3
10
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f
p
K
95
f
p
f
m f pp
f p
m p
m f f p m p
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f p
100
m f p
m f
m f f m p
m p f
f
ord
ord
arco
rough
msp
ord
IV
11
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f sf z m p
105
f sf z m p
sf z
m f sf f z
m f f m p
m f f
m f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p
f
L
109
sff z
sff z
ff
p ff
p sff z
ord
msp
IV
ord
scr
arco
3 3 3
3
air noise
air noise
6 6 6 6
frog
msp
rough
arco
msp
scr
12
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
pp
f
112
s ff z
s f f z
s ff z
s f f z
pp ff
pp
p
m p
ff
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
p p s f f z
114
sff z
s f f z
sff z
s f f z
f f p f f
ff
3
3
3 3 3
3
3
sp
6
ord 6
6
6
tip - msp
II, III
6 6
6
6 6 6
pizz
3
air noise
3 3
3
3
3
3
msp scr
6 6 6 6
3
6
ord
6
6 6
6 6
3
13
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f
sff z
f
M
117
m f
sff z
f
m f
sff z
p ff
p
f
m f
f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
120
f
ord
ord
ord scr
arco
pizz
6 6 6 6 6 6
6
6
pizz
arco
pizz
arco
pizz
arco
5 6
arco
pizz
arco
6
arco
14
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p f
N
123
m p f
m p f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f f f f
127
f f
m f m f f
m f f m f f f f
m f f m f f f f
pizz
arco
7 7
pizz
arco
7
pizz
arco
pizz
arco
7
pizz.
arco
15
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f f
O
133
f f
f
f f m f
f f m f
f f m f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
138
f f ff m f ff
f f ff m f ff
f f ff m f ff
6
6
6
I, II
6
6
6
16
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f
146
f
f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
ff
P
152
f f
ff
f f
f f
f f
pizz
II, III
pizz
II, III
arco
SOLO
arco
msp ord
msp ord
msp ord
17
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
155
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
fp ff
158
fp ff
f f
ff
ff
ff
3
3
18
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
162
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f f
Q
165
f f
m f
f f
f f
f f
7 3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
pizz
arco
pizz
arco
19
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f f p ff
169
ff m f f p f m f f
f m p m f
m f ff
m f ff
m p f f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f
f p ff f
R
173
f f f
m f f f p p m f m p
pp f f
pp sfz f f
sp
ord
pizz
arco
pizz
arco
pizz
arco
msp
ord
espr
3
espr
3
espr
3
msp ord
espr
3
msp
ord
espr
3
pizz
arco
scr
ord
20
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
ff f f
177
f f f
m p m f
ff f f
ff f f
f f f f f f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
ff f f
rit.
S
184
ff f f
m p m f
ff f f
ff f f
ff f f
3 3 3
3
3
3
3
3 3 3
3
3
3
3
3 3
3
3
3
3
3
espr.
3 3 3
3
3
3
3
pizz.
arco - espr.
3
pizz.
arco
pizz.
3
6 3
3
6 3 6
6
6
3
6 3 6
6
6
3
6 3 6
6 6
arco
3
3
21
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
ff
187
ff
f
f f
f f
ff
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
[tsss] [uh]
f f
-
m f
sung
played
f f
Overwrought q=96
T
190
p f f m f
p f
p ff f
p ff f
p ff f
6 6 6 6
6 6
6
6 6
sp
6 6
6
6 6 6
sp
6 6
6 6
sp
1/2 air
ord
5
3
growl
6
3
[2]
ord
msp scr
6 6 6
6
6
3
ord
msp
scr
6 6 6
ord
msp
scr
II, III
3
6 3 3
3
3
22
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
193
ff m p
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
195
ff m f
p p ff
3
3
6
6
3
scr
3
3 3
ord
3
scr
23
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p
U
197
p
p p
sff z m p
sff z pp p
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m p
199
p
p m f
m p
p
ord
ord
3
6
3
3
3
3
3
pizz
3
II, III
[1, 3]
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 5 6
24
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
m f
V
201
m p
p
m p m p
f
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
f
f
203
m f
m p
m f
m f f pp p
m f
pp
air
3
6
[1, 2]
sp ord
3
3
3
3
6
3
3
3
psp
msp
ord 1/2 air air ord
6 6 6 6 6 6 6 6
msp
trill only on E
5 6
3
bridge
(scrape)
ord
25
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
pp
rit. Still h=36
206
p p p
p
pp
p p p
p p
m f
p p
Fl.
Cl.
C Tpt.
Vln.
Vla.
Vc.
p p
pp
210
p p
p p
9/21/19
L.A.
CR
air
sv
sv
harmon mute - no stem
sv
ord
sv msp
arco - sv
msp
ord
sv
msp ord
ord
msp ord
msp ord
26
i
Atmospheric Entry
(2020)
for eight amplified violins
and electronics
NICK BENTZ
Phaëthon Press
ii
--extended techniques
-lateral pressure pizz – using intense left-hand pressure, pull the strings
from side-to-side creating a quiet, intimate rustling
-crackle effect – turn the instrument over and push the bow, hair-side down, into the
the back of the instrument. Roll the stick of the wood over the hair
in order to create a crackling sound
-bow tailpiece – bow the tailpiece of the instrument, using hard pressure in the right-hand
in order to pull an indeterminate pitch out of the instrument
-hammer-on/pull-off – without bowing, finger the pitches marked
-diagonal bowing – starting at the bow placement marked, pull the bow up or down
while travelling to the next marked bow placement. The sound
should be mostly pitchless
-bow bout – bow the rib of the instrument, creating an airy, wispy sound
-trapped tremolo – using intense right-arm pressure, use ‘forte’ effort to produce a
‘piano’ sound
-highest note possible – play the highest note possible on the string marked
-paper towel pizz – using a folded paper towel like a pick, strum the instrument. The
resultant sound should be a muted, more mellow/wispy pizzicato
(technique marked with text)
--bow pressure
ordinary overpressure scratch
pitch noise
--bow placement
sul pont molto sul pont bow bridge behind bridge
sul tasto molto sul tasto bow at the left hand
--vibrato
senza vib. poco vib. molto vib. Krakowska vib. (crazy vib.)
--finger pressure
ord half-pressure harmonic pressure
iii
--general
-clb = col legno battuto – bounce the wood of the bow against the strings
-clt = col legno tratto – bow the string using the wood of the bow
-very slow bow – use intense right-hand pressure and minimal bow to create a
pitchless static-like sound
-accidentals last through the bar without octave displacement
-arrows dictate transitions in technique: dashed arrows relate to changes in bow placement and vibrato
normal arrows relate to changes in bow pressure
-this piece should be played in the dark if possible. Ambient light from standlights and tablets is ok
--electronics/amplification
-each player should have a mic attached to their instrument, preferably under the strings behind the bridge
-the players’ output should be routed to a mixer with at least 9 channels (1 for each player and 1 for the tape part)
-all sound should be output through two speakers on either side of the stage
-the tape part can be activated by a conductor or an off-stage electronicist at the times marked
program note
Atmospheric Entry attempts to translate the process of a probe passing through an atmospheric membrane into
sound using eight violins. The electronics are originally taken from the Huygens Lander’s descent to the surface of
Saturn’s moon, Titan. Atmospheric Entry was written for the studio of Lina Bahn at the University of Southern
California.
DURATION: 8.5’
Copyright © 2020 Phaëthon Press (BMI) - 14
Violin 1
Violin 2
Violin 3
Violin 4
Violin 5
Violin 6
Violin 7
Violin 8
Tape
fposs
10" 15"
Without a sense of pulse q=48
fposs
fposs
m p
fposs
fposs
fposs
fposs
fposs m p
Drifting space dust
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
4
m p
pp
pp
p p
m p
pizz
pizz
(paper towel)
Written for the studio of Lina Bahn at the University of Southern California
Nick Bentz (2020)
Atmospheric Entry
pizz
pizz
pizz
pizz
pizz
pizz
pizz
pizz
(paper towel)
PLAY TRACK 1
pizz
(paper towel)
repeat ad lib.
get faster very slowly
bb
bring out overtones
msp ord
bb
bring out overtones
sp ord msp
bb
ord
bring out overtones
msp
repeat ad lib.
get faster very slowly
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
T.
mf
A
8
ff p
mp
f m p f p
ff p mp
ff p p
sff z
mp
f f
ff p
ff p mp
p p
p
Passing through
ring matter
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
p m p sff zp
11
f f
f
m p
f f
m f
mp
p
f
f
mf
f mp
arco
ord msp ord
IV
arco - from the string
dying suddenly, like a flare
pizz
(paper towel) arco
msp mst msp
IV
ord
scr
ord
dying suddenly, like a flare
3
psp
3 3
pizz
(paper towel)
arco - bb msp
psp
3
PLAY TRACK 2
IV
very slow bow
op
msp
3
msp
ord
dying suddenly, like a flare
harmonic gliss.
msp
ord
3
3 3
arco
3 3 3
2
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
sff zp
sf f z p
s ff zp
B
14
sff z p
p sf f zp
sff z p
f
p s f f zp
f
p sf f z p
sff zp
f sf f z p
sf f zp
sff zp
p sff z p
s ff z p
f sf f zp
sff zp
sf f z p
sff zp
sf f z p
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
sff zp
p
becoming ever more intense
17
sf f zp
sf f zp
sf f z p
sf f zp
sf f zp
sff zp
sff zp
sff zp
sff zp
sf f zp sff zp
sf f zp
sf f zp
sf f zp
sf f z p s ff zp
sf f zp
sf f zp
sf f z p
sf f zp
sf f z p
sff zp
sf f zp
sff zp
sf f zp
sff z p
sf f z p
s ff z p
sf f zp
sf f zp
sff zp
sff z p
sf f zp
sff z p
sff z p
sff zp
sff z p
p
IV
ord
(msp)
op
sim
3
op
msp
IV
sim
3
3
op
msp
msp
(msp)
op
IV
3
op
msp
IV
sim
IV
op
msp
IV
sim
3
op
msp
3
IV
sim
3 3
3
op
msp
IV
(op)
sim
3 mst
clb
msp
sim
vary lengths
continue ad lib
3
3
3
scr
3
3
3 3 3 3
IV
sim
scr
sim
scr
scr
3
scr
3
3
3
3
3
3
3
3
3
3
3
mst
clb
msp
sim
vary lengths
continue ad lib
3
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
mf
20
sf f zp s f f zp
sf f z p
sff zp
sff zp sff z p
sf f z p
sf f zp
sff zp
sff zp sff zp sf fz mf mf
sff z p
sf f z p
sff zp
sf f zp
sff zp
sf f zp
sff zp
sff zp
sff zp sf f z p
mf
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
f f m f
C
22
sf f zp sff zp sf f zp m p
sff zp
sff zp
sf f zp
sff zp
sf f zp sf f zp
sff zp
sff z m f mf
sff zp
sff zp sf f z p sff zp s ff zp sf f zp
sf f z m f
sff z p
sff zp
sf f zp
sff zp
m p
f f m f
3
3
3
3
3
3
3 3 3
(scr)
(msp)
ord
ord
sff zp
scr
3
3
3 3
3
3
3
3
mst
clb
msp
sim
3
3
3
(scr)
(msp)
ord
ord
3
3
(scr)
(msp)
3
mst
clb
msp
sim
4
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
12"
Gaining mass q=60
26
m p
mp sim
mp sim
m f mp sim
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
f
31
ff
m f
ff
f
f
f
f
ff
mst
clb
msp
sim
ord
harmonic distortions are OK
op ord op ord op ord op ord op ord op
ord
harmonic distortions are OK
op ord op ord op ord op ord op ord op
ord
ord
ord
harmonic distortions are OK
op ord op ord op ord op
ord op ord op
ord
bow bout 3
ord
bow bout
ord op
bow bout
ord op ord op ord
3
op ord op ord
3
get faster independently
op
ord op ord op ord
3
op ord op ord
3
get faster independently
op
3
ord op ord op ord
3
op
3
ord op ord
3
get faster independently
op
IV
very slow bow
3
5
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
f f m f
D
36
f f m f
f f
p
p
p
p
mf
m f ff
p p p p p
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
m p
p p p pp
39
m p
bow follows
left hand up
fingerboard
p mf
mf p
mp sfzp
at the frog - stutter-like
extremely heavy bow pressure
massive energy concentrated
pp p
ff
p
p p p
mf
pp p
m f
sff z
deconstruct the tremolo
3
deconstruct the tremolo
3
3
3
5
5 5
deconstruct the tremolo
3
3
6
5 5
rhythm and pitches approx.
gliss.
msp
3 3 3
rhythm and pitches approx.
gliss.
3 3 3
rhythm and pitches approx.
gliss.
III, IV
clt
3 3 3
clt
III, IV
bow bout
very slow bow
III, IV
clb
3
very slow bow
III, IV
clb
3
clt
III, IV
clb
3
III, IV
clb
3
3
ord
scr
III, IV
clb
3 3
very slow bow
III, IV
clb
3
bow follows
left hand up
fingerboard
clt
5
bow bout
ord
msp
5
6
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
sf z p
E
43
mp
pp p p p
sf z p
sf z p
p
p f pp
pp
p
p
p
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
mp
46
mp
mf
m f
f
mf
m p
p
mp
ord
sim
clt
very slow bow
3
msp
bb
ord
bow follows
left hand up
fingerboard
clt
sim
ord
sv
sv
msp
ord
msp
ord
sv
bow follows
left hand up
fingerboard
clt
7
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
ff
F
49
ff
ff
ff
m p ff
ff
ff
ff
ff
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
f
52
mp
mp
mp
pp
mf
pp m p
m f
pp m p
p p m p
op
msp
ord
ord
II
3
I
3
I, II
op ord
I, II
ord
III
II
III
II
IV
III sim
3
3
msp
3
3
IV
III
sim
maintain contour
allow pitch to be random
rhythmic alignment is not necessary
5
6
IV
III
sim
maintain contour
allow pitch to be random
rhythmic alignment is not necessary
3
5
IV
ord III
maintain contour
allow pitch to be random
rhythmic alignment is not necessary
sim
6
8
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
mp
m p
G
55
mp
pp m p
m p
p p
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
m f
58
mp
m f
diagonal bowing
(mst >msp)
sim
diagonal bowing
(mst >msp)
3
3
III
II
sim
maintain contour
allow pitch to be random
rhythmic alignment is not necessary
6
5
6
3
maintain contour
allow pitch to be random
rhythmic alignment is not necessary
II III sim
5
3 3
6
3
III
II
sim
sim
3 3 3
3
6
6
3
5
5
5 5
5
3
sim
3
I
II
sim
5 5
6 5 6 6
5
6 6
I
II
sim
6 5 6 6 6 6
3 6
5 5
3 5
3
II
III
sim
3 6 3
5
6 5
5
3 3 3 3 3 3 3
9
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
f
f
61
f
f
m p
mp
m p
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
m p
m p
p f
H
65
mp
mp p p p pp p p p p
p p p p
m p p p p p
p p
p p p p
m f mp
m f mp
5 6 6
6 6 5 6 6
I
II
sim
5
5 5 5 5 6
3 3 3 3 3
I
ord
(B)
harm. gliss.
