SY 4411 | Olga Neuwirth - Eleanor (2014/15)

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Olga Neuwirth Eleanor

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für Bluessängerin, Drum-kit, E-Gitarre und Ensemble 2014/15

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Partitur

Sy. 4411/01 ISMN 979-0-2042-4411-9

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C Copyright © 2015 by G. Ricordi & Co. Bühnen - und Musikverlag GmbH Berlin Alle Rechte vorbehalten - All rights reserved - Tutti i diritti riservati

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Auftragswerk der Salzburger Festspiele u d der Familie Landesmann

BESETZUNG:

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1 Synthesizer (siehe Liste der sounds) 2 Schlagwerke (siehe detailliertes Instrumentarium) 2 Violinen I 2 Violinen II 2 Violen 2 Violoncelli 2 Kontrabässe (5-saitig)

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Lautsprecher für die Einspielung der Samples Partitur ist NICHT in C

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Vorzeichen gelten einen Takt lang

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1 Horn in F 2 Trompeten in C (1. auch kleine in Hoch B) 2 Posaunen (2. Bassposaune) 1 Tuba

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1 Sampler 1 Flöte (auch Piccolo) 1 Oboe 1 Klarine e in B (auch Es-Klarine e und Bass-Klarine e in B) 1 Fago 1 Sopran-Saxophon in B (auch Alt-Saxophon in Es)

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Solisten: Bluessängerin Drum-kit-Player E-Gitarre

Beide Violinen II sind um 60 Cent nach unten gestimmt

Drum-kit Bass-Kick-Drum

Ride-Cymbal

Crash-Cymbal

Bass-d.

Hi-Hat (foot)

>

Tom-Toms tief hoch

Cow-Bell

Snare d.

Ride-Cym.

>

Metall-Güiro

Hi-Hat closed open

>

>

Crash-Cym.

2 Tom-Toms (hoch/tief)

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Metall-Güiro (fest montiert)

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Cow-Bell (fest montiert)

S hlagzeug 2 (rechts)

2 verschieden große hängende Flaschen

3 Congas (hoch/mi el/tief)

Claves

Vibraphon

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Schlagzeug 1 (links)

 4 Zimbeln ( &we¥=y ) 9

Tom-Tom (tiefes) Gong ( ?ƒ )

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2 Bongos

Pla enspieler (oder DJ-Set)

Tam-Tam (mi el)

Marimba

Glockenspiel

3 Tom-Toms (hoch/mi el/tief)

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Gong ( ?œ ) Glockenspiel

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große Trommel

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Becken (klein) Triangel (mi el)

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Ad Schlagzeug = weicher Schlägel

= mi el-harter Schlägel = Metallstäbe G

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= harter Schlägel

= Gummikopf-Schlägel = großer Trommel-Schlägel = kleine-Trommel-Schlägel = Metallbesen

M

= Metallkopf-Schlägel

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>

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Hi-Hat

Reibstöcke Reibstöcke aus Messing



= gestrichen



= abdämpfen

 l.v. = klingen lassen

3 Zimbeln ( &´rt ) 9

Triangel

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Snare Drum

Zur E-Gitarre

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>>>>>> >

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Typ: Gallien-Krueger (solid-body), Fender-Verstärker, Volumenpedal Effekte: a) Echo + Chorus b) Verzerrer c) Delay 250 e-bow slide m.v. = molto vibrato schnell

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Zum Synthesizer: Z.B.: DX7 oder mit „Native Instruments“ - Kontakt 5-Player -sounds: - E-piano (Fender-sound) - E-piano (Fender-sound) um 60 Cent höher gestimmt - Hammond Orgel-Sound

Fo

1/4

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= normal schnelles vibrato = slap = microtonal bend

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Streicher Alle, außer Kontrabässe: 1 Plectron ord. = ordinario s.p. = sul ponticello s.t. = sul tasto flaut. = flautando = Übergang von einer Spielweise zur anderen = Bartok-Pizzicato oder = so hoch wie möglich  = Naturflageole (zu berührender Ton) qqqq = „ra ernd“, „starr“ (übertriebener Bogendruck auf der angegebenen Saite) = völlig erstickte Saite = Bogen am Frosch gepresst – die Saite entlang („Nähmaschine“) = Arpeggio nach oben   = Arpeggio nach unten = mit Plektron = ohne Plektron

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q q q q

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 

 

= Fla erzunge = Flageole -Ton = Klangfarbentriller = Slap = offener Slap = überblasen zu einem Multiphonics

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>>>>>>  L

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Holzbläser / Saxophone

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MPH

Blechbläser = straight mute = cup-mute = Plunger = Wah-Wah-mute  = Dämpfer-Triller  = Dämpfer zu  = Dämpfer offen ° °°°° = bisbigliando



= Frullato

Zum „scratching“ bzw. „Dj-ing“ (Schlagzeug I): eine Pla en von Billie Holiday oder Ella Fitzgerald verwenden Zur Bluessängerin: Mit Mikroport, dezent verstärkt

b ` a = Viertelton tiefer d [ c = Viertelton höher

Zeichenerklärung

m.v. s.v.

= molto vibrato = senza vibrato

TEXTE

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Musicians: Start running cuz this life is hell! Eleanor: I’ll run so fast till someone wakes me up cuz evil spirits are all around my legs.

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I was looking out at the rain: Why did you wanna do all these mean things to me? Why did you wanna do, Why did you wanna do all these things to me?

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I began to fall so low I didn’t have a friend and no place to go

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Nobody knows you When you’re down and out.

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Am not like a turtle, can’t hide underneath a hard shell. Peace for my heart!

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Born under a bad sign I’ve been blue since I remember I feel so low cuz nobody wants me around their door

Bad luck and trouble is my only friend I’ve been on my own since I was twelve And my whole life has been one big fight.

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So: ev’ry day I’ve the Blues.

I wish I could see cuz am so sick and tired of being in misery.

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Now listen to my tale which, sadly, is true:

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They’ve destroyed my dignity. All they said never meant a thing. I remember the promises they’ve made me. They played with me on purpose. Hence I feel so low. Well, I’m not pliable enough, I see. Too bad words seemed so logical. – Like always, no reaction. Power depersonalizes ev’rything, claiming experiences are universalBut: we all think differently. I don’t think we are capable of tolerance, but rather full of hate, contempt and hypocrisy. My openess only fuels misunderstandings, cuz you all find me repulsive. Why can’t you just be honest? -

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But you all can’t kill my free spirit! I’ve had it since I was young. Even wrote my own songs back then. True, I’m a strange person, but I never denied myself totally. I’ve finally found myself again.But: I’ll never forget what you have done.

SAMPLES-TEXTE

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Sample 2 (June Jordan) One day she saw them coming into the garden where the flowers live. They found the colors beautiful and they discovered the sweet smell that the flowers held so they stamped upon and tore apart the garden just because (they said) those flowers? They were asking for it. June Jordan: First section of “Rape Is Not a Poem”. In: Passion: New Poems (1977-1980)

Sample 4 (June Jordan)

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There is nothing le but drippings of power and a consummate wreck of tenderness I want to know: Is this what you call Only Natural?

Sample 5 (MLK)

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One of the sure signs of maturity is the ability to rise to the point of self-criticism. Some of us have become cynical and disillusioned. Some have so conditioned themselves to the system of segregation that they have lost that creative something called initiative. Many of us live above our means, spend money on non-essentials and frivolities, and fail to give to serious causes, organizations, and educational institutions that so desperately need funds. Therefore there is a pressing need to develop a positive program through which these standards can be improved.

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MLK: Adapted and abridged from “The Rising Tide of Racial Consciousness” (1960)

Sample 6 (MLK)

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There is no easy way to create a world where men and women live together, where each has his own job and house and where children receive as much education as their minds can absorb. If such a world is created in our lifetime, it will be done by people of good will. It will be done through massive protest and by rejecting the racism, materialism and violence that has characterized Western civilization and especially by working toward a world of brotherhood, cooperation and peace.

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Martin Luther King: Adapted and abridged from “The Only Road to Freedom” (1966)

Sample 7 (MLK)

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Love MUST be at the forefront of our movement if it is to be a successful movement. And when we speak of love, we speak of understanding, good will toward ALL men. In struggling for human dignity we must not succumb to the temptation of becoming bi er or indulging in hate campaigns. We have learned through the grim realities of life and history that hate and violence solve nothing. At the end it is only destructive for everybody.

Sample 8 (MLK)

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We also revolt against what I o en call the myth of time. There are those who say wait for time and time will solve the problem. The people who argue this do not themselves realize that time is neutral, that it can be used constructively or destructively. This movement is based on hope. But before the victory is won, some will lose jobs, some will be called communists, and reds, merely because they believe in brotherhood, some will be dismissed as dangerous rabblerousers and agitators merely because they’re standing up for what is right, but we shall overcome. Martin Luther King: Adapted and abridged from “The Current Crisis in Race Relations” (1958)

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Sample 9 (MLK)

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But there are some things in our social system to which all of us ought to be maladjusted. I never intend to adjust myself to the viciousness of mob rule. I never intend to adjust myself to the evils of segregation and the crippling effects of discrimination. I never intend to adjust myself to the inequalities of an economic system which takes necessities from the masses to give luxuries to the classes. I never intend to become adjusted to the madness of militarism and the self-defeating method of physical violence. The world is in desperate need of such maladjustments to bring a daybreak of freedom and justice.

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Martin Luther King: Adapted and abridged from “The Current Crisis in Race Relations” (1958)

Sample 10 (MLK) That’s what the whole movement is about: we aren’t engaged in any negative protest and in any negative argument with anybody. We are saying that we are determined to be men. We are determined to be people. We are saying that we are God’s children. And that we don’t have to live like we are forced to live. I don’t know what will happen now. I’m happy, tonight. I’m not worried about anything. I’m not fearing any man. Now we’re going to march again, and we’ve got to march again, in order to put issue where it is supposed to be. – “Let justice roll down like waters and righteousness like a mighty stream“. Martin Luther King: Adapted and abridged from his last speech, “I See the Promised Land” (1968)

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Remembering the vision, courage and lasting endurance of Martin Luther King and in memoriam Elsa Cayat

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Olga Neuwirth Eleanor für Bluessängerin, Drum-kit, E-Gitarre und Ensemble (2014/15)

∑

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4

∑

4 D4

∑

A4  *) / 44  ‰ .

