lily

[bloom in my darkness]

an electroacoustic opera
music by Kaley Lane Eaton
libretto by Felicia Klingenberg
2

Where practical, symbols are explained in the score and parts for immediate reference. The following symbols occur numerous times throughout the piece:

Sprechstimme, or, spoken in rhythm, loosely following indicated pitch level and contour

Spoken or whispered (will be indicated in score), at any pitch level, following rhythm

Repeat boxed phrase until arrow ends

Play one quarter tone higher than notated pitch.

Play one quarter tone lower than notated pitch.

Slide up to notated pitch.

Slide up after playing notated pitch.

Slide down after playing notated pitch.

Play a high-register cluster containing white keys only.

Electronic elements of the piece are not notated as they may sound, but are rather described textually at the points at which they occur in relation
to the notated music.

Technological set-up:

Directions for performance with electronics:

It is highly recommended that the ensemble designate a person whose sole role it is to run the electronics. Once this person runs the
code on the provided SuperCollider document, a GUI will show up with numbers corresponding to numbers written in the TAPE part
of this score. Press these buttons on the GUI at exactly the point designated in the score. Provided that everything is set up according to
the graphic above, the electronics will run smoothly in time with the performance.

Once pressed in accordance to the score, the button will run all relevant electronic events on a timer. For this reason, it is crucial that
the performers adhere to the given metronome markings.
 3

lily [bloom in my darkness]

prelude

Any instrument or combination of instruments may play this,

with any number of repetitions, taking care to play each note
short and quiet.

Conclude the prelude and follow with silence.

Vocalist will cue the beginning of movement I.
4 lily

A q = 56 I. Kaley Lane Eaton

text by Felicia Klingenberg

Tenor Saxophone
4 3 4
&4 4 4

4 3 4
&4 4 4
Harp
? 44 3 4
{ 4 4

4 3 4
&4 4 4
Piano
? 44 3 4
{ slightly detached, very breathy
4 4

mf
pp sempre 3
4 - - - 3 4 U j
Voice &4 - - # j
4 . # 4 # #
.
So this is where I've come to, an - swer-ing an in - vi - ta-tion My spi - - - rit

A q = 56
non vib.
B 4 molto sul pont.
- # 3 4 U
Viola I 4 - 4 n # 4
pp mf pp pp mf pp
as a warped baroque viol

non vib.
molto sul pont. U
4
Viola II B 4
- - - 3
4
j

4
4 #

pp mf pp pp mf pp
as a warped baroque viol
1,2
Electronics
4
Amplitude trigger on 3 4
/4
Recording vocal part into buer 4 4
Violas ltered by voice pitch

Ten. Sax. 9
& 8

9
& 8
Hp.
? 9
{ 8

9
& 8
Pno.
? 9
{ 8

j U 9
.
Voice & 8
#
grasped at Twi - light is dar - ker in this val - ley The shad - ows seem so hea - vy. The si - lence is too

U
B #> n U w > w 9
Vla. # # n w 8
mf pp sfz pp mf pp pp ff pp
U U > 9
Vla.
B >
# #
8
mf pp sfz pp mf pp pp ff pp

Tape
9
/ 8
 e = e 5
13 B
Ten. Sax.
9
&8

9
&8
Hp.
? 98
{ b # b n nnnnn 6666 nnnn 6666 nnnnn 6666
# # n b# nn
9 J nn b # # n
b n b
j


&8 n n n
Pno.
>
? 98
{ J
j


ppp mf pp
una corda

gradually turn to whisper
pp f mp
9 j
Voice &8 b j

full. I [f] eel The

B e = e
B 9 gliss. n
Vla. 8 J n
ppp possibile

gliss. > > B

Vla. B 9 j
B n
8
ppp possibile 2

Tape
9
/8

17 C e = e
Ten. Sax. 4 3
& 4 4

4 3
& 4 4
Hp.
? 4 3
{ 4 4

n
n b b n
& J j 44 J J 43
pp f
Pno. f p

? &b
4 3
?
{ 4 4

mp p gradually turn to whisper slightly more expressive, still timid

n
Voice &
b n 4
4
j
b b n b b 43
J J
pre - sence of some crea - ture Peo - ple told me there are bears here and

C e = e
molto rit. e dim. come prima

Vla.
B 4 b

U
3
4 J 4
pp

molto rit. e dim.

come prima
4 U 3
B
Vla. 4 4
b b
pp

Tape
4 3
/ 4 4
6
21

Ten. Sax.
3 4 9
&4 4 8
3 4 9
&4 4 8
Hp.
? 43 4 9
{ :;
4 8

3 4 9
&4 4 8
Pno.

? 43 4 9
{ 4 8

mf pp ppp double dot

>
3 4 b b 98
& 4 b b b b

Voice 4 J
wolves and moun-tain li - ons No Eng - lish lambs here but me

>
B 3 b b
>
b 44 b nb n b b n b b
b 98
Vla. 4 J J b b
mp pp sfz pp mf p

3 4 gliss. 98
Vla.
B 4 b n 4


b
b b
>
mp pp sfz pp mf p

Tape
3 4 9
/ 4 4 8

26 D e = 56
Ten. Sax.
9 6 9
&8 8 8

9 6 9
&8 8 8
Hp.
? 98 6 9
{ 8 8

nnnnn 6666 nnnn 6666 b nnnnn 6666 nnnnn 6666

##

n n # n
9
& 8 b
b n J n b
b 6
8 nbn 9
8
> J J
ppp
all dynamics subito
Pno. pp f p p mf
.
? 98 j
> b 6 9
& J ? j J
{
mf
una corda



J

> >
f ff mp


ppp
J
8
>
mp
p
8

Voice
9 6 9
&8 8 8

D e = 56
9 gliss.
gliss. 6 9
Vla. B 8 8 8
n

9 6 9
B 8
Vla. gliss. b gliss. 8 8
n

Tape
9 6 9
/8 8 8
 Approx. 20-30 seconds, until triggered electronics die out

29
> screaming multiphonic,
descending through partials 7
9 bbb
repeat at dierent pitch levels 5
Ten. Sax. & 8 bb & until electronic sounds begin to 4
b b die out
b .
b
> p
fffff possibile

9 U U U 5
&8 4

Hp.

