University of Wollongong Thesis Collections

University of Wollongong Thesis Collection

University of Wollongong Year

The virtual orchestra: a systematic

method of realising music composition

through sample-based orchestral

simulation

Leif SundstrupUniversity of Wollongong

Sundstrup, Leif, The virtual orchestra: a systematic method of realising music compositionthrough sample-based orchestral simulation, DCA thesis, Faculty of Creative Arts, Universityof Wollongong, 2009. http//ro.uow.edu.au/theses/872

This paper is posted at Research Online.

http://ro.uow.edu.au/theses/872

The Virtual Orchestra: A Systematic Method of Realising Music

Composition through Sample-Based Orchestral Simulation

Presented in partial fulfilment of the requirements

for the award of the degree

Doctor of Creative Arts

from

University of Wollongong

by

Leif Sundstrup

BMus (Hons), MMus

Faculty of Creative Arts

2009

Sundstrup 2

Acknowledgements

I wish to thank Professor Stephen Ingham for his encouragement and support throughout my

time as a student at the University of Wollongong. His calm nature and understanding was

especially appreciated during times of difficulty during my candidature.

The completion of my work as a doctoral candidate would never have come to fruition

without the tremendous support of my family. Their patience, acceptance, and support of my

continual absence of concentration on family matters - during times of study - were worth

more than words can describe. My understanding wife Vanessa and sons Jamie and Arran

deserve awards for tolerance and support during my preoccupied times of thought!

I dedicate this thesis to my parents Mary and Erik, who I am sure will be delighted that I have

finally submitted my doctoral project.

Sundstrup 3

Abstract

This thesis investigates a method of orchestral simulation using sample-based synthesis,

instrument modelling, and music performance rules. Music scores are produced using

Sibelius notation software and performed by FATSO (Film and Television Studio Orchestra).

FATSO is a virtual orchestra developed by the author using a combination of computer-

music software applications and expressive instrument modelling techniques capable of

producing convincing simulated orchestral performances of music scores.

Music performance rules are modelled on live human performance practice using both

Analysis-by-Synthesis and Analysis-by-Measurement techniques. The collected data is

analysed, and then implemented into a music score using the Sibelius live playback

transformation feature. After a music score is processed with human performance data, the

instrument sounds and playing techniques are realised by the Vienna Instruments sample

playback engine and GigaPulse convolution reverberation plug-in. The processed

performance data of the score is transmitted to Vienna Instruments via MIDI using sound-sets

created with the Sibelius sound-set editor. Consequently, a music score created using Sibelius

can be performed by FATSO with a high level of realism through detailed instrument

modelling and expressive music performance rules.

This thesis contains two parts. Part 1 discusses the background to sample-based orchestral

simulation and the main components of realistic and expressive orchestral modelling. Part 2

discusses methods used by the author for performance data acquisition, and the resulting

performance data implementation into the FATSO environment.

Sundstrup 4

Contents

1. Background to Sample-Based Orchestral Simulation ............................................8

1.1. Introduction ……………………………………………..………….………….. 8

1.2. Overview ……….....…................……………………..……………………......11

1.2.1. Sampling and Sound Synthesis ……...……………………..……...…11

1.2.2. Vienna Symphonic Library and Sample Playback Engine …...….…..13

1.2.3. Sibelius Notation Software ……………………..…..……………......14

1.2.4. Expressive Performance Modelling ….……....……………………....15

1.2.5. Acoustic Spatialisation and GigaPulse Convolution Reverberation ... 16

1.2.6. Review of the MIDI Protocol …………....…….…………................. 18

1.3. Expressive Human Performance Rules ………......……….....................…...….22

1.3.1. Introduction ..........................................................................................22

1.3.2. Performance Data Acquisition ……………………………….....……23

1.3.3. Ensemble Timing …………………………………….....………...….26

1.3.4. Intonation …………………………………....…….….……….......…27

1.4. Instrument Technique Rules …........………………………………............…...29

1.4.1. Articulation …………………………………………….…….…........29

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1.4.2. Note Repetition ………………………………………….…………...31

1.4.3. Performance Transitions …………………….……………………….32

1.4.4. Velocity and Timbre ……………………………...……..………...…33

1.5. Orchestral Environment ………….......…...……………………....………....…35

1.5.1. Orchestral Balance ………………………….....…………..…………35

1.5.2. Dynamic Pitch ………………………….………………………….....36

1.5.3. Hall Resonance and Instrument Localization ……….…………...…...37

1.6. Concluding Observations ...............................................................................….40

2. FATSO Performance Rules ......................................................................................42

2.1. Introduction …….....……………………....……..............………...……...…..42

2.1.1. Analysis-by-Measurement ……………………….……………...…....44

2.1.2. Analysis-by-Synthesis ………………………………….……...……..46

2.2. Performance Data Results……………......……..……………...............……….49

2.2.1. Timing Rules Data ………………………………………..……...…..49

2.2.2. Intonation Rules Data ……………………..…………………….........56

2.2.3. Instrument Timbre Rules Data ………..…………...…………………61

2.2.4. Note Repetition and Legato Rules Data …………..………….....……64

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2.3. Performance Rules Implementation …………..........................………………..67

2.3.1. Sibelius Playback Dictionary and SSE ……….……….………......….67

2.3.2. Sibelius LPT ……………………………………….…………...…….71

2.3.3. VI Performance Control …………...………………..……………..…74

2.3.4. Timing Rules Integration ………………………….….…….……......75

2.3.5. Intonation Rules Integration …………………….……….……….….78

2.3.6. Instrument Timbre Rules Integration ……………….….…………....79

2.3.7. Note Repetition and Legato Rules Integration …………..……….….80

2.4. Creating a Standardized Orchestral Environment …….......….…..............……82

2.4.1. Orchestral Layout ……………….…………………………...............82

2.4.2. Spatialisation……………………….……….…………….………..…85

2.4.3. Simulated Microphone Technique …………….………….……….…87

2.4.4. Dynamic Pitch …………………………………….……….…......…..89

2.5. Conclusion ……………......…………………………………...............…….….92

2.5.1. The Future of FATSO …………………………….………….……....92

2.5.2. FATSO as a Performance Resource …………………….……..…..... 93

2.5.3. Concluding Remarks ….……………………….……………….….…94

Sundstrup 7

Bibliography and Works Cited ………………………………….......…..…………...……..96

Appendix 1. Glossary of Abbreviations ……………………….…...…….…...……..........101

Appendix 2. Instrument Dynamic Pitch Charts ……………....……….……….….....….....102

Appendix 3. List of Original Compositions …………...…….……....……….…….......….104

Appendix 4. List of Tracks on Audio CD Recording ...........................................................105

Sundstrup 8

1. Background to Sample-Based Orchestral Simulation

1.1. Introduction

It is widely accepted within the current music industry community that computer simulations

of musical instruments and ensembles have been used for many years prior to 2009.

However, the continual advances in computer technology and software programming have

provided additional opportunities for musicians to produce high quality computer-music

playback without the need for a sophisticated comprehension of computer programming

techniques and access to unlimited financial resources.

Computer simulated music is heard everywhere: radio broadcasts, live productions - theatre,

dance, drama, clubs, shows, and concert performances - television, commercial CD/DVD

recordings, feature films, and internet related music. However, computer simulations of full

orchestral performances have only recently developed to high levels of realism due to

advances in computer technology and music software development. The twenty-first century

has brought an abundance of possibilities for creating realistic orchestral simulations using

powerful audio/MIDI sequencers, detailed instrument reproduction through sound synthesis,

and performance modelling using data acquisition and expressive performance rules.

With the increasing power of computers and rising capacity of data storage, full orchestral

simulations can be rendered in real-time as convincing virtual performances. With the aid of

powerful computer-music software, music compositions can be performed by a virtual

orchestra without requiring the support of live instrumentalists to add that ‘touch of realism’.

However, the task can be particularly complex and requires a thorough understanding of the

intricacies of each instrument in the orchestra, and their collective performance techniques. In

Sundstrup 9

addition, an understanding of expressive human performance practice is crucial for successful

production of realistic virtual orchestra performances using both instrument modelling and

expressive human performance analysis. Once an understanding of how an orchestra ‘sounds’

- the characteristics of individual instruments and effects of ensemble playing – performance

rules can be devised to replicate these attributes and implement them into the virtual orchestra

playback process.

FATSO’s computer generated performances are based on empirical methods of virtual

orchestra simulation using five dedicated software programs: Sibelius, Sibelius sound-set

editor (SSE), Vienna Ensemble (VE), Vienna Instruments (VI), and GigaPulse convolution

reverberation. Each software application forms a sequence from the original notated music

score created using Sibelius, to the final orchestral simulation performed by FATSO. The five

main applications generate the source, performance rules, articulation functions, instrument

techniques, and sample playback, sequentially. Accordingly, this thesis examines each

software application and the techniques used to quantify the composite processes required to

generate an impressive, convincing, and realistic music performance through sample-based

orchestral simulation.

The approach to high-level orchestral simulation discussed in this thesis is based on direct

playback from a notation program. It is an unusual method of orchestral simulation that

differs considerably to the current techniques used in the music industry. The standard

methods of music production and expressive orchestral simulation used in the music industry

involves MIDI data manipulation using third-party audio/MIDI sequencers such as SONAR,

Cubase, Logic, and Digital Performer. However, in this thesis, all expressive performance

rule parameters are implemented and sequenced within the Sibelius notation application. This

is an original approach to high-level orchestral simulation as audio/MIDI sequencers are not

Sundstrup 10

utilised in the creation of virtual orchestra performances. Consequently, once a score is

created using Sibelius, all performance rules and expression are created within the Sibelius

environment and directly sent to VI via MIDI using SSE settings.

Sundstrup 11

1.2. Overview

1.2.1. Sampling and Sound Synthesis

"Sound Synthesis is the process of producing sound. It can reuse existing sounds by

processing them, or it can generate sound electronically or mechanically (Russ, 4). "Sampling

is the process of recording a sound source one part at a time, each part of which is then

imported into a sampler" (McGuire, and Pritts, 1). Although early forms of sampling used

tape-based analog systems such as the Mellotron, it is now widely accepted in the music

industry that the creation and manipulation of sounds is predominantly performed by digital

means. Gilreath states in his Guide to MIDI Orchestration that: “The world of orchestral

sampling can be traced back to the 1960s. The Mellotron, which generated orchestral sounds

using pre-recorded strips of analogue tape, was the first 'sampler' available to the public”

(Gilreath, 521).

Electronic sound synthesis includes many types of sound creation and sound processing

methods such as subtractive synthesis, additive synthesis, wavetable synthesis, sample replay,

and physical modelling. This thesis refers to sound synthesis as computer manipulation and

replay of sampled orchestral instruments and their various articulations. Pioneers of sample-

based music composition included Pierre Schaeffer, Luciano Berio, and Karlhheinz

Stockhausen. "Musique Concrète is a French word which has come to be used as a

description of music produced from ordinary sounds which are modified using tape

techniques [...] Pierre Schaeffer coined the term in 1948 as music made from existing sonic

fragments" (Russ, 19). Luciano Berio and Karlheinz Stockhausen also used sampled sound

sources for Electronische Musik. "Early electronic composers found that manipulation of

Sundstrup 12

recorded sound materials opened a whole new palette of sound sources for musical

expression" (McGuire, and Pritts, 193).

Digital samplers began their existence in hardware form before the development of computer

sampling software. The Fairlight Computer Musical Instrument was developed in 1979

followed by the Ensoniq Mirage and the EMU Emulator samplers. Both the Mirage and

Emulator made instrument sampling accessible, and are still used for certain genres of music

production - especially dance music. Computer software applications have almost completely

eliminated hardware samplers due to their superior power and sample storage ability. “The

21st century has seen a wide adoption of software sample playback as an alternative to

hardware: either as plug-ins to software MIDI and audio sequencers, or as stand-alone

‘sample’ sequencers” (Russ, 26).

A major breakthrough in sample playback technology came when software developers

NemeSys released GigaSampler. “It was this product that included the streaming technology

necessary to move sampling to the next level” (Gilreath, 522). Disk streaming permitted

samples to be triggered directly from the hard drive and allowed massive sample collections

to be instantly ready for playback. Before disk streaming, sample storage was limited to the

small amounts of RAM available in the computer.

The current 2009 industry leaders of powerful orchestral sample libraries include the Vienna

Symphonic Library (VSL), Sonic Implants Symphonic Collection, and East-West Quantum

Leap Symphonic Orchestral Library. These libraries include a vast number of orchestral

instruments and thousands of articulations with many dynamic levels. “The Vienna

Symphonic Library is the most ambitious orchestral sample library ever produced” (Gilreath,

Sundstrup 13

630). VSL includes over 600 gigabytes of instrument sound samples and articulations, and is

the chosen sample playback device used to simulate orchestral performances by FATSO.

1.2.2. Vienna Symphonic Library and Sample Playback Engine

VSL is a highly sophisticated orchestral sample library that is integrated within the VI sample

playback engine. The VI sample playback engine streams the sampled instruments of VSL

from computer hard drives. There are over twenty-five instrument groups currently available

including a colossal amount of articulations, dynamics, performance repetitions, and true

legato samples. The sample playback engine can be operated in three modes: Virtual Studio

Technology (VST), Audio Units, or Stand-alone. In this thesis, the VST plug-in format is

used to integrate VI into Sibelius using a VI host application called Vienna Ensemble (VE).

VST is an audio/MIDI format developed by Steinberg for integrating third-party software

applications into host sequencers and audio/MIDI applications. Consequently, VI can be

integrated directly into Sibelius without the requirement of additional sequencers,

audio/MIDI programs, or further audio/MIDI hardware equipment.

The VI sample playback engine works on three levels of sample integration: pre-sets,

patches, and matrices. Pre-sets are company-configured collections of instrument

articulations ready to use. Patches are the individual sampled sounds/articulations comprising

the sample library instruments. Matrices are used to arrange arrays of two-dimensional cells

that hold patches. There are 144 cells - each able to hold two patches - available for every

instrument matrix and can be triggered by key-switches, program changes, speed control, and

velocity control.

Sundstrup 14

1.2.3. Sibelius Notation Software

As revolutionary as the computer word processor has been for document typesetting, music

notation software has similarly transformed the way orchestral composers work. With the

development of powerful notation applications have come unique and sophisticated, yet

economical ways of producing professional manuscript scores ready for publication. The two

industry leading notation programs currently available in 2009 are Finale by MakeMusic, and

Sibelius by Sibelius Software. In this thesis, Sibelius is used as the primary environment for

both music notation and orchestral simulation due to its powerful MIDI controller and key-

switching capabilities.

Sibelius has been designed to play back a score with a reasonably accurate interpretation of

the notated music. However, the result is, in my view, neither expressive nor convincing, and

needs further processing to generate the required realism appropriate for believable orchestral

simulation. The expressive human performance formulas used to process a Sibelius score are

implemented using the Live Playback Transformation (LPT) feature in Sibelius.

Until the release of Sibelius version No. 5 in April 2007 that included VST hosting, most

scores written using Sibelius required export to a third-party sequencer to add performance

expression and permit successful integration with sample play-back applications. Sequencers

are still used by many of the major film scoring studios to add expressive performance play-

back. However, with the use of LPT in Sibelius, all expressive control can be accomplished

within the Sibelius environment subject to the music originating in score form.

The performance rules implemented using LPT require a context or source phrase. This may

consist of a series of notes including their articulation, pitch, dynamic, intonation, note

Sundstrup 15

duration, and tempo indication. The performance rules discussed in this thesis are based on

the manipulation of five separate note parameters: note length, rhythmic placement,

intonation, timbre, and dynamics - volume, attack, release and decay.

1.2.4. Expressive Performance Modelling

“Interpretation is one of the most important aspects of music performance” (Friberg, 2).

Research into expressive human performance practice has revealed that the unique qualities

of musical expression are a direct result of deviations from a mathematically perfect

interpretation of notated music. These deviations are based on both intentional and

indiscriminate nuances in expressive music performance. There are many research teams

working in the area of expressive human performance and developing rule-based systems for

automatic expressive music interpretation in computer-music technology. The research team

at the Department of Speech, Music and Hearing (KTH) at the Royal Institute of Technology

in Sweden, have been formulating rules for musical expression using Director Musices, a

software application developed at KTH.

Director Musices is a program that converts music scores into performances using rules based

on research conducted at KTH. “Rules in the program model performance aspects such as

phrasing, articulation, and intonation, and they operate on performance variables such as

tone, inter-onset duration, amplitude, and pitch” (Bresin, Friberg, and Sundberg, 1).

Many software notation applications - including Sibelius - generate simple performance rules

for score playback based on instrument articulations, symbols and score indications.

However, in my view, the quality of realism is not convincing as many sophisticated rules are

required for detailed modelling of instrument performance that do not currently exist in any

Sundstrup 16

notation applications to the required extent. Subsequently, performance rules are usually

formulated and processed using third-party music software applications other than Sibelius

unless a performance rule method can be implemented using the LPT feature within the

Sibelius environment. In this thesis, the latter method is used.

Two classes of performance models are used: expressive human performance, and instrument

technique. The methods used to model expressive human performance are based on

intonation, dynamics, and instrument/ensemble timing. The methods used to model

instrument technique are based on timbre, articulation, sample repetition, and performance

transitions. These systems of performance modelling are based on both random and

predictive rule-based deviations from the notated score correlating to human performance

practice.

The rules created to model human player expression discussed in this thesis are based on

research conducted by the author. The author’s rule systems for instrument performance

modelling are derived from two methods of performance analysis: Analysis-by-Measurement

and Analysis-by-Synthesis. The Analysis-by-Measurement method of human performance

data collection is based on the author's original research analyses of performances by ROSO

(Royal Oman Symphony Orchestra).

1.2.5. Acoustic Spatialisation and GigaPulse Convolution Reverberation

The sound of an orchestra is based on the interaction of many different instruments, which

are used in both solo situations and as ensemble groups. It is affected by the spatial expansion

of the ensemble and by the influence of the surrounding acoustics. Acoustic measurement

procedures allow an analysis and description of the tonal characteristics of individual

Sundstrup 17

instruments with regard to sound intensity and reverberation. Appreciation of the

complexities of an orchestral sound requires an understanding of the effect of sound delay

times within an orchestra, including the associated problems of playing in time, as well as

differences in hall reflection times for different instrument locations on stage.

Given that sound travels at about 1,100 feet per second through dry air at 20 degrees Celsius,

not every performer in an orchestra is going to hear a specific sound at an identical time as

another performer in the orchestra. Furthermore, the audience will recognize instrument

sounds – both direct and reflected - later than most orchestral performers. Add to this the

various sound reflections from the acoustic properties of the performance space, and it

becomes obvious that the perception of sounds emanating from different orchestral

instruments reach individual players with varying levels of intensity and sonic qualities.

Sounds emanating from a sound source to a listener have a delay time of about 1 millisecond

per foot from the source. Consequently, a player seated 40 feet from a sound source on stage

will hear the sound 20 milliseconds later than a player seated only 20 feet from the same

sound source. This is a significant difference that affects the entire sound of a large

symphony orchestra due to the natural deviations in note onset/offset times.

To model this phenomenon, the virtual players in FATSO are allocated a natural time delay

based on their distance from front/centre stage where the conductor usually stands. This is an

ideal position to set time delay settings appropriate for an audience in an average concert hall

with the front row audience seated at least 15 feet from front stage next to a virtual stereo

microphone. Once these settings are formulated, a convolution reverberation can be added in

addition to the direct sound delays between instrument sections to add a natural performance

space for the virtual orchestra. Some convolution reverberations, such as GigaPulse, control

the necessary timing differences as a part of the reverberation processing algorithms.

Sundstrup 18

GigaPulse is a VST convolution reverberation plug-in developed by NemeSys. Unlike most

synthetic reverberations available today, GigaPulse reconstructs reverberation using actual

sampled spaces including halls and stages. FATSO employs four separate instances of

GigaPulse to render the VI playback performances simulating separate virtual locations in a

medium concert hall. These separate locations are based on the impulse response data

collected at different stage positions in the hall rendered by GigaPulse. The impulse

responses imitate the varying hall acoustics displayed at different stage positions.

1.2.6. Review of the MIDI Protocol

MIDI (Musical Instrument Digital Interface) was developed in the early nineteen-eighties to

allow different electronic musical devices to communicate with each other using digital

messages in binary code. Originally used to communicate between various hardware

synthesizers, controllers, and effects modules, MIDI is also used within most computer

sequencing applications, recording software, and notation programs. MIDI uses sixteen

independent channels on which data can be transmitted and received by various devices

through a MIDI cable. Each channel can send detailed messages independent of the other

channels and can therefore be utilized to control different devices/instruments

simultaneously. Consequently, each MIDI cable - or virtual cable within a computer

environment - can control up to sixteen independent digital instruments simultaneously.

MIDI travels in only one direction down a MIDI cable and is transported from one device to

another through a MIDI port. Most MIDI devices have a ‘MIDI In’ port and a ‘MIDI Out’

port to send and receive MIDI messages. In this thesis, a virtual MIDI cable connecting a

‘MIDI Out’ port to a ‘MIDI In’ port will be referred to as a 'MIDI tunnel'.

Sundstrup 19

MIDI is the protocol used to communicate between Sibelius and VI. It is utilised to transfer

all programmed notational and expressive music information from a Sibelius score to VI in

real-time, to simulate a musical performance based on the score’s macro information - printed

symbols, rhythmic notation, and expressive indicators - and micro information - controller

information embedded in the score based on expressive music performance data. The MIDI

protocol allows Sibelius to send messages to VI including user-inputted information detailing

how to perform a Sibelius score. Although each MIDI tunnel can control sixteen instrument

channels, a Sibelius score can often employ more than forty separate instrument samples in a

full orchestral composition. Therefore, more MIDI tunnels are required to control all the

instruments separately and can be easily setup to accommodate each individual instrument

with only one important factor to consider - computer resources.

MIDI messages send information based on two classes of data information: system messages

- controlling data pertaining to all the channels on a MIDI port - and channel messages -

controlling data appropriate to individual channels independently of each another. System

messages are analogous to a Sibelius score and control generic messages including score

start/continue/stop commands, and overall volume. Channel messages are analogous to each

instrument in a Sibelius score and control detailed performance parameters including note

on/off commands, articulation keys-switches, pitch messages, velocity, pitch bend, pan, and

modulation performance controllers amongst many others. Each instrument channel message

can also include comprehensive control over note attack, decay, and release times, instrument

brightness, fine-tuning, and any other sound manipulation commands that are available via

MIDI channel messages within the synthesizer, sampler, or software application in use.

A MIDI controller sends various messages to a MIDI device with real-time information

regarding performance parameters. The most common MIDI controller is a controller

Sundstrup 20

keyboard or any keyboard with a ‘MIDI in’ and ‘MIDI out’ port. Sibelius is programmed to

send appropriate MIDI controller messages to VI instead of using a controller keyboard. In

this thesis, channel messages used to control VI from Sibelius include the following

commands: note-on messages, note-off messages, pitch bend, program changes, key-

switches, and expressive controller messages.

Note-on messages sent from Sibelius tell VI which of the sixteen channels available through

a MIDI tunnel to address and when to begin a note - including information regarding pitch,

duration and velocity (dynamics). The pitch numbers can vary from 0 to 127 - C2 to G8 on a

keyboard where C4 is middle C - and the velocity numbers can vary from 0 (silence) to 127

(maximum velocity). Note-off messages sent from Sibelius tell VI when to terminate a note-

on command. Pitch-bend messages raise or lower the pitch of notes and alter the frequency of

a note by up to a tone - higher or lower - within the VI interface. Program changes sent from

Sibelius to VI are used to change instrument patches during a performance. For example, a

program change can tell a virtual clarinet player to change to a virtual saxophone by

switching the sample patch, or tell a virtual violin section to play sul ponticello by switching

to an appropriate sample patch at a user allocated point in the score. Key-switches are a

relatively recent development in the control of virtual instruments and make it possible to

quickly change instrument parameters by using the keys on a controller keyboard that are out

of the pitch register of the relevant instrument. Key-switches are often used to change

instrument articulations during a performance and can be allocated within the Sibelius

environment without requiring a controller keyboard. Control changes (CCs) allow many

different parameters of a MIDI channel to be adjusted in detail. There can be up to 128

different assignable parameters for each MIDI channel transported via a MIDI tunnel. Each

parameter extends from 0 to 127 in values appropriate to the specific device function. The

Sundstrup 21

most frequently used controllers to adjust parameters in VI are CC 1 (modulation), CC 7

(volume), and CC 10 (pan). Assignable CC’s can also control fine adjustments of note attack,

release, sustain, and decay amongst many other possible parameters.

Sibelius can be programmed to send any CC data that VI has been setup to interpret, and

includes a vast collection of performance parameters and key-switches for each individual

instrument within Sibelius. SSE is used to construct performance parameters based on

instrument type and articulation. All notation symbols and indications can also be allocated

specific instrument performance variations to model live instrument performance practice.

Sundstrup 22

1.3. Expressive Human Performance Rules

1.3.1. Introduction

Expressive behaviour – whether intentional or unintentional - in every form of

communication has been a source of rigorous scientific research. In the field of music, much

research has focused on expressive music performance practice and musical interpretation.

However, interpretation includes both intentional and unintentional expressive actions.

Much research into expressive human performance practice has revealed that the unique

qualities of musical expression are a direct result of deviations from a mathematically precise

interpretation of a notated score. Accordingly, the expression in musical performance

“consists in aesthetic deviation from the regular – from pure tone, true pitch, even dynamics,

metronomic time, rigid rhythms, etc” (Seashore, 9). The deviations in human performance -

from the information symbolized in a score - are quantified by means of human performance

analysis. These performance deviations are categorized into four variables: “frequency,

intensity, duration, and form” which are equivalent to “pitch, loudness, time, and timbre”

(Seashore, 29).

Humanization – the act of simulating human qualities – in music expression is based on the

four elements of human performance practice classified by Seashore. Through human

instrumental performance practice and analysis, a rule-based system is developed and

implemented into a musical score using LPT in Sibelius. The rules created are based on the

reality that performers do not play perfectly in tune, perfectly in time, or perfectly together.

There is both a random element in these performance deviations and a predictable

performance factor that must be considered when developing expressive performance rules.

Sundstrup 23

As the scope of this thesis does not allow for detailed research into intentional expressive

music performance (rubato, phrasing, and vibrato), the performance rules developed for

FATSO are based on unintentional performance deviations from a mathematically accurate

interpretation. These involve deviations in intonation, timing, dynamics and timbre.

However, the performance deviations - from a mathematically perfect interpretation of a

notated score - add vitality, warmth and humanization to an otherwise lifeless and

unconvincing computer generated performance. FATSO currently has limitations due to the

lack of intentional expression. However, due to the performance rules used based on

unintentional expressive performance deviations, FATSO is approaching levels of realism

acceptable to professional film, television, and radio producers.

Through research at ROSO by the author, performance data based on Analysis-by Synthesis

and Analysis-by-Measurement has produced a number of performance rules used in FATSO.

Performance rule models based on unintentional performance practice implemented into

Sibelius include: high/loud – increase sound level in proportion to pitch height;

duration/contrast – shorten relatively short notes and lengthen relatively long notes;

high/sharp – stretch all intervals in proportion to size; note duration – adjust note start and

note finish timings; pitch – alter note pitch with micro-tuning; and timbre – manipulate

dynamics, balance and note execution.

