Motorman Fragments

- settings of chapters from David Ohles Motorman -

for soprano, alto, tenor, baritone, clarinet, percussion, guitar and cello
2012
Taylor Brook
Instrumentation
soprano
alto
tenor
baritone
clarinet
percussion:
steelstring guitar
lions roar
2 tomtoms (medium and low)
slide whistle
2 triangles
2 woodblocks
mallets: cello bow, 2 medium-hard wool mallets, 2 wooden drumsticks,
chopstick, light wooden dowel, 2 brushes
guitars: steelstring and classical cello bow and light wooden dowel
cello
Concert notes
Motorman Fragments was written in the Fall of 2011 and early 2012 for Ekmeles vocal ensemble through Columbia Composers. It is a setting of twelve chapters from David Ohles
Motorman. One chapter corresponds with one movement with the exception of chapters 41-45, which are all grouped together in the eighth and fnal movement:
I - chapter 24
II - chapter 27
III - chapter 29
IV - chapter 31
V - chapter 36
VI - chapter 38
VII - chapter 30
VIII - chapters 41-45

From the point of conception for this work, I considered the text to be the most important element. I envisioned a form that relates closely to radio-drama, presenting entire chapters
as unaltered text taken directly from the novel in spoken form with some sort of sonic accompaniment. As such, the text is almost exclusively spoken (with indeterminate pitches) rather
than sung. There is coloration of the central spoken parts through pitched speaking, whispering, and even occasional singing, but the central focus of the music is nearly exclusively the
spoken word. In delivering this text, the performers imitate the sound of the author reading the text from a recording of the chapters made by the author specifcally for this project. I took
these recordings of Ohle reading and altered them slightly in terms of timing, and sometimes pitch, to create audio scores for the performers to learn from.
One of the aspects of Ohles novel that I fnd intriguing is how within the frame of his dystopian reality he treats the grotesque or bizarre as completely normal. Inversely, familiar
elements, often distorted pieces from Americana, take on a strangeness or absurdity. This is something that happens constantly in any society without us even making note of it. Take, for
example, the way farm animals are raised or the ability of many city dwellers to walk past a passed-out person on the street without thinking twice. I have attempted to refect this in the
music as well: a typical guitar texture is made strange through microtonal harmonic procedures... a spoken voice is doubled by whispering and noise sounds form an instrument... remnants
of typically American music are inserted into a grotesque collage.