? 98 U 5
{

U U U
4

9 5
&8 4
Pno.
? 98 U U U 5

{ 4

9 U U U U 5
Voice & 8 b> 4
>
AH NG I had to

Approx. 20-30 seconds, until triggered electronics die out

B 9 U U U 5
Vla. 8 4
U U U
Vla. B9 5
8 4

Tape
9 5
/8 4
speech at random rates and pitch levels, triggered by voice

32 E q = 56
Ten. Sax.
5 2 6 9 3
&4 4 8 8 4

5 2 6 9 3
&4 4 8 8 4
Hp.

? 45 e#e e e 2 6 9 3
{ f
4
p end
8 8 4

b n
5 2 6 b j J 98 J 3
&4 4 8
J 4
pp f
Pno. f p
? 45 2 6 9 3
{ 4 8

8 4

more expressive
mp mf
3
5 bbbb n 42 68 9 J 43
Voice & 4 8
run from all that mur der a

E q = 56
ord. molto sul pont.
B 5 b 2 gli6ss. > 9 O 3
Vla. 4 4 b 8 J n n
>
8 J 4
2
2
mp mf pp ppp possibile

ord.
gliss. molto sul pont. O
5
b 42 bb 68 nB B 9 O j
B #n nJ 43
Vla.
B 4 b 8
mp mf pp ppp possibile

Tape
5 2 6 9 3
/4 4 8 8 4
8 39 end
Ten. Sax.
3 5 4 6
&4 8 4 8
>e # e e e
f p

end
3 5 4 6
& 4 e #e e e 8 4 8
Hp.
f p
? 43 5 4 e #e e e 6
{ 8 4
f p
8

b b n #

3 5 4 6
&4 8 4 8
ff ppp
Pno.

? 43 5 4 6
{ p
3
8

4

f
8

3 58 4 6
Voice &4
J
4 8
place with no peo - ple has no need for a

molto sul pont.

3
B 4 O 5 # n n j r
44 O bbO b O O O O 6
Vla. bO bO 8 n 8
O O b >
p f ppp possibile
pizz.
arco
5 O > j
Vla. B3
4 b b 8
J 44 b b
6
8
f ppp possibile f p f

Tape
3 5 4 6
/4 8 4 8

44

Ten. Sax.
6 4 3 ?9
&8 4 e #e e e e #e e e 4 8
ne #e e e
f p f p
f p

end
6 4 3 9
&8 4 e #e e e 4 8
Hp. f p
e #e e e
? 68 4 e #e e e 3 9
{ 4
f p f p
4 8

:;-. -. -.
# -. b
6 J J J j n b 4 3 9
&8 J 4 4 8
f pp
Pno.
? 68 4 3 9
{
4 4 8

slowly close to [m]

ppp f
6 4 > > > 3 > > 9
Voice & 8 4 J 4 J 8
a lamb on a cross

sul pont. ord.

B 6 > > B j j b 3
Vla. 8 B n 44 4
9
8
2 f f
ppp possibile

ord.
6 n B 44 3 9
B 8
Vla. b b 4 8
ppp possibile

f f

Tape
6 4 3 9
/8 4 4 8
 F> repeat at dierent pitch levels
bbbb until electronic sounds begin to 9
49 die out
b
Ten. Sax.
? 98 b
bw &
> p b
fffff possibile b .

