—————
for solo harp
WITHIN
[you]
j o.l 9—————————————————————————————————————————————
9—
9
—————————————————————————————————————————————
This score belongs to [
]————————————————————————————————————————————————————————————————— o
———————————————————————————————————————————————————
brusenta.com
... ——————————————————————
———————————————
] 46
—————————————————————
i ——————— published do by dots m u s i c ————— music, art, & words © 2016 Aleksandr G. Brusentsev
—————
score design by Aleksandr G. Brusentsev
—————
ISSUU edition, 2017
———————————————————— ——————————————————————————————————————————————————
9 Within was written for
Anne Denholm as part of the Connect . The . Dots project. ————— The original version was composed in the middle of 2014 and completed in August. The piece was revised and expanded in the first half of 2015, reaching completion in April. ————— The first performance of the original version was given by
Anne Denholm in the David Josefowitz Hall, London, UK, on16 September 2014.
—————————————
for Anne Denholm
iv
Program Note —— ——————————————
4————————————————————————————————————[ the listener ] In Short Written in close collaboration with the dedicatee, Anne Denholm, Within, for solo harp, is a musical look at the more contentious questions surrounding the human experience.
Beyond its importance as my thesis, the Connect . The . Dots project marked a defining point in my artistic development. As a result, each piece became the embodiment of some bit of that moment. This one, Within, is a look at my inner world at the time. Provoked by the UK television series Utopia, it is my reflection on context-based morality, my take on the malleability of right and wrong.
Background / how this came to be The first glimmers of this piece came to me in July 2014
Music / what you might hear
as I was starting work on my master’s thesis at the Royal
The piece begins much as it ends. It is not circular (at least
Academy of Music. It was a project called ‘Connect . The .
in the traditional sense); it is merely stationary, a oneiric
Dots’ (connectthedots1.wordpress.com). The goal was to
pilgrimage of perspectives rather than places. Here, two
compose four solo works and contextualize their premiere
notes (B and F) stand as motionless harmonics while a
within a transparent creative arc. To do this, my collabora-
series of phrases move around and cast them in different
tors and I documented our work, from initial planning to
contexts. Ritualistic at first, this dance quickly takes on a
the premiere, on a dedicated website and gave the listener
tempestuous nature that transforms and fragments the
the power to choose how to engage. Beyond just ‘opening
music until it is beyond recognition. A kind of reset then
the doors’, this was an invitation for the curious to create
occurs. The piece concludes by backtracking through
a meaningful, self-directed, and effortlessly-educational
familiar territory and weaving an ambiguous resolution
experience for themselves. For the musicians and me, this
out of loose threads.
openness came with a tremendous sense of vulnerability; after all, we showed both successes and struggles. It was a daunting commitment to make. Then again, without it, nothing would have worked.
n
v
§ § §
Three primary ideas compose this piece. Much like characters in a story, each idea must always maintain a distinct identity – no matter the context.
two static chords
insistent quarter-tuned fifths
{ two unmoving pivots
Working Parts —— ————————————————————————
4————[ the performer ]
1 2 3
The Bs and Fs in this piece serve
These lines make up the primary
Falling completely outside the
as opposing harmonic centers.
musical thread. It consists of three
main narrative of the piece, these
Though they are woven into the
related phrases that twist around
chords are a kind of distant
melodic lines (2), these notes
the pivots (1) while tracing the
roadmap, subtly guiding from afar.
should carry extra weight and
transpositions outlined by the two
Consequently,
emphasis – especially when high-
static chords (3). The two centers
distance – even reverence – should
lighted as harmonics.
result in two distinct arcs. They
be emphasized.
meet, but do not touch, at bar 129, the furthest point from the beginning (harmonically speaking). Then, after
backtracking, they
unite at bar 180.
the
sense
of
-
*
}
————————————— Note:
Despite
the
music’s
emphasis on melody and harmony, the rhythmic content is no less important: structurally, it emphasizes the fragmentation of the material; aesthetically, it sets up the broken, dance-like groove that defines the mood of the piece.
§ § § § § §
Handling Instructions - general ——————————————————————————————————
vi
Before
. .
Notation Quirks
.
