Panopticon · Panopticon was written for Auer Hall at Indiana University, resulting from countless...
18
Panopticon for 12 periphonically spatialized clarinets Louis GOLDFORD (2013) ::: full score :::
Transcript of Panopticon · Panopticon was written for Auer Hall at Indiana University, resulting from countless...
Panopticonfor 12 periphonically spatialized clarinets
Louis GOLDFORD (2013)
::: full score :::
performance positions :: spatialization of clarinets
�
�
�
�
�
��
��
��
��
[audience]
[stage]
[orchestra level]
[terrace level]
“Morals reformed - health preserved - industry invigorated - instruction diffused - public burthens lightened - Economy seated, as it were,
upon a rock - the gordian knot of the Poor-Laws are not cut, but untied - all by a simple idea in Architecture!”
-Jeremy Bentham, 1780
Panopticon was written for Auer Hall at Indiana University, resulting from countless recitals I heard in that space, including re-citals of electronic music on which my own works for multichannel sound were performed. I began to wonder how simulating the three-dimensional compositional procedures common to electronic music might sound using acoustic instruments instead of loudspeakers.
Scored for twelve clarinets, the positions of the instruments and conductor loosely resemble Bentham’s panopticon. Here, the individual clarinetists are analogous to the inmates of a prison, the conductor functioning as the watchman in the tower; keeping a close eye on everybody despite that the inmates will never see their guardian or know exactly when they’re being watched. Michel Foucault posits this arrangement as the panoptic society in which we live; the ideal modernization of punishment, prison itself being only one in a large network of sovereign institutions — schools, factories, hospitals — that conditions its citizens, This renders the panoptic society according to its classic “visual surveillance” terms, but an extension of this principle is offered when considering other forms, such as sonic surveillance.
The philosopher/musicologist Peter Szendy explores this possibility in Sur écoute. Esthétique de l’espionnage (2007), in which he traces the lineage of auditory surveillance across history and through spy movies. In an acoustic panopticon such as this arrange-ment of clarinets and conductor, not a single instrumentalist knows where the conductor’s ears are focused at any given moment æ�LI�WKH\èUH�EHLQJ�êZDWFKHGë�RU�QRW��%XW��ê'LVV\PPHWU\�LV�DOZD\V�UHYHUVLEOH�ë�6]HQG\�ZDUQV�XV���7KLV�êSDQDFRXVWLFRQë�RIIHUV�êLQĆQLWH�points of exteriority,” where listeners can tap in on each other, and where there is no longer a single point of control or authority. Surveillance in the acoustic domain is, therefore, a dangerous game.
The pitch material for Panopticon is mostly drawn from the analysis of bass clarinet multiphonics. The opening presents one multi-phonic analysis cast as a series of pulses whose polyrhythmic ratios are proportional to the analysis’ frequency ratios, a technique inspired by the music of Yan Maresz. This texture is interrupted by another multiphonic and ensuing sonorities based on its analy-sis. These sonorities follow one another throughout the piece as new rhythmic elements intersperse the texture. Sudden, invasive memories of Iraqi jurjina and Bulgarian kopanitsa rhythms evoke the clarinet’s rich and varied history as integral to these genres.
Louis GoldfordOctober 2013Bloomington
performance positions of the clarinets;
conductor in the center
performance notes
& 44 � wµ wB
&4 � � � �
&8 � � � �
&12 � � � �
&16 � � � �
&20 � � � �
&24 � � � �
&28 � � � �
Score
& 44 � wµ wB
&4 � � � �
&8 � � � �
&12 � � � �
&16 � � � �
&20 � � � �
&24 � � � �
&28 � � � �
Score
quartertone sharp
TXDUWHUWRQH�ćDW
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰
œ.
‰
œ.
‰
œ.
‰
œn-
œB -œn-
œB -œn-
œB -œn-
7:4œ
j 7:4œ
j
œ‰ ‰
œ‰ ‰
œ‰ ‰ ‰
œ‰ ‰
œ
7:4œ
j 7:4œ
j
‰
œB .
‰
œ.
‰
œ.
