MICH A E L GO R D ON THE SAD PARK FOR AMPLIFIED STRING QUARTET WITH ELECTRONICS AND AUDIO BACKING TRACK
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FULL SCORE
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duration ca. 40 minutes
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Commissioned by the Kronos Quartet, through the generosity of Mrs. Ralph I. Dorfman with additional support from the Barbican, London (UK), and the National Endowment for the ArtsQuartet
Š 2006 by Universal Music Corp. (ASCAP) International Copyright Secured. All Rights Reserved. RNY 1311 ISMN 979-0-041-61311-6 Warning : Unauthorized reproduction of this publication is prohibited by Federal law, and subject to criminal prosecution.
RNY 1311
program note: The Sad Park
Part 1: Two evil planes broke in little pieces and fire came. Part 2: There was a big boom and then there was teeny fiery coming out. Part 3: I just heard that on the news that the buildings are crashing down. Part 4: And all the persons that were in the airplane died.
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The recordings used in this piece are of children, ages 3 and 4, and were made by Loyan Beausoleil, a pre-kindergarten teacher at University Plaza Nursery School in Lower Manhattan, between September 2001 and January 2002. (My son Lev was in Ms. Beausoleil’s class during this period.) Her ongoing work with these children is chronicled at http://www.youngestwitnesses.com
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When I heard these recordings I was struck by the raw tunefulness of the children’s speech. These specific segments were chosen for their musicality as well as for their content. I worked with sound designer Luke DuBois on the post-production of these tapes. In Parts 1 and 3, the sound clips are gradually slowed down to reveal the hidden acoustical properties of the speech. Parts 2 and 4 use an electronic music technique called granular synthesis, in which tiny ''grains'' of sound from the original source are captured and compacted together.
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The Sad Park
Part 1
Michael Gordon
'Two evil planes broke in little pieces and fire came' Driving, but inexpressive. (Audio Track begins at :00) With groove and drive. 28" q = 113 Do not accent the beat. Violin 1 28" Violin 2 Click begins@:29 gritty dry sound: all upbows
28" Viola
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mp
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28"
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Cello
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4
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Vla.
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by
Vla.
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14
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yr
Vla.
C
19 Vla.
24 Vla.
29 Vla. gritty dry sound: all upbows
Vc. mp RNY 1311
(continue similarly throughout)
2
34 Vla. sim.
Vc.
39 Vla.
rk
Vc.
Yo
44
ew
Vla.
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N
Vc.
(M51-bell@2:14)
49
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Vla.
Vc.
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54
op
yr
Vla.
C
Vc.
59 Vla.
Vc.
64 Vla.
Vc.
RNY 1311
3
69 Vla.
Vc.
74
gritty dry sound: all upbows
Vln. 1 mp gritty dry sound: all upbows
Vln. 2
Yo
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mp
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Vla.
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Vc.
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79
by
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Vln. 1
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Vln. 2
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yr
Vla.
C
Vc.
84
sim.
Vln. 1 sim.
Vln. 2
Vla.
Vc.
RNY 1311
4
89
Vln. 1
Vln. 2
Vla.
Vc.
94
Yo
rk
Vln. 1
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Vln. 2
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N
Vla.
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Vc.
99
R
(M101-bell@3:57)
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by
Vln. 1
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Vln. 2
C
op
Vla.
Vc.
104 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
5
109 Vln. 1
Vln. 2
Vla.
Vc.
114
Yo
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Vln. 1
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Vln. 2
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Vla.
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Vc.
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119
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Vln. 2
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Vla.
Vc.
124 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
6
129
Vln. 1
Vln. 2
Vla.
Vc.
134
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Vln. 1
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Vln. 2
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Vla.
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Vc.
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139
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Vln. 1
yr
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Vln. 2
op
Vla.
C
Vc.
144 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
7
149
(M151-bell@5:39)
154
Gradually slowing down and a bit less dry
Vln. 1
Vln. 2
Vla.
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Vc.
Yo
Vln. 1
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Vln. 2
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N
Vla.
q = 96
R
159
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Vc.
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by
Vln. 1
yr
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Vln. 2
C
op
Vla.
