Jamie Keesecker. Department of Music Duke University. Date: Approved: Stephen Jaffe, Supervisor. Scott Lindroth. Philip Rupprecht.

Transcription

1 Into the ends o Time and Musical orces in azz: Grou Interaction and Douletime in My oolish Heart as erormed y the ill Evans Trio with Scott Laaro and aul Motian y amie Keesecker Deartment o Music Duke University Date: Aroved: Stehen ae, Suervisor Scott Lindroth hili Rurecht aul erliner Stehen Anderson Dissertation sumitted in artial ulillment o the requirements or the degree o Doctor o hilosohy in the Deartment o Music in the Graduate School o Duke University 01

2 ASTRACT Into the ends o Time and Musical orces in azz: Grou Interaction and Douletime in My oolish Heart as erormed y the ill Evans Trio with Scott Laaro and aul Motian y amie Keesecker Deartment o Music Duke University Date: Aroved: Stehen ae, Suervisor Scott Lindroth hili Rurecht aul erliner Stehen Anderson An astract o a dissertation sumitted in artial ulillment o the requirements or the degree o Doctor o hilosohy in the Deartment o Music in the Graduate School o Duke University 01

3 Coyright y amie Keesecker 01

4 ASTRACT Into the ends o Time is a 0-minute work in seven movements or a large chamer orchestra with electronics, utilizing real-time comuter-assisted rocessing o music erormed y live musicians The iece exlores various cominations o interactive relationshis etween layers and electronics, ranging rom relatively asic rocessing eects to musical gestures achieved through stages o comuter analysis, in which resulting sounds are crated according to arameters o the incoming musical material Additionally, some elements o interaction are multi-dimensional, in that they rely on the articiation o two or more erormers ulilling distinct roles in the interactive rocess with the comuter in order to generate musical material Through rocesses o controlled randomness, several electronic eects induce elements o chance into their realization so that no two erormances o this work are exactly alike The iece gets its name rom the notion that real-time comuterassisted rocessing, in which sound ressure waves are transduced into electrical energy, converted to digital data, artully modiied, converted ack into electrical energy and transduced into sound waves, reresents a ending o time iv

5 Contents Astractiv List o igures vi Acknowledgements vii Title age 8 Instrumentation 9 erormance Notes 10 Note on Electronics Used in Live erormance: 10 Suggested stage diagram 10 Note on the two-channel recording: 11 Notes on rocessing o Each Movement: 1 I reakout 1 II arallel Existence 1 III roken Things 1 IV Divergence 1 V Eat the Damage 18 VI Echoes In the Current 1 VII Over the Long Arc iograhy 187 v

6 LIST O IGURES igure 1: Suggested stage diagram 10 igure : Rhythmic gesture ound throughout movement III 15 igure : Signal low o the waveloss swee eect 17 igure : igure-8 anning attern vi

7 ACKNOWLEDGEMENTS I am extremely grateul to my advisor, Stehen ae, or his guidance and suort throughout the rocess o writing this iece, and to all o my committee memers or serving as mentors during my time at Duke University I also want to give secial thanks to Scott Lindroth or taking the time to give me an introduction to SuerCollider, and insiring me to ind new ways to incororate it into my creative work I am indeted to the erormers who recorded this work in Aril o 015 (Their names are listed on age 11) I am grateul to Verena Mösenichler-ryant or conducting the recording session and to recording engineer Rick Nelson or caturing the details o the session so vividly Additionally, I wish to thank Aaron Greenwald and Eric Oerstein o Duke erormances or making the recording session ossile Lastly, this work would not have een ossile without the suort o Heidi Wait, who is a source o endless insiration vii

8 TITLE AGE AMIE KEESECKER INTO THE ENDS O TIME or large chamer ensemle with electronics ullscore 8

9 INSTRUMENTATION lute (douling Alto lute and iccolo) Clarinet (douling ass Clarinet) Tenor Saxohone (douling Sorano Saxohone) Horn ercussion Indeinite itch: Woodlocks ( diering itches) Triangle Tam-Tam Tom-Toms ( diering itches) Large ass Drum Deinite itch: Marima (lowest note: G ) Virahone Xylohone Glockensiel Crotales ( octaves) iano (douling Celesta) Electronic rocessing Violin (douling Guitar) Viola Cello Doule ass Score is in C Octave-transosing instruments are transosed 9

10 ERORMANCE NOTES Note on Electronics Used in Live erormance: The realization o the iece requires that most instruments are individually mic ed and ed into a multi-channel audio interace An array o our seakers should e laced on the stage according to the stage diagram elow An additional mono outut is needed, to e sent to the guitar amliier on stage (or movement VII) Electronic eects are written in the SuerCollider rogramming environment, and are adatale to whatever interace devices are availale or erormance An indeendent electronics oerator is highly recommended iles containing the electronic atches are availale rom the comoser uon request Suggested stage diagram igure 1: Suggested stage diagram 10

11 Note on the two-channel recording: Into the ends o Time was recorded on Aril 1, 015 in aldwin Auditorium at Duke University The musicians were: Alex So, lutes Hideaki Aomori, Clarinets Susan ancher, Saxohones C Camerieri, Horn Cameron ritt, ercussion Michael Trinastic, iano Celesta Ro Moose, Violin Electric Guitar Nadia Sirota, Viola Andrea Lee, Cello ohn V rown, Doule ass Verena Mösenichler-ryant, Conductor Rick Nelson, Recording Engineer The stereo recording o the work aroximates the lacement o the ourchannel seaker array through anning, a samle delay on the rear air ( 5ms), and additional rever alied to the rear seaker air The mixing and mastering were accomlished over many months in ost-roduction using careul slicing, crossading, and lex-time techniques in Logic ro X Eects were rendered using SuerCollider 5, and multichannel oututs were routed into Logic ro using Soundlowered v1 The stereo recording is availale or listening at: htts://soundcloudcom/amie-keesecker/sets/into-the-ends-o-time 11

12 Notes on rocessing o Each Movement: I reakout At various oints throughout the movement, auto-harmonization is alied to two airs o instruments The ass Clarinet and Tenor Saxohone unction as one air; the Viola and Cello make u the other Within each air, one instrument is harmonized to an emty seventh chord itch set, [0,7,10] 1, while the other is harmonized as a maor / triad, [0,5,9] ( Cl and Vc are harmonized with the emty seventh chord; T Sx and Vla are harmonized with the / triad) In all cases, the harmonies are uilt u on to o the itches layed y the resective instruments, so that the notes erormed acoustically coincide with the lowest notes o each trichord The oints at which harmonization occurs are notated in the score with dotted rackets under the Electronics staves and the staves o the arts eing harmonized The inuts to the synth are gated and must e assigned to an interace control oerated y an indeendent electronics oerator or one o the erormers The [0,7,10] set is anned to the let seaker air, while the [0,5,9] set is anned to the right seaker air When a new onset is detected in one o the instruments, its anning osition along the ront-to-ack axis o its resective seaker air is randomly assigned a new value, creating a sense o satial deth 1 [0,7,10] is [0,,5] in rime orm according to Allen orte s The Structure o Atonal Music (New Haven: Yale University ress, 197) [0,5,9] is [0,,7] in normal orm, [0,,7] in rime orm in orte s list 1

