! ! ! ! ! ! Connor Elias Way
! ! ! ! ! !
Harlequin ! ! ! ! ! ! (flute, clarinet, violin, violoncello, piano, & percussion) ! Dedicated to Brent Milam and the Terminus Ensemble ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !! !! Š Copyright 2014 Union Peak Music (ASCAP) All Rights Reserved
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! ! ! ! ! ! ! Program Note: !
Harlequin was composed partially as a creative component to my honors thesis which I wrote on timbral processes in Webern’s Symphonie op. 21, mvt. 1. In the paper, I argue that Webern’s treatment of timbre can be heard as an unfolding timbral narrative over the course of the piece which ultimately helps shape the formal structure of the work. My aim with Harlequin was to weave a timbral narrative of my own throughout the piece and link that narrative to the over-arching formal design. The title comes from a painting of the same name (from 1923) by Pablo Picasso that I viewed at the Pompidou Centre while on a visit to Paris. In the portrait, Picasso strangely uses color only on the face of the man while the rest of the body has the appearance of a sketch. I thought this technique of withholding color was interesting in light of my recent pondering of how musical color can help shape a formal structure. The piece, which essentially utilizes an A-B-A’ form, travels in and out of different sets of timbres throughout the A section. Each of the timbre sets “withholds” the clearest sonorities of each instrument to one degree or another and its only in the B section of the work (the “face”, if you will) that the brightest, clearest colors appear. As the musical material from the A section is recapitulated in the A’ section, the timbre sets reappear but in retrograde, suggesting to the listener that the timbral narrative is just as important to the piece as the harmonic narrative.
!
! -Connor Elias Way ! Duration: 8’30’’
! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
! ! ! !
Performance Note:
Flute: • Flute doubles on piccolo Clarinet in B flat: • Clarinetist doubles on a lion’s roar (percussion instrument provided by percussionist) to be placed beside chair.
! !
Violin and cello: • In the event of double, triple, or quadruple stops marked pizzicato: pluck all strings as fast as possible and let the highest string land on the downbeat.
!
• “pizz. sul. pont.” calls for the player to pluck near enough to the bridge that the pitch is muted to a greater degree but not entirely.
!
• When an “x” replaces a note head at a quadruple stop, the player should strike the strings on the middle of the neck percussively. If an “x” replaces a single note head, tap instrument body percussively.
!
• In measures 42 and 158 (cello): do not re-attack second note of the gliss — slide straight of the finger board let vibrate.
! !
Piano: • For two different passages in the piece, a minimal amount of “prepared features” are required. The Eflat key above middle C will be marked at the first node (middle of string) so as to play a harmonic which sounds one octave higher (notated at pitch with harmonic sign above note). Additionally, the highest F, B-flat, and C keys will require marking in order to be plucked with the fingernail. The instruction “pizz. f.n.” indicates a plucked note. A guitar pick can be used in lieu of fingernail.
! !
Percussion: • Percussion Rig: 9.5 inch Zildjian Zilbel, china cymbal, one crotale (d7 - mounted and bowed), two bongos, snare, brake drum, mounted kick, concert bass, and lion’s roar. Drumsticks should be used at all times except for mm. 82-117: Use soft beater for bass and kick drum and a bow on the crotale.
!
• “+” sign over china cymbal indicates a choke. If it is directly over a beat, strike the cymbal while choking it so that it is fully dampened and never actually resounds.
!
• For the snare, a rim shot is indicated by a clear note head with a dot in the middle and a cross-stick technique is indicated by a regular note head with a slash through it.
!
• Foot stomps should be loud and similar to the concert bass drum in effect; jumping and landing with both feet simultaneously is the ideal method.
! ! !
• Lion’s roar will be provided by the percussionist and played by the clarinetist. • Notation key:
! ! !
Dedicated to Brent Milam and Terminus Ensemble
Harlequin Transposed Score
Flute
Clarinet in Bb
°
q=108
æ œæ
b œÆ 4 & 4 J ‰ Ó ff
mf
44 œÆ ‰ Ó & ¢ J
æ œæ
ff
° 4 b œœÆ & 4 œ
Ó™
pizz.
Violin
fff
Violoncello
Piano
Percussion
pizz. Æ ? 44 œœ ¢ œ
{
Cl.
Vln.
Vc.
& ≈
¢
? œ
{
f
>¿ ‰ J Ó
/ 44 œ¿
œ ‰ ææJ
∑
45 Ó™
43
∑
45
pp
44 œ. ‰ Ó™ J
∑
44
˙ æ
ff
f
o œ. bpizz. œ 44 J ‰ ‰ J Ó
˙o
o ˙™
p
œ œ “‘
fff
œ
ff
43
∑
Ó™
43
∑
45
∑
∑
43
∑
45
∑
44 œ ‰ Ó™ J
∑
43
∑
45
∑
44
Ó™
43
∑
45
∑
44 œ¿
∑
44 Œ
43
∑
44
f
arco
45
pp
ff
za ‰ œJ Ó
f
43
mp
&
43 Ó
∑
‰ bœj Ó
∑
&
43 Ó 43
44
“” œ
œo
?
f
∑
f
Ó™
44 Ó™ Ÿ~~~
œ ææ
pp
44 œ
∑
o œ. J ‰ Œ
44
∑
mp
o oj 4 œ 4 œ ‰ Ó™ .
