Saunders - Alba

Rental Library

SAUNDERS Alba for Solo Trumpet and Orchestra

Full Score

EP 14089

REBECCA SAUNDERS

Alba for Solo Trumpet and symphony orchestra (2014)

for Marco Blaauw with my many thanks for the exploratory sessions together over the last eleven years

Commissioned by the Bayerischer Rundfunk and musica viva, and the BBC Scottish Symphony Orchestra. First performance by Marco Blaauw, the Symphonieorchester des Bayerischen Rundfunks and conductor Peter Eötvös at musica viva at the Herkules Saal Munich 20th February 2015

EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED

HENRY LITOLFF’S VERLAG / C.F. PETERS Ein Unternehmen der Edition Peters Group LEIPZIG · LONDON · NEW YORK

alba L. fem. of albus “white,” from PIE root *albho- “white”, albe OE. In painting the most extreme bright and light achromatic colour to the point of absolute luminosity. Devoid of shade and greyness, white is notably ardent, the colour of fury. Alba is the final work in a series of three concertos – Still, Void and Alba. Each title defines a condition, or state, of absence in relation to sound, to space and to colour, respectively, and each refers to a text of Samuel Beckett. Taken from the collection Echo’s Bones, Alba is an intensely lyrical poem. Beckett weighs each and every word and it’s shadow, it’s echo. This poem ends looking forward to the short and intense prose texts written at the end of his life – his profoundly reduced, almost skeletal, prose, both mercilessly direct and yet exquisitely fragile. Alba before morning you shall be here and Dante and the Logos and all strata and mysteries and the branded moon beyond the white plane of music that you shall establish here before morning grave suave singing silk stoop to the black firmament of areca rain on the bamboos flowers of smoke alley of willows who though you stoop with fingers of compassion to endorse the dust shall not add to your bounty whose beauty shall be a sheet before me a statement of itself drawn across the tempest of emblems so that there is no sun and no unveiling and no host only I and then the sheet and bulk dead RS

Instrumentation 3 Flutes 2 Oboes 3 Clarinets in Bb 1 Bassoon, 1 Contrabassoon

Flute 1, Flute 2 (doubling Piccolo 2), Piccolo 1 Clarinet 1, Clarinet 2 (doubling Bass Clarinet 2), Bass Clarinet 1

3 Trumpets in C Brass on podium behind winds. 4 Horns 3 Trombones 1 Tuba (Eb-foot)

Percussion (4–8 players)

Percussion in a line behind brass from far left to far right.

Harp Piano, harp and accordion together behind Violin 1 near edge of stage. Accordion within curve of piano on a podium and harp nearest to edge of stage. Button accordion Grand piano (e.g. Steinway D)

Solo Trumpet in C

Violin 1 (12 Players) Violin 2 (12 Players) Viola (10 Players) Violoncello (8 Players) Double bass (8 Players)

Players 1–3: 5-string scordatura prepared and de-tuned to G#; Players 4–8: 4-string with extension to C

Tempi given are only guidelines, much depending on the soloist, the acoustic and the size of the concert space. Pauses and resonances can be much longer. The slow tempi are always very spacious. The fastest tempo is indicated as 104, depending on the soloist! Minimal tempo is 92 for the fast sections. Final section from bars 255–302 oscillates between 92 and 104. Duration 23 minutes. The score is in C. Explanatory Notes on Solo Trumpet Mutes: Harmon, wawa and cup. Faster mute changes shown in graph continuum above stave. Use a wawa mute that can be inserted and removed easily and noiselessly while playing. For a smooth transition between harmon and wawa timbres use wawa with stem in (wawa) or ¾ out (harmon). Vary mute changes to achieve notated results, e.g. to enhance al niente effect at end of a split-tone phrase, the harmon may be more effective. SH

Shake. Wide amplitude, wild shake.

tongue

Tongue vibrato inside mouth, fast quasi-“popping”. Smaller amplitude than shake.

œ

Fluttertongue, front or back, depending on context.

HV Ÿ

Half-valve trill.

jaw

Ÿ ¼ Ÿ Ÿ o2 +

Wide vibrato with jaw, trill-oscillation with lower octave. With finger trill is more controlled.

Trill up or down ¼-tone. Ordinary tremolo or trill. Trill fingers fast directly in front of wawa mute.

bis

Bisbigliando, timbral contrast trill.

Irregular trill with 1 or 2 fingers in front of the wawa mute. Vary distance between bell and fingers and vary also the speed of trill as shown in graphics. Combined with fluttertongue for a fragile and fluctuating sound.

œ

Glissando up or down the harmonic series, rough, vary fingerings. Lowest tones can be well below 2nd partial of harmonic series (bar 8–9). V œ Smooth glissando using HV. œ H .. . .

œ

flz [103]

Staccato double-tonguing at maximum speed. Continuous and even transition from one timbre to next. Crescendo and decrescendo as if from, and to, nothing. Quarter tones are approximate and have an espressive quasi-melodic and timbral function. Valve glissando. Lengthen tube at given fingering to alter pitch.

vib Use vibrato expressively and as extra effect on top notes. Generally assume without vibrato, unless marked. split

electronic birds ¿ ¿

A split-tone is the resultant fast oscillation between two neighbouring overtones of one series, caused by difference in tension between upper- and under-lip. Block upper lip, then lower-lip aims for higher note of interval, and upper-lip aims for lower tone. Other notes may resonate with the interval, giving the impression of a chord. A „dirty“ sound, tuning is unstable, e.g., the fifth may de-tune becoming a tritone. Some intervals can only be located with the valve lengthened, giving an overtone series a semi-tone lower. Block upper lip, filtering out ordinary tone, as if creating a split-tone. The pitch is too high for a stable split-tone resulting in a complex sound, which goes between the extremes of pulse and glissando. Differentiation of colour and effect through 1. expanding and restricting the size of the cavity of mouth and throat – cavity restrict. 2. increasing and reducing lip pressure – pressure . 3. adding further techniques: tK, accents, and emphasing air, distortion and electronic quality.

cavity restrict pulse High staccato pulse. pressure Slow gentle irregular pulse, mixed with air. max pressure Fast hard-edged quasi-electronic tight pulsing, less air. air “tube” min pressure Hear full vertical air spectrum beneath the high quasi-split tone. tK Add fast double-tongue articulation, timbrally extending pulse palette. tK and pulse not possible simultaneously. Explore extremes. cavity expand gliss

Pure, less air and vertical spectrum, less distortion. Fast short glisses falling down high partials – like seagull calls. Explore higher and lower glisses, with and without accents.