The harp must be ‘prepared’ by hanging a standard A440 tuning fork from the F3 string such that the fork lies flat on the soundboard and can vibrate freely. This placement will cause a buzzing/ distortion effect during the performance. Depending on the fork used, it may be advisable to dampen it partially by wrapping a rubber band around one of the arms. The highest G string must be tuned ½-tone sharp so that a G# sounds when the G pedal is set §. The lowest string must be tuned to Cb. Solid slur lines ( Dashed slur lines (
) are used exclusively for pedal glissandi. ) function as phrase marks.
Note: In many instances, long phrase marks have been written in shorthand, using a starting ( ) and ending ( ) arrow while omitting the middle (first occurrence: bars 21 – 27).
Dynamics
. . . .
‘p.d.l.t.’ indications apply only to the note(s) directly below and do not carry forward unless extended by a bracket. Harmonics are written at playing pitch. (Not quite a quirk.) All pedal changes have been written in the score. Hairpins connecting to new dynamics should reach the designated level. Hairpins without a destination show fluctuations within the last dynamic. Note: A ‘molto’ label over a hairpin means ‘to the greatest degree possible’, regardless of previous or upcoming dynamic.
.
Dynamics not preceded by a hairpin should be regarded as ‘subito’ dynamics, with no implied gradation: iq iq iq should be seen as iq iq iq p
f
p
f subito
Note: Marked dynamics apply to all staves regardless of placement unless different dynamics appear in different staves simultaneously.
§ § §
Handling Instructions - time & techniques —————————————————————————————————— § § §
vii Time & Tempo
.
. Techniques: Main staff
.
Tempo fluctuations (rit., accel., etc.) connected by a dashed line denote a continuous transition from one to the next until a destination, such as ‘A tempo’ or a new metronome marking, is reached (first occurrence: bars 137 – 142). Tempo changes that are not connected signal an immediate shift, with no implied gradation (first occurrence: bar 154). In either case, tempo fluctuations carry until they reach a destination or are negated by another instruction. The meter and implied rhythmic groupings are integral to the conception of this piece, conveying not only time but feel. They should always be emphasized as if playing with and reacting to another musician beating time (perhaps a drummer). Pedal glissandi should span the full value of the note from which the ‘gliss.’ line extends, fully exploring the ‘in-between’ colors when the duration allows. To this end, some notes have a ‘z’ stem to reinforce that the relevant pedal should spend a substantial amount of time between the notches, allowing a pedal buzz to sound. The exact balance of note to noise is left to the performer. Note: All pedal glissandi occur under a slur, indicating that the second note should not be articulated.
.
Notes with a Bartók/snap pizz. symbol ( ) should be executed by playing p.d.l.t. and allowing the finger to fall off the string and ‘snap’ onto the soundboard, resulting in a percussive attack, as in Berio’s Sequenza II.
§ § § § § §
Handling Instructions - more techniques ——————————————————————————————————
viii
Techniques: Single-line staff
.
There are three types of ‘taps’ played on the soundboard by either the left or right hand. They are listed below from lightest to heaviest: - Fingernail taps Performed by tapping the soundboard with the fingernails, aiming for a light and present sound with no resonance. - Knuckle taps Performed by knocking on the soundboard with the knuckles, aiming for a less present but more resonant sound. - Fingertip taps Performed by hitting the soundboard with ‘heavy’ fingertips, aiming for a maximally-resonant sound.
.
There are two types of ‘non-standard’ articulations played on the wire strings by either the left or right hand: - Chop Performed by dragging a horizontal thumbnail down a wire string, producing a very short, choked scratch. The sound is that of the thumbnail skipping across 2 – 5 winds of the wire. - Swipe Performed by quickly swiping fingertips (no nails), up (not across) the wire strings and allowing them to ring. The result should sound like a quick ‘whoosh’.
.
There is one ‘non-standard’ articulation performed with the pedals. - Percussive pedal change Performed by either stomping the pedal down or letting it snap up to create a percussive sound in the pedal box and some pitch resonance in the strings.
§ § §
Handling Instructions ————————————————————————— a few more
ix Performance
.