‰ Ó
7:4œ
j
‰ ‰
œµ ‰ ‰
œ
‰ ‰ ‰
œ
‰
œ
‰
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
5:4œ
j 7:4œ
j
‰
œ
‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
‰
œµ‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
40
Œ œB ‰ ‰ œ ‰ ‰ œ ‰
3:2œ
j 3:2œ
j
f
f
�
œBâ
� ‰ Œ Ó
œB ä �‰
Œ Ó
œBâ
� ‰ Œ Ó
œ#
ä �‰ Œ Ó
œ#
ä �‰ Œ Ó
œ#
â
� ‰ Œ Ó
œ#
â
� ‰ Œ Ó
œ
â
� ‰
Œ Ó
œ#
â
� ‰Œ Ó
œ#
â
� ‰Œ Ó
41
œ
â
� ‰
.-�
^
¶O
Of
f
f
f
( f )
f
f
f
f
f
f
Long waves ( f h = q j ) [ q = 48 ]
Í
solo
41
�
�
�
�
�
�
�
Ó
-
�
Ó
-
�
42
Œ
n
n
ƒ p
�
�w
�
�wB
Ó Œ
œb
w
�w
Ó
-µ
43
�
f
F
n
n
n
n
‰
œ# .-
�w
�w
w
w
-Ó
�-
Ó
w
44
�
p
p
P
n
n
n
n
P
14 Panopticon | Goldford
Bass clarinet multiphonic #96
Multiphonic No. 96 from Harry Sparnaay’s The Bass
Clarinet: A Personal History (pg. 154). This multiphon-ic should be playable at all dynamic levels. “Only embochure. The higher the harmonics, the more the lower jaw should move towards the base of the reed.” Best executed as a dynamic fade if possible, otherwise, light rearticulations of the tongue may help gradually move in and out of the multiphonic.
A note about dynamic fades
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰
œ.
‰
œ.
‰
œ.
‰
œn-
œB -œn-
œB -œn-
œB -œn-
7:4œ
j 7:4œ
j
œ‰ ‰
œ‰ ‰
œ‰ ‰ ‰
œ‰ ‰
œ
7:4œ
j 7:4œ
j
‰
œB .
‰
œ.
‰
œ.
‰ Ó
7:4œ
j
‰ ‰
œµ ‰ ‰
œ
‰ ‰ ‰
œ
‰
œ
‰
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
5:4œ
j 7:4œ
j
‰
œ
‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
‰
œµ‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
40
Œ œB ‰ ‰ œ ‰ ‰ œ ‰
3:2œ
j 3:2œ
j
f
f
�
œBâ
� ‰ Œ Ó
œB ä �‰
Œ Ó
œBâ
� ‰ Œ Ó
œ#
ä �‰ Œ Ó
œ#
ä �‰ Œ Ó
œ#
â
� ‰ Œ Ó
œ#
â
� ‰ Œ Ó
œ
â
� ‰
Œ Ó
œ#
â
� ‰Œ Ó
œ#
â
� ‰Œ Ó
41
œ
â
� ‰
.-�
^
¶O
Of
f
f
f
( f )
f
f
f
f
f
f
Long waves ( f h = q j ) [ q = 48 ]
Í
solo
41
�
�
�
�
�
�
�
Ó
-
�
Ó
-
�
42
Œ
n
n
ƒ p
�
�w
�
�wB
Ó Œ
œb
w
�w
Ó
-µ
43
�
f
F
n
n
n
n
‰
œ# .-
�w
�w
w
w
-Ó
�-
Ó
w
44
�
p
p
P
n
n
n
n
P
14 Panopticon | Goldford
Fades from niente (n) are meant to imitate equal-power panning used in multichannel sound. Here it is crucial that performers are careful of their dynamic levels and of rates of growth and decay in volume; these must must be non-linear.
In the example above, the target dynamic is forte, but often in the score it is much softer: piano or pianissimo. Therefore, more de-gredations of loudness between niente and pianissimo must be available to the performer, and must be spaced carefully across the hairpin crescendo & decrescendo indications.
To create realistic panning, these fades (from silence to a target dynamic and back) must be non-linear, as described below:
crescendo stage decrescendo stage
Normal attempt to make fades linear
Fades should be executed closer to this rate of growth & decay, with reasonable accuracy but NOT with a laborous attempt to approximate sine & co-sine curves.
These curves mimic our normal perception of loudness and are more closely tied to how we actually execute hairpins. Therefore, performers are asked to be somewhat sensitive to these curves but not overly concerned with them. More importantly, one should resist the temptation to linearize the curves, as in the upper-most pair of swells (the “normal” attempt at fades).
For the opening section, mm. 1 - 41, rehearsal materials are available from the composer ([email protected]). These include
click-track MIDI mockups to aid in practicing the irregular polyrhythmic subdivisions.
It is strongly advised that performers work with these materials prior to ensemble practice.
DURATION: ca. 6:45
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
.
J
œ œ œ .
J
œ
�
�.
J
œb
,ϫ
ϫ
.
J
ϫ
.
J
œ œ œ .
J
œ
.
J
œ œ
lœ
h.
J
œ
.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
�.
J
œb
hœ œ .
J
œ
.
J
œ œ œ .
J
œ
67
�
P
p
p
solo
.
J
œ œ œ .
J
œ
�
�
�
�.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
�.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
68
�
n
.
J
œ œ œ .
J
œ
l
�
�
�
�.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
�
�.
J
œ œ œ .
J
œ
�
69
.
j
œ& œ
ÿ
œ
ÿ
.
j
œ
ÿ
n
n
P
solo
.
J
œb
hœ œ .
J
œ
�.
J
œn œ œ .
J
œ
�
�.
J
œ œ œ .
J
œ
.
J
œ œ
lœ
h.