Text
Introduction (to be read before the perormance with the ensemble onstage by the soprano):
Bricks are usually rectangular, because in that way they are most suitable for building the vertical walls of our
houses. But anyone who has had to do with the stacking of stones of a non-cubic type will be well aware of other
possibilities. For instance, one can make use of tetrahedrons alternating with octahedrons. They are not practicable
for human beings to build with, because they make neither vertical walls nor horizontal foor. However, when this
building is flled with water, fatworms can swim in it.
M.C. Escher
I - chapter 24]
He read the letter Burnheart had left:
Dear Friend Moldenke,
Some years back, as I gather, the government phased out the postal cats. Heretofore, as you may be aware, the
government was actually paying them 10 chit a paper week to eat the rats and other rodents that were eating the
mail, a kind of twisted food-chain deal. That plan went along nicely for a time, until some jellyhead in some post
offce hole decided that further rules were needed in order to stem the tide of profteering, slave-holding, and
poison-running, which rose among the cats. These rules were known as the Private Bag Ordinances (the P.B.O.s),
and they generally held that the rats of a given mail bag were the property, the private and exclusive property
of the cat who could daily stalk the area of the bag. Naturally, this served only to increase the dominance of the
stronger cats over the weaker cats, as you might expect. Not surprisingly, the weaker cats lobbied for ordinances
declaring that all bags must be watched equally and that all proceeds should be divided accordingly.
Enough of this, Moldenke. Im off to the greenhouse.
See you in the city.
As always,
Burnheart
II - chapter 27]
She came to him as a stranger in the Tropical Garden. He frst saw her fgure in the banana leaves. He spaded
earth ceremoniously and watched her from the corner of his eye. She tossed a banana fower at his foot and
warmed him with a fow of spirit and a smile. He raised his trowel and indicated the greenhouse. They walked
among the rows of succulents, pressing thick leaves between their fngers. She broke open the stalk of an ice plant,
drew a circle on his forehead with its juices, made an x inside the circle. The space around them fell into silent
patterns. She lifted her Indian dress and dipped a foot in the frog pool. Two suns were up. She said her name was
Cock Roberta.
III - chapter 29]
During the year previous to the mock War Moldenke was employed at the Tropical Garden as a banana man.
IV - chapter 31]
He sat on the seawall, chewing stonepicks, and watched the frst artifcial sun break apart and burn out. A slow,
dry rain of white ash persisted through summerfall. By winter a second sun was up, blinding to look at and almost
warm enough.
VI - chapter 36]
Eaglemans moon, the frst moon, had been a shadow game, a projection of zero on a screen of gas. A mock month
before it went up Moldenke learned of it in a letter from Burnheart:
Dear Moonless,
You will soon have a reason to take a look at the night sky again. Eagleman has a moon on the drafting table. The
concept of it is diffcult even for me to grasp, the way he explains it. Actually, what it amounts to is not much more
than a photograph, a slide picture of the old original moon projected against the gassier layers. And hes provided
for changing your slides for the various phases and so on. A very effcient, quite portable moon, Moldenke. The
man is a repository of mechanical wisdom, a swarm of intelligent thoughts in his head. Some day well all look to
Eagleman to get us through. Mind what I say. And keep your eye on the sky.
Hopefully yours,
Burnheart
VII - chapter 38]
When the government moons went up, Eaglemans moon came down.
VIII - chapter 39]
Moldenke had postponed the matter of booster hearts until one of his lungs had collapsed. Burnheart had written
a letter:
My Dear Declining Dink,
Its not an altogether cheering prospect, you moonchild. I sat back and let you be overtaken by a fotilla of polyps.
The physicians ethical silence, in deference to your feelings. I couldnt sleep. Never again, son. Where it pertains
to you, nature drives in rearward gear. Ive watched the teeth rot out, the eye close, and now the heart is down to a
slugs crawl. In this case I will not sit back and let the long Moldenke line run out of ink.
May I suggest a set of booster hearts? The surgery is childs work. You swallow the pill and dream about a
necklace of planets, or whatever. Ill install the hearts myself. I admit, I wouldnt mind putting on the rubbers
again. Its been a number of seasons. And when its all over, when youve got four little pumpers helping the big
one along, well each take home two sheep for the barbecue. Look at it that way.
Your Doctor,
Burnheart
Text (cont.)
IX chapter 41 - 45]
Dear Moldenke,
If you place a cup over the ear you can hear the
boosters working. As your physician, in the narrow sense, I advise you to do it frequently. Monitor yourself. And,
as your friend in the fullest sense, I would say avoid any avoidable excitement.
Your friend,
Doctor Burnheart
Dear Doctor,
I woke up to the sirens this morning with achestful of nettles. I couldnt avoid it. I behaved accordingly.
It was good to get your letter.
Your patient, Moldenke
Dear Moldenke,
Medically speaking, you shouldnt do more than a sheep would do. The sirens cant be helped. Imagine yourself in
a mock meadow, grazing. In a stable being shorn. Work on it.
Quickly, Doctor Burnheart
Dear Doctor Burnheart,
No more than a sheep would do? Should I assume that the operation failed? I was able to do more than a sheep
before, with one heart. Am I to assume that the operation did nothing?
Anxiously yours,
Moldenke
Dearest Dinky,
What were after in this particular surgical procedure is longevity. You will probably live longer, though not as
well. Were looking for quantity here. And it also has its dangers, most notably the fact that if one goes they all go.
Or, be satisfed with the brighter sidesince the main one cant possibly fail until the other four in succession do,
youll have a warning, an unmeasured period of grace. We should all be so lucky.
Yours,
The one of hearts,
Doc Burny
general notation
microtonality and just intonation
J - j - K - k - L - l approximately 1/12 tone fat or sharp
B - approximately 1/4 tone fat or sharp
3 - 2 approximately 1/6 tone fat or sharp
The following acccidental nomenclature is also used to approximate exact pitches:
Although there are many microtones in this work, much of the harmony is quite consonant. The microtones are used to approximate just intervals, therefore small adjustments should be made by ear to play these intervals
perfectly in tune. I advise the performers to listen for the root of the chord (when present) in order to understand their particular role in the harmony.
arrow - Signifes a gradual change from the marking at the beginning of the arrow to what is marked at the end. For example, if you fnd in your part an ord marked with an arrow leading to alto sul tasto then
it should be executed as a gradual movement of the bow from the ordinary playing position to the alto sul tasto position for the duration between the beginning and end of the arrow.
Glissandi must be performed for the entire duration of the note.
- unmeasured tremolo (futtertounge)
- dampen sound
The accidentals showing the twelfth-tone (one sixth of a semitone) alterations should be thought of as extremely small infections of the pitch. This minute alteration in pitch equals the difference between the just
major third (the fourth harmonic) and the equal temperament major third. Wind players need not use alternate fngerings for these pitches, instead they should infect the pitch slightly as one must do in tonal music
performance practice when tuning the third of a chord. In other words, it is best to treat the notes with these accidentals as if they required a slight infection for the sake of good tuning.
The sixth-tone (one third of a semitone) alteration equals the difference between the seventh harmonic and the equal temperament minor seventh. In other words, the seventh harmonic is a sixth-tone fat
of the equal temperament minor seventh. This difference may be demonstrated by sounding the seventh harmonic on the fourth string of the cello; the pitch of this harmonic will be a sixth-tone fat of an equal
temperament B-fat.
The quarter-tone alteration should be precisely halfway between the equal tempered pitches. The quarter-tone alteration can be heard at the 11th partial of the harmonic series, which is exactly halfway
between the perfect fourth and the tritone. Again, the difference can be tested by playing the 11th harmonic on the low C string of the cello to produce an F-quartertone-sharp.
The most important thing to keep in mind is that the goal of these microtones is often to realize acoustically consonant harmonies; if the performer can recognize their role in the harmony, this will ensure
optimal tuning of the microtones.
voice notation
audio scores
For certain portions of the score, the singers must learn from audio scores of the author, David Ohle, reading the text. The rhythm and contour are notated in the score for the purposes of synchronization. The performer
should listen to the audio score repeatedly and do their best to imitate the sound of the recording, including the accent. The pitches need not be precisely the same (except when demanded by the score), but the rhythm and
contour should match. The portions that use the audio scores are marked with AUDIO SCORE above the staff and the measure that the audio score continues until. It should not be the performers goal to act convincingly
as Ohle, but more to produce a somewhat mannered and unnatural way of speaking that is in imitation of Ohle.
These audio scores may be downloaded here: http://taylorbrookmusic.com/motorman-audio-scores/
Precisely pitched speaking is notated by adding slashes through the noteheads as shown here:
The percussion clef is also used for unpitched speaking and whispering: A general range is also given.
vocal technique indications:
norm. - normally voiced singing
nasal - sing with a nasal tone
brassy - sing with a tone that resembles a brass instrument
whistle - notated on a percussion clef, you do not need to produce exact pitches, but only contours
low as possible (vocal fry) - sing as low as you can, producing a grinding sound in your throat
sound out gradually - sing as if time-stretched or in slow motion, sounding out the syllables gradually
cover mouth with hand - place the hand over the mouth while singing to partially muffe the sound
clarinet notation
clarinet multiphonics
The examples are written in B-fat.
microtonal segments
This technique involves playing a series of fngerings which alter the pitch in an extremely minimal way. The following shows some examples,
which are written in B-fat.
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keyclicks - make noise by trilling random keys
air only - blow through the instrument to create a wind sound
^ - strong accent (tongue accent)
> - normal accent (breath accent)
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cello notation
scordatura:
The cello is tuned thusly:
A transposed and untransposed staff is provided in the score and part.
natural harmonics:
Natural harmonics are notated in two different ways, depending on the context:
1. For the second through ffth partial, diamond noteheads show where to touch the string along with a roman numeral indicating the string..
2. For the frst harmonic at the octave as well as harmonics beyond the 5th, a small circle above the sounding pitch is provided along with the roman numeral string indication. The reason that these higher harmonics
have been notated in this fashion is because they sound cleaner if played high up on the string near the bridge. The following example shows a possible series of harmonics played on the fourth string of the cello.
bow placement indications:
ord. - ordinario position
s.t. - sul tasto - (Bow over the end of the fngerboard.)
a.s.t. - alto sul tasto - (Bow 5-7 centimetres up the fngerboard.)
p.s.t. - poco sul tasto - (Bow slightly towards the fngerboard from ordinario position.)
s.p. - sul ponticello - (Bow close to the bridge.)
m.s.p. - molto sul ponticello - (Bow so that part of the hair is on the bridge and part is on the string, thereby producing a quiet but harsh sound. This technique will often silence the fundamental pitch of the string.)
p.s.p. - poco sul ponticello - (Bow slightly closer to the bridge than ordinario position.)
other side of the bridge - (Bow on the short segments of the string on the far side of the bridge.)