I
I
ord
pv
msp
III
ord
III, IV
clb
3
3
II, III
ord
3 3
III, IV
clb
3
III, IV
clb
3 3 3
I
ord
3
III, IV
clb
3
ord
sp
IV
III, IV
clb
3
III, IV
clb
3
ord
II
(C #)
harm. gliss.
ord
I
3 3
III, IV
clb
3
II
arco
harm. gliss.
II
10
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
m p
f
I
71
mf
m f
m p
m f f( p) f
mp
f
f
sff z fmp
f ( p)
f ( p) mf
m p f
mp f
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
T.
ff f
77
ff f
ff f
ff f
ff f
ff f
ff f
ff f
the winds on Titan
I
sv
3
harm. gliss.
II
op
3
ord
III, IV
clb
ord.
trapped
tremolo
IV
ord
scr
bow bout
II
ord
op
msp
3
op
ord
trapped
tremolo
IV
op
ord.
trapped
tremolo
sv
3
sv
3
mv
3
kv
op
scr
allow the sound to crack
in its expressivity
op scr
ord
op
scr
IV
op
at frog
scr
scr
op scr
3
mv
kv
op
scr
3
allow the sound to crack
in its expressivity
mv kv
op
scr
3 3
PLAY TRACK 3
11
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
T.
mp
Out of time - with a sense of extreme remoteness
10" 12" 25"
80
m p
mp
pp
mp
sub p p
mp
mp
p p
mp
mp
mp
mp
p p
m p polyrhythmic layer comes through
mf
synth outbursts
( mp)
m f
( m p)
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
T.
p
35"
15"
83
fposs
p
p ff
fposs
p
fposs
p
m p
p
p ff
fposs
p
mf
mp
radar clicks polyrhythmic layer comes through
slow downward swoop
crackle effect
crackle effect
crackle effect
repeat approx. every 3"
stay "stuck" when not playing
scr
(scr)
repeat approx. every 4"
stay "stuck" when
not playing
repeat every 3"
crackle effect
repeat approx. every 3"
scr
crackle effect
crackle effect
repeat approx. every 2"
scr
scr
repeat approx. every 3"
diagonal
bowing
(at left hand)
free bow
ord
bow tailpiece
diagonal bowing
(at left hand)
free bow
bow bout
bow tailpiece
diagonal bowing
(at left hand)
bow tailpiece
diagonal bowing
(at left hand)
crackle effect
diagonal bowing
(at left hand)
bow bout
bow tailpiece
diagonal bowing
(at left hand)
free bow
mst
q=76
3
12
Vln. 1
Vln. 2
Vln. 3
Vln. 4
Vln. 5
Vln. 6
Vln. 7
Vln. 8
T.
15" 15"
85
p
p
bridge winding
bridge winding
diagonal bowing
(at left hand)
bridge
bridge winding
bridge winding
bridge winding
diagonal bowing
(at left hand)
bridge
bridge winding
13
Glimpse
(2018-19)
for clarinet, violin,
cello, and piano
NICK BENTZ
Phaëthon Press
ii
performance notes
---extended techniques
--clarinet
-timbral trill – trill between two fingers that create a similar pitch
--strings
-highest note possible – play the highest note possible on the string marked
-very slow bow – use intense right-hand pressure and minimal bow to create a pitchless
static-like sound (technique marked with text)
--bow pressure
overpressure scratch
pitch noise
--bow placement
poco sul pont syl pont molto sul pont
--vibrato
senza vib. poco vib. molto vib. Krakowska vib. (crazy vib.)
--piano
-gong sound – hit the lowest register of the strings inside the piano with the
palm of the hand
--general
-accidentals last through the bar without octave displacement
-glissandi last the entire duration of the note marked
-transitions in technique: arrows with filled bodies relate to changes in bow pressure
arrows with dashed bodies relate to changes in bow placement/air usage and vibrato
iii
program note
Glimpse is a piece that I wrote as I found myself fascinated at the way and speed that our brains
catalog information. The human brain is a complex machine that often works in ways that we’re unable to
readily perceive – one of these subliminal processes being facial recognition. The brain constantly
perceives and creates patterns among the faces that we encounter, even in passing, using information
from all around us to infer how we might interact with one another. It’s through the repeating of similar
stimuli that we’re able to quickly read emotions and situations in order to best ascertain how to act, or to
unlock our own empathy towards each other. However, these same processes can yield implicit biases,
shortchanging the very people we see.
Glimpse is structured and derived from a five-pitch set which is constantly run through various
processes. As these processes repeat, the material begins to ‘learn’ from bar-to-bar and gesture-to-gesture,
playing with and sometimes against the very rules that it finds itself entrapped within. Glimpse was
commissioned by the clarinetist Melissa Lander for her chamber group, Quattri Quartet.
DURATION: 9’
score is in C
iv
Copyright © 2019 Phaëthon Press (BMI) - 11
Clarinet in B b
Violin
Cello
Piano
p
p m p
Tempo 1 q=60
p
m p
p
m p
mp
p m p
Tempo 1 q=60
gong sound; inside piano
(inside piano)
Cl.
Vln.
Vc.
Pno.
p m p
m f
6
p p p m p ff
pp p m p ff
p mp
(inside piano)
air noise ord - espr
Nick Bentz
(2018-19)
Glimpse
Comissioned by Melissa Lander
for Quattri Quartet
light finger pressure;
slow bow - msp
III
IV
ord
light finger pressure;
slow bow - msp
III
IV
light finger pressure;
slow bow - msp
ord
light finger pressure;
slow bow - msp
ord
air noise
ord msp
ord msp
ord
Cl.
Vln.
Vc.
Pno.
f m f
Tempo 2 q=136
A
11
m p
m p sub m p p
pp
f p
Tempo 2 q=136
A
Cl.
Vln.
Vc.
Pno.
m p p sub ff
14
p p
ff
p p p
ff m p
ord
3
3
3
3
III
ord
off the string
pizz
(lh)
0 arco
3
ord
3
3
3
msp
ord
3 3
I
II
(arco - ord)
sv
3
3
3
3
2
Cl.
Vln.
Vc.
Pno.
m p p f
B
18
m p p m p p f f f
p m p p f f
p
sff z
f
p
B
ff
Cl.
Vln.
Vc.
Pno.
m f m f
m f
22
m p
p m p m f
p m p
mf m p
ord
3
3
3
3 3
pizz
arco
II, III
III
3 3 3
3
ord
pizz
arco
off the string
III, IV
3 3
3
3 3 3
3 3
3
pizz
arco
3
3
Cl.
Vln.
Vc.
Pno.
p sub ff
m f
25
m p ff
f m f
m f p p m p m f
ff
m p
m f
f
Cl.
Vln.
Vc.
Pno.
f f
29
f f f ff
f f f ff
f f
sff z
3
3 3 3 3
msp
pizz
arco
3
3
sv
arco
ord
3
3
3 3
3
3
II
III
III
IV
3
3
II
III
III
IV
3
3
3
3
3
3
4
Cl.
Vln.
Vc.
Pno.
p
m p
Tempo 1
C 33
sf f z m p
m f
sf f z m f
sf f z pp mf s f f z pp
Tempo 1
C
Cl.
Vln.
Vc.
Pno.
m p f
f
Tempo 2
D
37
p f sfzp
p
ff
f mp
Tempo 2
D
hollow
msp
ord
msp
ord
3
m.s.p.
ord msp
both hands
sim.
3 3
3
3
3
scr
ord
III
3
m.s.t.
scr
5
Cl.
Vln.
Vc.
Pno.
m f m f
41
m p m p m f m f m f
m p sf z m f s f z
f m f
f mf
Cl.
Vln.
Vc.
Pno.
f f
45
f
f f
f
m f f
f
p
f f ff
3 3
3
3
sim
3
msp
ord - sv
msp
pizz
arco
3
3
3
3
3
pizz
arco
3
3
3
3
sv
ord
3 3 3
3
3
3 3 3
3
3 3
6
Cl.
Vln.
Vc.
Pno.
f
f
E 49
f f
f
sff z sim. f ppp f
E
Cl.
Vln.
Vc.
Pno.
f p
Tempo 1 F 57
p f f
p f f
p ff s f f z pp
Tempo 1
F
5 5 5
pizz
arco
5 5 5
pizz
5 5 5
5 5 5 5
5
5
5 5
5
5
pizz
5
arco
I, II
5
5
5
5
5
arco
I, II
5
5
5 5
5
5
5
5
7
Cl.
Vln.
Vc.
Pno.
m p
m f
63
m f s f f z
m f s f f z
s f f z pp pp
Cl.
Vln.
Vc.
Pno.
p m f f
68
m f sff z m f f p
m f sff z
m f
s ff z pp mf f
msp
ord
msp
ord
deliberate
3
msp
ord - deliberate
3
msp
ord - deliberate
3
3
8
Cl.
Vln.
Vc.
Pno.
f
Tempo 2 G
73
fp
p p
f
f f f p
Tempo 2 G
Cl.
Vln.
Vc.
Pno.
m f
m f
77
f
m p m f
f s f f z m f s f fz
f ff f
3
3
s.v.
lh
3
3
IV heavy
sim
3
msp
ord - sv
msp
3
9
Cl.
Vln.
Vc.
Pno.
f
(4+4+3)
80
f f p s ff z f
ff
(4+4+3)
Cl.
Vln.
Vc.
Pno.
f f
83
ff
f ff ff
mf ff f
f
sff z sim ff
3
3
3
pizz
arco
3
pizz
arco
s.v.
p
3
3
3 3 3 3
pizz
arco
II
III
I
II
3
3
3
ord
pizz
arco
II
III
I
II
3
3
3
loco
3
3
3
3
3
3
10
Cl.
Vln.
Vc.
Pno.
m p
Tempo 1
H
88
m f sff z
m f sff z
sf f z pp f sff z pp
Tempo 1 H
Cl.
Vln.
Vc.
Pno.
m f m p
poco accel.
92
m f sff z m p
m f sff z m p
m f s ff z pp
poco accel.
3
arco
msp
ord.
msp
ord.
3
3
7
msp
ord 3
msp
ord
11
Cl.
Vln.
Vc.
Pno.
f f
95
m f s ff z m f
m f s ffz m f
s ff z pp
Cl.
Vln.
Vc.
Pno.
f f f
poco rit. Tempo 2 q=136 Tempo 1 I
97
sf f z f f f f
sf f z f f f p f
sff z p ff m f fs ff z pp
poco rit.
Tempo 2 q=136
Tempo 1
I
7
msp
ord
msp
ord
3
molto espr
7
3
3
3
msp
ord
III
3 3
3
msp
ord
3
12
Cl.
Vln.
Vc.
Pno.
f f
100
f
f
f
Cl.
Vln.
Vc.
Pno.
f f p f f
102
ff
f f
ff
ff
s f f z ff s f fz
7
molto espr
molto espr
3
3
7
7
3 3
6
3
7
7
13
Cl.
Vln.
Vc.
Pno.
pp f f
Tempo 2
J 105
p f p f f
s f f z m f
p f
f
mf f m f f f f
Tempo 2
J
Cl.
Vln.
Vc.
Pno.
m f f ff
109
m f fp sf f z
f ff f
f f f f f
m f
3
3
3 3
loco
arco
sv
scr
ord
3
pizz
arco
3
3
3 3
pizz
3
3
3
3
3
14
Cl.
Vln.
Vc.
Pno.
f f
K 113
f ff f f f
f ff
f ff
f
ff
K
Cl.
Vln.
Vc.
Pno.
f
m p m f
118
m f m f
sfz m f
sf f z s f z m f m p
3 3 3 3
arco
3
3
3
3
3 3 3
msp
ord
3
3
3
3 3 3
loco
3
3
3
3 3
3
ord
3 3 3 3
3
3 3
3
3 3
15
Cl.
Vln.
Vc.
Pno.
f f m f m f
L
122
f f
m f
f f
mf f s ff z sim f
mf
L
Cl.
Vln.
Vc.
Pno.
f f f
128
f
f
f
5
5 5
5
5 5 5 5
pizz.
5
5
5
5
5
5
5 5 5
pizz
5
arco
pizz
5
arco
5
pizz
5
arco
5
5
5
5
5
arco
5
5
5
5
5
5
5
5
5
5 5
5
5
5
16
Cl.
Vln.
Vc.
Pno.
f
M
136
f f
f
ff f
f
M
Cl.
Vln.
Vc.
Pno.
f
144
f f
ff
ff f f f
5
5
5 5
pizz
5
5
arco
5 5
5
5
pizz
5
5
5 5 5 5 5 5
5 5 5 5 5 5
5
5
5
5
5 5 5
5
flz
5 5 5 5 5 5
5 5 5 5 5 5 5 5
5 5 5 5 5 5 5
5
5
5
5
5
5
5 5
17
Cl.
Vln.
Vc.
Pno.
s f f z
f f f
N
152
p f f f p
f f ff
sub p ff f
p
N
Cl.
Vln.
Vc.
Pno.
f
sff z
157
f f m f f f
f f
f f f f
f
5
5
ord
3 3
pizz
0
5
0
5
arco
5
5
arco
arco
5
5
5 5 5 5
5
5
5
5
flz
ord
pizz
arco
3
arco
pizz
arco
3 3
(E)
(F)
3
18
Cl.
Vln.
Vc.
Pno.
f f f
161
fp s f f z ff f p f
ff
f f p
Cl.
Vln.
Vc.