13 ased on rhythmic activity In this sense, the harmonized gestures give the imression o reaking out o the texture II arallel Existence This movement uses a ercussion-triggered lute harmonizer, a multidimensional synth The lautist uses a midi edal according to the edaling notated in the lute art When the melodic line ascends to certain sustained notes, the edal is deressed, which activates the comuter to record a short samle o the sustained note The uered samle is enveloed and looed on an inaudile us It is suerimosed with an oset version o the looed, enveloed samle, creating a secondary virato eect on an ininitely sustaining line The silently sustained us is harmonized according to an inut array The comuter then listens or an onset rom the Triangle When it detects an onset, the harmonized lute chord is sounded, accomanied y a swirling low-requency noise swee Individual voices o the lute harmony are unctuated with small randomized gas, which are sent to a delay line The resultant eect is a sustained texture with granular holes, which are ollowed y individual grains o sound Additionally, there is a tracking hase vocoder eect on the sound o the Triangle It is samled into a uer uon a new onset detection (similar to the samling rocess used on the lute), and layed ack three times, alternating etween normal and reversed layack o the uer arameters o the 1

14 tracking hase vocoder eect and delay times o the uer layack are rereshed uon detection o a new onset The lute harmony is sustained until the lautist releases the midi edal, allowing the erormers to control the low o the erormance Changes in harmony are notated in the score as H-1, H-, etc and should e assigned to a midi controller oerated y an indeendent user III roken Things An electronic interlude o aroximately 50 seconds in duration occurs during the ermata in the measure eore rehearsal letter L The downeat o the revious measure, m 119 is samled and ussed into our dierent grous: (1) Winds (l, T Sx, Hn) and Xylohone, () Uer three strings (Vln, Vla, Vc), () sustained asses ( Cl, no), and () Doule ass Each grou is suected to a dierent electronic rocess, simultaneously mixed to create multile layers o musical activity: (1) Winds and Xyl and comined and the sectrum is rozen using an T rocess Selected ins (corresonding to undamental requencies) are highlighted, while all others are iltered out The resulting sonority is alied to a series o staccato imulses in a reeating rhythmic roile ased on a rhythm ound throughout the movement: 1

15 igure : Rhythmic gesture ound throughout movement III The rhythm is reeated in two channels, ut one channel contains an extra 1th note in its reeating attern, so the alignment o the two channels is constantly shiting () High strings are suected to a similar rocess All requency ins other than those corresonding with odd harmonics are iltered out The chord is reeated according to the same rhythmic attern as the winds and xyl grou, ut is gradually sed u over aroximately 0 seconds until achieving a ercussive stream o noisy attacks roughly resemling reeated 1th notes This layer o the texture is maintained longer than the others, sustained at varying volume levels until Rehearsal Q () The sustained asses are samled into a longer uer and layed ack using an T rocess that allows the samle to e scrued through extremely slowly (similar to a sectral reeze) Individual ins are areggiated according to re-rogrammed and randomly conigured areggiation atterns in sequence () The doule ass samle is likewise lengthened y an T rocess that scrus through the uer slowly The samle is layed twice The irst time, it is choed u y a waveloss rocess that dros a given 15

16 numer o consecutive zero-crossings rom the audio signal The second time it is layed as a timestretched samle with no waveloss attenuation IV Divergence This movement makes extensive use o an T-ased random com iltering comined with a waveloss rocess that dros a given numer o consecutive zero-crossings rom an incoming audio signal When activated, the comuter listens or onsets aove a variale threshold A detected onset causes an T ilter to zero-out all ut one in chosen at random, then accumulate new ins in a random ordering until the sound is comletely resent This is then suect to the waveloss rocess Since the arrangement o zero-crossings changes with sectral content, as new ins are aded in, the rate o tremolo created y the waveloss rocess changes accordingly The signal low is reresented in the ollowing igure: 1

17 igure : Signal low o the waveloss swee eect Since the detection o a new onset causes the gesture to e reset, the variale onset threshold is set low or sot alications o the synth (eg, the Cello and Doule ass harmonics at reh G through reh H, and set higher when used in louder sections (eg, Vies and Celesta at reh O) This eect is notated as waveloss swee eect in the score, aove the sta o each instrument uon which it is imlemented It occurs in three sections o the movement: (1) on the muted iano gestures rom the eginning until reh, () on the Cello and Doule ass harmonics rom reh G to two mm ater reh H, and () on the Virahone and Celesta rom reh N to the end o the movement 17

18 Additionally, the irst ive measures o reh use an electric tremolo eect, which consists o ust the waveloss rocess y itsel, in the winds and Doule ass This is notated with an aroriately laelled dotted racket eneath the corresonding staves V Eat the Damage At several oints throughout the movement, the comuter listens or a air o onsets occurring within a given window o time rom a seciic instrument Uon detection o a air o onsets, the comuter resonds with an auto-gesture ased on the temo rovided y the erormer The auto-gestures all into one o two grous, synthesized gestures, which use an Atari chiset emulator to generate material; and real-time rocessing gestures, which samle the second o the two notes that triggered the onset detection, and use the samled note to generate material The synthesized gestures use a irst-order Markov chain on a rerogrammed set o availale itches to determine the exact itches o each gesture A rocess o controlled randomness selects rom a redetermined set o short rhythmic ragments, which are then assemled into a single gesture There are two tyes o synthesized gestures: (1) A ercussive, chiy descending gesture triggered y the Xylohone (occurring in mm 89-80, mm 10-10, mm , and mm 10-11), and 18

19 () two-voice grooves triggered y the Saxohone, each two measures in duration, that ste through a reeating cycle o itches (occurring in mm 9-70, mm 77-78, mm 95-9, and mm 97-98) The real-time gestures use a similar rocess o controlled randomness to trigger layack o the samled note into a stream o notes assigned to a rhythmic roile Each triggered note is transosed according to random selection rocess ased on a given inut array o ossile transosition levels There are two dierent tyes o real-time rocessing gestures: (1) solo gestures, in which a single instrument is samled, and () comination gestures, in which notes rom two instruments are indeendently samled and suected to dierent rocesses that are comined into a single olyhonic gesture Solo gestures occur in the lute (mm 5-, mm 8-9, and mm 7-77) and Horn (mm -7, mm 75-7:, mm 9-9, mm , mm 11-1, mm 1-1, and mm 15-1) Comination gestures occur at ive oints when the lute and ass Clarinet lay in conunction (mm 90-91, mm , mm 11-1, and mm 1-1) In each instance, the lute is shaed into a gesture similar to the outut o the solo gesture rocess, while the ass Clarinet cycles through a attern o 1th notes that outline a minor 7th sonority [0, 10, 15] In oth tyes o real-time gestures, as new notes are triggered, they are more heavily treated with eects to make them sound like artiicially created sounds, so that each 19