other indications:
fnger mute - Mute the open string(s) with your left hand while bowing normally so that only pitchless noise is produced. This is notated with a square notehead of the open string on which the fngermute is performed
along with the written indication.
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+50 -31
percussion notation
= bridge
soundhole
XII VII V
marked frets:
ordinary playing position
guitar:
The guitar should be strung with high tension steel strings in order to be played most effectively with mallets and bows. The numbers given above the microtonal pitches in the tunings signify the deviation of those
pitches in cents (hundredths of a semitone) from the nearest equal temperament note. To perform the playing techniques correctly, the guitar must be secured on its back to a table that covered in foam or some other
soft material.
I have notated the guitar on a staff with a percussion clef, where each of the six guitar strings corresponds to a space on the staff, including the spaces just above and below the top and bottom lines. For example,
the string with the highest pitch is notated in the space above the top line of the staff. Harmonics are notated as diamond noteheads along with a roman numeral indicating at what fret one must stop the strings in order
to produce the correct harmonic.
mixed percussion notation:
med tom low tom lions roar 2 woodblocks 2 triangles
All instruments should be left to vibrate indefnitely and only be dampened if specifcally indicated.
A soundfle that exemplifes the tuning can be found here: http://www.taylorbrookmusic.com/motorman_tunings/
other indications:
- rubbing (used for brush on tomtoms)
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guitar notation
two guitars are called for, one steelstring and one nylonstring, tuned thusly:
There are two staffs in the score and part, providing both the transposed and untransposed parts.
Beyond the standard mode of performance, the steelstring is also played sur la table played with a bow or hit with a wooden dowel. For these parts, I have used tabulature as if it were a percussion instrument.
Where each of the six spaces on a percussion staff represents one of the strings. Harmonics are notated as diamond noteheads along with a roman numeral indicating at what fret one must stop the strings in order to
produce the correct harmonic.
steelstring:
nylonstring:
-31 -31 +16 -14 +50 +18
6 5 4 3 2 1
right-hand placement indications:
ord. - ordinario position
s.t. - sul tasto - (Pluck over the end of the fngerboard.)
s.p. - sul ponticello - (Pluck close to the bridge (metallico).)
pizz - (Partially mute the strings by resting the side of the right hand on the bridge.)
- Place the fngers on the string as indicated by the notes but dont press hard enough for the string to touch the fret, creating vaguely-pitches percussive noise.
A soundfle that exemplifes the tuning can be found here: http://www.taylorbrookmusic.com/motorman_tunings/
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pro pert y, the pri vate and ex clu sive pro pert y, of the cat
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who could dai ly stalk the a re a of the bag. Na tural y
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this on ly served to in crease the dom in ance of the strong er cats ov er the weak er cats,
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Bb Cl.
pitches
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16
!
5
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cats as you might ex pect not sur pris ing ly the weak er cat lobb ied for ord in
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as you might ex pect. Not sur pris ing ly the weak er cats lobb ied
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all bags miust be watched equal
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6

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Bb Cl.
pitches
Perc.
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19
!
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T
B
Bb Cl.
Perc.
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22





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TOM-TOMS
with brushes

AUDIO SCORE (to m.35)

pizz.

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3 5
stran ger in the trop i cal gar den. He first saw her fi gure in the
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(rake)
- - - - - -
8
II - Chapter 27

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V
V
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S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
24

ba na na leave s.
He spa ded earth cer e mon i ous ly
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muhmuhmuhmuhmuh...
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looking ahead looking left
& p &
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(repeat as fast as possible)
P p &
p
P
5 4 4 1 3
5 4
2
3 1
3 2 1 4
3
F
II III
p
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(repeat as fast as possible)
(repeat as fast as possible)
s.p.
P f
P "
cover mouth with hand
cover mouth with hand
cover mouth with hand
uncover mouth calmly
f
P
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#




3
and watched him from the cor ner of his eye.
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nasal
nasal
s.p.
s.t.
uncover mouth calmly
uncover mouth calmly
p P
- - -
- - - - - -
-
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9

&
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&

V
V
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S
AA
TT
B
Bb Cl.
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~
26









#

3 3
flow er at his foo t and warmed him with the flow of spi rit and a smile.

# n #
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6
12
su wa su
wa
su wa su wa su
&
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12
su wa su
wa
su wa su wa su
V

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5 4 3
2 1
4 3 2 1
F f
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I III
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norm.
whisper
looking right
p
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whisper
ord.

#


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3
He raised his tro wel and ind i cat ed the green house. They walked a long the rows
!
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- - -
-
- - - -
- - -
-
- - - -
- - - - - - - - -
10

&
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V
V
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S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
%
~
~
~
~
~
28

#

#

3
3
of suc u lent s, press ing thick leaves be tween their fing ers. She broke
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.
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.

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B ?
looking ahead
"
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4
5
4
f
P
pizz.
norm.
I
II
I
P f
f P
5
4
3
2
1
P
s.p.
s.t.
p
norm.

#





3
o pen the stalk of an ice plant. Drew a cir cle on his for head with it's juic es.
!


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3
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.
.
.

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looking left
looking ahead
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3
2
1
5
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P f
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II I
III
F P f P
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middle register
ord.



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3
3
Made and ex in side the cir cle. The space a round them fell

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The space a round them fell
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looking right
half-whisper
p
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&
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p
f
F
f F
s.p.
edge
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f
-
- - - - - - - - - -
- - -
11

&

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V
V
?
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S
AA
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
%
31

in to si lent pat tern s.
The space a round them fell in to si lent pat tern

# n
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12
in to si lent pat er ns su wa su wa su
wa su
wa su wa su wa
&

12
su wa su wa su
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6
6
su wa su wa su wa su wa su wa su wa

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3
looking right
p
whisper
p &
whisper
p &
p &
whisper
"
p & & p &
2
press lightly, no resonance and almost no pitch
ord.
centre
2
1
5 3
5
centre edge
p f
p f
P
P
p
IV
I
III I
II
I
II IV
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-
#


#
3
3
3
s. She lift ed her ind i an dre ss and dipped a foot in the frog pool.
!
!
!
w
w
w
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f F f
3 3

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looking left
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p
2 3 4
2
1
4
1
2
3
I
II
I
F
P
F
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centre
5
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p F
p
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(L.V.)
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IV
s.p.
- - - - -
- -
- - - -
- - - - - - - - - - -
- - - - - - - - - - -
- -
- - - -
- - - -
- - - - - - - - -
12

&

&

V
V
?
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S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
33

Two suns were u p.
Two suns were up.

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two suns were up er

Two suns were u p.
Two suns were up.
V
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24

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24
+ n # + n
{
o

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3

+ n d t n

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looking left looking right
looking ahead
p
half-whisper
p
p "
4
2 3 1 1 2 1 5
1 2 1
4
1 2 1
3
2 1
F "
F p
F "
P
F F P
5
5 3
F
II I II III
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P "
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ord.
-
-
13

&
V
?
&

V
V
?
?
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
34

#

-



She said her name was Cock Ro bert a.
&




>

>
Ro
ber


>
ber
. .
. .
. .

f f
#
f

3
r

{

{

#



#

>

#

{
+
o

d
+
& p &
p
p
"
2 1 3 2
3
2 pizz.
F p
P
"
F
P
5
6
"
5
III
I
IV II
P "
P
p

. #
>
j
+

U
ta

#
>

U
ta

>

U
ta

#
>

U
ta
.
.
.

#
#

U
f

U

3
w
.
{
+
o
&
.

t
U
#

#

U
p
p

"

&
3 norm.
p
4
p
& p &
- - - - - -
- - - - -
- - - - -
- -
14
&
&
V
?
&
&

&
V
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~
36


-
uh


-
uh


-
uh


-
uh
j
{ # + n
{
j
n ) (
j

3
!


j

{
r
+
o
3

j

t
t
t
t
t
t
3

J

{
o



{ + 3

J
t



+ 3
F
low as possible (vocal fry)
q = 72
F
low as possible (vocal fry)
F
low as possible (vocal fry)
F
low as possible (vocal fry)
f p
LION'S ROAR
P
f
NYLON STRING
F
alto sul tasto
s.p.
F &
s.t.
F
arco
F
III
- #


- #


- #


- #


#

#


>

#

#
>
#
5
!

#

!

#

RIT
f F
F
vib.
solo

U

U

U

U
#
>
J

.
j

#
U
>
3
!
V

U
!
V

U

!

