Sparr: General Electric

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

(full score)

www.billholabmusic.com

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 10 26 33 39 41 59

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

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 Lady� 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 Solo Percussion Vibraphone, Glockenspiel, Tam-tam, 2 Splash Cymbals (high 6 inch, low 10 inch), Triangle, 3 Tom-toms, pedal Bass Drum (kick drum) Solo Electric Guitar (sounding 8vb) Solo Electric Bass (sounding 8vb) Solo Synthesizer String Section (or amplified String Quintet) (see performance notes) N.B.: Score is transposed Duration: approximately 18 minutes

GENERAL ELECTRIC I. Transistor Baptism (Introduction) Adagio q=69 tempo rubato solo ad lib.

   

Oboe

 

  

        



p dolce espress.

D. J. Sparr

poco accelerando



          

 Allegro q=exactly 120 in tempo  13      Mysterious        Ob.     

        



 

16

Glock.

  

Synth.

  





 

resulting delay:



pp sempre





 



 



  

 



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

  











 











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























 



            

STEEL DRUM With 500ms Delay (=quarter note), one repeat at 100% volume

  8va until measure 53                                             Synth.                pp sempre  19                                             Glock.                     Synth.





 









 





  

 



 



 



 



 



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

                        Synth.                             



  23

Cl.

24 Suddenly Bombastic



x noteheads= Splash Cymbal Pedal Bass Drum vehement

 

Synth.



Synth.





 Vc. 23

Cb.







 



 





 













ff







  

  



mp

                                         

     

 vehement     

  pp

 

ff subito sempre vehement





Bass





    Glock.        

El. gtr

sharp, precise

ff

 

      

swell from zero volume (niente) to full volume w/ volume pedal.

l.v.



     n.

l.v.



 

ff



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

       

                                                           ff subito sempre  

 

 

 







 

 

 







pizz.

ff pizz.

ff

©2016 D. J. Sparr Printed 10/11/2016 UT AUSTIN USE ONLY

2

 Picc.  27



   Cl.   Hn

 

Tpt

Tbn.



 

  

Synth.

 

 

  

ff sempre



 

































l.v.

         

       

   

        n.













              

ff

 

     

  

 

   

      

          

n.

ff

 

      

      



n.

   

                              

 Vln I 











marcato, strong pizz.

 



ff sempre







 



ff

 



f



mf



       n.





   

  







  















ff

 

ff



 

 

        

pizz. marcato, strong

  

   

 

      





ff sempre



      

ff





mf

27

Cb.



ff sempre



 

Vc.

 





Vln II



 



     

     



sharp, precise

 

 

ff sempre

f



ff

Synth.

  





Bass



30

f

      Glock.     

El. gtr







Ob.



sharp, precise







 

 Picc.  31

  

  



 



   

 Hn        

sharp, precise

 

Tpt

Tbn.

    

         

Ob.

Cl.

 



             

  

  



  



   



            



      ff

   

              

 







       

         

sharp, precise

  

  

  







   



  

3

 

         

          



  



  





 

f

 









mp

mf

                                                    Glock.                   l.v.    

El. gtr

 l.v.    n.

Bass

Synth.

Synth.



















ff

                                                                          

                                                                

31     Vln I 

 

Vln II

Vla





 



 



 

   pizz. marcato, strong





  



  

  



  

  

                           ff sempre





                    





   



                    

4

  36

Picc.

Ob.



Cl.



T. Sax.

Bar. Sax.

Bsn



 



                  





                      

























 













         ff 











         ff

 

  

 





 

(with guitar and electric bass)

6

 



 



 

(with guitar and electric bass)

ff (with guitar and electric bass)

fff





 

f (with guitar and electric bass)

ff



 

f

 



f

ff

                            Glock.                                 

Synth.

Synth.

















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

Vla





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





 

      

     



arco

 



      



                               



      







Vc.



    

 

Vln II

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

  

 

 

       ff     ff



36

                 

    l.v.





 Vln I 

Cb.









(with guitar and electric bass)

6





  

(with guitar and electric bass)

   6      ff









  

Bass

 





El. gtr





 



      



  

Tbn.







  Hn  Tpt



40

Heavy Power Chords (blend with guitars)

ossia: 8va if extension not available, sempre





l.v.

 

          



                        

          

arco

          

arco

(with guitar and electric bass)

 

ff (with guitar and electric bass)

  ff

 Picc.  41



Ob.

Cl.



T. Sax.

 

Bar. Sax.

Bsn

Hn





 



























Bass

Synth.

Synth.