J
œ
�.
J
œb
,ϫ
ϫ
.
J
ϫ
�
�
70
�
P
p
n
n
p
solo
.
J
œ œ œ .
J
œ
�.
J
œ œ œ .
J
œ
�
�.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
.
J
œb œ œ .
J
œ
�.
J
œ œ œ .
J
œ
�
71
�
n
n
.
J
œ œ œ .
J
œ
.
J
œ
,ϫ
ϫ .
J
ϫ
.
J
œ œ œ .
J
œ
.
J
œb
,ϫ
ϫ .
J
ϫ
�
�.
J
œ œ œ .
J
œ
.
J
œ œ œ .
J
œ
�.
J
œ œ œ .
J
œ
�
72
�
n
n
n
7220 Panopticon | Goldford
A BArticulations without the tongue:
A.) imperceptible release; B.) imperceptible attack.
silence
target
dynamic
!is page has intentionally been le" blank.
&
&
&
&
&
&
&
&
&
&
&
&
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
Ó‰ ‰
œBŒ
3:2œ
j
!
Ó Œ
œB‰
!‰ ‰ ‰ ‰ ‰
œb
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
7:4œ
j 7:4œ
j
Ó ‰
œ
‰ ‰ ‰ ‰ ‰
7:4œ
j
Ó ‰œ#
‰ Œ
3:2œ
j
!Ó ‰ ‰ ‰ ‰ ‰
œµ ‰
7:4œ
j
!!
Mechanical, clock-like pulses; all notes equally staccato [ q = 96** ]
p
p
p
p
p
p
p
œB‰ ‰ ‰ ‰
œ
‰‰ ‰
œ
Œ
7:4œ
j 3:2œ
j
‰ ‰ ‰ ‰ ‰ œµ ‰ Ó
7:4œ
j
‰
œB‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
5:4œ
j 7:4œ
j
œB ‰ Œ Ó
‰ ‰
œb
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰
œ
‰
7:4œ
j 5:4œ
j
‰
œ
‰ ‰ ‰ ‰ ‰
œ
Œ
5:4œ
j
3:2œ
j
‰ ‰œ#
Œ Œœ
‰
3:2œ
j
!Ó ‰ ‰ ‰
œµ ‰
5:4œ
j
œB ‰ Œ Ó
2
!
p
p
p
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
Œ
7:4œ
j 3:2œ
j
Ó Œ ‰ œµ ‰
3:2œ
j
‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
Ó ‰
œµ‰ ‰ ‰
5:4œ
j
‰ ‰ ‰
œb
‰ ‰ ‰
œ
‰ ‰
5:4œ
j 5:4œ
j
‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
7:4œ
j 7:4œ
j
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
Œ ‰œ#
‰ ‰ ‰ ‰ ‰ ‰œ
‰
3:2œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰
œB‰ Ó
7:4œ
j
Ó ‰ ‰ ‰œµ ‰ ‰ ‰
7:4œ
j
œB ‰ Œ Ó
3
!
p
PanopticonLouis GOLDFORD (2013)
©2013 Louis Goldford. All rights reserved.
Score in Bbfor 12 periphonically spatialized clarinets*
*See the performance setup diagram in the score preface for information on how each part is to be spaced. All clarinet parts are B-!at except where marked "bass."**Although the basic pulse has been given as a quarter note, performers are encouraged to feel the music in a subdivided cut time, rather than 4/4. "is will aid in executing the complex tuplets across the half note.
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
Œ
7:4œ
j
3:2œ
j
!‰ ‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
7:4œ
j 5:4œ
j
!
‰
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
3:2œ
j
3:2œ
j 7:4œ
j
‰ ‰
œ
Œ ‰ ‰
œ
‰ ‰ ‰ ‰
3:2œ
j 7:4œ
j
Œ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰
3:2œ
j
7:4œ
j
Ó ‰œ#
‰ ‰ ‰ ‰ ‰
7:4œ
j
!
!
œB ‰ Œ Ó
4
!
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
Œ
7:4œ
j 3:2œ
j
Œ œµ ‰ Ó
‰
œB‰ ‰ ‰ ‰
œ
Ó
7:4œ
j
œB ‰ Œ ‰ ‰ ‰ œB ‰
5:4œ
j
Œ
œb
‰ ‰
œ
‰ ‰ ‰
5:4œ
j
!‰ ‰ ‰ ‰ ‰
œ
‰ Ó
7:4œ
j
‰œ#
‰ ‰ ‰ ‰ ‰œ
‰ ‰
5:4œ
j 5:4œ
j
‰
œ
‰ Œ ‰
œ
‰ ‰ ‰ ‰ ‰
3:2œ
j
7:4œ
j
Ó ‰œµ ‰ ‰ ‰ ‰ ‰
7:4œ
j
œB ‰ Œ Ó
5
!
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j 7:4œ
j
Ó ‰ ‰ œµ Œ
3:2œ
j
!