Vc.
164
Slowing down and a bit more sound from the bow
Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
8
169 q = 78 Vln. 1
Vln. 2
Vla.
Vc.
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174
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Vln. 1
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Vln. 2
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Vla.
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Vc.
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Vln. 2
op
Vla.
C
Vc.
184
Slowing down and becoming more sustained and legato by M190
Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
q = 55
189
9
(glissando occupies full value of note)
legato sul tasto
Vln. 1 3
p
3
3
3
3
Vln. 2
Vla.
Vc.
Vln. 1 3
3
3
3
3
3
3
3
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Vln. 2
3
Yo
3
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193
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Vla.
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Vc.
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197
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Vln. 1
3
3
3
3
3
3
3
3
3
3
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3
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Vln. 2
op
Vla.
C
Vc.
(M201-bell@8:08)
201 Vln. 1 3
3
3
Vln. 2
Vla.
Vc.
RNY 1311
10
205 Vln. 1 3
3
3
3
3
3
3
3
3
3
3
3
Vln. 2
Vla.
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Yo
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Vc.
N
209
3
3
3
3
3
3
3
3
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Vln. 1
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Vln. 2
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Vla.
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Vc.
213 Vln. 1 3
3
3
3
Vln. 2
Vla.
Vc.
RNY 1311
11
217 Vln. 1 3
3
3
3
3
3
3
3
Vln. 2
Vla.
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Vc.
221 3
3
3
3
3
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3
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Vln. 1
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(Audio Track continues, Click stops.)
224
15"
3 4
Vln. 1 3
3
3
3
15"
3 4
Vln. 2
15"
3 4
Vla.
15"
3 4
Vc.
RNY 1311
12
Part 2 'There was a big boom and then there was teeny fiery coming out.' Play expressively with the contours of the audio track, building the sound gradually through M53. q = 60
(M2-bell@10:06)
3 4
Vln. 1
(Click begins)
3
3
3
3
3 4
Vln. 2
Vc.
3 4
Yo
3 4
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Vla.
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mp
or di
6 Vln. 1 (phrase glisses similarly)
3
3
Vla. 3
3
3
3
3
3
3
3
3
3
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mp
3
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3
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(phrase and gliss. like vln.2)
by
R
Vln. 2
3
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3
C
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Vc.
10
(phrase and gliss. like vln.2) 3
Vln. 1 3
3
3
3
mp
Vln. 2
Vla. 3 3 3 (phrase and gliss. like vln.2)
3
3
3
3
3
3
3
3
3
Vc. 3 mp
3
3
3
3
3
RNY 1311
3
3
3
3
3
3
13
14
3
3
3
Vln. 1 3
3
3
3
Vln. 2
Vla. 3
3
3
3
3
3
3
3
3
3
3
3
Vc. 3
3
3
3
3
3
3
3
3
3
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3
(M18-bell@10:50) very gradual increase 3
3
3
3
N
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3
or di
Vln. 1 3
3
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Vln. 2
3
3
3
3
3
3
3
3
3
3
3
3
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3
by
Vla.
3
3
3
3
3
3
3
3
3
3
3
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Vc.
22
3
3
3
Vln. 1 3 3
3
3
3
Vln. 2
Vla. 3
3
3
3
3
3
3
3
3
3
3
3
Vc. 3
3
3
3
3
3 RNY 1311
3
3
3
3
3
3
14
26 (M26-bell@11:33) 3
3
3
Vln. 1 3
3
3
3
3
Vln. 2
Vla. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vc. 3
3
3
3
3
3
3
3
3
30
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3
3
3
3
3
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3
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Vln. 1
3
3
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Vln. 2
Vla. 3
Vc.
3
3
3
3
3
3
3
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3
3
3
3
3
3
3
3
3
3
3
3
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34
3
3
3
Vln. 1 mf
3 3
3
3
3
Vln. 2 mf
Vla. mf
3
3
3
3
3
3
3
3
3
3
3
3
3
Vc. mf 3
3
3
3
3
3 RNY 1311
3
3
3
3
3
15
38
(M38-bell@12:28) 3
3
3
3
Vln. 1 3
3
3
3
Vln. 2 3
3
3
3
3
Vla. 3 3
3
3
3
3 3
3
3
3
3
3
3 3
3
3
3
3
Vc.
