GERMINAL IDEAS AND PROCESSES WITHIN PLIES (2002)/67531/metadc... · piece forward and provide a sense of pacing. Even such pieces as Riley's In C (1964) and Cage's 4:33 (1952), which

GERMINAL IDEAS AND PROCESSES WITHIN PLIES (2002)

A CHAMBER WORK FOR ELEVEN PLAYERS

David Stecher, B.A.

Thesis Prepared for the Degree of

MASTER OF MUSIC

UNIVERSITY OF NORTH TEXAS

December 2002

APPROVED:

Joseph Klein, Major Professor Graham Phipps, Minor Professor Jon Cristopher Nelson, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse

School of Graduate Studies

Stecher, David, Germinal Ideas and Processes within plies (2002): A Chamber

Work for Eleven Players, Master of Music (Composition), December 2002, 39 pp., 3

figures, 4 illustrations.

The piece is a twenty minute work discoursing the integration and eventual

dissolution of two separate musical strands. The pitch material of each strand is

determined from synthetic scales whose intervalic content duplicates at the following

intervals: Perfect 12th, Diminished 12th, Minor 9th, Perfect 8ve, and Major 7th. A

proportional means of temporal compression is generated through the use of the factor,

11/15 (e.g. Event 2 is 11/15 the duration of Event 1).

Various elements of jazz music informed the construction of plies, including the

instrumentation of the ensemble and the means by which the performers interact

throughout the piece. Internal cueing and performer decisions are meant to eliminate the

need of a conductor in favor of increased interpretive freedom by the performers.

ii

TABLE OF CONTENTS

Page List of Figures …..……………………………………………………………….... iii

List of Illustrations ………………………………………………………………... iv

Chapter

1. Context: Musical Momentum in General and in plies Specifically ……….… 1

2. Basics of the Piece ……………………………………………………….….. 3

3. Fundamental Elements ………………………………………………………. 5

Two Musical Strands Scales Temporal Compression

4. Two Differing Perspectives on the Form …………………………………… 12

Formal Design (Circular Form) Beginning and Ending Sections, A and A' Middle Sections, B and C Functional Design (Linear Form) Coda

5. Compositional Considerations and Conclusions ……………………………. 25

Appendix A: Pitch Material for Each Scale ……………………………………... 29

Appendix B: Matrices of all Possible Transpositions of Each Scale ……………. 35

Appendix C: Spacing of Tom-tom Entrances in Section A ……………………... 37

Bibliography ……………………………………………………………………... 39

iii

LIST OF FIGURES

1. The 10 synthetic scales ……………………………………………………… 7

2. Graph of f(x) = T - T (11/15)x and its asymptote, g(x)=T …………………... 9

3. The ten pitch environments in the body of the piece ………………….…….. 13

iv

LIST OF ILLUSTRATIONS

1. Clarinet, m.A1 & pickup …..…………………………………………………. 6

2. Section A excerpt with scales and scales steps labeled (mm.D11-D15) …….. 15

3. Trumpet and trombone duplicating at a base-13 "octave" (mm.R7-R11) …… 16

4. Last of seven pauses in section A (mm.F19-F22) …………………………… 20

1

GERMINAL IDEAS AND PROCESSES WITHIN PLIES (2002)

Context: Musical Momentum in General and in plies Specifically

One of the primary objectives of the music of any era is the control of momentum.

As drastically as Western music has changed over the centuries, this is one element that

seemingly cannot be avoided. Momentum refers to the musical forces which drive a

piece forward and provide a sense of pacing. Even such pieces as Riley's In C (1964) and

Cage's 4:33 (1952), which for the most part deal in realms very different from almost all

other music, still relate back to a sense of momentum. Momentum relates to the sense of

temporal progression and to the segmentation of music into specific forms, large and

small. It must take into account listener expectations, both those informed externally by

the culture and practice of the day and internally by the events within a particular piece of

music. Ultimately this idea of mo mentum is tied to the time-dependent nature of music.

Whereas the rigid nature of time is inflexible, musical momentum is not. To describe the

momentum within a piece of music is to speak of perception of time as the piece

proceeds: how time ebbs and flows outside of the strict mathematical ticking of a clock.

The ways in which momentum is generated and manipulated are as varied as there

are compositional techniques and musical aesthetics. The sense of linear progression

resulting from the use of repetition in Baroque music is one example: the sequences, the

ritornello forms, the fugues. The harmonic variation in the Development section of a

Classical Sonata is another example. The insistence of dominant to tonic resolution in

common practice harmony is yet another. Momentum can be dictated as part of surface

elements such as voice leading or rhythmic figures and it can also be driven as part of

2

deeper elements such as harmonic motion and key changes. On still a deeper level,

abstract elements such as process or formal patterns play a role in momentum. The purely

graphical notation of Earle Brown's December 1952 from Folio (1953) is an extreme

example of this last case.

Similarly, plies is constructed from an idea whose momentum is carried in the

process that the piece describes. The process specifically is one of decay. What begin as

two separate, distinct musical strands in plies, become one undifferentiated strand as the

piece progresses. However, the process of eroding away the unique elements of each

strand takes on a momentum that continues until, in the end, every bit of musical material

has decayed into nothingness. The discourse of the piece deals specifically with the

manner in which this momentum is driven and how it in turn manifests itself on the

musical materials.

3

Basics of the Piece

Plies is a chamber work for eleven players. The ensemble consists of flute,

clarinet, alto saxophone, trumpet, trombone, two percussionists, violin, viola, cello and

contrabass. The general sound quality of the ensemble is more closely modeled after a

jazz band sound than a classical chamber group sound. The brightness of the saxophone

and brass, the lack of double reeds, the presence of the contrabass to fill out the low end

of the texture and the prevalence of suspended cymbals throughout help reinforce this

association. One notable exclusion from the instrumentation is piano. It does not fit well

into either of the two main groupings, melodic instruments and percussion instruments, as

those roles are defined in this piece. The piano’s inability to sustain and, more

importantly, to shape sustained notes precludes its inclusion among the melody

instruments. Since the percussion battery intentionally does not contain any pitched

instruments, a piano would not fit into that group either. Thus to incorporate effectively a

piano into the texture would have required the creation of an instrumental role that would

detract from the overall scheme rather than enhance it.

The instruments comprising the percussion battery can be grouped into three

categories: skins, metals and woods. The skin percussion instruments were chosen for

their high degree of resonance and include bass and tenor drums as well as tom-toms. Of

all the percussion instruments, the tom-toms play the most critical role in delineating

form (this will be described in further detail later). The metals are represented

predominantly by suspended cymbals, which provide a sheen of white noise over the top

of the ensemble. The woods are played exclusively by the second percussionist and take

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on the role of countermelody to the tom-toms. As with the skins, resonance was the

primary factor in selecting the wood instruments. The most frequently used member of

this group is the slit drum.

Ideally, the work is to be performed without a conductor. The score is meant to

encourage interpretive freedom by the individual players. Entrances, timings and

interactions within the ensemble can vary drastically from one performance to another.

As a result, the duration of any particular performance is indeterminate. Generally

though, the piece will last in the range of eighteen to twenty minutes.

5

Fundamental Elements

Before beginning a formal analysis of plies, three elements basic to its

composition need to be addressed: (1) the two musical strands comprising the piece, (2)

the synthetic scales upon which the pitch material is derived and (3) the compositional

process of temporal compression. These elements are fundamental building blocks for

the work.

Two Musical Strands

As stated above, two separate musical strands are present throughout the piece.

The structure and momentum of the piece are driven by the interaction of these two

musics. At first they are completely distinct and share no common ground. In the end

they are undifferentiated. The course of the piece follows the gradual coming together of

these two musics to the point at which they are no longer independent. Then, beyond that

point, the process of identity loss continues unabated until each of the remaining musical

elements has been eroded and nothing else is left but silence. For the sake of simplicity,

these musics will be referred to as Y material and X material.

The Y material is metered music written in standard notation and characterized by

a strong linear drive. This music is not necessarily melodic. The term “melodic” carries

with it connotations of theme and motive which do not apply to this material; hence the

term linear is the best description. Independent lines are the norm rather than a more

traditional texture of melody, harmony and counterpoint. The X material is unmetered,

written in "box" style notation, and tends to consist of pedal points. The musical interest

of this material is driven more by color and dynamic contrast than by any sort of linear

6

motion. As the two musics meld into one, these descriptions become less valid.

However, they are meant to represent generalizations of the ideals for each.

Scales

The music is derived from ten different synthetic scales, five for the Y material

and five corresponding scales for the X material. Unique to each pair of scales (one each

for X and Y) is its interval of duplication. The standard diatonic major scale consists of a

series of intervals which repeat each octave, thus its duplication interval is an octave. For

purposes of this discussion, intervals of duplication will be notated in terms of the

number of semitones within that interval. For example, the major scale mentioned above

would be notated as base-12 given that an octave spans twelve semitones. The scales

used in plies are base-19, base-18, base-13, base-12 and base-11, or alternatively the

scales duplicate at the perfect twelfth, the diminished twelfth, the minor ninth, the octave

and the major seventh, respectively.

In describing the scales, the term "pitch class" is used in the abstract sense. For

instance in a base-13 scale, the root pitch is considered pitch class 0. In the octave where

this pitch class is represented by a D#, it is duplicated above by the pitch E and below by

the pitch D. Each of these pitches is a representative of the pitch class 0 for purposes of

this discussion, not pitch class 3, 4, or 2 as they would be commonly known in a base-12

scale. Hence, the base-13 scale consists of pitch classes 0 through 12. The base-19 scale

consists of pitch classes 0 through 18 and so on.

The primary characteristic common to each of the scales is that the root tone is

approached from above and below by a minor third. This feature provides a certain

7

flavor helping to unify the various lines in the piece. Another feature present in each

scale is at least one instance a minor third being adjacent to a minor second. The minor

and major thirds which result from this configuration are used as a motivic device

throughout as well (See Example 1: the opening clarinet line).

Ex.1: Clarinet, m.A1 & pickup

The primary version of each section's scale is used in the X material. The Y

material's scale is an inversion of the primary transposed up or down by the smallest

interval possible that still ensures no common tones are shared between the two versions.

In the base-18 scale, two pitch classes are omitted; and in the base-12 scale none are;

while in each of the other scales, one pitch class is omitted. Figure 1 below lists each of

the ten scales along with the PCs included and omitted and the transposition interval used

to separate the X and Y versions. Appendix A lists all of the pitch material for each scale

used in the piece based on both the interval content of each of the scales as well as the

root pitch for each specific instance of a particular scale.

Figure 1: The 10 synthetic scales Dupl.

Interval Base X Scale Y Scale Omitted

PCs X to Y

transposition Perf. 12th base-19 0, 3, 5, 6, 8, 10, 11, 14, 16 4, 7, 9, 12, 13, 15, 17, 18, 1 2 4 Dim. 12th base-18 0, 3, 4, 6, 9, 11, 14, 15 16, 1, 2, 5, 7, 10, 12, 13 8, 17 -2 Minor 9th base-13 0, 3, 4, 7, 8, 10 9, 12, 1, 2, 5, 6 11 -3 Perf. 8ve base-12 0, 3, 4, 6, 7, 9 5, 8, 10, 11, 1, 2 none 5 Major 7th base-11 0, 3, 4, 6, 8 2, 5, 7, 9, 10 1 2

There are two methods by which the pitch environment changes over time. The

first occurs by a change in the actual scale (i.e., duplication interval) from one section to

another. The other method takes place within sections by changing the root tone of a

8

particular scale. Through a technique modeled after common-tone modulations in tonal

music, these changes of root and corresponding changes of pitch environment are

accomplished via close modulations.

Appendix B contains a set of matrices showing all possible transpositions of each

of the five X material (primary) scales. These matrices show the number of PCs shared

by the original and the transposed scales. Those transpositions resulting in the greatest

number of common pitches were utilized in the piece and represent the "close

modulations" inherent in each pitch environment. The same transposition intervals apply

to the Y material as well given that the interval content in the Y scales is a strict inversion

of the X scales. This idea is explored in further detail later in the paper.

Temporal Compression

Many of the relative durations within sections of plies were determined using a

proportional method of compression. The ratio of 4:15 was utilized in many instances

throughout the piece to calculate durations. Given the total duration of a musical gesture,

the first event within that gesture would span 4/15 of the total. The second event would

span 4/15 of the remaining 11/15 and so on. For example, given a section of music

lasting sixty seconds, the first event would span sixteen seconds (4/15 of 60). The second

event would span 11.7 seconds (4/15 of the remaining 44 seconds). The third event

would span seven seconds and so on. In other words, each event is 11/15 the length of

the event immediately preceding it. The process can be represented mathematically by

the equation, f(x) = T - T (11/15)x where T is the total duration of whatever is being

9

subdivided and f(x) is the duration from the start of the section (time = 0) to the end of

the xth event. Figure 2 shows a graphical representation of the equation.

Figure 2: Graph of f(x) = T - T (11/15)x and its asymptote, g(x)=T

The end result of this procedure is a series of proportionally decreasing durations

creating a sense of temporal compression. This procedure is used in controlling both

large and small scale elements of the form and as a means of manipulating the

momentum of the piece. In some instances, the quantity of music diminishes as the

amount of time available for each event decreases resulting in a rapid deceleration of

momentum. The Y material throughout the B section undergoes this compression

procedure. The section is subdivided into ten subsections. The sixth through the ninth of

these are thirteen, ten, seven and five seconds long, respectively. Measures K-29 through

L-11 comprise the end of the sixth subsection through the end of the ninth. The

beginning of this excerpt is a dense, rapidly moving passage highlighted by frenetic

percussion activity. As the durations of the subsections diminish, so does the activity

level of the music involved. This excerpt ends with a fragment of a quiet, lyrical duet

between the violin and trombone.

x events subdividing total time, T

Tim

e, T

10

Conversely, at other times, a building of momentum is achieved by keeping the

quantity of music consistent across subsequent blocks of time so that as the duration of

each block diminishes, the density of the musical material increases. Measures F-19

through F-27 provide an example of this. Here in the A section, the total length is

subdivided into separate chords of decreasing duration. As the duration of each

subsection decreases, the music becomes more compressed and the resulting denseness

increases. Specifically in this example, the music begins with a simple dotted rhythm

figure in the viola. However, the texture quickly takes on more complicated gestures

including triplets in the viola and trombone and unmetered flurries in the bass and

trumpet. Finally, this excerpt culminates with the asymmetrically accented quintuplet

figures from the highest tom-tom.

A pure, mathematical application of this compression ratio is in actuality a

practical impossibility. Were the 4:15 ratio for determining durations applied precisely,

then no section could ever have enough events within it to account for that section's total

duration. The graph of this equation shows a curve whose slope increases rapidly as x

approaches zero. However, as x increases in value, the slope levels off so that the

horizontal line g(x) = T serves as an asymptote, a ceiling that the function can never quite

reach no matter how many events are placed within the overall duration (see Figure 2,

above). Two solutions were developed in order to translate the mathematical ideal into a

manageable technique for controlling relative durations.

The first solution utilizes the 4:15 process to determine the durations of all but the

last event within a section. This last event is then assigned all of the time remaining up to

11

the end of the section. The second solution keeps each of the sections in the correct

proportion by setting the asymptote of the equation at some point greater than the

section's total duration. The actual value of the asymptote is then merely a function of

the number of events within the section. Examples of each of these techniques will be

presented later.

12

Two Differing Perspectives on the Form

The form of plies can be described in two different manners depending on

perspective and the criteria used for determi nation. On one hand, from a more

traditional, formal perspective, the piece can be described as having a circular form: a

sort of ABA with coda. From a functional perspective, the piece can be described as

having a linear form. Dividing the piece into two parts, body and coda, will help

illustrate the differences in these viewpoints. The body consists of all the music up until

Rehearsal Letter V and comprises the base-19, base-18, base-13 and base-12 pitch

environments. The coda consists of all the music thereafter and its pitch material is

derived from the base-11 scales.

Over the course of the body, ten distinct pitch environments are utilized. Changes

from one to the next involve either a modulation of scale root or a change of the

duplication interval, but never both. The environments are listed below in Figure 3. The

use of these distinct environments points up the dual forms of the piece. Supporting the

circular (ABA) structure is the fact that the first and last sections of the body begin on a

scale rooted in Db which duplicates at a perfect interval. Supporting the linear structure

is the process by which both the X and Y material gradually lose the pitch class

exclusivity which defined their structures. After the initial A section, certain scale steps

begin to cross over to the other musical strand. The last column of Figure 3 below shows

this.

13

For the former reason, the body can be divided into four sections: A-B-C-A'. The

durations of each of these sections were determined using the 4:15 ratio process resulting

in A lasting 5:20, B lasting 3:55, C lasting 2:52 and A' lasting 2:06.

Figure 3: The ten pitch environments in the body of the piece Environment Scale Root Section Measures Est. Duration Shared Scale Steps 1 Base-19 Db A A1-E10 3:16 2 Base-19 F A F1-G16 2:04 3 Base-18 F B H1-I17 1:28 6 4 Base-18 Ab B I18-J37 1:05 6 5 Base-18 B B K1-K32 0:47 6, 3 6 Base-18 E B L1-M 0:35 6, 3 7 Base-13 E C N1-P16 1:39 6, 3, 4 8 Base-13 Db C P17-S 1:13 6, 3, 4 9 Base-12 Db A' T1-T61 1:26 6, 3, 4, 2 10 Base-12 Bb A' T62-U23 0:41 6, 3, 4, 2, 5 Formal Design (Circular Form)

From a formal viewpoint, the four-part form of the body (A-B-C-A', as

established above) has each of its sections demarcated by (1) the interval of duplication

unique to its own scale and (2) the manner in which the linear generation of music is

derived. The latter will be discussed in the section below on processes. Further, given

the number of similarities between the B and the C sections, it could be argued that these

are actually just two parts of one large B section. The form then could more generally be

described as A-B-A, pointing up the departure and return aspect of the work.

Beginning and Ending Sections, A and A' (mm. A1 - G16 and T1 – U23)

The Y material in sections A and A' is characterized by independent, disjunct

lines. Here the resulting texture is a more important element than the path traversed by

any individual line. Many sections are filled with multiple voices speaking at once with

the intent of avoiding a sense of a primary line with accompaniment. Melodic leaps are

frequent in each of the lines and the inevitable changes of timbre that result from these

14

register changes diminish the sense of distinguishing individual lines. Instead, what

results is a complex texture characterized by continuous internal motion.

