Marc Sabatmarsbat.space/pdfs/ocean.pdf · consonant world of untempered major and minor triads, including recurring echoes of dissonant microtonal commas and higher harmonic partials

M a r c S a b a t

Asking ocean

for solo string quartet

and 18 instruments

P L A I N S O U N D M U S I C E D I T I O N

for Harry Partch

who opened a door and went outside

(1901-1974)

Asking ocean (2016) for solo string quartet and 18 instruments

String Quartet (2 Violins, Viola, Violoncello)

Flute 1 (also Piccolo, Alto Flute, Bass Flute)

Flute 2 (also Alto Flute, Bass Flute)

Oboe (also Bass Oboe)

Clarinet 1 in Bb (also Bass Clarinet)

Clarinet 2 in Bb (also Bass Clarinet with low range to sounding B, written C#)

Alto Saxophone in Eb

Double Horn (score is written for a horn with lengthened 3rd valve and quartertone 4th valve)

Trumpet 1 in Bb (also Piccolo Trumpet in Bb)

Trumpet 2 in Bb (also 4-hole Natural Trumpet tuned to concert C+47c)

Tenorbass Trombone

5-valve F-Tuba

Percussion 1 (Glockenspiel, Vibraphone, Tuned objects — see scordatura pages)

Percussion 2 (Crotales, Marimba with 5 altered pitches — low range from Gb2, Tuned objects — see scordatura pages)

Chromatic Pedal Harp in a scordatura tuning

2 Manual Harpsichord in a scordatura tuning (5-octave range Gb1 to F6) (also Piano)

Violin in a scordatura tuning

Viola in a scordatura tuning

Violoncello in a scordatura tuning (also 7-string Bass Viola da Gamba in a scordatura tuning with double frets)

commissioned by Sonar Quartett for the musicians of the Ensemblekollektiv Berlin

made possible by a grant from the Ernst von Siemens Musikstiftung

premiere : Festival Ultraschall, Berlin, January 2017

About the music Asking ocean (2016) is a work for solo string quartet and ensemble based on a previous work, Euler Lattice Spirals Scenery (2011). This string quartet was composed in Rome during a one-year residency at the Villa Massimo, and premiered by Sonar Quartett on 20 October 2011. The musical form follows from establishing and exploring microtonal variations of intonation, based upon an interlocking network of harmonically related pitches tuned in extended just intonation. The work is divided in seven parts, played mostly without pause: Prelude (intonation) — Pythagoras Drawing 1 – Harmonium for Claude Vivier – Interlude (intonation) — Harmonium for Ben Johnston – Trill flowers fell — Pythagoras Drawing 2. The form of the earlier composition has been extended with additional material. The initial tuning of open strings in “Prelude”, beginning with the Kammerton “A”, interweaves passages establishing the tuning relationships of the scordatura string instruments and natural trumpet. In the first “Drawing”, the winds join, tuning with the Pythagorean bordun tones of the quartet open strings and sketching melodic fragments touching the higher harmonics 5, 7, 11. The “Vivier” sections features the quartet musicians playing solo without ensemble, exploring natural harmonics of their open strings in a sustained ecstatic melody. The following “Interlude” is a brief second intonation, featuring the tuning of the scordatura viola da gamba, harp and harpsichord, which become a kind of microtonal continuo ensemble in the following “Johnston” section. Here instruments from the larger ensemble join, support and at times reveal the string quartet’s gradual microtonal journey through Leonhard Euler’s harmonic lattice of major and minor triads linked by common tones. They colour and extend the quartet’s pure, consonant world of untempered major and minor triads, including recurring echoes of dissonant microtonal commas and higher harmonic partials tuned above and below the fundamental pitches. As the quartet gradually and imperceptibly moves away from the conventionally tuned pitches, these “near-tempered” tones are taken up by other instruments, suggesting distant harmonic relationships connecting the lattice-map of harmonic space. At the same time, the scordatura instruments with fixed pitches based upon these higher harmonics help to support and anchor the quartet’s microtonal modulations. In the following pages, a diagram of the 99 tones and the nearby higher partials is included. “Flowers” adds an entirely new section in which the quartet takes the role of a sotto voce cantus firmus, playing a quartertone chorale slowly spiralling downward over the course of five transformations, with freely ornamentaed overlays played by changing intrumental subgroups of the ensemble collective. Each time the uppermost chorale voice falls an octave, until finally, the Ivesian harmony of the quartet is revealed, quiet and alone. The “Drawing 2”, backwards and transformed, suddenly closes the music box, bringing us back to the A with which we began.

ii

About the notation The use of extended just intonation applies both to vertical, harmonic structures and to melodic sequences of tones, asking players to hear and play many pitches which depart from conventional tempered tones. There is no fixed system, scale or number of tone-divisions, instead the entire tonal continuum is imagined as a fabric connected by rational interval relationships based on interlocking harmonic series. These relationships are are indicated in the score by attaching small numbers to each pitch, indicating cents (1/1200 octave), measured as deviations from the nearest tempered pitch. When the deviation from the spelling of the pitch would have exceeded ±50c, the nearest sounding pitch-class is written to facilitate work with an electronic tuner. The ensemble chooses its Kammerton frequency based on the tuning of the fixed pitch percussion instruments, so that each individual player may rehearse using a clip microphone and electronic tuning device set to this chosen reference. In a performance, it is likely that the overall tuning will deviate at times, so it is important to explore several possible alternate fingering scenarios to be able to flexibly adapt to unexpected changes in the intonation. More important than static, absolute pitch height is the players’ perception and musical articulation of consonant harmonic relationships, which are dynamic and moving interactions of tones and their harmnonics. Several complementary notations indicate the intervallic relationships which allow pitches to be adjusted in context. The accidentals used are based on the Extended Helmholtz-Ellis JI Pitch Notation, which uses different symbols to show the characteristic tuning of various natural harmonic series primes: 3 (Pythagorean, fifths and fourths) is represented by using the conventional series of flats, naturals, sharps: therefore flats are tuned lower than enharmonically similar sharps by a Pythagorean comma, approximately 1/9 tone (23.5c); 5 (Ptolemaic, the consonant thirds and sixths) by attached arrows indicating the syntonic comma, lowering the Pythagorean ditone by approximately 1/9 tone (21.5c) to make a major third; 7 (Septimal, the bluesy low natural seventh and minor third) by Tartini’s 7-like half-arrows indicating the septimal comma, lowering the Pythagorean intervals by approximately 1/7 tone (27c); 11 (Undecimal, the natural fourth-plus-quartertone) by Richard Stein’s reverse flat and cross indicating the 32 : 33 quartertone (53c); 13 (Tridecimal, the neutral sixth) by quartertone symbols with a second vertical stroke indicating the 26 : 27 thirdtone (65c); T (equal tempered half- and quartertones) are given by conventional accidentals with a small horizontonal line; sometimes also combined with cents deviations to indicate an exact microtone. Please also see the following legend with symbols of the Helmholtz-Ellis Notation. To help read the microtonal accidentals, or to clarify the characteristic sound or function of certain pitches, additional numerical notations are used. Readily tunable harmonic (vertical) pitch relations are written as frequency ratio fractions in boxes, representing simple consonant intervals. For example, a natural major third might be written as 5/4 (the interval between harmonics 4 and 5 of the series). In the following pages tables of tuneable intervals and of the harmonic series in HE notation are included to provide examples of these ratios. Another indication used in the score consists of a harmonic series number (3, 5, 7, 11, 13) combined with either “u” or “°” to indicate the function of a tone. For example, 7° means “sounds like a natural 7th harmonic above something” and u11 (under-11) means “tuned a quartertone plus fourth below something, which would then sound as its 11th harmonic”. Melodic intervals are often written as ratios and cent distances positioned between notes, using a colon notation. For example, the diatonic semitone 15 : 16 = 112c. In general, the composition attempts to provide consonant pitches in the instrumentation to allow the various microtones to be realised by ear, however, the sometimes dense microtonal counterpoint creates beatings and collisions which may disorient the ear. The style of articulating pitches in this context is perhaps closer to that in Byzantine song or Turkish, Arabic, Persian or Indian traditions, where the microtonal sruti-region of a complex pitch relationship is brought into awareness, and its exact, precise tuning found in the course of a subtle portamento into the center of pitch, rather than the Western convention of experiencing an "in tune" / "out of tune" dichotomy based on static pitch. The intention of the intonation is to maximise the resonance and sensation of both consonance and dissonance, the impression that melody and harmony are interwoven in a beautiful, at times complex network of relationships perceptible to the ear, interacting tonally at all times.

iii

About the instruments A number of instruments are given special scordatura tunings to more reliably provide some fixed microtonal pitches. On the following pages, charts are provided describing details of the various scordature. Small sequences of chords and little examples combining the instruments are included in the table and may be used freely, modified and extended as needed when tuning before a rehearsal or performance. All of the preparatory sounding of the tuning, hearing the intervals and their manifold relationships unfold may be considered a kind of ongoing overture-extension to the written piece, played ad libitum, and flowing into the explicitly composed “intonations”. For the woodwind players, the use of instruments with dedicated quartertone keys (for example, Kingma System flutes, Howarth-Redgate oboes, etc.) is highly advised to come as close to the required pitches as possible. Adjustments of embouchure, though absolutely necessary when producing the pitches, are not sufficiently accurate or reliable used on their own to realise this score with the necessary accuracy. Seeking out alternate fingerings with clear and steady timbre (even if unusual or melodically quite varied) is recommended. Conventional fingerings should be tested with a tuner to determine their tendencies, which will vary from instrument to instrument. The brass use valve tunings based on just ratios as described in the tables, and unconventional valve combinations are used to provide a larger microtonal gamut. Suggested fingerings to get close to desired pitches are given in the score, but players are encouraged to seek out other, possibly better solutions which facilitate the accurate and expressive realisation of the written pitches. Sometimes it may be more musical to use more lip adjustment or a temporary change of valve-slide position to obtain a suitable timbre or to articulate small microtonal variations. Mutes which allow accurate tuning may be used when their colour benefits balance and harmonic clarity, the realisation of an appropriate dynamic, ad libitum, but they are not specified in the score. The tempered (fixed-pitch) percussion — Glockenspiel, Vibraphone, Crotales and Marimba — should be chosen so that their frequencies are as close to equal-tempered tuning as possible, sharing the same reference frequency in Hz. This frequency will determine the Kammerton shared by the ensemble when setting tuning meters and used for tuning the scordatura fixed pitch instruments. The percussionists are also asked to assemble a heterogenous set of tuned objects to form a specific microtonal scale and additionally to lower 5 tones of the marimba to the pitch-height of the natural 7th harmonic. The pedal harp and harpsichord are tuned microtonally, as are the ensemble strings: violin, viola, cello and a 7-string bass viola da gamba with double frets. The harpsichord and the harp are to be subtly reinforced with amplification. The impression for the ensemble and the audience should be of a natural, acoustic balance. The dynamic level is, for the most part, soft. The ensemble shades and colours, only rarely envelops, the solo string quartet, which (even when very soft) should remain at the centre of the music. Written dynamics are mere suggestions to phrasing and articulation, and may be interpreted with freedom. Because there are many sustained tones, musicians may breathe or change bow whenever needed. Seek timbres which maximise harmonic interaction and blend with each other and with the other instruments. Regarding the flow of time, the perception of intonations and modulations, swiftly but fully and clearly revealed, should inform pacing. The music is never metronomic, with the exception of the “Vivier” movement for solo quartet. In “Flowers”, the time should flow particularly slowly and flexibly. Each “bar”, conducted and felt mostly in 1, is part of a larger grouping of bar-units, which articulate an underlying harmonic chorale. Time may be plastic rather than strict, responsive to the density of material and the particular circumstances of each performance. The vertical coordination between instruments may at times need to be clearly, precisely realised, and at other times may take place more freely, independently. To provide an overview of fermatas and of the harmonic skeleton, there is a two-stave cue line provided in the score. This is given simply as an aid to conducting the work and to pointing out some of the tonal references or composite melodic lines, and as not intended as a full particell of “primary” material to be highlighted. In the “Johnston” movement, each bar is based on one central tone, above or below which a triadic harmony and various higher partials are articulated. These central tones are indicated either with “1°” (above which harmonic intervals form a major triad) or “u1” (below which subharmonic intervals form a minor triad). The music is dedicated to Harry Partch, who introduced the 11-limit. Berlin, November 2016

iv

STAGE PLAN

SQ Vl1

SQ Vl2 SQ Vla

SQ Vlc

Conductor

Ens Vl

Ens Vla

Ens Vc Gamba

Fl1

Fl2

Ob Sax

Cl1

Cl2

Hn

Tp1

Tp2

Tb

Tuba

Perc1 Glock Vibes

Perc2 Crotales Marimba

Piano (without lid)

Harpsichord (amplified)

Harp (amplified)

An informal introduction to the Helmholtz-Ellis Accidentals by Marc Sabat Berlin, April 2009 In learning to read HE accidentals, without having to rely on an electronic tuning device, it is important to be familiar with three things: First, to keep in mind the natural tuning of intervals in a harmonic series, which deviate from the tempered system. Second, to get to know how the accidentals refer to these overtone relationships. Third, to observe that each written pitch may be related to many other pitches by natural intervals, and to tune it accordingly. In most cases, this approach will allow the player to quickly and intuitively play just intonation (JI) pitches quite accurately. Any remaining adjustments can be made by ear, based on the specific sound of JI intervals. Just intervals are readily learned because they are built up from simple, tuneable harmonic relationships. These are generally based on eliminating beating between common partials, finding common fundamentals and audible combination tones, and establishing a resonant, stable sonority which maximizes clarity: both of consonance and of dissonance. A well-focussed JI sound is completely distinct from the irregular, fuzzy beating of tempered sounds. Just consonances, when marginally out of tune, beat slowly and sweetly and may be corrected with the most subtle adjustments of bowing or breath. Just dissonances produce a sharply pulsing regular rhythm and have very clear, distinct colors. To become familiar with the notation and sounds of JI, the fundamental building blocks are prime number overtones 3, 5, 7, 11 and 13, each of which is associated with a specific pair of accidentals and a basic musical interval. 3 is associated with the signs flat, natural, sharp and refers to the series of untempered perfect fifths (Pythagorean intonation). Generally, A is taken as the tuning reference, and the central pitches C-G-D-A-E can be imagined as the normal tuning of the orchestral string instruments. The just C is rather lower than tempered tuning because of the pure fifths. The further this series is extended, the greater the deviation from tempered tuning: the flats are lower, the sharps higher. 5 is associated with arrows attached to the flat, natural, sharp signs and refers to the pure major third. These arrows correct the Pythagorean intervals by a Syntonic Comma, which is approximately 1/9 of a wholetone or 22 cents. So, for example, the note E-flat arrow-up is a just major third below G, and the note F-sharp arrow-down is a major third above D. In most music, flats are often raised by a comma and sharps are lowered. Because of the open string tuning, it is common to sometimes raise F and C (to match A and E) and to sometimes lower A and E (to match F and C). Corrections by one Syntonic Comma have been used throughout Western music history and are relatively familiar to the ear. However, traditionally these corrections have been hidden by players, for example in Meantone Temperament where fifths are mistuned narrow by ! comma so that the third C-E ends up sounding pure. More recently, the currently prevailing Equal Temperament has made us accustomed to beating thirds, so at first the pure intervals may seem unfamiliar. To play the arrows accurately, one must carefully learn the sound of the consonant major and minor thirds and sixths, and learn to articulate comma differences clearly. 7 is associated with a Tartini sign resembling the numeral. It corrects the Pythagorean intervals by a Septimal Comma, which is approximately 1/7 of a wholetone or 27 cents. When the Pythagorean minor third is lowered by this amount, it becomes a noticeably low third often heard in Blues music. 11 is associated with the quartertone signs (cross and backwards flat). The accidental is used to raise the perfect fourth by 53 cents, producing the exact tuning of the 11th partial in a harmonic series. The sound is most easily learned by playing one octave plus one fourth and raising it by a quartertone. 13 is associated with the thirdtone signs (cross and backwards flat, each with 2 verticals). The accidental is used to lower the Pythagorean major sixth by 65 cents, producing the exact tuning of the 13th partial in a harmonic series. The sound is most easily learned as a neutral-sounding sixth, one-third of the way between the just minor and just major sixths (closer to minor than to major). The following table presents the accidentals together with their associated ratios and cents deviations. To calculate the cents deviation from Equal Temperament of a specific written pitch (if desired) the following shortcut may be used: 1.) Find the cents deviation of the Pythagorean pitch, by calculating how many fifths it is away from A, multiplying by 2, and using a plus sign if it is on the sharp side and a minus if it is on the flat side. 2.) For each microtonal accidental, add or subtract its approximate cents value (as given above), keeping in mind whether the accidental is raising or lowering the pitch. The resulting value should be a cents deviation within 1 or 2 cents accuracy, which is an acceptable starting point for fine-tuning by ear.

v

A C C ID E N T A L S EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

f o r J u s t I n t o n a t i o n

d e s i g n e d b y M a r c S a b a t a n d W o l f g a n g v o n S c h w e i n i t z

The exa c t in to nat io n o f each p it ch m ay be writ ten out by means of the fo l l o wing ha rm o nica lly-defined signs:

E e n v V

Pythagorean series of fifths – the open strings

( … c g d a e … )

dmuU Ffow

lowers / raises by a syntonic comma

81 : 80 = ci rca 2 1 . 5 cents

cltT Ggpx

lowers / raises by two syntonic commas

ci rca 4 3 cents

< >

lowers / raises by a septimal comma

64 : 63 = ci rca 2 7 . 3 cents

• ¶

lowers / raises by two septimal commas

ci rca 5 4 . 5 cents

4 5

raises / lowers by an 11-limit undecimal quarter-tone

33 : 32 = ci rca 5 3 . 3 cents

0 9

lowers / raises by a 13-limit tridecimal third-tone

27 : 26 = ci rca 6 5 . 3 cents

: ;

lowers / raises by a 17-limit schisma

256 : 255 = circa 6 . 8 cents

/ \

raises / lowerss by a 19-limit schisma

513 : 512 = circa 3 . 4 cents

∞ ±#

raises / lowers by a 23-limit comma

736 : 729 = circa 1 6 . 5 cents

In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to indicate its absolute pitch-height as a cents-deviation

from the respectively indicated chromatic pitch in the 12-tone system of Equal Temperament.

The attached arrows for alteration by a syntonic comma are transcriptions of the notation that Hermann von Helmholtz used in his book

“Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863).

The annotated English translation “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) is by Alexander J. Ellis,

who refined the definition of pitch within the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents.

The sign for a septimal comma was devised by Giuseppe Tartini (1692-1770) – the composer, violinist and researcher

who first studied the production of difference tones by means of double stops.

vi

V O R Z E I C H E N EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

f ü r d i e n a t ü r l i c h e S t i m m u n g

k o n z i p i e r t v o n M a r c S a b a t u n d W o l f g a n g v o n S c h w e i n i t z

D ie S t im mung jedes Tons ist mit fo lgenden harm o nisch definier ten Vo r z e i chen ausnot iert :

E e n v V

Pythagoreische Quintenreihe der leeren Streicher-Saiten

( … c g d a e … )

dmuU Ffow

Erniedrigung / Erhöhung um ein Syntonisches Terzkomma

81 : 80 = ci rca 2 1 . 5 cents

cltT Ggpx

Erniedrigung / Erhöhung um zwei Syntonische Terzkommas

ci rca 4 3 cents

< >

Erniedrigung / Erhöhung um ein Septimenkomma

64 : 63 = ci rca 2 7 . 3 cents

• ¶

Erniedrigung / Erhöhung um zwei Septimenkommas

ci rca 5 4 . 5 cents

4 5

Erhöhung / Erniedrigung um den undezimalen Viertelton der 11er-Relation 33 :

32 = circa 53 . 3 cents

0 9

Erniedrigung / Erhöhung um den tridezimalen Drittelton der 13er-Relation 27 :

26 = circa 65 . 3 cents

: ;

Erniedrigung / Erhöhung um ein Siebzehner-Schisma

256 : 255 = circa 6 . 8 cents

/ \

Erhöhung / Erniedrigung um ein Neunzehner-Schisma

513 : 512 = circa 3 . 4 cents

∞ ±#

Erhöhung / Erniedrigung um ein Dreiundzwanziger-Komma

736 : 729 = circa 1 6 . 5 cents

Zusätzlich zu der harmonischen Definition der Tonhöhe durch das Vorzeichen für jeden Ton ist auch der Cents-Wert der Abweichung der gewünschten Stimmung

von der Tonhöhe des jeweils bezeichneten chromatischen Tons der gleichstufig temperierten Zwölfton-Skala angegeben.