p [ppp – mp]

The dynamic moves between ppp and mp depending on exact combination of technique used at a given time.

electronic birds is a quasi-cadenza, refering to a sound combining a quasi-electronic quality and seagull calls. Very explorative. Seek most organic timbral process with given order of timbral transition steps. Always moving forward. Trace the extremes of the timbral palettes. Enjoy! Take more or less time if and where you need. Very little breath is needed, therefore only one breath is prepared in score at bar 349. Should a further breath be necessary, choose a similar moment where the breath is hidden within the orchestral texture (see score). General: Expressive gestures are direct, dynamic, sexy and furious! Notated effects and mute changes are a guideline. Vary, swop and double the effects and techniques to expand and explore the melodic line, e.g. in addition Jaw can be used, adapt mute changes or add HV to extend the timbral palette. Do not feel restricted by the notation. Quiet pianissimo moments acutely important for differentiation and strong inner contrast. Fast “On/Off” sections – the mute changes wawa/senza (occassional harmon/senza) and wawa 2 + are notated on the graph above the stave. These can be varied slightly. Hold tempo back to hear constant timbral play. Split tones melodic lines. Quiet split tones are best played with wawa or harmon mutes, also possible with HV. p/pp fragile and beautiful with many partials, f electronic-sounding stable and direct. Legato as much as possible, except where a tenuto marking is given.

o

Amplification of Split-tones and Electronic Birds Depending on the acoustic and size of the concert hall, it may be necessary to have a simple amplification turned on and off. A stand microphone before the soloist suffices. The speaker can be discreetly placed beside the soloist, alternatively two speakers left and right of the orchestra. This should be made very subtle. The sound technician can highlight these parts in the score and adjust the amplification accordingly, so that the trumpet solo is clearly audible. Split tones ­– bars 46–47, 69–71, 118–127, 212–214 (then dim.), 217–218, 223–228, 307–331. Electronic Birds – bars 338–359 (with dim. at 359) Explanatory Notes on Orchestra Instruments 3 Flutes: Flute 1, Flute 2 doubling Piccolo 2, and Piccolo 1

œ

Fluttertongue

air

tone

Raise or lower by a ¼-tone. Has an expressive function. Crescendo from, and diminuendo to, nothing. From air tone to tone to facilitate crescendo out of silence.

Whistle tones

oáâ O

Gently and slowly explore high overtones.

œ æ

Bisbigliando, same-note trill; choose fingerings where timbral contrast is clear. Fast expressive trill, not in 16th notes.

dark

Choose an alternative dark timbral fingering.

sf sff

Always very hard accents

bis

The following effects use similar technique and have very hard, loud noise-based accents:

>O.

œ

Overblow on lower fingering, aiming for highest overtones – noise!

>O

Glissando down overtone spectrum from highest partial possible to given fingered note, with and without fluttertongue-noise!

Glissando up and down the full spectrum, changing fingering midway – air and noise!

œ . O

O.

O

œ

Glissando up overtones to highest partial possible – air and noise!

2 Oboes vib Vibrato only if marked. m vib Molto vibrato wide and expressive.

œ

œ Glissando

œ æ

Raise or lower by a ¼-tone.

bis

dark

Bisbigliando, same-note trill; choose fingerings where timbral contrast is clear. Fast expressive trill, not in 16th notes. Choose an alternative dark timbral fingering.

3 Clarinets: Clarinet 1 in Bb, Clarinet 2 in Bb doubling Bassclarinet 2 in Bb, Bassclarinet 1 in Bb

œ œ

Fluttertongue

œ Glissando

underblown

Play written tone and „release“, allowing a second tone to be added (about 10th below). Subtle, beautiful and quiet.

vib

Vibrato only if marked.

m vib

Molto vibrato wide and expressive.

Raise or lower by a ¼-tone. Has an expressive function.

œ æ

Bisbigliando, same-note trill; choose fingerings where timbral contrast is clear. Fast expressive trill, not in 16th notes.

œœ

Bassclarinet dyads, 2-note chords. Fingering given in score and part in Boehm system.

bis

œã ãã ãœã ã

Crescendo from, and diminuendo to silence. Use „air” timbe to facilitate coming out of and going into silence.

2 Bassoons: Bassoon, Contrabassoon

œ æ bis

Bisbigliando, same-note trill; choose fingerings where timbral contrast is clear. Fast expressive trill, not in 16th notes.

Horns 1-4

œ Fluttertongue + Stop with hand or stopping mute. ½ + Half-stopped

Raise or lower by a ¼-tone.

3 Trumpets in C Mutes: wawa, harmon and cup (only Trumpet 1+3).

o

+

Gradually from closed to open with hand in front of wawa mute.

œ Fluttertongue Ÿ o2 + Very fast open/close trill with 1 or 2 fingers in front of wawa mute bell. [103] ¼↓

¼-tone lower: lengthen the valve at given fingering in score and part.

3 Tenor trombones (valve F and Bb) Mutes: wawa, cup and metal (metal straight).

o

+

Gradually from closed to open with hand in front of wawa mute.

œ Fluttertongue Ÿ o2 + Very fast open/close trill with 1 or 2 fingers in front of wawa mute bell.

Raise or lower by a ¼-tone.

Tuba (bass) in Eb Requires mute.

Percussion 4 percussion parts for 4-8 players. Perc 1 SpDr Small Spring Drum WB Medium Woodblock Crot Crotales, single pitches Tr Large Kolberg Triangle ChCS Small Chinese Cymbal ChCM Medium Chinese Cymbal ChCL Large Chinese Cymbal SC Large Sizzle Cymbal Cym L Large Cymbal MP 3 Metal Plates BP 2 Bell Plates FCoil 2 Car Coil Springs (Autofedern), flat

Perc 3 BD Large Bass Drum Timp Timpani WB High Woodblock Crot Crotales, single pitches ChCS Small Chinese Cymbal Bell ChCL Large Chinese Cymbal SC Large Sizzle Cymbal BP 2 Bell Plates HCoil 2 Car Coil Springs, hung ThS Thunder Sheet

Perc 2 TT Paste Tamtam WB High + Medium Woodblocks Crot Crotales, single pitches Ratchet Medium Ratchet SC Large Sizzle Cymbal MP 3 Metal Plates FCoil 1 Car Coil Spring, flat

Perc 4 BD TT Crot ChCM ChCL

Very large Bass Drum Paste Tamtam Single pitches Medium Chinese Cymbal Large Chinese Cymbal

Notes on specific instruments BD

¡¿ Just off-centre for full resonance. ¡¿ 1½ cm Trill lightly on skin, at edge next to rim, over wooden ring/frame – high partials. ¡¿ ¡¿ Gradually move from edge to centre of skin.

