EP 14042 Saunders Void, Score PCL

Peters Contemporary Library

SAUNDERS void for percussion duo and orchestra (2013/14) Score

EP 14042

REBECCA SAUNDERS

void for Percussion Duo and Orchestra (2013/14)

Score

ALLE RECHTE VORBEHALTEN • ALL RIGHTS RESERVED

EDITION PETERS LEIPZIG • LONDON • NEW YORK

07 / 2014

void was commissioned by Westdeutscher Rundfunk for first performance at the Witten Tage fĂźr Neue Musik in May 2014 and by Wien Modern. Dedicated to Christian Dierstein and Dirk Rotbrust and with my grateful thanks for the exploratory sound sessions we had together.

void (2013-14) for percussion duo and orchestra void /vɔɪd. C13 F. vuide + voider, L. vacare + vocītus. A desert, devoid, absent. A loss of, missing, gaping wide.

The final short prose of Samuel Becketts 13 Texts For Nothing, 1947-52, is a text of great power and lucidity where intensely fragile fleeting moments, describing a mouthless murmuring ceasless voice, are juxtaposed with violent outburts of anger. I refered back to this prose again and again while completing this piece: “...a voice murmuring a trace. A trace it wants to leave a trace, yes, like air leaves among the leaves..... ...And whose shame, at every mute micromillisyllable, and unshakeable infinity of remorse delving ever deeper in its bite, at having to hear, having to say, fainter than the faintest murmur, so many lies, so many times the same lie lyingly denied, whose the screaming silence of no´s knife in yes´s wound, it wonders.... ...one day to be here, where there are no days, which is no place, born of the impossible voice the unmakable, and a gleam of light, still all would be silent and empty and dark, as now, as soon now, when all will be ended, all said, it says, it murmurs.” Texts For Nothing, Calder Publications Beneath the surface of silence lies a cacophony of sound and noise, an endless potential to reveal and make audible. The act of composing unveals, makes visible: pulling gently on the fragile thread of sound, drawing out fragments of colour from the depths, seizing the moment and allowing sound to erupt from the stasis of imagined silence. RS, 2014 Instrumentation Percussion Soli 1 and 2 2 flutes (doubling piccolos), 2 oboes, 2 clarinets in Bb (2. doubling bcl) and 1 contrabassclarinet, 1 bassoon and 1 contrabass bassoon 2 horns, 2 trumpets in C, 2 tenor trombones with valve, 1 tuba (e.g. 12ft in Eb or F) percussion, grand piano, harp, electric guitar and button accordion violin1 4 (or 8), violin2 4 (or 8), violas 3 (or 6), violoncelli 3 (or 6), doublebasses 3 (or 6) with V-string.* Percussion Trumpets Horns Piano E-Guit.

Podium Trombones

Clarinets Bassoons Flutes Oboes

Violin 2

Violoncelli

Acc.

Doublebasses

Harp Violin 1 Solo 2

Violas Solo 1

Conductor

* If strings are 88666 not 44333, consider replacing wawa with senza and plunger in trumpets and trombones in bars 138-141, 166-170, 177-180, 194-199, 210-214 and 230-236. Tempi given are only guidelines, and may vary according to acoustic and soli interpretation. Particularly the pauses and resonances need to be expansive and static. This is a series of reiterations repeated murmuring images and extreme contrasting juxtapositions. Duration ca. 22-23 minutes. Score is in C.

Explanatory Notes Soloists Instruments - Solo percussion 1

è œ #œ Ùœ 5 aluminium flowerpots tuning between F4and G: &

Bœ nœ

2 large special complex car coils without plastic coating + 1 small resonant interesting metal plate - Hung Coils Palette Bell plate 1 - A, with foil Bell plate 2 - very large aluminium, fundamental low C#, with foil 4 coils - laid flat on small pieces of moosgummi for maximum resonance Tamtam 95cm Paste - bass bow, thin metal needle, thin chain 2 timpani - 32 and 29 Inch bœ Bœnœ bœnœ œ #œ 9 japanese rins/Klangschalen - on both timpani skins: & #œ œ › 8 single crotales lowest octave - on both timpani skins: & œ # œ œ #œ œ œ #œ œ mostly upside-down for dead sound Side drum with snare on 2 small pieces of flat wood – on timpani skins Instruments - Solo percussion 2 Bass drum, extremely large with 5 wooden balls on string and thin metal chain Bell plate - G#, with foil 2 Timpani - 32 and 29 Inch 2 bass Nicophones, medium and large 4 coils laid flat on small pieces of moosgummi for maximum resonance #œ Single japanese rin/Klangschale F#: & › 8 single crotales lowest octave - on both timpani skins: & œ # œ œ #œ œ œ #œ œ 1. long resonance 2. upside-down for dead sound Side drum with snare on 2 small pieces of flat wood – on timpani skins 2 or 3 finger cymbals Large aluminium tuning fork Percussion 1 Stage-right FPS 5 Flower Pots Y