42
3
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3
3
3
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3
3
3
3
3
or di
Vln. 1
R
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Vln. 2
3 3
3
3
3 3
3
3
3
3
3
3
3
ht
3
by
Vla.
3
3
3
3
3
3
C
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Vc.
3
3
3
3
46
3
3
Vln. 1 3
3 3
3
3
3
Vln. 2 3
3
3
3
3
3
Vla. 3 3
3
3 3
3 3
3 3
3 3
Vc.
RNY 1311
3
3
3
3
3 3
3
16
50
3
3
3
Vln. 1 3
3
3
Vln. 2 3
3
3
3
3
3
Vla. 3
3
3
3
3
3
3
3
3
3
3
3
Yo
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Vc.
(Audio Track continues through tacit...)
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6
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Vln. 1 3
3 3
3 3
6
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Vc.
3
sul tasto / floating
ht
3
3 p
by
Vla.
sul tasto / floating
6
R
3
3
p
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Vln. 2
sul tasto / floating
6
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3
p
3
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yr
3
62
(M63-bell@14:09)
Vln. 1 3
3
3
3
Vln. 2
Vla. 3
3
3
3
3
3
3
3
3
3
3
3
Vc. 3
3
3
3
3
3
RNY 1311
3
3
3
3
3
3
17
66
Viola: Big Hall Reverb (on)
sul tasto / floating 3 3
3
3
3
3
3
3
Vln. 1 p
3
3
3
3
Vln. 2
ord.
Vla. 3
3
3
3
3
3 mf
Vc. 3
3
3
3
3
3
3
rk
3
3
3
3
3
3
3
3
3
3
3
3
3
N
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Yo
3
or di
Vln. 1 3
3
by
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Vln. 2
3
Vla.
3
Vc.
3
yr
3
3
3
3
3
3
3
C
op
3
ig
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3
73
(M74-bell@14:39) 3
3
3
3
3
3
3
3
3
Vln. 1 3
3
3
Vln. 2 3
Vla. 3
3
3
3
Vc. 3
3
3
RNY 1311
3
3
3
3
18
76
3
3
3
3
3
3
3
3
3
Vln. 1 3
3
3
Vln. 2
Vla. 3
3
3
3
Vc. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
N
79
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Yo
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3
or di
Vln. 1 3
3
ic
Vln. 2
3
R
3
by
Vla.
3
ht
3
3
3
3
3
3
3
3
3
C
op
yr
3
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Vc.
82
(Audio Track: I just heard...@15:03) 3
3
3
3
3
3
3
3
3
Vln. 1 3
3
3
Vln. 2 3
3
Vla. 3
Vc. 3
3
3
3
3
RNY 1311
3
3
3
3
19
85
Viola: Reverb Off 3
3
3
3
3
gradually move to ord. 3 3
3
3
Vln. 1 3
3
3
gradually move to ord.
Vln. 2 gradually move to ord.
sul tasto / floating
Vla. 3
p
3 gradually move to ord.
Vc. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
N
Vln. 1
3
ew
88
Yo
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3
3
or di
3
R
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Vln. 2
3
Vla.
ht 3
3
3
3
3
3
3
3
C
91
op
yr
3
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Vc. 3
3
by
3
3
3
3
3
3
3
3
3
3
Vln. 1 3
3
3
Vln. 2
Vla. 3
3
3
Vc. 3
3
3
3
3
RNY 1311
3
3
3
3
20
94
3
3
3
3
3
3
3
3
3
3
3
3
Vln. 1 mf
3
3
3
3
Vln. 2 mf
Vla. 3
mf
3
3
3
Vc. 3
3
3
3
3
3
3
3
3
3
3
3
3
rk
3
98
3
3
3
3
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Yo
mf
3
3
3
3
N
Vln. 1
3
3
3
3
or di
3
R
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Vln. 2
3
Vla.
3
by
3
3
ht
3
3
yr
3
3
3
3
3
3
3
102
3
C
op
3
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Vc.