Perc 3: Large bass drum; Perc 4: Very large bass drum. Both natural skin and double-sided; both flat/horizontal.

¿

Rim

¡æ¿

¿ ¡ æ

Ϫ

œ

pp

Continuous trill. Move suddenly to centre of BD at crescendo. Damp as quickly and fully as possible.

ff

ad

b

Play on wooden rim.

d b a

ON

Contact points on stick:

ad

= tip, d b = mid-point; When sf/sff play at d b.

Move from middle of stick to tip during trill. With chain. Place very light sizzle-chain on skin of drum – hear high trilling surface of sound with low resonance of drum. At p/pp played trilling with light rubber beaters (R) or light snare sticks.

S Superball beaters dragged over skin of drum. Choose superball head that works on the bass drum for a deep dark fluctuating resonance – fluid and dark S when p, distorted when f.

Beaters:

R R

Rubber handle of Kolberg triangle beaters

Large thick fluffy beaters

Ordinary bass drum beaters

Extra thick snare sticks to avoid damage to skin of bass drum at f/ff Ossia 1: When ff, large round-headed wooden beaters; Ossia 2: When pp, very thin snare sticks TT Perc 2: 125-135cm diameter; Perc 4: 110–125cm diameter. Paste tamtams preferably. Wuhan tamtams are less effective for subtle Arco and Birch sounds! Contact points: Large smooth zone Þ Centre

· ‚ „‰Â Side/edge · ‚ „‰ÂOuter-ridged zone

· ‚ „‰Â · ‚ „‰Â

arco Bow at ON

bass bow. Choose mid-high complex and very resonant overtones. · with ‚ „‰Â

With chain. Place a very light thin chain or wire over the edge of the tamtam when indicated. Chain vibrates on surface of TT when TT is struck, in a clear regular pulse. Timbre combines with metalic and non-metallic shimmering overtones. Hang over ⅓ of length of TT.

 At · ‚ „‰Â around edge of TT with big gesture covering at least half of the circumference.

¡

B I S S

Birch wood single stroke across full diameter of TT. Ossia, if too quiet: 1. Metal stick replaces Birch across diameter of TT and 2. Birch at

· ‚ „‰Â very lightly around the edge of TT – a combination sound.

Superball beaters dragged over surface of tamtam – choose superball that works on the size of the tamtam for deep dark fluctuating resonance.

Other beaters: Timp

/œ

œ

&

W

Small round-headed wooden beaters

Wirebrush

Timpani, 32 Inch, de-tuned at pegs down a fourth for timbre and effects. Use pedal to glissando between the highest and lowest sounds. No pitches given.

With chain. Place very light sizzle-chain on skin of Timpani – hear high trilling surface of sound with low resonance of drum. At f montrous noise and ON distortion. S S

R R

Crot arco P P

Drag 2 superball beaters over the timpani skin for a continous sound. At p/pp beautiful and dark and low resonance, at f/ff distorted. Rubber handle of Kolberg triangle beaters. 10 single crotales on stand or hung, notated at sounding pitch: Perc. 1: G6, F#7, G7; Perc. 2: C6, Db6; Perc. 3: E7, G7; Perc. 4: G6, B6, F7; Bow at edge with bass bow. Hard plastic beaters.

Ratchet Medium Ratchet on stand. ChCS/M/L arco

Chinese Cymbals, small, medium and large, on stand or hung. Bow at edge with bass bow: mid-high complex resonant overtones. Hard felt beaters.

Soft beaters. SC

Sizzle cymbal, medium, hung with very thin light sizzle chain, for very long resonance.

Cym L

Large Cymbal on stand or hung.

arco

Bow at edge with bass bow – mid-high complex resonant overtones.

MP Perc 1+2: Each 3 small resonant metal plates with complex spectrum, no clear tonal centre, laid on small pieces of expanded sponge rubber (Moosgummi!) for maximum resonance. E.g.: 1. Aluminium plate: large, thick and heavy. High timbre. No central tone. 2. Bronze plate e.g. round bell plate with diamter ca 26 cm. Important: rich, complex spectrum. 3. Iron plate: medium eg. 25 x 40 x 0.5 cm. Beaters: see FCoil. BP Hung Perc 1: Large and low C1 and C#1 at lowest octave (if not available C2 and C#2); Perc 3: Very large D1 and D#1 at lowest octave (if not available D2 and D#2). x Contact points: Top-¼ for high spectrum splash Low centre for bass tone x foil

x

On top edge

Small piece of tin foil folded over top side edge of each bell plates for long resonant trilling buzz.

Beaters:

Bell plate beaters large and soft

Hard square wooden hammers (Kolberg 843H) or hard metal bell plate beaters

HCoil

2 old car springs hung for long shimmering resonance – complex high spectrum – not plastic coated. Percussion 3.

FCoil

3 old car springs of different sizes, and interesting resonant and complex timbres, preferably not plastic coated! Percussion 1 and 2. Coils laid flat on very small pieces of expanded sponge rubber (Moosgummi!) for maximum resonance and differentiation of timbre.

Beaters:

M M

Small-headed metal hammers (or metal stick with round head).

ì

P P

Hard plastic glockenspiel beaters

Tubular bells leather beaters (with metal centre) Kn Knitting needle insight upright Coil Tremolo back and forwards Th Thunder Sheet, hung. Thin, narrow, long for delicate shimmering timbre.

Harp Lowest two strings tuned to Db and Cb. Highest string tuned to Gb. Requires 2 hard plastic plectrums.

œ Glissando œ

œ& œ

&& œ œ

Glissando with plectrum.

Glissandi with plectrum, up and down simultaneously.

no rattle

Very low tones at ff may rattle, avoid this when “no rattle” is given.

œo

Harmonic sounds an octave higher.

Piano Grand piano. Open piano-lid fully, but do not remove. Remove music-stand and place further back on the frame, or use the top section of a heavy music stand. Use white stickers on the metal frame to mark the strings inside the piano.

œã ãã ãœã ã

œœ

Chromatic cluster on the keys (ord.!), outer written tones included.

Three sounds use the inside of the piano: In

¿˙ ˙ ˙

H œ. œ

Damp string/s very near the bridge with left hand with maximum pressure. Very round, dark and damped sound. Release the finger damping the string immediately for maximum resonance.