‰ ‰ œB ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰
5:4œ
j 7:4œ
j
œb>
‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
œ>
‰Œ Ó
Ó ‰
œ
‰ ‰ ‰ ‰ ‰
7:4œ
j
‰ ‰ ‰ ‰œ#
‰ ‰ ‰ ‰ ‰ ‰ ‰œ
‰
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰œµ ‰ Ó
7:4œ
j
œB ‰ Œ Ó
6
!
Sf
Sf
Sf ( p )
( p )
62 Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
œB‰ ‰ ‰
œ
‰ ‰ Ó
7:4œ
j
!
‰ ‰ ‰
œB‰ ‰ ‰
œB‰ ‰ ‰
œ
5:4œ
j 7:4œ
j
œB ‰ Œ ‰ ‰
œBŒ
3:2œ
j
‰ ‰
œb
Œ Ó
3:2œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰
œ
‰
7:4œ
j 5:4œ
j
‰ œ ‰Œ Ó
3:2œ
j
‰ ‰ ‰ ‰ ‰ ‰œ#
Ó
7:4œ
j
Ó ‰ ‰
œB‰ ‰
5:4œ
j
Œ ‰œµ ‰ ‰
œb
‰ ‰ ‰
œ
‰
3:2œ
j
7:4œ
j
œB ‰ Œ ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j
7
!
( p )
!
‰ œµ ‰ Œ Ó
3:2œ
j
!
‰
œB‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
‰ ‰ ‰
œb
‰ Ó
5:4œ
j
Œ
œ
‰ ‰ ‰ ‰
œ
‰ ‰ ‰
7:4œ
j
!
‰œ#
‰ ‰ ‰ ‰ ‰ ‰œ
‰ ‰ ‰
7:4œ
j 5:4œ
j
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
Œœµ ‰ ‰ ‰
œb
‰ ‰
5:4œ
j
œ#
‰
œ
‰ ‰ Œ
œ
‰
5:4œ
j
8
!
!
‰ ‰
œB‰ ‰ ‰ ‰ œµ ‰ Œ
7:4œ
j
Ó ‰
œB‰ ‰ ‰
œ
‰
7:4œ
j
œB ‰ Œ Ó
‰
œb
‰ ‰ ‰
œ
Ó
3:2œ
j 3:2œ
j
‰ ‰
œ
Œ ‰
œ
‰ ‰ ‰
3:2œ
j 5:4œ
j
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰
5:4œ
j
7:4œ
j
Ó ‰ ‰ ‰ ‰ ‰
œb
‰
7:4œ
j
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰œµ ‰ ‰ ‰ ‰ Ó
7:4œ
j
œB ‰œ#
‰ ‰ ‰ ‰ ‰ ‰œ
‰ ‰
5:4œ
j
7:4œ
j
9
!
3Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
Ó ‰ ‰
œB‰ ‰ ‰
œ>
7:4œ
j
Œ
œB‰ ‰ ‰ ‰ ‰ ‰ œµ ‰
7:4œ
j
Ó ‰ ‰
œB‰ ‰ ‰ ‰
7:4œ
j
!
!
‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰
œ>
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰ ‰
œ>
7:4œ
j 7:4œ
j
Œ
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j
‰ ‰ ‰ ‰
œ
‰ ‰ Ó
7:4œ
j
‰œµ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
œ
>
7:4œ
j 7:4œ
j
œB ‰ ‰ ‰ ‰œ#
‰ ‰ ‰ ‰ ‰ ‰ ‰œ
>
7:4œ
j
7:4œ
j
10
!
Sf
Sf
Sf
Sf
Sf
!
!œB >
‰ ‰ ‰ ‰
œ
‰ Œ
œ
‰
7:4œ
j
œB>
‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
œb>
‰ ‰ ‰ ‰
œ
‰ Ó
7:4œ
j
Ó ‰ ‰ ‰ ‰ ‰
œ
‰
7:4œ
j
!
!
‰
œB>
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
7:4œ
j
7:4œ
j
‰ ‰ ‰ ‰ ‰ ‰
œN
‰ ‰ ‰ ‰ ‰œµ ‰
7:4œ
j
7:4œ
j
œB>
‰ Œ ‰ ‰ ‰ ‰
œb
‰ ‰
7:4œ
j
11
‰
œ
>
‰ ‰ ‰ ‰
œ#
‰ ‰ ‰ ‰ ‰
5:4œ
j
7:4œ
j
Sf
Sf
Sf
Sf
Sf
Sf
( p )
( p )
( p )
( p )
( p )
( p )
( p )
( p )
11
!
Œ ‰ œµ ‰ Ó
3:2œ
j
‰
œ
‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
5:4œ
j 7:4œ
j
‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰
œb
Œ Ó
3:2œ
j
Œ ‰
œ
‰ ‰ ‰ ‰
œ
‰
3:2œ
j 5:4œ
j
!
!