Die attachierten Pfeile für die Alteration um ein Syntonisches Terzkomma sind eine bloße Transkription der Notation, die Hermann von Helmholtz in seinem Buch

“Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863) verwendet hat. Die kommentierte englische Übersetzung

“On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) stammt von Alexander J. Ellis, der auch eine enorme Verfeinerung der

Tonhöhendefinition innerhalb des Zwölftonsystems der gleichstufig temperierten Stimmung durch die Unterteilung der Oktave in 1200 Cents eingeführt hat. –

Das Vorzeichen für die Alteration um ein Septimenkomma wurde von Giuseppe Tartini (1692-1770) erfunden, der als Komponist, Geiger und Wissenschaftler

die durch Doppelgriffe erzeugten Differenztöne untersucht hat.

vii

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testedandnotatedinthreegradationsofdifficulty(largeopennotehead=easiest;smallblacknotehead=mostdifficult)

byMarcSabat(violin/viola)withassistancefromWolfgangvonSchweinitz(cello),BeltaneRuiz(bass),AnaïsChen(violin)—Berlin,2005

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23-LIMIT TUNEABLE INTERVALS above “A3”

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41 42 43 44 45 46 47 48

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THE HARMONIC SERIES 1 - 64 above “A0” (overtone row)

notatedusingtheExtendedHelmholtz-EllisJIPitchNotation

microtonalaccidentalsdesignedbyMarcSabatandWolfgangvonSchweinitz,2004

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NATURAL

TRUMPET

PICCOLO

TRUMPETinBb

TRUMPET

inBb

TROMBONE

Bb-side

TROMBONE

F-side

5-VALVEF-TUBA

&

Valve-slidetuningfordoublehornwithextendedlength3rdvalveandquartertonevalvetoproduceadescendingsubharmonicseriesoffundamentals

intheproportion30:31:32:33:34:35:36:37:38:39:40:41:42:43:44:45.

Pleasecheckwhitenoteheadsfirst,thenverifythedescendingseries,makingcompromiseswherenecessary.

ThemainslideistunedslightlyhighforbothBb+12andF+14sidesofthedoublehornsothattheuntempered5.partialsD-2andA+0matchtheopenstrings.

The2ndvalveistunedtoproducealargediatonicsemitone16:15=-112c.

The1stvalveisalsomadeslightlylongersothatincombination1+2producesajustminorthird6:5=-316c.

Thespeciallylengthened3rdvalveistunedsothat2+3producesajustfourth4:3=-498c.

Thequartertone4thvalveisadjustedsothatthecombinationofallvalveslowersbyajustfifth3:2=-702c.

Thepitchesarewrittensometimes(insimplercases)asHelmholtz-Ellisaccidentals,toindicatetheproportionalharmonicrelationship.

Otherwise,thenearesttemperedquartertoneisgiven,usingaccidentalsmodifiedwithasmallhorizontallinetoresembletheletter“T”.

Fingeringsgiveninthescorearededucedfromharmonicseriesofthesevalve-combinationstoapproximatethemicrotonalpitches.

Sinceactualoverblownseriesarenotalwaysexactlyharmonic,andmaybeadjustedbyvariouslipandhandcorrections,

theplayerisencouragedtofindthebestsoundingalternatefingeringsbyexperimentationusingthistableasastartingpoint.

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SCORDATURESCORDATURE

BrassBrass

&

harmonic#:

Naturaltrumpetwith4ventingholes,combininganA-415BbyardandaBblead-pipewithaDcrooktoproducethefundamentalC+47cmeasuredatmodernconcertpitch.

Theactualpitchesofthenaturalseriesarewrittenatsoundingpitch,inflectedinthescorewithmicrotonalaccidentalswhichmaybeignoredwhenplaying..

Inthetablebelowtheyarealsoindicatedbywhitenoteheadswithboxednumbersindicatingharmonicsofthequartertone-highC,11°overPythagoreanF.

Pleaseadjustpitcheswhenplayingtoproducetheharmonicseriesasclosetoitsuntemperedtuning,indicatedincents.

Additionaltonesareproducedbyopeningvariouscombinationsofthefourventingholesandbylipping.

OpenholesareindicatedascombinationsofthesymbolsT,1,2,3toshowthefinger(s)tobelifted.

Variouspitcheswithinonebartobeproducedbyslightembouchureadjustment.

Ord.iswrittenwhenplayingordinaryharmonicswithallholescovered.

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(fingering:

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4m

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&

PiccolotrumpetinBbwithfourvalves,tunedtonaturalintervals.

Pleasecheckcentsdeviationsofwhitenoteheadsfirst,followedbyunisonswiththevalvecombination1+4,thenverifytheremainingcombinations,adjustingvalveslidesasneeded.

Opentrumpetshouldsitcomfortablyontheslightlyhighside(soundingBb+12).

The2ndvalveistunedtoproducealargediatonicsemitone16:15=-112cdowntoconcertA.

The1stvalveistunedtoproduceaPythagoreanwholetone9:8=-204c(soundingAb+10).

The3rdvalveandopentrumpetshouldmatchwellonthewrittenE(soundingD-2c)unison.

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&

TrumpetinBbwithfreelymoveableslideson1.and3.valves.

Pleasecheckcentsdeviationsofwhitenoteheadsfirst.

Opentrumpetshouldsitcomfortablyontheslightlyhighside(soundingBb+12).

The2ndvalveistunedtoproducealargediatonicsemitone16:15=-112cdowntoconcertA.

Lowerlimitofvalveslides1and3mayvary,inthistabletheycoverca.-70c,andfingeringsgiveninthescorearebasedapproximatelyonthisrangeofalteration.

Sincethereareoftenalternatefingeringsandlipadjustmentspossible,theplayersareencouragedtofindthebestsoundingalternatefingeringsbyexperimentationusingthistableasastartingpoint

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&

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Whitenoteheadsindicatethefundamentalpitch-classineachposition(8.Partial).

Bracketednotesindicateenharmonicallyrespelled(simplified)variantsoftherespectivepartials.otherpitchesarewriiteninHelmholtz-Ellisnotation.

ThemainslideistobetunedtoaslightlyhighBb+12inpositionBbIandthetrigger-valve-slideshortenedsothatitmakesatrueperfectfourth4:3=-498cdowntoF+14inpositionFI.

Changingthetriggerwhilekeepingmoreorlessthesameslidepositiontoobtainmicrotonalpitchrelationshipsisindicatedinthescorewitha*.

Sinceactualoverblownseriesarenotalwaysexactlyharmonic,inpracticenoteswillneedslightcorrectionstocreatethetrue“natural”relationships.

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Pleasecheckwhitenoteheadsfirst,thenverifythedescendingseries,makingcompromiseswherenecessary.

ThemainslideistunedslightlyhightoF+14sothattheuntempered5.partialAmatchestheensemble’sKammerton.

The2ndvalveistunedtoproducealargediatonicsemitone16:15=-112c(E+2).

The1stvalveisalsomadeslightlylongersothatitproducesaPythagoreanwholetone9:8=-204c(Eb+10).

The3rdvalveistunedtoajustminorthird6:5=-316c(D-2).

The4thvalveistunedtoaperfectfourth4:3=-498c(C+16).

The5thvalveistunedsothatthecombination4+5producesaperfectfifth3:2=-702c(Bb+12)and5onitsownproducestheseptimalminorthird7:6=-267c(D+47).

Thepitchesarewrittensometimes(insimplercases)asHelmholtz-Ellisaccidentals,toindicatetheproportionalharmonicrelationship.

Otherwise,thenearesttemperedquartertoneisgiven,usingaccidentalsmodifiedwithasmallhorizontallinetoresembletheletter“T”.

Fingeringsgiveninthescorearededucedfromharmonicseriesofthesevalve-combinationstoapproximatethemicrotonalpitches.

Sinceactualoverblownseriesarenotalwaysexactlyharmonic,andmaybeadjustedbyvariouslipandairpressurecorrections,

theplayerisencouragedtofindthebestsoundingalternatefingeringsbyexperimentationusingthistableasastartingpoint.

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TUNED

OBJECTS

HARP

(scordatura)

HARPSICHORD

(scordatura)

CROTALES

MARIMBA

HARP

(sound)

HARP

(scordatura)

HARPSICHORD

(sound)

HARPSICHORD

(scordatura)

VIOLIN

(sound)

VIOLIN

(scordatura)

VIOLA

(sound)

VIOLA

(scordatura)

&

Percussion:selectfixed-pitchinstruments(crotales,vibraphone,glockenspiel,marimba)withthesamereferencefrequencyandverifythatthepitchesmatchcloselyinallregisters.

ThecommonfrequencyofA4willdeterminethechoiceofensembleKammerton.

Themarimbahasfivespeciallypreparedtones,loweredabout-31ctomatchthenaturalharmonicseventhsoftherespectivetemperedfundamentals,usingplasticineorsimilarmaterial.

Additionally,ascaleofvarioustunedobjectsistobechosenbythetwoplayers.

Anymaterials(metal,glass,tubes,bowls,plates,gongs,cowbells,mbira,etc.)maybeincluded.

Seekoutavarietyoftonecolourstocreateadiversegamutoftimbresidentifiableasthewrittenpitchesandsuitableforcombinationwithharpandlute-stopharpsichord.

Choosemainlyringingsoundswith,forthemostpart,somewhatlongerdecays,ranginginspectrumfromapuretonetosomewhatcomplexmixturesofharmonics,butalwayswithsalientpitch.

Pleasemeasurethefrequenciesprecisely,whileplayingatagenerallysoftdynamic;eachsoundshouldgivetheimpressionofhavingaprimaryorfundamentalfrequencyatthepitchandintheoctavewritten.

Fine-tuneasneededbyapplyingsmallamountsofplasticineorsimilarmaterials.

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n

0

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4

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4

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PercussionPercussion

&

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n

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∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

&

›

Thefollowingpitchesofcrotalesoccur.

Pleasechooseinstrumentsascloseintuningtotheequaltemperedpitches(0c)aspossible.

&

Pleaseretunethefollowingfivemarimbatonesbyaddingalittleplasticineorsimilarmasstothebarsinsuchamannertolowerthefundamentalwithoutlosingtoomuchnaturalresonance.

Thecentsvaluesindicatedarethedeviationsofnatural7thharmonicsfromtheopenstringsC-G-D-A-EtunedPythagorean.

Becauseofthemarimba’stemperedtuningandinharmonicity,thesecentvaluesmaybeslightlytempered,butshouldnotdeviatetoofarfrom-31c.

Theyshouldsound“intune”witheachother(asfourthsandfifths)andwiththerespectiveharp,harpsichord,ensembleviola/violintonesindicatedbelow.

Lowestmarimbapitchusedinthescore:Gb2

-37

<e

<

-35

<

-33

<

-31

<

-29

&

<e

<

∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

∑

<

<

<

∑

?

∑ ∑ ∑ ∑ ∑

&

∑ ∑

&

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑

<

o

<

o

&

∑ ∑ ∑

2°/IV

o

3°/IV

o

B ∑ ∑ <

o

<

o

∑

B ∑ ∑

2°/IV

o

3°/IV

o

∑

˙˙

˙

˙˙

˙

˙˙

˙ ˙

˙

˙˙

˙ ˙

˙˙

˙

˙v

˙e˙v

˙v

˙e ˙v˙e ˙v

˙n˙v

˙e˙v

˙e˙v

˙e˙v

˙v˙v

˙n

˙v˙v

˙n˙e ˙n

˙n˙e

˙n ˙v˙n ˙v

˙n˙n

˙e ˙n˙e ˙n

˙e ˙n

˙n˙n

˙n˙n

˙n˙e ˙n

˙n˙n

˙n˙n

˙v˙n

˙e ˙n

˙

˙

˙

˙

˙

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˙v

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On

˙

˙

On

On

xii

{

{

{

{

{

{

ù

û

{

{

{

ù

û

{

HARP

(sound)

HARP

(scordatura)

™™

™™

™™

™™

™™

™™

™™

™™

HARPSICHORD

(sound)

HARPSICHORD

(scordatura)

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

™™

&

Chromaticpedalharpinascordaturatuning:thecentsvaluesgivenarebasedonan“ideallyadjusted”pedalmechanismproducingtemperedalterationsof100c.

Inpractice,thesecentsvaluesmayrequiresubtlecompromisestoobtaingoodoctavesandfifthsinthevariouspedalsettings.

Harpisnotatedtwiceinbothscoreandparts:atsoundingpitch(sound)andatplayingpitch(scordatura).

Pedalindicationsforchangingpitchesaregiveninboxesbelowthescordaturastaff.

Cautionarypedalingisindicatedbynotesinbrackets.

+12

o

4

+47

-2

n

B-37

4f

+14

o

4

+49

-37

<

Harp / HarpsichordHarp / Harpsichord

& Fb+12

5<

<m

Gb+47

h 0o

-2

:f 5<m

-37

<e

Cb+14

5<

<m

Db+49

h 0o

E-37

4f

& +12

f

4

+47

-2

n

A-37

4f

+14

f

4

+49

-37

<e

&

Thesametuningofthepitches

repeatsinalloctaves

&

&

&

Thefollowingsequenceofchordsmovesthroughthemaintriadicconsonances.

Pleasefindatuningwhichoptimisesthesweetnessofasmanyofthechordsaspossible.

Notethatthefifthsbetweensimilarpedalsettings(b-b,#-#)arethemostpure.

f

4/3/2

f

f

f

10/6/5

n

n

f

6/4/3

o

o

o

4/3/2

o

o

o

10/6/5

n

n

5<

4/3/2

5<

5<

5<

10/6/5

5<m

5<m

4

4/3/2

4

4

4

8/5/4

4f

4f

4f

4/3/2

4f

4f

4

6/4/3

4

4

4

4/3/2

4

4

4f

8/5/4

4

4

4f

4/3/2

4f

4f

<e

4/3/2

<e

<e

<e

6/4/3

<

<

<e

21/14/12

<

n

?

&

repeatinalloctavesadlib.

?

E§ Fb Gb Ab

Db Bb Cb

F# C# A# F§ A§

C§

G# D# B# Eb

B§

E# Ab E§ Fb Gb (Ab)

Db Bb Cb

&

2-manualharpsichordinascordaturatuning.

Thetwo8'registersaretobeassignedtothetwomanuals(uncoupled)andtuneddifferentlyfromeachotherasindicatedbelow.

The4'isnotused,butifitresonatesaudibly,thenitshouldbetunedtothemanualitislinkedto.Alutestopforbothmanualsisusedinthescore.

Harpsichordisnotatedtwiceinbothscoreandparts:atsoundingpitch(sound)andatplayingpitch(scordatura).

Thescordaturastaffiswrittenon4staves.Theuppertrebleandbassstavesindicatetonesplayedontheuppermanual,thelowertrebleandbassstavesindicatetonesplayedonthelowermanual.

o

+16

4

+47

<m

Db+49

-2

n 4

D#-49

E-47

<m

E-37

4f m

-20

<

-35

? o

+14

u

-16

<

-31 -4

n 4

+49

<m

A-49

4f

A-39

0

n

+12

f 4f

B-35

m

-18

<

-33

&

Pitchesrepeatinalloctavesofboth8'Manuals

&

?

Spellingofplayedpitchesinthescoreisalwaysbasedonthenote-namesoftheactualsoundingpitches,

eveniftheresultingintervalsareunusual!

?

&

Thefollowingsequenceofchordsmovesthroughthemainconsonances.

Pleasefindatuningwhichoptimisesthesweetnessofasmanyofthechordsaspossible.

4

9/6/4

4

4

o

f

o

4f

4f

4f

4

f

f

f <e

7°

4f

o

f

o

11°

?

<

<

<

m

u

m

<m

<m

<m

4

m

u

m

<

7°

11°

<

m

4e

m

m

11°

&

&

repeatinalloctavesadlib.

e

v

n

n

v

n

e

?

n

v

v

n

v

n

n

?

˙˙

˙˙

˙˙

˙

˙˙ ˙ ˙

˙ ˙˙

˙˙ ˙ ˙

˙

˙˙

˙˙

˙˙

˙

˙v˙v

˙v˙v

˙v˙v

˙v

˙n˙n

˙n˙n

˙n˙n

˙n

˙e˙e

˙e˙e

˙e˙e

˙e

˙

˙

˙

˙

œ

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˙

œ

˙

œ

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œ

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œ

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v

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n

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œ

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n

n

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e

e

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e

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v

n

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n

e

˙ ˙˙ ˙ ˙

˙ ˙ ˙˙

˙ ˙˙ ˙ ˙

˙ ˙ ˙˙ ˙ ˙

˙

˙e ˙n˙e ˙n

˙n

˙n ˙v˙n ˙v

˙n

˙v˙n ˙v

˙n ˙v˙n

˙n

˙n˙e ˙n

˙e ˙n˙e ˙n

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙n

n

n

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙˙˙

˙

˙

˙

˙

˙

n

n

n

˙

˙

˙

˙

˙

˙

˙

˙

˙˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙v

v

n

˙

˙

˙n

e

n

˙

˙

˙n

e

n

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˙

˙n

e

n

˙

˙

˙

˙

˙

˙

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˙

˙

˙˙˙

˙

˙n

n

n

e

n

n

e

˙

˙˙

˙n

e

n

v

˙e

˙

˙

˙

v

v

n

˙

˙

˙

n

n

n

˙

˙

˙

v

n

n

˙

˙

˙

e

e

n

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v

v

n

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n

n

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e

n

xiii

{

{

ù

û

{

{

{

ù

û

{

{

{

ù

û

{

{

{

{

{

{

{

{

ù

û

HARP

(sound)

HARP

(scordatura)

HARPSICHORD

(sound)

HARPSICHORD

(scordatura)

VIOLIN

(sound)

VIOLIN

(scordatura)

VIOLA

(sound)

VIOLA

(scordatura)

VIOLONCELLO

(sound)

VIOLONCELLO

(scordatura)

BASSVIOLA

DAGAMBA

I.string

II.string

III.string

IV.string

V.string

VI.string

VII.string

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4

4

∑

4

f

f

StringsStrings

?

∑ ∑

<

∑ ∑ ∑

o

o

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑

E# F# G# A#

D# C# Bb

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

E§

Db

∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4

4

4

∑

4f

4f

4f

?

∑ ∑<

<

<

∑ ∑ ∑

o

f

o

∑ ∑ ∑

&

?

∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑

arpeggioadlib.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑

simile

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

Violin,viola,violoncelloinascordaturatuning.

Thefouropenstringsareretunedasindicatedbelow.

Stringpartsarenotatedtwiceinbothscoreandparts:atsoundingpitch(sound)andatplayingpitch(scordatura).

Pitchesinthesoundingstaveareindicatedexactly,usingHelmholtz-Ellisaccidentalsandcents.

Pitchesinthescordaturastaveareindicatedusingexactmelodiccents,Romannumerals,harmonicnumbers,andratios,tohelprealisethemicrotonaltunings.

Theoccasionallyoccurringstoppedpitchesusean“approximate”accidentalnotationtoindicatewherethefingeringwouldlieinanormaltuningoftherespectivestring.

Theplayersmustproducethesoundingpitchesinthesecasesbyear.

∑

<

-31

<

∑ ∑

o

+16

o

∑ ∑

0

n n

∑ ∑

4

+51

4

∑ ∑

&

∑

IV IV

∑ ∑

III III

∑ ∑

II II

∑ ∑

I I

∑ ∑

B

<

-33

∑

<

∑

+14

o

∑

o

∑

-2

n

∑n

∑

4

+49

∑

4

∑ ∑

B

IV

∑

IV

∑

III

∑

III

∑

II

∑

II

∑

I

∑

I

∑ ∑

?

∑ ∑ ∑

f

+12

∑ ∑

f-4

n

∑ ∑

n

4

+47

∑ ∑4

4f

A-39

4f

4

o

?

∑ ∑ ∑

IV

∑ ∑

IV III

∑ ∑

III

II

∑ ∑

II II

2°/II

I

n

n

o

?

7-stringbassvioladagambainascordaturatuningwithdoublefretsateachchromaticpitchuptoandincludingtheoctave.

Pleaseadjustthepositionofeachsplitfrettofacilitateproducingtheindicateduntemperedcentsdeviationsoneachstringascloselyaspossible.

Thescoreandpartsarewrittenontwostaves.Theupperstavehasthesoundingpitches,writteninHelmholtz-Ellisnotation.

Tonesoneschismaapartarenotatedenharmonically,onthesamefret,forexampleopenIIImaybewrittenasEborasD#-comma-down.

Thelowersstaffhasthefingeredpitches,writteninBaroquetuning(A-D-G-c-e-a-d').Arrowsorsharp/flatspellingrespectivelyindicatesplitfrets(alwaysonecomma,ca.22c,apart).

t

0

-35

Fret

numbering

1a

l

-45

1b

m

-23

2a

s

-53

2b

t

-31

3a

l

-41

3b

m

-20

4a

s

-49

4b

t

-27

5a

t

-37

5b

u

-16

6a

l

-47

6b

m

-25

t

7

-33

B

8a

l

-43

8b

m

-22

9a

s

-51

9b

t

-29

10a

l

-39

10b

m

-18

11a

l

-49

11b

m

-27

?

I:0

m o

m o

m o

B

m o

m o

?

m

-22

Ratiosoffret

toopenstring

135/128

t

-29

e

-10

16/15 10/9

l

-39

9/8

m

-18

32/27

m

-27

6/5

n

-6

5/4

t

-35

81/64

u

-14

4/3

m

-23

27/20

n

-2

45/32

t

-31

64/45

e

-12

3/2

m

-20

128/81

m

-29

8/5

n

-8

5/3

t

-37

27/16

u

-16

16/9

m

-25

9/5

n

-4

15/8

t

-33

243/128

u

-12

?

