ALL PRACTICE MUTES??

Air Movements
q = 76
I. Sirocco
approximate rhythm, uncoordinated Michael Shingo Crawford
should harmonics shift here?

° 4
extremely airy, indistinct pitch
con sord. overtones emerge

b w w b œ O ˙ ™ b Ȯ ™™ Ȯ ™™
&4 w œO b >œO
Violin I
bw
o pp
>
approximate rhytm
con sord. overtones emerge
4
quintuplets

~
5 5 5 5

œ ˙™
&4
œ œœœ œœœœ œœ œœœœ œ œœœ œœ w w
Violin II
w
o >
pp

sextuplets overtones emerge

con sord.
4 6 6 6 6 simile

œœ œœ ™™ w
&4 j
~
Viola
œœœœœœœœœœœœœœœœœœœœœœœœ w w ˙˙
>
o pp

#w w # w # ~w ~w
overtones emerge
? 44 w
Violoncello ¢
m3, M3, P4, P5 harmonics (gives you major triad with fundamental as the root, 5th doubled)
Range can be m2-P5 though - and everything in between.

°
j #œOj œO ™™ j
5 shifting harmonics
accel figure make this v1 gesture more interesting?? decel figure

w~
&
Ȯ Ȯ b œO b œO > b œO Ȯ Ȯ
> > >
mf p mf pp
accel figure to AFAP decel to quin
& ~
w w~ w~ w~
mf pp
accel figure AFAP decel to sex
& ~ ~~ ~~ ~~
~
mf pp

? ~w
~w
decel to quadruplets

œ# O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ O œ# O œ O œ O œ O œ O œ O œ O œ O
¢
mf pp
not really heterophony, but strongly overlapping imitative counterpoint
like wind swirling about
°
2
9
S.P. (overtones) no overtones
& ~
w w~ Ȯ ™™ b œœ ˙˙ ˙˙
ppp p

S.P. (overtones) no overtones

& ~
w w~ Ȯ ™™ œœ ˙˙ ˙˙
ppp p
(overtones) no overtones

OO ™™
S.P.

~~ ~~
&
## œœ ˙˙ ˙˙
ppp p

? # ~w ~w Ȯ ™™ ~w
S.P. (overtones) no overtones
Oœ
¢
ppp p

°
(no overtones) overtones
13 (S.P.) ord.

w~ ~ ~
& w
w bw
> bw
>
ppp

(no overtones) overtones

(S.P.) ord. 3 3

w~ Ȯ ™™
&
w
w O O O Ȯ O O O O
ppp >œ >œ >œ >œ >œ >œ œ
(no overtones) overtones
(S.P.) ord.

w~ œO ™™ w~
& w j
w ##>œO Ȯ
ppp

? ~w ~ ~w Oœ™™
(no overtones) overtones
(S.P.)
w
ord. >Oœ Ȯ
¢ J
ppp
 3

°
17

Œ Ó ∑ ∑
3 3
& O
b >œ œO >œO >œO œO œO >œO >œO œO
p ppp

∑
3 3 3 3 3 3
&
œO >œO >œO œO
>
OOO O
>œ >œ >œ œ
OOO O OOO O
>œ >œ >œ œ >œ >œ >œ œ
OOO O OOO O
>œ >œ >œ œ >œ >œ >œ œ
p ppp

& #O Ȯ O
# >œ > >œ œO ##>Ȯ O
>œ œO ##>Ȯ O
>œ œO ##>Ȯ O
>œ
p ppp
> >Ȯ >Ȯ >Ȯ >Ȯ >Ȯ
? Oœ Oœ
¢ ∑
p ppp

°
21

& ∑ ∑ ∑ ∑
bowing pretty much against the mute

& ∑ ∑ ∑ ∑
- just a rubbing sound

& ∑ ∑ ∑ ∑

?
¢
∑ ∑ ∑ ∑

intensification of accents climaxes with

uncoorindated section where a busy rhythm is repeated switch the rhythms of the instruments

°
25 --- it could also be more of a rhythmic pattern, as wind v1 goes to sextuplets, v2 goes to
can be rhythmic quadruplets etc...but gradually
& ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

?
¢
∑ ∑ ∑ ∑
playing g string harmonics
above fingerboard only, right
up to where the bow is
 goes as much harmonic as possible

°
4
29 S.P.
& ∑
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b˙ ˙ bw
& ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

?
¢
∑ ∑ ∑ ∑

°
33 then ord. chord happens first first time, and develops into melodic material

& ∑ ∑ ∑ ∑
ppp

& ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑

?
¢ ∑ ∑ ∑ ∑

° bb w #nn w
chord 1
37 w
w w
w
& ∑ ∑
pp

& ∑ ∑ ∑ bbw
w
w
w
w
pp

& ∑ ∑
w
w
pp ˙ w
?
¢ ∑ ∑ ˙ pp
∑
pp
 5
w w
° bw
chord 2
41 w w
& ∑ ∑
pp
bw
& w
w
w w ∑ ∑
pp
bw ∑ ∑
& #w
## w
w
? #w
w
¢
pp
∑ ∑ ∑

°
45

& ∑ ∑

& ∑ ∑

& ∑ ∑

?
¢ ∑ ∑