Ó ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j
‰
œ
‰ ‰ ‰ ‰ ‰ Œœµ ‰
7:4œ
j
œB ‰ Œ ‰
œb
‰ ‰ ‰
œ
‰
7:4œ
j
12
‰ ‰
œ#
‰ ‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
7:4œ
j 7:4œ
j
4 Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
œB‰
ΠΠϵ >
‰
‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 3:2œ
j
3:2œ
j
œB ‰ Œ Ó
‰ ‰ ‰
œb
‰ ‰ ‰
œ>
‰ ‰
5:4œ
j 5:4œ
j
Œ
œ
‰ ‰ ‰
œ>
‰ ‰
5:4œ
j
Ó Œ
œ>
‰
!‰ ‰
œ
Œ Ó
3:2œ
j
Ó ‰ ‰œµ>
Œ
3:2œ
j
!
13
‰ ‰ ‰
œ#
‰ ‰ ‰ ‰ ‰ ‰
œ
‰
5:4œ
j 7:4œ
j
Sf
Sf
Sf
Sf
Sf
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
Œ ‰
œB‰ ‰ ‰
œ
‰ ‰
3:2œ
j 5:4œ
j
œB ‰ Œ Ó
‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
7:4œ
j 5:4œ
j
‰
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
3:2œ
j
3:2œ
j 7:4œ
j
!
‰ ‰ ‰ ‰
œ
‰ ‰ Œ ‰
œ
‰
7:4œ
j 3:2œ
j
!‰ ‰ ‰ ‰ ‰
œB‰ Ó
7:4œ
j
Ó ‰œµ ‰ ‰ ‰ ‰ ‰
7:4œ
j
œB ‰
œb
‰ Ó
14
!
( p )
( p )
( p )
( p )
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰ œµ Œ Ó
3:2œ
j
!
œBœB
‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰
7:4œ
j 5:4œ
j
Ó ‰ ‰
œb>
‰ ‰ ‰ ‰
7:4œ
j
Ó ‰
œ
‰ ‰ ‰ ‰
œ>
7:4œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰ ‰
œ>
7:4œ
j 7:4œ
j
‰œ#
‰ ‰ ‰ ‰ ‰ ‰ ‰œ
‰ ‰ ‰ ‰
7:4œ
j 7:4œ
j
!
‰
œN
‰ ‰ ‰ ‰ ‰ Ó
7:4œ
j
œB ‰ Œ Ó
15
!
Sf
Sf
Sf
( p )
5Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
!Ó ‰ œµ ‰ ‰ ‰ ‰ ‰
7:4œ
j
!
‰ ‰
œBŒ ‰
œ
‰ ‰ ‰
œ
‰
3:2œ
j 7:4œ
j
œb
‰ ‰ ‰ ‰
œ>
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰
œ>
‰ ‰ ‰ ‰ ‰ ‰
œ
‰
7:4œ
j 7:4œ
j
Ó
œ
‰ Œ
‰ ‰ ‰œ#
‰ ‰ ‰ ‰ ‰ ‰œ
‰
7:4œ
j 5:4œ
j
!
‰ ‰ ‰ ‰ ‰œµ>
‰ Ó
7:4œ
j
!
16
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
Sf
Sf
Sf
( p )
( p )
( p )
!!
!
œB ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
Œ
7:4œ
j 3:2œ
j
‰ ‰
œb
Œ Ó
3:2œ
j
Œ ‰
œ
‰ Ó
3:2œ
j
‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
7:4œ
j 5:4œ
j
‰ ‰ ‰ ‰ ‰œ#
‰ Ó
7:4œ
j
Ó Œ
œB>
‰
‰ ‰ ‰ ‰œµ ‰ ‰ ‰
œb
‰ ‰ ‰ ‰
œ7:4œ
j
7:4œ
j
œB ‰ Œ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j
17
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
Sf
( p )
!ϵ >
‰ Œ Ó
‰ ‰
œB‰ ‰ ‰ ‰ Ó
7:4œ
j
‰
œB‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
!
Œ
œ
‰ ‰ ‰
œ
‰ ‰
5:4œ
j
‰ ‰
œ
Œ Ó
3:2œ
j
œ#
>
‰ Œ Ó
Œ ‰
œb
‰ ‰ ‰
œ
‰ ‰
3:2œ
j
5:4œ
j
‰ ‰œµ>
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
5:4œ
j
7:4œ
j
œB>
‰ Œ ‰œ#
‰ ‰ ‰ ‰ ‰
7:4œ
j
18
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
Sf
S
Sf
Sf
( p )
( p )
( p )
186 Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
!
‰ ‰ ‰ ‰ ‰ œµ ‰ Ó
7:4œ
j
!
œB ‰ Œ
œB‰ ‰ ‰ ‰
œ
‰
7:4œ
j
!
‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
7:4œ
j 5:4œ
j
‰ ‰ ‰ ‰
œ
‰ ‰ Œ ‰
œ
‰
7:4œ
j 3:2œ
j
‰ ‰œ#
Œ Œœ
‰
3:2œ
j
‰
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
3:2œ
j 3:2œ
j 7:4œ
j
‰œµ ‰ ‰ ‰ Ó
5:4œ
j
œB ‰ Œ Ó
19
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
( p )
( p )
!
Ó Œ ‰ œµ >
‰
3:2œ
j
!
Œ
œB‰ ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j
!
‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ>
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ>
‰
7:4œ
j 7:4œ
j
Œ ‰œ#
‰ ‰ ‰ ‰ ‰ ‰œ
>
‰
3:2œ
j 7:4œ
j
Œ
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j
ϵ>
‰ Œ ‰ ‰ ‰ ‰ ‰œ
>
‰
7:4œ
j
œB>
‰ Œ Ó
20
‰ ‰
œB‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
Sf
Sf
Sf
SfS
S
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰
7:4œ
j 7:4œ
j
œB >
‰ ‰ ‰ ‰
œ
‰ Œ
œ
‰
7:4œ
j
œB>
‰ Œ
œ#
‰
Œ
œb>
‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
!
!
!
‰
œB>
‰ ‰ ‰ Ó
5:4œ
j
Ó ‰ ‰ ‰œµ ‰
5:4œ
j
œB>
‰ Œ Ó
21
‰ ‰
œ
>
‰ ‰ Ó
5:4œ
j
Sf
Sf
Sf
Sf
Sf
Sf
( p )
( p )
( p )
( p )
( p )
7Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
Œ œµ ‰ ‰
œb
‰ ‰ ‰ ‰
œ
7:4œ
j
‰
œB‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
5:4œ
j 7:4œ
j
‰
œ#
‰ Œ ‰ ‰
œ
Œ
3:2œ
j 3:2œ
j
‰ ‰
œb
Œ Ó
3:2œ
j
!
!
!
Œ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
3:2œ
j 7:4œ
j
Ó ‰ ‰ ‰œµ ‰ ‰ ‰
7:4œ
j
œB ‰ Œ Ó
22
‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ Œ
7:4œ
j 3:2œ
j
( p )
( p )
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
Œ ‰
œb
‰ ‰ ‰ œµ Œ
3:2œ
j 3:2œ
j
‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
7:4œ
j 3:2œ
j
3:2œ
j
œB ‰ Œ Ó
!
!
!
‰ ‰
ϵ >
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
Œ
7:4œ
j
3:2œ
j
Ó ‰œµ ‰ ‰ ‰
5:4œ
j
œB ‰ Œ Ó
23
‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 5:4œ
j
P
23
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
‰
œb
‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰
5:4œ
j 7:4œ
j
Œ ‰
œB‰ ‰ ‰
œ
‰ ‰
3:2œ
j 5:4œ
j
!
!
!
!
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ Œ
7:4œ
j 3:2œ
j
Ó ‰œµ ‰ ‰ ‰ ‰ ‰
7:4œ
j
œB ‰ Œ Ó
24
Œ
œ
‰ ‰ ‰ ‰
œ
‰
5:4œ
j
8 Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
‰ œµ ‰ ‰ ‰ ‰ ‰ Ó
7:4œ
j
‰
œB‰ ‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰
7:4œ
j 5:4œ
j
œB ‰
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰
7:4œ
j
!!
‰
œB >
‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰œµ ‰ Ó
7:4œ
j
œB ‰ Œ Ó
25
!
P
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
Ó œµ ‰ Œ
‰ ‰
œBŒ ‰
œ
‰ ‰ ‰
œ
‰
3:2œ
j 7:4œ
j
‰
œb
‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
!!
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰ ‰
œµ‰ ‰
œ
‰ Ó
7:4œ
j
‰ ‰ ‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰ ‰
œ
‰
7:4œ
j 7:4œ
j
Œ ‰œµ ‰ Ó
3:2œ
j
œB ‰ Œ ‰
œµ‰
œ
‰ ‰
œ
7:4œ
j
26
!P
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
œB ‰ Œ ‰ ‰ ‰ ‰ ‰ œµ ‰
7:4œ
j
‰ ‰ ‰ ‰
œB‰ ‰ ‰ ‰
œ
Œ
7:4œ
j
3:2œ
j
‰
œb
‰ Œ ‰
œ
‰ ‰ ‰ ‰
œ
3:2œ
j 7:4œ
j
!‰
ϵ >
‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
3:2œ
j 3:2œ
j 7:4œ
j
œB ‰ Œ Ó
Ó ‰ ‰ ‰
œB>
‰
5:4œ
j
Œœµ ‰ Ó
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
27
!
P
Sf
p
9Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
‰
œB‰ ‰ ‰
œ
‰ ‰ ‰ ‰ ‰
œ
‰ ‰
7:4œ
j 7:4œ
j
!Œ ‰
œb
‰ ‰ ‰ ‰
œ
‰ ‰ ‰
3:2œ
j 7:4œ
j
!