43
∑
44
∑
43
∑
44
∑
43
∑
44
∑
p
“” b œ f
44
œ‰ Œ
Ó
p
p
Ó™
43
arco
æ œæ
f
∑
∑
∑
44 œ
∑
arco
43
>œ. J ‰ Ó
Ó™
>œ. J ‰ 43
Ó™
ff
mf
?
Perc.
> œ
? 44 Æj ‰ Ó œ
&
Pno.
ff
f
¢& œ.j ‰ Ó™ œ™
j ‰ Ó™ œ.
Æj 4 & 4 œœ ‰ Ó™ bœ
& Ó
°
ff
43
fff
°6
ff
j œ. ‰ Ó™
> œ
Ó™
f
Fl.
mf
Connor Elias Way (b.1991)
∑
¿ (rim shot) œ≈œ Ó / f œ mf
pp
43 43
∑ ∑
44 44 Œ
∑ +¿
Ó
© Copyright 2014 Union Peak Music (ASCAP) All Rights Reserved
43
∑
44 Ó™
~
¿ ~~~~
(rake with stick)
f
2 Fl.
Cl.
Vln.
°11
. œ & J ‰ Ó™
45
ff
¢&
45
∑
°
be bbOœ 45 bOœ ‰ ∑ J
& Ó™
p
Vc.
Pno.
¢&
∑
&
∑
{
Perc.
/
=
Fl.
Cl.
Vln.
Vc.
Œ
A & 44 Ó
Perc.
Œ œfi œ œ f
œ
sfz
˙o
˙o
& 44
p
? 44 Ó
{
? 44 Ó / 44 Ó
Πniente
Ÿ~~~~~~ mf
& 44 Ó
Pno.
e 45 Oœ
∑
45
∑
45
∑
o œ. J ‰
p
43 Œ
ff
Œ
œo œo æ ‰ æJ æ
43 Œ
Oœ. Ó™ J ‰
p
ff
Oœ. J ‰
‰ Oœ Oœ ææJ ææ p
3
3
“” œ bœ œ œ 3 œ œ b>œJ ‰ &4 œ p
∑
44
∑
44
Ó
∑
44
Ó
∑
44
Ó
∑
44
∑
44
∑
44
f
Ÿ~~~~~ œ
mp
Œ
ff
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œ. J ‰ Œ
ff
Ó
?
3
f
4 ¢& 4 Ó
¢
?
œ
Œ
pizz.
pp
43
∑
43
∑
43
ff
œ 3 f ææ 4
45 ∑
mp
°16
°
arco
‰ œj Ó œ “‘
>¿ œ
∑
43
œ ‰ ææJ
∑
ff
p
? Œ
∑
43
o ˙™
44 Ó™
Æ ‰ j œ
44
p
mp
bœ ‰ J Ó
43
∑
44
Æj ‰ Œ œ
43
∑
44 j ‰ Œ œ “‘
mp
œ¿
mf
Œ
43
44 Œ
Ó™
œo
44 œ¿
œ
œ Ó
‰ ¿ ~~~~
5 ææ 4 œ
o œ. J ‰ Ó™
ff LH pizz/RH arco
œ
fp
∑ Ó
Ó™
> ‰ œJ Ó
∑
f
∑
Œ o ˙™
wo
45
∑
f
f
Æj œ ‰ Œ b œœ
f
B
mf
44 Ó™
∑
Œ
∑
œ œ. æ ‰ æJ J ‰ Ó™
43
œ
Ó
j Ó™ œ “‘
g
(cross stick)
Ó
p
45
œ. ‰ Ó™ J
45
∑
45
∑
45
∑
45
ff
°
œ
21
Fl.
Cl.
Vln.
& 45 ‰ œJ
¢&
p
Pno.
Perc.
Cl.
Vln.
ææ œ
°
5
B 5 ¢ 4 bœ
{
pizz.
œ 3
? 45
∑
& 44
4 ¢& 4
°
& 44
p
œ ∑
°25
bœ ææ
∑
p
Vc.
{
& 44
Pno.
Perc.
œ ææ
∑ ∑
&
Œ
∑
/ 44
∑
44
43
∑
bbOœ
Oœ ‰ Œ J
mf
ff
Oœ. ‰ 44 J
arco
43
∑
∑
44
j‰ Œ œ “‘
∑
44
43 œ¿ Ó
∑
44
∑
∑
∑
∑
∑
“>” œ sffz
Œ
Oœ
p
43 Œ
f
œ
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5
ff
mf
ff
Æ ææ j ‰ Ó œ œ.
p
Ó™
∑
p
∑
fff
Æj œ ‰ Ó™ b œœ
arco . b Œ b Oœ Oœ ‰ Œ J p
o œ. J ‰
˙o
Œ
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pizz.
˙
mf
ff
∑
ff
Ó ∑
∑ “˙”
Ó
mp
Æj ‰ Ó™ œ
mf
∑
44
∑
∑
œ
mf
? 4 4
∑
43
‰™
∑ b œÆ œœ
∑
f
∑
pizz.
43
p
∑
Ó™
p
44
ff
∑
ff
? 4 ¢ 4
Oœ. ‰ Ó J
∑
œ
∑
arco
Ó™
& 45
/ 45 œ
Œ
bbOœ
p
?