9
&8
Hp.
? 98
{
~~
~~~
j n j #
9
&8 b J J
-.
Pno. mp pp p
ff
>
? 98 b ?
{
-.
j &
>
>
.

ff whispered loudly

Voice
9 b> b n #
&8 J
Ur - sa ma - jor is too close

F
9
Vla. B8 gliss.
p

9
Vla.
B 8 gliss.
p

Tape
9
/8 speech at random rates and pitch levels, triggered by voice

51

?2
Ten. Sax. & 4

2
& 4
Hp.
? 2
{ 4

n bnn . b > n n -. -. -. -.
n # -.
> b n # b n b
n b b J
J J J J j J 2
& b b b n J 4
ff p (p)
f f pp
f pp
Pno.
> .
> b j
? bnn n ? > 2
{

fearfully
f
&

p
J J
>
f (f) mf

4

f f pp to whisper
-. -.
Voice & #-. j
j j b b bJ J 2
4
-.

I can smell her I can smell her chil - dren paw-ing clos -er
con sord.
2
Vla. B 4
con sord.
2
Vla.
B 4

Tape
2
/ 4
 G> foot in bell >
10
57
Ten. Sax.
? 42 3
8
5
8

> > >
ff n
ff n

wah pedal no eect wah no eect

2 3 5
& 4 8 8
>
Hp.

? 42 3 5
{
fff

8
p

>

8

:;>
n
>
2 b 3
8 n b 5
&4 8
f pp f p
Pno. b
b
? 42 3 5
{

>
8 n
n>

& 8

ff ff mp
2 > b>
>
n>
> b> 3 5
Voice &4 J 8 >
>
j
b>
j 8
I've been dy - ing for so long, hu - man hands a -

G b/t B and Bb
b/t E and Eb b/t A and Ab b/t B and Bb
2 bend 3 b
pitch at dierent rates,
between B and Bb
Vla. B 4
b n J 5
8 8
pp mf 3

b/t E and Eb
bend pitch at dierent rates, b/t E and Eb b/t A and Ab b/t B and Bb b/t B and Bb
2 between B and Bb
3 5
Vla. B 4 8 8

pp p

Tape
2 3 5
/4 8 > 8
speech at random rates and pitch levels, triggered by voice
=
62
Ten. Sax.
? 58 6
8 7
8

>
ff

heavy distortion
5 6 7
& 8 8
> > 8
> > > > >
Hp. ff

? 58 6 > b> > 7

{ b> 8 b 8
> > >

:; 3 3 3 >

5 b 6 b 7
&8 8 J 8
3 3 3
Pno.
3 f p
5 6 ? 7
{&8 8 nb
&b b 8

>

OPTION: SPOKEN/SUNG BY DANCER
+ vib.
p f fff p
3 3 3
Voice
5 6 n b b> > >
b> n > 7
&8
8 J 8
b
round my throat peo-ple have so ma-ny ways to kill! Still my bo - dy bleeds

slowly turn to grating noise and

>
B 5 gliss.
6
back to pitch
> > >
7
Vla. 8 8 8
f pp

slowly turn to grating noise and

b/t B and Bb b/t E and Eb gliss. back to pitch
5 6 7
Vla. B 8
8 b 8
J >
pp > > >

Tape
5 6 7
/8 8 8
 11
>

66
? 87 2 9 U 5
Ten. Sax. 4 8 4
>
ff n

lighter distortion
wah pedal
U
7 2 9 5
& 8 4 # 8 4
b > >
Hp.
>
? 87 2 9 b> > > U 5
{ 4 8 4


:; >
#
3 3
3

7
b
2 9 b n
#
# U
5
&8 J 4 8 J 4
Pno. pp
mp
7 ?2 9 b 5
{&8 4

>
& 8

b b

pp
4

NB extremely breathy
p f p almost out of breath f p f sub. f sub. p sub.
7 2 gl 9 U
# n> > 5
Voice & 8 > > 4 #> iss. 8 b n n J 4
>
to the pull of this for - eign moon. a - no - ther fu - ture dis - car - ded in a smear

gliss. ord
B 7 sul pont.
2
to
9 b U
5
Vla. 8 gliss. 4

8 > >
>
4
p ff n

sul pont. to ord U

7 2 9 5
Vla.
B 8 gliss. 4

8 b
>
4
> >
p ff n

Tape
7 2 9 5
/8 4 8 4

=
H
70 q = 42
Ten. Sax.
? 45

5
& 4 bb
bb
bb

ppp simply, monotone
Hp.

? 45
{
5 n n
&4 bb bb bb
ppp simply, monotone
Pno.

5
{&4
una corda

p in any rhythm; chant-like , ,

,
Voice
5 # n # n b n # #
&4
of blood The mo - ther of cre - a - tion ol - der than us all I hear her pan - ting her claws are at my

H
B 5
Vla. 4
5
Vla.
B 4

Tape
5
/ 4
12

Approx. 20-30 seconds, until triggered electronics die out

> repeat at dierent pitch levels

bbbb until electronic sounds begin to
73 b die out

Ten. Sax.
? b b b . &
bw > p
fffff possibile

U
&
Hp. move to interlude after violists hit chord
? U

{
U
&
Pno. move to interlude after violists hit chord
U ?
{
&
ff

Voice &
breast

hold through interlude until mvmt II

Approx. 20-30 seconds, until triggered electronics die out
B U enter with viola II
BBU

Vla.
pp

U

U
Vla.
B
pp attacca

Tape / U

 13

interlude
14
II.
1
I q = 88
4 j
Tenor Sax & 4 j j
>
mf p pp f mf f n mf

4
& 4
Harp
? 4
{ 4

b b b j
& 4
4
J
Piano > mf p mp mf mp > mf
w
w
? 4
{ mf
4
pp p mf f

mp

Voice 4
& 4

I B
B <B><B> w
w 4 n B B B B B >

Viola I 4 J J J
pp f mp mf mf mf f p f mf
<> w
<> w > . B B B
Viola II B 4 J J
4 J
pp mf p mf mf f mf f n mf
Violas ltered by voice
Electronics and processed by heartbeat 4
/ Amplitude trigger still running
4

Ten. Sax. &

w w w w w w w w w
f p

&
Hp.
?
{
b b n
& w w w
f p
Pno.

? w w w w w w w
{ w w w w w w

Voice &

w w w w
w w w w w w w w
Vla. B
f n

b w
w w
w w
w w
w
B
Vla.
f p

Tape /
 15
16 Approx. 10-15 seconds

Ten. Sax. 3
& 4

3
& 4
Hp.
? 3
{ &4

3
& 4
Pno.
? 3
{ &4

Voice 3
& 4
Approx. 10-15 seconds
play any number of times with
varying dynamic and timbre,
with silence in between each attack
B U
w 3
Vla. 4

U
w 3
Vla. B 4

Tape
3
/ 4

J multiphonic multiphonic
19
3 4
Ten. Sax. &4 j j r 4


mp f mp f p mf mp f n

3 4
&4 4
Hp.
3 4
{ &4 4

bb ~~~ # n
o b .
3 ~~~~~~ J 4
&4 ~~~~~~
~~~~~
b 4
f mp n pp mf p f mp pp mp pp
Pno.

~~~ b
bj ~~~~~
{ 3
&4
?
~~~~~ ~~~~~~~~~~ & b n
4
4

f mp n pp mf p pp mp f mp

Voice
3 4
&4 4

harmonic gliss down

o glis
s. o
J n b sul tasto glis
3 B B B
s.
4
Vla. B 4 4
f mp f f pp p f mp pp mp f mp

harmonic gliss up sul p. - sul t. B

B B o B B B
3
Vla. B 4 ss. j J 4
4
gli
f mp f f f mf p f p pp f mp

Tape
3 4
/4 4
 25
16
4
Ten. Sax. &4 w w
bw w w
> > p
f

sounding in upper octave

Oo Oo Oo
4
&4
f p
Hp.
Oo Oo Oo
4
{&4
p
> >
ww
ww
4
&4
p
Pno.
# ww
4
{&4 &
p

Voice
4
&4

sul ponticello > >

w
B 4 > w w w
Vla. 4 w w w &

f pp p n

sul ponticello > >

w
4
Vla.
B 4 w
w
>
w
w
>
w
w
>
w
w &
f pp p n

Tape
4
/4

31

Ten. Sax. &

&
Hp.