Aluminium. Hung. Pure sinus tones with extremely long resonance. Timbre and effect similar to turning metal tibet chimes. Microtonal pitches between f4+g. Hung or fixed at top edge on stand for maximum complex spectrum and long resonance. (Instruments by Dirk Rotbrust) Yarn medium vibraphone beaters.

œ Palette of 2 Hung Coils + 1 Hung Metal Plate: œ

HCoil Coils Metal Plate

Coils

Metal Plate

œ

2 car springs of different sizes and timbre, without plastic coating – special, large, old with complex resonance. Medium-range complex-spectrum very resonant. Extending the spring coils timbres, e.g. thin metal plate with small holes. Hung coils and Metal Plate hung beneath flowerpots - long resonance and complex beautiful spectrum.

Y

Yarn medium vibraphone beaters.

P

Hard plastic glockenspiel beaters.

BP Bell plates 1+2

? BP1: Large, bronze, heavy and thick. Hung: œ ? BP2: Very large aluminium. Hung: (Instrument by Christian Dierstein) #œ

Piece of tin foil folded over top side edge of each bell plate for long resonant trilling buzz.

foil L

Bell plate beaters, leather. Hard square wooden hammers (Kolberg 843H).

c

d a b

Contact points BP1 + 2: a: top-¼ for high spectrum splash; b: low centre for bass tone. BP2 only: Gives high resonant spectrum at c and d. 4-edged iron metal beater, e.g. Kolberg crotale holder! - important: square and hollow.

FCoil

4 old car springs of different sizes, and interesting resonant and complex timbres. Coils laid flat on very small pieces of Moosgummi for maximum resonance and differentiation of timbre. M

Small-headed metal hammers.

L

Tubular bells leather beater.

G

Tubular bells rubber beaters (Leather and rubber beaters on two sides of one hammer).

Tr

Thick metal triangle beaters (Kolberg).

Wood

2 small flat planks of wood on Timpani. (See note on bar 197 below).

TT

tamtam

95-100cm diameter Paste tamtam. A Wuhan tamtam is too heavy for these sounds. Contact points: 1: Absolute centre, 2: In central ring, 3: Over large smooth zone, 4: Outer-ridged zone, 5: Side edge. Drag superball beater (sS=small, S=large) slowly and carefully over surface of tamtam for mid-low resonant tones – beautiful and explorative. With and without metal needle (See bar 55). Hear it sing! Fast loud action around surrated edge of tamtam (at least half of diameter!) with a metal beater. High partials and long loud resonance.

arco

+ chain

Round-headed wooden beater.

W S

S

S

Bow at 5. Very long resonant overtones. Hang a very light thin chain or wire over the edge of the tamtam where indicated. When tamtam is struck chain vibrates lightly on surface of tamtam in a regular pulse. Timbre combines with metalic and non-metallic shimmering overtones. Pulse is very clear.

Superball small (sS) and large (S) beater.

Timpani

2 timpani, 32 and 29 Inch, de-tuned at tuning pegs by up to a fourth.

Rin Japanese Rins

Black Japanese Rins (Klangschalen). These tend to be louder and more resonant than Chinese. Bowed with bass bow. 2/3 further small rins upside-down causing interference.

Buzz m ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

Use pedal to create very fast tight oscillations - electronic-sounding resonance. At “Buzz” seek distortion and hold it!

Crot 8 single crotales P

œ¿ SD side drum

Notated down 2 octaves from bar 194. Crotales distributed between 2 timpani. Mostly upsidedown for dead sound. Single crotales turned right-way round have long resonance (See note on bars 200-220 below). Hard rubber beater. Hit in centre sounding a fifth higher. Small side drum. Snare on. Move to and from vibrating bell plate in a slow regular pulse. An enormous electronic buss on and off. Explorative. Take time gradually to pianissimo (See bar 279).

