Wirewound (2017)

for mixed chamber ensemble

Andrew A. Watts
CP-036
 Wirewound (2016) - Andrew A. Watts
Program Note
Wirewound (2017) is a compositional experiment overlaying two
distinct procedures, a fractal treatment of form/section and an
isorhythmic treatment of color/texture. The result is seen in the
writing of the dual wirewound instruments' moto perpetuo
through-line, functionally akin to a spinal column. The orchestration
of the mixed ensemble “blooms” or collapses from this axial
structure.
The cover page image was designed by Andrew A. Watts
Instrumentation
Alto Flute (or Bass Flute)
Bass Clarinet in Bb
Wirewound Instrument [A]
May be an electric guitar, electric bass, piano (baby grand or
concert grand with easy access to the strings), or any other
instrument with wirewound strings tuned to the low three
strings on a standard guitar. This part can be performed by
any musician able to execute the music on the above
instrument options. If performed on a electric guitar or
electric bass a plectrum should be used for the diagonal
string scraping. If performed on a piano a plastic card (such
as a credit card or library card may be used) or a heavy
plectrum for the lengthwise string scrapes. No pedals should
be used if performed on a piano.
Wirewound Instrument [B]
This must be an electric guitar. A plectrum should be used
for the diagonal string scraping. The scordatura at the
beginning of the piece is:
IV → Db3 (a half tone or 100 cents below standard)
V → Ad2 (a quarter tone or 50 cents below standard)
VI → D2 (a whole tone or 200 cents below standard)
Violin
Viola
Violoncello
Performance Notes
Duration (approx.): 6 minutes 30 seconds
Transposing Score.
Below are the tempo changes in the piece along with their relations:
• m. 10 e = 80 to 66.6 is a ratio of 6:5
< e. = e_y > [or] < q. = q_x >
• m. 18 e = 66.6 to 100 is a ratio of 2:3
< q = q. > [or] < e = e. >
• m. 26 e = 100 to 133.3 is a ratio of 3:4
< x. = e >
• m. 34 e = 133.3 to 80 is a ratio of 5:3
Tempo primo [or] < e._e = e. >
• m. 38 e = 80 to 66.6 is a ratio of 6:5
< e. = e_y > [or] < q. = q_x >
• m. 47 e = 66.6 to 55.5 is a ratio of 6:5
< e. = e_y > [or] < q. = q_x >
• m. 55 e = 55.5 to 83.3 is a ratio of 2:3
< q = q. > [or] < e = e. >
• m. 63 e = 83.3 to 111.1 is a ratio of 3:4
< x. = e >
• m. 82 e = 100 to 83.3 is a ratio of 6:5
< e. = e_y > [or] < q. = q_x >
• m. 91 e = 83.3 to 125 is a ratio of 2:3
< q = q. > [or] < e = e. >
• m. 99 e = 125 to 166.6 is a ratio of 3:4
< x. = e >
• m. 107 e = 166.6 to 133.3 is a ratio of 4:5
< e = e_y >
• m. 118 e = 133.3 to 111.1 is a ratio of 6:5
< e. = e_y > [or] < q. = q_x >
• m. 126 e = 111.1 to 166.6 is a ratio of 2:3
< q = q. > [or] < e = e. >
• m. 134 e = 166.6 to 66.6 is a ratio of 5:2
< q_x = e >
i
The entire piece should be conducted if possible. However,
unconducted performances are acceptable as well. The frequent tempo
changes are a result of a top down fractal form. The perceived
relationships between sections is aided by the complex set of
proportions between the tempi. Please observe these as closely as
possible.
The tempi at the end of the piece are quite quick for some players to
complete their respective phrases. If having difficultly getting up to
speed, these passages should be approached with the mindset of fitting
in as much of the notated music as possible while observing the tempo.
Though not optimal, if a player is unable to complete a given technique
before the next, simply move on to ensure the onset of each technique
is in time.
Maintaining the tempo relations should be given priority over any
incompleteness of particular parts due to excessive tempo/phrase
demands.
For G.P. all players should remain completely still and silent during the
full duration of the pause.
Accidentals apply only in the measure and register in which they
appear.
Microtonal accidentals (in diagram from left to right):
¾ tone flat, semi tone flat, ¼ tone flat, natural,
¼ tone sharp, semi tone sharp, ¾ tone sharp.
Change gradually from one sound or one way of playing (etc.) to
another.
Stems connected to glissandi lines are used merely as guides to help
indicate the meter (i.e. where the beat is in relation to the slide).
Please do not accent these. Rather, re-articulate freely and staggered
according to the demands of the phrase.
WINDS
Breath tone (b.t.)- use the fingering needed to produce the
marked pitch. However, do not produce the normal tone, just
blow air through the instrument. For alto flute, a pitch-less,
forceful, air-tone is desired. For bass clarinet, the desired result
is half breath sound and half pitch.
X Key click (k.c.)
Flutter-tongue or Flatterzunge (flz.)
Slap tongue (S.T.)
WIREWOUND INSTRUMENTS
Diagonal picking– use a side edge of plectrum at a perpendicular
position to the string(s) and scrape/slide along the string length.
A harsh, metallic sound is desired; reminiscent of a tension wire
creaking and stretching from undergoing extreme levels of
weight and stress.
Diagonal pick scraping is at the core of the timbral world for
Wirewound. Given the fractal nature of the part, the same
rhythms are experienced in very different tempi over the course
of the work. As a result, sometimes the rate of diagonal pick
scraping is slow enough that the individual wound rotations on
the string are audible, akin to the notches on a guiro. Other
times, the fast tempo will necessitate the scrape to sound as one
unbroken gesture (rather than perceivable notches on the
string). This variation in diagonal pick scrape sound in relation
to tempo is intentional and should not be avoided.
If a clean amplifier tone is desired it should highlight the
presence of the individual notches while performing the slow
diagonal pick scraping technique. This should still be a quite
balanced tone, if possible, and not too “twangy.” If a distorted
amplifier tone is desired it should be sustained (not “muddy”),
again to highlight the subtleties and profile in the diagonal pick
scraping gesture. Recommended distorted amplifier controls1:
 Wirewound (2017) - Andrew A. Watts
ii