{&
ww ww ww > >
w
& &
mf f
Pno.
## ww ww ww > >
w
{&
mf f

Voice &

wo wo wo wo o #> >
w

Vla. &
p mf p mf

wo wo wo wo o #> >
w
Vla.
&
p mf p mf

Tape /
 approx. 10-15 seconds 17
37
U 5
Ten. Sax. & 4
U 5
& 4
Hp.
U 5
{
& 4

U 5
& 4
Pno.
U 5

{
& 4

U 5
Voice & 4
approx. 10-15 seconds

U 5
Vla. & w 4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
U 5
Vla. 4
& nw

Tape
5
/ 4

K
38
5
Ten. Sax. &4 j j j gliss. j
.
f p sub. mp mf p mf ff p f p

5
&4
Hp.
5
{
&4

~~~~

~~~~

b n bb n
5
~~

&4 J R b J b b J B



f p pp mp pp mp p p f p sub. f p ppp
Pno.

5 ? b ? ?
&4 J R
{
&

j & n
f p pp mp pp mp p p

Voice
5
&4

K sul tasto - sul ponticello

> b
5 gliss. j b
Vla. & 4 B B n j n B n Bn
J

f ff sub. p mf f pp mp ff p f ff ppp

5 j n> gliss. j
Vla.
& 4 B j
B B B
J

f ff n f pp mp ff p f

Tape
5
/4
18
approx. 10-15 seconds
41
U 4
Ten. Sax. & 4
U 4
& 4
Hp.
U 4
{
& 4

U 4
& 4
Pno.
? U 4

{ 4

U 4
Voice & 4
approx. 10-15 seconds

U 4
Vla. & w &4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
U 4
Vla. &4
& w

Tape
4
/ 4

42 L
Ten. Sax.
4 bw
&4
w
mf

ww ww o
4 w w

&4
p p p
Hp.

4
&4
{

w w
4
&4 ww
w ww
w

mf p
Pno.

? 44
{

Voice
4
&4

1) gliss. double stop up and down a 1/4 tone

repeatedly
2) gradually move from sul tasto-sul ponticello
Lo wo gliss. gliss.
4 w w gliss.
w
Vla. & 4 gliss.
w w
p f

gliss.
o o o w gliss.
gliss. w
4 w gliss. w
Vla. & 4 &

p f

Tape
4
/4
 approx. 10-15 seconds
46
U 19
Ten. Sax. 4
& 4
U 4
& 4
Hp.
U 4
{
& 4

U 4
& 4
Pno.
? U 4

{ 4

U 4
Voice & 4
approx. 10-15 seconds

U 4
Vla. & w 4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
U 4
Vla. 4
& w

Tape
4
/ 4

47 M
4 j
Ten. Sax. &4 j
w
pp ff pp n f mf

4
&4
Hp.

4
{
&4

b
nnnn 6666 nnnn 6666 nnnn 6666 nnnn 6666 nnnn ))))
4
&4 J

mf p pp p pp mf
Pno.
# n
? 44 J

J nb ww
w
{
pp p


j &
p pp

mf

Voice
4
&4

M
4 B J j B o B B Bw
w
Vla. & 4 BB Bn J & J B

mf pp sub. mf p pp f mf

o j w
4 j B
& 4 J
Vla. B & w
J
mf pp sub. mf p pp f mf

Tape
4
/4
20
N
50 blow air
> ?2 4
Ten. Sax. & & 4 4
w Y
f (as possible) ff p

2 4
& 4 4
Hp.
2 4
{
&
nnnn )))) nnnn 6666
4 4

bU
w b b
U
w 2 4
& 4 4
p mf p
Pno. pp n
<b>ww U U b n
w 2 4
&
{ w
bw 4 4
mf p
pp
pp

Voice 2 4
& 4 4

N

<B><>
sul pont. ord.
U
w U
w # B 2 n 4
Vla. B & B B4 4
mp pp n p ff mf

sul pont. sul tasto

U U # -
B
- 2 B 4
Vla.
B w
w w
w & B4 4

mp pp n p ff mf mf

Tape
2 4
/ 4 4

approx. 10-15 seconds

55
? 44 U 4
Ten. Sax. 4

4 U 4
&4 4
Hp.
4 U 4

{
&4 4

4 U 4
&4 4
Pno.
4 U 4
{
&4 4

4 U 4
Voice &4 4

approx. 10-15 seconds

4U w 4
Vla. B 4 4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
4Uw 4
Vla.
B 4 4

Tape
4 4
/4 4
 multiphonic z or sing pitch
56 O Y 21

? 44 3 b 4
Ten. Sax.
4 ? 4
ppp mp ff p mf 3
3
4 3 4
&4 4 4
Hp.
4 3 4
{ &4
approximate pitch

4

4

ss. gliss.
gli > b
4 b 3 4
&4 4 4
3 pp
f mf ff p
Pno. gliss.
#
4
&4 # 43 4
{ f

ff

>
p
3
pp
4

Voice
4 3 4
&4 4 4

O
o ord. sul pont.
ord. gliss. n o o sul pont.
4 B
n
n
3 4
Vla. B 4 & 4 4
3 3 mf
ppp mp ff mp ff pp
ord.
o
sul pont.
gliss. o o sul pont.
b b
Vla. B 44 B &
B 3
4 B 4
4

3
ppp mp 3 ff mp ff pp mf

Tape
4 3 4
/4 4 4

59 P
? 44 >
5 w ?4 > >
5 w ?4
Ten. Sax. &4 4 w &4 4
ff ff
f
with distortion
> >
4 5w 4 5 w 4
&4 4w 4 w 4 w 4
ff
bw
Hp. f ff
> >
bw
4 5w ?4 5 ?4
{ &4 4w 4 bw
w
w & 4 bw 4
ff > ff
f
>
4 5 4 5 w 4
&4 4 4 w 4 w 4
bw
Pno. f ff
>
bw
4 5 ?4 5 ?4
{ &4 4 4 bw
w
w & 4 bw 4
> ff
f

Voice
4 5 4 5 4
&4 4 4 4 4

P
ord.
w> >
w
4 B4 w
5 4 bw 5 w 4
Vla. & 4 4 w 4 4
ff >
f ff
ord.
> >
4 5 Bw
w 4 bw 5 Bw 4
Vla.
& 4 B4 4 w 4 w 4
ff >
f ff

