[ 39

Inside ]
for chamber ensemble, electronics, dance, and video

José Martínez
Instrumentation

Fl + Bass Fl (optional)

B-flat Clarinet + Bass Cl.

Violin

Cello

Percussion
Vibraphone, Bass Drum, two low toms, two bongos, suspended cymbal, Tam-tam, sand
paper blocks, two bows, super ball, triangle beater.

Piano
Pianist will also need: medium marimba mallet, thick triangle beater, plastic card, two E-
bows (optional)

Electronics
Max 8 - Patch provided by composer.

Interface 2 inputs - 4 outputs (channels 3 - 4, click for conductor)

Live processing only in Scene 4 for flute.

Singer (Only in Postlude)

non bel canto voice + classical guitar (preferably performed by singer)

Video - Fixed video to be triggered at different scenes. Text in the video was created by
composer based on personal research and interviews.

Duration
Prelude - I Heard the News 3:20
Scene 1 - 39 Bodies 5:30
Scene 2 - Their Stories 7:30
Scene 3 - Are You an American Citizen 4:00
Scene 4 - The Ritual of Waiting 6:00
Scene 5 - My Name is Lucía 3:10
Postlude - If I Cross 3:10

Total 32:40
 39 Inside - Notation chart

Strings

! = overpressure. Noisy and pitchless

s.p. = sul ponticello
m.s.p. = molto sul ponticello
s.t. = sul tasto
= go from one technique to overpressure
m.s.t. = molto sul tasto

#### # # # # # # # # # # # # # # # # # ! = circular bowing

"
= Stutter effect. Apply overpressure and bow extremely slow,
allowing for some random and pitches sounds to come out
= Bartok (snap) pizzicato

Woodwinds

Â
Air and sound q = slap tongue - tongue pizzicato

¼\ Â
(
= only (or mostly) air = inhaling, exhaling. Only (or mostly) air

»\ À\ À\
= mix between sound and air
= jet whistle

Ð
= key clicks sound

= regular sound

Piano

#### # # # # # # # # # # # # # # # # #
= Stutter effect. Slowly scratch the lower strings
io
p = Vertically rub lower strings with a marimba mallet
allowing for some sporadic pitches to come out.

+, triangle + = mute string inside piano with one hand and play
= Lay down a thick triangle beater and slowly the key with the other one.
rub along the lower strings
 39 Inside - Audio Setup

Mixer I/O Laptop

INPUTS INPUTS
1 - Flute (lapel mic) 1 - Flute
2 - Cello (DPA 1060) 2 - Cello
3 - Voice (wireless)
4 - Laptop 1 OUTPUTS
5 - Laptop 2 1 - Electronics 1
6 - Laptop 3 (click) 2 - Electronics 2
3 - Click
OUTPUTS
1 - Main L
2 - Main R
3- Conductor headphones
4 - Send to laptop (flute)
5 - Send to laptop (cello)

- Only add a short reverb and a soft knee compression to the voice. No other instrument should
require this effect.
- Additional reinforcement of all instrument is advised if the venue is large.
39 Inside
Program notes

On the morning of July 23rd 2017, when James Matthew Bradley Jr. opened the
doors of the semi-trailer, he opened the doors of the American dream for almost
ninety Latin American migrants. Cramped in the back of the trailer, he drove
them for three hours from Laredo to San Antonio, finally stopping at a Walmart
parking lot. Later, he claimed he did not know that the AC of the 18-wheeler
truck was broken. During the scorching Texan summer, migrants inside could only
breath through a small hole in one of the walls. When those doors opened the
nervous crowd left behind thirty-nine bodies. Victims of dehydration and
extreme heat exposure, these thirty-nine migrants were unable to move, to
achieve their dream. Police reported that eight of them were already dead and
that one more died at the hospital. The whereabouts of the other ones are
unknown. 

Their names are Miguel, Victor, José, Lucía, Olga, Bibiana. He is your teacher, he
is a custodian, he won a Pulitzer prize. She is a justice in the Supreme Court, she
owns a taco truck, she became a pop music superstar. He came in a plane, he
arrived on a boat. She took a bus and then crossed the river. He only speaks
Spanish. She has a thick accent but can get by. He got a student visa and some
money his family put together. Her visa was denied twice, so she decided to
cross with her husband and child. He came in 1979. She is crossing as you read. 

We have the same hope. We search for a better life. We want more
opportunities because we are tired of things being so fucking hard where we’re
from. There is no wall, no checkpoint, no humiliation, no deportation stamp that
will stop our human need for discovery. We will keep coming, documented or
not, because we have the right and the need to do so. Wouldn’t you do the
same?
 For those crossing today / Para los que están cruzando hoy

Score in C
39 Inside
for chamber ensemble, electronics, dance, and video José Martínez
2019
Prelude - I Heard the News ~3'
&
Flute ! %
&
Clarinet in B $ ! %
&
Violin ! %
" &
Cello %
&
Percussion ! %
&
! %
"
Piano
%

Electronics #
9 simultaneous audio files of news cast in both English and Spanish. Slow crescendo from niente to overwhelming noise. conductor hears two

& 4/4 bars of click track

Voice ! %
attacca

Scene 1 - 39 Bodies
* in general, the length of notes is short and is dictated by the technique utilized
in each instrument. The notated lentgth is intented to facilitate rhyhtmic reading.

' , = 60, fragile and anxious

' (slap tongue)
Ccovering hole

4 B 65 4 6 4 4 65 4
A q q

T>
(only air)

% % % % 4 5 4 86 9 % 9 6 4
5 5 3

!
3
Flute
76 76 @ @ A
< < ; ; 3

.
Bass Cl. mouthpiece (slap tongue)

: 4 9 % 9 4 4 ?: : 5 4 4 5 54
in mouth

!
(subtone) 3 5 5 q

6
Bass Clarinet

B( ( ( ( 7+ + $+ $+ $+ B
-
( )
3 < (key clicks) ; H
76 $ 6 $ A6 6 7 6
loosen embochure to

7 6 A6
almost pitchless
slighlty detune the pitch
col legno

5 @ 4 4B G
jeté pizz.

% % % % 7 6 4 4 =6 9 % 9 4 : :
batuto (c.l.b.)

!
<
Violin

; 3
arco
remove !
" 66
col legno (circ. bow)
aluminum

8 ?4 :
pizz.

9 4 :
arco

26 $6
batuto (c.l.b.)

Cello
) µ) 2) µ) 2) ) 7 6B 6 $ 6 $ A6
- ; < ; let partials sound <
slow
3
Dead Stroke

! H
(D.S.)

9 : 6 6 6B 6 8 : 9
B.D. super ball

! ) ) ) ) ) ) 6
Percussion

- ; 3
hard mallets
< A
half pedal
LH: Triangle beater

! % % % % % % % %
RH: Plastic card

- < E; -
/0 /0
poco
Piano DDDD D D D D D D D D D D D D D D D D D D D D D D D D DD D D D D DD D

" F F F
ad lib.
triangle
F triangle

* * * * * * * g g *
Lay down a thick triangle beater and Stutter effect: Slowly scratch the lower strings with a platic
slowly rub along the lower strings card, allowing for short and pitchless sounds to come out.
(ped.) Lines represent the approximmate rhtymic result.

"
door slam sound

+
slow breaths, and airy sounds

11111
Electronics
) ) ) ) ) ) ) )
low sinewave-like drone,
oscillating pitch
Copyright © 2019 José Martínez
 $ % # &
# L # RE # #
-0 0 '( ~~~~~~~~~~~~~~~~~~~~~~~~
+ 0 @ A- + ,
q

0 :
9

! ) * ++ , + , + * + -- + * *
overblow
3 3
Fl.
- - 9 B I ;0 - 10
5 7 M K 6 7
D E
5

L
O

! . * + < = * = , + + + ,
7 5 5 3

;
B. Cl.

6 7/ / / @T 0 T T //
0
/ /
6 5 6 9
arco 7
- - -
airy

F 1 /
arco

8
(overpressure)
pizz. s.p. m.s.p.
stutter effect
!
* = > * J JA + ) , + )
||||||| | | | |

! 1 - -
/ 5
Vln.

6 - K 6 5 6
5
apply overpressure on the string,
7 B
0? 8
allowing for sporadic pithcless

1 00
sounds to come out ord.

" -- 1 = -: + + + ?, + , + * ) * . + , ( - + ( -, + ( A-
3 c.l.b.

Vc.
@ -0 1 / - -
7 6 53 A
0 5 7
7 O B vibes mallets
H D.S. < 9
!+0 +0 = ¿-: + *
shaft

. - * ) * . * + , )
B.D. B.D.

Perc. ! 2
- A - 2
-
C 5
5 7 5
vibes mallets

! . . . . .
7 5 G7 M 5 G7
PQ
plastic card plastic card
Pno.
H H HH H HH H H H H H HH H H H H H H HH H H H HHH H H H H H H H HH H HH H H H H H H H H H H H H H
" triangle H HH H H H H HH H H HH H HH H H H H

3 g gN 30 3 g
(ped.)
N0

Elect.
"
4 4 1 10 1 4
& $ #
# RR L
# #
U
<
q q

= - - + - + S SJ * * + @- - = 0 0
14

=- + + + - * =- * =-- + ) * + V- (- - 0 - +
q 5 jet whistle 3

!
3 5
Fl.
: - - 9 / - - ( 9- 0 ( -
J 7 9 B
T
B K 6
q

+ + = <+ + . +0 < * +0 < + , + , = + > =

q q

! ,
3 3 5 5

B. Cl.
J =0 ( - ( -0 - - 0
-- (- - - (- - -- - (- 1 0 - 0 ( -0 - - -0
79 9 9 5 B 9-
- 0 (- V- +
airy

(1) 0 (pizz. - > V 9- 0 -

sul D
(1) (1) (- )

Vln. ! . * ? ?0 ? ? * ) + = = + A
6 7 6 B 5

0
airy
sul G sul A
(1) (1) (1)

@ -0 0 0
s.p.

?0 ? ? F
arco m.s.p.
(- ) (1)
arco

-- 9
pizz.

" +-
s.p.

+0
pizz.

-
,
* ? ? * ) + + - = - +
3
Vc. -
J: J - 9 : J
7 K 6 7 6 B 3
B T K
6
3

vibes mallets

H
/ 9-
wire brushes susp. cym.

--> 9- @- - -
@- >@- > (- > V - = + ¿ ¿ @ -¿
D.S.

2 . .
B.D.