 

  



  







  















f

ff

 









f

f

f







ff

ff

ff

 





 





 

mf

f





















41

Vln II

 

Vla

 

Cb.



 

  Vln I 

Vc.







mf

f

              Glock.                    El. gtr





  





 







 

  

Tpt

Tbn.









   

 



          



            

     

                                  



 





 



 



 



 

 

      

        











5







              

                                        





 



 



 

 









   

 



  





ff





 

f







ff



                              

  

f











 

 

  



 





 



 



 



6

  44

Picc.



Ob.

Cl.



T. Sax.

 

Bar. Sax.

Bsn

 



 







   

 Hn    

Tbn.



 



Bass

Synth.







     44    Vln I 

Synth.

Vln II

 

Vla

 

Vc.

Cb.





   

 





 





























f

 





f

  ff 









f

ff

mf

 

ff

ff



 

   













 





 



 



 





  



  



   f ff  



f

ff

f



   



  

mf

f







 

 

  



 





 



 



 



  

 











dim.

 dim.

  

   



f

     



dim.

ff



  

dim.

ff





dim.

  





ff



 







 











       dim.

             

                                                      



f



mf

  

ff



                                           



f









             

   

 

f

f

f





f

 







mf

  





  



 

 







        Glock.         El. gtr







   

Tpt







 







 

  



 





 



 



 

  



  





f

f

ff

ff



47

 Picc.  47



Ob.



Cl.



T. Sax.



Bar. Sax.

Bsn

Hn





Bass

Synth.

Synth.



   







 

  









  



   



  



  



mf

mf

mf

 





  



 





  







  







  



  



mf

mf

mf

mf



 





mp





 













 

  





































Vln II

 

Vla

 

 

 

 





 

 

 



  





  

 



 

 















 



 







 



 





  







  

 

 

 







  







 

 

















   mp



 





 





  







                                              





  







   





 



    









   









  



   

 

47

Cb.

   

  

 Vln I 

Vc.

  



    Glock.      El. gtr

7

  

Tpt

Tbn.



 







 



 





 



 mf

 mf



  

50

8



50

  Glock.   









    

El. gtr

ff

ff

Synth.

Synth.





 Vln I 





50







   

 

Vln II

Vla



















   

  

Bass







 

 



  





 

  













 







 



 





 





 







  



 



 

 





 













 

 

  





 



 







 







 

 







 



 



 



















 







 





52

Glock.

El. gtr

Bass

Synth.

Synth.

           



 Vln I  52

 

Vln II

 

Vla

 

 











(fade volume to zero)





 











 

n.











(end 8va)

   







n.

(fade volume to zero)

  

















  













 

 

 

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



    









 

 







pizz.







   

ff

 



 

 

pizz.

   





    

    



 





 





 



 

 







 



 













     

55

Glock.

Synth.

Synth.

 









 







  

Vln II

 

Vla

 





 

  

 

   



 











 



 







 









 







 



 

 

 



 







 

pizz.

ff

  

pizz.











ff

 

























9 



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

 

Vc.

Cb.

 

TURN OFF DELAY

 Vln I    55

q = c. 104 rit. poco a poco

rit. poco a poco

                                                      



 







 













 





 

 

 





 







 





 

 





 



 







 





 









 

 

 



58

Glock.

Synth.

 



  

 Vln I   58







 

Vla

 

 



 

 

Cb.



 















  

                                                                  

Vln II

Vc.



 



 

 

 









 

q=c. 63 rit. poco a poco

q = c. 76 rit. poco a poco



 



 



 

 

     

               

  

 









                         







 















10

62

Glock.

 



Rubato (q=c. 40) 63 Tempo  To Vib.







SOUND 2: Distortion and Reverb Articulate note, then swell with volume pedal (abrupt cutoff)





El. gtr

X

            Synth.    Vln I  62

Vla

Vc.

Cb.



X X

 





  

fff

  

sim.

 

  

 

n. fff sim. echo guitar on conductor cue, arco, sul pont.

X

   n.

 

fff

  

sim.

echo guitar on conductor cue, arco, sul pont.



fff



X

  n.



  

fff

sim.

fff n.

n.

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

 

     

molto vib.

fff

fff

fff

n.

pick scrape on VI



echo guitar on conductor cue, arco, sul pont.





fff n.

echo guitar on conductor cue, arco, sul pont.

n.



fff n.

SOUND: HARMONICA





Vln II

 (resultant note sounds 2 octaves above fundamental)                       n. fff n. molto!

 

 





    

 



  

  

 

  

  

 

   

  

  

 

  

  

 

 

rip!               

 

molto vib.