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰ ‰
3:2œ
j 3:2œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
œB ‰ Œ Ó
!‰ ‰
œµ ‰ ‰ ‰ ‰ Ó
7:4œ
j
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
28
!
‰ ‰ ‰ ‰
œB‰ ‰ Ó
7:4œ
j
‰ ‰
œB‰ œµ ‰
œ
‰ ‰ ‰ ‰
œ
‰
3:2œ
j
3:2œ
j 7:4œ
j
!
œB ‰ Œ ‰
œB‰ ‰
œ
5:4œ
j
‰ ‰
œB >
‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 7:4œ
j
œµ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰ ‰
œB‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
œB ‰ Œ ‰
œµ‰
œ
‰ ‰
œ
7:4œ
j
!‰
œµ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰œ
7:4œ
j 7:4œ
j
‰ ‰
œµ‰ ‰
œ
‰ Ó
7:4œ
j
29
!
P
P
P
P
P
29
( p )
!
Œ
œB‰ ‰
œ
œµ ‰
!‰ ‰ ‰ ‰
œB‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 5:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ Ó
7:4œ
j
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
!Ó ‰ ‰ ‰ ‰ ‰
œµ ‰
7:4œ
j
œB ‰ Œ ‰
œB‰
œ
‰
œ
3:2œ
j 3:2œ
j
30
!( P )
10 Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
!!
‰
œB >
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
7:4œ
j 7:4œ
j
œB>
‰
œB‰
‰œ
‰ ‰œ
5:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
‰ ‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
‰
7:4œ
j 7:4œ
j
œB ‰ Œ Ó
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
‰ ‰
œB>
Œ Ó
3:2œ
j
Ó Œœµ ‰
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
31
‰ ‰ ‰
œ
>
‰ Ó
5:4œ
j
P
Sf
Sf
Sf
( p )
p
31
!‰ ‰ œµ ‰ ‰ ‰ ‰ Ó
7:4œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
Œ
œB‰
‰œ
‰œ
‰
5:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
œB ‰ Œ Ó
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
!
Ó ‰ ‰œµ Œ
3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
3:2œ
j 3:2œ
j 7:4œ
j
32
!
œN
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
Ó ‰ œµ ‰ ‰ ‰ ‰ ‰
7:4œ
j
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰ œµ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ ‰
3:2œ
j 3:2œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
!
œB ‰ Œ Ó
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
!
‰
œB‰ ‰
œ
‰
œ
‰ ‰ ‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
œB‰ ‰
œ
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
33
œB ‰ Œ Ó
P
( p )
P
11Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
œB -œn-
œB -œn-
œB -œn-
œB -
Ó
7:4œ
j
Ó ‰ ‰ ‰ ‰ ‰ ‰ œµ7:4œ
j
Ó
œn-
œB -œn-
œB -œn-
œB -œn-
7:4œ
j
œµ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
!
œB ‰ Œ Ó
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
Ó ‰
œB‰ ‰ ‰ ‰ ‰
7:4œ
j
‰
œB‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
5:4œ
j 7:4œ
j
‰ ‰
œB‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
34
!
Steadily towards full note values & presence, as if the sound was getting closer...34
œB -œn-
œB -œn-
œB -œn-
œB -
‰
œn.
‰
œ.
‰
œ.
‰
7:4œ
j 7:4œ
j
!
Ó ‰
œB .
‰
œ.
‰
œ.
‰
7:4œ
j
œB ‰ Œ Ó
!
!
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œB >
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
‰ ‰
ϵ >
‰
œ
‰ ‰
œ
‰
œ
‰
3:2œ
j 3:2œ
j 5:4œ
j
35
‰
ϵ >
‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
P
P
P
p sub.
P
œn-
œB -œn-
œB -œn-
œB -œn-
‰
œ.
‰
œ.
‰
œ.
‰
7:4œ
j 7:4œ
j
‰ ‰ ‰ ‰ ‰ œµ ‰ Ó
7:4œ
j
Ó ‰
œB .
‰
œ.
‰
œ.
‰
7:4œ
j
!
!
!
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
‰ ‰ ‰
œB‰
œ
‰ ‰
œ
‰
œ
‰
7:4œ
j 5:4œ
j
‰
œµ‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
36
‰ ‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰ ‰
œ
‰
7:4œ
j 7:4œ
j
12 Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰
œ.
‰
œ.
‰
œ.
‰
œ.
‰
œ.
‰
œ.
‰
œ.
7:4œ
j 7:4œ
j
œ
>
‰ ‰œ
‰ ‰œ
‰ ‰œ
‰œ
‰
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB .
‰
œ.
‰
œ.
‰
œ.
‰
œ.
‰
œ.
‰
œ.
7:4œ
j 7:4œ
j
‰
ϵ >
‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œB >
‰
œ
‰
œ
‰
œ
‰
œ
‰
œ
3:2œ
j 3:2œ
j 3:2œ
j 3:2œ
j
!
