Sparr: General Electric

D. J. Sparr GENERAL ELECTRIC A CONCERTO GROSSO FOR ELECTRIC GUITAR, ELECTRIC BASS, SYNTHESIZER, PERCUSSION, AND LARGE CHAMBER ENSEMBLE

GENERAL ELECTRIC A CONCERTO GROSSO FOR ELECTRIC GUITAR, ELECTRIC BASS, SYNTHESIZER, PERCUSSION, AND LARGE CHAMBER ENSEMBLE

Transistor Baptism (Introduction) Magnetic Sheen (Andante) Echoplex (Largo) Soft Glow (Adagio) Charger (Synthesizer Solo) Overdrive (Andante) Heavy Duty (Finale)

1 8 19 26 31 33 50

PERFORMANCE NOTES

Conductor This piece can be performed with a small string section (approximately 6 violins per section, four to six violas, four cellos, and one to three basses), or with amplified single strings. The winds can be amplified if desired (this is preferred). If the winds are not amplified, great care should be taken to balance the amplified and non-amplified instruments. The volume of the electric guitar, bass, and synthesizer should be equal to the brass section when marked a similar dynamic. The guitar, bass and synthesizer should have monitors on the stage at a low volume, but have a direct line or microphone which leads to a mixing board. This board should be located in a central position in the hall and not in a monitoring room. The large speakers should be located in front of the orchestra on each side of the stage. If the entire ensemble is amplified, it would be advantageous to have a pre-mix for each instrumental group that can be easily controlled with one fader. The percussion should not be amplified. When a tempo has the marking exactly, it is essential that no variations in tempo occur. There is a digital delay in the synthesizer or guitar that is critical to the musical counterpoint. The delay is notated above the guitar or synthesizer in a small ossia staff. Guitar Please use a solid body electric guitar with multiple pickups (whammy bar is optional). The following effects are used in this piece: Volume pedal, Wah-wah pedal, chorus, delay, reverb, and distortion. (A noise suppressor and hum-cancel unit should be used if needed). It would be convenient to have a setup that can switch between sounds with a foot-pedal, but this is not necessary as there is ample time given in the piece to change settings. The sound needed is described in a box over the staff. Sound 1: Heavy Distortion using treble pickup, reverb with short sustain at a low volume. Sound 2: Same as above, but with large and long reverb at high volume. Sound 3: Clean, warm sound with full midrange eq. setting using pickup closest to neck should not have a “tinny� or thin sound, digital delay set at 450 milliseconds, one repeat only at 100% original volume. No reverb Sound 4: Same as above, but without the delay, with short reverb at a soft volume level.

Wah-wah notation (located above the notes in small text): Swell: start at up position and slowly depress pedal over the duration of the note Fast: move pedal up and down quickly Slow: move pedal up and down slowly Fast-slow: Move pedal fast at beginning of note and slow down gradually It would be better to err on the side of subtlety rather than on the side of obnoxiousness. Sustained notes: l.v. = let note ring or develop feedback naturally unless otherwise noted. molto vib. = vibrate string with left hand forcefully so that it sustains for the duration notated. This should result in fret noise and other resultant effects. (similar to the beginning of “Foxy Ladyâ€? by Jimi Hendrix). Synthesizer The entire synthesizer part is based on sounds available in General Midi Level One which has been designed to provide a minimum level of performance compatibility among MIDI instruments. Because of this any number of instruments can be used. Please use your best judgment to find a quality sound source. It is necessary to have a touch sensitive keyboard, and a sustain pedal. The sound needed is notated in a box over the staff Sound 1: Steel drums (notice the 8va markings in the score) Sound 2: Harmonica Sound 3: Orchestra Hit Sound 4: Slow Swells (Pad 8 in General Midi) Sound 5: Harpsichord Electric Bass Use a clean sound throughout the work. Slaps: marked with a staccatissimo articulation. Slap thumb against the string. Pops: marked with a BartĂłk pizzicato articulation. Use index or middle finger to pull the string so that it rebounds against the fretboard. Sustained notes: l.v. = let note ring naturally unless otherwise noted.

INSTRUMENTATION Flute/Picc. (piccolo sounding 8va) Oboe Clarinet (Bb) Tenor Saxophone (Bb) Baritone Saxophone (Eb) Bassoon Horn (F) Trumpet (C) Trombone Percussion Vibraphone, Glockenspiel, Tam-tam, 2 Splash Cymbals (high 6 inch, low 10 inch), Triangle, 3 Tom-toms, pedal Bass Drum (kick drum)

Electric Guitar (sounding 8vb) Electric Bass (sounding 8vb) Synthesizer String Section (or amplified String Quintet) (see performance notes)

N.B.: Score is notated at pitch except for the above notated octave transpositions Duration: approximately 18 minutes

SCORE IN C

I. Transistor Baptism (Introduction)

Adagio q=69 tempo rubato

   Oboe      1

solo ad lib.  

  

   



 

p dolce espress.