In 3

In

œ& œ

Light and fast glissando with fingerpad of 3rd finger over strings inside the piano. If frame of piano is in the way, choose another position nearby.

Glissando as above but loud and fast with hard plastic plectrum. Brutal if low and ff.

Accordion Button accordion with three manuals MI, MII/III, with the following ranges: Written at sounding pitch with registers/stops indications.

?

œã ãã ãœã ã

MI

?

œ

◊ &

#œ

10

MII/III

Thick low cluster, use heel of hand or palm for thickest very low cluster possible.

œœ

A chromatic cluster outer tones included.

‹ &

?

#œ

œ

œ

1 by 1

œœ

œœ

o

p

Clusters appear and disappear one-by-one.

o

œ æ

Gradually depress for gentle start, as if from nothing. Decrescendo as if to nothing.

bis

vib

Bellows shake (trem.) Vibrato only if marked.

Strings: Violins 1 (12), Violins 2 (12), Violas (10), Violoncelli (8), Double basses (8 = 1–3: 5-string scordatura prepared and de-tuned to G#; 4–8: 4-string with extension to C) st flaut

Sul tasto very light floating bow hollow, floating, like a flute timbre.

sp Sul pont pp and flautando, overtones dominate sound. ½ sp

Written tone heard, many overtones heard – white.

Ÿ ½ sp

Trill normal tone with harmonic – hear very high overtones.

sp

Continuous and even transition from one timbre to the next.

ord

IV7 Oo

Natural harmonic string and playing position notated.

Oœo Artificial harmonic I

@@ @@

Bow behind the bridge on given string – delicate and fluid.

¿

Highest pitch on fingerboard (Vc I-string).

sff

Bartok pizzicato, secco (Vc + Db).

«

vib

Crescendo from, and diminuendo to, nothing. Vibrato only if marked.

Redaktion, Satz und Layout:

Notengrafik Berlin

for Marco Blaauw

Alba Score in C

Piccolo 1

3 q = 60 4 ‹

° &

7q

U ∑

∑

3 8

Rebecca Saunders

3 4

∑

q = 66 ∑

∑

∑

5q

q = 104

U ∑

∑

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∑

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Flute 1.2

&

U ∑

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∑

U ∑

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Oboe 1.2

&

U ∑

∑

∑

∑

∑

∑

U ∑

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Clarinet 1.2 in Bb

&

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Bass Clarinet 1 in Bb Bassoon

Contrabassoon

Horn 1–4 in F

Bass Tuba

Percussion 1

Harp

Piano

Accordion

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Solo Trumpet in C

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Litolff / Peters Litolff’s Verlag EP 14042 – VIII/15

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q = 104

Violin II

Double Bass

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© 2014 by Henry Litolff/ Peters Litolff’s Verlag

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∑

Œ

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∑

∑

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∑

∑

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bis

f p

f

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&

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Db

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˙ ¿

Œ

o

pp sempre

o

pp sempre

œ ¿

˙™ ¿™

˙ ¿

underblown

pp sempre

ww

ww

˙

bœ

Ϫ

+ œœ ™™

pp

œ ˙

Ϫ

ff

bœ ™

cup

bœ ™

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w

5w

w

w

o

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Ϫ

Ϊ

∑

∑

∑

‰ Œ™

∑

∑

∑

∑

∑

mf

TT

Ϊ

M f M HCoil

lv sempre

œœ

œœ

BP

x pp

Ϫ

Ϫ

o

¿

o

˙

¿™

˙O

f

Y

f

1-3

# œf

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ϫ

w

‰

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œ

œ

∑

.

¿

≈ Œ

ff

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ppp

ff

∑

Œ

∑

w

SH

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f

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∑

4 Max q = 66 4 ˙

Œ

∑

f

o œO

nœ-

lv

∑

f

o

“œ

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pp

∑

∑

SH

æ œ™

∑

œœ

∑

ff

vib

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∑

pp sempre Tr

Ó

&‰

™

senza wawa

bœ ™

pp

∑

Œ

7 8

b>œ

sf mf

4 4 ff

∑

w w

ww

˙˙ ™™

Ϫ

Ϫ

HV

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pp

bœ

#w w

pp sub

f

pp sempre

o

∑

Œ

∑

∑

∑

œ ˙

Ó

Œ

ppp

ff

∑

nœ ppp

∑

3 4

mf

™

delicate and fluid I flaut

ppp sempre

∑

∑

™

ppp sempre delicate and fluid I flaut

™

∑

∑

∑

∑

∑

‰

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

o

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˙™

Œ

o

‹

harmon

delicate and fluid II flaut

Œ

›

&

˙˙ ™™

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o

Œ

∑

Ÿ o2 + æ nœ ™

pp

∑

∑

∑

f

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I vib

Vc

Ϊ

pp

3 4

∑ bœ ¿

pp

#w æ

˙˙ ™™

pp sempre cup

≈

∑

B

∑

™ ¸ œœ

vib

Vla

Œ

œ èœ

f

° & Vln I

Vln II

∑

∑

loco

‹

∑

f

¢/

{

∑

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M M FCoil

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Perc 2

∑

œ bœ

∑

œ ‰ ‰

sfp

,

œ œ

ww

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bœ >

˙

ww

½

wawa

˙

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pp sempre

Œ

œ

5 8

ff

∑

+ bœœ

Ϫ

pp

∑

½

Œ

œ

ff

∑

&

?

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wawa

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senza

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Ϫ

∑

∑

Œ

5œ

4 4

Ϫ

∑

∑

∑

f

° Hn 1.2 & Hn 3.4

mp

,

˙

∑

∑

Ϫ

vib

vib

¢&

Cl 2

Ϫ

pp

Œ

pp sempre

∑

enjoy, take time espr

,

wait

5 8,

@@

23

∑

2 4

q = 104

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=

#œ #œ œ

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q = 60

@@

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∑

q = 92

long ca 6½ q

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ppp sempre

‹

° & Picc 1 31

Cl 2

Hn 1.2

Tpt 2

Perc 1

∑

¢&

˙™ ¿™

˙™ ¿™

° & b˙˙ ™™ ¢& °

/

æ ˙

Œ

ChCM arco

Ϫ

lv sempre

p

10 q

U ∑

∑

b ˙™ & ¿™

Cl 1

7 8

q = 52–60 slower

‰ Œ

∑

∑

∑

/

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Hp

Pno

Acc

∑

¢/

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?