3
3
3
3
3
(Audio Track continues, Click stops.) 3
3
3
3
3
12"
4 4
Vln. 1 ppp 3
12"
3
4 4
Vln. 2 ppp
12"
4 4
Vla. 3
3
ppp
3
12" Vc. 3
3
3
3
3
3
RNY 1311
3 ppp
3
4 4
21
Part 3 'I just heard that on the news that the buildings are crashing down' legato, but every note with energy
Vln. 1
q = 180 (Click@16:16 - cue only)
e = 360
4 4
7 8
sim. (opposite bowing, staggered phrasing)
p
4 4
Vln. 2
sim. (opposite bowing, staggered phrasing)
7 8 p sim. (opposite bowing, staggered phrasing)
Vla.
7 8
rk
4 4 4 4
7 8
N
ew
Vc.
Yo
p
or di
6
R
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Vln. 1
by
Vln. 2
ig
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Vla.
C
op
yr
Vc.
11 Vln. 1
Vln. 2
Vla. expressive
Vc. p RNY 1311
22
16
a little more
Vln. 1
Vln. 2
Vla.
Vc.
rk
21
Yo
Vln. 1
ew
Vln. 2
or di
N
Vla.
ic
Vc.
R
26 mp
ht
Vln. 2
by
Vln. 1
4 4 4 4
yr
ig
mp
Vc.
4 4
mp
4 4
C
op
Vla.
mp
(Click@17:04 - cue only)
30
4 4
7 8
Vln. 2
4 4
7 8
Vla.
4 4
7 8
Vc.
4 4
7 8
Vln. 1 ppp
ppp RNY 1311
23 a tempo
36
sim. (opposite bowing, staggered phrasing )
7 8
Vln. 1
p
sim. (opposite bowing, staggered phrasing )
7 8
Vln. 2
p
Vla.
7 8
Vc.
7 8
sim. (opposite bowing, staggered phrasing )
p
rk
41
ew
Yo
Vln. 1
N
Vln. 2
or di
Vla.
R
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Vc.
by
46
ht
Vln. 1
yr
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Vln. 2
C
op
Vla.
Vc.
4 4 4 4 4 4 4 4
50 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
24
54
sim. (opposite bowing, staggered phrasing )
2 4
Vln. 1
7 8 p
2 4
Vln. 2
sim. (opposite bowing, staggered phrasing )
7 8 p
Vla.
2 4
7 8
Vc.
2 4
7 8
rk
59
Yo
Vln. 1
N
ew
Vln. 2
or di
Vla.
R
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Vc.
by
64
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
69 Vln. 1
Vln. 2
Vla. sim. (bow with vln. 2)
Vc. p RNY 1311
p
sim. (bow with vln. 1)
25
74
4 4
Vln. 1
mp
Vln. 2
4 4
Vla.
4 4
mp
mp
4 4
Vc.
mp
rk
79
Yo
Vln. 1
ew
ppp
ppp
N
Vln. 2
or di
Vla.
ic
Vc.
R
a tempo
sim. (opposite bowing, phrase together)
by
85 (Click@18:24 - cue only)
7 8
ig
ht
Vln. 1
op
yr
Vln. 2
C
Vla.
Vc.
p
sim. (opposite bowing, phrase together)
7 8 p
sharply articulated
7 8 mf
7 8
90 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
26
95 Vln. 1
Vln. 2
Vla.
Vc.
rk
100
Yo
Vln. 1
sim. (opposite bowing, phrase together)
ew
Vln. 2
p
N
ord.
or di
Vla.
ic
Vc.
by
R
105
ht
Vln. 1
p
4 4
yr
ig
Vln. 2
expressive
4 4
C
op
Vla.
Vc.
109
4 4 4 4
sim. opposite bowing, phrase with cello
Vln. 1 p
Vln. 2
Vla. sim. opposite bowing, phrase with violin
Vc. p RNY 1311
p
sim. (opposite bowing, phrase together)
27
113
molto rit.
