Marula

Jexper Holmen Marula (2011) for clarinet, string trio and analogue ringmodulator Dur. 15’

Commissioned by the Huddersfield Contemporary Music Festival for the London Sinfonietta

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Jexper Holmen Marula (2011) for clarinet, string trio and analogue ringmodulator Dur. 15’

PERFORMANCE NOTES

OPFØRELSESNOTER

Marula is a fifteen-minute piece for clarinet, string trio and analogue ring modulator. The work is the second part of the trilogy Miranda – Marula – Medina. The works are meant as pure energy music. I don’t control the music in every detail; instead I focus on creating a particular overall atmosphere in the music.

Marula er et 15 minutter langt stykke for klarinet, strygetrio og analog ringmodulator. Stykket udgør anden den af en triologien Miranda – Marula – Medina. Trilogiens værker er ment som ren energimusik. Jeg kontrollerer ikke musikken i detaljer. I stedet fokuserer jeg på at skabe en bestemt overordnet stemning i musikken.

J H, June 2011 J H, juni 2011.

Marula, performance notes

General character: The piece should be played extremly heavily and energetically.

Even in the soft dynamics the music should keep a brutally sustained character.

Though each chord should be played like a carved block of sound, the music should still have a legato feeling underneath – as if the carved blocks were relentlessly paced forward by a stream of lava.

Tempi, fermatas and pauses • The metronome markings are only hints. They don't necessarily have to be precise • 4 types of "out of tempo"-notes are used. The below mentioned specifications of their lengths are approximate.

The most important is that they are out of tempo with the surroundings:

U ¨

= very long sustained fermata, 3-4 seconds = medium length fermata, 1-1.5 seconds = short fermata, 0.5 seconds

• Grace notes: as fast as possible. If time is needed for the change of finger positions in the strings before continuing to the note that the grace notes anticipates, then just put in a minor break between the grace note or group of grace notes) and the following note.

• 3 types of pauses are used:

, = relatively short break but longer than the previous. , , = long fermata-like break, leaving time for some seconds of rest. = very short break, almost nothing.

Clarinet • Play no vibrato at all • Play violent attacks throughout. The louder the general dynamic level the more violent the attacks.

The ß 's should be even more violent.

Strings • Play no vibrato at all • All downbows should be played at the frog and from the string • Play violent bow changes throughout. The louder the general dynamic level the more violent the bow changes.

The ß 's should be even more violent.

• The

sign means: Play the written pitch as a unison double stop on the two strings written inside the box.

From now on only the pitch of the upper one of the two strings is written.

When moving the hand to other positions, let the distance between the fingers remain the same, so that the sounding interval between the strings changes according to the position of the hand.

Keep the distance between the fingers until the next box appears.

Sound processing • All four instruments should be amplified and merged into one signal. This signal should be doubled and fed into the ring modulator as both input and carrier.

• The output of the ring modulation and the actual sound of the instruments should be mixed 50%-50% to one mono signal.

This mono signal should be sent trough a large number of loudspeakers (all placed on stage) so that the whole piece actually unfolds in mono.

Marula

for London Sinfonietta

Jexper Holmen 2011

Con gravita monstruoso, molto energico, sempre sostenuto brutale e legato possibile q = 68

œ

& 44 ƒsost. n œ

*) Clarinet in B b

#œ

nœ

# ≥œ # œ≤ n ≥œ ≤ nœ & 44 ƒsost.

AD

**)

Violin

≥ ≤ ≥ ≤ 4 µ œ B4 #œ  œ #œ ƒsost.

GC

**)

Viola

≤ ≥ ? 44 µ ≥œ # œ µ œ n œ≤ ƒsost.

GC

**)

Cello

ª

q = 81

nœ

7

cla.

vl.

vla.

& #œ ≥ & µœ

≤ Âœ

≥ & nœ

≤ nœ

œ

# ≥œ ≥ µœ

nœ #œ

≤ #œ

#œ

œ

ß

senza tempo

nœ

µœ

vlc.