J ! -
Perc.
-
B 6 5 7 -
O
7
B
! . . . . .
5 G 7plastic card M 5 G 7 plastic card 5
Pno.

" H HH H H H HH H H H H H H HH H H PQ triangle H HH H H H H HH H H H H H H H PQ triangle

B

g0 30 gN 00 gN 3 3
/J
(ped.)

Elect.
" )
10 10 10 1 4 4
2 Scene 1
 > C
% $ &% , * - &, $ $ $ t2% T2
q
( < (= $ ,
19 overblow

! $ & $ '& $ & $ $ )& * * $ -& *

3 5 5 5 3
Fl.
& )& (&) & B /
8 ;7 8 7
8 6
######### C
% $ ( $, $ < ( * $ ($ 2 % $ $ % * . %
bisb. q q

!
5 5

B. Cl.
$ & &,
+ &, - &, - &, 8 9 -& , -& T, -& -& -& ,
8 7 8 ; 9 8
9
&, &,
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arco

&
arco

5 5 2% 2% &pizz.
sul A

2
pizz.

! . / $ $ $ % . ($ $, $ $ $ % . * $, / *
pizz.
(& ) (+ ) (& )
arco

% % '?
5
Vln.
-& -& -& '& ? ? )& &, ) &,
9
7 9 ;7 7 7 9 8 9 8@ 8 leggiero 9
5

1 m.s.p.
1 1( 5
pizz.

5%
arco arco

2
5 s.p. pizz. pizz. arco arco

" $ & . & 2/& ,

s.p.
!
arco

)& $ & .
pizz.

$ $ &2,
s.p.

. &, & * $ &, ) &, * % $ $ - ?2 2 . %

3

& & &, +?

3 c.l.b.

Vc.
&, &, &, ) & , & & '& )& , &
7 7 6 9 6 9 A
7 8 98 9 G
sticks

! . &¿ . ¿ $ &¿% ¿% $ . ¿/& , ., )& . * < ¿=($ , . ¿% * % $ * %* *

D.S. D.S. B.D.

¿& ) &¿ ) & - &¿

F
3

-& & )& , )& &2

&@
Perc.

& & G
8

! 3 3 3 3
Pno.
8 D9
" 3 3
E EE E E E E EE E E EE E EE E E E E EE E EE E E

(ped.)
g g
Elect.
"
4 4 4 4

I H
B

H H
P
inhaling, exhaling q

%
q

$ &% $ $
23

* - &, ' &, & & $ * K * $ & & .&& K

3

! J,
3 3

0 0 & , ,
Fl.

8 L A 7 9
inhaling, exhaling
C
* ) &2 K $, ( $ < (= . * . $ $ . (* $
q

&2
q
B. Cl. ! &, % 2
J 9 7 -& -& ) &, &, & -& -& ) &, Q
8 L 9 7 8
)& & &
5 $
arco

$ $ ?&/ ?& +? +?
!
m.s.p. arco

% $ (. % $ $, ( $
pizz.

! 4 %
3 5

+ & &, &, & & & 2 2 2 2

Vln.
& 9 8
G 7 7
3

: ) &,
s.p.

D(
c.l.b.

&, $ $ ,
pizz.

" * & $ * <& . & $ < &(= . $ %

ttt|||||||| || | | | | | | |

Vc.
4 + X & )&
;7 G 9 3
7 9

F % $ * K 3 3
Perc.
42 +2 &
7
! 3 3 3 3 3
8 7 8 D9
Pno.

" * K
NO triangle
K
E EE E EE E E E E EE E E EE E E E E EE E E E E EE E EE E EE E E

g M M g g
(ped.)

" 02 breathy, airy sound

Elect.
4 + 4 4 4
Scene 1 3
 >
$% ~~~~~~~~~ E 2 +2
,2 0 , 3 +C / / 3 +0 , / ;+ , , 2 ;
28 q

! ' - ' / , %+ / D+ , -
5
C
t T + D E+ D + ; +
Fl.
2
6 8 @ 5 5
>
! ( - . ' . - , C . -
B. Cl.
( ( (
T T t 2 t2 +
F 3 FC C
6
+
5 @ 5 @
3+ + + + 2 + E+
almost pitchless

+ +
pizz.

*
! (+) , - . ,2 0 - . ' ,2 ; / ; , , ) , - , L; - /
Vln.
+2+ @
8 = 5 3

70 GC 7
arco arco
!+ < 2
pizz. pizz.

" - + C
/1 , - / 0, ,2 + <2 + , - . D+ , - - , - C ,
q arco m.s.p.

3+ ; ) %+ 12
2 6 +( +
Vc.

5 6 5 @ K6
5 @
X 2 9999
susp. cym.
tri. beat.
X
wire brushes super ball

# - ' , C ,
B.D.

C
wire brushes

( <(2 + +2 +( <(
6
Perc.

@ 6 @ 5 8 M

! ' ' ' ' '

@ @ H 5 poco ad lib.
Pno.

"
: : : : : :: : : :: : : : : : : : :: : : : : : : :: : : : : : : : : : : : : : : ::: : : : : : : :: : :: : : : : : : : : :
AB triangle
=
I J 2 i p&&&&&
o

g g2 g ? ? ?2 rub lower strings with a

medium marimba mallet
?
Edoor slam sound
(ped.)

" -
breathy,

.2 1( 1 .
airy sound
#
-
Elect.
4 4 4 breathy and airy
sounds continues
drone stops

>
Bass Fl.

33
3 +2
C
NNNNNNNNN
bisb. slow

Fl. ! ) , - . ' ' ' - S2

T

Q Q
1fdsvjkl

88
4
! . C , , C C , - . - ÷
O( R + 3+ + + (
B. Cl.

T2 4
5 8 5 8 @
M 8
+ 3+ + E+ + + +
/ E+ + +
sul E

* *2
arco

! L ,22 ;P . / ; , - - , ,2 ; , ) , , - ( ( -
@
Vln.

5 @ 3 5 8

2 GC 7
" (* * *
sul C pizz. sul C m.s.t.

() !*2 * * - B< 2
arco

( , , + , "
C, - .
con sord.

Vc.
8 ( ( 12 T
8 5 6 @ K 6

# , - , - . '
bow

C C
Perc.
+( <( +( +( +( <( +( !
4
8 M M 8 T
! ' ' ' ' '
T
Pno.
io &&&
" p
4
? ? ? ? ? silentily press the key
1 1
(ped.)

# . - .
airy, noticeable sound

Elect.
breathy and airy
sounds continues

4 Scene 1
 1fdjklv'

; ; 9$% ~~~~~~~
B. Fl.
38 '''''''''''''' embochure
! *)
(bisb.)

B+
3
gliss. with

/
* * T
n 1 / *) + T@) T@ T
4 5 6 4 B 4
9 ;
B. Cl.
,
! ÷
,
/ / - . - . / 0 k
inhaling, exhaling

%8 8 8 8 %8 8 <) 8 <) 8 D) A
5 6 5gliss. with 4 6 5
5 6
>)
embochure

$% ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ =: $& ~~~~~~~

con sord. ord. sul G

*)
m.s.t.

. - +: * * *
sul G m.s.t.

! - + *) * * / / , E* *
( )
Vln. .
3
+
4 3 6 3 6 6
senza sord.
C
" B, 1 µ* * & B* / .
A) - / 0 1
s.p.
.
Vc. +
*)
3 6 6 3 6 4 ?5

! / 0 0 / / / / 0 1
%* * +
4* ) *) +
Perc.
+ 4 5 5
5 4 5
(ped.)

! 1 1 1 1 1 1 1
4 5 4 5
5
(((( 0 ((( ((( ((( ( i p (((((
Pno. o
" io
p
, 0 *
27 2%* 2, , 2, 2, 0 ) ,
( )

Elect. # 1 1 1 1 1 1 1

G F
F ; F
M
45 ~~~~~~~~~
$% ~~~~~~~~~~~~~~~~ $% ~~~~~~~~~~~~~~~~~~~~ 9
D

! T T T T T t@ T@) / 1
+) +) A
1 1
I
B. Fl.

3 5 J 6 6 K

kk ; 9
! / / / 0 0 /
B. Cl.
* + *) + @ @
A D) D) 3 t T <
6 5 6 5 3 B 6
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(m.s.t.)

=
s.p.

* : -
! , E,
( )
1 1 1 1 1
6
Vln.
5 airy

* = = = L)
m.s.p.

" %* ) + , @ @ @
@ @ /
( )

@ @ @
( ) ord.

4 , %+ *)
Vc.
53 4 6 +
.
6 3 6
*) + ,
. H
Perc. ! %, %, %* + - 1 1 1
4 5 J K 6 5 6
(ped.)

! 1 1 1 1 1 1 1 1
4 J 6
((((((((((((
Pno.

" io
p

, E2 , 2 )* ) 2, / 0
, , , ,
H
Elect. # 1 / !
% ,, ,
sporadic anxious breathing metallic,
sudden
breathy sound
slience
Scene 1 5
 $
#
A
1fdsjkv'

5 7 )
53

! ) B* + +. * * ) < ) /3 T /+ * * ) -
= =
B. Fl.

3 9 3 @ 4 B 3

A
1fdsvjkl

88
+. +.
57 ) - < ) < ÷ ÷
more air than pitch

B. Cl. !
, , 6 +. +.
>. >. >. >. >. >. >. 9
2 3 @ 4
˘>
m.s.p.

8 8 8.
sul E airy

- ; 7 -
ord.

!
+8 .. +8 ..
Vln.
4 free bow C @ 4
" ) /+ . +. /* 1 ) < - ) ) )
Vc. ( ) * *
5
* + 5
2 9 3
( )
*
B 3
B.D.
! !
! ) ) -
wire brushes
:
Perc.
+. +. +=. * 1 +=. +.
4 9 3 4 ? 4 92
(ped.)

! - - - - - - -
4 B
Pno. o %%%%%%%%%%%%%%%%%%%%%%%%%%
" ip
0/1 01 01 01 1 1 1
&'( '
Elect. ! 1 ) 7 *; + * /+ . : >. < >
slow breathing dry, anxious
breathing

# D #
A # # A #
K
B. Fl.
60

! T.
m * *
5 7 )
I
m +. *
- J, . 6 6 -
3 B 3 3 3 B 3
+
m K
! ÷ ) 5 7 ) ) -
,. 6
-
/* *
B. Cl.
+ JI J+ * B 3
3 B 3 3 B 3
! con sord.

! 8 ) +. 5) - - -
m.s.t.