Horn in F

„ ff ” *)

1

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2 Trompeten in C 2

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/ 44 a2

1 2

A4

4 4 D4

Tuba

E-Gitarre

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  ‰.

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4 Y  @ 4 Y ‰.

Electric-Piano (Synthesizer)

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2 Violinen II (a 60 cent)

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2 Kontrabässe

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Percussion

C

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Alt-Saxophon in Es

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4 4 @4

Fagott

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di &

Bass-Klarinette in B

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or

Oboe

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Sy. 4411/01

5   ‰. 

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Flöte

2 Posaunen

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Sampler

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Sample

Fo

 = 60

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INTRO

pp

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ff

 ff

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D

2 5

( = 52)

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Sam.

ff

ff

@ Œ

Alt-Sax. in Es

≈  .

1

2

a ˘ @  ‰.

1 Pos. 2

Tb.

Drum-kit

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  

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Y  Œ Œ @ Y ‰.  f  Œ Œ @  ‰.  > 3 H ?  /   ≈  ≈          . ≈ ≈   mp

3

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W ˘ ‰ . @ 

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Vl. II (a )

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(non div.)

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senza sord.

mf

44  44

mf

( p)

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Sy. 4411/01

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∑

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f

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f

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3

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24

4

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3  W       . >

 ‰

44 

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pp

f

‰.

con

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p ?        . 

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by

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1

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mf

‰

ord.

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E-Pno (Synth.)

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A ‰.

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f

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a ?        .

p

W ˘ ‰ . @  A

.

f

∑

ff

Trp. in C

mf

MPH (V)

mp

@

Hr. in F

 ‰



 

≈ ‰

al o

Fg.

? ? - - - - -  . f

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p

‰

us

? A . ‰

 .



3

44 Œ

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ff

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B-Klar. in B

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‰

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rp

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

Fo

@

∑

∑

C o. /

∑

or

Ob.

@

ic

Fl.

 

 

3

f

 

3

f

 

3

f

˜ ̃  f

3

( = 52) ≈ ‰

24

≈ ‰

24

≈ ‰

24

≈ ‰

24

≈ ‰

24

≈ ‰

24

≈ ‰

24

≈ ‰

24

≈ ‰

24

sub.  = 60

8 Sam.

Sample

2

3

 = 60

35"

nach 14" beginnt der Text – bis 33"

 .   5

pp

˜ W

̃ ̃ .  

s.v.

5

2 D4

∑

∑

34

4

∑

∑

34

Alt-Sax. in Es

2 @4

∑

∑

34 Œ

Hr. in F

2 @4

∑

∑

sord. 34 senza Œ Œ

@4

∑

∑

34

∑

A2

4

∑

∑

34

∑

A2

4

∑

∑

34

D4

2

∑

∑

@4

∑

∑

4

∑

E-Git.

2

A2

Drum-kit

1 Vl. I

3 3 p       ̃P ̃ ̃ ̃      3

3

ff

sub.  = 60 2 ∑ @4 @4

2

∑

ig ht

2

/ 24

∑

1

op

2

1

C

Va.

2

1 Vc. 2

Kb.

3

∑

Œ

44

̃

.

(unmerklich neu atmen)

mf

̃ .

(unmerklich neu atmen)

. ‰  5

pp

5 ‰ .

pp

44



.

34

∑

(unmerklich neu atmen)

mf

34 34

44

∑

34

44

∑

34

44

∑

34

44 

.

(unmerklich neu atmen)

mf

Fo ∑

34

mf

44 s.v.

34

34

∑

44

∑

34

34

∑

44

∑

34

∑

34

∑

44

∑

34

∑

34

∑

44 Œ

∑

44

∑

34

Plattenspieler („scratch”) - „DJing”

34

 = 60

35"

?    ?   ‰ 

„ mf ”

34

„f ”

∑

34

∑

44

∑

34

∑

34

∑

44

∑

34

@4

2

∑

∑

34

∑

44

∑

34

@4

2

∑

∑

34

∑

44

∑

34

B 24

∑

∑

34

∑

44

∑

34

∑

∑

34

∑

44

∑

34

yr

Vl. II (a )

 p ‰  

G

1

Perc.

/ 24

by

E-Pno (Synth.)

pp

C o. /

Tb.

di &

Pos.

or

2

Trp. in C

ic

A2

Fg.

.R

B-Klar. in B

44 

nl y

∑

s.v.

34

∑

al o

∑

34 c 

44

∑

us

Ob.

2 @4

∑

er

∑

etwas früher einsetzen

34

rp

Fl.

2 @4

B 24 A2

4

∑

s.v. 34 a 

∑

4

∑

∑

34 Œ

D4

∑

∑

34

2

5

pp

A2

Sy. 4411/01

 .  

Y. ‰ 

5 s.v.

Œ

pp

∑

44  44  44



34

mf



34

mf

∑

34

4 sub. = 69

4

@4

3

Alt-Sax. in Es

.

44 /

∑

2

1 Pos. 2

Tb.

A3

∑

44

∑

44

4

∑

44

4

∑

44

∑

44

∑

44 Ó

3 @4 4

A3 A3

3 D4

E-Git.

3 @4 A3

E-Pno (Synth.)

2

Sängerin

Drum-kit

/ 34

∑

C

op

Va.

1

1

Vc. 2

1 Kb. 2

. 

„f ”

Run!

∑

@4

3

∑

/ 34

∑

3 @4

∑

3 @4 B 34



. ≈

Run!

≈

‰

  ‰

  ≈  ≈   .

 ‰ 

 ≈ ≈     .

(senza sord.)

∑

(senza sord.)

‰

∑ . 

Run!

∑

. ≈

≈

mf

Run!

∑

mf

. > ?    

p

 

?   

Start running cuz this life

∑

∑

„f ”

‰.  

∑

 Y ‰ >

Œ

‰ >

Œ

f

∑ ∑

?            .

≈

 .

≈

∑

?    

 

? . 

.



.

 

∑

∑

∑

∑

≈         ≈  ‰     Œ ‰  ≈ mf

/

∑

/

∑

/

44 Ó 44 Ó

„f ”

44 Ó

„f ”

*) gesprochen

*) gesprochen

Run!

. 

Run!

. 

Run!

. ≈

Run!

. ≈

Run!

. ≈

Run!

≈

∑

  ‰ f

sub. = 69 ? ‰ .     ‰. 

∑



≈

‰.  

∑ 



A 3 Y.

4

44 





3 D4

∑

44 Ó

4

∑

44

. 

Run!

. ≈

Run!

?     

?     ?    

?     

≈

∑

/

?

‰ .    

*) gesprochen

∑

*) laut gesprochen. Quasi Eleanor/Sängerin auffordernd ansprechend.

Sy. 4411/01

 

?  . 

?     

?  . 

∑

≈@

is hell!

is hell!

Start running cuz this life

∑

?  . 

?     

Start running cuz this life

44 

„f ”

≈@

Ó

Start running cuz this life

4

*) gesprochen

Œ

Start running cuz this life

≈

?  . 

„ mf ”

44

. 

mf

is hell!

∑

∑

„f ”

mf

?   

∑

*) gesprochen

≈@

 .

Œ

‰.  

?  . 

Œ

∑

44

is hell!

≈A

is hell!

Start run ning cuz this life

∑

?  . 

∑

∑

f

A 3 a.

E3

.

?     

Start running cuz this life





∑

*) gesprochen

44

∑ 

? .   . 4  ?            / 34 4

yr

Vl. II 1 (a )

*) gesprochen

44

ig ht

1

44 Ó

by

Perc.

/

∑

4

1

/

Run!

≈

?

‰ .     p

44  ∑

. ≈

ic

Trp. in C

Run!



3 @4

. 

̃

p

.R

1

44 Ó

„f ”

? W ˜ . p

G

Hr. in F

̃

*) gesprochen

44

3 @ 4 .

̃

? c



us

A3

Fg.

Vl. I

W ˜ .



er

3

44 

∑ ? 

rp

D4

B-Klar. in B

∑

or

Ob.

∑

Fo

3 @ 4 c.

44

∑

C o. /

3

di &

@4

Fl.

nl y

Sam.

al o

12

?  . 

≈@ ≈B

is hell!

is hell!

≈E

? 

D

B-Klar. in B

? ˜

W ˜

Fg.

@

Alt-Sax. in Es



1 Trp. in C 2

1 Pos. 2

Tb.

>

∑

A Ó A Ó

1 Perc. 2

A

/

34  ‰ .

Y   Y

Œ

34

∑ ? ?     

Œ



   

Congas

Vl. I 2

@ @

2

B

yr

1

@

C

op

Va.

2

1

Vc. 2

1 Kb. 2

B

A a.

p



f

Y 





3

3

 34  ‰ .  

 

3

‰

‰

Œ

 



p

∑

Y ?





∑

3

mf

∑



3

3

f

3

3

3

   Y  

?             

∑

∑

∑

34 Œ

3

≈ ‰

Œ

∑

34 Œ

‰





? 

34 molto

‰.

molto s. p.

molto s. p.

molto s. p.

pp

‰ W  3

pp

W  W   3

3

f



ff





gliss.





gliss.

E

∑

34 ‰

E Ó

Œ

34  W   W  W  W 

molto



3

 W f

molto s. p.

 W   W  W

3

3

p molto s. p.

3

p

Sy. 4411/01

p

≈

3

3

3

Œ  

3

‰

 

@

3

? Y Y    mf



3

I’ll run



mp

 

̃ ̃ ̃ ̃

 W   W  W  W  W   W f

3

 W   W  W  W    W  W  ≈ 5

pp

6

6

5

  5 5 pp      W  W W  W   W  W

ff

34 

3

3

  W  W   W W  W   W

molto s. p.

Œ

34 Œ

p

pp

‰.

Œ

∑

3



Œ

molto s. p.

34 Œ

3

Œ

∑

34

∑

3

3

molto s. p.

f



∑

∑

 W

3

∑

34

∑

3

∑

∑

Œ

 = 76

accel. . . .

A Y.



m.v.

3

∑

f

or

˜    . ‰ .   mf

? 

p

3

Œ

‰

 

f

>>>>>>>>>>>>>>>>>  

Tom-Tom

34

.R

@

‰

 Y 

3



∑

p

Œ

p

 Y





Œ

3

p

Y

 ‰ 

? 3            34                 ≈ ‰



ic

‰.