The A and A' sections were composed using identical procedures. In effect, A' is

a denser, more compressed version of A. Compositionally, the starting point for each is a

chaconne-like procedure which dictates the moment-to-moment pitch possibilities.

Applying the idea of tonic, subdominant and dominant harmonies to the synthetic scales

in sections A and A' results in three distinct "chords," notated as i, ii and iii. These

chords are not intended to function as tonic, subdominant and dominant harmony. They

are only intended to serve as a systematic means of bringing out certain characteristics of

the synthetic scales by isolating specific sets of intervals in the vertical domain and

certain voice leading tendencies in the horizontal (e.g., the minor 3rd step from above or

below to the root of each scale). The scale steps associated with each of these chords are

as follows.

i: 1, 3, 5, 7 ii: 1, 3, 4, 6, 8 iii: 2, 4, 6, 7, 9

A harmonic pattern of i-ii-i-iii is stated repeatedly in these sections establishing a

chaconne-like process. This pattern is stated seven times generating a total of twenty-

eight different "chords." The exact pitch material was determined through the use of a

computer algorithm programmed in QBasic. This process served as a series of filters

through which the output of a random number generator was passed. The results were

pitch collections grouped by instrument which conformed to the prevalent harmony as

well as the tessitura specified for each instrument. The pitches within each collection

15

were then organized in a linear manner supporting the compositional requirements of the

piece as it progressed. Example 2 is from Section A where the “chord” changes from ii

to i within the overall Pitch Environment 1 (see Appendix A). Each pitch is labeled with

the scale of which it is a member (X or Y) as well as the scale step it represents. A carat

above the scale step signifies that the pitch is a “non-chord tone.”

Example 2: Section A excerpt with scales and scales steps labeled (mm.D11-D15)

The duration of each of the seven repetitions of the chaconne pattern is derived

from the 4:15 ratio described above. For instance, in the A section, the durations of each

repetition are 85, 63, 46, 34, 25, 18 and 50. The last repetition breaks the pattern by

taking up the entire length of the time remaining to the end of the section. The durations

of the four chords present in each repetition are also determined using the 4/15 idea,

though in a different way. Rather than having each chord be of proportional duration, the

16

entire length of the repetition is thought of as being subdivided into fifteen equal lengths.

The four chords then are allocated 4/15, 4/15, 4/15 and 3/15 of the total. So in the case of

the first repetition of the chaconne idea in the A section, the 85 seconds is subdivided into

three chords of 23 seconds followed by one of 17 seconds (these durations are rounded to

the nearest integer value).

Inherent in base-12 scales is the fact that the interval of duplication is also the

least dissonant interval possible. In any other scale, this is not the case. That the only

two scales in this piece which duplicate at perfect intervals are the ones underlying A and

A' (perfect 12th and perfect 8ve, respectively) was useful compositionally in substantiating

the "bookend" relationships of the outer sections of an ABA form. Each of the other

scales used have the paradoxical feature that two pitches representing the same scale step

in adjacent registers are dissonant, causing conflict between the functional role and aural

perception. Example 3 shows an excerpt from the end of section C which demonstrates

this feature. Here the trombone doubles the trumpet an "octave" below. However this is

a base-13 "octave" creating strong dissonance where functionally there is no discord

between the lines.

Example 3: trumpet and trombone duplicating at a base-13 "octave" (mm.R7-R11)

One last element of the music in sections A and A' which needs to be noted is the

role of the tom-toms. Their presence is significant in that they function outside of both

the X and the Y material. They are presented in specific metrical notation similar to the

17

Y material, but in terms of timing and momentum the tom-tom line runs completely

independent of the Y material. The tom-toms also represent the only instances in the

piece where the 4:15 ratio is applied in retrograde, creating a proportional expansion

rather than compression. For simplicity, the tom-tom line will be discussed here only as

it pertains to the A section, as its role in the A' section is merely a parallel of that in the A

section.

Two places in section A were chosen as reference points: one 176 seconds into

the piece, the other 252 seconds into the piece (mm. E-3 and F-27, respectively). The

first is the location of the first of seven pauses in the Y material (see the section below on

the B and C sections for details). The second point is approximately where the bass

drops to the root of the scale after the piece modulates from Db down to F (i.e., from

Environment 1 to Environment 2). From these points, the 4:15 procedure was used in

retrograde to generate waves of expansion in both directions. This process is analogous

to two stones being dropped simultaneously into water. Each stone creates a series of

ripples whose magnitude diminishes as the distance from the source increases. However,

instead of ripples forward and backward in space, these ripples move forward and

backward in a field of time. As the distance in time between the starting point of any

particular ripple and its source (either 176 or 252) increases so does the distance between

events. The density of the tom-toms in the overall texture rises and falls in waves

resulting from the interference of the two sets of ripples. Appendix C shows the spacing

of the tom-tom entrances resulting from this process.

18

Middle Sections, B and C (mm. H1 – S)

From compositional procedure to aural result, the middle sections of the body, B

and C, are wholly different from A and A'. Whereas heterophonic or accompanimental

textures were largely absent in the body's outer sections, here they are the norm rather

than the exception. The Y material in these sections presents itself in a more traditional

melody and accompaniment format. In fact, the Y material comprising the entire length

of both sections consists of the fleshing out of a single line into foreground and

background elements. Conceptually these middle sections can be thought of as one

melody beginning in the contrabass and passed to the violin, then to the trumpet, and so

on. As the melody traverses the ensemble, the roles of the other instruments change in

relation to the melody. At various times the background instruments play

countermelodies, accent important rhythms or harmonies, or even present simple

doublings of the melody at certain intervals. The overall sense of the Y material

throughout these middle sections is of a much more freely composed music than that

which comprises the A and A' sections. The X material on the other hand moves in the

opposite direction.

Whereas the X material in the outer sections (A and A') tends toward sustained

pedal points and long, slow moving sonorities without any real sense of independent

lines. In the middle sections though, the emphasis in the X material is on motion. While

the vertical realm is still largely static—there are no real chordal or harmonic variations

beyond changes of scale or modulation—the horizontal realm is now in flux. The linear

independence is enhanced by the fact that these lines are not metered. There is no pulse

19

to synchronize events and each instrument is free to present its material without being

bound by the pacing of other concurrent lines.

The compression ratio controls the timing of the subsections within B and C.

However, the X material and the Y material are governed by differing terms. The Y

material is treated in the same manner as it was in section A. In section B, it is divided

into ten subsections, each shorter than the previous one, except for the last which takes on

all the remaining time. This process is repeated by dividing section C into nine

subsections. Each of these subsections is marked by a change in the instrument(s) stating

the lead line. The X material consists of only seven subsections, which span the entire

duration of both B and C. This reinforces the differences between the X and Y material.

The Y consists of quick, detail-oriented material and the X is made up of broad, more

generalized gestures. The opening of B and the closing of C mark the only time these

two simultaneous compression procedures are in phase.

Both middle sections end with a drastic shift in texture. In section B the trombone

and violin begin a duet that comes to an abrupt halt in mid-phrase. This is immediately

followed by a pianississimo tutti section (ad libitum) full of percussive white noise and

devoid of any sense of momentum. Near the end of section C this interruption occurs

again, but this time the saxophone solo is halted by a wall of string harmonics with

percussive white noise. What results in both cases is the juxtaposition of a highly driven

texture and a completely static one.

This stasis has its roots in section A, where between measures E-3 and F-27 the

4:15 ratio is used to create a series of seven accelerating pauses in the momentum of the

20

Y music. In most cases the pause is only a cessation of motion, not necessarily complete

silence. And during most of these pauses the X material still sounds. Nonetheless, the

effect is one of an unexpected break in momentum. The last of these pauses (the middle

of the last measure of Example 4) is the most dramatic in that this is the only time when

both the X and Y materials are completely silent.

Example 4: Last of seven pauses in section A (mm.F19-F22)

21

In each case, within the sequence of pauses in the A section and at the ends of

sections B and C, the music returns as abruptly as the pauses that interrupted the texture.

This stasis idea is finalized in the coda where it comes as a fortissimo variation which

will be discussed in further detail later.

Functional Design (Linear Form)

Each of the elements of the form—the tom-toms, the stasis, the systematic

reduction in duplication interval, the integration of pitch collections between the X and

the Y material, the durational compression effect on the various sections, and so on—

comes to completion by the time section A' ends. The arc described by this process has

no resemblance to a circular form. The state of the music at the end of the body of the

piece is, from a functional perspective, diametrically opposed to that at the beginning.

Thus the body of the piece functions as the vehicle for the coming together of the

disparate elements into one. Thinking of this process of decay as having a certain

momentum provides an efficient means of looking at the discourse of the work as a

whole. The processes which eliminated the distinctions between the X and the Y

material come to completion at the end of the body. But as the coda begins, these

processes have already achieved a level of momentum which continues unabated. Now

however, the targets of the decay are the elements of the music itself.

The tom-tom lines in the outer sections of the body and the stasis in the inner

sections are the only two formal elements that exist outside of the X and Y material

paradigm. The ways in which these two elements manifest themselves in the coda

reinforce the perception of the piece as having a linear form. The coda is not a

22

superfluous tag providing a nice conclusion to a circular form; rather it represents the

logical and inevitable conclusion of the piece. The coda places the body of the piece in a

completely different light and in so doing makes a strong argument that it is perhaps,

from a formal standpoint, the most important section of the entire work.

Coda

The coda provides the first and only instance of the 4:15 compression ratio being

applied in the spirit of its true form—no practical alternative is used to alleviate the

problem created by the asymptotic compression curve. It is conceived as having twelve

subsections, the duration of each being 11/15 the duration of the preceding one. Each

subsection reiterates a variant of some fragment of the body of the piece and utilizes that

fragment in continuing the momentum of decay. Each reiteration breaks down various

elements of the identity of the source fragment. The piece ends with every musical

parameter having been whittled down to nothingness. By the very nature of the processes

of decay and the momentum inherent in them, no alternative solution is needed. By the

time that the 4:15 procedure would result in subsections of such short duration so as to be

musically impractical, the music itself has already given way to silence.

The scales used in the coda all duplicate at the major seventh: another example of

how the coda functions to take a process (that seemingly has come full circle) past its

natural ending point and into a process of decay. All of the scales in the body of the

piece span at least an octave and gradually shrink from a perfect duplication interval

through a couple of dissonant intervals and back again to a perfect interval at the octave.

23

The coda takes this process one step further by compressing the duplication interval

further and into a dissonance, this time spanning less than an octave.

The first subsection of the coda is a variant of both the stasis texture from sections

B and C and the material stated by the tom-toms in sections A and A'. It is a combination

of material from all four sections of the body of the piece as well as the most dramatic

presentation of metered and unmetered musical elements. The stasis idea which was

presented earlier in an unmetered, ad libitum style is now notated metrically as pedal

tones. The strictly rhythmic, metered style of the tom-toms is now presented in a tempo

which is unable to sustain itself. In this subsection, the effect is one of time, as it was

presented earlier, losing its grasp on the piece. Another significant difference is the fact

that this statement of the stasis idea is presented as a fortissimo tutti—a wall of sound

struggling to maintain its hold on regularity of pulse. From here, and throughout, the

dynamic parameter begins its slide into nothingness.

The decay of the pitch material begins in the second subsection. While the course

of the body completed the process of eliminating all pitch segregation between the X and

the Y material, the pitch environments still were limited to the semitone intervals

comprising the equal-tempered chromatic scale. In this subsection, glissandi and quarter-

tones are introduced gradually, expanding the pitch environment to any and all

frequencies. It begins with a steady tempo, but as the pitch content becomes muddier, the

steadiness of the beat begins to weaken as well. A ritardando results just as in the first

subsection, and by the end of the second subsection, time and pitch and dynamics have

all been subjected to the momentum of decay.

24

Each subsequent subsection continues in a similar vein until finally nothing is left

of the music. At times certain elements return—a regular pulse from the slit drum in the

fourth subsection, the strong dynamic level in the fifth subsection—but they are short

lived and soon recede into the rapidly decaying texture. All sense of forward motion in

the music is eventually lost so that no single parameter of the musical texture is able to

maintain a steady level. By the end of the coda, any resemblance of the music to its

original source is on a purely abstract level. Even the drastic shifts from one subsection

to the next that marked the coda's beginning no longer exist at the end. The subsections

themselves are no longer differentiable. The momentum of decay which transformed two

distinct musical strands into one comes to fruition and in the end is self-consuming.

25

Compositional Considerations and Conclusions

This piece was constructed through the use of rigid, inflexible methods. The role

of the computer in quantifying parameters, the mathematical precision of timing that

results from the 4:15 compression process, the strict role and definitions of the pitch

material and how they transform over the course of the piece all are indicative of this

rigidity. However, the reasons for this were not to create a computer-precise final

product, but rather to build a framework of limits. The goal was to use these rigid

techniques to define the outer limits of what could pass as acceptable possibilities for

each gesture at any moment within the piece. These techniques guide the discourse to its

desired end. However, they also allow for freedom within these defined limits.

Over the course of the five years that this piece was in construction, it went

through several incarnations. The ensemble as it was originally conceived was almost

twice as large and at various times included an organ, a piano, a guitar and four clarinets

in addition to what stands as the final complement of instruments. The use of theatrical

elements was even considered in one of the earlier renditions—almost a necessity at that

time given that there were more than two different musical threads running through the

piece. The players gradually were to move around the stage and at structurally important

moments their locations would place them in physical groupings on stage corresponding

to the separate musics present at that moment. The idea was to allow the visual and sonic

placement of events to help the listener segregate the various ideas happening

simultaneously. Each of these earlier versions was eventually scrapped as it became

apparent that the attempts at composing the details were carrying the piece further and

26

further away from its original design. The problem was that the original design was not

yet clear in my mind. I had not formulated any real terms within which the music could

develop.

At times I thought that the important idea was a concern for coloristic

development (hence the unusual ensembles originally considered) or for harmonic

exploration of the synthetic scales, or for the use of textural density, and so on. As the

germinal ideas for this final version began to solidify, I realized that the overriding

concern was based more on performance considerations than anything else.

Thinking of the ensemble as a small jazz combo helped finalize many of the

decisions that made starting the final version feasible. The traditional classical music

archetype with its rigid rhythmic structure and its reliance on one leader did not fit into

the concept of this piece. The idea of a conductor especially ran counter to the desired

goal. Jazz music with its expandable forms and internal cueing provided the best model

for how this piece should proceed. Missing however was the history and tradition

inherent in jazz performances that provide the boundaries of acceptable possibilities.

Without realizing it, many of the processes of determining this piece's limits had already

been started in the work done on the previous versions: the means of determining

temporal compression, of devising the synthetic scales and their manipulation, of

transforming multiple musics into one.

Testing and developing these into usable methods was all that remained before

they could be incorporated into the compositional processes of the piece. In the end these

methods function as the "history and tradition" of plies. They dictate the limits of any

27

compositional or performance decision. Within the framework they provide, any number

of possibilities can be explored—which is exactly the advantage that the jazz combo has

over the symphony orchestra and the aspect I most wanted to bring out in this piece.

Where the architectural design of the piece calls for a certain section to last a

specific number of seconds, this is only a guideline. For the most part, the borders from

one section to the next are soft and the distinctions that define those borders are

introduced gradually. Generally speaking, overt changes in texture or style are

compositional decisions made independent of formal divisions.

The influence of the jazz model has helped determine many other decisions as

well, large and small. Among these are the fact that the tempos listed in the piece are

suggestions only. The temporal relationships established by the processes occurring

throughout the piece are the fundamentally important elements, not the specific

metronome markings given. In a way, this is similar to classical music predating the

advent of the metronome—when such music played a role in those societies more closely

related to the jazz of today than to the classical music of today. Also, the piece has the

same "head" form of many jazz standards: the initial idea is stated and returns after a

group of solos are taken. Continuing this analogy, the B and C sections can be thought of

as "trading fours."

The title of this piece, plies, is a play on two distinct meanings of the word. First,

in the sense of plying a trade, the title refers to the act of working the germ of an idea,

from the gathering of basic materials to organizing and manipulating them into larger

structures and finally polishing them into the final form of a piece. Second, the title

28

refers to the concept of two plies, two separate strands of material, which are twisted into

one cord with the identities of the two strands being lost in the process. This two-ness

stands as the fundamental identifying element of the piece. Throughout, whether it be in

the two musical strands, the two forms that the piece takes on, or the two parts of the

whole (the body and the coda), duality is the driver of the musical momentum from

beginning to end. In fact, the duality of meaning inherent in the title itself seems

appropriately self-referential.

29

APPENDIX A

PITCH MATERIAL FOR EACH SCALE USED IN THE BODY OF THE PIECE

30

31

32

33

34

Note: Since the scales in Environments 9 & 10 duplicate at the octave, the collection of

shared pitches is only included in one register. The pitches are shared in every octave.