ª

& 44

12

cla.

≤ µœ

 ≥œ n œ≤ µ ≥œ n >œ≤

µ ≥œ  œ≤

µ ≥œ

≥ nœ

≥ ≤ >≥ ≤ nœ #œ nœ nœ ß #œ

nœ ≥ µœ

µ œ≤

n ≥œ

n ϲ

≥ #œ

ß

GC

ß

≤

AD

&

≥ ≤ œ µœ > ß

µœ

n¨œ

& 44

≥ Âœ

œ

ƒ # ≥œ

µœ

ƒ

≤ Âœ

 œ≤

senza tempo

nœ #œ n ≥œ

n ϲ

f f

U µ˙

nœ  œ

ƒsost.

sub.

≥ ≤ µ œ Âœ

≥ ≤ B 44  œ µ œ ƒ

vla.

B 44 ≥ ≤ Âœ Âœ ƒ DG

vlc.

≥ ≤ µœ µœ

,U ≥ µ˙

U n ˙≥

,U ≥ Â˙

DG

ƒsost.

sub.

≥ ≤ #œ #œ

f

f

≥ ≤ n œ Âœ &

ƒsost.

GC U • n ˙≥

sub.

≥ ≤

nœ Âœ

?

ƒsost.

sub.

,U µ˙

U µ ˙≥

DG

GC

≥ µœ

U

,≥ µ˙

¨

senza tempo

œ

34

# ϲ

34

f

•¨≤ nœ

í AD

f

¨≤

GC

µ œ≤

B

34

n ϲ

B

,

,

,

,

..

34

µ w≥

DG

 w≥

..

AD

..

&

# w≥

¨≤

nœ f

í nœ

í µœ

¨

í n œ≤

U

µ >˙

í 4 .

4 .

¨

¨≤

¨≤

≥ µ >œ≤ nœ ß

ní ¨œ ≤ í nœ

¨≤

f

ß

≤ ≥ ≤ nœ  œ #œ > ß

# ϲ

í µœ

AD

..

¨

µœ

µw

X2

í

#œ

µœ

> ß ≥ ≤  ≥œ  >œ≤ #œ #œ

≥ µ œ≤ ≥ ≤ Âœ Âœ Âœ > ß

ß

≤ Âœ ≤ nœ

nœ

≤  ≥œ n œ≤ n ≥œ µ >œ

µ ≥œ

q = 93

AD

vl.

n ≥œ

> ß

AD

DG

≥ & Âœ

µœ

µœ  œ

 ≥œ ≤ n >≥œ n œ≤ #œ

#œ

µœ

 >œ

ß ƒsost.

U ≥ í 4 . Â >˙ 4 . ß ƒsost.

AD

U≥ í 4 . n >˙ &4 . ß ƒ sost.

DG U≥ Â˙ í 4 .

4 . ß ƒsost.

DG

,,

34

q = 65

µœ

#œ

≥ µ ≥œ # œ≤ Âœ

nœ

ß ƒ DG U≥ Â >˙

≤ œ

≤ ≥ ≤ n ≥œ # œ  œ  œ µ ≥œ

U

 >˙

ß ƒ DG

&

≤ # ≥œ ≤ #œ µœ , U n˙

, U n ˙≥ , U # ˙≥ U , n ˙≥

> n >œ # œ µ œ n œ  œ

,

, ,

,

q = 57

U µ ˙≥

ß ƒ AD U≥ n >˙

, U Â˙

,

U , µ ≥˙

,

U , ≥ ˙

,

, U≥

,

#˙

ß ƒ

¨ ¨ µ 34 œ í  œ í j #œ 34

¨ ¨  ≥œ í ≥

¨

nœ

f

¨

j

EA

µœ

í  œ≤ µœ f

¨≥ ¨≥

¨≤ í í n œ 34 n œ B # œj n œ f 34

¨ ¨ ≥

 ≥œ

œ

GC

í  œ í# œj f

µœ

¨

µœ

í 4 4 í 4 4 í 4 4 í 4 4

78

ß ß nœ nœ ! pocoÍ EA ≥œ ≤  ≥œ ≤ # ,, >œ # œ≤  >≥œ n œ # ≥œ µ œ≤ µ ≥œ µ 34 ß ß ! pocoÍ AD  ≥œ >≤ n ≥œ ≤ n ≥>œ µ œ≤ ≥ # œ≤ n ≥œ #œ  œ #œ ,, 34 ß ß ! pocoÍ