Vln.
+ /+ . /1 /+ .
3
/ H ** 5
* 5
3
* *
B 3 B 2 B 3
+.
sul C

"
sul G

- ) - /+ * ) - = ) <
m.s.t.
5
*
/ +=. *=
5
= =
Vc.
* 5
B 3 B 3 *
B 3
!
+ .G
B.D.

: 7 - -
Tam-tam triangle beater wire brush

Perc.
1 *. 1= 1
2 scrape the surface 92 92 3

! - - - - - - -
4
EF
poco poco
Pno.

"
triangle

0. 0 0 0 0 0 0
(ped.) breathy,

: >. > < ) > < > >

airy sound

=2
Elect.

dry, anxious
slow breathing breathing
6 Scene 1
 molto libero + ~ 50
0
1fdSjklv'

8
E
%
1fdjklv' 1sdv/

67
% %
B. Fl. ! $ -T T BT * ' 7 -T T BT t t BT T
7
t
/ 3 6 / 3 / /
weak, hopeless, lamenting

%
to live processing

B. Cl. ! $

%
Vln. ! $

" %
Vc. $

% B.D. wire brush

# $
continue with irregular variations

Perc.
5 . •¶¡4
/
%
! $
/ 2 3 plastic card
Pno.
,
"
1 1 1 1 1 11 1 1 1 1 1 1 1 1 1 1 1 1 11 1 1
' (
continue with irregular variations

5 4
& g
(ped.)

# ) (*
live processing from flute.
door slam sound Filtered spectral freeze.
Elect.
sporadic anxious breathing

9
1sdf;

<
= .
; ;
1fdSjklv' 288

8 = .
1fdsjl'v

%
B. Fl. ! -t - T9* T T9* T Bt Bt -T = . $
: , : 3 , / >
%
as synced as possible

$
with elecrtonics

B. Cl. !

%
Vln. ! $

" %
Vc. $

%
Perc. # $

%
! $
Pno.

" $
(ped.)

live processing from flute. let resonance fade away

Elect. # Filtered spectral freeze.

)
sporadic anxious breathing

loud inhale

Scene 1 7
 Scene 2 - Their Stories +$= 76 % $
~1' $F $ $
Flute ! ' ' '
Flute in C

Bass Clarinet ! ' ' '

' ' 0 1 1
senza sord. pizz.

Violin ! -
/.
6pizz.
" ' ' - 0 1 - 0
senza sord.

Cello 2. .
6
wire brushes
B.D. stacatto: muted

# ' '
accent: open

Percussion
.3 .3 .3 .3 .3 .3
61 2

! ' ' '

7
Piano inside

" ' ' 1

. /.
8 .
+ ~ 76 &
* * *
# ( ( ( ) ) )
door slam sound

, 5. 0 1 1
Electronics
( 4
White noise-like sound that slowly becomes metered. Goes from low register to high.

$ % $ 9 $
4
$ $ $ $ $
Fl. ! ' ' ' ' '
(Bass Cl.)

! ' ' 1 -0 1 < '

? .3
B. Cl.

6 @
.
! < -1 1 < 1 /. 1 1 0 - . /. . 3 2. . <
3

/. . . / .. . /. . . .
Vln.
/.
8 6 5
8

" - . . 2. A.
< 2. 0 1 0 2 .- . -
. < 1 / / .. 1 2 . .- 0 .
- 03
. 2 . 4 3 .. <
5

.
3 3 3 3
Vc.
. . .
6
8 8
5 5 5 5 5 5 5
5
bongos

# 0 - -0 0 - - 0 1 .. . . .... .. . . . .. . .. . . . . . . . . . . ....
fingers

Perc.
.3 .3 . .3 .3 .3 .3 . .3 .3 .3 . . . 0 . . . . . . . . . . . . . . . . . . . . .
5 5 5 4
3 3 5 3 5 3 3 3 3 3 5 3 3 5 3 3 3 3 555 5
:6; 5 8
3
! ' ' ' ' " < 2 2 ??? 33

6 @ 7
on the keyboard
Pno. inside on the keyboard

" ' 1 < 1

3 3

-0 1 1 ?3
/. . . /.
. /. . /. /. . 8 . . 2? 3
:&; . & 8
(ped.)

> >
= = > = = > = = = =0 = = = = = = = = random glitchy

Elect. # sounds continue

"Mi hermano me "que si quería reunirme con

Miguel (male voice): "Antes de venirme para el
norte yo vivía en Monterrey." llamó y me preguntó" él en los Estados Unidos."
"Mi nombre is Miguel"

8 Scene 2
 $ % $
9
$ $ $ G Flute in C 5
Fl. ! ( ( ( ( 3
1
! ( ( ( ( / , / , +
3

B. Cl.

0 )- ) *)
1 -
! ) * ) ) ) * )) 3 +,
3

+, +,
3

+, +,
3

+, +, /
3 3 3 3 3 3 3
Vln.
) ) *) ) ) ) ) ) ) )) 0) ) ) ) ) ) 0) ) ) ) ) ) 0) ) ) )
1 6 1
3

" ) * ) * ) * ) 4 ) 0 ) 4 )) 3 .) .) .) .)
* ) )+ , ) ) )+ , +
) , )
3 3 3
Vc.
) ) 0) ) ) ) ) ) ) ) ) 0) ) ) ) 0) ) )
1
3
6 1
. 5 . 5 . . .
) .) , &&&& &&&
) ) .) - ) , .) ) /
nails

) ) ) ) ) ) ) )))) ))) ) ) ) ) ) ) ) ) ) ) 7 )8 - 79, , )

5 fingers
soloistic

# / +
) ) ) ,
) ) )-
)
Perc.
) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )
6
- - - . - - - - . - - - - ..... - . 8
1 6 wire brushes

" 4 5 --
( 3 * 55 - ( ( (
Pno. 2
inside
on the keyboard
2
inside

" / / 5- , +
) ) 0 )) )) 4) 0) ) 0) ) ) ) 0) 5
' *5 - ) ) ) 5 ) )
(ped.)

#
random glitchy
sounds continue
Elect.
"Mi nombre is Miguel" "Antes de venirme para el
norte yo vivía en Monterrey."

) *5 ) )
14
*) ) - 0) 4) *) *) *) ) *) ( / 5- *5 - *)
Fl. ! 8 ; ; ; ; ; ; ; ;
= 1
<
3 3

! , +, / 3 3
3 3 3 3 3

* )- * )- ;
)- ) 0 )- * )- )
B. Cl.

) )- ) 4 )- 0 )- ) ) 4 )- 0 )- * ) 05 ) 0) ) 5
* )-
6 1- - 6 1- - = <
1 =

:) * * :) :) ) * ) ) ) - ) * ) - ) *;)
arco

*: : :) -
, ) ))
arco

; *) )
s.p.

/ / ;8 ; ; ; ; ; ;8
s.p.

! ): :) ) ) 0)
7 7 pizz. 3

; ; ; ; ; 0 )- )-)- )- * )- )- * ) ) * ) )
- - - - )- )- * )- )- 0) ) ) ) ) ) 0) ;8 ; ;
Vln.

; ; 6
1 < 1 1
3 3

?+ 0: :) :) 0 :) -- :)
" 0 )) )) , )) )) )) , )) , )) 0 )) , )) )) )) / / 0 ;)8 :
arco

+3
* )- , , * ) ) )+ , ) *) *) /
sul G

/ ; ; ;8 , ;)
sul D

;
3 3 3
Vc.
0 ) ) ) ) ) ) ) 0 )
8 8
) ) )
8 3 8 3 8 > 1 3
1
3

6
3 3 3 3

6 5
) ) ))) ) ) ) ) ) ) ) ) ) ) )) )) ))) ) ) ) ) ) ))) ) ) ) ) ) ) ) ) ) )) )) ) )
5 5 5 5 5 5 5 5

# 3
fingers

Perc.
)) , ) ) ) ) ) ) ) ) ) ) ) ) ) ) )) ))) ) ) ) ))) ) ) ) ) ) ) ) ) ) ) ) )
- . 8- - - . - - . - - - - . - - .- - - - . - - .- - - - . - - . - - - - . -

" ( ) 0 )) ( ( (
on the keyboard
6 inside

2
3 3
Pno.

" / / + , / 0) ) ) , + 0) ) + ,
05 ) ) ) ) 0) *) 4) ) ) ) ) ) ) ) 0) ) ) )
) . . .
1 '
(ped.)
<

#
random glitchy glitchy rhythmic
sounds continue sounds stop
Elect.
"Mi hermano me llamó y me preguntó que
si quería reunirme con él en los Estados Unidos."
Scene 2 9
 ((
$) $ -. ? ? -
H
) -.
bisb.

. < <
2 . -. 2 $*-9 $ -. 2 8
q

* 89 . 1 2 2 . 1 7 2 . < 2 . -1 2 $ - 7
19 q

7 7 - 2 $ -; 2 - 7
jet whistle 5

!
5
Fl.
6 9 -. -. -. - - - 9 :
4 5 4 5 4 : > 4
>
* B$ Clar.

B $ Cl. ! 0 0 0 0 0
+
5
+ ,-. ,-. ,-. ,-.
arco

! * 7 = - /- - $ -- = =
3

-- - $-
pizz. 3 3

-
- - - - - - - 3- - - $- - / - - - - / -
Vln.

4 4 :
: 4 :

" -,* $ ,* ,*
pizz.

*
), 7 - 3 -1 2 - - - = @ - -1 2 - 3 - - @ -1 2 - -- = 0
3 3 3 3 3 3
Vc. $- - - -- --
4 : : 4
4
fingers

- - - - - - - - - - / - - - - /- - - - / -- -- /- - / - - - - /- = ) - A /- 8 2 - -
5 5
bongos + toms

- - - -- - -- - -- -
D.S.

# - -
Perc.
- - -- -- -- - - *
. / . . . . / . : 5 B :
3

4
5 5 5 5 5
4 5

" $- @- $ - -- )) ))
0 0 - $- ) . @- - 0

5 :
on the keyboard
Pno.

" 1 2 0 - - =
- - $- $-
- - - 3 - - -- -- ) - - $- $-
%&' / //
(ped.)

#
glitchy rhythmic glitchy rhythmic
sounds resume sounds stop
Elect.
"Yo le dije que sí y me puse "pues eso significaría una "para toda la familia" "El camión de Monterrey "no estuvo tan largo"
muy contento porque" mejor vida para mí," a Nuevo Laredo"

(((((((((((((((((((((((((((((((((((((((((((((((((((((((((
-. +I +I
I
+ +
(bisb.)