Allegro q=exactly 120 in tempo

 13        Ob.          Glock.    

  

Synth.





resulting delay:

pp sempre





 8va until measure 53       





Synth.





 



 

 

  









                               pp sempre

 



  

poco accelerando



  























 









 

 



 

 









 





 

























 









pp sempre

                                                   pp sempre

18 Glock.





                        



A Mysterious pp sempre

STEEL DRUM With 500ms Delay, one repeat at 100% volume

pp sempre



DJ Sparr 2003

GENERAL ELECTRIC











                                                          

                                             pp sempre

pp sempre

 Glock.

Perc.

El. gtr

Bass

Bombastic B Suddenly ff subito sempre

pp sempre

                                

22



pp sempre











 







 

SOUND 1





             

  

 

ff

 

   

     

ff subito sempre

l.v.

  

l.v.

       

               ff subito sempre

25

  

 

precise rhythm



 

vehement

 vehement    

                               



     

ff



pp sempre

 Picc.  Cl.



ff

SOUND 1 w/ distortion

pp sempre



ff subito sempre

vehement

Pedal Bass Drum

                 

Synth.

Cymbals

              

 



  

pp

   



mp

 





  





precise rhythm

f

 

f

                                                                    Perc.   swell from zero volume (niente) ff

Glock.

    

 

to full volume w/ volume pedal.









Bass





Synth.

                                                        

El. gtr

  

n.







l.v.

ff







   

n.         ff 

ff

        

                                                             © DJ Sparr, 2003

1

C    Picc. 

Cl.







 



ff sempre precise rhythm

  

    





Ob.

 

 

 

29

  

       

ff sempre

 







 





















Tbn.





           sim    Perc.    

Bass

  

 

         

ff

n.

 

   

      

ff

n.

 

Vln I

Vln II

Vla







ff sempre



Hn

Tpt

Tbn.

 

Vln II

Vla

 

                



precise rhythm

      

 

marcato, strong pizz.







   



     



  

 

  

     





                 

l.v.



l.v.



ff

n.





 







 

 





 

 





               

      







  





 

      

  



 



 







   



  



  







  

  

     

   

 



          













marcato, strong pizz.



  

      



 

  

    

precise rhythm

 

ff



 

    

  

ff

 



 





 

 





f

                                                                                                                 







































                                                                      33

Vln I







Synth.

 

ff sempre

mf

Glock.





ff

      



    



ff sempre

33

Cl.



 

  Picc.  Ob.

  

   

                                            

C

marcato, strong

29 pizz.



f

n.

  



       

            

 

    



f

                

     

Synth.

 



f

Glock.

El. gtr

     



        

 





ff sempre

 Hn  Tpt

  

 



     





  







    



   

 

 

  

    

 



 

 

         





 



2



 

    

 



   

 

    



   

     

       

Heavy Power Chords

 Picc.  37



Ob.

Cl.



T. Sax.



   

       

      



       

       

      





































  



Bsn

Hn



Tbn.

Perc.



 







           ff











            ff















(with guitar and electric bass)

6



 



(with guitar and electric bass)

 

ff

fff

(with guitar and electric bass)

 

ff

fff





ff

 



 

(with guitar and electric bass)



ff

fff

                                                  



(with guitar and electric bass)

6

 



(with guitar and electric bass)





  

  



 

El. gtr

      





Glock.





    

Tpt

   6

ff

Bar. Sax.

with guitars) D (blend ff











 









   

           

 





 

ff



Bass





                                              

Synth.

      ff 











                                                  































           

Heavy Power Chords

Vln I

   37         

Vln II

 

Vla

  

Vc.



     

           







     







     

        



with guitars) D (blend ff   

      

arco





      

 





        





    



arco

arco

 

    

          

(with guitar and electric bass)

 

ff

Cb.











(with guitar and electric bass) ossia: 8va if extension not available, sempre

  ff

3



             

     

   

             

       

  



  



  



  

























 











  











  







  



 







 



  







 



  







 Picc.  41



Ob.



Cl.



T. Sax.



Bar. Sax.

Bsn

Hn



Tpt

Tbn.





f

f

f

f

f

f

ff

ff

ff

ff

ff



El. gtr

Bass

  

 

 

 



f



f



f



f

ff

f

  ff



ff

ff

ff



  ff

 

      

 

l.v.







l.v.





 

 

         

 

 



         

l.v.





l.v.



 

 

   

       

                                 

      

                               

  



  



  

    



   

   





 





  

    

Vln II



       



      



          

Vla



Vc.

Cb.



f

       



41

Vln I



ff

                        

Synth.



                                          

Glock.

Perc.





  







f

f

ff

ff



   



   

   

       

    

    













4



       



      





f

f

 ff

 ff

  

  45

Picc.



Ob.



Cl.

























  



 



 





















  

 

 

 

 







 





 











  





  





ff

ff

f

ff



f

ff

f

l.v.





l.v.



 

 

ff

 



  

Vln II

 

Vla

  

Vc.







