Reading a Wave by Christopher Cerrone

Christopher Cerrone

Reading a Wave for nine instruments placed throughout the audience

(2008) full score

Instrumentation (the score is notated in C): Alto Flute* Violin Celesta (4-octave) Clarinet in B-flat (doubles Bass Clarinet)* Viola Percussion (Vibraphone and Glockenspiel) Tenor Saxophone (doubles Soprano)* Violoncello Piano *) Each of the wind instruments should be tuned approximately 1/8 tone flat. The effect should be accomplished by the loosening of each instrument's embouchure.

Instrumental Layout: Piano (lid up)

Sax

Vc.

Cl.

Celesta

Perc. Vla.

Audience

If possible, the trios to the left and right should be placed in the balconies as indicated here; in this is not possible, they may be performed offstage to the left and right of the audience.

Vln.

Performance instructions: Reading a Wave is a piece for nine instruments; the instruments are composed of three antiphonally placed trios. The piece's three distinct parts are based on the varying degrees of synchronicity between the players. First Part: Trios enter, one by one, playing similar material, at similar tempi. As the first trio enters, it is conducted for exactly one system, at which point the next trio enters and the prior trio must proceed independently from the conductor, but remain metrically aligned (eg, on page 1, the onstage is conducted, on page 2, the left balcony trio is conducted while onstage remains independent, etc). In this first part, the pianist, percussionist, and celesta players are in charge of keeping their trios synchronized when not conducted by cueing the winds and strings of their respective trios. As the the first part continues, all of the instruments gradually become independent of one another (wind and string players proceed to independent parts with loops while the pianist, percussionist, and celestas are no longer cuing). The movement ends when the percussionist, pianist, and celestist independently finish their respective materials and should proceed without pause to the second part, where they coordinate with one another via a 30-second interlude. Second Part: The celestist, pianist, and percussionist remain independent of the conductor’s beat for the majority of the section, playing shifting loops while the rest of the ensemble is called back by the conductor, one by one, from their independent parts. The winds and strings are conducted and metered for the majority of this section, while the celestist, pianist, and percussionists are cued by the conductor to proceed from loop to loop. As the second parts continues, the keyboards and winds reverse roles one by one, and the movement ends with the conductor cutting off the strings and winds after a large crescendo. The winds, which are independent, remain. This is the beginning of the third part. Third Part: After a 30-second interlude similar to the one at the beginning of the second part, the third part is metered and conducted throughout. In this part of the work, the movement of the same musical material from trio to trio is most important; therefore, each trio must be totally balanced in dynamic.

Notation Guide = gradually change from one technique to another (e.g., sul pont to sul tasto)

q = 60

= a boxed metronome mark indicates the primary tempo for each member of a trio, each trio member should play this tempo unless otherwise indicated.

 

= sustained sound (if it is a metered note, play the duration of the note and sustain)



 = cresc./descrec. from/to nothing

String techniques: s.p. = sul ponticello

= cued by conductor, either as an entrance or a return from an independent part

 = pause  = breath with no pause

 

 

m.s.p. = molto sul ponticello: almost on the bridge; the tone should be very distorted and rich in overtones = toneless bowing: bow directly on the bridge while softly muting the string; the result should be an airy, pitchless sound

Wind techniques:

The alto flute, clarinets and saxophones should all be tuned approximately 1/8 tone lower than the strings and keyboard instruments throughout. When the strings tune to an A at the beginning of the piece, the winds should seperately tune their A  . The winds should be just flat enough so that they produce beats when playing in unison with the strings or piano, but not a full quarter tone flat.

= cue from ensemble members.

"p"



= repeat figure inside the box independently of the ensemble as indicated

= dynamics in quotation marks indicate intensity rather than achieved sound; therefore performing a very quiet action "f" may still result in a very quiet sound.

 = air sound, slightly pitched

  = sounding approximately 1/8 tone lower throughout   Multiphonic choices are at the discretion of the wind players, but generally multiphonics rich in lower partials are preferred.