œ

n œ≤ µ ≥œ µ œ≤

78

,,

≤ ≥ ≤ nœ µœ µœ

78

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ B 3 µœ #œ 4 nœ µœ nœ  œ #œ  œ µœ > > ß ß ! pocoÍ

*) play violent tongue attacs throughout. The louder the general dynamic level, the more violent the attacks. **) play violent bow changes throughout. The louder the general dynamic level, the more violent the bow changes. © 2011 by Edition·S, Copenhagen

µœ

µœ

Jexper Holmen: Marula, score - 3

DG

œ

≤ n œ≤ µ ≥œ n œ

See preface for explanation of the

78

sign

q = 65

& 78

18

cla.

vl.

vla.

vlc.

> µœ nœ #œ µœ nœ nœ #œ

45

ß

nœ . f

poco sost.

>≤ n ≥œ µ œ  ≥œ n œ≤  ≥œ  œ≤ µ ≥œ 7 &8 ß & 78

senza tempo

5 4

n ≥œ .

DG

f

poco sost.

>≤ ≥  ≥œ # œ n œ µ œ≤ n ≥œ # œ≤ n ≥œ

45

ß

µ ≥œ .

f GC •  ≥œ .

?

45

f

poco sost.

#œ

µœ

≤ n >œ # ≥œ J ß

nw

#œ

# ≥œ

µ œ≤

,,

AD

n w≥

# ϲ

,,

44

34 ¨ í ¨ í ¨ í 44 nœ #œ #œ f pocof sub.ƒ

µw

,,

p

4 µ w≥ 4

DG

p

≤ J ß

 ≥œ

n ϲ

DG

µ w≥

 œ≤

,,

44

≤  >œ µ ≥œ J ß

µ ≥œ

n ϲ

µ œ≤

B

 w≥

,,

f sub.ƒ

í 4 4

n ≥œ # œ≤ # œ≤ ,, í í í 4 B 34 &4 pocof sub.ƒ f

DG

44

f

µœ

¨ ¨ ¨

GC

p # w≥

µ ≥œ í  œ≤

3 4

poco

µ w≥

DG

¨ ¨ í ¨≤

DG

,,

AD

µ >œ  ≥œ

DG

poco sost.

≤ ≥ ≤ ≥ ≤ ≥ B 78 µ ≥œ n >œ # œ µ œ n œ n œ # œ ß

n >œ # œ J ß

,,

¨ í ¨≤ í ¨≤

GC

 ≥œ

µœ  œ

íB 4 4

45 # œ µ œ # œ

nœ

64

?

34

f sub.ƒ f

p

poco

ª

q = 84

 >œ . œ n >œ 4 &4 J Âœ ß ß ƒsost.

23

cla.

≥ ≤ >≥œ . #  œ≤  œ 4 &4 J > #œ ß ß ƒsost.

DG

vl.

≥ n >œ . µ œ≤ ≥ ≤ 4 &4 J µ >œ # œ ß ß ƒsost.

DG

vla.

≥ µ >œ .

DG

vlc.

B 44 ª

ß ƒsost.

n œ≤ >≥œ ≤ µœ J ß

q = 55

¨ í¨ í & 64 n œ nœ ƒsost.

29

cla.

¨≥ í ¨≥ AD

vl.

í ≥ 6 µ œ µ œ Âw &4 ƒsost.

• ¨≥ ¨ AD

vla.

