GRIEF: SUITE FOR RHYTHM SECTION A CREATIVE PROJECT

GRIEF: SUITE FOR RHYTHM SECTION

A CREATIVE PROJECT

SUBMITTED TO THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

MASTER OF MUSIC

BY

ELYSIA A. ARNTZEN

DR. ELEANOR TRAWICK – ADVISOR

BALL STATE UNIVERSITY

MUNCIE, INDIANA

DECEMBER 2014

TABLE OF CONTENTS

Essay on Grief: Suite for Rhythm Section 1

Bibliography 13

Appendix: Score of Grief: Suite for Rhythm Section 14

1

An Essay on Grief: Suite for Rhythm Section

I have written a one-movement suite titled Grief for four-piece rock band consisting of

electric guitar, piano, electric bass, and drum set. It is programmatic, with each section

representing a different stage of the grieving process, as outlined by Elisabeth Kübler-Ross.1 A

few musical motives are present throughout the work to create a sense of unity, although each

section has its own character. The instrumentation I have chosen is a very common type of

ensemble, and exists at both an amateur and a professional level. My intention with this piece is

to create something that both is accessible to the public and amateur musicians, and also is

appropriate for the concert hall and can be performed by classically-trained musicians. This type

of piece, which falls into both the rock and the new-music worlds, is not uncommon, especially

over the last few decades.

There are many instances of classical composers borrowing ideas from rock music, and

vice versa. Minimalism and rock music of the 1960s shared a lot of similar traits such as

repetition and simple harmonies. Composers such as Terry Riley, Steve Reich, and Philip Glass

and bands such as The Who and The Velvet Underground shared these common traits, and often

a common audience.2 In the 1970s, rock groups such as Pink Floyd and Emerson, Lake &

Palmer created rock songs with the same sort of experimentation that was common in new music

of that time. Rock music became more of a significant influence on new music in the 1980s.

Peter Gordon’s Love of Life Orchestra, or LOLO, performed a variety of music influenced by

pop, rock, or jazz. Another important composer of the 70s and 80s is Laurie Anderson. She made

1 Elisabeth Kübler-Ross and David Kessler, On Grief and Grieving (New York: Scribner, 2005), 7–28. 2 Alex Ross, The Rest Is Noise (New York: Farrar, Straus and Giroux, 2007), 553–575.

2

use of new technology and rock instruments, and also collaborated with rock musicians such as

Peter Gabriel.3 Heavy metal is one form of rock music that has especially been influenced by

classical music. Not only have metal musicians borrowed techniques from composers such as

Bach and Vivaldi, but many of them began as classical musicians. Both Eddie Van Halen and

Swedish guitarist Yngwie J. Malmsteen, known in the United States for albums such as Rising

Force and Odyssey, were given classical music training as children before becoming award-

winning guitarists. Malmsteen’s inspiration comes from composers such as Paganini and

Vivaldi, while Van Halen is inspired by Debussy and Bach.4

Contemporary new music ensembles such as Bang on a Can and post-minimalist

composers such as Louis Andriessen use techniques similar to those of rock music, and often use

the same instruments as well. The composers of Bang on a Can are Michael Gordon, Julia

Wolfe, and David Lang. Michael Gordon especially has a large body of works for electronics

and amplified instruments. Trance is a piece written for the group Icebreaker that uses electric

guitar and electric bass as well as winds and percussion. Trance is minimalistic in nature, and

includes sections of very idiomatic solos for the guitar and bass, similar to those in rock pieces.

Andriessen has a number of works using electric guitars, including Orpheus, De Materie,

De Staat, and Hout. De Staat blends traditional orchestral instruments with contemporary ones in

a large ensemble, including winds, electric guitar, bass guitar, and amplified voices. The text

used in De Staat comes from Plato’s Republic. Much of Andriessen’s music is influenced by

minimalism, including sections of De Staat. Andriessen uses the church modes, namely Phrygian

and Lydian in De Staat, which is something that I have picked up as a composer. The piece

begins with driving chords in the winds, reminiscent of Stravinsky’s Rite of Spring, then 3 John Schaefer, New Sounds (New York: Harper & Row, 1987), 241–255. 4 Robert Walser, “Eruptions: Heavy Metal Appropriations of Classical Virtuosity,” Popular Music 11, no. 3 (1992): 263–304,

http://www.jstor.org/stable/931311

3

transitions into a new section with electric guitar and vocals. Throughout the piece, there is a

juxtaposition of different material that seems to have varying influences. Sections with the

electric guitar sound both minimalistic and rock-influenced. De Staat is definitely a concert

work, but includes elements of rock music as well, which I believe makes it very accessible.