1.3.2. Performance Data Acquisition

There are two major ways to gather expressive performance data from a human musical

performance. The first is to record a live performance using various measurement devices

including MIDI, video, audio, or movement sensors. The second is to extract performance

data from an audio recording. The latter method can be extremely difficult unless the audio

Sundstrup 24

recorded uses the multi-track recording technique to isolate each individual player in an

ensemble. According to the paper 'Sense' in Expressive Music Performance: Data

Acquisition, Computational Studies, and Models, Binet and Courtier made the first attempts

to record expressive music performance data:

Of the first to record the movement of piano keys were Binet and Courtier

(1895) who used a 6-mm caoutchouc rubber tube placed under the keys that

was connected to a cylindric graphical recorder that captured continuous air

pressure resulting from striking different keys on the piano. They investigated

some basic pianistic tasks such as playing trills, connecting tones, or passing-

under of the thumb in scales with exemplary material. (Goebl, Dixon, De Poli,

Friberg, Bresin, and Widmar, 3)

Since these studies, performance data has been recorded using piano roll data, gramophone

recordings and more recently, electronic and MIDI pianos. Most of these techniques were

based on single instrument data acquisition, and it is only with the development of MIDI and

multi-track audio sequencers that multi instrument performance data has been recorded with

an acceptable level of accuracy to analyse.

The Machine Learning and Intelligent Music Processing Group at the Austrian Research

Institute for Artificial Intelligence have investigated expressive music performance:

by measuring expressive aspects such as timing, dynamics, etc. in large

numbers of recordings by famous musicians (currently: pianists) and using AI

technologies – mainly from machine learning and data mining – to analyze

these data and gain new insights for the field of performance research.

(Widmar, Dixon, Flexer, Goebl, Knees, Madsen, Pampalk, Pohle, Schedl, and

Tobudic, 1)

Two methods of human performance data acquisition are used as a foundation for the

performance rules created for FATSO: Analysis-by-Measurement and Analysis-by-Synthesis.

Analysis by Measurement quantifies data collected from live human performances. The

Sundstrup 25

performances are recorded into an audio sequencer using the multi-track technique to gather

information from each player in the ensemble. By placing microphones extremely close to

each instrument, acceptable individual audio images can be obtained from each player in the

ensemble. Specific performance information is collected from the recorded data and used as a

source for new human performance rules or as a foundation for the Analysis-by-Synthesis

method. The data collected for FATSO was acquired from multi-track recordings of ROSO.

Four classes of performance information were collected using Analysis-by Measurement:

dynamics, intonation, timbre, and note onset/offset timings. Note onset/offset represents

timing differences between each instrument in an ensemble performing notated music

indicated as rhythmically identical. The breadth of deviations in dynamics, intonation, timbre,

and ensemble timing are calculated from the least noticeable differences (LND) to the most

noticeable differences (MND).

Analysis-by-Synthesis uses an artificial performance that is realised using a hypothetical

performance rule and then evaluated by listening. As the performance rule is continuously

manipulated and improved by listening, a final natural sounding interpretation can be

developed. However, the success of Analysis-by-Synthesis is based exclusively on the skill of

the listener. Consequently, the performance rules developed for FATSO using Analysis-by -

Synthesis are based on the author’s musical ideals, giving FATSO a unique expressive sound.

Many of the hypothetical performance rules realised through Analysis-by-Synthesis are based

on data collected through Analysis-by-Measurement. The performance rules developed for

FATSO using the Analysis-by-Synthesis technique are based on experiments conducted on

scores created in Sibelius and processed using LPT. LPT allows manipulation of intonation,

dynamics, timbre, instrument attack/decay, and timing within the Sibelius environment.

Sundstrup 26

1.3.3. Ensemble Timing

There are two influences on ensemble timing that need to be modelled for a convincing

virtual orchestra performance. The first influence is based on acoustics and the speed of

sound. The second influence is based on each player’s rhythmic accuracy, musicianship and

expressive performance practice. Of course, these influences concern deviations in timing

accuracy from a mathematically correct performance of a notated score and contribute

enormously to the realism of a computer generated orchestral performance. The ensemble

timing data collected through Analysis-by-Measurement include note onset/offset timings

and note duration. Ensemble timing rules are developed based on performance deviations

under various musical conditions based on tempo and musical style. There is also a random

element of timing deviation based on a performer’s precision and flexibility.

The acoustic situation of instrument players greatly differs from that of the listeners. From

the position of the conductor, the delay time of the direct sound between the individual

instruments may rise to 35 milliseconds, and between the outer players of an orchestra up to

45 milliseconds. The relation between a player's own instrument and the level of the other

instruments is very important. Thus, the level of other instruments may be supported by

reflections arriving during a time interval of more than 30 milliseconds after the direct sound.

Shorter delay times lead to sound levels of other instruments perceived as higher in relation

to the apparent sound level of their own instrument.

Through Analysis-by-Measurement, timing deviations between instrument performers were

analysed based on multi-track recordings of ROSO. The recordings were created at the Royal

Guard of Oman Music Studio Hall, which generates a moderate reflection time of about one

second. The performances were recorded into ProTools audio software providing a graphic

Sundstrup 27

user interface (GUI) time-line of each instrument’s performance. The timing rules created are

based on unintentional deviations and do not include expression based on tempo changes,

musical phrasing, or intentional rubato. The performance rules developed focused on

deviations from LND to MND in milliseconds. The deviations between LND and MND were

devised from each player’s note onset/offset data during performances at various tempi and

dynamics.

As a general observation, slower tempi produced greater deviations in note onset/offset

timings. Consequently, the formulas developed for the timing rules within Sibelius are based

on notated length rather than note duration (in milliseconds), where each note is divided into

many segments based on one crotchet equalling 256 divisions called ticks. Using

performance rules that adjust notated length and note onset/offset values coincides with the

observation that quicker tempi produce smaller deviations in ensemble timing. Accordingly,

slower tempi produce greater deviations in ensemble timing and as a result, each note tick

produces a greater effect on note onset/offset times according to tempi.

1.3.4. Intonation

According to Pejrolo and DeRosa in their book Acoustic and Midi Orchestration for the

Contemporary Composer, “One of the biggest problems with a virtual MIDI orchestra is the

fact that it is always perfectly in tune, especially if you are using synthesized patches […]

This is the reason why it is recommended that you make your virtual ensemble sound a bit

'worse' than it could through a gentle use of the detune parameter” (Pejrolo, and DeRosa,

142). This is a very basic recommendation that can have a profound effect on an orchestral

simulation, depending on the methods of detuning used.

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Three methods of detuning are used for FATSO:

• Detuning each string section and solo instrument by a small amount as a set parameter

for the entire score.

• Random detuning between solo instruments for the duration of the score.

• Intonation performance rules applied to FATSO based on analysis of the ROSO

recordings.

The intonation performance rules used for FATSO include high/sharp, loud/sharp, and

random intonation data.

The intonation performance rules are not applied within the separate strings sections - first

violins, second violins, violas, cellos, and basses - as each ensemble section sample already

contains the natural variability between players when recorded. However, the intonation

performance rules are applied to the separate ensemble sections within the entire string

section. For example, intonation performance rules are applied to the cello section, but not to

individual players within the section. This situation exists because each section was initially

sampled as a whole, and individual instruments cannot be separated from each other within

the string ensemble section samples.

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1.4. Instrument Technique Rules

1.4.1. Articulation

One of the most significant components of an instrument’s personal character comprises of

the initial transients of an articulated tone. Other than the harmonic content - that determines

an instrument’s unique sound quality – the prime influence on persuasive expressive

performance simulation is note onset articulation - also known as note attack. “The term

articulation is used to describe the amount of legato/staccato with which a note is being

played. It is defined as the ratio between the note duration (i.e. sounding duration) and the

IOI” (Friberg, Bresin, and Sundberg, 150). The IOI (inter-onset interval) referred to by

Friberg, Bresin, and Sundberg concerns the time from one note’s decay to the next note’s

attack. Accordingly, articulation can be expressed as either the onset/offset of separate tones,

or the onset/offset of one tone in relation to another. Consequently, articulation refers to

single notes, note repetition, and performance transitions as discussed later in this chapter.

Before the current orchestral sample libraries were available – including thousands of

instrument articulations – the most common notated articulations - including staccato,

marcato, tenuto, and accent - needed to be simulated by changing each note’s attack, decay,

sustain, and release (ADSR) times using envelope generators such as oscillators and filters.

An envelope generator “is a multi-stage controller that allows the synthesizer to control over

time the amplitude of a waveform” (Pejrolo, and DeRosa, 133). However, with the

development of detailed orchestral sample libraries, each type of instrument articulation is

sampled with all the natural transients included for each dynamic level. Pejrolo and DeRosa

justify the importance of sample-based orchestral libraries for realistic orchestral simulation:

Sundstrup 30

The advantage of using sample-based sounds instead of synthesized ones lies

in the fact that while a synthesizer tries to re-create complex acoustic

waveforms artificially through the use of one or more oscillators and filters, a

sampler uses random access memory (RAM) to store the original recording

(samples) of an acoustic set of waveforms that can be played (triggered) using

a generic MIDI controller. This technique has the huge advantage that if you

have enough RAM, and if the original samples were recorded and

programmed accurately, the results can be astonishing. (Pejrolo, and DeRosa,

120)

As a result, a notated tone in a music score with an attached articulation symbol - staccato,

tenuto, or an accent - can be programmed to trigger a real sampled sound of a similar

articulation at the equivalent dynamic level on the chosen instrument. Sibelius can be

programmed to trigger the appropriate instrument articulations in VI based on the notated

articulation and dynamic indication in a score using SSE. SSE uses key-switches, program

changes, and controller messages to alternate between various articulations based on the

information sent from Sibelius using the instrument performance rules pre-programmed

within SSE.

Although a generic template of articulation rules can be programmed using SSE, there are

also unintentional expressive performance rules that also affect the variations within each

performed articulation. “Tones can be played longer or shorter than their nominal duration.

Furthermore, tones can be played with different sound levels, or with different vibrato, or

with different tone attacks, etc” (Jerkert, 6). From findings based on Analysis-by-

Measurement - discussed in Part 2 of this thesis - the author considers deviations in

articulation to be both intentional and unintentional. The performance rules created for

FATSO are based on unintentional deviations in both note attack and IOI.

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1.4.2. Note Repetition

Note repetitions are often the cause of synthetic ‘machine gun’ effects heard on many film

and television shows using synthesised orchestral mock-ups. Many computer generated

simulations use the same sample patch for each repeated note that has the same pitch and

dynamic. The result sounds artificial as the same sampled note is performed in sequence and

does not contain the intricate deviations in tone, dynamics, and articulation that each repeated

note performed by a live instrumentalist or instrument section would display. The audio CD

recording of Voyage – performed by the standard Sibelius sample playback and general

Sibelius performance rules – gives a prime example of the 'machine gun' effect (see

Appendix 4).

One way to increase the realism of repeated notes is to adjust each sampled note’s dynamic

level, timbre, and length by a very small amount. However, in the latest sophisticated

orchestral sound libraries, note repetition simulation is achieved by using variant samples for

each repeated note in a sequence. For example, semiquaver notes - performed at various

dynamic levels - are recorded several times to provide the slight but necessary variations for

every repeated note. The VI sample playback interface provides up to nine variations of

repetition for each sampled note at every recorded dynamic level. As each variation of a

sampled note is recorded using live musicians, the reality is enhanced, and as long as the

score is orchestrated using knowledgeable skills appropriate for a live orchestra, the note

repetitions performed by both solo virtual instruments and virtual instrument sections became

more convincing. The note repetitions used in VI are not limited to separate tones including

sustain, staccato, portato, tenuto, and accents. An enormous library of sampled repetitions

also exist for legato phrases, portamento, and performance trills, covering many possible

Sundstrup 32

orchestration techniques used in a notated score, except for various modern extended

performance techniques such as bowing behind a violin bridge or string harmonic glissandi.

1.4.3. Performance Transitions

Before the release of VSL – originally hosted by the GigaStudio software sampling

workstation before the VI engine was developed – instrument tones performed by a virtual

instrument were of the ADSR type. “At least since von Helmholtz, musical notes have been

split into a central region called the steady state, which is preceded by an attack and followed

by a decay” (Strawn, 867). The manipulation of an instrument’s ADSR could – to a

reasonable extent - simulate single articulations required for single tones. However, the

difficulty in simulating connected tones - as in legato and tenuto - has challenged sample-

based sound designers for decades. Strawn further verifies the importance of note transitions:

But much of an instrument’s tell-tale “sound” lies in how the notes are

connected, and thus in how musical phrases help create the instrument’s

“signature”. It is thus important to examine more than one note at a time if the

nature of musical sound is to be fully understood. (Strawn, 867)

A performance transition includes the ending decay of one note and the beginning attack of

the next note. One method of simulating a legato phrase comprising two notes is to lessen the

decay of the first note and lessen the attack of the second note to smoothly join the tones

together. Although this achieves a moderately effective simulation of legato, it has, until

recently, never successfully accomplished an accurate and convincing note transition.

However, due to the recent development of huge computer storage devices, orchestral sample

libraries now have the resources and memory storage accessibility to not only store sampled

single notes, but also masses of performance samples of true legato transitions.

Sundstrup 33

At the forefront of sampling technology - concerning sampled note transitions - is VSL, with

its true legato samples. All legato transition intervals - between a minor second and an octave

- have been sampled at different dynamic levels for many of the solo instruments and string

ensemble sections. This makes adjustments to ADSR envelopes unnecessary for true legato

playback, as notated phrases and note transitions - indicated by a slur in Sibelius -

automatically trigger true legato interval samples within VI using parameters set in SSE.

1.4.4. Velocity and Timbre

The sound levels of orchestral instruments display varying changes in timbre according to

both the dynamic level and pitch register of the produced tones on an instrument. As is

clearly observed in a live orchestral performance, the louder an instrument or ensemble

section performs a passage of music, the brighter the passage sounds due to the increase of

harmonic content in each instrument’s timbre. The brass section of an orchestra displays the

greatest transformation of timbre according to volume. Not only can brass instruments

accomplish the warmest and smoothest sounds of the entire orchestra - at low dynamic levels

in the mid register of each instrument - they can also achieve the brightest and hardest sounds

in an entire orchestra - at high dynamic levels. This can be simulated to various extents using

software frequency filters to adjust the sample’s harmonic content according to the pitch and

dynamic notated in a score. However, with the advance of detailed sample libraries, the

changes in instrument dynamics/timbre are captured at various dynamic levels during the

sample recording session and often do not require the necessity of a frequency filter to adjust

the harmonic content of an instrument’s dynamic spectrum.

Although each tone on a virtual instrument can be pre-set to simulate the sound of a live

instrument by using appropriate instrument samples and mapping templates, the evolving

Sundstrup 34

transformations in dynamics and timbre over time – such as a single note crescendo – is a

little more complicated and requires the use of cross-fading. Cross-fading is a technique used

in MIDI orchestration and synthesis to blend different samples together. It is often used to

change from one sampled sound to another over time, as in a single note

crescendo/diminuendo. For example, if a crescendo is programmed to affect a single note

over time - without the use of filters to brighten the sound - the result will be similar to

turning the volume level up. With cross-fading, as the volume increases over time, a sample

at a specific dynamic level will fade into another sample recorded at a greater dynamic level

and so on. Consequently, the evolving dynamic changes over time reproduce the natural

timbral changes observed in a live performance. The same effect is used in reverse order to

simulate decrescendos.

Changes in micro-level dynamics and timbre exist throughout the duration of an orchestral

performance. These changes can be programmed - on a random level - to simulate the slight

imperfections and nuances experienced in a live performance. Not only can micro-level

adjustments to notes be made using slight variations of velocity, they can also be shaped by

adjusting the filter settings - over time - to create small deviations to the sampled attack and

timbre of each note. Subsequently, the abnormally constant timbre experienced in many

computer generated performances will be eliminated, and the notated phrases performed by

FATSO acquire a natural and humanistic vitality not experienced in a perfect computer

generated orchestral simulation.

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1.5. Orchestral Environment

1.5.1. Orchestral Balance

The balance between individual instruments and ensemble sections within an orchestra has a

major affect on the combined sound produced. It is complicated enough to evenly balance an

orchestra’s complex sound in live situations, let alone simulate a convincing homogeneous

equilibrium within a virtual orchestra environment. Furthermore, it is very difficult to

stipulate exactly the finer details of balance, as every situation throughout an orchestral work

calls for an evolving sound level change between instruments and ensemble sections to

emphasize the emerging musical moments and their varying tone colours. An important

attribute of orchestral balance to appreciate is the dynamic range of each individual

instrument. The softest and loudest tones produced on individual instruments can vary

drastically in timbre from one another. Consequently, consideration of the timbre for each

instrument at contrasting dynamic levels must be assessed to appropriately fine-tune a natural

orchestral balance.

It is appropriate to mention here that most sample library instruments are recorded at the

highest input level on the recording machine to capture the cleanest possible audio signal

with the highest signal-noise ratio. Consequently, the softest tone on a clarinet will playback

at the same sound level as the loudest tone on a trumpet. Accordingly, all recorded instrument

dynamics – whether soft or loud – result in the same output level when played back and must

be re-adjusted after the sampling process to accurately represent the natural dynamic levels of

a live instrument. Accordingly, phrases notated to be performed at a soft dynamic – such as

piano – will trigger a sound originally recorded at a soft dynamic level as played by the

musician. The same outcome applies to loud dynamic levels in sampled instrument tones and

Sundstrup 36

must be adjusted to imitate the natural timbral changes experienced at loud dynamic levels on

an orchestral instrument.

1.5.2. Dynamic Pitch

Research into acoustics, instrument timbre, and sound intensity, has revealed much

information about the dynamic range of individual orchestral instruments. As mentioned

earlier, the dynamic range is based on the sound pressure level differences between the

softest tones an instrument can produce and the loudest it can produce - measured in decibels.

There are three classifications of dynamic range used in an orchestral context: individual

instruments, instruments in groups, and the entire orchestra. The importance of allocating a

correct dynamic range for each instrument in a virtual orchestra is paramount if the dynamic

balance and appropriate instrumental timbre is to be convincing. In his thesis The Sound of

an Orchestra, Meyer found that “In general strings are slightly softer than the woodwinds,

and these are softer by about 10 dB than brass instruments” (Meyer, 203). These

measurements were evaluated by the average of two kinds of performance situations: fast

scales and individual tones. However, this is a general overview and a more detailed analysis

can be found in Dynamic Spectrum Changes of Orchestral Instruments by David A. Luce.

His research is not only based on the dynamic range of individual orchestral instruments, but

included analyses of the dynamic range of each instrument at different pitch registers. These

results complicate the implementation of an accurate dynamic range for instruments into a

virtual orchestra, as the dynamic pitch - dynamic sound level according to instrument pitch -

of each orchestral instrument varies dramatically and no computer orchestration text, as far as

the author’s research extends, stipulates the implementation of these variables into a virtual

orchestra environment.

Sundstrup 37

It is uncomplicated to allocate a general dynamic range of each instrument within a virtual

orchestra environment. However, to apply the appropriate degree of dynamics relative to the

pitch of an instrument is more complex. For example, the dynamic range of a flute has a

much greater sound intensity in its higher register than in its lower register. Accordingly, an

analysis of its dynamic pitch reveals that a flute producing a dynamic of fortissimo in its low

register is actually softer than producing a pianissimo in its high register.

This cannot be achieved by using MIDI velocity messages alone, as they are only able to

allocate a general level of volume between 0 and 127. Consequently, if the MIDI protocol is

used to adjust the relative dynamics based on the range of the instrument within Sibelius, the

incorrect timbre patches will be triggered. This can result, for example, in a pianissimo tone

programmed to playback in the high register actually triggering a mezzo forte or forte sample

due to the MIDI velocity dictating a certain dynamic which is not pitch specific. Therefore,

another method of allocating the dynamic pitch for each instrument must be used and is

discussed in Part 2 of this thesis.

1.5.3. Hall Resonance and Instrument Localization

The final component of convincing orchestral simulation by FATSO concerns spatialisation

and the panoramic listening environment. “The importance of placing a sample-based

sonority in a natural and realistic environment is significant” (Pejrolo, and DeRosa, 148). For

listeners to hear an orchestral simulation with convincing realism, they must be put in a

listening environment that imitates that of a live orchestral performance. Two main factors

determine a natural live performance environment: instrument localization – performer

seating positions - and performance space resonance.

Sundstrup 38

To successfully imitate an orchestra in a natural performance space, each virtual member of

the orchestra must be positioned in the same location as in a live orchestra. “The position of

the sections in relation to one another is an emotive and much discussed subject” (Adey, 16).

However, although orchestral seating positions have altered throughout the past, there are

standard orchestral seating configurations that many orchestras use and are accordingly

replicated by FATSO.

Another important aspect of instrument localization regards the directivity of sound. Every

instrument in the orchestra exhibits a different sound radiation pattern that has an enormous

influence on sound source localization. Meyer reveals an important aspect of the directivity

of sound radiation:

An omnidirectional radiation is found only at the lowest frequencies of each

instrument covering about one octave of the fundamentals. […] Discussing all

orchestral instruments it can be said that there is no omnidirectional radiation

higher than 500 Hz.

The higher frequency components of the brass instruments are concentrated in

a narrow angle around the axis of the instrument. The flute acts as a dipole

having the sound radiation from the embouchure and the first open side hole;

there is no omnidirectional radiation. Reed instruments have, at middle

frequencies, a distributed radiation of all open side holes (like loud-speaker

arrays) affecting preferential directions perpendicularly to the axis of the

instrument. The directivity of strings rests on the phase distribution of the

vibrating parts of the body, especially of the belly. Therefore its dependence

on frequency is particularly significant. Even directions of the strongest

radiation vary, depending on the frequency. (Meyer, 205 - 206)

The human ear can localize higher pitched instruments with greater accuracy than lower

pitched instruments. However, there are other factors regarding sound directivity that

contrast this phenomenon. For example, both the trumpet and trombone display a very

narrow radiation of sound towards front stage, and from the audiences listening position,

exhibit a greater direct sound than reflected sound in a medium to large acoustic space – such

Sundstrup 39

as a concert hall. However, the French horn – which directs most of its sound away from the

audience listening position and towards the back of the acoustic space – exhibits a greater

reflected sound than direct sound in the same acoustic space. These differences between the

direct and reflected sounds of instruments not only cause complex timbral transformations,

but also direct the human ear to an instrument’s two-dimensional localization: panoramic

position and panoramic depth. Considering that all the instruments in the VSL sample library

were recorded in a relatively dry space, the spatial reflections of the recording studio were

not captured in the raw samples and subsequently need to be simulated using appropriate

spatialisation modelling – room/hall reverberation replication and harmonic equalization – to

reproduce the natural environment produced by a real acoustic space.

It is worth briefly discussing the psychological influence of stage and hall noise added to an

orchestral simulation. These noises include the sounds emanating from both the performers

on stage and the audience in the hall. The onstage noises include page turns, performers

breathing during musical phrases, floor clatter from feet, seat shuffles, and various random

accidents such as instruments knocking music stands or mutes dropped on the floor.

Audience noises include applause, seat shuffles, crackling confectionary wrapping paper,

audience murmuring, and general hall hum.

Although environment noises can add a further degree of performance realism to an

orchestral simulation, the FATSO performances on the accompanying audio CD do not

include environment noises as it was considered a negative addition to an already high-level

virtual orchestra. The author desires FATSO to gain recognition as a convincing virtual

orchestra through the techniques and performance rules discussed in this thesis.

Sundstrup 40

1.6. Concluding Observations

This overview of sample-based orchestral modelling has introduced the main concepts of

realistic computer generated orchestral simulation. With the tremendous progress of

computing power and the development of sophisticated music applications, the technology

necessary to achieve convincing computer generated orchestral simulations is available and

continuing to improve. However, the essential ingredient for realistic orchestral simulation is

based on methods of humanization using expressive instrument performance rules that -

similar to artificial intelligence programming - are difficult to accomplish effectively.

Furthermore, the idea of FATSO is to perform all sequencing manipulation within a software

notation program as opposed to an audio/MIDI software sequencer application.

Surprising as it may seem, methods of humanization do not necessarily concern what is

added to computer generated orchestral simulations to improve realism, but what is taken

away: precision of performance, and deviation of interpretation. Often computer generated

orchestral performances will play music compositions with perfect timing and intonation,

yielding the synthetic sound associated with many unconvincing orchestral simulations. In his

dissertation Instrument Differences in Characteristics of Expressive Musical Performance,

Timothy Walker clarifies the distinction between a music score and a live orchestral

performance:

A score can be thought of as a “quantized” representation of music, in that

each note has a clearly-defined length (e.g. eighth-notes, quarter-notes) and

categorical or relational instructions for articulation, dynamics, and tempo. A

performance, however, contains continually varying dimensions of relative

onsets, articulation, intensities, tempo, and timbral properties. (Walker, 9)

Sundstrup 41

Although intentional human expressive performance practice – including musical rubato,

tempo fluctuation, and phrasing – is an important element of humanization, the unintentional

deviations in timing, intonation, and dynamic variation, have been found by the author to be

the most significant components of orchestral simulation to emulate realistic orchestral

performances.

Accordingly, Part 2 of this thesis focuses on 'unintentional' expressive deviations – in

comparison to a mathematically precise interpretation - in solo, ensemble, and orchestral

performance. However, it must be acknowledged that the implementation of 'intentional'

expressive performance rules into FATSO would add more realism and musicality to a final

orchestral simulation but requires considerably more research than the scope of this thesis

allows.

Sundstrup 42

2. FATSO Performance Rules

2.1. Introduction

Part 2 of this thesis discusses particular methods of orchestral simulation used by the author

based on Analysis-by-Measurement and Analysis-by-Synthesis. Additional research

undertaken by the author in order to quantify performance data collection - based on audio

recordings by ROSO - determined the initial performance rules developed for FATSO.

Performance data collected from ROSO recordings was analysed and categorized from LND

to MND in relation to timing, intonation, articulation, dynamics, timbre, and performance

transitions. Once the performance data was examined, performance rules were realised within

the Sibelius environment, manipulated using Analysis-by-Synthesis, and subsequently

implemented into a Sibelius score using LPT. Although fine detail in performance practice

was analysed in some areas of data collection, much of the data was further processed to

induce more appropriate performance rules suitable for FATSO.

A summary of orchestral environment simulation is included in Part 2 of this thesis. Although

more concise than investigations into methods of performance expression and instrumental

technique, is a necessary component of this thesis as a matter of thoroughness in the subject

of orchestral simulation. Accordingly, an examination of orchestral layout, simulated

microphone technique, dynamic pitch, and spatialisation are discussed. Detailed findings

concerning dynamic pitch are discussed due to its profound influence on the balance, timbre,

and dynamic colour of the orchestra and individual instrument sections. Furthermore, the

dynamic pitch of an instrument is a rarely discussed topic in the field of virtual orchestras and

is considered by the author to be an important ingredient in successful orchestral simulation.

Sundstrup 43

An investigation into the system of performance data implementation applied by the author

shapes a significant component of Part 2 of this thesis and focuses on the utilization of the

software applications engaged to create FATSO. The systematic procedures used are based

on a chain of performance data manipulations accomplished by each software application

programmed to simulate expressive performance behaviour and instrument modelling

techniques (see fig. 1). Consequently, each software application utilised to shape FATSO -

using unintentional expressive performance rules and instrument techniques - will be

examined. However, only performance rules implemented into FATSO will be discussed in

relation to the data collected from the ROSO recordings.

Fig. 1. FATSO - Systematic procedures flow chart.

It is beyond the scope of this thesis to include the orchestral percussion section in the

performance data collection, analysis, and implementation, as the excerpts recorded by

ROSO for analysis did not include extensive percussion instruments and many of the

performance rules do not apply to the percussion section. The percussion used in

compositions performed by FATSO are allocated basic orchestral timing rules only.