& 64

nœ

≥ 41 µ œ

44 # ϲ

≥ nœ

n ϲ

≥ nœ

 œ≤

# ≥œ

≤ ≥ µœ Âœ

œ

≤ # ≥œ  œ≤ µ ≥œ

≤ 54 µ œ≤ ≥  œ ≥ ≤  œ #œ #œ

64

≥ 41 n œ

≥ 44 n œ≤ # œ

n ϲ

≥ nœ

 œ≤

n ≥œ

≤ ≥  œ µœ

≤ ≥ ≤ ≥ µœ  œ #œ  œ f

≤ ≥ ≤ 54 # œ µ œ # œ ≥ µ œ≤ Âœ

64

41

n ≥œ

44

ƒsost.

¨≥ ¨≥ AD

vlc.

í & 64  œ # œ ƒsost.

,,

í B µ w≥

DG

44 n œ . p

µ ≥œ

j nœ

 œ≤

µœ .

op

 ≥œ

µœ

J

≥ 44 # œ . p !

n œ≤ # ≥œ .

J op

# ϲ J

44 µ ≥œ .

≤  ≥œ . j nœ op

≤j µœ

AD

,, ,,

µ œ≤

q = 72

,,

AD

n w≥ í n ≥œ í

nœ #œ

44 # œ µ œ µ œ µ œ

!

DG

nœ  œ

q = 55

41  œ

senza tempo

Âw

q = 84

DG

!

p

n ≥œ .

4 &4

AD

!

p

EA

DG

≤ n ≥œ . j Âœ op

AD

≤ j Âœ

# œ≤ µ ≥œ

>

nœ ß #œ o

œ

n ≥œ µ >œ≤ n ≥œ # œ≤ o

≥ ≤ ≥ # œ≤ µœ µœ µœ > ß o ≥ µœ

≤

œ

f f

≤ ≥ # œ≤ µ ≥œ # œ n œ

# œ≤ n ≥œ

œ

ß

nœ  œ

#œ nœ

n ≥œ

> ß o

≤ #œ

Jexper Holmen: Marula, score - 4

 ≥œ n œ≤ ≤ 54  œ # ≥œ # œ≤

f

senza tempo

24

µœ

nœ

44 n w p

≥ 24 # œ n œ≤

44 n w≥ p

24 ≥ ≤ nœ  œ

44 # w≥

24 n ≥œ # œ≤

44 n w≥

nœ

o

EA

o

q = 56

, , nœ nœ #œ p

,,

p ,,

DG

p

o

p

o

B

sub.

 ≥œ

EA

 ≥œ µ œ≤ ≤ #œ

ƒsost.

GC  ≥œ # œ≤ sub.

p

sub.

p

sub.

,,

? µ ≥œ

AD

ƒsost.

nœ

ƒsost.

GC

µ ≥œ

µ œ≤

≤ ≥ ≤ nœ #œ nœ

ƒsost.

&

64

34 34 34 34

¨>œ ¨ n Âœ

q = 72

senza tempo

& 34

35

cla.

vl.

vla.

vlc.

# >œ

nœ

#œ

ß

# ϲ

≥> # œ & 34 ß ≥  >œ B 34

# ≥œ

≥ ? 34  œ > ß

f

# ≥œ

 œ≤

ß

f

≥ Âœ

ª

¨ 1 & 4 µœ

senza tempo

í

40

cla.

vl.

vla.

vlc.

¨≥

í

& 41 n œ B 41

¨≥

nœ

¨≥

& 41  œ

•

vl.

vla.

vlc.

&

B

¨≥

EA

#œ

ƒsost.

í # >œ ß

¨ ¨ # ≥œ ≥

sub.

DG

œ

n œ≤ µ œ≤

≤ œ µ &

≥ µœ  ≥œ

≥  œ≤ #œ

µ œ≤

µœ

24 n œ í& µ œ f sub.ƒsost. ß

í 7 n ≥œ n œ≤ µ ≥œ µ œ≤ B ≥ ≤ ≥ 4 ≤ µœ #œ  œ 4 µœ 16 f

≥ µœ

¨≥ ¨>≥

DG

165 µ œ  œ # œ # œ n œ > ß ≥ ≤ ≥ ≤ ≥ 516 œ µ  œ #œ #œ #œ > ß ≤ µ ≥œ  œ≤ # ≥œ # >œ # ≥œ ß

,

Âw

ƒ

ƒsost.