∑
ff
pizz. œ b œ œ 5 & 4 œ œ Ó™ f
> 43 Œ œJ ‰ Œ f
j‰ ∑ œ.
p
ff
=
Fl.
∑
mf
Ó™
45 j ‰ œ.
p
Vc.
Ó™
3
fwa
p
∑
∑
∑
∑
∑
∑
4 Fl.
Cl.
Vln.
°30
&
B
œÆ J ‰ Ó™
œ ææ
Ó™
mp
¢&
ff
∑
Œ
> œœpizz.Ó™ b & bœ œ
>œ
fff
Vc.
Pno.
Perc.
∑
&
∑
{
Cl.
Vln.
Vc.
/
Œ
f
°34
Perc.
?
Ó™
>œ
œ ææ
pp
mf
& 44 Œ
4 ¢& 4 Œ <“>
<“> & 44 Œ / 44 œ
˙
mp
pp
˙
b˙
mp
pp
5
p 3
œÆ ‰ J
∑
44
∑
44
∑
44
∑
44
“” œ œ œ Œ 5
f
3
Ó
44 Œ
œÆ ‰ 2pizz. J 4 œ
œ
44 Ó™
Œ
ff
?
œ
œ
42 œJ ‰ Œ
ff
?
‰ œj ff œ “‘
42 Œ
¿ 24 ‰ J f f
œ f
Œ
44 Œ
≈ œ ≈
æ œ
arco
p
ff
œ
44 œ.
œ ‰
gliss.
J
œ œ ≈ œ ≈ ‰ œ
æ œ bæœ
æ œ
p
bœ æ
œ æ
“œ” bœ
p
œ æ
œ
œ
Ó
¿™
f
≈
44 Ó 44 > œ
bœ
œ
arco
44 Ó &
fi œœœ
Ó
p
pizz.
3
44
“œ” b œ œ bœ œ œ
44 Œ bœ
œÆ ‰ 42 J œ
5
∑
ff
Æ ‰ 2 >œ. ‰ Œ j 4 J œ
œ œ œ œ bœ Œ œ Ó™
pp
42 Ó
Æj ‰ œ
œÆ ‰ J
bœ
œ
43 Œ
44
ff
arco
f
ff
œ bœ œ b œ œ œ œ œ œ
mf
œ
œ
arco
f
˙
ff
∑
f
ff
ææ ˙
œ
3
p
43 œ
Œ
p
œ ææ æœ Œ æ
niente
°
&
+¿
Ó
3
æ œæ
43 Œ
∑
mf
bœ ææ
3 &4 Œ
f
◊ÿ bœ ‰ J Ó
Œ
‰ œ œ œ
mf
4 ¢& 4 Œ
{
¿g
œ æ
& 44 Œ
& 44 Œ
Pno.
Ó™
43 Œ
f
=
Fl.
43 Œ
pp
pp
j ‰ œ Ó œ “‘
Œ
œÆ ‰ Ó J
f
¢&
?
43 Œ
mf
°
œ œ œ æ ææ ææ Œ
‰ œ
f
‰™
f mp
Fl.
Cl.
Vln.
Vc.
Pno.
Perc.
°37
& ≈
bœ
b œ.
‰ œ ≈
°
œ
œ ? æ æœ bœæ ¢ f
œ
& Œ
/
Vln.
°
bœ ‰ Œ f
∑
24 œ œ œJÆ ‰ pp
∑
bœ œÆ ‰ ? 4 42 œ 4 J
∑
42
∑
44
Œ
42
∑
44
Œ
42
∑
44
arco pp
œ ¿ ~~~~
Ó
∑
Ó™
∑
Œ
p
œ.
J ‰
f
œo
«
arco
pizz.
? 4 ¢ 4 Ó
p
¿¿ ¿¿
◊>ÿ œ ‰ J Ó
Œ
f
Ó
o œ. J ‰ Ó
bzaœ
Ó
p
‰ Æj Ó œ
∑
Œ
43
ff
To Piccolo
∑
œ ‰ J Ó™ f
pizz.
bœ ff
gliss.
œ
B
4 ææ 4 œ
43 Ó
∑
f
∑
∑
« 3 œ 4
∑
44
∑
43
∑
44
∑
43
∑
44
∑
43
∑
44
43
∑
44
Ó™
bœ« Œ
Ó
44
p
pizz. sul pont.
ff
44
ff
f
? 44
Perc.
44
Ó
?
∑
& 44 ‰ j Ó™ œ
{
∑
pp
fwa
& 44 Œ
Pno.
∑
Ó™
44
42
∑
∑
f
Vc.
Œ
j bœfi
C ° 4 Ó & 4
¢&
∑
‰ œj Ó
subito p
¿
44
pizz.
œ œ œ
&
∑
p
&
p
42
b œ. ‰ J Ó™
p
æ Ó œ
œ. J ‰ Ó
œÆ ‰ J
œo ‰ J Ó™
œ æ bœ bœ œ æ æ æ æœ
41
Cl.
p
f
Œ
Ó™
œ ‰ ‰ J Œ
œ & bœ æ œæ æ
=
Fl.