) )
927 =
25

!
4
Fl.
B warm 4 B
bisb.(((((((((((((((((((((((((((((((((((((
$- + -. -. -
B $ Cl. ! = 7 927 = 0 = 9 0
: 4 K :

,. ,. ,. ,. ,. ,. ,. ,. ,-. ,-. ,-. ,-. ,-. ,-. ,-. ,-. ,-. H J1 1

pizz.

<
choke

2 $ -- 2 3 -- 2 . @ - -
$
pizz.

.
arco

! - -- --- -- 2 3 -1 7
arco

927 = 2 . < 7 3- C. 2 7
soloistic

-. $ - - 9 1
Vln.
4 -. . 5 - -
( )

5 5
. . . . . . . . . . . . .
$ $ ,- ,- ,- ,- $ $ ,- ,- ,- ,- ,- ,- ,- ,- $ $ ,- $+ - $) . ). -
arco
s.t.

" 7 7 927 = D
:
Vc.
4 B G : B
13/ /!
- - -9 - - - - . - - - 2 /- -- --- -- -- -27 = - 2 8 -1 - /- 2 /- . 7 - - -1 - --. --. . /
8 --; 2 2 -1 -9 - . - 2 - - ---
D.S.

# )
soloistic

9 9 9
/ - 3 * * *
Perc.

E 4 45
4
5 5
3

-.
pluck
$- ) -. $- -
" 0 0 0 ! = 9 $) $- 9
:
E
F
Pno. inside warm and delicate

" 0 0 = 0 0 0
$)
&
continuous high pitch noise
7
C C
glitchy rhythmic

#
sounds resume

Elect. * * "que mi hermano había

"allá me encontré "Ese día en la noche el "varios caminando, caminamos"
arreglado para mí."
con el coyote" coyote nos llevó a"
10 Scene 2
 ; '' &- ' ' ' ' ';
& ' %' ' < %' & - & ' '
( ( '- &
31

Fl. !
8 36 76
3
76 =6
& ' & ' ' ' ' ' '
B % Cl. ! ( ) * 5 * ( ) A * ( ) A ( ) A
: 8 : @ 8 : @8 : 7
- - pizz. 9 - '- ) 9 ''- ''- 9- - ' '-
sul A

9 + - '1-
sul D
(0 ' )sul G ( 0 ')(
- > +) '
arco

) % ''- -- ) '' ) . '+ - ' ,- - ( ) ,, ) 0 '- '' ) '' 0 '

sim.

. %' ) ?%' - ' * ) ) '+ / / ' -

( ')
pizz.

! ,+ ) . / / ) 0 '+ ) * , ) )(
arco 5

0 '- '-
3 3

Vln.
- ( ( - '- ,- ( (
5 3 = = B =
& ' '
5

' &- & & ' ord.

'- &- &
Vc.
" $ ' ' ' ' - 0' ' &
76 = 6
5
7 6 76 =6

3 ' 3'1 ) ' ' ) ' ' - 3' ) '( 3' - ' ) 3 3 3 3 3 3 3 3
# % ' 2 '1 * . '' '' . '' '' . '' '' ) ' -' * ' ' ' . ' '' . ' '' ' ' ' . ' '' ) '( ' ' ' ' ' . ' ' . ' ' '' -- '
+
. '( -
Perc.
4 45
7
5
8 7 3 85 5 5
= 7 5

%& & & &-

&- & '- '
! ' + ' '
' & &
8 7 =
Pno.

$ 5 5 5 5 A * ' & 0&

(ped.)

#
glitchy rhythmic
sounds stop
Elect.
"Mi nombre is Miguel" "Antes de venirme para el
"muchísimo y cruzamos el río."
norte yo vivía en Monterrey."

D C
J

; & & ' %& - C & C '

'' ' ' ' ' '- & &
! ' 4 4( ) * A
37

Fl. ( A
= 6 G B = G B
B6
3

& %& -
' ' ' ' 0& & ' %& '
B % Cl. ! ' ' ) *
( ( ) * A 4 4( ) * A
: = : 7 : G B = G B
-
% / / % % /' /' -- 2 /' /' 3' '
%' ' ' ) 4'( 4' 4 4 4( ( ) * A ''
5 3

! * +) * A
pizz.

'
'' '- '- '' '-
3 3 3

' 0' ' ' ' ' ' ' 0' ' ' ' ' %' ' ' ' ' ' % ' % 3' % % ''
Vln.

fl fl F F F 3
=pizz. B
3

$ ' + ) ' '+ ) ' ) %' %' %' %' +) * A

5

A ' +) +
3 3 3 3 3 3 3 3

%' - ' ' 0' &- 0' & % ' ' ' %' %' ' ' ' ' 2 % ''
3 3
Vc.

= 6 B6 =6 B = 3 B
3 5 3 53
3
. '( - ' ' . '' '' . ' '' ' ' ' * ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ''' ' ' ' '' ' '
5 5 5

# ) + +) * A
sticks (all instruments)

Perc.
3 3 ' ' ' ' ' ' ' '' '' '' '' ' ' ' ' ' ' ' ' ' ' ' ' ''' ' ' '' ' '
7 = 37 3 3 3

' & & &

-
! & A 5 5 5 5
B B
H
inside
Pno.

$ & A +) * A
%& - ' 0 '' '
0& - &
' 0 '' & & 0 '' 0 '' 0 ' '
E
(ped.)

I8 sub.)
#
glitchy rhythmic
sounds stop
Elect. Lucía
"Yo supe que ya "y que lo que seguía, "My name
"Ese día en la noche el coyote "caminamos muchísimo, estábamos en los era lo más dificil" (female is Lucía."
nos llevó a varios caminando," y ya tarde cruzamos el río" Estados Unidos" voice):

added overdrive

Scene 2 11
 3 +, 7 +,
2 +, +, , , +, 2 + , q + 7+
@
+ 7+ + ,
'+ $+ + + +, + +, $+ + + ,
44 q q

6 6 5 * 6 . + +
q

Fl. ! $( 5
55
$+ 5 7( ? 5 5 + :
0 4 5 5 = 0 = ; 4 3
5

2 &' ~~~~~~~~~~ &' ~~~~~~~~~

5

8 8 8, + 7+ +
) + 7+
+
$+ '( 8 ~~~~~~ ' + 3
$&'
$ +5 $ +/ *
'+ $+
! /
3

B $ Cl. + 7+ + + 7+ + $+
;
'+
4 , 0 A
+
;
'+
4 $+
arco
88 >>
! * * ) 7 88
sul G s.p.

5 5
( )

+, +, , , 5
( )

, , , , , , , , , , ,
Vln.

1 ; +, 4
4
, , pizz. + +,
ord.

$ + 6 + $ + 5+
3 arco

" * 7 + . $+ 6 / 5
pizz.

- . / . * )
s.p. ord.

+ +, 4
4 $+ 55 +, +, +, +, +, +, +, +, +, ,
Vc.

4 , , , , , ,
= ;
3

H ¿ ¿
¿ $ + $ + +¿ . . $ + + +5, ¿ ¿ 6 5+: , +
# ) +, 7 +, 9 $ +¿ + 6 +, +, 3 :
+5 * ) 7 +, +, $ +, + +¿ . +,/ . 6 + +¿ -
3
Perc. !
+, + 0 5 $ +5
4 stacc. = D.S. = 4
$+ '+ +
7+
/ '+ 7+
/
$+ 3
) - * ) + 7+
! $+ + + , + $+ - *
5

7+ $+ +
; 3 , = ; 4
Pno.

" ) + + + 7+ 3
- + , + + $+ +
+, $ +, 7+ +
4 + 8 >
% <
noisy rhythmic

#
short noises
Elect.
"Yo me llamo Lucía. crucé porque no hay nada más para hacer en mi pueblo" "Crucé porque no hay nada
(this text sounds keeps going in the más que hacer en mi pueblo."
background, together with Miguel's voice)

C D C D
+ +,
2 K B B B B
! : 5 . F/ G ,
50

Fl. * ) ) ) ) ) )
= 0 =
2
. 7+ + + + +,
B$ Clar.

* ) ) . / ) ) +
!
3

+ ' +, ' +, $ +,
B $ Cl.

= F G, 3
1 4
0 =
EE
78 , + +, + 8
ord.

! * ) ) ) ) 5 55 +
Vln. 5 5 5
51 1 4 1
with perseverance
sul C

" $ $ ++, + ++ 7 ++,

5

$ + + + + $ ++ ++ $+ + + + + + $+ + + + + +
5

* ) ) G
+, +, +, +, +, +, , +, , +, +, +, +, +, +, +, +, , +, +, +, +, +, +,
Vc.
, , ,
4 0 4 = 4 = 4

< <
sticks with perseverance

H + < +
susp. cym. 5 5

++ ++ ++ ++ ++ ++ ++ + + . +/ + + + + + ++ ++ + + + + . +/ + +++++ +
drums

! 85 * ) ) # 5
Perc.
+ + + + + + + + + . . +
= : :
0 4
! ) ) ) ) ) ) ) )
= ; with perseverance
" + 7+ / / /
Pno.

$ $ +++ +++ +++ . 7 +++ ++

3

$ $ +++ +++ . +++ +++ +++ +++ +++ +++ $ $ +++ +++ . +++ +++ +++ $ $ +++ . +++ +++ +++ +++
3 3
3

+, $ +, $ ++ ++ ++ ++ ++ ++ ++ ++ $ ++ ++ ++ ++ ++ $ ++ ++ ++ ++ +++ $ ++ ++ ++ ++ ++
+ 8 > > > , , , , , , , , , , , , , , , , , , , , , , ,
% < %
(ped.)

#
noisy rhythmic
short noises
Elect.
"Algunos conocidos lo han "Así que pues "En México, dejé mi familia,"
hecho y pues les ha ido bien." decidí intentarlo."
12 Scene 2
 % & $ & %
$ $ $L 0, , , ', ', $ $
? . . . . . 0., <., ., ', , , 8
58

! + + + + + 8
Fl.
; . .5 .
3 :
3 5

, ,, , , ', / , / ', , 7 8 + , , ', , 8 4 0 ,-

5 0 , ,. . . . . .
3

! -
, . . . , ' , ' , , , 0 ,. ' ,. ..
B ' Cl.

2 6 2 3 , ,/ @
:
3

, , , ', 7 7 0 == ,,
s.p.