Bar 197 regarding Wood and Fcoils: Grace-note attacks of the two wooden planks on each Timpani for each soloist introduced. Improvise at the Wood grace-notes, if and where suitable, sometimes adding more than one Wood attack and sometimes adding FCoils attacks, too. Bars 200-220: Some crotales on Timpani are turned over again so that they resonate. Ossia: Hang these tones (D, Db, E) additionally nearby (doubles) to save time. Cadenza bar 284: “F-sharp” ca. 27-30 sec. A: Very gradually soli finish SD+BPs (l.v.) effect dim. to pp, bringing in gradually the first F-sharps. B: F-sharps only, explore and listen to each other (l.v.). The “F-sharps” for Percussion 1 are: – Rin high F#2: On Timpani, hit and bowed. – Crotale F#3: On Timpani, up+side down for resonance. – 5 FPS F4- G: Hung.

Percussion 2 Stage-left BD Bass Drum

Very large natural skin, double-sided. Big, deep, very low and resonant. Just off-centre for full resonance.

¿

Play on wooden rim:

1 cm edge

a.

d

tip

b. d

midpoint

1cm from rim, very high overtones and no deep bass drum resonance. Gradually move from edge to centre of skin.

S

Drag small-headed superball over skin for high spectrum - speaking!

S

Drag large superball beaters (use two and alternate for smooth sound) producing beautiful deep resonance when p/pp and a montrous „noise“ when f/ff (with sizzel chain).

balls 1.-5.

+/- balls 1.-5.

+ chain

Hung above the bass drum. Lower and raise the 1 to 5 balls from the drum skin. 5 wooden balls on a string. Enormous rattling sound combines with deep resonance of the drum head. Free - explore, experiment with 1 to 5 balls on skin. Beaters: One hand = small headed superball (sS) dragged over skin; other hand = double headed rubber beaters or large fluffy bass drum beater. 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. Plastic/hard-rubber headed double sticks: 2 small balls on conductors sticks. Alternative: Two single rubber headed sticks in one hand. Snare sticks. Use thicker snare sticks to avoid damage to skin of bass drum at f/ff. Ossia ff: large round-headed wooden beaters; Ossia pp: very thin snare-sticks. Large thick fluffy beaters.

?

#œ

BP Bell plate

Large, bronze, heavy and thick. Hung:

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

foil L

Bell plate beaters, leather. Hard square wooden hammers (Kolberg 843H). a

Contact points: a. top-¼ for high spectrum splash; b. low centre for bass tone.

b

Timpani

2 timpani, 32 and 29 Inch, de-tuned at tuning pegs by up to a fourth.

Nico 2 Nicophones

1. medium bass and 2. large bass. On very thin strips of Moosgummi on two edges across each timpani. (Instruments by Domenico Melchiorre / www.melchiorre.ch)

j œ œ J

Clear Nico 1 Nico 2

j ‚ ‚ J

œj œ J

_œj œ J

Top

Complex

_

Gliss

The two clear pitches on the side of each Nicophone. Low complex spectrum contact points on side. Top edge sounding high shimmering overtones. Glissando along top slats.

P

Hard rubber beaters.

Tr

Large thick triangle beaters.

G

Medium-hard gong beaters, rubber. Thin light triangle beater.

FCoil

4 old car springs of different sizes, and interesting resonant and complex timbres, Coils laid flat on very small pieces of Moosgummi for maximum resonance and differentiation of timbre.

Wood

2 small flat planks of wood on Timpani (See note on bar 197 below). M

Small-headed metal hammers.

L

Tubular bells leather beater

G

Tubular bells plastic beaters (same beaters on two sides of one hammer)

Tr

Thick metal (triangle beaters Kolberg)

R

Rubber handles of the Kolberg triangle beaters

#œ

Rin 1 Japanese Rin

Single Japanese Rin (Klangschale) on Timpani, bowed: &

Crot 8 single crotales

Crotales distributed between 2 timpani. Placed on the skin to create maximum interference and resonance.

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

Buzz m ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

P

Part 1: Listen!: Very explorative - Use timpani pedal for varying degrees of quasi-vibrato, exploring and increasing interference tones and resonances. Notated in score at sounding pitch. Use pedal to create very fast tight oscillations - electronic-sounding resonance at “Buzz” and then hold it! Hard rubber beaters Part 2: With Solo1. Mostly turned upside-down for dead sound. Occassional single crotales turned right-way round have long resonance. Notated down two octaves from bar 194. (See note on bars 200-220 below).

œ¿ SD side drum

Hit in centre sounding a fifth higher. Small side drum. Snare on. Move to and from vibrating bell plate in a slow regular pulse. An enormous electronic buss on and off. Explorative. Take time gradually to pianissimo (See bar 279).