II:0

Fretdistance

in“commas”

(1/53octave)

m o

m o

m o

m o

m o

?

u

-10

+4

m

-20

+1

+2

n

+3

t

-27

+1

-8

n

+4

u

-16

+1

+6

v

+3

m

-25

+1

n

-4

+4

u

-12

+1

+8

f

+3

m

-22

+1

0

n

+4

u

-8

+4

m

-18

+1

+4

n

+3

m

-27

+1

n

-6

+4

u

-14

+1

f

+6

+3

m

-23

+1

n

-2

+4

?

III:0

m o

m o

m o

m o

m o

?

+4

-6

n

+16

o u

-14

+6

f n

-2

+20

o u

-10

+10

f

+2

n

+23

o

-8

n

+14

o

+6

v

n

-4

+18

o u

-12

+8

f

0

n

+22

o u

-8

+12

f

?

IV:0

m o

m o

m o

m o

m o

?

o

+14

+6

v

+25

g

-4

n

+18

o

+8

f

+29

g

0

n

+22

o

+12

f

+33

g

+4

n

+23

g

+16

o

+6

f

+27

g n

-2

+20

o

+10

f

+31

g

+2

n

+23

o

?

V:0

m o

m o

m o

m o

m o

?

g

+27

+20

o

+41

p

+10

f

+31

g

+23

o

+45

p

+14

o

+35

p

+25

g

+47

h

+18

o

+39

p

+29

g

+22

o

+43

p

+12

f

+33

g

+25

o

+47

p

+16

o

+37

p

?

VI:0

m o

m o

m o

m o

m o

?

p

+39

g

+29

h

+51

o

+22

p

+43

g

+33

h

B-45

o

+25

p

+47

p

+37

q

C#-41

g

+27

h

+49

+41

p

+31

g

+53

h

+23

o

+45

p

+35

p q

F#-43

+25

g

+47

h

?

VII:0

m o

m o

m o

m o

m o

B

Thefollowingsequenceofdouble-stopsmovesthroughthemaintriadicconsonances.

Pleasefindatuningwhichoptimisesthesweetnessofthesedyads.

5/2

t

m

o

m

o

?

5/2

m

o

5/2

u

n

o

n

o

5/2

o

n

o

o

5/2

g

o

o

g

o

5/2

o

p

B

2°/I

II

o 2°/II

o

?

m

II:10a

III

2°/III

o

2°/III

IV

o2°/IV

o

IV:10a

V

2°/V

o

2°/V

VI

o

2°/VI

o

m

VI:10a

VII

˙n

˙

˙

˙

˙

˙

˙

˙

˙

∑

˙v

˙

˙

v

v

˙

˙˙n

e

e

˙v

˙

˙

v

v

˙

˙

˙n

n

n

˙

˙

˙

˙

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˙

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n

n

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v

n

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n

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v

n

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n

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n

n

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n

e

n

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˙ ˙

˙ ˙

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˙n ˙n

˙n ˙n

˙n ˙n

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙n ˙n

˙n ˙n

˙n ˙n

˙n ˙n

˙ ˙

˙ ˙

˙ ˙

˙

˙

˙

˙n ˙n

˙n ˙n

˙n ˙n

˙n

O

˙

˙˙ ˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙

˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙

˙ ˙

˙n ˙v˙e ˙ ˙

˙ ˙ ˙v˙e ˙ ˙ ˙v

˙e ˙n

˙v˙e ˙ ˙

˙ ˙ ˙v˙e

˙ ˙˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙

˙ ˙˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

˙n ˙v˙e ˙ ˙

˙ ˙ ˙v˙e ˙ ˙ ˙v

˙e ˙n˙ ˙ ˙v

˙e ˙ ˙ ˙v˙e

˙˙ ˙ ˙

˙ ˙ ˙˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙

˙ ˙ ˙˙ ˙ ˙

˙n˙ ˙ ˙v

˙e ˙ ˙ ˙v˙e ˙ ˙ ˙v

˙e ˙n˙ ˙ ˙v

˙e ˙ ˙ ˙v˙e

˙n˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙

˙ ˙ ˙˙ ˙ ˙

˙ ˙ ˙ ˙˙

˙n ˙v˙e ˙ ˙ ˙v

˙e ˙ ˙˙ ˙ ˙v

˙e ˙n ˙v˙e ˙ ˙ ˙v

˙e ˙ ˙

˙ ˙˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙ ˙

˙ ˙˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

˙n ˙v˙e ˙ ˙ ˙v

˙e ˙ ˙˙ ˙ ˙v

˙e ˙n ˙v˙e ˙ ˙

˙ ˙ ˙v˙e

˙ ˙ ˙˙ ˙ ˙ ˙

˙ ˙˙ ˙ ˙ ˙

˙ ˙ ˙˙ ˙ ˙ ˙

˙ ˙

˙n ˙v˙e ˙ ˙

˙ ˙ ˙v˙e ˙ ˙ ˙v

˙e ˙n ˙v˙e ˙ ˙

˙ ˙ ˙v˙e

˙˙ ˙ ˙ ˙

˙ ˙ ˙ ˙˙ ˙

˙ ˙ ˙˙ ˙ ˙ ˙

˙ ˙˙ ˙

˙n ˙v˙e ˙ ˙

˙ ˙ ˙v˙e ˙ ˙ ˙v

˙e ˙n˙ ˙ ˙v

˙e ˙ ˙ ˙v˙e

˙

˙

œ

˙e

˙

œe

˙

˙

œ

˙

˙

œ

˙

˙

œ

˙

˙

˙n

˙n

œn

˙n

˙

œn

˙n

˙n

œn

˙n

˙vœn

˙n

˙n

œn

˙n

˙

xiv

53-T

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Transposing Score

Natural

Trumpet(2)

Cues

SQ

Violin1

SQ

Violin2

SQ

Viola

SQ

Violoncello

Violin

(sound)

Violin

(scordatura)

Viola

(sound)

Viola

(scordatura)

Violoncello

(sound)

Violoncello

(scordatura)

Tempoadlibitum,taketimenecessarytosoundaprecise,stableintonation*

Withineachbar,repeatandmovethroughthepatternsfreelyasrequired,

goingbackifandwhenneeded

mezzavoce,

tenuto

sotto

voce

mezzavoce,

tenuto

sotto

voce

mezzavoce

(m.v.)

sottovoce

(s.v.),libero

<> <>

<>

<> s.v.

mezzavoce,

tenuto

osotto

voce

mezzavoce

(m.v.)

sottovoce

(s.v.)

mezzavoce

(m.v.)

s.v. m.v.

mezzavoce,

tenuto

sotto

voce

mezzavoce

(m.v.)

sottovoce

(s.v.),libero

<> <>

<>

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

5

o<>

sottovoce

(s.v.),libero

<> <>

<>

s.v.

o<>

o<> <> ppp

moltopreciso

o<>

o

mezzavoce,

tenuto

sottovoce(s.v.)

o o

s.v. m.v.

m.v. s.v. m.v.

s.v.

o om.v.

1

1

4

1

1

1

4

1

&

tunedto

fundamental

∑

4

C

+47

written

atsoundingpitch

∑

≈

∑

≈

∑

≈

Prelude (intonation)Prelude (intonation)

Marc Sabat

Asking oceanAsking ocean

&

∑

instruments

tuning:

*Inthecourseofthissection,theopenstringsaretobetunedjust:tuningincentsrelativeto12-toneequaltemperament;playersshoulduseclipmicrophones

anddigitaltuningmetersorsoftwarewithprecisecentsreadoutcalibratedtothecommonlyagreedKammerton(thisdeterminedbythefixedpitchpercussion).

ThesolostringquartetistunedinPythagoreanfifths(E+2,A0,D-2,G-4,C-6)andtheensemblestringsinscordaturatuningsasindicated—thewritten

patternsmaybeinterwovendynamicallyandrepeatedfreelyinthemannerofnormaltuningprocedure,toachievethemostprecisetuningasswiftlyaspossible;

thesoundofactuallytuningthestringsbyadjustingthepegsisintentionallypartofthemusic;accuracyisfacilitatedbyusingfinetunersforeachstring.

(SQ Vl2)

≈ ≈

(Ens Vl)

≈

o

+16

≈

(SQ Vl1)

≈ ≈

?

Thesestavesprovidesomecues(fermatas,harmony).

Pleaseallowtherespectiveinstrumenttimetoadjust

andcheckaprecise,centeredtuning.

Oncetheplayercuesthats/heisready,proceed.

∑

≈

∑

≈

∑

≈

&

∑

exactaccidentals,cents

(pleaseuseclipmicrophoneandtuner

withcentsreadoutranging+/-50c)

∑

≈ ≈ ≈[

II

í ™™

≥≤

adlib.

adjusttuningofopenstringsAandEasrequired,

checkAtuningwithSQVl2,cuetoproceed

î™™

ÍÍÍÍÍÍÍÍÍÍÍ

í ™™

+2

I

î™™

ÍÍÍÍÍÍÍÍÍÍÍÍ

&

∑

[

í ™™

≥≤

II

adlib.

adjusttuningofopenstrings

AandEasrequired,cuetoproceed

î™™

ÍÍÍÍÍÍÍÍÍ

í ™™

+2

I

î™™

ÍÍÍÍÍÍÍÍÍ

í ™™

]

î™™

2°/I

o

bracketedcommaindicates

optionalpausesbetweenpatterns

< >,

í ™™ î™™

2°/II

o

ifneeded,adjustEstring,

checkfifthwithAstring

untilE’sareinunison

< >,

í ™™

3°/II

o

I

o

II

o

o

î™™

I

o

,

commaindicates

apauseinplaying

checkSQVl1

Atuning

í ™™ î™™

,≈

2°/II

o

B ∑ ∑

≈

∑

≈

∑

≈

?

≥≤

I

adlib.

evenbowpressure

≈ ≈

4°/I

o sempresimile

≈ ≈

3°/I

o

≈ ≈

&

4°/I

o

pocoport.

adlib.

&

∑

soundingpitches:exactaccidentals,cents

(pleaseuseclipmicrophoneandtuner

withcentsreadoutranging+/-50c)

≈[

í ™™

≥≤

adlib.

î™™ í ™™

o o

+16

î™™

]

í ™™

o

î™™

o

< >,



o

í ™™ î™™

o

< >,

í ™™

o o o

o

î™™

o

,

commaindicates

apauseinplaying

&

∑

fingeredpitches:approximateaccidentals,

melodiccents ≈[

II

í ™™

≥≤

adjusttuningofopenstringsAandDasrequired,

useclipmicrophoneandelectronictuningmeter,

checkagainstSQpitchestominimizebeating,cuetoproceed

adlib.

î™™

ÍÍÍÍÍÍÍÍÍÍ

í ™™

III

5/3

î™™

ÍÍÍÍÍÍÍÍÍ ]

í ™™

2°/II

o

o

o

î™™

5°/III

m

< >,

í ™™ î™™

5/1

3°/II

o

< >,

ifneeded,adjustDstring,

checkopenstringsagain:

optimiseunisonbetweenE’s

í ™™

3°/II

o

m

5°/III

o

II

o

o

î™™m

o

III

,

B ∑ ∑

≈

∑

≈

∑

≈

B ∑ ∑

≈

∑

≈

∑

≈

?

∑ ∑

≈

∑

≈

∑

≈

?

∑ ∑

≈

∑

≈

∑

≈

&

(Ens Vl)

4

≈

D#-49

11/4

4

≈(SQ Vla)

≈

(Ens Vl)

<

-31

≈

?

∑

≈

∑

≈

∑

≈

&

,]

commaindicates

apauseinplaying ≈

checkEtuning

withSQVl2

í ™™ î™™

I

,

í ™™ î™™

2°/I

o



< >,

í ™™ î™™

2°/II

o < >,

ifneeded,adjustEstring,


untilE’sareinunison

í ™™

3°/II

o

I

o

II

o

o

î™™

I

o

,

2°/II

o

,≈

checkSQVla

Atuning

&

o

,≈

checkEtuning

withSQVl1

í ™™ î™™

I

,

í ™™

II

î™™

even,clearbowing,matchEnsVlnpitch

+16

6/5

o

III

í ™™

I

î™™

,≈

B

≈ ≈

[I

í ™™

≥≤

adlib.

adjusttuningofopenstring(s)asrequired,cuetoproceed

î™™

ÍÍÍÍÍÍÍÍÍÍÍÍ]

,

commaindicates

apauseinplaying

checkAtuning

withSQVl1

&

4

D#-49

11°/I

o

keeppitchasstableandevenaspossible

o

≈o

≈o

“

?

I ≈

3°/I

o

&

<

7°/I

o

o

≈o

?

[

&

[

í ™™

4

o“

4

D#-49

î™™ í ™™

4

o

4

î™™

,]

≈

o

o o

4

-

o

o

,

[

í ™™<

o

<

-31

î™™<

o

,]

&

[

í ™™

4°/I

o

comeprima

tuneEstringprimarilyaccordingtometer

checkagainstSQVlc(comeprima)

I

î™™


í ™™

II

2°/I

11/4

o

î™™

ÍÍÍÍÍÍÍÍÍÍ ,]

≈

waituntilSQVla

hastunedandcued

2°/III

o o

I

-

4°/III

o

,

[

í ™™

2°/IV

o

IV

î™™


o

,]

∑wn

wn

∑ ∑wn

w

∑ ∑wn

wn

∑

∑ ∑œ w w œ

w

w

w

w

w w œ

w

w

w

w œ

~

w

œ

~w ‚

‚

‚

~

~

˙n

‚

w w w w œ

~w w w œ

~

w w w œ

~

œ w w

œ w

w

w

œ

w

w

œ

w

w

œ œ œ ww

œ w w

œ w

w

w

‚ ~

~

œ w

~ ‚

‚

‚ ~~

∑

w

w

w∑ ∑

wn∑ ∑ ∑

w

∑ ∑

˙n

œ

~

w

œ

~w ‚

‚

‚

~

~~

˙n

~˙n

w

˙

˙

˙

w w

∑ ∑

œ w w w w

~ ~ ~ ~

w w w œ

~

~e

%

~ ~

w

w

w

œ

w

w

w

w

w ˙œ

w

w

w

w

~w

œ

~

w

w

w

~ Oœ

~ ~

w

~

=

{

ù

û

{

{

ù

û

{

ù

û

{

{

ù

û

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

8

<> ppp

moltopreciso

<> ppp

moltopreciso

omezzavoce

(m.v.)

o

<>

moltopreciso

ppp

mezzavoce

(m.v.)

o<> m.v.

s.v.mezzavoce

(m.v.)

s.v.

libero

<> <>

<>

m.v. s.v.

libero

<> <>

<>

m.v. s.v. m.v.

s.v.

o o<>

<> <>

o

mezzavoce,

tenuto

sotto

voce

mezzavoce

(m.v.)

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

11

m.v.

<> s.v. <> <>

<>

<> s.v.

o<> s.v.

poco

<> <>

m.v. s.v. m.v. m.v. ppp

moltopreciso

m.v.

o<>

sottovoce

(s.v.),libero

<> <>

<>

m.v. s.v. m.v.

s.v.

o o

&

∑

≈

(SQ Vla)

-2

≈

∑

≈

?

(SQ Vc)

-2

≈

∑

≈

(Ens Vla)

-2

≈+14

o

≈

&

í ™™í™™ î™™

7/6

-33

<

III

even,clearbowing

matchP5belowEnsVln,

waituntilSQVchas

tunedandcued

í ™™

I

î™™

,

2°/II

o

beatingwith

SQVl2

<

III

o o

≈o o o o

,≈

&

í ™™

II

î™™

6/5

o

III

matchEnsVln

o

beatingwith

SQVl1

≈,

í ™™ î™™

checkintervalswithEnsVln:

A=8/7,5/6,1/1

,

≈ ≈[

B

≈[

í ™™-2

î™™


,

o

3°/II

í ™™

]II

î™™

2°/I

o



< >, I

í ™™ î™™

2°/II

o



untilA’sareinunison

< >,

í ™™

3°/II

o

I

o

II

o

o

î™™

I

o

,

?

í ™™

-2

adjusttuningofopenstring(s)

asrequired,cueVl1toproceed

î™™

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

,

o

3°/II

í ™™

]II

î™™

2°/I

o



< >,I

í ™™ î™™

2°/II

o < >,




í ™™

3°/II

o

I

o

II

o

o

î™™

I

o

commaindicates

apauseinplaying

,II

≈ ≈

3°/II

o

&

≈

waituntilSQVc

hastunedandcued

<

o o,

<

o

o

,

o

,≈

<

7/8

o

6/5

o

o

1/1

,

≈ ≈

o

&

≈4°/IV

o o

,2°/III

o

,

2°/II

o

,

checkintervals

withSQVl2A

≈2°/IV

o

2°/III

oII

,

≈ ≈

checkforP5

withEnsVla

III

B ∑

≈ ≈[

í ™™

≥≤

adlib.

adjusttuningofopenstringsDandGasrequired,


checkagainstSQpitchestominimizebeating,

cuetoproceed

-2

î™™ í ™™o

+14

o

î™™

checkforP5

withEnsVln

B ∑

≈ ≈[

II

í ™™

≥≤

adlib.

î™™


í ™™

III

5/3

î™™


&

(SQ Vl2)

-2

≈

(Ens Vla)

4

G+49

≈

11/4

4

≈(SQ Vl1)

-2

≈

?

∑

≈

∑

≈

∑

≈

&

∑

≈ ≈ ≈[

í ™™

-2

comeprima

î™™

ÍÍÍÍÍÍÍÍÍÍÍÍÍ

&

í ™™

-2

comeprima

î™™


],

≈

í ™™ î™™

checkAtuning

withVla

II

,

í ™™ î™™

2°/II

o < >,

í ™™ î™™

2°/III

o




< >,

í ™™

3°/III

o

II

oIII

o

o

î™™

II

o

,

B í ™™ î™™

checkVl2

Dtuning

,

2°/II

o o

,≈

í ™™ î™™

checkAtuning

withVl2

I

,

í ™™ î™™ í ™™ î™™

?

≈

&

4°/II

o

come

prima

4

11°/II

o ≈ ≈

“

?

≈+14

6/5

o

III

3°/II

o

&

&

o

,≈

í ™™ î™™4

,≈

∑

≈

&

,≈

í ™™ î™™

I

checkforP5

withEnsVla

,≈

∑

≈

B í ™™

]o

î™™

o

< >,



o

í ™™ î™™

o

< >,

í ™™

o o o

o

î™™

commaindicates

apauseinplaying

o

,

[

í ™™

4

o“

4

G+49

î™™

checkforP5

withEnsVln

í ™™

4

o

4

î™™

],

≈o

o o

4

-

o

o

,

B í ™™

]

2°/II

o o

o

î™™m

5°/III

< >,

í ™™ î™™

5/1

3°/II

o< >,

ifneeded,adjustGstring,


optimiseunisonbetweenA’s

í ™™

3°/II

o

m

5°/III

o

II

o

o

î™™

III

m

o,

[

í ™™

4°/I

ocome

prima

tuneAstringprimarilyaccordingtometer

checkagainstSQVlc(comeprima)

I

î™™


í ™™

II

11/4

2°/I

o

î™™

ÍÍÍÍÍÍÍÍÍ ],

≈

waituntilSQVl1

hastunedandcued

2°/III

o o

I

-4°/III

o

,

∑

wn

∑ ∑

∑ wn ∑ ∑ ∑

wn

w

∑

w

˙

˙

˙

w

‚ O

˙

~

w

O

˙

~

w

~ ~

w ˙

w

w

˙ ˙

˙ w ˙ ˙n∑ ∑

œ

w w w ˙ ˙ œ w

w

w

w

~

œ

~

w

œ

~w ‚

‚

‚

~

~

œ w

w

w

w

~

œ

~

w

œ

~w ‚

‚

‚

~

~

w w w œ

~

w œ

˙ w

w

˙

˙

˙

˙ œ∑ ∑

˙

~ ‚

˙ w

~

O

O

O

˙ œ∑ ∑

˙n

œ w w

œ w

w

w

œ w w

œ w

w

w

∑

wn

∑ ∑ ∑

w

w

w

∑ ∑

wn

∑ ∑

∑ ∑œ œ

w

w

w

w

œ w

w

œ

w

w

w

w

œ w

w ˙n

œ

~

w

œ

~w ‚

‚

‚

~

~

˙n

‚ ~˙n

w

w

w w w œ

~~ ~ ~ ~

˙ w ˙

w

w

œ

~

œ

˙

œ

˙n

œ

w

w

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omezzavoce(m.v.)

o

17

mezzavoce(m.v.)

om.v.

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p m.v.

m.v.

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m.v. m.v.

o

m.v.

o

rinf.

m.v.