35

APPENDIX B

MATRICES OF ALL POSSIBLE TRANSPOSITIONS OF EACH SCALE

36

Base-19 Number of Common Tones: 9 2 4 6 2 6 5 1 7 3 3 7 1 5 6 2 6 4 2

Transposition (in semitones): 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 0 1 2

5 6 7 8 9 10 11 12 13 14 15 16 17 18 0 1 2 3 4

6 7 8 9 10 11 12 13 14 15 16 17 18 0 1 2 3 4 5 8 9 10 11 12 13 14 15 16 17 18 0 1 2 3 4 5 6 7

10 11 12 13 14 15 16 17 18 0 1 2 3 4 5 6 7 8 9

11 12 13 14 15 16 17 18 0 1 2 3 4 5 6 7 8 9 10

14 15 16 17 18 0 1 2 3 4 5 6 7 8 9 10 11 12 13

16 17 18 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Base-18

Number of Common Tones: 8 2 2 5 3 3 4 4 3 4 3 4 4 3 3 5 2 2

Transposition (in semitones): 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 0 1 2

4 5 6 7 8 9 10 11 12 13 14 15 16 17 0 1 2 3

6 7 8 9 10 11 12 13 14 15 16 17 0 1 2 3 4 5

9 10 11 12 13 14 15 16 17 0 1 2 3 4 5 6 7 8

11 12 13 14 15 16 17 0 1 2 3 4 5 6 7 8 9 10

14 15 16 17 0 1 2 3 4 5 6 7 8 9 10 11 12 13

15 16 17 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Base-13 Number of Common Tones: 6 2 1 4 3 2 3 3 2 3 4 1 2

Transposition (in semitones): 0 1 2 3 4 5 6 7 8 9 10 11 12

3 4 5 6 7 8 9 10 11 12 0 1 2

4 5 6 7 8 9 10 11 12 0 1 2 3

7 8 9 10 11 12 0 1 2 3 4 5 6 8 9 10 11 12 0 1 2 3 4 5 6 7

10 11 12 0 1 2 3 4 5 6 7 8 9

Base-12

Number of Common Tones: 6 2 2 5 2 2 4 2 2 5 2 2

Transposition (in semitones): 0 1 2 3 4 5 6 7 8 9 10 11

3 4 5 6 7 8 9 10 11 0 1 2

4 5 6 7 8 9 10 11 0 1 2 3

6 7 8 9 10 11 0 1 2 3 4 5

7 8 9 10 11 0 1 2 3 4 5 6

9 10 11 0 1 2 3 4 5 6 7 8

Base-11 Number of Common Tones: 5 1 2 3 2 2 2 2 3 2 1

Transposition (in semitones): 0 1 2 3 4 5 6 7 8 9 10

3 4 5 6 7 8 9 10 0 1 2

4 5 6 7 8 9 10 0 1 2 3

6 7 8 9 10 0 1 2 3 4 5

8 9 10 0 1 2 3 4 5 6 7

The boxed columns show transpositions with the greatest number of common tones (i.e., close modulations).

37

APPENDIX C

SPACING OF TOM-TOM ENTRANCES IN SECTION A

38

42

26

10

27

13

7

14

11

53

64 3 2 2 1 1 2 2

12

46

7

0

11

3

11

0

76

42

12 2 1 1 2 2 3 4

63

5

11

14

7

0

5

10

15

20

25

30

35

40

45

1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 47

Spac

ing

(in

Seco

nds)

Tom-tom Entrances

39

BIBLIOGRAPHY

Brown, Earle. Folio (1953). Cage, John. 4’33” (1952). Carter, Elliott. Collected Essays and Lectures, 1937-1995, ed. Jonathan W. Bernard

(Rochester: University of Rochester Press, 1997).

Discussions of rhythm, line and ensemble interaction, and the effects of these on perceived time (e.g, the essays entitled “Time Lecture,” “The Rhythmic Basis of American Music” and “Two Sonatas”).

Kosko, Bart. Fuzzy Thinking: The New Science of Fuzzy Logic (New York: Hyperion,

1993).

Presents the idea of multivalence, as opposed to bivalence, wherein event states are represented as fractional values rather than zeroes and ones.

Lindberg, Magnus. Kraft (1985). Lutoslawski, Witold. Mini Overture for Brass Quintet (1984).

His use of stacked major 7ths inspired the use in plies of scales duplicating at non-octave intervals

Murray, David. Octet Plays Trane, David Murray Octet (Montreal: Justin Time Records,

Inc., 2000).

The group’s rendition of Part I of John Coltrane’s A Love Supreme (1964) begins with a marvelous example of collective ad libitum as it applies to jazz music.

Riley, Terry. In C (1964). Stone, Kurt. Music Notation in the Twentieth Century (New York: W. W. Norton &

Company, 1980). Xenakis, Iannis. Formalized Music: Thought and Mathematics in Composition

(Bloomington: Indiana University Press, 1971).

Compostion through the use of mathematical processes within musically meaningful parameters.

plies

David Stecher2002

a chamber work for eleven playersduration 20 minutes

Score and Performance Notes• Score in C• Duration will vary greatly from one performance to another but generally will range between 18 to 20 minutes.• Accidentals apply only to the note they immediately preceed. Repeated notes will have repeated acidentals. Natural signs have are used as a precaution.• Up and down arrows on accidentals indicate quarter-tones (e.g., a quarter sharp is notated as ).• At each cue letter, the instrument providing the cue to the ensemble is marked with a downward triangle: • This piece is constructed to be performed without a conductor. The responsibility for interpretation and performance judgments is meant to be played out among the members of the ensemble. However, if necessary, a conductor can be used if it is done so not to the detriment of the interplay between the players.• General performance directions are used sparingly in order to allow for as much interpretive freedom as possible.• Metronome tempo markings are only meant as suggestions.

Percussion 14 TomtomsFrame DrumSplash CymbalSizzle CymbalCowbell

Ensemble Flute Clarinet in B Alto Saxophone in E Trumpet in B (harmon mute, bucket mute, hat) Trombone (harmon mute, bucket mute, plunger) Percussion 1 Percussion 2 Violin Viola Violoncello Contrabass

Percussion BatteryPercussion 2Tenor DrumSlit Drum2 Wood BlocksMaracasCrash CymbalBrake Drum

Shared PercussionBass DrumClavesRide Cymbal

Percussion NotationsDead Stick

Rim Shot

On Rim of Drum

Let Vibrate

d Dome

e Edge

b bb

Notes on Unmetered Music• Boxes without specific dynamic direction are to played at whatever dynamic level is prevalent at that time.• Two dynamic markings joined by a horizontal line represent the extreme dynamic ranges for that box (e.g., ). Randomly vary the dynamic level within these specified extremes. The resulting dynamic changes should be rapid and irregular unless otherwise noted.• All durational values are notated in approximate seconds. They are meant as guides not as exact measurements.• Numbers in square brackets represent duration of silence until the next event.• Numbers above or below open, stemless noteheads refer to the duration these pitches are to be sustained.• Grace note figures within boxes are to be performed very quickly.• Boxes without any vertical dashes are to be performed in order from left to right• When individual boxes are subdivided into separate cells by vertical dashes, these cells are to be performed in any order. There should be no pauses between cells unless otherwise noted.• In subdivided boxes with repeat signs, play the individual cells randomly. There is no need to perform each cell once before repeating any particular cell. Along with durational directions for each cell, an overall duration will also be provided in these cases.

Examples from the score

Flute, at Rehearsal Letter D

For roughly twenty seconds, the flute randomly selects from the four cells. Not all four have to be played. Consecutive repetitions of individual cells are permitted. The duration of each note varies between the range in seconds given directly above it. Rests between cells should not exceed two seconds. The dynamic level should rapidly and irregularly vary without ever decreasing less than pianissimo or increasing greater than mezzo-forte.

Saxophone, at F-36

Saxophone sustains the A for one or two seconds past Rehearsal Letter G (which is cued by the viola). The note is to be performed without vibrato at a consistent dynamic level of piano.

b

Viola, at T-22

Viola plays each cell once, in either order, with two to three seconds rest between them. The dynamic level should more or less match whatever level is prevailing in the ensemble.

&

&

&

&?

÷

÷

&

B

?

?

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

44

44

44

44

44

44

44

84

84

84

84

84

84

84

44

44

44

44

44

44

44

Flute

B b Clarinet

E b Alto Saxophone

B b Trumpet

Trombone

Percussion 1

Percussion 2

Violin

Viola

Violoncello

Contrabass

√

q»

q»

85

85

Fœb >

(dead stick)˜

[ ]5

[ ]

[ ]10-12

2

n

Tom-toms

3 past B

0-1

2

2

pwb

œ œb œn . œ œ .œ jœ ‰ Œ

œ œ# œ œ# œ

F pw

p‰ œ œ Fœ> ‰ Ó

pwæ

œœ#œ# œ œ# .

œœ#œ#

F F w#,

A-1

Œ œ# œ#p F.œ Jœ œ œ# . ≈

P.Jœ œœbb

A-3

( )

Ó Œp œ œ#

œœ œ œ œ# .. .œ œ# œ œ œ

Ó œ œp

Ob œ

[ ]8-10

5-7

[ ]3bucket mute

[ ]

[ ]

0-1

2

3-5

3-5

jœbp

wb w

œ œ œ# œ# œ œ jœ œ

pw

pœb . œ. Ó

F 3

œb œn œ‰pOb Œ

B-1

Crash (soft mallets)

5

sul tasto

2-3 past C

jœ ˙ jœFœ œ .œ-

∏æ

Fœ# œ œn ≈ ≈

p..JOœb JOœ .œb

,&

pw#

mute out

&

jœ .œb,

B-3

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‰ pJœb œ .œb .œb jœ œnŒ

œ œb œ œ Ó

B-5

?

B-7

plies David Stecher(2002)

A

Score in C

B

&

&

&

&?

÷

÷

&

&?

?

44

44

44

44

44

44

44

82 44

42

42

42

44

44

44

44

44

43

43

43

43

43

43

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~~

√ √Ó Œ

3

œ œF

œb

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]0-5

2-8

1

10-15

10-15

10-15

2

‰ Jœ>

Í .œ ˙

œœœb . œ. œb Jœ ‰ Œ

C-1

[ ]

1

2 6

[ ]

P

2-5

15-20

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Fw

Pw œ œ# w#

w Jœw

œ> œ# w

fŸ1 2-3 3

8

2 4

1 2

(sul A)

3 1 3-4 8

n

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œ.

œ. œ Jœ ‰

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f fwb œ. œ. œ.

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æ

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pizzwo arcow

7

no vib.

2 1

4

10 seconds between cells

spaced over 50-60 seconds

pw

w# œ.œ. œ#

œ

Jœ# w# w.

2-6 2-6

1 past D

w

πw w

C-5

8-10

1-3

:

pSlit Drum (drumsticks)

1-5 seconds between cells

4-6

pwb

Pw

œ œ œ œ œ œ œ œ œ œ œ

œ œP œ œ œ ˜œ> ‰

C-7

1

senza vib.

[ ]1

ed

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C-9

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1 1

ed

de

[ ]1

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5-8

[ ]

b

10-15

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œ œ ˙

.œ œn œ œ œæ œæ œ

Œ ‰. œ œ# œfP

rœœ# fl Œ

C-11

2

C

&

&

&

&?

÷

÷

&

&?

?

44

44

44

44

44

44

43

43

43

43

43

44

44

44

44

42

42

42

42

44

44

44

42

42

42

44

44

44

43

43

43

42

42

42

83

83

83

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~bœ œ œ .œ œ# .

œ# ..œn œ œ

œ.œ.

œ

œ ˙# œ œ

3œ ˙ Ó

Œ ‰ œ œ œfP

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œ œ œ jœœ# fl ‰

[

[ ]

5-10

4

œ .œ# .Jœ ≈ Ó

.˙ œ

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C-13

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]

6 2-6

quasi-pont

ÓP

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w œ. œ. w

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2-3 1-2

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œ# œF

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œb . œb . œb . œb . wb œ œb œb œb œb wb

‰ 3

œ# Jœ# œ˙

Pœ

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8-10

]


4-5 past D

2-4

3œ jœb ˙ 3œ jœ

F pw# , w

p.˙

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4-5

[

w œbœb>

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1-4p F]

n

:1-5 seconds between repetitions

10-15

2-6

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œb

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3

œ Jœ.3œ# œ œn

3

œ œ. œ œ

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3

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83

83

83

44

44

44

43

43

43

43

43

42

42

42

42

42

44

44

44

44

44

43

43

43

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~√

poco rallentando

poco rallentando

.œ

œ œ œ ‰

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a tempo

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1-6

[ ]

[ ]

[ ]2

[ ]pizz

2

20

1-2

10-12

10-15

1

2

wπ

wb

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2-4

:

[ ]

[ ]

2


15

2

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3

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œ œ. œ. jœ3

œ. œ. œ.œ Œ ‰ œ Jœ

œ œ œ œ œ œ Jœ.arcow

4-5

[ ]8

œF

œb3

œ œ# œ 3Jœ œ œ

Fœ œ œ jœ ‰ Ó

pwb

Fœ œb œ. œ.3

‰ œ œ3

jœ œ œ

Fœ

3

œ œ. œ. 3Jœb œ œ

D-3

[ ]

πTenor Drum (wire brushes)

[ ]

15-20

10-15

10-15

Jœ3

œbœb

œ Jœb . Ó

œœ œœœœ œœœ œœœœœœ

œ jœflŒ ‰ œ. œ. .œ

œ œb . œ. Œ Ó

P :

1-51-2

2-4

2-6 seconds between bursts

to E

30-45wp w

œ œ 3œb jœ œ œ œ... œ.

Œ Jœ# œ3

œ œn > œb œ> œ

D-5

:p

[ ]

4-6 3-5 5-10 2-6

n

1-5

(do not repeat last cell)

3


Œ . pJœb œ

f3

œ œn œ

w#F Fw#

œ œp

.œ Jœ F3

œb> œ œ> jœ# B

w w

6-8

senza vib.

:1-8 seconds between cells

*

*

Jœ# . 3

œ. œ. œ. PJœ# œ œ. jœ# œ

œ>œ œb œ. œ. œ. œ. œ. œ.

Œ ‰ œ œ

P˜jœ Œ œ œ ˜œ

pwb

Œpœ œ œb œ

D-7

w# w

4

* Tbn & Bass: Overall trend is to increase the duration of rests between cells

D

&

&

&

&?

÷

÷

&

B

B

?

43

43

43

44

44

44

43

43

43

42

42

42

42

42

42

44

44

44

44

44

44

84

84

84

84

84

43

43

43

43

43

44

44

44

44

44

41

41

41

41

41

41

45

45

45

45

45

45

44

44

44

44

44

44

87

87

87

87

87

87

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

3-53-5

5

into hat

15

œ ‰p Jœn œ .œ

pwb

pw#

.œ‰ P

œœbb

5-7


:

œ3

œ Jœbf˙n

Pw

Pwb

3

œœ Jœ3

œ œ. œ. Jœœbb ..œœ J

œœb

D-9

8-10

œb œb œb œ. œœb . œb œ œ... œ. œ.

p f

wb

œœ .œb ˙

ŒF 3

œ œ# œ

Œ F3œ. œ œ

5

œ œb œb œb œ?

D-11

˙ .œ# jœ# œ œ œ œ# .

˙ .œ- Jœ œ œ Jœ œ œ.

Ó Œ ‰ . œ œ

F Rœ

&

œ Œ Ó

[ ]

[ 1-2]10-12

3-8

‰ . œ œ Rœ ‰3

œ œ œ jœ œ jœ œ jœ ˜œ>

Ó Œpœ

p Fw

D-13

Œ .FJœ

.œF

jœ

2-6 2-6

10

wπ

w

œ œ# œ œ# œ

œœ

p Fw

?

.œ 3œ Jœ Jœ

D-15

hat open

(subito)

:2-4

1-5

F

to E

0-4 seconds between cells (with occasional fluttertonguing during quieter sections)w jœ˘

œ3

œ Jœb œ# œ 3Jœ# œ ‰ PJœb

Pœb ‰ jœ .œ jœ&

Ó jœ œ> Œ

Ópæ

˙fœb

3

œ Jœ

w#

œ

œ

Fœæ

œ

D-17

œ Ó Ó

.œ œ. œ. œ.FJœ ˙ œ œ. œ.. œ. Íœ

.æπ

æ

.œ ‰ ŒF

.œ Jœ#

˙ jœ ‰ Œ

œæ Œ Ó

œ> œ œF

œ> œ# Œ B

D-19

5

&

&

&

&?

÷

÷

&

B

?

?

87

87

87

87

87

87

45

45

45

45

45

42

42

42

42

42

44

44

44

44

44

43

43

43

43

44

44

44

44

44

45

45

45

45

45

41

41

41

41

41

44

44

44

44

44

44

43

43

43

43

43

43

45

45

45

45

45

45

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~~~~~~~~

→→→→→→→→→→→→→→→ →→→→→→→→→→→→→

hat

1-3 2-3 1-4

P:

[ ]5-10

to E

(do not repeat last cell)2-5

p

Pœ œ œb œ œb œ .œ 3

œ œb œ

w# w#w# w# œ# œ œ# œ#

P.œ œ œb œ œb œ# œn œ# œ œ# œ œ# œb œ œ# œ œ œb

œ œb > œ Œ ‰

ord(gradually)

[ 1 ]5-8

senza vib.

3

œn œb œb œ# œ œ Jœ ‰ Ó

œ

Œ ‰P 3

œ œ œ Jœ> ‰3

œ jœ œ œ jœ œ ˜œ

Œ 3Œ jœ>F J

œœ p..˙

pw#

Ó ‰p3œ œ œ# .

3œb œ œ

D-21

sul pont.

Tenor Drum (wire brushes)

p˙

Œpœ

..œœ3

œ œ#

3œb œb

(hat out)

π P3 past F

2-6 seconds between bursts:

ord

pœ. œ# - 3œ jœ# œ 3œ. Jœ

˜œ Œ Ó

œœœ œœœœ œœœœœœ œœ

.œ jœ# œ Œ

œ Œ Ó

D-23

quasi-pont

[ ]5-6

œ 3

œ œ œ3

œ œ ‰

Œ .p

..œœordœœ

3œœ œb œ Pjœb ‰

pœœ

D-25

1-2

:3x without pause

Œ . Jœ .œ œ œ œ.œ .œ œ

Ó Œ p‰ œ œ œ œPJœ Œ

˙ ‰ Jœœ# œœ œn . œ. œ. œ.

œb

p˙b ‰ J

œœb ˙

Pw>

œ œ.œ

œœœ

D-27

[

œ œ- Œ Ó

Ó Œ 3‰ Pœ

Ó jœp

œ jœ œ 3≈ œœ

œœ. Œ Ó

œœ œœbP

..œœ ‰ œœb]

n

10-12

Œ Œ œ

3Jœ œb, ˙

Pœ œ œœ ‰œ œ

pJœ ‰œ œ Jœ

3

œœ œn œ#3

œ œ œ œ

D-29

Pœ œ# . œ- œ. ≈ .Jœ

3œ œb . œ- Œ

Ó Ó ‰P

jœ-3jœ œ Jœ ‰ Ó Œ

jœPœ jœ œ œ ˜œ> Ó Œ

Fœ# œ> œ# œ œ œ œ# œ> œ ˙n

&

6

&

&

&

&?

÷

÷

&

&?