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∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

U ∑

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BP

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Timp

Ϫ

pp

æ œæ™

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∑

U ∑

∑

∑

U ∑

∑

U ˙˙ ™™

∑

∑

‰ ˙™

™

¿

sempre

∑ ∑

Vla

B

Vc

&

Db

¢‹

?

˙

o

˙ mp

o

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∑

∑

∑

∑

∑

∑

‰ bœ Œ bœ

∑

∑

∑

∑ Œ

∑ palm

bœ ™

∑

∑

∑

∑

pp sempre

– – — ˙™

Ϫ

o

@@

˙

ppp

∑

∑

&

Crot arco lv sempre

Ϊ

Ϫ

o

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

7 8

∑

Œ

¿ bb ˙˙˙ ™™™

sub wawa

5œ ™

bœ ™

f

pp sub

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3 4

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fff

4 4

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w

w

o

f

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w

w

∑

∑

‰ Œ

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∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

@@

∑

™

(1-3)

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o

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mf

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/

flz

∑

™

Œ

mp

∑

ff

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tongue

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10 q

∑

mp

˙ ™™

˙

Œ

‹

mf

(lv sempre)

˙™

∑

∑ ‰ œ Œ

+

∑

∑

mp

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n vib

™

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ON

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22

&

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bb ˙˙ ™™

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q = 52–60 slower

™

@@

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lv chain!

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H œ ‰ Œ œ

bb ˙˙˙ ™™™ °

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ppp

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° &

Ϫ

Œ

mp

ff

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Œ

pp

lv sempre

∑

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œ

mp

∑

vib

∑

Ϫ

∑

™

b˙

ord

p

∑

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&

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mp

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wawa

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∑

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∑

?

o

˙

∑

U ∑

&

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tone

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∑

› # ˙˙ ™™

˙

∑

æ ˙æ™

∑

&

‹

{

pp sempre

›

‹

{

æ ˙æ™

BD

air

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p

/

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∑

3

∑

TT

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4 4

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x

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∑

3 4

o

# ˙- ™ f

o

f

o

?

4

‹

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Fl 2

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Hn 1

¢

Tbn 1

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&

∑

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∑

Œ

&

∑

U ∑

∑

Œ

U ∑

∑

o

o

?

?

°

Ó

bw

& ¢

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° &

Tpt 1

q = 104

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˙

&

Cl 1

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∑

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∑

∑

U ∑

∑

∑

U ∑

∑

U ∑

ç_ ‰ œ Œ

è˙ ™

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ppp

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ppp

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mp

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&

{

?

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mp

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lv chain

ppp sempre

æ œæ

¡¿

æ œ™æ

≈

∑

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∑

Ó

∑

U ∑

∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

ppp

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o

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?

o

U

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nœ p

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mp

f

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b ˙˙ n˙˙

o

ff

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bœ ff

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o

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∑

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lv

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ff

ff p

∑

ppp sempre

loco

∑

∑

ppp sempre

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?

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@@

@@

I

delicate and smooth

Vc

U ∑

∑

& B

U ∑

∑

delicate and smooth

Vla

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Ϫ

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ChCL arco

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∑

o

&

#ord w w

o

bw w

ord

&

o

(1-3)

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∑

∑

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∑

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lv

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∑

∑

ff

œ

f

∑

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M FCoil

SC

ON

U ∑

U ∑

∑

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w

pp sempre

Ó

∑

o

p

U ∑

Œ

w

˙™

B˙

Ó

∑ æ ˙æ

U w ææ

w

&

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pp

∑

Ó (cup)

Ó

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w

œ

U ∑

∑

∑

Œ

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B

take Piccolo

o

f

∑

w ˙ ¿

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mf

w

underblown

bis

Ϫ

U w

w

pp sempre

∑

½

U ∑

∑

pp sempre

TT

Perc 2

∑

pp sempre

senza [023] ¼i

Œ

∑

8q

#œ œ™

œ

p sub

ff

.

‰ Œ

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ChCM arco

˙

TT arco

˙

U ∑

lv p

U ∑

lv p

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

Sub q = 60

w w

wawa split HV

U w w

nw w

pp sempre

˙˙

-≥

sp flaut

8q

w b wU

ppp sempre

w w

˙˙

-≥

˙˙

-≥

sp flaut

w wU

ppp sempre

w w ppp sempre

w w

˙˙

-≥

ppp sempre sp flaut

w

ppp sempre

≥

sp flaut

U ww sp

6q

hear overtones

# ˙-

-

flaut

U bww Ϫ

U ‰ Ó

o

Sub q = 104

‹

° & Picc 1 48

∑

∑

∑

&

Picc 2

7 8

∑

∑

3 4

∑

∑

>˙

pp

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Piccolo

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∑

&

O

œ

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ff

&

Ob 1

Cl 1

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pp

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Pno

Acc

Tpt Solo

o

‰

ff

+ #œ

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p

œ

p

mf

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Œ

ff

o

Ó

‰

∑

ff

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Œ

mf

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mf

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& ?

f

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∑

∑

∑

∑

∑

∑

∑

∑

œ

‰

o ff

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‰

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o

œ

p

ff

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o

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èœ

Œ™ œ

pp

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f

œ

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?

pp

&

p

∑

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∑

Ó

∑

∑

∑

∑

∑

∑

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o

f

∑

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ff p

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bœ

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Œ

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Œ

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ff

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vib

Œ

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ff

pp

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vib

Œ

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ff

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7 8

p

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ff p

ff p

∑ ∑ ∑

ff p

ϲ

ff p

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vib

pp

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&

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vib

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pp

≈ bœ -

œ

vib

œ

vib

ff pp

œ

bœ

5œ

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ff

‰

ff

ϲ

‰

ff

ϲ

œ

vib

ff pp

‰

ff

&

∑

∑

∑

? ¢‹

∑

∑

∑

∑

Œ

∑

Œ

Œ

∑

Œ

Œ

∑

‰™

ff

ff pp

pp

ϲ

ϲ

Œ

‰

f

ff f

∑

33710

&

5œ

SH

∑

3

∑ > œœã ãã ã

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∑

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ff

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∑

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ff p

ord

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p M M

∑ ∑

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M

f

∑

∑

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∑

∑

pp

nœ

‰

Ó

∑

∑

› # ˙˙ ™™

&

∑

∑

D# Cb Bb E§ F§ G# A§

&

‹

Ó

˙™

mp

P

pp

∑

∑

Œ

∑

take Flute

vib

pp

f

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Œ

∑

p

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ord

Vla

Œ

Œ

∑

+ #œ

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Œ

‰

œ

‰

∑

(2)

Sub q = 104 Vln I

o

pp

o

Ó

pp

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∑

/

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p

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¢/

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f

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espr

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/

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Perc 4

Œ

&

°

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f

˙

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n vib

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3 4

.