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simile

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∑

≈

∑

≈ Ω ≈ ≈

(Sax)

-

&

-2

≈

-4

≈ ≈

-

(Sax)

≈ ≈

o

comeprima

u5

+12

<

-37

7°

Δ

j

&

≈

-2

≈ ≈

-4

≈

-

(Trp)

≈ ≈

-4

-6

≈

-2

&

Ω≈ ≈ ≈ Ω ≈ ≈

(Trp)

-

∑

≈ ≈

placeafter

Cl1changes

pitch

Ω

&

-2

8:7

=-231c

<

-33

≈

∑

≈

∑

≈

B1

2

B2

≈

<

-35

B1

2

dissonant

Tuba

+14

match

Tuba

o

B0

≈

B2

(Ob)

≈

∑

≈

&

2

+2

∑

≈ Ω

∑

≈

Ω

-2

3

Ω

∑

≈ ≈

0

Ω

∑

≈

∑

≈

&

-2

3

Ω ≈

2

+2

Ω

Ω

∑

≈ ≈

Ω

≈

∑

≈

∑

≈

?

FIV ≈

-2

BbIV

-4

≈matchEnsVc

-18

m

15:14

=-119c

≈

-37

<e

*F

BbIV

(keepposition,

playonFside)

28:27

=-63c

FIV

≈

coordinatewith

Tba,SQVl2

>≈

∑

≈

?

∑

≈

∑

≈

V

1

4

5

-20

tunewithTb

m

-4

1

≈

-2

3

≈

coordinatewith

Tb,SQVl2

3

>

+12

consonanttoTb

dissonanttoHorn

f

1

≈

∑

≈

∑

≈

&

≈ ≈ ≈ ≈ ≈ ≈ ≈

?

∑

≈

∑

≈

∑

≈

∑

≈ ≈

∑

≈ ≈

&

I

≈ ≈

∑

≈

2°/II

Ω

o

I

∑

≈III

Ω

≈

n

o3°/IV

o

2°/III

II

n

n

Ω

o

o

II

Ω≈

II

&

I

∑

≈

ΩIII

Ω

IV

3°/III

Ωo o

≈

II

III

v

o

^

oI

Ω

II

o

≈

I

≈

3°/II

n

>

≈

o

(A-string)

∑

≈

II

Ω≈

B

II

≈ 2°/I

Ω

o

∑

≈

2°/IV

o o

≈

n

o

III

II

≈

∑

≈Ω

3°/I

Ω

o

I

∑

≈

Ω3°/III

Ω

o IV

≈

III

Ω

?

2°/II

n

o o

≈o 2°/III

o

≈

4°/IV

2°/IIIΩ

o

o

≈IV

Ω

o

III

II

Ω

o

III

n

o o

≈o

III

II

o o

≈o moltosultasto

I

III

n

n

≈

IV

ord.

III

Ω

o

Δ

IV

n

o

B <

o

-

o

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

B

2°/IV

o

-

o

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

?

∑

≈

&

m

o

-

o

≈

?m

-≈

∑

≈ ≈

f

n

-

o

o

≈

∑

≈

?

∑

≈

m

5°/III

o-

o

≈

m

-≈

∑

≈ ≈

f

n

-

o2°/IV

o

≈

∑

≈

wn ™ ˙ ˙

Ó Œ™

Œ™

Œ™

Œ™

œn™

œ™

œ™

Œ™

Œ™

Œ™

Œ™

Œ™

˙ ˙

Ó Ó Ó Ó

œn ™ œ ™ œ ™Œ™

Œ™

Œ™

Œ

˙n w™

Œ™

œn ™ œn™

œn ™˙ ˙

Ó

œn

j

Ó

œn

j

Ó Ó Ó Ó ‰ ‰™

œn ™

j

Œ™

œn™

œ™

œ™

j

‰™

˙n˙n œ

œn ˙ ˙

Ó Œ™

Œ™

Œ™

Œ™

Œ™

œn™

œ™

œ™

j

‰™

w™

˙ ˙ œœ

œn™

œ™

œ™

œn ™Ó Ó Ó Ó Ó Ó Œ

™œn ™ œ ™ Œ

™Œ™

Œ™

Œ™

œn ™Ó Ó

˙n ˙

˙n˙n

Œ™

Œ™

œv

jŒ™

Œ™

Ó Ó Ó Ó Ó

œn

j Ó Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ

˙n

Ó Ó

Œ ≈

œv

j

‰™

œn ™œ™

œ™ ‰ Œ

˙n ™

œn

J

œnœ ™ ˙ ™ ˙ ™

˙n

Ó Ó

œn

j

œv

j

Ó Ó Ó

œn

j Œ™

Œ™

Œ

œn

j

‰ Œ™

Œ™

œn

j Œ™

Œ™

œv

j

Œ™

Ó Ó

œn

j

Ó Œ™

Œ™

Œ™

œv

j

Œ™

wn™

Œ™

Œ™

œn™

œ™

œn™

œn

J

œn ™ ˙

˙ ˙

Ó ‰

œ ™ ˙ ™œn™

œ™œn™

˙n ™ ˙ ™ ˙

Ó Ó

˙

˙n ˙ œ ™œn™

œ™

œ™œn™

œ™ œ ™ œ ™

Œ™

Œ™

Œ™

Œ™

Œ™

Ó Ó Ó Ó Ó Ó Œ™

Œ™

Œ™

Œ™

Ó Ó Ó Ó Ó Ó Ó Ó Ó

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

wn ™ w ™

‚n

j

œn

j

˙n ˙ ˙O

‚

‚n

n

j

~ ™

w ™

œn

j

Œ™

Œ™

Œ™

‰™

œn ™

j

œn

j

œn

j

œn

j

On O On

On

œn

j

~ ™

˙n ™ œ ™ œ ™ œn ™ w~ ™

œn

j

wn ™

w ™

‚n

j

On O O

˙

wn ™

œn

j

‚n

j

œn

j

‚n

j

wn ™

œn

j

œ ™

Œ™

‚ ™œ ™

‚ ™œ ™

‚ ™œ ™ ~n ™

‚n

j

~n ™

‚n

j œn ™

‚n

jŒ™

‚ ™œ ™

‚ ™œ ™

‚ ™œ ™

œn ™

Œ™

œ ™

‚n ™

œ ™

‚ ™

œ ™

‚ ™

Y

w

™

™

w ™ ˙n

‚n

j

Ó

˙

Ó

O

˙

Œ™

œ™

œ™

Œ™

Œ™

‚™

‚™

Œ™

˙ ˙ Ó˙ ˙

Ó

œn™

œ™

œ ˙

˙ ˙

Ó Ó

O OÓ

˙ ˙Ó

œn™

œ™

œ ˙

˙ ˙

Ó Ó

8

{

ù

û

{

{

{

{

{

{

ù

û

ù

û

ù

û

attacca

Fl

(1)

Fl

(2)

Ob

BbCl

(1)

BassCl

(2)

Alto

Sax

BbTp

(1)

BbTp

(2)

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Vc

(snd)

Vc

o om.v.

24

om.v.

pp senzadim.

pp senzadim.

rinf. m.v.

opp

osenzadim. pp senzadim.

pp unpocopiùf

m.v.

mezzavoce(m.v.)

o

o

o o

o opp senzadim.

o

m.v.

orinf. m.v. m.v.

o o pp senzadim.

m.v.

o

rinf. pp m.v.

opp

osenzadim.

m.v.

orinf. pp m.v.

&

-2

≈

j

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

&

≈ ≈ ≈

∑

≈

∑

≈

∑

≈

∑

≈

-2

≈

∑

≈

take Bass Flute

&

(Sax)

≈ ≈ Ω ≈ Ω

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

&

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

j

≈

∑

≈

∑

≈

&

∑

≈-

-18

u

5°

≈

∑

≈

∑

≈ ≈ ≈

∑

≈

j

≈

∑

≈

&

Ω ≈Ω

∑

≈ ≈7°

<

-37

≈

-

≈

∑

≈

∑

≈

∑

≈

&

2

3

-4

≈ 1

-16

u

tunearrow-downpitchesasconsonant

5thpartialstoSQopenstrings

+2

2

-2

0

≈

-14

2

u

-18

3

u

2

3

≈

u

2

3v

PythagoreanoverSQVlaC!

matchTp2

2

3

≈2 3

≈

∑

≈

∑

≈

∑

≈

∑

≈

&

∑

≈

-2

3

+2

2

≈

3

≈2

27:28

=+63c

<

tune7°with

Sax,SQVc

1w

3

-35

≈3

2

27:28

=+63c

tune7°with

Sax,SQVc

2

3v

-37

<

≈

8:9

=+204c

1v

-33

<

≈

take Natural Trumpet

∑

≈

∑

≈

∑

≈

&

≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈

∑

≈

?

∑

≈ ≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

∑

≈

&

2°/III

o

≈

III

n

Δ

IV

∑

≈

I

Ω

∑

≈

2°/IV

Ω o

≈

III

n

o

Δ Δ

II

n

I

n

n

≈

∑

≈

∑

≈

&

≈

I

≈

2°/II

n

o

o

≈II

≈ ≈III

Ω ≈2°/III

II

n

o

o

Δ

∑

≈

∑

≈

B

≈

o

3°/III

2°/II

Ω

o

I

≈

II

Ω

I

≈I

IV

moltosultasto

≈comeprima

2°/III

Ω

o

≈

III

n

o

o

Δ

≈

I

∑

≈

II

Ω

≈

∑

≈

?

o

≈IV

Ω

o

o

2°/II

3°/I

3°/III

Ω

oo

o

6°/II

o

o

o

≈

o

o

o

2°/III

3°/IV

o

o

gradually

shifttoopenG

n

≈

o o

IV

IIIΩ

o

IV

Ω

o

IV

≈II

comeprima

≈

I

≈

III

≈ ≈

&

∑

≈ <

o ≈<

o o

o

-

o o

≈4

>

o o

o

≈o

4

o

“

≈

∑

≈

o

≈

∑

≈

∑

≈

&

∑

≈

4°/IV

o ≈ o o

3°/III

o

-

2°/II

o

≈

2°/I

>

o o

3°/II

o

≈o

4°/I

o

≈

∑

≈III

≈ ô

∑

≈

∑

≈

B ∑

≈

&

4

o o

≈

≈

4

4

o

o o

≈

o o

≈

B <

o o

≈o

≈o

∑

≈

∑

≈

∑

≈

B ∑

≈

2°/I

o o

≈

≈I

4°/I

o4°/II

o o

≈3°/II

o o

≈2°/IV

o o

≈o

≈o ô

∑

≈

∑

≈

∑

≈

?

∑

≈

∑

≈ 4

o o

≈

o o

≈o

o o

≈

∑

≈

∑

≈

∑

≈

∑

≈

?

∑

≈

∑

≈

2°/II

o o

≈

3°/III

o o

≈o

2°/III

o o

≈ take Gamba

∑

≈

∑

≈

∑

≈

∑

≈

wn™

˙n

Ó˙ w ™ ˙ ™ Œ

™Œ™

Ó Ó

˙n w ™ ˙

Ó Ó

˙n ˙

Ó

˙Ó Ó Ó Ó

œn

j

Ó Ó Ó

œn

jÓ

œ ™ œ ™ ˙ ™

Œ™

Œ™

Œ™

œn™ ˙ ˙

Ó

œn™

œ™

œ™

œ™

w™

Ó

œv

j

Ó

œn

j

Ó Ó Ó

˙vw™

w™

œ™

œv ™Œ™

Œ™

˙n˙n

˙ œ ™œv™

œn ™œ™

œ ™œn™

œn ™œ™

˙v ™˙n

œn˙n™

Œ™

Œ™

˙n˙v

˙n ˙

˙n˙v œ ™ œ

™œ™ œn ™ œn

™ œ ™ œ ™ œ™

œ™

œ™

Œ Ó

Ó Ó Ó Ó Ó Ó Ó Ó Ó Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Œ™

Ó Ó Ó

Œ™

Œ™

Œ™

Œ™

~w

n

™

™

˙

˙ ˙

Ó

˙

Ó

œn

j

œn

j ~n ™‚™

œ ™ œ ™

Œ™

œn ™

Œ™

œ ™

œ ™

œ ™

Œ™

œ ™

œ ™Ó™

˙ ™

w ™

˙n ˙

O

˙

~ ™

w ™

wn ™ w ™

œn

j Œ™

Œ™

Œ™

‰™ ‚n

™

J

‚™

œ ™ œ ™

Œ™

˙ ™

Ó™

wn ™

‚

‚n

n

j

wn ™

œn

j wn ™

w

Y

Y

w

n ™

™

™

™

‚n

j

Œ™

Œ™

Œ™

‰™‚n™

J

‚™

œ ™ œ ™

Œ™

˙ ™

Œ™

Œ™

œn

j

wn ™

~ ™

‚n

j

Œ™

‚

‚n

n

j

‚n™

‚™

‚ ™

‚™

‚ ™

‚™

‚ ™

On

On

˙O ˙O

‚n

j

wn™

‚n

j

wn™

w

Y

wn

™

™

™

w

Y

Y

wn

™

™

™

™

w

Y

w

n

™

™

™w™

Œ™

œ ™ œ ™ œ ™ œ ™ œ ™ œn™

‰™

œn ™œn ™

j

œ ™

œ ™

œ ™ œn™

œ™

˙ ™

Œ™

Œ™

œ™

œ™

˙™

Œ™

‚n™

‚™

‚n™

‚™

‚n ™

‚n™

‰™

œn ™œn ™

j

‚n™

œ ™

‚™

‚n ™ ‚ ™On™

Œ™

Œ™

œn ™ œ ™ ˙ ™

˙n

˙

˙

˙

Ó Ó Ó

˙

œ™

œn ™ œ ™œn™

˙™

Œ™

Œ™

œ™

œ™

œ™

œ™

˙n

On

˙

O

Ó Ó Ó

˙n

‚n™

‚n™

‚™ ‚n ™ O ™

Œ™

Œ™

‚n™

‚™

‚™

‚™

˙n

˙

˙

˙˙n w ™ œ ™

œn ™ œ ™Œ™

˙n

On

˙

O

On ~ ™‚™

‚n ™ ‚ ™Œ™

9

{

ù

û

{

ù

û

{

ù

û

{

ù

û

Cues

SQ

Violin1

SQ

Violin2

SQ

Viola

SQ

Violoncello

e = 288 ( q = 144 | q. = 96 )

Joyeux

1

sonoreesostenutopossibile

f p f

f p f f p f

fsonoreesostenutopossibile

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

11


f p

p

p


f p f p

p

p

(f) p p f (f) p f p f

p f

p f

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

24

(p) f p p f p

(p) f p

f p p (p)

(f) p

p

f p p (p) f

(f)

(f)

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

34

p

f p f p

p

pp

(f)

p f

pf

(f)

p f

4

8

8

8

13

8

8

4

21

8

13

8

8

8

13

8

8

8

13

8

13

8

5

2

3

2

2

2

1

2

21

8

3

4

2

4

1

4

2

4

3

4

5

4

13

8

8

8

5

4

13

8

8

4

13

8

3

4

2

4

3

8

8

4

8

8

5

8

8

8

5

4

13

8

13

4

13

8

?

(Thisstaffshowsthehocketingcounterpointbetweenparts,writtenatsoundingpitch)

Harmonium for Claude VivierHarmonium for Claude Vivier

&

*thissectionisplayedonopenstringsandnaturalharmonicswheneverpossible,withtheexceptionofoccasionalstoppedpitches

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B ∑ ∑ ∑ ∑ ∑

*

≥ ≥

∑

≥ ≤

?

*

(harmonicsaremostlywrittenatthenodesasdiamondnoteheadsinflectedbyasmallcircle;

thedesiredpartialandstringareindicatedabove:pleaseobservethechangingnodeswherepossible;

double-stopharmonicsgenerallytaketwostems.)

III

2°/IV

o

III

2°/IV

o -

-

2°/IV

o o

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

m m m m

?

m

∑ ∑ ∑ ∑

&

∑

*

∑ ∑ ∑ ∑

2°/IV

o o o

&

*

∑ ∑ ∑ ∑

2°/IV

o o o

B

III

2°/IV o o

IV

o oIII

IV

o

III IV

o

2°/III

o

3°/IV

o

3°/IV

o

?

≥

2°/III

II

o oIII

o

I

2°/II

o

m

m

5°/IV

o

-4°/IV

o

I

II

o

m

5°/IV

o o

m

5°/IV

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Libero,tempoadlibitumcomeprima:

taketimenecessarytosoundaprecise,stableintonation

1

Libero,tempoadlibitumcomeprima:

taketimenecessarytosoundaprecise,stableintonation

pp

o

pp

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o osottovoce(s.v.)

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∑ ∑ ∑ ∑ ∑ ∑ Ó

˙n

˙n˙n

wn

Ó Ó Ó

w

∑wn

∑ ∑ Ó

w˙

∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ Ó

˙n

˙n

Ó ∑

Ó Ó Ó we ∑wv

∑ ∑ Ó

wv

˙e ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ Ó

˙v

˙

Ov

v

Ó ∑

wn™

wn

∑˙

˙

˙

w

w

˙ ˙

˙

w

ww

w

ww

w

w∑ ∑

∑˙n

˙

˙

n w

w∑ ∑ ∑ Ó

wn

˙

˙

n w

w

wn

wn

∑˙n

˙

˙

n w

w

˙n ˙

˙n

w

wwn

w

ww

w

wn

n

∑ ∑

∑˙n

˙

˙

n w

w∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑ Ó

wn

˙

˙

n w

w

wn

wn ™wn

˙n

˙n

˙

˙

∑

˙

˙˙ ˙

˙

˙

˙

˙

˙

˙

w

w

n ˙

˙

˙

˙

w™

w

w ™™

w™

w

w ™™

Ó Ó

w

w

w

w

w

w

˙

˙ ˙

∑ ∑ Ó

wn

˙

˙

n

w

wn

w ˙

˙ w Ó Ó Ó ∑ ∑ ∑ ∑ ∑ Ó ˙w w ˙ ˙

Ó

On O

˙ ˙

Ó

w

Ó Ó

˙W w w w ˙

Ó Ó

˙ w wwn w

˙

˙ w

∑

wŒ

œ w w w w ww w w ˙

˙n

˙n ˙

w œ

Œ Ó Ó Ó

˙ ˙ w ˙

Ó ∑ ∑ ∑ Ó

˙˙

˙n w w

˙ ˙™

Œ ∑˙n w

˙ w w w

w ˙

Ó ∑

˙n˙™

Œ ∑˙n w

On ~ ~ ~n

~n O

Ó ∑

˙ ˙ ™ œ ˙Ó Ó Ó Ó

˙n w

˙n

w w w w ˙ ˙

∑ ˙ ˙

On O™

‚n O Ó Ó Ó Ó

On ~˙n

~n ~ ~ ~ O O

∑ On O

˙

˙

˙™

™ œ

œ

˙

˙ Ó Ó Ó Ó

˙n

˙

˙

v

™

™ œ

œ

v

n

˙

˙Ó Ó Ó Ó

18

{

ù

û

{

{

{

ù

û

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

{

Fl

(1)

BassFl

(2)

BbCl

(1)

BassCl

(2)

Hn

BbTp

(1)

NTp

(2)

Tb

Tba

Vib

Mar

Hp

(snd)

Hp

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

ppsostenuto

o o

Tempoprimo

h = 7210b

ppsostenuto

o o

o

pp

o o

pp

o o o

oppsostenuto

o

o pp

o

mezzavoce

(m.v.)

pocof

pp

mezzavoce

(m.v.)

pocof m.v.

mezzavoce

(m.v.)

pocof

pocof

mezzavoce(m.v.) pocof

pp

pp

f

pp ppp

f

Tempoprimo

h = 72

ppp

o

opp

o

o

pp

o

ppp

p

opp

o o o

opocof

o o o

5

2

3

2

5

2

3

2

&

-2

∑ ∑

&

‹

-2

∑ ∑

&

∑

-4

&

-2

u7

coordinate

withHpsd,SQVla

u

-16

-4

-2

3

& <

B1

3

>v

>

F1

2

7°

<

∑

-4

B1

2

&

-2

3 2

+2

∑ ∑

&

+2

(T)234

63:64

=+27c

>

(4)

+29

tuneP4withTrombone,

dissonanttoTuba

>

(4)

-

(T)234

-

∑ ∑

?

+2 -2

*F

BbII

(switchtoF-side,pitchshouldbepossible

withminimalornoslideadjustment)

>

+31 >

+29

> BbII FIV

∑ ∑

?

3

dissonanttoTrp,Trb

<

-33

-2

∑ ∑

&

∑ ∑

&

∑

<

<e

7°

<e

?

∑ ∑

&

∑

<

<e

3

7°

<e

?

∑ ∑

&

∑

3

?

∑

Ab

B§

∑

&

∑ ∑

u

?

∑ ∑

u

3

&

∑ ∑

&

∑ ∑ ∑

?

∑ ∑

coordinate

withSQVla

3

?

∑ ∑ ∑

&

<

>

> t

u1

t

37°

<e

?

<

u

u7

u

u

1°

&

∑

-25

t

≥

-29

t

3

≤

&

27:28

=+63c

<

-35

24:25

=+71c

t

-27

≤u7

∑

B

u

-14

u

3

?

