Something to Hunt
for septet
by Ashley Fure (2014)
Oboe Alto/Soprano Saxophone Bb Clarinet Violin Viola Cello Double Bass
Commissioned for Dal Niente by the Darmstadt Stipendienpreis
ii
Performance Notes Winds in the score are notated at pitch while transposed in parts. Strings are transposed in both score and parts. Accidentals hold throughout the bar. Something to Hunt will need amplification in all but the tiniest of spaces. instruments should be amplified with DPA microphones.
String
Strings Scordatura Violin:
Viola:
Cello:
Double Bass:
String IV on the double bass should be detuned so low that it beats rhythmically like a propeller when bowed softly, and beats loudly against the fingerboard when bowed with heavy pressure. Pitch is an irrelevant factor here: detune the string to a point of tension where this rhythmic beating is most forceful and stable.
iii
Additionally, two thin plastic cards should be stacked on top of one another and taped to the 4th string of the double bass, right at the end of the fingerboard. By flapping against each other and against the string, these cards should add a snare-like buzz to the sound when the string is plucked. In the score, this technique is referred to as “rattle pizz.� Clef All strings are notated with a traditional 5-line staff and a staff indicating bow position and movement. The lines of the bow clef can be interpreted as such:
Within the bow clef, diagonal lines indicate diagonal bowing, curved lines indicate circular bowing, and horizontal lines indicate (normal) horizontal bowing at the indicated position. There is no vertical bowing in this piece. Within the bow clef, bow speed correlates roughly to slope. Thus diagonal lines that descend or ascend more sharply indicate a faster bow gesture than lines that descend or ascend more progressively. For example, in the following gesture, the bow attacks at the top of the fingerboard, slides sharply downward over the course of an 8th note, then slowly continues its slide toward the end of fingerboard.
Cup Twang The viola requires one auxiliary object: a small, porcelain espresso cup to be used like a guitar slide. A few important things about this cup: it should have smooth, nearvertical edges; it should be as thin and delicate as possible; and it must have a handle.
iv
For “cup twang,” hold the espresso cup by the handle and place as lightly as possible against the indicated string. Cup should barely touch the string, allowing each pizzicato to resonate as fully as possible. Move the cup along the string in the indicated trajectory while plucking with the left hand to produce a pitch-bent pizzicato.
Open String Tremolo: Triangles symbolize the highest note possible on an indicated string. In an “open string tremolo,” fingers are placed directly in front of the bridge, sandwiching the bow between the bridge and the fingers. Fingers then lightly stop and release the string, producing a tremolo between the high stopped notes and the open strings.
Harmonic Tremolo: Lightly press and release the strings at the indicated harmonic, producing a tremolo between the harmonic and the open string. In this example, the technique occurs across strings II, II, and IV of the violin. Flutter fingers erratically, so that shifts between harmonic and open strings do not occur in sync across all three strings.
: Slap the palm against the strings to mute their resonance.
: A forceful down-bow that ricochets against the string. Always let ricochet naturally die out. At Fingers: bow directly in front of fingers (so close the bow and fingers touch), wherever they are stopping the string.
v
Bow Behind: Bow directly behind the fingers (so close the bow and fingers touch), wherever they are stopping the string. MSP: Molto Sul Pont. Bow directly at the bridge, producing a flux of high, light partials. +: Plus sign noteheads indicate left hand pizzicati. These often occur simultaneously with bowed gestures. Harmonic Notation: Harmonics are indicated with their string and partial number. III-7 refers to the seventh partial of the third string, fingered at the indicated position. Soft Propeller: On the double bass, bow string IV softly to produce a soft, rhythmic motor-like sound. Always let naturally die out upon release. Hard Propeller: On the double bass, bow string IV with heavy pressure so that it beats rhythmically against the fingerboard. Always let naturally die out upon release.
Winds Teeth on Reed: On the saxophone, triangle noteheads indicate teeth on reed gestures. They are notated on a three line staff, indicating (roughly) low, middle, and high registers (within the context of this technique).
Lip Gliss: on the oboe, this is a pitch bend produced solely with the lips.
Multiphonics in the saxophone part refer to “The Techniques of Saxophone Playing,” by Marcus Weiss. Multiphonics in the oboe part refer to “The Techniques of Oboe Playing,” by Peter Veale.
vi
by Ashley Fure (2014)
Something to Hunt q = 66
Oboe
Sax
Clarinet
4 &4
÷ 44 Ó . 4 &4
Alto Sax Teeth on Reed
extremely quiet flutter tongues, coming in and out of audibility
‰ — y æJ æ ∏ p ≥
Arco
Violin
4 & 4 Ó.
roll to
slow glissando upward
y æ
y æ
CL
≤
fast slow
j œ ‰g œ w g œœ Ó . fπ
‰
Viola
B 44
Cello
? 44
Double Bass
? 44 1
+ J
w Œ
+
Œ.
+ J
w Ó.
+
5
&
O
÷ y æ
S
,
y æ
y æ
y æ
y æ
y æ
&
C
5
hold bow still against string
Vln
w+ & J ‰ Ó
+ w J . ‰ Ó
+
w Ó.
+ w J ‰ Ó
5
Vla
B 5
Vc
? 5
DB
? 2
+ 3
˙ Ó
j Œ. œ + J ‰ Œ
10
O
&
S
÷ y æ
C
&
y æ
y æ
y æ
10
Vln
& Ó.
‰ +J
Ó.
+
Ó.
10
Vla
B 10
Vc
? 10
DB
? 3
j ‰ œ +J
Ó.