It is my intention that Grief should be both accessible to the average listener, and a

challenge for an ensemble of trained musicians. I think composing music like this is important

because electric instruments are very prevalent right now, and I believe they could come to form

a standard chamber ensemble in the future. Some of my own influences for Grief have been rock

bands that I enjoy listening to. A few bands that have had a specific influence on Grief are Black

Sabbath, System of a Down, and Papa Roach. In my analysis, I will discuss places in the music

where I have alluded to pieces by these bands.

The form of Grief is a five-part suite in one movement. Each section is based on a stage

of the grieving process as described by Elisabeth Kübler-Ross.5 Rather than creating five

separate movements, I chose to connect them. While the same effect could have been created by

simply instructing the movements be played attacca, I did not wish them to be playable as

separate movements. Because grieving is a process, it seems appropriate to make the sections

inseparable. Admittedly, I refer to them alternately as “sections” and “movements” when

rehearsing. Similarities between Grief and a traditional suite include alternation of tempos, and a

different overall character in each section. Grief consists of five sections, following the five

stages of grief. Kübler-Ross outlines these stages as denial, anger, bargaining, depression, and

acceptance.

5 Kübler-Ross and Kessler, 7–28.

4

Denial manifests itself in the form of shock, and disbelief that something bad could have

happened.6 The first section of the piece, “Denial,” begins with a slow and steady pulse,

signifying an unwillingness to accept change. The melodic lines of this section feature pitch

bends to represent uncertainty. This first section is brief, and grows into the next section,

“Anger.” According to Kübler-Ross, anger can be turned toward anyone, or can manifest itself in

the form of guilt.7 This second section of the piece is the fastest and loudest section of the piece

because anger is a very obvious emotion. The end of the second section comes to a sudden halt

with sustained chords and a slow melodic fragment in the piano. “Bargaining” is the third

section, and features the drum set with interruptions by the rest of the ensemble. Bargaining as a

stage of the grieving process involves considering what could have been changed and wishing

there was still a way to fix the situation.8 The conversation created between the drum set and

other instruments signifies someone attempting to fix the situation but receiving the same answer

each time. The third section ends in silence, leading into the fourth section, “Depression.” The

fourth section is the slowest and revolves around a dark, fully-diminished 7th chord. As a stage of

the grieving process, depression is the full realization of loss, and manifests itself in lethargy,

withdrawal, and extreme sadness.9 Rhythmically, “Depression” is unstable, featuring

polyrhythms between the piano and drum set as well as actual breaks in the sound. The slow

tempo and occasional stops represents someone feeling hopeless and trudging through the day

without really enjoying it. Acceptance is about coming to terms with loss and deciding to live

with it. It is not about being happy, but about continuing on with life.10 “Acceptance,” the fifth

and final section, grows out of the last sustained note of the previous section. It begins slowly,

6 Kübler-Ross and Kessler, 8–11. 7 Kübler-Ross and Kessler, 11–16. 8 Kübler-Ross and Kessler, 17–20. 9 Kübler-Ross and Kessler, 20–24. 10 Kübler-Ross and Kessler, 24–28.

5

with a melodic fragment that has been used before, and eventually grows into a somewhat

optimistic-sounding theme. This final section brings back themes from before while retaining a

lighter mood. “Acceptance” is happier, but not too happy. While the mood is lighter, the process

of grieving is not forgotten, and the final chord of the piece is a dominant 7th chord rather than a

stable tonic triad. Having discussed the overall form and its connections to the grieving process, I

will now go into greater detail about each section.

