Fracas Score BKernes CompIV .pdf

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Fracas
For Solo Cello and
Chamber Orchestra

Benjamin Kernes

Performance Notes

Oboe: The following notation signifies a timbral trill. This is a trill between two
fingerings for the same pitch.

Percussion: Both a suspended cymbal and bass drum are required. The cymbal is
never struck, but instead bowed on the edge. A double bass bow (or similar) will
be necessary.

Woodwinds and Strings: During the flutter tongue and tremolo swells (such as
those which begin in the first measure), it is important that there is an audible
transition from pitchless sound/white noise to a clear tone.

Cello Solo: Rhythms dictated above the staff represent an exaggerated vibrato
pattern. Diamond note heads (as shown below) represent multiphonics. A diagram
of the sounding pitches is placed above the staff in the solo part.

C Score

Fracas
Benjamin Kernes
Mysterious 





Flute


4
4

Oboe

4
4



4
4



4
4



Clarinet in B 

Bassoon

Cymbal
Bass Drum

Percussion




flz.




flz.



Cymbal




arco

Violin I

Violin II

Viola

Cello

Double Bass

(use D.B. bow)

  



 
 4   

 



4                        

sub
 


 

S.T.

  
4
4

4
4





4
4



4
4



4



4

S.T.





















S.T.







S.T.





let ring

vib.

at the frog, aggressively

Solo Cello











4
4









     



3

3

4

Fl.


 


Ob.

                               



 

B  Cl.



Bsn.



4

Perc.

4

Vc.

Vln. I






 

Vln. II

 

Vla.

 

Vc.

 


D.B.






2

5

Fl.


 



Ob.



Bsn.






5

Perc.

5

Vc.




















 




 


D.B.

















 


 





S.P.







S.P.








ord.

Vc.



S.P.

ord.

Vla.




ord.

Vln. II





ord.

Vln. I



                       

 



B  Cl.



To Alto Flute




3

Alto Flute

Fl.









Ob.

































7

 

B  Cl.



Bsn.





7

Perc.

7

Vc.



   









L.V.

 
















    

   
 
 














Vln. II











Vla.











Vc.

 














Vln. I

D.B.



S.P.










S.T.



S.T.




4



11

Fl.

Ob.

B  Cl.

Bsn.

 





11

Vln. I











  





let ring







       







 










arco

vib.














 


Perc.

Vc.





11









     
3

3

  


















 







Vla.

 




















Vc.

D.B.








S.T.





sub

Vln. II

S.T.









5

15

Fl.

 

Ob.

 

B  Cl.

 

Bsn.





                       






15

Perc.



15

Vc.

Vln. I







3








 

Vln. II

 

Vla.

 

Vc.

 


D.B.








   









3







3











ord.

ord.








ord.





ord.




6



17

Fl.

Ob.

B  Cl.

Bsn.

 


       

 

17

Perc.



17

Vc.

Vln. I

 

Vla.

 

D.B.

















   

    







 





S.P.










S.P.






S.P.


















 










 




   
 3







Vln. II

Vc.











  













S.P.










7


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