Performance Notes and Guide to Extended Techniques


Below is a mockup I made of the Violins I and II parts from approximately letters O to S. The timing may not be exact but this is the sound I am looking for. The first several seconds of this clip (before any pitch becomes audible) are also what the violas, cellos, and basses should sound like.

Violins I and II: Here is a mockup I made of the crunch technique (bars 153 to 179 and bars 183 to 215). Again the timing is not exact but this is the sound I am looking for.

Winds and Brass:

Here is an example of the types of sounds I’m looking for in the winds and brass around rehearsal letters L to P.

Unfortunately I don’t currently have any recorded examples of individual instruments making these sounds, but  I do have some clips from a brass sextet I wrote with the same instructions, and I think these clips are good examples of the kinds of sounds I am looking for in these passages.

Here is the brass sextet performing the instruction:


        “any percussive, airy sounds with very little to no pitch

        random, out of sync with all others”

        starting very sparse and becoming faster and more frequent.

(In Rust, flutes have this starting at 85 and 88, clarinets starting at 87 and 96, trumpets at 85 and 86, horns at 88 and 89,

    and trombones at L.)


In this clip, they are making the same kinds of sounds starting faster and more frequent and becoming more sparse:

Have fun figuring out your own similar sounds on your instrument!


In this clip, you can also hear the trumpets and horn performing the instruction:

    “improvise rapid, noodling fragments

    in approx. 2'' swells with a pause to breathe after;

    mid-range, any pitches,

    so fast the pitches are almost unrecognizable”

(In Rust, trumpet 1 starts this at 74, trumpet 2 at 75, horn 1 at 79, and horn 2 at 80.)

Good Luck! And feel free to email me with any questions about the piece!

Gabriella SmithHome.htmlshapeimage_1_link_0