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Instrumentation:
Inserti Coda Coda Coda
Section Intro A B Trans C Trans D1 D2 Trans E
Fl + Bass Fl, B-flat Cl + Bass Cl., E. Guitar, on 1 2 3
Piano + Elect. Keyboard + Kazoo,
Percussion: Vibraphone, glockenspiel, 1-6 7 - 32 33 - 62 - 66 - 101 - 107 - 126 - 131 - 188 - 194 - 213 - 221 - 1:30
Bar #
61 65 100 106 125 130 187 193 212 220 234
marimba, 3 gongs, 3 susp. cymbals, tam-
tam, gran casa, guitar pitch pipe. Vln, Viola, Length
6 26 29 4 35 6 18 5 56 6 19 8 14 ~23
Cello, Electronics (bars)
Larger
6 55 4 35 6 79 6 19 45
sections
Section D Section E
Coda 1 Coda 2
Instrumental techniques Musical elements
Flute and Bass Fl. • Development of musical gestures through expansion and
compression.
Harmonics (simple and polyphonic), tongue ram, flutter
tongue (w/wo note) embouchure gliss., quarter tones, • Objets sonores of great complexity created through elaboration
singing in instrument, harmonics tremolo, air only. of single instrumental lines.
Clarinet and Bass Cl. • Fusion of harmony and timbre to create musical structures
Bending, harmonics, glissando (plectrum), bottle-neck slide, • From spectralism: Sounds are recognized and treated because
muting, tremolo, volume pedal, scordatura (6th string). of its spectral component. Sound beyond pitch.
Multiple effects: distortion, chorus, flanger, reverberation,
etc.
Piano
Ever since I was born, I have been immersed in digitalized
Kazoo, extreme high register. Synthesizer with prepared images, synthetic sounds, artifacts. Artificial, distorted, filtered
sounds: pitch bend, 1/4 tone tuning, expression pedal. – this is the nature of man today’
Percussion
“…This inquiry of the perceptive systems through the
Guitar pitch pipe, singing, glock. mallet on vibraphone, hallucinogenic states have become my means to penetrate
bowed gong, bowed vibraphone, gong glass in water, bass into a universe that cannot succumb to the claustrophobic
drum w/super ball. formalism of contemporary music. It allows me to escape from
the Utopia of the educated and polished sound. That sound
Strings that is coated with full intentionality, but has no body, no flesh,
no blood. In the mescaline territory, education and good taste
Gliss. (short and long - single and multiple stops - slow and
are absent…”
fast), pizz, regular and metallic mute, sul ponticello, s.p.
tremolo, transition from s.p. to ord, sul tasto, double natural
and artificial harmonics, natural and artificial harmonics gliss
(seagull effect), ponticello harmonics, jeté, overpressure, Fausto Romitelli
quarter tones, transition from bow to legno.