! , 8 + . 8 8
Vln.
. . . . . . . .
6 2 6 @

" ,, ' ,, 0 ,, ,, >=

5

', , , , ' ' ,,/ , ,, , ', , , , , , ', , , ', ,

5

+
/ / / / / / .
3 ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/
Vc.

6 3 6 2 6
1 1 9
1
mute with full arm

, 4 ,,, , , , , , , , , , ,
5 5

# ,, ,, , , , , 4 ,5 , , , , ,, , , , , , , 4 ,5 , , , , , ,
Perc.
, , , , , , , , , , , , , / / / / / / ,/ ,/ ,/ ,/ , , , , , ,
: 2
6
! + + + + + + +
69 inside :
5 5 5 5 5
Pno. optional

" ' ' ,,, ,,, 0 ,,,

3

,, ,, ' ' ,,, 4 ,,, ,,, 4 ' ' ,,, ' ,,, ,, ,, ' ' ,,, ,,, 4 ,,, ,,, 4 ' ' ,,, ,,, ,,, 4 ,,, ,,,
3

' ,, ,, ,, ,,, ,,, ' ,, ,, ,, ' ,, ,, ,,, ,,, ' ,, ,, ,, ,, 5 4

/ / / / / / / / / / / / / / / / , , , , 0, , , 0, , , , , , ' ,,
/
,, ,,
/ /
,,
/
,,
/
()*

#
noisy rhythmic
short noises
Elect.
"a ellos no les gusta lo "después van a entender."
que estoy haciendo,"

% & % & $
$ 0 ,A
$ 7/
$ , 0, $ 7 , $ = , ,A 7
- 4 4 - 44 -
65

Fl. ! 8
@ 6 @ 6 @ 6
3
@
7 7 7 , 7 ,
B ' Cl. ! 7 7 4 0 ,- , , , 4
- 44 -
3 @ 3 @ 3
3
@
07 / , , ,
+ 8 4 0 ,- , , , 4 7 7 , 4 .
Vln. ! . . . .- . . .- 4 . . .-
@ 6 @ 6 @ 3 @

" ', ', ', , , , ', , ', ', , ', , , ', , , ', , ', , , , , , ', , ', , ' ,,/ , ,, ,
5 3 5
3

' ,,/ ,,/ ,, ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ' ,,/ ,,/ ,,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ / /

Vc.

3
1 1 1 1 1 1
, , ,, ,, ,, ,, , ,, ,, , , , ,,
5 3 5

,, ,, , , , , 4 ,,, , ,, , ,, , , , ,, , , 4 ,5 , , , , , ,, , 4, ,, ,,, ,, ,, ,, ,, ,
3

#
3

Perc.
, , , , , , , , , , , ,

! + + + + + +

" ' ' ,,5 4 ' , ,, ,, 5 ', ,, ,, ,, ,, 5 5 5 5 5

, ' 0 ,, ' ,,
Pno. 5 3

' ' ,,, ,,, 4 ,,, ,,, ,,, ' ' ,,, ' ' ,,, 4 ,,, ,,, 4 ,,, ' ' ,,, ,,, ,,, 4 ,,, ,,, ,,, 4 ' ' ,,, ,,, 4 ,,, ,,, ,,,
3

,, ,, ,, ,,
' ,,, ,,, ,,, ,,, ' ,, ,, ,,/ ,,/ ,, ' ,, ,, ,, ,, ,, ' ,, ,,/ ,,/ ,, ' ,, ,, ,, ,, ,, ,, ' ,, ,, ,, ,, ,, ,,, ,,, ,,,
/ / / / / / / / / / / / / / / / / / / / / / / / / / /
()*
#
noisy rhythmic
short noises
Elect.
"Por andar en estas me perdí el cumpleaños de mi hermanita"

Scene 2 13
 % & $ & $N
)( ', $ )( $ , , ,( $ M $ $
* + +
71

Fl. ! / / / / / /
3 1 3
3

) ', ( , )( )
B ' Cl. ! * + / / / / / /
2 1 2
5

) ) , ') ( , , ,(
Vln. ! - - -+ * - - - + / / / / / /
3 1 3
3

˘ ' ˘ ' ,˘
,
ad lib. cresc and change

" ., ', ', , , , , , ', ', , ',

5 from ord. to overpressure

, / / / /
3

,( ,( ,( ,( ,( ,( ,( ,( ' ,,( ,,( ,, ,( ,( ,( ,( ' ,,( ,,( ,,( , , 5

Vc.

6 78
4 4 4
3

, ,, , ,, ,, , , ,
5

,, ,, ,, ,, , ,, ,, ,, ,,, , , ,
3 3

# / / / / / /
Perc.
,, , , , , ,,,, ,,,, !

4 34 4
! / / / / / / / / /

˘, ' ˘,, 8
Pno. pluck (plastic card)

" ' ' ,,0 * 0 ', ˘,

3

,,, ,,, ,,, * ,,, ,,, ' ' ,,, ,,, ,,, ,,, ,,, ,,, ' , ' . ,, ,,, ,,, ,,, / / / / /
' ,,, ,, ,, ,, ,, ,, ' ,, ,, ,, ,, ,, ,, ' ,,, ,,, ,( ,,, , , 5
( ( ( ( ( ( ( ( ( ( ( ( ( ( (ped.)
3
high and airy sound

5
(pitch is approximate)

# 5
noisy rhythmic added overdrive
Elect.
short noises
! #
"Pos quién sabe cuándo la vuelva a ver" "En México," "dejé mi familia, a ellos no les gusta lo que Bibiana
estoy haciendo, después van a entender" (female "Si mijita, la abuelita nos está
voice): esperando allá bien contenta."

5< <
always dark and weak
5 , ) 5 5 ,
+*; +*; :
80

Fl. ! / / / /
1 3 1 3

'5
always dark and weak
5 ,*; :
? 99999
slow

/ '5 5 '> @*; : / : * 0

bisb.

B ' Cl. ! + - -+
1 3 1 3 = , ,
1
.5 5 ,
always dark and weak (m.s.t.)

') 5 5 '!) ( , ' ' A5

m.s.t. m.s.p.

Vln. ! : +* +*; : / /
1 6 = 1 3 1

Vc.
"

H
', , ', )
.)
two bows

! ) , ', , , ') ; / , ( ' ,+ ) : / : ) / ', ,

B) ,
Perc.

6 8 6 8 8 6
)(
) ') )
., ) ) .5 , , ') ( 5
) .) (
! : )
') .)
Pno. 6 delicately
" / / / / / / / / / /
(ped.)

#
airy sound with gliss and
rhythmic noise continue
Elect.
"Vas a ver que te va a "Mira Lorenita, puede ser que yo no me quede con "No te vayas a asustar todo va a salir bien."
gustar mucho vivir con ella." ustedes y que me toque devolverme a la casa."
14 Scene 2
 2 2
$( * ) + *) ( N2
+ + (
' '&
90

Fl. ! & / / / - 3 / /
0 4 0 1
(bisb.)%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% $* +
! - / / 3 -
*) + * *
B $ Cl.
+ + *) ( *)
4 6 1 0 1

,+ ,+ ,* )) ,(
! '& / 3 - & ,7 - 3 / /
( +, +, *, *, (,
Vln.

4 1 6
"
+)
Vc.
(

( (
( $( * - 3 - & (' ( ( 5( * 3 - &' - / / ( * - / /
Perc. ! * * $*
1 4 1 9

$* ) $( + ( * 5( *) ( + $(
$* * ( * *)
! .* - 3 - ( * /
9
Pno. 1
" / / / / 3 - ( / / / / + /
(ped.)
8 8
airy sound with gliss and

#
rhythmic noise continue
Elect.
"Prométeme que si "les dices que estás sola y "No les digas
"No llores, porfa no llores, tranquila mi niña."
ves a los señores que vas a visitar a la abuelita nada de mí."
vestidos de verde" en Laredo."

$ *2 + + O
*) ( *)
101

Fl. ! 3 / / $+ ( (
0 1 0 9
* + + *) $+ ( *) (
3 - $( * )
B $ Cl. ! +
0 6 4 9
$+ * * + *)
m.s.t.

?
solo, lunatic pizz.

/ - 7&
$ () ( . () ( $ () - - >$( < - ( 5( & ( & 7 & -
ord. 3

!
5

<
() ( ) ) $( ( $ () () fl( () . fl( fl ) () fl () $ () $ (
Vln.

0 1 0 4 ) ) fl 4

" 7& & 7 7 & 3

s.p. m.s.t.
cue from conductor

+) $ () () () () () () () $ () () () () () () $ () () () ()
Vc.

4 1
(

fingers wire brushes

( ( ( ( (( (((( ** ! !
! * $* / / / 3 & 7
bongos B.D.
#
3
Perc.
< () () () () (' (' () () () () () () () () (
4 9 ; 9 8 8
stacc. = D.S.

*)
accent = open

! 3 / / / / / /
3

$( (*
4
$* =
Pno.

" / 3 ( * $* + / & 7& 7- & 7 - - -

$( ( ( ( $( ( ( ( ( $( ( ((
4
3
; :
8 door slam - granulated
+<
noisy rhythmic

#
airy sound with gliss and
rhythmic noise continue short noises
Elect.
"las dos veces anteriores me agarró
"Si haces lo que te digo, "No llores, porfa no llores, José (male voice): "Yo digo que esta vez si la migra y me regresaron pa’l Salvador "
todo va a salir bien." tranquila mi niña." me va a ir bien, vos,"
Scene 2 15
 ) )( $* ) )
$* )( * )
(
! $)
109

Fl.

4 3

B $ Cl. ! $) ( * )( * ) ) )(
4 * ) 9)
3
7
ugly

*( + * $ * , - . , - ,- . - . + *( $ *( fl* - *( $ *( *( - * * - $ *, - - * $ * . - $* - , - .
arco

! $*
3 3
Vln.
* ** ( ( *( $ *( $* $ *( 5( * $ * $ *( ( $* * *( $ *(
*
( ( ( ( fl fl fl
2 3 6 3
" . - , - , - , 8 , - ,- - ,
s.p. m.s.t. s.p.

$ *( *( *( *( $ *( *( *( *( *( *( *( $ *( *( *( *( $ *( *( *( *( *( *( $ *( *( *( *( *( *( *(
Vc.

3 4 3
! ! ! ! ! ! !
#
3
Perc.
*( *( *0 * *( *( *0 *0 *( *( *( *( *( * *( *( *( *( * *( *( *( *0 * *( *0 * * *0 *( *( *( *( *( *( *( *( )
fl /
/ / / 4 / /

! 1 1 1 1 1
Pno.