VE

VI GigaPulse FATSO Output

Sibelius Score

Sibelius Dictionary Sibelius SSE Sibelius LPT

Sundstrup 44

The accompanying audio CD of simulated performances includes the following

compositions:

• Concerto Classique: Concerto for harp and orchestra – 21”

• Prelude, Intermezzo & Finale: Work for symphonic wind ensemble – 10”

• Four Bagatelles: Work for medium orchestra – 9:30”

• Theme and Variations: Work for solo harp – 8”

• Voyage: Work for large orchestra – 11”

The submitted works use instrument performance techniques that FATSO is currently able to

simulate and therefore avoid many of the extended techniques used in music composition that

are often employed in musical works created through the twentieth and twenty-first centuries.

However, the works created by the author include many aspects of standard instrument

techniques that provide an excellent challenge for FATSO to display its technical ability.

All of the above listed works composed by the author were performed by FATSO except for

Voyage, which was performed by the standard Sibelius sample playback and general Sibelius

performance rules. This particular computer generated orchestral simulation has been

included on the accompanying audio CD as an example of the basic level of orchestral

simulation expected from current notation programs (see Appendix 4).

2.1.1 Analysis-by-Measurement

The initial performance data collected as a foundation for the expressive rules used in

FATSO were based on recordings of ROSO. The orchestra was recorded performing various

orchestral excerpts using thirty-two microphones - close placement method - into Pro Tools.

Sundstrup 45

Pro Tools is currently the industry standard for digital recording onto computer and displays

detailed graphic information of the recorded sound wave data. Once recorded, the sound

wave data for each instrument and string ensemble section was analysed using waveform

information capturing dynamics, note onset/offset timings, and pitch. Information concerning

performance deviations from a mathematically precise interpretation was then analysed and a

comparison was made between each instrument performance and the original score

information. All instrument and ensemble section deviations were calculated in relation to the

average orchestral pitch core and timing pulse.

Pitch and timing information of each instrument performance was collected by processing the

instrument’s recorded waveform shown in Pro Tools using Melodyne - a pitch and timing

analyses/editing plug-in by the company Celemony. For the purpose of this thesis, Melodyne

was used to analyse and display detailed pitch and timing information of an individual

instrument’s performance. The Melodyne GUI displays all pitch deviations and attack

transients as interpreted from the recorded instrument waveforms shown in Pro Tools and is

the starting point for observing fluctuations in instrument intonation and timing throughout a

performance. Instrument volume information is clearly shown within the Pro Tools

waveforms time-line and is a tremendous source of information regarding variations in

dynamic contrast during an instrument performance. Once the performance data was

collected using Analysis-by-Measurement, the performance information was then analysed

using Analysis-by-Synthesis to adjust the collected data to meet the requirements of FATSO

and its simulated high orchestral standard.

Implementing the raw performance data into FATSO resulted in an average virtual orchestra

simulation due to the high deviations in performance practice observed in the ROSO

recordings. Consequently, the data was refined using Analysis-by-Synthesis to induce a

Sundstrup 46

higher performance standard of FATSO whilst still adhering to the fundamental performance

data and instrument deviations observed. Due to the scope of this thesis and the almost

unlimited extent of performance data analysis possible, only the techniques used to analyse

and implement performance rules into FATSO will be discussed. Therefore, only the general

findings appropriate to the performance rules implemented into a Sibelius score will be

examined in detail.

The following rules have been devised for FATSO based on performance data collected from

the ROSO recordings.

• Timing Rules: instrument specific variables, note duration (onset-offset) and random

timing.

• Intonation Rules: high/sharp, loud/sharp, and random intonation.

• Instrument Timbre Rules: note attack, articulation, velocity control, and timbre

filtering.

• Note Repetition and Legato Rules: VI settings and speed control.

2.1.2. Analysis-by-Synthesis

After the initial performance data was collected using Analysis-by-Measurement, further

analyses were performed using Analysis-by-Synthesis. There were two levels of Analysis-by-

Synthesis used: pre-Sibelius score rules implementation and post-Sibelius score rules

implementation. Pre-Sibelius score rules implementation concerned the analysis and

manipulation of the recorded instrument data prior to importing into a Sibelius score. Post-

Sibelius score rules implementation concerned the analysis and manipulation of the recorded

instrument data after importing into a Sibelius score. If the initial data collected from the

ROSO recordings indicated poor performance aspects concerning instrument technique, the

Sundstrup 47

data was modified before it was imported into a Sibelius score. However, if data that

appeared to be of a sufficient standard to implement into a Sibelius score was found to be

unacceptable when performed by FATSO, it was consequently manipulated using Analysis-

by-Synthesis - post-Sibelius implementation. Many of the rules based on the collected

performance data were developed in both pre-Sibelius and post-Sibelius performance rules

importation.

The development of performance data by Analysis-by-Synthesis is discussed in more detail in

Part 2. In general, Analysis-by-Synthesis was used to adjust events by listening and

determining which rules worked successfully for FATSO. The rules were adjusted to suit the

FATSO environment as some data collected was based on average musicianship and

consequently manipulated to provide a more professional simulation. As a result, the initial

performance data based on observations of the ROSO recordings was manipulated to produce

more constructive performance rules and give FATSO a unique individual character with a

higher standard than displayed in the ROSO recordings. There was of course a fine line

between humanization and perfection, and the author’s goal was to simulate the highest

quality orchestra possible without losing the vital elements of humanization which contribute

to the realism of FATSO.

The precision of the performance rules implemented into a Sibelius score in relation to the

data collected from the ROSO recordings varied considerably depending on Analysis-by-

Synthesis. There were many situations where the data collected from the ROSO recordings

displayed excessive deviations in timing and intonation, resulting in poor performance

technique within the FATSO environment. Consequently, the performance data was

manipulated – by narrowing the deviations data to an acceptable level – to induce an

improved standard of instrument technique. However, the varying extent of performance

Sundstrup 48

deviations observed for each instrument was kept in proportion in most situations. When

occasional instrument performance accidents occurred due to obvious human error, only

some of the data was retained to add infrequent instrument mishaps in a FATSO

performance.

Sundstrup 49

2.2. Performance Data Results

2.2.1. Timing Rules Data

The timing rules used for FATSO include instrument specific variables, note duration (onset-

offset), duration contrast, and random timing deviations. The timing data became so

complicated to analyse that only general rules could be formulated for FATSO. The

recordings highlighted the reality that the deviations of timing within instrument and section

performances were astronomical, even though the recordings appeared adequately performed.

Furthermore, to pinpoint where the deviations occurred - in relation to the ensemble sections,

conductor, and whole orchestra - became impossible. However, deviations between

individual instruments and sections could be analysed to a reasonable extent. For example, if

two players perform a duet together and one player is continually ahead or earlier than the

other, who is accountable for the timing deviations. Add a third player to the situation and the

problem, surprisingly, becomes more complicated to analyse. Consequently, rules based on

timing observations concern both the timing differences between players within sections, and

noticeable timing deviations as a result of specific performance events based on tempo

fluctuation, interval execution, and random timing.

In this thesis, the average difference of all instrument timing deviations from a notated score

– in comparison with each other during the same score events - is referred to as the Timing

Core (TC). The TC can be described as the observed centre of timing as a work progresses

and gives the overall pulse and rhythmic identity. Many of the timing deviations observed

were classified as random, and varied considerably amongst each performer. This appeared to

be a product of the quality of musicianship and instrument performance technique unique to

each player. Consequently, rules were adjusted using Analysis-by-Synthesis to

Sundstrup 50

counterbalance some of the more obvious player orientated performance deviations based on

average musicianship.

Distinctly apparent timing deviations - with reference to the whole orchestra – were observed

during the initial start of a work or section, changes of tempo, tempo acceleration, and tempo

deceleration. The most obvious deviations in timing occurred at the beginning of works, new

movements, and sections of music that contained a change of initial tempo. It was found that

the orchestral musicians took a generous amount of time – depending on tempo – to adjust to

the speed of the conductor and colleagues within the orchestra or ensemble group. Timing

deviations in lower pulsed music were not as audible as in faster pulsed music. However, the

observed data displayed greater deviations in instrument timings in slower pulsed music.

In works of faster pulsed music, the orchestra took up to 4 seconds to find the TC between

musicians and ensemble sections, especially in the brass section that displayed very late

timing deviations. This was most prominent in the horn section. The timing deviations

concerning the brass – in relation to the other ensemble sections - could be described as a

rubber band effect as the core orchestra initially stretched ahead of the brass group causing a

delay in the brass sound compared to the TC. The brass performers would then counteract the

noticed delay by accelerating at a faster tempo than the core orchestra to catch up. There was

also an element of the core orchestra decreasing tempo to wait for the brass to catch up and

was an indication of a psychological collaboration. Although the brass displayed the most

obvious deviations from the TC, all instruments and ensemble sections contributed to the

timing fluctuation around the TC during the beginning of new passages and sections of music

at different tempi.

Sundstrup 51

Similar timing deviations from the TC occurred during tempo accelerations and

decelerations, where the players took some time to find the TC. In the case of decelerations

approaching a fermata, the large deviations in timing were not rectified in any of the similar

situations observed on the ROSO recordings. However, the timing deviations were not large

enough to stand out as poor musicianship, only large compared to timing deviations observed

during settled performance situations. In many cases, the violins and violas – especially the

first violin section - were always ahead in relation to the TC, and more often than not, the

brass – especially horns – were often behind in relation to the TC. The woodwinds displayed

varying degrees of deviation between the timing differences of strings and brass. They also

exhibited the most deviations in timing with relation to the string ensemble and brass

sections.

An important characteristic of timing deviations observed in the ROSO recordings concerned

interval transitions. It was recognised by the author that larger intervals initiated a tendency

for the secondary tone of an interval to be executed late in proportion to the primary tone.

Furthermore, larger intervals caused greater deviations in the delay of the secondary tone in

proportion to the execution speed. Intervals performed at slow speeds displayed greater

timing deviations than intervals performed at fast speeds. However, timing deviations - based

on interval width and speed - were less prevalent in descending intervals than in ascending

intervals. The strings displayed the least amount of timing deviations during transitions

between large intervals. However, the brass – especially the trombones and horns – displayed

increasing timing delays as the interval transitions became larger. The woodwinds displayed

negligible timing delays during transitions until the intervals reached over an octave and a

half. At this point, various timing deviations were introduced – especially in the flutes and

bassoons.

Sundstrup 52

Another cause of delayed timing deviations emerged during the passing of melodies and

countermelodies between both individual instrumentalists and ensemble groups. The timing

delays were caused by the instrumentalists or ensemble sections accepting a musical line later

than it was delivered. As a consequence, a small break was induced between the passing of

thematic material between individual instruments and ensemble sections. It was mostly

noticeable when thematic lines were passed between instrumentalists or ensemble sections

separated by large distances on stage. The woodwinds displayed minor delay times due to the

small distances between each player. However, the brass and strings displayed greater

deviation times between each instrument and ensemble sections due to the greater distance

between them on stage. This was not only evident when observing thematic material passed

from a player in the horn section to a player in the trumpet section, but equally as apparent in

the many situations when the violin section passed thematic material to the cello section. It

was assumed that although the front desks of violins and cellos were relatively close together,

the consequential time deviations observed were a result of the entire ensemble section

causing increasing timing deviations as the desks of both the violins and cellos progressively

increased in distance towards the back of each ensemble section.

The fluctuations in timing deviation during settled passages of music – after the initial starts

of sections without accelerations or decelerations – were measured with reference to the pulse

and tempo of the music. Slower tempi produced greater timing deviations and faster tempi

produced smaller timing deviations compared to the TC. However, this was only observed

during passages of music that lay comfortably within the ability of the performers as timing

deviations became more prominent during technically difficult passages of music – especially

at fast tempi. As a general observation, as more performers were involved in a section of

Sundstrup 53

music, the timing deviations became less audible, even though the timing data displayed an

increase in deviations with the addition of more players.

The complexities of rhythmic placement were another source of obvious timing deviations

observed in the ROSO recordings. In the case of tuplets – the simplest being the triplet - the

timing deviations increased in proportion to the length of the tuplet. Groups of tuplets falling

on one beat - such as a triplet quavers executed in the time of one crotchet – displayed

minimal timing deviations compared to settled time. However, triplet crotchets executed in

the time of two non-tuplet crotchets displayed an increase amount of time between the first

and second triplets within the timing group. This created a distinct timing delay of all tuplets

that were notated in the length of more than one beat. Furthermore, the audible timing delays

during tuplets increased as the tempo and musical pulse decreased.

Obvious rhythmic timing deviations occurred during syncopated passages and were

especially noticeable during repetitive off-beat quavers. However, the timing deviations

compared to the TC were varied among different instruments and ensemble sections. The

deviations of rhythmic placement were much more prevalent between ensemble sections than

instruments within each ensemble. This situation often separated the timing deviations

between the various sections of the orchestra as each performer played with much greater

accuracy within the instrument sections in comparison to the deviations displayed between

each ensemble section. Consequently, the larger deviations in rhythmic timing occurred

between the various orchestral sections rather than between individual players within each

ensemble section.

The instrument specific variables rule contains timing information data based on interval and

rhythmic placement. Larger intervals induced greater time delays on the secondary tones and

Sundstrup 54

were applied to instruments and ensemble sections at different percentages according to data

observed on the ROSO recordings. Complicated rhythmic passages, syncopated beats, and

complex tuplets also induced substantial timing deviations as discussed in the section above.

However, the intricacies of timing deviations caused by difficult rhythmic passages were so

complex that only general rules were developed to integrate into FATSO.

The note duration rule is based on articulation length and includes both random and

prescribed deviations in note duration. All instrument and ensemble sections displayed

random levels of note length deviation throughout a performance. It was also observed that

each player displayed different interpretations of note lengths in general. For example, the

first trumpet often sustained note lengths to their full duration in contrast with the second

oboe that sustained note lengths to an average of three quarters of the note duration. This was

more predominant on shorter note lengths but still obvious at the conclusion of long sustained

notes. Consequently, the note duration rule manipulates the length of sustained notes in

accordance to the observations of the ROSO recordings (see fig. 2).

Note Durations Rule

-100

-80

-60

-40

-20

0

20

40

60

80

100

Pic

colo

Flu

te 1

Flu

te 2

Oboe 1

Oboe 2

Cla

rinet 1

Cla

rinet 2

Bass C

larin

et

Basso

on 1

Basso

on 2

Contra

Bass

oon

Horn

1

Horn

2

Horn

3

Horn

4

Tru

mpet 1

Tru

mpet 2

Tru

mpet 3

Tro

mbone 1

Tro

mbone 2

Bass T

rom

bone

Tuba

Harp

Vio

lin 1

Vio

lin 2

Vio

la

Cello

Bass

No

te L

en

gth

%

Long Notes

Short Notes

Fig. 2. Long and short note lengths of instrument players.

Sundstrup 55

Long notes were considered sustained notes with durations longer than 1 second. For any

note that lasted longer than 1 second, the data collected was based on the note finish time as

if the note was only 1 second, no matter how long the sustained note may have been. Short

notes were considered notes with durations smaller than 1 second and were often related to

various articulation types. The short note data was based on separate non-legato, non-

staccato sustained notes.

The duration contrast rule is based on observations that performers were inclined to lengthen

relatively long notes and shortened relatively short notes. However, this was only observed

during passages including few performers and appeared to be a result of enhanced musical

expression. In general, passages of music performed by massed instruments displayed various

degrees of note shortening, whilst still adhering to proper rhythmic placement.

The random timing deviations rule concerns the fluctuations in timing from the TC for each

instrument and string ensemble section. Through observation of the ROSO recordings, the

degree of general timing deviations from the TC was applied to each instrument in FATSO.

The random deviations were measured in milliseconds and an average of both slow pulsed

and fast pulsed tempo deviations were used as an instrument or string ensemble rule specific

to FATSO (see fig. 3). The allocation of random timing data - initially measured in

milliseconds - was implemented into a Sibelius score as tick based data as described in the

following chapter.

Sundstrup 56

Random Timing Deviations Rule

-100

-80

-60

-40

-20

0

20

40

60

80

100

Picc

olo

Flu

te 1

Flu

te 2

Oboe 1

Oboe 2

Cla

rinet 1

Cla

rinet 2

Bass

Cla

rinet

Bass

oon 1

Bass

oon 2

Contra

Basso

on

Horn

1

Horn

2

Horn

3

Horn

4

Tru

mpet 1

Tru

mpet 2

Tru

mpet 3

Tro

mbone 1

Tro

mbone 2

Bass

Tro

mbone

Tuba

Harp

Vio

lin 1

Vio

lin 2

Vio

la

Cello

Bass

Mill

ise

co

nd

s

Ahead of TC

Behind TC

Fig. 3. Timing deviations of instrument players.

The timing differences between instruments were much larger than expected, as some

instruments displayed deviations of around 100 milliseconds based on the TC. Considering

most people can recognize time delays that are over 40 milliseconds, it could be assumed that

the variations of timing deviation collected from the ROSO recordings would suggest a very

poor sounding performance. However, the timing differences were not as noticeable in the

ROSO recording due to the homogeneous assemblage of all the instrument timing deviations.

There were also occasional deviations of up to 300 milliseconds that were not considered in

the random timing deviations rule as they were a reflection of average musicianship and not

appropriate for integration into FATSO

2.2.2. Intonation Rules Data

The intonations rules used for FATSO include high/sharp, loud/sharp, and random intonation.

The rules were based on data processed in the Melodyne plug-in. The performance data was

analysed according to an orchestra tuned to A440 where the tone A - above middle C - equals

Sundstrup 57

440 Hertz. The Melodyne plug-in clearly displays intonation curves concerning wave data

imported from Pro Tools, and is used to process the wave files recorded by ROSO. Melodyne

displays the volume data as waveforms, note data as pitch charts, and intonation data as

continuous horizontal lines through the volume data waveforms (see fig. 4).

Fig. 4. Melodyne plug-in wave information.

The findings regarding intonation data collected from the ROSO recordings informed that the

MND in intonation deviations were often short term, as performers corrected intonation

problems when time allowed. As a result, the most obvious intonation deviations appeared in

Sundstrup 58

fast passages of music where the performers did not have time to correct any noticeable

intonation problems. The same situation occurred when performing large interval leaps where

the performers only corrected noticeable tuning problems when time allowed, but left the

noticeable intonation deviations in the initial execution of the notes. This observation

concerned the strings, wind, and brass, and was one of the more difficult set of rules to

implement into FATSO.

In this thesis, the average difference of all instrument intonation deviations - in comparison

with each other during the same score events - is referred to as the Intonation Core (IC). The

IC can be described as the observed centre of tuning as a work progresses, and gives the

overall result of all combined tuning deviations. Although it would be easy to analyse

intonation deviations with reference to A 440 – the frequency of initial orchestral tuning – the

continuous changes of the IC throughout a work would make the regular comparison to A

440 unreasonably complex. Consequently, intonation deviations are analysed in relation to

the IC rather than the initial orchestral tuning pitch of A 440.

It was discovered that intonation deviations varied between the different sections of the

orchestra – strings, wind, and brass – in relation to each other. The wind section as an

ensemble group generally played at a higher average pitch than the other orchestral sections.

It was most noticeable when they featured in a musical section that relied on each performer

within the section to keep a steady IC, instigating a gradual increase in pitch due to the

absence of strings to maintain the tuning at the original pitch. However, different musical key

and mode structures caused different levels of intonation deviations between the instruments

and ensemble sections. It was also observed that musical keys that prevented the string

section performers from using regular open strings in a musical passage or movement of a

work, instigated a slight rise in pitch and was most audible when the strings had passages of

Sundstrup 59

music alone, and fixed pitch instruments - such as the harp - entered after a medium amount

of time at the initial pitch where the orchestra originally tuned at A = 440.

The ROSO recordings displayed a minor rise in pitch according to the width of interval

performed. It was observed within the strings and woodwind that for every interval of an

octave higher, there was a general rise in pitch of about 2 cents. The brass exhibited a

general increase of pitch – 2 to 4 cents - for every interval of an octave higher. In the case of

the brass, this was an extensive and noticeable deviation in wide intervals and was

subsequently manipulated using Analysis-by-Synthesis to provide a more appropriate rule for

FATSO. In general, it was observed than rising passages of music tended to increase in pitch

and declining passages of music tended to decrease in pitch.

One of the most noticeable deviations of intonation concerned dynamic levels, particularly

during crescendos and diminuendos. Generally, the brass displayed a large increase in pitch

at higher dynamic levels that was most noticeable during a crescendo leading to a dynamic

intensity of forte or above. This rise in pitch was proportionate to the increase of brightness in

the timbre of each brass instrument. The strings displayed minor changes in intonation based

on dynamic levels. However, obvious rises in intonation occurred under very loud conditions

as a result of string tension within the string ensemble sections – particularly the

contrabasses. The woodwinds displayed a minor decrease in pitch during loud performance

dynamics except for the flutes that displayed an increase in pitch as the dynamic level

increased above forte. The intonation of the flutes was particularly evident and was assumed

to be a product of average instrument technique. Consequently, the intonation data was

manipulated using Analysis-by-Synthesis to generate a more appropriate rule for FATSO.

Sundstrup 60

The remainder of intonation deviations observed were categorized as random. However,

various instrument specific deviations in relation to the IC were used as further intonation

rules in FATSO. For example, the second flute displayed a greater level of intonation

deviation throughout a work than any other woodwind instrument, and to an appropriate

extent was applied to the second flute in FATSO. The instrument specific extents of

intonation deviations observed in the ROSO recordings were used as individual instrument

rules for FATSO. However, the degree of random intonation deviations observed in

individual instruments was limited to acceptable levels of variation more appropriate for

FATSO. It is worth noting that the intonation deviation rules were based on deviations from

the IC. This did not account for the equal temperament scale that has tuning deviations up to

16 cents between some intervals compared to pure intervals. However, the implementation of

the data into FATSO had a positive affect on humanization in the final FATSO performances

due to the minor intonation deviations noticeable between each instrument.

The loud/sharp rule is based on the random intonation rule and adds various degrees of pitch

increase - according to performance dynamic – to each instrument and ensemble section as

discussed in the previous section. The high/sharp rule is based on the random intonation rule

and adds various degrees of pitch increase - per octave interval - to each instrument and

ensemble section according to the data collected from the ROSO recordings. However, the

rule is only applied to dynamics under forte to avoid conflicts with the loud/sharp rule.

The random intonation rule allocates a specific percentage of random pitch deviation to each

instrument and ensemble section. The rule assigns specific degrees of pitch deviation – in

relation to the IC - according to data collected from the ROSO recordings (see fig. 5).

Sundstrup 61

Random Intonation Deviations Rule

-50

-40

-30

-20

-10

0

10

20

30

40

50

Pic

colo

Flu

te 1

Flu

te 2

Oboe 1

Oboe 2

Cla

rinet 1

Cla

rinet 2

Bass

Cla

rinet

Bass

oon 1

Bass

oon 2

Contra

Bassoon

Horn

1

Horn

2

Horn

3

Horn

4

Tru

mpet 1

Tru

mpet 2

Tru

mpet 3

Tro

mbone 1

Tro

mbone 2

Bass

Tro

mbone

Tuba

Harp

Vio

lin 1

Vio

lin 2

Vio

la

Cello

Bass

Pit

ch

(cen

ts)

Sharp (IC)

Flat (IC)

Fig. 5. Random intonation deviations of instrument players.

2.2.3. Instrument Timbre Rules Data

The instrument timbre rules used for FATSO include note attack, articulation, velocity

control, and timbre filtering. Analyses of instrument and ensemble section timbral changes

observed on the ROSO recordings drew attention to the constant fluctuations of sound

variations throughout an entire performance. Timbre rules were designed based on

examinations of particular tone changes due to instrument design, performance technique,

and musical events. The string section of the orchestra displayed the least amount of random

timbral changes due to the fact that the ensemble sections were made up of many individual

players - each with their own unique tone deviations - and when grouped together contributed

to a much more even sound. However, although each individual string player displayed a

large amount of timbral change throughout a performance, the individual string playing data

was not relevant as far as FATSO was concerned as only full ensemble section samples were

used from the VSL library.

Sundstrup 62

One of the more obvious causes of timbral change in all instruments was a result of the

performance dynamics: pianissimo, mezzo forte, fortissimo, etc. In all situations, greater

dynamic levels produced a brighter sound due to the increase of higher overtones in each

instrument according to the volume level. The observed changes of timbre according to

dynamic levels mostly affected the brass, followed by the woodwind and then the strings. The

brass displayed the greatest contrast between low and high dynamic levels - from the warmest

and purest sounds at low dynamic levels to the brightest and hardest sounds at high dynamic

levels. Within the string ensemble sections, the cellos displayed the most audible timbral

changes according to dynamics and pitch. However, each separate string on all the string

instruments possesses its own individual tonal character. The timbral differences between

separate strings on a string instrument are already embedded within the multi dynamic

instrument samples of the VSL library.

It must be noted that the most obvious timbral changes were based on note articulations such

as staccato, détaché, and marcato. This is obviously the whole point of written articulations:

to add colour and expression to a musical work. However, within the various articulations

executed by performers lay micro changes in tone colour and it could be said that no two

similar notes performed by a live instrumentalist ever have exactly the same timbre, unlike

raw articulation samples used in many computer generated simulations. Along with the vast

range of articulations available to change instrumental tone colour – including modern

extended techniques - is the use of mutes within the string, brass, and to a minor extent,

woodwind instruments. The timbral changes influenced by the application of instrument

mutes ranged from string mutes - that reduce the harmonic content of the sound - to the many

varieties of brass mutes that transformed the sound by either reducing or increasing the

harmonic content.

Sundstrup 63

The note attack rule is a simple rule that adds a minor amount of randomization to the attack

transients of an instrument’s initial articulation. It is applied to the beginning of sustained

tones only as the VSL sample library already contains variations of attack embedded in the

instrument samples. Although the sustain samples also have embedded variations of attack

for each sampled tone, a judicious amount of extra attack variation was found to enhance the

naturalness of the orchestral sound due to increased timbral separation of similar sonic

characters.

The articulation rule was developed using the Sibelius dictionary, SSE, and VI settings. The

rule allocates appropriate instrument articulations according to performance information in a

Sibelius score. The rule involves complex matrix settings within VI using speed control,

velocity cross-fading, and cell cross-fading. It was straightforward to allocate articulations

indicated in a score to available articulations in the VSL sample library. However, there were

varying approaches to notated articulations by the performers depending on tempo and style.

For example, strings players may perform a written staccato in different styles based on ease

of bowing technique and tempo indication. Consequently, a single staccato indication could

receive many performance interpretations including staccato, spiccato, and fast/slow portato.

This situation increases the multifarious articulation allocations necessary to program in VI

using cross-fading and speed control.

The velocity control rule involves micro velocity deviations on selected groups of repeated

notes to conform to the data observed in the ROSO recordings. In essence, every articulation

executed by an instrument or ensemble section displayed random deviations of dynamic level

which increased during extremes of dynamics. Small deviations in volume levels were

noticed at moderate performance dynamics – piano to forte. However, larger irregularities in

volume levels were observed at extremes of dynamics – lower than piano or higher than

Sundstrup 64

forte. This was most noticeable in the woodwind section – especially the oboes. However, the

strings displayed small deviations during extremes of dynamics.

The timbre filtering rule is used as both a random rule on similar instruments, and a

prescribed rule to further enhancement timbral changes in relation to dynamic contrast. The

timbre filtering rule improves the aural separation of like instruments - such as two trumpets,

four horns, or three clarinets – by slightly adjusting the harmonic content of each

instrument’s sound at a small random percentage using the low-pass frequency filter in VI.