U ≥ 64 µ ˙ ƒsost.

# ≥œ

10 16

µ ≥œ

n œ≤ ≤ µœ

10 16

,

µ w≥

ƒ

≥ nœ

ƒ

í

¨

µœ

f

¨ ¨

¨≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ 24 µ œ n œ  œ µ œ n œ µ œ n œ n œ 165 n œ µ œ  œ n œ µ œ 24 nœ

¨≤

,, f

ƒ! ,,

f

ƒ!

U

µ˙

44

µœ # œ

poco EA

44

f

f

,,

f sost.

≥ ≤ nœ µœ

poco

U # ˙≥

DG

f sost.

U n ˙≥

DG

GC

≥ ≤

B 44 n œ µ œ & ƒ! pocof sost.

GC U • # ˙≥ GC ,, ? 4 # ≥œ ≤ 4 µœ

ƒ!

f

165

q = 53

nœ .

,U

,

U ,µ ˙≥

,

≥.

54  œ

U ,n ˙≥

,

U #, ˙≥

,

Â˙

DG

≥ ≤ ≥ ≤ ≤ ≥  œ≤ µ œ µ œ  ≥œ µ œ≤ # œ n œ µ ≥œ  œ µ œ B

ƒ

q = 47

µœ

• n ≥œ

µœ

µœ

n ≥œ

≤ nœ

µ ≥œ

 œ≤

n ≥œ

≤ #œ

≥ µœ

GC

34

f

í

í3 4 í 3 4

f

¨≥

≥ ≤ ≥ ≤ ≥ # œ n œ µ œ  œ µ œ 41 ƒ

EA

í ≤ #œ

24 µ œ

24

DG

# w≥ B

≤ n ≥œ # œ≤  ≥œ n œ

≤ µ œ≤  ≥œ µ œ  ≥œ µ œ≤

AD

í n œ≤

AD

,

 œ≤

1 nœ nœ  œ  œ µœ 4 ƒ

#œ nœ nœ #œ nœ

í 3  ≥œ 4

AD

œ

f

q = 63

q = 53

#œ

> nœ

nœ #œ

µ œ≤

≥ J Âœ

µ œ≤

≥ Âœ > ß

≤ ≥  œ≤  ≥œ n >œ≤ nœ #œ ß

≥.

54 # œ

≤j ≥ nœ #œ

n ϲ

≥ #œ > ß

≤ ≤ n ≥œ µ œ≤ µ ≥œ # >œ #œ ß

≥.

5 nœ &4

≤j ≥ µœ nœ

# ϲ

≥ nœ > ß

≤  ≥œ # œ≤ ≥ ≤ nœ µœ µœ > ß

poco sost.

Jexper Holmen: Marula, score - 5

45

DG

DG

AD

41

≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ 10 16 # œ # œ n œ # œ n œ &  œ  œ # œ n œ n œ 41 ƒ

¨ ≥ ≤ ≥ ≤ ≥ ≤ 24 ≤ ≥ ≤ n œ n œ 516 ≤ ≥ ≤ ≥ n œ 24 ≥ #œ µœ #œ µœ µœ  œ #œ  œ nœ #œ  œ # œ≤ µ ≥œ # œ≤ n ≥œ µ œ≤ n ≥œ µ œ≤  ≥œ

q = 50

GC

24 516 24 ¨  œ µœ nœ nœ µœ nœ µœ  œ µœ nœ nœ µœ nœ nœ

EA

 w≥ U , 64  ˙≥ & ƒ sost. ƒ

U 6 ≥ 4 n˙ ƒ sost.

n ϲ

senza tempo

q = 50

U 64 n˙

10 16

#œ

œ

µ ≥œ

AD

sub.