‰

∑

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∑

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∑

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5

4 4

6

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b˙

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p

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p

f

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∑

°

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/

pp

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p

o

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ff

p

o

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ff

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/

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&

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f

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II 1-4 III

≤ b # œœœ ™™ 5-8 II ≤ pp

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f

( ≥)

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ff

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ppp

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&

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o

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pp

f

∑

&

° & Vln I

Vla

p

w

U w

ord

4 4

Vln II

f

∑

BD

o

Ϫ

U ∑

pp

˙

ff

œ

∑

o

5 8

10 q

∑

è˙

Ó

pp

f

∑

Ó

Ϫ

∑

pp

∑

œ

senza

Ϫ

∑

‰

∑

pp

∑

b˙

Œ

bw

∑

œ™ æ ∑

Œ

Œ™ œ

/

f

espr

Ϊ

W

Perc 2

œ™ æ

4 4

∑

∑ + œ

3 8

∑

∑

Œ

œ æ

bis

Ó

∑ Ó

nœ ™ æ

∑

Œ

∑

° & Tpt 1 Tpt 2

∑

pp

f

7 8

w

Œ

o

Ó

U ∑

Ó

U ∑

o U ∑

Œ

o

U w

pp

5 8

5 q = 60–66 3 8 4

° & Fl 1.2

∑

∑

3 4,

Wait for solo trumpet gliss!

∑

∑

∑

7 8

Moving on! 2 Flute

Cl 1

& èœ ™

Œ

∑

∑

∑

∑

∑

Cl 2

&

Œ

∑

∑

∑

∑

?

∑

? ¢‹

∑

Ϫ

∑

Hp

Pno

Acc

Tpt Solo

Db

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

½

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ϊ

∑

∑

¢/

‰

ON

œ. — ‰ Œ

pp

mp

pp

∑

‹

∑

›

œ ‰

∑

barco Ϫ

Œ

‰

ON

œ ‰

∑ Œ

∑

∑

bbb œœœ b œ

‰

Œ

lv

‰

∑

mf

‹

&

Ϫ

Crot arco

Œ

o

lv

‰

mf

/

/

…Ó

Ϊ

∑

lv pulse chain

mp

mp

o

∑

mp

TT

Œ

lv pulse chain

∑

mp

∑

?

TT

Œ

&

›

+ #˙˙ ™™™™

ww

pp sempre

∑

Ϫ

pp (cup)

#œ ™

Ó

Ÿ o2 + æ ˙æ˙

wawa

o

˙

™

nœ ˙

˙

™

5œ ˙

pp

∑

∑

Ϊ

Œ

œœ ‰

FCoil lv

‰

f

Ϊ ChCS arco

‰ œ

o

œ

ç_ œ ‰ ‰ Œ

Cym L

B

Ó

∑

mp

S S

slow , low resonance, like melody

OFF

p

‰

Ó

mf

Œ

˙ ™™

˙

B

˙ ∑

¡I

TT

˙

mf

lv! pp

∑

œ ‰ ‰ Œ lv chain

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

™ ™ loco ˙ ¸

mp

∑

D# Cb Bb Eb Fb G# A§

&

∑

‹

∑

?

›

&

∑

‹

∑

?

∑

& #˙

pp

3

IV

Ϫ

o

Ϫ

o

#œ ™

o

#œ ™

∑ ff

¿

∑

5œ

œ

f

œ

pp

œ

pp

œ pp

œ pp

Œ

o

f

 œ f

 œ f

™

∑ mp

œœ ™™

˙˙ ™™

œœ

harmon

#œ ™

pp sub

5 8

˙™

Ϫ

o

mp

˙™

Ϫ

sub

o

p poco

mp

Œ

˙˙™™™™

˙˙

o

∑

∑

∑

o

∑

∑

∑

∑

∑

Œ

∑

∑

Œ

‰ œœãã ãã ™™

o

ãœã ãã ™ ‰ œœ™

tutti

o

∑ wawa

SH

espr vib

“ #˙

ord

Œ

o

“˙

Œ Œ

èœ-

œ

o

˙

vib

&

˙˙ã ãã ™™ ã

p

˙ãã ãã ™ ˙™

p

33710

o

7 8

pp mf sub

˙ ™™

b œ-

˙ pp sub

f sub

Moving on!

˙ ™™

Ÿ

3

pp

˙ ™™

∑

æ œæ

(HV)

mf

Œ

delicate and fluid I flaut

o o

Ϫ

o

mf

Œ

Œ

Ó

pp

Sub Tempo q = 52

Ϫ

&

Ÿ

æ œ™æ

æ œ œ ˙

Ó

∑

HV max

n vib

Ϫ

mf

œãœã ãã ™ œ™

‰

senza wawa

mf

œœã ãã ™™ ã

o

∑

+

senza

ord

Œ

˙˙™™

mf

f

Wait for solo trumpet gliss!

o

mp

sub

3 4,

o

™™™ ¸ Œ

˙™

vib

èœ- nœ

f

st flaut

˙™

HV take time!

Ϫ

st flaut

f

∑

o

∑

o

Œ

bb œœœ ™™™

∑

+wawa

¢‹

nœ

∑

∑

∑

?

˙™

con sord

∑

∑

?

pp sempre

Crot

∑

B

ww

(cup)

∑

&

+ #˙˙ ™™™™

½

&

o

Vc

∑

∑

IV ° & #œ ™ Vln I

Vla

∑

∑

5 q = 60–66 3 8 4

Vln II

∑

∑

∑

/

{

Œ

∑

∑

/

{

Œ

∑

∑

&

{

pp

∑

BD

Perc 4

œ

o

∑

∑

‹ °

Perc 3

œ

mp

∑

∑

? ¢‹

Perc 2

o

˙™

œ

∑

™™

bb˙˙

o

4 4

ppp sempre delicate and fluid II flaut

Œ

Œ

Œ

Œ

™™

ppp sempre

∑

∑

Œ

Œ

∑

∑

∑

Œ

Œ

∑

∑

∑

o o

o

split [123]