Though often sparse in texture, the intended aesthetic of this piece is quite resonant and somewhat noisy. Consequently, there is an implied laissez vibrer that spans the entire piece and applies equally to notes and incidental noises. Note: In a few instances, damping is required and consequently marked ( ). These are one-time instructions that do not imply any general change of aesthetic.
.
Page turns have been placed as part of the musical narrative from both a functional and sonic standpoint. The performer is encouraged to consider both the visual and auditory impact of their page turns as part of their interpretation of the piece.
o
Duration: ca. 7'30''
————
——————————————
LED 20.10.2016
This score is the result of countless, lovingly-dedicated hours of my life. I am able to share it without paywalls, omissions, or watermarks thanks to the generous support of patrons on Patreon...
———————
4 6
———————
4 6
...and the revenue from sales made at brusenta.com/shop.
shop
I hope you enjoy,
+
2
for Anne Denholm
Within MNMOLMMM
q = 80, Probing
Harp
4 & { 4
MNMOLMLN
∑
∑
A#
Percussive Techniques
{
8 o &8 Ϫ ? 88
˙
Gb
o
œ™ ∑
Œ
8 ‰ ‰ 4j ‰ ‰ 4j Œ / 8
3
4 ‰ œ bœ Œ 4 J 4 4 4Ó 4
∑
Ó
òj ‰ f Œ
∑ ∑
Ó
òj f ‰ Œ
> r #˙ œ ™™ œ o
poco
∑
U™™™ Ó
≈ 88
UÓ ™™™
r 8 Vé 8
3 Œ Œ ‰ ™ œ b œ Œ ‰ b œJ 7 Œ ™ # œ œ 6 4 8 8 R
o o j j 3 ‰ bœ # œ ‰ œJ Œ 8 œ™ œ™
3 8
o
˙
4 6 6 Œ 2j ‰ 4j 6 Œ 6 ‰ ‰ 4j 2 Œ Ó / 4 3
7
p
Ó
Aleksandr G. Brusentsev
∑
o 3 4œ Œ Œ
j 3 3 8 ‰ ‹ 4 4 Œ 6 Vé ‰
© 2016 Aleksandr G. Brusentsev
∑
7 o 8 Ϫ
Œ Œ
6 8 6 8
-
{
3
6 o &8 Ϫ
14
{
o
œ
> ≈ ™ œ 44 b œ ™ RÔ
oj œ #œ ™
bœ o 2 # œ ™™ œ œ j4‰ œ f
F§
? 68
4 Œ bœ 4
∑
ò 6 4 / 8‰ ‹ 4 ‰ f 4 4
¥
21
& Œ Œ ‰ œœ ? b # œ˙ ™ 7 Gb
#œ
6 Œ™ 8 6nœ ™ 8 G§
gliss. +
Ó ∑
o 2Œ Œ 4˙ œ gliss. 7o 2 4 ∑ 3
œ #œ ‰ ≈ œ 87 Œ ™
œ f
o Ϫ
j ‰ 6 ‰ ‰ ‹ 4 ‹ /8
7 # œœ 8
œœ JŒ
3 ‰ »j 7 4 #œ ˙ n˙ ™ gliss. > F#
3 4
# œ 58 œ ™ Œ 58 Œ ™
F#
∑
lontano
F§
3 4#˙ ™
G§
∑
6 Œ
Œ
∑
‰
>œ # œ œ
pf
# œœ
p.d.l.t.