&

í

 œ≤

44

#œ

ƒsost. ß

24

í

≤ 516 # ≥œ n œ≤ µ ≥œ µ >œ  ≥œ ß

µ œ≤

44

q = 54

# ≥œ

 >œ

165

nœ  œ

f

AD

senza tempo

46

&

¨≥

í

ª

cla.

ƒsost. ß

sub.

24

í 7  œ µœ nœ nœ 16 µœ #œ µœ f EA •≥ n œ µ œ≤ n ≥œ í 7 µ ≥œ µ œ≤ # ≥œ n œ≤ 16

í

q = 71

# ≥œ  œ≤ n ≥œ ≤ ≤ ≥ ≤ í 7 n ≥œ n œ  œ µ œ 4 16 4 nœ f

f

≤ #œ

24

q = 54

j nœ nœ

ß

µœ

# œ n >œ

ß

#œ

51

cla.

vl.

vla.

vlc.

&

# ≥œ

&

&

≤ nœ  œ≤

≥

œ

≤ nœ

≥ & Âœ ª

& 44

57

cla.

µœ

q = 88

œ

œ

n ϲ

≥ µœ µ ≥œ

≤

µœ

≤ nœ

≥

#œ

senza tempo

µw

,,

fp

 w≥

,,

fp

& 34

63

cla.

,,

?

fp

vl.

vla.

vlc.

& 34

ß

ß

# œ≤ ≥ #œ

≥ # >œ µ œ≤ µ ≥œ 3 &4 ß 3 &4

≥

µ >œ

ß

µ ≥œ

≤

f

p

34 # ≥œ

f

n œ≤ ≥ nœ

44

44

•n ˙

# ˙≥ .

DG

4 &4

µ œ≤

≥

µœ

&

,,

n ˙≤

44 ˙≤ 4 µ ˙≤ 4

≥ n >˙

44

≥ #˙ > ß ≥ #˙ > ß

≤

24

µ˙

fp

q = 59

Âw

ß Îπ EA ≥  >œ .

#œ J

#œ

≤ µ˙

B

nœ

nœ

fp

,,

≥

AD

Âw

ß Îπ DG ≥ # >œ .

µ œ≤

J

µ ≥œ

n w≥

,,

ß Îπ AD ≥ µ >œ .

n ϲ J

n ≥œ

,,

≥ #w

DG

&

ß Îπ

µ œ≤

J

 ≥œ

µ˙

Â˙

n ˙≤

n ˙≥

n ˙≥

 ˙≥

Â˙

# ˙≤

# ˙≤

n ˙≤

• #˙

µ˙

# ˙≥

µ ˙≤

n ˙≥ n ˙≥

µ ˙≤

≤ Â˙

n ϲ

µœ

µ ≥œ

 œ≤

34

n ϲ

Îsost. BRUTALE!

# ≥œ

µ œ≤

n ≥œ  œ≤

# ϲ

Îsost. BRUTALE!

µ ≥œ

n ϲ

≥ µ œ≤  œ

# ϲ

Îsost. BRUTALE!

µœ

µ˙

nœ

n ˙≥

# œ≤ µ ≥œ

µ ˙≥

µ œ≤

Jexper Holmen: Marula, score - 6

 ≥œ .

poco

#œ

nœ

 ≥œ

q = 59

≥ µ˙

?

Îsost. BRUTALE!

sub.

sub.

µ ˙≤

34 n ≥œ .

DG

24 ≥ Â˙

sub.

µ ˙≤

# ˙≥

fp

n ϲ

n ≥œ

≥œ

µœ

n ϲ

µ œ≤

n ϲ

µ >œ

œ

ß

≥ n >œ

ß ≥

 >œ

ß

≥ # >œ ß

# ϲ

µ œ≤

n ϲ

fp

œ

# ≥œ

≤j ≥ œ Âœ > ß

44

≤j ≥ µœ  œ > ß

44

≥ ≤j # œ #œ > ß

GC

n ˙≥

µ œ≤

•n >œ . ,,

&

ß

34 µ ≥œ .