5°/I

u

u

o

≥

^

o

o5°/II

u

&

∑

u

o o

&

∑u

5°/II

o o

B <

o o

<

o o o o

∑

&

u

o

B

B

o o

2°/IV

o o o o

∑

m

5°/II

o

II

∑ ∑ ∑

wn w ™ w

Ó ∑ ∑

∑ ∑

wn w™

w

Ó ∑ ∑ ∑

˙

Ó

wn w™

w

Ó ∑

wn w

∑ Ó Ó

˙n

w w w ∑

wn w w w w

Ó Ó Ó Ó

˙n

Ó

˙ œ

j

œn ™œn

w w˙n ˙n

w ™˙

˙n ˙nw™

˙

∑ Ó Ó Œ

œn

∑

˙n ˙ ˙

Ó Ó

˙n ˙ ˙

∑ Ó

˙v ˙

Ó ∑

˙n ˙

∑ Ó

˙ ˙

Ó ∑ Ó

˙ ˙n ˙

∑ ∑

˙ œ

œn˙n

Ó

˙ ˙ ™œ w œ

˙n

˙n ™ ˙ ™ ˙n

œn Ó ∑

Ó

˙n w ˙ ˙

∑

˙n ˙

˙

wn ˙

˙n ˙ ∑

Ó Ó Ó Ó

˙

˙n

n

Ó Ó Ó Ó

˙

˙ Ó Ó Œ ‰ œ

J

Ó Ó Œ ‰

œn

J

w

Œ Œ œ ∑ Ó Ó Œ ‰ œ

J

Ó Ó Œ ‰

œn

J

wv

Œ Œ œn ∑ Ó Ó Œ ‰ œn

J

Ó Ó Œ ‰

œe

J

w

Ó

Ó

˙ œ

J

œn ™œn

wv

Ó

Ó

˙v œ

J

œv ™œn

w

w

wwn

˙

˙

w

ww

™™™

w

ww

ww

˙˙n ˙

w

w

n w

w ˙

œ w wŒ ‰ œ

J

w w w

∑

˙n

w

w

w

w

w

n ˙

˙

˙

˙ ˙

˙

˙

w˙ W

˙

˙

n

n

w

w˙n

Ó Ó

Œ

˙

Œ

œ˙˙ ˙

Ó

w œ ™ œ

j

œn

J

w

∑ ∑ ∑ ∑ ∑ Ó

˙n ˙˙ ™

˙n™

W

‰

˙

œn ™

∑ ∑ ∑ ∑ ∑ ∑ ∑

˙n w˙ W

Ó w

Œ

‰

œn ™

Œ

œn

w w

∑ ∑ ∑ ∑ ∑ Ó

˙n ˙ ˙

Ó Ó Ó Ó Œ ‰

‚

j

O

O ˙™

Œ

Ó Ó Ó Ó Œ ‰

œ

J

˙

Ó Ó

Ó Ó Ó Ó Œ ‰œ

J

˙Ó Ó

w w ∑ ∑ Ó ˙ w w ˙ Ó ∑

˙

Œ˙n

Œ

~ ~ ∑ ∑ Ó On ~ ~ O Ó ∑

O

Œ˙n

Œ

19

{

ù

û

{

{

ù

û

{

{

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

{

Fl

(1)

BassFl

(2)

Ob

BbCl

(1)

BassCl

(2)

Alto

Sax

Hn

NTp

(2)

Tb

Tba

Vib

Mar

Hp

(snd)

Hp

Pf

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

pp

o

pp

13

p pp p

o

pp

p pocof

opp

p

senzacresc.

fp

fp

pp

pocof p

°

p pp

°

p

f sf

p

o

p

pp

p

°

p

f sfp

m.v.espr.

opp

m.v.

mp

pocof

op

m.v.espr.

sfz p

opp

p

o

sfz

p

espr.

sfp

o

sf

of

op o

mezzavoce(m.v.)

f

op p

o

4

2

7

4

5

2

3

2

5

2

4

2

7

4

5

2

3

2

5

2

&

∑ ∑

-4

coordinatewith

Hp,Gamba

-6

-

∑ ∑

&

‹

∑ ∑-6

-6

-8

∑

&

∑ ∑ ∑ ∑

+6

f

match

SQVlc

-8

+4

f f

f f

&

-2

3

36:35

=-49c

-51

<m

7°

endwithHn

-

(SQ Vl1)

5

∑ ∑

+6

f

+4

f

-

&

∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑

+8

o

-

tunewith

SQ,Ob

&

B2

u

-18

B1

2

endwithCl

-

( SQ Vl1)

5

∑ ∑ ∑ ∑

&

ord.

11°

4

+49

∑ ∑ ∑ ∑ ∑

?

FIV

coordinatewith

EnsVla,Tp,Hn

-2

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑

-6

V

1

2

5

match

SQVc

-10

V

1

2

4

3

f

+4

1

2

3

4

5

&

∑ ∑ ∑

?

∑ ∑

coordinate

withHarp,SQVl1

∑ ∑ ∑

&

<e

…

7°

<m

13°

0u

<m

3

<e

7°

<e

7°

-

…

∑

?

…

∑ ∑ ∑ ∑ ∑

&

…

continuetriplets

ofSQVl2

*

3

coordinate

withGamba

…

∑

?

…

∑

D§ C#

∑

coordinate

withMarimba,SQVl1

Eb

∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

4

11°

4

m

3

u

m

<m

m ∑ ∑ ∑

? u

<

u

m

m

5

m

3

∑ ∑ ∑

&

3 to Piano

∑ ∑ ∑

&

11°

∑ ∑ ∑ ∑ ∑

?

coordinatewithSQVl1

Ω

5

3

∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑

&

m

11°/u5

4 t

1°

m

1° u1

3

f

f f

f

u1

f

? u

u1

m

1°

m

∑ ∑

&

m

-18

-33

t

-≤

t

m

Ω

5

-6

≥

+

pocovibr.,comeprima

-8

∏∏∏∏∏∏∏

-10

≤

+8

f

-5

&

≥

m

-18

3

t

-33

IV

oo

I

-8

≥

-10

3

e

3

pocovib.(narrow)

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

B ∑

III

IV

o

^

o

≤

IV

om

-22

o-10

≤

3

+4

f

e

≥

-

?

-16

u

m

5°/III

o

III

5°/IV

m

m

^

o

o

m

3

-6

-8

≤

+6

f

n

f f

-

+6

f

&

∑

0u

13°

-

o

5

∑ ∑ ∑ ∑

&

∑

coordinatewithSQVl1

4°/III

o

-

5

∑ ∑ ∑ ∑

B

4

-

4

+49

-33

t

port.

∑

-35

7°

d d

3

+8

f

-

B

11/8

-

bendveryslightlyupward

fromthenut

99:100

=+17c

o

matchSQVlns,

Gamba

port. keepthepitch

∑

sempre sul I

o

dissonantto

SQVlc

o

3

+43c

4

P5above

SQVlc

-keepthepitch

?

∑

&

t

m

o

∑

B

-

o

f

f

-

o

f

e

-

o

?

?

∑

B

5/2

3°/I

II:7

n

n

o

∑

?

II:3b

-

3°/III

o

III:7

IV:0

8/5

3°/IV

n

-

o

III:0

12/5

n

n

-

o

˙n w™ ∑ Œ Œ

œn

wn

wn wŒ Œ

œn œ

Œ Ó Ó ∑

Ó Ó

˙ ™™œn

j

œœ œ

™

˙ ™ œ ™

wn œ ˙n œ

‰ ‰ ‰ Ó Ó Ó Ó Œ

œ ˙ ˙

w™

w

Ó

∑

œ™

‰

œ

j

œn™

œ™ œ

j

˙ œ

‰ ‰ ‰ Ó Ó

‰

œ

‰ Ó Ó

‰ œn ‰ Ó Ó

Ó Ó Œ

˙n œ˙e ™ ˙ ˙ we œ ™

œ ™ ˙

Œ

wn

wn

Ó Ó

we œ

œe

we ™

Ó Ó Ó ‰

œn ™

œ

J

‰ Œ Ó Ó

œ

œœ

Ó Ó

w

w

n

∑ Ó™

Ó Œ

œ œ

Œ Ó Ó Ó Ó

Ó Ó Ó ‰

œn ™

œ

J

‰ Œ Ó Ó

œn

œvœn

Ó Ówwn

e

∑ Ó™

Ó Œ

œe œ

Œ Ó Ó Ó Ó

Ó Ó Ó ‰

œe™

œe™

˙™

œe ™

we ™

‰

œ ™ ˙

˙

Œ

œn œ

œ

ww

w

w

™™

™™

∏∏∏∏∏ W

W

n

n

œ

œ

œ

œ

œ

œ

n

∏∏∏ ˙

˙

˙

˙

n

n

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Ó ‰ ‰

œ

œ

J

‰ ‰ Ó Ó ∑W

Ó Ó Œ

œn œ

œn

ww

w

we

v

n

n

™™

™™

∏∏∏∏∏ W

W

n

v

‰

œn ™ ˙

˙n

Ó

œ

œ

v

œ

œ

œ

œ

n

v

∏∏∏∏ ˙

˙

˙

˙

n

n

v

v

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Ó ‰ ‰

œ

œ

n

n

J

‰ ‰ Ó Ó ∑Wn

‰

w™œ

‰ Ó Ó

w

w ™™ wn

wn ˙

˙

œn w w

˙e

w œ

œ œ™

˙ ™ œ ™

w

w

n

™

™ w™ W

W

n

we ™

Ó Ó Œ™ ‰

œ

j œ

œn œ

œ

œ ™œ

j

‰ ‰

w

Ó Ó

∑ Ó ‰

œn™

œn

J

˙

œn w

Ó Ó Ó Ó

˙e w

Ó Œ ‰

œ

j

œ

œŒ

œ

j

‰

Ó Ó Œ

œn

Œ

œ

œ

œ ™

œ ™ œ

J

w

On ~ ™ Ó™

Ó Œ ‰

œn

J

w

˙e ˙e™™ ‰

˙

œn

J

˙Œ

w ˙

w ™

œ

j ‰ Œ Ó Ó

~n

~n

~n

w

~

˙ ™

Ó Ó Ó Ó˙e ˙ œ

w ™

Œ Ó Ó

w™

~ ™ ~ ™

~ ™ ~ ~ ~

Ó™

Ó

‰

œn

J

œ ™

œn™

w

w

œ

œ

œ w œ ™ ˙ ™ œ ™

‰ ‰

œ™

˙

Ó

‰ ‰

‚n™

O

Ó

œn

J

œ

œn‰

w

wn

w

Ó ∑ Œ

œ

J

œ

‰ Ó Ó Ó Ó

˙ ˙ œ ™ ˙ ™

‰ Œ

œn

J

œ

œ

n

n

‰

w

w

n

n

w

Ó ∑ Œ

œ

J

œ

‰ Ó Ó Ó Ó

˙ ˙ œ ™ ˙ ™

‰ Œ

w

w

Ó Ó™

Ó Œ

œn

we

˙e ™Œ

‰

˙e

œ ™

˙ ™

˙ ™

˙ ™

˙ ™

~w

Ó Ó™

Ó Œ

œown ˙n ™

Œ

‰

˙n

œn ™

˙ ™O ™

˙ ™O ™

20

{

ù

û

{

{

ù

û

{

{

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

{

Fl

(1)

BassFl

(2)

Ob

BassCl

(2)

Alto

Sax

Hn

BbTp

(1)

NTp

(2)

Tb

Tba

Vib

Mar

Hp

(snd)

Hp

Pf

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

pp

op

19

p pocof

o

pp

pp

o

o o

fp

sf

p

sf

fp

pp

p sf

sf

mezzavoce(m.v.)

pp

(m.v.)

opp pocof

espr.

ppp

pocof

p

sfz

m.v.

p

p pocof p p

pocof

o

mezzavoce

(m.v).

sf

pocof

op

p

pocof

sfp

5

2

4

2

3

2

4

2

3

2

5

2

4

2

3

2

4

2

3

2

&

+10

f

3

f

f

+10

∑ ∑ ∑

&

‹

∑

-4

-

65:64

=-27c

G

-31

9f

matchEnsVl

≤ u13

12:13

=+139c

f

+8

-

∑ ∑ ∑

&

f

∑ ∑ ∑

&

∑ ∑

+6

7°

j

-

coordinate

withSQVc,Pf

+6

j

7°

∑

&

o

o

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

+14

o

F0

&

∑ ∑ ∑ ∑

2

coordinate

withTb

Ω

&

∑ ∑ ∑ ∑

+39

H

T

-

coordinate,tune

withSQVla

?

∑ ∑ ∑ ∑

BbIV

coordinate

withTp1

Ω

?

∑ ∑ ∑ ∑

v

2

4

+25

g

match

SQVc

&

∑ ∑ ∑

7°

?

∑

coordinate

withSQVlc

-

∑ ∑

Ω

&

∑ ∑ ∑ ∑

?

∑f

u7

>o

…

∑ ∑

o

&

∑ ∑ ∑ ∑

?

∑

Fb

…

∑ ∑

F# A#

&

∑ ∑ ∑ ∑

?

∑ ∑

7° to Hpsd

∑ ∑

&

∑ ∑ ∑ ∑

o

?

∑ ∑ ∑ ∑

f

n

n

&

∑ ∑ ∑ ∑

º

&

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

e

e

Ω

&

f

1°

f

f

g

H

H

1°

g

f

g

o

g

?f

u1

j

7°

1°

g

H

j

7°

H

H

g u1

&f f

+23

g

3

+23

g

≥

g

-

g g

+8

f

^

g

+23

&

-8

≤

+8

f

3

f

+8

≥

∑

f

+8

≤

-

+14

o

n

n

+27

o

g

≥

≤

º

B

+8

f

g

+23

f

+39

H

≤

-

∑

+39

H

≤

-

?

-8

n

f

III

-

o

≤ +37

H

III

g

+23

II

+22

g

-≤

g

+25

&

∑

G-31

9f

u13

≤

match

SQVl2

f

+8

-

-4

+37

H

+37

H

tuneconsonant

toGamba,SQVla

+41

H

o

+

&

∑

≤IV

12:13

=+139c

0

2

-

16:15

=-112c

>

1

125:128

=+41c

matchGamba,

consonantwithSQVl1

<e

1

keepthepitch

tune4/5

belowSQVl1

<e

8:9

=+204c

<e

II

III

5/3+

B ∑

+8

f

∑ ∑

o

o

≤

B ∑

4

tunewith

Gamba,SQVl2

∑ ∑

2°/III

o

≤

?

(dissonant

toSQVl1)

-

f

(consonant)

-^

f

f

f

-g

f

-H H

g

-

g

f

H

g

f f

^

g

-

?

III:0

-

80:81

=+22c

-^

V:2a V:3a

4/3

VI:2a

-

5/4

VII:4a

-

VII:0

5/3

VI:3a

-

5/4

VI:2b VI:0

5/3

V:5a ^

-

Ó Ó Ó

w ˙

Œ

œ

w

Ó

‰

œn™ Œ

œ œ™ œ ™ Œ

˙ ™

Œ Ó ∑

Œ

˙

Œ Ó Ó Ó Œ

œ ˙

w™

˙ ™Œ

Ó Ó Óœ ™

‰

Ó Ó Ó œn

J

‰ Œ

˙

Ó Ó Ó

Ó Ó Ó

œn

J

‰ Œ

Ó Ó Ó

˙

Ó Ó Œ

˙n ™ ˙

Ó ∑

‰

œn ™Ó ∑ Ó Ó Ó

œn

J

‰ Œ

Ó Ó Ó

˙n

w ™‰

œ

J

œn

Ó Ó Ó

˙

Ó Ó Ó

˙v

we™

‰

œe

J

œe

Ó Ó Ó

˙v

˙e ™

Œ Ó ∑

Œ

˙n

Œ Ó

Ó Ó Óœn

œ

Ó Ó Ó

˙

œ

œ

j

‰ Œ

Ó Ó Óœv

j

‰ Œ

Ó Ó Óœn

œn

Ó Ó Ó

˙

œ

j

‰ Œ

œ

˙ ™ ˙∑ Ó

w

w ™™

w

w

w

™

™™

w

wŒ

˙™

˙

Ó Ó

œ

œn

n

j

œ

œ

™™

wn™

∑w ™™

Œ Œ

˙

Œ Ó Ó

˙

Œ

œ

œ

œ

˙

˙Ó ∑

Œ˙ ™ ˙

Ó

˙ ˙

˙ ˙

Ó

Ó

w™

œ™

˙™

œ™

w

w

œ

œ

˙™

w

Ó Ó

Ó

˙n œ

œ w™

œ

Œ

w

Ó Ó

˙

∑ Ó Ó Ó

œ

j

œ ™œ

œ

J

œ ™

Ó Ó

w

œ

œ

‰

‰œ

j

w ™™

Œ

˙

Ó Ó

˙

Ó Ó Ó

w

w

œ

œ

˙ ™

Ó ‰

‚n ™Ó ∑

œ

Œ

œ

œ

Œ

œ

Œ Ó Ó

˙

∑

W

Ó Œ

œ œ ™ œ™

œn˙

Ó Ó Ó Ó Œ

˙œ ˙

Ó Ó

œ

œn

j

‰ Œ

Ó Œ

œn œ ™ œ™

œ˙

Ó Ó Ó Ó Œ

˙œ ˙

Ó Ó

œ

œn

n

j

‰ Œ

Ó Œ

œ ™ œ ™

Ó ∑ Ó

˙

Ó Œ

œ ™ œ ™

Ó ∑ Ó

On

Œ˙e

Œ˙e ˙ ™

Œ ‰

œn™ ˙

˙

˙

˙

˙

˙

Œ

˙

˙

™

™ ˙

˙

™™

Œ Ó ‰

œ™

œ™

‰ Œ

œ ˙

˙ œ

œ

œ

Œ˙n

Œ˙n ˙n ™

Œ ‰

œm ™ ˙d

˙

˙d

m

˙

˙m

v

˙n

Œ

˙

˙m

™

™ ˙

˙d

m ™

™ Œ Ó ‰

œe™

œ™

‰ Œ

œn ˙

˙m œm

œ

œ

n

21

{

ù

û

{

ù

û

{

{

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

{

BbCl

(1)

Hn

BbTp

(1)

NTp

(2)

Tba

Glock

Vib

Crot

Mar

Hp

(snd)

Hp

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

pp

o

p pp

24

fp

sf fp

p

pp p fp

p

°

pp p

pp

sf

p

sf

pocof

f

p

p

sfz

f

p

pocoff

p

p

espr. sost.

o

p p

pocof

sfz

p

pocof

osfz

of

p

o

sfz

o

pocof

p

o o

omezzavoce(m.v.)

3

2

4

2

3

2

5

4

3

2

3

2

4

2

3

2

5

4

3

2

&

∑ ∑

+2

v

7°

125:128

=+41c

h

+43

-

tunewith

SQVlc

24:25

=+71c

o

+14

o

6:5

o

+12

o

16:15

=-112c

7°

&

∑

o

∑ ∑ ∑

&

Ω

∑ ∑ ∑

2

&

∑ ∑ ∑ ∑

matchTp1

j

(T)3

15:16

=+112c

f

ord.

+12

?

g g

3

-

∑ ∑ ∑

&

›

∑ ∑ ∑ ∑

&

7°

… …

&

›

∑ ∑ ∑ ∑

&

º

∑ ∑ ∑

7°

?

∑

Ωu11

<

∑ ∑ ∑

&

∑ ∑

o

f

f

? o

f

o

…

∑

o

o

f

&

∑ ∑

?

G#

Cb

…

∑

o

&o

o

∑

o

?

f

u11

5o o

∑ ∑

f

f

&

∑ ∑ ∑ ∑ ∑

&

∑

to Piano

?

∑

u11

∑ ∑ ∑

?

∑ ∑

&

u1

g

H

diesis

128:125

=-41c

j

f

7°

g

h

3

o

1°g g

g

f

1°

7°

?g

?

u1

o

g

g

u1

∑

&

&

≤

+41

H

-

l.h.

pizz.

n

+

+12

III

f

n

o

≤

+29

g

≥

+12

f f

g

+25

&

g

+27

g

≥

g

fastvibr.

≤

g

-

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

g

+14

o

g

slowbow

g

+27

6:5

g

+25

g

B

+27

g

+27

g

≤

f

+12

3

g

+25

f

g

f

g

?g

-

o

+14

n

n

-

º

o

+27

g

-

g

h

+43

3

∑ ∑

&

+41

H

≤

o

-

o

u

º

o

u

-14

o“

-14

u o

+16

-

u

-14

-

+27

g g g

&

<e

≤

-

martelé

(fromthestring)

II

III

u

5°/IIº

o

u

o

samesoundingpitch,

threeoctaveslower

o

t

beatingwith

SQVl2

1

-

III

0

24:25

=+71c

-

t

1

-

125:128

=+41c

match

SQVl2

f

2

II

f f

dissonant

aug.5th

0

2

125:128

=+41c

B

o o

º

Ωo

o

5o

o

-

o

∑

o

o

≤

o

6/5

n

o o

-2

B

martelé

(fromthestring)

5/1

3°/II

ºo

o

Ωo

o11/4

2°/III

-

o

∑

2°/IIIo

≤

6/5

n

n

o o

sempre sul II

-2

125:128

=+41c

?

g

f

H

g

o

-

o

-

o

-

o

g

o

o o

g

o

o

o

o

o

6:5

f

g

f

-

?