Ó

ig ht

Vl. II (a )

1

/

∑

34 ? 34 

G

1

@



f

mf

∑

Ó

34 Y   Y   3

 Y 



f

Œ

p

∑

W 

3

 

X

34

mf

W p

f

f

∑

by

Drum-kit

‰



f

34  22222  ( ) 22222  ‰ 

(m.v.)

mf Sängerin

∑

p

Œ

/ P  .

p

 Y

3



34 Y  X   p (m.v.) Y  ( Y  )  34  2222222222  ‰

Œ

con

A



3 Œ  >>>>>>>>>>>>>>>>> 4  ‰ . >f >>>>>>>>>>>>>>>>>> 34 Œ 3  Y 

∑

@

E-Pno (Synth.)

?



 

34 ‰ 34

Œ

Obertongliss.

D Ó

E-Git.

≈

sf

@ @

∑



@ 

Hr. in F



̃ . 

A

≈ Œ

di &

Ob.

∑

Fo

@ c

∑

nl y

34 34  .

C o. /

@

Fl.

al o

∑ ? 

Sam.

us

 = 76

er

accel. . . .

rp

16

5

 Y         W  W  W  5

5

3

3

3

3

3

3

W  W  Y            ?≥ 3 pp 6   ‰ ‰ Œ sf ≥ mf 3 6?   ‰ ‰ Œ 3

?≥ Y   W   

3

sf

‰

‰

Œ

3

sf

‰

‰

Œ

mf

sf

?≥ W    W  

3

6 19

Fl.

@

∑

∑

∑

∑

∑

Ob.

@

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Y



 Y   m.v. 

≈  .

@

Hr. in F

@

∑

∑

∑

∑

@

∑

∑

∑

∑

 D Y 

E-Git.

A 1

Perc. 2

Sängerin

∑

∑

∑

> Y    

∑

∑

@

∑

∑

?f ‰ Y    3

so

op

2

Vl. II (a)

1

2

Vc.

Kb.

1 2



6

Y            3  @ 3 3 3 3 ‰ ‰

W             3  @ 3 3 3 3 ‰ ‰ mf

Y             3  @ 3 3 3 3 ‰ ‰ mf  3  @ 3 3 3 3 ‰ ‰ mf

Y             3 B Y             ‰ ‰  mf

A E

3

3

3

∑ ∑

3

mf

Y

till I 3

by

3

(DIV.)

Va.

? ‰ Y  Y   Y  mf

 p                      .          Œ Œ 3

Y Y ‰  

∑

fast

yr

Vl. I

mf

∑

∑

@ Y 

? Y Y   Y   .. Y

∑

ig ht 1





ord.

Œ Œ

Œ

pp



ord.

Œ

pp

∑

. Y Y

∑

 ‰  

gl.

? Y  

 



.

.

f

 

    W  ‰  p

?>>>>>>>>>>>>>>>>>>> Y. Y  

∑

∑

mf

∑

∑

∑

∑

∑

∑

∑

 Y  .

> ≈  Y wa

      

.

YY    X

.

YY    X ∑

-

Tom-Tom Reibstöcke

Œ

a

-

Œ

ake

            ‰ ‰  

Y ≥

‰.

   .

Y  ..   ‰. ≈ 

Vibra Reibstöcke (Messing)

? >  Y  Y   Y    ‰

 

>˜   f

f

? 

up

 

 ‰. 

 

.   .      ≈



. 

mf

. 



Œ Œ

   ..

‰.

(II/I)

‰.

   ..

(II/I)

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Sy. 4411/01

f

Œ

mf

∑

≈

f

mf

Y

f

f

∑

∑



Y    >>>>> X    W X

∑

. ‰.

 Œ

 Y ≈ Y

∑

? Y 

 .

∑

rp

∑

/

/

Drum-kit

∑

3

@

E-Pno (Synth.)

∑



‰

pp

pp

 X W     Y   X 

.

≈ 

Fo

A

Tb.

‰ Y  

Œ

Œ



C o. /

A

Œ



di &

1

‰

p

f

or

Pos.

@ Y 

Œ

ic

2

Œ

.R

Trp. in C

3

G

1

C



Alt-Sax. in Es

al o

∑

us

3

f

A

Fg.

 ‰ ‰

er



D

B-Klar. in B

nl y

Sam.

 

(II)

 

(II)

 

 = 60

rall. . . . .

24

7

@

∑

∑

∑

∑

Ob.

@

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Pos.

1

 ‰.   ‰. 



A

Tb.

∑  >>>>>>>>>>>>>>>>>>>   ..  .. .

D

E-Git.

@

A

Perc. 2

Sängerin

/ @

≈  .

Vl. I

@

op

yr

2

@

C

Vl. II (a)

1

2

1 Va. 2

Vc.

Kb.

@ @ B B

A E

 

 

Œ Œ

Œ

Œ

  ‰.

ff

  ‰.

 . . . 

 >>>>>>>>>>>>>>>>>>>>>    Y  W Y  mf

3

     .  f

rall. . . . . Œ

‰.

Œ

Œ

(rim-shot)

ig ht 1

Œ

∑

ff

5

5

5

5

   Y   ‰ ‰. Y 

∑

 Œ

W 

mf

 Œ

 W .

5

cuz

5

   

e - vil

∑

5

5

   

∑  ‰

5

 . .

5

5

 . W . .

5

˜   p‰ .  ?

are all

5

 >>>>>>>>>>   ≈ ≈ W      3

∑

Œ

Œ

5 5  . W   ≈  . 

 . Œ

Œ

Œ

spi - rits

mf

∑

Œ

5

5

 

5 >>>>>>>>>>>>>>>>>>>>>>>>  W . . ≈ ‰  

a - round

  

5

mf

∑

∑

∑

∑

∑

∑

ff

Œ

∑

∑

∑

W 

ff

W 

 ..  ..

pp

pp

Œ

∑ ∑

 (mf)



(mf)

 

W ≥ ..  W ≥ ..  ff

ff

∑

∑

∑

5

‰

Œ

∑

∑

5

‰

Œ

∑

∑

∑

∑

∑

∑

∑

∑

Sy. 4411/01

 

 W

my

 >   3     

   .  .. ‰. 5

Œ

  ‰ .

3

∑

 ˜ 5    .p  

mp

‰

ff

  ‰ .

?   . 

∑

∑

f

mf

 > 5           .  . .  ‰.

 = 60

 

∑

Œ

mf

‰.

∑

∑

  ‰.

    C    ‰ . 

? .  .. . 

∑

∑

ff

f

∑

Y  ≈  Y  

Œ

∑

∑

∑

ff

3

p

Œ

Œ ? >>>>>>>>>>>>  X. W 

 ‰. 

@

‰

∑

∑

W 

/

Drum-kit

 Y

5

∑

G

1

. 

Œ

by

E-Pno (Synth.)

 Y.

f

ff

A

Y

∑

us





.

∑

er

@

p

ventil gliss.

or

2

senza sord.

ic

Trp. in C

@

≈ Y .

Œ

∑

‰

di &

ff

5

p

.R

1

 ‰. 



@

Hr. in F

f

∑

@

Alt-Sax. in Es

̃ . 

rp

A

Fg.

Œ

̃

Fo

Œ

˜ ̃ Y  .

C o. /

D

B-Klar. in B

s.v. ˜ Y

al o

Fl.

nl y

Sam.

8

@

Hr. in F

@ 1

5

A

Tb.

>>>>>>>>>>>>>>>>>> W  .. ≈Œ D 

E-Git.

@ Œ

Œ

/

Œ

A

E-Pno (Synth.)

1 Perc. 2.

64 ‰

∑

64 ‰

∑

64 ‰

U ‰ Œ

∑

64 ‰

U ‰ Œ

? m.v. ?  Y    W .  X    Y    @ A

Pos.

∑

 ‰. 

f

W  .. @ ≈ 

∑ ∑

64 ‰ Œ

 .. 

f

> >>>>>>>>>>>>>>>>>>>>   W.  ‰ @

Vl. I 2

@

2

@

1

C

op

Va.

2

1 Vc.



2

1



p

B

Kb.

B

E Œ

pizz.

2

∑

∑

45

∑

∑

45

∑

∑

45

∑

∑

45

∑

45

∑

45

∑

45

Œ

3

∑



∑

45

64 ‰

pizz.



f

∑

64 ‰

∑

64 ‰

∑

64 ‰

Œ

‰

pizz.

Y  3

f

‰

Œ

64 ‰ Œ

pizz.

W 

mf

‰

64 ‰

Œ

3

  f

Y 6 

4

64 ‰

  W 

U pizz. ‰ W    f

U ‰ Œ U ‰ Œ

U ‰ Œ

 U  ‰

U ‰ Œ

pizz.

45 Œ

3  ‰ 

45 Ó

mf

‰ Ó

pizz.

‰ ‰ 3

f

U ‰ Œ

Bongos

3

Œ



‰

Œ

‰

Ó

45 Œ

   

 45

    ‰

45 Œ



  Œ

 3 Œ Œ

f

Œ

3

 Œ  f

Œ ‰.

pizz.

  ‰

≈

3 ‰  ‰ Œ

Œ Œ   W   ‰ Œ 3

‰ ..

f

‰ Œ

 ‰

Y Y     mf

‰.

3

mf secco

 Œ

Œ

3

 Œ  3



Y X

X 

W3 

Œ

3

‰  3

3

‰

f

Sy. 4411/01

Œ

 Y

‰



3

   ≈   3‰  ‰ 

Œ

W  ‰



3

 



‰

W



Œ Y 

‰ ..

 W

3  ‰ ≈ W   ‰ Œ

Ó









  



Œ

45  

Œ

3

Y 5 



3

 3 ‰

3



Y Y 3

3



3

3 ‰  ‰ Ó

‰

4

45 Œ

Y  3

3

Œ

‰ ‰ Œ

W 

‰

Ó

   

‰ Ó

   ‰  Œ

‰.

45 Ó



 ≈  ≈  ‰ W

> . ‰ 

3

54 W  W  X   ‰  ‰ Ó

45 Ó



∑

Freely around this pattern while becoming more and more dense (fill in). Start with rim clicks.

3  U  W 3‰  ‰ ‰ ≈ W 

64  U‰ 



∑

U ‰ Œ

f

∑

45 Ó

∑

6"

∑

45

45 Œ

6 ‰ Y  4

∑

∑

∑

6"

∑

45

64  ≈ U‰ Œ 64 ‰

∑

E Œ

45

‰ ..