In this diagram Calif. is intended to emulate a generic Mesa/Boogie

style amplifier tone, British is intended to emulate a generic Marshall
style amplifier tone, and Tweed is intended to emulate a generic Fender
style amplifier tone.

The master volume level on the amplifier may deviate from the diagram
depending on what the player feels is appropriate for the venue,
audience, and blending mix with percussionist/ensemble.

It is advantageous for each amplified wirewound instrument to use a

volume pedal to achieve a more consistent and nuanced control of the
dynamics. If used, dynamics of PP or softer should be with the pedal
completely off. Meaning, that the softest dynamics will be performed
acoustically (while still on electrified instruments). The use of a volume
pedal will allow the performers to seamlessly fade in amplification
within a given diagonal pick scrape gesture.

VIOLIN, VIOLA, & CELLO

X Scratch tone (scr.)

... Ricochet bowing (ric.)

Snap or Bartok pizzicato

Mute string(s) with left hand

col legno battuto

col legno tratto

Bow / plectrum position diagram [example]

BB – “behind bridge”/often used with scratch tone.

sp/m– “maximum sul ponticello” / as close to the bridge as possible

but still pitched.
SP – descending degree of distance from the bridge.

ord – halfway between the bridge and the fingerboard.

ST – descending degree of distance from the bridge.

st/m – “maximum sul tasto” / substantially over the fingerboard.

1 Tech 21, Inc. Trademark 300. New York: Tech 21, 2003. Support Manuals. Tech 21, Inc. Web. 9 Oct. 2013.
…..<http://www.tech21nyc.com/support/manuals/amps/Trademark300-OM.pdf>.
Transposing Score written for Distractfold Ensemble

Wirewound Andrew A. Watts (2017)

e = 80 (Cycle I)
 D2    

 sp/m
 
[lift]

[lift]   
[lift] 
SP SP
ord
ST ST
Wirewound st/m
instrument Always scrape string
[B] lengthwise w. plectrum
IV
    
 
 VIV
 

sfpp* p pp-p pp mp pp-p


     (remain completely
still during silence)


5    sp/m
 SP
  G.P.