Pno.
f f f sf f z f f f
O 165
sf z f f
f f f
ff
ff
O
3
3 3
pizz
arco
pizz arco
3
3
3
ord
3 3 3 3
5
scr
pizz
arco
II
III
3
3
3
I
II
3 3 3
loco
3
3
3
3
3
19
Cl.
Vln.
Vc.
Pno.
f p f m f f
169
ff p f p f f
ff p f p f f
sf f z sim
p f f
sf f z
Cl.
Vln.
Vc.
Pno.
m p m f p f ff sff z f
173
f f f f
f f f f
p
f f
sff z
s f f z
timbral
5
3
II
III
scr ord
III
IV
5
II
III
scr
ord
II
III
5
5
5
5
5
II
III
III
IV
I
II
III
IV
20
Cl.
Vln.
Vc.
Pno.
f
P 178
f f p f f f ff p f f
f f p f f f ff p f f
sff z
P
sf f z
Cl.
Vln.
Vc.
Pno.
f
182
f f p ff s f f z f f p
f f p ff
sff z
f f p
sf f z sim
sff z
sim sff z
6
III
IV
3
III
IV
II
III
III
IV
3
III
IV
I
II
3
II
III
III
IV
scr
III
IV
ord
I
II
III
IV
scr
III
IV
ord
5
21
Cl.
Vln.
Vc.
Pno.
f
G.P.
Accompanied Cadenza - piu mosso
187
f f s f f z f f p ff sff z
f f s f f z f f p ff sff z
G.P.
Accompanied Cadenza - piu mosso
Cl.
Vln.
Vc.
Pno.
f p f f
Tempo 2 poco rit.
191
ppp
ppp
Tempo 2 poco rit.
3 3 3 3
III
IV
scr
stay at frog
III
IV
scr
stay at frog
3
3
3
3
3 3 3
slowest bow possible
coarse pitchless tone
2-3 in. of bow
III
IV
stay
3 3
slowest bow possible
coarse pitchless tone
2-3 in. of bow
III
IV
stay
3 3
3
3
22
Cl.
Vln.
Vc.
Pno.
m f
molto rit. ( q=100)
194
p p p ppp
p p p ppp
molto rit. ( q=100)
Cl.
Vln.
Vc.
Pno.
f fp f f fp
Tempo 1 molto rit.
Q 197
p p p fs f z f s fz
p p p fs f z f s fz
Tempo 1
molto rit.
Q
3
3
3 3
sim
III
IV
stay
3 3
sim
III
IV
stay
3 3
3 3
freely
flz
ord
stay
use remainder
of bow
stay at tip
use whole bow
stay
use remainder
of bow
stay at tip
use whole bow
23
Cl.
Vln.
Vc.
Pno.
f p
ff
Tempo 1 poco accel.
200
p p p p pp
p p p p pp
Tempo 1 poco accel.
Cl.
Vln.
Vc.
Pno.
f pp f f p ff m f
poco accel. Tempo 1
Tempo 1 poco accel. poco accel.
205
p ppp m p p pp f sfz
p ppp m p pp p f sfz
poco accel. Tempo 1
Tempo 1 poco accel.
poco accel.
3
5
stay at frog
(as before)
stay
stay at frog
(as before)
stay
3 6
3 6
6
stay
psp
use remainder
of bow
msp
stay at tip
stay
psp
use remainder
of bow
msp
stay at tip
24
Cl.
Vln.
Vc.
Pno.
f ff m p m f f f
Tempo 1 accel.
209
f s f f z p m f f
f s f f z p m f f
Tempo 1
accel.
Cl.
Vln.
Vc.
Pno.
fp f f
( q=100) molto rit. Tempo 1 Tempo 2
20"
R
214
f f f
p p
f f f
ff ppp
( q=100) molto rit. Tempo 1
20"
Tempo 2
R
inside piano
noticeably stuck
6
3
6
use whole bow
stay at frog
as before
stay
stay
stay
stay
use whole bow
use whole bow
stay at frog
as before
stay
stay
stay
stay
use whole bow
freely
6
6
use whole bow
...
pizz
0
5
sim
5 5
use whole bow
...
ord
5
5
5
5 5 5
25
Cl.
Vln.
Vc.
Pno.
220
Cl.
Vln.
Vc.
Pno.
p
S
228
pp
p p
p
pp
S
5 5 5 5 5 5 5 5
5
5
5
5
5
5
5
5
5 5 5 5 5 5 5 5
5
5
5
5 5
5
pizz
5 5 5 5 5
5
5
5
5
5
5
5 5
5 5 5 5 5 5 5
26
Cl.
Vln.
Vc.
Pno.
236
p m p
m p
p mp
Cl.
Vln.
Vc.
Pno.
m f f
243
m f f
m f f
m f f ff
5
5
5
5
5
5
5
5
5 5 5
5 5
5
5
5
5
5
5 5 5 5 5
5
5
5
5
5 5
5
5
5
5
5
arco
5 5 5
5
5
5
5
5
5 5
5
5
5
5
5
5
5
5
27
Cl.
Vln.
Vc.
Pno.
ff m f
250
ff m p
ff m p ff
s fz p
Cl.
Vln.
Vc.
Pno.
f m f
sf z m f f
T
257
f f f f p
f
f f p
f
ff
ff p m p ff f f f
T
5 5 5
5
5
5 5 5 5 5
5
arco
5
5
5 5
5 5
5
5
5 5 5
5 5
5
5 5
flz
ord
3 3 3
arco
pizz
arco
3 3 3 3
pizz
arco
msp
ord
3
28
Cl.
Vln.
Vc.
Pno.
pp ff p
261
m p f f sub pp
p sub f f
m f ff
mp
Cl.
Vln.
Vc.
Pno.
ff f
264
m p ff
f
f f
ff
3
3
3
3
pizz.
arco
3
3
3
3
3
3
3
3
3
3
rough
msp
ord
3 3
pizz
3
3
3
29
Cl.
Vln.
Vc.
Pno.
f f f f f
U 267
f p
f p
ff
sff z
U
Cl.
Vln.
Vc.
Pno.
f ff f f f
V 272
f f p sf fz f f f s ff z
f f p sf fz f f f s f f z
sf f z ff sf f z s ff z f f
s f f z
V
3 3
pizz
arco
II
III
II
III
III
IV
3
arco
I
II
I
II
III
IV
3
3
3
3
3
msp
ord
msp
ord
III
IV
msp
ord
msp
ord
III
IV
sim
30
Cl.
Vln.
Vc.
Pno.
m p f
277
f s ff z f s f f z ff f ff p
f s f fz f s f f z ff f ff p
Cl.
Vln.
Vc.
Pno.
f f
Tempo 1
W
282
f f m f
f f m f
ff mf
Tempo 1 W
air noise
3
msp
3
ord
very slow gliss
3
msp
3
ord
very slow gliss
3
3
3
3
3
ord
molto espr
3
scr
ord
molto espr
3
3
3
3
scr ord
molto espr
3 3
3
3
3
3
molto espr
3
3
3
31
Cl.
Vln.
Vc.
Pno.
ff
ff
286
ff f f f f
ff f f f f
ff ff m f ff mf ff
Cl.
Vln.
Vc.
Pno.
f f f f
289
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
Cl.
Vln.
Vc.
Pno.
ff
molto rit.
291
molto rit.
Cl.
Vln.
Vc.
Pno.
f p p p
a tempo - meno mosso
292
ff f f ff
ff f f s ffz
ff f f f ff
a tempo - meno mosso
3 7
op
3
3 3
3
op
3
3
3
3
3
3
flz
6
ord
6
6
6
ord
msp
6
7
6
6
7
33
Cl.
Vln.
Vc.
Pno.
f
ff f f f
Tempo 2
294
f f
s f f z
f f f
f f
s f f z
f f f
mp fp sff z sim
f f f
Tempo 2
2/25/19
Los Angeles, CA
ord
5
pizz
arco
scr
ord
5
pizz
arco scr
ord
5
5
5
34
Having Guests
for Dinner
(2019-2020)
a trash micro-opera
for three singers and piano
ROBERT FENG
NICK BENTZ
Phaëthon Press
ii
characters/plot
- Laura – mezzo-soprano
- Marcus – tenor
- Christoph – bass/bass-baritone
Having Guests for Dinner follows a young couple, Marcus and Laura, who are invited to
a friend of a friend’s house for dinner. When they arrive, they meet their odd host,
Christoph. Something seems off – their friends Scott and Andrew never arrive, and
Christoph’s demeanor betrays that perhaps there’s more on the menu than just beef and
lamb.
Libretto by Robert Feng
Music by Nick Bentz
duration: 16’
iii
iv
Copyright © 2019 Phaëthon Press (BMI) - 16
Piano
f f f f f
Grandiose q=72 q=124 molto rall.
rit.
L.
Pno.
Mar
f
cus, - I
m f
Frantic q=124
5
sf z m p m f sub m p
Frantic q=124
forearm cluster
L.
M.
Pno.
told you it was go ing - to rain be fore - we got here!
8
I
f
know, there's a
f
pesante
3
3
Robert Feng
Having Guests for Dinner
Nicholas Bentz
3
3
3 3
(reaching in the glove compartment)
3
L.
M.
Pno.
I
f
know I
m p
have it.
colla voce
11
spare um bre - lla - in here some where. -
f f m p
colla voce
L.
Pno.
Whose
m p
house is this a
a tempo
15
f f sub p mf p
a tempo
forearm cluster
L.
Pno.
gain? I want to make a good
m f
first im pre - ssion. -
18
m f
p
mockingly (opens umbrella)
3
getting frustrated
3 3
3
3
3
3
3
3
3
2
M.
Pno.
Chri
m f
stoph - A ber - some - thing. - A
m f
friend of Scott's
22
m f m p
L.
M.
Pno.
Good
m f
e nough. -
26
from work I think.
m f
m f p f f m p
L.
M.
Pno.
Chri
p
stoph, - Chri
p p
stoph, - Did
m f
you
30
It's
m f
a nice place, what
m p
do you think, Lau ra? -
p p p sub f f sub p
trailing off - losing pitch/rhythm
(knocking on the door out of rhythm)
(to herself)
(interrupting)
(huddling under the umbrella, knocking into Laura)
3
L.
M.
Pno.
lock the door? Mar
m p
cus, - could you see if Scott's
33
Right.
L.
M.
C.
Pno.
al rea - dy - here? What?
rit. colla voce
37
Sure.
m p
So rry - no re ce - ption. -
rit.
colla voce
C.
Pno.
wel come! - You
f
must be Mar cus - and Lau ra. Come
m f
in,
Grandiose q=72 Stately q=44 rall.
42
f f
f f
Grandiose q=72
Stately q=44 rall.
(knocking again - now in rhythm)
(takes out his keys to lock the door)
(taking out his cellphone)
(Christoph suddenly opens the door;
he has an aura of reserved sophistication)
Ah, welcome,
(shakes Marcus' hands delicately,
as if examining)
3
3
3 3
4
M.
C.
Pno.
Thank
m f
you,
45
please do come in.
f
f f
M.
C.
Pno.
and you're Chri stoph, - right?
47
Chri
f
stoph - A ber - field.
m p
-
f m p
C.
Pno.
Scott
m p
has told me all a bout - you two. I've been an xious - ly - wai ting - to have you both o
m p
-
Recit. q=64
50
m p
Recit. q=64
(as he comes in)
3
3
3
3
3
3
3
3 3
3 3
3 3
5
L.
C.
Pno.
Where
m p
are Scott and An drew? I don't see them here.
a tempo
poco rit. 53
- ver for di nner. - They
m p
sad ly - di dn't - make it.
p
p
p p
a tempo
poco rit.
L.
C.
Pno.
Both
p
sick?
57
An ill ness - it seems has ra vag'd - their o ffice. - Yes, high fe ver it seems.
M.
C.
Pno.
I'll
m f
just have to send them pi ctures - of all the food then.
q=124
61
Chills, ma laise.
f f
-
f f
m p
q=124
(looking around)
with slight concern
4
3
murky
skeptically
(noting Laura's concern)
3
3
blurring pitches
3 3
3
3
6
M.
C.
Pno.
What's
m p
your wi fi? -
64
No
f f
wi fi - here. So
f
cial - me di - a -
m p f f f
L.
C.
Pno.
Per
m f
haps, -
68
tends to i
sub p
so
f
- - - late - us.
f f f
f
L.
Pno.
but
m p
the in ter - net - like a ny -
73
p p
3 3
3 3 3
3
falsetto
pesante
3 3 3 3
3
3
3
3
3
3 3 3 3 3 3 3
3
3
3
3
3
3
3 3
7
L.
Pno.
tool can be used to learn
m f
76
m p
L.
Pno.
to
m p
ex -
79
p
L.
Pno.
press i deas - and touch
82
p p
3
3
3
3
3 3
3
3 3 3 3
3
3
3 3
3
loco
3 3 3 3 3
3
3
3
3
3 3
3
loco
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
8
L.
Pno.
the
m f
lives
f
of count less -
85
f m f f
L.
Pno.
o thers - - -
m f
Un
f
plug - ging - your self -
88
m p f m f
L.
Pno.
can
m f
be a vir
f
tue, - yes,
m p
91
p f m p p p
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
warm
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
with depth
3 3
3 3 3 3
9
L.
Pno.
but
m p
on ly - by buil ding - co nne
f
- ctions - out
m f
-
94
m p f p m p
L.
C.
Pno.
side.
98
Oh!
m p
I see you've got ple nty - of gray ma tter - to pass a round.
f
-
p p
M.
C.
Pno.
Ap
m p
pe - ti - zers - hm I di dn't - re a - lize -
colla voce
Ominous q=144
102
f p p
p
colla voce
Ominous q=144
3
3
3
3
3 3 3 3 3 3 3 3 3
3
3
3 3 3 3 3 3 3
hushed, yet slightly
mocking
3
3
3
3 3
3
3
3
3
(Marcus and Laura seat themselves)
3
Well now, don't be shy.
Please do get yourselves comfortable
while I bring out the appetizer.
spoken
(Christoph exits to kitchen)
10
L.
M.
Pno.
Yes,
m p
strange that he's
106
Scott was friends
f
with a chef.
m p
m p f p m f
L.
Pno.
ne ver men tion'd - Chri stoph - to you.
f
Where
m f
did he say he knew him from a-
110
m p f m p
L.
M.
C.
Pno.
gain?