‰ +J
Ó.
14
O
S
& y ÷ æ
∑
switch to soprano
&
Ó. Ó.
= >œ ‰ J π
{ >œ ‰ # œJ 'f '
Soprano Sax (118)
= >œ ‰ J p
14
Vln
& Ó
Ó
j œ 3
+
Ó.
14
Vla
B 14
Vc
? 14
DB
? 4
‰ +œJ f
w w w w
18
O
S
C
&
w
slow lip gliss
u
w
w & w
w w
w
w
&
=
u , œ ˙.
poco vib.
w
w
p
n
w w ,
˙
n
18
Vln
& 18
Vla
B 18
Vc
? 18
DB
? 5
˙
w w
w w
w
w
p
23
O
S
C
&
w
p
,
w & w &
j
w
Πn
w w
w w
n
w
n
˙.
w
w
P
w w
n
23
Vln
& 23
Vla
B 23
≤
MSP
Vc
?
∑
III-7
Œ
√
d ˙o ˙
n 23
fast
œ œ
≥
ST
œ œ w π
DB
? 6
≤
slow
MSP
√
œ
d ˙o ˙
œ œ œ œ
27
O
S
C
& w & w
w w
˙ ˙
Ó
switch to alto
n
& 27
Vln
& 27
Vla
B 27
≤ MSP
ST
Vc
?
√
w
œ
d ˙o ˙
≥
≤
ST
œ œ œ œ
27
DB
? 7
MSP
√
w Œ.
+ Ó J
œ
d ˙o ˙
œ œ œ œ
31
O
S
& Ó
&
Alto Sax
‰ |œ . #œ.
(66)
ww ∏
n
C
half breath/ half tone
‰ œj w d
Ó.
&
≥
n
CL 31
battuto attack and then tratto
æ œœ .. ÷ —æ—J ‰ p n
˙˙ ∏
Œ
˙.
≤
≥
Vln
Ó.
&
‰ j œ w œ w > P π ≥
31
fast
Vla
31
j œœ w ‰ gœ gœ fπ
Ó.
B ≥
≤ MSP
ST
Vc
?
√
w Œ.
+ ‰. + Œ J R
œ
slow
d ˙o ˙
˙. ˙.
œ œœ œ œœ
≤
≤
≥
˙
œ . œœ œœ . œ . œ g œ. g œ. ß
≥
≤
ST
œ œ œ œ
31
DB
? 8
√
w Œ.
o d˙
MSP
+ ‰. + Œ J R
œ Œ.
˙ + J Ó
œ œ œ œ
35
O
&
S
÷ Ó
C
‰ . m— — æRæ p
— æ
‰ m— y æJ æ p
Ó n
& 35
≤
Vln
& ww 35
≥
≥
≤
CL
35
œ
œ. œ
≥
œ
œ œ g œ gœ œ ß
w Ó
‰
√
w Œ.
o d˙
MSP
Vc
+ J Œ
+
œ Ó
˙
n
≤
Ñ ˙. R ‰. Ó
˙. ˙. Œ roll to
Ñ 3
Œ.
Ñ
≥
œ g œœ gœ ß
œ œ œ œœ œ œ œ œ œ œ œg œ œgœ gœ gœ ß ß
≤
‰ +J œ‰ . œ +R w Œ.
35
DB
? 9
≤
≤
ST
œ œ
o d˙
MSP
√
+ ‰. + ‰ + J R J
≥
œ œ œ œ œ jg œ œ œ Ó gœ ß ≥ ≥
Arco
œ. Ñ œ Jœ œ
≥
≤
ST
?
Ñ J
Ó
≥
≤
Vla
œ Bœ œ g œœ gœ ß
π
œ w œ œgœ w œ œ g œœ ß
˙. ˙. roll to
y æ p
œ Œ.
œ œ
˙ + +œ œ J ‰. R Œ
39
O
&
S
÷
C
#œ ‰ œJ P
no vib.
Ó. Ó
Ó
3
— æ
n
±. æ
π
Ó.
& roll to
roll to
1/2 CL
— æ æ
dœ ‰ J p ≥
Arco
39
≤
Vln
& ww ≤
39
≥
j œœ ˙˙
œ. œ. roll to
≥
CL
≤
Vla
B 39
˙ ≥
œœ œ œ œ œ œg œ gœ ß
œ
P
≤ MSP
Vc √
w Œ.
+ ‰. + Œ J R
œ
≥
œ +œ œ œ +œ
ST
?
≤
d ˙o ˙
ww
˙˙ . . ≤
œ
≥
œœ œœ œœ
≥
≤
œ +œ œ œ +œ 3
w Ó
‰
≥
≤
ST
œ œ œ œ
39
DB
? 10
w Πp
MSP
. ≈ +J . ‰ +R +
√
œ
d ˙o ˙
+ J
Œ
œ œ
+ œ +œ
ww
43
O
S
C
&
œœ J ‰ Ó. n
÷ Ó. ˙
&
n˙
— — ‰ æJ æJ ‰ Ó . n P
— æ
Ó.
n
œ J ‰ Ó.
±. æ P
Œ
n
n
43
At Fingers
≤ ≥
≤ ≥
≥
≤
Vln
j ‚œ Ow œ w F
& ˙˙ ....
‚œg œœ ww œ g œœ π ß
O˙ .... ˙ ..
≥
Vla
43
≥
œ œœ gg œ gg œ F MSP
Vc
?