20 gesture is imued with a motion rom a natural instrument timre to a more synthetic sound In the ercussion art, the Toms are treated with a itcrushed ringing ilter The seciic requencies o the ilter eaks are organized into our-voice harmonies, as noted in the score aove the Electronics staves There are three dierent harmonic ossiilities, an E75, (reh E and reh Q), Em11 (m 9), and Dm9 (m 17) The arameters o the itcrushing hase, which occurs ater the ringing ilter in the signal low, are randomly determined ased when the comuter detects onsets aove a variale threshold Additionally, a searate onset detector, set to a higher threshold, triggers the harmony o the ringing ilter to alternate etween an uer and lower octave Consequently, sot drum strokes induce no change to the eect, medium strokes trigger a change o itcrushing arameters, and loud strokes induced oth a change to the itcrushing arameters and an octave um o the ringing ilter harmony Lastly, the end o the movement utilizes a uered sectral reeze and ade-in gesture across all instruments o the ensemle In measure 0 (ar eore reh Q), the downeat o each instrument is samled The chord in the iano is immediately crossaded to a sectral reeze and overlaid with a ade-in (aroximately 0 seconds in duration) to a sectral reeze or each samled note o the other instruments o the ensemle The downeat o m 15 (the ar eore reh R) releases the sustained notes, and the rocess is reeated or a suset o the ensemle (T Sx, Vla, Vc, and D) in a similar ut sutler eect over aroximately 1 seconds 0

21 VI Echoes In the Current itch-constant, time-variale delay lines are alied to the Alto lute and Viola throughout most o this movement An oerator must continuously ta the temo in order or the eect to roceed normally Two tas within a given window o time initiate the delay rocess (The conductor must egin the movement with two rearatory eats, with which the electronics oerator must sync the irst two tas) I the comuter determines a susequent eat to e longer than the revious eat, the delayed signal is crossaded rom a direct, uered reresentation o the signal to an T uer, where an exonential slowdown aroaching a sectral reeze sustains the signal until receiving a new temo ta, at which oint the delayed signal is quickly crossaded ack to a direct reresentation o the delayed signal I the eriod etween tas exceeds the duration o two ull eats, a susequent ta initiates an enveloed release o the sustained sound The delayed signals travel along a igure-8 ath across the seaker arrangement anning rom one node o to the next occurs over the duration o the revious eat (as indicated y temo tas) The igure elow demonstrates this attern: 1

22 igure : igure-8 anning attern The Alto lute and Viola travel this igure-8 ath in oosite directions The erceived distance o the rear seaker air is exaggerated y the use o reduced volume and increased rever The resulting eect is one o the delayed signals occasionally coming into and out o ocus, at times emerging rom the ensemle texture, and other times eing uried within it A itch-deendent auto-harmonizer is used on the Tenor Saxohone throughout the movement A itch-tracking stage determines what note is eing layed and adusts the auto-harmonization according to a set re-rogrammed harmonic ossiilities ased on the recognition o seciic itches Latency in the rocess creates a ortamento eect reminiscent o a homohonic choral texture VII Over the Long Arc This movement uses a rhythmic choing eect on the Electric Guitar signal Unlike the Guitar art in movement V, in which the Guitar and amliier

23 unction as an acoustic instrument, or this movement the Guitar s signal should e sent directly to the comuter, and the ith mono outut rom the audio interace should e sent to the guitar am That is, the Guitar should not e audile excet through the choing eect The guitarist must ta a midi edal uon the articulation o a new chord This triggers the comuter to record a rie samle into a uer The samle is enveloed and overlaid with an out-o-hase version o itsel (similar to the rocess used in the lute-ercussion eect in movement II) The Guitar signal is crossaded rom the live inut to this sustained version and susequently choed into a stream o 1th notes (with a slight emhasis on every ourth note), allowing the choing eect to e ininitely sustained until the guitarist tas the edal again (or until the eect is released y the electronics oerator) Additionally, a ta o the edal initiates a anning sread The sound o the choed Guitar initially emanates rom the amliier on stage, then gradually sreads out to the quadrahonic seaker array, giving each chord a lossoming eect Uon each new edal ta, the sound is again limited to ust the Guitar am, and the anning sread is reeated

24 INTO THE ENDS O TIME Ireakout IIarallelExistence IIIrokenThings IVDivergence VEattheDamage VIEchoesintheCurrent VIIOvertheLongArc

25 Score(in(C INTO THE ENDS O TIME Ireakout amiekeesecker 015 lute Lively {q = 1} 5 U A ass Clarinet Tenor Saxohone 5 5 U U Horn 5 U ercussion Woodlocks Marima Lively {q = 1} Woodlocks ã y y y y y Marima y y x y 5 5 U y y U A y y y x y iano 5 5 U U r Electronics 5 5 U U Violin Lively {q = 1} izz 5 U A Viola izz 5 U Cello izz 5 U Doule ass izz 5 U 5

26 I(reakout l 7 U U Cl T Sx Hn 7 U U U U U U erc 7 ã U y y U Woodlocks Marima y U no 7 7 U U U (sax vla harmony) auto-harmony: reeds and strings U U U Elec U (s clar vc harmony) U Vln 7 U arco U izz Vla U arco U izz Vc D U U arco U U izz

27 I(reakout l Cl T Sx 1 Hn 1 Mar 1 y ã y Woodlocks Marima y no 1 1 Elec Vln 1 arco izz arco Vla Vc D arco arco izz izz arco arco o 7

28 I(reakout l 17 C Cl T Sx Hn 17 erc ã Woodlocks y y y C y y y y y y y y y y Marima 17 no 17 Elec Vln 17 C Vla Vc D 8

29 I(reakout l D Cl T Sx > Í Hn Mar D no Elec Vln D Vla Vc izz izz arco arco > Í D 9

30 I(reakout l Cl T Sx 7 > > > > Í > > Í > > U U U Hn 7 > Í U Mar > n nn n U no 7 n U n U 7 U Elec U Vln 7 > U Vla Vc D > > > > > > n > n U U U 0

31 I(reakout l Cl T Sx E Hn 1 erc no E ã 1 1 Woodlocks y y x Elec 1 Vln E izz Vla izz Vc izz D 1

32 I(reakout l Cl T Sx 5 Hn 5 erc 5 ã 5 n y y x no 5 5 n Elec n Vln 5 arco - - Vla Vc D

33 I(reakout l Cl T Sx 0 - n - n Hn n ã erc 0 no 0 0 R n r n Elec n n Vln 0 n Vla Vc D arco arco n - - n - -

34 I(reakout l Cl T Sx G Hn Mar n ã Woodlocks y y y G y y y y y y y y no Elec n n n n R Vln G Vla Vc D

35 I(reakout l > 9 n> > > n > > > Cl > T Sx > n Hn 9 > n > > erc 9 ã y x y x y x y x 9 no reeds only 9 > Elec > n Vln 9 > > > > > n > > > > Vla Vc > > > > > > > n > > n> > > > > > > > D 5