 

 



  



 











 

 





 



 







 









 

 



  



 















  

 

   







 



   











E



 



 

 





 





5













 

 

 









 







ff







l.v.

 

f



 





ff

 

l.v.

 

f



 

 

         

                   

45



 





ff

     

  



 

f

 

E



f

 





                    







f

                 

Cb.





Bass

Vln I

  





El. gtr

Synth.





Glock.

Perc.









Tpt

Tbn.







Bar. Sax.

Hn

  



T. Sax.

Bsn







 

 

 



 











 



 







 















 

 





 



 





  Picc. 

   





48



Ob.



Cl.

T. Sax.



Bar. Sax.



Bsn



Hn



   

  









   



  





mf





mf

Tbn.

  









  





 



 



Vln II

 

Vla

 

Vc.



Cb.







 





















mf





 





 



 

 



 

                 

      

                    51             

 



 





 



  

 

      







 



   



F



   

 





 





     





























 









 









 





 



 





















  

 













 



  

mf

            







 

   

  







 













 



n.

 

 







(end 8va)

  







 

 

 







(end8va)                                   pizz.            

 

pizz.

 





n.

(fade volume knob to zero)







(fade volume pedal to zero)

 



mf

                      



 

    





 











 

ff

                      



 









ff

   









  



 



              

 





        Bass 

Vla





El. gtr

Vln II



mf

51

Vln I





  

           48

Synth.



mf

 

Bass

Glock.



                                           

Glock.



mf

 

Vln I

mf



  

 mf



 

Synth.



mf

Tpt

El. gtr

F





ff

 



6

 



 



  

 

 







 

ff

  



 





  

     

54 Glock.



 







   









   54

Vln I

 

Vla

 

pizz.







 



 







 



 









 





Vc.

Cb.



 

Vln II

  



 



Synth.







 





 





 











 

 









 

 





 



 

rit. poco a poco

                        

  



 



 

 







TURN OFF DELAY

               

                      

rit. poco a poco

 



 



 



   







   

 













   



  





pizz.



ff



pizz.







 



  

 



 





 







ff





 





 



 





 



 

 

  

 

 q = c. 104 rit. poco a poco

   

57 Glock.

              

                    Synth.         57

Vln I

q = c. 104 rit. poco a poco

  

Vln II

 

Vla

  

Vc.

Cb.









 

 

  





 









 



   













 









        

   







 



                      



 









 



 



 







 



 

 







 

 







 







 













Glock.

El. gtr

 

 

















                            q = c. 76 rit. poco a poco

  



 



Vln II

Vla







59

Vln I

q=c. 63 rit. poco a poco

 

Bass

Synth.

q = c. 76 rit. poco a poco

                 

59



 

 



 

 







 





 



 









   

  

 



          

q=c. 63 rit. poco a poco



 

  



  











7





Glock.

 El. gtr 

G Tempo Rubato (q=c. 40)

q=40 sempre

  

62





X

Vln I



 

q=40 sempre





Vln II

Vla

Vc.



To Vibraphone

Articulate note, SOUND 2: then swell with volume pedal Distortion and Reverb (abrupt cutoff) (resultant note sounds 2 octaves above fundamental)

           Synth.    62









  

n. fff n. molto!

fff

  

fff

        n. fff

fff

n.

  

fff

n.





molto vib.





pick scrape on VI

 

fff

n.



SOUND: HARMONICA

X X

 

 

p

  

fff

p

fff

X

  

X

 

p

p

fff

p

fff

fff p

fff

p

 

p

fff

p

  

p

fff

p

 

  

   

fff p

fff

  

fff p

 

  

arco, sul pont.

fff

  

fff p

p

p

  

p

  

 

fff

    fff

fff p

p

fff

fff p

  

arco, sul pont.     

 

  

   

fff p

p

arco, sul pont.





n.

arco, sul pont.





 X 

(Vibrate string with left hand so forcefully that it sustains)

p

fff

p

 



fff





molto vib. p

fff







fff fervid!



  rip!  

molto vib.

 

fff

 

fff fervid!

p





molto vib.

fff

p



rip!

fff fervid! rip!

p

 



molto vib.

   

fff fervid!

 

  

    

rip!







 





attacca

 q=82 p H Andante

  Vib.    64

  

MOTOR ON - SLOWEST SETTING

pp

    



SOUND 1:

El. gtr

II. Magnetic Sheen (Andante)        

hold pedal until mm 72



  

  



          





 





















 

















p

    

Bass

p

3

3

3                                          3 SOUND: HARMONICA

Synth.

p

             3

3

3

3

3

6





I

 Hn 







con sord.









con sord. tenuto









con sord.

67

Tpt

Tbn.

Vib.

El. gtr

Bass

Synth.



      

   

tenuto



pp



pp



tenuto pp



          



  



 





 









  

 







 

 







 



       





 

  3



  

l.v.

l.v.

    

l.v.

l.v.