?

41

41

41

41

41

45

45

45

45

45

43

43

43

43

43

44

44

44

44

44

43

43

43

43

44

44

44

44

43

43

43

43

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

→→→→→→→→→→→→

4-5

espressivo

poco

[ 2] Pwb

œ-œ œ

Fœ œ- œ- œ-

œ

Ó ŒF 3

œ>œ œ3

œœ>œ rœ>3

œ œœ rœ

œ3

œP

œb œ. 3

Jœ.œ . .œ

FRœ.

Ó Œ P˙

D-31

œ

jœ œ

œ. œ. œ. œ

Fœ B

jœPœ

œ3œ Jœ

D-33

senza vib.

Ó Œ ‰F

œ œ œœ œ>œ ‰ .

pw

˙ Ó Œœ 3Jœ œ .˙ Jœ ‰ Œ Œ

D-35

[ ]

[ ]

[ ]2 2 2

[ ]1-4

0-4

5-8

8-10

Œ Œ Pœ

pw

Rœ-

Íw Rœ-

Íw

œ œ

Pœ œ œ

Fjœ> ‰ ‰ œ œ

PJœ

˙P

œ œ>

‰P 3

œ œ œ Jœ œ œ# >?

E-1

4-5

6-8

3-4

1-2

pw#

œ œ œ œ œ œ œ .œ jœ ‰

œ œœ ‰ . Rœ jœ œ œ ˜œ> ‰

œ œ œ# œ# œ .œ œ> œ œ.‰

œ œ œ œ .œ œ ≈ .Jœ

pwæ

wæ F

wæ

sul tasto

3

3

[ ]3-5

œœb œ œ#

F pw#

Œ Œpœ

Jœ- w

Œ jœ œ jœ œ

ÓF

5

œœ œ œ# œ

Fœ Œ Œ

E-3

5

F4-8

1-3

Fœ œ jœb

3Jœ œ jœ#3œn jœ

pw

jœFœ

3

≈œœ3

œœ>œ3

œ>œ Œ

pwæ

5

œ œ .œ# Jœ ‰ Œ

1-3 1

:2x

[ ]4-5

.œrœ# œ œ .œ jœ# œ .œ# œ

pwb

P pw

Œ œ œ ˜œ

wb æ

E-5

plunger

Jœ#

3

œ œ œ. Œ Œ

‰ œ jœ3

œ œ œ jœ ˜œ>

Œ Œ ‰ Pjœ

Œ3

œ. œ. ‰3

œ. jœ# œ. œb

pw

Œ Œ ‰ Jœ

E-7

7

E

&

&

&

&?

÷

÷

&

&?

?

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

45

45

45

45

45

45

45

45

43

43

43

43

43

43

43

87

87

87

87

87

87

87

87

43

43

43

43

43

43

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

→→→→→→→→ (open)

.œfJœ# .œ

‰.œ œn . ≈ jœ#

f.Jœ Œ ‰ 3œ# œ# œ

Ó Œfœ# œ

˙ œ+

fœ œ œ#

œ œ œ œ œ œ œ œ œ œ œœ3

œ>œœ‰

ÓP

jœ# ‰ œœ#

Œ5

œ. œb . œ. rœb œ. œb .

Jœ# œ œ. œ

.œ#>

œn . ‰3

œ œ> œœb> œ œ

f..œœ FJœ#

E-9

5

œ. œ. ‰ . Ó Ó

œ3

œ œ# œ œ Ó

f3œ œb œ ˙b P

jœ ‰

Jœ œ œ œ> œ œb . œ œn . Ó.œb> œ œ œ œb

>œ œ. œ œ# . Ó

ŒFw p

w

‰ Jœœ# ˙ Ó

[ ]

3-4

[ ]

[ ]

[ ] 6-8

a little faster

a little faster

1-2

3-4

1

10-20

Pwb

Fœ œ œ œ œ œ

3

œ œ œ jœ œ œ

3

œ œ œ œ œ ‰3

‰ œ>œ œ œ>

Ó Ó3

Œ FJœ

F-1

Pw

2-7 2-7 2-7

:

to F-13

w# w

Œ Fœb œ œ œ

œ. œ.

˙ œb œb

Œ ≈FRœb . ‰ œœ

[ ]


8-10

‰ .FRœ œ œ œb œ

Ó ‰F

jœb

wb

‰ œ. œ. ‰ ≈ .jœ# œ. œ. ‰ .fRœb

Ó œ œ .œ œ œ œ>

.œ Jœb œ œb œ

‰ . Rœb œ> .œ œ

F-3

Ride(on dome)

[

œ .œb œb œ .œb œn jœb œn œb œfœ

.œ jœb ≈œ

œb œb jœ

œ. œ. Œ . Ó

≈ œ œ .Jœ> œ œ œ œ œ Jœ œ œ ≈ jœ Rœ

Œ PJœ. ‰ Œ ‰

.œ Ó

f>

Fœ œ# . ≈ R

œœ

Crash(ord)

[ ]

]3-5

15-20

1-2

Œ ‰ .FRœ œ

œ. œb .

œ œb .œ jœ Fœ œ

œ œ œ ˜œ Œ Œ

Íœ .œ@ F

œæ Œ

p Fw

. .. .œœ Rœ. ‰ œ> œ

F-5

2-4

1 second between cells

œ# œ .œ œ œ. œb .

œ jœ œ.Œ Œ

p F

wb

˙f‰ œ œb œ ‰

4-5

[ ]3-4

fœ .œ œ œb .

œb. œ œb J

œ‰

Pwb

F-7

8

F

&

&

&

&?

÷

÷

&

&?

?

41

41

41

41

43

43

43

43

43

44

44

44

44

44

44

43

43

43

43

43

44

44

44

44

44

44

43

43

43

43

43

43

44

44

44

44

44

44

43

43

43

43

43

43

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

[ ]

3

4-8

4-8

2-4

1-2

œb . œb . œb Jœ.

Œ Œ jœF

œb

Œ Œ ‰FJœ

Œ jœ Jœ@ ‰ jœ œ> j

œ œ

ww

pw fw# w#

1

2-4

2-4


œ œ œ œ. œ. œ œ œ. w>

œ

œ

w wb

F-9

[ ]2-3

jœb>

fœ- œ- œ œb .œ jœn œ

œ œ œ œ

Œ œ œ ˜œ œ œ ˜œ

2-4 2-4

2-4

:

20

w#

œ .œ œb .œb Jœ5

œb . œb . œb . œ. œ.

.œ ‰ Œ

‰ jœ Jœ Œ jœ œ

Œ Œ ≈P.Jœb

F-11

[ ]


6-8

wn w

PJœb . Œ Ó

œ œ œ œb œ .œb Jœ

[ ]1-2

œb .œn Œ Œ

F-13

molto vib.

2-3

a tempo

a tempo

Œ ≈P

.Jœ œ#

pw

Œ Œ ‰ pJœ#

Œ Œ ‰ PJœ

6

1-2 1

p Pw

pwb

Íwb >

œ œ3œ. œ œ.

3

œ. œ œ.3

œ# . œ œn .

Œ jœ

P 3

œœœ3

œœœ3

œ œ> œ ≈ œ œ œ œ

.˙ Œ

B

œ# œ .œbœ# . ‰

FJœ.3

œ# œ# œ# œ œ œ#

F-15

[ ]

[ ]1-2 1-2

2-3

1jœb . ‰ w# >

3‰ Pœ. œ

3œ. œb . œ 3jœ# . œ

3

‰ Pœ œ

3

jœ œ#3‰

Fœœb

3

œ œb œœbb 3

Jœœ œ.

3

œœ#

œ# 3œ Jœ# 3Jœ œ# sul tasto

3-4

1-2 1

p Pw

w> wb

˙ Œ

3

jœ#F

œ# œ Œ

pœ Œ ‰ P

Jœ#

F-17

sul tasto

(lightly)

Lightly

[ ]molto vib.

2-4

1

P

3œ# œœ3

œ# œ œ# . œ. œ.3

œn œ œ# œ œ# . œ. œ# . Jœ# . ‰

wb > œb . œb . œb . œb .

Ó 5

œ ˜œ œ œ ˜œ

pw

œœ#

Pœ œ

œœ# .œ œ jœ

.œ5

œ# œ. œb œœ.œ

œ# œ ˙ Œ

9

&

&

&

&?

÷

÷

&

B

?

?

43

43

43

43

43

43

42

42

42

42

42

42

42

42

43

43

43

43

43

43

43

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

[ ]

[ ]2-4

1-2

1 π Fw

p˜œ Œ Œ

.œb œ œ .œb œb œ œb ‰

F-19

ord

ord

2

0-1 seconds between cells1-2

‰jœ

Pœb jœ œb jœ Jœb

π Fwb

‰ Fjœ œ jœ#

œ> œ œb

Œ .FJ

œœ# ˘ ‰ . jœ#PRœ# .

‰ PJœæ æ

Fw œ# > œ. œ# œ œ. œ# œ œ. œ# ˘

1

aggressively

[ ]3

Jœ jœ œb œ œb

Œ ≈œ. œ.

p œ# œ œb

jœ# Pœ œ œ œ#

jœ Jœ@ ‰ jœ Jœ@ ‰

rœb œb . œ. œ.

Fwb > œb . œ.

3

‰ œ œ# œ# .3

≈ œ# œ# œœ#

æ

F-21

[ ]

P4-6

2-3

*Ride & Crash

Œ Œ Pœb

œ œb .‰ Œ 5œ œ. œb œ œb

œ. œ. ‰ Œ Œ

jœ ‰ Œ 3

œ# œ œ.

jœ Jœ@ ‰ Œ Œ

Jœœ ‰ Œ pœJœ@ ‰ Œ œb œb

poco

:

1

1-2


25-30

œ œb œ# .≈ œb œ œb

œ œb .œ

‰ Jœ#F

˙3œ# . œ# . œ#

3jœ œ œ

Œ Œ œ œ

Pœ

œ. œ. œ. œ.

F.˙œ œ jœb œ ‰ . Rœb@

F-23

w œ œ œ

fwb œ œ œ

pwn Jœ.

poco

poco

1-4

1-4

25-30œ .œ œb . ,pw

Œ ŒF

œb

Fp.˙

3œ# . œ# . œ#3jœ œ

3

œ œ# œn

jœ

3

œ jœ œ j

œ ˜œ Œ ‰ jœ

pœ j

œ œ

p F.˙.æ

1-4 1-4 1-4

:0-4 seconds between cellsw

Fwœ œ

œb ‰ Jœb . ‰

Œ Œp œ. œ

œ Œ œn . œ.œ œ# fl Œ

pœn

œ œ œ œ ≈Pœ œ œ œ

Œ Œ pœ œ œb

˙ œ

Œ Œ pœ .œ

F-25

[ ]4 1-2

[ ]5 4

1

1

†wbw#

w œ

>œ# œ œ#

œœ

œ œ œb œ œ Œ

œ. œb .œ œ. œ jœb .

3

œ œ œb . ≈ œ.3

≈ œb œ Jœb .‰

œ œp œ œ œ œ ≈ œ œ œœ jœ œ

. .œœn . œ.

œ. œ. Rœb œ œ. œ.

˙P 3

œb œb œ.œ jœ œb .œ œb .œ œ

P1-4 1-4

1-2

:0-1 seconds between cells

continue until next entrance in F-31

wn

œb . œb œ œ# œ> œb œ3

œ œn œ

œb œ œn œ œ œb . œ œn . .œœ. œ. œ. œb œ œ œ. ≈ .Jœb

5

œœ œ œ œ5

œ œ œ>œ œ5

œ œ œ œ œ

œb œb œ. œ. pwb

Œ Œ

œ. œ. œ# Œ Œ

F-27

w w œ œ# . œ œ# . œ w œ œb .

1-3 6-8

fl.pœ , w>æ P

w>

œ .œ œ œ# œn œ œ# œn œ œ .œ

3

œb œ œb œœ œn œ œb œb œb -

5

œ>œ œ œ œ5

œ œ œ œ>œ5

œ œ œ œ œ5

œ œ œ œ œ

w

jœ3

œb œ œ Ó

10

* Percussion 2: Randomly vary location of strikes on cymbals† Flute: Overall trend is to decrease the duration of rests between cells

&

&

&

&?

÷

÷

&

B

?

?

86

86

86

86

43

43

43

43

86

86

86

86

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~~~~~~~~~Ó ‰ p.œ

3

Jœ œ œ œ œ# œ œ

Jœb - ‰ Œ Ó

5

œ> œ œ œ œ5

œ œ œ œ œ5

œ œ> œ œ œ5

œ œ œ œ œ

3

œ œ œ# Ó

F-29

[ ]

[ ]

1-2

2-3

.œb Jœb, œjœ

Jœ ‰

˙ œ œ# œ

5

œ œ œ œ œ5

œ œ œ œ œ5

œ œ œ œ œ5

œ œ œ œ

Ó ‰π

.œæ≈ œ. œ. œ ˙ œ œ œ.

1 1-2

1 2-5 1-5 4-7 1

} }

1-6

:

[ ]

2-4 past G

without pause, gradually more ponticello

1

Œ 3‰Pœ# œ# Jœ 3

œ œ# ‰ Œ

œ>

œbÍ

w rœ>

Íwb

w w w

œ œ ˜œ> Œ Ó

Ó Œ Pœ. œ. œb œb .

.æ Pœb . œb . œ œ.

œ.P

.œ ˙ Œ

F-31

F pw

(accelerating)

no vib.

} }

[ ]

( )

2-3

1-3

‰.œ œ jœ œœ

pwb

Ó Œ Pœbwb

œ. œ. œ. œ. œ. œ. wb

Ó œ œ

Pœ> œ œ

pœ

‰ œ. œ œ œb œ. ≈ œn . œ œ œ Jœ ‰

‰ œ œb œ œ œ œb œ

œbœ œb œb

œbœb œb w

2-3 1-2

˙ œ œ œ œb

˙ œ .œ Pœb .

œ œ. œ. œ. œn œ œb œ œ œ .œb

œ œ œ œ œ œ œ œ œ œ œ œ

Ó ‰ pJœœb ..œœ œb

œ. œ. jœb . Œ Íjœb π˙

Jœb . wb æ œ œb œb w

F-33

4

œ œ

Fw

œ œ œb 3

œ œb œb œ œb . œb . œb . Ó

œb . Jœœ œb œ. œ œ œ.

Ó

œ# œ œ# œn .5

œ. œb . œb . œbF

œb . œ. œ.œ# œ œ

œ œœ œ œ œ œ œ

Fœ œ>‰ œ œ œ

œb ..œœb œœ œœb œn œ œF

œ

Pœ Œ Ó

[ ]

[ ]

2-3

3-4

.œ Jœ3œ. œ œ

œ œ .œ œ œ .œ

.œ Jœ3œ Jœ#

F-35

no vib.

no vib.

1 past G

1-2 past G

pw

pwb

˙ jœ ‰

jœPœ Œ Œ

œ œ œ œ# œ .˙

Œp

œ œ#

F-37

11

&

&

&

&?

÷

÷

&

B

?

?

86

86

86

86

43

43

43

43

44

44

44

44

86

86

86

86

86

43

43

43

43

43

43

43

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

‰ œ œ œ Œ .

.œ œ#fœ ‰ &

F-39

[ ]

ord

2-3

[ ]

[ ]

[ ]

[ ]4

senza vib.sul pont.

[

2-4

3-6

15-20

2-4

1

1-2

Fw>

‰ Jœœb . ≈ œb . œb . œœb . ‰ . Rœœ.

Fw

G-1

5-10

1-4Ÿ

5-7 3-5

senza vib.

]

n


p fw#

w w

Œ Jœœb . ‰ ≈ œ jœ œ œ

6-73-4

2-4 secondsbetween cellswb

Ó ‰ jœF Jœ œ

p 3

œ œ œ jœ œF

.œb Ó B

G-3

œb œ œbF

w Jœb

F pwb œb . œb .

F

8-12

[ ]10-12

Randomly fluttertonguing in and out during last note

Ó Œ ‰ . Rœ.

pwb

‰ jœ Jœ œ Œ jœp

.œ ˜œ

poco

6-10

œb .œ œ jœ œb

œb . œb .. œb . œ œ œn w

‰πœ

æ ‰ œæ

G-5

[2-6

.œn œ œb œb œb . œb .œb .œb

harmon (half-stem)

]

œb œn œ œ. œ.œ œ# œ# œn œ

G-7

10-15

slow, gradual dynamic changes

.œ œ# œ. œ. ≈ œ#> œ .œ#

π Fw

‰ jœ@ ‰ jœ@ ‰ jœ@

Pord˙ .œ œ#

12

G

&

&

&

&?

÷

÷

&

B

?

?

86

86

86

86

86

86

86

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

89

89

89

89

89

89

89

89

89

89

44

44

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

87

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

senza vib.

4-8

3-4senza vib.sul pont.

œ œ# . œ# . œn œ ‰ œ# . œ# .

‰ jœ@ ‰ jœ@ ‰ jœ@

w

.˙

G-9

Pw

œ# . œ# .jœ# . Œ Œ .

‰ œ œ

Pœ> Œ .

‰F

Jœb .

‰ Œ œ. œ. Jœb

.œ Jœ œ

œ 3œJœb

3

œb œ œb

œ Œ Œ

G-11

Œ ‰P

jœb œ

f.œ jœb œb ˙b

‰ .fRœb œb œ> Jœ ‰

(subito)

œ3

œb œ# . œn œb œ œb œ œb . œ. ≈ .Jœn

Œ ‰ œ œ

p˜jœ Ó

PRœ

œb.

œb.≈ ‰ Œ Ó

Ó ≈ P.jœ# œ œ#

G-13

PÓ 3Œ Jœ 3Jœ œ

Jœ3œ œb œb Jœn œ

3

œ. œb . œ

.œ Jœ Jœ# . ‰ Œsenza vib.

(ord)

.œ œ# œ ˙#

.œ ‰ Ó

G-15

Œ œ# . œ# .P.˙

poco

œ œ œ- Ó .

P.œ œ# œ# Jœ

œ# œ# œn œb . œ- ‰U

.˙ œœ# . œ# . œ#

fl‰U pizz (sul D)

[ ]

tempo rubato

tempo rubato

q»

q»

140

140

20

H-1

w œ# > œ œ œ 5œ3

œ œb œ œ

13

H

&

&

&

&?