U
f
GUITAR
with WOODEN DOWEL
p
s.t.
pizz.
P

molto vib.
#
>


bow!

>



bow!

>

bow!

>

bow!
.
.
.
.
.
.
.

Y
+
+
+
r
+

.
.
.
.
.
.

.
.
.
.
.
.

l
r
{

.
.
.
.
.
.

>

V
.
{
o

.
. t
>
t
.
>

F
q = 76 (SLIGHTLY FASTER)
F
F
F
sub pp
bisb.
P

L.V.
STEELSTRING

with WOODEN DOWEL

L.V.
p
alto sul tasto
arco
p
p
p
senza vib.
~
~
~
~
~
~
~
15 III - Chapter 29
&
&
V
?
&

V
V
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
%
~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~
~~~~~~~~~~~~~~
40
!
!
!
!

#



+

>
#


+
o

{
o
#
o
r
o

6

t
t
t #
t
>

6

{
j

+ # n b n
n #
l
o

o
+
o
l
o
+
o
l
o
# n #
3
6
3 3

J

#

#

3
3
&
?

j

+
#

n
b

n
n
# t t
t
t #
t
t #

#
n #
3
6
3 3

J

#

#

3
3
SLIDE WHISTLE
f P
NYLON STRING
P

IV
III
f P f
ord.
s.p.
ord.
I
II
"
!
!

!

!

!

b +

{ n b +

{


{
5
5

b



b




5
5

{
+
# + ) (
. n + ) (
j
n
6
J

+ . +
J
+
3

+
# + ) (
. n
>
+ ) (
j
n
-
6
J

3
6 5
4
3 6
5 4
3
2 3
"
p
.
. #
>

bow!

.
>
#
3
tro pic al gard ens bow!
&

.
>

3
tro pic al gard ens bow!
&
. .
>
#
bow!

!
r

{
+
o

3

t
>

3
) (
J
+ + ) ( #
.

{

+

5
) (
J
+
^
+ ) (
#

.

5
f p
middle register
f
f p
middle register
f
f P
f p
2 1 2
3
f
IV
III
sub pp
norm.
norm.

- - -
- - -
16
&

&
V

V
V
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~~~~~~~
43

# - - -
ba na na

# - - -
ba na na

#

ba na na

#

ba na na

n ) (
{
!
!

+
{

r
#
+
{

r

{
o

#



t
^

#

+
o
&

#

t
low as possible (no vocal fry)
F
low as possible (no vocal fry)
F
P
mid-low register
P
mid-low register
f
4 3 2 1
P p
5
F f
3

s.p.
ord.

II
pizz.
-
#

U
.
man
-
#

U
.
man
#
U
.
man
#
U
.
man

#

U

>
#

#

n #
5 6
!

U
.

{ +
o
.
t
t
^
U
.

l
o

t #
U

p

3

I
POCO RIT
!




#


#

ba na na man ba na na man ba na
!

#



#
ba na na man ba na na man ba na na man

#
# +
#

n
+ n # #

!
!

r
+ n
{
#
r
+ n
{

r
+ n
{
#

#





#
!
!
F
middle register
middle register
F
middle register
F
with thick plectrum
GUITAR
2 1
4
3
F
s.t.
ord.
s.p.
5
ACCEL

3 3
tro pic al gar den tro pic al

#

#


#


na man ba na na man ba na na man ba na na

3 3
tro pic al gar den tro pic al gar den



#


ba na na man ba na na
n # # +
#
# n
#
+
#

#
#

b
Y
o
+
o
+
o
r
o +
o

Y
o

o

o
r
o
o

3 3
t
t
t
t
t
t
t
t
t
t

3 3

r
+ n
{
#
r
+ n



#

+
l
o


3 3

+ t #
-

n
3 3
F
middle register
F
V
F
F
I
- - - - - - - -
- - - - - - - - - - - -
- - - - - - - - - - - - - -
- - - - - - -
17

&
V

V
V
&
?
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
47




gar den tro pic
#



3 3
man ba na na man
&

3
tro pic al gar den
V
#


3
man ba na
#

#
# +

3 3

Y
o
+
o
+
o
r
o
o

Y
o

o
3
t
t
t
t
t
t
t
3

{
+
o

t

t

l
o


t #
-


VII
4 2
&
with a thick "jazz-style" plectrum
q = 120

3
al gar den
&
#

.

.

.

.

.

.

.

. # #

.

.

.
ba na na man ba na na man ba na na
#
.

.

.

.

3
ba na na man

3
na man
?
# n + #
+
o
r
o +
o

+
o

o

o

o
3
t
t
t
t
>
t t t
3
w

l
o
.

t #

p
V
f p
F "
& F "
I
P
P
+
.

.

.

.

+
.

.

.
ba na na man ba na na

.

.

.

.

. # #

.

.

.

.

.

.

.
man ba na na man ba na na man ba na na
#
.

.

.

.

.

.

.

.

3 3
ba na na man ba na na man

.

.

.
3
ba na na

+
o

o

o

o

o

o

o

o
t t t t t t t t
w

w
T

f
f
f
f
P
P
f
+
.

man

.

man
#

ba na na man

.


man

6
+
o

}
o

o
w
o

}
o

}
o

}
o
6
t
t
t
t
t
t
t
6

+
G

y
6
t

b


6

+
l
o
3
t

+ n t #
3
P
F
p
IV
F f
"
F
f
&
(with plectrum)
F f &
q = 90
f
f
f
- - - - - - - - - - -
- -
- -
- - - - - - - - - - - - - -
- - - -
- - - -
18
&
&
V
?
&
V

V
V
&
?
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~~ ~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~
~
~
~
~
~
~
~
~
~
~
~
~
51
#

tro pic al gar

#

tro pic al gar

!
!
# #

!
!
!
!

d n ) ( . d

d n ) ( . d &
P
P
p P &
s.p. ord.
p F
RIT

dens
mol denk e mol denk e mol denk e mol
b

dens mol denk e mol denk e mol denk e mol
d n d n d n d n d n d
mol denk e mol denk e mol denk e mol denk e mol denk e mol
d n d n d n d n d n d
mol denk e mol denk e mol denk e mol denk e mol denk e mol
d ) (
d ) (
!
J

>

. d d d . d . d
. d d d . d
>
.
>
d
>
p
p
p
p
F p
p
f
with SLIDE (metal)
p
f
norm. (no plectrum)
"
q = 76
SLIDE WHISTLE
s.p. ord.


denk e


denk e
n d

denk e
n d
denk e

>


!



@

+
@

&

@

@

d n d n d b
j

>
# + n

{
+ # + n +
l
o
6 6
+

+ +
?
&
?
d
>
n d n d
>
b
j

>
# + n

-
+ # + n +
t #
6
6

f
p
p

!

!
!
!
!
r r

l
l
d
Y
o

l
l
d
Y
o

t
t
t
t #
#
#

t
t
t
t #
#
#

{

+
l
o

o

o

o

o

o

o

o

o

o

o

o

o

o

o
3
5 5 5
&

t # t t t t t t t t t t t t t t
3
5 5 5
5
3
2
4
F f
sub p

IV
III
II
I
I
STEELSTRING
ricochet with chopstick
F f
- - - - - - - - - - - -
- - - - - - - - - - - -
- - - - - - - - - - -
- - -
- - - - - - - -
19

&
V
?
&

&
V
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
~
~
~
~
~
~
55

3
5
Du ring the years pre vi ous to the mock war Mol denk e was
!
!
!
J
#
J
n #

j
#

3 3
!
!
!

. +

. +
mid-low register
F
quasi-dixieland
P F
molto vib.
" F p F
AUDIO SCORE (to m.57)
broad and regal
senza vib. vib. senza vib.
vib.




#





#


3
6
3
em ployed at the tro pic al gar den as a ba na na man.
&
!
!
!

# n
#

J
# . n
-
3 3
!
!
!
#
j
n
j
b
3

#

J

n
J
b
3
p F
senza vib.
senza vib. vib.
p F p F
senza vib.
vib. senza vib.
!
!
!
!

>



>


#

3 3
!
!
!

#
3

#
3
p F
p
p F
# #
U
# #
U
# #
U
# #
U
b

#
.
#
U 3

#


>
U
3

. .
. .
. .
. .
. .
. .

{
r
#
+ #

. .
. .
. .
. .
. .
. .
t
t
t
t
t
t

#
U
l
o
l
o
. #
t T # . t #
U
P &
F
WOODBLOCKS
P
p
- - - - - - - - - - -
20
&
&
V
?
&

&
V
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
59



r
#

+
He
!
.
J

l
{
r

j
{
r

j
{
r

j
{
r

l
{
r

j
{
r

{
r
o

o
r
o
j
l
o

{
o r
o
o
l
o
{
o r
o
o

{
o d
o
o l
o
#
6

>

b
-



b
-



b
-



n
-



b
-

-

t #
t
t #

t
t
t
t
t n
t
t #
t
t #
t
t #
t #
#
6
.
o
J


. t
J
t t

q = 42
"
(tune to guitar)
"
P
"
"
2 TOMS covered by cloth, with timpani mallets
1 3 2 4
f p
5
3
2
1
4
3
2
1
f
STEELSTRING
"
I

AUDIO SCORE (to m.65)

#

+
#
+
# l l #
6
sat on the sea wall chew ing stone picks and watched the first art i fic ial sun
!

#
#

l
{
r

r

{
j
r

r

{

r

r

{

r

r

{
l
{
r
o

o
j
{
r
o

o
j
{
r
o

o
j
{
r
o

o
j
{
r
o

o
j
{
r
o

o
r
o

{
j
{
r
o

o
6 6 6 6
6
n
-

#

#

b
-

#

#


-

#

#


-

#

#

n
-

t #
t
b
-

t #
t
b
-

t #
t
b
-

t #
t
b
-

t #
t
b
-

t #
t
t #

b
-

t #
>
t
>
6 6
6 6
6

o
.

T . t

"
4 3 2 1 2 3
5 4
p F
3
2
1
"
I

- - - - -
21
IV - chapter 31
&
&
V
?
&

&
V
&
?
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
61
.
#

{

#
3
A slow rai n
.
#




#
3
A slow dry rai n
n
{


#
{


#
#
6 3
break a part and burn out. A slow dry rai n
.
#



3
A slow dry rai
.
.
.

.
.
.

.
.
.

.
#





3
l
o
{
o r
o
o
l
o

{
o r
o
o
l
o

{
o r
o
o
l
o
{
o r
o
o

l
o
{
o r
o
o

{
o d
o
o l
o

V
t
t
t #
t
t
t
t
t

t
t
t
t
t
t
t #
t

t
t
t #
t
t #
t
t #
t #

o
o


.
o
.
o
t
t


. t
. t
P
P
P
P
V VII VII IV
f
V VII
pizz.
sound out the words gradually, as if in slow motion
sound out the words gradually, as if in slow motion
sound out the words gradually, as if in slow motion
p
& p "
F
I

{


white ash

white
#
j
#
#
+ n
#
d
3 5 5
white ash per sist ed through summ er fall. By Win ter a se cond
#
#

n

#
#

#
#
d
+
n d
+
n d
+
n d
n
n d
n
n d
d
3 3

{
r

L r

r

l
r

{
j
r

{
r

l
r
j
r

{

o

r
o

{
j

n
o

{ l

{

o
9

-


#



>

#

n

>

#

n
t
>

t

#
t

n
t

t
9
!
!
"
"
"
&
3 2 1 3 2 1 2 1 4 2 3 4 2 3 2 1 4 2 3 4 2 3 5 3
2
1
3 4 5 3 4 3
p
F
P
"
- - - - - - -
- - -
-
-
22
&
&
V
?
&

V
V
&
?
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
%
~
~
~
~
~
~
63


.
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3 3 3
sun was up, blind ing to look at and al most warm e nough.


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23
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4
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4
4
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4
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S
A
T
B
Bb Cl.
Perc.
Gtr.
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65

>



>



-











6 3 3
Ea gle man's moon, the first moon, had been a sh a dow game. A pro ject ion of ze ro on a screen of gas.
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AUDIO SCORE (to m.67)
with WOODEN DOWEL

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#