3  3                                                                3    3 3 6 3 3 6 6 3 6

8

 Hn   70



 poco

 

Tpt





   



 



 

   



 



 

J





 

 



 



poco

poco

poco

 





poco



poco

Tbn.

Vib.







 poco

   



Bass

 

 

 light      

pp sempre



  



           

  





 

          

      

  

J



























74

poco

 

poco

 

Bass

  

Synth.









 





 





Vla

Vc.

ppp sempre

motoric and silky, each note the exact same volume nat. on the string, sempre

                    



motoric and silky, each note the exact same volume nat. on the string, sempre

  

ppp sempre

motoric and silky, each note the exact same volume nat. on the string, sempre

  









 



 







 



  



 



pp

 

pp

p

p



pp

 p

 





 





 



p







p

p



hold pedal until mm 84

  

  

         

 

   



  

 

       



   

  

 

 

sim.

 

sim.

 

sim.

3

      

 



 



                    

  



   

  

  

 

        

ppp

Vln II



motoric and silky, each note the exact same volume nat. on the string, sempre



74

Vln I

 

           

      

 

K



poco

3

El. gtr

 

ppp sempre

 Hn  



 

ppp sempre



Vib.

 



Tpt



              



Vla

Tbn.

  



p



Vln II

Vc.



l.v.



poco

  70

Vln I

   

very slight and slow whammy bar vibrato

 





poco

 l.v. approx. 1/4 pitch     l.v.            l.v.  l.v.         

El. gtr

Synth.



 

 

 

  

  



K 

  

  



  

  

  





  

  





ppp sim.

  

ppp

9







        



  

pp

  

ppp



 





 pp



pp



pp

 

  

 Hn   77

 





 





 





poco

 

Tpt



poco

Tbn.



 



  



 



  

   

 

 Synth.    

 



El. gtr

Bass

 

Vln I

Cb.











 

 

Bass



 





   









p





mf











 

 



 

  

mf





  

























arco





  

















 



mp

 





 



 



   

 



 



 



 



   

 



pp

mp

f

  

f



l.v.



 







 







 





mp

mp

mp

 

 







    

 



   

 

  

 



  



 

     



mf sempre

  

 

 



 



 

  



 



 



 

            



 



 



 



 



 



 

                

 



     

 

f

mf

f



 

            

mf

f

mf

f

mf

f

10



 

pp

     



mf

 

mp

 

 





p

mp

 



motoric and silky, each note exact same volume on the string, sempre

   



SUSPENDED CYMBALS

 



 

f





 



p

mf



  

Vc.



poco



79

Vla



poco



Vln II





p



cresc.





El. gtr

Cb.

 



     mp Perc. 

Vln I

 



p

Vib.

Synth.

    



Tbn.

poco

 



Tpt

p







79



p

 

 Hn    

mp









  



Vc.

p













 



Vla

 

poco

  

  









Vln II

 





    77







  



 

p

poco



Vib.



Hn

L

   82

accel. poco a poco

mf

f

 

Tpt

mf

Tbn.



 

f

mf

f

 Vib.  

    l.v.  

Perc.



El. gtr

 

Bass

Synth.

   82

Vln I



Vln II



Vla



Vc. Cb.







 

 



 

 

 







senza sord.



 

  

 







senza sord.



 

 









 



 



 







  

  







  







  













  





mosso q=92 M Più Vibraphone Solo f





 









   







 













   

  



   





f



 

 

 



 

 



 

 



 



 

  

 













   

Vln II

Vla

Vc.

   







fff

fff

                 3 3       

    

   

 

   

  

   

  Cb. 

 



 







3

(Vibrate string with left hand so forcefully that it sustains)

 



l.v.

f

pp

 

 





        

  

     





 

 

div. (if performing with section)

  





 

 



fpp sempre div. (if performing with section)

    

         

div. (if performing with section)









fpp sempre

11



div. (if performing with section)

fpp sempre

 

pp sempre



div. (if performing with section)

fpp sempre

 



molto vib.

fpp sempre

    

fpp sempre



f       

 

fpp sempre



     











fpp sempre

   

 



fpp sempre



 



fpp sempre



fff

3



 





85

Vln I



 



 



 

Synth.

  

 

f

Bass







     3 3                        Vib.          3 3      3   l.v. sempre          Perc.   El. gtr









   









3



l.v.

        

 

f

3



   



3

                     3

 

l.v.



f Tbn.

  

 

 



     

  



 



 

Tpt

senza sord.



   85

Hn



f

 



  Hn  





 

 





 

89

Tpt

Tbn.

  



   

ppp

fff

   



ppp

   

ppp

3

f

f











fff

3        Vib.                      Highest Cymbal         Perc.    3



fff



 



N



         3

           

3

 

f

              

El. gtr

 



     Synth.



 

   



pp sempre

 

 





 

 

  

  

   



 

 

 

Vla

Vc.

Cb.



 



   

 

    

 

 

 







 

  

 









fpp





fpp

fpp

    

  

fpp



fpp

N

 

  







   





     

 









      fpp



fpp



fpp

fpp

fpp





  Vib.  93

3

            

Perc.