About the work: Reading a Wave ("lettura di un'onda") takes its title from the opening chapter of Italo Calvino's novella Mr Palomar. The novel opens with the protagonist of the same name sitting at the beach intent upon looking at just a single wave. But he finds, "isolating one wave is not easy, separating it from the wave immediately following, which seems to push it and at times overtakes it and sweeps it away; and it is not easier to separate that wave from the preceding wave, which seems to drag it to-ward the shore, unless it turns against the following wave, as if to arrest it." I found this image striking -- particularly so because I had a very similar experience this past summer staring at the waves on a dock in the city of Siracusa in Sicily. The beautiful nature of waves, which for Calvino serves as a metaphor for the whole world, is that they cannot be defined in if of themselves; they exist only in relation to one another. Similarly, the opening of my Reading a Wave involves imposing -- one by one -- several layers of music that are all similar. But like waves in an ocean, it is not so important that their individual identity be maintained, but rather that they blend together in a composite whole whose interplay is the most intriguing part. One more image: During the same summer I also spent time in the city of Siena. A tiny, walled city, Siena has hundreds of churches with huge bells, often times not more than a block from one another. Perched at the highest point in the city, I could watch as three churches would simultaneously call off the hour, each at a slightly different speed from a different place in the city, each echoing off of the walls of the city. This inspired the second half of the piece where the piano, glockenspiel and celesta, each perched at a different place in the hall, imitate these bells sounds and, after several minutes, slowly merge into the winds, just as the memories of these two cities merges together for me. Reading a Wave was commissioned by Red Light New Music and premiered by the Red Light New Music Ensemble, Ted Hearne, conductor, on February 10, 2008 at the Italian Academy for Advanced Study at Columbia University in New York City. The work received its revised premiere at Yale University’s Sprague Hall on April 2, 2008 with members of the Yale Philharmonia, Ted Hearne, conductor.

to the Red Light Ensemble

Reading a Wave

CHRISTOPHER CERRONE (2007-2008)

Right Balcony

Alto Flute (ca. 1/8th tone flat)

Violin

Left Balcony

Celesta

Clarinet in Bb (ca. 1/8th tone flat)

" ! &" !

(air, slightly pitched)

" ! &" !

Percussion

! #& "

q = 52 (with conductor) " , senza vibrato, détimbre sempre ! " "

" ! &" !

* - !! .

1 ! , )2 Violoncello # " . " ! & " *--pp

1 ! 5# " 8

pp (ca. 1/8 tone flat) IV

2 ! " ,** /) .

4! 4! (sempre)

" *---" "

& " 5*--

" , "

" ) "

III

On Stage

"p"

' ! #& "

+ "!

Piano

repeat independently 3-5x and then cut off

! &"

Viola

Tenor Saxophone (ca. 1/8th tone flat)

$(% ' A. Fl & *)

q = 60

4 4

! " *--1!

" 5-

# "

-!! .

" --

& " *-

# " 3-! .

$ "

" "

$ "

"p"

$(% & *)

q = 60

independently 0 repeat until cued by conductor

4 4

# " *--- !!! 1#

" 3-!

" " " "

' 4 ,2

* /+

q = 60

1 ** ) -

repeat independently until cued by conductor

III

$ *" * --

, * / /7 "' 6 4 "

$ "

" "

% "

"p"

" ) " /

*5 " -"

" *) "

(air, slightly pitched)

% "

q = 60 3

' 4

ppp

SOST! 8

!!"# **5--!!"#

!! !!

repeat independently (5-7x) until cued by conductor

% " % "

" ! Cl. %" !

q = 54 (with conductor)

senza vib. sempre " & ('détimbre, ! !! " " () * pp

" " (1/8th tone flat)

/ "! & , 0 *

Left Balcony

Vibraphone (motor off, very soft mallets)

!(''' Perc. % " #

(attack with piano)

" ! Sax. % " !

On Stage

'' 7 " ' "

q = 52 (independent of conductor) " & "

1 0! # " & ) " ! % " 3(''' !!!

(attack with vibraphone)

Pno.

0 ! 3' ! # " '! pp

+ *

" (' " (

(l.v. sempre)

! (''' "

" "

)

# "

! "

slightly pitched) " ((air, " ,

$ "

"pp"

" , " )

Glockenspiel (soft mallets, like an extension of the vibraphone)

% " ('(

# "

3 3

" "

())1

" () "

# "

# (''' "

$ "

2 4

&' !

! "

repeat independently until cued by conductor

"p"

"0 & "

"mp"

q = 60

3 5 " 4 ()0 () "

$ ('' !! " (' !