>. ‰ œJ bœJ ‰ Ó™
mp
¢& Œ
{
5
∑ Ó™
‰ j œ “‘ f
/ 44 œ¿ f
Ó
(stomp)
6
ff
∑
g
Ó
(flam)
>j œfi
œ
f
Œ œ Ó p
6 Fl.
Cl.
Vln.
°46
& 44
∑
4 ¢& 4 œj ‰ Ó™ .
‰ j Ó™ .œ
‰ bOœ œO Oœ. ‰ J J arco
& 44 Œ
p
Vc.
Pno.
Perc.
{
? 44
f
œ«
°
51
Picc.
Cl.
Vln.
&
bœ
¢&
Ó
Œ
. . . . (hold down)
ff
∑
≈
bœ œ
œ
°
arco
& Ó
bOœ
? ¢ Ó™
{
Perc.
mf
Ó™
∑ œ. J ‰ Œ
˙ pp
44
p
pizz.
∑
j œ. ‰
œ
f
Œ
bœ
f
Ó
∑ ∑
44
∑
∑
44
∑
∑
42
∑
44
∑
∑
42
∑
44
∑
ff
Ó
∑
?
f
œ¿
mf
œ œ. œæ Œ ææ æ
44 Ó 44
∑
Ó
Oœ. ‰ 42 J
∑
44
∑
Ó™
¿¿ ¿¿
∑
44 Œ
∑
44 bwo
42
“œ” ‰ J 42
pizz. (f.n.)
ff
« ‰ œJ Ó f
¿ + ‰ J Œ
ff
œ pp
œ. J ‰
mp
(tap body percussively)
¿
f
Ó™
‰ ∑
f
6
p
∑
∑
ff
f
« ‰ j Ó™ œ
pizz.
42
∑
& Ó™
Pno.
42
p
42
‰ Ó
p
Vc.
“”œ
∑
œ
∑
∑
pizz. (f.n.)
=
∑
44 Ó
o œo œ. J ‰ 42
arco
f
/ 44
42
∑
∑
œœœ
ff
B 4 ¢ 4 Ó™ bwo 4 & 4
42
mp
f
°
42
∑
44 bœ
(Piccolo)
?
∑
42
∑
44
∑
∑
/
∑
42
∑
44
∑
∑
«
j œ
Picc.
Cl.
Vln.
Vc.
°55
œœ
& Œ
¢&
≈
Perc.
∑
?
Ó
pp
∑
?
=
Picc.
Cl.
Vln.
Vc.
Pno.
Perc.
6
ff
&
Ó™
∑
¢& w
¢
{
œ. 2 J ‰ 4 mf
42
∑
∑
°60
°
42 Œ œ 44 w
œ ææ
f
/
∑ arco
bœo Ó™ ‰ & J
Pno.
∑
D 42 ∑
44
∑
∑ w
p
&
{
7 To Flute
∑
° ¢
bœ œ ‰ ≈œ‰
>œ
∑ ∑
arco 44 Œ ‰ æœ æœ œJ. ‰ æJ æ
bœ. ‰ Ó J
?
∑
Œ
&
∑
bw
?
∑
pp
mf
∑
∑
42
∑
44
∑
∑
∑
42
∑
44
∑
∑
p
œ. ‰ Œ J
mp
pp
mf
Ó
∑
æ wæ
p
w ææ
∑
∑
∑
∑ ∑
∑ f (release pedal)
....
∑
Ó
∑ w
niente
/
œ
mf
mf
niente
w
bœ
∑
mf
niente
∑
b œfij
‰ œJ
ff
˙
mp
∑
(Flute)
∑
œ. ‰ Ó J
∑
“”
Ó™
∑ ∑
∑
42
œ
mp
pp
pp
mf
∑
œ. J ‰
‰ æœ æJ
pp
w 44 w
∑ b˙ ææ
∑
∑
niente
œ. J ‰ Ó
œ ææ
arco
44
∑
& Ó
mf
∑
8
°
65
Fl.
Cl.
Vln.
Vc.
Pno.
&
œ
{
œ
≈
œ
œ b œ œ.
∑
° ¢
bœ
Ó
3
¢&
Vc.
Perc.
‰ Ó™
bœ œ
æ œæ
&
∑
∑
∑
∑
∑
> œ œ “‘
‰ œ œJ Œ
Ó
> œ œ “‘
¿ ¿ +¿ Œ æ ææ J ‰ Ó
°69
& 42
pp
∑
Œ
∑
44
& 42
∑
44 Ó
? 2 ¢ 4
{
∑
∑
44 Ó™
œ
> 44 œj ‰ Ó™ œ “‘
/ 42
∑
44
œ
fp
∑
42
∑
42
∑
42
∑
42
Ó™
42
ff
Ó
>j fi
bœ
œ . ≈ œ ‰ Œ
œ
f
>j œfi
∑
œ
¿
Π42
∑
mp
œ
Ó
p
œ. ‰ Ó™ J
∑
œ. ‰ Ó™ J
∑
ff
Œ
œ
>œ œ bœ œ œ
Œ
5
Œ
f
&
∑
∑
œ. J ‰
To Lion's Roar
∑
f
∑
p
LH pizz/RH arco
∑
«
∑
f
p
œ
Œ
f
˙ æ
? 42
pizz.