Bar 197 regarding Wood and Fcoils: Grace-note attacks of the two wooden planks on each Timpani for each soloist introduced. Improvise at the Wood grace-notes, if and where suitable, sometimes adding more than one Wood attack and sometimes adding FCoils attacks, too. Bars 200-220: Some crotales on Timpani are turned over again so that they resonate. Ossia: Hang these tones (Gb, F, C, D, Db.) additionally nearby (doubles) to save time. (This is particularly diffcult for Perc.2). Cadenza bar 284: “F-sharp” ca. 27-30 sec. A: Very gradually soli finish SD+BPs (l.v.) effect dim. to pp, bringing in gradually the first F-sharps. B: F-sharps only, explore and listen to each other (l.v.). The “F-sharps” for Percussion 2 are: – F#2 Rins: On Timpani. 2 or 3 microtonally varied, hit and bowed. – *Finger cymbals or alternatively chinese cymbals: 2 or 3 at highest F# possible – hung. – *Very large aluminium tuning fork: Very high pitch, for example A at 1595,5 Hz (Instrument by B. Mason). Alternatively, e.g. high F. Hit, held in in hand and waved back and forwards – a slow large gesture. – 2 F#3 Crotales: One on Timpani, upside-down for resonance, one hung. Both bowed or hit. * These instruments are played exclusively in the Cadenza, all others are played before in piece.

Flutes 2 Flutes doubling picc 2 and 1

flz + œ7

Fluttertongue.

vib

Vibrato only if marked. Glissando. Raise or lower by a ¼-tone. Has an expressive function. Crescendo from, and diminuendo to, nothing.

sf/sff

Always very hard accents.

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

>O

#œ R O œ R ‚o

2 Oboes

Overblow on lower fingering, aiming for highest overtones - noise! Glissando down overtone spectrum from given tone, with and without fluttertongue - noise! Glissando down from highest overtone possible to written lower tone - noise!

œ

Jet whistle up and down, changing fingering midway - air and noise!

‚ ‚

flz +

vib

œ7

Fluttertongue. Vibrato only if marked. Glissando. Raise or lower by a ¼-tone. Has an expressive and timbral function.

Crescendo from, and diminuendo to, nothing.

bis ææ

Bisigliando: same-note trill – 2 notes of strong timbral contrast.

3 Clarinets 2 Clarinets in Bb, 2nd doubling Bassclarinet, 1 Contrabassclarinet

flz +

vib

œ7

Fluttertongue. If high and quiet additional lower tones may enter, but this is fine. Vibrato only if marked. Glissando. Raise or lower by a ¼-tone. Has an expressive and timbral function.

bis ææ

Crescendo from, and diminuendo to, nothing. Bisigliando: same-note trill – 2 notes of strong timbral contrast.

2 Bassoons (2. Contrabassoon)

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

bis ææ

Bisigliando: same-note trill – 2 notes of strong timbral contrast.

2 Horns

flz + œ7

Fluttertongue. Raise or lower by a ¼-tone. An expressive timbal function.

+/o

Stopped / Open.

½+

½-stopped.

2 Trumpets in C Mutes: wawa , harmon (use wawa and extend stem out ¾ for new timbre), metal and cup (tpt 1 onlay)

+

o

Wawa: closed to open with hand.

Ÿ o2 + ææ

Fast hand or finger open/close trill (always very fast) in front of wawa mute.

flz + œ7

Fluttertongue. Raise or lower by a ¼-tone. An expressive and timbral function.

2 Tenor Trombones with valve Mutes: wawa, metal and plunger

+/o

Ÿ o2 + ææ

flz + œ7

Wawa and plunger: open or closed (with hand) Fast hand or finger open/close trill (always very fast) in front of wawa mute. Fluttertongue. Raise or lower by a ¼-tone. An expressive and timbral function. Glissando.

Bass Tuba (e.g. 12ft in Eb or F) with mute.

Orchestra Percussion Instruments: BD LR Coil WB Racket

BD

Bass Drum Lions Roar Car coil spring Woodblock Low large Racket

TT Ch Cym MP Crotale BPs

Tamtam Large Chinese Cymbal Resonant metal plate Single hung Crotale Bell Plates

Very large natural skin, double-sided. Just off-centre for full resonance. Gradually move from edge to centre of skin.

¿

b

+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.

BPs

2 low bell plates. Contact point low fundamental, bottom of plates:

TT

100-120cm diameter Paste tamtam preferably, as Wuhan tamtam is less effective for Arco and Birch sounds.

Play on wooden rim. Use snare sticks at tip of stick (a.) or middle (b.) of stick. a

Move from middle of stick to tip during trill.