(Click@19:15 - cue only)
7 8
Vln. 1 ppp
7 8
Vln. 2 ppp
7 8
Vla. ppp
7 8
Vc.
ew
Yo
rk
ppp
a tempo
119
sim. opposite bowing, phrase together
Vln. 1
N
7 8
or di
mp
Vln. 2
sim. opposite bowing, phrase together
R
mp
by
7 8
Vla.
ic
sim. opposite bowing, phrase together
7 8
mp
ht
sim. opposite bowing, phrase together
C
op
mp
yr
Vc.
ig
7 8
124
sim.
Vln. 1 p sim.
Vln. 2 p
Vla. p
Vc.
RNY 1311
sim.
28
129 Vln. 1
Vln. 2
Vla.
Yo
rk
Vc.
mp
N
4 4
Vln. 1
ew
sim.
134
mp
ic
4 4
Vln. 2
or di
sim.
mp
by
Vla.
R
sim.
4 4
mp
139
C
op
yr
ig
Vc.
ht
sim.
4 4
(Click@19:54 - runs through M177)
a tempo
5 4
Vln. 1 ppp
sim. opposite bowing, phrase together
5 4
Vln. 2 ppp
mp sim. opposite bowing, phrase together
5 4
Vla. ppp
mp
5 4
Vc. ppp RNY 1311
29
144 Vln. 1
Vln. 2
Vla. sharply articulated
rk
Vc.
ew
Yo
mf
N
147
or di
Vln. 1
by
R
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Vln. 2
ig
ht
Vla.
C
op
yr
Vc.
150 Vln. 1 mf
Vln. 2
Vla.
Vc.
RNY 1311
30
153 Vln. 1
Vln. 2
Vla.
ew
Yo
rk
Vc.
N
156
or di
Vln. 1
R
ic
Vln. 2
ht
by
Vla.
C
op
yr
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Vc.
159 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
31
162 Vln. 1
Vln. 2
Vla.
ew
Yo
rk
Vc.
N
165
or di
Vln. 1
R
ic
Vln. 2
ht
by
Vla.
C
op
yr
ig
Vc.
168 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
32
171 Vln. 1
Vln. 2
Vla.
ew
Yo
rk
Vc.
N
174
or di
Vln. 1
R
ic
Vln. 2
ht
by
Vla.
177 Vln. 1
C
op
yr
ig
Vc.
(Click@21:16 - cue only.)
4 4 ppp
Vln. 2
4 4 ppp
Vla.
4 4 ppp
Vc.
4 4 ppp RNY 1311
33
(Click Track ends here.) 185 a tempo
sim. opposite bowing, staggered phrasing
Vln. 1 mp sim. opposite bowing, staggered phrasing
Vln. 2 mp
expressive (continuous glissando)
Vla. mp
rk
sim. opposite bowing, staggered phrasing
Vc.
N
ew
Yo
mp
or di
189
ic
Vln. 1
by
R
Vln. 2
ig
ht
Vla.
C
op
yr
Vc.
193 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
34
197 Vln. 1
Vln. 2
Vla.
ew
Yo
rk
Vc.
N
201
or di
Vln. 1
R
ic
Vln. 2
by
Vla.
205
C
op
yr
ig
ht
Vc.
slowly move to sul pont.
Vln. 1 slowly move to sul pont.
Vln. 2
Vla. slowly move to sul pont.
Vc.
RNY 1311
35
209
sul pont.
Vln. 1 sul pont.
Vln. 2
Vla. sul pont.
ew
Yo
rk
Vc.
N
213
or di
Vln. 1
R
ic
Vln. 2
ht
by
Vla.
C
op
yr
ig
Vc.
217 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
36
221
ord. expressive
Vln. 1
Vln. 2
Vla.
Vc.
rk
225
Yo
Vln. 1
N
ew
Vln. 2
or di
Vla.
ic
Vc.
by
R
229
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
233 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
37
237 Vln. 1
Vln. 2 (continuous glissando for 1' 30")
Vla. p
241
Yo
rk
Vc.
(continuous glissando joining viola for 1' 30")
ew
Vln. 1 p
or di
N
(continuous glissando joining violin 1, viola for 1' 30") ord. expressive
Vln. 2
ic
p
R
Vla.
by
(TACIT)
tune C string to B-flat
ig
ht
Vc.