  

 

 

3

  

3

           



3

    

l.v.



f

   

   

Vln II

        

  

 

89

Vln I







molto vib.

f

Bass

3

  

3

  

  

  

  





              3

3







3



3

  

     (molto vib.)

El. gtr

    

Synth.

Vln I

   

      93    



Vln II

Vla

 

Vc.

       

 

 



 

fpp



  

 

fpp

fpp



 

fpp

 

Cb.



  fpp

   





 





 

 

   

   

 

 

  









fpp





 





 





 





 





 

fpp





fpp

fpp

fpp

fpp

 

   

fpp

fpp

fpp





  fpp

12

  96

Vib.

            3



Perc.

3 

 3



     Synth.





 

3

 

          3

3 



   

    

 

   

    6

6

3

 

3

3

   









Vln II



Vla





 

Vc.



 



   





 











fp

mf

 











fp

mf















fp

mf

 

 



 





 





  















fp



   

   

96

Cb.

6

    

El. gtr

Vln I

  

mf





fp

mf





 6 3    3                       Vib.                3  3 3 3 6       

99

 

Perc.







 



     

El. gtr



Bass





l.v.

          

 



f

           

pick scrape - VI

    ff

f



       

f

     Synth.



    

Vln I



  99



Vln II



Vla

 

     

 



SOUND: ORCHESTRA HIT













Synth.

 

                  f





  



     

 rip!





  fff

rip!





  fff



Cb.







 

   

rip!





   fff

rip!

Vc.



 



 









 





13





fff







 

 

  

O

q=82 Vulgar, Beefy ff sempre

   102        3  Picc.  3

   

        

 

Ob.

ff

3

 

3

ff

ff



Bar. Sax.

Hn





El. gtr



   

  

   



ff



  



3



 



 

3

3















f 3

  











 







 

















 







3

3

3



   ff















 







 

ff

3



 3



  



3



l.v.



 

 



 

       3







   







3







    









q=82 Vulgar, Beefy ff sempre

  

   









    



 

 





  

   









    



 

 





  

   











   

 





  

   









    

  

 







ff

 

ff



 

ff

        ff



    



3

Cb.

  

 



ff

Vc.







 





      

 



3

3

3

    

 

102

Vla



  

 



O

Vln II





 



     





3





 





       

3





  



 

3

ff

Vln I



      

ff

Synth.







3

Bass





3





   

f 3



3





  

ff

Tbn.

3



   

 3       

Tpt



3

3

3

ff

Bsn



  

 

T. Sax.

  





3

3

  

Cl.



3

ff

    











   



 

3

 



14













 Picc.   106

 

Ob.

Cl.

T. Sax.

Bar. Sax.

Bsn

Hn



El. gtr

Bass





 

  

3

 

  

Cb.



  

  



  

3









 

 

    



  

 

    

 



























    



 



   



  



   



     

 

3



     

 

3

   

3

3



3

3



   3

3

       

 

       



   



  



  

3

3

 

  

 





  



  

   

 

 

  

 





  



  

   

3

 









ff



 

    

3

  

3











  





  



  





  



    

3

3

 



 





 







 







 







 



 









 

 

 

 

 

 





 

 

 







   

15

 

 









 







 



       



 



   

 

 

3

  



3

 





3

  



3

  

   

  

           



 



  3

 







 







3

  



  











106

Vc.



    

  

Vla



3

 





 

 3        

Vln II



3

 

 

Synth.

Vln I



  

  

Tpt

Tbn.



   



3

   



   







 



Sensitivity P With f  



         3  



  

 Picc.  



 



 



         

110

Ob.

f



Cl.

 f

 

T. Sax.



f

3

3

 

   3

3

3

  



  

Hn



Tbn.

El. gtr





f

 

Synth.

  

 

  

3

3

 

 

3

3

     3

               

3

3

3

3

3

 



  

 

 

  



  

 





 

 

 



 





 

 

 



 





 

 

 



 

mf

mf

mf

 



  



f











P With Sensitivity

 

 



 



3



3

  

3

  





3

3

    

3

    

3

    

3



 

  



3

3





f



 

3

  



3

3

    



 



       

3

3



 



  



  

 







 



 



  



  

 











 



  



  

 







 



 



  



  

 









 

f

Vln II

f



Vla

f

Vc.

f

Cb.

 



   110

Vln I



 





f

Bass

3

  

f

   

  

 



  



 

     

 

Tpt

3



  



  

3

  



      f

Bsn

   

     

f

Bar. Sax.







 f







 



16

 

3

3

    

   113

Picc.

Ob.

Cl.

T. Sax.

Bsn

Hn



El. gtr

Bass



  

    

   

 





   

   



 

3

3

3

3

 



  





    3

 



 

 



 







3

  

3





    3

 

Q 







  





 



    3



3

 



     3





    







    





    

 











    







    

 





 







  3

   113

      3

 

 

 

 

  

 

 

 

  

 

f sempre



f sempre

3

f

3

f

3

f





 



3



 

f sempre

3









 



Synth.