Tape
4 5 4 5 4
/4 4 4 4 4
22
63 To Cl.
>
? 44 w 5 ?4 > 5 ?5 > > 5
Ten. Sax. &4 4 w & 4 b 4 w &4
ff p mp fff possibile
f ff

4 5 J 4 5 5 5
&4 w 4 J J 4 w 4 4 w 4
bw bw w bw
f mf mp f f mp
Hp. ff fff possibile
attaca
? 44 w 5 4 w 5
4w 5
4 bw 5
{ bw
w
>
f
4 4 bw
w
>
ff f
w
w
>
mp

>
4
fff possibile

4 5 4 5 5 5
&4 4 4 w 4 4 w 4
bw bw
Pno. mp
ff
? 44 5 4 w 5 5
4 bw 5
{ 4 4 bw
w
>
ff
4 w
w
>
mp
4

Voice
4 5 4 5 5 5
&4 4 4 4 4 4

Bartok
pizz. # arco
4 5
Vla. B 4 bw 4 J & J B4
4 bw
5
4w 5
4 bw 5
4
w
> w
> w
> w
> >
f f mp ff ff mp fff possibile

col legno Bartok pizz.

n arco
4 5 batt. J B4 5 5 5
Vla.
B 4 bw
w
>
4 J & 4 bw w
>
4ww
>
4 bw
w
>

>
4
f mp f ff ff mp fff possibile

Tape
4 5 4 5 5 5
/4 4 4 4 4 4
attacca into interlude
 23

interlude

Any instrument or combination of instruments may play this,

with any number of repetitions, taking care to play each note
short and quiet.

Interlude ends as soon as harpist plays the downbeat to movement III.

24 III.

Q q = 42
1 Clarinet in Bb 3
5 4
Cl. &4 # w 4 w
n
ppp

5 4 bb
& 4 bb b bb b bb b bb b 4 b w
pp simply, bbw
w
Hp. monotone
? 45 4
{ 4

5 4 b n
& 4 bb b n bb b n bb b n bb 4 bb b
b
pp simply,
Pno. monotone
? 45 4
{ una corda
4

pp breathy, straight-tone
as if waking up 3
Voice
5
&4 b 44 bj b b
Fal - ling leaves take so much time

Q
5 4
Vla. B 4 4

5 4
Vla.
B 4 4

Tape
5 4
/4 3 4

7
3
2 5 4
Cl. & 4 4 # w 4
ppp n

2 5 4 bb
& b 4 4 bb b bb b 4 b
b
Hp.

? 2 5 4
{ 4 4 4

2 5 n 4 b n
& 4 4 bb b bb 4 bb
<b> bb b


Pno.

? 2 5 4
{ mp pp
4 4 4

3 3
j 3
42 5 4 bj b
Voice & b b n 4 b 4
gai - ning ground. Small red drops pier-cing the skin of time

B 2 5 4
Vla. 4 4 4

2 5 4
Vla.
B 4 4 4

Tape
2 5 4
/ 4 4 4
 25
12

w b 2 5
Cl. & 4 b 4 w
mf pp n

2 5
& bw 4 4 bb b
bw
w bb mp
Hp.
? 2 5
{ 4 4 bb

2 5
& <b><b> 4 4 bb
b bb b

mp
Pno.
? 2 5
{ 4 4
tre corde

mp
3 3
j 2 5 j
Voice & b b b 4 j 4
and space and eve - ry fal - ling

B 2 5
Vla. 4 4

2 5
Vla.
B 4 4

Tape
2 5
/ 4 4

16
4 b b n 2
Cl. & 4 b 4
3
p mf pp

4 bb 2
& bb b 4 b w 4
bbw
w bb
Hp.

? <b><b> 4 2
{ bb 4 bb b bbb 4
b

n 4 b n 2
& <b><b> bb 4 bb b 4
b bb

b

Pno.

? 4 2
{ 4 bw bbb bbb 4
bw
3 r j
4 b b 2
Voice & b w 4 b 4
leaves be - hind a fa - ding scar

B 4 2
Vla. 4 4

4 2
Vla.
B 4 4

Tape
4 2
/ 4 4
26
21

Cl. &

pp mf

&
b bb

Hp. mf

?
b

{
bbb

&
b b bb

mf
Pno.

? b
{ b bbb

mp mf
Voice & b b
j b

so throw your - self down

B
Vla.

Vla.
B

spoken recording:
Tape / falling leaves take so much time gaining ground

26

Cl. &

pp pp

&
b bb b b bb
Hp. f mf

? b
b

{ bbb b bbb

&
b

b bb bb
f mf
Pno.

? b bbb b bbb
{
mf

Voice & j b
b b b b
b b b >
like a chal - lenge plow the earth with your lan - ding

B
Vla.

B
Vla.

small red drops piercing and every falling leaves so throw yourself down like a challenge,
Tape / the skin of time and space behind just a fading scar like you know where you're going
 27
34
5
Cl. & 4
f pp

5
& <b> 4
<b> b bb
Hp. f

? <b><b> 5
{ b bbb


4
<b>

5
& 4
b

bb
Pno. f

? 5
b

{ bbb 4

f p
3 3
3 3
b b 5
Voice & <b>J b b 4
b b
un - til it set - - - tles a - round you a - gain and

B 5
Vla. 4

Vla. B 5
4

Tape
plow the earth with your landing 5
/ so that it settles around you again 4

=
Attempt to stay together as much as possible; some deviation is ne.
R Line up at approximately m. 79 in order to end together.
q = q.
accel.
39
3 2 2
5 6 n B
Cl. &4 # 8 j b n n j b j
#
ppp mf

5 6 bb
& 4 bb b bb b 8 b
mp
bb
Hp.
? 45 bb bb 68 b bb bb b
{ b
5 n bb 68 bb n bb
&4 bb b
mp
b
Pno.

? 45 6
{
tre corde
f

3
8

p 2

2
2
b
b
5 68 b b b b
Voice &4 n- - - b b
b
in that dark ness grow your red pe-tals

Attempt to stay together as much as possible; some deviation is ne.