DG

poco

µ ˙≥ .

AD

f

fp

24 µ ˙≥

sub.

,,

ß

≥ Â˙

n ϲ

fp

poco

sub. sost.

fsost.

n >˙

n ˙≤

nœ

µœ

n œ≤  ≥œ

 œ≤ ≥ µœ

# ≥œ

# ϲ

µ ≥œ

n ≥œ

4 4

j µœ #œ > ß

poco

poco

AD

GC

?

µ˙

# ˙≥

3 œ.

4

2 4 #˙

poco

,,

q = 70

# ϲ

fp

poco sost.

•> Âœ nœ µœ ≥

µ w≥

GC

# w≥

 >œ

44

sub. sost.

f AD • Â w≥

poco

poco

ª

n ≥œ

µœ

,,

B

µ˙

q = 88

poco

µ ≥œ

, , Â w≥

µ w≥

AD

vlc.

 ˙≥ .

DG

f

GC

poco

& 44

fp

poco sost.

DG

vla.

# ≥œ

p

34

nœ

poco

sub. sost.

GC

B

#œ

# ϲ

f

fp

poco

& 44

≥

µœ

p

34

4 4

poco sost.

DG

& 44

n ≥œ

µ ≥œ EA

µ• w

poco

vl.

#œ

3 4  œ nœ p sub.fsost.

Â˙.

q = 82

&

nœ

 œ≤

# ϲ

µ œ≤

44

34

34

34

34

senza tempo

#œ

µw

,,

n ≥œ n œ≤ µ ≥œ

nw

,,

n ≥œ

#w

µœ  œ

 ≥œ  œ≤

# ≥œ # œ≤  ≥œ

DG

DG

nw

DG

B

,,

,,

&

71

cla.

&

µw

,,

nw

¨ í ¨œ í 2 #œ 4 ƒsost. !!!

,,

nw

DG

vl.

&

,,

µw

DG

vla.

&

#w

¨ ≥

¨≥

í n ≥œ í B

¨

¨≥

¨

DG

,,

, , #w

2 Âœ &4 ƒsost. !!!

B

nw

&

,,

?

ª q = 55

& 45 µ œ

77

cla.

nœ

,,

GC

B

nw

nœ .

#œ

!!!

24

ƒsost.

senza tempo

34 ¨ í n œ> ß sub.f

œ

J

vl.

vla.

≥œ 5 # &4 ≥ & 45 µ œ

# ϲ

n ≥œ

 ≥œ .

vlc.

82

cla.

& •

vl.

vla.

vlc.

&

B

nœ

n ϲ

n ϲ

B ≤ µœ

34

µ œ≤

 ≥œ

 ≥œ .

DG

í

ß f

sub.

¨≤

34

 >œ

í

ß f

nœ µœ > Âœ ß GC

n >œ µ œ Âœ ß

¨

µ ≥œ

..

#œ µœ #œ

nœ

µ ≥œ .

≤

œ

n >œ

ß

≥ n >œ

ß ≥ n >œ

ß ≥ µœ > ß

µ ≥œ

44

44

q = 47

œ

# ϲ J

¨≤

¨≤

DG

B

34  >œ ß sub.f

í

nœ

q = 76

œ

µ˙

œ

f # ϲ

≤ 44 n œ 44 ≤ Âœ

µ ≥œ

µ ˙≥

DG

œ

f

µ ˙≥

DG

n ≥œ

≥ nœ

&

?

f GC •≥ #˙ f

ª

¨≥

í

GC

..

¨≥

œ

&

¨

# ≥œ

GC

# œ µœ # œ

í

¨

í

í

ß

¨≥

œ

ß

¨≥

nœ

≤ µœ

œ

n ϲ

œ

n ϲ

#œ

µ˙

≥ n˙

DG

j nœ

AD

&

.. 44

ß

U ≥ Â >˙

.. 44

ß

U ≥ n >˙

..

j

œ

.. 44

í

•

≤ nœ

≥ nœ

 œ≤

n ≥œ

≤ œ

≥ #œ

J

ƒ f j nœ

.. ƒ f

í

..