 

molto vib.

n.

fff

rip!         n.

fff

rip!      

molto vib.



n.



fff

rip!         



    

   

molto vib. n.

fff





  

    



   



Andante q=82

65 65

       

 Vib.    

Vibraphone MOTOR ON - SLOWEST SETTING pp

    

SOUND 1:

El. gtr

p

Bass

II. Magnetic Sheen (Andante)

    

 hold pedal until mm 72   



       



     

  

3



























3                       Synth.                    p 3 3 3

3

          



p

SOUND: HARMONICA

   



3

              6

3

3

 Hn 

















68

Tpt

Tbn.



Vib.

 

  





        

  





















El. gtr



Bass

Synth.





              3

6



 

6

  



  



11

 





   





















                          3

3

3

6

 

6



 Hn  70



Tpt

Tbn.

Vib.







70

con sord.







con sord.



tenuto pp tenuto

con sord.











tenuto





 

pp

  



 

        

3

 





     

poco

    

         very slight and slow whammy bar vibrato approx. 1/4 pitch

   



   



 

      

pp sempre light



 



poco

 



poco



          

 

 

poco

poco

3

      Bass   3     3        Synth.             3 El. gtr

 poco

p





 

   





                

   

          





     

  

   

p

12

74

 Hn   74

poco

 

Tpt

 

  



 

 



poco

Tbn.

Vib.

El. gtr

Bass

Synth.



 







        







  

  



 

 



   



 

74

 

Vla

Vc.

 



 





 







 





  





pp

pp





  

          

  



  

  

        



   

  

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

 

 

 

3

  



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

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

   

ppp sempre

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



  

ppp sempre

nat.



p

 

 

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

 

 



3

ppp sempre

nat.



           

     

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

 

poco

poco



 

poco

 

 Vln I  

Vln II

poco



   

ppp sempre

sim.

   

 

 

       

  



  

  

  



  

  

  



  

  





 

  

 

ppp

 

 

sim.

 

 

sim.

ppp

ppp

 

 



sim.

  

ppp

77

 Hn  

 





 



 



77

mp



Tpt

Tbn.

Vib.



  p



 



Bass



 Vln I   77

 

Vln II

 

Vla

 

Vc.

Cb.







p

 p

 



 



 





 poco



 poco





 



 



 



poco









 



   

 

   

 

 

 

 





hold pedal until mm 84

  

 



 

mp



 

El. gtr

Synth.

p



13







 

  



 



  





 





 







 





pp

pp

pp

 pp







 







 p

 p

 p





 p



14

 Hn   79

 

Tpt

Tbn.

Vib.

El. gtr

Bass



 





 

mp



 



 



poco



p











mp



p

 



poco

  







  









  

mf









 

 

x noteheads= Sus. Cymbals Splash, medium





 

 

pp

f



 



 



 



mf

mp

mp

         f

mf





  

 







 







  

  

 



 









 







  

 





  

  



 



 

  





p

          

   

          

   





           

 

  





  

mp



   



  



  



  

arco

 

mf sempre



 



 



 



 

                

 

mf

  

  

   f

   mf

f

             mf

f

             mf

Cb.

  

poco

   

Vc.

 poco

79             Vln I 

Vla



mp

  Synth.    

Vln II

 





f

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

   

p

  



mf

f

 Hn  82

Tpt

 



  



  Tbn. 

Vib.



El. gtr

Bass



 





 





 

mf

mp



mp

 

Cb.





senza sord.



 

    

 



senza sord.



 

    

 



 



ff



mf



 

f



 

mf





f







 



3







 





  

 





 

  











 





 



 







   

 





  

 





       

 

  

 



 



 



 





  

   

 

   

  

  





  



  



  



         

 

 

 

 

 



             

  

 

  

 



 

 

  

 

15

                     3 f 3  3









   

senza sord.

 

82

Vc.

f



 

 

  

 Vln I 

Vla



poco a poco

   

   Synth.  

Vln II



83 accel.

 





fpp sempre

  



  







 

   

   



  fpp sempre



  fpp sempre

    fpp sempre

  





fpp sempre

16

Più mosso q=92 Vibraphone Solo

86

 Hn  

  





  







86

ff



Tpt



Tbn.

Vib.



 

f





El. gtr

 





 

    





 

    





 

fff



ff

f



    



ff

 3                  3 3                                               3 3 3 3

  





    

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





molto vib.

Bass



     Synth.



   86

Vln I



Vln II



Vla



Vc.

Cb.