The same low-pass filter is used to decrease the high frequency components observed in the

brass section during performances at high dynamic levels. In most situations, the brightness

displayed by the brass at high dynamic levels was appropriate and resounding. However,

various stylistic situations were observed in the ROSO recordings where the brass attacks and

sonic qualities were mellowed by the performers’ technique – intentionally or unintentionally

- even at high dynamic levels. This observation was considered worthy to implement into the

FATSO environment in relation to the horns and trumpets depending on the required

performance style.

2.2.4. Note Repetition and Legato Rules Data

The note repetition and legato rules were created using settings within VI appropriate for

natural sounding note repetition and transition (legato) phrases. The sample patches

programmed in VI are based on observations in the ROSO recordings. The data was reduced

to an appropriate simplicity to suit the capability of the VSL sample library and VI controller

functions. The rules are based on matrix settings within VI including dynamic cross-fading,

cell cross-fading, and speed control.

Sundstrup 65

Note repetitions – repeating the same note more than once in sequence – demonstrated a very

high level of articulation variation between each note repeated in a sequence on all

instruments and string ensemble sections. The up and down bowings were clearly evident on

all string ensemble sections as were both double and triple tonguing on the wind and brass

instruments. The alternation of string bowing showed a moderate amount of dynamic contrast

in repeated notes due to the natural tendency of bowing contrasts: heavier down-bows and

lighter up-bows. The wind and brass showed minor changes in dynamic contrast when

performing single tongued repeated notes, opposed to double and triple tongued repeated

notes that displayed tremendous variations in dynamic contrast due to the multi-tonguing

technique. Repeated notes performed using double and triple tonguing showed strong

dynamic pronunciations on the first of each group of two or three notes due to the heavy

accent of ‘Ta’ compared to the following ‘Ka’ as observed in the multi-tonguing note

repetition passages.

It was also noticed that greater speeds of note repetition increased deviations in articulation

and timing. The articulations of fast note repetitions sounded brighter due to the enhanced

harmonic content and less accurate note execution. Other than the noticeable difference

between various string up and down bowings, the string ensemble section displayed fewer

deviations in timbre, articulation, and timing than the wind and brass.

Legato note transitions were of particular interest as the string ensemble sections of the

orchestra displayed semi detached note transitions in legato phrases that stretched over an

octave, which in many cases was a result of the string fingering technique and string cross-

over. Legato passages within small intervals were very smooth and at larger intervals became

noticeably detached when the transitions included various string cross-over fingering.

Passages of music also included elements of portamento during note transitions on the same

Sundstrup 66

string. The wind displayed well connected legato note transitions in both small and large

intervals. However, as the legato intervals expanded, increased timbral formants appeared

between each note and were an audible indication of a live performer. The brass legato

transitions sounded similar to the wind but also included an enhanced delay time between

notes as the legato intervals became larger. There was also a greater dynamic change in the

note formants between legato transitions than the strings or winds.

Sundstrup 67

2.3. Performance Rules Implementation

2.3.1. Sibelius Playback Dictionary and SSE

Before any instrument performance information can be correctly transmitted from Sibelius to

VI, correct macro information - noteheads, symbols, lines, technique, expression and

articulations – must be setup in the Sibelius dictionary. The Sibelius dictionary works in

conjunction with SSE to send pre-programmed performance information/identification to VI.

The Sibelius dictionary allows almost all performance information to be allocated

identifications (IDs) that Sibelius understands. SSE allows these IDs to be interpreted into

MIDI information that VI understands. The Sibelius dictionary also allows controller

information to be categorized and consequently interpreted using SSE settings for successful

communication with VI.

The Sibelius dictionary has six dialogue pages for allocating score events to appropriate

MIDI commands:

• Staff text – for playing instructions that only apply to a single staff.

• System text – for playing instructions that apply to all instruments.

• Staff lines – for lines such as trills, slurs, hairpins etc. that apply to a single staff.

• Articulations – for articulations that apply to both single staffs and all instruments.

• Noteheads – for effects indicated by various types of noteheads such as harmonics or

percussion techniques, etc.

• Symbols – for all graphic instrument, technique and performance symbols.

SSE is a separate Sibelius application that acts as an articulation interpreter between Sibelius

and VI. It is used to set up all peripherals and capabilities of a specific sample library or

Sundstrup 68

synthesiser module, in this case VSL. SSE allows pre-configured settings to trigger the

appropriate articulation patches in VI based on information supplied by Sibelius. All

instrument articulations and performance symbols in a Sibelius score can be interpreted

correctly by VI based on the user settings in SSE. Consequently, every articulation, dynamic,

and performance style for each instrument and string ensemble section must be programmed

within SSE for an accurate interpretation by VI based on Sibelius score information.

An important aspect of both the Sibelius dictionary and SSE is the Sibelius SoundWorld and

sound IDs. Sibelius SoundWorld is a utility that is used to categorize instrument timbres.

Each instrument timbre and articulation is given a unique sound ID such as

strings.violin.staccato, woodwind.flutes.piccolo.flutter-tongue, or brass.trumpets.legato.

Further to generic sound IDs, performance techniques - such as mute, sul ponticello, or

harmonic - can be added to the instrument sound ID as patch changes. Generally, each sound

ID begins with an instrument family group, followed by a particular instrument name, and

when specified, a particular playing technique unique to each instrument. The Sibelius

dictionary allocates sound IDs to every instrument and its available techniques. The sound

IDs are then interpreted into appropriate MIDI commands and key-switches that VI

understands through sound-sets created using SSE (see fig. 6).

Fig. 6. Example of sound ID changes in a Sibelius score.

Sundstrup 69

The scope of this thesis does not allow a detailed examination of the Sibelius dictionary and

SSE. However, for the purpose of understanding their use and integration into FATSO, the

following example shows the process of setting up the playback behaviour of a simple

trumpet articulation.

• An accent is placed on a note in the trumpet staff of a Sibelius score.

• ‘Accent’ is selected in the Sibelius dictionary under ‘Articulations’ (see fig. 7).

• ‘+accent’ is selected in the sound ID change in the first dialogue box.

• The dynamic, attack and duration of the note can be adjusted. However, often these

parameters are left unselected as they are controlled within the VI playback engine.

Fig. 7. Sibelius articulation dialogue page.

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• All Wind is selected – that includes trumpet - within the SSE application in the switch

types dialogue box once the instrument has been listed. The sound ID ‘+accent’ is

selected and a key-switch is chosen in the ‘Actions’ dialogue box and allocated an

appropriate key-switch - such as the note F - in an octave out of the trumpet

performance range (see fig. 8).

Fig. 8. Sibelius switch types in SSE.

• VI is then programmed to play the correct accent patch according to the allocated key-

switch set in the SSE switch types dialogue page.

Sundstrup 71

This process is used for all instrument articulations and CCs - such as the modulation and

pitch wheels. Although it appears straight forward, there is a considerable amount of data to

be programmed that amounts to thousands of articulations, CCs, and extra controller

messages. If one articulation is programmed incorrectly, it is possible that the whole database

of programmed information can be harmfully influenced, leading to unexpected notational

misinterpretations throughout the entire orchestra.

2.3.2. Sibelius LPT

At the heart of expressive performance rules implementation into the Sibelius environment is

the Live Playback Transformation feature (LPT). LPT allows the programmer to adjust the

value of every note’s timing and velocity within the score. The transformations can be

applied to individual notes or selected groups of notes and musical phrases as well as

individual notes within a chord. There are two main dialogue boxes that allow adjustments to

selected notes and passages in a score: velocities and timings (see fig. 9a and 9b).

Fig. 9a. LPT velocities dialogue box.

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Fig. 9b. LPT timings dialogue box.

With LPT activated in Sibelius, small vertical columns appear above each note processed in a

score (see fig. 10).

Fig. 10. LPT velocity level column.

The columns depict the velocity of each note and can be adjusted in the velocities dialogue

box, Sibelius playback panel, or by selecting with the computer mouse. It is also possible to

glide over a series of notes using the mouse to add velocity curves. Unfortunately, timing

adjustments are not indicated by columns and need to be manipulated using the timings

dialogue box or in the Sibelius playback panel (see fig. 11).

Sundstrup 73

Fig. 11. Sibelius playback panel.

The velocities dialogue box, timings dialogue box and Sibelius playback panel affect all

selected notes and passages in a score.

LPT also allows MIDI controller information to be added to a Sibelius score in real time by

over-dubbing the notational information with real-time expressive performance data using

MIDI controller messages and Sibelius flexi-time input. This allows real-time input of

controller information able to manipulate intonation, note attack, cross-fading, and other

expressive information based on the data collected from the ROSO recordings.

Sundstrup 74

2.3.3. VI Performance Control

The Vienna Instruments playback engine allows sample assignment via two dimensional

matrices, dynamic cross-fading, cell cross-fading, and speed control. These powerful

functions give precise control over the way instrument samples are managed and provide a

number of complex sample manipulation controls to alter and combine instrument patches

with detailed precision.

Every VI matrix has 144 cells that can each load up to two instrument articulation samples.

Appropriate articulation samples are then triggered by incoming MIDI information as

programmed with SSE and the Sibelius dictionary. Each matrix cell can be triggered by

various events including key-switches, dynamic cross-fade, cell cross-fade, and speed

control. Key-switches trigger cells according to appropriate MIDI commands programmed in

SSE and the Sibelius dictionary. Dynamic cross-fades trigger cells according to the volume

received MIDI volume of an instrument instruction. Cell cross-fades can be triggered by

various parameters. However, for the purpose of performance rules implementation into

FATSO, cell cross-fades are triggered by the modulation wheel.

Dynamic cross-fades blend samples according to MIDI velocity commands. Many of the

VSL samples were recorded at various dynamic levels from pianissimo to fortissimo. Due to

the varying content of harmonics in each dynamic sample, cross-fading is used to combine

each sample together - by overlapping the patches at selected points - to provide a

homogenous transition from pianissimo to fortissimo. As a result, the contrast between

various dynamic levels remain natural and is most noticeable during the execution of

crescendos and diminuendos where the natural instrument timbral changes occur during the

process of dynamic changes.

Sundstrup 75

The VI cell cross-fade function allows the blending of two inserted patches within a single

matrix cell. For the matrices programmed for FATSO, the second samples in each cell are

either patches with enhanced vibrato or patches with initial detuning at the beginning of

string ensemble samples. The cross-fading is controlled by the modulation wheel and

implemented using flexi-time input.

The VI speed control function allows preset samples to be triggered according to the how fast

individual notes are executed. Speed control is selected to trigger various matrix cells instead

of key-switches and automatically changes patches according to the speed the samples are

triggered. This allows automatic assignment of appropriate patches such as slow legato,

medium legato, and fast legato depending on the speed on the individual notes in a Sibelius

score. The matrices programmed for FATSO include three different articulation speeds of

staccato, legato, sustain, and portato, that are all automatically triggered within VI.

2.3.4. Timing Rules Integration

The timing rules used for FATSO include note duration, instrument specific variables, and

random timing. The rules are based on note start and note finish times as collected from the

ROSO recordings. The performance data for each instrument is compared to both the original

score information and the orchestral performance data. Timing rules integration into a

Sibelius score cannot be applied using real-time controller information as is used to embed

many of the other performance rules. Each note or musical phrase within a Sibelius score

requires separate adjustments using LPT based on the timing rules used for FATSO.

The timing deviations are implemented into a Sibelius score by using either the timings

dialogue box or Sibelius playback panel. There are six available timing transformations

Sundstrup 76

offered by the LPT: scale live durations, set live durations n% of the notated durations,

constant live durations, move earlier, move later, and scale start positions relative to notation.

Scale live durations allows the programmer to adjust the length of all selected notes by an

allocated percentage of their full length: make the selected notes’ live duration longer or

shorter. Set live durations n% of the notated durations allows the programmer to adjust the

length of all selected notes by an allocated percentage of their full length despite any

previously changed timing information on the selected notes. Constant live durations sets the

duration of all selected notes to the appropriate number of ticks - where one quaver equals

128 ticks. Move later allows the programmer to adjust the start time of all selected notes to

sound later by a prescribed amount of ticks. Move earlier allows the programmer to adjust the

start time of all selected notes to be earlier by a prescribed amount of ticks. Scale start

positions relative to notation allows the programmer to allocate note start positions - later or

earlier – without affecting the note finish position. The programmer can also decide whether

to keep the durations the same or only affect the start of selected notes.

The timing measurements, based on ROSO recordings, were converted from milliseconds to

ticks. However, whilst milliseconds are a segment of time, ticks are a division of notes where

one crotchet is always equal to 256 ticks. Consequently, when deviations are measured in

ticks, slower tempi will cause greater timing deviations in milliseconds as each tick will last a

longer amount of time. Faster tempi cause smaller timing deviations in milliseconds as each

tick will last a smaller amount of time. This situation worked well for integrating timing

deviations into a Sibelius score, as it was found in previous research that timing deviations in

orchestral performances became greater as the tempo and pulse became slower in passages of

steady time. Consequently, the timing conversion was based on observations of timing

deviations in orchestral performance at a standard tempo of 120 beats per minute where one

Sundstrup 77

crotchet is equal to 500 milliseconds and converted to 256 ticks. Consequently, all timing

deviations measured in milliseconds were implemented into a Sibelius score as half the

numerical value when converted to ticks.

It was clear that at reduced tempi, each tick was going to have a more obvious effect on the

timing and was - to an acceptable extent - in line with the observation of the ROSO

recordings. However, at tempi slower than 50 beats per minute, it was necessary to limit the

scale of timing deviations to a smaller quantity, as the deviations implemented as tick based

information became too obvious, and not in line with the data collected from the ROSO

recordings.

For timing deviations observed in wide intervals, both the primary and secondary notes were

manipulated. The length of the primary note was expanded whilst the start of the secondary

note was delayed and lengthened in proportion to the data collected from the ROSO

recordings. This was only implemented in situations of single interval transitions as a series

of intervals caused unacceptable delay times based on the accumulated timing deviations.

For timing deviations observed at the beginning of sections, tempi changes, and during

accelerations and decelerations, the timing deviation of each note for all instruments and

sections was adjusted by a small a random amount. The breadth of deviation was

progressively narrowed throughout the duration of a bar to simulate the time it took for

players to successfully find the TC as observed in the ROSO recordings. The same method

was used for timing deviations observed during accelerations and decelerations.

The Random timing rules were applied to each note in a Sibelius score with timing and note

duration information based on the random selection of numbered balls picked out of a bucket.

Sundstrup 78

The number of balls available was selected in accordance to the random deviation parameters

given by the various timing rules. For example, an instrument with a random timing deviation

of between -10 milliseconds behind and +40 milliseconds ahead of the TC, would have two

sets of balls in the bucket: ten balls numbered from zero to minus ten, and forty balls

numbered from zero to forty. For each note that was allocated a random deviation, a ball was

arbitrarily selected from the bucket to give the applied parameter.

However, in reference to the observed fluctuations in timing deviations from the ROSO

recordings, the random selection of balls was limited to a 10 millisecond maximum deviation

(+/- 10 milliseconds) for each random selection to prevent unnatural and non-contextual

increases in timing deviations. This method was used for all random timing rules and was

implemented by adjusting note start and finish times.

2.3.5. Intonation Rules Integration

The intonation rules were implemented into a Sibelius score using flexi-time input which is a

real-time MIDI input system within Sibelius using LPT. One great feature of flexi-time is the

ability to add controller data such as pitch-bend, modulation, dynamics, and any other

controller data recognized by a VI. It is possible to over-dub an instrument part with

controller data without changing the notation and symbol information in a Sibelius score. All

intonation rules were implemented into a Sibelius score using this technique except for

instrument pitch transformations programmed in VI. The instrument pitch transformations

allocate a slightly different pitch for every instrument and string ensemble section for the

entire work performed. Each instrument pitch change was allocated based on the random

intonation data collected from the ROSO recordings.

Sundstrup 79

The random intonation rules were applied to a Sibelius score based on the data collected from

the ROSO recordings. The pitch wheel was programmed to send controller information

within the random deviations data set for each instrument. The percentage of random pitch

deviation – measured in cents - allocated to each instrument was programmed in the

performance control settings in VI. The degree of intonation deviation placed in a Sibelius

score is controlled by the pitch wheel according to the intonation performance rules. Every

instrument in a Sibelius score was allocated a micro variation of pitch change according to

the random intonation rules. They followed the observations of general pitch measurements

such as woodwinds sounding higher in pitch more often than the rest of the orchestral

sections. The appropriate pitch changes - based on data collected from the ROSO recordings

– were programmed in the performance control settings of VI in the master tuning selection

box.

2.3.6. Instrument Timbre Rules Integration

The instrument timbre rules used for FATSO include note attack, articulation, velocity

control, and harmonic filtering. Note attack, velocity control, and harmonic filtering is

applied to a Sibelius score using real-time controller data. Articulation rules are implemented

through VI settings as discussed at the beginning of this chapter.

Variations in note attack, velocity control, and harmonic filtering were implemented into a

Sibelius score using preconfigured controller information based on the data collected from

the ROSO recordings. Three separate controllers were used in real-time to add the

performance information to a Sibelius score using flexi-time input. All general information

was based on random micro level deviations. However, the amount of random variation

changed according to the performance data collected as discussed in previous chapters.

Sundstrup 80

2.3.7. Note Repetition and Legato Rules Integration

The note repetition and legato rules used for FATSO are based on VI settings and speed

control. Both note repetition and legato are often the most obvious indications that an

orchestral performance is simulated. VSL has overcome difficulties in convincing legato

performance simulation by providing complete samples including the legato note transitions

in four contrasting dynamic levels including intervals from a semitone to over an octave.

Consequently, during FATSO playback, all legato passages – within an octave - are true

samples of legato phrases by both individual instruments and string ensemble sections. The

problems with note repetition have also been overcome by the use of several different

samples for each single note. Therefore, each repeated note is a different sample and not just

a clone repetition of a single sample that often produces the 'machine gun' effect. This adds

the subtle variations necessary to achieve a high-level simulation of repeated notes such as a

sequence of semiquavers at the same pitch, as each semiquaver will display slightly different

sonic qualities as observed in live performances.

VSL has sampled legato intervals covering both slow and fast performance intervals. For

FATSO, long note phrases use a legato sample patch with progressive vibrato and as the

phrases become quicker, the vibrato sets in earlier according to the speed control settings.

Speed control is a powerful utility in VI that allows the user to program automatic patch

changes according to the speed of the notes being performed. Consequently, as notes become

faster, VI automatically switches to a faster sampled legato patch to achieve maximum

realism based on the settings programmed by the user.

Speed control is also used for note repetition to automatically switch samples according to

note speed. For example, staccato notes performed by a string section can be programmed to

Sundstrup 81

automatically switch patches from a slow staccato, to medium staccato, and then a fast

spiccato according to the speed of the notes. This worked very well in conjunction with

Sibelius as VI automatically adjusts to tempo changes and the speed of note transitions

without any further performance manipulation within Sibelius.

Sundstrup 82

2.4. Creating a Standardized Orchestral Environment

2.4.1. Orchestral Layout

To simulate an accurate orchestral sound emanating from a stage, the seating positions of

each virtual instrument player and sections within the string ensemble – first violins, second

violins, violas, cellos, and basses – are placed in an appropriate position within the orchestral

sound field. Once the initial sound source allocations are positioned according to a chosen

standardized orchestral layout, the panoramic reproduction of musicians seated in the

appropriate positions on stage are then processed by convolution reverberation using

GigaPulse - including virtual microphones that reproduce simulated equivalents to a variety

of selected acoustic microphones. The positions allocated on stage have both width and depth

dimensions as sound sources display incremental timing delays in relation to the distance

from front stage.

FATSO uses an orchestral seating setup currently used by many orchestras in the world (see

fig. 12). The main variations in the stereo image concern the percussion that are placed in a

variety of different positions at rear stage - determined by the work performed, logistics

decided by the percussion leader, and conductor preferences. Many other seating

arrangements can be used by FATSO. However, the standard international orchestral seating

allocations give a stereo image experienced by most people who listen to orchestras. When

soloists are accompanied by FATSO, they are placed front/middle stage next to the conductor

position.

Sundstrup 83

1 – Violins, 2 – Violas, 3 – Cellos, 4 –Contrabasses, 5 – Harp, 6 – Flutes, 7 – Oboes,

8 – Clarinets, 9 – Bassoons, 10/11 – Trumpets, 12/13 – Horns,

14/15 – Trombones, 16 – Tuba, 17 – Timpani, 18/19 – Percussion

Fig. 12. FATSO orchestral seating arrangement.

VE is used to host each VI and includes dedicated panning capabilities for each sample

source using the powerpan plug-in. Not only can each instrument be placed anywhere within

a stereo field, the width of each instrument’s stereo sample can be increased or decreased to

further enhance the sound properties contained in the instrument’s sonic image. To maximize

the affect of reverberation that GigaPulse has on processing the stereo output from VE, the

stereo width of each sample is adjusted according to the various amounts of direct sound that

radiates from each instrument and string ensemble section. Accordingly, instruments that

display a greater direct sound compared to reflected sound – such as trumpets and trombones

- are allocated a narrow sound width within the stereo field. Instruments that display a greater

reflected sound compared to direct sound – such as French horns and tuba – are allocated a

broader sound width within the stereo field. Each string ensemble section has a balanced

direct and reflected sound, which would suggest a neutral allocation of stereo sample width.

However, due to the size of string ensemble sections and the large space they occupied on a

Sundstrup 84

virtual stage, a large stereo width was found by the author to create a much more natural

placement of string ensemble sections within the panoramic stereo image (see fig. 13).

Fig. 13. Powerpan placement of the viola section.

As mentioned in Part 1, each string ensemble section is based on one stereo sample image

and not on separate sample images for each individual player within the section.

Consequently, the sound emanating from the occupied area of stage by one string section

sample is adjusted to cover a wide stereo width to imitate the large area covered by a string

ensemble section sound source. Consequently, the sound of a string ensemble section is not

located at one point on stage as would be a solo instrumentalist, but spread over the area the

ensemble section occupies on a real stage.

Sundstrup 85

2.4.2. Spatialisation

In the FATSO computer setup, both VE and VI are run on a server computer with a 64 bit

operating system. Although VE can host effect plug-ins, they need to be 64 bit compatible

and currently there are no major convolution reverberations available that are 64 bit

compatible. Consequently, GigaPulse is used to simulate hall spatialisation through the

Sibelius effect inserts on the main Sibelius computer which runs on a 32 bit operating system

and can host 32 bit VST plug-ins such as GigaPulse (see fig. 14). Version 5 of Sibelius can

only use four separate effect plug-ins on each of the available audio buses. One further plug-

in can be inserted on the main output bus in Sibelius but is usually reserved for mastering

effects.

Fig. 14. Basic GigaPulse graphic user interface.

To simulate the natural space experienced in a concert hall, four separate instances of

GigaPulse are used to create both hall reverberation and instrument depth - how far an

Please see print copy for image

Sundstrup 86

instrument section is from the listening source. For example, from an audience listening

position in front of an orchestra, the percussion will sound further away than the strings and

must consequently be positioned using appropriate reverberation settings.

Each instance of GigaPulse can render only one instrument or ensemble section on a virtual

stage. Consequently, the four available instances of GigaPulse within Sibelius are

programmed to simulate the spatial location of strings, woodwind, brass, and percussion. The

round icons in the GigaPulse interface represent the stage microphones and can be set from a

prescribed distance from the sound sources. The square icons represent positions on a virtual

stage where live impulse responses (hall samples) were recorded for the convolution

reverberation used in GigaPulse. The stereo pair of left and right microphones - L in yellow

and R in blue – are each linked to one chosen position on stage each. The distance between

the yellow and blue positions on stage represent both the spread across stage and depth down

stage. Consequently, the stage positions for FATSO are selected as a representation of where

each of the main four orchestral sections are placed in a live performance environment (see

fig. 15a, 15b, 15c, and 15d).

Fig. 15a. Woodwind section. Fig. 15b. Brass section.

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Fig. 15c. Percussion section. Fig. 15d. String section.

A medium hall simulation was chosen to process the orchestral stereo image as larger

simulated hall environments hindered the clarity and sonic qualities of both individual

instruments and string ensemble sections within the orchestra.

In addition to placing sound sources in various locations on a virtual stage, parameters can be

further adjusted to fine tune hall resonance, creating a natural orchestral sound and sonic

placement. One powerful feature of the GigaPulse application is the ability to easily adjust

the perspective - sound source distance from the virtual microphones – of each instance of

GigaPulse. This is extremely useful to further control the depth of each orchestral section on

the virtual stage and is particularly useful for sonically locating the orchestral percussion

section.

2.4.3. Simulated Microphone Technique

It is obvious that any audio recording of an acoustic instrument or ensemble must have been

sampled by a microphone or pickup at the first stage of capturing the sound events. The main

consideration of microphone choice rests on capturing a pure representation of all the

orchestral instruments with minimum background noise. Some sample libraries – such as the

Sundstrup 88

East West Symphonic Orchestra – include the hall reverberation in the samples. However, the

VSL instruments and ensemble sections were recorded with minimum ambiance and require

further processing with a simulated reverberation.

Although the VSL samples can be directly processed with hall simulation using GigaPulse,

one more step – often overlooked in orchestral simulation – in producing a virtual recording

regards the type of virtual microphones used to record the simulated orchestra. GigaPulse

includes a unique addition to its convolution hall simulations called ‘Microphone

Replacement’. A change of colour – similar to using selected virtual microphones - can be

attained by utilizing an equalizer plug-in but requires time consuming adjustments and a

further load on computer resources. The GigaPulse microphone replacement utility does not

cause a significant load on the computer and is embedded within the GigaPulse convolution

plug-in.

The microphone replacement utility lists two sets of microphones: the original microphone

used, and the virtual replacement microphone. The microphone selected in the original

microphone list gives GigaPulse the characteristics of the original microphone used for

recording. The microphone selected in the microphone replacement list produces the

characteristics of the microphone modelled by GigaPulse. Microphones display various

frequency responses and sound colours depending on brand and model. Although inserting an

additional process into the chain of orchestral simulation may appear to be another

opportunity for audio degradation, using only a stereo pair of virtual microphones - based on

the characteristics of real and existing microphones – can add a more natural sound to the

processed sample instruments depending on the models chosen. For FATSO, the original

microphones were set to neutral – to retain a flat frequency response - as the original VSL

samples were recorded with a transparent sound. The selected replacement microphones are

Sundstrup 89

Neumann U87s and are used as a stereo pair. The U87 gives FATSO a warmer sound without

audible injury to the sonic clarity.

2.4.4. Dynamic Pitch

Initial data concerning the general dynamic range of instruments was organized based on the

softest and loudest volumes displayed in dynamic experiments concerning volume intensities

of each instrument. The data was based on the softest and loudest possible tones at any

appropriate pitch to achieve the greatest dynamic contrast. The input levels for each

microphone were set equal – based on the loudest combined sound of the entire orchestra.

This allowed accurate dynamic comparisons between each instrument and ensemble section –

without distortion - for integration into FATSO. The dynamic levels observed could not be

used as an indication of the sonic power of each instrument as each instrument’s sound

intensity diminished in proportion to distance. However, the volume levels for each

instrument could be analysed in relation to each other and the dynamic pitch spectrum could

be evaluated with an acceptable precision appropriate for implantation into FATSO (see fig.

16).