*continue as indicated below
op
yr
245
*continue as indicated below
C
Vln. 1
Vln. 2
*continue as indicated below
Vla. *continue as indicated below
Vc.
1'30" 3"
250 Str. p *Cue: "And all the persons that were in the airplane died" is heard 3X. After the 3rd time, Cello starts a long slow glissando from the bottom note to the extreme top of the instrument. Violins 1-2 and Viola immediately sneak in with the cello so that the whole group makes one large glissando, fading out when reaching the top. This long glissando lasts 1' 30". Take a slight pause (3") and continue on to Part 4.
38
Part 4 'And all the persons that were in the airplane died' End Audio Track suddenly at downbeat of Part 4. Distortion on all instruments*
Driving, full throttle q = 170 non vib.
4 4
Vln. 1
fff non vib.
(sim.)
fff marcato off the string
(sim.)
Yo
Vla.
4 4 fff non vib.
scordatura
ew
Vln. 2
rk
4 4
N
4 4
Vc.
or di
fff
ic
5
by
R
Vln. 1
ht
Vln. 2
(sim.)
9
C
Vc.
op
yr
ig
Vla.
marcato
Vln. 1
Vln. 2
Vla. marcato
Vc. *A distortion effect, similar to the type of distortion an electric guitar player uses, should be added to all instruments. I prefer the sound of an Ibanez Tube Scream, but any quality distortion unit is fine. RNY 1311
39
13 Vln. 1 (as before)
Vln. 2
Vla. non vib.
Vc.
rk
17
Yo
Vln. 1
N
ew
Vln. 2
or di
Vla.
ic
Vc.
(sim.) marcato
by
R
21
ht
Vln. 1
yr
ig
Vln. 2
op
Vla.
C
marcato
Vc.
25 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
40
29 Vln. 1
Vln. 2
Vla. marcato off the string
Vc.
rk
33
Yo
Vln. 1 (as before)
N
ew
Vln. 2
or di
Vla.
ic
Vc.
by
R
37
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
41
marcato
Vln. 1
Vln. 2
Vla. marcato
Vc.
RNY 1311
41
45 Vln. 1
Vln. 2
Vla.
Vc.
rk
49
Yo
Vln. 1
N
ew
Vln. 2
or di
Vla.
ic
Vc.
by
R
53
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
57 Vln. 1 (as before)
Vln. 2
Vla.
Vc.
RNY 1311
42
61 Vln. 1
Vln. 2
Vla.
Vc.
65
rk
marcato
Yo
Vln. 1
ew
Vln. 2
N
marcato
or di
Vla.
ic
Vc.
by
R
69
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
73 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
43
77 Vln. 1
Vln. 2
Vla.
Vc.
rk
81
Yo
Vln. 1
N
ew
Vln. 2
(as before)
or di
Vla.
ic
Vc.
by
R
85
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
89
marcato
Vln. 1
Vln. 2 marcato
Vla.
Vc.
RNY 1311
44
93 Vln. 1
Vln. 2
Vla.
Vc.
rk
97
Yo
Vln. 1
N
ew
Vln. 2
or di
Vla.
ic
Vc.
by
R
101
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
105
marcato
Vln. 1
Vln. 2 marcato
Vla.
Vc.
RNY 1311
45
109 Vln. 1
Vln. 2
Vla.
Vc.
rk
113
Yo
Vln. 1
N
ew
Vln. 2
or di
Vla.
ic
Vc.
by
R
117
ht
Vln. 1
yr
ig
Vln. 2
C
op
Vla.
Vc.
121 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
46
125 Vln. 1
Vln. 2
Vla.
ew
Yo
rk
Vc.
N
129
or di
Vln. 1
R
ic
Vln. 2
ht
by
Vla.
C
op
yr
ig
Vc.
Feedback On - All instruments should begin feeding back into the system. Sudden stop at end.
133 Vln. 1
Vln. 2
Vla.
Vc.
RNY 1311
ht
ig
yr
op
C by or di
ic
R N
ew
Yo
rk
ht
ig
yr
op
C by or di
ic
R N
ew
Yo
rk