@@

Perc 1

bœ

Œ

7

∑

&

B

Tbn 2

B Tba

∑

B

Tbn 1

∑

espr

‰

o

pp

Œ

4 4

@@

Tpt 1–3

‰

mp

° Hn 1.2 & Hn 3.4

∑

o

œœ ™™

@@

B Cl 1

Cbsn

Ϫ

œœ ™™

èb ˙˙

∑

Sub Tempo q = 52

@@

61

5 8

8

‹ °

70 Picc 1

Fl 1

∑

&

Ó

‰ bœ ™

Ó

‰ 5œ ™

O.

sff

U w

air

o

≈ ‰

œ

tone

U w

o

take Piccolo

pp

∑

Œ

‰

Œ

‰

∑

∑ ∑

∑

∑

∑

∑

pp

¢&

Ó

‰ nœ ™

U w

Ϫ

pp

4 4

˙™

o

mp

5œ ™

˙™

˙™

∑

∑

è˙ ™ ¿™

w ¿

∑

pp

w ¿

∑

underblown

pp underblown

n˙ ™ ¿™

∑

U ∑

∑

∑

∑

∑

Ó

½

&

∑

U ∑

∑

∑

∑

∑

Ó

½

&

Tpt 1–3

B

Tbn 1

æ wæw

mp

ppp

w ppp

mp

Tbn 2

Perc 1

¢

B 5w mp

°

ppp

∑

/

· œ ‰ Œ

Hp

Pno

Acc

Tpt Solo

¢/

{ {

& ?

›

U ∑

∑

∑

U ∑

∑

∑

{

&

‹

?

Vla

Vc

Db

%° —b w w mp

mf

& & ? ? ¢‹

p

Ó Ó Ó

· œ ‰ Œ

p

f

Ó

pp

mp

∑

∑

…

œ œ ≈ Œ™

ff

8q

U Ó

U ∑ U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

‰ Œ

∑

∑

bord ˙˙

o

#˙˙

ord

o

b˙˙

o

∑ ∑

pp

ChCS arco

Ϫ

o

OFF

lv

Ϫ

o

lv

mp

‰ Œ

lv

Ó

∑

mp

˙

SC ON mp

‰ Œ

Œ

∑

∑

∑

œ œ ≈‰ Œ

Œ

∑

∑

∑

Œ

Œ

∑

∑

∑

¡¿

≈

&& bœ #œ

‰

ff

Ó

f

loco

Œ

∑

Db Cb Bb E§ F§ G# A§

œãã ãã œã ã œã ã œã ã

‰ Œ

3

&

œ

bœ

ff

ff

ord

∑

f

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3

#œ

‰

‰ Œ ∑

∑ U ∑

U w w

≈

p sempre

∑

∑ senza harmon

harmon

˙˙

w

p

mf

x

U w w

∑

+ 5˙

BD

p

pp sempre

w

p

∑

∑

œœ

∑

+ b˙

∑

∑

∑

M M BP

x

Ϫ

3 cup

MP

≈

#œ ™

™ ¸ ›

vib

senza

& bb˙˙

œœ œ‰

U Ó

∑

‹

f

‰

œ

Ϊ

3

8q

U ∑

∑

?

 œ

U ∑

U ∑

∑

M FCoil M

U ∑

ON

o

∑

∑

&

° & Vln I Vln II

∑

›

‹

ON

∑

/

Perc 3

Perc 4

∑

/

èœ+

U ∑

TT

Perc 2

1 [023] ¼i ord

o

∑

° & Hn 1 Hn 2

#˙

Ó

∑

o

f

∑

Œ

pp

∑

∑

‰ èœ ™

o

∑

U w

Ó

o

‰ Œ

3 Tempo q = 46 4 pp

tone

air

4 4

∑

pp

&

Cl 1

Cl 2

U ∑

&

&

Fl 2

10 q

5 q = 104 8

#>œ œ

∑

œ

sff pp

5 q = 104 8

10 q

U w w

pp sempre

U w w

∑

U w w

«

pp sempre

U ∑ U ∑

≈ #œœ ‰ .

«

èœ

‰ f

∑

pp sempre

4 4

p

Œ Œ

∑ ‰ Œ

nœ

œ

f p

ϲ ϲ

‰ Œ

n >œ #œ f p

œ

vib

p

f

œ

vib

p

f

‰

Œ

œ ff

f

‰

Œ

SH

p sub

f

˙

f

b˙˙- ™™

arco

f

1-3 arco

# ˙- ™ ff

B‰

bœ ™

st, vib

œ ‰ pp

∑

o

b ˙˙ ™™ -

∑

wawa

Ϫ

f

∑

33710

bœ-

w w

vib sub

™

˙˙ ™™ -

Œ

sff

.

‰

w w w w

pp sempre

3 Tempo q = 46 4

∑

∑

&

∑

5œ

sff

bœ.œ ≈ ‰

∑

˙˙ ™™ b˙˙ ™™

n vib

4 4

∑

o ˙™

o

Œ

enjoy!

Ϫ

Ϫ

#˙

˙

ppp

f

ppp

mp

∑

∑

∑

∑

w

∑

pp

o

∑ ∑

o

Ó

&

∑

˙

o

˙

˙ mp

∑

o

3 8

Sub q = 104 ° #œ &

78 Fl 1

o

mp

&

∑

¢&

∑

Ob 1.2

Cl 1

˙

° & Tpt 1

Tpt 2

Perc 1

œ

pp

f

1

+ œ

Œ

o

œ

Ϫ

‰

pp

‰

p

ff

‰

+ #œ

œ

o

œ

p

∑

Œ

p

∑

+ œ

œ

p

p

o#œ+

o

œ

ff

œ

ff p

o

‰

ff

˙˙

/

lv

mp

Ó

Œ

∑

∑

Ó M M

MP

œœ≈‰

P

Hp

Pno

Acc

Tpt Solo

¢/

{

Œ

Ó

&

‹

Œ

Ó

/

{

∑

?

x

œœ

MP f

¡ææ¿

Ϫ

pp

mp

o

∑

∑

∑

∑

∑

∑

∑

mp ord

Œ

(loco)

Ó

‰

œ bœ ‰ ™

œ ™™ #b œord

æ œæ™

›

∑

>˙

senza

&

∑ ff

?

¿

Œ

›

&

ff

∑

‹

?

&

pp

œ

ff p

loco

œ

ff p

pp sub

≤ ˙˙ ™™

-œ≥ œ

#ϲ

o

f

≤ B ##˙˙ ™™ 1-8

-≥ ##œœ

n vib

o

&

&

œ

n vib

o

œ

5œ b œ

œ

ff p

œ

Œ

nœ

œ

ff p

œ ff p

™™™ › ¸

Ó

p

ff

∑

¢‹

?