Wires[A]
IV      

 VIV 
pp* f


(remain completely
tuning peg gliss.
D 2
[lift]


still during silence)
[lift]
 sp/m  G.P.
SP
ST
st/m
Wires[B]
IV 
 

V

 VI 
fpp f pp


A e = 66.6
    

10   SP
  
ST

Wires[A]
IV    
 

V
 VI
pp f

D 2
tuning peg gliss.
tuning peg gliss. D§2   
 SP
ord
ST ST ST
st/m st/m
Wires[B]
IV
     
 
 VIV
 
f pp-p mf

 SP
ST

Vc.

 
con sord. 3
   
   gliss.   gliss.   gliss.        
pp f

*It is advantageous for each amplified wirewound instrument to use a volume pedal to achieve a more consistent and nuanced control of the dynamics. If used, dynamics of PP or softer should be with the pedal completely off.
Meaning, that the softest dynamics will be performed acoustically (while still on electrified instruments). The use of a volume pedal will allow the performers to seamlessly fade in amplification within a given diagonal pick scrape
gesture.

© 2017 by Andrew A. Watts. Published by Counterpoint Printworks (ASCAP). International Copyright secured.
All Rights Reserved. Copying or reproducing this publication in whole or in part violates the Federal Copyright Law.
2 Wirewound (2017) - Andrew A. Watts

    
ord.  b.t.
14     
senza vib, b.t.
   

B. Cl. 
     
 

pp mf pp

sp/m  
 SP SP
ST

Wires[A]
IV     

 VIV


mf pp-sfpp

 tuning peg gliss.

D 2

tuning peg gliss. D§2
 sp/m
SP
 SP
ST

Wires[B]
IV
 

V

 VI 
pp mp pp

sp/m  
 SP SP
ST

Vc.

senza vib.
   
4:3
                
 
pp f


B e = 100

18
 ord.
 b.t.
  ord.


 5:3
      
4:3
 
  
 
  

B. Cl. 
       
    lip gliss. 
f pp p sfz

sp/m
 ord
ST

Wires[A]
IV       
 
 
V
 VI

sfpp p sfpp

tuning peg gliss.

Eb2
  
sp/m
 ord
ST ST
st/m st/m
Wires[B]
IV
    
 
 VIV
 

sfpp p pp mp pp sfpp

sp/m
 ord
ST

Vc.
 
3
        
                

gliss. gliss. gliss.

pp f sfz
 Wirewound (2017) - Andrew A. Watts 3
    
  
22     
b.t. ord., espress. b.t. ord. b.t. ord.
 4:3
B. Cl. 
             lip gliss.                  
sub p sub p
 lip gliss.
mf pp f p mf pp mp

   
SP SP
ord
ST ST

Wires[A]
IV
 

V

 VI 
p sfpp p sfpp p
tuning peg gliss.
E2
   
SP SP
ord
ST ST

Wires[B]
IV
 

V

 VI 
p sfpp p sfpp p

   
SP SP
ord
ST ST

Vc.
 9:8 9:8 col legno tratto, espress. norm.
 
       

     
gliss.  gliss.
mf pp p-sfp f mp

C e = 133.3
 S.T.-ord.

   
flz.
26   b.t.  ord., espress.  
9:7 7:5 5:3

B. Cl.    
                        
          
 gliss. gliss. 
sffpp p pp p sfp pp p sfp

sp/m 
 SP
ST ST
st/m
Wires[A]
IV    
   
 
V

 VI

mp-pp p mp-pp p mp-pp

 tuning peg gliss.

E§2
  sp/m 
SP
ST ST
st/m st/m
Wires[B]
IV
     
 
 VIV
 
mp-pp p mp-pp p mp-pp

 sp/m 
SP
ST ST
st/m
Vc.
vib: wide narrow wide-non

col legno tratto, espress.



