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For Orchestra

Sean Harold 2013

…mit starren Fingern

SCORE IN C

(Only contrabass and crotales are transposed)

Instrumentation:

Flute (2) I dbl bass flute

II dbl alto flute and piccolo Oboe Bb Clarinet (2)

II dbl Bass Clarinet Bassoon Horn in F

Trumpet in Bb Harmon mute

Percussion (2) I

Marimba (5 octave)

Guitars (3 scordatura – 1 shared) (See percussion key) Suspended Crotale (sounding D6) Almglocken (B4) Woodblocks (3) (See percussion key)

Suspended Cymbals (2) (See percussion key) China Cymbal (See percussion key) Concert Bass Drum

Toms (3) (See percussion key) Snare Suspended Metals (5)

Hard, soft, and bass drum mallets Sticks and brushes SuperBall (on a dowel) Bass bow

Hand brush II

Vibraphone (motor off – pedal weighted down)

Guitars (1 scordatura – shared) (See percussion key) Crotales (both sets) Almglocken (D4, Eb4, F4, G4, C5, G5)

Woodblocks (3) (See percussion key) Suspended Cymbals (3) (See percussion key) Large Tam-Tam

Toms (3) (See percussion key) Snare Suspended Metals (5) Hard, soft, and tam-tam mallets

Sticks and brushes Bass bow (2) Hand brush

Harp (scordatura)

Violin (8 minimum – 2 parts) Concertmaster dbl on scordatura 2nd violin Viola (4 minimum) Violin Cello (4 minimum)

Contrabass (4 minimum)

Duration: Approx. 12’

GENERAL NOTATION: Arrows:

Arrows connecting one technique to another (for example, ord. to sul pont) indicate a slow change over

the duration of the arrow. Box notation:

A series of pitches or attacks given in a box indicate that those pitches should be played ad lib. Generally, these attacks are to be played rapidly, but not always. More specific instructions accompany the individual instances of these boxes.

Wavy Lines:

Wavy lines indicate the continuation a specific technique, and give the duration of the ad lib. box moments.

Vibrato:

Generally, vibrato is given as a written instruction. Occasionally, however, vibrato is written graphically.

When this is the case, the general contour of the vibrato should be followed (widening, jagged, etc), but it need not be exact.

Sloppy:

Sloppy playing is exactly what it sounds like. The performer should play incredibly fast and without concern for exact pitches or good technique. These moments should be harsh and uncouth.

“Dynamics”: Dynamics given in quotation marks indicate effort, but not necessarily the actual resulting dynamics.

Microtonal Notation: The microtones in this piece are notated with cent deviations from 12EDO written above the pitch. An

arrow-accidental is given for any deviation of 10 cents or more.

Ä - Raise sharp pitch D - Lower sharp pitch

, - Raise natural pitch - - Lower natural pitch

Í - Raise flat pitch C - Lower flat pitch

Noteheads:

– Unpitched or non-specific pitch attack.

– Highest note (large triangle).

– General pitch area (non-specific).

– Slap tongue / Tongue ram.

– Legno Battuta (bow placement).

– Muted pitch.

WINDS Microtones:

Each wind has three register-specific microtones. They may be achieved through embouchure alone in

some cases, but other instances should use alternate fingerings. The microtones are as follows: Flute I

FD5 -47¢ (33rd partial of F / 11th partial of C)

AÍ5 +43¢ (39th partial of F / 13th partial of C)

B-5 -10¢ (45th partial of F / 15th partial of C / 9th partial of A)

Flute II

G-4 -45¢ (35th partial of F / 7th partial of A)


D,5 +37¢ (55th partial of F / 11th partial of A)

Oboe


BC4 -29¢ (21st partial of F / 7th partial of C)

DÍ5 +41¢ (13th partial of F)

Clarinet I

A-3 -14¢ (5th partial of F / Fundamental of A)


CD5 -28¢ (25th partial of F / 5th partial of A)

Clarinet II

EC4 -31¢ (7th partial of F)

E-4 -12 ¢ (15th partial of F / 5th partial of C / 3rd partial of A)

E-5 -12 ¢ (15th partial of F / 5th partial of C / 3rd partial of A)

Bassoon



B-4 -49¢ (11th partial of F)

Overblowing:

Overblowing is non-specific, and it should be unstable in its partial content.

Timbral Trills:

Timbral trills are non-specific unless otherwise indicated. “Pseudo-timbral trills” are produced through vibrato. The vibrato should fluctuate in both pitch and

dynamic so as to mimic the pitches of a timbral trill, but remain fluid and not detached. Slap tongue / tongue ram:

These moments are notated with accent marks as the noteheads. Other pitchless attacks:

Air, non-pitched sounds, etc. are notated with X noteheads.

BRASS

Notes on the Horn:

All pitches played by the horn in this piece are derived from one of its natural series. As such, no corrections to the pitches should be made with the right hand at any point in the piece unless specifically notated. Three series from the horn are used: F, C, and A. The horn should be tuned so that these series

are in tune with each other. For C, the first and the third valves should be adjusted so that the 8th partial of C is equal to the 6th partial of F. For A, the second valve should be adjusted so that the 8th partial of A is equal to the 10th partial of F.

Optional valve changing:

In order to facilitate easier playing, the performer may remove the 2nd valve slide on the F-horn and

replace it with the 3rd valve slide (this will render all written 1-3 valve combinations as 1-2). Once this is done, the 1st and 2nd valve slides on the F-horn will probably need to be lengthened as much as possible along with the 2nd valve slide on the Bb-horn in order to achieve the tuning of the piece.

This method was devised by Joanna Schulz. My thanks to her.

Timbral trills:

Timbral trills are notated with both series being used and their relative partials. It is achieved by trilling between the two series (altering the fingerings) while maintaining the same embouchure. These trills are largely on the exact same pitch (meaning the timbral change stems strictly from the tone change inherent in the different lengths of the horn being used by each series), but occasionally the pitches

themselves will be slightly different. In these cases, only one pitch will be notated (the embouchure still remains the same unless explicitly stated otherwise), and the other pitch is simply implied by the series/partial number being trilled.

On extreme registers:

There are a few moments in the piece that use the highest register of the horn. While sometimes these

areas are used simply for emphasis and should played normally, often these areas are explored in order to exploit the instability inherent in that register. In these sections, the cracking, dying, and fluttering timbres of the horn should be allowed to shine through, and even exaggerated for effect.

Notes on the Trumpet:

The trumpet is used in this piece as an imperfect echo of the horn. It is preferable that the trumpet player

be positioned behind the audience, or off stage, to emphasize this fact. The trumpet has three register-specific microtones. These may be achieved through embouchure, or with

the slide, and should be matched to the horn as closely as possible. They are as follows:



E-4 -12¢ (15th partial of F / 5th partial of C / 3rd partial of A)

Valve Tremolo:

A timbral trill achieved by rapidly alternating between two different fingerings of the same pitch. Wah Wah:

A wah effect created with the Harmon mute.