Vln I

3

  

  

Tpt

Tbn.



 

Bar. Sax.

  









   



3





3

    



3

   

3

     



 

 

   





















stager bowings

stager bowings

 

Vln II



Vla

Vc.

Cb.



















 stager bowings





















 



























    









17

3

stager bowings

 

f sempre

      3

3

Q 



 

3

 T. Sax. 

116



Bar. Sax.

Bsn

Hn

















  



 Tbn.  



 



     

El. gtr

Bass

  





 

Synth.





ff

   

    



            3

3





 







 











   









 

Vln II

 





Vla

 





 











 T. Sax. 







119

Bar. Sax.



Bsn



Hn













  

Tpt

Tbn.





     

 

Vc.

Cb.



   



3

3

 







  

  

3

3







  





  









     

     

 

  



  

    





     



      



     



     

 



3

   









         

  

      3

   



   

  





 







 

 





 



Vla







 

Vln II







   119

Vln I

    

     

          Bass 

El. gtr

Synth.









   



     

3



Cb.



3

3

  

Vc.



ff

116

Vln I

    

     

3

3

 











ff



 





 

Tpt











18

  



 

III. Echoplex (Largo)







     

Vln I





    

 

Vc.







  

  

   

  

      gliss.

  

ffp

 

sul IV, molto vib - lush





ffp

ff sempre

ff sempre





  

  

 





 

 



  

 







  

 







ff sempre







ffp

 

  

 







 





 

ffp

l.v.



ffp





ffp

   





ffp

ff sempre

  

  



   



ffp

 ss.     gli



l.v.

ff sempre



ffp

ff sempre

    



ff sempre

     



      

ff sempre

ffp

  



  

  

ff sempre





  



    



   





gliss.

ff sempre

ffp



  

  



      

  

sul IV, molto vib - lush



 



ffp

Cb.



    

       

ff sempre

ffp







sul IV, molto vib - lush



l.v.

ff

   



   



l.v.







  

sul IV, molto vib - lush



   

    



 

ffp

Vla





ff

ffp

Vln II





ff



1



SOUND: CLEAN W/ delay - one repeat at equal volume, 450ms

SOUND: SLOW SWELLS PAD 8 - G.M.

 









l.v.





El. gtr



     

resultant delay: guitar echo sounds a dotted sixteenth after original articulation





Synth.

     ff 











Vib.

Largo q=exactly 50 (e=100)



  1

ff sempre

ff sempre

ff sempre

ff sempre









Bass

Synth.

   

6

Vln I





ff

(ff)

     

A

  





 

In Consort, as a Band

 

    

  

      



   







  













 

 

 

   

    

   

    

      

   









   





        



  







 







 





  

SOUND: CLEAN

  



     

El. gtr

    



     



      

 





   



    6

Vib.

In Consort, as a Band

A





 

     

    









        

 













Vln II

 











Vla

 











Vc.

 











Cb.

  











19

B

  Fl.  



 



 



 



 



 

 



 



 



 



 



 





 



 



     

 

 



   

 

Bass

  Synth.



 

   9

Vln I









   

 

  



 

Vc.

Cb.











p







  

     



  

 



     

     









     



     

l.v.







l.v.





  

f

   

   





 

 





p

  

mf

 





   





 

     

p



p subito

 

 





 







 























 







 







B 

 















 







 









ppp

Vla



f

ppp

Vln II











f

f

       





     

f

El. gtr

    





 

     







  







Vib.



 

f



Bsn





Bar. Sax.





T. Sax.



Cl.



Ob.



9

 



 



 



ppp



p sempre

ppp





p sempre

p sempre



p sempre

ossia: 8va if extension not available, sempre





ppp

20







p sempre



  Fl. 



12

mp

















 









 







 



 



  p

mf













     

  







  







 

 

 

 



 





 

El. gtr

mp

f subito

     



  

f subito

    



l.v.

  









 





 

     

f

mp

   



mp





Vib.



     



f

mp

Bsn

 



 

     





f

mp

Bar. Sax.

f

f

mp

T. Sax.



 



    



l.v.















    

l.v.

p

mf



l.v.





 p



  

 















  

 















  



mp



pp













mp



pp

























pp













mp



















Bass

mf

Synth.



pp

12

Vln I

fp



Vln II



fp

 

Vla

fp

 

Vc.

fp

Cb.

  





 

  

f

mp

Cl.







Ob.

 







fp

mp



mp

pp

p sempre

p sempre

p sempre

p sempre

p sempre

pp

21







 Fl.  14

 

 mp



Ob.

 







T. Sax.



 



 







  



  

 







  



f subito



  

 



   





p









mp







mp



f subito

p

  

 













 

Bass



   







 





       

 

   

p

   

  







     p







   

      

   

 







 





Vln II







Vla



















14

Vln I

Vc.

Cb.



22

     

  

  

 

  





 

            





 

 

   

  



    



 





El. gtr



  



 

   





 



 

   

mp





  



mp



Perc.