VII:2b

IV:3a

V:0

5/3

-

-

2°/V

-

o

5/2

VI:0

o o

VI:0

2°/V

transitiongradually

o

4°/V

o

6:5

V:5a

support

SQVlaSolo

5/3

-

˙™ ˙ ™ ˙ ™

Œ Œ

œ œ ™

œ

J

œœn™

‰

œ™

‰ Ó ∑

Ó ‰ œn

J

Œ Ó Ó Œ œn™

‰

Ó Œ ‰œ ™ œ

™

œ

j‰

œ™

‰ ‰

œn™

Œ

œn™

‰ Ó ∑

∑

œn

Ó

wn œ

˙n œ

J

‰ ∑

˙n ™Œ Ó ∑

œ

œn

n œ

œŒ Œ Ó

Ó ‰

œn

J

˙™

Ó ‰œn

j

Œ Ó Ó Œ

æææœn ™ ‰

œ

œ

n

n

J

‰ Œ Œ

œ

∑

Ó ‰

œn

J

Œ Ó

w

Œ Ó œ™

œ ™

Ó

œn

œn

Œ Ó

œ

˙

œ w w

Œ

w

Œ

Ó ‰

œv

J

Œ Ó

wv

Œ Óœe ™

œe™

Ó

œv

œv

Œ Ó

œv

˙e

œv w

wv

Œ

we

Œ

œ

j

‰ Œ

œn œ

œn

˙

˙

™

™ Œ

œn

˙™

Œ Ó ∑

œ

œ

œn

n

∏∏∏∏

œ

œ

œŒ Œ Ó

œ

j

‰ Œ Ó Ó

œ

œ

n

n

™

™ œ

J

œ™

œ™

Œ Ó

œ ˙

˙

Ó

œ

j

‰ Œ

œn œ

œn

˙

˙

™

™ Œ

œn

˙n™

Œ Ó ∑

œ

œ

œn

n

n

∏∏∏∏

œ

œ

œŒ Œ Ó

œ

œ

v

v

™

™ œn

J

œ™

‰ ∑

œ

j

‰ Œ Ó Ó Ó Œ ‰

œn

J

œ

Œ Ó

œe ˙

˙e

Ó

œ ™œ

j

wn œ

œ

œ w ™

œn ™

œ

j

œ

˙

Ó

˙

˙

™™

Ó

˙

œ

œ˙n

˙

‰

œn

J

Œ Ó

œ

œ

n

n

J

‰

œ

J

œ ‰ Œ ∑

w™

˙™

Ó

Œ™

œ

‰ ‰

œ

J

œ

j

Œ Ó Œ

‚

œ w ™w™

˙™

Œ

œn œ

œ œ

Œ

Œ

œ

Œ

œ

œ

w ™

Ó

˙ ™ ˙ ™ œ ™ ˙ ™ œ ™ ˙

˙

™™

Œ

˙ ˙ œ

j

œ

j

˙

œ

J

˙

Ó

w œ

Œ Ó ∑ Ó

w œ™

‰ Ó Œœn

œ

œ

Œ

œ œ™

œ ™œ™

œ

œ ™™

œ ™ œ

‰ Œ Ó

œ

œ

œ

J

‰ ‰

œ

j

œ

œ

‰

œ

j

Œ ∑ Ó œ

Œ

œ

œ

Œ

œ

Ó

œ ™ œœ œ

œn

j

˙™

w œ

˙™

œ™

œ™ ˙ ™ ˙ ™

Œœn œ

˙ ˙

˙n

œ ™ œ

œn œ

œn

n

j

O ™ ~ ‚

˙ ™ œn ™ œ ™ ˙™

˙™

Œœn œ

˙ ˙

˙n

Ó ‰

œ

J

˙ ™

œn

j

˙n™

Ó ‰

œ

j

˙

˙

Œ Ó

w

œ

œ

˙

˙

Œ˙n

Ó ‰

œn

J

˙n ™

‚n

j

On ™

Ó ‰

œn

j

˙

On

Œ Ó

~nœ

‚

˙

O

Œ˙n

œ

œ

j

‰

œ œ

œ

j

œ

œn

œ ™

Œ

œ

˙

˙

œ

J

œ

j

‰ ∑ Ó Ó Œ

œ w

˙

˙

˙ œ

˙

˙

˙

œ

œ

j

‰

œo œ

œn

j

œ

œd

n œn™

Œ

‚n

˙n

On

œ

J

‚

j

‰ ∑ Ó Ó Œ

œn w

On

˙n

On ‚ ˙m

˙

˙m

n

22

{

ù

û

{

{

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

Fl

(1)

BassFl

(2)

BassCl

(2)

Alto

Sax

Hn

BbTp

(1)

NTp

(2)

Tba

Vib

Mar

Hp

(snd)

Hp

Pf

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

p

29

pp

pp

pp p

pp

o

ppp

p

fp

pocof

pp

opp

pp p

° ø

p pp

pp

pocof

pocof

ppp

pp

pp

°

poco

diminuendo

rinf.

m.v.

diminuendo

m.v.

diminuendo

m.v.

pocof

sottovoce

op

p m.v.

p

o

p

3

2

3

2

4

2

3

2

4

2

3

2

3

2

4

2

3

2

4

2

&

∑ ∑ ∑ ∑

match

EnsVln,Vla,

thenbenddown

o

+16

40:39

=-44c

13°

-28

m

65:66

=+26c

port.

-2

11°

j

-

&

‹

∑ ∑ ∑ ∑ ∑

+2

7°

a

&

Bluesthird!

matchSax

+6

7°

j

∑

-6

11°

j

11°

-4

j

5°

o

tuneconsonant

withSQVla

-

+14

∑ ∑

&

+6

Bluesthird!

j

7°

+6

j

∑ ∑

7°

a

3

&

∑

h

+41

B3

4

match

SQVla,Vc

h

+43

F3

4

∑

o

+18

F2

3

match

SQVla,Vc

25:24

=-71c

h

+47

B1

42

&

∑

o

+14

0

-

tune5/4

belowNTp

∑ ∑ ∑ ∑

&

25:24

=-71c

+41

H

(T)234

+39

H

T

H

8:9

=+204c

+43

(4)

h

+41

H

(T)234

128:125

=-41c

j

(T)3

-

H

(T)234

-

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

matchPf,

AltoSax

2

3

7°

a

-4

u11

a

-

&j

7°

∑ ∑

7° 11°

7°

&

∑

^

-

∑ ∑ ∑

11°

7°

?

∑ ∑

11° 11°

∑ ∑

&

∑

o

coordinate

withTrp

^

-

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

h

&

∑

^

-

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

coordinate

withSQVla

G§

&

∑ ∑ ∑ ∑

7°

3

11°

?

∑ ∑

11° 11° u11

-

&j

7°

o

3

11°

a

11°

j

5°

o

a

7°

3

11°

j

j

7°

& g

H

H

1°

g

H

h

1°

?

h

1°

h

g

h

g u1

g

g

1°

g

o

g

g

u1

h

g

& g

+41

H

g

∑ ∑ ∑ ∑

&

+39

g

H H

g

+27

g

h

+43

+27

g

≤

3

+31

g

g

3

g

3

B

g

+41

H

+43

h

H

h

(ossia:upper

2notesonly)

g

H

+14

o

n

g

o

H

g

3

+41

H

≥

h

+45

+29

h

g g

+33

g

-

+18

g

o

-

g

-+47

h

g

+33

g

?

+27

g

+43

h

+45

h

+43

h

h

+31

g

+33

g

+31

g g

g

&

H

+41

g

-

H H

o

-

o

n

-

H

o

7°

o

∑

o

≤ o

-

o3

∑

&

H

+41

8/5

f

1

2

-

tuneto

SQVla,Gamba

H H

dissonant

°7th

n

-

5/3

n

-

H

3°/III

o

∑

III

≤

3°/III

o3

∑

B

+39

H H

h

+43

o

+14

^

o

∑ ∑

o

-

3

∑

B

+39

H

tuneto

SQVl2,Gamba

H

8:9

=+204c

+43

h

tuneto

SQVc

III

^

2/1

o

tune8vewith

openstring

∑ ∑

3°/III

o-

o

3

∑

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H

g

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H

H

-

h

H

-g

o

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g

h

-

h

h

g g

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5/4

VI:5a

VII:7

-

3/2

VI:8b

VII:7

-

4/3

VI:8b

VII:9b

-

5/4

V:0

VI:0

-

6/5

VII:9b

VI:0

n

e

-

-

VII:9b VI:8b V:10b

-

Ó Ó Ó˙ œ ™ œ ™

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æææœ

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˙e

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Ó

we ˙

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23

{

ù

û

{

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

Fl

(1)

BassFl

(2)

Ob

BbCl

(1)

Hn

BbTp

(1)

Tba

Glock

Vib

Crot

Mar

Hp

(snd)

Hp

Pf

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Gamba

(snd)

Gamba

pp

35

ppp pp

p m.v. pocof

p

p m.v.

p

pocof p

pp

pocof

ppp

pocof

m.v. p

°

pocof

o

pp

m.v.

f

p

pocof pp

ppp

°

f

o

(dim.)

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(dim.)

p

(dim.)

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f

f

of

op

om.v.

4

2

3

2

5

2

4

2

3

2

4

2

3

2

5

2

4

2

3

2

&

∑ ∑ ∑

5°

ofu11

-16

m

11°

j

7°

a

+2

&

‹

a

a

7°

∑ ∑ ∑a

+2

7°

-

&

+6

+4

+6

∑ ∑

&

∑ ∑ ∑

(tuneas5/2

abovePf,Tuba)

-16

m

5°ofu11,slightlybendup,

thenmatchSQ

120:121

=+14c

-

port.

-2

j

44:45

=+39c

p

+37

-

+4

j

7°

j

balancewith

SQVl2

&

∑ ∑o

+20

F2

3

25:24

=-71c

+49

h

B1

42

∑

&

∑ ∑

coordinate

withSQVl1

2

+2

Ω

2

3

+8

º

3

+6

tunewithOboe,Horn

∑ ∑

?

∑ ∑ ∑

matchPf

-2

a

u11

3

4

5

∑

&

›

∑ ∑ ∑ ∑

&

e

7° 7°

&

›

∑

3

…

∑ ∑

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∑ ∑ ∑

7° 11°

3

?

∑ ∑ ∑

7°

&

∑ ∑

5v

…

h

…

∑

?

∑

u11

5v

o

5v

…u11

a

7°

a

…h

o

3

&

∑ ∑

… …

∑

?

∑

Db

coordinate

withSQVl2

o …

A§ D§

… o

3

&

∑

3

11°

∑

?

7°

∑ ∑

u11

7°

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e

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5° u1

o o

1°

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p

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5°

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h

p

3

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g

o

p

∑

&

3

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3

o

p

u1

u11

g

p

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o

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1°

&

∑ ∑

+4

n

n

Ω

≤

+6

n

v

Ω

+8

v

v

Ω

3

o

+20

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o o

v

3

o

p

+35

p

+49

h

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h

3

5

&

+20

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IV

≤

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≥

o

3

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n

v

o

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o

v

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o

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g

p

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∑o

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g

+33

p

∑

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p

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3°/II

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wowo

24

{

ù

û

{

ù

û

{

{

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{

{

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{

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ù

û

ù

û

ù

û

{

BbCl

(1)

BassCl

(2)

Alto

Sax

Hn

Tb

Vib

Mar

Hp

(snd)

Hp

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

pp

40

pp

p

o

p ppp ppp

pp

p

pp

osf

pp

m.v.

o

sfz pp

ppp poco

pp

sfp pocof

m.v. espr.

o

m.v. espr.

pocof

pp

ppppoco

pp

oppp pp

3

2

5

4

5

2

3

2

4

2

3

2

3

2

5

4

5

2

3

2

4

2

3

2

&

∑ ∑ ∑

-2

a

7°

5:3

7°

a

∑

&

∑ ∑ ∑

-4

a

7°

-

∑

7°

a

-

3

&

11°

j

11°

j

-2

5:3

∑ ∑ ∑ ∑

&

+49

h

B1

42

h

+51

-

B2

4

(helptoarticulatesmall

commastepinSQVl2)

h

+51

-

81:80

=-22c

+29

g

F1

2

3

^

-

∑

+31

g

B3

4 16:15

=-112c

o

+20

F2

3

3

?

∑ ∑ ∑ ∑ ∑

matchAin

SQVc,Harp

FIV

Ωdissonant!

80:81

=+22c

-

o

tunetoHorn

+22

o

+20

-

3

&

11°

j

(clearpreviousG)

11°

j

5:3

∑ ∑ ∑

&

11°

5:3

∑

Ω

7°

5:3

∑

?

∑ ∑ ∑

7°

∑

7°

3

&

h

∑ ∑ ∑ ∑ ∑

?

h

o

h

5:3

∑

h

o

o o

o

&

∑ ∑ ∑ ∑ ∑

?

o

5

∑

o

A#

C#

coordinate

withSQVc

o

&

h

o

3

o

∑ ∑ ∑

?

h h

∑ ∑

u13

9f

o

u13

9o

3

&

∑ ∑ ∑ ∑

&

∑ ∑

coordinate

withSQVlns

3

∑ ∑ ∑

?

∑ ∑

3

?

∑ ∑ ∑ ∑ ∑

3

&

h

p

j

11°

1°

11°

j

5:3

h g

3

o

g g

3

a

7°

5:3

7°

a

?

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&

o

ou1

?

h

h

g

5:3

g

1°

g

h

1°

3

h

a

7°

g

g

o

1°

g

o

u1

5:3

g

7°

a

3

&p

h h

∑

+16

o

n

≥

+

+31

g

sultasto

g

3

(slow)

g

5:3

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏moltosultasto

g

≤

&

+51

h

p

h

-

sultasto

+51

h

≤

81:80

=-22c

+29

g

-

3

g

ord.

+31

g

≥

-

g

g

+18

o

g

5:3

o

o

+20

B

+47

g

h

5:3

+47

h

-

h h

+29

g

3

+18

o

o

+20

?

∑

+33

g g

+45

h

3+16

l.h.

pizz.

o

n

-

+

o

n

-

+

o

n

+

+33

g

&

∑ ∑

4

+

3

o

5:3

o

&

∑ ∑

I

+

3

coordinate

withSQVl1

sultasto

5:3

moltosultasto

B ∑ ∑

11°

-2

-

o

o

+20

-

3

o

-

o

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B ∑ ∑

2°/II

80:81

=+22c

-

o

o

-

coordinatewithSQVl2toobtainpitch,

itisenoughtochangethefinger

fromharmonicpressuretostopped

3

3°/III

-

o

∑ ∑

?

∑

g

h

h

g

g

3

g g

3

o

o

g

-

o o

∑

B

?

∑

VII:1b VII:1a

3 3

3°/V

o

VI:7

5/2

n

o

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∑

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o

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≈

∑ ∑ ∑

B

25:24

=-71c

w

tunewith

Gamba,SQVla

C#

-41

q

81:80

=-22c

+37

p

SQVl2

5:6

=+316c

m

5°/IV

o

∑

≈

∑ ∑ ∑

?

w

h

o

h

p

p

.-

f

p

.-

p

p

.-

6:5

f

7°

-

p

-

p

≤

-

≈

p

≥

3

p

p

o

p

o

≤

5:3

?

oVII:3b

VII:0

VI:11b

8/3

.-

7/3

VI:9a

.- .

-

6:5

- -

≤

-

≈

≥

3

8/3

VI:10a

5/2

coordinate

withSQVl2

≤

5:3

œ

œ ™‰ Œ

œ ˙ w

˙v w

Ó Œ

œ ™ œ ™

Ó

∑

œ œ

Œ Ó Ó

Œ

œ ™

‰ Ó

Ó Œ

œ™

œ ™ œ ™

‰

œ

œn™

‰ Œ

œe w œ

wn ™

œn

œn

œn

Œ ‰ œn™

Œ

œn w

Œ

œe w

wn ™

œ œ

œn

w

œ

œŒ ‰

œn ™œ ™

‰ Ó Ó

Œ

wv ™œn

œ

œ

e

n

Œ ‰

œn ™œn ™

‰ Ó ∑

˙e

we

œ

œn™

‰ Œ

œ

œ

˙

˙ w

œ

œ

˙

˙

˙

Œ

˙ œ

œ

œ ™

™

™

‰ Ó Ó Œ ‰ ‰

w

w

™

™ w ™˙v w

w

w

˙ œ

w

Œ

œ

œ Ó ‰ œ™

Ó Œ

œ

œn

n ™

™

œ

œ

n ™

™

œ ™

‰ Ó

w

Œ

˙

w ˙

˙

˙

˙

˙

w ™ w ˙w™

wœ w œ w ˙ w

™˙ W

Ó Ó Ó Ó

˙

˙

Ó

œ

j‰ Œ

œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

Ó

w

Ó

w

Ó

˙

Ó

˙œ Œ

œ

Œ w

w œ

Œ

œ

œ ˙

Œ Œ

Œ Ó

˙ ˙˙

œ w

Œ

˙

Œ Ó

œ

œ

™

™‰ Ó Ó Ó

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Œ Œ œ œ

œ ˙ ™

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Œ

œ œ

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w œ

Œ

œ

˙

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J

‰ Œ

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˙n œ

J

‰ Œ

œ w œ

œ ˙ ™ œ w œ

w

Ó

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œ

˙ ™œ ˙

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˙

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Œœ

Œ Óœ ™ ‰ Ó Ó Ó Œ Œ

œ œ ˙ ™ ˙

˙

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Œ

˙

w

w

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w

‚

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˙

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n ˙

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n

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œw œ ˙ ™ ˙w

˙n

œ

Œ

˙m

wn

wÓ

wm

28

5

4

5

4

{

ù

û

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ù

û

{

{

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ù

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Fl

(1)

BassFl

(2)

BbCl

(1)

BassCl

(2)

Tb

Tba

Vib

Hp

(snd)

Hp

Pf

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

sottovoce

o

63

oppp p

o

ppp

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ppp

ppp p

ppp

°

ppp

ppp

op m.v. espr.

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m.v.

m.v.

4

2

3

2

4

2

4

2

3

2

4

2

&

∑ ∑ ∑ ∑ ∑

+4

j

j

11°

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‹

∑

+10

j

7°

j

+8

7°

∑

&

-6

11°

z

z

∑ ∑ ∑ ∑ ∑

&

-6

11°

z

^

matchCl1

-8

11°

z

5:3

∑

+4

11°

j

?

∑

BbIV

u23

coordinate

withPf,Hp

w

+27

matchSQVlc

-

∑ ∑ ∑

?

∑ ∑+41

p

1°(fundamentalpitch)

5tunewithSQ,Gamba

+39

p

V

1

3

p

-

p

3

4

usechangeoffingeringto

articulateverysmall

pitchdifference

+8

7°

o

-

3

v

0

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑

?

∑

u23

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑

?

∑

coordinate

withPf

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑

?

∑

coordinate

withHp

u23

to Hpsd

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑

h

h

?

∑ ∑ ∑ ∑h h

&

∑ ∑ ∑ ∑ ∑

to Piano

&

∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

coordinatewithSQVla

?

∑ ∑ ∑ ∑ ∑ ∑

&

11°

z

w w

5:3

11°

z

j

7°

p

1°

h

j

7°

j

11°

?

p

1°

p

w

p

u23

j

w

u1

w

p

11°

5:3

p

p

u1

11°

h

1°

j

p

u1

h

p

&

+43

p p p

+55

h h

p

p

+39

3

(artificialharmoniccents=

soundingpitchdeviation)

p

p

^

&

o

+29

w w

5:3

w w

≤

w

p

+41

+41

p

≤

p

+39

p

p



p

+39

p

3

p

+37

B

p

∑

p

+41

5:3

p

h

+53

h



+39

p

p

3

p

p

^

p

3

?

o

80:81

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p

+45

^

w

+27

w

p

III

+39

p

p



+37

p

p

p p

p

&

∑ ∑ ∑ ∑

h

+55

o

3

o

h

o

3

o

h

^

o

o

&

∑ ∑ ∑ ∑

m

5°/IV

o

3

o

m

o

3

o

m

^

o

o

B ∑ ∑ ∑ ∑ ∑

h

o

3

o

h

^

o

o

B ∑ ∑ ∑ ∑ ∑

m

5°/IV

o

3

o

m

^

o

o

?

o

p p

5:3

p p p p

p

p

3

?

m

VI:8b

5:3VII:0

changebowadlib.