 

  



    

   

 

 

     

   

        



 



     

 

   

fpp sempre

 

  

 



  















fpp sempre

 



div. (if performing with section)

      fpp sempre



 



 

div. (if performing with section)

fpp sempre

  









l.v.



  

 

pp

 





 



f

 

    



pp sempre

f



3

3

pedal the slurs



 



fpp sempre

   

17   Hn  



 



90

Tpt

 Tbn.  

 Vib.   

El. gtr

 









        

93  



pp

  





    





    





fff

 ppp

ff

 ppp

ff

3     3 3 3              3                                3 3

              f

Bass

Synth.

 







    

   

          

  



   

 

    

  

 

 

Vln II

Vla

Vc.

Cb.

  

   

 



fpp

 



fpp

  

 

fpp

 fpp





pp sempre



l.v.

     

     

   

 

  



  



   

 





 





f

   

fpp

 

      

   

   

90    Vln I  

 

molto vib.

 

  





   



 

     

 



   





      fpp

 fpp

 



fpp

fpp

fpp

18



94

Vib.

El. gtr

















       3

3

3

    

   

   

       94     Vln I 

   

   

Synth.

   

 



Vln II



Vla

Vc.





 

  

fpp











fpp

 

 



 





 



 

 



 

fpp

   



fpp

fpp

 

 

       



fpp

Cb.

             

    3  3 3        3        (molto vib.)     



3

fpp



 





 

fpp





fpp

   







 

   



 

  

fpp

 

  

fpp

 



fpp

fpp

fpp

fpp



97

Vib.

El. gtr



            3



3

3

3

3

   6                                     



   

   

       97  Vln I  

   

   



Vln II

Vc.





 





 





Vla

Cb.

3

         

Synth.

6

6

3







  

fp



mf







  







 













 

 













 





  







 









fp

mf

fp

mf







fp

mf

fp

mf



 





 Picc. 







Ob.









Cl.









T. Sax.









Bar. Sax.

















 























100

Bsn

Hn



Tpt

Tbn.

Vib.





6   3      3                              3  3 3 3 6

(cut off with strings)       

El. gtr



Bass



      Synth.

      

  100

Vln I



Vln II



Vla



Vc.

Cb.











 

  

 

  









 









 











 





 











 

                  f         PLAY            

            f

rip!





f PLAY



 



            

   ff

Vln I cue



 

f

pick scrape - VI

SOUND: ORCHESTRA HIT

(cut off with strings)

           

l.v.





19



 

   

fff rip!

   

fff rip!

   

fff rip!

   

fff

      

  

  

       

       

       

103 q=82 Vulgar, Beefy

20

  103

Picc.



 ff

3

ff



Cl.



T. Sax.



Bar. Sax.

3

 

 

ff 3

Bsn





 



   

   





 



3

  





  

 

   





  

3



 

3

f



3

3

3



 

   

3



 

   

   

 ff









 

 

El. gtr

ff

3

      

Bass

ff

Synth.





 

Vla

  3

Cb.



3

3

 







 



  



























 







 

3

3

3







ff

3





   





 









3











    

  

 





  

   



 



    



 

 





  

  

 





  



 







   



 



    

   



 



    

       ff

3

 

ff







 



  





ff

Vc.



   

ff



  

  3



3





 

 

 

      

ff

 





 

ff

103

 3

  

 Vln I   Vln II



3





  



l.v.



  

      

 

3



 



  



 





    



3

  

 



f



  









      

Tbn.





 

3

3

 

3

    



f

3

 



Tpt



3

3  Hn      

ff





    

    



3

3

ff



3

    

  

Ob.

  









  



3









 

  



 Picc.  

   

107



Ob.

Cl.

T. Sax.

   3

     













  



  

  







3

 

  



  

 

3





 



  



 







  

3



 





       

 

       







  

      3

3

         





3

     



  

 

Bsn

  

    



  

 

 Hn  

     

 

 

      

 





  



  

   

 

 





  



  

   

Tpt

Tbn.

El. gtr

Bass

Synth.



 



 



Vc.

Cb.

 

       3

107

Vla



     

 

3



   



     

 

3

   

   



3

3

 



      

3

      



  

3



3



  

  

  3











3



  





3

     

  

  



    

 

 

  

 

 



  

  





      



     

     

 







  



3

          



3

 



3



   

ff

 Vln I   Vln II

   

  

3

3

3

 



     

  



Bar. Sax.



21

3

3

 







 

       



 



 







 





 







 



 



 







 



 



 







 



 

 



 

 

  

  

   

3



  



   

111 With Sensitivity  

 Picc.   

22

111

 

Ob.

   f

Cl.

f



T. Sax.



f

     3

  







 Tbn.     