+˙ .. ‰ + Œ . J
‰
Ñ J
Ó.
j +œ . ˙ ≈ g++œœ .. g+œ . Í
≥
≤ MSP o ˙ d Œ √
ST
ST
√
œ œ + w+ ‰ + ‰ . + + J R ‰ J P
n
43
œ . ++œœ g +œ g +œ ß
≤ o d˙
MSP
œ œ
˙
≥
Arco
43
˙. + B J Œ ‰ Ó
j œœ gœ gœ F
j œ œ. œ œ.
œœ . .
œ œ
Óœ . ˙
≈œ + œ+
extremely slow microtonal gliss; line indicates fingered position of double stop
DB
?
∑
Rattle Pizz always let buzz naturally die out
‹‹ p
Ó.
∑ 11
Ó
‰ ‹j Œ ‹
Ó
Ó
3
‹‹
48
O
S
& j ‰# # œœ ww |œ w (15)
Ó.
÷
π
n
C
Ó.
& roll to
CL
≥
roll to
Arco
≤
48
roll to
CL
≥
roll to
roll to
Arco
≤
‰ d œJ
half breath/ half tone
n
CL
≤
Vln
œ & œ
˙˙
œ œ œœ
≥
≥
48
Vla
B 48
œ ≥
+œ œ . g ++œœ g +œ ß
˙˙
œ œ
≥
j +œ œ g++œœ g +œ ß
+œ œ +œ œ g ++œœ g++œœ g +œ g +œ ß ß
ST
Vc
?
w+ .
+ ‰. + Œ J R
√
œ Œ.
≥
œ œ œœ
≤ MSP o d˙
œœ + ˙˙+ + + J
ww+
3
≥
≥
œ +œ ˙ g ++œœ g +œ ß
œ +œ g++œœ g +œ ß
≥
+
œ œ
˙ + ‰ . + œ‰ œ + w J J Œ. R
DB
‰ ‹j ‹ 12
≤ o d˙
MSP
√
+ + J
‰ +J
Œ.
+ J
w
ST
48
? Ó.
œ œŒ .
+œ
˙ Œ
œ œ
‰ +J ‰œ œ +J
52
Ó.
O
&
S
w & w w
w w w
˙ .. ˙ ˙.
w
w
˙.
C
&
√ dœ w ‰ J P
P
Œ √ dœ w ‰ J n P n
≥
52
e
Vln
w & w Ó roll to
+ 3
+
Ó
3
˙˙ . . Œ
+
œœ œœ gg œ gg œ ß
Ó
CL
52
˙.
œ œœ gg œ gg œ ß ≥
Vla
B 52
w Œ
+
‰
+ J
+ w R ‰. Œ.
+ J
≥
ST
Vc
?
√
w‰ + Ó J
‰ +J
œ Ó
≤ MSP o d˙ ˙
Ó
+ 3
˙ .. Œ
+
≥
‰
+ J
Œ
>j +œ F
ST
œ œ
‰ +J œŒ œ
w + Ó ‰ J
‰ ‹j Œ ‹
Ó
MSP
‰ +J
52
DB
? ‰ jÓ ‹‹
‰ ‹j Ó ‹
13
‰ ‹j ‰ . ‹r ‹ ‹ F
∑
56
O
&
S
&
C
&
√ w
w
poco vib.
÷
√ w
m— — . ‰ æJ æ P π
Ó. w
m— — æJ æ P
— æ π
— m— — æ æ æ P
± æ π
56
Vln
& 56
Vla
B 56
yy
MSP
Vc
?
Œ
≥ ˙˙
n 56
~~~~~~~~~~~~~~ ≤ œœ œœ F ORD
DB
?
Ó.
Arco
soft propeller
‰ j œ w n
14
P
w
π
60
O
S
C
# œœ .. # ‰
Ó
& —. ÷ æ
m— ± æJ æ P
π
n
±. æ Ó
&
ww
‰
d œ.
— — — æ æ æ P
# ˙˙
P
w
Ó
n
Ó. n
˙
P CL ≥
n
60
n
Ó ≤
battuto accent on attack
Vln
&
ww > F
œ œœ œœ œ
˙˙ . .
p
≥
60 Cup Twang
Vla
B
+. +. F
60
yy
MSP
Vc
?
Œ
≤ ˙˙
n 60
~~~~~~~~~~~~~~ ≥ œœ œœ +œ . F
DB
?
w
w 15
j + Œ + ≤ j
≥
j +œ œ
+ + ≤
≤
≥
j
+œ
j + Ó +
Œ.
j
≥
j œ +œ .
≤ j
≥
+œ .
+ +
3
≤ j
≥
j +œ
64
O
&
S
÷
j œ ˙ +œ ˙
Œ.
(2a)
n
C
j œ ˙ +œ ˙
Œ.
&
≥
≤
64
π
n
π
œ œ œœ œœ
˙. ˙.
Ó.
œ œ
Ó.
n
n
≤
≥
P 3 ≈ ˙˙ .. ++ + + + + +œœ .. œœ
Vln
& ww
œ œ
ww
64
Vla
slide off string, l.v.
B Π64
≤
Vc
?
+ + ≥
j
œ
+œ
j + +
Œ. ≤ j
≥
≤
≤
≥
j
œ +œ œ + œ
+ + + ≈ ‰ J F
Ó
3
˙
≤
≥ 3
+œ + ˙
≤
≥
+œ
+˙
d œ≤o ˙
œ. œ
III-7
5
√
+ ˙. +
+
œ.
œ oœ ˙
64
Rattle Pizz
DB
?