36 I(reakout l Cl T Sx Hn 5 Mar 5 no 5 R r R Elec 5 n reeds and strings Vln 5 Vla Vc D

37 I(reakout l 57 U H Cl T Sx Hn 57 ƒ ƒ ƒ U U U Woodlocks H Mar 57 n n ƒ U ã y y y U y y y y y no U U U Elec ƒ U Vln 57 ƒ U H arco Vla ƒ U arco Vc ƒ U D ƒ U 7

38 I(reakout l Cl 1 ƒ ƒ > T Sx ƒ Hn 1 n ƒ Mar 1 ƒ 1 no Elec 1 ƒ > Vln 1 izz arco ƒ izz Vla Vc D izz izz arco ƒ arco ƒ ƒ > 8

39 Score)in)C IIarallelExistence amie)keesecker lute reely {q = 7} 5 ed Electronics H-1 ercussion Triangle Tam-Tam ã reely {q = 7} Triangle LV iano l r r 5 U n A 5 ed Elec 7 ww w U H- erc 7 ã U A 7 U no U 9

40 II)arallel)Existence l 1 Ÿ i ~~~~~~~~ U ed Elec 1 w ww w w w ww w w U H- erc 1 ã Tam-Tam U LV Triangle no 1 n ed w w U U ed n l 18 Ÿ i ~~~~~~~~~~~~~~~~~~~~ U C 5 ed Elec 18 w ww w U erc no 18 ã 18 Tam-Tam n U C i Triangle n ed 0

41 II)arallel)Existence l D 5 Ÿ i 7 ~~~~ n > ed ed ed > 5 7 Elec 5 H- H-5 5 ww w w erc ã D 5 5 no n - n - ed ed n - - ed l E n 7 n 7 7 n > ed Ÿ i ~~~~~~~~~~~~~~~~~ U w Elec 8 w ww w H- U w w erc no E ã n > > ed U U w U w w 1

42 Score(in(C IIIrokenThings amiekeesecker lute Quirky and Light q = 7 A ass Clarinet Sorano Saxohone Horn Marima Quirky and Light q = 7 A iano Violin Quirky and Light q = 7 sim A Viola Cello izz Doule ass

43 III(roken(Things l 7 - Cl S Sx - Hn 7 Mar 7 no Vln 7 sim Vla Vc izz D

44 III(roken(Things l 1 - R Cl S Sx - r - Hn 1 muted - Mar 1 no Vln 1 sim Vla Vc D

45 III(roken(Things l 18 C Cl S Sx Hn 18 Mar 18 C no Vln 18 C sim n n Vla Vc D 5

46 III(roken(Things l D Cl S Sx n n Hn Mar D no Vln D sim n n Vla Vc D

47 III(roken(Things l 1 E Cl n w S Sx Hn 1 Mar 1 E no secco, detached r > R R Vln 1 E Vla w Vc D n arco n w 7

48 III(roken(Things l w Cl w S Sx w Hn oen n > Mar no () > > R r R > > n n R > r > R Vln w Vla nw Vc w D 8

49 III(roken(Things l 0 w Cl w w S Sx w Hn 0 > n > Mar () 0 n no > R R > R > R R > n r > R > Vln 0 w Vla w n n Vc w w D izz 9

50 III(roken(Things l 1 9 Cl S Sx Hn > > > l 1 9 Mar () 1 9 r > R l 1 9 no 1 9 Vln 1 9 Vla 1 9 Vc 1 9 D >

51 III(roken(Things l 8 G Cl S Sx n Hn 8 muted Mar 8 G no sul ont G Vln 8 Vla sul ont Vc sul ont n D 51

52 III(roken(Things l 55 n Cl n n S Sx n to Tenor Sax Hn 55 Mar 55 no Vln sul ont 55 sul ont Vla sul ont sul ont n Vc sul ont sul ont n D 5

53 III(roken(Things l 1 Cl S Sx Hn 1 oen Mar 1 n n n n no n - - n - - n n - - n n n - - n - - n - n - - n- - - Vln 1 ord n - Vla n ord n - Vc ord - D 5

54 III(roken(Things l 8 H Cl S Sx Hn 8 8 H n Mar n n n no - - n - n n n - n n - n n - - n - - n n - - n - - n - - n - - n - - n - n - - n n n n n Vln Vla 8 H Vc izz D 5

55 III(roken(Things l 7 Cl S Sx Hn 7 7 n Mar n n n n no - n - n - - n - - n - n - - n n - - n n n - - n - - n - n n - - n - - n nn - - n- - n - n - n - n n - n Vln Vla Vc 7 izz n n arco D (izz) 55

56 III(roken(Things l 8 I Cl S Sx Tenor Sax Hn 8 8 I n to Xylohone Mar n no n - - n n n- ed n n Vln 8 n I Vla Vc n D 5

57 III(roken(Things l n 91 n Cl T Sx n n Hn 91 Mar 91 no n - n n - R r Vln Vla 91 n n n Vc n n D 57

58 III(roken(Things l (Úe=Æ) q = 101 > Cl T Sx Hn 97 (Úe=Æ) q = 101 Xyl no Xylohone secco, detached Vln (Úe=Æ) q = 101 > > > > > > > n> Vla > > > > > > > Vc D > > > n > > arco > 58

59 III(roken(Things l 10 > Cl T Sx Hn 10 Xyl 10 no Vln 10 > > > > > > > > > Vla > > > > > > > > Vc D > > > > > n > > > 59

60 III(roken(Things l K > > > Cl T Sx n Hn 107 n Xyl K no Vln K > > > > > > > > > Vla > > > > > > > > > Vc D > n > > > > > > > > n n 0

61 III(roken(Things l Cl T Sx 11 > > > > > > ƒ > > > > > > > > > > Hn 11 n n > n > > n > > Xyl () 11 > > no n > > > > > > > Vln 11 æ ƒ æ Vla n æ ƒ æ Vc D n æ ƒ n n æ 1

62 III(roken(Things l Cl T Sx 118 > > > > U U U Electronic interlude 50 sec U U U L to Sorano Sax Sorano Sax Hn 118 l U U Mute Xyl 118 > U Electronic interlude 50 sec U L Virahone n > > U U no > () n > > U U to Celesta Vln Vla æ 118 æ Ï Ï U U Electronic interlude 50 sec U U L n o Vc æ U l Ï U D n > U ƒ U