114
I
m f
I can't say I re mem - ber. -
f f p
3
(Christoph enters with
an ornate platter)
11
C.
Pno.
I
m f
pre sent - to you the horsd'ou vres - Beef
f f
tar
118
m f m f f
f f
C.
Pno.
tare a ccom - pa - - - nied
m f
- by
122
sub m f f
C.
Pno.
shav'd
f
black tru ffle - (s) and
m p
a side of on ion -
125
f f f f
3
overpronounced
3
5
3
5
12
L.
C.
Pno.
Ex
m f
cuse - my man ners - but is this
poco rit.
q=124 Ominous q=144 rit.
128
tarts.
f f ff
m p
poco rit. Ominous q=144 rit.
q=124
sf f z
L.
Pno.
beef
m f
safe to eat? Is
f
n't - it raw?
132
p m p f
C.
Pno.
It's
m f
per fe - ctly - safe to eat. It was bu tcher'd - this af ter - noon, - so
f
the meat is
137
m f m p f
(opens up a bottle of wine and begins
pouring it for Marcus and Laura)
pesante
3
3
3
3
3
3
13
M.
C.
Pno.
I'll
m p
ad mit - I've ne ver - tried raw beef be fore, -
molto rall.
141
fresh.
f f mp m f
molto rall.
M.
C.
Pno.
but it smells hea ven - ly, - Chris toph -
q=64
145
You
m f
have my dee pest - gra ti - tude. -
m f p
q=64
C.
Pno.
Now,
m p
I be lieve - it is time we say grace:
p
Bless
p
this food
m p
Reverential q=52 poco rit.
148
m p p mp
Reverential q=52 poco rit.
u.c.
(awkward pause)
3
5
3
3
3
3
(giving a warm, acknowledging smile)
delicate
3
3
3
3 3
3
3
3
3
(closes eyes)
3
3
3 3
3
3
3
3 3
14
L.
C.
Pno.
153
Bo
m p
dy - of Christ,
m f
slaugh
f
ter'd - to give
f
us life,
p m p m f f m p
t.c.
C.
Pno.
fill
f
us with your sa
m f
cri - - - - fice -
159
f
m f f m f
L.
M.
C.
Pno.
colla voce
3-4"
164
A
m p
men.
m f
- -
m f p p p
colla voce
3-4"
(raises eyebrows to
Marcus in concern)
3
3 3
3 3
3
I can honestly say I've never
heard that one before
(whispering under her
breath to Marcus)
(under his breath)
Laura, don't
be rude...
(Marcus takes a small
pensive bite)
The grace has been said, so please,
dig in! Bon Appetit.
maintain hand pattern
while glissing up
gliss.
15
M.
Pno.
De
f
li - cious! - Ab so - lu - tely - de-
q=124 molto rall.
Overwhelmed q=68
168
f f
q=124
Overwhelmed q=68
molto rall.
M.
Pno.
li cious! - It's
m p
ten der - and rich, but not o ver - whe - lming! - Lau
f f
ra -
molto rit. a tempo
172
m p f f
molto rit. a tempo
L.
M.
C.
Pno.
meno mosso q=64
175
You've
m p
got to try this! So
m p
how do you know Scott? The
m f
o ffice? -
You're
m p
too kind Mar cus. We
m f
m p m p
meno mosso q=64
(His face lights up)
3 3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
nearly deadpan
with exasperation
In a bit.
(takes a long sip of wine)
3 3
gentle
3
3
gentle
sudden; jarring cut-off
3
16
L.
C.
Pno.
And
m p
179
met while he was tra ve - lling - a broad - in Nor way, - he was still in u ni - ver - si ty, I be lieve. -
m f m p p m f
L.
C.
Pno.
what e xa - ctly - is it that you
m f
do?
accel. Sobered q=72
rit. q=72
182
I
p
stu dy - peo ple - I've de - di ca
m p
- ted - my self - to the
m p f p p p p p
accel. q=72
Sobered q=72 rit.
m p
C.
Pno.
stu dy - of the few in di - ge - nous - peo ples - still left on
p
this earth who
m p
have
188
m p p
m f
3
3
3
3
3
3
3
17
C.
Pno.
ne ver - ex per - i - enc'd - con tact - with the out side - world.
m p
I
m f
ma - gine - that, no
f
192
m p p
m f
C.
Pno.
smart phones, - no ci ne - ma, No
f f
thing - of peo ple - con sum'd
f p
-
f f
by
rit. colla voce
196
m f f f
rit. colla voce
C.
Pno.
skin
f f
care - pro ducts, - mu ti la - ted by pla stic - sur ger - y. -
m f
a tempo
colla voce
200
f f
a tempo
colla voce
(looking thoughtfully at Marcus)
3
3
freely
becoming manic
3
3
3 3 3 3
3
3 3
I find it all rather...
spoken
18
C.
Pno.
And
p
did you e ver - think of their point
m p
of view? That we might be the
meno mosso q=64
203
p p p
meno mosso q=64
L.
C.
Pno.
m p
That's ve ry - no ble - of you, Chri stoph. - I my
Sobered q=72
209
sa va - ges? -
p
Sobered q=72
L.
M.
Pno.
self am a so ci - o - lo - gy - ma jor. -
213
Now
m f
f
tasteless.
spoken
freely
falsetto
3
(awkwardly)
3
5
(cutting Laura off)
3 3
19
M.
C.
Pno.
Chris toph, did you e ver - try to meet one of these tribes?
m f
215
Sad
m f
ly - no, though it's a
m f f m f
M.
C.
Pno.
Well
f
I just have to ask,
220
dream of mine
f
M.
Pno.
with your in cre - di - ble - skill why did n't - you ev er - be -
colla voce
At ease q=100
accel.
224
p m f mp
colla voce
At ease q=100 accel.
3
3
3
effusive
(cutting off Laura again)
3
3
effusive
m p
delicate - with attracted flattery
3
3
3
20
L.
M.
C.
Pno.
Uhh
m f
Suspended q=120
227
come a chef?
Oh
m p
coo king - is just a ho bby. - It's
f f
peo ple - that com plete - me
m f m p f f f f
Suspended q=120
L.
M.
Pno.
232
m f
It's a damn good ho bby. - Do you think you could show
m p
p f p f
M.
C.
Pno.
me one of
f
your re ci - pes? -
235
Cer
f f
tai
- -
nly -
p f m f f f
3
3
flattered
3
3
3
3
3
(grabbing Laura's arm)
suggestively
3 3
3 3
3
3
3
7
21
C.
Pno.
Cu ri - - - - ous - guests al ways - make the
Grandiose q=72 q=120
3-4"
238
f f f m p
Grandiose q=72 3-4" q=120
m p
f f
f f
L.
C.
Pno.
Did
m p
you e ver - teach
242
best food.
f f f
(dynamics affect both hands)
L.
C.
Pno.
Scott a ny? -
245
Just
m f
one. A
m p
fine
m f f f f m f
freely - with serious camp
start slow,
get to a fast, sloppy trill
7
7
3 3 3
3
loco
3 3 3
3
3
7
7 3 3
3
3
3 3
3
3
22
C.
Pno.
stew he made. Which re minds - me; I'll be
Recit. q=72
poco rit.
249
p
Recit. q=72 poco rit.
C.
Pno.
back in a few mi nutes - with the main course. Please do ex cuse - me.
Ominous q=144 rit.
253
f f p p
Ominous q=144 rit.
L.
Pno.
Are
p
you thin king - the same thing as me Mar cus? -
257
f p
falsetto
3
3 3 3 3
3
(leaves)
3
3
hushed
3 3
3 3
23
Pno.
m f p f
263
M.
Pno.
Yeah
m p
the beef tar tare - has an odd taste., it's... pa
m f
pri - ka! -
268
p f p
f
L.
M.
Pno.
Se
f
rious - ly?! - No
m f
thing - a bout - this seems off to you?
273
What?
m f
m f f m f
3
3
3 3 3 3 3
3
(smacks lips)
overconfidently
3
3
3
3
3
3
3 3 3
24
L.
Pno.
Scott
m f
and And rew - "cou ldn't - make it." We're ea ting - at a stran ger's - house.
f
And
m f
who the hell
f f
278
f
m f f f m f f f
L.
M.
Pno.
says grace like that?
282
Oh
f
my god
f f
f
L.
M.
Pno.
What?
f f
No, be qui et! -
m p
li -
colla voce a tempo senza misura
287
f f
f f f p
colla voce a tempo senza misura
3
3
3
3
3
5
7
3
3
3
(abruptly stops eating)
3
3 3
Don't you think something's off...
Just a ttle bit?
He's a Mormon, isn't he?!
spoken - in all seriousness
3
3 3
maintain tempo
3
25
L.
Pno.
It's all just a
p
a tempo
senza misura
290
a tempo senza misura
L.
M.
Pno.
What
m p
if Scott and And rew a
m p
-
a tempo
295
What
p
are you get ting at?
m f
p p
a tempo
L.
M.
Pno.
rriv'd here be fore - us? What if they were
299
Lau
m p
ra - -
The isolation,
no cellphone reception,
little too convenient,
don't you think?
sim.
3
3 3
3
3
3
3 3
26
L.
M.
Pno.
here all a long
f
- in
sub m p
the ki tchen, - on our plates!?
f f
302
please
m f f f f
L.
M.
Pno.
Ex
m f
act - ly! - Don't you
306
Lau
m f
ra, - we've ne ver - met the man be fore. -
m f
L.
M.
Pno.
think it's strange, the lit tle - com ments - that he makes?
309
m p
Lau ra, - ho ney - please.
m f
m p
sub f f
3
3
3 3
3
27
L.
M.
Pno.
"Guests
fposs
al ways - make the best food", who
f
says that?!
colla voce - meno mosso
a tempo
312
Lau
m f
ra, -
m p f f
colla voce - meno mosso a tempo
sf f z
M.
Pno.
ho ney, - I think you've got the wrong i dea - Chris
m p
toph - strange, yes, but I'm
molto rit. senza misura
316
m f
molto rit. senza misura
L.
M.
C.
Pno.
f
a tempo ( q=144) colla voce
319
sure he means well.
f f f f f
a tempo ( q=144)
colla voce
impersonating Christoph - freely
as fast as possible
freely - placatingly
is a little
(slams her hand on the table,
cutting Marcus off)
We have known this man
for ten minutes, Marcus!
spoken
(both jump
in surprise)
All good!
spoken
(they stare
each other down)
Everything okay
in there?
spoken
(offstage)
3 3 3
28
L.
Pno.
(to Marcus)
I
m f
know how this looks, but trust me when I say Chris
f
toph - is
Conniving q=120
323
f f
Conniving q=120
forearm cluster
L.
M.
Pno.
not who he seems. Here.
m f
(gets up and starts digging through
Christoph's drawers and furniture)
I'm
a tempo poco rit.
326
m p
a tempo poco rit.
L.
Pno.
fin ding - some god - damn e
f
vi - dence - that's what. A
m f
330
f m p
3
3
5
5
3
What the hell are you doing?
spoken
3
5
5
29
L.
Pno.
bloo dy - knife, a se ver'd - head.
f f
a la 'Marche au Supplice' q=200
333
f m p f f
a la 'Marche au Supplice' q=200
L.
M.
Pno.
Mar
m p
cus, - I
Conniving q=120
337
pesante
short pause
s f f z
p
Conniving q=120
L.
Pno.
don't know how to tell you this, but I think Chris toph - is a
341
m f
marcatissimo
Are you out of your mind?
spoken
(shocked)
3
3
3
30
L.
Pno.
can
f
ni - - - bal! - As
f f
in he is kill ing - peo ple, -
344
f f f
L.
Pno.
Chop ping - them up in to - lit tle - pie ces, - and
m f
ser ving - them to his next vic
f f
tims! -
colla voce molto rit.
347
m f f f
colla voce molto rit.
L.
M.
Pno.
Oh?
m f
q=200
q=120
351
That's
f
it! That's it, if you keep do ing - this I'll... I'll...
m f
violent cutoff
f f f
q=200 q=120
7
7
3 3
loco
3 3
3 3
spoken
I'll call the police!
marcatissimo
31
L.
M.
Pno.
And how are you go nna - do that with no
f
re cep - tion? -
355
Lau
m f
ra, - please,
f f f m f
L.
M.
Pno.
Why is there no re cep - tion? - Oh
m f
right! So
f
Chris toph - can
358
Lau ra - Lau
f
ra -
f f f
L.
M.
Pno.
eat
sub p p
peo ple - with out - any one - know ing! Be
f
qui et! - He
sub m p
could hear us.
361
Lau
m f
ra! - Lau ra - please.
sub p p p p m f
s f f z
(starts throwing dishes and
utensils out of the cabinets)
3
3
3
3
3
3
3
3
3
3
32
M.
Pno.
Oh be cause - you're be ing - such a won der - ful - house guest - right now.
364
f
sf f z
L.
M.
C.
Pno.
368
Hell, Chris toph - could 've - walk'd right back in and...
And
f
what? What's all this?
m p
L.
M.
Pno.
We
m p
were
Recit. q=72
372
f f
p
Recit. q=72
(sarcastically - becoming unhinged)
3
mockingly
3
5
6
5
6
(closing the drawers immediately)
(entering suddenly with
a large platter of lamb)
3
7
7
Well, you see...
We were...
spoken
both hands
33
L.
M.
Pno.
try ing - to catch a rat that we saw un der - the ta ble! -
374
m p
Yes, that's ex act - ly what hap pen'd - It went
M.
C.
Pno.
un der - the ta ble, so here we all are!
377
Ah well thank you for tell ing - me, I've been
M.
C.
Pno.
Rea
m p
lly? -
381
deal ing - with quite the rat in fes - ta - tion. -
f f
(shaking his head
in agreement)
3
3
(nervous/forced laugh)
freely
3
3
3
3
3
34
C.
Pno.
No.
f
Do I look like an im be - cile - to you? Scott ne
m f
ver men tion'd - he had such gree dy -
384
m f
L.
M.
C.
Pno.
Chris
f
toph - please,
387
So
f
I guess we won't
cock
f
roa - ches - for friends! The
f f
din ner - par ty - is o ver! - Now
f
get out and good
f f f
L.
M.
C.
Pno.
there's been a mis un - der - stan ding Chris toph! - -
390
make it, I guess we won't make it to des sert - then?
rid dance! - Get out! I said I said
m f
3
3
3
3
3
3 3
3
growing exasperated 3
35
L.