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
3:2œ
j 3:2œ
j 7:4œ
j
‰ ‰
œµ‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
Ó ‰ ‰ ‰
œB‰ ‰ ‰
7:4œ
j
‰
œB .
‰
œ.
‰ ‰
œ.
‰ ‰
œ.
‰ ‰
œ.
‰
7:4œ
j 7:4œ
j
‰ ‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰
3:2œ
j 3:2œ
j 5:4œ
j
37
œB ‰ Œ Ó
P
P
‰
œ.
‰
œ.
‰
œ.
‰ Ó
7:4œ
j
‰ ‰œ
‰ ‰œ
‰ ‰œ
‰œ
‰
7:4œ
j 5:4œ
j
‰
œn.
‰
œ.
‰
œ.
‰
œB -œn-
œB -œn-
œB -œn-
œB -
7:4œ
j 7:4œ
j
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰ ‰
3:2œ
j 3:2œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
!œB
‰ ‰
œ
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
‰ ‰
œµ‰
œ
‰ ‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
!
‰
œB .
‰ ‰
œ.
‰
œ.
‰ ‰ ‰
œ.
‰
œ.
‰
7:4œ
j 7:4œ
j
‰
œµ‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
38
!
œn-
œB -œn-
œB -œn-
œB -œn-
Ó
7:4œ
j
‰œ
‰ ‰œ
‰ ‰œ
‰ ‰œ
‰ ‰
3:2œ
j 3:2œ
j 7:4œ
j
Ó
œB -œn-
œB -œn-
œB -œn-
œB -
7:4œ
j
‰
ϵ>
‰ ‰
œ
‰ ‰
œ
‰
œ
‰
3:2œ
j 3:2œ
j 5:4œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
ϵ >
‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œB‰
œ
‰
œ
‰
œ
‰ ‰
œ
‰
5:4œ
j 7:4œ
j
‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
5:4œ
j 7:4œ
j
‰ ‰
œ
>
‰ ‰
œ
Œ
œ
‰ ‰
3:2œ
j 3:2œ
j 3:2œ
j
‰
œB .
‰
œ.
‰ ‰
œ.
‰
œ.
‰ ‰
œ.
5:4œ
j 7:4œ
j
‰ ‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰
3:2œ
j 3:2œ
j 5:4œ
j
39
Œ œB >
‰ ‰ œ ‰ ‰ œ ‰
3:2œ
j 3:2œ
j
P
P
P
13Panopticon | Goldford
&
&
&
&
&
&
&
&
&
&
&
&
12
11 (Bass)
10
9 (Bass)
8
7
6
5
4 (Bass)
3
2
1 (Bass)
‰
œ.
‰
œ.
‰
œ.
‰
œn-
œB -œn-
œB -œn-
œB -œn-
7:4œ
j 7:4œ
j
œ‰ ‰
œ‰ ‰
œ‰ ‰ ‰
œ‰ ‰
œ
7:4œ
j 7:4œ
j
‰
œB .
‰
œ.
‰
œ.
‰ Ó
7:4œ
j
‰ ‰
œµ ‰ ‰
œ
‰ ‰ ‰
œ
‰
œ
‰
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
7:4œ
j 7:4œ
j
‰
œµ‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œB‰
œ
‰
œ
‰ ‰
œ
‰
œ
‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰
œµ‰
œ
‰ ‰
œ
‰
œ
‰
œ
‰
5:4œ
j 7:4œ
j
‰
œ
‰ ‰ ‰
œ
‰ ‰ ‰
œ
‰ ‰
œ
7:4œ
j 3:2œ
j 3:2œ
j
‰ ‰
œB‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰
œ
7:4œ
j 7:4œ
j
‰
œµ‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
‰ ‰
œ
7:4œ
j 7:4œ
j
40
Œ œB ‰ ‰ œ ‰ ‰ œ ‰
3:2œ
j 3:2œ
j
f
f
!
œBâ
" ‰ Œ Ó
œB ä "‰
Œ Ó
œBâ
" ‰ Œ Ó
œ#
ä "‰ Œ Ó
œ#
ä "‰ Œ Ó
œ#
â
" ‰ Œ Ó
œ#
â
" ‰ Œ Ó
œ
â
" ‰
Œ Ó
œ#
â
" ‰Œ Ó
œ#
â
" ‰Œ Ó
41
œ
â
" ‰
.˙
•^
¶O
Of
f
f
f
( f )
f
f
f
f
f
f
Long waves ( f h = q j ) [ q = 48 ]
Í
solo
41
!
!
!
!
!
!
!
Ó
˙
!
Ó
˙
!
42
Œ
n
n
ƒ p
(h.)
!
!w
!
!wB
Ó Œ
œb
w
!w
Ó
˙µ
43
!
f
F
n
n
n
n
‰
œ# .˙
!w
!w
w
w
˙
Ó
!˙
Ó
w
44
!
p
p
P
n
n
n
n
P
n
n
14 Panopticon | Goldford