R Line up at approximately m. 79 in order to end together.
accel.
sul ponticello
con sordino
5 6 j # n j
Vla. B 4 8 J
pp 2 2

sul ponticello
con sordino
##
5
Vla. B 4 6
8 J n
J n # b

pp 2 2

Tape
5 and in that darkness, grow your red petals
6
/4 8
28
q. = 96
47
2 2 2 2
j
Cl. & n j B n j
<> n n > > B
f

2
& j
pp
> >
Hp.

?
{
&
Pno. # # # #
? J
{ pp

Voice &

q. = 96 >
> > B j j
Vla. B n n B n
J
f pp 2 2 2

n > > B j j
Vla. B n B n
J J
f p f pp 2

Tape /

56

Cl. &
> n - - - n B B B j # n n j
>
2 2 2
& j j
> - - -
Hp. >
?
{
> > j j
& J
pp 2

Pno.
#> > # # # # # #>
? # # # # # # # #-# - - #>
{ J J
2 2 2 2

Voice &

B > Bj # n
Vla. n- - - nB B
2
>

>
nB B
B
Vla. n- - -
2 2
>
2

Tape /
 29
64
2 2
Cl. & j
>

2 2
& j j

Hp.
?
{
>
&

- - -
2 2 2
>
Pno.
# # # # # # # # # # # # # # # #
? J J
{
Voice &

> j
Vla. B n
J 2 2

j > j
Vla. B B # n n
J 2 2

Tape /

70
2 2 2 2
Cl. & j
j b n j # b n>
>
> fff

2
& j j
> j b n j # b n>
>
> fff
Hp.

?
{
&
j
J J 2 2
>
fff
Pno.
# # # # #>
? # # # #
# # ##

{
2 2
J

Voice &

B >
Vla. j b nj # b n> > J
2 2 2 2 fff

j b nj # b n> > >

Vla.
B J
2 2 2 fff

Tape /
leave silence before interlude
 interlude
Any instrument or combination of instruments may play this,
with any number of repetitions, taking care to play each note
short and quiet.

Continue playing until clarinetest and tape begin movement IV.

30

IV.
A q. = 50
Improvise continuous, crazy, fast melodic gestures
Clarinet in Bb
9
&8
9
& 8 J R
at of I

Harp 9
(top sta: spoken/sung) &8
? 98
{ 9

&8
Piano
? 98
{
pp
9 j j
Voice &8 J
J

J


Plu - to was ri - sing at my birth. The king of death met me when I crowned. He gave me

A q. = 50 spoken
B 9
8 R J
Viola I ri - sing king when me
(top sta: spoken/sung)
B 98
spoken
B 98
J
Viola II Plu - to birth met He
(top sta: spoken/sung)
B9
8
Polyrhythmic delay on voice
4 Tape with spoken voices
Tape
9
/8 "LILY"

=
9

Cl. &

& J R
J

J R
just then and a - way. ci - vi -lized

Hp. &

?
{

&
Pno.
?
{
mf
j j j b j
Voice & J J b b J b b
just eight years of lov - ing. then he took my fath - er and my mo - ther sent me a - way. I know how ci - vi-lized men treat

B
J
lov - ing. fath - er, me how
Vla.

B
J
years took mo - ther I treat
Vla.

Tape /
 31
18

Cl. &

& b
R

J
lived church of

Hp. &

?
{

&
Pno.
?
{ breathing quickly,
as if remembering a horrifying
event
f ff almost shouting
j j
& b b bJ b b Y b
b b J
Voice b b J

or - phans. I lived a-mong corp - ses in the church of my bap - ti - sm Lamb of God, when

spoken
B bJ b
I the Lamb arco
Vla. sul pont.
B bj j
>
fff
fast bow,
very nasty sound
spoken
B b b
J
corp - ses, my when
Vla. arco
sul pont.
B >

fff
fast bow, very nasty sound
Tape "LILY"
/
=
25 getting louder and more chaotic
Cl. &

&
J

to sword a - way.

Hp. &
wah pedal
wah pedal
? j b> wah pedal
n

{ &
>
fff

J J
fff

fff

Pno.
?
{
j j j
Voice &
J J
you came to Bri - tain, you brought the sword and ne - ver took it a - way. Zeppe-lins and U -

B
came the it

Vla.
arco arco
sul pont. sul pont.
B >
>
fff fff
come prima

B
you ne - ver and

Vla. arco arco

sul pont. sul pont.
>
B
n
>
fff fff

Tape /
32
30

Cl.
4
& 4
sung
ff
4
&
J

J

J


4
chlo - rine bro - ther France.

Hp. 4
& 4

? 4
{ &

4
4
Pno.
? 4
{ 4

j j ff 4
Voice & J j J 4

boats and chlo - rine gas set - tled ov - - er my bro - ther in France.

B 4
4
and arco my France.
Vla.
sul pont. ff
B > b 4
> 4
fff
sung
B 4
J 4
sett -led
arco France.
Vla. sul pont. ff
> 4
B 4
J
fff

Tape
4
/ 4

= 60 seconds

34 B gradually die out

Cl.
4
&4 &

4
& 4

Hp.
4
&4 &

? 44
{ 4

&4
Pno.
? 44
{ linger on
[o] and then
&

[m] until breath

runs out
Voice
4
&4
w
OM

B
B 4
4
linger on
Vla.
[o] and then
[m] until breath
runs out
B 44 w
OM
B 44
linger on
[o] and then
Vla.
[m] until breath
runs out
4
B 4
bw
OM

Tape
4 "LILY"
/4
 C 33
38
> > > > >
& w #J J #J w w
J
Cl.
fff fff fff mf ff

& w
ww

#w
w
w
w

ww

Hp.
fff
?
{ w
ww #w
w
w
w #w
ww

#w
w w w
w w
w w ## w
w
w w
&

fff
Pno.

w bw w
w w
w w #ww
& w
{ w w

loud beginning and ending consonants etc. + poco vib.