3 5
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A mock month be fore it went up Mol denk e learned of it in a lett er from Burn heart.
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with a thick "jazz-style" plectrum

remove MUTE
- - - - - - - - - - - -
24
V - chapter 36
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67
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Dear Moo
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Dear Moo

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Dear Moon less, you will

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sound out the words gradually, as if in slow motion
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sound out the words gradually, as if in slow motion
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m.s.p.
III
f
q = 63


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25
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&
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&
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A
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~
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71
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plains it. ac tuall y what it a mounts to is not much more than a
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moon pro ject ed a gainst the gass i er layers. And he's pro

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- - - - - - - - - - - - - - -
26
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A
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pitches
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74
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5 3
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vi ded for chang ing your slides for the var i ous phas es and so on.

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A ve ry eff ic ient, quite port a ble moon, Mol
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27
&
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77

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get us through. Mind what I say, and keep your eye on the sky.

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28
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V
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B
S
A
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B
Bb Cl.
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
81

.
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q = 108
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29
VI - chapter 38
&
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V
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A
T
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pitches
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85

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b

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b
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f
f
f
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f
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P
P
P
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30
&
&
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?
&

V
V
&
&
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
89

boop

boop
b

boop

boop

#




b

#

3 3
3
5
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f
f
f
f
f
f
F


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3
ba poo da

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F
F
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brassy
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b

b

b

3
3 3
poo da ba ooh wa ooh wa ooh

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#

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3 3
ooh wa ooh wa ooh

b

n




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poo da ba ooh wa ooh wa ooh
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w
w
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b
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edge
p
TOM-TOMS
IV

F
F
f
31
&
&
V
?
&

V
V
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S
A
T
B
Bb Cl.
Perc.
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~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
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93
!
!
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y
y
y
w b

w
w
w
w
w
w
b
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g
w
w
w
w
w
w
b
b
b
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w
w w
+
{
w
w
w
w
&
any multiphonic with the given low note that can be controlled dynamically
centre edge
f p

q = 78

!
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!
!
y
y
y

y
y
y

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w
w
w
w
w
w l
l
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#
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f
IV
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other side of the bridge
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+
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j

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3
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3
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3
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P
molto vib.
F
MIXED PERCUSSION
P
5 4 5 6 "out of tune"
P
P
"out of tune"
III II III IV III II III
POCO ACCEL
32
&
&
V
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&

V
V
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S
A
T
B
Bb Cl.
Perc.
Gtr.
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~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
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~
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~
~
~
~
~
~
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97
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j

J
b
3
3
I don't want to set the
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w

w w
w
w w
w
l
y
{
#
w
w
w
w
w
w
w
w
w w
+
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3
3
3
singing towards the back of the hall
impersonate the accent from the recording by the Ink Spots
F
P

f F
P
q = 86
p
!

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-
n
-
world on
!


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b




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3
3 3

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#
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3 3
F
III
II
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p
P F P F P
P p P p
vib. senza vib. vib. senza vib.
#





3
when the gov ern ment moon s went
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3
when the gov ern ment moon s went
b
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fi re
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3
when the gov ern ment moon s went
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b b
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w
w
w
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j
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w
w
w
w
w
w
b
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F
middle register
F
middle register
F
middle register
P
p
VIII
" &
AUDIO SCORE (to m.103)
AUDIO SCORE (to m.103)
AUDIO SCORE (to m.103)
F P
P p
vib.

up

up

b
I

up
b


3

#
#
l
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b
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b
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b
b
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F
p
F
P
VII
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P p P p
vib. senza vib.
-
- - -
- - -
- - -
33

&

V
V
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~
~~
~
~
~
~
~
~
101




j

5
3
ea gle man's moon came




j

5
3
ea gle man's moon came

3
just want to start




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5
3
ea gle man's moon came

j
w
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b
!
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F
F
VIII

senza vib.
vib.