           
             
pp p pp mp pp mp
4 Wirewound (2017) - Andrew A. Watts

    
b.t. 
30    ord.  S.T. 
   flz.
B. Cl.     
                   
pp p sfz ff

 
 SP
ord
ST ST
st/m
Wires[A]
IV
 

 VIV


p sfz

tuning peg gliss. E2  

 SP
ord
ST ST
st/m
Wires[B]
IV
 

V

 VI 
p sfz

 
 SP
ord
ST ST
st/m
Vc.
col legno battuto

norm. 4:3 5:3 5:3 4:3 9:8
                                                  
 gliss.
 gliss.
pp-mp pp-p ff

e = 80 (remain completely still during silence)

34
  

 G.P.


 G.P.


 G.P.


G.P.


B. Cl. 

  G.P. G.P. G.P. G.P.

Wires[A]
IV    
 VIV

  G.P. G.P. G.P. G.P.

Wires[B]
IV
V
   
 VI

  G.P. G.P. G.P. G.P.

Vc.

    

 Wirewound (2017) - Andrew A. Watts 5
D e = 66.6
sempre(!): pitchless    
breath tone
   f


growl: guttural, slow, (f) p
38


rough, and unstable*

 
    
        
    

A. Fl.          
               

  10:9 10:9 
p f key clicks***

growl: guttural, slow, rough, and unstable*

  
B. Cl.   
  

p f

 completely dampen string with L.H.

 sp/m  
SP SP
ord
ST
st/m

Wires[A]
IV
     
 
V
 
 VI

p fp mp

tuning peg gliss.

E§2
 completely dampen string with L.H.
 
 
sp/m
 SP SP
ord
ST
st/m

Wires[B]
IV
     
 
V
 
 VI

p fp mp

sempre(!): pitchless, 
 mute strings with L.H. sp/m  
SP SP
ord
ST
st/m

Vln.  
circ. scr., granular** col legno tratto 5:3

                

            


p f p f

pitchless,
mute strings with L.H. sp/m

st/m

Vla.
 
  
circ. scr., granular**

 
            

p f

sp/m

st/m

Vc.  
   
circ. scr., granular**
 
              

p f
*Listed woodwind vocal techniques should be combined to imitate the wirewound instruments' string pick scrape sound. **Similarly, the string techniques should be combined to create a sratchy, granular sound
akin to the wirewound instruments' pick scrape. ***Alto flute key clicks should always(!) be loud and clearly audible, even when dynamics are not explicitly stated.
6 Wirewound (2017) - Andrew A. Watts

42
  
 p
 f  

          
    
        
 
  G.P.*

A. Fl.         
                    
  3
3

   sp/m  G.P.*
ST ST
st/m st/m
Wires[A]
IV 
 

V

 VI 
p f

 
   sp/m G.P.*
ST ST
st/m st/m
Wires[B]
IV 
 

V

 VI 
p f

   sp/m  G.P.*
ST ST
st/m st/m
Vln. 5:4 5:4 5:4 5:4 3 5:4

                                             
 
p f


E e = 55.5 (Cycle II)
b.t.

47
   
sfz   

 
     
    
A. Fl.     



S.T.
b.t. ord.
7:6
   
8:6 4:3


          
                   
B. Cl.

pp f

sp/m
 
 SP SP
ST
Wires[A]
    
IV
V   

 VI 
sfpp p pp

 sp/m   
SP SP
ord
ST ST
st/m
Wires[B]
 
 
IV
V     

 VI

sfpp p- pp-p pp mp- pp-p

 SP
ST

 
(tratto)

Vln.
  
  

p pp
sp/m
SP

senza sord. (norm.)

Vc.

7 6 5 5 5 5:3 5:3

                                   

  gliss. gliss. gliss. gliss. gliss. gliss.
pp f
*Again, all players are to remain completely still during the silence (G.P.)
 Wirewound (2017) - Andrew A. Watts 7
b.t.