General Dynamic Range of Orchestra Instruments

0

10

20

30

40

50

60

70

80

90

Flute Oboe Clarinet Bassoon F Horn Trumpet Trombone Tuba Violins Violas Celli Basses

Volu

me (

dB

)

Dyn. Range

Fig. 16. Dynamic range of orchestral instruments.

Sundstrup 90

The Dynamic Pitch for each instrument player in the orchestra was based on the softest and

loudest tones –within musical limits – at two dynamic levels: pianissimo and fortissimo.

These were performed at five pitch register levels relative to each instrument: very low, low,

medium, high, and very high. The sessions were recorded under the same conditions as the

orchestral recordings but without other players present. The findings were graphically

represented on charts for each instrument (see Appendix 2). The instrument dynamic levels

were most intense between the middle and high pitch registers specific to each instrument

except for the cellos and basses, which generally displayed a decrease in sound level relative

to an increase in pitch (see fig. 17a and 17b).

Dynamic Pitch - Celli

0

10

20

30

40

50

60

70

80

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Basses

0

10

20

30

40

50

60

70

80

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Fig. 17a. Dynamic pitch of cellos. Fig. 17b. Dynamic pitch of basses.

The general dynamic range of each instrument was adjusted within VI based on data

collected from the ROSO recordings and used as a standard template for each Sibelius score.

The settings available within VI allowed adjustments to both the lowest and highest dynamic

levels for each individual instrument within the patch control environment. Yet, it was not

possible to allocate specific sound intensities from pianissimo to fortissimo dependant on

pitch. One possible solution was to use a software dynamics compressor/equalizer that could

be set to adjust the resultant sound intensities based on a selected pitch spectrum set for each

individual orchestral instrument. Unfortunately, powerful computer resources were needed to

Sundstrup 91

run a separate software dynamic compressor/equalizer for every instrument in the virtual

orchestra leading to possibly forty-five instances! Furthermore, the results would not sound

natural due to the massive amounts of compression and expansion necessary to alter the

original sample tones to the correct pitch velocity levels. Consequently, each note and phrase

notated in a Sibelius score is manipulated using LPT in Sibelius to achieve an appropriate

dynamic pitch for each instrument according to the dynamic pitch data collected from the

ROSO recordings.

Sundstrup 92

2.5. Conclusion

2.5.1. The Future of FATSO

Currently, FATSO is capable of performing general orchestral scores and has the ability to

render various instrument techniques. However, FATSO is not yet capable of performing

many of the current extended instrument techniques used in contemporary music

composition, and a composer must keep this in mind if FATSO is going to perform a score

proficiently. Unfortunately, this affects the creative process as the composer must keep within

the bounds of the capabilities of FATSO. It will not be long until detailed sample libraries

release new instrument techniques that can be used in a Sibelius score and successfully

rendered by FATSO.

A substantial part of this thesis discussed performance rules implementation based on

unintentional expressive performance practice. As observed when listening to FATSO, the

unintentional expressive rules add considerable humanization and natural warmth to

performances and are fundamentally responsible for the quality of the virtual orchestra.

However, intentional expressive performance behaviour (rubato, musical phrasing, and

vibrato) would further enhance the realism and musicality of FATSO and could convince

even the most experienced musicians that FATSO is a live orchestra.

As observed in this thesis, the performance rules implementation can be tremendously time

consuming, requiring a large amount of controller data based on performance rules formulae

to be added to a Sibelius score after the score has been notated. Consequently, a more

economical method of performance rule implementation should be investigated in the future.

An improved technique of performance rules implementation could be devised using the

Sundstrup 93

Sibelius manuscript language. The Sibelius manuscript language is a programming language

used to write plug-ins for use within Sibelius. The language provides the ability for a

programmer to alter many of the features in Sibelius using a programming environment based

on the Simkin language. Plug-ins could be developed to automatically add expressive

performance data to a Sibelius score and replace the time consuming method of adding

controller data with LPT.

Plug-ins could be utilized to perform complicated score manipulations and add intentional

expressive performance rules (rubato, musical phrasing, and vibrato) along with unintentional

expressive performance rules. Once the plug-ins are completed, any score could be analysed

and processed with expressive performance rules formulae with only one keyboard

command. Consequently, every score written in Sibelius could playback automatically with

expressive performance rules embedded within the Sibelius score without the need to add

controller data manually. Furthermore, future performance rules could also include

performance styles based on musical era, tradition, and even simulations of existing live

orchestras such as the Vienna Philharmonic or London Symphony. Timing plug-ins could be

developed for elastic quantising of individual instrument phrases to simulate macro timing

variations between instrument and ensemble sections. Intonation plug-ins could automatically

add intricate intonation variations based on harmonic intervals and key structures. A dynamic

pitch plug-in could be one of the most powerful tools to process instrument dynamic ranges

according to pitch.

2.5.2. FATSO as a Performance Resource

The author considers orchestral simulation to be a valuable resource for composers of

orchestral music. Although the author believes that live performance is the pinnacle of

Sundstrup 94

performing arts, it is still better to offer opportunities for an audience to listen to new

compositions performed by a simulated orchestra than not hear them at all. Of course, it is

questionable whether people go to symphonic concerts and choose audio recordings based on

the repertoire or the performance ensemble. However, FATSO can offer performance

opportunities for many works composed today that would otherwise never be heard. This

raises the question whether FATSO could become an important recording ensemble available

worldwide, offering worthwhile opportunities for both gifted composers and soloists.

It can be clearly seen that music technology - like all technology - appears to change direction

more quickly than the consumer can master the technology within the trends of the time.

FATSO is a virtual orchestra that is current today. However, 'tomorrow' may not even list

FATSO in the historical documents of 'yesterday'. This situation is the driving force behind

FATSO and its continuing development, and the future may even bring FATSO to the radio

and commercial recording arena as a vital resource for composers using the sound of an

orchestra as their compositional painting pallet.

2.5.3. Concluding Remarks

Composing music for real instruments is a very intricate art and orchestrating the music can

be as challenging as the composition process itself. The creative process involves writing

each note, dynamic, phrase, and information on how each 'real' player is to accomplish an

acceptable execution of each score part. Translating the information designed for real players

into a virtual orchestral environment can be a particularly difficult task. There are two

separate creative processes involved: artistic creativity – writing the music - and

technological creativity – simulating the orchestra. Consequently, a thorough understanding

Sundstrup 95

of music, orchestras, performance practice, and technology is crucial to successfully achieve

a high-level orchestral simulation.

Although the techniques of orchestral simulation used for FATSO differ from the current

methods established within the music industry, it is anticipated that the procedures used -

based on the integration of Sibelius and VI - provide a fascinating glimpse into the future

potential of sequencing music within a software notation application. It is to be hoped that the

approaching advances in music technology can offer FATSO the required resources to

automate all expressive performance rules based on increasing research into orchestral

performance practice and instrument simulation techniques.

Sundstrup 96

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Sundstrup 101

Appendix 1 - Glossary of Abbreviations

ADSR – Attack, Decay, Sustain, and Release

CC – Control Change

FATSO – Film and Television Studio Orchestra

GUI – Graphic Use Interface

IC – Intonation Core

IOI – Inter-onset Interval

LND – Least Noticeable Difference

LPT – Live Playback Transformation

MIDI- Musical Instrument Digital Interface

MND – Most Noticeable Difference

ROSO – Royal Oman Symphony Orchestra

SSE – Sibelius Sound-set Editor

TC – Timing Core

VE – Vienna Ensemble

VI – Vienna Instruments

VSL - Vienna Symphonic Library

VST – Virtual Studio Technology

Sundstrup 102

Appendix 2 – Instrument Dynamic Pitch Charts

Dynamic Pitch - Flute

0

10

20

30

40

50

60

70

80

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Oboe

0

10

20

30

40

50

60

70

C2 C3 C4 C5 C6 C7 C8

PitchV

olu

me

(d

B)

ff

pp

Dynamic Pitch - Clarinet

0

10

20

30

40

50

60

70

80

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Bassoon

0

10

20

30

40

50

60

70

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - French Horn

0

10

20

30

40

50

60

70

80

90

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Trumpet

0

10

20

30

40

50

60

70

80

90

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Sundstrup 103

Dynamic Pitch - Trombone

0

10

20

30

40

50

60

70

80

90

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Tuba

0

10

20

30

40

50

60

70

80

90

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Violins

0

10

20

30

40

50

60

70

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Violas

0

10

20

30

40

50

60

70

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Celli

0

10

20

30

40

50

60

70

80

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Dynamic Pitch - Basses

0

10

20

30

40

50

60

70

80

C2 C3 C4 C5 C6 C7 C8

Pitch

Vo

lum

e (

dB

)

ff

pp

Sundstrup 104

Appendix 3 – List of Original Compositions

1. Concerto Classique (2008)

Duration – Approx. 21 minutes

Instrumentation – solo harp and orchestra

CD audio performance – FATSO

2. Prelude, Intermezzo & Finale (2002)

Duration – Approx. 10 minutes

Instrumentation – versions for symphonic wind ensemble, brass band and orchestra

First performance – Kew Band (brass band version) and NSW Police Band

(symphonic wind ensemble version)

CD audio performance – FATSO (orchestral version)

3. Four Bagatelles (2008)

Duration – Approx. 9:30 minutes

Instrumentation – medium orchestra

CD audio performance – FATSO

4. Theme and Variations (2009)

Duration – Approx. 8 minutes

Instrumentation – Eb clarinet, Bb clarinet, bass clarinet & harp

CD audio performance - FATSO

5. Voyage (2004):

Duration – Approx. 11 minutes

Instrumentation – large orchestra

First performance – Orchestra Victoria

CD audio performance – Standard Sibelius sample playback (not FATSO)

Sundstrup 105

Appendix 4 – List of Tracks on Audio CDRecording

Concerto Classique (FATSO)

Track No. 1 – Fantasy 7' 41"

Track No. 2 – Romance 7' 19"

Track No. 3 – Scherzo 6' 02"

Prelude, Intermezzo & Finale (FATSO)

Track No. 4 – complete work 10' 07"

Four Bagatelles (FATSO)

Track No. 5 – Lento 2' 58"

Track No. 6 – Vivace 1' 48"

Track No. 7 – Allegro 1' 45"

Track No. 8 – Andante 2' 54"

Theme and Variations (FATSO)

Track No. 9 – Theme 1' 54"

Track No. 10 – Variation 1 1' 36"

Track No. 11 – Variation 2 1' 42"

Track No. 12 – Finale 2' 55"

Voyage (Standard Sibelius sample playback)

Track No. 13 – complete work 10' 59"

CONCERTO CLASSIQUE for Harp and Orchestra

Leif Sundstrup

2008

Submitted in partial fulfilment of the requirements

for the award of the degree

Doctor of Creative Arts

from

University of Wollongong

2009

Instrumentation

2 Flutes

1 Oboe

2 Clarinets

1 Bass Clarinet

1 Bassoon

2 Horns

2 Trumpets

2 Trombones

Timpani

Glockenspiel

Xylophone

Tubular Bells

Solo Harp

Violin 1

Violin 2

Viola

Cello

Contrabass

Note on Trills

Oboe

Half- tone trill

Oboe

Whole-tone trill

Transposing score

Moderato (h=104)

CONCERTO CLASSIQUEFor Harp and Orchestra

Copyright © 2008 by Leif Sundstrup

LEIF SUNDSTRUP

1.

Fantasy

Flute 1

Flute 2

Oboe

Clarinet 1in Bb

Clarinet 2in Bb

Bassoon

Horn 1in F

Horn 2in F

Trumpet 1in C

Trumpet 2in C

Trombone 1

Trombone 2

Timpani

Solo Harp

Violin 1

Violin 2

Viola

Violoncello

Contrabass

mp

mp

mp

mp

p

fp

p

p

fp

p

p

fp

p

p

fp

p

p

fp

p

p

fp

p

mf

fp

p

pizz

ff

mp

pizz

f

pizz

f

pizz

f

ff

mp

arco

mp

pizz

f

arco

mp

7

A

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf ff

7

mf ff

7

mf

ff

mp

3

mf

ff

7

mf

ff

7

mf

ff

mp

6

mf

ff

mp

mf

ff

mp

f

ff

mf

ff

mf

ff

mp

mute

f

ff

mp

mute

mf

ff

arco

mp ff

mp

7

arco

mp ff

mp

7

arcomp ff

mp

7

ff div.

mp

ff

mp

2

13

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf espress.

p

mp espress.

mf espress.

p

mp espress.

mp

mp

pp

open

pp

open

mp

p

mp

p

mp

p

mp

p

pizz

pizz

p

3

19B

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

ff

ff

3

33

3 3 7

mp

ff

ff

3 3 3 3 3 7

mp

ff

ff

7

mf

ff

ff

7

mp

ff

ff

7

mf

ff

ff

7

ff

ff

ff

ff

ff

ff

ff

p

ff

7

p

ff

7

p

ff

7

arco

mp

ff

ff

7

arco

mp

ff

ff

7

4

25

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

7

mf

7

mf

7

mf

mp

7

mf

mp

7

ff

fp

mf

7

ff

fp

mp

ff

fp

mp

f

mp

p

7

f

mp

p

7

ff

fp

mp

p

7

ff

fp

mp

7

ff

fp

pizz

mp

7

5

32

C

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

mf

ff

mf

ff

mf

ff

mf

ff

mf

ff

mf

f

ff

f

ff

f

ff

ff

3 3 3 3 3

Timp.

3 3

subito ff

subito ff

div.

subito ff

subito ff

arco

subito ff

6

D39

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

flutter

pp

flutter

pp

flutter

pp

flutter

pp

flutter

pp

ff

ff

ff

ff

ff

ff

MMMOMNMM

f

F§

mf

Ab

L.H. L.H. sim.

A§

EbBb

Gb

pizz

mp

div.

pizz

mp

div.

pizz

mp

div.

pizz

mp

div.

pizz

mp

7

44

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

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L.H. L.H. sim.

G§

AbDb

F# E§

F§Cb

C§

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L.H. L.H. sim.

mp

arco

mp

arco

mp

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mp

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8

48

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

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Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

p

f

p

f

p

f

p

f

p

f

p

f

p

f

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ff

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F§Cb

C§

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mp

f

(pizz)

mp

f

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Fl. 1

Fl. 2

Ob.

Cl. 1

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Hn. 2

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Tpt. 2

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Tbn. 2

Xyl.

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Vln. 2

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Vc.

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mf

f

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f

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f

mf

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f

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f

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f

mf

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pizz

mp

f

pizz

mp

f

pizz

mp

f

mp

f

mp

f

10

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Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

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Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

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mp

mp

mf

F§

D§

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3

3

3

3

mp

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mp

11

58

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Fl. 2

Ob.

Cl. 1

Cl. 2

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Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mp

mp

mp

mp

mp

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

E§

Bb

D§Eb

L.H.

E§

B§L.H.

D#

arco

mp

pizz

p

p

p

p

12

63F

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f espress.

f espress.

f espress.

f espress.

f espress.

f

f

ff

f

ff

f

ff

f

ff

f

f

f

arco

mf

f

3

arco

mf

f

3

arco

f

arco

f

arco

f 3

13

71

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

ff

6 6 6

mf

ff

6 6 6

mf

ff

6 6

6

mf

ff

6 6 6

mf

ff

6 6 6

ff

ff

ff

f

ff

f

f

f

mp

ff

3

D§

ff

mp

ff

f

mp

ff

f

mp

ff

mp

ff

mp

ff

14

78G

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

6 6 6

ff

6 6 6

ff

mp

ff

mp

mp

mp

ff

ff

mp

ff

3

B#

mf

L.H. L.H. sim.

Eb

6 6 6 6 6 6 6 6 6

ff

pizz

p

6 6 6

ff

pizz

p

6 6

6

pizz

p

pizz

p

pizz

p

15

83

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

f

mf

6 6 6 5 7

mp

f

mf

6 6 6 5 7

mp

f

mf

5

mp

f

mf 6

6 6 5 7

mp

f

mf

6

6 6

5 7

mf

mp

3

5

mf

mp 3 5

mf

mp

3 5

mp

mp

mp

mp

B§

L.H.

L.H. sim.

Bb

B#

L.H. L.H.

sim. 6 6 6 6 6 6

arco

p

3

arco

p 3

div.arco

p

3

16

87H

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mp

3

3

3

mp

3 3 3

3

3

3

B§

f

Bb

Fb

§

E# A#

6 6 6 6 6 6 6 6 6 3

gli

ss.

3 3 3 mp

3

3

3 mp

3 3

3

17

92

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

3

mp 3

mp

3

mp

3

Ab

D# §

A# Eb Ab

B§

Bb

E# A#

3

33

gli

ss.

mf

mf

pizz

mf

div.

mf

mf

18

I97

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

mf 3

f

mf

3

mf

3

mf

3

mf

mf

3 3 3 mf 3

3

3

3 mf

3

3

3

3

mf

3

3 3 3 mf

3

mf

3

Eb

E#

Eb

Ab

E# A#

B§Eb

E#

3

3 33

f

f

arco

f

f

f

19

101

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3 3 3

3 3 3 3

3

3 3 3

3

3

3

3

3 3 3 3

3

3

3

3

3

3

3

3

3 3 3

3

3 3 3 3

3

20

105

poco rit. J Poco meno mosso

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf ff

7

mf ff

7

mf ff

7

f

f

f

f

ff

f

ff

mf

f

mf

f

f

EbA§

ff

B§E§ F#

mp espress.

gliss.

ff

mf

pp

ff

mf

pp

div.

ff

mf

pp

div. arco

ff

mf

pp

arco

ff

mf

pp

21

110

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

BbEb

F§

Ab

3

22

118

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

espress.

poco cresc.

mf

poco a poco cresc.

3 3 3

mp

mf

p

mp

mf

p

div.

mp

p

div.

mp

p

mp

p

23

124

rall.

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f espress.

ff

ff

ff

f espress.

poco cresc.

ff

ff

mf espress.

poco cresc.

f espress.

ff

ff

ff

ff

ff

ff

ff

ff

B§

Bb

ff

gliss.

gliss

.

A§E§

ff

ff

ff

ff

ff

24

K Meno mosso (quasi cadenza)

130

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

MMLOMMMM

mp

ff

mf

F#C#

3

sffz

div.

pp

div.

pp

div.

pp

pizz

mf

div.

ff

pizz

mf

ff

25

136

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

Gb

B§G§

mpR.H. R.H. sim.

poco a poco cresc. A#

26

137

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

F§C§

Bb sffz

mp

Eb

B§

DbFb

nails

27

L Lento (h=60)

139

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mf

mp

mf

mf

mp

mf

p

mf

p

mf

mp

mf

p

mf

p

mf

mp

mp

Gb

NMMOMNMM

D#F#

mp

mp

div.

p

arco div.

p

arco

p

28

142

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

mp dolce

p

p

mp dolce

p

p

mp dolce

p

p

mp dolce

p

p

p

p

p

p

poco a poco cresc.

D§

p

p

pizz

p

p

pizz

29

M145

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

5

f

5

f

5

mp

f

mp

f

mp

mp

mp

mp

mp

f

mp

mp

arco div.

mp

arco div.

mp

mp

30

N148

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

mp

ff

ff

ff

ff

ff

mp

ff

mp

f

mp

NMMOMNMM

D# f

ff

ff

ff

ff

ff

mp

pizz

arco

ff

31

151

accel.

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp poco cresc.

mp poco cresc.

mp poco cresc.

mp poco cresc.

mf

mp

mp

6 66 6

6

pp

pp

pp

pp

mp

pizz

arco

pp

32

O Tempo 1 (h=104)

156

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

f

f

f

f

f

MMNOMMML

AbB#

ff

ff

ff

ff

ff

33

159

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mf

L.H. L.H. sim. Eb

6 6 6 6 6 6 6 6 6

ff

ff

ff

p

pizz

p

pizz

34

162

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

6 6 6 5 7

mp

6 6 6 5 7

mp

5

mp

6

6 6 5 7

mp

6

6 6

5 7

mp

5

mp

5

mp

5

B§

L.H. L.H.

sim.

Bb

6 6 6

35

165

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

mf

f

mf

f

mf

f

mf

f

mf

mp

3

3

3

3

mp 3 3 3 3

mp

3

3

3

3

mp

mp

mp

mp

mfB#

L.H. L.H.

sim.

B§

6 6 6 6 6 6 6 6 6 6 6 6

p

3 3 3 3

p

3 3

3

3

arco div.

p

3 3

3

3

36

P

169

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

3

3

3

3 3

3

3

3

f

3

3

3

3

3

3

3

3

f

3

3 3

3 3

3

3

3

f

7 7 3 7

f

7 7 3

7

f

3

3

3

3

3

3

3

3

f

3

3 3

3 3

3 3

3

f

3

3 3

3 3

3 3

3

f espress.

f espress.

fE§

MMLOLMML

Bb

f espress.

f espress.

f

7 7 3

7

arco

f

7 7 7

arco

f

7 7 7

37

173

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

f

B§E§

Eb

pizz

mp

arco

pizz arco

pizz

arco

pizz

mp

arco

pizz

arco pizz

arco

mp

pizz div.

mf

arco

mp

pizz

arco

mf

mp

pizz

mp

pizz arco

pizz arco

pizz

5

mp

pizz arco

pizz arco

pizz

5

38

178Q poco a poco accel.

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

f

f

f

f

f

f

f

f

mp

f

3

3 3

Bb

A§B§F#

MMLOLMMM

pizz arco

p

ff

f

pizz arco

p

ff

f

mf

arco

mp

pizz

arco

p

div.

ff

f

arco

pizz

arco

p

div.

ff

f

arco

pizz

arco

p

ff

f

39

184R

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

f

f

mute

f

mute

3

BbF§

mf

F# E§

3 3 3 3

3 3

3 3

p

f

p

f

p

f

p

f

p

f

40

190

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

41

197

S h = 144

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mp

mp

mute

f

open

mute

f

open

f

open

f

open

MMMOMMMM

mf

gliss.

gliss.

Gb

Eb

gliss.

gliss.

E§

pizz

pizz

pizz

42

204

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Tub. B.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

mp

mp

mp

mp

mp

mp

mf

f

MMMOMMMM

mp

mp

arco

mp

mf

(pizz)

mf

(pizz)

43

210

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

f

f

mf

mf

f

f

Gb

Eb

E§

pizz

f

pizz

f

pizz

f

(pizz)

f

(pizz)

f

44

216

T

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

ff

ff

ff

ff

ff

ff

MMMOMMML

f

EbBb

div.

mp

div.

mp

mp

arco

mf

mp

45

222

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

mp

f

mp

f

mute mp

f

mute

mp

B§

A§Bb

F#

F§B§

Ab

G#

3 3 3

3

B#

arco

p

mp

f

pizz

arco

p

mp

f

pizz

div.

arco

p

mp

f

pizz

p

mp

f

pizz

(pizz)

46

U

227

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

mf

f

mf

f

f

mp

mp

f

mp

mp

f

mp

open

f

mp

open

mp

mp

mf

mf

B§

Cb D§

MMMOMMMM

mf

EbBb

arco

mp

f

pizz

arco

mp

mp

arco

mp

f

pizz

arco

mp

mp

arco

mp

f

pizz arco

mp

div. col legno

mp

arco

mp

f

pizz arco

mp

col legno

mp

mp

47

232

V

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

48

238

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

MMMOMMMM

ff

gliss

.

G# F#

mf cresc.

ff

5

pizz

mf

ff

mf cresc.

ff

5

pizz

mf

ff

pizz

mf

ff

49

243

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

ff

ff

ff

F§

fff

6 6

ff

snap pizz

arcoff

pizz

fff

arco

ff

snap pizz

arcoff

pizz

fff

ff

snap pizz

arco

ff

pizz

fff

arco

ff

snap pizz

arco

ff

pizz

fff

arco

ff

snap pizz

arco

ff

pizz

fff

50

Largo (q=48)

2.

Romance

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Tub. B.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp espress.

3

mp

mf

MMLOLMML

p

E§

mute div.

pp

nat.

mp

mp

mute div.

pp

nat.

mp

mp

mute div.

pp

nat.

mp

mp

pp

mp

mute div.

pp

nat.

mp

mp

pp

mp

arco

mp espress.

3

mp

mp

pp

mp

51

12poco accel. A Andante (q=72)

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

3

mf

3

mp

3

mp

3

�f

p

MMLOLMLM

GbA§ mp

3 3

mp

pp

mp

p

mf

mf

pp

mp

p

p

mp

p

52

B18

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp espress.

mp espress.

mf

3

mf

3

mf

3

mf

3

mf

mf

mp

mp

mp

mp

G§

Ab

Gb

G§ E§

B§A§

Bb

Eb

5 3

53 3 3 3

p

p

p

pizz

p

pizz

53

24

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp espress.

mp espress.

mp espress.

L.H.

L.H.

mf

F#

F§

Gb

5

6

pizz

mp

pizz

mp

div. pizz

mp

arco

mp

arco

mp

54

29

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

Ab

arco

mp cresc.

arco

p cresc.

mf espress.

mf espress.

55

33

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

5 3

f

5 3

f

5

3

f

3 3

f

3 3

f

f

f

f

ff

mp

Gb

5 3 3

G§

f

3 3 5 3

f

3 3

5

3

arco

mf cresc.

f

f

f

56

38

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mf

3

mf

3

mp

p

mf

3

mf

3

mp espress.

f

mp espress.

f

f

f

A§B§

Bb

Eb mf

F#B§

F§

3

3

G§

E§

B§E§

p

pizz

f

p

p

pizz

f

p

p

pizz

f

p

p

pizz

p

p

pizz

p

57

43

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

mf

mf

mp

mp

mute

mp

open

mute

mp

open

BbEb

E§

B§ C#

arco

p

arco

p

58

C46

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp dolce

3

3

5

p

p

mp dolce

3

3

5

mf

C§

Db

mp dolce

3

3

5

mp dolce

3

3

5

p

p

(pizz)

p

59

48

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3

3

mf dolce

3

mf dolce

3

D§

Cb

3 fp

3

fp

fp

fp

60

50

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

pp

f

f

f

f

f

f

mf

mf

mf

Bb

Ab

C§

p

f

p

f

p

f

mf espress.

f

arco

f

61

54D

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

MMMOMMMM

A§B§

mf

Bb

§

b

B§

Bb

B§

Bb

3 5 3 5 3 5 3

p

p

p

p

5

p

pizz arco

62

61

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

fp

fp

fp

fp

mp

mp

mp

mp

f

5 5 5

Ab

5 5

mf

fp

mf

fp

mp

5 5 5

mf

fp

mf

fp

mp

5 5 5

fp

mf

fp

mp

5 5 5 5

mf

fp

mf

fp

mp

mf

fp

mf

fp

mp

63

68E

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

MMLOLMLM

Eb Gb A§ mf

G§

Ab

Gb

3 3 5 3

53 3

pp

mp

pp

mp

mf

mp

mf

mp

mf

mp

64

74

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp espress.

mp espress.

mf

3

mf

3

mf

3

mf

3

mf

mf

mp

mp

mp

mp

G§ E§

B§A§

Bb

Eb

3

3 5

6

pizz

mp

pizz

mp

div. pizz

mp

pizz arco

mp

pizz

arco

mp

65

79

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

F#

F§

Gb

mf espress.

mf espress.

66

83

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

Ab

arco

mp cresc.

arco

p cresc.

arco

mf cresc.