63 III(roken(Things l 15 Cl S Sx Hn 15 Xyl 15 Cel Celesta n ed ed Vln 15 Vla o Vc D

64 III(roken(Things l Cl 1 M S Sx % Hn 1 Vi 1 M Cel n ed Vln 1 M n Vla Vc D

65 III(roken(Things l Cl 19 % N S Sx Hn 19 Vi 19 N Cel ed Vln Vla 19 o o % N Vc D 5

66 III(roken(Things l 15 % Cl S Sx Hn 15 Vi 15 Cel n ed ed Vln Vla 15 n o % Vc D

67 III(roken(Things l Cl 151 O % S Sx Hn 151 Vi 151 O n Cel n ed ed Vln Vla 151 O % n o % Vc D 7

68 III(roken(Things l 158 Cl S Sx Hn 158 Vi 158 Cel ed Vln 158 Vla Vc D o o 8

69 III(roken(Things l 1 % Cl % S Sx Hn 1 Vi 1 Cel Vln 1 Vla % Vc D % o % o o o 9

70 III(roken(Things l Cl Q U U S Sx Hn 17 U U Vi Q U Cel n n U ed Vln Q U Vla Vc D U U U 70

71 Score'in'C IVDivergence amie'keesecker Slow, loating {q = 5} lute Clarinet in Tenor Sax Horn in ercussion Marima Virahone Slow, loating {q = 5} very sot mallets Marima Virahone Marima Virahone iano waveloss swee eect on iano Damen end o string with alm i ed i i Violin Viola Slow, loating {q = 5} con sord con sord sul tasto sul tasto Cello o o o ȯ Doule ass o o o 71

72 IV'Divergence A l Cl T Sx Hn 7 Vi no A Marima Virahone i ed Vln Vla A ord w o ord Vc D o o ȯ o o o o o o o 7

73 IV'Divergence l 1 Cl T Sx Hn 1 Vi 1 Marima i i no Vln 1 Vla w o senza sord Vc o o o o o o o D o o o o o o o o o 7

74 IV'Divergence l 19 U C Cl T Sx U U Hn 19 U mute w Mar 19 U C Virahone U waveloss swee eect o ed no U Vln Vla Vc D 19 o n o o o o gliss o o o o n o o n o o gliss o o o o senza sord o ou n o U o o o o o ou U o C o o o o o ȯ o n o o ȯ 7

75 IV'Divergence l D Cl 5 T Sx Hn w Vi D no Vln Vla D o Vc D n n o o o o o o 75

76 IV'Divergence l 9 E w Cl T Sx n w Hn 9 mute w Vi 9 E no Vln 9 E Vla Vc D w o o n 7

77 IV'Divergence l w w Ÿ I ~~~~~~~~~~~~ - - Cl T Sx w w Ÿ~~~~~~~~~~~~~ - - Hn w w timral trill with alternate ingering æ æ æ > > Vi no Vln Vla Ÿ~~~~~~~~~~~~~~~~~~~~~~ æ æ æ æ æ æ wæ Ÿ~~~~~~~~~~~~~ w ( ) æ > > æ æ Vc æ æ n æ æ æ æ æ n æ æ > > æ æ æ D æ æ > > æ æ 77

78 IV'Divergence l Cl T Sx Hn Elec tremolo n Elec tremolo - - Elec tremolo w n - - Vi no Vln Vla Vc D Elec tremolo n - w o - - o

79 IV'Divergence l w G Cl T Sx w Hn w Vi G no Vln n w G Vla Vc D - - n ȯ waveloss swee eect on D o waveloss swee eect on Vc ȯ o 79

80 IV'Divergence l 50 w o Cl w w T Sx Hn 50 Vi 50 w no Vln 50 w Vla ȯ w Vc ȯ ȯ ȯ ȯ ȯ ȯ ȯ D o o o o o o o 80

81 IV'Divergence l 57 o H Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) Cl w solo 9 w T Sx Hn 57 Vi no 57 w H reely Vln 57 w H Vla ȯ ȯ w w o ȯ n Vc D ȯ o ȯ o ȯ o ȯ o o waveloss swee eect o waveloss swee eect o 81

82 IV'Divergence l Cl T Sx Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) - n - 9 n - Hn Vi n no n Vln Vla Vc w n o o o D ȯ ȯ 8

83 IV'Divergence l Cl - n - n - T Sx Hn oen Vi no 5 n Vln Vla n Vc D ȯ n n 8

84 IV'Divergence l Cl 7 n I T Sx Hn 7 Vi 7 I Celesta > > > no Vln 7 - I > ƒ Vla > ƒ Vc > ƒ D 8

85 IV'Divergence l 70 n > > > n > > > Cl > > > > T Sx Hn 70 Vi 70 > > > Cel n n rh r r n n r r Vln Vla Vc n n D 85

86 IV'Divergence l 7 > > n > Cl > > T Sx Hn 7 Vi Cel 7 > > > r n n r Vln 7 > - ƒ - Vla > - n ƒ - Vc > - ƒ - D 8

87 IV'Divergence l 75 > > n > Cl > > T Sx ƒ Hn 75 ƒ Vi Cel 75 > > > r n n r Vln 75 > - ƒ - Vla > ƒ - - Vc > - n ƒ - D ƒ 87

88 IV'Divergence l Cl T Sx ƒ Hn 77 ƒ Vi Cel n n n n Vln Vla Vc ƒ D ƒ 88

89 IV'Divergence l Cl 80 K n n n T Sx ƒ Hn 80 > ƒ n Vi Cel 80 K Vln 80 K Vla Vc ƒ D ƒ 89

90 IV'Divergence l Cl T Sx 8 n n n n n n Hn 8 Vi 8 n Cel n Vln 8 Vla Vc D 90

91 IV'Divergence Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ l 8 w ( ) - 5 Cl n - 5 T Sx - 5 Hn 8 5 Vi 8 n n n 5 Cel n n 5 n n 5 Vln 8 n - 5 Vla n - 5 Vc - 5 D 5 91

92 IV'Divergence l L 5 n n Cl 5 n n T Sx 5 Hn 87 5 Vi L 5 5 Cel 5 Vln Vla Vc L 5 æ æ æ æ æ æ n n æ æ æ æ æ æ æ æ æ 5 æ æ æ æ æ æ æ n æ æ æ n æ æ æ æ æ 5 n n æ æ æ n n n æ æ æ æ æ æ æ æ æ æ æ æ > n n n > n n > n n n n n D 5 n 9

93 IV'Divergence l Cl T Sx 90 n n Hn 90 n Vi 90 Cel Vln 90 n > n æ æ æ æ æ æ æ æ æ n æ > n n l Vla > æ æ æ æ æ æ æ æ n æ æ n n > Vc n n n > æ æ n æ æ n æ æ n æ æ æ æ n n n > n n D 9

94 IV'Divergence l 9 M n n n Cl T Sx n n - n Hn 9 - Vi 9 M n Cel n n n M Vln Vla 9 Vc D - 9

95 IV'Divergence l 9 n n Cl n n T Sx Hn 9 - n - - Vi 9 n Cel n n n n n n n Vln 9 n n n n n n n n Vla n n n n Vc n n n n n n D

96 IV'Divergence l 99 n n N Cl T Sx Hn 99 mute Vi 99 N waveloss swee eect on Vi Cel n n n n waveloss swee eect on Cel Vln 99 n n n n N Vla n n Vc D n n n n 9