Œ

A

U ‰ Œ

ff

Œ

∑

∑

ff

W 

∑

U ‰ Œ

pizz.

A Œ

ff

U ‰ Œ

45

Ó.

yr

Vl. II (a)

U ‰ Œ

64  ≈ U‰ Œ 

∑



4

.R

@ Œ

pizz.

U ‰ Œ

∑

 6" 5 p  pU     .         64  ‰ Œ  ‰   ff 5

ig ht

1

  

@

W  6 

G

1

/

6"

6" 64 ‰ U‰ Œ ?

64 ‰

by

Drum-kit

f

≈

U ‰ Œ

ic

legs.

. gliss



f

Sängerin

ff

64 ‰

∑

U ‰ Œ

64  U‰ Œ

5



U ‰ Œ

∑

or

Trp. in C

64 ‰

45

nl y

Alt-Sax. in Es

∑

∑

al o

A

Fg.

∑

us

D

B-Klar. in B.

6"

er

@

Ob.

U ‰ Œ

64 ‰

di &

@

Fl.

3

rp

Sam.

Fo

Sample

C o. /

28

3

Y    ‰ Œ

3  ‰ ‰

9 31 Sam.

A

∑

@

∑

A A

E-Git.

∑

/

3  

Œ

2

@ Ó

1

@

‰

> 

3

‰

‰.

  

Œ







‰

‰

Œ

B Œ

Va.

2

1

Vc. 2

1 Kb. 2

B Œ



A ‰ .. A  E ≈ E Œ

≈ 





‰

3

W 3 



    ‰ 

‰

3







Œ

‰

3

‰



‰

 ≈ 



3



Y  Y 3

3

Œ

Œ

≈  W

 W W X 

Œ

≈

‰ Ó

 Œ3 

Œ





 Y

3

Œ



  ‰ 3

‰

Y Y     3

Œ

3

Ó.

> 

‰.







W



 

‰

Œ

‰

3  ‰

Ó

Œ

‰

3 ‰ 

Ó

Œ

 

Œ W 

Ó

Sy. 4411/01

Œ 

Œ Œ

‰

‰

3

 

Y 

‰ 

3

‰

‰



3

  W 

 W ‰



3

3

   



‰



3

3  

  ‰ 3

Œ ‰

‰

Œ







≈  W 3



Œ

 

Œ

Œ

 

Œ

≈ 3  ‰

Œ

 

Ó

Œ



‰

W  

‰ ..

Œ

‰

‰

Y  X 

‰ ..

Œ Y 

Π3

   ≈  



Y  3

 

Œ



‰

3

3

Œ

3

‰

‰  Œ



  ‰

‰

∑



Ó

Y  

 

3

‰.

Y

‰ W

 

Œ

‰.

Œ

Ó

‰

Œ

‰



3

3

‰



 

 3  Œ

 W  

Y   

3

 W ‰

ig ht

W @ 

yr

1

‰ ..

Œ

3 ‰ W  ‰ Œ

@ Π/

 

.

≈ 

∑

∑

‰

≈

. 

∑

∑

1

2

∑

@

 @ 

Vl. I

∑

ic

Drum-kit

∑

.R

2.

∑

∑

G

Perc.

∑

D

by

1

∑

∑

A

E-Pno (Synth.)

. .  mf

Fo

Tb.

Ó.

. 

≈

∑

C o. /

Pos.

≈

. 

er

@

Trp. in C

≈

. 

rp

@

Hr. in F

mf

≈

Y . 

nl y

≈

Y . 

di &

Alt-Sax. in Es

op

∑

or

Fg.

C

∑

D ∑

B-Klar. in B.

Vl. II (a )

∑

al o

@

Ob.

∑

us

@

Fl.

Œ

W 3 

‰. ‰

3

3

‰  

Œ  ≈ 

≈

10 33 Sam.

Trp. in C 2

Tb.

E-Git.

@

@ Œ

. ‰ mf

.

∑

@

∑

1 Vl. I 2

1

/

Œ

3

@ ‰ 

3

 @ 

@ Œ

W

‰.

f



2

Va.

2



B Œ

1

Vc. 2

1 Kb. 2

A Œ A ‰ E ‰

  3



 Y



Œ











 

‰

Œ

Y  Y

 

3

Œ Y 



Œ

3 ‰  ‰

Œ

‰.

‰

3

3



‰

3 ‰

 W ‰



3

 

‰





‰

‰ Ó

Œ

Œ ‰

Ó

3

 

Œ

 

3

> 

≈  W 3



. ‰

 

3

 . 

∑

‰

nl y

. ‰

.

3

3

   

‰.

‰ Sy. 4411/01

3

‰

Œ 

‰.

  

 

Œ

‰

Ó.



‰ .. W 3 

 

Œ

‰

W 3 ‰ 



‰

  ‰

 ‰ 

Œ

‰

3

3















 

‰

Œ

  W    



3 ‰ 

≈  



 

Œ

Œ

Y  X

‰

Œ

≈  

∑

Œ

  ‰

Œ

∑

3



Œ

‰

Œ

  W 

W

Œ

W 

f

≈ 

‰

Ó

Œ ‰

3

Œ

Ó

Y 3 



‰ ..

Œ Y 



‰

Y Y    

3 ‰  ‰

3

‰



Œ

3

‰

 . 

. ‰

‰

Ó

 ‰ 

Œ

Y

E  ‰ W 3

  ≈ 



3

3

Œ



 W W X 

B Œ

‰

Œ

Ó.

‰

yr

1

 

Œ

ig ht

@

> 

    ‰ 

G

Drum-kit

Œ

by

2.

∑

Y   

3

. ≈ . . ≈ Œ

∑

or

W @ ‰  ‰ 3

Œ

≈

. 

∑

ic

Perc.

‰ ..

 . 

. ‰

‰

∑

Œ

. . 

≈

. 

. ≈ . . ≈ . ≈  ≈ 

Œ

∑

D

‰

Ó

≈

∑

∑

 

≈

. 

∑

A

/

. ≈ . . ≈

≈ 

.R

1

≈

. 

∑

 

A

E-Pno (Synth.)

≈

Y . 

al o

. . 

Œ

A

Pos.

≈

. 

us

≈

. 

rp

1

op

. 

@

Hr. in F

C



∑

. . ≈ @ ≈

Alt-Sax. in Es

.

∑

er

≈

A

Fg.

Vl. II (a )

Y . 

∑

Fo

D ≈

B-Klar. in B.

∑

di &

@

Ob.

∑

C o. /

@

Fl.

Œ

Œ Œ

3

3

Œ

Œ

3

 ≈ 

‰

 Y 

 ‰

3

‰



Y Y    3

Œ ‰

3

 W W X 

Œ

3

‰

 

Œ

Y Y 

≈  ‰ W 3

Œ

3



Œ

3

‰

‰

11 35 Sam.

A

Pos.

Tb.

E-Git.

‰

. ‰

D

∑

@ Œ

Œ

/

‰ ..

2.

Drum-kit

1 Vl. I 2

1

Œ

@ Π/

Œ

3

Y    f

3

@ Œ

 @ 

2

W

B ‰

yr

1

C

op

Va.

2

1

Vc. 2

1 Kb. 2

B ‰





 Œ 

f

‰



Œ ‰.

Œ  

3

 ≈  

‰

Œ







‰.

‰

Œ

Y Y     3

  3

 

‰

Y  Œ

3

.

. . 

∑

Y . Œ

≈ .

3

 . 

‰

.

‰

‰ W  ‰ . 3

 . 

. ‰

∑

3 ‰ 

 

‰

‰

 3 ‰

Œ

‰

Œ

  W 

 

‰

Œ

3

Œ



3

 

ff

‰

Œ

 

Œ



‰

≈ 3  ‰

Œ

W 3 

‰

3

 

3

Y

‰

Œ



 ≈ 



≈

3

.

≈ 

Œ

. ‰

.





  

‰

≈  



3  ≈  W 





 W W X  ‰

Y Y    ‰ 3

3

 Y

  3

‰ W 3

3   ‰  ‰ 

3 ‰ W  ‰

3

Ó

‰.

‰

Sy. 4411/01

‰ Ó

Ó

Œ

 Œ 

3 ‰ 

Ó

‰

Œ ‰



Œ

Œ

3

3

‰

 

3

W

Œ

3

Œ



Œ





3

∑

  

 W ‰

Œ

 W  

Y  X

‰.

 

3

Œ

3

3

 

‰ ..

‰

 

3

Œ

 

Y X  

Œ

Œ



Œ

Œ

Œ



Œ

E Œ



‰





Œ

A Œ

Œ



 ‰ 

Ó

. ‰



Œ

‰

‰



Œ

‰

Œ



Œ

Y  3

. ≈ . . ≈ Œ

≈ 

‰

Ó

3  ‰ 3

≈

. . . . . . . . . . ≈  ≈  ≈  ≈  ≈  ≈  ≈  ≈  ≈  ≈ 

3   ‰  ‰ 

3

‰ ..

Y  Œ

 

. 

∑

3

∑

. ‰

≈

. 

∑

    ‰ 

3

Œ

A Œ

E W 

f

‰ ≈  W

‰

ig ht

@

Œ

Œ

3

‰.

 

W ‰ 3   @

Y X  

G

Perc.

∑ ∑

by

1

‰

A

A

E-Pno (Synth.)

 

.

. . Y   f  . 

‰ ..

≈

Y . 

rp

@ 

con

or

2

@ Ó.

ic

Trp. in C

∑

. . 

.R

1

f

. . ≈   ≈ Œ

f

@

Hr. in F

. . . . . . ≈  ≈  ≈  ≈  ≈  ≈ 

.

≈ 

≈

f

nl y

. . 

. 

Fo

@

Alt-Sax. in Es

. . ≈  ≈ 

≈

. 

Œ

. . . Y  X .  ≈  .  .  ≈ ≈

‰.

al o

. . A ≈  ≈ 

Fg.

≈

. 

. . Y  ≈ 3

us

≈

. 

‰

∑

C o. /

D ≈

B-Klar. in B.

Y . 

∑

3. . W  ≈ ‰

di &

@

Ob.

Vl. II (a )

∑

er

@

Fl.