PERCUSSION Percussion Key (all noteheads, other than the guitar scordature, refer only to relative pitch):

Metals:

Metals are suspended (or otherwise allowed to ring) scraps of metal that produce high-pitched sounds. They may come from a variety of sources, so long as their general timbral content is similar. Each player

should have five of these scraps, moving from relatively low to high pitch. The two players’ sets of metals SHOULD NOT be identical, and the low-high relationships are relative only to each player’s own set. Guitar technique:

The three guitars should be laid on a table with their headstocks supported so that the instruments do not move. They are strummed with a plectrum (pick). If a fret number is given (roman numerals), that indicates a harmonic nodal point. The player should place their index finger gently on the strings at the

indicated fret (just enough pressure to stop the string at that point, but the strings should NOT be fully fretted), and then strum the guitar. Once strummed, the index finger should be removed. The notation is as follows:

Noteheads are slash marks. Guitar 1 is the bottom staff-line, Guitar 2 the middle staff-line, and Guitar 3 the top staff-line. Each guitar is also given with an Arabic numeral in a square enclosure above the slash. If the attack should be a harmonic, then roman numerals indicate which fret to use to achieve said

harmonic. Otherwise, if the guitar’s open strings should be played, no other information is given. Swish brush technique:

Constantly swish brushes, à la jazz brush technique, but without any constant pulse / tempo.

Hand Brush:

Similar to the swish brush technique. Wax on, wax off.

Percussion Set-Up (percussionist’s perspective):

HARP

Harp scordatura:

11 strings on the harp must be retuned. These retunings should be done so that they sound when the

pedal is in its natural position (so that they will not require any pedal changes throughout the piece). The 11 strings needing retuning are shown below. The list gives the string to be retuned, and their cent deviations (again, in their natural positions). The notation below shows their sounding pitches:

F3 +53¢ A3 -14¢ B3 -10¢

E4 -131¢ A4 -57¢ B4 -10¢

D5 +69¢ E5 +73¢ A5 -14¢

B5 -129¢ E6 -12¢

STRINGS

Notes on the Concertmaster:

The concertmaster generally plays with the first violins as normal. However, several points in the piece feature the concertmaster as a soloist (the opening, for example). During these moments, the concertmaster uses a second, scordatura violin.

This violin is once more retuned as a part of the performance towards the end of the piece. These two scordature tunings are given below.

Concertmaster’s second violin – initial scordatura:

Concertmaster’s second violin – secondary scordatura:

The performance of retuning the violin is notated, but it cannot be stressed enough that the performer

should make it obvious that this retuning is an intentional part of the performance, and not simply a

necessity.

Notes on the String Techniques:

Body Clef:

The body clef shows the length of the instrument’s body, from the headstock (bottom) to behind the

bridge (top). When using the body clef, pitch is relative (play close to the nut, in the middle of the neck, etc).

Harmonics:

Harmonics in this piece are written as normal, but with the addition of a circled number that indicates the partial number of the harmonic. For example, 2 would be the second partial (the octave harmonic), 3

the third (octave plus a fifth), etc. Harmonic Trill:

Harmonic trills are played by trilling between the open string and the given harmonic (generally rapidly,

unless otherwise stated). Harmonic Gliss:

Harmonic glissandi are glisses up and down the harmonic series. They are rapid unless otherwise stated. Circular Bowing:

Circular bowing is a constant shift between molto sul pont and molto sul tasto while bowing (generally rapidly, unless otherwise stated).

Muted Pitches:

Muted pitches are played by placing multiple fingers gently on the string with enough pressure to mute the string, but not enough to produce a pitch (à la natural harmonics). The pinky finger (or whichever finger is nearest the bow) should be placed at the written note, with the other fingers behind it (nearer

the nut). Mute Trills:

Mute trills are trills between muted pitches and normal ones. To do this, the muted sounds should be

played as explained above. To move to the pitched sound, the player should simply press fully down with their pinky (or finger playing the given nodal point/pitch). The rest of the fingers should remain in position to facilitate a smooth movement between the two sounds. The trill should be non-pulsed, moving quickly

between the sounds, but not so fast as to prevent either one from singing. Bow Drag:

The bow drag is notated using the body clef. The notehead indicates where the LH should mute the strings (generally near the nut). The zig-zag simply illustrates the drag itself. To do this, drag the bow vertically, as opposed to horizontally, over the strings between the bridge and the fingerboard. There should be absolutely no horizontality in the bowing, only an up and down vertical

motion. This is best achieved by holding the bow in one’s fist and playing near the frog. The LH should mute the strings where indicated so that no definite pitch is produced. Unless otherwise specified, the rhythm of the drag is non-specific, but should be rapid.

Highest Note Possible:

Notated with a triangular notehead.

Behind the Bridge:

Notated with X noteheads on the pitch of the string to use (D4 for string III on violins or string II on the

violas, A3 for string I on the celli, etc). Flautando:

Light bowing near the fingerboard.

Legno:

Legno technique should be assumed as tratto (arco with the wood of the bow) unless otherwise stated.

Battuta:

When using the body clef, where to strike the strings with the bow will be notated using diamond

noteheads. The LH position (where to mute the strings) will be given with the mute square notation. ! Legno:

Play with a small amount of hair as well as the wood of the bow.

For Franz Schubert and Steve McQueen.

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*2 Drag the bow vertically as opposed to horizonatally over the strings between the bridge and the fingerboard. Unless specified, the rhythm of the drag is non-specific.

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*4 Leave pedal down for the duration of the piece (weighted).

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To move to the pitched sound, the player should simply press fully down with the pinky (or finger playing at the indicated nodal point/pitch). The rest of the fingers should remain in the same position so that the movement between the pitched and muted sounds can be smooth. The trill should be non-pulsed, moving quickly between the two sounds but not so fast as to prevent either one fromspeaking.

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Fl. 2

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Bb Cl. 1

Bb Cl. 2

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Perc. II(pitch)

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Vln. II

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Hp.

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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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44

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

53 .Xæ.Xæ

.˙ .˙-

.˙ .˙

.˙C .˙

.˙ .˙53

53

53 .Xj

y ‰ jy

53

53 .˙

53

53

.!

.!

..˙

..˙

.˙!

PitchlessFlutter

PitchlessFlutter

*1

*1

" ƒ "

" ƒ "

Harm. Gliss

Circ. Bowing

" f "

" f "

p II5

*1 Flutter may decay with dynamics as needed.

*2 Trill between the Fa and Do series while also lip-trilling. The lip trill should grow wider and faster over the duration of the attack.

*3 This may be achieved using a pseudo-timbrel trill in lieu of a strict tremolo

.Xæ

.Xæ

.˙ .˙-

.˙ .˙

.˙C .˙

.˙ .˙

Ó œ œC œ œ

y y y ‰ Œ

œ œ œ ‰ ‰ "œ œ

œ œ œ

3

.!

.!

..˙

..˙

..˙˙

F

Fa Do Fa

12 14 18 16

TomsHard Mallets

I4

f

&

w w-

w w

wC ww w

w

œœ

œœ

œœ

œœ ‰ œ

œ" œ

œœ

œœ

3 5 5

Œ œœ

œœ

œœ

œœ

œ‰

œ

œ

œ

6

3

Œ œ#

rœ œ œœ Rœ ˙Jœ

Ó Œ œ#

œœ# rœ œÓ œ Rœ œ

Jœœ# rœ .˙œ Rœ œ œ" œ#

Jœ?

To C flute

To C flute

Sp

sub. f

sub. f

sub. f

sub. fDo/Fa22/16

Ÿ*2 slow

MetalsHard Mallets

Metals

ord.

ord.

ord.

ord.