97 IV'Divergence l Cl T Sx Hn Vi 10 Cel n Vln Vla 10 n n n n Vc D n n 97

98 IV'Divergence l Cl T Sx Hn 105 oen Vi 105 w Cel w Vln Vla Vc D 105 n n n n n n 98

99 IV'Divergence l O Cl T Sx Hn Vi 108 O Cel Vln Vla 108 n n n n O n n n n n n n n Vc n n n n n D izz 99

100 IV'Divergence l Cl T Sx Hn Vi 111 n n Cel n n Vln 111 n n n n n n n n n Vla n n n n n n Vc D n n n n n n 100

101 IV'Divergence l n w Cl T Sx w Hn w Vi 11 Cel Vln Vla 11 n n n - - n n Vc n n n n D 101

102 IV'Divergence l 117 n n n Cl w w w w T Sx n w Hn 117 w mute Vi 117 Cel Vln 117 n Vla n n Vc n - - D arco izz arco 10

103 IV'Divergence l 10 n n w Cl w T Sx Hn 10 Vi 10 Cel Vln 10 n Vla Vc D izz arco izz arco 10

104 IV'Divergence l 1 n Cl - T Sx Hn 1 Vi 1 Cel Vln 1 ort n Vla Vc D izz w arco 10

105 IV'Divergence l Cl 1 w w U U T Sx U Hn 1 U Vi Cel 1 U U waveloss swee eect o waveloss swee eect o Vln 1 w U Vla - U Vc - U D U 105

106 Score)in)C VEattheDamage amie)keesecker lute ass Clarinet Tenor Sax Aggressive {q = 10} > > > > > > > > > n > n Horn in > > > > > > ercussion Tom-Toms Woodlocks Xylohone Virahone Glockensiel Marima Crotales iano Aggressive {q = 10} ã > > Xylohone n n n n Electric Guitar > > > n Electronics Viola Aggressive {q = 10} > > > > Cello Doule ass > n > > n > izz > > 10

107 V)Eat)the)Damage l 7 Cl T Sx > > > > > > > > Hn 7 > > > > n Xyl no 7 n n n to Virahone EGtr 7 Elec 7 Vla Vc D 7 > > > ÿ ÿ > > n > > > n n n n n 107

108 V)Eat)the)Damage l Cl 1 A T Sx Hn Vi no 1 A n n Virahone EGtr 1 n n Elec 1 Vla 1 A Vc n - - D 108

109 V)Eat)the)Damage l Cl T Sx Hn Vi no 0 n n ed EGtr Elec 0 0 Vla Vc D arco

110 V)Eat)the)Damage l 5 n Cl T Sx n n n n - Hn Vi no 5 EGtr 5 Elec 5 Vla Vc D izz 110

111 V)Eat)the)Damage l 1 Cl T Sx Hn 1 muted n - Vi no 1 Mute strings with lh n n EGtr 1 Elec 1 Vla 1 n n n Vc D 111

112 V)Eat)the)Damage l 7 C Cl â T Sx - Hn 7 Vi no 7 C ord ed EGtr 7 7 Elec Vla 7 n n - - C n Vc D

113 V)Eat)the)Damage l Cl T Sx Hn oen Vi no n ed n EGtr Elec Vla n n n n Vc D n 11

114 V)Eat)the)Damage l Cl T Sx Hn 9 n D n n Vi no 9 D ed n EGtr 9 Elec 9 Vla 9 n - - D n Vc D n - - n o o n 11

115 V)Eat)the)Damage l Cl 55 n - T Sx Hn 55 n - n Vi no 55 ed n EGtr 55 n n n 55 Elec Vla 55 n Vc D n n > n o n 115

116 V)Eat)the)Damage l 0 E Cl n n n T Sx Hn 0 n Vi 0 to Tom-Toms E ã Tom-Toms no 0 EGtr 0 n n n Elec 0 E7 ringing ilter chords triggered y Tom-toms Û Û Û Û Û Û Û Û Vla 0 n E Vc D n n n arco n n n 11

117 V)Eat)the)Damage l Cl T Sx Hn erc no ã to Xyl Xylohone EGtr Chi-tune gestures triggered y l, hn (arox itches) % % % % % % % % % % % % Elec Û Û Û Û Û Û electronic gestures triggered y erc (arox itches rhythm) % % % % % % % % %% % % % % % % % % % Vla Vc D izz 117

118 l Cl T Sx Hn EGtr Vla Vc D no Elec Xyl izz izz to Tom-Toms ã % % % % Chi-tune gestures triggered y l, hn (arox itches) % % % % to Xyl Tom-Toms % % % % % % % % % % % % % % electronic gestures triggered y erc (arox itches rhythm) % % % % % % % % % % % % % % V)Eat)the)Damage 118

119 V)Eat)the)Damage l 81 Cl T Sx Hn 81 erc no ã () 81 EGtr 81 alm mute Elec 81 Vla 81 > Vc D > n n 119

120 V)Eat)the)Damage l 88 Cl T Sx Hn 88 erc no ã 88 Xylohone to Tom-Toms ã Tom-Toms EGtr 88 ord â > 88 Chi-tune gestures triggered y l, hn (arox itches) % % % % % % % % Elec Chi-tune gesture triggered y xyl (arox itches) % % % % % % % % % Em11 ringing ilter chords triggered y Tom-toms Û Û Û Vla 88 > > > > > > > Vc > > > > > D > > > > > 10

121 V)Eat)the)Damage l Cl T Sx 95 su G Hn 95 su erc no ã 95 to Xyl G Xylohone EGtr 95 > alm mute - 95 Elec electronic gestures triggered y t sax (arox itches rhythm) % % % % % %% % % % % % % % % % % % % % % %% % % % % % % % Vla Vc D 95 > > > > > o> G 11

122 V)Eat)the)Damage l Cl 10 n T Sx Hn 10 Xyl Woodlock ã y y Xylohone no 10 n n EGtr 10 ord > > > 10 Chi-tune gestures triggered y l, hn (arox itches) % % % % % % % % % Elec Chi-tune gesture triggered y xyl (arox itches) % % % % % % % % Vla 10 > > > > Vc > > > > D > > > > 1

123 V)Eat)the)Damage l H > n Cl T Sx to Clarinet n - - Hn Xyl no H 109 > > n EGtr 109 > Elec 109 Vla Vc H arco n arco D 1

124 V)Eat)the)Damage l Cl T Sx Clarinet Hn 11 n > Xyl no 11 EGtr 11 > > > 11 Elec Chi-tune gesture triggered y xyl (arox itches) % % % % % % % % Vla ÿ Vc - - ÿ D (izz) 1

125 V)Eat)the)Damage l Cl I > > n > T Sx Hn 10 n Xyl no I 10 n n EGtr 10 sustitute and/or simliy voicings i necessary A7 A C Elec Vla I izz n Vc D izz 15

126 V)Eat)the)Damage l 15 > Cl > T Sx n n n Hn 15 Xyl n Glock no 15 n > n EGtr A A711 D 7 15 Elec Vla 15 Vc D n 1

127 V)Eat)the)Damage l 19 Cl T Sx Hn 19 Glock no 19 to Xyl Xylohone EGtr Em9 Elec 19 Chi-tune gesture triggered y xyl (arox itches) % % % % % % % % % % % % % % % % Vla 19 arco izz > > > Vc D n arco n l > izz > > > > > 17