loud [s] sfffz loud [x] f mf p
> # w
Voice & w J # #
Six thou - sand dead in ten
C
vib.
#wmolto sul pont. w w
w #w
w
Vla. B w J w
J J J
fff
vib.
molto sul pont. w
w j w w
Vla.
B w
J
w
w J w
J
fff

Tape / "LILY" delay o

49

Cl. &
<#>w # w
J #
p fff mp

& w
w w ww
Hp.
w bw
w
? w
{ #ww w
bw w
w
w
w

w w bw bw
w w w
&
Pno. w
bww bw w w
bw w
{
&

bww

ff operatic mp p

Voice &
#
min - utes How can

w ord.
Vla.
B

w
J
#w
w
bw j bw
j

J
w nw n
w ord.
w j bw j
B

J


Vla. w
w
w J

Tape "LILY"
/
34
62
>
Cl. & # w
J nJ
mf fff fff

& w w w
#w
Hp. p ff
? bw w
bbw
bw
{ bw
w
w
w
w
#w
w

w
&
Pno. p ff
w w
{ & w w w
w w

pp p f pp mp mf pp
Voice # w n
& J
I mourn so

B
Vla.
bw bw
B w J w J j w
w J
p ff

B
Vla. w w
B J J w
j J
w
p ff

Tape /

74 To Tenor Sax
>
Cl. & J
fff

with tape

& w w
w w
Hp.
? w #w w
{
with tape w
w
&
Pno.

{ &
w

#w

#w

bw

pp n p ff operatic pp mp pp pp
>
Voice & # w #
ma -ny How can I mourn so ma -

with tape w
B j J w
j
Vla. w J w

w
j J w j
B w J

Vla.
w
"LILY"

Tape / synthesized drone sounds begin

 35
86

&
w w w
Hp.
? w bw

{
Pno.
{& w w w w w

Voice & #
ny

B bw j w
Vla. J w J w w
J
bw j w
B
Vla. J w J w w
J J

Tape growing noise

/
=
100

Hp.
{& w w w
Pno.
{& w
pizz
B w
Vla.
pizz
Vla.
B

Tape many voices speaking at once

/
=
116
B
Vla.

Vla.
B

Tape /
=
127 Drone enters under speaking voices; synthesized drone continues and all drop o eventually.
Tape Whenever you hear vocalist begin singing material from movement V, which may occur
/ during the end of this movement, begin imitation of her as per the directions in movement V.
 V.

36 Imitate the vocalist's choice of phrases, using your phrase with the corresponding number. Enter approximately at the point that the vocalist sings her second pitch.

At the beginning of the movement, perform each cell as slowly as possible, so each note is almost a drone. Gradually speed up with each imitation, following the tempi
and dynamic of the vocalist. The tape should come in once you have reach the fastest possible tempo as an ensemble. At this point, move on to movement VI; the
vocalist will lead this transition, which will be signaled by a change in the tonal center of the electronics.

This section lasts approximately 3'00". Vocalist will start it at approximately 23'00" - after the electronic drone in movement IV.

Tenor Saxophone & imitate whatever the vocalist sings, as you hear it. as the movement progresses, gradually add ornamentations and variations.

&
Harp imitate whatever the vocalist sings, as you hear it. as the movement progresses, gradually add ornamentations and variations.
?
{
& 1 2, 4

Piano

?
{
3, 5
tacet

Voice &
1 2

3 4

Any of the above phrases, replacing text with variations of [ng], [a] and [ha]

B
Viola 1, 3 2, 4

1, 3, 5
seagull eect and of course, wild card, if you're so moved....
Viola
B

Voice pitch-shifted and delayed by heartbeat

Tape / 5,6,7 Pre-recorded sounds will begin after 3 minutes.
 37
VI.
Cue: "look down on
the white heads of
A q = 54 your children,

3
Tenor Saxophone
2 #
&4
n f Cue: "the mountains
that you sprouted,"

4
using wah pedal at will
2
&4
n f
Harp
? 42
{ Cue: "Look down Lily,"

2
2
&4
p f
Piano
Cue: "from
the molten
womb below"
? 42 ?
{ 2
1

pedal ad lib.

Voice &4
NG AH
n f Cue: "the mountains
that you sprouted,"

A q = 54 con sord. 4
arco
B 2
Viola I 4
n f Cue: "from the
molten womb below"

con sord.
5
arco #
Viola II B2
4
n f

1 30 seconds 2 3 4 5
Tape
2 string strum "Look down Lily," "look down on the white "the mountains that "from the molten
/4 voice processed by heartbeat (until end of piece) heads of your children," you sprouted" womb below "

13

Ten. Sax. &

&
Hp.
?
{
&
Pno.
?
{

Voice &

B
Vla.

Vla.
B

Tape /
38 B
22

Ten. Sax. &

&
Hp.
?
{
&
Pno.

?
{
Begin this at approximately the point where the electronic tones start sounding more sustained.

p f ff
3 3 3 3 3
j b n
Voice & . -. -. > . b
- -. >. > .
I can see them Kul - shan Ta - ho - ma

B
B
Vla.

Vla. B

longer tones
Tape /

32

Ten. Sax. & # ?

3 p ff

&
3 p ff
Hp.

?
{
#

&
p ff
3
Pno.

?
{

gradually turning to whisper

gradually turn from whisper to pitch

pp mp f
b 3bb 3 3 3 U
Voice & n
. > .
b
J
b b
. n

> . n > >
and their count less is - land chil-dren breech - ing in the Sal - ish

Vla. B
3 p ff

#

Vla.
B 3 p ff

Tape /
wait for tones to nish,
then begin next movement
following singer's cue
 VII.
39

A e> = 129 >

bbbb bbbb
grating noise,
b following singer's whisper
bb
Tenor Saxophone
? 88 b 5
8
b J b J J
> the spon-gy earth > the dome a - bove
ff pp ff pp

grating noise, etc.

follow contour of singer's spoken gestures following singer's whisper
8 5
&8 J J J J 8
Harp I AM the spon-gy earth and I AM the dome a - bove
ff
? 88 5
{ follow contour of singer's spoken gestures
grating noise,
following singer's whisper
etc.
8

8 5
&8 J J J J 8
I AM the spon-gy earth and I AM the dome a - bove
Piano ff

? 88 5
{ 8

sprechstimme-like, any pitch level
ff

whispered loudly

etc.
8

5
Voice &8
J

J

J J 8
I AM the red hot la - va and I am the spon-gy earth and I AM the dome a - bove

A e = 129 grating noise, etc.