IIIIV

IIIIIIV

IIIIV

IIIIIIV

IIIIV

IIIIIIV III

II

f

f

f

IIIIV

f

f

C FLUTE

C FLUTE

*3

wD w'

w, w'

w w-.˙ .˙ œ- œ

œC œ .˙- .˙˙ ˙ ˙C ˙

œ œD œ- œ- œ" œ œ" œ œ3 3

Ó "œ

œ

œŒ

5

œœ ‰

œ y

œ yy

3

˙" œ rœ

œ#

œ œ œ œ

rœ œ œ ˙"Rœ .˙ œ

Jœœ" œ# ˙$w

˙$

œ œ˙ ˙œ# rœ œ œ" œ#œ Rœ .˙

Dofast

22 21 20 19 18 17 16

Toms/Cymb.

IIIII III

IV

IIIII

IIIII

IIIII

IIIIV

f

IIIIIIV

IIIII

III

ƒ

+37 ¢

f

-47 ¢

f

-14 ¢

-12 ¢

-31 ¢


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

57 wE w,

˙, ˙' ˙ ˙-,

œ œ-.˙ .˙C

w- w

w- w.˙C .˙ œ- œ&

57

œ- œC œ œE ‰ œ œC œ-3

57

57

‰œ

œ

œœ

œ Œ y3

57

57œ

œ

‰y

œœ

œœ Œ

557

57

˙ œ œ˙!

œ œ

œ rœ

.˙"œ œ ˙

!

œ œ œ œ.˙ œ

œ œ œ œœ .˙˙ œ œ˙! ˙

IIIIV

IIIII

IIIIV

IIIIV II

III

( )

IIIII

IIIII

Slow, wide vib.

Fa

15 14 12 139 7

10

Toms/Cymb.

Metals

*1 In lieu of a strict tremolo, a timbrel trill may be done in conjunction with vibrato (à la pseudo-timbrel trills) in order to mimic a strict trill.

+43 ¢

-10 ¢

-29 ¢

-49 ¢

wE w

.˙ .˙- œ œ-,

œ œC .˙ .˙E

wD w'

˙- ˙˙ ˙-

w- w

‰ œ œD œ- ‰ jœ- œ

œœ

Œ ˙æ

Œ œœ

œ

œœ

œ

Ó6

ww

œ œ ˙œ œ ˙

œ .˙w

ww

œ œ œ œœ .˙

Slow, wide vib.

IIIIV

IIIII Slow, wide vib.

( )

IIIII

Slow, wide vib.

( ) Slow, wide vib.

La Fa

6 57 6 8

Snare

Toms/Cymb.

-12 ¢

-45 ¢*1

+41 ¢

-28 ¢

œ œ-, œ œ.Ó

œ' œ- Œ Ó

œ' œE Œ Ó

œD œ' Œ ‰ .œ-œ œ- Œ Œ œC -œ- œ ‰ jœ. Ó?

œD .˙-

œæ Œ #y

y

y Œ5

‰ yy

œœ

œ

Œy

3

œœ .˙

œœ .˙

œ .˙œ.˙

œ .˙œ.˙œ .˙œ

Scratch Light pressure

MSP subito

sub. $

(Slow, wide vib.)

ScratchLight pressure

MSP subito

sub. $

(Slow, wide vib.)

IIIIV

MSPScratch Light pressure (Slow, wide vib.)

subito

sub. $IIIIV

MSPScratch

Light pressure (Slow, wide vib.)subito

sub. $Light pressure (Slow, wide vib.)

MSPScratch

sub. $

subito

sub. %

P

p

Throat Flutter

p

Pop (with key click)

" f "

Do Fa

11

11 Air

sub. p

sub. %

%

W.B.

MOLTO RIT.

-10 ¢

Œ ŒU ‰ Jœ œ

œ- - ŒU Ó

Œ œU Ó

Œ ŒU ‰ .œŒ ŒU Ó

Œ œU‰ Jœ œC

Œ œDU Ó

Œ ŒU Ó

Œœ

Uæ æ

œ

œ

ŒU ˙æ

Œ ŒU Ó

œ œUŒ ‰ Jœæ

œ œUŒ ‰ jœæ

œ œU Œ ‰

jœæœ œœ œ

U Óœ œœ œ

UÓ

(MSP)

(MSP)

-10 ¢

$

-31 ¢

$

Do

11

$

$

$

B.D.

Hand Brush

SnareSwish

Brushes

q = ca. 30

%

%

%

p

%

%

%


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

61

Ó Œ œ œ-

Ó Œ œ œ

Ó Œ œC œ

61

Œœ œ<

Œ

61

61

wæ

61

61 w

æ61

61

œæ Œ Ó

œæ Œ Ó

œæ Œ Ó

-10 ¢

-31 ¢

P !

Do6 8

p

!

!

!

*1 Rapidly strum the indicated strings back and forth over the duration of the attack.

Ó Œ ‰ Jœ-

œ Œ Ó

œ Œ Ó

Ó Œ ‰ Jœ

œ Œ Œ ‰ jœ

Ó ˙C

wæ

w

æ

œæ .æ

œæ .æ

Ó Œ œœæ

.æ œæ

-10 ¢

F n

F n

Fa

7

!

MSP

.œ Jœ œ Œ

Ó " .Jœ œ

Ó " .Jœ" œ

.œ Jœ œ Œ

.œ jœ œ Œ

Ó "

.Jœ œ

Ó ˙

Ó Œ ‰ J––

Ó Œ ‰ J––æ

\e=q| (ca. 60)

TEMPO PRIMOE

Do/Fa

8/6

pizz.

Flaut.

w

Ó ‰ .œ

Ó ‰ .œ

w

wC

Ó ‰ .œ

œ .˙

Ó "y

y

y Œ5

.œæ ‰y

y

y

y

3

Ó –– Œ

––æ Œ ..––æ ‰

‰ .–æ Ó B

.–æ ‰ Œ –æ?

Œ ‰ J– Œ – ?

-31 ¢

12/9

SnareSwish Cymb.

Cymb.Brushes

strum

strum Flaut.

strum pizz.III

I III

II IV

I III

II IV

I IIIII IV

*1

*1

!

p

p


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~

65

Ó Œ ‰ Jœ

w

w

Ó Œ ‰ Jœ"

Ó Œ ‰ jœw

65

Œ .˙-

65

65

Œœ y œ y

œy

65

65

Œœ y

œ y œy

65

65

œœ œ œ

Œ œ œ

œœ œ œ

Œ œ œ

Œ œ œ

Fa/La

10/8

Toms/Cymb.

Toms/Cymb.

ad lib

ad lib

*2

*2

to second violin

pizz.

pizz.

*3

*3

*3

*3

*3

pizz.

pizz.

pizz.

pizz.

pizz.

ad lib

ad lib

ad lib

ad lib

ad lib

!

p

*1 Trill between the three series allowing the different partials from each series to sing.

*2 Ad lib on toms and cymbals. Rhythms should be fast, but not steady.

*3 Ad lib on any pitch (microtone-inclusive) w/in the given range. Any type of pizz may be used (pitched, muted, bartok, LH, glissed, etc).

Rhythms should be fast, but not steady.

.˙œ,

Ó ˙

Ó˙

.˙ œ,

.˙ œC,

Ó˙

B

.œ- jœ- .œ JœDo/La Do/Fa15/9 10/6 16/12

F

F

F

F

F

F

˙˙

w.˙ œ

˙ ˙"

˙ ˙

.˙ œC?