Œ
∑
44
Œ
?
f
2 ¢& 4
°
Ó
¿ œ
E b>œ 44 ‰ bœ J ‰ Ó J
za bœ œ œ ‰ J J ‰ 42
j œ. ‰
∑
/
∑
arco
∑
? Ó™
bœ œ
∑
?
& 42
Pno.
œ
∑
f
Vln.
‰
œbœ
∑
=
Cl.
œ ‰ J
œ
&
Perc.
Fl.
bœ
œ
Œ Ó™
œ œ œ Œ 3
?‰
“‘ ¿ f
mf
œ
œ
&
b œ. bœ Ó
pp
œ. ‰ Ó J
mf
∑
‰ Ó™
¿ ‰ f Ó J
œ
∑
œ
p
∑
B
Fl.
Cl.
Vln.
°74
za
& Œ
(jet whistle)
O
f
¢&
45
Ó
°
pizz.
& Œ
œ«
Pno.
Perc.
B ¢ Œ
{
« ‰ bœJ Œ
j 54 ‰ œææ bœ ææ
f
Perc.
Vln.
Vc.
Pno.
°
Perc.
mf
(jet whistle)
& 44 Œ
O
f
¢& 44 ∑
Ó
45
∑
45
∑
f
œ
j æ ‰ œ bœ æœ æ æ mf
molto sul pont.
& 44 Ó
bœ 54 æœ œ æ æ æ ff
æ æ æ æ ææj bœ œ œ ? 5 æ œæ æ æ ‰ œ œ æ æ 4 bœ œ ææ æ æ æ œ mp ff
B 4 ¢ 4 Œ & 44
∑
? 44 >j ‰ Ó™ œ “‘
œ Ó / 44 ‰ g J œ f
44 œ
œ
Ó
‰
œ
za
≈‰
F 44
O
f
ææ œ
45 45 Œ
44 >j ‰ Ó™ œ œ “‘
ff
ææ æ3 æ ææ 3ææ ææ ææ3 œ œ œæ æ œ œbœ æ ææ œ œ œæ
molto sul pont.
∑
44
ææ æ æ œæ œæ Œ œ
æ œæ
æ œæ
44
p
ff
œ æ
Œ
f
p
ff
44 44
43
∑
44
43
∑
44
43
∑
44
q=50
∑
45
∑
44
(Clarinet)
∑
44
45
∑
44
45 ˙
˙™
44
∑ & 45
To Clarinet
44
∑
(bow ad lib)
&
43 bæœ
Œ
arco sul pont.
◊ÿ >œ ‰ J Œ
˙™
mf
43
f
44 Ó
f
≈
44
43
Ó
f
45 ∑
45 O
43 Œ
za
arco sul pont.
pizz. œ 44 ‰ œ« ‰ J Ó J
>¿
bœ
« bœ
9
b>œ ‰ J Œ
f
ff
45 ˙
°
{
¿
Ó
78
Fl.
◊ÿ >œ ‰ J Œ
? >j ‰ Ó™ œ œ “‘
=
44 Œ
æj ‰ œæ 45 œ bæœ æœ æœ Ó™ ææ æ æ æ
ff
f
œ ™ ææ Ó
ff
mp
Œ ∑
pizz.
arco sul pont.
pizz.
œ¿
f
>œ
za
44
Œ
˙
mf
& Ó
/
(Lion's Roar) Sustain for duration of note
arco sul pont.
Ó
44 Œ
∑
45 Ó
∑
f
Vc.
b>œ
44 w
mp
pp
∑
44
∑
45
∑
44
j œ ˙™ œ ˙™
44
∑
45
∑
44
> 44 œ¿ Ó™
45
∑
44
ff
> 45 œ
¿
Œ
¿ ¿ æJ
‰
ff
10 Fl.
Cl.
Vln.
Vc.
°82
& 44 Ó™
¢& °
44
œ œœ ˙ J
mp
niente
w
arco
(bow ad lib)
Perc.
w
w
w
¢&
44 w
mp
niente
Cl.
Vln.
Vc.
/ 44 œ Ó™
°87
&
¢& °
&
¢&
{
/
∑
w mp
w ˙ p
niente
mp
43
œ
˙
44 ‰ j œ ˙™
˙™
45
∑
45
niente
44 w
∑
bw 44 w mf
∑
?
43
∑
∑
45
∑
44
∑
Ó
b˙ ™
w
p
mf
niente
45 Œ
‰
45
œ ˙ 3
œ œfij
43 Ó™
∑
bœ ∑ J
44 3
3
∑
∑ ˙
mf
w
niente
w p
∑ niente
bw
∑
œ
œ œ bœ ™ J mf
∑
∑
∑
∑
∑
∑
mf
mp
5 œ œfij Ó™ & 4 Œ bœ JJ œ 45
œ 4 w 4
mp
niente
mf
43
44 Œ ∑
∑
44
44 Œ
O™
(bow for duration of note; l.v.)
45
Œ
mf
∑
∑
w
w
44 w
œ
45
45
44
Ó
45 w
∑
∑
3
∑
Ó™
niente
niente
niente
f
mp
43 ˙™
∑
3
“>” w
∑ œ Ó™
43
œœ œ ˙™ J 34
w
45
˙™
44 Œ
. . . . (hold down)
p
?
Perc.
∑
mf
&
Pno.