ò 7 ‰ ‹j ‰ ‰ ‹j Œ 5 ‰ ‹ f Œ 8 8
3
2 4 ˙˙
Œ
A# Gb
U U ‰ ‰ ‰ ‰ Œ
j 2 ‰ 2 U‰ ‰ ‰ U‰ 2 2
œ
7 8
∑ f
3 4
»» 7 3 ∑ 8 ‰ # œj ‰ Œ Œ 4 > > 5 ‰ ‰ 4j ‰ ‹j 7 6 ™ Œ Œ 3 8 8 4
5 8 ∑
A§
∑
2 ‰ # œj ‰ j 5 4 8 # œ #œ ™
2 4
“ © p.d.l.t. #œ œ … Unœ œ U ‰ œ œ ‰ Œ œJ œJ
4
This page intentionally left [
]
{
5
MNMOLNLN
3 & 4 Œ Œ ‰ œœ
28
{
? 43 b # œ˙ ™ 7 Gb
#œ
6 Œ™ 8 6nœ ™ 8 G§
gliss. +
‰ ≈
œ œ#œ
o Ϫ
3 / 4
3
3+ 1# œ 4 8
j ‰ 6 é ‰ ‰ ‹ ‹ /8 V
-
3 4 + 81
œbœ#œ
&
œœ
¥ o o ‰ 58 Œ ™ œ 43 # œ Œ ‰ œ 68 # œ ™ œ ™ J
∑
Œ
7 8 Ϊ
p
œ ? # œ bœ œ œ Œ / Œ
Œ
oj 5 3 œ 8bœ ™ Œ 4
∑
3 4
∑
òj f ‰ ‰ 58
∑
∑
lontano
oj œ Œ
E§ C§
Eb C#
U U ‰ ‰ ‰ ‰ ‰
3 òj ™ U U ≈ Œ f ‰ ‰ 22 ‰ ‰ ‰ ‰ 22
‰
œ#œ œ
pf
œ 7 ∑ 8 Œ™ #œ j 6 Œ™ ‰ ‹ 4 7 é ‰ ‰ Œ 8 8V
6 8
‰ Œ
oj # œ œ œ Œ œ bœ Œ
j ‹ Œ Œ ‰
3 4 + 81 ‰
∑ p
bœ œ
MNMOLMMN
34
‰ Œ Œ ‰
“ © p.d.l.t. œ œ … U # œœ œœ U ‰# œ œ ‰ ‰ J J
3
‰ # œj
»j ‰ œ œ#œ Œ >> > p.d.l.t.
F#
p.d.l.t.
#Ϫ
œœ Œ
#œ œ
3
Ϊ
4 4
‰
p F§
# œ o œ œ oj bœ œ œ
∑ p
4 ‰ jŒ Œ » 4 #œ œ > j j ‰ ‹ ‰ ‹ 44 6 Œ Ó Œ
{
6
j & Œ ‰ # œj ‰ œ Œ
41
{
o
j ‰ # œj Œ œ œ
‰
Œ
MNMOMNMM
& ≈#œ nœ ‰ nœ
3
j œ
¥
Œ
2 4 ≈™ œ
f
6
? # œ # œ œ œ œ œ œ œ œ œ œ ‰ 42 œ f
3 4Œ
f
Œ 44 # œ œ œ ∑
Œ
4 ‰ 4
Π3
œ-
œ œ
Œ
C§
U ‰ ‰ Œ
U ‰ ‰ Œ
j U‰ ‰ Œ 3 ‰ ‰ 2 2 2 /4
‰ ™™
Π5
œ #œ #œ œ œ œ œ œ œ œ œ ≈ ‰ 3
© œ… œU œœ ‰ Œ J
lontano
E§ Bb
f
46
œ œ
œ œœœ œ # œ ≈ # œ n œ œ# œ œ œ ‰ œ œ# œ œ ‰ œ œ œ # œ œ œ ‰ œ# œ œ ≈ ≈ 43 Œ #œ 5 œ- 3 gliss. A# A§
? Ó
œ
œ œ
> # œœ ‰ J Œ
“ p.d.l.t. œœ œœ # œ n U# œ œ n œ ‰ bœ œ œ J œ
3
Kr # œ œ ™ ≈ œ œ™ 3
œ-
f
# >œ œ ™™
C# B§
‰ U‰ 2 2
Œ
gliss. ¥ > gliss. n œ bœ n œ > œ œ #œ #œ œ œ œ bœ nœ œ œ œ œ œ bœ n œ
3
D§ Db D§
D§ Db D§
3
3
{
7
50
{
»# œ>œ^
(l.v.)
& # œœ
g
. lis s
D C#
Œ
Ó
Œ
Ó
brutale A§ A#
? 73» ‰ œ #œ œv # œ > gliss.
