1 %-- Étoile sans couleur -- flute.ly -------------------------------%
2 % (c) 2011 Valentin Villenave <valentin@villenave.net>
7 %%% This part is written for a Hulusi flute or « gourd/silk flute »,
8 %%% a traditional instrument from southern China (specifically the
9 %%% Yunnan province and the Dai ethnic minority, where it is known
10 %%% as « bilangdao »). It has a reputation of expressing tenderness,
13 %%% What you will need here is a hulusi in "G key", that can natively
14 %%% produce the notes D - E - Fsharp - G - A - B - D - E. Half-tones
15 %%% and complementary notes are obtained with half holes or by letting
16 %%% the fingers float above the holes without covering them; an
17 %%% additional lower B may be obtained with very little air pressure.
18 %%% I also require at least one extra pipe (most hulusi flutes have
19 %%% one or two drone pipes), that plays the middle B (_not_ the lower D).
21 %%% What the hulusi lacks in playing range, it makes up for in rich,
22 %%% varied sound textures (from transparent and ominous pp to rough
23 %%% and buzzing, not unlike a distorted electric guitar).
25 %%% (sigh) I'm not supposed to say this, but: if you *really* can't
26 %%% get ahold of a hulusi, then you *may* try and get away with a
27 %%% tenor recorder. Shame, though. -vv
30 Flute
= \relative do
' {
33 R
2. R
2.-
\fermataMarkup
38 \grace si
4( mi
2.)~
^"(non vib.)" mi
8 redsd
( mi
2) |
39 re
!4(\glissando -
"gliss." mi
2)~ | mi
\> r
4\! |
40 si
(--
\pp \t {re
16^"détimbré"\> mi re
} \tt {mi
32 re mi re mi
}
41 \pitchedTrill re
8)\!\startTrillSpan mibsb r
8\stopTrillSpan |
42 \tt {sol
16(\< re
) mi sol
( fad
)} \acciaccatura sol
43 \pitchedTrill fad
4\mp\startTrillSpan~ solsb
44 fad
8\stopTrillSpan \t {re
16( mi sol
)} |
45 r re
(\> mi sol
\glissando fa
8.\!) r
16 \tt {re--
\< mi-- sol-- fad-- la~
} |
46 la
8\mf\glissando sibsb sib
16-
. fad
8--
(\glissando mid
16) fad
8 r |
47 re
32(\< mi
) sol
( fad
)\t {la
16-
. mi-
. sol-
.\!} r
16 sol
32(\> mi re
8\!)~
\t {re resd
( re
)} |
48 \tt {mib
16(\> re
8) mib
16( re
} si
4)\pp r |
51 r
\t {sol
'16(\mf la mi
)} fad
8~ fad
4~ |
% First solo.
52 fad
4.(\< solsb
8\> fad
4)~ |
53 fad
4.\! sol
4(\glissando fa
8)~ |
54 \t {fa
8 sol
16(\< la mi
8)\!~
} mi
4 r
8 fadsd-
. |
55 \acciaccatura la
16 \t {sol
8 solsd
( sol
)~
} sol
4. fad
8 |
56 la
2~
\p\< la
8( si
\glissando |
57 dod
2.\mp)~-
"ten." dod
2 r
8 \t {sol
16(\mf la mi
)} |
58 fad
4~ fad
16 la
( \t {solsd la sold
)~
} sold
4 |
59 \tt {r
16 sol
( la mi
) fad-
>~
} fad
\< sol
8( fa
16) la
8-- si--~ |
61 \letter "m" la
(\glissando
62 \letter "o" do?
) \letter "r" fa
,( \letter "t" si
4.)
64 r
4 r
8 \t {sol
'16(\mp la re
,)} mi
4~
\< |
65 mi
8\glissando fa?~ fa
16( fasd fa
8)\! r mi
\prall \glissando |
66 fad
2( mi
4\> sol
2) r
4\! |
67 \tt {r
16 sol
(\mf la
) re
,( mi
)~
} mi
16 fa
32-
> solsb fad
4.~ |
68 fad
16 sol
32-
> lasb sold
4
69 fad
8^\markup \center-column
{
70 \musicglyph #"scripts.prall" \tiny \semisharp }
71 la
4~ |
\t {la
8(\> si
\glissando dod
)~
} dod
2~ dod
8\! r r
2 |
75 mi
,2~-
"(non vib.)"\p mi
8(\glissando fa |
77 r
2 mi
4~ | mi
8\glissando fad
4.
78 \t {r
8 \acciaccatura solsd
16\mf fad
8( mi
)} |
79 sol
4--~ sol
16 lasb
32-
> sol la
8~ la
4~ | la
8 r si
,2\pp |
80 r
2 sol
'4~
\p | sol
16 sol
32-
> lab sol
8~
81 \ttt {sol
16\< la sol la sol la
} \ttt {sol
\> mi re mi sol la
} |
82 sol
2~
\p\<\startTrillSpan sol
8\!\stopTrillSpan \t {sol
16( la re
,)} |
83 mi
8--
\p\> re
32( mi re mi re
2)~
\startTrillSpan |
84 re
8(\stopTrillSpan si
)\! r
2 |
85 \acciaccatura misb
16 re
8-
.\sf r r
4 r
8 re
32\< mi sol la |
88 si
4-
>\f r r r
8 \t {la
16( si la
} si
4) r |
89 r
8 \acciaccatura mi
,16 re
8\sfz
90 r
4 r mi
4:32~
\< -
"(flatt.)" mi
16\! fa mi
8~ mi
4 |
91 r
8 mi
8:32~
\< mi
4 \t {re
16\!( mi re
} mi
8-
.)