El. gtr



Bass

Synth.





 

  Vln I 

Vc.



3

 

3

  

3

 

3

3

3

3

               3

3

3



 







  

   







  

 

 





mf

mf

mf



 f



 



 

         

  

 



 



 







3

3

  





   

3



     

3

3

     3

     3

3

 

 



  





3

 

 



  





      









      









       















3

  3

 

 

3

3

3

3

 3

3

 



 



 

 

 



 

  



      



3

 



  

   

3



 

3

  









   

 

  

 



  

3

  

 

       

                    

 



f

3

3



f



    

 





   



f

Cb.



      

 

f

   



   





3





f

Vla



 

 

 

 

 







111

Vln II

  

3





      

f



3

3

 

 



   

   

 Hn   Tpt

      

f

f

Bsn

  

3

    

Bar. Sax.

3

  





 

       3

3

   

          3



3

 



 





 



 







 



 







 



 





       











 





 



 





3





3

3

 Picc.  115



Ob.



Cl.



T. Sax.



Bar. Sax.

Bsn

Hn



3





3

To Fl.







  

Flute















    







3

  3         







  

 









     

  

 

     

 

 





 

 





  

 





f sempre

3 3

f

     

f

     

 

 

f sempre

3



  

3



ff

 

f









E. Gtr. Delay











El. gtr







Bass

Synth.





3

  Vln I  115

  

 

Vc.

Cb.







 

3

 

 





stager bowings

 

3

3

3



3

3

3

 

 

stager bowings















 stager bowings







stager bowings









 3





                        







Vla

  

  

3

Vln II

ff



    

Synth.

  

     



     



  

f sempre

ff

     



3

     





Vib.

23

f sempre

3

  

116

  

  

Tpt

Tbn.



 

 

  

 

3

   3

 Fl. 





Ob.







Cl.







24

119

T. Sax.

 

 







Bar. Sax.

 

 







 

 







  

 







Bsn

Hn



 

Tpt

Tbn.



    

  



 

El. gtr

   

Bass

  Synth.













     



     



    



3





  



 3

 









 

 



 



 



119

Vla

Vc.

Cb.



 

 







  3

3

  Vln I   Vln II

    









     

  



3



 



3





 T. Sax.   121

  



  





 



  





 

  



  





 



Bar. Sax.

Bsn

Hn



El. gtr

Bass

Synth.

 

 

Tpt

Tbn.

 25 









    









    



 



    



 

 



     



     



      

 

     



     



     

 

       

 

  Vln I  

 

      3

   



 

      3

   



 

 

3

   



 

 

  

 





 

 





 

Vc.

 





 

Cb.





121

Vln II

Vla

  

  





 



125

III. Echoplex (Largo)







 

SOUND: SLOW SWELLS PAD 8 - G.M.

 Vln I  125





ffp



Vla



ff sempre





 





 







 



    





 

     





 

   





   

ff sempre

ff sempre

ffp

ff sempre



 

 





ff sempre

     

ff sempre









ffp

ff sempre

  



ffp

    



 



   

  



   

 

  





  





 



 



 



 



 



 

 

 

 

 







 

ff sempre





ffp



ff sempre

 



 

 



ff sempre



 



 





ff sempre



ff sempre

ffp



 

ffp

 



 

ffp

 

ffp



ffp





    



    









ff sempre

  



molto vib - lush







ffp



sul IV, molto vib - lush

 

 





      



 

    

 

 

  



        

ff

 

 

ffp

Cb.



   

sul IV, molto vib - lush

ffp

Vc.









   

sul IV, molto vib - lush







ff

  

 

ffp

Vln II







      

ff





ff

       

    

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

     

Synth.



   



 

    





El. gtr



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





E. Gtr. Delay

 









Vib.



Largo q=exactly 50 (e=100)

125



26

ff sempre



ffp

ff sempre



      ff

  Synth.

    

(ff)



  







   





 

 

 

 



    



             





 

     



 

   

  





    

           



  



   

   

 





 

       

 









  

   







 

              



  

        



                                       

SOUND: CLEAN

Bass

 









El. gtr

       

    

 



E. Gtr. Delay

In Consort, as a Band



131

  Vib.        131



 





 

     

   

 

         

  

     

Bass

 



   





f



   



p



    

          

 

   





 

   



p subito

  Vln I  



p





   



 

Vln II

 

ppp

Cb.



  







  







 







  

 ppp



ppp





 

mp







   



  f

mp



  

f



  f

mp





  

f

mp





   mp

dim.

   

l.v.



l.v.