M.
C.
Pno.
Slow - colla voce q=132
392
I
f f
said get out!
f f
Slow - colla voce q=132
Pno.
f f f
395
Pno.
p p sub f f
399
(Marcus and Laura run out as Christoph shouts at them)
(Marcus manages to grab a piece of beef tartare to go as they run out)
freely
36
L.
M.
Pno.
Let's
m f
just get out of here. I don't
404
Damn,
m f
he real - ly let you have it.
p
L.
Pno.
want to talk a bout - it. God,
m p
I real ly - made an ass of my self - back there.
409
M.
Pno.
What
m p
were you think ing - Lau ra, - real ly? - Chris toph's - ne
m f
-
414
m p
3
3 3
3
3
3
3
3
3
3
3
37
M.
Pno.
ver - going to talk to us a gain. What
m p
will we tell Scott? Ow!
419
L.
M.
Pno.
colla voce a tempo
424
No thing - I just bit in to - some thing - hard.
p
colla voce a tempo
M.
Pno.
Just a... a
f
tooth!
428
f f
1/10/20
L.A.
(takes a bite of the tartare)
3
What is it?
spoken
3
(takes it out with his hand)
3
trailing into speech
38
Nicholas Bentz
to not walk upside down in the
realm of the dead
(2019)
for soprano, violin, cello, and percussion
Phaëthon Press
2
PROGRAM NOTE
to not walk upside down in the realm of the dead is a setting of an Ancient Egyptian spell from around
four thousand years ago. Like many others, this incantation was found written on the inside of a coffin
where it was to be read in the afterlife by the deceased. These spells served as advice to those making
their way to salvation with Osiris in the Field of Reeds. This spell in particular was used to protect and
save those who found themselves upside down in the afterlife. To be upside down in the afterlife was to
be marked for damnation – not a hell as we know it, but a total obliteration and erasure. My setting of
this text places the soprano in an upside-down environment from which only the spell can save them.
NOTES FOR THE PERFORMER
-Soprano
--Speaking – Speech is indicated with normal noteheads on a single-line stave.
--Whispering – Whispering is indicated with diamond noteheads on a single-line stave.
--Vocal Fry – Vocal fry is accomplished through a loose glottal closure, creating a creaky, gravelly
effect in the voice. This technique is denoted with the following notehead on a single-line stave.
ex.
--Consonants – Placed consonants are demarcated with X noteheads.
--Audible Breathing – A variety of breathing techniques are asked for throughout this piece. All
techniques requiring audible inhalations or exhalations will be denoted with a circular notehead
with a dot in the middle. Inhalations are demarcated with an ‘up-bow’ sign whereas exhalations
are designated by a ‘down-bow’ sign.
-Gasping – A dramatic intake of air, similar to coming up for air after an uncomfortable
time underwater. Gasping is denoted as follows:
ex.
-Inhaled Speaking – Speaking while inhaling should create an eerie, ghost-like timbre
similar to that of a gasp but with more attention given to the phenome than the volume.
A horizontal line from an ‘up-bow’ sign indicates how long the inhalation should last.
Inhaled speaking is denoted as follows:
ex.
3
-Strings
--Bow Placement – various sounding points are asked for throughout the piece in order to alter
the timbre of the resultant pitch. Gradations of bow placement are indicated as follows from the
fingerboard to the bridge
-molto sul tasto (m.s.t.) – place the bow around the halfway point of the left hand and the
end of the fingerboard. The sound should be hollow, like that of a bone flute.
-sul tasto (s.t.) – place the bow just over the fingerboard. The sound should be noticeably
darker and slightly weaker than normal.
-ordinario (ord.) – bow placement used as per normal technique.
-poco sul pont (p.s.p.) – also called an ‘orchestral’ sul pont. The player uses an extreme
flautando about 2/3rds of the way between the sounding point and the bridge. This
creates a slight distortion in the overtones and a wispier timbre.
-sul pont (s.p.) – a normal (or ‘true’) sul pont executed by touching the bridge whilst
bowing. This elicits a greater distortion than in poco sul pont but creates an icier timbre.
-molto sul pont (m.s.p.) – an exaggerated sul pont caused by nearly bowing on top of the
bridge. This brings out numerous overtones, to the point where they may overshadow
the fundamental pitch at any time, and without the control of the player. The timbre is
understandably electric and metallic.
-bowing bridge (b.b.) – taking ‘sul pont’ to its literal extreme the player bows on top of
the bridge where the string meets it. This should produce more of an air noise than any
sort of pitch.
*note – oftentimes transitions to sul pont will happen in tandem with staccati
and accents. This denotes a hard stop in which the player whips the bow forward
at the last second, and then stops it suddenly in order to create a jarring cut-off
with plenty of high overtones in the sound.
--Vibrato – various degrees of vibrato are asked throughout the piece in order to alter the timbre
of the resultant pitch. Gradations of vibrato are indicated as follows from least to greatest:
-senza vib. (s.v.) – a total lack of vibrato caused by keeping the finger, wrist, and arm still
throughout the duration of the note. The sound should be flat and grey when soft, but
blaring and stark when loud.
-poco vib. (p.v.) – a small amount of narrow movement is added in the left hand in order
to create a fragile sense of oscillation.
-con vib./ordinario (ord.) – vibrato used as per normal technique.
-molto vib. (m.v.) – the vibrato becomes wider and faster as more motion is added in the
left hand. The resultant sound should be passionate and expressive, but not overbearing
-Krakowska vib. (k.v.) – named after the late violinist Anna Krakowska’s infamous
sound, this technique involves over-vibrating the left-hand in tandem with wide wrist
and arm vibrato, causing the pitch to become unstable and oscillate wildly, nearly out of
control. The shift in pitch using Krakowska vibrato can be as wide as a minor third;
however, maintaining the pitch center (the notated pitch) should always be paramount.
--Bow Pressure – various degrees of bow pressure are asked throughout the piece in order to alter
the timbre of the resultant pitch. Gradations of bow pressure are indicated as follows from least
to greatest:
-molto flautando (m.fl.) – virtually no pressure in the bow, creating an overly airy and
unfocused sound.
-flautando (fl.) – noticeably less pressure in the bow than normal, but still maintaining a
stable core in the sound as the bow skates over the strings lightly creating a quasi-flute-
like timbre.
-ordinario (ord.) – bow pressure used as per normal technique
4
-overpressure (o.p.) – a slight increase in the amount of pressure to applied in the bow to
the point where the pitch begins to falter and become ‘dirtied’ by non-pitched noise, but
not totally overcome by it.
-scratch (scr.) – an effect wherein the player maximizes their bow pressure while
reducing the amount of bow they use to completely obfuscate the pitch.
*note – oftentimes transitions to scratch tones will happen in tandem with
staccati and accents. This denotes a hard stop in which the player whips the bow
forward at the last second, and then stops it suddenly in order to create a jarring
cut-off with plenty of ‘dirt’ in the sound.
--Pressure Trill – quickly change the pressure in the fingers of the left hand, alternating between
harmonic pressure and normal pressure in order to create a flickering and wavering of timbre
within the note. Pressure trills are notated with the following symbols:
ex.
--Bow Glissando – Due to the extreme scordatura of the piece, the G string of the violin is
detuned to a low E at the bottom of the bass staff. Because of the looseness of the string, the
resultant pitch can be altered by changes of pressure in the bow. Using more bow pressure
should raise the pitch by around a half-step (from the low E). This technique is denoted with a
bow symbol followed by a horizontal line that indicates for how long the technique is active. All
glissandi that occur from the symbol to the end of the horizontal line are executed using changes
in bow pressure, adding pressure to raise the pitch, and then loosening the pressure to lower the
pitch back.
ex.
--Violin Scordatura – The G string of the violin should be tuned down an octave and a minor
third to the E at the bottom of the bass staff. The resultant pitch will be barely discernible due to
the lack of pressure in the string, but if the sounding point is moved up to the fingerboard (sul
tasto) the pitch should come through.
-Percussion
PERCUSSION LEGEND
Bass Drum China Cymbal
Sizzle Cymbal Suspended Cymbal
5
--Swish – using the beater indicated, execute a circular motion on the membrane of the denoted
instrument. This technique is demarcated with the following symbol:
ex.
--Cymbal Scrape – using the head of a drumstick vertically on the cymbal, drag from the edge to
the bell slowly, bringing out high, metallic overtones akin to bowing the cymbal (but with more
intensity). Once at the bell, half-circle around to the other side of the bell so that you can scrape to
the opposite side of the cymbal from where you started. You may need to stabilize the cymbal
with a soft beater on the bell in order to execute the technique. This technique is denoted with the
verbiage ‘scrape’ and the following symbols:
At the edge -
At the bell -
EQUIPMENT LIST
-Bass Drum
-Vibraphone
-Crotale (1 - E)
-Suspended Cymbal
-Sizzle Cymbal
-China Cymbal
RECOMMENDED PERCUSSION SETUP
6
-General
--Ordinario – denoted with the abbreviation ‘ord.,’ ordinario cancels any extended technique or
performance direction and reverts the playing back to its natural technique.
--‘Becoming’ Arrows – indicate a transition or transformation from one technique to another over
a period of time. These arrows have dashed bodies and black heads with the length of the body
indicating the amount of time granted to change techniques.
ex.
--accidentals last through to the next barline and are only applicable at their respective octaves.
--glissandi last the entire duration of the note at which their respective glissando line begins.
from Coffin Texts – Spell 224: to not walk upside down in the realm of the dead
I will not walk upside down for you
I walk on my feet
I will not walk upside down for you
I walk like Horus – my strides are like those of Atum
My tomb is like that of a spirit
I walk as one who is among the spirits who open up the mounds of the gods
World Premiere
June 17, 2019
New Music on the Point – Leicester, VT
Mary Bonhag – Soprano
Nicholas Bentz – Violin
Jay Campbell – Cello
Nick Fox – Percussion
DURATION: 5’
Copyright © Phaëthon Press 2019 (BMI) - 13
Soprano
Unpitched Perc.
Pitched Perc.
Violin
Violoncello
[ɑ:]
f
[aɪ]
(I
p
[eɪ] wi ll - no t -
awakening in stillness; q=48
f
pp p
pp
pp
one long gasp
from the back of the throat
like an incantation
)
close tongue
3
3
Coffin Text
(Spell 224)
Nicholas Bentz
to not walk upside down in the realm of the dead
bowed
hand - palm
Crotales; bowed
3
m.s.t.
s.v.
o.p.
ord.
3
S.
Perc.
Crot.
Vln.
Vc.
mp
wal k - up side - down - for
mf
you. I wal k - on my feet.
mf
A
5
mp
p mp mf
f
p mp
subff
p
p
S.
Perc.
Crot.
Vln.
Vc.
I
mf
will not
mf
walk up side - down - for
f
B
10
pp mp
mf
mf mp
ff
subp mf p
f subp mp
3
evolving into speech; raspy
exhausted yet resolved
hand - flick
fingernails
soft mallets
3
o.p.
(m.s.t.)
m.s.p.
turn peg
o.p.
rough
3
hand - flick
ord.
To Vib.
Vibraphone; bowed
ord.
gliss. using fingers
scr.
o.p.
ord.
8
S.
Perc.
Vib.
Vln.
Vc.
you I
mf
walk like Ho
f
rus - - - Ho
mf
C
15
mp pp
mf mf
f mp
f
f mp f
S.
Perc.
Vib.
Vln.
Vc.
- - - (H)o rus - -
I
p
will no -
D
19
pp mf
p
pp
p
p
p
ord.
3
3 3
soft beaters
m.s.p. m.v.
ord.
3
o.p.
ord.
ord.
m.s.p.
ord.
3
violent cresc.
bowed
bowed
m.s.p.
(IV)
scr. ord.
ord.
m.s.p.
m.s.p.
ord. m.s.p. (II, III)
ord.
9
S.
Perc.
Vib.
Vln.
Vc.
t
ff
I
mp
I
p
walk on my feet my
mp
strides my
E
24
pp
mf mp
mp
ff pp p pp mp
sffz mp
pp mp
S.
Perc.
Vib.
Vln.
Vc.
strides
p
are
mf
like those
mp
of A
mf
tum - -
a tempo poco rit.
F
29
p mp
p mp p mf
mp mp p mf
half-spoken
ord.
straight-tone
as if from a great distance
soft beaters
To Crot.
Crotales; bowed
To Vib.
Vibraphone; bowed
3
(m.s.p.)
scr.
ord.
o.p. ord.
3
ord.
3
3
bell
3
o.p.
ord.
s.p.
m.s.p.
ord.
10
S.
Perc.
Vib.
Vln.
Vc.
A(h)
mp
A
ff
tum - - -
mf
A -
34
mf
p
p f mp mf
mp ff
mp ff
S.
Perc.
Vib.
Vln.
Vc.
- - - tum My
My
mp
tomb is like that
G
38
f
f
f
ff subpp
ff sffz
3
3
To Crot. (bowed)
3
m.s.p. ord.
3
3
m.s.p.
ord.
3
3
violent cut-off
barely intoned (E4)
25% pitch - as if running out of breath
3
Crotales; bowed
Bass drum; soft beater
scr.
ord.
loco
0 3
III, IV
m.s.p. - scr.
(III, IV)
11
S.
Perc.
Vib.
Vln.
Vc.
of a (s)pi
mf
ri - t -
I
mf
walk
f
as one who is a mong - the spi rits who
43
mp p f
pp
pedal down al m. 56
mf mp
mf mp
S.
Perc.
Vib.
Vln.
Vc.
o pen - up the
the
f
mou nds - of the go ds - I
mf
will not
H
49
f
f
pp
f
ffmp p fmp p f
ffmp p f fmp p f
3
rough
fingernails
flick
soft beaters; bell
III
s.p.
ord.
s.p.
as if sucked of air - with desperation
3
3
ord. m.s.p.
IV
ord. m.s.p.
ord.
m.s.p.
ord. m.s.p.
ord. m.s.p.
ord.
m.s.p.
12
S.
Perc.
Vib.
Vln.
Vc.
wa wa
f
(lk) - up
f
side - dow - (n) -
53
mp ff
mp f sffz
p f mp sffz
4/30/19
Los Angeles,CA
suddenly robbed of breath
barely forcing words out;
becoming consumed
drum stick - scrape
o.p.
turn peg
ord.
m.s.p. ord.
scr.
ord.