“Denial” begins with a steady pulse from the bass drum followed by a pitch bend

downward, similar to the beginning of Black Sabbath’s “Iron Man.” The similarity doesn’t

continue throughout the section, but it is a noticeable allusion to the famous rock piece. This

section is a slow 60 beats per minute (bpm) and in A Phrygian. The first three sections will be in

the Phrygian mode, which I have chosen instead of minor to create a mood appropriate to

grieving. The guitar comes in at the pickup to m. 5 with a fragment of the Denial theme, but the

first full statement of the theme occurs in mm. 16–19 between the guitar and piano (Example 1).

While this theme is usually fragmented rather than stated fully, the triplets alternating scale

degrees 1 and 5 become a major feature in the accompaniment throughout the entire piece. In

fact, the polyrhythm created by the triplets against the sixteenth notes in the drum also becomes a

major feature in all sections of the piece. The steadiness of the bass drum in this first section

represents someone being unwilling to accept change, while the pitch bends in the guitar

represent instability. The “Denial” section of the piece gradually builds in speed and loudness,

signifying that it is impossible to continue denying or ignoring something that has happened.

6

Example 1: Denial theme, mm. 16–19, electric guitar and piano

“Anger” begins loudly at twice the tempo of the previous section, 120 bpm, because

anger is not an emotion that is usually hidden. The key is F Phrygian. A second allusion to a

famous rock song occurs in the drum set part at m. 30. On the surface, it sounds similar to the

rhythm used in System of a Down’s “Chop Suey.” I use sixteenth notes in the bass drum, which

requires the drummer to have two pedals, representing the adrenaline which usually accompanies

anger. The Anger theme is stated in the guitar in mm. 28–30 (Example 2), while another theme is

stated in the bass in mm. 32–35. The theme in the bass is actually a fragment of the Acceptance

theme from the fifth section, which will be discussed in detail later. The one-measure motive in

the piano at m. 36 is only present in the “Anger” section, and is derived from the Fibonacci

sequence by assigning each number to a pitch (Example 3). In this case, 0 is E natural, 1 is F

natural, and so forth. While this process creates a repeating pattern, I only use a fragment of the

sequence to add interest to the music. The Fibonacci motive is not a theme in itself, but is a

feature of the “Anger” section. At m. 37, the bass takes the melody and becomes the featured

instrument of the second section while the other instruments take on an accompanying role. The

guitar periodically plays a loud, dissonant chord, signifying an angry outburst while the piano

alternates between triplets and eighth notes in a low register. In mm. 40–44, the melody is a long

7

descent subdivided into triplets, while the drum set plays a commonly used pattern which rotates

by a sixteenth note every measure. The bass part returns to the Anger theme at m. 46, and

continues until m. 55, where another fragment of the Acceptance theme occurs. The other

instruments join in, creating an orchestrated crescendo through m. 61. At m. 66, the guitar and

piano drop out completely, leaving the bass to develop the second section theme. The piano

returns with its one-measure motive at m. 77, and in m. 78 the melody returns to the guitar. In

mm. 80–82 there is a long spiral downward representing anger subsiding, followed by five

measures of quieter, sustained notes. The piano plays a fragment of the Acceptance theme slowly

and in the lowest register of the instrument.

Example 2: Anger theme, mm. 28–30, electric guitar

Example 3: motive using Fibonacci sequence, m. 36, piano

“Bargaining” is slightly slower than the previous section at 100 bpm and begins quietly.

Rhythmically, this section is inspired by a whispered line in Papa Roach’s “Getting Away With

Murder,” the vocal part of which uses groups of three sixteenth notes to throw off the meter.

“Bargaining” uses groups of three as a motive, not just sixteenth notes, but also eighth notes and

8

triplets. The key is D Phrygian, although the featured instrument is drum set. This section

includes long drum solos with interjections by the ensemble, representing someone trying to

make a situation right, but being met with the same answer. That answer is the same every time,

signifying an inability to change a past event. The melodic material in “Bargaining” is not a

separate theme, but rather an adaptation of the Acceptance theme which will be heard later. The

beginning of the section is quiet and sticks to the thematic material. The first drum solo lasts

from m. 98 to m. 109, and grows in loudness. It is met with a loud and fast version of the fifth

section material. The second drum solo begins loudly, but drops to a subito piano at m. 120 as if

restarting the argument. The solo crescendos to a mezzo forte and continues with various

groupings of three attacks until in mm. 135–138 where it plays two cymbal rolls and grows to a

fortissimo, as if concluding an argument with a good point. This argument is met with silence,

leading to the next section.