     





  

    





 





 



































p sempre



p sempre





    p

p



 

 







 

pp









 



 



 



 



fp



           

 



fp

 fp









fp





         

mf



p sempre

p

mf

 

     

 

p sempre







dim.

p sempre



ppp

Vc.





ppp

Vla





   mp

dim.

135







mf







dim.

p





   

f

 

       

 

 dim.

f





 

  

dim.

27







       

  Synth.

f

   





El. gtr



 



    



E. Gtr. Delay









Vib.

  



f



Bsn





Bar. Sax.

 

  



T. Sax.

 



f



Cl.

 





Ob.

 



   



135

  Fl.   135



fp

     

mp

mp

mp

mp

mp

pp

pp

pp

pp

pp

mp

   

 mp



   



f

  



E. Gtr. Delay



El. gtr













Synth.





 Vln I 

p sempre



Vln II

 

 

   

  







p



 





    







p

   





 



mp





p

     f subito

p



      

     

                    





p



  

       





             

 























































p sempre

mp

  



  

    

     







mp

       

   

  

    



    



 

 

     





mp

p





    





mp



p sempre

Cb.





mp



p sempre

Vc.





p



p sempre Vla

f subito



138

 

mp

   

p



   

    

           

    

mf

Bass





     

    



mp

    

 

f subito

f subito

  

  

   





Vib.





mp

f subito



Bsn

 

   

  

mp









 

f subito



     







Bar. Sax.

f



     







T. Sax.

  





Cl.







Ob.

 



138



 Fl. 



28



    





  









T. Sax.



 







Synth.





148



Bass

pp





148 (solo)

p





 





 

      

 

  

  

    

 



            



 



 

 



 



 



 





 



  







  

    







  

 

 

 

 



      

    

  

   

 

     

 

 

  











 

      

 

  

  

 

 

  

ppp



           

ppp

l.v.



   

ppp

ppp

   

                     

              p       p       p       

ppp







p



 





 

    



 

ppp

  



29

  

 

  



   

     

 

 

   

(tutti)                                   



pp

p

  





    





pp







p



pp



 

Vc.

  

pp

         

Vla

 

p

p

pp

(solo)

Vln II

     

         



  Vln I  

  



p

pp

148

 Synth.

pp

  pp  



 

p

       

    

 

     

 

      

pp

   pp   



  



 

      

El. gtr

pp

 



   

E. Gtr. Delay

 

p

 

    

       



Bass

Cb.

 

pp



El. gtr

Vib.

   





 

   

   

E. Gtr. Delay



 

         

pp

 



Vib.

   

    

Bar. Sax.

Bsn

   

142







Cl.

 







Ob.





141   Fl. 



 



    

      

 

  

  

 

  

 

 

 

 

 

 

       (tutti)  

 



 

 

 



 

 



  

 

 



 

 

 



 



 

p



 

p

p

 

 

 

  Fl.   154





all accents "bell tones" second echo, with bsn.



    

 

     

          

 

mp dolce all accents "bell tones"

 



Bass

Synth.





 

  









 

 









f dolce









 



 

p dolce all accents "bell tones" lead melody, with clarinet

 

f dolce

       



all accents "bell tones" second echo, with flute

mp

       

     

 

            

 

  

               

 

 



      

   



 

 

mp dolce

  

     

 

         

  

 

   

 

 







       

        

   

 



  Vln I   

             (solo)

p

           (solo)

p

  

   

  

      

 

 



 

 

     

 

  



    

         

   





  

 

 

  

      

  

   

  



 



      

 

   

  





all accents "bell tones" third echo, with oboe

 



 

154

Vln II



  





El. gtr







E. Gtr. Delay



p dolce all accents "bell tones" lead melody, with Bar. Sax.

 Bsn   Vib.





Bar. Sax.



third echo, with t. sax.         



T. Sax.





Cl.

 



Ob.

  





































30

156



(solo)













      















mf

Vla

  

 

 

















Vc.

  

 

 

















Cb.

   

 

 

















     Fl.  163

 



 

   



 

    Bsn       

Synth.

        

    











  



To Perc.

  

Percussion

  



Triangle

         



Pedal Bass Drum

   

mf







  













  







 



 



























163



 



  Vln I 

Cb.

 









Vc.





  



Vla



   

         



prominent, with a relaxed feel

  

  

Vln II

     

   





31



Bass

  

  

 



   

  

     

      pizz.





El. gtr

      

 

 



mp

 



 



 



 



 



pizz.





E. Gtr. Delay

 

 



    

     



Vib.

  

   

   

mp

pizz.





Bar. Sax.