13
Nicholas Bentz
A Cosmos in Stone, Respawning
(2018-19)
for full orchestra
Phaëthon Press
2
PROGRAM NOTES
A Cosmos in Stone, Respawning is a piece that attempts to draw on the universalities that we as humans feel
regarding the suspense of disbelief when encountering a screen. I had been wanting to approach the idea of respawning
in a piece for a while. A respawn is the act of a digital avatar coming back into the field of play after having died in a
videogame. I found it interesting to try and tackle the idea of a piece that responded the way that an organism would if it
were reborn into the same schema, yet with the foreknowledge of what it had accomplished in a previous existence.
Over time, I noticed that there were potent similarities and universalities at play in the overlap between the ancient
practice of ancient rock art and the modern innovation of videogames. Both are viewed as vessels of transportation to
other worlds that are beyond our current perception, using the membrane, be it a rock or a screen, to take us elsewhere,
allowing us the space to live in a place outside of what we know, if only for a brief time. This is by no means an attempt to
equate the sacred and religious experience of the San people with the comparatively mundane act of roaming the map in
a first-person-shooter, but instead an attempt to view them both as different approaches to answer a constant question of
human existence: that of the Self coming into true empathetic contact with the Other. It’s striking to me to see how,
despite being tens of thousands of years apart, we are still tackling the same universal questions across time and space
using the variety of technologies at our disposal as a species.
A Cosmos in Stone, Respawning establishes different musical gestures and materials that function as representations
of different actions and features – it’s through the interplay, fragmentation, rearrangement, and development of these
features that a musical narrative is attempted to be created. A Cosmos in Stone, Respawning was commissioned by the
Charleston Symphony as part of its Magnetic South new music series and is dedicated to my former teacher Yiorgos
Vassilandonakis, to whom I so much of my expression.
NOTES FOR THE PERFORMER
-Woodwinds/Brass
--Air Sound – an effect wherein the player exhales deeply through the instrument, creating a pitchless, airy rustling
akin to soft white noise. The air sound effect is demarcated with a diamond notehead with the text ‘air sound’ above it.
ex.:
--Fluttertongue – a tremolo effect on a woodwind instrument similar in concept to a string
tremolo. Fluttertongue is executed by using a rolled ‘r’ sound on the instrument. A fluttertongue passage
will be indicated with four diagonal hashes through the stem of the note with ‘flz.’ above it. There is no
change in the notehead.
--Timbral Trill – An oscillation between two fingerings that create a similar pitch, but with
different shadings and microtunings due to the inherent differences in the fingering. Timbral trills are
indicated with a standard trill line with the word ‘timbral’ above it in small print
--Tongue Stop – An intense cut-off by which the player stops the airflow through the instrument
with the tongue. The effect should be like that of turning off a switch suddenly. Tongue stops are notated
with the indication ‘t.s.’ placed directly above the moment at which the cut-off should occur. There is no
change in notehead.
-Piano/Percussion
--Forearm Cluster – a technique wherein the pianist uses their arm in order to play a cluster of
indeterminant notes. A forearm cluster is demarcated with a large column of square noteheads and the
text ‘forearm cluster.’
ex.:
3
--Gong Sound – a technique where the pianist reaches inside of the piano and hits the lowest
register of strings with the palm of their hand, creating a deep and resonant yet pitchless sound akin to an
untuned gong. The gong sound technique is demarcated with a small cluster of square noteheads with a
graphic of a hand and the text ‘inside piano’ above.
ex.:
--Lowest Pitch Possible – this technique is executed by pedaling the lowest timpano down to its
lowest possible pitch, creating a fuzzy and indistinguishable tone. This technique is demarcated with an
inverted triangle (point facing down) in the bottom part of the staff.
ex.:
-Strings
--Sul Pont – an effect creating an icy, metallic sound on the instrument by placing the bow closer to (or in some
cases on top of) the bridge. Gradations and shadings of the sul pont technique are indicated as follows:
-poco sul pont (p.s.p.) – also called an ‘orchestral’ sul pont. The player uses an extreme flautando about
2/3rds of the way between the sounding point and the bridge. This creates a slight distortion in the
overtones and a wispier timbre.
-sul pont (s.p.) – a normal (or ‘true’) sul pont executed by touching the bridge whilst bowing. This elicits a
greater distortion than in poco sul pont but creates an icier timbre.
-molto sul pont (m.s.p.) – an exaggerated sul pont caused by nearly bowing on top of the bridge. This brings
out numerous overtones, to the point where they may overshadow the fundamental pitch at any time, and
without the control of the player. The timbre is understandably electric and metallic.
-bowing bridge (b.b.) – sul pont taken to its literal extreme; here the player bows on top of the bridge. The
bulk of the sound created is mere bow noise, with almost no pitch if any at all.
*note – oftentimes transitions to sul pont will happen in tandem with staccati and accents. This
denotes a hard stop in which the player whips the bow forward at the last second, and then stops it
suddenly in order to create a jarring cut-off with plenty of high overtones in the sound.
--Vibrato – various degrees of vibrato are asked throughout the piece in order to alter the timbre of the resultant
pitch. Gradations of vibrato are indicated as follows from least to greatest:
-senza vib. (s.v.) – a total lack of vibrato caused by keeping the finger, wrist, and arm still
throughout the duration of the note. The sound should be flat and grey when soft, but blaring and stark
when loud.
-poco vib. (p.v.) – a small amount of narrow movement is added in the left hand in order to create a fragile
sense of oscillation.
-con vib./ordinario (ord.) – vibrato used as per normal technique.
-molto vib. (m.v.) – the vibrato becomes wider and faster as more motion is added in the left hand. The
resultant sound should be passionate and expressive, but not overbearing
-Krakowska vib. (k.v.) – named after the late violinist Anna Krakowska’s infamous sound, this technique
involves over-vibrating the left-hand in tandem with wide wrist and arm vibrato, causing the pitch to
become unstable and oscillate wildly, nearly out of control. The shift in pitch using Krakowska vibrato can
be as wide as a minor third; however, maintaining the pitch center (the notated pitch) should always be
paramount.
--Scratch – an effect wherein the player maximizes their bow pressure while reducing the amount of bow they use.
Scratch tones are denoted with the term scratch. Scratch will often be abbreviated to ‘scr.’ for readability. There is no
change in the notehead.
*note – oftentimes transitions to scratch tones will happen in tandem with staccati and accents. This denotes
a hard stop in which the player whips the bow forward at the last second, and then stops it suddenly in
order to create a jarring cut-off with plenty of ‘dirt’ in the sound.
--Very Slow Bow – an effect that results in a gritty and coarse, unpitched sound. The player
reduces the speed of the bow-arm while maintaining or even increasing the amount of pressure in the right hand in order
to create a creaking sound as the string struggles to speak. Passages harnessing this technique are denoted with the
verbiage ‘very slow bow’ as well as square noteheads.
ex.:
--Col Legno – a technique by which the player uses the stick of the bow in order to play the instrument rather than
hair. Specific col legno techniques are indicated as follows:
4
-col legno tratto (c.l.t.) – bowing the string fully with the wood of the bow as if it were the hair. This elicits a
coreless, wispy sound.
-with wood (w.w.) – bowing halfway between col legno tratto and ordinario, the player turns the bow on its
side in order to bow with both the wood and the hair at the same time.
-col legno battuto (c.l.b.) – bouncing or hitting the wood of the bow on the string, depending on the
dynamic.
--Harmonic/Half-Harmonic Pressure – Variations in the pressure of the left hand are asked throughout in order to
create various gradations in timbre and overtone structure of the resulting pitch. Harmonic pressure is notated with an
unfilled diamond notehead, while a finger pressure between harmonic pressure and normale (resulting in an unfocused
pitch center and timbre) is notated with a filled diamond notehead.
-Highest Pitch Possible – this technique is executed by placing the finger on the string indicated at the terminus of
the fingerboard (or as close to it as the player can reach in the time given). The technique is notated with a triangular
notehead in the uppermost part of the stave.
ex.
-String Indications – given in Roman numerals, this dictates which string the player is to use – I, II, III, and IV
correlate to the E, A, D, and G strings for the violinist, A, D, G, and C strings for the cellist and violist, and G, D, A, and
E/C strings for the bassist (respectively). If there is an extended passage that should be on one string, there will be a
horizontal line from the string indication through to the conclusion of the passage on said string.
-General
--Ordinario – denoted with the abbreviation ‘ord.,’ ordinario cancels any extended technique or performance
direction and reverts the playing back to its natural technique.
--‘Becoming’ Arrows – indicate a transition or transformation from one technique to another over a period of time.
These arrows have dashed bodies and black heads with the length of the body indicating the amount of time granted to
change techniques.
ex.
--accidentals last through to the next barline and are only applicable at their respective octaves.
--glissandi last the entire duration of the note at which their respective glissando line begins.
World Premiere
October 12, 2018
Charleston Symphony – Yiorgos Vassilandonakis, conductor (chamber version)
Charleston, SC
February 20, 2019
USC Symphony – Donald Crockett, conductor (full orchestra version)
Los Angeles, CA
DURATION: 11’
5
INSTRUMENTATION
Piccolo
2 Flutes
2 Oboes
English Horn
2 Clarinets in B-Flat
Bass Clarinet
2 Bassoons
Contrabassoon
4 Horns in F
3 Trumpets in C
2 Trombones
Bass Trombone
Tuba
Timpani
3 Percussion
-Vibraphone (with working motor)
-Bass Drum
-Snare Drum
-Brake Drum
-Suspended Cymbal
-Crotales
-Xylophone
-Woodblocks (5)
-Tambourine
Piano
Harp
Violin 1
Violin 2
Viola
Cello
Double Bass (with low C extension)
SCORE IS IN C
6
Copyright © 2019 Phaëthon Press, (BMI) - 09
Piccolo
Flute 1.2
Oboe 1.2
English Horn
Clarinet in Bb 1.2
Bass Clarinet
in Bb
Bassoon 1.2
Contrabassoon
French Horn 1-4
Trumpet in C 1.2.3
Trombone 1.2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Harp
Piano
Violin 1
Violin 2
Viola
Violoncello
Double Bass
mf
Chaotic q=144
mf
mf mf
f
mf
f
mf
mf
mf mf
mf mf
mf
f
f
mf
f
f
f
mp f
mp f mp
f
mf
f mf
Chaotic q=144
f mf
f mf
f p
ff
fp
A Cosmos in Stone, Respawning
Nicholas Bentz (2018-19)
Commissioned by the Charleston Symphony
a2
a2
Bass Drum
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Perc.
Sus. Cym.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf f f p ff
A
7
mf mf f f p ff
mf
f p ff
mf mf
f f ff
mf mf mf
f f ff
mf mf f
mf mf mf f
ff
f
mf
ff
mf
mf
mf
f
mf
mf
mf
f
mf f f
mp
f
ff
ff
ff ffz mf ffz
A
ff ffz mp ffz
ff fp ffz
ff
ffz
ff
flz.
ord.
flz.
ord.
flz.
ord.
5:6
5:6
5:6
5:6
5:6
senza sord.
5:6
5:6
5:6
To S. D.
Snare Drum
To B. D.
Suspended Cymbal
drum sticks
To Xyl.
r.h. l.h. r.h. l.h. sim.
2
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
B. D.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f
p sffz
13
ff f mf ff f f
ff f mf
p sffz
ff fp pp f
f f
ff
ff
ff fp pp f
f f
ff ff
p sffz
p sffz
ff fp pp f
f f
ff
f
f mf ff mf
p sffz
f mf ff mf
p sffz
f mf ff
p sffz
f mf ff
p sffz
f mf ff f p mf
p sffz
f mf ff f p mf
p sffz
f
mf
ff
f
p sffz
mf ff f
p sffz
mf
sffz sffz sffz
sffz sffz sffz
sffz sffz sffz sffz
ff
ff ff p ff f f
ff ff p ff
f f
ff ff p ff
f f
ff ff p ff
f f
ff
fp ff
air sound
3
3
3
3
3
air sound
3
3
3
3
3
3
3
air sound
air sound
3
3
3
3
3
3
air sound
3
3
air sound
3
3
1.
a2 air sound
3
3
air sound
3
3
air sound
3
3
air sound
3
3
air sound
3
3
air sound
on rim
sim.
Bass Drum - drum sticks
on rim
sim.
To Vib.
Xylophone
To Br.D.
3
scr.
ord.
nat.
3
scr.
ord.
nat.
scr.
ord.
scr.
ord.
pizz.
arco
3
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
Br.D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f ff
Mystical q=48 B
22
f ff
mp
f ff
mp
f ff
f ff
f ff
f ff
mp
f ff
f ff mp
f ff mp
f ff
mp
f ff
mf f f ff
mf f f ff
mf f f ff
mf f f ff
f ff
f ff
f ff
f ff
f
mf ff
mp
sffz mf ff mp
f
ff mf
hit strings
fposs
mf
inside piano
f ff ff pp
ff
Mystical q=48
B
f ff ff pp pp ff p
f ff
ff pp mp
f pp
f ff ff pp
f
pp mp
3
3
3
3
flz.
3
ord.
flz.
ord.
ord.
ord.
ord.
ord.
ord.
ord.
3
rimshot
To B. D.
Bass Drum
(drumsticks) 3
ord.
Vibraphone; bow
3
3
sim.
3
3
forearm cluster
forearm cluster
pizz.
arco
II
3
III
(III)
pizz.
arco
II
3
IV
very slow bow
half harmonic pressure
scr.
ord.
ord.
pizz.
arco
3
scr.
ord.
II
pizz.
arco
3
pizz.
arco
3
4
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
Br.D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
Chaotic q=144 C
31
mf
f
p ff p f
ff
p f
ff
p f
ff
p f
mf
mf
p f
mf
ff
p f
mf
p ff p
f
mf
ff
p f
f
p
mf
p f
p
f
mf
p f
mp
f
f
f
mf
p
f
f
f ff
mp f
ff mp ff f
Chaotic q=144
C
f
ff mp ff f
mf f
ff mp ff f
mp f
ff mp ff f
f
ff
ff
flz.
ord.
flz.
flz. ord.
flz.
ord.
flz.
ord.
ord.