" "

q = 60

(bow on bridge, no pitch)

$ "

!!"$

" "

(( '' 7'

III ord.

%% ',

repeat independently until cued by conductor

ppp

repeat independently (4-6x) until cued by conductor

! " ! " ! "

(al fine)

" "

III

Vc.

1 ! " &%% ), * IV

" , "

III

V.la

q = 60

4! 4!

( ' !! )

1 & (( ,)

" % " 3(''

4 4

3(''' 0

3' '

$ "

+ )

4 4

# '' % " ('

$ " 2'! )

(' 3 # '' "

(- !

"pp"

q = 60

" "

repeat independently until cued by piano

"mp"

# " ,-

" ('''' "

# " *

&.' % (-

4! 4!

$ " (''' 0$

" 2'

* p

! ( ,)1

q = 60

" "

0 (( '

* ( , ,6 * 5

q = 60 3

repeat independently until cued by pno

III

" (' " ( ''

" "

2' *

SOST! 7

!!(('' 3' A

ppp

repeat varying permutations of A-B, A-C, A-B-C or A-C-B

!! to proceed

3-4x and then cue sax and c

Right Balcony

" ! A. Fl. $ ! !

q = ca. 56 (with conductor)

( " % ))&' ! * (

! $ ! % +'!!!! ( III

Vln.

( ! )& ! )'

" ! &'

with vibraphone) ( ) (attack + + ! + 2 Cel. $ ! #

) ++++ " )+ !

" ! +! (

%( ! % '!! ! ( pp

.+ ) ! .+++ !

- !"

/ "! & 0 *

Left Balcony

Vla.

Perc.

! (''' #% "

(attack with celesta)

'' 6 " ' "

" Sax. $ !

On Stage

Vc.

" $

! $!

q = 52

I $) + ,! % ! )

! /* $ ! ' ** /*

# "

" ! 0

, ! /*

! *

,'!

! !

( '& )

+I ! % ! )

! ''** ! **

! /* *

$ (" $ "

% (!

" !

*! ) +

'* !

" /*** !!! $!

$ "

q = 60

() ()4 0

(( '' !! 6'

" "

'' '-

III

6) B

/" "

repeat independently until cued by percussion

!! repeat varying permutations

) +++ # )+ !

" !

q = 54

()

!! viola to proceed

q = 60

$ !

# "

III

# "

" ('''

3-4x and then cue clarinet and

# "

" !

repeat independently until cued by piano

# "

& 0 *

of A-B, A-B-C, A-C-B, etc

# !

" !

"pp"

! !

repeat independently until cued by percussion

"mp"

"0 & " "+ "

" !

# ' !

( ) + " ++ $!

repeat 3-4x and then cue violin to proceed, flute remains independent

q = 60

" "

(bow on bridge, no pitch)

$ ('('' "

# "

" ! 0

III " % '0 (

q = 60

" !

.+(

q = ca. 60

)) ++ !!!" .+

"pp"

# (' " ('''

)& )& !- * !

! !

q = ca. 56 (independent of conductor)

q = 50

()(2

" $ ! /'**

) &0

# " (- !

# !

Pno.

* % -

# !

# "

" '**** !

"p"

(air, slightly pitched)

# " ('

" ! %

)+++

repeat 3-4x and then proceed to independent part

"p"

# "

" (' "

) ++++

" "

! %"

(bow on bridge, no pitch)

# " ()

III

&' ! p

# )' !

" ' !

q = 54 (independent of conductor) " ! " & (' !! Cl. %" " !

q = 60

! ! ! !

(

' &%(

q = 60

# ! &

( 3 & &2 1 q = 60

# '* ! ' **

ppp

# !

)! * $

& % s.p.

'& ''

ord

3* (

SOST! 4

5 4

)

!!'3** /* A

p molto rubato

. repeat 3-4x

then proceed to independent part

" !

!! repeat varying permutations

" !

proceeds !! cello independently

" !

of A-B, A-C, A-D-B, etc 2-3 x and then cue sax;

Right Balcony

Fl.

Vln.

" ! %" !

! "

! %" &

$' ) ( '

% -* ! ** Cel. % " #

" " ( " "

Left Balcony

" ! ) Cl. % " & (' * Vla.

. "! ,

Perc.

Sax.

On Stage

Vc.

// ! 0/ % " # ! ! '" !