Synth.

   









Vib.

  





   

 

Tpt

Tbn.





Hn





mp

p

Bsn

 

mp









p







mp

p



mp

Bar. Sax.

p

f subito

f subito

mp

Cl.

   







 





   



C



Bar. Sax.

( pp

  



 

  p



   

  



 



 



   

  



pp







 pp

     

El. gtr

 

Bass

Synth.



 





 

l.v. sempre

pp



  l.v.   







    pp

pp



       

   



    



 



  





      



 

  





ppp

ppp



 



  



      



 



       



   





 

  

  







 

 

  







pp



ppp





ppp

ppp

ppp





     

 



  



  

 

l.v.





l.v.













l.v.







pp





      



p







 

 

 



l.v.

p

   

p

 



Vib.



  

       p

pp

Bsn

       

p



 



     

pp

  

(2+2+4 ) 8

)

   

pp

 

T. Sax.







Cl.







Ob.





16   Fl. 

2+2+2+2 8



   Vib.   20

D

  

   

El. gtr

 

Bass

 





 

Vln I

D (solo)

 







 



    





     



p



p



















 

  



  

p



   

 



 



  

(tutti)                                         



   

p

 







 

pp

    20

l.v.

l.v.

  Synth.





 



p (solo)      

Vln II



   

p

Vla

  

 









pp

 

Vc.

Cb.



      

 



pp



  



 









  (tutti)    

 



 







p

p



p

23



  Fl.  







 





 



 

23

Bar. Sax.

Bsn

Vib.





















 









  









  



 

        El. gtr

Bass

Synth.

   

            





mp

        

 







    

         







    

  

l.v.



    

 

   

 

 

 



 

 

 



   





 

(solo)

E

               

 





pp

  





(solo)         

Vla

  





 



Vc.

  





 

Cb.

   





 

Vln II

    

























pp

24







 



p dolce

  

mp dolce

  



  l.v.     



 







 

 

p dolce







     



mf dolce

    



mp dolce

mf dolce





23

Vln I



 

  





T. Sax.





Cl.





Ob.

E

 

  

  



 









 

  



 

 









 

    



    



    

        



    





 

  





     





    

   

            

  

    



    

  

l.v.



l.v.

  

strum w/ pick

  



    

      

 

  





     





      

 



 

    



    

  

 





(solo)

  26

(solo) Vln I



     

 





 Bass

l.v.





 



  



   

El. gtr

 l.v.   



  



  











           

Vib.















Cl.

Bsn

    





Bar. Sax.





Ob.

T. Sax.

    

    

26

Fl.







mf

 30





      











     







Cl.



T. Sax.

Bsn



      



Ob.

Bar. Sax.



     



 







    





 





 



  



                   





 



 

mf

  









       

 



pizz.

 



  



mp

25



pizz.

mp



      





Vc.

Cb.

Pedal Bass Drum

   

30

Vln I









Synth.

Triangle



Bass





     











Perc.





prominent, with a relaxed feel







 Fl. 



 



   











 



 



 

  





 

  















 





Vc.

 

                



32

 

                 







  

  



Cb.

 

     

Synth.

Vln I



                   



     



Bass





Perc.

                        



32







IV. Soft Glow (Adagio)  Fl.  36



Ob.



Cl.



T. Sax.



 Hn  

Bass

   

                       





Perc.





Bsn





  

Synth.



 



 

Adagio q=69 anticipative, vibrant



 

         



 

         



 

         



 

         



 

         



 

         



 

 

   

 

   

pp spoken in a soft whisper *

eight

se ven

six

pp spoken in a soft whisper *

eight

se ven

six

pp spoken in a soft whisper *

   

five

five

eight

se ven

six

pp spoken in a soft whisper *

eight

se ven

 

Tam-tam w/ soft mallet

pp

poco

 

six

four

   

eight

six

   

five

five

se ven

four

   

eight se ven six pp spoken in a soft whisper *

pp spoken in a soft whisper *

   

   

four

   

   

four

   

   

five

four

   

   

five

four

 

 

   

three

   

three

   

three

   

three

   

three

   

three

   

  

two

one

   

  

two

one

   

  

two

one

   

  

two

one

   

  

two

one

   

  

two

one

 



l.v.

sim.

  









   

















  

 





 

 











Vln II







 













Vla



















 

























Cb.

 

 



 

 

 



 

 





Vc.



Vln I



36

attacca

Adagio q=69 anticipative, vibrant

* Place consonant endings of words on beginning of rest, but do not accent the endings. As in vocal music, dynamics are located above the staff.

26

G

Emotive F Sentimental, pp dolce espress.

 





 



  



 

 



 



 

 



 





 



 



 



 

44

El. gtr

44

Vln I



Vln II



SOUND 3:

tenuto

tenuto

tenuto

Vla

pp dolce espress.

Vc.

tenuto



pp dolce espress.