51
  
p  f
 
      

 
 
      
 

A. Fl.                


growl
B. Cl.       



  

p ff

sp/m
 SP

st/m
Wires[A]
   

IV
 VIV  

fpp f pp

 
  sp/m
SP
ST
st/m
Wires[B]


IV
V
  

 VI

fpp f pp

sp/m

st/m
Vln.
  (tratto)
 
 
        
p f

sp/m
SP

Vc. pizz. arco ric. ric. ric.


  .
5:4 6:4
     gliss           
 
sffz p ff

 F e = 83.3
 b.t.

p f
 p
  
b.t.
mp

 
55
   

    
   
 
 
A. Fl.                                        

 9:8 10:8 9:8


 
 SP
ST
st/m
Wires[A]
IV


     
 
V
 VI

f pp mp

   
SP
ord
ST ST ST
st/m st/m
Wires[B]

 
IV  
  
 
V

 VI

f pp-p sfp mp

 SP
ST
st/m

  
Vln. 5:4
(tratto) 

           

 
  
p f p mp
8 Wirewound (2017) - Andrew A. Watts

59
   p
 f p
 

      
     
            
 

A. Fl.                   
 
 b.t. ord.
     5:4 3:2
B. Cl.               

pp

f

 sp/m  
SP SP
ST

Wires[A]


IV
 VIV  
p pp
f


 sp/m  
SP SP
ST

Wires[B]


IV
V
 
p
 VI
f pp

sp/m
 SP

Vln. 4:3 4:3 4:3 4:3

                         

     
p f p
SP
ST


col legno battuto

Vc.
   

 

 gliss. 


pp f
G e = 111.1
  b.t.    

sfp
  
63


    
   
 
 

A. Fl.                 
b.t. ord. b.t. 
ord.
3 3

  
3

B. Cl.                         
 
    

pp mf pp mf
sp/m
 ord
ST


st/m


Wires[A]
IV  
   


 
V
 VI


sfpp p ppp

 
  sp/m
 ord
ST ST
st/m st/m
Wires[B]
  
 
IV  
 

V
 VI
sfpp p ppp
 ord
ST
(tratto)

Vln. 8:6 4:3
 
    
         
        
sfp

sp/m

st/m
Vc. col legno tratto 5 3 3 5 battuto
      
     
  gliss.     gliss.            gliss.  
       
p f p sfz p sffz
 Wirewound (2017) - Andrew A. Watts 9

67
 b.t.
 
ord.-b.t.
 ord.
 

   
 

B. Cl.                            

  
pp mf sub p sfz

 
SP SP
ST

Wires[A]
IV 
   

V
 VI
mf pp

  
SP SP
ord
ST ST

Wires[B]
IV 
 

V
 VI 
mf pp sfz

 
SP SP
ST

Vc. circ. bowing, tratto pizz. senza arco, norm.

 

 reartic.

                       
p gliss.

mp p sffz mp  gliss.
f

e = 100 (remain absolutely still) (x = x)

71
  

 
G.P.

G.P.
 G.P.


B. Cl. 

G.P. G.P. G.P.


Wires[A]
IV
V
  
 VI

  G.P. G.P. G.P.

Wires[B]
IV   
 VIV

G.P. G.P. G.P.


Vc.
   

10 Wirewound (2017) - Andrew A. Watts

H    
  
74
      

 
 
growl

 
 

A. Fl.
      
p fp

growl  
B. Cl. 
        

        
sffz

p f


 
 sp/m 
SP
ST
st/m
Wires[A]
  

IV  


V

 VI 
p fp

 
  sp/m
SP
ST ST
st/m st/m

Wires[B]



IV
   


V

 VI 
sffz p fp


  sp/m 
SP
ST ST
st/m st/m

Vln.
circ. scr., granular 
  
       
 
 
 
sffz p fp


 sp/m 
SP
ST ST
st/m st/m

Vla.
circ. scr., granular 
  
       
 
 
 
sffz p fp


 sp/m 
SP
ST ST
st/m st/m

Vc. circ. scr., granular

    
       

   
 
sffz p fp
 Wirewound (2017) - Andrew A. Watts 11

    e = 83.3 
(motionless)

78
  

 
 
    
  
G.P.