÷

÷

&

B

?

?

87

87

87

87

87

87

87

87

87

42

42

42

42

42

42

42

42

42

43

43

43

43

43

43

43

43

43

85

85

85

85

85

85

85

85

85

44

44

44

44

44

44

44

44

44

1615

1615

1615

1615

1615

1615

1615

1615

1615

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~~H-3

œ œb .œ œ .œ jœ .œbH-5

3œ> Jœ3œ Jœ> 3Jœ œ 3

Jœ œ# > .œ#H-7

jœb.œ

Jœb ˙ ,5

œ œb œ œ œ.

Slit Drum & Wood Blocks

H-9

5

œ œb œ. œ œ

(hard mallets)

jœPœ jœ œ jœ œ œ œ œ œ œ

‰ Jœb œ œ œb œ .œ œ

œ œ œ ‰ jœ jœ ‰ jœ jœ jœ œ

H-11

œ œn nœb .œ Jœb

jœ œ Œ Ó

3œ jœb ˙ œ œ

14

&

&

&

&?

÷

÷

&

B

?

?

167

167

167

167

167

167

167

167

167

85

85

85

85

85

85

85

85

85

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

[ ]mute on

(1) 10-15

7-10

*

œ# œ œb œb

H-13

œ œ œ Jœ3œ# Jœ# Jœ Jœ

3œ# Jœ# Jœ œ 5œ RœSul A

H-15

3

œ Jœb œ œ œb .œ œ

jœ œ jœ œ jœ œ œ œ œ œ œ

œ .œb œb œ œ# œ# >

mute on

œ œ ≈ œ œ œ

H-17

.Jœ œ

fluttertongue

5-6

‰ pæ

‰ p ˙b

œ œ œ œ jœ jœ

‰ p ˙

œ# œ œb œb

Jœ ˙# >

Claves

p

[ ]15

‰ .œ jœ ‰ ‰ œ# œ

‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ

jœ œ Œ Ó

H-19

œ œb .œ œ œ .œ œ

.œ œb œb œ œ œ œ# œ. .œb

jœ œ Œ Ó

œ5

œ .œ œb œ .œ œ .œ#

10-15

Jœ ‰ Œ Ó

œ œ# œ œb œb

H-21

œ œ# œ œ 3œJœb .

[ ]15

œb . œ œ œ .œ .œ œ

15

* Strings (from here to M): legato, rapid passages using the specified pitches. Avoid any semblence of rhythm or pulse, holding no note for more than 1 second. Conjunct motion almost exclusively. Dynamic level never more than mp.

&

&

&

&?

÷

÷

&

B

?

?

89

89

89

89

89

89

89

89

44

44

44

44

44

44

44

44

89

89

89

89

89

89

89

89

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Œ . 3

œ œ œ3

œ œ œ3

œ œ œ œ

H-23

F.>

3

œ# œ œ# >

Frame DrumÓ ‰ p.œæ

3

œœœ3

œœœ3

œœœœ Ó

.Jœ3

œ# œ œ# > Rœ ˙

Pœæ Œ p

˙æ

œ œ œ œ ≈ œ œ œ œ œ œ ≈ œ œ

H-25

3œ œ# œn œ .œb œ

Pœ@ œ Œ ‰ p

.œæœ Œ Ó

pjœ

3œ œ œb Jœ œ

mute on10

Pœ œ œ ≈ œ œ œ œ œ ‰ Œ

œ# œ œb œb

H-27

≈ 3œb œ œb .Jœ .œ œ

5-8 past I

œ@ œ œ ≈ .Jœ@ œ œ ‰ ≈ œ œ œ

œb œ œ# œ œb œb

œ œ- ‰ . Rœ#3

Jœ œn3

œ Jœ

Claves

.œæ> .œæ> .œæ>

‰ pœ ‰ œ ‰ œ

H-29

œ ‰ œb ‰ Jœb . Œ

œ> Œ Ó

5œ œ. œb œ. œ# fl

5-8

œ œb œn œb œb

H-31

≈ .Jœn ˙ .œ

16

&

&

&

&?

÷

÷

&

B

?

?

1617

1617

1617

1617

1617

1617

1617

1617

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bassœ

3

Jœ œb œ .œb .œ

1-2 past I

œ# œ œb œ# œ

H-33

.Jœ .Jœ .Jœ# .œ# Jœb .œ œ .œ œb œ œ œb˘

Œ pœ œ œ œ jœ œ

H-35

œb œ œ 3

Jœ œ .œ œ

12

œ œ œ œ œ œ œ œ jœ œ ≈ jœ ≈

œ œ. œ œ œ œ

[ ]

œ jœ fœ@rœ@ ‰ . Ó

H-37

3œ Jœb œn 3

œ Jœb œI-1

œb œ .œb œ œ œb . ‰

10-15

I-3

mute offÓ Œ ‰Í

jœ>

œ œb œ œ# œ œb

17

I

&

&

&

&?

÷

÷

&

B

?

?

43

43

43

43

43

43

43

43

87

87

87

87

87

87

87

87

43

43

43

43

43

43

43

43

85

85

85

85

85

85

85

85

44

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

‰PJœ ˙ ‰ . Rœb

‰P

jœ# ˙‰ . rœ

‰P

jœ ˙ Œ

œ œb ˙Í.œ#>, œ

I-5

[ 1]4

˙ Jœ ‰

˙ jœ ‰

pwb

œ ˙b

3

15-20

Œ œ .œ

Œ œb .œ

œb œb œb œn œ# œ œ œ œ# œ œb œ œb œn œb œ w

Œ P œ .œ

3

‰P

œ. œ# .3

Jœ. œ .œ

I-7

Œ . Jœ> œ

Œ . jœ> œ

Œ . jœb > œ

Jœ3

œ. œ# . œ.Jœb > œ

œ œb œn œb œ# œ

Œ .œb

Œ .œ

Œ .œb

Jœ 3œb œ œ#

I-9

Œ . jœ .œ ‰

Œ . jœ .œ ‰

Œ . Jœ œ œb 3œ jœ

≈ .jœb œ œ œ3

œ jœb

Œ . ˙b

Œ .˙

.œ ˙#

.œ œ> fœ

I-11

.jœ# ≈ Œ Ó

.œ œ. ≈ œ. ≈ œœ œœ .œb œœn . ≈ œœ. ≈

[ ]8

≈ œb œ œ .œ œ œ. œb

I-13

3

œ œ œ œ œF

.œ# .œb œb ˙ Jœ Pœ.

I-15

18

&

&

&

&?

÷

÷

&

B

?

?

44

44

44

44

44

44

44

44

44

1617

1617

1617

1617

1617

1617

1617

1617

1617

44

44

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

‰P .œb ‰ .œ

‰P .œ ‰ .œ#

˙ ˙b

‰ .œb ‰ .œb

‰ .œ ‰ .œ#

˙# ˙

I-17

1 past J

15

Ó ŒPœ. œ. ≈

œ œ .œ œ œ. jœ. ‰ . rœœ œ# œ# œ œ œ# œ

œ œ œ# œ# œ œ#

œ œb œb œ# œ œn œ# œ œ# œ# œ œ œ œb

˙5rœ œb .œ œb

I-19

œ œ œ œ ˙ Œ

.˙p 5

œb œ œb œb œb

‰ œ œb œ œb œ œFœn œ

5Rœn œb Jœ fœœ# . œœ# . œ#

I-21

[ ]20

rœ ‰ . Œ Ó

œ .œ# > ˙# .œ œb

J-1

Ó Œ ≈fœb œb œb

œ .œ œb œb˘ œ. ≈ œ. ≈ œ œ

‰ .œb ˙

œ œ œ# œ œ œb œ ˙#

œ. .œ# .œ œ# œ œ œ

J-3

19

J

&

&

&

&?

÷

÷

&

B

?

?

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

89

89

89

89

89

89

89

89

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

85

85

85

85

85

85

85

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

œ .˙#

.œ œ# .œ# œ# œ# .œ# œ .œ#

œb .œ œb œ œ .œ

œP.˙

œ œ .œ# P˙

œ œ .œ# œ œ Pœb

J-5

15-20

œ Œ Ó

œŒ Œ r

œ# fl‰ .

˙ œ. œ. œ.œ œ# œ# œ œ œ# œ œ

[ ]5-6

J-7

mute on

Ó Œpœ. œ.

J-9

2-3

Ó . ‰ pœb

œ. ≈ œb œ œ. ‰ œn jœ œb

œ# œ œ œ# œ œ œb [ ]4

œ œ œ œ œ .œ

œ .œb Jœb œ .œb

J-11

Ride (wire brushes)

sul pont.

6

pw

pwbœ Œ Ó

œ5

œ rœ5œb œ œ œ œb

wn

Œ ‰ πJœ@ æ

pw#

[ ]3-4

.˙

.˙

œb œ œ# œ3œb jœb

.˙

æ PŒ

œ œ œ œ# œ# œ œ œb

J-13

.˙

20

&

&

&

&?

÷

÷

&

B

?

?

85

85

85

85

85

85

85

43

43

43

43

43

43

43

42

42

42

42

42

42

42

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

45

45

45

45

45

45

45

45

44

44

44

44

44

44

87

87

87

87

87

87

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~

12-15

.œ œ

.œA œ

.œA œ

.œN œ

œ# œ œ œ# œ œ œb

œ .œ

(subito)

.˙

.˙

F5œb œb œ œ œ œb

.˙

J-15

.˙

Splash (brush handles)

Ride

Slit Drum

4-5

.˙

.˙

œ œ œb

jœ#3

œn œ œb œ œ œb ..˙

Œ Œ P 5

œ œ ‰ .

ŒP 5

œ œ œ œ œ ‰ œ œ

.˙

4-5

.˙

.˙

≈ Jœb . ≈ œb . œb œ œn.˙

≈ œ œ œ Œ ‰ . Rœ@

œ ‰ œ œ œ œ ‰

œ œ œ# œ# œ œ œ# œ œ

J-17

.˙

˙

˙

jœ œb œb œb œb œb œb˙

œæ Œ

‰ .œæ

˙[ ]

b

18-20

w

w

˙b œ œ œ# œn œbw

œ œ œ œ œ œ œ œ œp œ

J-19

w

Pœ Jœ ˙b

[ ]12

˙# .˙

Ó Ó5

œ œ œ œ œ

J-21

ord

[ ]

[after clarinetentrance

10-12

5-10

Ó Œ P 5

œ œ# œ œ œn

œ# œ .œ# .œ ‰

Œ P 5

œ# œ œ# . œ œ Jœb .‰ Œ

]

15

Jœ ˙

œ# œ œ œ# œ œ œb œ

J-23

5

œ œ œ# œ œF

œ>

5

œ# œ œ. œ œb .˙n

21

&

&

&

&?

÷

÷

&

B

?

?

42

42

42

42

42

42

169

169

169

169

169

169

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

3œ jœ# œ œ# œ# œ#F

œ

ÓF

5

œ# . œ. œb . œb . œb . œb

J-25

w

œ3

œ œ# œ

Œ ‰F 5

œ# . œ. œb œb œ

˙

œ Œ

bucket mute

.œ œ œ#

‰ Jœ# > .Jœ

.œ .Jœ

J-27

F 5

œ œb œ. œb œn ‰ . ‰

1-2 past K

same as strings

˙ Jœ3

œ# œ# œn Jœ

˙5

œ œb œb œb œb . œb

w

œ œ# œ# œ œ œb

8-10

F 5

œb œb œb œ# œ .˙

œ œ œ# œ# 3œ jœnw

‰ 5

œ. œ. œb . œ# . œ. Jœb ˙

œ œ œ# œ# œ œ œ# œ œ

J-29

Ó ˙

5-6 past K

Maracas (swirling)

w

œ# 3œ jœ# .œ5

œ# œn œ œ# œ#

w

w

p˙æ

w

7-8

˙ .Jœ ≈ Œ

Jœ. ‰5

œ# œ œ# œ# œ. Jœ. Œ˙ .Jœ ≈ Œ

˙ .Jœb ≈ Œ

œ# œ œ œ œ# œ# œ œ œb

J-31

˙ .jœ ≈ Œ

5Ó Ó œb 5

œ œb œb .œ jœ

J-33

5 past K

˙ .œ jœŒ .œb œb jœ

œ œ œ# œ œ œb œ œ

22

&

&

&

&?

÷

÷

&

B

?

?

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

œ œ# 3

œ# œ# œ œ# œ# œ .œ#

œ .œ# œ œ œ# œ œ# .œ#

J-35

˙ œ œ œ

œ œ# œ# œ œb œ

œ œb .œ œ œ 3œ Jœb

œ# .œ ˙ Œ

J-37

[ ]

[ ]

[ 6-8 ]

[ ]

3

8-10

20

3œJœb œ œ œ œ

K-1

15

œ .œ œb œ 3Jœ œb

œ œ œ# œ œ œ œ# œ

¿¿rim shot

Tom-toms

[ ]4-5

œ œn . .œ Rœ

Pœ ‰ jœ Jœ ‰ œ œ Jœ ‰ jœ Jœ

K-3

on the rim

.œ œ œ .œ# ˙b

z z œ œ œ œ@ œ Ó

8

.œb Jœ# œ œ œ œ

œ œ œ œ# œ œ œ

K-5

8-10

2-3

œ 3œ Jœb 3œ Jœb œ

œ œ# œ œ œ# œ

œ# œ œ œ œ# œ œ

.œb œ œ œ œ ≈ Œ

K-7

23

K

&

&

&

&?

÷

÷

&

B

?

?

43

43

43

43

43

43

43

83

83

83

83

83

83

83

83

42

42

42

42

42

42

42

42

43

43

43

43

43

43

43

43

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

→→→→→→→→→→ →→→→→→→→→→→→→mute offÓ Œ ≈P .jœ#

K-9

Ppizzœ. œ. arcoœ œb œ œ

[ ]6

œ œ .œ œ œ .œ#

œ. pizz˙ arcoœb[ ]

10

6

Œ 3‰Pœ œ œ œ#5

œ Rœn

œ 3

Jœ œ œ œ œ

œ œ œ# œ œ œ œ# œ œ

K-11

œb - Œ pizzœb . œ.

6-8

w

œ œ# œ œ œ# œ œ# œ œb

Œ 3‰ œ# œ œ .œ# œ .œn

Œ œœbb arco˙

3

œ œ œ# œ œ# œ œ

.˙ œb œ

K-13

˙b œ œb

6-7

˙ .œ œ œ

œ# œ œ œ œ# œ œ#

˙ .œ œ# œ œn

œ œb ˙n

15

œ œb œ œ .œ 3œn œ# œ#

˙ 5

œb œ œb œb œn

œ œb œ# œ œ œ œb

K-15

˙n ˙#

ord sul pont.

œ œn œ .œ œ#

œ œ .œ œ

˙pizzœœbb .

.œ

PTom-tomsœ œ œ

.œ

K-17

œœbb . ‰

ord

Jœ .œn

œ œœ œœ

˙

24

&

&

&

&?

÷

÷

&

B

?

?

43

43

43

43

43

43

43

43

83

83

83

83

83

83

83

83

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~

(on dome)Ride

3œ# Jœ3œ œb œn œ# .œn

œ œ œ œ œ œ ≈ œ œ œ

˙b Œ

K-19

œ œ œ œ jœ

mute off


Œ Œ 3‰Pœb

œ œ œ œ œ œ ≈ œ œ œ

K-21

œ œ œb . œb . ≈ œ#

œ œ œ œ œ œ œœ œ œ œ

‰ Pœ œ ≈ œ œ œ œ œ œ

(ord)

œ œ#5

œ œ# œ# œn œ

œ œ œ jœ œæ ‰

≈ œ œ œ ≈ œ œ œ œ œ œ

K-23

(on dome)

‰ pJœ ˙

.˙n

Ride

œ œ‰ œ œ œ œ œ œ .œ œ

‰P

jœ œ œ

P 3

œ œ œ œ œb œ œ ,

3

œ œb œ œ œ œ œ,

3ŒPJœ# .œ œn œ ,

Œ . œæ ‰

œ œ‰ œ œ ≈ œ œ œ .œ œ

3

œ œ# œ# .œ œ# œ ,

K-25

(on dome)

n˙# ˙ œ# œ œ

œ œb œ ˙#

˙ ˙#

Œ jœ œ jœ œ œ œ Œ

‰ œ œ ≈ œ œ œ œ œ œ œ

˙ ˙

œ .œb œ œ 3jœ œ

œ .œ œ .œ œ# œ

œ .œb œ .œ Jœb

jœ œ3

œ œ œ ≈ jœ œ jœ œ z z ‰ œ œ œ

‰ œ œ ≈ œ œ œ œ œ ≈ œ œ

œ .œb œ ˙

K-27

(ord)

to L

.œ œ# œ .œ œn œ œ. œ# . œ# .

.œ œ œ .œn ˙

.œ œb œ .œ œ œn œ

‰ œ œ ‰ jœ@ ÓJœ œ Œ ≈ Jœ œ œ ‰ Jœ œ œ

‰ œ œ ≈ œ œ œ œ œ œ œ

.œ œ œ3

œ œ# œ#

œ# œ œb œ# œ œ

25

&

&

&

&?

÷

÷

&

B

?

?

1615

1615

1615

1615

1615

1615

1615

1615

1615

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~

Ó ‰ .œ#

˙# œ œn œ˙# œn œ œ

3œ jœb ˙ Œ

œæ Œ ÓŒ œ œ œ œ ‰ ˙ ˙

‰ œ œ ≈ œ œ ≈ œ œ œ œ œ

.œn3

œ œ œ Jœb œ œb

K-29

(on dome)

n

œ œ. Fœn . œ œb œb . œn ˙

œ F.œ œ ˙

œ F.œb œ ˙b

Fn ˙b

‰ œ œ Œ Œ œ œ ‰Œ Jœ œ Jœ œ ≈ Jœ œ Jœ œ Œ‰ jœ œ œ œ ≈ œ œ œ œ œ

Fœ. œ# œ# . œ# œ œ œ œn œn .