" - , - , . . - , - , ,- , - . ,- .
$* * * * * * $* * * * $* * * * * $* * * * * $* * * * *
%&'
(ped.)

# :;
noisy rhythmic grainy noisy texture
short noises
Elect.
"Yo digo que ahora me va a ir mejor,
primero Dios"
(Voices of Lucía en Miguel in the background)

P
*( percussive and pointillistic
q

! 0 -( B 5 ,
114

- . 8 1 1 * *( . * $* ( . * * ( $* - - +*
5 5 5 3
Fl.
$* ( *
6 3 possible
percussive and pointillistic
q

B $ Cl. ! , - . 8 1 1 - , . - , . , - - = B.
*( * * * $* $* *
6 4
airy

$ *( $ ˘* $ *0 : : *
s.p. m.s.p.
arco
s.p.

! 9* - = 9 * - -; ; ; ; . . = B- - - ,- - .
3
Vln.
*( fl ; $ *( *( *( $ *( *( $ *fl
5
> A 4 leggiero
"
m.s.t. !

,- $ ** - - , + **
s.p.

,
3

$ *( * ) ( )( * + *( *( *( *( *( *( *( *( *( *( *( *( *( *( *, *( *( *( *( *(
Vc.
,
*
2 > ? 3 6 3 6 3

/ , /, /3
bongos (one hand)

/3 3
* * * * - * - * * * * - * * - - ** * * * * - = *, * /* - /* ( *<<<< * * *, /* - **( **( -
fingers nails fingers

* - *, *0
!
3 D.S.

# 0 0 0
Perc.
* * *0 ) ( : )(
A. 2 5
4 5 2
>
5

! 1 1 1 1 1
3 on the keyboard 3
Pno.
@
" $* * ,- ,- , - ,- ,-
3
- , - , , - - , - ,
$* ) ( $* +* * $* +* * * $* +* * * * * * * * * ** * * * * *
/ /

#
noisy rhythmic stops (Voices of Lucía en
short noises Miguel in the background)
Elect.
"las dos veces anteriores corrí y "Yo digo que ahora me va "Pero yo creo que voy a
"Ya allá me van a dar mis papeles y ya
corrí, pero vieras que no llegue." a ir mejor, primero Dios." poder llegar a San Antonio."
con eso yo agarro avión pa’ Nueva York."

16 Scene 2
 Q
*+ + $ *+ $* + = + $ *+
*+ $ *+ + $ *+ 0 1 & *+ ( ( $ *+ 0 $ *+ 9 *+ + ( $ *+ 0 41 4 1 ( -
! ( ( $ *) ( + $ *, ( ( *) - ) ) *+ +
119

* ( * ( / :
3 3
Fl.

7
5
5 8
%& ~~~~~~~~~~~~~~~~~~~~~~~~~~ +
; * ( -
B $ Cl. ! - ) ( )( ) ( ) ( ( ) ( ) ( ) ( ): 1 :
$* * * * * * * * $* * 6 8

,
B
! ( + & *+ ) ( ) ( $ * - ( $ *) & ; )( -
& * ( 0 $ *4 ( :
5 ord.

$* * * + $ * + ; ;; @@+
*+ fl $ *+
Vln.

fl fl + fl < 8
" ( $ ** )
) ) ( ( ) * ********* * * * ( - :
3 3 3 3 3 3

*+ *+ *+ *+ *+ *+*+ *+ *+ *+ *+ *) *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+
Vc.

8 7 8
'''' '''
.* + * * * *** * .* * + * .* * * + + ). .* + * . . * * * A A A* * *
nails D.S.

* *( * ( 0 ** ++ ** 0 ** ** ( * + * :
fingers 5

# ( /0 1 /( (
sticks

/5 1 * * * * * * * * * * * * *.* * *.*. * * *
5
Perc.

3 6 3 75 ?
5

7
5 5 5

& ** **
on the keyboard

2 2 2 $* * " >;
! &* * > ** &;
6 8
* *
Pno.

" - ( ) ( ) )(
3
2 - ( 1 &* $;
*** * * * * * * ** * * ;
(ped.)
.

# ;4
(Voices of Lucía en grainy noisy texture
Miguel in the background)
Elect.
"Este tráiler está bien "Vieras como tengo ganas de
chuco, bien caliente." ver esos edificios bien grandes"

124

Fl. ! 2 2 2 2

%$ ~~~~ %$ ~
+ . .
( & * * * > * * 0 * *) *
.) )
, ,
*+ ( $ * *+ *+ 0 *1 + * ( ( )
3

0 ) 0 * * (+ (+
*
5

! 2 )
1
*
*
B $ Cl.
*+ *
*+ + 4 4 .
7 . $* * 3
)
s.p.

( > * (* ) ( *) * )
with perseverance

! : $ ** ** ** ** ** ** (
5 3 3
Vln.
* * $ ** **+ *+ *+ ** ** ** ** ** $ ** ** ** ** ** ** ** ** ** **
3 + + + + + + + + + + + + + + + + + + + + + +
7
" : ( & ** ( ** ) ( ) (
with perseverance

)
5 3 3
Vc.
1 $ *+ *+ *+ *+ *+ *+ *+ $ *+ *+ *+ *+ *+ *+ *+ *+ $ *+ *+ *+ *+ *+ *+ *+ *+ *+ *+
3 7
'''''
. * * A *A A *A * * * * ** * * * * . * * .
0 * ** * ( *1 0* * *( 1 * * * -
* *** *** * * * *** *
3
5 fingers

# * * * * * *** * * - *
. . . . .
Perc.

? 7 ? 6 ? 6 ?
" ; ) (
3 5
( )
3

; $ ** ** ** > ** $ ** ** $ ** ** $ *+ * *+* $ **+ **+ > **+ $ **+ **+ **+ **+ $ $ **+ * **+* **+* **+* **+* > **+ **+ $ **+
+ + + + + + + +
Pno. 7 with perseverance
" ; ) (
3 5
( )
3

; $* * * * * * * * $* * $* * * = $* * * * * * * *
(ped.) $ *+ *+ *+ *+ *+ *+ *+ *+ $ *+ *+ $ *+ *+ *+ = $ *+ *+ *+ *+ *+ *+ *+ *+

#
(Voices of Lucía en
Miguel in the background)
Elect.
"Las dos veces anteriores me agarró la "Quiero empezar a trabajar con mi
migra y me regresaron pa’l Salvador" hermano, ya son cinco años que no
lo veo, de plano no me va a reconocer."