-1

! "/

! " (/

# (' (/ "

% ! $! "

) &

! "

# "

(

# *,,,, " #

*) # +

! "

! (// " (/

" & "

*$ p

' " 0*,,

! " 0*,,,

/ ! 0,

" ,

*, 0 " ,, "

" ,,

- ***

! "

' &

(' ((

s.p.

- repeat independently

(' (' 1

(( // !! 0/

p molto rubato

q = 60

# "

- 1)

-1 mf

! "

$ "

2-3x and continue to independent part

$ "

! "

$ "

ord

repeat independently 2x

and proceed independently

# % "

q = 54

independently . repeat until cued by piano

q = 52

'" !

"mp"

! " (/ p

// ! 0/ "

# (/// % " p

$ ( *, % +

# (/ "

# " # *$ "

$ " $ "

#& "

# "

0 )%

& ) ) 3

q = 60

)

- *** -*

$ "

"mp"

q = 60

,# +

! " (

repeat independently 3-4x and continue to independent part

"mp"

(

q = 60

) ( '

III

* % - * * # * %"

!! repeat 2x and then cue violin

q = 60 % !

# %" &

repeat until cued by celesta

"pp"

+*'

q = ca. 56

/! " "

! " (,

/! " " &

q = ca. 60

-- ** !!"! +*

-1 -1 2

(bow on bridge, no pitch)

# "

! " 0/ ! *

! "

- 1)

# (, "

sul tasto, poco vib.

# "

q = 52

! ! *, ' " *0,,, Pno.

- ***

! " ('

! % " (/

# "

q = 60

**,, 0,

ppp

# **,, " 0,,

$ *,,,, %

*, 0 ,, ( #"

# "

( #" ,*,,

# "

' % 0*,,

Right Balcony

Fl.

Vln.

q = 60

! &"

$ ! Cel. & " ( #

Cl.

Left Balcony

" ! &" !

Vla.

! ! &" !

)

+* +* ,

q = ca. 60

++ -!! .-

(

On Stage

repeat 3-4x and continue to independent part p

q = ca. 56

p molto rubato

('#)

q = 60

# "

$ "

(( ++ # ,+ "

! "& "

poco a poco accel

+ *** $ +* "

$ + # -&"

repeat 2x and proceed

q = 54

! %

+ ***

poco a poco accel

$ (+++ " p

! ! Sax. & " ! Vc.

$ "

+ *0

+ --# +"

! %

+ ***

$ "

! %

q = 60

+ **

$ "

+ *0

attaca

! &" & "!

Perc.

III

q = 60

! (' "

# (' %

'' ! (' "

# %

! ') ' "

! "

) '

$ (+ "

# (' %

++ $ (+ "

# %

! ') ' "

# (' %

! "

# %

q = 60

! ') ' "

! "

attaca

repeat 3-4x and proceed to independent part

"mp"

)! " " ! ! &"

+ *#

$ * * . sf

Pno.

)! " "

poco a poco accel

(/ (+/// p

# (*** " (*

$ %

# "

$ %

( ***

# " # "

$ *, *

! (/(/// "

$ %

! "

$ %

( ***

# " # "

$, *

$ % $ %

( **

q = 60

# " # "

attaca

II.

Right Balcony

 A. Fl.   

Vln.

25 - 30"

q = 90    

Lo stesso tempo (q = ca. 56)

               Cel.   A

     C

repeat independently in any order; improvisatory



Left Balcony

Cl.

        



Glock.

Vc.





  

repeat independently in any order; improvisatory





q = 90 s.v. sempre    



 





Clarinet in Bb

  

 pp

 

 

 pp



     3

25 - 30"



(q = ca. 52)

            A

Pno.

            A

 Sax.  

On Stage

    



q = 90  s.v. sempre      A

 



25 - 30"





 

(q = ca. 54)

Perc.

s.v. sempre



  

Vla.

            A





 3     C

 

           A

repeat independently in any order; improvisatory



      C



        

Right Balcony

 A. Fl.  



Vln.



 





  



     

 

gliss.



senza vib.

             A

Left Balcony



Vla.





On Stage

Sax.

Vc.





            Glock.

    



 

 





Perc.

 



 

  



 

 

 



 





(loco)

    3

 

 

  

ord.



 





 





 

 

   

 

Soprano in Bb 3



 

 

ppp

  mp

  

 

    A

Pno.