“Depression” is the darkest and slowest section, at half the tempo of “Bargaining,” 50

bpm, and in B Locrian. Within this darkest of modes, I introduce the pitch Ab, in order to create

fully diminished 7th chords, which is the harmonic basis of this section. The piano is the featured

instrument in this section, and begins with a statement of the Depression theme in mm. 139–141

(Example 4). This theme is very similar to the Anger theme in contour, and could be viewed as

another version of that theme (see guitar mm. 28–31). The Depression theme ends with grace

notes dropping to a pitch a half step below, representing tears. Descending half steps are a very

traditional and common representation of sadness in music. While this section is slow, the

melody features running sixteenth notes over a waltz pattern in the drum set. This is the same

polyrhythm I have used throughout the piece, but the instruments have swapped roles. In other

sections, the drum set has had sixteenth notes while the melody has included triplets. This

9

rhythmic conflict represents the imbalance that someone feels when depressed. In mm. 144–145,

the piano plays a motive meant to represent a sigh. This motive will recur throughout the

“Depression” section. At m. 151 the bass and guitar take over the accompaniment, filling out the

chords slightly. Mm. 156–157 come to a stop, representing the fatigue associated with

depression. The music picks back up, but slows again in mm. 167–170, leaving a sustained D in

the lowest octave of the piano.

Example 4: Depression theme, mm. 139–141, piano

“Acceptance” begins with the sustained D from the previous section and gradually grows.

The tempo is back to 100 bpm, but the key is uncertain at first. Mm. 180–183 slow down and

repeat five notes, which will come to act in a dominant function throughout this section. Finally,

in mm. 184–188, the guitar states the Acceptance theme (Example 5), and the key of E is

established. The mode is mostly Mixolydian, but with the addition of a flat scale degree 6, which

creates a scale that is major at the bottom and minor at the top. The theme does not end on the

tonic, and a lack of real resolution is representative of not being able to get back what was lost.

“Acceptance” is not meant to be a happily ever after or a forgetting of grief, but an acceptance of

the past and a decision to move forward. The section grows in complexity and loudness until m.

200 where all instruments play an E-major chord loudly. To represent acceptance of the past, this

final section includes material from all the others, while staying in a brighter mode. Starting at

m. 197, the drum begins to play groups of three attacks, similar to the third section, this time not

10

interrupting the meter. At m. 206, the guitar plays a fragment of the Denial theme. At m. 214, the

guitar plays three descending chords reminiscent of the sighing motive in the fourth section.

Finally, at m. 217, the piano states the Anger theme. From m. 231–234, there is a gradual

crescendo to fortissimo, at which point there is a final drum set solo which lasts until m. 245.

From m. 245–249, the piano combines the Denial and Acceptance themes into one melodic line

(Example 6), as representations of all themes are brought together until at m. 258, the guitar

plays one final statement of the Acceptance theme and in the last three measures, the ensemble

settles on an E dominant 7th chord with an added flat 6th. The final chord is meant to ring

indefinitely rather than be cut off, symbolizing that the past is not meant to be forgotten, but

emotional pain fades with time.

Example 5: Acceptance theme, mm. 184–188, electric guitar

Example 6: Combination of Denial and Acceptance themes, mm. 245–249, piano

I put together a band to perform the piece on October 28, 2014, on the Student

Composers Forum concert in Sursa Hall on Ball State University’s campus. Practicing with an

ensemble has been incredibly helpful in editing the music, because I have been able to hear the

11

piece on real instruments. In the first few rehearsals, we actually started with practicing the last

section, and gradually, we have worked our way back to the first section. Some difficulties with

the music have been the polyrhythms, and the key signature and tempo of the second section.

These have been getting better with practice, while there are other problems that required

changes to the music. Some of the edits I needed to make dealt with balance and guitar chords.

For these decisions, having an ensemble to practice with was crucial.