3
flz. ord.
flz.
ord.
flz.
ord.
harmon mute - stem in
1.
cup mute
cup mute
soft yarn mallets
ord.
non div.
m.v.
ord.
III, IV
III
non div.
III, IV
3
non div.
II, III
m.v.
ord.
non div.
scr.
ord.
3 3
5
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
Br.D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
41
f
f
f
f
f
f
f
f
f
f
mp
mp
f
f
mf ff
mf ff
mf ff
mf ff
3
3
3
3
a2
3
3
3
3
6
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
Br.D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
D
46
ff f f
ff f
f
f
f
f
f
ff f
ff f
f
ff f
ff f
f
ff
mf f p mp mf
f
mf
f
f
ff
ff f
ff f
D
ff f
ff f
mp
3 3 3 3 3 3
3 3 3 3 3
a2 (straight mute)
1.
molto espr.
3
To S. D.
bell-like
Brake Drum
To B. D.
bell-like
molto espr.
molto espr.
molto espr.
7
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
(x=x) E
54
mp mf ff mf mf ff mf ff
mp mf ff mf mf ff
mp mf ff mf mf ff mf ff
mf ff mf mf ff
f
mf ff
mp f mp mf
ff mf mf ff mf ff
mf ff mf mf ff ff
mf ff ff
f mp mf ff mf mf ff mf ff
mf ff mf mf ff ff
mf ff
ff
pp p
pp p
pp p
pp p
pp p
pp p
pp
p
p
f
mp mf
mp
f ff
f
ff sffz mf
mf ff
(x=x)
E
ff sffz mf
mf ff
ff sffz mf
mf ff
f
ff mf
mf ff
ff mf f
3
3
3
3
3
3
3
3
3
3
3
(1.)
Snare Drum
Bass Drum
deep
with depth
m.s.p. scr.
ord.
m.s.p.
scr.
ord.
m.s.p.
3
scr.
ord.
pizz.
arco
pizz.
8
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff
F
63
mf mf ff f ff
mf mf ff
f
mf ff f
mf mf ff
f
mf mf ff f
ff
mf mf ff
f
ff
p
ff
pp p
f
pp p
f
pp p
mf
mf
f
f
f
mp mf mp mf mp f
ff
ff
ff
mf mf ff mf ff ff
F
mf mf ff mf ff ff
mf mf ff mf ff ff
mf mf ff mf ff
ff
mf f
ff
5
5
5:6
5:6
5:6
straight mute
5:6
senza sord.
senza sord.
vicious
scr.
ord.
II, III
pizz.
3 5:6
scr.
ord.
II, III
pizz.
3
5:6
scr.
ord.
I, II
pizz.
3
5:6
scr.
pizz.
3
arco
pizz.
9
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf f
ff
(2+3) 4-5" a tempo G
71
f fp ff
mf f mf ff
f fp ff
f ff mf ff
f ff
f fp ff
mf f mf ff
ff
fp ff
mf ff
ff
mf
mf
p f pppp
f
mf
ff
mf
ff hit strings
mf
f
ff
ff mp f fp ff ppp
(2+3)
4-5" a tempo
G
ff mp f fp ff ppp
ff f fp ff ppp
ff
f fp ff ppp
fp ff
flz. ord.
flz.
ord.
flz.
ord.
To W.B.
To T.-t.
SOLO
To Xyl.
SOLO
freely
5
5
5
5
arco - non div.
3
2
m.s.p. - flaut.
light finger pressure
III, IV
very slow gliss.
arco - non div.
m.s.p. - flaut.
light finger pressure
arco - non div.
very slow bow;
light finger pressure
arco - non div.
very slow bow;
light finger pressure
10
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
T.-t.
Xyl.
Hp.
Pno.
Solo
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp
pp mf pp
5-6"
a tempo
H
77
pp
f pp
pp f pp
pp f pp
pp
pp
pp f pp
pp
pp
pp
mp
mf
f
p mp
mp p f p
mp
p f p
pp
p
5-6"
a tempo
H
Altri
mf
f ff
pp
mf
f
f pp f
pp f
flz.
ord.
3
3
3
3
3
3
3
3
3
3
3
Woodblocks
To S. D.
Tam-tam; bowed
To Vib.
bowed
Xylophone
3 3
5
just enough to cover woodblock entrance
3 3
5
s.p.
m.s.p.
scr.
pizz.
arco
III
scr.
pizz.
arco
scr.
ord.
pizz.
scr.
ord.
pizz.
11
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf p mf
I
86
mf pp mf
mf
pp mf
mf
pp mf
mf pp mf
mf pp mf
mf
pp mf
mf
pp mf
ff
mf ff pp mf ff
mf ff pp mf ff
ff
f
f
f
mp
f mp f
f
p mf
mf ff p mf ff
f pp mf ff pp mp f ff
I
ff ff
pp f pp mf ff f pp mf ff
pp mf ff pp mf ff
ff 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
vicious
3
3
3
3
pizz.
arco
3
pizz.
arco
pizz.
3
pizz.
arco
pizz.
arco
3
pizz.
arco
pizz.
arco
pizz.
3
arco
3
pizz.
arco
pizz.
(pizz.)
12
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
p mf ff
J
95
pp mf f mf ff
pp mf f mf
pp mf
fp pp f
pp mf ff
pp mf ff
pp mf
fp pp f ff
pp mf ff
pp mf
ff
fp pp f
pp mf ff
f
mf
mf
f p mf
f p mf
f
f
mf
f
mp f ff
p f
ff
p mf ff
ff
f pp f ff
f p ff
J
ff
f p ff
f pp mf ff
f p ff
pp mf ff
f p ff
ff
subp 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
To B.D.
3
3 3 3 3
3
3
arco
pizz.
arco
III
pizz.
arco
3
arco
pizz.
arco
3
3
arco
3
3
3
pizz.
arco
3 3
arco
pizz.
arco
3 3 3
(pizz.)
arco
13
Picc.
Fl. 1.2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
B. D.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff f
104
f ff
f
fp p ff
f
ff
fp p ff
f
ff p ff f
f
f
p sffz p sffz sffz
f
p sffz p sffz sffz
p sffz p sffz sffz
p sffz p sffz sffz
f p f
p sffz p sffz sffz
f p f
p sffz p sffz sffz
f
p sffz p sffz sffz
f
p sffz p sffz sffz
sffz sffz sffz sffz sffz
sffz sffz sffz sffz sffz
sffz
f p ff
f
f p ff
f
ff p ff
f
ff p ff
f
ff subp ff
secco
1.
air sound
air sound
a2 - senza sord.
air sound
senza sord.
air sound
air sound
air sound
air sound
air sound
Bass Drum - drum sticks
on rim
Snare Drum
on rim
loco
loco
I, II
I, II
I, II
I, II
I, II
I, II
pizz.
arco
pizz.
arco
14
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
B. D.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
K
113
f f f f f f f ff mf
f f f f f f f ff mf
f
f ff mf
f f f f f f f ff mf
f
f ff mf
f f f f f f f ff mf
f
f ff pp
p
p
pp
p
p
pp
p
p
p
p
p
p
p
sffz sffz sffz mp
sffz sffz sffz mp
sffz sffz sffz sffz sffz
ff
ff
ff f
f f f f f
f mf
K
f f f f f
f mf
f f f f f
f mf
f f f f f
f mf
mf
a2
1.
3 3
1.
a2
1.
3
3
3 3
1.
a2
1.
3
3
3
3
1.
a2
1.
3 3
3 3
straight mute
ord.
ord.
To Vib.
To T.-t.
pizz.
15
Picc.
Fl. 1
Fl. 2
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Vib.
T.-t.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f ff ff
Mystical q=48
L
121
mf ff f ff
mf ff f ff
mf ff f ff
mf ff
f ff
mf ff
f ff pp mp
mf ff ff
f ff
mf ff
f ff
mf ff
f ff mp
f ff ff
mf f ff
f ff
mp
mf f ff
f ff p
ff
f ff
ff
f ff
ff
f ff
ff
f ff
ff
ff ff
ff
mf
ff f
f ff f
mf
f ff
f ff mp
mf mf f ff f ff
Mystical q=48 L
mf mf f ff f ff pp
mf mf f ff
f ff
mf mf f ff
f ff p
f ff
f ff p
3
3
3
3
3
3
3
3
3
a2
flz.
1.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
senza sord.
3
3
3
cup mute
3
To B. D.
Bass Drum
3
3
3
3
pizz.
arco
3
3
pizz.
arco
3
3
pizz.
arco
m.s.p.
k.v.
3
3
pizz.
arco
m.s.p.
3
arco
ord.
16
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
T.-t.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f
(4+3) M N
131
mf
f
f
mp
f
f
mf
mf
f
mf
f
mf
mf
mf
mp
mf
mp
mf
mf
mp
mf
p
mp
p
p
mf
mp
mp
mf
p
mp
mp
mp
mf f
mp
mf f sffz
f f
f
f
mp
mf
pp
ff
(4+3) M
N
mp
pp
mf
ff
mf
mf
pp
mf
ff
mf
flz.
ord.
timbral
flz.
timbral
flz.
timbral
timbral
flz.
ord.
timbral
timbral
flz.
ord.
flz.
timbral
flz.
straight mute
cup mute
SOLO
To W.B.
Woodblocks
scr. ord.
harmonic gliss.
(III)
ord. scr.
ord.; m.s.p.
(m.s.p.)
s.v.
scr.
m.s.p.
ord.
(m.s.p.)
ord.
m.s.p.
k.v.
ord.
p.v.
3
ord.
m.s.p.
3
3
17
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
T.-t.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff
molto rit. a tempo
O
144
f
f
ff ff
mf
ff
fff
mf
mf
ff mf
fff
mp ff mp fff
f
fff
mf
f
ff
mf
fff
mf
ff
fff
mf
ff
fff
mf
ff
fff
ff
fff
mf ff
ff
mf
f
f
mf
mf
mf
mp
ff
ff
mf
ff
ff
ff
ff
ff
ff cresc. poco a poco fff
ff
cresc. poco a poco fff
f
ff
ff
mf f fff
mf f fff mf
mf
mf
ff
pp f fff pp mp p
molto rit.
a tempo O
mf pp ff mp fff pp
mf p f mp ff mp fff pp
mf
ff fff
mf
ff fff
ord.
ord.
timbral
timbral
ord.
timbral
timbral
ord.
timbral
ord.
timbral
ord.
ord.
harmon mute;
stem in
harmon mute;
stem in
harmon mute;
stem in
senza sord.
senza sord.
To B. D.
Bass Drum
soft yarn mallets;
motor on slow
Tam-tam
m.s.p.
ord. scr.
ord. - non div.
dig in!
3
k.v.
ord.
s.v.
m.v. - non div.
dig in!
ord.
k.v. s.v. m.v. non div. dig in!
ord. free bow; dig in!
free bow; dig in!
18
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
T.-t.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mp
pp
mf
P
156
p
mf
mp
mf
mf
p
pp
mf
mp
pp
mf
mf
pp
mf
mf
mf
mf
p
mp
mp pp
mf
p
mf
p
pp
mf
p
mf
mf
mf
p
mf
mf
mf
mf
mf
mf
f
f
mp
mf
pp mf
release pedal
gradually over the
course of the bar
pp
P
mp p
pp
mp p
pp
mf
pp
mf
pp
3
air sound
ord.
air sound
air sound
air sound
air sound
air sound
air sound
air sound
senza sord;
air sound
senza sord;
air sound
senza sord;
air sound
air sound
air sound
air sound
air sound
overpower the ensemble
To W.B.
To Xyl.
3 3
m.s.p. - flaut.
light finger pressure
3
2
III, IV
m.s.p. - flaut.
light finger pressure
3
m.s.p. - flaut.
light finger pressure
3
2
III, IV
very slow bow;
light finger pressure
very slow bow;
light finger pressure
19
Picc.
Fl. 1
Fl. 2
Ob. 1.2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
W.B.
Vib.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf
sffz
q=144 a tempo
3-4"
Q
167
mf
sffz
pp f
mf
sffz
pp f
mf
mf
sffz
pp f
mf
sffz
pp f
mf
sffz
ff
ff
f
mf
sffz
mf
sffz
mf
mf
sffz
mf
sffz
mf
sffz
mf
mf
sffz
mf
mf
sffz
mf
sffz
f
mf
sffz
f
f
f
mf
mf
f ff
mf ff
ff
q=144
3-4"
a tempo
Q
mf ff
ff
mf ff ff
sffz
ff
sffz
ff
t.s.
t.s.
ord.
t.s.
ord.
t.s.
ord.
t.s.
ord.
t.s.
a2
t.s.
t.s.
t.s.
t.s.
t.s.
t.s.
t.s.
t.s.
ord.
t.s.
Woodblocks
To B.D.
Bass Drum
SOLO
5
5
5
5
5
5
scr.
scr.
scr.
ord.
ord.
20
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
B. D.
Vib.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
178
f
f
f
f
f
f
f
f
f
p
mf
f
mf
mp
f
f
3
3
3
3
To Br.D.
motor off
3
3
3
21
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
Vib.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff
183
f ffz
f ff
f ffz
f ff
f ffpp f f sffz fp pp f
f ffpp f f sffz ff
f
sffz
ff
f
sffz fp pp f
f
sffz ff
f
sffz ff
ff ffz f
sffz fp pp f
f
sffz ff
f
sffz f
f
mf fpp mf sffz
mf fpp mf sffz
mf ffz
mf
sffz
mf
sffz
mf
sffz f p
mf
sffz f p
mf
sffz
mf
sffz
mf
ff
ff
p f ff
p f ff
p f ff sffz
p f ff sffz
ff
sffz ff sffz
ff
sffz ff sffz
ff
sffz ff sffz
3
3
3
3
3
3
3
3
3
3
t.s.
3
t.s.
3
a2
3
t.s.
t.s.
t.s.
t.s.
t.s.
t.s.
3
3
Xylophone
3
3
nat.
m.s.p.
m.s.p.
div. scr.
ord.
m.s.p.
3
div.
scr.
ord.
m.s.p.
scr.
ord.
m.s.p.