MNMOMNMN
6 o &8 Ϫ
53
j 44 # œ ™ œ œ
Gb
? 68
∑
6 ‰ ‹j ‰ Œ ™ / 8
4 4
> 4 Ϫ 4
2 j #œ ™ j 4 œ bœ œ bœ
o
4 Π2 4
F§
∑
√ ∑
√ ∑
6 8
√ ∑
√ ∑
6 8
(molta lunga)
Eb
Π2
p dolce A§
G§
2 4
∑
œ œ ™ bœ o J ‰ J œ ™™
4Œ œ Ó 4
ò 2 Œ ‰ fj 4 4 4
bœ œ
A§
˙ 7
»7 gliss. ‰ #œ ™ nœ > A#
gliss.
#˙
Œ
Œ
Š2 Π8
(corta)
… ≈ ≈ n œ œ b œ b œ œ œ œ ≈ œ ™ Œ 28 œ J bœ
A§
Bb
6
28-
{
8
MNLOLMLM
2 &8 ‰
59
{
bœ
bœ o 4 œ 4
Gb
b >œ ™
∑
j 2 / 8 Vé ‰
6 &8
œ
f p A§
6 o &8 œ> ™
‰ bœ
nœ
Œ
‰ A#
C§
œ #œ™
œœ‰ ‰ /
‰
bœ
Db
bœ œ ™
≈ 2r ‰ ‰ Œ ™
¥ bœ œ # # œœ b œœœ œœ b # œœ œœœ œœ b œ b œœ b œ œœ ™™ œœ & #œ #œ bœ LMLONNNM
68
p leggiero
œ A§
œ
nœ
# œ ™™ œ b œ
‰
#œ J
F#
‰
bœ
Bb
bœ
A#
nœ #œ B§
Gb
‰
B§
o
≈ bœ œ ™ œ#œ > ‰ ‰ 2j Œ ™ ‰ ≈
B§
Œ
#œ
œ
Ó œ bœ
o œ J
o
& bœ
j ‹
4 ‰ 4 #œ
‰
B§
4 Ó 4
MNMOLMLM
63
#œ ‰ J
oj œ
A#
? 28
» œo
¥
œ 7
gliss.
nœ J
gliss.
‰
bœ
bœ
6 8
3 8
6 8
F§
Bb B§
œ bœ nœ Œ
A#
œ b œ bœ 3 8
Cb
∑
Ϊ
3 8
∑
œ ™™ # œ # œ ™™ # œ o n >œ ™ o œ ™ 3 b œ ™™ bœ 8 œ ≈ #œ Cb
j 6
œ rK # œ œ œ ™ b œ œœ ≈ œœ b œœ œœ # œ œœ œ bœ j ‰ ‰ j ‰ ‰ 6 4 /
A§
Bb
‰ ‰
E#
F#
Ϊ
G#
3 8 3
3
C§ A G#
f
#œ #œ 6 # œœ # œœœ œœ œ œ # œ # œ # œ œ œœ 8 œ œ #œ 6‰ ‹j ‰ 8-
{
6»o & 8 #œ ™
{
6 &8
>œ ™ o œ # œ 8 b œ ™ ≈ RÔ 8 b œ ≈ # œr
o œ
75
f pesante, con fuoco
∑
2 & 4 b#œœœ
2 4b˙
Œ
Ϊ
6
bœ
<f>5
F§
Œ
∑
22 Œ
∑
3
5
œ
¥
3
œ # œ œ # œ nœ b œ œ œ bœ œ
3Π4 3 &4
òj f ‰ 43
Œ
∑
Gb C#
∑
MNMOLMLM
&
#œ
3
9
≈ # # œœœ œœœ œ œ œ ≈ Œ ∑
» œ Œ œ >
(l.v.)
2 4
f
‰ b # œœœJ 42 p
* With alternating hands, creating a percussive, semi-damped effect.
molto
/
85
3
2 4
5
5
5
© ¥œ b œ œ # œ 3 b œ # œœ œ œ œœ œ # œ œ œ b œ # œ œ ≈ b œR ≈ R 3 + 1 ≈# œ œ œ bœ 4 8
2 &4 Œ
80
*r ™ ≈Œ o 2 # œ ™™ # œ # œœ ‰ œœœ # # œœœ œœœ œœœ œœœ … j ‰ œ 4‰ Œ ∑ ¥
? 8 ‰ œJ ‰ Œ ™ 8
6 ‰ ‹j ‰ ‰ ‰ 4j 8 Œ ™ 8 / 8 <“>
“
B§
2
≈ # œR 83 œ b œœ œ œ œ œœ
?