Performer input has been very important in working on this piece. By practicing with the

band, I have been able to make changes to the music to achieve the right balance. In the

beginning section of the piece, I had written a lot of pitch bends, and my performers helped me

to use the best notation for the sound I wanted. There were also some pitch bends that had to be

cut because of the speed or difficulty of the music. In the second section, which features the bass

guitar, the piano ended up overpowering the bass, so I decreased the volume of the piano and

also transposed the two instruments either up or down an octave at different points throughout

that section. This helps the balance and also makes that section more interesting. The third

section is tricky, because drum set is not usually notated for the player. Drum solos are similar to

cadenzas, in that the player usually will improvise for the length of the solo and then signal to the

rest of the ensemble when the solo is over. I recognize that of the four instruments, the drum set

part is the strangest because of the non-standardized notation, and the fact that I am notating it at

all. In the fourth section, where the piano is featured and guitars are playing accompaniment, we

ended up experimenting with some different chords in the guitar part because my original plan of

taking over the piano’s chords was not working. A few other things that were decided in

rehearsal were where to use distortion, and where to put effective rehearsal letters. By taking

12

advice from my ensemble, I have been able to create a finished piece that will be easier and more

idiomatic for future performers.

In composing Grief, I have learned quite a bit about writing for electric guitar, electric

bass, and drum set, which I was previously unfamiliar with. I hope that this knowledge allows

me to write future works using the same ensemble. I believe that it is very possible that the rock

band may become a standard chamber ensemble in the future, and that works being written now

could become part of that ensemble’s standard repertoire. I hope that this piece fulfills my

purpose of creating an accessible work for classically trained musicians or talented amateurs, and

I hope that it will eventually receive performances at various venues.

13

BIBLIOGRAPHY

Kübler-Ross, Elisabeth, and David Kessler. On Grief and Grieving. New York: Scribner, 2005. Ross, Alex. The Rest Is Noise. New York: Farrar, Straus and Giroux, 2007. Schaefer, John. New Sounds. New York: Harper & Row, 1987. Walser, Robert. “Eruptions: Heavy Metal Appropriations of Classical Virtuosity.” Popular

Music 11, no. 3 (1992): 263–304. http://www.jstor.org/stable/931311

14

GriefElysia Arntzen

©Elysia Arntzen, 2014

Approx. 12'15"

15

Instrumentation:Electric GuitarPianoElectric BassDrum Set

Program Note:Grief is a programmatic one-movement suite for four-piece rock band. Each section of the piece represents a different stage of the grieving process, as outlined by Elisabeth Kübler-Ross. First is "Denial," with a slow and steady pulse which quickens into "Anger," which is fast and loud. "Bargaining" consists of a few drum set solos which are interrupted by the rest of the ensemble, creating a musical conversation. "Depression" is the slowest section in the dark locrian mode, but once it ends, "Acceptance" changes the mood and grows in volume and texture until the end. Grief is meant to be both a concert piece and a rock piece that can be played and enjoyed by both classically-trained musicians and amateurs alike.

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GriefElysia Arntzen

©Elysia Arntzen, 2014

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una corda°

138

∑

138

∑

∑

138

∑

138 y>

œ

>Œ Ó

ƒ

∑

œ œ œ œ œ œ œ œ œ œ

œ

œœ

bœ

œœ

∑

œ Œ Œ Œ

"Depression" q = 50

p

p

∑

œ œ œ œ œ œ œ œn œ œ œ

œœœ

œ

œœ

b

∑

œ Œ Œ Œ

∑

Œ jœ œ jœ ˙ ?

œ..˙

˙n

∑

‰ y y ‰ y y

3 3

œ Œ Œ œ

Grief

34

&

?

?

?

ã

E.Gtr.

E.B.

D. S.

Pno.

u.c.

142

∑

142

Œ œ œ œ œb œ œ œ œ œ œ

œœœ

œœ œœb&

142

∑

142 ‰ y y ‰ y y

3 3

œ Œ Œ œ

p

p

∑

œ œ œ œ œ œ œ œ œb œ œ &

œœœœb œœ

œ

?

∑

‰ y y ‰ y y

3 3

œ Œ Œ œ

∑

Œ ˙̇ œœ

b

˙ ˙

∑

‰ y y ‰ y y

3 3

œ Œ œ Œ

∑

..˙̇ œ œ œ œb

w

∑

‰ y y ‰ y y ‰ y y ‰ y y

3 3 3 3

œœ

œœ

&

&

?