˙ X

Ry " ‰ Œ

rœÿ

" ‰ Œ

Œ .˙- o#

Rœ " ‰ Œ

Rœ " ‰ Œ

Rœ " ‰ Œ

Rœ " ‰ ‰ Jœo#

Rœ " ‰ Œ

Air

mute sound

mute sound

$I 5

!n

arco

IV3

IV4

f

f

f

f

f

p

p

ƒ

f

f

f

f

f

p

p

SOLO

œ Jœ œ œ Œ3

˙ ‰ œ œ3

˙ ‰ œ œ3

œ jœ œ œ Œ3

œ jœ œ œ Œ3

˙ ‰œ œ3

Œ .˙

Œ .Xæ

.˙ œ œC o

Ó Œ œo#

wo#

Ó o#&

w

Œ .o#&

Do/Fa/La

11/8/6*1

Cymb.Swish

4

arco

arco

arco

arco

IV5

IV5

I4

p

p

p

p

p

p

p

p

p

p

SOLO

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~

~~~~~~~


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

&

?

&

43

43

43

43

43

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

69 œ" œ .œ œ œ,

˙ ‰ .œ

˙ ‰.œ

œ œ .œ œœ",

œ œ .œC œœ

˙‰

.œ

69 .˙C Œ

69

69 X

æ69

69

X

69

69 w

w

w

w

œ œo! œo"˙" o!

&

.˙ œ œo!

14/11/8

ArcoCymb.

5 6

7

5

p

w

ww

.œ Jœ ˙

.œJœ ˙

w

˙C ˙D

X

æ

X

w

œ œo" œ œ! o!

wo!

˙ o!

ww

9/7/6 9/6/5

#4

III5

4

#II4

III

˙ Jœ ‰ $œ5

‰ .œ ˙

‰ .œ" ˙

˙ Jœ ‰ $ œ5

˙ Jœ ‰ $ œC5

‰.œ ˙

œ Œ ˙D

X

æ

X

œ œC o .˙C oæ .˙C o

w

w

w

œo! œo" Jœ

.œo!

.˙ œo"

18/12/10

#3

2

slow

#7

II7

I7

6

#

Harm. Tr.

.˙

œ ˙,

œ ˙,

.˙

.˙œ œ", œ

.˙

.Xæ

.X

.˙C oæ .˙C o

.˙

˙ œ œ! o!

œœo! ˙

.˙

.o!

n

fast

7

I3

5


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

&

&

&

44

44

44

44

44

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

73

Ó œD œ- œ œ œ œ œ- œŒ œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œC

Ó ‰œ- œ œ œ œ œ œC œ œ œ-

73

73

73 .X

73

73

.X

73

73 .˙C oæ .˙C o

.˙

.˙

.˙

.˙

.˙

\hÇ =q| (ca. 45)F

-28 ¢ -14 ¢

-12 ¢ -12 ¢ -31 ¢

Ø

Ø

Ø

cresc. (poco a poco) -49 ¢

Œ ‰ œ- œE œ œD œ œ- œE œ œD œ

Œ œ œ œ, œ œ- œ- œ œ œ, œ œ- œ-

œ œE œ œC œ œ œ œ œ-œ' œE œ œC œ œ œ œ œ-

œD œ- œ œ œ œ œ- œœ- œ œ œ œ œ- œC

œ- œ œ œ œ œ œC œ œ œ-

.X! @ æ

X Œ

XŒ

.˙!

œ˙!

.˙B

˙ œ!?

-10 ¢ +43 ¢-47 ¢

+37 ¢ -10 ¢ -45 ¢

+41 ¢ -29 ¢ -10 ¢

-14 ¢

-31 ¢ -14 ¢

Do/Fa

" f "" p "

to primary violin(unison vln. I)

Harm. Gliss

Harm. Gliss

Harm. Gliss

" f "

" f "

" f "

Ø

Ø

Ø

cresc. (poco a poco)





Air

œ- œE œ œD œ œ- œE œ

œ œ œ, œ œ- œ- œ œ

œ œE œ œC œ œ

œD œ- œ œ œ œ œ- œœD œ- œ œ

œ- œ œ œ œ œ- œC œ- œ œ œœ- œ œ œ œ œ

X

,! @ œæ

Ó ‰ œ

œ

Ó œœ

œ

3

.˙

.˙

.˙!

.˙

?

sub. p

Pitch

Hard Mallets

Hard Mallets

Metals

Metals

Harm. Gliss

8/6

" f "

f

f


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

44

44

44

44

44

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

76 œD œ œ- œE œ œD œ œ- œE œ œD œ œ œ œ œ œ

œ, œ œ- œ- œ œ œ, œ œ- œ- œ œ œ, œ œ- œ-

œ œ œ-œ œE œ œC œ œ œ œ œ-

œ' œE œ œ œ œ œ œ œ-

œ œ œ- œœD œ- œ œ œ œ œ- œ

œD œ- œ œ œ œ œ- œœ œ- œC œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œC

œC œ œ œ-œ- œ œ œ œ œ œC œ œ œ-

œ- œ œ œ œ œ œC œ œ œ-76

œ œEfl‰ œ œ- œ œC ‰ jœ

3 ?

76

76

œœ

œ ‰ y

y

y

œ ‰ jœ

3

576

76

œ

y Œ œ

76

76

œœ! œœ" œœ ! œœœœ

+ œ"

—" œœœœ+ œ"

! œœ" œœ

˙! œœ" œœ

—" œœœœ+ œ" !

œœ" œœ

œœ! œœ" œœ ! œœœœ+ œ"

\e=q| (ca. 90)

Do FaDo12 13

9 10 8 7

6

Toms/Cymb.

Toms/W.B.

MSPScratch Sloppy LH

LH SloppySlow,wide vib.

*1

*1

MSPScratch

LH SloppySlow,wide vib.

*1

MSPScratch

Sloppy LH*1

#

f

f

f

f

f

f

*1 Play quickly and harshly in the given contour. Pulse and individual notes should not be discernable.

œ- œE œ œD œ œ- œE œ œD œ œ- œE œ œD œ

œ œ œ, œ œ- œ- œ œ œ, œ œ- œ- œ œ œ, œ œ- œ-


œD œ- œ œ œ œ œ- œœD œ- œ œ œ œ œ- œ

œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œCœ- œ œ œ œ œ œC œ œ œ-

œ œ- œ-œ jœ- jœ œ œ

3

33

&

yy

yœ

œ

œ.y

jy

3

yy

y ‰ œ

œ

œœ

5

3

y"

ww!

! œœœœ+ œ"

˙!

œœ" œœ !

—" ..˙!

Cymb.

Toms/W.B. Metals

Slow, wide vib.

MSPScratch

SloppyLH

Sloppy

MSP Scratch

Slow,wide vib.

Fa La Fa LaDo

4 3 4

2 2 4

MSPScratch

œ- œE œ œD œ œ- œE œ œD œ œ- œE œ œD œ œ-

œ œ œ, œ œ- œ- œ œ œ, œ œ- œ- œ œ

œ œE œ œC œ œ œ œ œ-œD œ- œ œ œ œ œ- œ

œD œ- œ œœ- œ œ œ œ œ- œC œ- œ œ

œ- œ œ œ œ œ œC œ œ œ-œ- œ œ œ

‰ jœ œ œ œC œ œ œ œ œ œE3 3 3

Ó ‰ .y

œœ

œ

œ yy

y

3

œœœœ+

œ"!

..˙œœ" œœ

±"˙!

œœœœ+ œ" —"

˙!

ww

W.B.

LH Sloppy

Slow,

wide vib.

MSPScratch

LH Slow,

wide vib.MSP

Scratch

FaDo

6

8 9 7 8 96

8 9 13


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

43

43

43

43

4343

44

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

79 œE œ œD œ œ- œE œ œD œ œ- œE œ œ œ œ œ œ œD œ

œ, œ œ- œ- œ œ œ, œ œ- œ- œ œ œ, œ œ- œ-


œ œ œ- œœD œ- œ œ œ œ œ- œ

œD œ- œ œ œ œ œ- œœ œ œ- œC œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œCœ œ œC œ œ œ-

œ- œ œ œ œ œ œC œ œ œ-79

œC œ œ- œ- Jœ- Jœ œ œ Jœ-3

3

33

79

79

.y

y !y

‰ .Jyœ

5

5

5

79

79

œ ‰œ

œ

y

X

579

79

œœ" œœ˙#

# œœœœ+ œ" —" Œ

œœ..œœ" ..œœ

wwœœ" œœ #

Toms/Cymb.

W.B.Metals

MSPScratch

Sloppy LH Slow,wide vib.

$ Sloppy

La Do

14 1610 8

9 16 18 20

IIIII

*1 Let the high G break apart over the duration of the flutter so that noise and other partials become more and more prominant.