∑ 16
‹‹ .. F
j ‹‹ Ó
68
O
&
S
& Ó
3
œ ˙ +œ ˙ n
C
& Ó
+ œœ ˙˙
3
Œ
˙. ˙. p
68
Œ
‰ = œœ ..
w w
Ó
‰ œ. + œ.
w w
n
n
p
n
p ≤
Vln
Ó +œœ + g + ≈ + + + + g + œœ F ß
> Ó ww
& w w
Ó
n
˙. ˙. p ≥
n
(2b)
68
≈
˙.
‰ j ‰. r Œ + œ + ++œœ g +œ g+œ ß
++
≈ ˙++ + + slide off string, l.v.
Vla
B Π68
Vc
?
≥ √
œ.
+ + 3
≤ d œo
+ ‰. R Œ
≥ œ
≤ œ.
œo
≥ œ.
Œ
≤ œo
+. ≈ J Ó
≥ √
˙
œ.
‰ ‹j Œ ‹
Ó
+
Ó
3
≤
d œo
≥
≤ œo
œ.
+. 3
≥
≤
3
√
˙
d œo
+ J
Œ. ≥ 3
˙
68
DB
?
3
17
‹‹
Ó
‰ ‹j Œ ‹
≤ oœ
+ ‰. R Ó ≥ 5
˙
+ ‰ J
≤ o √ ˙ .
√ + œ. ‰ P
72
O
S
& Ó
œ
k n
& ww
+œ ‰ J P
Ó
w w
˙.
t
Πn
œ œ
Ó. n
C
& ww 72
Vln
w w
≥
≤
Ó +œ & g ++œœ g +œ ß
≈ + + + +
˙.
˙+..
Ó.
œ œ
n
≤ ≥
≥
j + + œœ ++œœ J g œ g +œ g œ g +œ ß
+.
≤
≤ ≥ ≤ ≥
œ œœ ++œœ œ . œœ ++œœ . œœ ++Óœœ g œg+œ .. g œ g +œ g œ g +œ g œg+œ . g œ g +œ g œ g +œ ß ß ß
≈ + + +œ . + œ g œœ gœ
˙
72
Vla
B 72
Vc
Ó ≥
?
yy
≈
++ + +
P
+ + +
f
3
Ó
≤
≥
≥
≤
≥
≤
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≤ ≥ ≤ ˙˙ œœ œœ ˙˙ ˙˙ œœ œœ ˙˙ œœ œœ œ . + œ œ œ œ . + œ œ +œ œ + + p P π P p P
œ
72
DB
? Ó
≤
3
‹‹
Ó
3
‹‹
Œ
‹‹
j ‹‹ Œ .
Œ. 18
j ‹‹ Œ
‹‹
76
O
S
√ #œ.
w
& Ó
‰
& Ó
#œ. ‰ = œœ .. + œ.
ww w w
‰ œ. + œ.
w w
(2c)
& Ó 76
Vln
n
≥
Ó. ++œœ &g+œ g+œ ß
P
n
n
C
y
F F
+
˙+... Œ
∑
Œ
ww w w
ww w w
w w
w w
= ˙.
u
P
n
n
≤ ≥ ≤ ≥
≤ ≥
≤ ≥
≤ ≥
≈ + + + + œ +œ . œ +œ g œœ gg++œœ .. gg œœ gg++œœ g œ +œ . œ +œ Rß ß
œ œœ ++œœ g œ g+œ g œ g +œ ß
œ œœ ++œœ g œ g+œ g œ g +œ ß
œ œœ ++œœ g œ g +œ g œ g +œ ß
≤ ≥ œ g œœ ++œœ ˙ g œœ gg++œœ ß
√
≥
76
≥
≥
≥
Vla
slide off string, l.v.
j ++ Œ
B +. +. f
++
Œ
76
yy
Vc
?
œ
76
≤ ˙˙ .. p
~~~~~~~~~~~~~~
≥
++ ≤
++ ≥
5
++ ++ gg ++ Œ
++ ≤
≥
œ + œ . +œ œ +œ œ . + œ œ œ F
œœ
+
≤j
Œ
+
Œ
+
Œ
+
yy ≥ ˙˙
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤j ≤j ≤j ≥ ≥ ≥ ≤ j œœ œœ œœ .. œœ œœ .. œœ
‹‹
Œ
DB
?
‹‹ ..
j ‹‹ Œ
‹‹
Ó.
‰ ‹j Œ ‹ 19
‹‹
Œ
‹‹
Œ.
j ‹‹
+ œ√ ˙ . ‰ J
80
O
&
S
&
C
π
∑ √ œ ˙. ‰ J π ≥
& roll to
Arco
(only high partial hiss)
80
≤
Vln
w & ∏
w
w
œ œ +œ ˙ . f ≥
80
Vla
j +œ œ ‰ œœ œ Í
B 80
MSP
Vc
n
only high partials
> ≥ ‰ œ ˙. J f fast
? 80
DB
? Ó
Ó
‰ ‹j Œ ‹ P
Ó
3
‹‹
Ó
3
20
‹‹
Œ
‹‹
‹‹
5
Œ
‹‹
≈ ‹j . Ó . ‹ . F
slow
∏
84
O
&
(√) w
t j ‰ # # œœ ww \œ w π (15)
S
C
& Ó. &
(√) w
84
≤
Vln
&
˙.
84
Vla
B Ó. 84
w w w
≥
œ œ +œ
ß
≥
≤ w
˙.
œ œ +œ œ ß
≥
≥
j +œ œ ‰ œœ œ Í
j +œ œ ‰ œœ œ F
Ó.