∑
bw ? 44 w
∑
45
œ Ó
w
45
mf
mp
niente
=
Fl.
niente
w
w & 44
Pno.
w
3
w
& 44
{
œ
?
44 w w 44
∑
Fl.
Cl.
Vln.
Vc.
Pno.
Perc.
°93
&
∑
¢&
∑
°
&
¢
?
{
Cl.
pp
43
43
pp
44
Πniente
˙™
bw
44
mp
Vc.
&
¢&
∑
43
∑
O 44 Ó œ Ó™
>œ
J ‰ Ó
44
Ó
44
{
˙™
mf
Pno.
Perc.
mf
“” > ˙™
Œ
? bw bw “‘ /
Œ
∑
“>” ˙ ff
O ∑
Ó
43 43
œ
mp
44
∑
∑
45
45 œ w
44 w
45
∑
45
∑
45
∑
mp
∑
43
∑
44 bw w
43
∑
44
b˙ ™
f
44
mf
44
˙™
∑
˙
Ó
42
˙
42 ˙
niente
œ
œ w
44 w
43
™ 34 ˙
˙
45 œ w
niente
mf
44 w
b˙ niente
44 w
∑
11
Œ
∑
44 44
f
niente
44 w
˙ 42
44
44 w
42 ˙
44
mf
niente
˙™
Ó
43 ˙™
∑
w
43
∑
45
niente
Ó
44 Ó
Ó
w
∑
∑
44
43
niente
44 bw w
43
mp
Œ& w
∑
˙™
Ó & w w
˙™
44 w
niente
Vln.
mp
43
/
°
w
∑
?
¢&
˙
w
∑
∑
& Ó
44
niente
43
&
°
w
mp
∑
43
w
100
Fl.
43 ˙™
<b> w
=
G 44 w
?
43 ˙
44 w w
&
44 w w
loco
44
∑
43
œ niente f
“” b˙ ™ b˙ ™
44 Ó™ Ó
ff
“”> œj
˙ loco
43
∑
44 Ó w w “‘
b˙ ˙
43
∑
44
∑
mp
‰ œ 42
∑
44
42
∑
44
42
∑
44
12 Fl.
Cl.
°105 4
& 4 Œ
‰™
4 ¢& 4 œ
> ˙™
p
Vln.
Vc.
b>œ ˙ f
f
°
˙ 4 & 4
{
Perc.
Cl.
Vln.
Vc.
Pno.
Perc.
H & 4
¢&
44
°
∑ ∑
mf
¢&
44
∑
& 44
4 & 4 / 44
43
44
43
p
45 Œ
ff
44
w
44 w
f
45 Œ
∑
ff
b˙ ™ b˙ ™
˙ ™ 54 Œ b ˙˙˙ ™™ w w “‘ loco
42
∑
42
∑
45
45 45
44
Œ Œ
44
∑
∑
Ó
œ
˙
pp
∑
43
∑
˙
w 45
Œ
bw 54 w
Œ
mf
∑
45 Ó
“”> œ
Ó
44
3
j j œfij Œ Ó œ œ
44
44 > œ
3
bœ ‰ ™ œ
œ. 3
3
Œ
f
‰ Œ œ
˙
˙™
œ
“>” w
pp
æ ˙æ
p
44
Ó™
44
niente
44 44
œ w ∑
44
∑
∑
44
∑
∑
44
Œ
mf
. . . . (hold down)
O™ Ó™
f
44
∑
∑
niente
w
mp
niente
44 Œ
∑
mp
45 b˙ ™
?
w “‘
w
mp
44
f
mf
œ w
44
p
fi 44 œ œ bœ ‰ J
&
œ
œ
3j
44 bw ww
Œ
44 44
w
bœ 44 w
w 45
∑
mp
42 œ œ 45 œœ & ˙™ ∑
ff
niente
43
˙
w w
∑
∑
43
44 ˙
44 ˙™
∑
∑
∑
˙
42
43
(release pedal)
∑
˙
44 w
34 ˙ ™
w & 44
45
ff
Ó™
f
°110 4
{
?
∑
> / 44 œ
44 Ó
mf
∑
? 4 4
∑
f
f
=
Fl.
42
‰ J p
45
ff
>œ œ
> 4 ¢& 4 ≈ œ™ ˙™
˙
42 ˙
& 44
Pno.
42
Fl.
°115 4 & 4
13
w
w 45
Cl.
Vln.
Vc.
°
4 & 4
¢&
{
To Lion's Roar
Perc.
w
45
mp
niente
44 w
Cl.
Vln.
Vc.
Pno.
mp
Perc.
44
∑
45 /
˙
Ó™
44
∑
45
niente
44 ˙™
w
“”
45
44
∑
œ
Πniente
œfij
3
45
4 / 4
45
=
∑
°
& 45
U ∑
5 ¢/ 4
U ∑
°
bœ ‰ J
5 ¢& 4 Ó
bœ ææ
pp
& 45
U ∑
/ 45
Æ œ 44 bœ œœ
U Πf
pp
U Œ
?
U ∑
(release pedal)
mp
43 ∑
pizz.