œ- œE œ œD œ œ œ œ œ œ œ- œ œ œD œ

œ œ œ, œ œ- œ- œ œ œ, œ œ- œ- œ œ œ, œ œ- œ-


œD œ- œ œ œ œ œ- œœD œ- œ œ œ œ œ- œ

œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œCœ- œ œ œ œ œ œC œ œ œ-

œ- œ œ œ œ œ

Jœ œ, œ œ œ œC3

œœ

.œœ ‰ œ

œ

œœ

œœ

œ

œ

yy

y

3

3

%

%

# œœœœ+

..˙œœ" œœ

œœœœ+œ" —" Œ

Metals

Toms/W.B.

Bow Drag

IIIII

Bow Drag

SloppyLH

LH Slow,wide vib.

Fa12 16 18 14

" Ï "

" Ï "

œ- œE œ œD œ œ- œE œ œ œ

œ œ œ, œ œ- œ- œ œ œ, œ

œ œE œ œC œ œ œ œœD œ- œ œ œ œ œ- œ

œ- œ œ œ œ œ- œC œ- œ œ œ œ

œC œ œ œ-œ- œ œ œ œ œ œC œ

œ œæ œæ

œœ

œ

œœ

œœ

y

3

5

Jœ œ

Jœ œœ

œ

œ

5

.% &

.% &

‰.œ" —"

# œœœœ+ œ" —"

.%?

Flutter*1

16 18

Toms/Cymb.

Toms

Metals

Bow Drag

IIIII

Slow,wide vib.

Sloppy Slow,

wide vib.

" Ï "


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

44

44

44

44

4444

45

45

45

45

4545

4444

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

82 œ- œE œ œD œ œ- œE œ œD œ œ- œE œ œD œ Rœ-

œ- œ- œ œ œ, œ œ- œ- œ œ œ, œ œ- œ- œ œ

œ-œ œE œ œC œ œ œ œ œ

œ' œE œ œ œ œ œ œ œ-œD œ- œ œ œ œ œ- œ

œD œ- œ œ œ œ œ- œ

œ- œC œ- œ œ œ œ œ- œC œ- œ œ œ œ œ- œC

œ œ-œ- œ œ œ œ œ œC œ œ œ-

œ œ œ œ

82 œ-, œ" œ œ" œ œ- œC œE œ œD œ- œ œ œC œ œ-

82

82

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œ

82

82

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

82

82

œ, œ" œ œ" œ œ" œ œ" œ œ" œ œ" œ œ" œœ

œ, œ" œ œ" œ œ" œ œ" œ œ" œ œ" œœ' œ" œ

œ, œ" œ œ" œ œ" œ œ" œ œ" œœ œ œ' œ" œ

œ", œ œ" œ œ" œ œ" œ œ" œ œ" œ œ" œœ" œ

œ", œ œ" œ œ" œ œ" œ œ" œ œ" œœ œ' œ" œ

Do20 19 18 17 16 15 14 13

12 11 10 9 87

65

Toms

Ï

Ï

Ï

Ï

Ï

ÏÏ

Î

Ï

Ï

Ï

Ï

Ï

Ï

*1 Ad lib partials up and down any and/or all 3 series of the horn in a haphazard manner.

*2 Overblow to a non-specific and unstable pitch using the given fundamental.

˙œ œ

˙œ œ

! Ó œ œ

œD œ- œ œo

œ"˘ >.œ- œ œ œ

oœ"˘ >.

œ œ œC œ œ œ- ‰ Œ .œ Jœ

œŒ

.æ

œœ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œæ

y

y

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œ

œ" œ œ" œ œ" œ œ" œ œ" œ ‰ ±"

œ" œ œ" œ œ" œ ‰ .±"

œ" œ œ" œ ˙# œœ" œœ

±" œœœœ+

œ" #

œ" œ œ" œ œ" œ œ" œœ" œ ‰ ˙#

6

Cymb. Toms

Sloppy

Sloppy

Overblow

Overblow Slap Tongue

Slap Tongue

( )

( )

*2

*2

Slow,wide vib.

Slow,wide vib.

Slow,wide vib.

MSP

Scratch

MSPScratch

LH Sloppy

f

f

f

f

f

ƒ

f

f

ƒ

f

f

SOLO

SOLO

ƒ

f

f

¿. œ"˘œo

¿. œ"˘œo

œ œ œE Jœ .œ'œ œ

œ œ

˙C œ œ

.œ Jœ œ

æ .œæ Jœ

œ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œœœœ+

œ" #

....œœœœ+

Jœ"

Œ#

# œœœœ+

œ"

œœ" œœœœ#

œœ" œœ #

SloppyRip16

*1

w/second mallet

Sloppy

Sloppy

Overblow

Overblow

"cha"

"cha"

-31 ¢

( )

( )

*3

*3

LHSloppy

LH Sloppy

LH

MSP

Scratch

Sloppy

+43 ¢

Sloppy


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

43

43

43

43

4343

44

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~

85

oœ"˘ ¿

oœ"˘ ¿

œ- œC .œ jœ

.æœ œ

.æœ œ

Jœ œ JœC œ œ85

¿. ‰ jœCfl

85

85

œ

y

yy

œœ

œœ

œ

85

85

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

85

85

œœ! œœ˙"

..œœ!jœœ

.±! œœœœ+ œ"

˙œœ! œœ "

œœœœ+œ" ±!

Sloppy

"cha"Sloppy

"cha"

-29 ¢*1

Flutter

Flutter

-31 ¢

Ram Rip

Fa

W.B./Metalsad lib

MSPScratch

LHSlow,

wide vib.

Sloppy

LHSlow, wide vib.

#

*1 Lower pitch slightly (ca. 14¢) by embouchure.

*2 Gliss upwards to, and above, the highest pitch possible. Let the pitch crack, waiver, go awry, decay, etc. Emphasize the faultiness of the gesture.

*3 Bow drag is metered here. Each drag (up bow is one drag, down bow another) lasts one sixteenth note.

7

œ œ.æ

œ œ.æ

jœ .œ jœ .œ

>. œ"˘o

>. œ"˘o

˙ œ œ

Œ .˙

y>‰ Jœ> Œ yæ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œ

œœœœ! œœ " œœœœ

+ œ"

œœ ..˙"

" œœ! œœ ˙"

œœœœ+ œ" .±!

— œœœœ+ œ" "

œœ! œœ

Flutter

Flutter

SloppySlap Overblow

SloppySlap Overblow

( )

( )

*2

Cymb.

Sloppy LH

MSPScratch

Sloppy MSPScratch

Slow, wide vib.

LHSloppy

cresc.

#

Ï

16

rœÿ$ ‰ Œ ˙D

rœÿ$ ‰ Œ ˙

rœÿ$ ‰ Œ ˙

rœÿ

$ ‰ Œ ˙

rœÿ

$ ‰ Œ˙

rœ $ ‰ Œ˙

Rœ $ ‰ Œ Jœ .œ

Ryæ $ ‰ Œ œœ

œ

œœ

œ

œœ

Rœ $ ‰ Œ œ

œ

œœ

œ

œœ

œ

R—!

$ ‰ Œ %¿ ¿ ¿ ¿

Rœœ´

$ ‰ Œ %¿ ¿ ¿ ¿

rœœÿ$ ‰ Œ %

¿ ¿ ¿ ¿

R— $ ‰ Œ Ó

R—!

$ ‰ Œ %¿ ¿ ¿ ¿

Deadstop!

Deadstop!

Pitchless

n

n

-47 ¢

n

n

n

Dead

stop!

Deadstop!

Dead

stop!

n

Deadstop!

p

Do 16

9

Deadstop!

Toms

&

&

simile...

Bow Drag

*3

IIIII

&

simile...Bow Drag

*3IIIII

&

simile...Bow Drag

*3IIIII

&

simile...

Bow Drag

*3

IIIII

&

Ï

Ï

Ï

Ï

Ï

Dead

stop!

Dead

stop!

Dead

stop!

Deadstop!

Dead

stop!

œ œ .œ œ

œ œ .œ œ

œ œ .œ œ

œ œ .œ œÿ

œ œ .œ œÿœ œ .œ œÿ‰ jœC œ .œ œÿ

œ

œœ

œ

œœ

œ

œœ

œ

œœÿ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

´

% .– –´

&

% .– –´

&

% .– –´

&

&

% .– –´ ?

Pitch Pitchless Pitch

'

'

F

F

' F

' F

' F

' F

f

Fa Do/Fa

7 8 12/9

F

F

" f "

" f "

" f "

" f "