 



 

T. Sax.

    



mp

     

pizz.



Cl.





   



Ob.

      

168

mp

   





    169

    

   

 



             

   

  

Cb.

  

  





 

 





 

Vc.



 

 



Vla





 

     



Vln II



        



Vln I

   

  

 

  

 

  

 

     

     

    





    

 

Synth.





   





 



Bass

                                                                          







Perc.

            



169



32



Vc.

Cb.

        

      

 

   

   

   



           





   

  

 

        

     

  



      

  



 



  

Vla

 



                                            

 



175



 Vln II    







  





   



Synth.



             



         Perc.             Bass







 

175



 Fl.  

   

 

 

       

       

                

IV. Soft Glow Adagio q=69 anticipative, vibrant (Adagio)

182

  pp Fl.    182

 

spoken in a soft whisper





eight se - ven pp spoken in a soft whisper *

Ob.

  



   



   



 



 

eight se - ven pp spoken in a soft whisper *

Cl.





T. Sax.

   

eight se - ven pp spoken in a soft whisper *

  



    



Bar. Sax.



se - ven eight pp spoken in a soft whisper *

Bsn

    

 



se - ven eight pp spoken in a soft whisper *

Hn



 



 

se - ven eight pp spoken in a soft whisper *

  



   



Tpt



 

se - ven eight pp spoken in a soft whisper *

Tbn.



     

se - ven

eight Tam-tam w/ soft mallet

Perc.

                   pp l.v.

Bass

Synth.





 



 



 





El. gtr



  187

Vln I





Vln II



  



tenuto



pp dolce espress.



Vla



Vc.

Cb.







 

 

tenuto



 



 



 



 



 



tenuto

 



SOUND 3:



 









 



 



 



 



 





 



 







 

 



 



 



 



 





 

five

 



 







 

 



 



 



 



 





 

four

 



 







 

 



 



 



 



 



 



 



 



 



 



 



 



one



one



one



 

three

 

one

two





one

two



 

one

two





one

two

three





 

one

two

three



 



two

three





two

three

four





 

two

three

four



 



three

four





three

four

five





 

three

four

five



 



four

five

six

two

one



l.v.

























192



pp dolce espress.







  

 



  

 



  

pp dolce espress.





four

five

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



pp dolce espress. tenuto



six



 



five

six

 

pp dolce espress.



six





 

four

five

six



 



sim.







six





five

six

poco



tenuto



six



 

five

187 Sentimental, Emotive 187



six

se - ven eight pp spoken in a soft whisper *



 

33

 



   

  



swell

mf



fast

slow

 

      



  









 







  



swell



 

     





 



 



 

 

  







      

  

 



  

 





  

 



 

 



 

 

  

199

34   Fl.   199

204

 











           

pp

twelve

Ob.

 

 











e - le - ven

           

pp

twelve

Cl.

 

 











e - le - ven

 

 











            e - le - ven

 

 











            e - le - ven



  Hn  



 









            e - le - ven









            e - le - ven

Tpt

 











            e - le - ven

 



           







e - le - ven

Tam-tam choke

p

   

        choke



choke



  

   



         

 

fast-slow

w/ thumb



     

    choke

 fast

ten

           

pp

e - le - ven

twelve

  Perc.      El. gtr



ten

pp

twelve

 Tbn.  

ten

pp

twelve

 

ten

pp

twelve

 

ten

pp

twelve

 Bsn  

ten

pp

twelve

Bar. Sax.

ten

pp

twelve

T. Sax.

ten

 

pp

 

ten

 

nine

   

nine

   

nine

   

nine

   

nine

   

nine

   

nine

   

nine

   

nine

 

      

eight

se - ven

      

eight

se - ven

eight

se - ven

eight

se - ven

eight

se - ven

                           

eight

se - ven

      

eight

se - ven

eight

se - ven

             

eight

 

se - ven

 

 

sim.

poco

   

 

   















(Forcefull articulation, but with low amplifier volume)

Bass

  

  Vln I   

      p funky

199

Vln II

Vla

Vc.

Cb.

sim.

p







  

 



    pp

 

 



  



 



   

  



   

pp

 

pp

pp



 



      

l.v.      p



 















 



















 



















      208

Fl.

six

six

six

six

six

Bsn

Hn



     six

Perc.

   

 

   

 

   

 

   

 

   

 

   

five

    

 

five

six

Tbn.

   

five

     

Tpt

 

five

   

Bar. Sax.

   

five

   

T. Sax.

 

five

    

Cl.

   

five

   

Ob.