Y Y  

Œ

  ‰

‰

Œ Œ

 3 ‰

Œ

3









3  ‰

Œ

3 ‰ 

Œ ‰

W 

‰

3 Y 

‰

Œ Œ

‰ Œ

Y 

Œ 

 

 

‰

3

‰

3

Œ

3

 

12

accel. . . .

37 Sam.

. . ≈   ≈ Œ

. ≈ . . ≈ . . ≈ . . ≈ . . ≈ . ≈  ≈  ≈  ≈  ≈ 

Trp. in C 2

@ @

A

Pos.

. . . Y 

 

‰

∑

/

‰ ..

Drum-kit

1 Vl. I 2

1

Œ

    ‰ 

Y  @  /

‰

Œ

@

‰.

 

3

‰ ..

@ @





@

W 

B

Œ

Œ

B

Œ

Œ

yr

1

Va.

2

1 Vc. 2

1 Kb. 2

A A

Ó 

Y E  E

Œ

∑

‰



‰

3

‰

≈ 



‰

3

  

3

3



‰

3

Œ

 Œ



 ‰ ≈ W  

Ó









Œ

 

Œ

 Œ 

Œ

3  ‰

Œ

∑

3. . . ≈ . W  ≈ ‰

. ‰

? Y

Œ

3

Œ

‰

3

 W  

W 3 

‰. Œ  ≈ 

Œ



3

‰ ≈

3 . .  . .

. 

. ≈ . ≈  Œ

. . W  . . . .

 . 

‰

∑

3

‰

Œ   ‰

. ‰

.

‰

∑

  

‰







W



 

‰

Œ

Y  Y   ‰

 Y

 

3

3

Ó 

Y  

ff

Œ

Sy. 4411/01

ff

ff

3 ‰ 

Œ Y 



  W ‰

ff

3

‰

‰

 

‰

Œ







3 

‰ Ó

Œ



‰

3

‰

ff

Ó

Œ ‰

Y 3

Ó

3

‰ Ó Y   

 

‰  3 ‰

‰ ..

Œ

‰ Œ

W 

Y   

3

accel. . . . ff

3  ‰ 

‰ ..

‰ Ó

3

‰

  ‰

3 

3

Œ



≈  ‰ W

ff

3

3

Œ

≈  

   



ff

 Œ 

3 ‰ W  ‰ Œ



ff

3



3

Y

 Y Y

3

Œ

 W W X  ‰



3  >>>>>>>>>>>>>>   Y  Y Y Y

Ó.



3

∑

Y X  Œ 

 ‰. 

3

f

Ó

‰

3

‰

Y Y  X Œ 3

ff

 3  Œ

≈

≈

. 

. ≈ . . ≈

≈ 

‰

Œ



‰ 

Œ

Œ

 

3 ‰   ‰

 

Œ

3

Œ

3

‰

‰ ..

‰

3

Y Y    

  W ‰



3   ‰  ‰ 

3

 ‰

  W 

Œ

Œ

Œ

 

‰.   



ig ht 2

3

Œ

Œ

Œ Ó

Y X  Œ 

3

di &

Œ

ic

@

.R

2.

 . 

. ‰

‰

Ó

G

Perc.

 . 



3 . . ≈ . Y . Y .  ‰ .

≈ .

Œ

∑

by

1

. .

Œ

∑

A

E-Pno (Synth.)

. ‰

‰

D

E-Git.

op

 . 

. ‰

A

Tb.

C

. . W3. . .  ≈ ‰ . ‰ 

≈

. 

≈

. ≈ . . ≈ . ≈ . . ≈ . ≈ ≈  ≈ 

∑

‰.

≈

. . 

.

≈ .

Fo

1

‰

3

. ≈ 

. ≈ . . ≈

≈ 

≈



. . ‰ .  ‰ .

rp

@

Hr. in F

. . 

Y .

‰ ‰

3

nl y

@

≈

. 

3. . . 

C o. /

Alt-Sax. in Es

≈

. 

 .

al o

≈

A

Fg.

Vl. II (a )

D

Œ

‰.

or

B-Klar. in B.

Y . 

. ≈ W  ‰ .  ≈

∑

us

@

Ob.

Œ

3 X . Y . Y . . X . .  ≈

∑

er

@

Fl.

 W

≈ W  3

 3

3

   

‰. ‰

Œ ‰

 

3  ‰

13

Sam.

2

1 Pos. 2

Tb.

@

A

D

E-Git.

Y.

Œ

≈ 

mf

Sängerin

Drum-kit

/

@ @

2

‰ p ∑    P

 = 69

@ @ @

op

1

C

Va.

2

Y  3   3   3 

1 Vc. 2

1 Kb. 2

W  3 

B

 3 

A

   Y  3 

B

A E E

mf

∑

 ‰.  

(schwarzer Cluster)

3

yr

Vl. II (a )

1

mf

 .

 .

3

Y  3   3 

W  3 

Œ

  f

Œ

Œ

Œ

Œ

Œ

Ó

‰.

‰

Œ

≈

3



 Œ 

mf

Œ

 ‰

mf

)

3

W >  

( mf)

Œ

3

mf

.  5 

 

∑

 W

sf

mf

∑

 W



∑

∑

∑

34

∑

∑

∑

34 34

∑

∑

∑

?   W    . 

mf

34

∑

I

was looking

Œ

Œ

 ‰ 

    ‰  

W   3

W W  3

W 

m.v.

∑

∑

f

∑

∑

W  

Œ

3



3

Œ

3

out

Œ

Œ

∑ ∑

 3  ‰ ‰ Œ

W W

34  ‰3 ‰ Œ 

 

p

34 Œ

‰

∑ ∑

34

p

Y   

p 3

3

p

‰

W  

Y3  Y 

‰ Œ

 ‰ 

34 Œ 34 Œ

Y 

∑

∑

∑

∑

34 ∑ 34 W    ‰ Œ

3

∑

Œ Œ

∑ Sy. 4411/01

3

  

pp

‰ ‰

3  ‰ Œ

pp

pp

Œ Œ ≈

W3  pp

‰

 

Œ  W ‰ ..   ‰ pp   ‰.  ‰  pp 3 Y  Œ ‰  ∑

 

∑

Œ

3 ‰ Œ 

‰

mf

f

p

 

(con

W  

∑

34

mf 3

? W. ≈ 

Œ

∑

∑

p

  Œ

∑

∑

? 

 

.

34 34

  

Œ Ó.

W

 

p

 ‰. 

∑

∑

∑

. 



34

∑ ∑

∑

gliss.

34

Ó

 

∑

 b  

al o

W.

mf

ig ht

2

∑

34   . 34

by

Vl. I

{    mf

∑

/ @

34

gl.

∑

Y  (volume pedal) Y  mf     ‰     ‰3 ‰ ∑   Y  3  ‰ ‰ ∑

3

1

{  gl.  

.R

2.

f

34

G

Perc.

34

m.v.>>>> Y  Y  Y  Y    ? Y  X  Y     . W ≈ 34 . ff 3 >

A 1



 Y Y

3 @ Y X  ‰ ‰ Œ

E-Pno (Synth.)

f m.v.

Œ

Œ ∑

∑

Œ

34 Œ

mf

con

∑

∑

34  ‰ .

mf

∑

m.v. Y  Y  ≈

Œ

A A

f

 ‰3 ‰ ∑  con

∑

34

  3 Y    m.v. 

 3  ‰ ‰ ∑

@

∑

di &

1 Trp. in C

∑

f

Œ

us

@

Hr. in F

∑

34

 ‰3 ‰ ‰ . 

@

Alt-Sax. in Es

∑

Œ

er

 3  ‰ ‰ ∑

∑

or

Fg.

34

Œ

rp

A

Y 3  ‰ ‰ ∑

D

B-Klar. in B.

3

∑

Fo

@

   ‰. 

34

ic

Ob.

Y 3  ‰ ‰ ∑

∑

 b ‰  

C o. /

@

Fl.

n

2 3 4 | 2 3 4 C#

nl y

 = 69

39

W

Œ Œ Œ

Œ

 3

  ‰

  Œ

 Œ  3  Y Œ

 3  ‰ ‰  ‰3 ‰ 

3

Y 3  ‰ ‰

Œ

 ‰  3

Œ Œ Œ

Œ ∑

3

 

14 43

Trp. in C 2

Pos.

@ ≈ . @  A A

Tb.

W D W 

E-Git.

p

44

‰

f

p

Œ

  ‰ YY  Y 

 

2

1

@

∑





B Œ

Va.

2

1 Vc. 2

1 Kb. 2

A Œ

E



‰



44

44

‰ Y   44 Y 



‰

 

‰ ≈

∑

mf

Y 

3



∑

45

 

‰

‰

44 Œ

Œ

Œ

44 ‰ .. 44 Œ

 W    p

‰

‰  3

3

44 Œ

arco

D

˜ 44 W æ

‰





Œ

Œ

p 3

3

3

 

‰ Œ

p

˜  æ

3

˜  æ ˜  æ ˜ æ

W     45

3 ˜  æ

˜  æ

˜  æ

˜  æ

˜ æ 

‰ Œ

˜ 3   p‰   f  ˜ 3˜   æ @ ≈ ˜  æ

˜ æ

3

24 24 24 24 24

f

3

3

24

3

3



3

 X  m.v. X   ‰ 

√ gliss. 3?     Œ   f f ? schwarzer Y  Œ Y  3

∑

24

˜ æ

 

‰  Œ

ff

˜ @ ≈

3

ff

˜ @ ≈

24 24 24 24 24 24 24

3

ff 3

sf

24 24

p

Œ

45  ‰ ‰ Œ

   3 WW   ‰  ‰  Œ

24

 

Œ

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3 ‰  Œ 3  

24

 3  Œ

24

 

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

ff

Œ

4

 ‰ 

‰

Y Y 

3

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 

3 3  >>>>>>>>>>>>>>>>>   ‰

∑

∑

 X 3 Y    Y

4



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

m.v.

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Œ

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3

24

∑

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p

p

?

f 54 Y 

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 

 W  W 

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rain:

∑

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3

Y  

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∑

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3

45 45

∑

p

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

3

.

45 

45 Ó .

˜ (III)  4 æ

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

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∑

√ ˜ (I)  4 æ

4

45

.

m.v.

 ?  Y >>>>>>>>>>>>>> Y 5  Y  4  

? Y   

3

√ W ˜ 4 æ

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(II)

arco

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Œ

rain

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‰.