128 V)Eat)the)Damage l 15 n Cl T Sx - n Hn Xyl no EGtr () > n Elec 15 % % % % % Vla Vc D 15 > > > > > > > > > arco arco 18

129 V)Eat)the)Damage l Cl T Sx 11 n n n n n to ass Clarinet Hn erc no EGtr 11 ã y yx y Woodlock y y x y y x 11 Elec Vla 11 l ÿ izz Vc n n izz D 19

130 V)Eat)the)Damage l Cl T Sx 17 K ass Clarinet Hn erc no EGtr ã y y y y K Tom-Toms Virahone n n n n Elec Vla 17 K 1 1 arco Vc D arco

131 V)Eat)the)Damage l Cl T Sx 15 Hn 15 Vi no 15 n EGtr Elec Vla 15 - n- Vc - - D 11

132 V)Eat)the)Damage l 158 L Cl T Sx n Hn Vi - L 158 n - no - n EGtr Elec Vla 158 L n Vc - D 1

133 V)Eat)the)Damage l 1 Cl T Sx n - n n - Hn 1 Vi n no 1 n n n EGtr 1 n 1 Elec Vla 1 n n- - Vc n - D n 1

134 V)Eat)the)Damage l Cl T Sx 18 - n n - n - - n - n M n - - Hn Vi M 15 1 ã Tom-Toms no 15 1 EGtr Elec Dm9 ringing ilter chords triggered y Tom-toms Û Û Û Û Û Vla 18 M 15 1 ord æ æ æ æ æ sul ont æ æ æ æ æ Vc 15 1 ord æ æ æ æ æ sul ont æ æ æ æ æ D n

135 V)Eat)the)Damage l 17 Cl T Sx - - Hn erc no Virahone (omit i change not ossile) n ã Tom-Toms Virahone (omit i change not ossile) - n ã EGtr Elec Û Û Û Û Û Vla 17 (sul ont) æ æ æ æ æ æ æ æ æ æ Vc æ (sul ont) æ æ æ æ æ æ æ æ æ D 15

136 V)Eat)the)Damage l Cl T Sx Hn erc no EGtr ã n l - ã l - n Elec 178 Û Û Û Û Û Û Û Vla 178 æ æ æ æ æ æ æ æ æ æ 1 1 Vc æ æ æ æ æ æ æ æ æ æ 1 1 D 1 1 1

137 V)Eat)the)Damage l Cl T Sx N Hn erc no EGtr N Marima Elec Vla Vc D N ord 1 1 ord

138 V)Eat)the)Damage l 187 Cl T Sx Hn 187 n n n n n n Mar no EGtr Elec Vla Vc 187 D 18

139 V)Eat)the)Damage l Cl T Sx 191 O n - n Hn n - n Mar n n - n O n no - n - EGtr Elec Vla Vc 191 O n n D n 19

140 V)Eat)the)Damage l Cl T Sx n n - n - n - - n Hn 195 > Mar no n - - > > > > n EGtr 195 n 15 1 Elec Vla 195 n n 15 1 Vc D n n n

141 V)Eat)the)Damage l Cl T Sx 199 n n - n - Hn Mar 1 9 n no EGtr Elec Vla 199 n 1 9 Vc D n n arco n 11

142 V)Eat)the)Damage l Cl T Sx Hn n n ƒ ƒ - - n n U U U U Q Mar no > n > U U U Q ã to Crotales EGtr l U Elec U n U E7 ringing ilter chords triggered y Tom-toms Û Û Û Û Û Vla 0 1 ƒ U ÿ Q Vc D 1 1 n ƒ U ÿ U ÿ 1

143 V)Eat)the)Damage l Cl T Sx 09 U ƒ U ƒ U ƒ Hn 09 U ƒ erc Crotales 5 ã Tom-Toms U no 09 n n > U ƒ n > U EGtr 09 l ƒ U 09 E7 ringing ilter chords triggered y Tom-toms Û Û Û Û Û Û Û Û Û Û Û U Elec iano sectral eects n U Vla 09 ƒ U Vc U ƒ D U ÿ ƒ 1

144 V)Eat)the)Damage l R Cl T Sx Hn 1 erc R ã to Xyl 1 no EGtr 1 Elec 1 Û Û Û Û Û Û Û Û Û Û Û Û Û Vla R Vc D 1

145 V)Eat)the)Damage l Cl T Sx 1 n n n Hn 1 n erc no ã 1 - n - Xylohone - - n EGtr 1 n 1 Elec Vla 1 izz n Vc D izz izz 15

146 Score'in'C VIEchoesintheCurrent amie'keesecker Alto lute Slow (ut unstoale) q = 5 ass Clarinet Tenor Saxohone Horn ercussion Large ass Drum Marima ã Slow (ut unstoale) q = 5 æ LV iano lute Delay Viola Delay ( Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ) Tenor Sax Harmony Violin Viola Cello Doule ass Slow (ut unstoale) q = 5 Ÿ~~~~~~~~~~~~~~~~~~~~~~ ( ) æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 1

147 VI'Echoes'in'the'Current A A l Cl T Sx Hn 5 A erc ã 5 no l Del Vla Del 5 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) - - A Vln Vla Ÿ~~~~~~~~~~~~~~~ ( ) - - Vc æ æ æ æ D æ æ æ æ 17

148 VI'Echoes'in'the'Current A l 8 - Cl T Sx Hn 8 - erc 8 ã æ LV to Marima no 8 l Del 8 Vla Del Vln 8 Vla - Vc æ æ æ æ æ æ æ æ D æ æ æ æ æ æ æ 18

149 VI'Echoes'in'the'Current A l Cl 11 U U T Sx U Hn 11 - U Mar Marima n n U U no 11 U U l Del 11 - U Vla Del ( Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ - ) Ÿ~~~~~~~~~~~ ) ÿ U Vln Vla Vc D 11 Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~ ( ) ( ) æ æ æ æ æ æ æ æ - ÿ æ - ÿ - reduce trill seed w/ decresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ( ) > % reduce trill seed w/ decresc Ÿ~~~~~~~~~~~~~~~~~~~~~~~ > ( ) % U U U U 19

150 VI'Echoes'in'the'Current A l Cl U U T Sx U Hn 15 U Mar U no 15 U U to Celesta l Del Vla Del 15 Ÿ~~~~~~~~~~~~~~~~~~~ ( ) U U T Sx Harm U Vln Vla Ÿ~~~~~~~~~~~~~~ ( ) - ÿ izz U U Vc - izz U D izz U 150

151 VI'Echoes'in'the'Current A l 18 n Cl T Sx Hn 18 Mar Cel 18 Celesta n l Del 18 n Vla Del T Sx Harm Vln 18 arco % n Vla Vc D 151

152 VI'Echoes'in'the'Current A l 1 C Cl T Sx w Hn 1 Mar æ C 5 > 5 Cel 1 iano Celesta 5 l Del 1 T Sx Harm w Vln Vla Vc 1 arco C izz izz 5 5 izz 5 D izz 5 15