  



slow, wide vibrato



 Cel. 

Cl.

 

   





  

ord.

         B

C 3



  

s.p.





 



 

 



 

(loco)

 

  

    A. Fl.    





 

  

 

Right Balcony

Vln.

 

 f

  



 



 

 





         

Left Balcony

    

On Stage

Vc.



         

 

  



   



 

ord.











 



     3  f m.s.p.

 



ord.

 



 

repeat independently in any order



   



 



     



(loco)



   

  Pno.   

       short



     

 



ppp

       

 

harsh tone

 

Sax.



   

Glock.

Perc.

(loco)

s.p.

Vla.

(loco)

take Bass Clarinet            

 

ppp

  Cel.  

Cl.

 

gliss.

ord.

 

  

ord.

 

 



 

 

 



  





    

3  

 

 

 

 

        B

C 3



  

 

Right Balcony

   A. Fl.   

Vln.

 s.p.     

Left Balcony

 





ord.



 



 

 

ppp

 

 



 

Vla.





   m.s.p.       

gliss.



ord.





    

ppp



   A Glock.

Perc.

     p

   Sax.   

 Vc.     fp

 

ord.



       

 





 



 

   

 

Bass Clarinet in Bb

 

 



fff

 

 

 

 



 

ord.

m.s.p.









   

repeat independently in any order

 

 

 

  ff



 

ord.

s.p.



Pno.



  Cel.     Cl.  

On Stage





 





        B

   3      short



 

 

 

  



   

ord.

  ord.     

 A. Fl.   



 



 



Right Balcony

 

Vln.

 Cel.   p

Cl.











Left Balcony



On Stage

harsh tone

 

 

 

ord.



ord.









 

ord.

m.s.p.



ppp





  



 









 



 



s.p.

 

 f





  







sfp





  



sfp

harsh tone  ord.



ppp

  



 



  





 

 



       







  ff





 









ppp

  fff



 

ord

  





     





ord.

m.s.p.

slowly form



 



(



sfp



 

multiphonic

  

   



 

 

ord.

sfp

ord.



harsh tone 

sfp

   B





   

 

 

sfp

ord

        ff

  ff  



s.p.

(loco)



gliss.

   m.s.p.    

sf on the lower note

ord.



 

   

ord

 Pno.  





  







 

repeat in any order

    

Vibraphone

    Sax.   mp

Vc.



ord





      3

sffp

m.s.p.

Perc.

sf on the lower note



gliss.

 

  m.s.p.      ppp

 

Vla.

   fff

   ff





   

     3

 

Right Balcony

  A. Fl.   

Vln.

 

 

 p 

Left Balcony

harsh tone 

ord

 

 Perc.   



On Stage

    f

  







 

ord.

   

 

harsh tone

     m.s.p.

         sfp

slowly form

fff



ord.



 

 





 

  



sfp

 





  

ord.



  







   

 

sfp

 

m.s.p.

 

 

 

sfp

   





 

s.p.

ord.

sff







  

 





 

sf f



sffff

   







 

        



sffff

    

sfp

  ord.       3     p  p  p B

 

sfp

 

poco a poco cresc.



sfp

 

repeat in any order



      



 

 



 



s.p.

ord.





sfp

 3                mp  p  p

ppp

fff



sfp

ord

  

ord.

multiphonic

         

 

 

ord.

       3

fff

   

sfp

       

s.p.

Pno.

ppp

   

ord.



         Sax.     ff  

  

 

gliss.

sfp

  Cl.    

Vc.

   m.s.p.     

            

sfp

 



 

  Cel.    

Vla.

      B

 











   3           p  p   p

Right Balcony

  A. Fl.   

Vln.

Left Balcony

Cl.

Vla.

Perc.



 

  Cel.  





   m.s.p.        

gliss.

ppp











    



ord.



 





poco a poco cresc.

sfp

 

 

  





    



sfp



  

fff

  

  

sfp

fff

attaca

     







  



   

  3            p  p   p





s.p.

ord.



sfp





 

 

ord.



s.p.

 ff

 

sfp

 



Vibraphone



  



sfp



     s.p.

ord.

  



Glockenspiel (same mallets)

 

 s.p.

ord.

 

sfp

fff

Glockenspiel (same mallets)

   



fff

attaca

Sax.

On Stage

Vc.