Ó.
n
Vc
? ˙ ..
w w w
j œ w
˙ ..
Ó.
n
≤
DB
≤ ‰ j œ w
Arco soft propeller
n
21
≥
yy ~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤ j ≥ ≤j ≥ j j œ ˙ .... œ œ ˙ œ P ST
Ó.
≤
œ j+ œ œ œ j+œ œ +œ œ +œ œ +œ œ +œ +œ +œ ß ß
84
?
≥
F
88
O
S
C
Ó.
& w & w w
w w w
+ œœ ww ‰. R 'f '
n
+œ w ‰. R p
Ó.
&
≥ ≥
88
MSP
Vln
88
œ . >œ w II
+œ . +œ˙
& ≤
≥
≤
≥
≤
≥
≥
≤
≤
≥
≤
≥
≤
≥
≤
f
≥
≥ ≥
≥
FII
MSP
Vla
œ +œ œ œ +œ B œœj++œœ œœj++œœ +œ +œ ß ß
88
Vc
p
(98b)
Ó.
∑
r
œ w ‰. R π
> +œ. #œ w I
+œ . +œ ˙ ++œœ .. +œ. ß
œj+œ œ œ j +œ œ j +œ œ œj +œ œ j+œ œ œj +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ œ +œ + œ + œ œ œ œ + + +œ + ß ß ß ß ß ß
F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~yy hold highest notes ≤j ≥ ≤j ≥ ≤j ≥ ≤j ≤j ≤j ≤j j ≥ ≥ j ≥ ≥ ? œ. œ ˙ œ ˙ œ œ œ .. œ œ œ œ ˙ œ œ ˙ .. Œ œ. œ ˙ œ ˙ œ œ œ œ œ œ œ ˙ œ œ ˙ n
88
DB
?
œ.
≤ j œ ˙ p
l.v.
œ
Ó.
F
≥ ˙ p
Ó
22
l.v.
F
Ó
‰
œ. p
∑
l.v. hard propeller
ƒ
93
O
&
S
&
C
&
w
w
w
w
ww
ww
ww
˙˙ ....
w
w
w
w
poco vib.
P
m —. æJ æ F P ÷—
m— — æJ æ ß
m— æ ß
— m— ææ ß
——± æææ ß
P
93
At Fingers
Vln
&
w
w
w
w
Ó.
II-3 III-3 IV-3
·· ˜˜ ~~ · ˜ ≤ j ‚ ‰‚ ‚ n
93 At Fingers
Vla
B
w
w
w
w
Ó.
≥
I-open II-3 III-open
‚œ ‰ œ J n
93
yy ≤ ~~~~~~~~~~ Œ ˙ .. ˙
Vc
?
n
f
∑
Ó.
yy
~ ≥ ≤ ≈ œ œ œœ F
93 dashed line means hold fingers still at indicated position
DB
?
Ó. 23
‰ . ‹r ‰ . ‹r‰ ‹j ‰ . ‹r ‰ ‹j ‰ . ‹r‰ ‹j ≈‹ ‹ ‰ . ‹r ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹‹ ‹ f
Rattle Pizz
99
O
&
S
÷ ± æ
C
3
m— ± æ æ ß
3
m— æ ß
— æ
Ó
π
& ≥
99
Vln
± æ
‰ — ± æJ æ ∏
≤
≥
≤
≥
≤
≥
≤
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ 3 ≤ ≥ 3 3 3 3 ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ OO ‚‚ OO ‚‚ OO ‚‚ OO ‚‚ OO ‚‚ & ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ O ‚ O ‚ O ‚ O ‚ O ‚ F P F P F P P F ≥ ≥ 99 ≤ ≤ ≤
Vla
O˙ B ˙ f
99
Vc
‚œ ‚œ ‚œ .. ‚œ O˙ œ œ œ. œ ˙ P
f
3
‚œ O˙ œ ˙ P
‚œ ‚œ O˙ .. œ œ ˙.
O˙ ˙
f
O˙ ˙ P
While continuing open string tremolo, fingers gliss from bridge toward the double octave harmonic. Bow follows gliss, bowing directly in front of fingers.
yy ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ? œ . . . . . . . œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ. œ œ œœœ œ œœ œœ œœœ œ œœ œ œ œœœ œœœœœ œ œ œœœ œ œœ œ 99
DB
? Œ.
r j ‹‹ ‰ . ‹‹ Œ
Œ.
r j ‹‹ ‰ . ‹‹ Œ 24
Ó
3
‹‹
Ó
3
‹‹
‰ . ‹r ‰ ‹j ‰ . ‹r ‰ ‹j ‹ ‹ ‹ ‹
103
O
S
C
&
Ó
÷ ± æ
± æ
&
Ó
# # ˙˙
p
n
= œ. ‰
P
At Fingers
f
n
≥
103
≤ ‰ ‚œ .. œ.
Ó
to soprano — ‰ switch Ó. Jæ n
103
‚‚‚ & ‚‚ ‚‚ ‚‚ ≈ Ó . F
n
F
n
Vln
œœ J ‰ Ó.
œ J ‰ Ó. n
≥
‚œ +œ Ó œ ƒ
At Fingers
Vla
‚œ . ‚œ l.v. B œ .. œ Ó . f
103
Vc
yy
Œ
O˙ .. ˙.
ƒ
n
double octave harmonic
~~~~~~ ≥ ≤ ≥ ? œ œ œ ≈ Ó . œœœ 103
DB
? ≈ ‹‹ ‹‹ Ó .