153 VI'Echoes'in'the'Current A l 5 D Cl - - T Sx - - Hn Mar > D > 5 > > 5 Cel > 5 5 T Sx Harm n - - Vln 5 D arco Vla Vc arco - D 15

154 VI'Echoes'in'the'Current A l Cl 8 n n - T Sx Hn 8 Mar Cel 8 > 5 5 > 5 l Del Vla Del T Sx Harm 8 n n - Vln Vla Vc 8 arco 5 n - D 15

155 VI'Echoes'in'the'Current A l E n Cl T Sx - - Hn 1 muted - - Mar Cel E 1 5 > 5 > 5 5 l Del 1 - n Vla Del n T Sx Harm - - Vln E Mute Vla n Vc Mute arco D 155

156 VI'Echoes'in'the'Current A l 5 n Cl T Sx - Hn Mar 5 Cel l Del Vla Del T Sx Harm 5 n - - Vln Vla Vc D 15

157 VI'Echoes'in'the'Current A l Cl T Sx Hn 8 % % Mar Cel 8 l Del Vla Del Vln Vla - Vc D 157

158 VI'Echoes'in'the'Current A l Cl G n T Sx Hn erc G ã ass Drum æ LV no iano l Del Vla Del n Vln G - n o Vla æ Vc æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ D æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 158

159 VI'Echoes'in'the'Current A l Cl 7 w n - T Sx Hn 7 w erc ã 7 no l Del 7 n Vla Del æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Vln Vla æ æ æ æ æ æ æ æ æ æ æ æ - æ æ æ æ - æ æ æ æ Vc D æ 159

160 VI'Echoes'in'the'Current A l 51 H Cl - T Sx Hn 51 H Mar no 51 l Del 51 Vla Del æ æ æ æ æ æ æ æ æ æ æ æ æ æ % æ æ æ æ Ø Vln Vla 51 æ æ æ æ H æ æ æ æ æ æ æ % æ æ æ Ø Vc D izz 10

161 Score)in)C VIIOvertheLongArc amie)keesecker iccolo ass Clarinet Tenor Saxohone q = 7 Horn ercussion Marima Virahone q = 7 iano Electric Guitar Electronics Viola q = 7 Cello Doule ass 11

162 VII)Over)the)Long)Arc icc Cl T Sx Hn Mar no EGtr Elec Vla Vc D 1

163 VII)Over)the)Long)Arc icc Cl T Sx 11 A Hn 11 Mar 11 A no 11 EGtr 11 Elec 11 Vla 11 A Vc D 1

164 VII)Over)the)Long)Arc icc Cl 1 T Sx Hn 1 Mar 1 no 1 EGtr 1 Elec 1 Vla 1 Vc D 1

165 VII)Over)the)Long)Arc icc Cl 1 T Sx Hn 1 Mar 1 Marima no 1 EGtr 1 Elec 1 Vla 1 izz Vc izz D 15

166 VII)Over)the)Long)Arc icc Cl T Sx Hn Mar no EGtr Elec Vla Vc D izz 1

167 VII)Over)the)Long)Arc icc Cl 1 > C T Sx Hn 1 Mar no 1 > 1 > > C EGtr 1 Elec 1 Vla Vc 1 > > C arco arco D > arco 17

168 VII)Over)the)Long)Arc icc Cl T Sx Hn Mar no EGtr Elec Vla Vc D 18

169 VII)Over)the)Long)Arc icc Cl 1 D n T Sx Hn 1 Mar 1 D no 1 n EGtr 1 Elec 1 Vla 1 D izz Vc izz D 19

170 VII)Over)the)Long)Arc icc Cl n T Sx Hn Mar no n n n EGtr Elec Vla Vc D izz 170

171 VII)Over)the)Long)Arc icc Cl T Sx 51 E Hn 51 Mar no > > > E > > to Virahone Virahone Guitar EGtr Elec choed guitar Vla 51 E - arco Vc arco - D > 171

172 VII)Over)the)Long)Arc icc 5 Cl T Sx Hn 5 Vi 5 5 > > no > > EGtr 5 Elec 5 Vla Vc D 17

173 VII)Over)the)Long)Arc icc Cl T Sx 1 Hn 1 n Vi 1 1 > no > EGtr 1 n Elec 1 n n Vla Vc D 17

174 VII)Over)the)Long)Arc icc Cl T Sx Hn Vi - no EGtr Elec Vla Vc D arco 17

175 VII)Over)the)Long)Arc icc Cl T Sx Hn 71 n Vi no EGtr 71 n Elec 71 n n Vla Vc D 175

176 VII)Over)the)Long)Arc icc G Cl T Sx Hn 7 Vi no 7 7 G % EGtr 7 Elec 7 Vla Vc G D 17

177 icc Cl T Sx Hn EGtr Elec Vla Vc D no Vi VII)Over)the)Long)Arc 177

178 VII)Over)the)Long)Arc icc 87 U H Cl T Sx l U U Hn 87 U l Vi no > U > > U U H EGtr 87 U Elec 87 U Vla 87 U H Vc U D izz U arco 178

179 VII)Over)the)Long)Arc icc 9 Cl T Sx Hn 9 muted Vi 9 ed 9 no EGtr 9 Elec 9 Vla 9 Vc D 179

180 VII)Over)the)Long)Arc icc 97 I Cl T Sx Hn 97 Vi 97 I ed ed 97 no EGtr 97 Elec 97 Vla 97 I Vc D 180

181 VII)Over)the)Long)Arc icc 10 Cl T Sx Hn 10 n Vi 10 ed ed 10 no EGtr 10 Elec 10 Vla 10 Vc n D 181

182 VII)Over)the)Long)Arc icc 107 Cl T Sx Hn 107 Vi 107 ed Hold ed to end 107 no EGtr 107 Elec 107 Vla Vc 107 lautando lautando D lautando 18

183 VII)Over)the)Long)Arc icc 11 Cl T Sx Hn 11 Vi no EGtr 11 Elec 11 Vla 11 Vc n D 18

184 VII)Over)the)Long)Arc icc 117 Cl T Sx Hn 117 Vi no EGtr 117 Elec 117 Vla 117 Vc D 18

185 VII)Over)the)Long)Arc icc 1 Cl T Sx Hn 1 Vi 1 1 no EGtr 1 Elec 1 Vla 1 Ø Reeat as necessary to reach niente N Vc D 185

186 WORKS CITED orte, Allen The Structure o Atonal Music New Haven: Yale University ress,

187 IOGRAHY amie Keesecker was orn in Toledo, Ohio He received a achelor o Music degree rom the University o Arizona in 00, where he studied comosition with Daniel Asia and amela Decker He received a Master o Music degree rom the University o Oregon in 009, where he studied with Roert Kyr and David Crum In the all o 009, he matriculated to Duke University as a ames Duke ellow, studying comosition with Stehen ae, Scott Lindroth, and ohn Suko In 011 he received a Master o Arts rom Duke University 187