?

ã

E.Gtr.

E.B.

D. S.

Pno.

u.c.

146

∑

146

œ œ œ œ œ œ œ œ œ œ œ œ œ œb

œ

œœ

bœ

œ

146

∑

146 ‰ y y ‰ y y ‰ y y ‰ y y

3 3 3 3

œœ

œœ

∑

œ œ œ jœ œ jœ œ

œ..˙

˙n

∑

‰ y y ‰ y y ‰ y y ‰ y y

3 3 3 3

œœ

œœ

∑

Œ œ œ œ œ œ œ œ œb œœ œ

œœœ œ

œœb

∑

‰ y y ‰ y y ‰ y y ‰ y y

3 3 3 3

œœ

œœ

Grief

35

&

&

?

?

ã

E.Gtr.

E.B.

D. S.

Pno.

u.c.

149

∑

149

œ œb œ œ œ œ œ œ œ œ œ œ œb

œœœ

œ œ œ œ œb

149

∑

149 ‰ y y ‰ y y ‰ y y ‰ y y

3 3 3 3

œœ

œœ

∑

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œ

œœ

bœ œœ

∑

‰ y y ‰ y y ‰ y y ‰ y y

3 3 3 3

œœ

œœ

Œ ˙˙̇b œœœ

w

∑

˙ ˙clean

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

E

p

p

p

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ã

E.Gtr.

E.B.

D. S.

Pno.

152

œœœ ˙˙̇b œœ152

Ó Œ œ œ œ œ

∑

152

˙ ˙

152

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

p

˙̇ Œ œœœb

œ œ Œ jœ œ Œ

Œ œ œn œ œ œ œ œ œ œb

Ó ˙

‰ y y ‰ y yœ

y y y y y

3 3 3 3

Ó œ œ

œœœ˙̇˙b œœœ

œb œ œ œ œ œ Œ jœ œ

Œœ œ œ œn œ œ œ œ œ œ

˙ ˙

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

Grief

36

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ã

E.Gtr.

E.B.

D. S.

Pno.

155

œœœ ..˙̇

155

Œ œ œ œ œ œ œ jœ œ

œ œ œ œ œ œ œ œn œ œ œ155

w

155

œy y y y y ‰ y y ‰ y y

3 3 3 3

œ œ œ Œ

p

p

p

p

∑

∑

œ jœ ˙ jœ œ

∑

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∑U

∑U

w

U

∑U

Ó œ ŒU

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˙ ˙

œy y y y y

œy y y y y

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E.B.

D. S.

Pno.

°

159

œœœ ˙˙̇b œœ

159

œ œ œ œ œ œ œ œn œ œ œ

œ œ œ œ œ œ œ œb œ œ159

˙ ˙

159

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

∑

Œ ˙̇ œœ

b

˙ ˙

∑

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

Œœ œ œ œn œ œ œ œ œ œ œ œ

ww &

w

∑

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y y y y y

3 3 3

œ œ œ œ

Grief

37

&

&

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?

ã

E.Gtr.

E.B.

D. S.

Pno.

°

°

162

œ˙˙̇b œœœ

162

œ œ œ œ œ œ Œ jœ œ

œ

œœœ

œœ

b

162

˙ ˙

162

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

p

p

p

p

œœœ ˙˙̇b œœ

œb œ œ œ œ œ Œ jœ œ

œœ œœ Ó

˙ ˙

œy y y y y

œy y y y y

3 3 3 3

œ œ œ œ

Ó Œ œœœb

Ó Œ œ œ œ œ

Œ jœ ˙ Œ

˙b ˙

œy y y

œy y y y y

3 3 3

œ œ œ œ

œœœ˙̇˙b œœœ

œb œ Œ jœ ˙?

∑

˙ ˙

œy y y y y

œy y y y y

3 3 3 3

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ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

◊°una corda

166

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166

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Ó˙

166

w

166

œy y y y y

œy y y

3 3 3

œ œ œ Œ

∑

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b œœ

w

∑

œy y y Œ yæ3

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∑

˙̇ Ó

˙Ó

∑

Yæ let ring

∑

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b

˙ ˙

∑

œ Œ œ Œ

∑

ww

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∑

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Grief

38

&

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ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

(◊)u.c.