25
‚œ œ ‰ Ó. J
≥
≥ ‰ +œJ
Ó
3
+œ Ó
107
O
S
C
&
Ó.
÷
Ó.
&
Ó.
&
= >œ ‰ J
w
{ >œ ‰ # œJ
w w
=> ‰ œJ
w
n
Soprano Sax
(118)
u π
n
n
'f '
π
107 At Fingers
Vln II-open III-3 IV-open
‰ +œJ Œ
& Ó 107
≥ ≤ ≥ ≤ ≥ ≤ ‚œ .. ‚œ ‚œ ‚œ ‚œ œ‚œ œ‚œ œ‚œ ‚œ œ.œ œ œœ œ f
At Fingers
Vla II-open III-3 IV-open
B 107
Bow Behind fingers -->
Vc II-8+5 III-8+5 IV-open
?
≥ ≤ ≥ ≤ ≥ ≤ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ œ.œ œ œ œœ œ œ œ f ≤ ≥ ≤ ≥ ≥ ‚‚ . .
œ. F
107
‚‚ ‚‚ . ‚‚ ‚‚ ‚‚ œ .. œ œ œ J
ORD
DB
? Ó
Arco
‰
soft propeller
œ. ∏
w
w 26
hard propeller
œ > f
œ œ ˙ >
œ
111
O
S
C
&
w
˙
Ó.
œ œ Œ. J
Ó.
œ J Œ.
Ó.
n
w & w
˙ ˙
w
˙
&
œ J Œ.
n
n
111
Vln
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ œœ œ & ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ Œ . œ. œ œ œœ œ œ. œ œ œœ
≤ ≥
111
?
p
n
{ >œ ‰ # œJ
w w
(118)
'f '
n
= >œ ‰ J
w
p
n
≥ ≤ ≥ ≤ ≥ ≤ ‚œ .. ‚œ ‚œ ‚œ ‚œ œ‚œ œ‚œ œ‚œ ‚œ œ.œ œ œœ œ ƒ
At Fingers
≤ ≥ ≥ ≤ ≥ œ œ œ≤ ≥œ . œ≤ œ ≥œ œ œ≤ B ‚œ .. ‚œ ‚œ ‚œ ‚œ‚œ ‚œ ‚œ ‚œ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ Œ . œ .œ œ œ œœ
Vc
w
At Fingers
111
Vla
= >œ ‰ J
‚‚ . . œ.
≤
‚‚ ‚‚ . ‚‚ ‚‚ ‚‚ œ .. œ œ œ J
≤ ≥ ≤
≥
œ
‚‚ . . œ.
≥ ≤ ≥ ≤ ≥ ≤ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ œ.œ œ œ œœ œ œ œ ƒ Bow Behind bow follows fingers
‚‚ ‚‚ ‚‚ œœ . Œ œ J
√ ≥ ‚‚ . .
j Œ. œ œ >
Ó.
f
≥ ≥ ‚≤ ‚‚ .. ‚≤ ‚ ‚‚ ‚ ‚ J
111
DB
?
œ œ ˙ >
œ œ >
˙
3
27
‰ ‹j ‹ f
Rattle Pizz
115
O
S
C
&
u
w
=
w
w
w & w
w w
w w
w
w
˙
&
u
poco vib.
w w w
,
˙
w
P
n
115
Vln
≥ ≤ ≥ ≤ ≥ & ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ‚œ œ . œ œ œ œ œ œœ
≤ ≥ ≤ ≥ ≤ ≥ ‚œ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ‚œ œ œ . œ œ œ œ œ œœ
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ œ œ œ œ œ œ œ œ œ œ .. .. ‚œ œ‚œ œ‚œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ . œ œ. œ œ œœ
115
Vla
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ œ œ œ≤ ≥œ . œ≤ œ ≥œ œ œ œ œ œ≤ ≥œ . œ≤ œ ≥œ œ œ≤ ≥œ œ œ≤ B ‚œ .. ‚œ ‚œ ‚œ ‚œ‚œ ‚œ ‚œ ‚œ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ .. ‚œ ‚œ ‚œ ‚œ‚œ ‚œ ‚œ ‚œ ‚œ .. ‚œ ‚œ ‚œ‚œ ‚œ ‚œ ‚œ ‚œ œ .œ œ œ œœ œ œ œ œ .œ œ œ œœ 115
Vc
?
√
≥ ≥ ≥ ‚≤ ‚‚ ‚≤ ‚‚ ‚ ‚≤ ‚‚ ‚ ‚ ‚
yy ≥ ≥ ≥ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ OO ‚ ‚ ‚
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≥ ‚‚ . ‚≤ ≥‚ .. ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ≥‚ . ‚ ‚ ‚ ‚ ‚‚ J J
115
DB
? Œ
‹‹
Œ.
j ‹‹ ‹‹
Ó
‰ ‹j ‹ ‹ ‹ 28
Œ
‰ . ‹r ‰ ‹j ‹ . ‹ ‹ ‹.
j ‹‹ ‹‹
‰ ‹j ‹
119
O
S
C
&
œ
, . ˙
w
j
‰
poco vib.
n n
w & w &
˙
switch to alto
n
w
∑
Ó
w
˙
œ. ∏
‰# # œœ .. \ œ.
Alto Sax
(118)
n
‰ |# œœ .. n
w w w w F
ww F
119
Vln
& ˙O˙
≥ ≤ ≥ ≤ ≥ œ . œ œ . œ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ‚œ ‚œ .. ‚œ ‚œ .. ‚œ œ œ œ œ œ œ œ œ .