     

Pno.

  

ord.

poco a poco cresc.



ord.





  

  



sfp

    

sff











 

 

 

   

   

s.p.

 ff

sff

 

    

   

 



 



  

   

sf-f











 

 

 

s.p.

    

fff

  attaca

III

25 - 30"

" %# % 3 ! ) &# # $ $ ' $#( $#( ! $# $# ! " p "" p " p

Right Balcony

Alto Flute (ca. 1/8th tone flat)

ord.

Absolute silence 7"

*' % *' % ' 3$#) $# ( (

" % B % C3 * ' $#) $# $# $# ' ( (

ord.

$$ %/

(non tremolo)

Violin

Celesta

& "!

p sub.

Cel. !

(

q = 50

+ con sord. "practice" mute s.p.

, -# ' " pp 3

m.s.p.

, $#) . " pp

very slow lift

25 - 30"

" %# % 3 Bass ! # &$ $ ' &#( &#( Clarinet in Bb ! $# $# 1 (ca. 1/8th ! " p "" p " p tone flat) A

3 ( " % *% ( -# # ' ' &#1 &#

Left Balcony

ord.

Viola

ord.

Absolute silence 7"

"% B % C ** $# # ' ' A

ord.

2 ossia: mute vibe/glock with hands

Vibr./Glock)

Percussion

Perc. !

(

q = 50

con sord. "practice" mute ord.

s.p.

m.s.p.

very slow lift

25 - 30"

C %# % 3 " ! # $ ' ) ! -# # -$ $#( $#( " " p p ! " p " A

On Stage

Soprano Saxophone (ca. 1/8th tone flat)

Violoncello

Piano

ord.

"% * % -# # ' A

ord.

' $#) $# ( ( 3

Absolute silence 7"

"% * % * -# # ' ' A

ord.

P.no ! (

very slow lift

. con sord. "practice" mute s.p.

"! !3 "

q = 50

+ +

3 ' #1 1 , " pp

' $#) , " pp m.s.p.

44 ( p

! A. Fl. ! !

Vln.

4" * +

& Cel. "!

! B. Cl. ! !

Vla.

Perc.

! Sax. ! !

Vc.

! Pno. ! "

!77777777777777777777777777777777777777777777777777777777777777777777777 /( -# p

ord.

s.p.

$/ "

m.s.p.

*+ 5"

*+ *+

5 6

6 . 6

, $# '

5 6

6 . 6

( & 6 44 3 4

! "

s.p.

m.s.p.

-4

*+ 3"

sempre pp 3

5 6

!777777777777777777777777777777777777777777777777777777777777777777777777 6 / -# 5 6 ( 6

ord.

5 3# 6, "

ppp (inside the cello)

5 6

# , ' 1

*3"+

5 6.

5 6

6 6

s.p.

5 6

, $#) '

5 6

6 6

ord.

0 4"

*+ *+

) $# ' 8 ' sempre pp

! "

Vibraphone

44 (

, -# .

5" * +

! "

5 6

6 6

5 6

6 $/ 6

5 6

6 6

s.p.

! "

m.s.p.

, -# 66 . 1 ! "

! "

6 $/ 6

5 6

6 6

5 6

6 6

s.p.

m.s.p.

5 6

0 4" * +

*+ *+

sempre pp

s.p.

, #

! "

m.s.p.

(

- ##)

-4

ppp

*+ *+

5 6

' 5 $4 6 "

6$/ 6

s.p.

ord.

5 6

6 . 6

, $#) ! "

m.s.p.

6 6

5 6

6 $/ 6

5 6

6 4 6 44

s.p.

(

, -# '

5 6

m.s.p.

5 6

)!*777777777777777777777777777777777777 ! 5 6 ) , ' A. Fl. ! 6 6 " !

Vln.

Cel.

B. Cl.

& 5 3 " 6

! 5 !6 !

' -# , 1 1 p

s.p.

5 !6

m.s.p.

$4 - 4

6 . 6

6 444 6 0

' ppp (as before)

!77777777777777777777777777777777777777777777777777777777777777777 9 /( -# 6

9 6

-# , '

6 $/ "

! "

ord.

, # "

6 ) , , $# . 6 3

! 1

! "

9 6

s.p.

6 $/ 6

6 444 6

!777777777777777777777777777777777777777777777777777777777777777 9 /( -# 6

m.s.p.