67

F87

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

5 3

f

5 3

f

5

3

mp espress.

mp espress.

f

3 3

f

3 3

mf

mf

mf

mf

ff

G§

Gb

G§ E§

B§A§

Bb

5 3 3

3

3

f

p

3 3 5 3

f

p

3 3

5

3

f

p

f

p

pizz

f

p

pizz

68

93

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mf

3

mf

3

mp

mf

3

mf

3

f

f

f

f

Eb mf

E§B§

F#

F§

EbBb

pizz

f

p

pizz

f

p

pizz

f

p

p

p

69

97G

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

mp dolce

3

mf

p

mf

p

p

mp dolce

3

mp

mp

mp

mp

E§B§ C#

C§

arco

p

mp dolce

3

arco

p

mp dolce

3

p

p

(pizz)

p

70

100

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3

35

3

35

Db

D§

3

35

3

35

71

102

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

pp

f dolce

3

f dolce

3

Cb

C§Eb

mf

Bb

fp

mp

fp

mp

fp

mp

fp

mf espress.

72

104

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

pp

mp

mp

Ab

A§

mp

mp

mp

mp

73

106

H

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

3

3

3

5 9

ff

3

3

3

5 9

ff

3

3

3

5 9

ff

3 3

3

5

9

ff

3

3

3

5

9

ff

3

3

3

5

9

ff

3

3

3

5

ff

3

3

3

5

f

ff

3

f

ff

3

f

ff

3

f

ff

3

BbAb

cresc.

ff

MLMOMNLM

ff

ff

ff

ff

ff

arco

74

111

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff molto espress.

fp

ff molto espress.

fp

ff molto espress.

fp

ff molto espress.

fp

ff molto espress.

fp

ff molto espress.

fp

ff

ff

ff

ff

ff

ff

B§ Cb

f

E#

BbF§

C#G#

Db Ab

f

près de la table

D§F#

mf B§

A§

F# Gb

A§

fff molto espress.

fp

pizz

sfz

mf

arco

ff

mf

pizz

fff molto espress.

fp

sfz

pizz

mf

arco

ff

mf

pizz

fff molto espress.

fp

pizz

sfz

mf

arco

ff

pizz

mf

fff molto espress.

fp

pizz

sfz

mf

arco

ff

pizz

mf

fp

pizz

sfz

mf

arco

ff

pizz

mf

75

rit. 116

I A tempo

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

E§

C§ mp

ètouffez

G§

mute

p

div. arco

pp

nat.

mute

p

div. arco

pp

nat.

mp

arco

div.

p

mp

arco p

mp

arco p

76

q. = 76

3.

Scherzo

124A

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

fp

pp

4 4

f

fp

pp

4 4

f

fp

pp

4 4

ff

f

fp

pp

4 4

ff

f

fp

pp

4 4

ff

f

fp

pp

4

4

mf

fp

pp

fp

pp

mf

fp

pp

fp

pp

mf

fp

pp

f

4 4

mf

fp

pp

f

4 4

mf

fp

pp

fp

pp

mf

fp

pp

fp

pp

ff

ff

4 4

MMLOLLMM

mf F§

ff

p

ff

p

ff

ff

p

ff

p

ff

p

77

131

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

p

p

mp

p

mp

mp

mp

mp

mp

Db

GbD§

Ab

A§

B§G§

Ab

Bb A§

Db

b

3

G#

mf

pizz

p

mf

pizz

p

div.

mf

pizz

p

pizz

pizz

78

137

B

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

4 4

mp

4 4

Gb

E§

G§

f

D§

B§ Gb

A§ Db

Ab ff

LMLOLMMM

3 3 3 3

4

arco

mp

f

pizz

arco

mp

arco

mp

f

pizz

mp

4 4

arco

mp

f

pizz

arco

mp

mf

arco

f

pizz

mp

4 4

mf

arco

pizz

arco

mp

79

144

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

pp

2

f

pp

2

f

pp

2

f

pp

2

4 4

4

4

B§G§ A§ f

f

ff

arco

f

ff

4 4

f

ff

arco

f

ff

4

4

f

ff

80

151

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

mf

mp

mf

mp

mf

mp

mf

B§Ab Gb

D#E§

G§C#

b

C§ Db

Eb

Bb

81

156

rit.

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

ff

32

ff

32

ff

mp

f ff

3

ff

mp

f ff

3

ff

ff

ff

3

B§ D§G§

ff dim.

Bb DbGb

div.

f

div.

f

div.

f

div.

f

pizz

ff

arco

pizz

ff

arco

82

C Meno mosso (q. = 68)

162

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

p

p

p

leggiero

leggiero

3

p

leggiero

leggiero

3

p

p

p

mute

p

open

mute

p

open

p

mp

A§D§

leggiero

B§E§

Eb E§

Ab

Bb

Eb

nails

A§

E§3

3

pizz

p

pizz

p

pizz div.

p

pizz

p

pizz

p

83

D166

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

leggiero

mf

G#

G§

GbDb

Eb

Ab

nails

A§D§

mp

arco

mp

arco

arco

84

E Tempo primo (q. = 76)

170

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

ff

mp

ff

mp

ff

mp

mp

mp

mp

ff

ff

Cb

ff

G§ Db

C§ AbB§

Gb

D#E§

G§C#

§b Eb

Db

arco

ff

arco

ff

ff

ff

ff

85

176

F

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

mf

mf

mf

mf

mute

open

mf

mute

open

D§

Bb

G#C#

C§A§

mf

G§ Fb

F§

G#Db

p

p

p

div.

p

p

86

181

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mp

mp

D§Gb Ab

A§

B§G§

Ab

Bb A§

Db

b

Gb

3 3

mf

pizz

p

mp

arco

mf

pizz

p

mp

arco

mf

pizz

p

mp

arco

pizz

mf

arco

pizz

mf

arco

87

187G

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

p

mp

mf

p

p

mp

mf

mf

p

mf

p

mf

p

D§�G§�

MMLOLMMM

Ab

C#

C§E§

C#

§ A§

G#

G§

pizz

f

mf

arco

pp

pizz

f

mf

arco

pp

pizz

f

arco

pp

pizz

f

mf

arco

mf

sul pont.

mp

nat.

pizz

f

arco sul pont.

mp

mp

nat.

88

194

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

f

mp 4

mf

mp

mf

mp

mp

mp

mp 4

Ab

A§

Ab

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C§E§

C#

C§A§

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pizz

mf

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p

pizz

mf

arco

p

mp

4

mf

pizz mp

arco

pizz

mf

mp

arco

4

89

200

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3 fp

f

5

3 fp

f

5

3 fp

f

5

3fp

5

3 fp

5

4

fp

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4 4

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ff

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fp

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ff

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4

fp

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90

206

H

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Glock.

Xyl.

Hp.

Vln. 1

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Vla.

Vc.

Cb.

mp

mp

mp

mf

mp

mf

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mf

mp

mp

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mf

ff

pizz

mf

pizz

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ff

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arco

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91

214

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

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Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mf

mp

mf

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ff

Eb

Ab

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p

(pizz)

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4 4 4

p

92

I

220

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

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ff

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ff

ff

ff

mf

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3

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3

ff

3

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3

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3

93

226

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

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Hn. 1

Hn. 2

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Tbn. 2

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Glock.

Xyl.

Hp.

Vln. 1

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Cb.

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f

f

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94

J230

Fl. 1

Fl. 2

Ob.

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Hn. 2

Tpt. 1

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Tbn. 2

Glock.

Xyl.

Hp.

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Vln. 2

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Vc.

Cb.

mp

mp

mp

mp

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mp

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p

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95

234

Fl. 1

Fl. 2

Ob.

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Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

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Tbn. 1

Tbn. 2

Glock.

Hp.

Vln. 1

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Vc.

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mp

fp

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mp

mp

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mp

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mp

mp

fp

mp

mp

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96

238

K

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

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97

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Fl. 1

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Ob.

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Hn. 1

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98

245

Fl. 1

Fl. 2

Ob.

Cl. 1

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Hn. 1

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99

250

rit.

M Meno mosso (q. = 68)

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

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Cb.

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fp

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100

258N Tempo (q.=76)

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Xyl.

Hp.

Vln. 1

Vln. 2

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Cb.

mf

ff

ff

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ff

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mp

arco

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101

264

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

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Cb.

mp

mp

mf

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open

AbB§

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DbEb

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102

269O

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mp

mp

mf

G§ Fb

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Ab

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3

p

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103

275P

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mf

mp

mf

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mf

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p

Ab

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Db

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p

arco

mp

pizz

f

arco

mf

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f

mf

arco

mf

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f

104

282

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

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Cb.

p

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mp

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105

288

Q

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Glock.

Xyl.

Hp.

Vln. 1

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Cb.

f

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f

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f

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106

295

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mf

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p

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mf

arco

p

pizz

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p

107

301

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

Eb Ab

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ff

3

4 arco

ff

4 3

ff

3

4 arco

ff

4 3

ff

3

108

307

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Timp.

Glock.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f

f

f

f

ff

f

p

ff

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109

R

e = q313rit.

Fl. 1

Fl. 2

Ob.

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Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Glock.

Xyl.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

p

ff

ff

ff

p

ff

f

f

f

f

f

f

p

p

ff

Ab

CbGb

B§

G§

D§

p

ff

p

ff

p

ff

p

ff

p

ff

110

S Meno mosso

319

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Tub. B.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

f

ff

ff

f

f

f

f

fffGb

MLLONMNL

BbE# �

G#

ff

ff

ff

ff

ff

111

321

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Tub. B.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

MMMONMMM

112

T Tempo

323

Fl. 1

Fl. 2

Ob.

Cl. 1

Cl. 2

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

LLMOLLLN Cb Db

Eb Fb Gb

ff

3

3

3

3

fff

3

3

3

3

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

113

PRELUDE, INTERMEZZO & FINALE for Orchestra

Leif Sundstrup

2002

Submitted in partial fulfilment of the requirements

for the award of the degree

Doctor of Creative Arts

from

University of Wollongong

2009

Instrumentation

2 Flutes

1 Oboe

1 Clarinets

1 Bass Clarinet

1 Bassoon

4 Horns

2 Trumpets

3 Trombones

1 Tuba

Harp

Violin 1

Violin 2

Viola

Cello

Contrabass

Percussion

Timpani

Bass Drum

Snare Drum

Clash Cymbals

Suspended Cymbals

Tambourine

Tam-tam

Bongos

Glockenspiel

Tubular Bells

Note on Trills

Oboe

Half- tone trill

Oboe

Whole-tone trill

Transposing score

Prelude (q=152)

Prelude, Intermezzo, & Finale

Leif Sundstrup

Copyright © 2002 by Leif Sundstrup

Flute 1

Flute 2

Oboe 1

Oboe 2

Cor Anglais

Clarinet 1 in Bb

Clarinet 2 in Bb

Bass Clarinetin Bb

Bassoon 1

Bassoon 2

Horn 1in F

Horn 2in F

Horn 3in F

Horn 4in F

Trumpet 1 in Bb

Trumpet 2in Bb

Trumpet 3 in Bb

Trombone 1

Trombone 2

BassTrombone

Tuba

Timpani

Bass Drum

Tubular Bells

Harp

Violin 1

Violin 2

Viola

Violoncello

Contrabass

ff

mp

ff

ff

mp

ff

ff

mp

ff

ff

mp

ff

ff

mp

ff

ff

mp

ff

ff

mp

ff

ff

mp

ff

ff

ff

ff

ff

ff

ff

ff

3 3

ff

3 3

ff

3 3

ff

3 3

ff

3 3

ff

3 3

ffp

ffp

hard timpani mallets

mp

ff

6 6 6 6

ff

f

f

ff

ff

ff

ff

ff

4

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

ff

3 3 3 3 3 3 3

mp

ff

3 3 3

3 3 3

3

mp

ff

3 3 3

3 3 3

3

mp

ff

3 3 3

3 3 3

3

mp

ff

3 3

3 3 3 3 3

mp

ff

3 3 3

3 3 3 3

mp

ff

3 3 3 3 3 3 3

mp

ff

3 3 3

3 3 3

3

fff

prominantly

3

fff

prominantly

3

ff

3

3

3 3 3

ff

prominantly

3

ff

3

3 3 3 3

ff

prominantly

3

f

3 3 3 3 3 3

f

3

3

3 3 3 3

f

3

3

3 3 3 3

fff

prominantly

3

fff

prominantly

3

fff

prominantly

3

fff

prominantly

3

mp

ff

6 6 6 6

fff

3 3 3

3 3 3 3

fff

3 3 3

3 3 3 3

fff

3 3

3 3 3 3 3

fff

prominantly

3

fff

prominantly

3

2

A

7

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Cym.

S. D.

Tamb.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ffp

ff

ffp

ff ffp

ff

f

3 3 3 3 3 3

ff

f

3 3 3 3 3 3

ff

f

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ff

f 3 3 3 3 3 3

ff

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fp

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fp

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3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

f

ff

ff

A#

A§

A#

f

sempre

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

f

sempre

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

f

sempre

3 3 3 3 3 3 3 3 3 3 3 3

3

3 3

3 3 3 3 3 3 3 3 3 3 3 3 3

3 3

f

pizz

f

sempre

3 3 3 3

3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3

11

Broadly

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Cym.

S. D.

B. D.

Tamb.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

fff

ff

fff

ff

fff

ff

fff

ff

fff

ff

fff

ff

fff

ff

fff

ff

ff

ff

ff

ff

fff

3 3 3 3

ff

fff

3 3 3 3

ff

fff

3 3 3 3

ff

fff

3 3 3 3

ff

mf

fff

ff

mf

fff

ff

mf

fff

mf

fff

mf

fff

mf

fff

mf

fff

f

ff

fff

3 3 3

ff

3

3

3

3

3

3

3

3

f

f

C#

D#

Bb

ff

fff

pizz

arco

div.

mf

fff

pp

ff

fff

pizz

arco

div.

mf

fff

pp

ff

fff

pizz

arco

div.

mf

fff

pp

fff

arco

fp

fp

fff

fff

pizz

arco

fp

fp

fff

3 3 3 3 3 3

4

B Mysteriously (q=68)17

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Cym.

T.-t.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

p

mp

pp

p

mp

pp

p

mp

pp

p

mp

pp

pp

pp

p

mp

pp

p

mp

pp

p

mp

pp

p

mp

pp

p

mp

pp

p

mp

pp

p

p

p

p

pp

pp

mf

mp

mf

mp

mf

Db

div.

pp

div.

pp

div.

pp

div.

pp

pp

5

C29 D

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Tamb.

T.-t.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

espress.

5

7

5

mf

espress.

7

5

3

mp

f

espress.

5

mf

p

pp

mf

p

pp

mf

p

pp

mf

p

pp

mf

p

pp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

pp

mp

pp

pp

mp

pp

pp

mp

pp

pp

mp

pp

mp

pp

mp

pp

mp

pp

mp

pp

mp

mp

p

thumb roll

p

mf D§

mp

p

pizz

mp

mp

p

pizz

mp

p

pizz

mp

pizz

mp

pizz

mp

6

42

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Sus. Cym.

B. D.

Tamb.

T.-t.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

f ff

mp

f ff

mp

f

ff

mp

f ff

mp

ff

3

mf

solo

espress.

f

mp

f ff

9 5

mp

f ff

mp

f ff

ff

3

ff

3

mp

ff

fff

mp

ff

fff

mp

ff

fff

mp

ff

fff

f ff

f ff

f ff

f

ff

f

ff

f

ff

mp

ff

3

p

p

f

sfz

7 7 7

arco

pp

f

ff

arco

pp

f

ff

arco

pp

f

ff

arco

pp

pizz

mf cresc.

sfz

arco

f

ff

3

cresc.

sfz

arco

f

ff

3

7

E With energy and optimisim ( q q q q = 144 )

54

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Sus. Cym.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

6

3

mp

mf

ff

3 3

6

3 mp

mf

ff

6

3 mp

mf

ff

3

3

3

3

6

f

mf

6

3

3

6

f

mf

6

3 3 6 f

mf

6

3

3

mf

f

3 3

3

3

mf

f

3 3

sfz

mf

f

ff

sfz

mf

f

ff

sfz

mf

f

ff

sfz

mf

f

ff

sfz

ff

sfz

sfz

sfz

sfz

sfz

3

ff

f

6

3

pizz

mf

3

arco

mf

f

6

3

pizz

mf

3

mf

arco

f

6

3 pizz

mf

3

mf

arco

f

3

3

6

pizz

mf

3

arco

mf

f

6

3

3

6

pizz

mf

3

arco

mf

f

6

8

62

F

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

S. D.

B. D.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

3

3

ff

ff

3

3

ff

3

3

ff

3

3

ff

3

3

3

3

ff

3

3

ff

3

3

ff

ff

ff

ff

ff

ff

ff

ff

ff

3

ff

3

3

ff

3

ff

3

3

ff

3

ff

3

3

ff

3

ff

3

3

ff

ff

3

3

ff

3

3

ff

3

3

f

3

ff

3

3

f

3

ff

3

3

f

3

ff

3

3

f

3

rim shot f

3

3

ff

3

3

ff

3

6

ff

3

6

ff

3

3

ff 3

3

ff

3

3

9

G70

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Cym.

S. D.

B. D.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

ff

f

ff

f

ff

f

ff

mp

f

ff

mp

f

ff

mp

f

fp

fp

mp

f

fp

fp

mp

ff

ff

ff

ff

ff

ff

ff

f

ff

f

ff

f

ff

f

f

f

f

ff

f

mp

pizz

6 6

pizz

6 6

pizz

6

6

fp

fp

mp

fp

fp

mp

10

77

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Cym.

S. D.

B. D.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

6

3

ff

3

3

3

ff

3

ff

3

ff

f

3

3

6

f

3

3

5

f

3

3

5

f

3

f

3

ff

6

3

ff

6

3

ff

3

3

ff

3

3

3

mf

3

mf

3

mf

f

sfp

ff

f

ff

f

sfp

ff

f

ff

f

sfp

ff

f

ff

ff

ff

ff

ff

f

ff

rim shot

ff

ff

arco

f

ff

3

ff

6

arco

f

ff

3

ff

5

arco

f

ff

3

ff

5

3

fff

sfp

ff

3

3

3

fff

sfp

ff

3

3

11

H85

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Bongos

Tamb.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

f cantabilé

mp

f cantabilé

mp

f cantabilé

mp

ff

mp

ff

mp

ff

mp

ff

mp

mp

mp

mp

mp

mpmp

mp

mp

medium mallets

mp

mp

mf

Eb Ab

ff

GbDb

p

mf cantabile

mp

p

mf cantabile

mp

p

mf cantabilé

p

pizz

mf

p

pizz

mf

12

92

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Bongos

Cym.

Tamb.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mp

mp

mf

7

7

7

mf

mf

ff

boldly

7

ff

boldly

ff

boldly

ff

boldly

ff

boldly

mp

mp

mp

mf

mp

mf

mp

mf

mf

Sus. Cym.

mp

G§D§

GbDb

G§

mf

7

mf

7

7

arco

arco

13

97

rit.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Bongos

Sus. Cym.

Tamb.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

f

ff

3

3

3

6

f

ff

3

3

3

6

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

3

3

f

ff

3

3

f

ff

3

3

f

ff

3

3

f

ff

3

3

f

ff

3

3

3

f

ff

3

3

3

f

f

ff

f

ff

f

ff

3

3

3

f

ff

3

3

3

6

f

ff

3

3

3

6

14

I Heroically ( q = 148 )

105rit.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

S. D.

B. D.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

3

sfz

3

ff

3

sfz

3

ff

3

sfz

3

ff

3

sfz

3

ff

3

sfz

3

ff

3

sfz

3

ff

3

sfz

3

ff

3

sfz

3

mf

ff

sfzsfz

3 3

mf

ff

sfz

3 3

ff

p

f

dim.

5

3 3

3 3

ff

p

f

dim.

5 3 3 3

3

ff

p

f

dim.

5

3 3

3 3

ff

p

f

dim.

5 3 3 3

3

ff

3

mute

open

3

ff

3

mute

open

3

ff

3

mute

open

3

ff

3

3

3

ff

3

3

3

ff

3

3

3

mf

ff

3 3

fff

3

3

3

3

3 3

3

3

ff

3

3

3 3

ff

pizz

f

3arco

ff

sfz

3 3 3

pizz

f

3arco

ff

sfz

3 3 3

pizz

f

3

arco

ff

sfz

3

3 3

ff

f

ff

sfz

f

dim.

3 3

ff

f

ff

sfz

f

dim.

3 3

15

J Andante (q = 88)115

rit.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

p

fp

fp

pp

p

fp

fp

fp

pp

p

fp

fp

pp

p

fp

fp

fp

pp

p

fp

fp

fp

pp

p

fp

fp

pp

p

fp

fp

fp

pp

p

fp

fp

fp

fp

fp

fp

fp

fp

mp

mp

mp

mp

mp

fp

fp

mp

fp

fp

fp

mp

mp

fp

fp

mp

fp

fp

fp

mp

p dolce

ff

f

p dolce

ff

f

p dolce

ff

f

p

ff

f

p

ff

f

16

K poco meno mosso122 rit.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

Solo

mf espress.

7 7

Solo

mf espress.

p

mp

p

mp

p

p

p

mp

p

p

mp

p

p

mp

p

p

mp

f

Gb

Cb

C§ B§

pp

mp

pp

mp

pp

mp

p

pizz

arco

p

p

pizz

arco

p

17

L Intermezzo (q = 72)132

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

T.-t.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

dolce

3

f cantabile

f cantabile

mp

dolce

3

mp

mp

dolce

3

mp

espress.

3

mf cantabile

mf cantabile

mpespress.

3

p

mp

p

mp

p

mp

p

f

Bb § b

pp

p espress.

3

p

pp

p espress.

3

p

pp

p

p

pp

p

pizz mp

arco

espress.

3 p

pp

p

pizz arco

mp

p

18

146

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

B. D.

T.-t.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

p

p

p

p

mp

p

mp

p

mp

p

mp

p

mp

p

mp

mp

mp

pp

6 6 6 6 6 6 6 6 6 6 6 6 6 6

pp

6 6 6 6 6 6 6 6 6 6 6 6 6 6

pp

6 6 6 6 6 6 6 6 6 6 6 6 6 6

pp

pp

19

150

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

T.-t.

T.B.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

mp

f

ff

f

ff

pp

mp

fp

fp

fp

fp

ff

3 3 3 3 3 3 3 3 3

pp

mp

f

ff

3 3 3 3 3 3 3 3 3

pp

mp

fp

fp

fp

fp

ff

pp

mp

p

fp

fp

fp

fp

ff

3 3 3 3 3 3 3 3 3

pp

mp

p

fp

fp

fp

fp

ff

3 3 3 3 3 3 3 3 3

pp

mp

p

fp

fp

fp

ff

fp

fp

fp

fp

ff

mf

ff

mp

p cresc.

f

ff

mp

p cresc.

f

ff

mp

p cresc.

f

ff

mp

p cresc.

f

ff

fp

fp

fp

fp

ff

fp

fp

fp

fp

ff

fp

fp

fp

ff

mf

fp

fp

fp

fp

ff

mf

fp

fp

fp

fp

ff

mf

f

ff

f

ff

soft timpani mallets

pp

medium timpani mallets

ff

hard chime

hammer

ff

ff

pp cresc.

f

ff

6 6 6 6 6 6 6 6 6

pp cresc.

f

ff

6 6 6 6 6 6 6 6 6

pp cresc.

f

ff

6 6 6 6 6 6 6 6 6

mp

f

ff

mp

f

ff

20

M162

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Sus. Cym.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp espress.

mf

rit.

fp

p

7 6

mp

mp

pp dolce

p

pp

mp

pp dolce

p

pp

mp

pp dolce

p

pp

mp

pp dolce

p

pp

mp

pp

p

pp

mp

21

173

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Sus. Cym.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f espress.

9

mp

mf

ppp

mf

3 3 3

mf

mf

mf espress.

7

pp

dim.

pp

dim.

pp

dim.

pp

dim.

pp

dim.

22

N183 rit.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

B. D.

T.B.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

molto espress.

mp

molto espress.

pp

p

ff

pp

p

ff

pp

p

ff

pp

mp

molto espress.

p

ff

p

ff

p

ff

p

ff

p

ff

p

ff

p

ff

p

soft beater

mp

soft chime

hammer

p

p

p

23

O Finale (q = 60) growing in volume and pressing forward (little by little)195

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

passionately

3 3

mp

passionately

3 3

pp

sost.

3

3

3

3

3

3

pp

sost.

3

3

3

3

3

3

pp sost.

3 3 3 3

p

3

3

p

3

3

p

3

3

p

3

3

p

3

3

p

3

3

sof mallets

mp

mf

Gb

Cb

pp

sost.

3

3

3

3

3

3

pp

sost.

3

3

3

3

3

3

pp sost.

3

3

3 3

pp

pp

24

203

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

3

3

3 3

mf

3

3

3

3

3

3

p

3

3 3 3

3

3

p

3

3 3 3

3 3

p

3

3

3

3

3

3

3

3

3

3

mp

C§

mp

A§

AbDb

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3 3

25

P211

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

f

ff

f

f ff

7

f

f ff

7

f

f ff

7

f

f

f

f

f

f

f

f

f

f

f

f

f

3

f

3

f

f

3

f

f

f

3

f

f

3

f

f

3

f

f

f

f

26

Q With brilliance (q = 148)

217

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

S. D.

B. D.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

ff

ff

ff

ff

f

3

f

3

ff

3

3

ff

3

3

ff

3

3

ff

3

3

f

3

ff

f

3

ff

ff

ff

3

3

ff

3

3

ff

3

3

ff

3

3

f

3

3

f

3

3

ff

ff

ff

ff

3

3

ff

3

3

27

R poco crescendo223

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

T.B.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

6

mf

6

mp

5 6

mf

6

mf

pp

pp

mp

mf

pp

mp

mf

mp

mp

mp

mp

mp poco cresc.

mp poco cresc.

mp poco cresc.

mp poco cresc.

p poco cresc.

pp poco cresc.

p cresc.

F# only

pp

6

pp

mf

6

mp

pizz

pp

pizz

pp

pizz

28

S234

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

B. D.

T.-t.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

ff

f

ff

f

2

2

2 ff

f

2

2

2 ff

f

ff

f

ff

f

ff

f

ff

f

ff

3

3

77

f

ff

3

3 77

f

ff

f

ff

f

ff

f

ff

f

2

2

2

ff

2

2

2

2

f

2

2

2

ff

2

2

2

2

f

2

2 2 ff

2

2

2

2

f

2

2

2

ff

2

2

2

2

f

ff

2

2

2

2

f

ff

f

ff

3

3

ff

ff

ff

ff

fff

gliss.

gliss.

gliss.

gliss.

f

2

2

2 ff

6 6

f

2

2

2 ff

6 6

f

arco 2

2

2 ff

6 6

f

arco

ff

3

3

77

arco

f

ff

3

3

77

29

244

rit.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

2

2

2

2

fff

fff

fff

fp

3

3

fff

fp

3

3

fff

fp

3 3

fff

fp

3 3

2

2 mf

ff mf

ff

3 3 3

2

2 mf

ff mf

ff

3 3 3

2

2 mf

ff mf

ff

3 3

3

2

2 ff

fp

3 3

2

2 ff

fp

3 3

ff

fp

3 3

ff

fff

gliss.

BbEb

Ab

gliss.

fp

6

3 3 3

fp

63 3

3

fff

fp

6

3 3 3

fff

7

fff

7

30

T Meno mosso ( q = 76 )

252

molto accel. Presto ( q = 180 )

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Sus. Cym.

S. D.

B. D.

T.B.

Glock.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

fff

mp

cresc.

ff

ff

mp

cresc.

ff

ff

f

cresc.

f ff

f

cresc.

f ff

f

cresc.

f ff

f

cresc.

f ff

fp

ff

fp

ff

fp

ff

fp

ff

fp

ff

fp

ff

ff

hard beater

fff

fff

mp

cresc.

f

fff

fff

p

3

3

cresc.