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down

down

3
a flame in your

down

b

3

j
w
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b
!
!
P F
III
senza vib.
molto vib.
&
P p
!
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>
.
3
heart
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w
w w
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senza vib.
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F
f
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f
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centre edge
IV
P &
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P
f
- -
- -
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34

V
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&
V

V
V
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4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
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3
4
3
4
3
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3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~
~
~
~
~
~
~
~
105
#

>


-

5 3
Moldenk e had post poned the ma tter of boost er
_

uh
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vocal fry
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vocal fry
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GUITAR
wooden dowels

NYLON STRING

4
rasguedo
q = 48

try to bend lower

try to bend lower
try to bend lower


>
#
hearts un til one of his lungs had coll apsed.

. -
uh

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4 4
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&
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#

3
Burn heart had writt en a lett er.
&
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My

b b
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9 9 9
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f
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F
P
AUDIO SCORE (to m.130)
- - - - - - - - - -
35
VII - chapter 39
&

&
V

&

?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
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3
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A
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Bb Cl.
pitches
Perc.
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109
!
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6 3 3
dear de clin ing Dink, It's not an al to ge ther chee
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with BOW
V
VII
F STEELSTRING
with BOW
V
F
q = 72


- - - . -
you moon

- - - . -
you moon

- - - . -
you moon

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child
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>
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6
6
3
I sat back and let you be ov er tak en by a flo ti lla of
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f
V
F
IV
F
- - - - - - - - - - - - - -
36
&

&
&

&

?
?
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
113
!

+
mmm
+
mmm

#


#


3
po lyp se The phys ic ian s eth i cal
!

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{ III
sempre F
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nasal ord. nasal ord. nasal ord. nasal ord.
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ord. nasal ord.
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+
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#

3
si lence in de fer ence to your feel ings. I couldn't
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-

-

3
3
sleep. ne ver a gain son.
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6 3 3
Where it per tains to you na ture drives in rear ward
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l
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F
with WOODEN DOWEL
VII
P
with WOODEN DOWEL
ord.
ord. nasal ord.
- - - - - - - - - - - - - - - - -
37
&

&
&

&

?
?
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
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117
!

+
mmm
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>

6 3
gear. I watched the teeth rot out the eye close
!
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p
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#



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6
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and now the heart is down to a slugs crawl
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nasal ord. nasal ord.
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#

6 6 3
in this case I will not sit back and let the long mol denk e line
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p
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ord.
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#
#
. .
#
3
run out of ink. may I suggest a set of
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f
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- - -
38
&

&
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8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
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8
7
8
7
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pitches
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121
!
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>


#
3
boost er heart s the surg er y is child's work you

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3
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swa llow a pill and dream a bout a neck lace of plan ets
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with WOODEN DOWEL
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half-whisper
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6
3
I'll in stall the heart s my s elf. I ad mit I
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q = 76
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nasal ord. nasal ord. nasal ord. nasal ord.
F
p
- - - - - - - - - - - - - - -
-
- -
39
&
&
V

&
&

&

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8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
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4
4
4
4
4
4
4
4
4
4
4
4
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pitches
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125
!

j
+
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3
3
would n't mind pu tting on the rubb ers a gain.
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.

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>
#
3
3
It's been a num ber of sea sons and when it's all o ver, when you got
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ord. nasal ord. nasal ord. nasal ord. nasal
"
ord. nasal ord. nasal ord. nasal ord. nasal
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"

#

#
3
3 3
four litt le pump ers help ing the big one a long, we'll ea ch
!

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{ III
V
IV
III
ord.
ord.
ord.
p
- - - - - - - - - - - -
40
&
&
V

&
&

&

?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
128
!
!
!





3
3
take home two sheep for the bar be que. Look at it

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b
#

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F
II
P
gliss harmonics
&

+
mmm

+
mmm

+
mmm

#
#

>

that way. Your doc tor Burn heart

t

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V
gliss harmonics
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f
f P
f
sing upper note
p
nasal ord.
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nasal ord.
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nasal ord.
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!
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w

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?
P f
{ III III V VII XII
IV
P f
with WOODEN DOWEL
XII VII V IV III { III
with WOODEN DOWEL
nasal ord. nasal ord. nasal ord. nasal ord.
nasal ord. nasal ord. nasal ord. nasal ord.
nasal ord. nasal ord. nasal ord. nasal ord.
- - - -
41
&
&
V

&
&

V
V
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
S
A
T
B
Bb Cl.
pitches
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~~~~~~
~~~~~~ ~~~~~~~
~~~~~~~
~~~~~~
131
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n