VI:1b

3

w

w

∑ ‰œ ™ w ™ œ

Œ Œ

˙ ™ œ

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w ˙

˙

Ó Ó

w ˙ ™Œ Ó Ó Ó

˙ wŒ™

œ™

˙™

w ∑

Œ™

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Œ Ó Ó

w ™ w

˙ œ

Œ

˙

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˙

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æææ˙ ™

æææw

wn

Œ™

œn ™ ˙ ™

Œ™

œe™

˙™

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œn ™ ˙ ™

Ó Ó Œ ‰

œ

œ

j

˙

˙

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∑

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œ

œe

e

j

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˙

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∑

˙

˙ w™ ˙ ˙ ™

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œ™

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Œ™

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˙

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œ

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∑

w

w

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w

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w

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œ

‚

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™

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j

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™

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j

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∑ Ó Ó

w™

w™

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Ó Ó

˙

O

˙

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™

œ ™‰ Œ

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j

œ

O

˙

O

˙

w ww ™ w ˙

w™

w ˙O

˙

˙O

˙

w

w

˙

Ó Ó Œ

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J

œ ™

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Ó Ó Œ

O ~ O ‚™

‚

j

‚™

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Ó Ó

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J

œ ™

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O ‚™

‚

j

‚™ ‰

˙˙ w ™ ˙ œ ™ œ ™ ˙ ™ œ œ w

w ™ ˙ ™ ˙ ™ w ™

Œ

˙

˙˙e we

™˙e œ

™œe™

˙e™

œ œe w

wn™

˙™

˙™

w™

Œ

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29

5

4

4

2

5

4

4

2

{

ù

û

{

{

{

{

{

{

ù

û

ù

û

ù

û

Fl

(1)

BassCl

(2)

NTp

(2)

Tb

Tba

Vib

Crot

Mar

Hp

(snd)

Hp

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Gamba

(snd)

Gamba

o

69

osottovoce

o

sottovocesostenuto

sottovoce

pp

o

pocof

pocof

diminuendo

(dim.)

ppsottovoce

diminuendo

(dim.)

m.v.

o

diminuendo

oo

3

2

4

2

7

4

3

2

5

2

6

2

3

2

4

2

7

4

3

2

5

2

6

2

&

-2

13°

take Piccolo

∑ ∑ ∑ ∑ ∑

&

‹

&

∑

0

13°

∑ ∑ ∑ ∑

&

∑ ∑ ∑

p

coordinatewithGamba

tunewithSQVc,Tuba

+45

(4)

p p

?

∑ ∑ ∑ ∑ ∑ ∑ ∑

setpositionbetween

FIandFII

?

4

5

+14

o

u5toEnsVln

o

+43c

+57

q

1°

1

4

6:5

2

4

5

tunewith

SQVc,Trp

p

+45

3

p p p

veryslight

pitchchange

+4c

&

takebow

∑ ∑ ∑ ∑ ∑ ∑

&

›

∑

takebow

∑ ∑ ∑ ∑ ∑ ∑

&

13°

∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑ ∑

&

coordinate

withSQVl1ricochet

∑ ∑ ∑ ∑ ∑ ∑

?

A#

∑ ∑ ∑ ∑ ∑ ∑ ∑

&

13°

j

j

13°

w w

u1

p

q

?

p

pu1

q

6:5

q

p

1°

q

p

1°p

p

1°

w

p

q

u1

p

u1

p

p

&

ÆÆ

+43

p

fastricochet

+

≥

. . . . . . . . . . .

p p

-

p

≤

-

p

-

p

-

port.

5:3

q

+61

q w

+31

w

port.

+43

p p

q

+61

q

= G# -39

+4c

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

B

p

+59

q q

+59

q q

p

+47

3

∑ ∑ ∑

?

+41

p

II

-

p

III

+57

q

6:5

q

+59

+45

p

p

+47

p

p

+29

w

+45

w

p p

q

+59

+45

p

+47

p p

p

+4c

&

. . . . . . . . . . .

p

+43

∑ ∑ ∑ ∑ ∑

&

II

fastricochet,

raisepitchgraduallyfromnut

. . . . . . . . . . .

p

+43

tuneto

SQVl1

∑ ∑ ∑ ∑ ∑

?

p

p

-

p

q

coordinate

withSQVla

6:5

q q

p

w

∑

B

l

?

3/2

VII:0

-

VII:7 VII:5b

6:5

VII:4b VI:0

∑

B

I:4a

wn œ w w

∑ wn ˙ w

Ó

w™

Ó

w

Œ Ó

w w

Ó ∑

œ

˙ ˙ ™ w

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˙

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wnŒ

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w œ w

w

w

w™

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w

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w

w

™

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™˙

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w

w

w

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j

w™

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j

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j

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Œ Ó

œ ™ ˙ ˙ ˙ w˙ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ˙ ™ w w œ

j

œ ™ w w ™

˙ ˙œ W

Ó Ó

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œ

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Œ

Œ

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j

w™

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w ™Œ™

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j

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j

œ™

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w ™

œn œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ ™ w∑

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œ

œ

Œ

˙ ™œ W w

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w ™

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w

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w

œ

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n

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wn

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30

{

ù

û

{

{

{

{

{

{

{

{

{

{

ù

û

ù

û

ù

û

Picc

(1)

BassFl

(2)

Ob

BbCl

(1)

Alto

Sax

Hn

Tb

Tba

Glock

Vib

Crot

Mar

Hp

(snd)

Hp

Pf

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

sotto

voce

o o

Unpocolargo

h = 57.6

76

sotto

voce

o o o

sotto

voce

osotto

voce

o

sotto

voce

o

sottovoce

sottovoce

sottovoce

sottovoce

sottovoce

osottovoce

°

sottovoce

o

sotto

voce

o

pp

sotto

voce

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osottovoce

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h = 57.6

o

p

oppp ppp

p

oppp

op ppp rinf.

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(dim.) sottovoce

o

sottovoceposs.

o o

sottovoceposs.

o

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6

2

6

2

&

‹

∑

√

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11°

j

U

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‹

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tunewithPf,EnsVl

beginfreely

duringfermata

11°

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U

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j

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3

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11°

j

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(Hn)

11°

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U

&

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l

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SQVc,Tuba

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l

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l

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2

3

5

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U

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U

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playafterSQVl1

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11°

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k

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j

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?

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independentflowingofpartsintheSQ

l

l

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l

l

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&

l

k

3

U

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d

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k

IV

3

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í ™™ í™™k

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k

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l

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l

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3

B

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l

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l

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l

l

l

-47

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í ™™ í™™ î™™

l

l

l

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l

l

l

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l

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l

l

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l

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l

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U

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11°

a

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II

a

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U

B ∑

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j

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B

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l

l

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l

l l

l

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Ó Ó Œ

˙ ˙

Œ

w œ ˙™

Œ Ó

w ˙

œ

œ œ

œ

˙

œ

˙

œ œ

œ

œ

œ

œ

˙ ™

˙œ

Ó Ó Œ

On O

Œ

wn œn ˙ ™Œ Ó

wn ˙

‚

œ œ

œ

˙

œ

˙

œ œn

œ

‚

œn

‚

˙n ™

˙nœ

Ó Ó Ó Ó Ó

˙ w œ

Œ

˙ w

˙ ˙

Ó

œ ™

‰ ∑

Ó Ó Ó Ó Ó

˙n w œ

Œ

˙n w

˙n ˙

Ó

‚

‚n

n ™

™‰ ∑

w ˙ ˙

Ó Ó

~ O O

Ó Ó

42

{

ù

û

{

{

{

{

{

{

{

ù

û

ù

û

AltoFl

(2)

Mar

Hp

(snd)

Hp

Pf

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

Gamba

(snd)

Gamba

p

114

o opocof

f p

pocof

sottovoce

o oppespr.

o oppespr.

pocof p pp pp

pocof

pocof

o opp

o

pocof

pp

pp

3

2

4

2

3

2

4

2

3

2

3

2

4

2

3

2

4

2

3

2

&

∑ ∑ ∑

13°

+3

j

65:64

=-27c

tuneconsonant

withSQ

-24

m

u5

5:4

=-386c

-10

224:225

=+8c

u7

-2

z

-

15:14

=-119c u5

m

-22

&

m m

m

m

coordinate

withEnsVla

^

∑ ∑

&

l

l

0m

13°

…

∑

l

5

l ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

…

∑

5

∑ ∑

?

Fb

∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

coordinate

withAltoFl

-

?

∑ ∑ ∑ ∑ ∑

& m

1°

l

m

3

u1

t

l

j

13°

m

u5

m

e

u7

z

u5

m

?

∑

1°

∑

&

t

t

1°

s

u1

t

t

3

&

l

m

-23

3

II

t

-37

≤

-35

t

t

≥

t

t

-37

3

&

l

-39

≤

m

-23

≥

l

m

l

-39

-37

t t

s

-51

t

≤

t

m

-22

m

5°/IV

m

o

B

m

-6

-8

m

-23

n

l

-39

m

5

m

5

-8 -10

e

5

e

n

Ω

º

3

-6

-8

m

-23

n

l

-39

m

5

m

t

-37

5

t

-37

-51

s

3

t

-22

m

m

5°/III

o

?

-53

l

s

3

-6

-8

-10

e

e

e

-23

m

e

Ω Ω-

5

m

5

∑ ∑

&

m

l

s

+l

o

m

o ol

-

o

s

s

o

∑

&

I

+

m

5°/IV

o

3°/IV

o o

m

5°/IV

o

-

I

3°/I

o

∑

B

s

m

o

+

-

o

o

o

u11

-

m

m

-

m

-

o

m

m

m

m

-

o

u11

o

-

s

13°

o

j

+3

m

-24

-

B

I

2°/III

+

-

o

4/3

4

tuneP4belowIII

thenP5aboveIV

^

-

3/2

<

^

-

f

6°/IV

o

-

3/2

<

3/2

<

^

-

4

4/3

^

-

I

2°/II

o

+3

65:64

=-27c

consonantwithSQVl2,Vla

-24

m

-

?

∑ ∑ ∑

&

t

o

m

o

?

∑ ∑ ∑

B

2°/I

o2°/II

o

Ó Œ ‰

œ ™ œ œ

J ‰ Œ Ó

œe˙

‰

œ

J

Ó Œ

æææ

˙™

Ó Œ

æææ

˙™

æææ

˙

Œ

œ

œ

∑

Ó Œ

œ

œ∏∏∏∏∏

˙

Ó ‰ ‰ ‰

œ

w

Ó Œ

œ

œ

v

v∏∏∏∏∏

˙e

Ó ‰ ‰ ‰

œv

wv

∑ Œ˙v

Œ

œ

œ ™™

‰ Ó Œ

˙ w ™ œ

œ

™

™

œ™

Œ ∑

w œ œ ˙

˙Ó œ

˙‰

œ

j

œn

œe

Ó Ó

œ

œ ™

™

œ

j

œ ™ ‰ Ów

w

w w

˙ Ó Œ

˙ w

Ó

W w

w ™

™

w

w

w w

Ó Œ ˙™

Ó Œ

˙ ™ œ ™

Œ™

œ™

œ ™

œ

œÓ

˙ ˙

˙ œ ™

Œ ‰

œ

j

œ ™œ

J

œ ™‰ ‰

œ ™ œ ™‰

œ ™

Œ ‰

œ

j

˙

œ

J

˙

‰œ ™‚ ™

œ™

‰

œn

œn

œ

œ

œ

œ

œ

Œ

œ

œ

œn

œn

‰

œ

œn

J

œ

‰

œ

‰

œ

œ

Œ

œn

œn

Œ

˙ ™

Ó

Œ

œn

‰œn

œ

œ

œ œ

œ

œ

‰

œ

‰

‰

œ

œ

J

œ

Ó

œ

Œ

Œ

œ œ

œ œ

Œ

˙ ™

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œ œ

Œ

Ó Ó ‰

‚™

œ

œ œ Œ Ó

Œ

Ó

œn œ

œn

œ

œœ

œ

œ œ

œn

œn

œn

œe

J

˙ ˙

Ó ∑

œ

œ ‰

œ™

˙ ™

Ó Œ

˙™

˙

Œ

˙ ™

˙ œ

˙ ™

Ó

œ

œ‰

œn ™

O™

Ó Œ

On ™ O

Œ

O™

˙n œ

On ™

Ó

Œ

œ™

œ œ

J

œ

j

‰

œ

œ

œ

œ

Œ Œ

˙

Œ

˙

˙

˙

˙

Œ

œ

œ

œ

œ

˙™

˙n ˙™

œ ˙

Ó ∑

Œ

œn ™

œn œ

J

‚n

j

‰

œ

œn

œ

œ

n

Œ Œ

O

Œ

˙

˙

n ˙

˙

Œ

œ

œ

n œ

œn

˙n ™On ˙n

™œ ˙

Ó ∑

w ™W

~n ™

¿¿ ¿¿~n

43

{

ù

û

{

ù

û

{

{

{

{

{

{

{

{

ù

û

ù

û

{

BassFl

(1)

AltoFl

(2)

Mar

Hp

(snd)

Hp

Pf

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vla

(snd)

Vla

Gamba

(snd)

Gamba

pp

o opp

o opp

o o opp

o

119

pp

o o

pp

p

sottovoce

p

opp

3

2

7

4

5

4

3

2

4

2

3

2

7

4

5

4

3

2

4

2

&

‹

∑

u11

j

+4

u11

z

+2

u7

j

-2

n

3

∑ ∑

&

64:65

=+27c

m

13°

+5

j

∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑t

∑ ∑ ∑

&

∑ ∑

t

∑ ∑ ∑

t

?

∑ ∑ ∑ ∑

t

o

∑ ∑

&

∑ ∑

coordinate

withSQVl1

∑ ∑ ∑

?

∑ ∑

Eb

∑ ∑

coordinatewith

SQVc

o

∑ ∑

&

∑

-

to Hpsd

∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑

u

3

m m

3

m

?

∑ ∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑

coordinatewithSQVla,Vl2

3 3

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑ ∑

&m

13°

j

u11

j

u11

z

u7

j

n

3

t

3

m 1°

s

3

&

s

t

t

1°

s

t

s

u1

t

s

u1

S S

S

t

u1

t

u

u1

t

3

u1

&

-49

t

-35

s

III

s

-47

s

t

-31

s

t

-29

t

≥

t

t

-31

t

-18

m

≤

-

t

s

-47

3

& t

-33

m

o

t

t

-33

t

S

-45

S

S

-43

S

m

u

5°/III

5°/IV

o

o

o

o

m

o

3

o

∑

B

m

o

∑ ∑

u

5°/II

o

3

o

m

5°/III

o

t

-33

3

m

5°/III

o

?

∑ ∑ ∑ ∑

5°/II

u

o

t

-29

o

3

5°/II

m

ot

-31

o

3

B ∑ ∑ ∑

&

u

o

3

o

u

o o o o

3

∑

B ∑ ∑ ∑

m

5°/II

o

3

o

m

coordinate

withSQVlc

o o o o

3

∑

&

t

t

t

o

?

∑ ∑ ∑ ∑ ∑

B

I:0

I:7

3°/I

o

?

∑ ∑ ∑ ∑ ∑

Œ œ™

œ™

Ó Œ˙ ˙

Œ Œ˙ ˙

Ó Œ Œ

œ œ ˙

œ™

œ™

˙™

Œ

æææ˙

æææ˙

Ó

w

Ó

w

Ó

Ó ‰

œ

J

Ó

we

Ó

we

Ó

Ó ‰œe

J

Ó

Œ

˙n ™

Ó

∑ Œ Œ Œ

œ w

œ œ ˙ ˙

œ ˙™

Œ Ó

∑ Œ Œ Œ

œv w

œn œ ˙n ˙

œn ˙™

Œ Ó

œ ™ œ ™ ˙ ™ Œ

œ ™ œ ™

Ó Œ

˙ ˙

Œ Œ

˙ ˙

Ó Œ Œ

œ œ ˙

Œ

˙ ˙

˙

™

™

˙ œ

˙ Ó

˙

˙

˙

™™™

Œ Ó

˙

˙

w

w

œ

œ

œ

™™™

‰ Ó Ó

˙

˙

˙ œ

j

œ™

œ ˙ ˙

˙

‰ Œ

˙ œ

j

w œ w œ ™

‰

w ™

w ™ ˙ w

w

w

w

˙

Ó

œ

œŒ™

œ ™ œ ™

œ™

Œ

œ

Ó

˙ w œ

∑

œ

œ

Œ

Ó

œ œ

Œ

˙

˙ œ ™

Ó

‰

œ™

‚ ™Œ™

œ™

œ ™

œ ™

Œ™

œ ™

˙™

˙ ™

Œ™

œ ™ œ ™

œ™

Œ™

œ™

œ ™ w

w

œ

œ

Ó ∑

‚

‚

‚

‚ O

Ó

O ™

Ó

‚™

‰ Ó Ó ∑ Œ Œ Œ

‚ ~

‚

Œ

Ó

˙

O ™˙ ™ w œ

Œ

‚

˙

O

‰

‚œ

j

˙

O

‰

œ

j

w œ ˙ ™

Œ Ó

∑ Œ Œ Œ

œ ˙ œ œ ˙ œ

Œ Œ Œ Ó

∑ Œ Œ Œ

‚ O ‚ ‚ O ‚

Œ Œ Œ Ó

w™

˙™

˙ ™

wn ™

˙n ™ On ™

44

{

ù

û

{

ù

û

{

{

{

{

{

{

{

{

ù

û

ù

û

{

BassFl

(1)

AltoFl

(2)

Vib

Mar

Hp

(snd)

Hp

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

pp

o

126

osottovoce

opp

p

sf

p

p

sfp

sfz p

o

o

p

p

4

2

3

2

9

4

4

2

3

2

4

2

4

2

3

2

9

4

4

2

3

2

4

2

&

‹+2

u7

j

3

-

(SQ Vc, Harp)

u7

+4

j

j

∑ ∑

&

∑

u7

j

+2

3

(SQ Vc, Harp)

-2

coordinatewith

Hpsd,Harp,Mar

u7

&

∑ ∑ ∑ ∑

&

∑ ∑ ∑

coordinate

withHpsd,Harp

<

-

coordinate

withSQVc,Hp

<

-

<

-

&

…

3

∑ ∑ ∑ ∑

?

t

o

t

∑

S

&

^

…

3

∑ ∑ ∑ ∑

?

o

∑

Bb

coordinatewith

Hpsd,Mar

coordinatewith

SQVc,Mar

&

u

m

∑ ∑

?

∑ ∑ ∑

&

lutestopon

∑ ∑ ∑ ∑

&

∑ ∑ ∑

lutestop

coordinate

withHp,Mar

?

∑ ∑ ∑

lutestop

u7

?

∑ ∑ ∑ ∑ ∑

&

u

m

1°

t

3

t

3

S

t

1°

S

t

1°

t

3:2w

u

“

t

t

u1

3

&

u7

j

3

u7

j

j

?

u7

S

u1

S

&

∑ ∑ ∑

5°/I

u

o

≤

t

-27

o

3

-25

t

t

3

&

II

III

5°/IV

m

n

n

v

o

o

o

m

5°/IV

o

∑

u

5°/I

o o o

∑

Bm

5°/III o

t

-31

o

3

o5°/II

u

o

t

-29

o

3

-27

t

3:2w

∑ ∑

?

5°/II

m

ot

-31

o o

-45

S

t

S

-43

S

∑

-41

S

S

-

&

-

o

∑ ∑ ∑ ∑

&

wholebow

4°/II

-

o

∑ ∑ ∑ ∑

&

-

o

&

u

o

B ∑ ∑ ∑

B

wholebow

3°/II

-

o

m

5°/II

o

∑ ∑ ∑

Œ˙ w ™ ˙ ™™

‰ Ó Œ ‰

œ

˙ ™

‰ Ó™

Œ

˙ œ ™ œ

j

˙ ˙ œ

j

œ ™Œ Œ Ó

™Ó Ó Ó

˙n œ

Œ Ó Ó

∑ Œ

œn

∑ Ó

˙ œ

‰

˙ ™‰

œ

œ

œ

n

n

Œ Œ Ó ∑

Œ ‰

œ

J

Ó ∑ Ó Œ ‰

œ

J

œ

Œ Ó Ó Ó

˙n œ

‰

˙ ™‰ Œ

œ

œ

v

v

Œ Œ Ó ∑

Œ ‰œe

J

Ó ∑ Ó Œ ‰

œe

J

œ

Œ Ó Ó Ó

˙v œ

‰

˙e ™

‰ Œ

˙

˙

Ó ∑ Ó Ó Ó

˙n œ

Œ Ó Œ

œ

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n

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œ

œ

n

n

˙

˙

n

v

Ó ∑

Ó Ó Ó

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n

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œ

œ

n

v

œ

œ

˙ w ™ œ

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œ

œ

œ

œ

Œ

w

w

w

w∑ Œ

w

Ó

w

w

w ™

Œ

˙ w™

w™

œ™

œ

˙™ ‰ Ó

™Ó Ó Ó

˙

˙

n

n

œ

œ

‰

˙

˙ ™

™

‰

œ

œ

n

n

Œ

‚ O

˙ ˙ ˙ w

w

w ™

O

‚

‚

j

‰ Œ

‚ ™

Ó

‰ ∑

∑

O

Ó Ó

‚

J

O ™™ O ™™

‰

‚

Œ

˙

O ‚ ™Ó

‰

∑

‚

Œ

˙

O

w

∑

w w ™w ™ ˙

Ó

Œ

‚ ™œ

j

w ™‚

J

~ ™˙ ™

‰

œ

j

œ

œ

J

œ

Œ

œ™

œ ™

‰

œ™

Œ Ó

˙

Œ Ó™

Œ™

˙™

˙ ™Œ™

œn

J

‰ Œ Ó ∑

‚n

J

‰ Œ Ó ∑

œn

J‰ Œ Ó ∑

˙

Ó Ó

‚n

J ‰ Œ Ó ∑

O

Ó Ó

45

{

ù

û

ù

û

{

{

{

{

{

{

{

{

ù

û

ù

û

{

BassFl

(1)

Ob

Vib

Mar

Hp

(snd)

Hp

Hpsd

(snd)

Hpsd

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vla

(snd)

Vla

Gamba

(snd)

Gamba

pp

131

pp

pp

sfz p

p

o

4

2

5

2

3

2

5

2

7

4

4

2

4

2

5

2

3

2

5

2

7

4

4

2

&

‹

∑

matchSQVl2

-10

u

-

u

-8

u

u

+4

&

∑

+4

+6

+2

&

∑ ∑ ∑ ∑

&<

∑ ∑ ∑ ∑

&

∑ ∑ ∑

13°

0v 0v

o

∑

?

∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑

o

∑

?

∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑

&

lutestopoff

∑ ∑ ∑ ∑

?

lutestopoff

∑ ∑ ∑ ∑

?

∑ ∑ ∑ ∑ ∑

&

u

“

t

3

u

1°

3

u

1°

o

?

&

u1

u u

u1

u

u

0v

13°

u1

&

I

u

o

≤

-27

t

o

3

+4

I

o o

3

o

u

-12

-10

u

u

≤

-8

u

u

-10

u

- - -

≥

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∑

&

u

5°/I

-

oI

u

o

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œ

œn

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œ

Œ Œ

œn ˙

~

Ó

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Ó

O ˙ ˙ œ

˙n

Óœn

‚n

œn œ

˙ ™

œœ œ ˙

Œ

˙n

˙

œ

Œ

wn

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œ ˙ ˙n

˙

œ˙n ™

˙

˙ ™

œ œ

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œ

Œ

˙n

œ

˙ ™

œ œ˙

Œ

œ

Œ

œ

œ

˙

˙

Ó

Œœn ˙

˙

œ ™

œ ™

œ

j

œ

j

œ

J˙

‰ Œ˙ ™

˙ ™

œ

œ

˙ ™™˙

˙˙n œn

j˙

œ

J ‰ Œ

˙

œ œ

˙

˙

˙

˙

O™

œn œ

œn

‚n

Œ

˙n

œn

˙ ™œ œ

˙

Œ

œ

Œ

œ

œ

˙˙

Ó

Œœn ˙

˙œ ™œ ™

œ

j

œ

j

œ

J

˙

‰ Œ˙ ™˙ ™

œœ

˙ ™™˙

˙n˙

œn

j ˙

œ

J ‰ Œ

˙

œ œ

˙

˙

˙

˙

Ó

˙

Œ Œ

œ

œ

œ

Œ

œ

œ

œ

Œ ˙

œ

Œ Œ

œ ˙

w

Ó

˙

Ó

˙

w

Ó

w

Œ

œ

œn

œ

œn

Œ

˙

œ

Œ

w

Ó

w

˙n

˙

˙ ˙

˙

˙

œ

Œ

Ó

˙n

Œ Œ

œ

œ

œ

Œ

œ

œ

œn

Œ

˙

œ

Œ Œ

œn ˙

w

Ó

On

Ó

˙

~Ó

~

Œ

‚n

œn

‚

œn

Œ

O

œ

Œ

~

Ó

wn

˙n

˙

˙ ˙

˙n

˙

œ

Œ

=

60

{

ù

û

{

{

{

{

ù

û

ù

û

ù

û

{

ù

û

{

ù

û

ù

û

Bass

Ob

Alto

Sax

Hn

BbTp

(1)

BbTp

(2)

Tb

Tba

Cues

SQ

Vla

Vln

(snd)

Vln

Vla

(snd)

Vla

Vc

(snd)

Vc

mezzavoce

44 33 44

97

mezzavoce

p

mezzavoce

p p mezzavoce

p p p

p

p

p p

p

mezzavoce

44 33 44

o

ff

ff

oppsottovoce

o

ff

Bass

Ob

Alto

Sax

Hn

BbTp

(1)

BbTp

(2)

Tb

Tba

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

p p mezza

voce

22 33 22

107

m.v. p m.v. p

p

p

mezzavoce

p

mezzavoce

mezzavoce

mezzavoce

p

mezzavoce

p

mezzavoce p

22 33 22

opp

ppsottovoce o

oppsottovoce

o

ppsottovoce

o oppsottovoce

o o

oppsottovoce

o

oppsottovoce

&

‹

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

[

-2

match

Hn

3

&

∑ ∑ ∑ ∑ ∑ ∑

[

matchTb

o

+14

o

3

-2

3

+12

o

11°(ofTp+Hnharmony)

] 0

15:16

=+112c

o

&

<f

-19

∑ ∑ ∑ ∑ ∑

-2

F1

2

-

coordinate

withTp2

8:7

=-231c

-33

<

tunewithTp1

<

+2

-

B0

o

+14

3

3

&

∑

+14

o

1

3

tunetoTp2(7/6then6/5)

36:35

=-49c

-35

<

1v

3

port.

∑ ∑ ∑ ∑

matchSax

1

3

+14

o

36:35

=-49c

port.

1v

3

<

-35

3

tunewithHn

2

+2

27:28

=+63c

1v

3

<

-35

o

0

+14

-

3

match

Hn,BOb

&

o

0

+12

3

o

+16

1

3

1v

-17

<f

matchHorn

∑ ∑ ∑

linebeforeapitchindicatesthedirection

inwhichapreviousfingeringmayneed

slightcorrection(pocoport.adlib.)

∑

2

coordinate

withHn

-

15:14

=-119c

1v

-19

<f

matchTb

16:15

=-112c

<

3v

tunewithHn

-31

9:10

=+182c

-49

1v

3v

<m

<

-33

3

ord.(slides)

+16

o

1

3

?

∑ ∑ ∑ ∑D#

-49

4

*Bb

FIII

+10

f

FIII

B

-4

10:11

=+165c

tunewithTuba

A-39

4f

o

+14

3

o

FI

supportSax

-2

*Bb

o

+16

-19

<f

*Bb

o +12

f

*Bb

11.partialofslightlylow

FIposition=8.partialofBbI

f

FI-

<

-33

<

-35

f

.-

? <

<m

-49

35:36

=+49c

port.

FI

-2

BbI

f

+12

3

?

-33

<

tunetoHn

3

5

+14

o

0

36:35

=-49c

-35

<

1

5

∑ ∑

-35

<

1

5

-2

3

-4

1

3

f

+12

f

+10

∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑cuesinthissectionareareduction

tothemainharmonytones

f

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

o <

n

o

3

B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2°/II

o

&o

n

≥

<

o

-

o

<

-31

o o

-4

≥

∑ ∑ ∑ ∑ ∑

&n

≥

-

o

sul IV

o o

63:64

=+27c

tuneto

EnsVc

> >

≥

∑ ∑ ∑ ∑ ∑

B

-19

<f

n

-≤

<

o

o o

<

≤

-

<

o

<

-

o

-

3

≥

∑

o

o o

<

o o o

B

>

7/5

n

-≤

4°/III

o o

≤

-

2°/IV

o

-

o

II

-

3

≥

∑

2°/III

o o

2°/IV

o o o

?

<f

f

-

<f

f

≥ -

<f

n

-

3

-35

<

≤

-

<

-

f

3

∑ ∑ ∑

?

-19

7/4

<f

n

tunewithHn

-

<f

n

≥ -

<f

3/2

5

-

3

7/4

2v

≤

-

2v

-

III IV

3

∑ ∑ ∑

&

‹-4

]

tunewithTp,Tb

o

+14

36:35

=-49c

-35

< o

-2

32:33

=+53c

4

+51

tunewith

Hn,Tuba

10:11

=+165c

port.4f

E-37

11:12

=+151c

o

+12

tunewithTp,Sax

-2

32:33

=+53c

+51

4

11°

3

[

8:7

=-231c

<

7°

-31

3

12:11

=-151c

&

27:28

=+63c

3

<

-37

tune2/3

belowTp,

matchHn

35:36

=+49c

+12

o

3

tune3/2

aboveBassOb

4v

A#-47

port.

-

o

+12

[

tunewithTp,Hn

o

3

8:9

=+204c

o

+16

]

supportTp

+12

o

4:7

=+969c

-2

<

-33

3

[

match

Tp

-2

32:33

=+53c

port.

4

+51

-

3

11°]

4

& -37

<

3

B0

4

tunewith

Tp2,Sax

35:36

=+49c

+12

o

B0

-35

<

B1

2

B2

12:11

=-151c

4

+49

tunewith

Tuba,BassOb

B1

4

o

3

F1

42

3

E-37

4f

o

12:11

=-151c

4f

11:10

=-165c

3

+2

B2

-

cutoff

withSax

&

[

-2

3

-4

2

]

+12

2

3

oport.

2

3v

4

match

Tuba

A#-47

3

1

3v

m

1

3

port.

supportSax

0

o

.- +16

1

3

o

54:55

=+32c

+47

2

3v

4

2

3w

o

port.

[ 1

3

5:7

=+583c

-17

<o

3

32:33=+53c

0

-2

1v

3

4

+51

4 4

11°

]

∑

3

&

3

-2

-4

7°

<

-35

o

+12

0

o

+14

∑

[

2

.

-

o

0

-

3

]

∑

3

?

∑

match,

continueTp

BbII

-

-2

*F

BbII

>

+29

-[

+12

f

FIII

o

+14

3

+49

4

*F

BbIII

4f

E-37

]

3

4f

*F

BbIII

tunetoTuba

4

.

B

-35

4f

33:32

=-53c

port.

+12

f

3

FIII

+49

4

*Bb

64:63

=-27c

-4

*F

<

3

port.

-31

+25

g

FIII-

7°

*Bb

<

[

<

-31

21:22

=+81c

port.

+49

4

*Bb

FIII

3

match

Sax

?

∑ ∑

+12

f

1

+51

4

5

tunewith

Hn,BassOb

+14

o

4f

E-37

1

4

5

11:10

=-165c

-2

3

12:11

=-151c

4

+47

1

5

v

55:54

=-32c

o

+16

4

4

1

5

v

3

o

4

8:7

=-231c

3

<

-33

3

3

5

35:32

=-155c

f

+12

4

5

16:15

=-112c

2

3

4

tunewith

SQVc

8:7

=-231c

<

-31

1

3

4

5

matchTb

+2

2

&

f

n

n

f

o

4

n

&o

∑

f

o

3

4

4f

< 4

3

&

7/4

<

-35

49:48

=-36c

tune7/4

belowSQVla

+29

12/7

>

n

-

20:21

=+84c

+14

o

5/4

f

5/4

+12

∑ ∑ ∑

&

∑

3°/III

o

o o

o

B

o o

o

o10:11

=+165c

4f

11°

E-37

∑

4f

?

∑ ∑

2°/II

o o o o o

n

o

4/3

n

Ó Œ ‰

œn

J

˙ wn

Ó Œ ‰

œ

J

œ ˙ œ

Œ œn

w œ

J ‰

˙vœ

w w

œn ™ ‰ Ó

˙ ˙

Œ

œn

œœn œ

j

œnœn

j

œ

˙ ˙ w

Ó

˙ ˙ ˙™ Œ Ó

œvœ ˙

Ó Ó

˙ œœ

˙ ˙ Ó œn™

‰ ˙ œœ

˙

œ ˙

Œ ‰

œ

j

Œ

œœ™

‰

˙n˙ ˙

w

‰

œ

œn

œnœ

œ

œ

J

œ œ

œ

œ

œ

œ

œ ˙ œn™

œn

J

˙

Ó˙

˙ ˙ ˙

˙n

˙n œ

œ

˙ ˙

Ó

w w

w w w

w

˙

~n

˙ ™˙ ™

œ

Œ

œ

˙ ™

Œ Œ

œ ˙™

œn w wn

˙ ™˙ ™

œn

Œ

œ

On™

Œ Œ

‚n O™

œ w w

œ

œ

œ

Œ

˙

˙

˙

˙

˙

w ˙wn wn

w w

˙™

œ ˙™

Œ

œ

œ

œn

Œ

˙

On

˙

O

˙n

~n Onwn wn

~n ~

On™

‚ O™

Œ

˙

˙Ó

˙ ˙

˙Ó

˙ ˙

Ó

˙n

Ó

˙

˙ w

w

n w

w

n wn

˙ w

˙

˙ Ó

˙ ˙

˙ Ó

˙ ˙

Ó

˙n

Ó˙

˙ w

w

n w

w

n wn

˙n w

œ

˙n

œn œ

J

œ œ

‰

œ

œn ˙ œ œn˙

Œ Œ

œ

˙n ˙

Ó Œ

œ œn

˙nœ œ

j

‰ Œ Œ ‰œn

j

Œ Œ

œv˙

Ó Ó

˙ œ œœ

J‰ ‰

œ

j

˙

Ó

˙˙

Œ ‰

œ

J

œv

œn

w œ

œv

˙n ˙ œ ™

‰

˙

Ó Ó

˙ œ™

‰

œ™

œ

J

œn

œn˙

œn˙

˙˙

˙™

Œ˙n

Ó Œ

œn ™œn™

œ™

‰ Ó

œn

j

˙n‰

œn˙n Ó Ó

˙œ™

‰ Œ œ œnœ

Œ

œ œ œ

wn

˙œn œ œn œ œn œ œ

Œ

œn

œn

j˙ ™ œ

J ‰ Œ Œ ‰

œ

J

˙

Ó ˙n Ó˙

Ó ˙n ˙™

Œ

œn

œn ™ œ

‰

œ

J

œ ˙œ

˙

Ó Ó Œ˙

œ

œ œ

Œ

œ œn œ œ w ˙ ˙ ˙

˙

˙

œ

˙œn

w œ œ œœn

˙œ

wn˙

˙n

w

œn

J

w

ww

ww

ww

w

Œ

˙ ™

∑

wn

w

w

w

w

w

w w w

œ

j

œ ˙œ

ww

ww

ww

ww

w

w ˙

wn

Œ

˙ ™ ˙

˙

˙

˙

w

wn

w

wn

w

wn ˙ ™ ‚n ~ ~ O

˙n ˙

˙n w

~ O On ‚

˙nŒ

w ˙ ˙ ˙

Ó Ó

˙

~n ~ ~ O O O

w

Ó

w

w

=

61

{

ù

û

{

{

{

ù

û

ù

û

ù

û

{

ù

û

{

{

{

ù

û

ù

û

ù

û

Bass

Ob

Alto

Sax

Hn

BbTp

(1)

BbTp

(2)

Tb

Tba

Cues

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vc

(snd)

Vc

mezzavoce

44 22 44

115

mezzavoce p

p mezzavoce

menof

p mezza

voce

mezzavoce

menof

menof

p

44 22 44

oppsottovoce

ppsottovoce

o

ppsottovoce

o

oppsottovoce

oppsottovoce

o

Bass

Ob

Alto

Sax

Hn

BbTp

(1)

BbTp

(2)

Tb

Tba

Cues

SQ

Vl1

SQ

Vl2

SQ

Vla

SQ

Vc

Vln

(snd)

Vln

Vla

(snd)

Vla

p

44 33

124

mezzavoce

p m.v. p

p

mezzavoce p

piùf p

p

44 33

oppsottovoce

o

o

ppsottovoce

o

opp

o

oppsottovoce

o

&

‹

+49

4

-

tunetoSax

+47

4

3

]

∑ ∑

-4

[

10:11

=+165c

4f

A-39

o

5

+16

54:55

=+32c

4

+47

-18

m

10:11

=+165c

4

11°

11:12

=+151c

-2

&

4

∑ ∑

support

Tp

o

+12

3

15:16

=+112c

o

o

+14

36:35

=-49c

<

7°

-35

7:8

=-231c

&

∑

match

TbB1

2

3

32:33

=+53c

+49

4

B1

4

4

3

o

tuneto

Tuba

+16

F0

o

3

B1

2

f

+10

B1

42

3

4f

E-37

F1

42

3

o

-

-

+14

match

Tb

coordinate

withTp2

o

B0

-19

21:22

=+81c

<f

3A-39

4f

B1

42

3

44:45

=+39c

B2

tunewithTp,Tb

∑

&

∑ ∑ ∑ ∑

3

-

tunetoTuba,Str

[+14

o

0

12:11

=-151c

1w

2

3v

E-37

4o

11:10

=-165c

-2

3

3

tunewithHn,Tb

&

∑ ∑ ∑

[

tuneto

Tuba,Str

3

2

+12

o

0

-

coordinate

withHn

]

4o

3v

3

B-35

33:32

=-53c

o

+12

0

-4

3

tunewithHn,Tp,Tb

?

11°

4

-4

FIII

]

4

*Bb

f

+12

*F

32:33

=+53c

4

*F

BbIII

port.

B-35

11°

4f

-

[

11°

4f

E-37

-

33:32

=-53c

+10

f

*Bb

-23

<f

28:27

=-63c

port.

+14

o

3

*Bb

FIIImatchHn

]

+49

4

*Bb

FIII

-4

*FtunewithHn,Tp

tunewith

BassOb,Hn

BbII

33:32

=-53c

?

-2

3

tunewith

SQVc3

o

+14

0

-

3

+12

f

1

-

∑ ∑ ∑ ∑

&

4

∑ ∑ ∑ f

n

&

4

4f 4f

o

3

o

5

4f

4

3

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

II

B

4f

11°

∑ ∑ ∑ ∑

?

5/4

f

+12

4/3

o

+14

matchEnsVc

f

∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

II

?

∑ ∑ ∑

f

∑

?

∑ ∑ ∑ ∑

&

‹

]

∑

-2

+2

27:28

=+63c

-35

<

3

matchHn

35:36

=+49c

o

+14

o

3

&

-4

8:9

=+204c

tunewith

Tb,Tuba

-2

matchTuba

3

[

-4

o

3

+12

8:9

=+204c

o

+16

-4

&

-2

F1

2

match

BassOb [

+49

4

continueTp1

4

+51

11°

F1

4

33:32

=-53c

]

matchBassOb

-35

<

B1

2

35:36

=+49c

+14

o

-

B0

∑

&

1w

4

+49

3]

∑ ∑

2

-

tuneto

BOb,Str

+2

2

45:44

=-39c

2

3v

4o

E-37

16:15

=-112c

1w

4

+51

&

∑

[

o

+14

0

12:11

=-151c

1w

2

3v

E-37

4o

11:10

=-165c

-2

3

-

]

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o o

ocomeprima

o

o osimile

o o

o o

o o o o

&

∑ ∑ ∑

tunewith

SQVla

+12

o

∑ ∑

?

∑ ∑ ∑ ∑ ∑ ∑

+12

f

4

5

tunewith

BCl,SQVla

16:15

=-112c

“

&

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o

+14

f

+12

o

12:11

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4f

E-37

11°

&

∑ ∑



B ∑



+12

f

8:9

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o

+16

8:11

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?

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-2



-4

15:16

=+112c

f

+12

3

match

SQVla

B

o

o o

o

n

o

o

<

o

port.

∑ ∑ ∑

B

2°/III

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n

n

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III

n

n

6/5

>port.

∑ ∑ ∑

?

∑

f

o

f

o o

f

o

f

o o

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?

∑

4°/IV

o

2°/IV

o o 2°/III

o

sul III

o o

∑ ∑ ∑

&

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

tunewith

SQVla,Cl

&

∑ ∑ ∑ ∑ ∑ ∑ ∑

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SQVla

?

2

3

4

tunewith

SQVc

∑ ∑ ∑ ∑ ∑ ∑

&

4f

consonantwithSQVl2

4f

E-37

o

+14

3

11°

4f

E-37

11:10

=-165c

3

&

12:11

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tune2/3

belowSQVla

4

+49

4

tune5/6

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+47

11:8

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o

+16

54:55

=+32c

11°

4

+47

B

+51

4

11°

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?

f

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11°

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3

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4

o o

o

o o

o

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2°/I

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4

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?

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w

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(2)

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(snd)

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o

44 33 33 22

244

osimile

o

sottovoce

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44 33 33 22

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sottovoce

os.v.

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oppsottovoce

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o

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Vl1

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Vla

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(snd)

Vc

33 22 33 22 22

256

33 22 33 22 22

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o

o o

oo

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tunewith

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higher

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toSQVla

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w

w w

w

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73

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inBb(1)

Clarinet

inBb(2)

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inF

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Trombone

5-valve

FTuba

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h ca. 66-99

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mezzavoce,

sostenuto

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(m.v.)

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75

Documents

Marc Sabatmarsbat.space/pdfs/ocean.pdf · consonant world of untempered major and minor triads, including recurring echoes of dissonant microtonal commas and higher harmonic partials