3

3

3

3

3

3

3

3 ff

p

cresc.

ff

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

p

cresc.

ff

fff

p cresc.

ff

fff

p cresc.

ff

fff

p cresc.

ff

fff

fp

fp

fp

ff

fff

fp

fp

fp

ff

fff

31

FOUR BAGATELLES for Orchestra

Leif Sundstrup

2008

Submitted in partial fulfilment of the requirements

for the award of the degree

Doctor of Creative Arts

from

University of Wollongong

2009

Instrumentation

2 Flutes

1 Oboe

1 Clarinets

1 Bass Clarinet

1 Bassoon

4 Horns

2 Trumpets

2 Trombones

1 Bass Trombone

1 Tuba

Timpani

Glockenspiel

Vibraphone

Tubular Bells

Violin 1

Violin 2

Viola

Cello

Contrabass

Note on Trills

Oboe

Half- tone trill

Oboe

Whole-tone trill

Transposing score

Lento (h = 48)

Copyright © 2008 by Leif Sundstrup

Leif Sundstrup

1.

Four Bagatelles

Flute 1

Flute 2

Oboe

Clarinetin Bb

Bass Clarinetin Bb

Bassoon

Horn 1 in F

Horn 2 in F

Horn 3 in F

Horn 4 in F

Trumpet 1 in C

Trumpet 2 in C

Trombone 1

Trombone 2

Bass Trombone

Tuba

Timpani

Tubular Bells

Glockenspiel

Violin I

Violin II

Viola

Violoncello

Contrabass

ff

p

ff

pp

mf ff

p

ff

pp

mf ff

p

ff

pp

6 6

ff

p

ff

pp

ff

p

ff

pp

mf ff

p

ff

pp

6 6

ff

fp

mf

ff

pp

mp

fp

ff

fp

mf

ff

pp

mp

fp

ff

fp

mf

ff

pp

mp

fp

ff

fp

mf

ff

pp

mp fp

ff

fp

mp

f

ff

fp

mp

f

ff

fp

mp

f

ff

fp

mp

f

ff

fp

mp

f

ff

fp

mp

f

ff

pp

ff

mf

3

f

div.

f

mf

ff

p

div.

f

mf

ff

p

f

div.

ff

mp

ff

f

3

ff

mp

ff

f

5

ff

mp

ff

5

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

ff

p

f

ff

mf ff

p

f

ff

mf ff

p

f

ff

6 6

ff

p

f

ff

ff

p

f

ff

mf ff

p

f

ff

6

6

f

f

f

f

f

f

f

f

mute

f

open

f

mute

f

open

f

mp

f sost.

mp

f sost.

f

mp

f sost.

f

mp

f sost.

mp dolce

div.

mf

p

ff sost.

mp dolce

div.

mf

p

ff sost.

p

div.

mp dolce

mf

p

ff sost.

p

mp dolce

mf

p

div.

ff sost.

p

mp dolce

mf

p

ff sost.

2

9

molto rit.

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vln I

Vln II

Vla

Vc.

Cb.

mp

ff

mp

ff

3

mp

ff

6 6 6

3

mp

ff

mp

ff

5

mp

ff

6 6 6

sfz

mp

ff

p

sfz

mp

ff

p

sfz

mp

ff

p

sfz

mp

ff

sfz

p

sfz

sfz

mp

ff

p

sfz

mp

ff

p

sfz

mp

ff

p

sfz

mp

ff

p

ff

mf

3 3

ff

div.

sffp

mf

ff

3

div.

sffp

div.

sffp

3 div.

sffp

f

p

5

sffp

f

p

3

A Andante (q = 86)13

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vln I

Vln II

Vla

Vc.

Cb.

mf

ff

p

ff

p

6

6

ff

p

6 6

mf ff

p

mf

mf ff

p

mp

f

mf

mp

f

mf

mp

f

mf

mp

f

mf

mute

mf

mute

mf

mute

mf

mute

mf

mute

mf

mf

f

mf

mp

pizz div.

3

mf

mp

pizz div.

3

pizz div.

mp

f

col legnoff

pp

pizz

mp

ff

3

pizz div.

mp

f

col legno

ff

pp

pizz

mp

ff

3

pizz

mp

f

col legno

ff

pp

mp

pizz

ff

3

4

17

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vln I

Vln II

Vla

Vc.

Cb.

f

mp

f

flutter

3 3

f

mp

f

flutter

3 3

f

3

mp

f

flutter

3 3

f

mp

f

flutter

3 3

f

3

mp

f

flutter

3 3

f

mp

f

flutter

3 3

mf

mf

mf

mf

open

f

ff

open

open

mf

f

ff

open

open

mf

f

ff

mf

mf

arco

f

ff

mf

3

mf

arco

f

ff

mf

3

mf

arco

f

ff

col legno

ff

pp

3

mf

arco

f

ff

col legno

ff

pp

3

mf

arco

f

ff

col legno

ff

pp

3

5

22

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

ff

f

ff

ff

mf

fp

sfp

ff

f

espress.

mf

fp

sfp

ff

f

espress.

mf

fp

sfp

ff

f

espress.

mf

fp

sfp

ff

f

espress.

ff

ff

mf

fp

fp

ff

f

espress.

mf

fp

fp

ff

f

espress.

mf

fp

fp

ff

f espress.

mf

fp

fp

ff

f

espress.

f

pizz

arco

ff

espress.

pizz

f

arco

ff

espress.

f

pizz

ff

arco

espress.

pizz

f

ff

arco

espress.

pizz

f

ff

arco

espress.

6

29

B

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

mp espress.

Solo

mf

5 7 3

mf

3

pp

pp

pp

pp

pp

pp

pp

pp

motor slow

mp espress.

sfz

7

sfz

6

sfz

pizz

mp

7

sfz

div.

mp espress.

6

sfz

pizz

mp

7

7

35

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

f

f

mp

mf

3

p

5 6 3 3 3

mf

f

mf

p

3

f

f

p

mf

p

5

6 3

mf

f

mf

3

p

3

3 3

p

mf

p

mf

p

mp

f

p sub.

mf

p

mp

f

p sub.

mf

p

mp

f

p sub.

mf

p

mp

f

p sub.

mf

p

mf

f

mf

3

p

3 3 3

mf

f

mf

3

p

3

3 3

p

mf

p

p

mf

p

mf

p

p

mf

p

mp espress.

f p sub.

mf

3

p

3 3

mp espress.

f

p sub.

mf

p

div. arco

mp espress.

f

p sub.

mf

p

f

p sub.

mf

p

div. arco

p

f

p sub.

mf

p

8

C43

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Tub. B.

Vln I

Vln II

Vla

Vc.

Cb.

ff

poco a poco dim.

p

ff

poco a poco dim.

p

ff

poco a poco dim.

p

ff

poco a poco dim.

p

ff

poco a poco dim.

p

ff

poco a poco dim.

p

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

mp

mf

ff

mp

mf

ff

poco a poco dim.

ff

poco a poco dim.

div.

f

poco a poco dim.

div.

f

poco a poco dim.

ff marcato

poco a poco dim.

ff marcato

poco a poco dim.

7 7 7 7 7

ff marcato

poco a poco dim.

7 7 7 7 7

9

49

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Tub. B.

Vln I

Vln II

Vla

Vc.

Cb.

pp cresc.

molto

pp cresc.

molto

pp cresc.

molto

pp cresc.

molto

pp cresc.

molto

pp cresc.

molto

ff

ff

ff

ff

mp

mp

mp

mp

mp

mp

p

molto

ppp

ppp

ppp

ppp

7 7 7

ppp

7 7 7

10

Vivace (q.=92)55

2.

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mf

mf

mf

mf

fp

mf

mf

fp

mf

mf

fp

mf

mf

fp

mp

f

mf

fp

mp

f

mf

fp

mp

f

mf

fp

mp

f

fp

fp

fp

fp

mp

fp

fp

fp

fp

mp

fp

fp

fp

fp

mp

fp

fp

fp

fp

mp

fp

fp

fp

fp

fp

fp

fp

fp

mp

f

mp

f

mp

f

mp

f

f

pizz

11

D

71

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mf

f

mf

f

mf

f

f

mf

f

mf

f

mf

f

fp

mf

f

fp

mf

f

fp

mf

f

fp

mf

f

fp

f

fp

mf

f

fp

f

fp

mf

f

fp

f

fp

fp

fp

fp

fp

fp

fp

fp

fp

mf

fp

fp

fp

fp

mf

fp

fp

fp

fp

arco

mf

fp

fp

fp

fp

12

E

78

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vln I

Vln II

Vla

Vc.

Cb.

mp

mp

mp

mf

mp

mf

mp

mp

mp

mp

mp

mf

mp

mf

mp

mf

mf

div.

mp

mp

mp

div.

13

86

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vln I

Vln II

Vla

Vc.

Cb.

mp

mf

mf

mp

mf

mf

mf

mf

mp

mf

mp

mf

mf

mf

mf

14

F

94

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mf

mf

mf espress.

mf

mf

ff

ff

f

f

f

f

f

f

pizz

15

102

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Tub. B.

Vln I

Vln II

Vla

Vc.

Cb.

f

ff

fp

f

f

ff

fp

f

f

ff

fp

f

f

ff

fp

f

f

f

f

f

f

f

mp

f

f

16

105

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Tub. B.

Vln I

Vln II

Vla

Vc.

Cb.

ff

fff

ff

fff

ff

fff

ff

fff

ff

ff

fff

ff

ff

ff

col legno div.

ff

ff

col legno div.

ff

17

Allegro (q.=88)

3.

110

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

f

ff

mf

f

ff

mf

mp

mf

f

ff

f

mp

f

f

mp

f

ff

p

mp

p

ff

p

mp

p

3

ff

p

mp

p

ff

p

mp

p

mute

mp

f

mp

mute

mp

f

mp

f

f

f

ff

sul pont.

p

mp

p

f

ff

sul pont.

p

mp

p

f

ff

sul pont.

p

mp

p

f

ff

sul pont.

p

mp

p

ff

18

126

G

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

f

f

mf espress.

f

mf

f

mf

mp

f

mf

mp

f

mf

mp

f

mf

mp

f

f

f

f

fp

f

fp

f

fp

f

nat.

ff

mf

mp

nat.

ff

mf

mp

nat.

ff

mf

mp

nat.

ff

mf

mp

f

mp

f

19

H140

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mf

3 3 3 3

mf

3 3 3 3

mf

3 3 3 3

mf

3 3 3 3

mf

3 3 3 3

mf

3 3

3 3

mf

f

mf

f

mf

f

mf

f

(mute)

mp

(mute)

mp

mp

mf

mf cantabilé

mp

mf

mf cantabilé

mp

mf cresc.

mf cresc.

f cantabilé

3

mp

f cantabilé

3

mp

mp

f cantabilé

mf

pizz

mf cresc.

div. arco

mf

pizz

mf cresc.

arco

20

146

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mp dolce

mp dolce

ff

fp

ff

fp

ff

Bells up

fff

ff

Bells up

fff

ff

Bells up

fff

ff

Bells up

fff

mf

f

open

mf

f

open

ff

sfz

ff

sfz

ff

sfz

ff

sfz

mp

mp

ff

mp

ff

mp

ff

21

152

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

pp

pp

mf

f

pp

mf

f

pp

mf

f

pp

mf

f

pp

mute

f

pp

pp

pp

pp

22

I Vivace (q.=132)

158

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

f

ff

f

ff

ff

ff

fp

ff

ff

fp

ff

ff

fp

ff

ff

fp

ff

mute

f

open

pp

open

ff

fp

ff

ff

ff

fp

ff

ff

ff

fp

ff

ff

ff

ff

pizz

f

pizz

f

2

pizz

f

2

pizz

f

2 ff

pizz

f

2 ff

23

J Tempo

166

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

f cantabilé

3

f cantabilé

3

f cantabilé

3

f cantabilé

3

mp

f

mp

f

mp

f

mp

f

mf

mf cantabilé

mf

mf cantabilé

mf

mf

arco

mp

mp

3 3 3 3

arco

mp

mp

3 3 3 3

arco

mp

3 3 3 3

arco

mp

3 3 3 3

arco

mf

24

172

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mf

f

f

ff

mf

ff

p

ff

p

ff

p

f

fp

f

fp

ff

p

ff

p

ff

p

ff

p

f

mf

ff

f

mf

ff

ff

div.

ff

ff

25

178rit. K Poco meno mosso rit.

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

p

p

mf

mp

pp

p

fp

pp

mf

pp

p

fp

pp

mf

fp

p

mf

fp

p

ff

mp

mf fp

pp

mf

fp

p

ff

mp

mf

fp

pp

mf

fp

p

ff

mp

mf fp

pp

mf

fp

p

ff

mp

mf

fp

pp

mf

fp

p

p

p

p

p

ff

p

f

mp

fp

pp

p

ff

p

fp

fp

pp

p

ff

p

fp

fp

pp

p

ff

p

fp

fp

pp

p

f

mp

pp

p

f

pp

p

f

mp

fp

pp

div.

p

fp

fp

pp

p

fp

fp

pp

p

26

Andante (h=62)

4.

188

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

p

p

fp

p

fp

p

fp

p

fp

p

mp

f

mp

f

mp

f

mp

f

ff

mp

pp

f

p

pp

f

p

pp

f

p

pp

f

p

27

L195

M

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Glock.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

fp

fp

mf

mf

mf

fp

fp

fp

fp

fp

fp

fp

fp

mf

mf

fp

pp

mute

fp mute

pp

fp

pp

mute

fp

pp

mute

pizz

mf

f

28

204

N

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

f

fp

f

fp

f

fp

f

fp

mf espress.

f

mp

mute

mf

3 f

mute

mf

3 f

mp

f

mute

mf

3 f

mp

f

mute

mf

3 f

mp

f

mp

f

mf

p

nat.

nat.

nat.

pizz

mf

p

nat.

pizz

mf

p

mp

arco

f

29

212O

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Tub. B.

Glock.

Vln I

Vln II

Vla

Vc.

Cb.

fp

fp

fp

fp

ff

ff

ff

ff

pp

open

pp

open

pp

open

pp

open

ff

mp

ff

ff

mp

ff

p

p

pp

arco

pp

pp

arco

pp

arco

pp

arco

30

222

P

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Tub. B.

Glock.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

mp

f

fp

mf

3

mp

f

fp

mf

3

mp

mf

3

mp

f

fp

mf

3

mf

fp

mf

3

mp

mf

3

mp

mp

mp

mp

mf

fp

mf

mf

mp

mf

mp

mf

3

pp

pp

pp

arco

mf

fp

31

Q232

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

mp dolce

mp dolce

fp

fp

mf

mf

mf

mf

mf

mf

mf

mf

mp

fp

mp

fp

mp

fp

mp

fp

mp

fp

mp

fp

arco

mp

arco

mp

arco

mp

arco

mp

mp

32

241

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Vln I

Vln II

Vla

Vc.

Cb.

f

f

f

f

f

f

mf

f

mf

f

mf

f

mf

f

mp

f

mp

f

mp

f

mp

f

mp

f

mp

f

ppp

f

7

ppp

f

7

ppp

f

7

ppp

f

7

ppp

33

R249

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Glock.

Vln I

Vln II

Vla

Vc.

Cb.

f

f

f

f

ff

f

ff

f

ff

f

ff

f

fp

mp

fp

mp

fp

mp

fp

mp

mf

p

fp

mp

fp

mp

ff

fp

fp

ff

fp

ff

fp

pizz

mf

p

34

258

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

3

ff

3

ff

3

ff

3

mf

mp

ff

fp

3

ff

fp

3

ff

fp

3

ff

fp

3

ff

ff

ff

ff

ff

ff

f

f

pp

7

f

pp

7

f

pp

7

f

pp

7

pizz

f

pizz

mf

mp

35

S264

Fl. 1

Fl. 2

Ob.

Cl.

B. Cl.

Bsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Vib.

Vln I

Vln II

Vla

Vc.

Cb.

mf espress.

f

mp

dim.

ppp

5

mp

mp

mp

mp

mp

pizz

mp

pizz

mp

36

THEME & VARIATIONS for Eb Clarinet, Bb Clarinet, Bass Clarinet & Harp

Leif Sundstrup

2009

Submitted in partial fulfilment of the requirements

for the award of the degree

Doctor of Creative Arts

from

University of Wollongong

2009

Instrumentation

1 Eb Clarinet

1 Bb Clarinet

1 Bass Clarinet

1 Harp

Note on Trills

Oboe

Half- tone trill

Oboe

Whole-tone trill

Transposing Score

Theme (q = 98)

Copyright © 2009 by Leif Sundstrup

Theme and Variationsfor Eb Clarinet, Bb Clarinet, Bass Clarinet & Harp

To Vanessa Ann Sundstrup

Leif Sundstrup

Clarinet in Eb

Clarinet in Bb

Bass Clarinetin Bb

Harp

mp

mf

mp

fLLLOLMLL

A§C§

G§D§

AbCb

GbDb

G§

5

Eb Cl.

Cl.

B. Cl.

Hp.

mp

mp

p

mf

p5 5 5

p

mf

5

p

Gb §

b

D§

Db

5

10 A

Eb Cl.

Cl.

B. Cl.

Hp.

p

mf

p

f

5

D§

G§

f

E§

6

GbDb

G§

15

Eb Cl.

Cl.

B. Cl.

Hp.

f

f

5

f

Eb

E§

Eb

mf

E§

Eb

E§

6

6

65

20B

Eb Cl.

Cl.

B. Cl.

Hp.

mf

pp

3

mf

pp

3

mf

pp

3

Eb

C§ f

Fb

GbCb

F§

26

Eb Cl.

Cl.

B. Cl.

Hp.

mf

E§

Eb

cresc.

3

2

31

Eb Cl.

Cl.

B. Cl.

Hp.

f

f

f

f

ff

E#

F#

F§

Eb

33C

Eb Cl.

Cl.

B. Cl.

Hp.

p

p

p

F#D#

F§Db

C§

mp

E§

Cb

Eb

3

38

Eb Cl.

Cl.

B. Cl.

Hp.

f

3

mf

f

E§

Eb3

3

41

rit.

Eb Cl.

Cl.

B. Cl.

Hp.

mf

pp

f

mf

pp

pp

mp

C§ D§

Variation 1 (q. = 92)45

Eb Cl.

Cl.

B. Cl.

Hp.

mf

fp

mp

mf

fp

mp

mf

fp

mf

f

mp

G§

60

Eb Cl.

Cl.

B. Cl.

Hp.

fp

fp

fp ff

ff

fp

fp

fp

ff

ff

fp

fp

fp

ff

ff

Gb

E§

G§ A§

nails

ff

4

72

Eb Cl.

Cl.

B. Cl.

Hp.

Ab Fb EbDb

D81

Eb Cl.

Cl.

B. Cl.

Hp.

mf

fp

2 2 2

fp

fp

fp

fp

fp

fp

fp

fp

f

fp

ff

Cb

91

Eb Cl.

Cl.

B. Cl.

Hp.

p fp

p fp

fp

p

fp

p

fp

fp

p

fp

p

fp

fp

mf F§

5

106E

Eb Cl.

Cl.

B. Cl.

Hp.

f

mf

f

mf

f

mf

Gb

G§D§ mf

C§

118

Eb Cl.

Cl.

B. Cl.

Hp.

fp

mp

fp

fp

fp ff

fp

mp

fp

fp

fp

ff

fp

mp

fp

fp

fp

ff

f

Gb

132

Eb Cl.

Cl.

B. Cl.

Hp.

f

f

f

Gb AbDb

G§D§

B§

Bb

3 3

6

142F

Eb Cl.

Cl.

B. Cl.

Hp.

ff

ff

f

ff

mp

f

mp

3

155

Eb Cl.

Cl.

B. Cl.

Hp.

mp

f

mp

mp

mp

GbDb

G§B§

169

Eb Cl.

Cl.

B. Cl.

Hp.

f

ff

flutter

mp

p

mp

f

ff

flutter

mp

p

f

ff

flutter

mp

p

D§

Db f

D§

AbDb

7

Variation 2 (q = 60)182

(q. = 88)

Eb Cl.

Cl.

B. Cl.

Hp.

mp

2

LMLOLMML

mp

mf

3

186

Eb Cl.

Cl.

B. Cl.

Hp.

mp

2

mp

5

Gb

3

190G

Eb Cl.

Cl.

B. Cl.

Hp.

mp espress.

mf

2 2 2

mf

mf

p

mf

G§ mp

Gb mf

3 3

8

195H

Eb Cl.

Cl.

B. Cl.

Hp.

mf

mp espress.

mf

2

2

2

mf

f

B§

mp

Bb

201I

Eb Cl.

Cl.

B. Cl.

Hp.

mp

pp

mp

pp

mp

pp

mf

3 3

205

Eb Cl.

Cl.

B. Cl.

Hp.

fp

fp

fp

Gb B§ Bb

ff

mf3

3 3 3 3 3 3

9

208

J

Eb Cl.

Cl.

B. Cl.

Hp.

ffp

f

5 5

ffp

f

3

ffp

f

ffCb

3

215

Eb Cl.

Cl.

B. Cl.

Hp.

fp

p

fp

p

3

3

fp

p

fp

p

3 3

fp

p

fp

p

3 3

f

E§

G§

Eb

E§

3 3

3 3

K226

Eb Cl.

Cl.

B. Cl.

Hp.

mp

2

mp

2

mfEb

C§

3 3

10

230

Eb Cl.

Cl.

B. Cl.

Hp.

mf

mp

5

Gb

3 3

234

Eb Cl.

Cl.

B. Cl.

Hp.

mp

ppp

mp

ppp

mp

ppp

G§

3 3

Finale (h = 48)238

Eb Cl.

Cl.

B. Cl.

Hp.

mp

MMLOLMML

6 6 6 6 6 6 6 6 6 6 6 6

11

240

Eb Cl.

Cl.

B. Cl.

Hp.

Gb Db

A§

6 6 6 6 6 6 6 6 6 6 6 6

L242

Eb Cl.

Cl.

B. Cl.

Hp.

pp espress.

3

3

pp espress.

3

3

pp espress.

3

3

G§D§

Gb

Db

6 6 6 6 6 6 6 6 6 6 6 6

244

Eb Cl.

Cl.

B. Cl.

Hp.

3

3

3

3

3

3

mf

G§D§

Gb

Db

6 6 6 6 6 6 6 6 6 6 6 6

12

246

Eb Cl.

Cl.

B. Cl.

Hp.

D§��

Db

D§

6 6 6 6 6 6 6 6 6 6 6 6

Ab

rit. 248

M Freely

Eb Cl.

Cl.

B. Cl.

Hp.

p espress.

p espress.

3

p espress.

3

LMLOLMML

p

252

N Tempo

Eb Cl.

Cl.

B. Cl.

Hp.

mp

MMLOLMML

mp

6 6 6 6 6 6

13

254

Eb Cl.

Cl.

B. Cl.

Hp.

Gb

6 6 6 6 6 6 6 6 6 6 6 6

256O

Eb Cl.

Cl.

B. Cl.

Hp.

pp espress.

3

3

pp espress.

3

3

pp espress.

3

3

Db

A§

G§

D§

6 6 6 6 6 6 6 6 6 6 6 6

258

Eb Cl.

Cl.

B. Cl.

Hp.

3

3

3

3

3

3

6 6 6 6 6 6 6 6 6 6 6 6

14

260

Eb Cl.

Cl.

B. Cl.

Hp.

Gb

Ab

6 6 6 6 6 6 6 6 6 6 6 6

Db

262P

Eb Cl.

Cl.

B. Cl.

Hp.

pp espress.

3

3

pp espress.

3

3

pp espress.

3

3 3

D§

G§

6 6 6 6 6 6 6 6 6 6 6 6

264

Eb Cl.

Cl.

B. Cl.

Hp.

3

3

3

3

3

3 3

Gb

Db

G§

Gb

6 6 6 6 6 6 6 6 6 6 6 6

15

266

Eb Cl.

Cl.

B. Cl.

Hp.

D§

Db

D§

6 6 6 6 6 6 6 6 6

268Q

Eb Cl.

Cl.

B. Cl.

Hp.

pp

pp

pp

Db

6 6 6 6 6

273

Eb Cl.

Cl.

B. Cl.

Hp.

ppp

ppp

ppp

6 6 6 6 6 6

16

275

Eb Cl.

Cl.

B. Cl.

Hp.

G§

Gb

6 6 6 6 6 6

276

Eb Cl.

Cl.

B. Cl.

Hp.

pp

f

mp

pp

f

mp

pp

f

mp

A§ D§f

cresc.

6 6 6 6 6 6

6ff

3

17

VOYAGE for Orchestra

Leif Sundstrup

2004

Submitted in partial fulfilment of the requirements

for the award of the degree

Doctor of Creative Arts

from

University of Wollongong

2009

Instrumentation

1 Piccolo Flute

2 Flutes

2 Oboes

1 Cor Anglais

2 Clarinets

1 Bass Clarinet

2 Bassoons

1 Contrabassoon

4 Horns

3 Trumpets

2 Trombones

1 Bass Trombone

1 Tuba

Harp

Violin 1

Violin 2

Viola

Cello

Contrabass

Percussion

Timpani

Bass Drum

Snare Drum

Toms

Tam-tam

Clash Cymbals

Suspended Cymbal

Sizzle Cymbal

Tambourine

Triangle

Bongos

Wind Machine

Ratchet

Whip

Glockenspiel

Xylophone

Vibraphone

Tubular Bells

Transposing score

Leif Sundstrup

Copyright © 2004 by Leif Sundstrup

Allegro assai ( q = 160 )

VOYAGE

Variations for Orchestra Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Cor Anglais

Clarinet 1in Bb

Clarinet in 2in Bb

Bass Clarinetin Bb

Bassoon 1

Bassoon 2

Contrabassoon

Horn 1in F

Horn 2in F

Horn 3in F

Horn 4in F

Trumpet 1in C

Trumpet 2in C

Trumpet 3in C

Trombone 1

Trombone 2

Bass Trombone

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Harp

Violin I

Violin II

Viola

Violoncello

Contrabass

mf

6 7

mf

5 6 7

mf

5 6

heroically

ff

mf

5 7

heroically

ff

mf

56

heroically

ff

mp

6 6

6

mp cresc.

5

6

mf

5 6 7

p cresc.

3

heroically

ff

p

mf

3

7

heroically

ff

p cresc.

mf

3

3

mf

3

3

heroically

ff

heroically

ff

heroically

ff

heroically

ff

ff

ffp

f

3

ff

ffp

f

3

3

ff

ffp

f

3 3 3

f

ff

sfp

3

f

ff

sfp

3

f

ff sfp

3

f

ff

hard mallets

f

fff

S.D.

(snares off)

f

snares on

mp

ff

B.D.

f

ff

Glock.

Vibes-medium motor

(hard mallets)

ff

EbbbbF####G§§§§AbbbbBbbbbCbbbbDbbbb

ff

f ff

pizz

f

ff

(vib.)

arco

mp

3

f ff

pizz

f

ff

(vib.)

3

f

ff

gliss. pizz

f

ff

(vib.)

mf

arco

3

f

ff

gliss. pizz

f

ff

(vib.)