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3  A ‰ Y ‰ Œ

Y E 

∑

3

B Œ

? 

5

arco

 W W  

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1

3

ic

∑

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‰

at the

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∑

∑

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@

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Y Y  Y

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p

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by

Drum-kit

@ Œ

∑

  Y  

3

44

∑

A ‰ Y Y   Y     Y  ? 5 ∑

Sängerin

44 44

Œ

∑

45

‰ 44  W   Y  X   Y  Y   

3



∑

ff

nl y

∑

mf

Perc.

op

44 Œ

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∑

∑

∑

>  @ ≈ Y  . Y Y   f

E-Pno (Synth.)

C

44

45

al o

1

44

∑

24

‰

us

@

Hr. in F

∑ ∑

@

Alt-Sax. in Es

44

3

er

A

Fg.

∑

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∑

rp

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B-Klar. in B.

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Œ

Fo

@

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or

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p

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Y Y  ‰ ‰

Œ Œ



Œ

p

Sy. 4411/01

‰

45 ‰ . 45 Œ  45 æ̃

II

3

45 Œ

3

3

 ‰

3

Y Y    ‰

sf

3

Y 3 

3

‰ Ó

sf

  Œ

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Œ

 3 ‰  Œ

24

 æ̃

24

Y    ‰

 æ̃

sf

3

≈  æ̃ 3

 æ̃

W3 

sf

sf

@˜ E ≈

3

ff

24

15

sub. = 108

46 Sam.

@4

2

∑

44

∑

∑

∑

Ob.

@4

2

∑

44

∑

∑

∑

B-Klar. in B.

D4

∑

44

∑

∑

A2

4

∑

44

∑

∑

2 @4

∑

44

∑

@4

2

∑

44

∑

∑

44

∑

Ó

senza sord.

1

2 @4 @4

∑

44

∑

Ó

senza sord.

2

4

∑

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∑

∑

44

∑

E-Pno (Synth.)

Perc.

2 @4

    3

mf

  

A 2 YY  4

. .  . . 

p

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(volume pedal)

24 2 @4

∑ ∑

44

f

 . .

44 Y 

mf

≈

44 .

3 3          VY 

  



≈

.

44

/ 24 Œ

Y 





 Y  Y

X X 

3



why did you wan-na

Œ

Ó

 . ‰ .

Œ

Ó

3

 3 Y 

3

  Y  ‰ ‰ . Y > 3    ‰ Œ >

these mean things

Ó

al o mp

∑

‰ Y 

∑

≈

? . Y 

. Y . . . Y  .   Y

3

 3   ‰  

f

‰

. . Y  

3

3

3

‰ Œ ‰ Œ ‰ Œ

gl.

Y  W  X 

   

≈

  ‰ 

 ≈ .

   



 .

mf

Y  ∑

3

to me?

‰ Œ

?3 Y ‰ Œ Why?

     W     

Why did you wan-na do,

∑

∑

∑

44

∑

∑

∑

@4

∑

44

∑

∑

∑

B 24

∑

44

∑

∑

∑

A2

4

∑

44

∑

∑

∑

E2

∑

44

∑

∑

∑

C

op

Vl. I

Vl. II (a )

Va.

Vc.

Kb.

@4

2 2

4

*) rezitativisch: halb gesprochen, halb gesungen. Deutlich artikuliert.

Sy. 4411/01

Œ

∑

∑

do all

Œ

f

mf

Fo

    ‰  Y 

∑

44 >     ≈  3  3‰        

sub. = 108

3

‰ Y 3

*) f

 ≈ .      44  ‰  pp mf 

Y  Y  Y

‰

yr

Drum-kit

≈

begleitend  

. Y  Y  . . . f

Œ

C o. /

3

gl.

    . 

∑

di &

2 D4

?

ig ht

Sängerin

4



3

Y . . . . . .   Y Y ‰.  f

‰.

∑

or

E-Git.

A2

f

∑

ic

Tb.

A2

.R

Pos.

2

G

Trp. in C

by

Hr. in F

. . . .  .

‰.

Ó

mf

us

Alt-Sax. in Es

∑

 

er

Fg.

‰.

Œ

Ó

rp

2

nl y

Fl.

16 50

Fl.

@

∑

∑

∑

Ob.

@

∑

∑

∑

∑

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E-Git.

E-Pno (Synth.)

A

∑

A

∑

Y   Y     D 

A  . Y

 ‰. 

G ‰

 Y

Œ

by

 @  ‰.

Why?

/

Vl. II (a )

Va.

Vc.

Kb.



> Y

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Y Y

 

5

  Y  Y   Y

Y ≈ Œ 

‰

≈ Œ

‰

 .

       Y  

6

‰

Why did you wanna do

 Y  

Y Y 

. .

X 

 ‰ j  X  X   ‰



Y 



mf

f

mf

f



al o

mf





≈ Œ

∑

Y . . . Y . . .  ≈ Y  ‰.

. 

≈ Œ

Y   ‰.

 .

mean things

 X to

 

me?

‰

Œ

Y

Why

∑

@

∑

∑

∑

@

∑

∑

∑

B

∑

∑

∑

A

∑

∑

∑

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∑

∑

∑

Sy. 4411/01

Œ

p

. Y   UY  .   Y   Y . . Y  . .

 Y  

Œ

3

   

Œ   

3

∑

     Y 

all these

mf

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∑  

us

er f

∑

ig ht

C

op

Vl. I

Y. .

mf

∑

yr

Drum-kit

? Y  Y . . .     Y 

mf

Œ

Y . . . Y . . . .   ‰.

∑

∑

Perc.

Sängerin

.



‰

∑

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Y . @  Y  Y Y  X XX  YY  .. >

‰

∑

mf

f

Œ

∑

∑

. . . . . . . . . ‰ . Y  X 

mf

rp

@ Œ

‰

Y . Y . . . . Y  .  ‰ . . mf f mf . . . Y . . Y  Y . . ‰ . 

Fo

mf

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1

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di &

2

p

or

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≈ Œ

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1

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Y . . . . . X .  . . .  ‰ . mf

@

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

. Y . Y . . . . . .     .  ‰.  Y  . mf

@ Œ

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 f

A ‰.

Fg.

Pos.

Y

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ic

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B-Klar. in B.

nl y

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  Y

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∑

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Fg.

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@

∑

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Ó

A

Pos.

A

Tb.

E-Git.

( f) 3

@ Œ A Œ

E-Pno (Synth.)

3

3

3

mf

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3

1 Vl. I

Why?

1

op

2

1

Va.

2

1 Vc. 2

≈ ≈

 Y  

Œ

Y 

Y    X 

≈

       

 

   Y

Why did you wanna

do

34 

34 Y . ‰ .  34  ‰ . . 34 . ‰ .  34

. . Y .  . . .  . mf

34 . ‰ . 

   .   .

all these

34

∑  .

≈ Œ

@

∑

∑

34

@

∑

∑

B

A A E

∑ ∑

arco

∑

arco

∑

‰.

qq

qq  qqqqq 

„f ”

q qq qq

 qqqq 

(„ratternd”)

‰

„f ”

  ≈ Œ  qqqqqqqqqqq .

„f ”

∑

Sy. 4411/01

34

Œ

Œ

Œ

∑

44 44 44

Œ

Œ

44

Œ

Œ

44

Y Y 

3

 ‰3 Y  Œ   3  Y  ‰  Œ 

44 44 44

3  ‰ >   

≤ ≥  p

≤ ≥ 

Y

≥ ≤ W W   p

≥ ≤ YY  

p

p

44

Why?

44

∑

≥  ≤ ≥ ≤ ≥ ≤        W . 4

4

≥   ≤ ≥  ≤ ≥ ≤.      4 3

ff

4

≥ ≤    ≥  ≤ ≥ ≤.    4 3

ff

4

≥ ≤    ≥  ≤ ≥ Y ≤. Y 4   3

3

ff

ff

4

34

∑

44

34

∑

44

34

∑

44

34

∑

44

34

∑

44

„f ”

 qqqqqqqq  ‰. 

Ó

Œ

arco

‰.

Ó

Œ

Why?

34

arco

44

∑

ff 34 > 

things?...

Ó

Y 

4 Y

∑

∑

Œ

44

∑

B

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p

   Y    

34

arco

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44

∑

@

Œ

∑

∑

@

  Œ

34

34

∑

44

44

Y . . X . .  3 ≈

. . 

mean

Œ

∑

Y . . . .  . 3 Y 4

. Y  ..

>  ≈    X

3

Œ

34

X . . . Y . . 3   4 UY 

Y  ..

Y. ≈ . 

. .  ‰

4

∑

yr

Vl. II (a )

‰ 

  Y  .  X  ..  .  Y X .

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/

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3

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X 

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Drum-kit

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by

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@ Œ

3

≈

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∑

∑

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 Y 

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‰.

∑

3

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 Y        Y   Y  D 



f . . . Y . . . . .  Y  Y

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*) ff senza sord.

Pos. 2

A4

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Tb.

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*) ff

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ff

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E-Git.

E-Pno (Synth.)

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c 4 @ 4 ≈ Y  d  ff

-

       -

ig ht

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2

op

1

ff

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Vc. 2

1

ff

Kb. 2

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f

G

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. Y.

 . ‰ .

sf

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 Y .

Gong

 . f

         -           -         / 

  /   

      /        

        /

           

3

  

‰

‰. ‰. ‰. ‰.

  ‰.   .  ‰    ‰. 

  /

   /       / 

  ‰.    ‰ .

 /

  / 

  ‰ .

 /

Ó

∑

∑

≈ Œ

∑ Ó

mf

∑

∑

Y  YY 

p

mf

  /   /

Œ

Œ

Y  Y 

mf

    



Ó





æ 

gr. Tr. mf

≈ Œ

  ‰.   f

  Y Y

?   U Y  ... 

 

‰

 æ

‰

Ó

be - gan

 

to



fall

Œ

nl y

∑

∑

Ó

Œ

 ≈ W Y

∑

∑

∑

I

/ 44 Ó

Ó

 ‰. 

∑

ff

1

  ‰.

. Y . Y . Y . . . . Y Y Y  Y . . Y . . . . . Y . Y . . . Y   . Y . . Y .

/ 44

4 @4

f

mf

.R

2.

≈

 .