92 r
8 \t {re
16( mi re
} mi
4-
.) r
8 re
32\< mi sol la |
93 si
4-
>\f r
\tt {si
16 la si la sol
} \tt {mi re mi sol la
}
94 \tt {si la si la sol
} \tt {mi re mi sol la
} |
95 \tt {si la si la sol
} \tt {mi re mi sol la
}
96 \tt {si la sol mi re
} \tt {mi sol la si la
}
97 \tt {sol mi re mi sol
} \tt {la si la sol mi
} |
98 \tt {re
_"sostenuto" mi re mi re
} mi
4-- r
8 re
8:32~ re
8 r
99 \ttt {mi
16-
\dyn "f_sempre" sol mi sol mi sol
}
100 \ttt {re si
' re
, si
' re
, si
'} |
101 \ttt {mi
, sol mi sol mi sol
} \ttt {re si
' re
, si
' re
, si
'}
102 \ttt {mi
, sol mi sol mi sol
} \ttt {re si
' re
, si
' re
, si
'}
103 \ttt {mi
, sol mi sol mi sol
} \t {mi sol mi
} r
8 |
104 \ttt {re
16 la
' re
, la
' re
, la
'} \ttt {mi sol mi sol mi sol
}
105 \ttt {re la
' re
, la
' re
, la
'} \ttt {mi
\dim sol mi sol mi sol
}
106 \ttt {re sol re sol re sol
} \ttt {mi fad mi fad mi fad
} |
107 \tt {re
\p mi re mi re
} \t {mi
8 re mi
}
108 re
2~-
"ten."\startTrillSpan re
4\stopTrillSpan r |
111 R
1.*4 mi
'2~
\p\< % The highest note is soft but bright.
112 %% (Thusly, I've been saving it for this moment.)
113 \t {mi
4( re mi~
} \tt {mi
8 re mi re mi
} |
114 \tt {re
)\f re
,( mi sol la
)}
115 \t {sib
(\> la sib
} %% Like an improvisation on a blues scale.
116 \t {la sib la
} \t {sib la sib
\glissando} la
4)~
\< |
118 r
1 mi
'2~
\p\< mi re
4( mi
)~ mi
16(\! re mi re
) \t {si
8(\f la sib
} |
119 la
2) sol
4(\>\glissando la
2.)~ la
4\! r r
1 |
122 R
1.*2 r
2 si
1:32-
\dyn "p_espr."\>(\glissando
123 ladsd
4)\! r r
1 |
%% A bit like a baroque lamento.
125 \pl {si
1~-- si
2.} %% Double pipe.
126 {si
2.(\pp\glissando ladsd
4 lasd
2.)} r
4
127 \pl {si
2~-- si
1} {si
2(\<\glissando do
1\!)}
128 r
8 \pl {si
4.~-- si
1.}
129 {si
4.\<\glissando \t {dod
4( dodsd dod
)~
} dod
1\!} |
130 r
4 \pl {\oneVoice si
2.~
\voiceTwo si
2~ si
4}
132 r
4 r
2 \t {r
4 <mib
, si
'>4:32~
\sfp_( <re si
'>4)} |
133 r
<re si
'>4:32~
\sfp <re si
'>8 r r
4 <si si
'>2\ppp~ |
134 <si si
'>2.-
"ten." r
4 r
2 |
138 r
2 re
16(\< mi sol la |
139 re
2-
>)\f r
4 |
\acciaccatura mi
,8 re
4\sfz r
2 |
142 \letter "t" si
'4-
.--
\f
144 \letter "i" dod-
.-- |
146 r
\t {mi
8(\< re mi
)\!} r
4 |
147 r
4 sib
4:32\f~
\t {sib
8 si
( sib
)} |
151 \pitchedTrill mib
2.:32\fff\<\startTrillSpan re
152 re
4\!\stopTrillSpan r
2 |
154 si
'2.~-
\dyn "p_espr."\>( si
4\glissando ladsd
)\! r |
156 <si dod
>2.~
\p^"(vib.)"^( <si re
>4) r
2 |
158 %% This is a low note, so I wouldn't
159 %% worry too much about air.
160 si
,2.\ppp~ si~ si~ si~ si~ si
4 r
2 |
162 si
2.(\< re
2\pp mi
4)~ |
163 mi
2.^"ten."~ mi~ mi
4 r
2 |
164 red
2.(\glissando mi
2.)~
169 R
2. \t {r
4 si
'8-
\dyn "pp_espr."\>(~
}
170 si
4.\glissando ladsd
8)\! |
172 si
4.--
\p do--~ do si--
(\glissando
175 r
2 \t {r
8 si
,4\ppp~
} si
2 r
4 |
177 r
2 si
4(\< mi
2)\>\glissando redsd
4\! |
179 %% This is a quote from Kurt Weill and Bertolt Brecht's
180 %% Berliner Requiem (specifically, the Marterl song).
181 r
2 r
8 si
'(\glissando \mf |
182 do
2~
^"(ben sostenuto)" do
8 si
\glissando |
184 re
2.)~ re
2 r
8 fad
,(-
\dyn "mf_sempre" |
186 la
2~ la
8 si
\glissando |
191 red
,4\mp( mi
)~
\t {mi
8( red mi
} |
192 \tt {red
16 mi red mi red
} mi
4) r |
193 red
2\p( si
4) red
2( si
4)~ si
2 r
4 |
195 re
!2\p( si
4) re
2( si
4)~ si
196 \t {re
8(\< mi re
} \tt {mi
16\> re mi re mi
} |
197 re
4.)\! r
8 mi
'4~
\p mi
2.^"ten."~ mi
2 r
4 |
198 R
2.*3 R
2.*2-
\fermataMarkup
201 %------------------------------------------------------------------%