≥ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ œ‚œ œ‚œ œ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ œ œ œ œ œ ‚ œ ‚ œ ‚ œ ‚ œ ‚ œ .. .. ‚ œ œ. œ œ œœ œ œ . œ œ œ œ œ‚ œ‚ œ‚ œ‚
119
Vla
≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥œ . œ≤ œ ≥œ œ œ≤ ≥œ œ B ‚œ .. ‚œ ‚œ ‚œ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ .. ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ œ‚œ œ‚œ œ‚œ œ‚œ œ‚œ œ‚œ .. œ‚œœ‚œ .. œ‚œ ˙˙O . . œ œ.œ œ œ œ œ œ
3
≤ ≥ œœ‚ ˙˙O
3
≤ œœ‚
119
Vc
yy ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ ≥ ≥ ≥ ≥ ≥ ≥ ‚≤ ≥‚ ‚ . ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚‚ .. ‚≤ ‚‚ ‚≤ ‚‚ .. ‚≤ ‚ ‚ ≥‚ .. ? ‚‚ .. . ‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚‚ J J J J 119
DB
?
‹‹ ..
j ‹‹ ‹‹
‰ ‹j Œ . ‹
r j j ‹‹ ‰ . ‹‹ ≈ ‹‹ .. 29
Ó
‰ . ‹r‹ ‹ ‹‹ ‹
‹‹ .. ‹‹ Œ
‰ . ‹r‹ ‹ ‹‹ ‹
123
O
S
C
& w
r
n
√ r d >œ œ.
w
w
˙.
w & w w
w w w
w w w
w w w
& ww
ww
ww
˙˙ ..
œœ ..
œ ‚œ
≤ ≥ ≤ ≥ œœœ œ . œœ ‚œ‚œœ‚ ‚œ .. ‚œ‚œ
F
123
Vln
≥ ≤ ≥ ≤ ≥ ≤ ≥ œ œ œ œ œ œ & ‚œ ‚œ ‚œ ‚œ ‚œ ‚œ œ‚œ œ‚œ ˙O˙ .. . ≥
≥
≤ + œ œ‚œ œ‚œ œœ œ
+œ œœ œ
123
Vla
≥ B ˙O˙ .. .
≤ ˙ O˙
5
œ ‚œ ≥
Œ.
j +œ ˙ . œœ œ
123
Vc
≥ ≤ ≥ ≤ ≥ œœ œ œ . œœ ‚œ‚œ‚œ ‚œ .. ‚œ‚œ
≥
œ œ +œ œœ œ
≥
roll to
+œ œœ œ
# >œ P
CL
œ++ + + F
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ‚≤ ‚‚ ‚≤ ‚‚ Õ‚≤ ‚‚ ‚≤ ‚‚ .. ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ? ‚‚ .. ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ J J P f P 123
DB
?
‹‹ .. ‹‹ Œ
≈ ‹ ‹ ‹ ‹ ‹‹ ‹ ‹
‹‹ .. ‹‹ Œ
‰ . ‹r‹ ‹ ‹‹ ‹ 30
r j r j r j j ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹
127
O
S
C
&
(√) ˙ ..
& &
e
‰
Œ
n
√ ˙.
F
∑
∑
switch to soprano
˙ ..
‰
Œ
n
≥
127
Vln
++œœ ‚œ+ œœ + PS
& ˙O˙ .. . 127
Ó
Œ ≥
Arco
≥
≥
≥
j ++œœ ‰ +œœ +
++œœ ++ œœ
Œ
≥
≥ j ++œœ Œ ++œœ
Œ. ≥
≥
#˙. P ≥
≥
++œœ ++ œœ
j + œ ‰ +œ Œ ++œœ
roll to
CL
≤
Vla
B
+
+
+ 5
+
+
Œ
127
Vc
+œ ++ œœ +œ f
œ +œ œ +œ ++ œœ ++œœ +œ + œ pß ß
Ó
3
+œ ++ œœ Ó +œ f
3
+œ ++ œœ +œ f
˙
œ++++ +
P
√~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥‚ . ≥ ≥ ≥ ≥ ≥ ≥ ≥ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ OO .. ‚≤ ? ‚. ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ J f P f P f
127
DB
?
r j ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ≈ ‹‹ ‹‹ Ó .
‰ ‹j ‹ . ‹ ‰ ‹j Œ . ‹ ‹. ‹ ‹ 31
r j j j ‹‹ ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹
131
O
S
C
&
(√) ˙.
& &
r
Œ
n
˙.
Πn
roll to
œ.
no vib.
†
Ó
‰
†
Ó
‰
n
d œ. n
CL
131
Vln
j + œ & ‰ ++œœ Ó +œ
j + œ ‰ +œ w ++œœ f
131
œ++++ + + + +
+
3
P
+
+ 5
B
+
+ 5
+
+
+ + + + + + 3
3
131
Vc
+
≥
≥
≥
≥
+ + + + + + +œ ++ œœ 3 +œ f
+œ + œœ ++ œ
j +œ ‰ ++œœ ++œ
j +œ ‰ ++ œœ +œ
Vla
+
+
Œ
√ ≥~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ‚ ≤ ≥‚ ≤ ≥‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ≥‚ ‚ . ‚≤ ? ‚ ‚‚ ‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚. ‚ J 131
DB
?
r j r j r j r j j j j j ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹ ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹ ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹ ‹‹ .. ‹‹ ‰ ‹‹ ‰ . ‹‹ ‰ ‹‹ 32
135
O
S
C
†
w
w
π
œ
† Ó. †
w
Soprano Sax
n
w
p
n roll to
135
w
π
n
+˙
Ó ≥
≥
≥
++ œœ + œœ + f
++ œœ ++œœ
j + œ ‰ +œ œ + œœ +
+
+
Vln
&
+
roll to
+
+ 5
+
+
CL
135
Ó
‰
#œ.