?>>>>>>>>>>>>>>>>>>>     

G

Perc.

∑

by

1

  /  ≈ .

Œ

∑

or

Trp. in C

/ d 

 ‰. 

 ‰. . p

∑

al o

4 @4 ≈

Hr. in F

p

ic

Alt-Sax. in Es

 . ‰ .

Ó

us

Y . . Y . . Y . . . . .   Y  . . Y . 4 .   Y  @4 . . . f f

Œ

rp

Fg.

 . ‰ . p

∑

Ó

Fo

B-Klar. in B.

Œ

C o. /

Ob.

 . ‰ . p

di &

Fl.

er

. W . . . Y . . .  Y  Y . Y . . . . Y Y Y  4 . Y . Y . . @4 . f  . Y . . . Y  Y  Y . Y . . . Y  Y  Y . Y . . 4   Y Y  @4 . . . . f  4 D 4 ≈ ` / [  /   /   ‰ . Y . ff. . . Y . . .   . Y . Y . . . Y   . Y . . Y . A4 4

Sam.

Ó

 

. Y Y  .. Y. Y.  .

 Y .

> ≈  Y .  so

≈ ‰

Y  Y   . > Y .   Y  Y   

mf

∑   . Y.   

≈ Œ

Ó

≈ Œ

Ó

≈ ‰

low

 @.. 

Y  

∑

 

so

≈ Œ

>    .. ≈  ?

low

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

*) aber gleich laut wie Streicher.

Sy. 4411/01



 ‰.     ‰ .

/

>    .

∑

? Y   Y 

 ‰  Œ

 

and

19 59 Sam.

@

∑

45

∑

34

∑

45

Ob.

@

∑

45

∑

34

∑

45

B-Klar. in B.

D

∑

45

∑

34

∑

45

A

∑

45

∑

34

∑

Alt-Sax. in Es

@

∑

45

∑

34

∑

Hr. in F

@

∑

45

∑

34

Trp. in C

@

∑

45

∑

34

A

∑

45

∑

A

∑

45

∑

 Y    Y   Y    D  Y 3

E-Git.

3

5

E-Pno (Synth.)

A ‰ YY  ..  5

5

2.

Sängerin

3

3

/ /

ig ht

/

Vl. II (a )

Va.

Vc.

Kb.

45  45 Œ 45 Œ

>   X   45    W W .

a friend and no place to

go.

∑

45

@

∑

@

Œ æ 

3

3

p

No

  æ æ

place

≈  Y

to go.

al o

us ∑

45

34

∑

45

er

34

Œ

34

∑

45

Œ

34

∑

45

 æ

34

∑

45

34

∑

45

 æ

 Ó. 

  Y 

45

45

mf 3

∑

rp  æ

p

Congas

> ≈ 

Becken

45

3

. ≈ YY  ‰ . 

 .

Y

45

34 X    Y  Y   ≈ Y  

  X   ‰   3

 Y ‰. .

   ..

45

∑

Fo  Y Y  

@

Œ

3

fi ‰

f

34    Y    ≈   45   Y  Y  No - bo-dy knows you

?

when you’re

∑

34    

45

∑

34

∑

45

∑

45

∑

34

∑

45

B

∑

45

∑

34

∑

45

A

∑

45

∑

34

∑

45

E

∑

45

∑

34

∑

45

yr

C

op

Vl. I

3

3 ? >>>>>>>>>     Y

  ‰ . 

∑

3 >5  ≈ @  Y     ‰  

gl.

Y 45 Y   Y 

.R

∑

I didn’t have

Drum-kit

 YY 



 ‰. 

G

Perc.

 Y   

by

1

 3  Y Y   Y  Y 

ic

5  ‰ Y   ..  @ ‰. 

X   X  Y  5 Y  4  

C o. /

Tb.

di &

Pos.

or

Fg.

nl y

Fl.

Sy. 4411/01

(rim-clicks)

≈ ‰

mf



45

20 62 Sam.

@4

5

∑

34

∑

44

∑

34

Ob.

@4

∑

34

∑

44

∑

34

B-Klar. in B.

D4

 ‰. 

34

∑

44

∑

34

Fg.

@4

  

34 .. . . .

44

∑

∑

44

∑

@4

5 Ó

   

 >

  

? 

mf

 ‰. 

34

f

ŠΠmf

Œ

@4

5

∑

34

∑

44

Trp. in C

@4

∑

34

∑

44

A5

4

∑

34

∑

A5

∑

34

Perc.

Sängerin

4 Y 45

  Y X .

> ≈ Y .

down and out.

? / 45   

‰

∑

34

∑

34

   Y  W

34

44

?     Y  X   

34  

  ‰ . 

34 Œ

  ‰ . 

34

∑

44 Ó

 

34

∑

44

∑

∑

5 >

@4

X ≈ X W 

34

  X  

or

A5

Y

?

∑

C o. /

≈ W X  

YY   Y 

34

44

∑

di &

 Y . .  Y Y  .. Y .

5 @ 4 Y 

> >    ‰ Y   

No - bo - dy.

∑

34 ‰ .

3

 

Œ

>   Y     

I’m not like a

 ‰.   34   .  

   ‰

mf

44  3  44

3

 4  4

tur - tle,

 ‰    3

44

3

Y Y 

 W

 

3

Œ

 X W 

‰ 

3

3

3

 Y Y

 W W  Y  W

34

3

3

‰

34

a hard

3          ‰  ‰ ‰ Œ ‰   3

34

34

can’t hide un-derneath

3

‰

3

> 3   3     ‰ Y  Y 

3

3

3

     

34

3

yr

ig ht

Drum-kit

 Y  ..

ic

E-Pno (Synth.)

?

5 Y  Y   . D4 Y.

.R

E-Git.

4

G

Tb.

by

Pos.

5

34

∑

Fo

Hr. in F

34

al o

5 Ó



us

Y > *)  ‰ W   W > p ? ? . Y

. > mf

er

5 Ó

rp

Alt-Sax. in Es

5

nl y

Fl.

@4

5

∑

34

∑

44

∑

34

@4

5

∑

34

∑

44

∑

34

B 45

∑

34

∑

44

∑

34

A5

4

∑

34

∑

44

∑

34

E5

∑

34

∑

44

∑

34

C

op

Vl. I

Vl. II (a )

Va.

Vc.

Kb.

4

*) Siehe Pascal Gallois, The Techniques of Bassoon Playing, Seite 41 I/37

Sy. 4411/01

4" Sample

65 Sam.

21

30"

4

bei 16.5" beginnt der Text – bis 27.5"

Fl.

@4

3

∑

∑

∑

44

Ob.

@4

∑

∑

∑

44

?       3

Hr. in F

@4

mf

3

p

  ‰.

 f

p

∑

‰

p / 34 

Œ

3

can’t

3

op

1

C

Vl. II (a )

Va.

Vc.

Kb.

2

1

1

1

44

mf

‰

≈ Œ

Œ

∑

44

≈ Œ

Œ

∑

44

∑

44

Œ

∑

44

?     Œ

Œ

∑

44

Œ

Œ

3 @4

∑

Œ

Œ

3 @4

∑

Œ



B 34

∑

‰.

A3

∑

Œ

E3

4

a 



 



3

∑

4

∑

≈ Œ

 .

 

∑

D

44

pp

di &

Y - .. 

hide

by

ig ht @4

yr

1

X

Y

>  >   ≈ Y

f

Vl. I



  Y / ..

G

@4 

shell.

Drum-kit





34

Sängerin

∑

or

A 3 Y  4

Perc.

44

 X  Y 3Y  X Y  3 W  W X >  Y  X  W W  W  W  

ic

E-Pno (Synth.)

.

44

∑

∑



44

44

∑

3 @ 4 Y  .

∑

∑

A3

 ... 

‰

∑ ∑

   

3

∑

∑

3 X Y  Y   D 4Y 

E-Git.



∑

4 4

Tb.

m.v. (lento)

∑

@4  A3

Pos.

Y 

p

.R

1

.

44

∑

f

3

Trp. in C

W .

 W 

∑

er

@4



.

pp

f

rp

Alt-Sax. in Es

∑

nl y

3

p

44

al o

@4

Fg.

.

 

‰

us

Œ

? Y

Fo

3 D4 Œ

B-Klar. in B.

 Y

C o. /

3

Œ

f

p

3

? 

f

? W

W  

? 

f



pp

Œ

? 

f

p

pp

pp

? Y

˜ W 

3

III

p

f

̃

?˜ W f

Sy. 4411/01

30"

4"

44

pp

44

pp

44

pp

44

pp

44

pp

E pp

44

22 68

 = 76 @4

4

∑

∑

∑

34

∑

Ob.

@4

4

∑

∑

∑

34

∑

B-Klar. in B.

D4

4

∑

∑

∑

34

∑

Fg.

@4

4

∑

∑

∑

34

∑

Alt-Sax. in Es

@4

4

∑

∑

∑

34

Hr. in F

@4

4

∑

∑

∑

34

Trp. in C

@4

∑

∑

∑

34

4

∑

∑

∑

∑

∑

∑

∑

∑

4

D4

4

@4

∑

∑

4

∑

∑

44

∑

Sängerin

Drum-kit

4 @4

∑

/ 44

∑

 = 76

Vl. I

1

G

4 @4 Œ

Œ

3

4 @4 Œ

Œ

3

4 @ 4 ‰.

yr

Vl. II (a )

C

op

2

1

Va. 2

Vc.

Kb.

1 2

B 44 Œ B 44 ‰ .



 c 

ppp

  

ppp

 

ppp

≈ b. 



 

ppp

us

er

mf

(volume pedal)

∑

34

∑

∑

∑

34 Œ

Œ

‰ Y 

∑

∑

34 Œ

Œ

‰



.



.



gliss.

gliss.





3

d 





3

W 





3

f

.

f

  .

≈

≈  .



3

  





.





 f

 ‰ ‰ Œ 

∑



 3  ‰ ‰ Œ

∑

f

f

gl.

p

3

A4

4

∑

∑

E4

∑

∑

4

? Y 3  Y Y    4    Y      p f

∑

  



∑

34





34

mf

Peace

   

p



ppp

∑

∑

f



34

∑

ppp

ig ht

2

by

1

4 @4 Ó



‰.

∑

34

∑

W. ≈ 

∑

∑

di &

Perc.