DG

j

µœ

ƒ f

¨

¨≤

≥ # >˙

41 # œ

¨≤

n ˙≥

U , ≥ n˙

, Â ˙≥

,

,U≥ Â˙

U , µ ˙≥

, U≥ Â˙

,

U , ≥ µ˙

,5 4

µœ 41

Jexper Holmen: Marula, score - 7

44 44

nœ

≥ nœ ≥ #œ

≤ µœ

≥ 44 n ˙ > ß

¨≤

U

# ϲ

41 # œ

41 n œ

Â, ˙≥

# ϲ

senza tempo q = 76

≥ µ˙

, ÂU˙

nœ

œ

µœ

#œ

..

B

, µU˙

,U µ ˙≥

ß

q = 47

j nœ

GC

#œ

í

U ≥ Â >˙

,U Â˙

AD

> í nœ í

í

¨≤

¨≤

j

µœ

í

EA

µœ

í

ß

ƒ f

¨≤

í

.. 44

,

U

5 4

45

DG

µ >œ

í

j #œ

DG

B .. f ƒ f ƒsost. ß ?

U

µ >˙

X5

AD

 >œ

DG

µ œ nœ µ œ

í

ß

DG

f ƒ f ƒsost.

DG

µœ

¨≤

í

f ƒ f ƒsost.

¨≤

AD

n ϲ J

DG

œ #œ #œ > ß

¨

¨ n >œ

f ƒ f ƒsost.

sub.

AD

≥ & 45 µ œ

n ϲ J

#œ

nœ  œ nœ DG

íÂ

œ

¨>≤

..

DG

# ≥œ í

µœ

AD

AD

ß

,, 2 µœ í #œ í 4 !!! ƒsost.

DG

GC

AD

µ œ nœ œ >

¨≥

DG

DG

vlc.

# ¨œ

senza tempo

ß ≥

 >˙

ß

>≥ 44 µ ˙ ß

n ≥œ

,

œ

≤ nœ µ œ≤

n ϲ

U

µ ˙≥

œ

≥

œ

nœ

ƒsost. n œ≤ # ≥œ

µœ

41

≥ Âœ

41

≥ nœ

≤ ≥ 14  œ µ œ

µ˙

µ˙

≤ n˙

≥ µ˙

≤ #˙

≥ n˙

µ ˙≤

41

q = 59

µ ˙≥

ƒ sost. # œ≤

ƒ sost.

ƒ sost.

#˙ > ß ≤ # >˙

ß

≤ # >˙ ß ≤

µ >˙

ß

n ≥œ

45

X3

..

..

..

..

64

64 64 64

& 64

88

cla.

vl.

vla.

vlc.

n˙

≥ 6 µ ˙ &4 & 64 ? 64

n ˙≥ µ ˙≥

µ˙ µ ˙≤

Â˙

44 nœ

≥ µ˙ Â ˙≥

≤

µ ˙≥

#œ

Î • ≥ sost. ≤ #œ µœ 44 AD

≤ µ˙

#˙

q = 93

Î sost.

nœ > ß

#œ

nœ

nœ

≥ #œ > ß

# ϲ

≥ #œ

µ œ≤

µœ

n ≥œ

#œ

œ

µ œ≤

n ≥œ

#œ # œ≤

µœ µ ≥œ

Œ Œ

B

≥ 44 n œ

≤ nœ

≤ #œ

≥ nœ

≤ nœ

≥ µœ

≤ nœ

≥ Âœ

≤ nœ

≥ #œ

Œ

B

≥ 44 n œ

≥ Âœ > ß

≤ µœ

≥ µœ > ß

≤ µœ

≥ Âœ

≤ #œ

≥ µœ

≤ #œ

≥ nœ

≤ nœ

≥ nœ

Œ

GC

Î sost.

DG

Î sost.

Jexper Holmen: Marula, score - 8