A. Fl.
     
mf

growl

    
G.P.
B. Cl.     
 

   
mf

sfffz

  G.P.
SP

Wires[A]
IV
   
 VIV
mf

   G.P.
 SP
ord
ST ST
st/m

Wires[B]


IV  

 VIV 
mf sfffz

    G.P.
SP
ord
ST ST
st/m
Vln.
 
       
  
mf sfffz

   G.P.
SP
ord
ST ST
st/m
Vla.
 
       
  
mf sfffz

   G.P.
SP
ord
ST ST
st/m
Vc.

 

        


mf sfffz
12 Wirewound (2017) - Andrew A. Watts

83
I flz. b.t. ord. flz. b.t.
    b.t.
S.T.
  


  
 
  
B. Cl. 
                         
 
                 

sfz p sfz p sffz pp sotto voce
 
 sp/m
SP
 SP
ord
ST
st/m
Wires[A]
IV 
   
    

 VIV
sfpp p sfpp p
 
 sp/m
SP
 SP
ord
ST
st/m
Wires[B]
IV
V

   
    

 VI
sfpp p sfpp p

sp/m 
 SP
ord
ST

 5ric.
st/m
Vc. ric. ric. ric. ric.
norm. 5 3 3 3 pizz.

                         

  
ppp ff  ff sub pp sotto voce


b.t.
   
p  f 
87      
A. Fl.
     


    
   
   
5:3

B. Cl.    
         

 
(pp) 
sp/m

ST
st/m
Wires[A]
IV
   

V
 VI 
pp f

   sp/m

ST ST
st/m st/m
Wires[B]
IV 
 

V
 VI 
pp f

sp/m

st/m


Vln.

col legno tratto
  
 

   
p f
ST


Vc.

               
(pp)
 Wirewound (2017) - Andrew A. Watts 13

J e = 125 (Cycle III)

b.t.
   
sfz   
91      
       
A. Fl.     




x123456qwD 123456qwx
-
Eb
Eb - x123456qwD 123456qrtDx
Eb - Eb - Eb x123456qwD 123456qrtDx x23456qwD1 23456qw1x
Eb - Eb - Eb -
Eb
Eb -

    

timbral, b.t. ord. flz. b.t.-ord.

 
B. Cl.            
            
  
ppp mf ppp-mf

 sp/m   
SP SP
ord
ST ST
st/m

Wires[A]
  
    

IV
 V
 
VI
sfpp
p pp-p pp mp - pp-p


  

sp/m
 SP SP
ord
ST ST
st/m

Wires[B]
  
IV
V
 

  

 VI 
sfpp
p pp-p pp mp - pp-p

 SP
ST

Vln.

(tratto)

    
  
 
sfz
sp/m
SP
ord
ST

Vla. col legno tratto, espress. vib: wide narrow wide

   
                        
pp p pp 
mp pp mp

sp/m 
SP
ord
ST
st/m

arco, sul D
              
7:6

Vc.
     
7:6
          

sul G
9:6
                           
  gliss. 
f p f sub ppp mp ppp
14 Wirewound (2017) - Andrew A. Watts

1 23456qwerGx 123456qwetx
B§
- -
 x123456qwD 123456qwx x23456qwD1 123456qrtDx
-
Eb
Eb - Eb - Eb - Eb x123456qwD 123456qwx  23456qwerG1x 123456qwetx
-
Eb
Eb -
B§
- -

95      
 b.t.
 ord.
flz.   
b.t. - ord.
   5:4   
 
B. Cl.                           

   
ppp p ppp-sffz


 sp/m 
 SP
ST
st/m

Wires[A]

IV
V
  

 VI

fpp f pp


 sp/m 
 SP
ST
st/m

Wires[B]

IV
V
  

 VI

fpp f pp

sp/m

st/m

Vla.
pizz., senza reartic. arco, norm.