22
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
Vib.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff ff
(3+3)
R
S
191
p f ff ff
p f ff ff
ff ff
p f ff ff
p f ff ff
ff ff
ff
f mp f
f
mp f
f mp f
f
mp f
f mp f
f
mp f
f mp f
f
ff p
mf
f p f
f
f ff f ff
p ff
ff mp ff mp ff
ff pp ff
(3+3)
R
S
ff mp ff
mp ff
ff pp ff
ff mp ff
mp ff
ff pp ff
ff mp ff p ff
mp ff
ff pp ff
ff mf ff p ff
mp ff
ff
3 3
3
3
1.
flz.
ord.
a2
a2
3 3
3
3
1.
flz.
ord.
a2
3 3
3
3
3 3
3
3
1.
flz.
ord.
a2
3 3
3
3
flz.
ord.
3 3
3
3
a2
3 3
3
3
a2
Brake Drum
To B. D.
Bass Drum
To S. D.
To Tamb.
with depth
ord. - non div.
II, III
3
3
m.s.p. - bouncy
ord.
scr.
ord.
s.v. m.v.
3 3
3
ord. - non div.
II, III
3
3
m.s.p. - bouncy
ord.
scr.
ord.
s.v.
m.v.
3 3
3
ord. - non div.
II, III
3
3
m.s.p. - bouncy
ord.
scr.
ord.
s.v.
m.v.
3 3
3
ord. - non div.
II, III
3
m.s.p. - bouncy
ord.
scr.
ord.
s.v.
m.v.
3 3
3
pizz. arco
3
m.s.p. - bouncy
scr.
ord.
3 3 3
23
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
S. D.
Tamb.
Xyl.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf ff mf ff mf ff
T
203
mf ff mf ff mf ff
mf ff mf ff mf ff
mf ff mf ff mf ff
mf ff mf ff mf ff
mf f mf f mf ff
mf ff mf ff mf ff
mf ff mf ff mf ff
mf ff
mf ff mf ff mf ff
ff
mf f mf f mf f mf f
mf
f
mf f
mf
f mf f
mf f mf f mf f mf f
mf f mf f mf f mf f
mf f ff
mf f
ff
mf f
ff
ff
pp ff
f ff
fp ff
ff
mf ff mf ff mf ff
mf ff mf ff mf ff
mf ff mf ff mf ff
T
mf ff mf ff mf ff
mf ff mf ff mf ff
mf ff mf ff mf ff
mf
ff
5
5
a2
a2
5
5
5
5
5
Snare Drum
rimshot
To T.-t.
Tambourine
To Vib.
To B. D.
pizz.
ord.
3
arco
ord.
pizz.
3 arco
ord.
pizz.
3
arco
ord.
pizz.
3
arco
pizz.
3
arco
24
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
T.-t.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
fp fff
U
211
fp fff f
fp fff f
fp fff f
fp fff f
f ff
fp fff f
fp fff f
f fff f
f fff f
f fff
mf ff f p
mf ff f p
f ff f p
f ff f p
ff
ff
ff
ff
mf
ff
f
ff
f
mf f ff f
ff
f fff ff
U
f fff ff
f fff ff
f fff ff
ff ff
flz.
flz.
flz.
flz.
flz.
flz.
flz.
a2
Tam-tam
To Br. D.
approx. pitches
m.s.p.
ord.
approx. pitches
m.s.p.
ord.
approx. pitches
m.s.p.
ord.
m.s.p.
ord.
pizz.
arco
25
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff ff
217
ff f f ff ff
ff f f ff ff
ff ff
ff f f ff ff
f
f
f
f p f p f
f p f p f
f p f p f
f p f p f
mf
mf
mf
mf
ff f ff f ff
ff f ff f ff
f
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
m.s.p.
ord.
26
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff f
V 225
ff
f
ff
f
ff f
ff f
ff ff
ff f
ff
f
ff
f
ff
f
ff
ff
ff
f
f
f
ff f
ff f
ff f
f
ff f
f
f ff
f ff mf
fff ff
V
ff
3
3
3
3
ord.
3
3
m.s.p.
ord.
III, IV
full - ecstatic
m.s.p.
ord.
III, IV
full - ecstatic
m.s.p.
ord.
II, III
full - ecstatic
m.s.p.
ord.
II, III
3
IV
3
27
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
231
mf
mf
mf
mf
f
f
p f
mf
f
f mf
f mf
f
f
3
3
3
3
3
3
flz.
1.
ord.
a2
3
3
3
3
3
3
To S. D.
3
3
3
3
28
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
S. D.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff ff
W
236
f
mf ff f ff
ffpp ff sffz f ffpp
ff
sffz f ff
ff ff
sffz f
ff ff
sffz f
ff
sffz f
f ff ff
sffz f
ff
sffz f
ff
sffz
mf fpp f sffz
mf fpp
mf fpp f sffz
mf fpp
f mp f sffz mf f
f
sffz
f f
sffz mf f
f f
sffz mf f
f
sffz
f
sffz
ff
ff
f ff
sffz ff
ffpp ff
ffpp
subpp ff
mp f
subpp ff
ffp f
W
pp
ff
ffp f
ff
sffz
ff
sffz f
ff
sffz
3
3
3
t.s.
3 3
t.s.
3 3
t.s.
a2
3
t.s.
t.s.
3
t.s.
3
t.s.
t.s.
Brake Drum
Snare Drum
drum stick
on rim
ord.
3
0
scr.
ord.
scr.
ord.
3
scr.
29
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
S. D.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
ff
242
f
ff
f
ff
ff sffz ffpp ff sffz fp pp ff sffz
ff sffz ffpp ff sffz ff
ff sffz ff
sffz ff
ff sffz ff
sffz fp pp ff sffz
ff sffz ff
sffz ff
ff sffz ff
sffz ff
ff sffz ff
sffz fp pp ff sffz
ff sffz ff
sffz ff
ff
sffz
ff
sffz ff
sffz
f sffz
ff
sffz f
sffz f sffz
f sffz
ff
sffz f
sffz f
sffz
mf f sffz mp f
f sffz
f sffz mp f
f sffz
f sffz ff
sffz f p f sffz f sffz
f sffz ff
sffz f p f sffz f sffz
f sffz ff
sffz f
sffz f sffz
f sffz ff
sffz f
sffz f sffz
ff f
f ff f sffz sim.
sffz ff sffz
sim.
ff mp ff
ff mp ff
ff fp ff ff
ff
ff fp ff sffz
ff
ff
sffz
ff
sffz ff sffz
ff
ff sffz ff
sffz ff sffz
ff
ff sffz ff
sffz ff sffz
3
3
t.s.
t.s.
air sound
t.s.
t.s.
air sound
t.s.
1.
air sound
t.s.
t.s.
air sound
t.s.
t.s.
t.s.
air sound
t.s.
t.s.
t.s.
air sound
t.s.
t.s.
t.s.
air sound
t.s.
t.s.
t.s.
air sound
on rim
drum stick
on rim
ord.
drum stick
on rim
loco
3
nat.
scr.
I, II
3
m.s.p.
scr.
I, II
scr.
ord. scr.
ord.
m.s.p.
scr.
I, II
scr.
ord.
scr.
ord.
m.s.p.
scr.
I, II
scr.
ord. scr.
ord.
m.s.p.
30
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
S. D.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f
X
249
ff
ff f
ff
ff
f
ff ff
ff ff
ff f ff
ff
ff
f ff f f
ff
f ff f f
f ff f f
fff
mf
ff f f
ff f f
ff
f
ff mf f mp
f
ff f ff mf
ff f ff
mf
ff f ff
mf
ff f ff
mf
ff
fff
f
ff fff
ff
sffz sffz
f
ff sffz fff sffz
fff
f
ff
sffz f ff sffz f fp
X
sffz f ff sffz f fp
sffz f ff
sffz f fp
sffz f sffz f fp
fff f
1.
3
3
3
ord.
ord.
ord.
a2
2.
ord.
ord.
ord.
ord.
ord.
ord.
on rim
ord.
ord.
on rim
ord.
on rim
gliss.
scr.
ord.
3
ord.
scr.
ord.
3
ord.
scr.
ord.
3
ord.
scr.
ord.
3
ord.
31
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1.2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
Br.D.
S. D.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f ff
molto rall.
Y
254
ff f ff
f ff f ff
ff
f ff
f ff f ff
ff
f ff ff
f ff ff
ff mf f
mf
f
f
mf f
f
mf
mf f sffz
ff
ff mf f
ff mf f
ff mf f
ff mf f
ff
sffz sffz sffz
sffz ff sffz sffz ff f
f
f
mf
ff
f ff sffz mf f sffz mf
molto rall.
Y
ff
f ff sffz mf f sffz mf
ff
f ff sffz mf f sffz mf
ff
f ff sffz mf ff
ff mf ff mp
a2
a2
a2
a2
a2
2.
t.s.
To T.-t.
on rim
To Vib.
Vibraphone;
hard yarn mallets
ord.
on rim
ord.
gliss.
loco
IV
s.p.
m.s.p.
IV
s.p.
m.s.p.
III
s.p.
m.s.p.
free bowing
free bowing
32
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
T.-t.
Vib.
B. D.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
Mystical q=48
a tempo rit.
Z
261
ff
f
ff
f
fff
mf
f
ff
mf
f
f
f
fff
f
ff
fff
f
f
fff
ff
fff
mf
f
mf
ff
mf
mf
f
mf
mf
mf
f
mf
f
fff
mf
mf
fff
mf
mf
fff
mf
fff
f
fff
ff
f
ff
f ff fff
f f fff mf
f sffz f sffz f sffz ff fff
p
a tempo
Mystical q=48
rit.
Z
f sffz f sffz f ff mp fff mf
f sffz ff
ff
fff
mf f ff fff
mf f ff fff
flz.
3
timbral
3
timbral
timbral
3
3
warm
3
timbral
3
timbral
timbral
flz.
warm
timbral
warm
warm
warm
warm
harmon mute;
stem in
warm
harmon mute;
stem in
harmon mute;
stem in
warm
warm
warm
warm
warm
warm
Tam-tam
warm
To W.B.
warm
warm
To Crot.
scr.
(scr.)
m.v.
ord. scr.
(scr.) disintegrating
ord. warm
scr.
(scr.)
ord. (IV) m.v.
ord.
m.s.p. - m.v.
ord.
warm
warm
33
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
W.B.
Vib.
Crot.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
f
mp
poco accel.
q=60
272
mf
mp
p
mp
mf
mp
mf
mf
mf
f
mf
mf
mf
mf
f
p
mf
p
mp
mp
mf
mf
mp
mf
mp
mf
mf
mf
mp pp
mf
mf
pp p
f mp mf mp mf
poco accel. q=60
mp mf mp mf
p f mp mf
p
pp
timbral
timbral
timbral
timbral
air sound
air sound
air sound
air sound
senza sord. - air sound
air sound
air sound
air sound
air sound
To S. D.
Crotales; bowed
To T.-t.
3
2
m.s.p. - flaut.
light finger pressure
III, IV
3 3
3
2
m.s.p. - flaut.
light finger pressure
III, IV
3
3
m.s.p. - flaut.
light finger pressure
3
2
II, III
34
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1.2
Cbsn.
Hn. 1.3
Hn. 2.4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tba.
Timp.
W.B.
S. D.
T.-t.
Hp.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Db.
mf
mf
mf
ff
sffz
molto accel. (h=60)
AA
279
mf
mf
ff
sffz
mf
mf
ff
sffz
p
mf
mf
mf
ff
sffz
mf
mf
ff
sffz
mf
mf
ff
sffz
mf
mf
mf
ff
sffz
mf
mf
mf
ff
sffz
mf
mf
ff
sffz
pp
mf
ff
sffz
mf
ff
sffz
mf
mf
mf
ff
sffz
mf
mf
mf
ff
sffz
mf
mf
ff
sffz
mf
mf
ff
sffz
ff
f
f
pp ppp p
ff sffz
molto accel. (h=60)
AA
pp ppp pp p
ff sffz
pp ppp pp p
ff sffz
ppp
ff sffz
ppp
ff sffz
12/29/18
HH, SC
air sound
t.s.
air sound
t.s.
air sound
t.s.
t.s.
t.s.
t.s.
air sound
t.s.
air sound
t.s.
senza sord. - air sound t.s.
senza sord. - air sound
t.s.
senza sord. - air sound
t.s.
t.s.
t.s.
t.s.
t.s.
Woodblocks
Snare Drum; brushes
Tam-tam; bowed
III, IV
scr.
III, IV
scr.
II, III
scr.
very slow bow
m.s.p. - flaut.
light finger pressure
III, IV
scr.
very slow bow
m.s.p. - flaut.
light finger pressure
scr.
35
Asset Metadata
Creator
Bentz, Nicholas (author)
Core Title
Nick Bentz master's composition portfolio
Contributor
Electronically uploaded by the author
(provenance)
School
Thornton School of Music
Degree
Master of Music
Degree Program
Composition
Publication Date
05/14/2020
Defense Date
05/13/2020
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Atmospheric Entry,classical,composition,Compressor,Cosmos in Stone Respawning,Glimpse,Having Guests for Dinner,master's portfolio,Music,oai:digitallibrary.usc.edu:usctheses,OAI-PMH Harvest,opera,Orchestra,to not walk upside down in the realm of the dead
Language
English
Advisor
Crockett, Donald (
committee chair
), Hearne, Ted (
committee member
), Norman, Andrew (
committee member
)
Creator Email
nbentz@usc.edu,nicholas.bentz@hotmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c89-308602
Unique identifier
UC11664040
Identifier
etd-BentzNicho-8521.pdf (filename),usctheses-c89-308602 (legacy record id)
Legacy Identifier
etd-BentzNicho-8521.pdf
Dmrecord
308602
Document Type
Portfolio
Rights
Bentz, Nicholas
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
Master's portfolio of composer Nick Bentz (MM '20): Compressor (2019) for flute, clarinet, trumpet, and string trio. -- Atmospheric Entry (2020) for eight amplified violins and electronics. -- Glimpse (2018-19) for clarinet, violin, cello, and piano. -- Having Guests for Dinner (2019-2020) a trash micro-opera for three singers and piano. -- to not walk upside down in the realm of the dead (2019) for soprano, violin, cello, and percussion. -- A Cosmos in Stone, Respawning (2018-19) for full orchestra.
Tags
Atmospheric Entry
classical
Compressor
Cosmos in Stone Respawning
Glimpse
Having Guests for Dinner
master's portfolio
to not walk upside down in the realm of the dead
Linked assets
University of Southern California Dissertations and Theses