∑ p Eb
3+1#œ 4 8 3 4 + 81
œ
D§
o œœ bœ œ
∑
‰
oj # œ œ œ œ bœ ‰ Œ œ òj Œ ‰ Œ f ‰
∑ bœ
œ # œ b œœ œœ œœ #œ
j A#‰ ‹
j 4
b œœ b œ
bœ
‰
oj œ ‰
# œœ œ # œ œ b œ #œ œ œ œ œ
3
/
‰
‰
‰
E#
‰
2
F#
2
G# V.S.
© 5 > “ #œ # œ r #œ loco œ b œ 90 œ ≈ # # œœœ œœœ œœœ œœœ œœœ …≈ » >-œ # œœ œœ # # œœ œœœ œœœ œ 3œ œ # œœ œ # œ œ œ # œ œ # # œ œ œ # œ œ # œ # œœ œ #œ œ bœ œ bœ 2 J ‰ 3 1 #œ 2 ≈ ≈ œ œ œ 8 8 8 & # œ # œ J 8 { ∑ J 5
10
j 6 ‰ ‰
j 2 ‰ é 8 V
A§
/
Bb
∑
3 8
∑
3
3
3
C§
j 2 ‰
Db
∑
f
Ab
B§
‰
5 ¥ > j j > … gliss. o 98 ≈ ≈ ‰ j œ ™ ™ b œ ‰ n œ ≈ ≈ ‰ ‰ # œ n œ œ œ r # œ œ œ # œ œ # œ # œ œ œ ™n œ b œ 5 b œ 2 #œ 2 7 3 ™ 2 3 ∑ 3 b œ≈ b œ œ b œ 16 16 œ 16 œJ ™ œ œJ ‰ 16 J 8 & 8 bœ œ ‰ 8 # n œœ ‰ ™ ∑∑ ∑ 8 R œ™ ¥ o o G§ A§ Ab A# A§ G# A# A§ Ab G§ E§
molto violento
5 ™ / 16 ‰
5 3
j 22 28
Bb
7 ≈ 2r ≈ ‰ 2j 3 2 16 16 ∑ 8
B§
∑
5 3
> > # # œœœ œœœ œ œ œ ≈ ≈ ‰ ≈ ≈ # œ œ # œ œœœ œœœ … bœ 108 # œ 3 3‰ ∑ ‰ b œ 28 ∑ 8 8 & ‰ { J ∑ ∑ « 5 3 ≈ ≈ ≈ 2r ≈ ‰ 2 8 / 8
E# Db
Cb
∑
3 22j ‰ ‰ 8
≈ ≈ ≈ 22r ≈ 5
Bb
3 22j ™™ 3 16 8 D#
∑
∑
¥ NLLOMNML r r » # œ # œ œœœ ≈ ‰ #œ œ ≈ œ ≈ # œ ™™ # œ b œ » # œ œ œ 3 # >œ ™ 2 ≈ b œ 5 ‰ b œ ‰ 83 ≈ R ≈ ™™ RÔ 16 J 8 œ 8 b œ ∑ œ > o 5
‰ bœ Jo
3 2 2j ‰ 5 16 ∑ 8 8 D#
∑
E§
5 ¥ 11 # œ œ # œ œ œ œ œœœ œœœ j # œ ™™ # œ #œ o 116 bœ œ ≈ b œ ≈ j œ # œ 1 # # œœœ 3 j # œ 2 3 7 R R R R # œ ™™ b œ b œ ™ ≈ ≈ ≈ ≈ ≈ 4 b œ ≈ R œ b œ 16 ≈ 8 œœ b œ ≈ # œ œ # œ œ b œ œ ™ 8 J 16 & bœ Ô bœ « > R > o o molto
p
f
A§
Kr Kr 122 K 3 ≈ ® b œKr ® n œ ≈ ≈ ® b b œrœ ® b œ ≈ ≈ & 16 œ ≈ ® œRÔ ® RÔ ™ ∑ J >« Ab
G§
F§
œ ≈ bœ œJ ™ >«
E# B§
Fb
2 &4
{
NLMONMNM
˙ o
∑
œ ™™ o
∑
pesante E§
Ab
A§ Cb
6 & ‰ # œj ≈ r ≈ # œR 8 Œ ™ f œ Ab
? #˙ b ˙ 7
6 8 nœ ™
gliss.