~~~~~~~~~~~~~~~~~~~~~~~


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

&

&

?

4

4

4

4

4

4

4

4

4

4

4

4

4

3

4

3

4

3

4

3

4

3

4

3

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

89

89

89

89

Ó Œ

œæ

89

89

Ó Œ

yæ

89

89

Œ ‰R

O

œ

´

! Œ ŒJ

O

œ

´

3

R

O

œ

´

! ‰ Œ R

O

œ

´

! ‰ Œ

G \h=q| (ca. 45)

To piccolo

B.D.Hand Brush

Tam Tam

Hand Brush

p

p

Flaut.

Flaut. Au Point

Au Point

"

"

like a breath...

like a breath...

like a breath...

Ó

˙D

Ó

˙

Ó

˙

Ó

˙

Ó˙

wæ

Xæ

Ó Œ R

O

œ

´

! ‰

R

O

œ

""´

! ‰ Œ Ó

‰R

O

œ

´

! R

O

œ

´

! ‰ Ó

Ó R

O

œ

´

! ‰ Œ

-47 ¢

n

PICCOLO

n

n

n

n

#

p

p

#

#

Flaut.

Flaut. Au Point

Au Point

like a breath...

w

w

w

w

w

wæ

Xæ

‰ R

O

œ

""´

! Œ R

O

œ

´

! ‰ ‰ R

O

œ

""´

!

R

O

œ

" ´

! ‰ Œ ‰R

O

œ

" ´

! Œ

Œ ‰ R

O

œ

´

! Ó

Œ

.

.˙

˙

æ

$ P

$ P

$ P

$ P

$ P

F

F

Moltissimo SP

$ F

R

œ

˘

! ‰ Œ Œ

R

œ

˘

! ‰ Œ Œ

R

œ

˘

! ‰ Œ Œ

R

œ

˘

! ‰ Œ Œ

R

œ

˘

! ‰ Œ Œ

Ó Œ

Ó Œ

Ó Œ

œ

fl

Œ Œ

y

fl

Œ Œ

Ó Œ

Ó Œ

O

˙

%O

œ

O

˙

%O

œ

B

Ó Œ?

R

œ

œ

˘

! ‰ Œ Œ

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

LONG

B.D. Mallet

Tam Tam Mallet

"

"

#

To C flute


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

93

93

93

93

93

93

93

rœE.˙

93

HSLIGHTLY FASTERq = ca. 50

A Song

l.v. (sempre)

OOOPOOOO

p rœD ..˙ rœD ..˙

rœCrœ œ œC œ œ

4

..˙

~~~~

~~~~~


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

97

97

97

97

97

97

97

œ œ œC jœo œœ-3

..˙97

..˙

œ œ œ œE4

..˙

œ-œo œ- œœœ

C3

..˙


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

101

101

.˙-

101

101

101

101

101

..˙101

Fa/La

Cantabile

10/8pœ ˙

+

..˙

œ œC œo

œ

œC œ

œ

œ-

..˙

œ œC ˙-

..˙


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

105

105

‰ jœjœ .œE

105

105

105

105

105

..˙105

FaDo

*1

68 13

*1 Lip trill between partials 8 and 9 while also moving from a slow to fast hand trill.

*2 Accent, but do not pluck.

jœ .˙ +

..˙

Fa

Ÿ

slow fast

9/8

œœC oo œœoo œœ- oo

..˙

‰jœC œ> œ

Jœ ˙

..˙

*2

~ ~~~~~~~~


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~

109

109

œ œ œ jœ ‰

109

109

109

109

109

..˙109

Œ!

œœ Œ Œ

Do/Fa Fa

6 12/98

pizz.

Bow Drag

IIIII

(very slow)

" f "

p

‰ " rœC œ œ œ

..˙

Ó –æ?

Do

7

6

9

Flaut.

p

"œ

œ

œE ‰ œ œœC

..˙

!æ –æ

œœ Œ Œpizz.

..

.

œœ

œ

-- Jœ

o rœC o œ

œ..˙

!æ Œ


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

113

113

Œ ‰ jœE œ

113

113

113

113

113

..˙œ˙-

113

..˙!

œœ Œ Œ

Do Fa

13 8

pizz.

arco

Œ Jœ- .œ-

œ- ˙E

..˙

Ó œæœæ

Ó œ"æ

..˙

La

9 6

"

"

Flaut.1/2 Legno

Flaut.1/2 Legno

Ó œ

...œœœE æ ...œœœC æ

..˙

.æ

.æ

..˙œœ Œ Œ

#

pizz.

n

n

C FLUTE

Œ ˙D

.˙

..˙

...œœœ- æ jœ ...œœœC æ

..˙œœ Œ Œ

-47 ¢

# n

n

pizz.

MSP


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

117

117

œ œ- œC œ ! œ

117

117

117

117

117

..˙117

..˙æ

œœ Œ Œpizz.

Do Fa

815

7 8 œC œ œ œ-

..˙

..˙æ

œœ Œ Œpizz.