Œ
œ
I œÆ 44 J ‰ Ó™ 44
pp
U ∑
Œ
(choke crotale while striking bass)
f
œ. ‰ J
5 & 4
mp
44 Ó™
∑
45
Ó
3
q=108
pp
f
Œ
“” 3 4 Œ b œ œ &4 J J œ
∑
œ ææ
& 45 Ó™
œfij
45
3>
mf
bw ? 44 w
{
∑
niente
45 œ
118
Fl.
45
45
∑
w & 44
Pno.
∑
mp
niente
4 ¢& 4
44
Œ
(Lion's Roar)
mf
45
44
∑
43 œ
45
44
Ó
Ó™
43
∑
44
Ó™
43
∑
44
“>” œ œ 44 J ‰ Ó™
43
∑
44
Æ 44 œœ œ
ff pizz.
ff
f
?
44
∑
44 >œ f
j ‰ ¿ Ó
>. œ “‘
43 Ó
44
ff
43
∑
44
14
°
j & 44 ‰ O Ó™
121
Fl.
Perc.
Vln.
Vc.
Pno.
Perc.
(jet whistle)
f
¢/
44
∑
°
æ æ æ æ œ. œ bœ J ‰ œ œ
45
∑
45 Ó™
arco molto sul pont.
4 & 4 Ó
mf
? 4 ¢ 4 Œ
{
∑
45
ff
o ˙™
pp
«
j Ó œ
∑
& 44
∑
∑
45
∑
? 44
∑
∑
45
∑
∑
45
∑
arco sul pont.
f
> / 44 œ f
¿ œ
Œ
˙
44
∑
˙o
o œ. pizz. b œ« 44 J ‰ ‰ J Ó
ff
45 Ó™
‰
∑
f
nat.
∑
44
∑
mf
æ ˙æ
Fl.
Perc.
Vln.
> O Ó™
& ‰™
arco sul pont.
“”. bœ bœ 44 J ‰ Ó™
p
ff
44 .j ‰ Ó™ œ “‘
¢/ °
& ≈
« œ™
43 œ Ó
∑
mp
j ‰ ¿¿ Œ ¿¿
f
&
Vc.
Pno.
Perc.
¢
{
?
j B œ. ‰ Ó
? Œ <“> /
‰
j ‰ ¿¿ Ó ¿¿
∑
44
∑
43
∑
44
∑
43
∑
44
∑
∑
44
∑
43
.j Ó bœ
43
∑
44
∑
43
∑
44 ‰ œj Ó™ f
arco
∑
43
ff
∑
44
∑
f
B
44
o œ. J ‰ Œ
43 œo
arco
Ó™
∑
44 Ó™
∑
?
∑
44
∑
44 « œ
¿ œ¿ œ ≈ œ Ó
mp
43
œ 3 4
pizz. sul pont.
ff
&
44 To Clarinet ∑ 44 Œ
f
b Ÿœ~~
43 Ó
∑
Œ
43
f
Ó™
44 œ¿
O ‰™ Œ
œ 44 œ. ‰ Œ ææ J
p
p
f
za
43 Ó
æ œæ
44 œj ‰ Ó .
=
°125
f
43
p
ff
œ æ
p
Fl.
°130
bœ
& Ó™
p
¢&
Perc.
Vln.
Vc.
∑
œ. ° J ‰ Ó™ &
¢
ff
B
{
Perc.
/
> ‰ œj Ó œ “‘ ¿ > f ‰ œœœ mp
=
J ° Ó & 134
Fl.
Cl.
Vln.
Vc.
Pno.
Perc.
¢&
Ó
& Ó
¢&
{
f
f
°
˙ p
f
œ œ bœ œ
œ œo ææ
43
∑
œ. J ‰ Ó™
œ p
p
Œ
43
Œ
43
niente
ff
pp
∑ ∑
44 Œ
Ó™
44
bœ ‰ J Ó
>œ J ‰ Ó
∑
∑
44 Ó™
æ œæ
p
44 w
Ó™
p
j ‰ Ó™ œ.
? Ó
Æj œ
‰
Œ
43
∑
44 Æj ‰ Ó™ œ
˙™
œ
∑
¿ 44 œ
œ¿
∑ ‰ Æj Ó™ œ
f
œ Ó
œ p
45
j ‰ Ó™ œ.
45
∑
45
j ‰ Ó™ œ.
45
∑
45
∑
45
∑
45
f
f
∑
“‘
?
Ó™
Ó™
œ
p
44
&
Ó™
44 œ
Œ
f
∑
mf
‰
ff
Ó
b>œ ‰ J Ó
43
/
> 44 œJ.
3
p
f
43
Ó™
f
mf
Œ
Œ
‰
f
p
œ 3 f æ 4
‰
¿ œ
>œ. 44 J
3
Æj œ b œœ
Ó
p
“” œ bœ œ œ 3 œ œ 44 b>œ &4 œ
& Ó
mp
f
œ™ ææ
3
∑
™ 34 ˙
˙
6
p
p
f
p
44 œ œ œ Ó™ œœ œ
(Clarinet)
œ™ æ
mf
45 ∑
œœœœœŒ
6
f
Ó™
“œ” >œ bœ œ œ œ œ bœ œ œ 34 44 œ
∑
45
43
∑
43 Œ ™
f
44
∑
43 Œ ™
∑
45
∑
+¿
45
f
45
∑
? Œ
43
45
&
Pno.
bœ 54 J ‰ ∑
15
œ œbœ œ
¿ + ¿ J ‰ œ
Ó
ff
16
>œ. ° 5 J ‰ ∑ & 4 139
Fl.