#ϲ

œ

‰

∑

o

ff

œ

# ϲ

Œ

o

ff

pp sub



# ϲ

Œ

pp

Œ

œ œ œ‰ Œ

f

Ratchet

œ

p

≈

Ó

p

M M

∑

∑

∑

∑

œãã ãã œã ã œã ã ‰ ‰ œã ã

∑

∑

∑

∑

Ó

æ œ™

f

œœ ‰ Œ

HCoil

‹

Ó

&

Ó

Œ

èœ

èœ

>œ #œ

# ϲ

ff

Ó

Ó

&

#ϲ

o

o

è-œ n œ

ff p

f

#ϲ

vib

Œ

œœ ™™ œœ™™

o

#ϲ

Œ

3 8

ff

p sub

Ó

ff

o

Ó

Œ

ff

∑

∑

-≥ bbœœ ™™

ff

Ó

∑

Ó

Œ

∑

ppp sub

ff

Πff

ff

ϲ

o

ff

ϲ

∑

o

ff

∑

∑

o

∑

Ϫ

n˙

mf

pp

4 4

b œ≤ ™

˙

b œ≤ ™

n vib

œ≤ ™

ff

ppp

-≥ œœ ™™

≥ œœ ™™ -

ff

˙

ff

D# Cb Bb E§ F§ Gb A§

‰™

œãã ãã œã ã œã ã œã.ã

Ó

∑

Œ

Ó

˙

b -˙≥ b -˙≥ b -˙≥ f

œ≤ ™

˙

b -˙≥ f

∑

w> nw bw w>

ff sempre

œ

∑

.

‰ Œ

Œ

Œ

Ó

n w≤

o o

n w≤

o o n w≤

o o

n w≤

o o

«

tutti

œ.

sff

33710

‰™

Ó

∑

ff

f

ppp

∑

˙

f

ppp

n vib

∑

&& bœ. ≈ ‰ Œ œ

∑

ppp

n vib

vib

Œ

f

n vib

vib

Œ

œœ ™™ œœ™™

b -œ b œ

b œœ-≥ ™™

vib

Œ

∑

™

nœ

¿ ‰ Œ

ff

ff

∑

rim

‰ ¿ ¿ ¿ f

∑

> # œœ ™™ nœœ™™ >

&

tutti

f

∑

mf

Ó

∑

∑

#˙ ™

ff p

f

&

æ œæ™

ord

∑

∑

™™ ¸

œ #œ

œ

æ œæ™

ff

Hœ ™ œ ‰

∑

œ

P P MP 3

∑

∑

sff

∑

∑

f In 3

∑

&

pp

∑

∑

∑

Ó

f

∑

∑

∑

&& bœ. ≈‰ ‰ œ

∑

D# Cb Bb E§ F§ Gb A#

›

∑

∑

æ wæ

f

œ ‰ Œ bœ

∑

pp

‰ Ó

∑

∑

˙˙

Ó

SC

∑

æ wæ

œ

∑

o

Db

∑

f

-≥ ##œœ

Vc

∑

mf

° ##˙˙≤ ™™ & Vln I

Vla

∑

‰ Ó

pp

Ϫ

ON f

Sub q = 104

Vln II

#œ ™

ç ≈ œ _‰ ‰ M

∑

∑

p sempre

‹ bb ˙˙˙

{

∑

œ œ‰ ‰

œ Æ

f 3

Perc 4

Ϫ

mf

∑

+ nœ

Ϫ

9

FCoil

/

Perc 3

Ϫ

∑

‰

ff

sf

Ϫ

Ó

Œ

wawa

∑

>œ

Œ

∑

∑

BP

x

Perc 2

Œ

Ó

#˙

wawa

¢& °

∑

Œ

4 4

‰™

œ p

10

‹ °

86 Picc 1

∑

&

‹

&

Fl 1

&

Ob 1.2

˙˙

Tbn 3

Perc 1

Perc 2

Perc 3

Perc 4

Hp

Pno

Acc

Tpt Solo

Vc

Db

f

+ œ >

o

p

Ϫ

b˙

pp

o

˙

f

∑

∑

∑

∑

Œ

∑

(wawa)

Œ

pp wawa

p

pp

mf

pp

œ™™

∑

∑

∑

o

+ œ œ

œo

p

f

∑

∑

‰

+ œ

pp

o

≈ nœ ™ Œ™

p

œ œ >

+ œ

ff

Œ

f

M

∑

/

‹

& /

œ

Tr

f

∑

∑

∑

‰ Œ™

∑

∑

sffp

+

3

œ >

‰ ‰

‰

œ

o

bœ

œ

p

f

sim

#œ

p

f

œ

Œ

f

+ œ

B

Œ

‰

‰ ff

Œ

‰

+ œ

œ

p

∑

∑

‰ Œ™

œ

f

∑

›

{&

‰

‰

o #œ

p

›

{&

%° › ˙˙ ™™ b˙ { & ˙ ™™

&

& & & ¢‹

?

&& bœ. œ

∑

bœ

o

f

œ-≥

œ-≥ f

Ϊ

∑

Œ

œœ-≤ ** œ

o

Ó

ff

5 8

œ

.

ff

™™™ ¸

∑

ff

-≤ #œœ#bœœ Ó II o ≤ I

ff

pp

-≤ Ó # œœbœœ o ≤ ff

∑

œœ≤ ** œ

pp

≤ #œœ#bœœ pp

≤

≤ # œœbœœ ≤

«

pp

b œ.

‰ œ p

œœ ™™ œ™

≤* #œœ œ II

II

Ó

Ó

**

o

f

‰

pp

Œ

Ÿ o2 + æ œæ

o

Œ

pp

Ó ‰

Ϫ >

ff

f

‰

pp

‰

Ó

∑

x P P

‰™

M M

œœ

‰

Œ

Ó

Db C§ Bb E§ F§ Gb A§

4 4 ff

èœ nœ p

œœ œ

œœ ™™ œ™

œœ œ

œœœœ™™™

œœœœœ

œœœœ ™™™ ‰™

œ

Ϊ

#œ

œ

ff p

f

f

f

œœœœ f

-≥ #œœ œ -œ≥ œ œ -≥ #œœ#bœœ -≥

-≥ # œœbœœ -≥

œ

œ

ff p

ff

≤ bœ ™

‰

Œ

Ó

o

sub

≤ bœ ™

o

ff sub

≤ nœ ™ ff

o

sub

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