Do La

7 98

œ œE œ œ- ˙˙˙E æ

..˙

Œ ‰..œœ

Ó œœ"

..˙æ

œœ Œ Œpizz.

ord.

Flaut.

Flaut.

"

"

#

#

.

.œœC

œœ

œœC œ

œo œ

œC

..˙

..˙

..˙

Œ ‰.œ$

& B

..˙æ

œœ Œ Œpizz.

MSP

MSP

"

#


&

&

&

&

&

?

&

&

&

?

ã

&

ã

&

?

&

&

&

B

?

?

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

121

121

121

121

121

121

121 jœo œœ--

œ˙˙C

..˙121

Œ ‰..œœ!

..˙œœ Œ Œpizz.

"Slow,wide vib.

#

ord.

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86

9 13

LH 3

Harm. Tr.

arco

œ ˙ ! @ æ

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&

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8 9

LH


&

&

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&

&

&

?

ã

&

ã

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&

&

&

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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

125

125

125

125

125

125

125

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Constant gliss (MST)II

!

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˙C o

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œ œ œ œ œC

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Harm. Tr.

Do Fa

12 98 9 7

MSP

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66


&

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Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~

129

Ó œE

129

129

129

129

129

129 œœœœœC æ œœœœœ

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Harm. Tr.

ord.

Fa

9 8 7

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13 12 11


&

&

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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

133

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133

133

133

133

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133

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Circ. Bowingslow

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Fa Do

69 8 7 9

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8 9 6 8


&

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&

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Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~

137

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137

137

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137

137

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Fl. 2

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Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

141 .˙

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141

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141 .œ ‰ Œ141

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very wide vib.

+37 ¢

-49 ¢

!

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&

&

&

&

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&

&

&

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ã

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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~

145

Rœ.

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8 7 9

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n

n

n

n

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9 813 12

6


&

&

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&

&

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ã

&

ã

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&

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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

149

149

.œ œ œ œE œ

149

149

149

149

149

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Fa Do

6

9 813 12

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RIT.

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4

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œ

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&

&

&

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&

&

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ã

&

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44

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

153

153

153

153

153

153

153

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TEMPO PRIMOq = ca. 60

n

n

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Cymb.

p

p

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p

p

p

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13 12


&

&

&

&

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B

&

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&

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44

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

157

w

w

157

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157

157 X

157

157

X

157

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3

157

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Brushes

$

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MSP

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MSP

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&

&

&

&

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&

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42

42

42

42

4242

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

161

161

161

161

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161

161

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Mute Tr.

Flaut.Mute Tr.

Legno

Flaut.Mute Tr.

Œ .X

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Vibraphone

Flaut.

Mute Tr.Flaut.

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Flaut.Mute Tr.

Flaut.Legno

III


&

&

&

&

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B

&

&

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ã

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42

42

42

4242

44

44

44

44

4444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

165

165

165

165

165

165

165

165

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˙

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*1 The trumpet acts as an imperfect echo of the horn throughout the piece. Ideally, the performer should be off stage, preferably behind the audience.

If this isn't possible, the player may be seated with the orchestra. Regardless, the trumpet's quieter dynamics should be matched to the horn's, so that the trumpet is distinguishable as an echo, but still heard over the orchestra.

‰ œjœ ˙

Œ œ œ Œ

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w

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w

J SLIGHTLY FASTERq = ca. 70

Fa Do/Fa

612/9p

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III

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w

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Flaut.Mute Tr.

MSP

Œ ‰ jœC œ œ.˙ Œ

X

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7 9 6

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I

II


&

&

&

&

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&

&

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ã

&

ã

&

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B

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45

45

45

4545

44

44

44

44

444444

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

169

169

w

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169

169 y Œ Ó169

169

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169

169

!

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!

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Tam TamHand Brush

(Bow Drag)

Bow Drag

IIIII

LegnoFlaut.

Bow Drag

*1 Trill between all three series while moving between the upper partials of the horn ad. lib. The dynamic should impede the ability of the partials to properly sing.

Emphasize these choked and cracking partials, as if each pitch were instantly dying.

*2 Guitars are notated with a slash. If no other information is given, then the guitar's open strings should be played.

The guitars should always be played with a plectrum (pick), and strummed low to high. If the attack should be an harmonic, then the roman numeral indicates which fret should be used as the harmonic nodal point.

*3 Continually gliss within the given range ad. lib. Glisses should fast, but very quiet and non-pulsed.

*4 Pizz indicated strings behind the bridge in order. The pizzes should be fast, but non-pulsed and quiet.

9

III

‰œ- œ- œ ˙

˙ ‰œ- œ- œ

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MSP

Flaut.Mute Tr.

Flaut.Mute Tr.

Flaut.Mute Tr.

$

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Flaut.Mute Tr. Circ. Bowing

Flaut.

Circ. BowingFlaut.

Wah Wah

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w

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2

V*2

ad lib

%

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MSP

Strum w/plectrum (sempre)

pizz.

pizz.