˙.
π
n
n
d˙
Ó
n
≥
≥
œ + ‰ + Œ + + ++œœ J g+ œ 3 g +œ P f ≥
+œ g++œœ g +œ
+œ g++œœ g +œ f
+œ g++œœ g +œ
roll to
CL
≤
≤
Œ
p
n
w
n
Arco
w
≥
roll to
Arco
≤ œ
≥
œ œ ++œœ g +œ g+œ
roll to
≥
Arco
≤
Vla
B
œ++++ + + + +
+
3
+
+
+
+
5
+
+
5
135
Vc
+
œ
œ œ +œ g ++œœ g+œ
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ √ ≥ ≥ ≥ ≥ ≤ ≥‚ ‚ . ‚≤ ‚ ≥‚ ‚ .  ‚‚ ‚≤ ‚‚ ‚≤ ‚‚ ‚≤ ≥‚ ‚ .. ‚≤ ‚‚ .. ‚≤ OO ? ‚‚ .. ‚‚ ‚‚ ‚‚ ‚‚ .. . . ‚ ‚ ‚‚ ‚ ‚ ‚ ‚ ‚‚ ‚ ‚ ‚ ‚ J J J 135
DB
?
j ‹‹ .. ‹‹ ‰ ‹‹ ≈ ‹‹ ‹‹ ‹‹ ‹‹
‹‹
‹‹
‰ ‹j ‹ ‹ ‹ 33
‰ ‹j ‹ ‹ ‹
‰ ‹j ‹ ‹ ‹
‹‹
‹‹
Ó
139
O
S
C
†
w
r
w
˙.
Œ
n
† Ó †
w
˙
p
nœ ˙ 3
n
Œ. n
p
w
nœ w J
w
œ
Œ d ˙.
p
n
Ó. n
p
˙.
+œ w ‰ J n
˙
p
Ó
n
139
Vln
& 139
Vla
B 139
SP
MSP
Vc
?
Œ
≤ ˙˙ ..
rich and full
n
139
DB
? 34
≥ ˙˙ F
˙
œ
≤ ˙˙
MSP
≥ œœ œœ
144
O
S
C
† w † Œ.
Ó n
dœ ˙ J
˙.
w
n
˙.
p
n
˙.
P
∑
n
w
p ‰ # œJ
Œ
p
n
w
n
† Ó.
˙
Œ
n
Œ
d˙
Ó
n
n
144
Vln
& 144
Vla
B 144
SP
Vc
?
œœ
˙.
˙
≤ ˙˙
SP
MSP
≥ œœ œœ ˙ .
≤j œœ œœ ..
œ.
MSP
≥j œœ
144
·· ˜˜ ~~~~~~~~~~~~~ Œ # # OO ..
DB
Bow Behind II-7 III-7
?
n
35
P
148
O
S
C
† Œ
b˙.
w
p
n
dw
† †
n
p
n
w
œ
p
Ó.
w n
˙.
Œ
n
Œ
+ ˙.
p
w
p
n
n
148
Vln
& 148
Vla
B 148
SP
?
˙˙
3
œ ˙
œ
SP
MSP
Vc
≤ ˙˙ ..
j ≥ œœ œœ ..
˙
≤ ˙˙
˙
148
DB
·· ˜˜ ~~~~~~~~~~~~~ Œ # # OO ..
Bow Behind II-7 III-7
~~~~~~~~~~~~~~~~~~~~ ? OO .. Πn
n
36
P
152
O
†dw
p
n
S
C
†
˙.
w
n
n
dœ
† Ó.
w
Œ #˙
Ó w
n
p
p
n
p
n
w
d˙
Ó œ
p
n
Ó.
n
Ó
‰
œ.
w
p
n
152
Vln
& 152
Vla
B 152
SP
MSP
Vc
?
œœ
≥ ˙˙
œ
˙
SP
MSP
≤ ˙˙
˙˙
≥ ˙˙
3
œ
w
152
DB
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ OO OO ? OO
n
37
156
O
S
C
†
dw
w
† †
÷
˙
Œ
bœ
p
n
n
w
n
p
Ó n
‰ —j ± . π
Ó. ˙
˙
Œ
light melodic wisps
Ó n
156
Vln
& 156
Vla
B 156
SP
MSP
Vc
? ≤ ˙˙ ..
≥ œœ
≤ œœ
˙.
˙˙ Ó.
156
DB
?
SP
MSP
·· ˜˜ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ OO .. Œ # # OO .. p
38
j ≥ œœ œœ .. ‰ + J π
n
w+
Ó
‰. + R
ORD soft propeller
œ π
w
P
160
O
†
S
÷ Ó
C
†
‰ —.
±
Ó
r Œ. +
jΠ+
‰ —j y .
‰
± ..
160
Vln
& 160
Vla
B 160
Vc
?
+
Ó
‰.
‰.
r Ó. +
‰.
∑
r +
160
DB
?
w
w
w F 39
w p
164
O
S
C
† ÷ Ó.
‰ —j ± . ∏
Œ
∑
∑
∑
† 164
Vln
& 164
Vla
B 164
Vc
? 164
DB
?
x
w
w
w F
w 40
p
˙.
Œ
f