44 Œ
œ œ 5 J œ ‰ Ó™ ¢& 4 ‰ f
Cl.
Vln.
°
. œ. b œ. œ . & 45 œ œ. Ó 5
Pno.
Perc.
Picc.
Cl.
Vln.
Vc.
Pno.
Perc.
5 ¢& 4
{
f 3
œ.
b œ. p
?
f
To Piccolo
J ‰ Ó
44 Ó
∑
œ. ‰ J
œ
mp
p
Vc.
b>œ.
p
f
p
œ œ. ææ 4 J 4 ‰ Ó™
p
f
™ œ. Ó
44 ‰ ™
pizz.
p
œ f
Ó™
∑
∑
44
∑
∑
? 45
∑
44
∑
∑
44
∑
=
°144
∑
f
(Piccolo) za
& œ
Œ
¢& °
∑
bO & Œ bœ
{
ææ œ
p
Oœ. ‰ Œ J
Æ ‰ Ó j œ ff
Ó™
> bœœ Ó™ bœ œ
œ
Œ
?
Œ
p
‰
∑ œ. J ‰
˙ ææ
∑
ff
j œ ‰ Ó™ b œœ
Œ
∑ . . . . (hold down)
∑
j Ó œ
∑
œÆ J ‰ Ó™
43
ff
Œ
œ. ‰ Ó J
43
Ó™
43
p
&
Ó™
o œ. ‰ 43 J
arco
f
?
∑
∑
∑ Œ
ff
j ™ œ ‰ Ó
«
∑
◊˙ÿ™
pizz. (f.n.)
f
∑
∑
∑
mf
œ«
∑
∑
œÓ
p
mp
&
/
Œ
œ ææ
fff
pizz.
&
pizz.
∑ Ó
arco
∑
ff
∑
ff
∑
K
∑
p arco
¢&
Ó
5
∑
b>œ. œ ‰ Ó™ œJ
∑
& 45
/ 45 œ¿
œ
∑
œœœ
∑
¿g ‰ œ œ œ
f
◊ÿ bœ ‰ J Ó
pizz. (f.n.)
Œ
ff
∑ Ó
43 &
(release pedal)
+¿ p
Œ
43 43
Picc.
°148 3
œ œ & 4 Œ æ ææ
3
pp
Cl.
Vln.
3 ¢& 4 Œ
°
mf
p
Œ
f
arco
gliss.
3 ¢& 4 Œ Oœ gliss. ææ
bbœO gliss. æ
Oœ. ‰ J
f
Perc.
p
“” œ 3 & 4 Œ œ
Vln.
ff
° 4 Œ bœ ≈ œ ≈b œ & 4
œ
œ
4 ¢& 4 Œ œ f
°
œ. œ‰ J
œ œ ≈œ≈ ‰ œ
? 4 ¢ 4 Œ œ œ bœ
{
p
& 44 Ó
Pno.
Perc.
≈
œ
œ “œ” bœ
4 & 4 Ó / 44 œ Ó f
bœ
œ
œ
œ
œ bœ
Œ
f
‰™
f p
ff
gliss.
œ
5
œ
œ
f
Ó™
44
f
« ‰ j œ
pizz.
Oœ. ‰? 42 Œ J
ff
œ«
>œ
42 œJ ‰ Œ
44
42 Ó
44
j 42 ‰ ¿ g
44
ff 3
œ ‰ J Ó za
‰ œJ Œ
œ
za
Œ
>œ. J ‰ Ó™ ∑
œ
&
bOœ
« ‰ bœj Ó™
p
42
Ó™
p
j‰ œ. “‘
ff
∑
42
∑
42
∑
42
p
∑
Oœ. ‰ 42 J
42
f
∑ ?
arco
Ó
‰ œJ Ó™
“” œ œ œ bœ
42
Ó ∑
p
Ó
44
f
mf
f
∑ ¿
gliss.
p
bœ bœ œ
p
œ œ p
b œ. J ‰
œ œ
f
‰
pizz.
œ bœ œb œ œ œ œ œ œ
œ ≈ ‰ ‰ J Œ œ p
Œ
œ
Oœ. ‰ 42 Œ J
ff
bœ ≈ ‰ œ
bœ
f
p
5
mp
& 44 Ó™
gliss.
Œ
œ ¿™ 44 Ó™ 6
f
gliss.
44
3
mf
p
Vc.
fi œœœ
∑
ff
44 Œ œ œ œ œ bœ œ Œ
∑ Ó
42
bbOœ ææ
mf
Œ
œ
p
Cl.
∑
/ 43 6 Ó
152
œ
44 Œ
œ
3
p
f
ff
3
=
Picc.
f
5
mf
gliss.
44 Œ O œ ææ
∑
44
O ææœ
f
Oœ. ‰ J
∑
p
44 Œ bO œ ææ
∑
42
œ
f
œO gliss. ææ
œ œ œ ææ æ æ Œ æ æ
pp
44 Œ œ
∑
“” œ œ œ bœ b œ œ & 43 Œ
Pno.
44 Œ œ ææ
∑
ff
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