171

∑

171

∑

œ œ œ œ

171

∑

171

∑

"Acceptance" q = 100

π

∑

∑

w

œ œ œ œ

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∑

∑

œ œ œn œ

w

∑

∑

∑

w

w

∑

∑

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w

Ó œ œ

∑

Œ œ œ œclean

w

∑

œ œ ˙

∑

p

p

œ ˙ œ

Ó œ œ

∑

w

∑

p

&

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ã

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# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

°u.c.

178

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178 œn ˙ œ œ

∑

178

∑

178

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w

∑

w

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w

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w let ring

∑

rit.

π

∑

∑

œ œ œ œ

∑

∑

∑

∑

œ œ œ œ

∑

∑

∑

∑

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Ó Œ œ

∑

p

œ œ œ œ

∑

∑

w

∑

a tempo

Grief

39

&

?

?

?

ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

° °u.c.

185

w

185

Œ œ œ œ

Œœ œ œ

185

w

185

∑

p

œ œ œn œ

w

w

wn

∑

.˙ œ œ

∑

∑

w

∑

w

∑

œ œ œ œ

w

∑

P

P

∑

∑

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w

∑

∑

∑ &

œ .˙

Ó œ œ

∑P

∑

∑

∑

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# # #

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E.Gtr.

E.B.

D. S.

Pno.

°

192

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192

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∑

192

w

192 .yJy y ‰ y y

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w

Œ œ œ œ

∑

w

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wn

y>

Œ ÓÓ œ Œf

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w

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w

Œ y y ‰ y y y

w

∑

ww#

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Yæœ Œ Ó

∑

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w


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40

&

&

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ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

°

198

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198

ww

∑

198

w

198

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œn .˙

∑

∑

w

œ œ œ Jœ .œ

œ œ œ œwith distortion

ww

∑

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.yj

y y y y

œ Œ œ Œ

F

f

f

f

f

.˙ œ œ

ww

∑

jœ .œ œ œ œ œ

y y y y œ œ œ œœ Œ œ œ œ œ

w


∑


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&

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# # #

# # #

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E.Gtr.

E.B.

D. S.

Pno.

203

∑

203

œn œ œ œ œ œ œ œ

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203


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y .y œœ

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∑

w

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œ œ œ œ@ œæ œ œœ Œ œ Œ

∑

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jœ .œ œ œ œ œ

jœ .œæ œ œ œ œ@œ Œ œ Œ

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w


w

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y y y y

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Grief

41

&

&

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ã

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# # #

E.Gtr.

E.B.

D. S.

Pno.

208

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208

∑

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∑

208 y y y y œœ

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f

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ww

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y y yœæ

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f

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y

‰ .œ œ œ œ œ

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www

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y y yj

y .œæŒ œ ‰ .œ

w

Œ œœœœ

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∑

w

œ œ œ œ@ œæ œ œœ Œ œ Œ

&

&

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ã

# # #

# # #

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# # #

E.Gtr.

E.B.

D. S.

Pno.

213

∑

213 œœ œ œ ˙̇

∑

213

˙ œ œ œ œ

213 jœ .œæ œ œ œ œ@œ Œ œ Œ

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∑

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Ó ‰ œ œ œn

w

œ œ œy y œ

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‰ œ œ œ

Œ ˙̇̇ œœœ

∑

www

˙ ˙

œ œ œy y y y y

œ Œ œ Œ

www


∑

w

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œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ

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42

&

&

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ã

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# # #

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# # #

E.Gtr.

E.B.

D. S.

Pno.