Œ

Ó

or

A4

E-Pno (Synth.)

ic

4

.R

E-Git.

∑

rp

A4

Tb.

Fo

A4

Pos.

C o. /

4

al o

Fl.

nl y

Sam.

f

∑ Sy. 4411/01

34 

  

34  . 

  

34 

  

34  . 

.

34 Œ 34 Œ

Œ

Ó

3

.

  

[  .. ‰ . [  34 

p

≈Œ

Œ

≈Œ

Œ

≈Œ

Œ

≈Œ

‰ YY  

p

p

p

s.v.

Y . ≈ Y æ .  mf

p

mf

p

æ ≈ YY  ..

s.v.

a2

p

34

p

∑

 æ

æ 

23

sub. = 108

72 Sam.

@

∑

∑

44

∑

24

∑

44

Ob.

@

∑

∑

44

∑

24

∑

44

B-Klar. in B.

D

∑

∑

44

∑

24

∑

44

Fg.

@

∑

∑

44

∑

24

∑

Alt-Sax. in Es

@

∑

∑

44

∑

24

Hr. in F

@

∑

∑

44

∑

24

Trp. in C

@

∑

∑

44

∑

∑

∑

44

∑

∑

∑

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∑

@

A

Drum-kit

@ /

∑

∑

∑

∑

mf

 Y 

 3   ‰  for

 ̃P‰   ‰    3

3

@

p

ig ht

2

s.v. YY  ..

by

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1

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p

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 Y Y

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‰

3

p

Y Y  ..

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44 s.v. ‰ YY 

‰   

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 Y Y

al o

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∑

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us

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            2    4 ‰      . ‰   5

3

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 ..   ..   æ

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∑

3

f

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Sy. 4411/01

∑

24

 ..

44

44

∑

44  .. æ

∑

44

∑

rp

 

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∑

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3

my

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æ B Y Y  ..

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 3  Y

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yr

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@

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mf

1

∑

.R

Sängerin

Y >

3

 X  W   3

∑

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3

or

E-Pno (Synth.)

 Y Y 

Fo

>>>>>>>>>>>>>>>>>>>>>>>>>>> 3    Y Y  

3

ic

D

E-Git.

 Y Y

C o. /

A

Tb.

di &

A

Pos.

nl y

Fl.

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‰    3

44

3

sub. = 108 ≈ 24 ∑

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≈ 24

∑

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≈ 24

∑

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≈ 24

∑

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3 24 æ X  ‰ Œ X >

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f

≈ 24

∑

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24

∑

44

24 76

@4

4

∑

∑

∑

Ob.

@4

4

∑

∑

∑

B-Klar. in B.

D4

4

∑

∑

∑

Fg.

@4

4

∑

∑

∑

Alt-Sax. in Es

4 @4

∑

Hr. in F

@4

4

∑

∑

Trp. in C

@4

∑

∑

A4

4

∑

∑

A4

∑

∑

4  Y Y  D 4 Y

E-Git.

   

X



gl.

( f)

A4

Œ

mf

∑

4

2.

∑

4

A4

∑

4

4 @ 4  Y  Y  

> ≈   X  

 p  ‰  

 ‰

by

f

Sängerin

Born un-der

a bad sign,

Œ

ig ht

/ 44

yr

Drum-kit

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op

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Va.

Vc.

Kb.

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.R

Perc.

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1

 ‰.  

 Y Y  X W W 

f

 Y. Y.

W

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Y

 Y. > Œ

Y.

 æ

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æ 

Y.

æ  .

Œ

≈   Y   Y  .

I’ve been blue

    ‰ .  

? X

Y    X W  W W  Y ≈ Y WX  WW  

mp

Gong

mp

   Y .

since I

us

rp

 X

Y   Y. Y.

Gong

æ

   X  W 

remem - ber.

∑

∑ ∑

 

 YY 



. 

YY 

Œ



 ‰. 



Œ

Y 

Y 

 

Y

Y  ..

 .

∑

/

‰

∑

/

pp

 Y I



feel

‰

   Y I

feel

Œ

Ó

 

so

˘  

4

∑

∑

∑

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∑

∑

∑

B 44

∑

∑

∑

A4

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∑

∑

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∑

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  . 

mf

Sy. 4411/01

.

‰

pp

‰

∑

@4

4

 . . q ua s i g li  ‰ ss .

er

∑

or

E-Pno (Synth.)

‰

ic

4  @ 4 Y 

  Y  ..

mf

Fo

4

Tb.

 

.

m.v.

C o. /

Pos.

 

‰

di &

4

Œ

Ó

al o

Fl.

nl y

Sam.

 ≈

25 79 Sam.

Fl.

@

∑

∑

∑

Ob.

@

∑

∑

∑

B-Klar. in B.

D

∑

Fg.

@

∑

∑

Alt-Sax. in Es

@

∑

∑

Hr. in F

@

∑

@ @

2

A

Tb.

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Y  Y . .

/ /

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Vc.

Kb.

∑

 

‰

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∑

∑

∑

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/

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ow

 ≈  . >



 Y



  ...   . .



YY  ..

 X

≈

 Y W  X

≈

 Y

cuz no - bo - dy wants me

 ..  . 

 W WX  X  Y X ... Y.

W 

 

f

‰

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Ó

 Y

‰

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Ó

Y X  .. 

≈

f

∑

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≈

Y Y  

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A

 

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A

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f

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≈

.  .

 

So:

Œ

mf

p

mf

p

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  f

 

mf

∑

∑

∑

@

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

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A E

Sy. 4411/01

nl y

   ≈ Ó  

@

B

? Y   >>>>>>>>>>>>>   . 

Y  Y  X   Y  Y   > Y.   ?    .  X Y Y   Y

‰

Œ

Congas

a - round their door.

Ó

er Ó



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  X

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Tom-Tom

∑  Y .

‰

Fo 

∑

 

 

f

? X Y 

W W .  X 

Ó

rp

f

∑

      Y      Ó

f

al o

∑

f

us

Ó

∑

ig ht

Vl. II (a )

Œ

∑

yr op

C

Vl. I

‰

Y  Y  

≈ Y Y  .... Y .  . fl  .

- o - o

Drum-kit

 Y

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Perc.

∑

by

1

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E-Pno (Synth.)

Sängerin

A

p

∑

C o. /

Pos.

A

Ó

Œ

di &

1

f

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‰

or

2

p

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

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1

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‰

 

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fi

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( )

≈  

the

26 82 Sam.

@

∑

45

∑

34

∑

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Ob.

@

∑

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∑

34

∑

45

B-Klar. in B.

D

∑

45

∑

34

∑

45

Fg.

@

∑

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∑

34

∑

Alt-Sax. in Es

@

∑

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∑

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@

∑

45

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34 Œ

Œ

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∑

45

∑

34 Œ

@

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∑

∑

45

∑

45

∑

45

Pos. 2

A A

Tb.

Y.

D

E-Git.

@ Y  Y YY     .. Y.

1 Perc. 2.

A

mf

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æ Y >

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@ Y

æ . 

 æ.

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ig ht

C

op

yr

Drum-kit

Vl. I

Vl. II (a )

Va.

Vc.

Kb.

Ó

‰.

≈ ≈

 

pp mf

Blues.

/

≈ 

pp

mf

>    Y

by

mf

 

Y Y X Y

Œ Œ

X ? Y  5 

>>>>>>>>>>>>>>>     ‰

4 45 45

45 Y  ‰

≈

≈  ‰

45

Œ

>  Y     45    Y  Y Y  

Bad luck and trou-ble is my

  ≈   

Œ

∑

Œ

.R

Gong ? A Y æ G

≈

 ≈  ≈ Y  ?   ≈

G

A Y.

E-Pno (Synth.)

Sängerin

Y Y 

  Y

∑

on - ly friend.

˜     45

mp

al o

34 Œ

Œ

≈

34 Œ

Œ

34 Œ

Œ

≈  ≈ 45 >

us

er

ff

 ≈ 45 Y >

m.v.

ff m.v. ff m.v.

≈  ≈ 45 > ff

Ó

.

?   Y

∑

34 Œ

W 

?  W  

∑

34 Œ

 

I’ve been on my own since

 ≈    ≈ Ó f

45

Œ

X  .

      X  .



m.v.

34 Œ

∑



ff

34

/

Œ

≈

∑

Ó.

45

≈  ≈ 45 > ff m.v. ? ≈ Y  ≈ 45

rp

A

Fo

1

C o. /

2

di &

Trp. in C

or

1

ic

Hr. in F

Y

nl y

Fl.

∑

mf

45

sff

. .

( mf)

sff

   >



45

mf

≈ 45 mf



45

(tief) 34 Tom-Tom Œ Œ

 ≈ æ ≈ 45

34 Œ

≈ Y  ≈ 45

f X ff

Œ

ff

34    Y .  X . I

34 Œ

45

≈Œ

was twelve

≈   ≈ 45 

Œ

ff

@

∑

45

∑

34

∑

45

@

∑

45

∑

34

∑

45

∑

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∑

34

∑

45

∑

45

∑

34

∑

45

∑

45

∑

34

∑

45

B

A E

Sy. 4411/01

27 85 Sam.

@4

5

∑

44

∑

34

∑

44

Ob.

@4

5

∑

44

∑

34

∑

44

B-Klar. in B.

D4

5

∑

44

∑

34

∑

44

Fg.

@4

∑

44

∑

34

∑

44

∑

34

34 Œ

p

    f

   

  

  

3

   

‰

p

@4

∑

44

∑

Trp. in C

@4

∑

44

∑

5

A5 ∑ 4

con

A5

Y      5 D 4   W 

( mf)

3

Y Y  

‰ 

3

 .  ... 

   Y 

3

45 5 @ 4 ‰ C C Y C  

and my whole

ig ht

/ 45

3

 ≈ ‰  

Y Y 

3  C C C C C.

life

has been one

∑

44

Y 4 Y 

4

sf

mf

 W

44 



3

‰

Œ

Y

fight.

44

W. 3 ≈ 

4

? (III)      X 

f



p

3      ‰ ‰ 

Œ

3

g l is

s.

mf

 3  ‰ ‰

44

Œ

W  ‰3 ‰ 

44

f

. X   34  Y   >>>>>>>>

3  . Y  4  .  W 34 ≈ Y  X  Œ

Œ

3

> 3         

3

 ‰. 

f

Œ

Œ

W

44 44 44 44