6 /8 ‰
‹
4
G# B§
o œ ‰
œJ o
‰ ≈™ œ
Ab C§
‰
A§
> r œ bœ Œ
o œ˙ ™™ >
œ R
G§
¥
135
∑
#œ ™ Œ™
‰
F# G# C§
molto furioso
F§
o ˙
Fb
»K gap, r œ (No œ ∑ # œ right in.) œ gliss. ≈ b œ b œ n œ b œ ® # œKr ® b b œœ ® RÔ ≈ Ù 2 4 œb œ ∑
Bb 129
F#
(Do not dampen: all incidental noises desired.)
® #œ œ #œ
oj œœ >
≈™ Œ bœ
B#
Ϊ
poco rit.
∑
# œœ ™™ ‰
‰
‰
j 4 Ϊ
# œœ ‰ J
Œ™ òj f
C#
ΠG#
Œ ‰
‰
> œ
2
U ‰ U ‰ U‰
12
This page intentionally left [
]
{
NNNOMMML
& Ϊ
poco accel.
139
#œ
?
5
&
#œ
bœ #œ
C#
#œ
œ
bœ
Ϊ
#œ
3
Ϊ
∑
144
> ‰ ‰ # œ# œ œ ‰
j ‰ #œ œ
4 4
# œœ ™™
p.d.l.t.
‰ # œœ 6
#œ œ
œ
œ œ
3 4#œ #œ p
#œ
¥
œ œ b˙
œœ ™™
5
œ œ #œ
œ œ #œ œ œ
∑
>œo J 42 # œ œ # œ œ œ b œ œ œ & bœ œ œ
3
6
3
2 4
∑
4 »œœ ™™™™ 4 b œ ™™
#œ ™
#œ #œ œ
A tempo (q = 80)
p mormorio Ab
G§
13
#œ
#œ
#œ
œ
œ 3
6
œ #œ
#œ
œ 5
œ
œ 41
“
© 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 147 #œ#œ œ œ œ œ 2 œ œ œ œ 4 œœ œ œœœœ œœ œ œ œ œ œœ œ 1 œ Œ 4œ 4 œœ œ &4 3
5
5
7
5
5
f con fuoco
leggiero
A§
√ ∑
151
& * As silently as possible.
Gb (Necessary for top G§:
Œ * G§ B§
# “œ nœ œœ
string tuned ½-step #.)
dolce
© œ œ œœ
… Œ * F#
√ ∑
D§
< w = h. >
3 4
{
MNMOMNMN
14
q = 60, Rejecting
3 &4
154
{
>^ # œœ
#œ œ
Œ
œ
brutale A# A§ D§ Db D§
q = 40, Freely
molto rit.
>œ
D C#
Ϫ Ϫ
#œ
2 4 œ œ
Œ
œ
D§ Db D§
Œ
#œ œ
5
>œ bgliss. 3 gliss. œ nœ 3 > ? 43 ‰ #œ œ œ #œ #œ œ ‰ ≈ œ œ œ œ 42 # œ # œ œ œ œ œ # œ n œ œ bœ n œ #œ œ œ œ bœ nœ œ œ3 3 #œ nœ 3 3 > gliss. f
158
&
œ
? Œ
œ Œ
œ# œ ™ œ
œ
U ∑
‰ # œ # œ œ# œ œ œ œ
#œ # œ œ œ œ
U ∑
# >œœ
∑
p 6
U Œ
Œ
œ
œ œ
¥ œ#œ œ #œ œ œ #œ #œ ‰ ≈ ≈ œ
5
p
œ
3
œ
b œ-
U ΠCb
p
œ œ
œ œ #œ #œ œ ‰ œ
{ {
o >o j œ œ
3
164
& Œ
#œ œ f
? œ #œ #œ œ 3
f
MLLONNMM
3 & 4 ˙™
171
p semplice
? 43 -
3 / 4
∑
» œ >
Œ
» ‰ ≈ œ œ# œ œ œ # œ - #œ > œ gliss. b œ-
Bb
∑
Cb
˙™ Œ
œ Œ
2 4
o œ b˙ 3
© U> -œœ b# œœ
… Œ
3 4
∑
risoluto A§
B