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bisb.
bisb.
F
f GUITAR
wooden drumsticks
strike with side of the drumstick
norm.
TOM-TOMS
XII
F
f
f
q = 72
NYLON STRING
AUDIO SCORE (to end)
L.V.
#
j

Dear Mol
g #
>
g n g g #

g #
>
g g g
3
Dear Mol denk e, cup ov er the
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>

3
Dear Mol denk e, if you place a cup o ver the
t t t
3
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#
3
+
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6

6
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0

"
sound out the words gradually, as if in slow motion
P
mumbling
F
middle register
&
air only
triple-strokes (ricochet)
&
&
4 3 2 4 3 2
&
mute strings with left hand (no pitch)
p
P p
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denk
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>


>

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norm.
air only
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P &
P &
4
3
2
P &
P
- - - - -
- - -
- - - - - - - - - - - - -
42 VIII - chapter 41-45
&
&
V

&

V
V
?
?
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
134
.

e

#


>


as your phys ic ian
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>

as your phys ic ian in the
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0

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p P

>
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>



3
narr ow sense do it fre quent ly
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>

.

>

3
narr ow sense I ad vise you to do it fre quent ly
t t t t t t

{
d
{
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3 3 6



b + n b + n + n b + n + n b +
6 6 6


b

b



b



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6 6 6
!
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air only
&
norm.
triple-strokes (ricochet)
&
6 5 4 6 5 4
&
&
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P p
p P
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>
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6 5
mon it er your self and as your friend in the full est sense I would say
t t t t t t t t t t t t t t t t t t t t t t t t
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.
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3
3
3
n b + n b + n + n b + b n +
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b



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!
0

0 0 0 0 0 0 0 0 0 0 0 0
P "
air only
keyclicks
P
"
P "
P "
pizz.
- - - - - - - - - -
- - - - -
- - - -
43
&
&
V

&
&

V
V
?
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4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~~~~~~~
137
!
g g #
g #
>
g n g g
>
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5 5
a void an y a void a ble ex cite ment
!

>

>

>

#
5 5
a void an y a void a ble ex cite ment your friend

{
) (

!

3
b n +

5
b

5
!
0 0 0 0
P &
norm.
P &
P &
P &
P "
(mumble)
f
F

3
fuh fuh fuh friend
!





doc tor burn heart

0 0


!

0
0
0
0


!
0

whistle-sound without pitch
(as comeone who cannot whistle trying)
& p &
whisper
& p &
half-whisper, following the tenor as closely as possible
& p &
keyclicks
air only
& p &
triple-strokes (ricochet)
scratch along the string
with the nails of the right hand
while muting with the left hand.
& p &
6
5
arco
& p &
# n #

mmm

# #



3
6
6
dear doc tor
I woke up to the si rens this morn ing with a

# #



3
6
6
dear doc tor
I woke up to the si rens this morn ing with a
!

v
j

^

3
6 3

Y
+
+
r
o

t
t
t
t
$

.
.

n
{
o

+
o
w

.
.
T
T
T
>
w

+
+
o
&

+

+
T
norm.
P &
p
P

&
norm.
alternate ngerings
suddenly calm
V
P
P
F
5
3
1
4
" F
norm.
II
q = 60
1 2 1 2 1 2 1 2
AUDIO SCORE (to end)
with thick plectrum
GUITAR
-
- -
- - - - - - - - -
- - - - - - - - - -
-
- -
~
~
~
~
~
~
~
44
&
&