Rœ ‰ . Œ Œ 3Œ Jœ#

rœ ‰ . Œ Ó

≈ œb . œ. ≈ Œ Œ3

œb œ œ

rœ ‰ . Œ Ó

Ó œ œ ‰ Œ≈ œ œ ≈ œ œ ‰ œ œ ≈ œ œ

œ œ ‰ Œ ‰ œ œ Œ‰3

œ œ œ5

œ œ œ œ œ Jœ ‰ œ œ œ

Jœb . ‰ Œ Ó

K-31

Brake Drum

œ .Jœ œ# œ. œn . Œ

œ œ# . œ. ‰ . Ó

Œ œ# . œ. œ ˙

jœ œ jœ œ œ œ œ ‰ œ œ ≈ œ œ

Œ œ œ œ œ ‰ Œ5

≈ œ œœ œ ‰ . ≈ œ œ œ œ œ

Cow Bell

to M

[ ]

[ ]

[ ]

15

2

5-8

≈ œ œ œ. œ œ# . ‰ Œ ‰ œ œ# ˘

Œ ‰ . rœ œ œ# œ

≈ .Jœ ˙ Œ

œ œ ‰ Œ Œ œ œ ‰Œ Jœ œ Jœ œ Œ‰ œ œ Œ Óœ œ œ œ ≈ œ œ œ œ œ

œ œb œb œ# œ œb œ# œ

L-1

3

mute on

.˙n3

œ œ# . œ3

œ œ# œ.

3œ jœ œb >3

œ jœ œ œ

Œß

œ> .œb 3œ jœb œb œn

5

z z œ œ œ ≈ jœ œ jœ œ œ œ ‰ œ œ œ

œ œ ‰ ‰ œ œ Ó‰ œ œ ≈ œ œ ≈ œ œ œ œ œ

œ œ# œ œ œb œ œn œ# œ# œn œ œ œ œ# œ œ#

(ord)

nn

3-5

˙ œ. œ# . ≈ œ œ .œ

œb œ œ# œœ , œ œb œb œn œ bœn

œ , œ. œ. œb . œ œ œ# .

‰ œ œ ‰ jœ@ Óœ Œ ≈ Jœ œ œ ‰ Jœ œ œ

œ œ ‰ Œ œ œ œ Œœ œ œ ≈ œ œ Œ ≈ .Jœ

L-3

(on dome)

[ ]3

˙ Jœ ‰ Œ

˙ .œ Jœ.

Œ œ œ ‰ ‰ œ œ Œ3

≈ œ z œ œ ‰ . Rœ œ Jœ ‰

œ œ œ œ œ ≈ œ œ ≈ œ œ œ

26

L

&

&

&

&?

÷

÷

&

B

?

?

1615

1615

1615

1615

1615

1615

1615

1615

1615

1611

1611

1611

1611

1611

1611

1611

1611

1611

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

ord edge

(subito)

‰P.œ ˙

Œ .P.œ .œ œ

pœ œ œ œæ

L-5

dome

2

Œ p .˙

Œp .˙

Ó Œ Pœb

Œp

.˙

.æ œ

œ œ œ# œ œ œ# œ

Œ œb Ó

Œ œ Ó

œ œb3

œ Jœ. Œ Jœ. ‰

Œ œ Ó

L-7

espressivoŒ .PJœ ˙

œ œb œ œ# œ œ

espressivomute off

to M

˙ , ˙

Œ ≈P.Jœ# .œ œb œ

L-9

.œb .Jœb , .œ

œ œ .jœ3

œ œ# œn

œ .œn ≈U

˙ Jœ. U≈

L-11

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

5-7

Ride (soft mallets)on edge

1-2

1-2

1-2

1-2

4-6

1-2

1-2

1-2

1-2

1-2

*∏œ œ# œn

∏œ œ œ#

∏œ œb œ

∏œ œ œb∏œ œ œb

∏˙æ

∏œ# œ œ

∏œ œ œ

∏œb œ œ

∏œ œ# œn

[1-2]

3

Splash (bowed) [

Tenor Drum (soft mallets)

6-8

3∏˙ ] Bass Drum

†

∏æjœπ jœ ˙ jœ ˙ jœ ˙ ˙ jœ ˙ jœ ˙

[ ]

[ ]

2-3

15-18

8

œ. œ# . œ# . œ.

˙pœ> œ .œ#

æjœ œ Œ Ó

N-1

27

M N

* Section M: Randomly repeat the specified pitches. Each attack should be spaced 1-3 seconds apart. Gradually reduce the duration of each note so that by the end of the section only staccato notes remain.

† Section N: Same as in section M, only now staccato.

&

&

&

&?

÷

÷

&

B

?

?

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~

œ 3Jœ œ# œ œ# œn

πæ

2-3œ. œ. œ. œ.

œ .œ# .œ œn œ .œ3

œ œ œ#

æ

N-3

œ œ œ œ œn œ œ œ3

Jœ œb

niente

3

2-3

œb . œ. œ. œ.

œ œ œ œ

.æ

œ# . œ. œ. œ.

N-5

3

œ œb œ 3œb Jœb .œ œ

p .æ

2-3

1-2

œ. œb . œ# . œ.

‰ pnJœ# .œ ‰

œ œ .œ œ#

p.æ

N-7

3

œ œn œ3

œ œ œ# œ œn œ# .3

‰ œb œ

pæ

œ. œ# . œ. œ# .

[

2

9

Œ ˙ ‰

Œ p˙ Jœ

Jœ# .œ .œ>

pæ .œæ

œ# . œ. œ. œb .

N-9

]

2

.˙ Œ

œ .œ# > œb œ œ .œ

pæ

œ. œ. œ. œ.

Tenor Drum

niente

soft mallets

5

3-4

5œ Rœb 3œ# œ# œ œ Pœ œ

Pæ

æ Ó

œ# . œ. œ# . œ.

œ# .

N-11

˙ œ œb œ œ

Ó æ

.˙ Œ

.˙ Œ

œn -P

œ# .˙

œæ .æ

N-13

28

&

&

&

&?

÷

÷

&

B

?

?

42

42

42

42

42

42

42

42

42

85

85

85

85

85

85

85

85

85

87

87

87

87

87

87

87

87

87

85

85

85

85

85

85

85

85

85

44

44

44

44

44

44

44

44

44

85

85

85

85

85

85

85

85

85

86

86

86

86

86

86

86

86

86

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~

( )

2-4

Ó Œ ‰ Jœb œb

Ó Œ ‰ b jœ

.œ Jœjœ 3œ œ

Pœ# œ

œæ æ œæ

w

n

2-3

œ# . œ. œ. œb .

.˙ Œ

.˙ œ

œ3

œ Jœn3

œ œb œ 3œ Jœ#

æ

æ Ó

Ó Œ 3œb œb œb

N-15

.œ œ œ œ# œ- Œ

pæ

˙ œ œ œ

legato

5-7

2-3

w# w w w# w wb

œ œ3

œ œ œb 3œ Jœ œ .œ

æ

w

N-17

1-2 past O

n

Ó ŒP

œ#

Ó ŒP

œ

.œ œ# œ œ .œ œ

æ

Ó æ

œ œ œ# œ# œ œ œ

˙

˙

.œ œb œ

æ

Pœ œ Œ

N-19

Jœ ˙#

Jœ ˙#

Jœ ˙n

æ jœ

œ œ Œ .

œ œ .œ

3œ Jœ 3

Jœ œ# Jœ

œ œ Œ .

ŒP 3

œ. œb . œ Jœ

N-21

Œ.œ

nœ .œ

œ œ œb œ œ

œ œ Œ .

˙ jœ#2-3

˙ .œ

œ œ 3œ Jœb .œ

‰ .æ

œ œ Œ . œæ

wa

N-23

1-2

œ- .œ# -

œæ .œæ

œ œ Œ .

œ. œ# . œ. œ.

5

œ Rœb œ 3œ Jœ Jœ ‰

æ

œ œ Œ Œ œæ

N-25

[ ]2

Ó Œ Pœ#

Ó ŒP

œ

Œ Pœb œ œ# .

œæ Œ Ó

œ œ Œ Ó

œ .œ

œ .œ

‰ Jœb œ œ# . ‰

œ œ Œ .

N-27

29

&

&

&

&?

÷

÷

&

B

?

?

86

86

86

86

86

86

86

86

86

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

1-2

.˙

.˙

œ ‰ œ ‰

œ œ ‰ Œ .

œ# . œ. œ. œb .

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

3œ# Jœ# .œ œ# .œ ‰

œæ Œ Ó

œæ Œ Ó

N-29

Œ ‰ .p

rœ# œ œ œ

N-31

[ ]

[8-10]

3

‰n

Jœ F˙

n

Jœ ‰

‰n

jœ# F˙n

jœ ‰

‰n

JœP

˙n

Jœ ‰

fœ> œ .œ œb œ

O-1

[ ]

(1)

3

10-15

8-10

œ 3œ jœb .œjœ

œ# . œ. œ# . œ. œ. œ. œ. œ# . random combination of legato and staccato articulations, avoiding any regular pattern

œ œb œ œ# œ œ

.œ pJœ œ œ .œ œ

O-3

[

3

Jœ œb œn œ œ œ œ

]4-5

œ œb œn 3jœb œ œ œ

O-5

6

4-6

Œ ‰n

JœnF

˙

Ó F

Œ ‰n

Jœ#F

˙

œ .œb œn f˙

pizz œ. œ. œ# . œ. œb . œ.

2-3n

Jœ ‰ Œ Ó

œ. œ. œ. œ# . œ.

œ. œ# . œ# . œ# . œ. œb .

jœ ‰ Œ Ó

n

Jœ ‰ Œ Ó

3

œb . œb .p

œ œ œ œ 3œFJœ

O-7

1-2 past P

œ 3œ Jœ œ .œ œ

œ# . œ# . œ. œ. œ. œ. œ# .

30

O

&

&

&

&?

÷

÷

&

B

?

?

89

89

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

√

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

2w

.œ Jœf

œ .œ œb

O-9

[ ]

[ ]

[ ]4

6

4

‰n

Jœ F˙

n

Jœ ‰

Œ F#jœ ‰

‰n

Jœ#F

˙n

Jœ ‰œ œn œ œ# œ

p.œ œ œ œb .œ œb œ œb œ

O-11

2-3

2

œ œ# œ œ œ#

œ œn œ œ .œ œ œ œ

œ# . œ. œ. œ. œb .

:

2

2

‰n

Jœ F˙

n

Jœ ‰

œb . œb .

Œ F#jœ ‰

‰n

Jœ#F

˙n

Jœ ‰

œFœb œ œb œ .œ

O-13

œ. œ# . œ. œ. œ# .

8-10 past P

2

ßw>

œ# . œ# . œ. œb . œ. œb .

.œb œb œ .œn Jœ

Ride

3 past Prit.

‰n

jœn F˙n

jœ ‰

Œ F#jœ ‰

ŒFœ. ≈ œ. ‰ Jœ. ≈ Jœ. ≈

‰n

JœnF

˙n

Jœ ‰

œfœb . ≈ œb . ‰ Jœb . ≈ Jœb . ≈

O-15

œ# . œ. œ# . œ. œ.

Sul D(no dim.)

[ ]

[ ]

[ ]

( )

4-5

4

10

Ó Œ ‰n

Jœ#

œ. ≈ œ. ≈œœ. œœœ.Pœ œ. ‰

Ó Œ ‰n

Jœ

œb . ≈ œb ˙ œ# œ

P-1

[ ]5-6

F˙

n

Jœ ‰ Œ

F˙ Jœ ‰ Œ

F˙

n

Jœ ‰ Œw

8-10

œ œ ˙ Œ

œ œ ˙ Œ

‰n

jœ P.˙

œ œ ˙Œ

˙ Ó

P-3

œ. œ# . œ. œ# . œ. œb .

[ ]

[ ]

[ ]

8

10

4-5

5-6

1

Ó Œ ‰ fJœ# .

œ. œb . œb . œ. œ# . œ.

n

w

pizz œ. œ. œ. œ. œ# . œ. œ.

[ ]

7-8

2-3

≈ Jœ# .‰ . œ œ .œb œ œ .œb

œ# . œ. œ. œb . œ.

P-5

31

P

&

&

&

&?

÷

÷

&

B

?

?

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

(√)

PClaves

5-6

10-12

œ# . ≈ œ. ‰ . Rœ# œ .œ œ.

œ# . œ. œ. œ. œ. œb .

œ. œ# . œ. œ# . œ. œ# .

8

‰ Jœ. ≈ Jœ. ≈ ≈.Jœ œ

œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ

œ. œ. œb . œ. œb .

P-7

[

3-4 past Q

5-6

œ œ œ œ. œ œ# œ œ œ œ œ œ œ

Ó ‰ .FRœ@ œæ

]

[ ]

:

4-5

œb œ œ. ≈ Jœ. ≈ œ. ≈ œ œ

œ@ œ. ≈ Jœ. ≈ œ. ≈ œ@ œæ

P-9

[ ]

temporal swells lasting 4-8 seconds each

4-6

3-4

œ œ œ œ .œ œ œ

œ@ œ. ≈ œ. œ œ. œ œ. ‰ Jœ@

œ. œ# . œ# . œ. œ. œ.

4-5

.œ Jœ œ .œ .œ œ

œ. œ. œb . œ. œb .

.œæ Jœ. œ œ. ‰ œ. ≈ œ.

P-11

Splash

3

3

3œ Jœ .œ œ# œ3

œ œn œ

Œœ œ œf ˙ jœ œ

œ. œb . œ. œ# . œ.

œ. œ. œ. œ. œ# .

Œ œ Ó≈ œ œ. ≈ .Jœ@ æ

[ ]

3

4-5

.œ Jœ œ œb

.˙ œ Jœ œœ. œ# . œ. œ. œ.

Ó Œ ‰ jœœ. ≈ œ. ‰ Jœ. ≈ Jœ. ≈ œ. ≈ œ.

P-13

[ ]4-5

.œ Jœ œ œ .œ

œ œb œb œ œ ˙

Ó œ Œ≈ œ œ. œ œ. ‰ ‰ œ œ@ œæ

Pwb2

3-4

.œ Jœ œ œ ,

.œ ,œ œ

œb Jœb .œ jœb Jœb

œ# . œ. œ. œ# .

Œ ‰ jœ Óœ@ œ œ œ. Œ Œ œæ

w

.œ fJœ# ˙

P-15

.œ œ# œ œ œ œ .œb œb

˙ jœ œ# œn

œ. œ œ. Œ ≈ .Jœ@ œæ

Jœ. ‰ Œ Ó

5

2-3

œ .œn œ Jœ .œb

˙ ˙b

œ. œ. œ# . œ# .

œæ œ. œœ. ‰ Jœ. Œ

œ# œ œ# œ. œn œ œ œ# . œ œ œb w

P-17

32

&

&

&

&?

÷

÷

&

B

?

?

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~

Ÿ~~~~~~~~~

[ ]4

œ œb œn œn . Ó

.œ jœ. Œ ‰ pjœ.

œ. œ œ. ≈ œœ. Ó

espressivo

[ ]harmonstem out

[ ]

2

2-3

Ó Œ ‰ Pjœb

Œ ≈ P.Jœ ˙

Q-1

1-2

[ ]5-6

5

1

.œ jœ œ œn

w

œ# . œ. œ. œ# .

œ# œ œb œ œb˙ œ .œb œ

1-2

w#

w

œ .œ œ ˙

Q-3

legato (warmly)

6-8

œ Œ ≈ œ œ œ

wp w w wb w w# w# w#

.œ œ œ ˙[ ]3-5

.˙3

œ jœb .

Q-5

3Œ jœb . ‰ . n rœ œ .œ œb .

Œn

‰ . Rœ œ .Jœ ≈

.˙3

œ œ œn

Q-7

2

3jœ# œ3œ œ œ#

3

œ œ œ 3œ jœn

œb œ œ# œ œ# n2-3

˙ .œ œb .œ œb .

wŸ

Q-9

(stem in)

1 past R

Œ ‰P

jœ œ œ .œb

œ# œ œ œ œ

Q-11

33

Q

&

&

&

&?

÷

÷

&

B

?

?

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

˙ .œ Jœ#

[ ]

[ ]

[ ]

[ ]2-3

2-3

2-3

3-4

œ œ .œ# œ .œn œ

R-1

3-5

3-5

3-5

3-5

p fw

p fw

p fw#

œ œ# œ .œ .œ# œn

p fw#

f.œ jœ P˙

R-3

[ ]

[ ]

[ ]

[ ]3-6

3-6

3-6

f.œ# jœ P˙

4-5

R-5

harmon(stem in)

4-5

p fw#

4-5

4-5

p fw

Œ 3ŒP

jœb3

œ jœ3

œ jœ

P.œ œ# ˙ 3œ# Jœ

fp wæ

R-7

3

p fwn

3jœ œ# 3œ Jœ# 3Jœ œ# 3œ jœn3Jœ œ 3œb Jœ 3Jœ œ 3œ jœ#

1-3 1 1-3

pw#

Pw

pwn

3

œ œ œ3

œ œb œ 3

Jœ œbp

œ

3

œ œ# œ#3

œ œ œ 3Jœ œp

œ

R-9

3œ ,Pjœ

3

œ œ œ3

œ œ# œp

œ3œ ,

Pjœ#

3

œ œ# œ3

œ œ œbp

œ

to S

1-2 1-2 1-2 1-2

:

gradually increase durations

pw w

Pw# w

3œP

jœ#3

œ œ œb 3

Jœ œ pœ3œP

jœ3

œ œb œn 3Jœ œ pœ

R-11

34

R

&

&

&

&?

÷

÷

&

B

?

?

42

42

42

42

42

42

42

23

23

23

23

23

23

23

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~ Ÿ~~~~~~

√

√

√

→→→→→→→→→→→→

(mute out)

stem in

Ó Œ 3ŒP

jœ

Ó3

‰ Pœ œ stem out

.œ FJœ# ˙

w

R-13

5

œ œb œb œ 3œ œb œ œ œ œ œ œ œ

Fœ# 3œ Jœ .œ Jœ#

(mute out)

.œ œb . Œ jœb . ‰ ≈ .jœ

R-15

˙ .œ œ œ œb œ .œ .œ œb œ œn

R-17

nrœ . .œ .œ œ œb( )œb œ œ œn œ

&

&

R-19

&

col legno, senza vibrato




∏

∏

(ad libitum)

(ad libitum)

Ride & Splash

Ride & Crash

Damp cymbals immediately at T

Damp cymbals immediately at T

Short, rapid bursts of 1-4 strokes on domeand brief rolls on edge of both cymbals

12-15

and brief rolls on edge of both cymbalsShort, rapid bursts of 1-4 strokes on dome

∏œ# o œo œo œ# o œ# o œ# o

∏œo œo œo œ# o œo œo

∏œo œb o œo œo œo œ# o

∏œo œ# o œo œ# o œo œo ?