     
       
p gliss.  gliss.
f


 sp/m
SP
ST
st/m

Vc.
       


                
gliss.
mf pp
 Wirewound (2017) - Andrew A. Watts 15

K e = 166.6
breath tone
 f

 pp

p sfz   
sfz 
99 
  

 
4:3
 
4:3

       
 
 
A. Fl. 
                          
   
 
 5 6 5 6 5

b.t.

   
    

 
B. Cl.         
pp sotto voce

  
 
 SP
ord
ST ST ST
st/m st/m
Wires[A]
 
 

IV
 

V

 VI  
f pp-p
sfpp

 


 SP
ord
ST ST ST
st/m st/m
Wires[B]
 
 

IV
 

V

 VI  
f pp-p
sfpp

 
SP
ord
ST ST
st/m

Vln. (tratto)
5:3
      4:3
      

    
                
 
f pp p sfz sfz

ST
st/m

Vla.
narrow vib: fast slow
     
                

pp sotto voce

ST
st/m

Vc.

    
slow

narrow vib: fast
               

pp sotto voce
16 Wirewound (2017) - Andrew A. Watts

 p mf-pp
 f
 
sffz    

103      
A. Fl.
              
    
   

   

 
b.t.
   
B. Cl.         
 
(pp)


 sp/m
SP
 SP

ST

Wires[A]


IV  

V
 VI 
f


sp/m
 
 SP SP
ST

Wires[B]


IV  

V
 VI 
f

sp/m

 SP
ST

Vln.

  

    

          
sub p mf sub p pp f sffz

sp/m
SP

Vc. narrow vib: slow fast

 
            


(pp)
 Wirewound (2017) - Andrew A. Watts 17

e = 133.3 (remain completely still during silence)



107  G.P. G.P.

Wires[A]
IV
V
 
 VI

G.P. G.P.

Wires[B]
IV  
 VIV


L    
     
109 growl
    
 
 
 
 

A. Fl.         
pp ff

growl   
 
    
B. Cl.  
   
 
 
  
pp 
ff

   sp/m
ord
ST ST
st/m st/m

   
Wires[A]
    

IV
V
 VI 
pp
ff

   sp/m
ord
ST ST
st/m st/m

   
Wires[B]
    

IV
V
 VI 
pp


ff

   sp/m
ord
ST ST
st/m st/m
circ. scr., granular
Vln.
        
 

pp
ff

  sp/m
ord
ST ST
st/m st/m
Vla. circ. scr., granular

   
       
 
  
 
ff

pp

  sp/m
ord
ST ST
st/m st/m
circ. scr., granular 
    
Vc.
   


 
pp 
ff
18 Wirewound (2017) - Andrew A. Watts

     (still during silence)


  
113
 

 
 
   
 
 G.P.


A. Fl.        
(ff)

(still during silence)

  G.P.

B. Cl.      



   

  
(ff)

(still during silence)

  G.P.
 SP SP

ord
ST ST

Wires[A]



IV
V
 

 VI

(ff)

 

(still during silence)
 SP SP
 G.P.
ord
ST ST

Wires[B]



IV

 VIV  

(ff)

(still during silence)

    G.P.
SP SP
ord
ST ST

Vln.
 
       

 
(ff)

(still during silence)

   G.P.
SP SP
ord
ST ST

Vla.
 
       

 
(ff)

 
(still during silence)
 G.P.
SP SP
ord
ST ST

Vc. 
 

       
 
 
(ff)
 Wirewound (2017) - Andrew A. Watts 19
M e = 111.1
breath tone

118
 
sfz p sfz
   
 
p

 f p
sfz
 p

      

       
          
   

A. Fl.     
      

     

  
    
5:4

ord.
x123456qwD x123456qrtD
Eb -

Eb
- Eb x123456qwD 123456qwx
-

Eb
Eb -

     
timbral

      

B. Cl.

sffz p sfz


   sp/m 
SP
ST ST
st/m st/m

Wires[A]


 
 
IV
  

V
 VI 
sfz p sffz-p f

 
  sp/m 
SP
ST ST
st/m st/m

Wires[B]


 
 
IV
  

V
 VI 
sfz p sffz-p f

sp/m
 SP
ST
st/m

Vln.
 
col legno tratto 5 3 3 5
        
    
  
                              
sfz p sfz p p f p sfz p

sp/m

ST
st/m

Vla.
norm. ric.