Scene 2 17
 %
'& ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ '( ~~~~~~~~~~~~~~~~~~~~~~~ & < < $
128
+ + +
Fl. ! * 3 3
6 =7 6
~~~~~~ '& ~~~~~ / , / ,/ , '( ~~ /
02 , , ,/ & ,/ : 1 ;, / ,/ , , 5 &<
! , & ,
-
& , . / 1, 2 8 9 - 2 2 (, , , ,
3
4 5 /
B & Cl. 1,
-
, 5
5

& << <<

! & ,, ,, ,, ,, ,, ,, ,, ,,
3 3
Vln.
& ,, ,,/ ,, ,, ,, ,, ,, ,, ,, ,, 3 3
/ / / / / / / / / / / / / / / / =7

" 3 3
&< <
& ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ & ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ ,/ 3 3
Vc.

=7

,, ,,, ))))))))) , , , , , , , ;, ,- , , , , ;,, ;,, ,3 , , 3

5
sticks

# , , , , ,8 . , , , : , , , , ,,,,; , , , , ,,
6

3 , , ,,,,,, ,
;
Perc.

6 57 6 6 5 4 4
" 3 3 3 3 3

& ,, ,, ,, ,, 1 ,, ( ,, & ,, & ,, ,, & ,, ,, ,, ,, & ,,, ,,, ,,, 1 ,,,, ,,,, ,,,, ( ++ // & & 1 ,,,, ,,,, ,,,, & ++ // & 1 ,,/ ,, ,,/,, ,,/,,
/ / / / / / / / / / / / / / / / / / / / / /
Pno.
= =
" 3 3 3 3 3

&+ / &, , , &, , , , , , , &, , , (+ / &, , , &+ / &, , ,

&+ / & ,/ ,/ ,/ & ,/ ,/ ,/ ,/ ,/ ,/ ,/ & ,/ ,/ ,/ (+ / & ,/ ,/ ,/ &+ / & ,/ ,/ ,/
grainy noisy texture

# <
(Voices of Lucía en
Miguel in the background)

3
Elect.
Bibiana "Prométeme que si ves a los señores
(female vestidos de verde les dices que estás sola"
voice):

% $
$ + $
3
132

! : *
>
Fl.

=
+ , . : *
B & Cl. ! 3 38
=

,, @
pizz.

! . : : *
38 &,
Vln.

= =

" , . :
@
pizz.

: *
38 &,
Vc.

=
=
# - . : *
Perc.
++3 ,
=
" : ?
& ,,
Pno.
=
" 3

- . : *
(, , &, &, &,
(, fl fl fl fl
# + ;, : *
door slam sound

3
Elect.

18 Scene 2
 Scene 3 - Are You an American Citizen?
1 ~ 1’ General resulting dynamics should be  -  Performers play/repeat any module while conductor shows event number.
Arrows indiciate path to follow. Variations on the module are welcomed
Flute Clarinet in B

Violin Cello

Percussion
Piano

2 ~ 1 General reuslting dynamics should be -

Flute
Clarinet in B

Cello
Violin

Piano

Percussion

Scene 3 19
3 ~ 1’ General reuslting dynamics should be  - 
Flute Clarinet in B

Violin Cello

Percussion Piano

20 Scene 3
4 ~ 10” Flute Clarinet in B Violin
Electronics
Officer: Hello Sir. Are you American Citizen?
Driver: Yes
Percussion Piano Officer: Is there anyone else with you in the vehicle?
Cello
Driver: No
Officer: OK, you may go, have a good one.

5 ~ 1’ General reuslting dynamics should be  - 

Flute Clarinet in B

short

short

Violin Cello

short

Piano

Percussion

Scene 3 21
 Conductor shows number of event with fingers. Performers repeat the

Scene 4 - The Ritual of Waiting corresponding phrase through the entire duration of the arrow. Slight
variations in dynamic, tempo, and rythtm are encouraged. When
interrupting the phrase at the end of the arrow, do it in a musical way.
libero ~30" ~30"

,2~ 50
1 2
:
! 0 (' $' )' $' ' )' ' (' )' ' ' ' $3 3
Flute
$' )' $' ' 3 ' 1
- gliss. with embochure . / - ;
to live processing

Clarinet in B $ !
: :
, ~ 76 $ 48 77 $4 48 5 57 $*
sul A

4 48$ 68
arco

! ! 0 5 6 6 6 6
6 69
Violin

- weak, hesitant
5

Cello
"

super ball

# 0
B.D.

Percussion
* ¡£¡¡ 1
-
inside

!
-
i o&&&&
Piano

" p
0 1
+
%
(ped.)

Electronics # Live processing from flute.

Airy sound (filtered spectral freeze)
Random pitches from flute sustained.

~30"

3
Fl. !
, ~ 88 :
5 :
$8 $5 7
8 8 $5 8
B $ Cl. ! 0 1
-
$ $ 48
sul A

$ $ 45 ( 4*
ord.

! 6 6 $ 48 6 1
6
Vln.

Vc.
"

Perc. #

!
Pno.

"

Elect. #
live processing
from flute

22 Scene 4
 ~45"
3 4
Fl. !

B $ Cl. !

Vln. !
0 ~ 54 6
arco

$ () &&&&&&&&&& 6 (
) &&&&&&&& () &&&&&&2
6
ord.

" $
Vc.
1! * * *
/

Perc. #

,+
pluck

+ -+ $+ -+ $+ + +
! + ,+
1 2
3 45
''''''
Pno.

" io
p
1 2
.
%3

Elect. #
live processing
from flute

7
4
~45" 5 7
Fl. !

B $ Cl. !

Vln. !

"
Vc. !

Perc. #

!
Pno.

"

# 8 8 8 8 8 8 8 8
live processing
from flute
Elect.

(conductor hears two 4/4 bars

of only click on headphones)

Scene 4 23
 $ % & '
R

5
$ Aggressive / = 110 $ )* ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
:9 : :9 : $ $
Fl. ! , , , , , , ,
8
(: 9 : :9 :
B ( Cl. ! , , ( -. :.9 :. :.9 :. :.9 :.9
5 7 5 7 5 7
;
, , , ,
ord. s.p.

!
( 0 -- :: 9
9
:: ( :: 99 :: :: 99 :: := 99 :=
Vln.

6 7 < 7 8

" ;
, , 2
s.p.

* :.9 :. :.9 :.
arco m.s.p.

( ( -- :: 9
9
:: (- :9 :9
Vc.

6 < 7 8 7
7
# , , 2 3 , , , , , ,
B.D.

Perc.
1
7

! , , , , , , , , ,
8 7
> inside
0 0 ::: 999 ::: ::: 999 ::: 1
Pno.

" , , 0 0 -- :: 99 :: 11 , ,
(- : 9 : : 9 : : 9 : 1 -
Transformations for
+
41 2 3 41 2 3 :9 :9 :9
the door slam sample

# - - 2 - 2 3
. . . . . .
Elect.

' & $
$ $ 01
$ (1 1 -
01
.B 2 .B .
14

Fl. ! , , . @ 2 , 3 .
7 3
7
1 (1 1 1 1 -
. . 1. ( 1. (1 (1
B ( Cl. ! , 2 (1 (1 . . . .B @
. 2 , 3 2 B
8 5
7
3
7
9( 1
(1 ) A
pizz. arco

, 2 @ 2 ?@ 2 2 3 2 11 11 --
s.p.

! ( 11 ( 19 ( 1? (1 .B . .
Vln.

9 7
7
3

6 7
3

A
pizz.

A? ?
arco

( 11. 11 CC
arco

" 2 ( ( 1=. 1=. .

3

, 2 B
2 (1 @ 2 2 , :=
pizz.

.
( )

(1 (1
Vc.

8 7 6
7
D D
vibes mallets susp. cym.

# , , 1 1 1 1 1 1 1 1 11 11 2 2 . 3
bongos B.D.

Perc.
1 .
6 7
5 7

, , , , , ,
on the keyboard

!
8 7
(1 (1
1 (1
Pno.

" 2 1 ( 19 ( 1 1 @ ,
9 9 ( 1 1? ( ( :: 99 -- --
9 fl
+ +
5

(ped.)

# 41 2 2 : : 2 1 :9 2
. . . .
Elect.

24 Scene 4
 '&0 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~%
- 01 '( ~~ '( ~~~~~~0
(0 0
0 ; $ 0 0 01
20
/ 23 6 -1 - 0 / 2 ./ . / 23
Fl. ! . . .
9 @ 9 3
7 9
~ ', ~~~~~~~~~
- 01 '&
0 &0 0 &0 0 01
. / 23 6 &- 1 & 01 2 3 3 & 0/ 0 ;
2 ./ . / 23
B & Cl. ! /
9 @ 9 3
7 9
&0 0 0 &4 40 4;
001 2 3 3 & .0/ &0 00 & 00
ord.
s.p.

- 001 2 3 6 . .
1
. & -- 1 . . 2 .0/
Vln. ! -
. / . / . ./ 2 3
9 @ 9
3
7 9
5 > BBBB 00 00 --
s.p.
-- 00
" 4. 5
3 & & & ==.0 >>> >>>>
3

- & & 014 2 3 : 3 . ./ . . ./ 2 3

&0 . .
( ) ( )
Vc.

9 . 3
A 9
>
susp. cym.

0 0 0 0 0 0 0 00 0000 0 0 0 0 0 00
5

# : . 6 0 05 2 3
Perc.
0 0 0 00 000 A
00000000
87 9 9 A 7 9
& 0 0
5

0 & 0 0
00 & & 00 & ;;; & & ;;; & & & 000 , 0 & 0000 , 0
! 6 3 & 0 : : : 2 0 :
9 A 7 7 9
& 01 & 01 01
Pno.

" : 6 3 & 01 & 01 & 01 0 52 3

-- &- ; 1 & 01 - 1 - &0
)*+ 05 *
<0
(ped.)

# -1 0 2 6 0 2 1 0? 3 - - 2 01 -1 3
. ./ < < . . . .
Elect.

~60"

M M M
1 2
libero J ~ 94 N E N
E 0 (0 (0 ; 0 53 -
q

&0 &0 0. I
27

Fl. ! : G I (I 1 ( 0. .5 . &0 0
8 K L A 8 K L 7 A
with weakness and fatigue
K L 8 7
B & Cl. ! to live processing

Vln. !
ord. s.t.

"
slow irregular gliss throughout

Vc.
G; H
8 to live processing

# G
B.D. super ball

Perc.
; CCC H
8

!
8
Pno. o DDDDDD
" ip
G H
F
*
(ped.)

Elect. #
Live processing from flute and cello.
Airy sound (filtered spectral freeze)
Scene 4 25
 3
% $% & %& %
29

! ' ' 2
Fl.
'
.
~30" ~30"

+ ~ 54 1 1
! / $ ('& $ (') * %' ) ' '
3

B $ Cl.
(' $ (' $ ( $ ( (' $ ('& 2
, - , 0 - ,
Vln. !

Vc.
"

Perc. #

!
Pno.

"

Elect. #
live processing from
flute and cello

4
30

Fl. !

B $ Cl. !
+ ~ 110
8(
~60"

$( (
$ 8( ( ( ( 5 ( ( ( 8(
8( &
8( (
pizz.
)

! /5 6 7 7 5 6& 9 6 6 7 6 6& 7 5 7 7 = (5 6 6& ( 7

9
-
Vln.
3
0 - 3
0
5 3
- 0
5

Vc.
"

Perc. #

:( ( :( (
pluck

( ( ( ( ( ( ( (
! / 2
- <0
44444
Pno.
io
" p
/ 2
;
3
-
(ped.)

Elect. #
live processing from
flute and cello

26 Scene 4
 $
5
$
~30"
Fl. !

B % Cl. !

* * ) -* * +* (
)
, &
* %* * ' + * -* ' 0
Vln. ! & '( +*
& & & '( , 1
. / . 5
/
Vc.
"

Perc. #

!
Pno.

"

door slam - granulated

# 2
3 4 4 4 4 4 4 4 4
Elect.

live processing from

flute and cello
(conductor hears two 4/4 bars
of only click on headphones)

< = 110
$ 5 $
S Aggressive
$ $ *( *( *( + *( ( $ *( *( + *( *( *( E *( ( (
+*
0 *( * * +*
Fl. ! : : : > & 0 ' ' B, ' 0 ' C ' 0 ' 0 ' >
A chaotic 3

( *( + *( *) *( *( *( + *( *(
*( * * + *
) )
*(
* *

2 0 C 0 ' E *( ' & CC , ' ' 0 '

B % Cl. ! : : %2 %@ ( @ ( ' 0 >
? A 5 5

F
chaotic

D ˘* ( * F
+ + @@ (( + *( *
arco

= ' ' * ' *0 ' * ** ' * '

arco

' ) C ' *) C '