&
&

V
V
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~
~~~~~
~~~~~
~~~~~
~
~
~
~
~
~
~
~
~
~
~
~
140
!

#
#
6
6
3
3
chest full of nett les
I could n't a void it I be haved a ccord ing ly

#
#
6
6
3
3
chest full of nett les
I could n't a void it I be haved a ccord ing ly
!
?
w
w
w
#
!
!
l
o +
o n
o
l
o
t #
t
t
t #

T

"
5 4
1
2
P
#

6 3
m a m a m a m a


>
#
# #

6
3
3 3
it was good to get your le tter your pa tient mol denk e


>
#
# #

6
3
3 3
it was good to get your le tter your pa tient mol denk e

#


6 3
m a m a m a m a
.
.
.

+ n + n #
j
{
d #

3
6

y
{
+
Y
Y
o

t
t
t
t
t

+
o

+
o


#

t
>

t
t
t
#

+
o
.

t

t . T

p
P
p
p P P p
P
IV (leave the lowest string open)
3
P
f
II
P &
arco
pizz.
I
F
!

!
!
!

+ ) ( # n ) (
) (
) (

5:3
+
o
r
o
Y
o
+
o

+
+
o
5:3
t
t
t
t
t
t
> 5:3

{
r
+ n j

{
r
+ #

+
+
{

o
&

+
t
molto vib.
F

XII
F

pizz.

q = 78
I
-
- - - - - - - - - -
- - - - - - -
-
- - - - - - - - - -
- - - - - - -
45

&

&
&

V
V
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
143

Dear Mol denk e
&

#


#
Dear Mol denk e

#
#

Dear Mol denk e

>

3
Dear Mol denk e, med ic all y speak ing you should n't
+ n + + n + n + n
3

r
o

o

o

t t t
+
{ n +
{ n +
{ n +
{ n +
3

3
!
!
very low register
p "
low register
p "
mid-low register
p "
F
f F
P
P
" P "
"
4 3 2 4
3 2 4 3 2 4 3 2 4
P
" P "
"
" P
XII
GUITAR
ricochet with chopstick
!
!
!




#

5
do more than a sheep would do. Si rens can't be
+ n n + n
#
j
{
d
5
. r
o

o

o

Y
o

o
5
. t t t
t t
5

{ +
{ n +
{
#

# + n # + n # + n # +
5
12
#

b b b b
5
12
!
!
f
p " "
p " "
3 2 4 3 2 4 3 6 5 4
p " "
- -
- - - - - - - -
- -
- -
46
&
&

&
&

V
V
&
?
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~
145
!
!
!
#

>
#
>
.

>

3
helped. I mag ine your self in a mock mea dow graz ing.
b
j
{
d j
{
d #
. # # d ) (
3
Y
o
n
o

o
Y
o
. r
o
#
Y
o

3
t
t t
t

. t # t
3

{
# +
{ n
r
+
{ n
l
o
+ .
{ n
r

3

>
#


t #
.


3
!
!
P " P
"
3
4 3
2 1 4 3 2
5
4
3
2 1
P
" P " p
P
!
!
!
#

>



3
5
in a sta ble be ing shorn. Work on it.

# d j
{
d n j

+
}
n

3 5
+
o Y
o

o

#
+
o

5
t
t t
# t
5

#

{
n r
L
o

{
n r
#

L
o

{
o

o

3 5

#

t
>
t t
t

3
5
!
# d ) (

P
" p "
p
3 2 1 4 3 2 1
" P "
P
RH pizz
4 3
2
"
F
" P "
s.p.
arco
- - - - - - -
47
&
&

&

V
V
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
147
!
!
!

>





Quick ly, Doc tor Burn heart

#
#

j
{
d
j b

b

3

=
n
{

# +

{

#


b



!
!
f
molto vib.
" P "
&
triple-strokes (ricochet)
4 3
2
6 5 4
p
"
TOM-TOMS
P F
!






3
Dear doc tor Burn heart,





3
Dear doc tor Burn heart,
!

{
r
o

#
+
o
t
t
t
t
t
#


+
l
o
o

t
t
#
mid-high register
"
half-whisper
P
"
norm.
5
1
3 4
2
F f
"
I
II
q = 60
ord.

#

No more than a sheep would do?
&

#



5
No more than a sheep would do?
Should I ass

#



5
No more than a sheep would do?
Should I ass
!

#






# n
#





#
#


#
+ n d b
10

#
!
!
.
.

#
d
o
n
o
#

.
.
t
t
# t
> t b
>
#

P
F
p f
edge centre
" P "
F
p.s.p.
with wool mallets
f
- - -
- - -
- -
-
48
&
&

&

V
V
&
?
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
150
!

>







#


3
3
ume that the op er a tion failed? I was

>







#


3
3
ume that the op er a tion failed? I was
!
!
!


+
o

{
#
o
r
o

6



#

.
.

+
l
o
o

.
.
t
t
#
P
F
"
ord.
I
II
!







-




3
3
a ble to do more than a sheep be fore with one heart.







-




3
3
a ble to do more than a sheep be fore with one heart.
!
!
!
!
!
. .
. .

#
d
. .
. .
T
T
#
d
>
&
f
I
#
#

{
# #


5 5 5
Am I to ass ume that the op er a tion did no thing?
#


#
-
n

#

{

5 5 5
Am I to ass ume that the op er a tion did no thing?

#



-



#

>


5
5
5
Am I to ass ume that the op er a tion did no thing?
!

#
!

l
o

t #

l
o
o
{
o
o

o
l
o
+
o

o d
o

{
o
l
o

o

>
t
>
. t
t
t
?
p
p
norm.
"
5
P
sub p
!

3
3
ainx ious ly yours, Mol denk

3
3
ainx ious ly yours, Mol denk
!

!
+
o r
o
l
o
+
o

3
t
t
t #
t

3
!
!
half-whisper
P
F
4
1
2
3
f
- - - - - - - - - -
- - - -
- - - - - - - - - -
- - - -
- - - - -
49

&

V
V
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
154
F

#
j

. j

#
j

. j

e
F

#



#

#

n


# #
j
#
^

j
#
^

10
6

v
#


!

n

3 3
J

J

J

J
# #

3
3

+

^

^

whistle
f
whistle
f
F

SLIDE WHISTLE

q = 78
whistle
whistle
f f
f
f

#

5
Dear est Dink e
&

g # g n
g g
g g g
g #
>
g # g n g #
g g d
6 6
what we're aft er in this par tic u lar surg ic al
!

>


>

#



>




5
6 6
Dear est Dink e, what we're aft er in this par tic u lar surg ic al

v
.

>
#

+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
#. +
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
12 12:8 12:8
t
>
t
t
t
t
t
t
t
t
#.
t
>
t
t
t
t
t
t
t
t
t
t
t
t
>
t
t
t
t
t
t
t
t
t
t
t
12:8 12:8 12:8

+
+
o

^

t
F
mumble
p
f
F
4 2 3
F & F " F
II
P
pizz.
P p
!
g b
g
g n g g g
>
g b
g


3
pro cee dure is lon gev i ty
!

>



3
3
pro cee dure is lon gev i ty. You will
!
!
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o

+
o

o

{
o
+
o

o

{
o
12:8 6:4 6:4
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t

t
>
t
t
t
t
t
12:8 6:4 6:4


+
o


t
& F
II
P
- - - - - - - - - - - - -
- - - - - - - - - - -
- -
~
~
~
~
~
~
~
~
~
~
~
50
&

&

V
V
&
?
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
8
7
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
157
!


g #
g
g g
6
we're look ing for
!

>





>
#


6
6
pro bab ly live long er though not as well. We're look ing for

J

>
d ) (

3
!
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o
+
o

o

{
o

l
o
Y
o d
o l
o
l
o
Y
o d
o l
o
12:8 12:8 12:8
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t
t

t #
>
t #
t
t #
t #
t #
t
t #
12:8 12:8
12:8

l
o
+
o
3


t #
t
3
" P "
&
F
P
I II
p
(mumble)
p
!
g #
>
g g
g #
3
quant it y here
!

>












3
3
3
quant it y here, and it al so has it's dang ers. most not a bly the
!
!
l
o
Y
o d
o l
o
l
o
Y
o d
o l
o

+
o
b
o #
o
r
o
d
o
Y
o
l
o
l
o


=

{
12:8 3
t #
t #
t
t #
t #
t #
t
t #

t
t
t #
t
t
t #
t #
t #


#
>

12:8
3
l
o
+
o

l
o
+
o

.
{

3
t #
t

t #
t

. t

3
&
4
3
2 1
3 4 5 6
P F
F
4 3
2
p
"
P
I II I II III
P p
P p
- - - - - - - - - -
- - -
51
&

&

V
V
&
?
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
159
!

g
g #
g # g n g g
be sat is fied with the
!

>


>

-





>
#



fact that if one goes, they all go. or be sat is fied with the
)

t t t t t t t
7




3
j
+

{ n
j
+

{ n
j
+

{ n
j
+

{ n
j
+

{ n
j
+

{ n
j
+

{ n
j
+

{ n
j
+

{ n +

{ n +

{ n +

{ n +

{ n +

{ n
3 3 3
15
j
=

j
=

j
=

j
#

j
#

j
#

j
#

j
#

j
#











3 3 3
15
!
)

0
p
mumbling
air
"
keyclicks

"
triple-strokes (ricochet)
"
4 3 2
left-hand mute
"
arco
TOM-TOMS
.
tss
g #
g g b
#
.
bright er side
tss
.
tss

>


#









6
bright er side. Since the main one can't poss ib ly fail un til the oth er
t t t t t t t t t t t t t t
7 7

3
3
+

{ n +

{ n +

{ n +

{ n +

{ n +

n +

{ n +

{ n +

{ n +

{ n
15 15

15 15
!
0 0
p
p
p
some scratch norm.
p
"
"
"
- - - - - - -
- - -
52
&

&
&

V
V
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
Bb Cl.
pitches
Perc.
Gtr.
Vcl.
%
%
161
w
w
w

>
#
#
#


3
3
four in succ ess ion do you'll have a warn ing an un meas ured per iod of
!
!
!
!
!
!
?
!

#

g + g g g g
We should all be so

#

g + g g g g
We should all be so

#

g + g g g g
We should all be so

>


grace. We should all be so
+ n b d b
b
d n
6
7

r
r
r
r
g
o

t
t
t
t

>

{
r
#
+
o

+
J

3
t
t
t
t
#

n
+
o

+
o

o

o

o
t
t


t t t t
P
P
P
P
p
f "
{ III
p
f
I
II
III
IV
pizz.
II
p
f
f
norm.
GUITAR
with WOODEN DOWEL
g + g #


# g # g g g g g g

luck y. We should all be so lu cky.
g + g #


g g g g g g g #

luck y. We should all be so luck y.
g + g #

# g + g g g g g g

g + g g
luck y. We should all be so luck y. We should all
#

#


luck y. We should all be so luck y. We should all be so

>

>

>

>
!
!
w
w

+
o

o

o

o

o

o

o

o

o

o

o

o

o

o

o

o
t t t t t t t t t t t t t t t t
p
p
p
p
P
- -
- - - - - - - -
- -
- -
53
&

&

V
V
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
Bb Cl.
Perc.
Gtr.
Vcl.
164

g g g g g g g
#
We should all be so luck y.
g
{
g g g g g g #

We should all be so luck y.
g + g g g
#

be so luck y.

#

luck y. yours, the one of hearts,

>

>
t t t t t t
6

y
y




3
.


b
+ n
b
+ n

+ n
b
+
6 6
.

b

b



b

6 6
+
o

o

o

o

o

o


t t t t t t

0 0 0 0
F

triple-strokes (ricochet)
(rimshot)

left-hand mute
pizz.
F
air only
II
TOM-TOMS
wooden drumsticks
6 5 4 6 5 4
!
!
!

>

#

3 3
Doc Burn y
t t t
3

b
+ n
b
+ n
#

6

b

b

#

6
!
0 0 0
#

P
P
P
P
F
-
- -
-
-
54