35

S

Strings: Select randomly from specified pitches, holding each note 1-3 seconds without any rests

&

&

&

&?

÷

÷

&

&

&?

23

23

23

23

23

23

23

83

83

83

83

83

83

83

43

43

43

43

43

43

43

83

83

83

83

83

83

46

46

46

46

46

46

83

83

83

83

83

83

23

23

23

23

23

23

83

83

83

83

83

83

83

44

44

44

44

44

44

44

43

43

43

43

43

43

43

44

44

44

44

44

44

43

43

43

43

43

43

86

86

86

86

86

86

86

86

86

42

42

42

42

42

42

42

42

42

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

[ ]

[ ]

[ ]

faster

faster

q»

q»

168

168

2-4

4-5

3-6

Ó Ó Œ ‰Fjœb

Fwb

pπ

.˙ .œb œ œ Fœ œ

‰ œ œ ˜pjœ Œ Ó Ó

T-1

5-6

senza vib.

jœ œ

.œ

œ ˙

jœ ‰ Œ Œ

w

T-3

jœ œ

F.œb .œ

senza vib.

4

2-3 3-4 1

w .œ# œ œ

Ó Ó Œ ≈F.Jœ

˙ œ œ .œ œ .œ œ

w#

T-5

wb w wbœ. œ. œ. œ. œ. œ.

.œ

.œb

Jœ œ

[

[

pwb

F.œ Jœb .

˙ Ó Ó˙ œ œb œ .œ Jœb

œ Œ Ó Ó B

T-7

]

]

2-4

1-2

Jœb œ

.œ

.œA

?

3-4

s.t.

s.p.1-3 1-3

:

7-10

œ ˙ œn . œ

. .œ rœ œ œ#

3ŒF

jœ3

œ œ œ# œ œ œ

w

ŒFœ œ# œœ. œ œ

p w Fwæ3Œ

FJœ.

3

œ. œ. œ. ˙#

T-9

[3

œ# .œ ˙

w

.˙

œ œ ˙

œ œ# .œ œ

˙ .œ œ# .

]4

.˙ œ

.œ jœ# jœ ‰ œœb.

Œ . Jœ# Jœ. ‰ œ# œ

T-11

3

œ jœ# ˙

œ# Œ Œ

Jœ.3

œ# œ# œn jœ. Œ

.˙

T-13

4 1-2

w w# w# œ œ# œ œ# œ# œœn œ œ

Œ jœ ˙b

Œ ‰ jœ ˜pjœ œ œ œ œ

1-2

œ œ# œ œ œ

Œ œæ Œ

T-15

.œ# œ# jœb

‰ œæ ‰œæ

36

T

&

&

&

&?

÷

÷

&

B

?

?

42

42

42

42

42

42

42

42

42

45

45

45

45

45

45

45

45

45

83

83

83

83

83

83

83

83

83

41

41

41

41

41

41

41

41

41

43

43

43

43

43

43

43

43

43

83

83

83

83

83

83

83

46

46

46

46

46

46

45

45

45

45

46

46

46

46

41

41

41

41

41

41

41

46

46

46

46

46

46

46

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

→→→→→→→→→→ →→→→→→→→→→→ →→→

[ ]6-8

5

œ. œ. œ. œ. œ.

.œ jœ.

Œ œæ

T-17

œb . œ. ≈ .jœ .œ œ. Œ ≈ .Jœ

‰F Jœb œ œ# . ≈

Fœ Jœ# . ‰ ≈

F.Jœn

‰œ œ

PJœ Ó Ó

Œ .p

.œF

˙

œ# ‰ œ ‰ œb œn

Bass Drum

ord

œb œb . ≈ Ó ‰ jœ. œ. œ

œ# . ≈F

œb .œ œb .œ œ# . ‰F Jœ œ œ# .

Ó Œ p Fæ

˙ œ œ œ œ

œ# . Ó Ó

T-19

Ó Œ ˙

œ .œ œ.

œ Jœ.

.œ

fs.p..œæ

œb

œ

3

œ# œ œ#

Fœb

fœ#

T-21

ßœ. ord

3

œ œ œ# œ

œ œb . Œ

fœb . Œ

œ œb œn

jœFœ œ Œ

.˙w# w

Í.æ

ord

[ ]

[ ]6-7 2-3 seconds between cells

6-8

5

f .œ> œb œ œ œ .œ

fœ# œ œn

jœFœ œ Œ

p F.æ

Ó ‰f 5

œ# œ œ œ œ

T-23

.˙ ords.p.

.œ#

œ Jœb

F .œæ

f.œæ

3

4

˙ fœœ œ ˙#

Ó . ‰fJœb . œ. œ œ œ.

œ .œb .œ œ œ œ œ .œb .œb œ# œ œn

pœÓ Ó .

˙ ˙#3

œ œ# œ

T-25

Íw Fw#

[ ]1

[ ]

3-42-3

1-2

2-5

œ œ# œ Œ œb œn

œ œn œ œ. Ó

2

3

[ 1]


Ó Ófœ> œ

w# w

.œ .œ# .œ# Jœ#

œ œ œ

fœ Ó Ó

wb wb wb

œb . œb . œb œb . œb .œb œ. w

T-27

2

2-3

[4-5

œ .œ œ> œ œ œ Ó

w#

œ .œ .œ# œn .œ œb œ Ó

[ ]

]

4-6

( ) ( ) ( )Ó Ó Œfœ œ# .

T-29

&

‰ Jœb

37

&

&

&

&?

÷

÷

&

&?

?

46

46

46

46

46

46

46

87

87

87

87

87

87

46

46

46

46

46

47

47

47

47

47

44

44

44

44

44

44

41

41

41

41

41

41

41

46

46

46

46

46

46

46

41

41

41

41

41

41

45

45

45

45

45

45

45

41

41

41

41

41

41

41

41

41

41

41

47

47

47

47

47

47

47

47

47

47

47

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

√

2-5

2-5

:

4-5 1-2 2-4 2-3

[2

1-2

to T-40

brief pauses between cells(no more than 1 second)

w# w

Ó Ó Œ 3‰ fœ# .

w jœ w œ# œ# w wÓ

3œ œ œ ˙b

Óf˙ œœ œœ œœb œœ

œn œ. ‰ Jœ œ# œ# . Œ Ó

T-31

w# œ œbwb

]1-2

Ón

.œ3œ. Jœ œ œ. jœ

3

œ Jœb .œ œ œnŒ

..œœ œœ œœ# [ ]

3-4 4-5

0-1

fw œ œ œœ# . œ. ‰ .œ# ˙

Ó jœ ˜P

œ Ó .

œœ œœ# œœ œ .œ ‰B

œ œb œ œb œ œ œ œb œ w w

T-33

2-3

2-3 2-3


w# .˙

.œ jœ œ œn w

œ ˙ œb œ œ œb

Ó Ó Œ jœ œ Œ

p fwb p fw

p fwn

.œb œ œ œ# œ œb

œ .˙

3Jœ œb 3œb œb œb œ

jœ œ Œ œ œ œ Œ

T-35

œœ

œ

œ œ œ fœ>

[ ]1-2

.˙# œ# ˙.˙ .˙#

œ œ# œ œ.

Œœ œ œ Œœ œœ Ó

T-37

œ

œ œpœ œ

fœ-

(let ring)

3

.œ‰ Ó Œ

w

˙# œ œ# œ œ# œ

T-39

fpizzœ œ œ œ ˙ Œ

Ó ‰ fJœ. ‰ .œ

Ó ‰f

jœ# œ# .œ œ

Ó.o>

Óf

‰œ œ œ œ Jœ# ˙

œ œ#

Jœ3

œ œ œb

œo

œ

T-41

arcoœ.

jœ. ‰ ‰ Jœ. .˙ œ œ œ# œ#

.œ Ó Ó .

Œ ‰fJœ œ .œ w

fœ .œ œ œ œ œ Jœ# Jœ ‰ Œ Ó

Œ ‰fJœ# œ .˙# œ œ.

Ó Ó jœ œ jœ œ œ œ œ ˜fœ

o> œo> wo

Œ .f

jœœ œœ œœœœ œœ œœ œ- œœ

˙ .œ# œ œ œ œ œb ˙

w ‰pizz

Jœ œ œ œ

38

&

&

&

&?

÷

÷

&

B

?

?

44

44

44

44

44

44

44

44

47

47

47

47

47

47

42

42

42

42

42

45

45

45

45

45

46

46

46

46

46

46

46

47

47

47

47

47

44

44

44

44

44

44

44

45

45

45

45

45

45

45

45

45

84

84

84

84

84

84

84

84

84

84

47

47

47

47

47

47

47

47

47

47

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~

]3 4-6

[ ]b

[

]

[

[

5-6

1

1

4

˙ œ œn .‰ Jœ.

w w#jœ .˙b Œ

w œ œb œ œb œ œb œ .˙

3

œ œ œ

wo>

œœ œ- œ- œ- Ó

T-43

Ó Œ œ.

[

]3-4

2-3 3-5

arco

1

≈ .Jœn œ .œ# Jœn Jœ. ‰ Ó

Ó œn . œ# .œ.>

œ. œ œn 3Jœ œ œ

œ 3œ Jœ œ œ œ ˙

Ó Ó Œ œ œ œ

F 5

œ œ œ œ œ

pwo

‰ fJœb> ˙

wæ

w w

]4

˙

œ œ

‰ jœ Jœ ‰ jœ Jœ

˙

T-45

1

˙

.œ œb œ

5

œ œ> œ œ œ

˙n >

w œ œ œb œ. œb œ œb w2-3

Ó ŒP

.œ Jœb

5

œ œ œœ œ5

œ œ œ œ œPœ œ œ>

.˙ œP

œ œ

T-47

3-4

[ ]

[

[

2-3

w œb œœ

wb

Ó .PJœ. .œ 3œ œ œ

œ .œ ‰ Œ Ó

5

œ>œ œ œ œ Œ5

œ œ œ œ> œ œœ rœ fœ>

Jœ ‰ Œ Ó Ó

&

3-4

]

]molto vib.

1

[ ]

1-3

1

3

w#3

œ œ œb œ3jœ œ# œ. ˙ œ œ

Ó ‰P

.œb .˙b

w#

5

œ œ œ œ œ5

œ œ œ>œ œ Œ5

œ œ œ œP

œ

ßw

Ó Ó Œ P3œb œ œb

T-49

˙b .œ# - jœ

˙ .œ Jœb .

œ œœ œ Œ œœ

Pœ Œ

Ó Œ ‰ jœbPJœ

œb œ# œ œb ˙ œ œn

P˙ œ œ œ

1-3 1-3 1-3 1-3 1-3 1-3

1 past T

.˙A ˙

œ-5

œ œ œ# - œ œb

.œb Jœn œ# œ. œ œ Jœ. ‰

˙a œ. œ. œ.

œ œP

œ jœ ˜œ> Œ ˜Fœ> Ó

.˙ œb œ ˙

œ œ3

œ# œ œb ˙3

œ JœbB

œ ˙ ˙#

T-51

w wp

w wb

fwb w wb

:1-3

0-3 seconds between cells(wide, rapid changes in vibrato)

fœn ˘ œ ‰

PJœ# œ œ œ

.œ jœn œ .œ œ œ œ

.˙b ˙

œ. ˙ œ. .œ œb

Œ jœ3

œœœ3

œ œ œ3

œœ>œ≈ .Jœ@

jœb .˙ ˙ œb . œ. œ. œ.

3

jœ œ œ ˙ œ

˙# ˙ œ

f.œ#

PJœ# ˘

Œ . PJœ

.œ# ‰

œ .œb œ œn .

œœ ˜P

œ Œ

œb3

œb œ œn

œ Œ

œ œ# œ

T-53

39

&

&

&

&?

÷

÷

&

B

?

?

47

47

47

47

47

47

47

47

47

47

41

41

41

41

41

41

41

41

45

45

45

45

45

45

45

45

41

41

41

41

41

41

41

41

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

46

46

46

46

46

46

47

47

47

47

47

47

42

42

42

42

42

42

42

42

45

45

45

45

45

45

45

45

85

85

85

85

85

85

85

85

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~~

Ÿ~~~~~~~

senza vib.

[

[

≈ Jœ ≈ œ# Œ Ó Óœ œ œ# œ œ .œ .˙#

≈œ œb œ œ œ# œ œ .œ Jœ# ‰ Ó

œœ˜œ Œ ‰ jœ Jœ Ó jœ œ Œ

.˙œ. œ. œ. œ. œ Œ Ó

Ó F>

π.˙œb œ œ# Ó Ó

]

]

1-2

2-4

œ3ŒPJœ

œ œ œ>

Pœ

3Œ PJœ

T-55

3 1

P˙# .˙

.œn œ œ .˙

˙ œ œ. œ

Ó ‰ jœ# ˙

œ œ œ œ œ# œ w w

Œ œ œ œ ‰ Jœ Ó

‰ Jœ .œ Jœ œ œb œ œ

œ

3

œ Jœ

œ

œ

œ

T-57

2

˙ .˙

Œ . Jœ œ œ œ# œ œ

˙ Œ Ó

.œb jœ œ œ# jœœ œ

Œ . œ œ Jœ Œ œ œ œ œ

Jœb ‰ ˙ œn Jœ# . ‰

n

n

[2

˙ ˙

.œ3

œ# œ œb œ Jœ

˙b Fb

3œ# œ œ Œ Ó

œ œ œœ œ

Fœ Œ

pœæ

Œ ‰F

jœ. Ó

˙# jœ Œ . &w w

T-59

[ ]2

]1

[ ]

2

1-2

10

Jœ ‰ Œ Ó Ó

œ œ œ# Fœb œ œ œ

.˙ .˙

.æ œ œ

Fœ Œ œœœœ

ßw

[ ]3Jœb

.˙ Ó Ó

w w

Ó jœpœ jœ

3

œ œ jœœ ˜œ> Ó

œb œP

w œn œb .œb œb œ œb œn

T-61

F˙

Pjœ. .œ

p

.œ œb œ

1 1-2

œ œ# ˙ ˙w# œ œ# . œ. œ# .

œ. œ# . wn

œ Fœb œ œ œ œn jœ ‰ Œ

.˙ ˙‰P

Jœb .˙F

3œ œb œ

.œ œ# œ œbf

.œb Jœ ‰ Œ

ŒP

.˙bFœn

T-63

œ Ó Ó

w Fœb.˙ Œ

Œ ‰ ˜Pjœ ‰ ˜Jœ Ó

.˙b Œ œ

Fœ# .œ

œ œb jœ

jœ œ ‰ œ@ Fœ

Œfœ>

FJœ

Jœ œ# . œ# .

T-65

1-2

1-2

1-2 1-2

sustain last note untilnext entrance in U-3

˙ .˙

œ œ œ œb Ó Œ

3

œœ>œ 3jœ> œ Œ Ó

.˙ œ .œ# œ

œ. œ# . œ# . œ. œ œ œn .w

ww w

40

&

&

&

&?

÷

÷

&

&?

?

44

44

44

44

44

44

44

44

44

47

47

47

47

47

47

47

47

45

45

45

45

45

45

45

42

42

42

42

42

42

42

44

44

44

44

44

44

42

42

42

42

42

44

44

44

44

44

23

23

23

23

23

23

23

23

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

41

41

41

41

41

41

41

41

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

[

.˙ , œ

Œ jœPœ jœ œ jœ œ

œ œ œ Œ œ# œ#jœœ œb

jœb jœ. ‰ Ó B

T-67

](1)

12-15

2-4

œ œ Jœ. ‰ œ .œb Jœ. ‰ Jœb

Œ ‰F

jœ œ œ# œ Jœ>œ œ# œ œ .œ œ

Ó F3œ# œ œ 3œ œ# œ 3œ ‰

Ó Ó Ó œ ˜œ

.œ Jœ œ# œ# Ó Ó

[ ]

#

:then rapidly acceleratebegin about 2 sec. duration,

0-2œ Jœ.

Ó œb œ œ œœ œ# œ# ‰ jœ# ˙

Ó Ó ‰ Jœ

Ó Ó ‰ Jœ

‰ Jœ jœ ˜œ œœ œœ œ œ> œ

Ó .œ œ œ œ œ .œw# w# w# w w# w

T-69

0-2 0-2

:

to U-3w w

œ3

œ œ œ˙

œ œb

Jœ .œ

jœ 3

œ œ œ jœ

˙

[ 1]œ

.œ# ‰ Ó

˙ .œ# ‰œ ˙ œb

jœ œ ˜œ 3‰œœJœœ Œ

.œ ‰ Ó

T-71

2 2 2

œ. œ. œ. œ œ# œ. œ w‰ .œ#

w# w wJœ .œ

œœœœ

Fœ> Œ

‰ .œ#

U-1

w

œ œb œ .œ ˙

Œ œ ˜œ Œ

œ ˙ œ œ

(subito)

(subito)

(subito)

( ) ( )

Ó Œ f 3

œ œ œb

.˙ fœb . œb

œ œ œ œ#5

œ œ œœ œfœ#

.˙#3

œ fJœn

Ó ‰œœœœp Jœ Œ

.˙fœ

Ó Œ f 3

œ# œ œ.