B 8 follow contour of singer's spoken gestures following singer's whisper
5
Viola I 8
J

J

J J 8
I AM the spon-gy earth and I AM the dome a - bove
ff
grating noise, etc.
follow contour of singer's spoken gestures following singer's whisper
8 5
Viola II
B 8
J J

J J 8
I AM the spon-gy earth and I AM the dome a - bove
ff
Tape
8 5
/8 8

=
>
bbb
8 bb any contour
? 58 b 8
Ten. Sax. b 8
>
ff pp p

any contour
5 8
&8 J 8J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing
p fff p
Hp.

? 58 88
{ 5

any contour

&8 J 8J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing
Pno. p fff p

? 58 8
{ 5
p
8

fff
Voice &8 88
J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing
any contour
B 5 8
Vla. 8 8J
J J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing p
p fff

any contour
5 8
Vla.
B 8 J 8J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing p fff
p fff
Tape
5 8
/8 8
 B e = 198
40 # #
16
? J U 5 6 J 5 6 J 5
Ten. Sax. 8 8 8 8 8 J J
ppp
fff very plainly

U 5 6 5 6 j 5
& J J
8 8 # j 8 8 # 8 j

ppp
Hp. fff very plainly

? U 5 6 5 6 5
{

U
8

5 6 5
8

j 5
8 8 8

& J J
8 8 # j 8 8 # 8 j

ppp
Pno. fff very plainly

? U 5 6 5 6 5
{ 8
una corda
8 8 8 8

U ppp
5 6 5 6 j 5
Voice & 8 8 # j 8 8 # 8 j

Guide it west - ward and slip it in - to the dark-ling sea

B e = 198
sul
tasto # #
U 5 6 58 6 J 5 j
Vla. B 8 8 J 8 8
ppp
fff
sul tasto
# #
U 5 6 58 6 J 5 j
Vla. B 8 8 J 8 8

ppp

Tape
5 6 5 6 5
/ 8 8 8 8 8

25
? U 12
Ten. Sax. 8

U 12
& 8
Hp.

? U 12
{

U
8

12
& 8

Pno.

? U 12
{ spoken (only once)
8

12
Voice & it blooms in my darkness. Its over. And its just beginning. 8

B U 12
Vla. 8

U 12
Vla.
B 8

Tape
U 12
/ 8
 TAPE CUE:
"like you know where
you're going. PLOW"

26 C q. = 50 D q. = q
? 12 4 J B b #- 41
Ten. Sax. 8 4 J
p

12 4
&8 4 b n
Hp.

? 12 4
{ 8 4

12 4
&8 4 b b

ppp
Pno.

? 12 4
{ 8

ppp almost whispering

change pitch level occasionally; don't be "in tune'

4
una corda
pedal down until end

2 2
12 4
Voice & 8 bj b nj j
j b b 4
b
da da da da da da cask - et bang it like a drum

D q. = q
C q. = 50 sul tasto
12
Vla. B 8 4 b B B b B
4 J J
ppp sempre

col legno battuto

Vla. B 12
8 4
4 j
.
p

Loop of:
Tape
12 "it blooms in my darkness. 4
/ 8 Its over. And its just beginning"
4

32 b . b
Ten. Sax.
? nJ. n B
.
J b
R
p ppp

&
w
w bw
w w
w >
Hp.

?
{

& b
w
>
Pno.

?
{

Voice &

B b 3 b B j n b 3
B j B b j B j
Vla. j J J J J
3 3 3

nj B # j j r b. b
B b
Vla. bbn
b - n. n B n
pp p pp pp

Tape Telephone-ltered and delayed replaying of vocals from beginning of piece

/
42
37

Ten. Sax.
? b n B b #- b nJ. n B b b n n J. b

J J R
p p pp

& w w w
>
Hp.

?
{
& w
w w
>
Pno.

?
{

Voice &

B 3
b B B b B b B j
Vla.
J
J
J j J J
3

Vla. B b. b j b b nn b. b b
j
. nB n . b j
. n
p ppp pp p pp

Tape /

42

Ten. Sax.
? 2
4

2
& 4
w w w
Hp.

? 2
{ 4

2
& 4
w w w
Pno.

? 2
{ 4

2
Voice & 4

B b B j n b 3
j
Vla. J J
B b

j B 2
4
3
J
3

j j r b. b 2
B B b #-
Vla. b b n 4
n. n B n

Tape
2
/ 4
 43

47 E q = 50
2
&4

Hp. let fade completely
? 42
{ f

>

2
&4
Pno. hold until it fades completely
? 42
{ f

>
tre corde

bluegrass vocal: non vib., add ornamentation,

scoops, sing through hard [r] sounds 3 3
U 3
Voice
2
&4 j j
j bj B b n B j j
b b b
j
b
so this is where I've come to a val ley stripped of high and low
freely, out of tempo

E q = 50
>
2
Vla. B 4
f p

Vla. B2
4
>
f p
=
56

Hp.
?
{

Pno.
?
{
3 3
U U U3
Voice & j
j bj B b n B j b b j b
b
no bro - thers kil - ling bro - thers for a throne

B
Vla.

Vla.
B

=
65 3 3
U U
Voice & j b j b bj b b n B j
b b
a go-vern ment of the peo ple for the peo-ple needs the cou- rage of a li - on,

B
Vla.

Vla.
B

=
76 3
3 U 3 3 U
Voice &
b b b
j
b b b n b b b n b
and the strength of ma-ny bears does this val ley nur-ture li - on hear-ted peo - ple

B
Vla.

Vla.
B
44
85

Voice & b b b b b b


can my heart stretch wide e nough. can my heart stretch wide e nough. can my heart stretch wide e nough.
watch singer
for cut o
B
Vla.
watch singer
for cut o

B
Vla.