# # œœ b œ œ ™™ 2 ‰ 4
“ U> # -œ nœ œœ
Œ
A§ A#
5
3
∑
#œ
15
/
o j bœ ™ bœ ∑
2
j # >œ ™ œ #˙
∑
C§
‰ 2j
Œ
o o 6 ‰ bœ bœ ™ 8
6 Ϊ /8
U Œ
U ‰ 2j Œ
6bœ ‰ ‰ Œ ™ 8J B§
U Œ
U Œ
2 4
r ‰ ‰ Vé ≈ 42
Cb
Œ
‰ ™™™
Œ
∑ Kr j 22 ‰
U > o K ≈ ™ œr ‰ œ ™™™ œ
2 o 4 ˙ C#
E#
poco
F§
∑
∑
∑
∑
U™™™ Œ U™™™ Œ
3 4 3 4
<q =h>
® 43
A# D#
® 43 Kr 22 43
{
q = 80, Embracing
16
NNMONMMN
3 & 4 # # ˙˙ ™™
-
-
7
4 ≈ # œ# œ# œ œ œ 4 & wo
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
180
#œ#œ œ
p
? 43
∑ ∑
A tempo
5 œ n œœ b # œœ ‰ ‰ 2 n b œœ 4 {&8
187
-
5 / 8
E§ C#
gliss.
B§
- gliss. œ7 68 b ˙œ ™™
Ϫ 7-
G# G§ Bb
F§ E# E§ D§
o 2 4- b b œ˙ # ˙
E# D§ Db
# ˙œ- n œ ™ J
3
gliss.
˙˙
D§
9 8
∑
∑
9 8
∑
∑
9 Œ™ Œ™ 2 ‹ 4 8
gliss.
f
∑
Cb
3 / 4
-
Db
628 4 7 œ ™ œ ™ gliss. b ˙ f ‰ bœ òj ™ 6 Œ ‰ f ‰ 42 /8
w
poco rit.
p
A§ C§ D#
©
>œœ ™™ œœœ- n œ ™ # œœ ™™™ loco # # œ ™™™ ‰ n œœ ™™ b œœ- b œ ™™ 9 # œœ o o Œ ™ 2 4 8 J J gliss. œ œ™
gliss.
C#
4 #˙ ™ 4 w 4 4
A tempo
> » gliss. œ œ œ œ # œ ™n œ œ 68 b ˙ ™ ≈ J 7> 5
G#F#
? 43
“
molto rit.
Eb B§
n œœ œ # œ 7 ‰ oj ≈ oj Œ ™ 8 œ œ™ p
E# C§
j Œ 2 ‰ ‹ /4
7 86
Œ
Ϊ
F#
4 4 # ww > 4 Ó 4
Vé
Œ
∑
*
ò f 2 Œ Ab
oo
j b œœ # n ˙˙ ™™™™ F§
2 4
∑ A# C#
2 4 4 6 ™™ 2 2 Œ 4 3
∑
4 4
* Double harmonic should sound somewhat muffled and unclear.
17
“ #œ œ o 4 ‰ ™™™ RÔ œ ™™ Œ bœ {&4 œ molto rit.
193
4 / 42
Gb
cristallino
Œ
Ó
© œ œ ™ b œ # œ ™ loco o j b œ ‰ #œ ‰ œ ™ ≈ J? w
A tempo
2
Eb
∑
Ó
∑
Ó
b œœœœ …‰ b ‰ &
Db ò j j j ‰‹ 6 ‰‹ Œ ‰‹ 6 f‹Œ 6 2 Œ
pesante, - risonante
Œ
∑
p.d.l.t.
malizioso
∑
3 j ‰ ‰ 4 6 Œ 6 ‰ ‰ 4j 3
Thank you for devoting your time to my music. If you found value or pleasure in these pages, please consider supporting my work by purchasing an item from brusenta.com/shop...
———————
4 6
shop
———————
4 6
...or by becoming a sustaining patron on Patreon. With love & gratitude,
+
Turn around point
.
i do dots music