U-3

3

œ œ œ .˙

˙ œ œ. œ œb ..œ Jœ œ# œ œ

.œ Jœ# œ œ

Ó ‰œœ

PJœ Œ

œ œ# œ# .ß

.œ œ# . œ# .‰

œ Œ3

œ œ. œ œ

Ó ß˙#

n bfluttertongue

[ ]2-3 1

2-3

1-2

‰P

jœ œ ˙ æw wb

Pœ 3œ# œ œ# jœ ‰ wb w

P˙# Ó Œ ‰ Jœ#

‰œœ Jœ Œ Ó œ œ œ ‰œ œjœ

Ó ŒP

˙ œ#

jœ#

P 3

œ œ. œ Jœ ‰ ‰ .œb ˙

U-5

P˙ œ# . œ# œ. ≈. œ# œ# . œ# œ# . œ. Œ

wæ

w

˜œ œ œ œ Œ œ œ œ

œ ˙# Œ

w

.æ œ# œ fœb

Œ ‰ Jœ .œf

jœbœ ‰ Jœ# œ .œ .œb

fœ

Œ œ œ œ œ>@ œ œ œ

fœ

Œ .o

.œ ,Jœœbb ..œœ jœ f Jœœb

U-7

Ó Œ ßœ

[

.œ œ œ

˙

œ œ .œœ œ# œ .œb

œo Œ

œœ œœ.œ

˙

]

[ ]0-1

0-1

Jœ.

‰ .fRœ

œ

.œ œ

U-9

œ

41

U

&

&

&

&?

÷

÷

&

B

?

?

44

44

44

44

44

44

44

44

84

84

84

84

84

84

84

84

84

82

82

82

82

82

82

82

82

82

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

23

23

23

23

23

23

23

23

23

23

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

2 2

œ œ œb œ œ œn œ œ œ

œ œ# œ .œ .œ# œ œ œ#

f5œ# œ# œ# œ# œ

w# w#œ œ# œ .œ# .œ œ# œ œ

jœF

œ œ œ> œ Œ

fœb

œ .œ Jœ

œ œ# œ# œ œn œb œn œb wb

Ó ‰.œ

fœ œb ‰ ≈ œ# œ ≈ ‰ Jœ. œ œ ≈ œb .

œ .œ# .œ œn .

.œ# jœ#

œ .œ ‰ jœ

œ> œ Œ

.œ œ# œ

.œ Jœ

U-11

≈ œ# œ. ‰ œ œ

≈ .Jœ#

≈ .Jœ

œ œn œ

œ

œ> œ

œ œ#

œ

≈ œ. œ

œ œ œ œ .œ# .œ ‰

≈ œb œ œ œ. ≈ œ. œ# -œ œ œ# œ .œ ˙

w

œ>Pœ Œ Ó

œ œ# œ# œ. œ œ .œ#

wA&

˙ Ó

U-13

Jœ. ‰ Œ Ó

(snap)

3-4

˙b

œ œ œ œ#

˙

‰3

œ# œ# œ# jœ˙#

œ. œ# œ

‰fœ Jœ#

˙pizzœn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

pizz

arco

.˙ Œ

≈ œ# œ œ œ ≈ .jœ# œ

.˙ Œ

jœ 3

œ# œ# œ# jœ# œ# œ œn œ œb œ œ# œ# œn œ# œ#

.˙ œ œ

œ# . œ# œ œ œ Œ

Jœ œ# œ œn Jœ>

œ# > œ# > œ# > œ# > ‰ .œo

U-15

[

1

1-2

f˙

œ œ œ

‰f

jœb œ .œ

˙

jœfœ jœ œ

jœb >wb

œœœb œb

Jœ œ> Jœ>o

]

œ œ .œœ œ œ œ

œ .œb œ

˙

œœœ ˜œ Œ

Jœß(snap)œ ‰ B

U-17

arco

1

œ œ .œ

œ œ œ#

œ œ

œ , œb -

fœ. œ. Œ

Œ œ

Œ œ œœ.

fœ

Œ œ

œ œ# œ

≈ Jœ. ≈ œ

œ œ

w w#œb - œb -

œ. œ. Œ

œ œ

˙

˙

U-19

pizz

1

˙ ‰ œ Jœ#

œ œ Ó

.œ Jœ œ w# , ,w#

œ@ œ. Œ Ó

.œ Jœ. ‰ jœœ œœ

Jœb . ‰ Œ œb > œb >

œ Œ ‰ Jœb œ&

Ó ‰arco Jœb œ

1

œ œ# œn œ œ#

.˙a Œœb ˘ œ œ œb ˘

œ œ œb œ œb jœb

ŒPœ. Fœ.

Œ

œœ œflœœb ..œœ jœfl

œb > œb>ß

œb Œ

œ ˙ œ

U-21

œ œ# œ œ# .œ ‰

Sul G

1

ß

Œ.˙ ˙

Œ .˙ ˙

‰ jœ Jœ ˙ œ# œn ˙b

Ó Ó ‰ œæ fjœ

‰ jœ. w œ œ#œ# . œ# .

œ œ œ œ œ œ œ œ œ œ?

œ œ œ œn5

œ œb œ œn œ#œ œb œ œb

jœ

5

œ œ œb œ œ

jœf

3œ jœ œ jœ ˜œ

3

œb œb œb

U-23

pizz

ßb

[ ]2

42

&

&

&

&?

÷

÷

&

B

?

?

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

83

83

83

83

83

83

83

83

83

83

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

83

83

83

83

83

83

83

83

43

43

43

43

43

43

43

43

43

43

89

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

molto rit.

molto rit. molto rit. molto rit.

molto rit.molto rit.

[ ]

q»120

120q»2-3

Ïwb

Ïw

Ïwb

Ïw#

Ïw

Ïœ œ œ Jœ œ œ ‰ œ œ œ3

œ œ œ œ

Ïw

Ïw#

Ïw#

V-1

Ïw

Tenor Drum

w

w

w

w

w3≈ œ œ ≈ œ Jœ

3

œ œ œ œ œ3

œ œ ≈ œ œ œ3

œ œ œ

Ïœœ œ œ œ œ œ œ œ ï ï ï ï

w

w

w

w

˙

˙

˙

˙

˙

‰ œ Jœ œ Jœ .œ œ

˙

˙

˙

V-3

˙

poco

poco

poco

poco

poco

poco

poco

poco

poco

q»60

q»60

.œ

.œ

.œ

.œ

.œ3

œ œ ≈ ≈ œ3≈ œ œ

.œ

.œ

.œ

.œ

[ ]

3-4

q»120

120q»2-3

3-4

Ïwb

Ïw

Ïwb

Ïw#

Ïw

œ œ3≈ œ œ ‰ 3

œ œ ≈ jœ3

œ œ œ3≈ œ œ œ œ œ œ

Ïw

Ïw#

Ïw#

W-1

Ïw

Ï

.˙

.˙

.˙

wn

.˙

jœ3

œ œ ≈ 3‰ œ œ œ œ jœ œ œ3

œ œ œ ‰ jœ3

œ Jœ œ ≈

w

.˙

.˙

.˙

poco

poco

poco

poco

poco

poco

poco

q»60

poco

q»60

.œ

.œ

.œ

.œ

œ œ jœ3

œ œ œ3≈ œ œ

œ œ z z z œ z z œ œ œ z œ œ z z z œ

.œ

.œ

W-3

.œ

q»120

120q»

Ï.˙

Ï.˙

Ï.˙

Ï.˙

Ï.˙b

œ jœ3

œ œ ≈ œ œ3

œ œ ≈ ≈ œ œ œ œ

Ï.˙

.˙#

Ï.˙#

X-1

Ï.˙poco

poco

poco

poco

poco

poco

poco

poco

q»60

poco

q»60

.˙

.˙

.˙

.˙

.˙3≈ œ œ jœ œ œ

3

œ œ ≈ ≈ jœ œ3

œ jœ œ œ

.˙

.˙

.˙

.˙

43

V W X

&

&

&

&?

÷

÷

&

B

?

?

89 44 45 44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

molto rit.

molto rit. molto rit.

molto rit.q»

q»

120

120

q»

q»

œ œ ‰ jœ œæ3

œ œ ≈ ‰ 3≈ jœ œ œ œ œ œ œ3‰ œ œ œ

Bass Drum

60

60

5

*

Ï2-4

w œb œb œ

Ï2-4w œ œ# œ

Ï2-4

w# œ# œ œb

Ï2-4w œ# œ# œ

Ï2-4

w# œ œb œ

jœ ˙æ œ œ œ œ œ œ œ œ œ ï ï ï

Ï2-4w œ œb œn

Ï2-4wn œ œ# œ#

Ï2-4wb œb œn œ#

Ï2-4w œ œb œn

2-3

[ ]

q»

q»

120

120

1

4-7

w

4-7

wb4-7

w

4-7w#

4-7

wb

œ œ œ jœ œ œ jœ œ œ ‰ œ œ œ

æ æ

4-7

wn4-7w#4-7w

Z-1

4-7

w

Ride (beater handles)

p Ï2-4

œ# œ œ œ

œ# œ# œ œb

œ œ œ œb

œ œb œb œœb œn œ# œ

œ œ3

œ œ jœ œæ œ œ3≈ œ œ ≈ œ œ œ

3

œ œ œ œ œ œ .œæ

œ# œ œ œ

œ# œ œ

œ œ œ# œ

œ# œ# œb œ

q»

q»

60

60

œ œ3

œ jœ œ ≈ œ œ œ œ@ 3

œ œ œ jœ œ 3≈ œ œ@ œæ

Z-3

44

Y Z

* Sections Y-AA: Randomly select from specified pitches with each note spanning 1-3 seconds. Within each section, decrease durations creating an accelerando effect.

&

&

&

&?

÷

÷

&

B

?

?

44

44

44

44

44

44

44

44

44

44

44

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

√

√

√

[ ]

[ ]

Ï[ ]Ride & Crash Bass Drum

4-6

6

2-3 2with two bows, randomly bow both cymbals

œ œ z z z œ z z œ œ œ z œ œ z z z z z z

Ï˙˙

Sizzle

115-20

2

4-7

wn œ œb œn œ œb4-7wn œ œ# œ œ# œ4-7

wb œ œ# œ œ œ

4-7

w œ œ œ# œ œ4-7w œ œ# œ œ

Ïœ œ œ œ œ œ œ

Ï> F Ïæ

4-7w# œ# œ œ# œ œn4-7w# œ œ œ# œ œn4-7w œ# œ œ4-7w œ# œ œ œ# œ

&Sul G

(subito)

(subito)

(subito)

q»

q»

90

90

lightly, fragile

p3˙ œ# .œ Jœ

pœ.‰ jœ. Œ œ.

BB-1

pœ.o ‰ Jœ.o Œ œ.o

col legno

col legno

col legno

˙ ˙#

‰ jœ. Œ œ. ‰ jœ.

‰ Jœ.o Œ œ.o ‰ Jœ.o

( )

( )

( )

Sul G

Sul C

Sul C

Jœ ‰ ‰ Jœ 3œ œ œ#

Œ œ. œ. Ó

Œ ‰ p JOœ Oœ

Œ ‰ p JOœb Oœ

Œ ‰pJOœ# Oœ#

BB-3

Œ œ.o Ó

45

AA BB

&

&

&

&?

÷

÷

&

B

?

&

43

43

43

43

43

43

43

43

87

87

87

87

87

87

87

87

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

41

41

41

41

41

41

41

42

42

42

42

42

42

42

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

poco rit.

poco rit.

( )

( )

( )

10-15 10-15

10-15 10-15

10-15 10-15

Œ p˙ œ# Œ

Œp˙b œ Œ

Œ p# Œ

Œ p# œ#Œ

3œ œ œ œ œ œ#

Œ ‰ jœ. Œ œ.

Ow Ow

Ow Ow

Ow Ow

Œ ‰(slight bend upward)

Jœ.o Œ œ.o

( )

( )

( )

Œ Œ ‰ pjœb

Œ Œ ‰ pjœn

Œ Œ ‰ pjœn

Œ Œ ‰p

jœ3Œ Œ œ œ

‰ jœ. Œ Œ

Oœ#

Oœ#

Oœbb

BB-5

‰ Jœ.o Œ Œ

( )

( )

( )

( )

.˙ ‰

.˙ œ# ‰

.˙ œb‰

.˙ œ#‰

˙ .œ œ#

œ. ‰ æ

œ.o ‰ Jœ.o Ó

Œ . jœb ˙

w

œ. Œ æ

BB-7

œ.o ‰ Jœ.o Ó

( )

( )œ Œ Œ

Œ ‰ Jœ œ

Œ ‰ jœ œœb

œ#, œ œ

œæ œ. ‰ jœ.

Œ œ.o ‰ Jœ.o

Ó Œ œb

Ó Œ œb˙ Œ œn

˙ Œ œ˙ œ œ# œ

Ó Œ œæ

BB-9

( )

( )

( )

( )

( )

œ# Ó

œ Ó

œ Ó

œ Ó˙ œb

3

œ œn œb

‰ œæ jœ. œ. Œ

Œ ‰ Jœ.o Ó

[

Œ .˙

Œ .˙

Œ .˙b

Œ .˙œ , .˙b

BB-11

( )

[ ]

[

]

q»

q»

70-80

70-80

w œb

Ó Œ ‰ jœ.

Ó Œ ‰ Jœ.o

]

10

2

Œ œb œ œ

Œ œ. ‰ jœ. Œ

BB-13

Œ œ.o ‰ Jœ.o Œ

ord

3-5

‰ pjœ

‰ pjœ

‰pJœb

‰ pjœ

œn

jœ@ ‰

5

˙

˙

˙

˙.œ# Jœ

æ

π Fw

BB-15

( )

( )

( )

( )

( )

[ ]

3

3

5-7

ord

ord

3-6

3-6

3-6

3-6

3-6

( )(1)

( )

1-4

30-40œ

œ#

œ#

œ

œb

œæ

p Fw

π Fw Fœ w#

F

œ w#

46

Strings: Wide, exaggerated vibrato of varying speeds. Glissandi are outgrowths of this vibrato. Bow changes should be accented heavily during moments of maximum dynamic level (mf).

&

&

&

&?

÷

÷

&

B

?

&

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

( )

3

2 4-6

( )

œ# wbœ# w w#

3

( )

( )

*Fœ wbto CC

πœ# Fœ

( )

( )

*

*

to CC

πœb Fœ#

to CC

πœ

Fœb

4

2

1

[ ]1

Pw

œ> œ> œ

>

P w# >

Pw#

[ ]

legato

3-6

2-4w 2-4w# 2-4w 2-4w 2-4w w w

4-6

2-4

2-4

w#

1 1-2œ>

œ#>œ#>

Pwn > œb œ œ œ# œ# œ œn œ# œn œ w#

f

[ ]1-2

œ. œ.

47

CC

* Continue ad libitum within the specified range

&

&

&

&?

÷

÷

&

B

?

&

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

[

[ ]F

2-5

1


œ œ

]

3 quick, regular pulse, without ritard or diminuendoœ>œ œ œ> œ œœ œ

f

F []1( )

œ. œ.

œœ# . œœ# .

2-3

3-5

2

1-2 3

3-4

1 3

5

2 2-3 1-3 2-4

Tom-toms

quickly, with tempo varying from one gesture to another

Strings: more intensely, quasi-ponticello

Fwb w wb

Fw

Fw œ œ œ œ# œ œb w

œb œ œ# œF

w Jœb w

Fwb

F3

œœ jœ œJœ œœ œœ œJœ>

FwU

Fw

Fw

[ ]

(

(

to EE

to EE

4-5

w œb œ œb œb œb œ œ œb œb œ œn

œ œ#

œœ

)

)

(

1-2

2-4 2-5 1-3

[ ]4

2-3

1-2 4 3-4

[ ]

)

to EE

2

w w w#

w w# œ œ œ# œ. œn œ œ œ œ wb

œb œ œ œn œb w œœ œ œ# . œ œb œ œ# . w#

œ œ œb œb œn w#

œ œ œ œ> jœ œ œ

œ œ#

1-4

1-2

[

wbjœ#w w

œ jœ œ jœ œ œ œœ

1-2 3

[

]5

]

to EE

1-2

w#

[ ] [

to EE

to EE

to EE

to EE

1

no note lasting more than 1 second

œ œ#œ# w#

œ œ# œ œ#

œ œ# wnœb œb œb

Jœœ Jœœ œ> œ œ œ>œ œ> œ ]

Sul A pont.

Ride & Crash

1-2

more than 1 secondno note lasting

œœœjœ 3

œ œ œ ‰ jœ œ>œœ [ ]

[ ]

[ ]

( )

(6)

to FF

to FF

2

13

1-5œ>

p f˙˙

pœ

Owbb

48

DD EE

2 bows: randomly bow both cymbals (wide, rapid dynamic swings)

&

&

&

&?

÷

÷

&

B

?

&

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

( )

3

4-5

Splash

(1)

3-4

to FF

Pwb

fœb

wnP fw

fp ˙

?

[ ] :

( )

( )

( )

Tom-toms 2-4 seconds between cells

ord. (Subdued)

ord. (Subdued)

ord. (Subdued)

10

3-5

fw# wb w w w w Pwb

œ œ œ œ

pœ# Pœ#

pœ Pœ

pœ# Pœb

[ ]

[ ]

[ ]

[ ]

[ ]

[ ]

2

2-3

( )

( )

( )

10

10

10

more intensely, quasi-pont.



10-12

5-9

5-9

10-15

10

8-10

pw

œb œ œn œ# œ>

œn

Fwb

pœ fœ

pœ fœ#

p œb fœ

22

[ ]4-6

œ> œ œÍ F

Ÿbw [ ]2-3œ œb œ œb . œ# œ œb œn . w

5-6

ßp Fwb

49

FF GG

&

&

&

&?

÷

÷

&

B

?

?

Fl

C l

Sax

Tpt.

Tbn

Prc 1

Prc 2

Vln

Vla

Vlc

Bass

sul tasto

poco a poco sul tasto



∏

∏

∏

∏

∏( )

∏

()

()

()

*

*

Fœœ

4-6

p Fw#

Fœœ

ßp F

5-8

w

Pœœ

Pœœ ##

Pœœb

Pœœ

P

1-2 10-15

( )

∏

∏

*

*

Pœœ#

Fœœ#

œ. œb .P

wb w∏œn

z z z z Jz

Fœ œ œ œ œ œ œ

2-5

50

HH

* Randomly play any pitch within the specified range holding each note no longer than two seconds. Immediate glissando downward after each attack.

Documents

GERMINAL IDEAS AND PROCESSES WITHIN PLIES (2002)/67531/metadc... · piece forward and provide a sense of pacing. Even such pieces as Riley's In C (1964) and Cage's 4:33 (1952), which