 

six

five

six

five

    

   

 

four

four

four

four

four

four

four

 

   

Bass

      208

Vln I

Vln II

Vla

Vc.

Cb.

   

   

three

     

 

        

     

    

        



     

   

      





     

   

     





     

 

     

 

           

two

   

three

two

   

three

two

   

three

two

   

three

three

   

  







  







  











           

 



 









     

 



 









 l.v.  

 



 



scrape with metal

 



p

p

one

one





  

two



  

    

three







35

 

 

one

four



 





one

one



p

one

two

 

p

one

three

 

p

one

four

   

p



           

                



one

  

  

two

   

 



  

two

   





        

two

l.v. sempre

El. gtr





     

three

212 Sentimental, Emotive

 

    

as before

 

   

  

mp

   l.v.      

   

funky

tenuto

p



  

p





mp



     

w/ thumb

 



        

 

  mp

 

pp dolce espress.

 









 



 



   

 

 

 

 tenuto  







tenuto

pp dolce espress.

pp dolce espress.

 



 



 tenuto   



pp dolce espress.

 tenuto  

pp dolce espress.

 

 

                     p    solo





   

  

217

36 217  Fl. 





 



 

Ob.



Cl.



T. Sax.

Bsn

Hn



Perc.



































 

  

 

 





 

Cb.



  

Vc.











 

 







  

 











 

  











   

p





      





  







  

  











   

  

Cymbal

mp

    

   

 



 

      





 

      





 

     



 

   









        



f

 

  

         





 

  

         

 

f

p

mf





p



                   Bass       217      Vln I 

Vla

 



    



         

ord.

Vln II







f



 

El. gtr

 





p









 



f

    

Tpt

Tbn.

   



mp



















play!

mp

 

f





 

      

    

 









                 



       



 

















    



     

 





































 

  Fl.   

 

225

Ob.

Cl.

Bsn







   

 







  

 













 



 



pp

 



 











       





five



 









 







 



pp



five pp

Tbn.









 



 





five

  Perc.   pedal bass drum 

choke





mf

 

choke





 



pp

 



 





pp



   

El. gtr

 

Bass

  



     p

225

Vln I

Vln II

Vla

Cb.



 

    



 



 





 

 







 

Vc.

 

 















 

 









 

pp

 



pp

 



pp





five

 





 

  

  

  

  

pizz.







pizz.



 



pizz.



 



 



 



 



 



 



poco

 





    

  

 

 

four

 





four

 

p

 

four

 

  



four

dampen strings w/ left hand

l.v.

 

four

pp wah-wah, ad-lib.



four

five cymbal

 

four

five





four

five

 

 

37

four

five

 Hn   Tpt

pp

five



 

 



 



Bar. Sax.



   



T. Sax.



230

  pizz.



pizz.



         

  

38 231 Fl.  

 



 



 





three

 

Ob.

 

 

 





Hn



 

 



 



 



 



 





three

Tpt

 



  

three

El. gtr

Bass

    





 

 



 





 







 







 

 







 

 







 

 







 

 







 

 







 

 

one



one

 



 



 





one



one



one

 

 

 

  

  

  

sim.

  

 

 

 

 

 

 

      

 

 

 

 

 

  

 

 

 

 















 

 

      

 

 

 

 

 

 

 

 

 

  

 

 

  

 



 





 





 





 







 













 

  













 

sim.

Cb.

 

To Glock. l.v.



sim.

Vc.

 

 

sim.

Vla



sim.



 



231

Vln II

 

sim.



 Vln I  



one

two

 Perc.   



 

two





 

Piccolo

one

two

three

Tbn.



two

 

 



one

two

three

  





two

three

Bsn

   

three

Bar. Sax.





 

one

two

 

 

 



To Picc.



two

three

T. Sax.



two

three

Cl.

 

attacca

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

235

  

X

Synthesizer



Synth.









(PEDAL ALL SLURS!)

 







          



  



6



  



3



Synth.





Synth.







rit. 







    9

q=120 A tempo

 



rit.          







  

  



















    

 

 

 





 



 





 



 













  





  

 







  

 









 

 

  6

 



 

3





3

 

3

  





 

rit.

   







   





  



(molto rit.)

 



       

  





   

  



6

 



   







  

    

 

 







  





rit. poco a poco  

6

 

 

3

6

q=120 A  tempo

            



3

  

3

rit.

9

   





 



       

 





  

 

6

   



3

3

 

q=120 A tempo

 

    

6

  

  

6



  





 

q=90 (meno mosso)



3

6





 

 



3

   

q=120 A  tempo

  

3

            

3

    

q=120  A tempo