3

f

ff

pizz

f

ff

(vib.)

f

arco

f

ff

pizz

f

ff

(vib.)

f

ff

pizz

f

ff

(vib.)

arco

ff

3

3

f

pizz

arco

ff

3

A h = 80

8

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

ff

ff

mf

espress.

f

ff

ff

ff

mp

mp

mp

mp

ff

ff

ff

ff

ff

ff

mp

sfz

Sus. Cym. (timp mallets)

p

p

soft mallets

E####F §§§§ A§§§§ sffz

ff

pizz.

mp

arco

ppp

arco

ppp

ff

pizz.

mp

arco

ppp

arco

ppp

ff

pizz.

mp

pp

sfz

ff

pizz.

mp

pp

sfz

arco (div.)

pp

2

20

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

5 6

5

5

7

ff

5 6 5 5 7

ff

5 6

5

5

7

ff

5 5 5 6

ff

5 5 5

5 6

mf

espress.

f

ff

5 5 5

7

ff

5 6 55

7

ff

5 5 5 5 6

ff

ff

ff

ff

ff prominantly

3

ff prominantly

3

ff prominantly

3

ff prominantly

3

f

mute

f

mute

f

mute

ff

f

ff

f

ff

ff

medium mallets

f

Clash. Cym.

f

S.D.

sfz

mp

arco (non div.)

sfz f

3

mp

arco (non div.)

sfz f

3

mp

arco (non div.)

sfz f

3

f

3

B27

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

f

cantabilé

f

3

f

marcato

f

marcato

f

f

f marcato

f

f marcato

f

f marcato

f

3

marcato

ff marcato

marcato

ff marcato

ff marcato

f

mf

f

ff

cuivré

f

mf

f

ff

cuivré

f

mf

f

ff

cuivré

f

mf

f

ff

cuivré

ff

open

3

ff

open

3

ff

open

3

f marcato

f marcato

f marcato

f

ff marcato

ff

3

ff

3

f

Glock.

F §§§§Bbbbb

EbbbbFbbbbGbbbbA§§§§B§§§§C§§§§Dbbbb

f

5 5 5 5 5 5 5 5

ff marcato

arco

f cantabilé

3

ff marcato

arco

f cantabilé

3

nondiv.

ff marcato

f marcato

3

nondiv.

ff marcato

div.

ff marcato

f marcato

3

ff marcato

pizz

f

arco

ff

4

39rit.

A tempo

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

3

ff

3

ff

3

ff

ff

ff

mp espress.

ff

3

ff

ff

3

ff

ff

ff

ff

ff

ff

ff

ff

ff

mf

ff

mf

mute

ff

open ff

mf

3

ff

ff

mf

ff

ff

mf

ff

mf

ff

ff

mf

ff

ff

ff

f

f

3 3 3 6

Sus. Cym.

mf

f

Whip

sffz

Xyl.

ff

3

EbbbbFbbbbG####A§§§§BbbbbCbbbbDbbbb

f cresc.

F####

B§§§§

fff

mf cresc.

gliss

.

gliss

.

fff

p

mp

pp

mf cresc.

gliss

.

gliss

.

fff

p

arcosul tasto

mp

pp

mf cresc.

gliss.

fff

sffz

p

arcosul tasto

mp

pp

ff cresc.

fff

sffz

arcosul tasto

p

mp

pp

ff cresc.

fff

sffz

p

arcosul tasto

mp

pp

ff cresc.

fff

sffz

arco

pp

mp

pp

5

C

49

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

3 3 3 3

f

5

f

3 3 3 3

f

5 3 3 3

3

f

3 3 3 3 3

f

3

f

3

f

3

f

3

f

più f

f

più f

f

più f

f

più f

ff

f

ff

f

ff

harmon mute (stem in)

f

open

33 3 3

ff

f

ff

f

ff

f

ff

Glock.

f

f

cresc.

nat.

f

nat.

f

3 5

nat.

f

f

pizz 3

f

f

pizz

3

6

57

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

7

ff

3 7

ff

7

ff

3 7

ff

7

ff

3 7

ff

f ff

5

5

3 7

ff

f ff

5

57

ff

3

ff

3

3

3

3

ff

3

3

3

3

ff

3

3

3

3

ff

3

9

f ff

7

9

ff

3

9

f ff

7

9

p

ff

5 5

p

ff

5

5

ff

5

5

ff

3 3

ff

ff

3

3

3

3

ff

9

ff

mp

ff

3 3 3 3 3 3 3 3 3 3 3 3 3

p

Wind Machine

f

mf

ff

f

B.D.

mp

ff

mf

ff

E§§§§F####G§§§§A####BbbbbC####Dbbbb

7

ff

3 7

ff

3

7

arco

ff

3

3

3

9

arco

ff

3

3

3

9

7

62 D

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

flutter

ff

pp

flutter

ff

pp

flutter

ff

pp

ff

p

ff

p

ff

p

ff

p

ff

p

ff

p

f

f

f

f

f

ff

p

f

mf

mf

mf

Xyl.

mf

f

mf

f

mp

Sus. Cym.

f

mf

Glock.

ff

Vibes - motor off

(hard mallets)

ff

E§§§§FbbbbGbbbbAbbbbB§§§§CbbbbDbbbb

ff

EbbbbA §§§§

ff

EbbbbF§§§§G§§§§AbbbbBbbbbC§§§§Dbbbb

mf

mf

pizz

f

f

sul pont.

ff

pp

pizz

mf

mf

sul pont.

ff

pp

pizz

mp

mp

pizz

p

f

p

f

p

pizzf

p

f

8

77

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

3 3 3 3

f

3 3 3 3

f

3 3 3 3

p ff

p ff

p ff

p ff

mp

9

7 7 7

p ff

p ff

p ff

p ff

mp

9

7 7

7

p ff

p ff

p ff

p ff

mp

9 7 7

7

p ff

p ff

p ff

p ff

mp

9 7 7 7

p ff

p ff

p ff

p ff

mp

9

77 7

p ff

p ff

p ff

p ff

mp

9

7 7 7

p ff

p ff

p ff

p ff

mp

9 7 7 7

p ff

p ff

p ff

p ff

mp

9 7 77

mp

f

metal mute

open

3 3 3 3

metal mute

f

open

3 3 3

3

f

metal mute

open

3 3 3 3

mf

f

Xyl.

mp

ff

mp

Glock.

Tubular Bells

f

ff

gliss.

gliss.

Cbbbb

gliss.

glis

s.

EbbbbF§§§§G§§§§A§§§§BbbbbC§§§§D§§§§

mf cresc.

mf

(pizz)

mf

ff

(pizz)

mf

mf

ff

(pizz)

mf

ff

(pizz)

mf

ff

mf

pizz

ff

9

E

85

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mf cantabilé

ff

ff

ff

ff

ff

ff

ff

ff

mf cantabilé

mf cantabilé

mf cantabilé

mf cantabilé

mf cantabilé

mute

mp

fp

mute

mp

fp

mute

mp

fp

mute

f

fp

mute

f

fp

mute

f

fp

Sus. Cym.

mp

ff

E§§§§ ff

arco

mf cantabilé

arco

mf cantabilé

arco

mf cantabilé

arco

mf cantabilé

10

F93

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

fff

f

fff

ff

f

fff

f

fff

ff boldly

ff

2 2

f

ff

2 2

ff boldly

ff

2 2

f

ff

2 2

f

open ff

f

open ff

f

open

ff

f

open ff

6 gliss. 7

ff

gliss.

ff

f

open ff

gliss. 6

ff

gliss.

ff

f

open fff

ff

f

fff

mf ff

mf ff

ff

S.D.

mf ff

mf ff

Toms

ff

EbbbbF§§§§GbbbbA§§§§BbbbbCbbbbDbbbb

ff

f

f fff

f fff

saltato

3 3 3 3 3 3

f

f fff

f fff

3 3

3 3 3 3

f

f fff

f fff

saltato

3 3 3 3

f

fff

col legno(battute)

sfz

arco

f

fff

col legno(battute)

sfz

11

102

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

flutter ff

pp

f

flutter

ff

pp

f

flutter ff

pp

f

f

f

f

f

f

f

ff

ff

2

ff

2

ff

2

ff

2

metal mute

f

open

ff

ff

mp

Sus. Cym.

f

ff

EbbbbF#G#AbbbbBCbbbbDbbbb

glis

s.

f

3 3 3

f

ff

arco sul pont.

pp

3 3

3

f

arco sul pont.

ff

pp

3 3 3

f

pizz

f

pizz

12

G

112

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

solo

f

gliss

.

3 3 55

3 3 3 3

p sust.

mp sust.

mp sust.

mp sust.

mp sust.

Bongos

mf

E§F§§§§G§A§§§§B§C§§§§D§

mp

mp

13

120

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mp sust.

mp sust.

mp sust.

mp sust.

mp sust.

mp sust.

mp sust.

mp sust.

mp sust.

f

mp

f

mp

f

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

mute

mf

ff

mute

mf

ff

solo

f

molto vib.

3 3 3

mp

f

mp

f

ff

Sus. Cym.

(hard sticks)

mp

f

Xyl

mp

EbbbbAbbbb Bbbbb ff

pizz

mf

ff

pizz

mf

ff

pizz

mf

ff

f

f

14

131

accel. h = 120

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

f

7

ff

f

7

ff

mf

5 7

ff

mf

3 7

ff

mf

7

ff

mf

5 7

ff

ff

3

3

fp

ff

f

7

fff

mf cresc.

5 7

7

fff

f

ff

3

3

fp

fff

f

ff

3

3

fp

fff

f

ff

3

3

7 7

ff

ff

fff

bells up

mf

fff

f

ff

ff

fff

bells up

mf

fff

f

ff

ff

fff

bells up

mf

fff

f

ff

ff

fff

bells up

mf

fff

f

(mute)

ff

open 4 4 4 4

(mute)

ff

open

4 4 4 4

ff

6 gliss. 7

ff

gliss.

ff

gliss.6

ff

gliss.

fff

ff

3

3

fp

2 2

2 2

fff

f

ff

3

3

fp

2 2

2 2

mf ff

mf ff

ff

4 4 4 4

mf ff

mf ff

Rachet

ff

Lg. Sus. Cym.

(timp mallets)

p

Xyl.

ff

4 4 4 4

A§§§§

ff

E§§§§F§§§§G§§§§A####B####CbbbbDbbbb

ff

arco

f fff

f fff

sul pont.

f cresc.

nat

ppp

3 3

arco

f fff

f fff

sul pont.

f cresc.

mf

nat.

3

3

7

7

mf cresc.

nat.

3

3

3

3

3

arco

f fff

f fff

sul pont.

f cresc.

nat.

mf cresc.

5 7

7

mf cresc.

nat.

3

3

3

3

3

3

arco

fff

sul pont.

f cresc.

nat.

ff

3

3

arco

fff

col legnobattute

f cresc.

fff

nat.

ff

3

3

3

3

15

H Misterioso ( h = 60 )

145

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

pp

pp

ff

pp

pp

ff

pp

pp

ff

pp

mf

pp

mf

ff

pp

mf

pp

mf

ff

pp

mf

pp

mf

ff

pp

pp

ff

pp

pp

ff

pp

pp

mp

ff

pp

mf

pp

mf

ff

pp

mf

pp

mf

ff

mp

ff

mf

ff

mf

ff

ff

ff

ff

p

6mf

1 molto vib (slide)

ff

p

7mf

molto vib (slide)

ff

p

mf

molto vib (slide)

ff

p

Roll on inverted

cym. upon timp skin

f

gliss. f

gliss.

f

B.D.

p

mf

p

Wind Chimes

mf

Bowed Cym.

sfz

sfz

sfz

Tubular Bells

mp

mp

Vibes

ff

E§§§§FbbbbG§§§§AbbbbBbbbbCbbbbD§§§§

Play near fingerboard

with triangle beater

ff p

ff p

6 6

mf

Ab

§

bgliss.

mf

Ab

§

bgliss.

mf

Ab

§

bgliss.

ppp

f

p

ff

ppp

f

p

sul tasto

ppp

f

p

sul tasto

ff

ppp

f

p

sul pont.

mf

p

mf

p

mf

ff

ppp

f

p

sul pont.

mf

p

mf

p

mf

pizz

ff

pizz

pp

pizz

ff

arco

mp

mp

mp

12 12 12

16

160

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mf dolce

3

mf

mf

sfz

sfz

sfz

sfz

Ab

§

bgliss.

Ab

§

bgliss.

A§

#

§gliss.

Ab

§

bgliss.

mute on

mp dolce

3

p

mf

p

mf

p

mf

p

mf

p

mf

p

mf

mp

mp

mp

mp

12 12 12 12

17

167

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mf dolce

p

p mp

mf

p

p mp

mf

p

mp

mf

dim

3

mp

p

straight mute

mp

p

open

straight mute

mp

p

open

straight mute

mp

p

open

p

sfz

mp

Tamb.

thumb

Vibes

mf

A§

#

§gliss.

mf

3

mute off

mf

mp

3

p

mf

two players (nat.)

p mp dolce

p

mf

two players (nat.)

p mp dolce

mp

(pizz) one player

arco tutti

mp

3

mp

mp

pizz one player

12

18

I177

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mf

mf

mf

mf

mf

mf

p

mf cresc.

mf cresc.

mf

mf cresc.

mp

5

mf cresc.

mp

mf cresc.

mp

3

mf cresc.

cup mute

mp

5

mp

5

open

mf cresc.

cup mute

mp

mp

open

mf cresc.

cup mute

mp

3

mp

3

open

f

cup mute

mp

5

open

cup mute

mp

open

cup mute

mp

3

open

pp

cresc.

p cresc.

Sus. Cym.

p

Vibes

motor slow

E§§§§F§§§§G§§§§A§§§§B####C§§§§D§§§§

pp

cresc.

tutti

pp

cresc.

tutti

pp

cresc.

div

cresc.

arco tutti

pp

cresc.

19

190

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

5

5

flutter

mf cresc.

ff

flutter

mf cresc.

ff

3

3

mf cresc.

f cresc.

mf cresc.

mf cresc.

f

mf cresc.

f

mf cresc.

f

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

f

ff

ff

f

ff

f

3

ff

f

ff

f

3

ff

f

ff

f

3

mf cresc.

mf cresc.

f

f

f

f

f

Tubular Bells

3

3 3

3

f

f

arco

f

arco

mf cresc.

mf cresc.

mf cresc.

mf cresc.

f

f

f

20

194

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mf

mp

flutter

ff

ff

mf

mp

mf

f

mp

mf

3

mp

ff

f

ff

mp

3

f

ff

mp

3

f

ff

mp

3

f

ff

mp

3

ff

f

ff

f

p

ff

f

ff

straight mute

mf

ff

f

ff

mp

p

mf

mp

p

mf

mp

p

mp

mp

p

mp

Tamb.

thumb

3 3

mf

C####

C§§§§

3

pp D string

Freely Ad lib. to K

pp D string

Freely

Ad lib. to K

pp G string

Freely Ad lib. to K

pp G string

Freely

Ad lib. to K

mp

sul tasto (two desks)

mp

sul tasto (two desks)

(two desks)

mp

mp

one

21

J202

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vla

Vc.

Cb.

mf espress.

f

mf espress.

f

mf espress.

p cresc.

p cresc.

p cresc.

B§§§§

mp

tutti

p

tutti

p

tutti

p

tutti

p

22

210 K

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vla

Vc.

Cb.

p

mp

mf espress.

f

p

mp

p

mp

p

mp

p

mp

p

mp

mf espress.

mf espress.

f

p

p

mp

sfz

mp

3 3

3 3

3 3

sfz

mp

3

3

3

3

3

3

sfz

mp

3

3

3

3

3

3

sfz

mf

open

p

p

ff

p

p

p

p

p

mp

pizz

23

219

L

Tempo Giusto (q = q)

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

flutter

f

flutter

f

flutter

f

f

p

f

p

f

p

f

p

straight mute

f

p

straight mute

f

p

straight mute

f

p

p

mp

straight mute

f

p

p

mp

straight mute

f

p

p

mp

straight mute

f

p

p

mp

straight mute

f

p

p

mp

Tamb.

mp

Tri.

p

mp

Vibes

(medium mallets)

mp

D####

EbbbbF####GbbbbAbbbbBbbbbCbbbbD§

Falling Hail

mf

f

mf prés de la table

p

sul pont.

f

nat.

f martelé

p

pizz

p mf

sul pont.

f

sfz

nat.

f martelé

p

pizz

p mf

sfz

sfz

p

pizz nat.

f martelé

p

pizz

p

mf

sfz

p

pizz

sfz

three players arco

pp

p

ff

mf

mp

three players arco

pp

p

24

234

M Agitato

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

p

mf

p

mf

f

ff

5

p

mf

p

mf

f

ff

5

p

mf

p

mf

f

ff

5

p

mf

p

mf

f

ff

3

3

3

p

mf

p

mf

f

ff

3

5

p

mf

p

mf

f

ff

p

mf

p

mf

f

ff

3

3 3

p

mf

p

mf

f

ff

p

mf

p

mf

f

ff

ff

3

5

p

mf

p

mf

f

ff

ff

5

p

mf

p

mf

f

ff

p

mf

p

mf

f

ff

ff

mp

mf

f cresc.

sfz

ff

5

mp

mf

f cresc.

sfz

ff

5

mp

mf

f cresc.

sfz

ff

5

mp

mf

f cresc.

sfz

ff

5

open

mp

mf

f

ff

3

open

mp

mf

f

ff

3

open

p

mp

mf

f

ff

3

open

mp

mf

f

metal mute

ff

open

ff

5

open

mp

mf

f

metal mute

ff

open

ff

4

open

mp

mf

sfz

metal mute

ff

open

ff

5

open

mf

sfz

ff

ff

p

pp

sfz

p

Sus. Cym.

f

pp

ff

B.D.

pp

sfz

C§§§§

G§§§§

f nat.

p mf

arco

p

sfz

ff

3

5 5 5 5 5 5 5 5 5

3

3

p mf

arco

p

sfz

ff

p

mf

arco

p

3

3

3

3

3

3

3

3

3

sfz

ff

3 5

pizz (tutti)

mp

arco

p

mf

sfz

ff

ff

4

pizz (tutti)

mp

arco

p

mf

sfz

ff

ff

25

245

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

p

mp dolce

3

mp

p dolce

3 3

p

mp dolce

3

mp

3 3

p

mp dolce

3

mp

3

3

p

mp dolce

3

mp

3

3

p

mp dolce

3

mp

3 3

p

mp dolce

3

mp

3 3

p

mp dolce

3

mp

3 3

p

mp dolce

3

mp

3 3

3

fff

mp

3

3

fff

mf espress.

3

3

fff

3

3

fff

3

p

pp

p

pp

p

pp

p

pp

fff

fff

fff

fff

3

fff

3

fff

3

3

fff

3

A §§§§

mp

f

GbbbbA Cbbbb

mp mf

E§§§§B C §§§§

mp

3

gliss

.

3

mp dolce

3

pp

p

gliss.

one (arco)

p dolce

3

p

pp

p

gliss.

one (arco)

p dolce

p

pp

p

gliss.

mp dolce

3

pp

p

gliss.

two desksdiv.

p

3

3

fff

p

pp

mp

pizz

3

3

fff

p

pp

mp

pizz

3

26

253

molto rit. Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

ff

ff

ff

ff

p

ff

p dolce

ff

ff

p dolce

ff

p

p dolce

ff

ff

ff

mp

ff

p

ff

ff

ff

ff

ff

ff

ff

ff

ff

p dolce

ff

p dolce

ff

p dolce

ff

harmon mute (stem in)

ff

ff

ff

open

ff

7 gliss.

hormon mute (stem in)

ff

ff

ff

open

ff

7 gliss.

harmon mute (stem in)

ff

ff

ff

open

ff

6

gliss.

ff

ff

ff

ff

Sizzle Cym.

(drum sticks)

ff

f

Vibes - motor off

F §§§§

sffz

Thunder

sffz

sffz

mp

p dolce

ff

tutti (arco)

6

mp

p dolce

ff

tutti (arco)

6

tutti (arco)

ff

6

col legno battute

ff

ff

ff

arco

ff

col legno battute

ff

ff

ff

arco

ff

27

N Scherzando (h. = 60)

260

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

one

p cresc.

mp cresc.

mf cresc.

mf cresc.

one

mp cresc.

one

mf cresc.

28

280 O

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

p

p

p

p

f

sffz

sffz

sffz

sffz

f

sffz

sffz

sffz

f

sffz

sffz

sffz

f

sffz

sffz

Tamb.

p

mp

Tri.

mf

p

mp

f

Tam-tam (scrape with coin)

f cresc.

tutti

ff tenuto

fff

f cresc.

tutti (div.)

ff tenuto

fff

f cresc.

one

tutti (div.)

ff tenuto

fff

f cresc.

tutti (div.)

ff tenuto

fff

f cresc.

one

tutti

ff tenuto

fff

29

300

P e = e (h = 90)

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

cresc.

fff

sffz

p

cresc.

fff

sffz

mf cresc.

fff

sffz

cresc.

fff

sffz

mf cresc.

fff

sffz

p

cresc.

fff

sffz

cresc.

fff

sffz

p

cresc.

fff

sffz

cresc.

fff

sffz

p

cresc.

fff

sffz

mf cresc.

fff

sffz

p

cresc.

fff

sffz

mp

mf

fff

sffz

fff

sffz

mp

mf

fff

sffz

fff

sffz

mp

mf

pp

pp

pp

mp

mf

pp

pp

pp

pp

mp espress.

mf

ff

gliss.

mp espress.

mf

div. ff

gliss.gliss.

mp espress.

mf

div.

ff

gliss.gliss.

mp espress.

mf

div.

ff

gliss.gliss.

mp espress.

mf

ff

30

318

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

ff

stomp on floor

mf

f

gliss.

mf

sfz

bells up

mf

f

mf

sfz

bells up

mf

f

gliss.

mf

sfz

bells up

mf

f

gliss.

mf

sfz

bells up

flutter

ff

mp

f

flutter

ff

mp

f

flutter

ff

mp

f

flutter

ff

mp

f

ff

flutter mp

f

flutter

ff

mp

f

flutter

ff

mp leggiero

pizz

sfz

arco

mp leggiero

pizz

sfz

arco

mp leggiero

pizz

pizz

sfz

arco

mp leggiero

pizz

pizz

sfz

arco

mp leggiero

pizz

pizz

sfz

31

332

Q Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

mp

ff

mp

ff

mp

ff

mp

mp

mp

mp

mp

mp

mp

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

mp

mp

mp

mp

mp

mp

ff

drum stick

mp

Tri.

mp

mp

ff

ff

ff

ff

ff

32

344

R

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

mp cantabilé

pp

2 4

mp cantabilé

pp

2 4 4

mp cantabilé

pp

2 4

mp cantabilé

pp

2 4 4

mp cantabilé

pp

2 4 4

mp cantabilé

pp

2 4

mp cantabilé

pp

2 4 4

mp cantabilé

pp

2 4

mp cantabilé

pp

2 4

mp cantabilé

pp

2 4 4

mp cantabilé

pp

2

4

mp cantabilé

pp

2

4

sfz

p

sfz

p

mf

pp

sfz

p

sfz

p

mf

pp

sfz

p

sfz

p

mf

pp

sfz

p

sfz

p

mf

pp

mf

4

hard mallets

f sffz

S.D. (snares off)

f sffz

E§§§§F§G§A§§§§B§§§§C§§§§D§§§§

ff

mf molto cresc.

p spicc

f

p

f

p

stacc (on string)

molto cresc.

p spicc

f

p

f

p

stacc (on string)

molto cresc.

p spicc

f

p

f

p

stacc (on string)

molto cresc.

p spicc

f

p

f

p

stacc (on string)

molto cresc.

arco

p spicc

f

p

f

p

stacc (on string)

molto cresc.

33

357

S e = e (in 3)

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

f

p cresc.

f

p cresc.

f

p cresc.

f

p cresc.

f

p cresc.

f

p cresc.

f

p cresc.

f

p cresc.

f

p cresc.

f

mp cresc.

f

mp cresc.

f

mp cresc.

f

mp cresc.

f

mp cresc.

f

mp cresc.

mf molto cresc.

f

f espress.

p

mf molto cresc.

f

f espress.

p

mf molto cresc.

f

mp cresc.

Glock.

mf

ff

EbbbbAbbbb

mp cresc.

f espress

mp cresc.

5

f espress

mp cresc.

5

f espress

mp cresc.

5

f

mp cresc.

f

mp cresc.

34

368

rit. T Meno mosso (h = 74) Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

f

ff

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ff

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ff

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ff

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

mp cresc.

ff

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

mp cresc.

ff

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

ff

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ff

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ff

6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

ff declaratory

3

ff declaratory

3

ff declaratory

3

ff

3

ff

3

ff

3

ff

3

ff

3 3 3

ff

3 3 3

ff

3

3 3

ff declaratory

3

ff declaratory

3

ff declaratory

3

ff declaratory

3

ff

Tri.

ff

Clash Cym.

ff

ff

gliss.

ff

ff

ff

ff

ff

35

Sostenuto375

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Perc. 1

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

ff

ff

ff

ff

ff

ff

ff

ff

fff molto espress.

ff

ff

fff molto espress.

ff

ff

fff molto espress.

ff

ff

ff

ff

ff

ff

ff

ff

ff

non div.

ff

fff molto espress.

non div.

ff

fff molto espress.

non div.

div.

ff

fff molto espress.

non div.

pizz

ff

arco

fff

pizz

ff

arco

fff

36

384

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

3

3

3

3

3 3

3

3 3

3 3

3

3

3

3

3

3 3

3 3

3 3

medium mallets

f

3 3 3

7

div.

7

div.

7

7

37

Risoluto (q = q)390

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

fff tenuto

7

fff tenuto

7

fff tenuto

fff tenuto

fff tenuto

fff tenuto

fff tenuto

fff tenuto

fff tenuto

fff tenuto

fff

sffz

sffz

fff

sffz

sffz

fff like bells

fff like bells

fff like bells

fff like bells

fff like bells

sffz

sffz

fff like bells

sffz

sffz

fff like bells

sffz

sffz

fff like bells

6

fff like bells

7

fff like bells

fff

sffz

sffz

ff

ff

Clash Cym.

ff

Tam-tam

ff

Tubular Bells

ff

E§§§§A§§§§

ff

fff tenuto

7

fff tenuto

5

fff tenuto

7

fff

fff tenuto

7

fff

sffz

sffz

38

402

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

C. A.

Cl. 1

Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

Cbsn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Vln I

Vln II

Vla

Vc.

Cb.

sffz

sffz

sffz

cresc.

sffz

5 6

sffz

sffz

sffz

cresc.

sffz

5 6

sffz

sffz

sffz

cresc.

sffz

56

sffz

sffz

sffz

cresc.

sffz

5 6

sffz

sffz

sffz

cresc.

sffz

5

6

sffz

sffz

sffz

cresc.

sffz

5 6

sffz

sffz

sffz

cresc.

sffz

56

sffz

sffz

sffz

cresc.

sffz

56

sffz

sffz

sffz

cresc.

sffz

56

sffz

sffz

sffz

cresc.

sffz

5

6

sffz

sffz

sffz

sffp

fff

pp

fff

sffz

sffz

sffz

sffp

fff

pp

fff

sffp

bells up

fff

pp

fff

sffp

fff

bells up

pp

fff

sffp

fff

bells up pp

fff

sffp

fff

bells up

pp

fff

pp

fff

pp

fff

pp

fff

pp

fff

pp

fff

pp

fff

sffz

sffz

sffz

pp

fff

fff

sffz

S.D.

p molto cresc.

sffz

B.D.

p molto cresc.

sffz

ff

4 4 4 4 4 4

fff

non div.

sffz

3 3 3 11

non div.

sffz

3 3 3 11

non div.

sffz

3 3 3 10

non div.

sffz

3 3 3 9

sffz

sffz

sffz

non div.

sffz

3

5

39