218

Œ ‰ œ œ œ œ œ œ œ œ3 3 3

218

œn œ .˙

∑

218

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218

œ œ ‰y


F

F

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œ œ ˙n œ œ

∑

˙ ˙

œ œ ‰y


www

w

œ>œ œ œ> œ œ œ

œ>œœ>

œœ>

œœ>

3 3

w

œ œ ‰y œ

œœœ

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&

&

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ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

221

Œ ˙̇̇ œœœ

221

‰ œ œ œ ˙

˙ ˙

221

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œ œ œ> œ œ3 3 3 3

221

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f

f

f

f

www

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w


œ œ œ> œ œ3 3 3 3

œ œ œy y y y y .y

œ œ œ œ.œ œ ‰ œ ≈ .œ œ œ

œ œ .œ jœ œ œ œ3

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œœ

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œ œ œ> œ œ3 3 3 3

.yœ œ œ œ

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œœ

y œ œœŒ ‰ œ œ œ .œ œ

Grief

43

&

&

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?

ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

224

œ œ œ œ œ œ œ œ œn œ œ3 3

3

224 w

ww

224


œ œ œ> œ œ3 3 3 3

224œ œ œ

@œæ y y y y y y y

‰ œ œ œ Ó

f

f

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n œœ


œ œ œ> œ œ3 3 3 3

y .œ@

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≈ .œ .œ œ Ó

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.

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..œœ

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&

&

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# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

227 .˙ œ

227 ˙˙ œ œ œ œn

œ œ œ œ œ ‰ Œ

227


œ œ œ> œ œ3 3 3 3

227œœ œ œ œ

y y y œœ

œœ

œœ

y y3

œ œ ≈ .œ œ œ œ œ œ

3

jœn w

œ ‰ Œ œ œ œ œn

œ œ œn œ œ ‰Œ


œ œ œ> œ œ3 3 3 3

Yæœ œ œ œ œ œ œ œ œ œ œ

∑

œ œ œ œ

œœ

œœ

œœ

œœ


œ œ œ> œ œ3 3 3 3

œœ

œy y y y y .y œ

œœœ.œ œ ‰ œ ≈ .œ œ œ

Grief

44

&

&

?

?

ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

230

Œ œ œ œ

230 w

ww

230


œ œ œ> œ œ3 3 3 3

230œœ œ œ œ .œ@ œ œ œ œ! œ

@ œœœ œ ≈ .œ .œ œ ‰ œ

f

f

f

f

w

œ œ œn œ

œœ

œœ

œœn

n œœ


œ œ œ> œ œ3 3 3 3

œœ

œœ

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.

.˙˙

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œ œ œ> œ œ3 3 3 3

æ̇œ œ œ œ œ œ œ œ .œ œ œ œ œ

&

&

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# # #

# # #

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# # #

E.Gtr.

E.B.

D. S.

Pno.

233

∑

233 œn œ ˙̇̇

œœn

n œœ

˙˙

233


œ œ œ> œ œ3 3 3 3

233

œ œ œy

œ œ œy y

œ œ œ

33

œ œ œ œ

ƒ

∑

www

ww

œ>œ œ œ> œ œ œ> œ> œ> œ>3 3

jy .œæ œ

œœœ

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∑

∑

∑

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yœ œ œ œ œ œ œ œ .œ

y œ œ œ œ ‰ œ ≈ .œ

ƒ

ƒ

∑

∑

∑

∑

œ œ œœ œ œ

y y y .y œœ

œœ

œœ

3

.œ œ ‰ y y y .œ œ œ œ

3

Grief

45

&

&

?

?

ã

# # #

# # #

# # #

# # #

E.Gtr.

E.B.

D. S.

Pno.

237

∑

237

∑

∑

237

∑

237 y œ œœ

œ œ œ œ œy y y y y y y

3

.y œ ‰ œ œ œ œ y ‰ œ œ

ƒ

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∑

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œœœ œ œ œ œ .œ y œ œ œ .œ

&

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# # #

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E.Gtr.

E.B.

D. S.

Pno.

241

∑

241

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y y y .y y y y y y œœœ œ ≈ .œ .œ œ ‰ œ

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∑

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Grief

46

&

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ã

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# # #

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E.Gtr.

E.B.

D. S.

Pno.

245

∑

245

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245

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245 yœ œ œ œ œ

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y œœ

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y œ œ œ œ œ œ

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f

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3

3

3

yœ œ œ œ

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y œ œ œ œ œ œ

∑

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n œœ


3

3

3

y œœ

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y œ œ œ œ œ œ

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# # #

# # #

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GRIEF: SUITE FOR RHYTHM SECTION A CREATIVE PROJECT