Cb.





tenuto



pp dolce espress.





pp dolce espress.

pp dolce espress.

w/ wah-wah pedal (quazi ad lib.)



swell fast

  

mf









slow















swell



























    

  







  





  









 





  





 





 











  



















  Fl.   56

H 



I







pp





twelve Ob.

 

Cl.

 















pp





twelve







pp





twelve T. Sax.

 

Bsn

 

Hn

Perc.











   





56

Vln II

Vla

Vc.

Cb.





    

funky

    









twelve pp









pp





twelve



(Forcefull articulation,  but with low amplifier volume)     Bass    p   

Vln I







  Tam-tam      

  



twelve

p

El. gtr



pp

  

l.v.



 

 



 



 

 



  

  



 

pp

  pp

   

  







sim.



 













 



27



      

l.v.



pp

pp

 

  

w/ thumb

fast

     p 





   

e - le - ven

   

e - le - ven

   

e - le - ven

    

e - le - ven

   

e - le - ven

    

e - le - ven

 



pp

 

 

fast-slow

     p  



poco

glis

s.



 

l.v.



 













 Fl.   62

 

Ob.

Cl.

T. Sax.

Bsn

Hn



 



 



ten

 

ten

 

ten

 

Perc.

    

Vln I

  

 



 



nine

 

nine





nine

ten





ten





 



   

  



 

 



 



eight







-

ven







se



-

ven





ven











eight





se



-

nine





eight





se



-

ven





nine





eight





se



-

ven



se

-

ven

     

       



eight

 



 

sim.





se





nine

62





eight

 

ten













      65

Fl.

six

six

Cl.

Hn

Perc.



    

five

  

Bass

five

  

six

  

      

six

five

six

five



  



 

  

Vln II

Vla

Cb.



 



 

 

 

   

three



           





p

             





            





one

           

three

two

   

one

two

four

three

two

four

three

two

one

four

three

two

one

   

   

   

 

one

p

    

 

     

 





    

as before



 

funky



 





 





 





 



 



 

mp

      

 

 

scrape with metal

  



  



  



  

   

 

   

 

 

mp

















 













28

tenuto  

pp dolce espress.

 tenuto  

pp dolce espress.

tenuto  















 



pp dolce espress.

tenuto  



     

p

p

pp dolce espress.





octaves w/ thumb

 







solo     l.v.              



p

J

tenuto



 l.v.     

     

p

l.v.

 



p

         

   

 

one

         

   

 

l.v. sempre

p

           

three

   





p

      

four

   



           

two

   



 

 

Vc.

four

   



65

Vln I

four

 

 

 

El. gtr

    

five

six

Bsn

  

       

T. Sax.

    

five

   

Ob.

  

Sentimental, Emotive p dolce espress.

J

pp dolce espress.

















 



  73

Fl.

Ob.



Cl.



T. Sax.

Bsn

Hn



K

























    



     























         

 





         



















                    Bass              



     mp

El. gtr



  73

Vln I

Vln II

Vla

Vc.

 





 













K





  

 







  











  













  

 











 

  

 

 

  

 

p

f



 p

f

             

Perc.





  

Cymbal

mf















  

    



















 









































29











 Cb.  













           



 





 





f













 







 



 



















      

  Fl.  80

      

Ob.

  

Cl.

  

      

 

     

T. Sax.

Bsn

      

Hn

       

Perc.



Bass



 

Vln I



     

  

80

 

Vla

 



   





 

    









 

five pp

 

    









 

five pp

 

    









 

five pp

cymbal



 







 





 







 

choke  choke      



 

 Fl.   88



    



  

  

    









 

l.v.

 



 



 



 







 













 

 





p

L









one







three







one









two

 





one

T. Sax.

 

 



three

 



 

 

two

Cl.

 

   











 





 

















 

three



 

  El. gtr    

Vln II

  

 sim.   

sim.



 

sim.

Vla

  





 

two

 

     

  



 

one

two

sim.



sim.

Cb.

  

 

sim.

Vc.



three

88

Vln I



 

 

 

    

 

 

         









 

one

 

    

 

 

 

  

 

 

 

 

  









 

 

      

   

 

 

 

 

 

 

 

 

   































 







pizz.





pizz.





       

 

   

  

 





               



fff





     





 

one

     





 

   



pizz.



 







two

   Hn   Perc. 

 

four

    



Bsn



 







pizz.



two



five

 





four

 

three

three

 

four

pp

 





four

pp

Ob.

Bar. Sax.

 

four









 







pizz.





 



four









 







 



 



 

 

pp







dampen strings w/ left hand wah-wah, ad-lib.





















 



 

 





five

mf

    

 

pp

five



p



 

Cb.



 



Vln II

Vc.



pedal bass drum

  

El. gtr



 







 



 



L

    

 

  

            attacca

30

V. Charger (Synthesizer Solo)

Allegro q=120 Tempo rubato Intense relax the duples, rush the triples

  1

   

        3 

SOUND: HARPSICHORD

3

f

Synth.

     

 



3

Synth.