pizz.

! : : + + =22 0 ) ' *) ' >

5 5

* 30 *
Vln.

3 A ? G3
? A
3 3

F
chaotic

F ( -* + *
pizz. arco

+2 @( )
s.p.

" *3 3 ) ' C * E * ' + * *( *3

s.p.

: : ' & ' ' ) >

pizz.

Vc. 2 @( *( +* * *
3 3 - 3
? A chaotic
with the shaft sticks (normal)
vibes mallets

* **** **
bongos + toms

# : : ) ' & & &

B.D. tam

Perc.
23 @3( * 23 * * *
. A . ? ? 5 5

+ + 222 + + @@@
+ + 222 + + @@@
on the keyboard

: : : : : >
inside

!
Pno. . A A
" : : :
;
6
999998888888 77777777
scratch lower strings
with plastic card

Transformations for

-* & > @( -*
door slam

# 2 2 & >
the door slam sample door slam sound
sound texturized
Elect.
3 3 3 3

Scene 4 27
 % '( ~~~~~~~~~~$ % $
*+ , *+ *+ *+ , *+ *+ ( *+ , *+ $ ,6 + $ 5 ~~~~~~~~~~~~~ $
'( $
<
*
- . - . - . -+
37

! ) ) - / 4 4 4
5

*
Fl.
3
7
'( ~~~~~~~~~~~~~~
-+ ,6 + *
! ) / - 0 -+ 0 / - - /3 / - ) 1/
-) ) 4
5

B & Cl.

* * , *+
*+ ( * 6+ *
+ , *+ 5 *
/
* *+ + ,* *
*
: 7
7 9 7

** ++
arco
8 *+ *+
arco
8
pizz.

55
arco

+ +
- *1*. +
s.p. s.p.

- * * - */ - & ** 5 *
s.p.

- . -+ - - ,* *
- , */ 3 1 > ) > ) 4
pizz.

! 1 **
3 5
Vln.
;. . 5 *
: 7 1 1
: :
5 5

8 8 5
arco arco

? ??66
pizz. s.p. pizz. s.p.

" * ,* - ) ) , ?**
arco

) ) /- * - ) 4 55 " 4
s.p.

Vc.
*+* , *+ * *+ * *+ *+ . 1 !
7 1 1 1
: 7
0 / * * 2* 3 * 2* 3 3 *0 -
Tam-tam

- *. - - +
/
# *1 *1 - / - ) /- ) ) /- ) >
/

@A
* tri. beat.
Perc.
*
*1 * 51 * 51 *
9
3 5
= : = : :
6+ , 55
4 4 4 & 6 + ( 66 ++ 4 & 55 4
!
Pno.
7 9 7 9 7
" 55 55 55 4 4 4 4
5 5 5
# 2* ) 61 5 5 5 2* ) )
door slam sound

1 1 1 1
Elect.

$
$ 52
shouting

5 T *+ * * *+
1 3 *+ 3 * -+ 0 - 1. 11 - &* - - + *)
44

4 4
q q

!
q
Fl. 1 . * . ;
: chaotic 3

, 52 5 5 '& ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ '& ~~~~~~~~~~~~~

shouting

B & Cl. ! 1 4 4
5 6 6
2 C =
5C *+
shouting sul E

+ 0
4 4 -+ * *1 3 1. -+ * - *1* *1* - *1*. + - + *1
3

! 1 1 * * *
1.
Vln.

1; E E E E
E
5

E
, 52
5

8 * 8 8
shouting

0
pizz.

" 1 4 C 4 - * * 3* -+ & * - & * + ( * - *. - )

sul C

&* (* + *
1 *
Vc.

: chaotic
3
3
fingers
rims

55
bongos 3

# 4 4 > ) 1 @ @@@ 3 @ @ @ @ @ @ @ 3 @ @ @ 3 @ @ @ @ @ - @ @ 2@ 3 @ @ @ 2@ )
sticks 3 5
/
Perc.
1 * * 2 2
@
2
D : 9 chaotic
! 4 4 4 4 4 4
Pno.

" * ,* ** * ,* *
,5 5 5 5 555 555
B
2 door slam sound
# 2* ) ) * 2door
* * >
slam sound
* ) >
1 door slam 2 5 5
Elect.

sound texturized 1 door slam 1

sound texturized
28 Scene 4
 ( )( )( ) ) : )(
)( ) ) : )
;
$ )( ( ( $) ) )
)
) $) $) &) ) )
$)* + < * 2 < * 2 2 * < * + * $2)< &)
50

! , * * ) +
Fl.
2 23 2 2 23 2 2222
? 5
3 3 3

%$ ~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ %& ~~~~~~~~~~~~~~~~~~~~~~~~~~ %& ~~~~~~~~~~~~~~~~ %$ ~~~~~~~~~~~~~~~~ ) ) ) $) ) )
) ) ) < * * <)
) ) ) < +
5

! =
5

B $ Cl.
- ) ) ) )( 3
5
3

? 5
%& ~~~~ %& ~~~~~~~~~~~~~~~~ %& ~~~~~~~~~~~~~~~ %& ~~~~~~~~~~~~~~ %& ~~~~~~~~~~~~~~~~~~~~ )%& ~~~~~~
) )%&( ~~~~~~~~~~~~ : AA. ((((
sul A

(
sul D

! * ; )( )( )
<
) < < .
0(
; *
. ) 2
Vln.
)( ? 5
6 ? 5
@ : A.A.
sul A

$ )( )( ( )( )( @
arco sul D
arco pizz.

$) ) 3
s.p.

Vc.
" / ) > ) * $)
; > * 2< 2 2 > )= * * ) ) + + 2 ;
0( *
4 4 4 3
? 5
tri. beat.

3 ) ) 3) 2 > 2 > )25 > ) > )

sticks

)> 0 * ); ) ); ) *
5

# + 00 00* 000000>
Tam-tam tam

)
6

Perc.
077889
( ) 3 ) ) 2 2 0 0 0 0 0 0 0 00 0 0
4 5 ? 3
let stick bounce 6 5
sticks

! / / / /
? 4 5
Pno. 4 5 io ''''
" ,
p
; *
1 ''' 1 1 1( 1
plastic card
(ped.)

# . 3) +
door slam sound
, + 3)
door slam sound

2
Elect.

door slam
sound texturized

U . -
2
54

! / / / / / / ,
Fl.
2
4 G

/ / / / / , . - -
B $ Cl. ! 2 2 2
? G
;
; F
F F
/ / / /
Vln. ! :-
-
:-
-
:-
- : : --
2
?2 2 24 5 G
;
F
Vc.
" / / / / / /
arco

-- --
F

2 2
4 5 G
susp. cym.

0 0 0 0 0
Perc. # / / / 2 2 2 2 2
6 ? G
! / / / / / / / /
6 ? 4 G
4 interacting with electronics
p '''
Pno.
io
" /
1 BCCD 9 E BCCD 9 E 1 1 1 1
scratch lower strings
with plastic card
Erratic texture created
with door slam sound

Elect. # -2 -2 -2 -2 -2 -2 -2

Scene 4 29
 Scene 5 - My Name is Lucía
Spacious % = ~50
Inhaling
roll embochure in to get roll embochure out to get

.
more pitch and less air more air and less pitch
sim.

$ / $ /
! # #
(throughout)

'& ( *( +( ( ( ( ( ( *( ( ( ( *( & ( ( '( ( ( +( *( *( +( *( (

) ( )
Flute

, - , , - ,
Electronics " Am E7
lush and static sound, playing slowly changing
inversions of the corresponding chord.

Inh.
$ / $
Fl. ! # & 0& *& +( *( +( '( ( ( +(
#
& 0& 2( ( +( 0&
)
- 1 , 3 1 - ,
Elect. " Am B dim7

Inh.

$ / $
! # '( & ( +( *( +& +4 ( *( ( *( +( *( ( ( ( '( +( +( 6
( )
Fl.

- 1 5 ,
Elect. " A m/C
lush sound continues

Note: Conductor will randomly cue each performer at a slow pace.

V
< < < <
make breaths inaudible

Inh.

C C
1sdfjk;

' 8 36 D 88 æ
1dfskL'v

$ $
15

÷ # # 6
! '8 ( 8 ( +& 2&
( )
Fl.

3 1 3 5 - 5
! 3
@
B. Cl.
- 3 A
* Independently cued by conductor.
Do not come in on your own.
o
! s.t. p s.p.
Vln. ! > ' 99 A
3 * Independently
?
cued by conductor.
Do not come in on your own.

7
= == = = = = == = = == = = = = = =

>: A
: * Independently cued by conductor.
Vc.

3 Do not come in on your own.

! BBBBBBB
wire brushes

" ;
Tam-tam

Perc.
>9 A
3 * Independently cued by conductor.
Do not come in on your own.

!
3 plastic card
Pno.

7
= = = = = == = = = = = = = = = = = = == = =

> A
g continue with irregular variations
* Independently cued by conductor.

"
Do not come in on your own.
Elect.
E7
lush sound continues

30 Scene 5
 -make breaths inaudible - -
Inh.
1sdfjklv

3 22
4

% & %
! $ $ )& ,& + ,.
ord. ord. agitated ord.

Fl.
/ . /+ 0. ,1 2
' ( ' * ' 5 4 ' 6 4 ' 5 4 *

B. Cl. !

Vln. !

Vc.
"

Perc. #

!
"
Pno.

Elect. # B dim/D
lush sound continues

Note: All performers should have been cued at this point.

Clarinet plays as written, while others repat/improvise.
Conductor shows numbers to coordinate diminuendo.

1 2
W
7
Inh.

Fl. ! 0& &+ & 9&

( 5 6 8 agonizing

7
B. Cl. ! ( 5 6 8 agonizing

Vln. !
( 5 '
"
Vc.
5
( '
#
5
Perc.
( '
!

" ( 5 '
Pno.

Elect. # E7
lush sound continues

Scene 5 31
 Postlude - If I Cross
Folk-like feeling. Mix of 6/8 and 3/4
Intro

!
$
Electronics Recording of classical guitar playing the indicated chord progression.

# Am A sus Am A sus

Voice " % % % % % % % %

& Verse 1

( *) * * * * ' ) ( *) * * * * ' * * * * -,
8 Am E7 Am B dim7

Vox " ' * * * * *

+ * -, ' * * + +
Si yo ca - mi - no es por - que lo sien - to si yo me mue - vo es por - que yo quie - ro

To Coda

( *) * * * * * * - ( +* * * * * -
C/E

* * ' * * * * *, *, *,
16 A m/C Dm B dim/D E7

Vox " ' * * + + + + +

si‿es toy bus - can - do es por - que yo pue - do si cru - zo‿el río lo ha - go con mie

Verse 2
) * * *
* * * * * ( ' * * * * * * ' * -,
24 Am E7 Am B dim7

" * + * * * * * * -, ' * * + +
Vox
+
do No‿es - co gí na - cer don - de me pu - sie - ron no‿en - tien - des mi mie - do no ves mis ra - zo - nes

* * *
( *) * * * ( * * * * - ( *+ * * * * - * * * * * * -,
32 A m/C Dm C/E B dim/D G7

Vox " ' + + + + + + +

no‿e ele - gi yo - mis vie - jos lo hi - cie - ron no‿ha rías lo mis - mo por tus i - lu - sio - nes

Bridge
40
* * * * * * * * * * * * * * * * * * * * * * -,
" ' *
C F/A E/G D m/F G

Vox
+ + + + + +
A - trás que - da‿el lu - gar don - de‿e - llos es - tán e - sos in - ten - sos co - lo - res que‿a - pren - dí‿a que - rer

* * * * - * .* - .* *
* * * * * * * * ( +* * * ',
B dim
+
48

" ' '

C F/A E/G E7

Vox
+ + + +
Co - mo re - cuer - dos a mi men - te ven - drán Y‿en un rin - cón los de - bo es - con

56
Am
* - A sus Am A sus D.S. al Coda

Vox " % % % % % % %
der

/
1 2
door slam - granulated door slam sound

! ,, ,, ,, ,, -
64

*
0
Elect.

/
" ,, - , ,, ,, ,,
64 Am
% % % % % %
A sus Am

Vox
Repeat as needed. Repeat as needed.
do
Add free ornamentation Voice stops
32