9 6

6 6

9 6

6 6

6 $/ "

Vla.

Perc.

Sax.

5 "! 6 ! 5 !6 !

25 Vc. " 6

Pno.

! 5 "! 6

6 6

s.p.

ord.

m.s.p.

9 6

6 6

9 6

6 6

9 6

6 6

9 6

6 6

# , , -# , , ' 1

! 1

! "

444 (

s.p.

6 6

! "

9 6

2 65

short

m.s.p.

short

0 sempre pp 3

6 ' 6

, $# .

6$/ 6

! "

s.p.

m.s.p.

6 6

( -4

, #1 ' , ' ! "

( ' -#1 1 , . 3

% "

III

- ##)

ppp

take Tenor

9 6

6 6

9 6

6 6

9 6

6 6

% "

9 6

III

444 ( p

9 6

short

* mp

6 6

! 6 )!7777777777777777777777777777777777777777777777 9 A. Fl. ! 6 ##/ 6 ! p

Vln.

Cel.

B. Cl.

Vla.

6 !6

& 6 3 " 6

! 6 !6

2 66

: ;

6 6

9 6

6 6

9 6

77777777777777777777777 6 ##)! 6 /

6 6

Glockenspiel

Perc.

6 "! 6

! 6 !6 ! $/ "

Tenor Saxophone

Sax.

9 6

9 6 mp

6 6

- ##)

-4

ppp

+>, 9= 6 "

Pno.

36 " 6

6 6

! 6 "! 6 44( p

9 , '' 6

6 6 44 (

5<9

: 6

: ;

6 6

: ;

6 6

: ;

9<5

*+ *+ 4"

6 6

5 6

IV " 5 4' 6

5 6

5 6 ''

6 6

*+ *+

6 6

*+ hold until all sound has died away

$# '

6 6 pp

: 6

: ;

6 6

5 6

6 6

" : ;

: 6

: ;

6 6

5 6

6 6

: '' ;

5<9

: 6

"p"

: ;

6 6

77777777777777777777777777 9<5 : =#)! : ) , '' 6 % ; (air only)

:= ;

: ;

III

Vc.

3" * +

: ;

5<9

hold until all sound has died away

: 6

: ) , ; p

) : 6

III

9<5

$# '

(

: ;

6 6

5 6

6 6

5 6

6 6

5 6

6 6 44

) 6 6

III

: 6 44

*+ 4"

:= ;

hold until all sound has died away

6 6 44 (

ppp

Feb 2, 2008: New Haven, CT

Appendix A. Part I independent part for all winds (notated here in C) B. Part I independent parts for all strings

Independent part - winds Play the figures below alternating between lettered and numbered figures, but otherwise in any order (including repetition). It is not necessary to play every figure. Continue until the conductor cues the next section.

q = 60 A (half air, half tone sempre)

$ !! &% ! '

% ""

&% !

!( ! '

ppppp (almost inaudible)

( ppppp (almost inaudible)

q = 40

"( ! '

" ! &% ! '

ppppp

&% !

ppppp

(air, slightly pitched sempre)

"p"

! &) ! ! '

+ *

5-7"

&), ), ), ), "p"

! .)! '

)"p"

# &("" ! '

! !( '

(

ppppp

$ !" &) ! '

! &% %

# &) ! '

+ /

3-5"

"pp"

" ! ppppp

Independent part - Strings Play the figures below alternating between lettered and numbered figures, but otherwise in any order (including repetition). It is not necessary to play every figure. Continue until the conductor cues the next section.

q = 60 A sul tasto, flautando

$ !! &% ! '

% "

ppppp (almost inaudible)

q = 40

"# $* +

bow on bridge, no pitch

sul tasto, flautando

sul pont

!( ! '

&% !

! "p"

* $+

bow on bridge, no pitch

( ppppp (almost inaudible)

#%, #%* #% #% "mp"

! &% %

"( ! '

sul tasto, flautando

" ! &% ! '

ppppp

. 6"

!# ! '

&% !

ppppp

bow on bridge, no pitch

* %/

# /%

"mf"

sul tasto, flautando

! !( '

# %/

&( ppppp

$ "" ## 5

ppppp

bow on bridge, no pitch

# &("" ! '

sul tasto, flautando punta d'arco

"p"

. 5"

" !