    
4:3
 
        
 
sffz p sfz

sp/m

ST
st/m

norm.
   5:3     
Vc.

       
  gliss. 
sffz p sfz
20 Wirewound (2017) - Andrew A. Watts

  b.t.   
 
p fff
122
    

 
 
        
 

A. Fl.
  
    
 
  4:3 5:3 5:3 4:3
 

x123456qwD x123456qrtD
Eb -
Eb
- Eb
      
23456qwerG1x 123456qwetx
B§
- -
    

     
4:3
           

     
B. Cl.

p ff 
sfffz p fff

   
SP
ord
ST ST
st/m
Wires[A]

 
IV
 VIV  

p ffp sfffz p

   
SP
ord
ST ST
st/m
Wires[B]

 
IV
 V
VI  

p ffp sfffz p

 ord
ST

Vln. (tratto) scr.

   
  
p    
fff

SP

Vla.
ric. ric. ric. ric. ric. ric. ric.
   
                    
p ff


SP
ST
st/m

Vc.
               


scr.

             
 gliss. gliss. 
p sfffz p
ff
 N e = 166.6 Wirewound (2017) - Andrew A. Watts 21

126
 S.T. - growl
  
S.T. growl
 
S.T.-growl S.T.-growl

 
S.T.

 S.T. - growl

      
  
        
 
 
     


          
B. Cl.

  
    
sfffz f fff f fff f fff f fff f

 
fff

 sp/m 
SP SP
ord
ST

  
 
st/m
Wires[A]
IV
V
    

 VI

 
sfffp fff

 sp/m 
SP SP
ord
ST
st/m
Wires[B]
  
 
IV
V
    

 VI
sfffp fff

sp/m
 SP SP
ST
st/m
pizz.
Vla. scr.  arco, scr. pizz.  arco, scr.

         
                           

fff sp/m 
SP SP
ord
ST

     

st/m
pizz. 
Vc.
                                          
     
fff

 b.t.
   fff

 

130     
           
A. Fl.         
  
(S.T.)
         

            
B. Cl.           
(fff) 
   sp/m

ST ST
st/m st/m

Wires[A]
IV 
 

 VIV 
(fff)
 
   sp/m

ST ST
st/m st/m
Wires[B]
IV 
 

V
 VI 
(fff)
sp/m


st/m


Vln.
 
scr.
 
      
 fff
ST ST
st/m

       

Vc. arco, scr. (A - A§) pizz.


                           
(fff) f fff
22 Wirewound (2017) - Andrew A. Watts

e = 66.6 (x = x)
 (remain completely still during silence)  

134  G.P. G.P.  G.P. 
  
Wires[A]
IV
V
 VI

G.P. G.P. G.P.


Wires[B]
IV
V
  
 VI


O
 
#1
 #2 #3
 (remain
motionless) #4 #5

#1
 (remain
motionless)
A. Fl. 137
B. Cl.
   
    
 G.P.
          
 G.P.

Vln.
Vla.
Vc. (!) (!) (!) (!) (!) (!)
February 27, 2017
Stanford, CA

(!) Play the quietest pitch + technique combination (while still clearly audible) on your respective instrument for the shortest duration possible.
Pitch + technique should NOT be coordinated or agreed upon between instruments or instrumental families in advance (coincidental pitch
relationships are fine though). Lastly, try to make each numbered attack a different pitch (note: #1 at the beginning and #1 should be the same
pitch + technique). Extremely subtle microtonal intervals and drastic leaps are equally acceptable, again, as long as these decisions are unplanned
/ uncoordinated as a group.

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