n

~~~~~


&

&

&

&

&

B

&

&

&

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ã

&

ã

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&

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B

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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~

173

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173

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Flaut.Au Point

Flaut.Au Point

arco

arco

-47 ¢

n

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+37 ¢

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p

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Flaut.Mute Tr.

II

like a breath...

like a breath...

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Circ. Bowing

Behind BridgeII


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&

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ã

&

ã

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4

3

4

3

4

3

4

3

4

3

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

177

177

177

177

wæ

177

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177

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Ó Œ

œ

œœ-

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œ

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To Bass Clarinet

Crotales

MSP

Flaut.Mute Tr.

p

SOLO

Ó

˙

?

Œ .˙-?

wæ

œŒ

œŒ

œ

œœ-

œCœ-

œ

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œœ-

œCœ-

œ

œ

œœ-

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œ

œ

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6 6 6 6

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.˙œ""

$æ

w

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BASS CLARINET

Senza vib.

La

3

Arco

p

Harm. Gliss

MSP

" F "

Harm. Gliss

" F "

SOLO

%

p

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œœ-

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œ

œ

œ- œC œ-œ

6 6 6 6

w

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w

w

w

$æ

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œ.$æ

Senza vib.

Senza vib.

Senza vib.

Senza vib.

Senza vib.

FaLa

3 2

Senza Vib.

Flaut.

Breathe as needed

Breathe as needed

Breathe as needed

Breathe as needed

Breathe as needed

%

%

%

%

%


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43

43

43

43

43

44

44

44

44

44

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

180 .˙

.˙

.˙

.˙

.˙

.˙180

œ ˙

180

180

.æ180 œ Œ Œ180

180

180

œœ, œ- œC œ- œ,



6 6 6

..˙

..˙

..˙!

.˙

."

Fa

2

*1

Harm. Gliss

Senza Vib.

" F "

*1 A, is an A played just slightly higher (!8¢): This fingered A should sound noticably higher than the open string (!22¢ difference).

w

.˙ œ

w

œ .˙

w

w

.œjœ œ œ- œ

3

&

wæ

wæ

jœ‰ .˙

"

œœ .˙"

ww..˙ œ"

ww

L

(Senza vib.)

(Senza vib.)

(Senza vib.)

(Senza vib.)

(Senza vib.)

(poco a poco)

3

45

6

Tam TamHand Brush

#

Senza Vib.#

Senza Vib.unison vln. I

#

Senza Vib.

(senza vib.)

(senza vib.)

w

w

w

w

w

w

‰ jœC œ jœ œ- Jœ-

wæ

wæ

w

w

w"

w

ww

(Senza vib.)

7 8 9 10

11

Senza Vib.

#


&

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&

&

&

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ã

&

ã

&

?

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B

?

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43

43

43

43

43

44

44

44

44

44

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~

183 w

w

w

w

w

w183 œ œD œ! œE œ' œ, œC œ"

33

183

183

wæ

183

183

wæ

183

183

w

w

ww

ww

very wide vib.

very wide vib.

very wide vib.

very wide vib.

very wide vib.

very wide vib.

MOLTO RIT.

La Do Fa Do La Fa Do

12 10 17 13 18 11 14 19

very wide vib.

very wide vib.

very wide vib.

very wide vib.

very wide vib.

very wide vib.

*1 The F- and F' (following measure) should be played so that the partials sing clearly: Use the quietest dynamic that allows for this (if forte is the quietest, so be it).

The F' should immediately lose its voice after a brief moment of clarity. Its assured sound lasts only for a breath before devolving into fluttered, whispered, and unsure flits of sound.

.˙

.˙

.˙

.˙

.˙

.˙˙- œ œ-

.æ

.æ

.˙

.˙

.˙

.˙

.˙

.˙

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

Do/Fa/La Do

ƒ p pos.*1

20/15/12 21

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

sub. Senza Vib.

Rœ. ! ‰ Œ Ó

Rœ. ! ‰ Œ Ó

Rœ. ! ‰ Œ Ó

Rœ. ! ‰ Œ Ó

rœ.! ‰ Œ Ó

w-w'

rœ.

! ‰ Œ Ó

ry.

! ‰ Œ Ó

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œ-

œ œœ- œ- œ-

œ œ œœ- œ- œ-

œ œ œœ- œ- œ-

œ œ œ!œ- œC œ-

œ!6

6 6 6

rœ.! ‰ Œ Ó

rœ.! ‰ Œ Ó

Rœ. ! ‰ Œ Ó

w"

w"

Sp

Fa16

M A TEMPOq = ca. 70

Dead stop!

Dead stop!

Dead stop!

Dead stop!

Dead stop! To Bb Clarinet

-14 ¢

#

p

SOLO

p

Dead stop!

Dead stop!

Dead stop!

#

#


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B

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43

43

43

43

43

44

44

44

44

44

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

186

w186 œ Œ Ó

186

186

Œ ‰ JS Ó186

Ó ˙186

186

œ- œCœ

‰jœ

186

œ œ!œ- œC œ-

œ! œ œ!œ- œC œ-

œ! œœ" œ- œC œ- œ"

œœ" œ- œC œ- œ"

6 6

6 6

w

w

n

Guitars

Hard MalletsCrotales

2

(w/ harp)

p

w

Ó Œ ‰ jS

œ

œE ˙

œœ" œ- œC œ- œ"

œ œœ- œC œ-

œ œ œœ- œC œ-

œ œ œœ- œC œ-

œ

6

6 6 6

w

w

1

.˙

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Œ ˙

Œœ-

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œ œ œ- œC œ- œ œ œ œ- œC œ- œ œ œ œ- œC œ- œ6 6 6

.˙

.˙

3


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44

44

44

44

44

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

189

Œ .˙

w

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Ó Œ ‰ jœ

189

189

189

189

189

189

jœ‰ Œ Ó

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w.˙ œ

N

p

p

p

CANTUS FIRMUS

SOPRANO

ALTO

SOLO

p

Do

8

n

n !

*1 Retune string IV of the second violin down 1 step to F. Do not be shy about it.

*2 Constant arpeggio over the four strings.

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Œ ‰ jœ- ˙&

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jœ .œ œ ‰ jœC

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ECHO Harmon Mute

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Fa

97

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f

Retune IV*1

IIIIV

!

n !

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(No Stem)

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-10 ¢

-31 ¢

n !

! n

-12 ¢

n !

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Breathe as needed

La

4

6

n n !

n

Cymb.Swish

Brushes

IIIIV

!

( )

Senza Vib.

n n

-31 ¢

˙ ˙,

w-

w

w

wœ .˙,

œ ‰ jœ ˙

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œ .˙w

ww

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n !

!

n

Fa

8

n n !

n!

Fine tune IV

IIIIV Slow, wide vib.

!

( )

Senza Vib.

Slow, wide vib.IV

n! n

*2

-14 ¢

-10 ¢

~~~~~~~~~~~~~~~~~


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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

193 œ .˙E

w

w

w

w˙ œ œC,

193

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.˙- ‰ jœ193

193

œæ Œ æ193

193

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193

193 œo! œo! ..˙"

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n n$

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$ n

Do

12 13

n n $

n $

Fine tune IV (if needed)IV III SOLO

n$

-12 ¢

3 2

+43 ¢

-31 ¢

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œ- o œo œD o œC oœo œ

œ- o œC o

ww

ww

ww#æwwwwæ

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$ n $

$ n

$ n

n n $

n n

% %

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IV5 III

2

II 5 I 2

IV2 III

II4

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n $

$

$

12

n n $

$

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III 5

II I IVIII3

II 2 I 5

n $

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w

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n $

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La14

8

n

nad lib

'

%IV4

III4

II 3

I3

n

ECHO -31 ¢(Stem)

n

-10 ¢


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4

3

4

3

4

3

4

3

4

3

Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

197 w

œ.˙

w w-

œ .˙-.˙

w w-

w

197

œ œE .œ

j

œ

.œ

j

œ ˙

197

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197

197

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197

197

197

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Marimba

Crotales Arco

Soft Mallets ad lib

ad lib

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F

F

ad libDouble gliss.

Harm. Gliss

" ƒ "

Circ. Bowing

&

" F "

Harm. Gliss

Harm. Gliss

Harm. Gliss

" F "

" F "

ord. IIIIV

F

III

+43 ¢

-45 ¢

-10 ¢

-28 ¢

-14 ¢

#

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O TEMPO PRIMOq = ca. 60

To piccolo

&

Metals

Hard Mallets

Hard Mallets

ad lib (sparse)

p

unison vln. I

p

Behind Bridge ad lib (sparse)

Behind Bridge

p

n

n

-31 ¢

Œ

˙

˙

˙

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œœ

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¿

¿

¿

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n

&

Do/Fa

8/6P

Metals ad lib (sparse)

p

p

Behind Bridge ad lib (sparse)

ad lib (sparse)

n

~~

~~

~~

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&

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ã

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Fl. 1

Fl. 2

Ob.

Bb Cl. 1

Bb Cl. 2

Bsn.

Hn.

Bb Tpt.

Perc. 1

Perc. II(pitch)

Perc. 2

Solo Vln.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Perc. 1(pitch)

Hp.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

201 .˙E .˙.˙ .˙

Óœ !

œC œ Œ Œ

201

.˙

201

201

201

201

201

201

p

p n

n

n

n

Air

Breathy

n

n

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n

n

n

n

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Ó ‰ JSo

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.˙!

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P \hÇ =q| (ca. 45) CALANDO

n

"

n

Senza vib.

Throat Flutter

p

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2XIIGuitars

n

n

Senza Vib.

ord.

-14 ¢

œ@ ! Œ Œ

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Œ ‰ JSo Œ

‰ JœE oœo

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.˙

.˙

n

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3XIIGuitars

"

"

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ŒSo Œ

Ó œ

˙- o œ

.˙

.˙

p

1XII

Crotales

#

FINE

Hard Mallets


…mit starren fingern

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