?

bœ œ

Contact points: 1: Absolute centre, 2: In central ring, 3: Over large smooth zone, 4: Outer-ridged zone, 5: Side edge.

arco

+chain

Coil

MP WB LR Ch Cym arco

Crotale Notes to Beaters:

Bow at 5. Choose mid-high complex and very resonant overtones. Hang a very light thin chain or wire over the edge of the tamtam when indicated. When tamtam is struck the chain vibrates lightly on surface of tamtam in a regular pulse. Timbre combines with metalic and non-metallic shimmering overtones. The pulse is very clear. Large metal car coil (Autofeder). Hung in middle or laid on top end on very bobbly/holey foam (pieces of Moosgummi). Very long loud complex resonance. Small resonant metal plate with complex spectrum, no clear tonal centre. Medium woodblock. Large Lions Roar from low large drum head. Large chinese cymbal, hung. Bow at edge with bass bow: mid-high complex resonant overtones. › Single crotale, hung and bowed: & œ Extra thick snare sticks to avoid damage to skin of bass drum at f/ ff. Ossia 1. ff : large round-headed wooden beaters; Ossia 2. pp : very thin snare sticks. Large thick fluffy beaters. Ordinary bass drum beaters. Birch wood.

arco

Bass bow.

P

Hard plastic beaters.

R

Rubber handles, e.g. from Kolberg triangle sticks.

Tr

Very thin triangle stick. Large wooden square beaters.

Grand Piano Grand piano with sostenuto (third) pedal. 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 stickers to mark the strings inside the piano. Requires a hard plectrum or a hard stiff plastic credit card to glissando strings ( ). On the keys: Chromatic cluster. Prepare and hold down cluster silently. On the keys and inside:

¿

bb

Damp very near the bridge. Much pressure. Big round sound.

Inside the piano:

In

H3.j œ œ & r œ œ 2. 3. 4.

_{ . . . . œœ œœ œœ œœ

Following an action on keys or keys-and-inside, shows a return to sounds inside the piano. Should frame of piano be in the way, choose a different cluster very near by. Light glissando with finger pad of 3rd finger. In front of dampers. Fast glissando on strings in front of, or behind, the dampers with hard plectrum. Brutal if low and ff. Fingertips (2,3,4) held tightly together brush stringly lightly back and forward in front of dampers. Find position where rhythm is heard clearly. The sf accents are always played with fingernails.

Pedal: 3rd pedal.

P

Sustaining pedal.

Harp Requires 2 hard plectrums. Tuning indictations given. Lowest two tones always Db and Cb. Secco. Hard plectrum. Arpeggio very fast with two plectrums in contrary motion.

œ œ R

bbœ‘œ “ œo

Hit

Glissando: With finger (ord.) or plectrum ( ). At loud and low entries, avoid strings hitting each other where shown in score. All harmonics notated at sounding pitch. Hit all notes with palm of both hands for extremely loud attack.

Electric Guitar Basic requirements of guitar: single or double coil settings (one or two pick-ups respectively) and whammy bar. Three instructions are given to determine timbre:

a. Single or double coil. b. Treble maximum, bass maximum or normal settings. c. Clean (bright) or lead-overdrive.

Set up palette to contrast as strongly as possible. Keep background noise of amplifier to a minimum. Use pre-set pedals to given setting-combinations. Fast repititions with lead-overdrive can become rhythmically unclear. To avoid this build a second single-treble-lead palette with very high overtone spectrum and less distortion for greater rhythmic clarity. In addition, the performer needs a hard plectrum, two metal bottle-necks, an E-bow, and a volume pedal (Vp.) Both staves: X

MBN

Fret.

③

String.

3.

Finger.

Vp.

Volume Pedal.

Metal bottle neck. Play between 1st and 2nd pickups when no specific tones written. ‰I MBN hits all strings barré together unless otherwise stated, eg: MBN ·

V

œ

œ

œ

MBN diag.

r 666

A constant gliss. from one fret to another (MBN). Also to coil 1 or coil 2. MBN not perpendicular to strings, producing more distorted and whiter sound. Dampen strings (secco). dim. to silence, turning off Vp. if necessary.

Coil. 1

Coil 1. (pick-up) furthest left near sound-hole, coil 2. furthest right, nearest to bridge.

XI

Regular vibrato within the fret at given rhythm.

œ

j

3.

&j j o

Straight finger strikes strings barré at mid-point between pickups. Always strings ①-⑥ . Attack as fast as possible all strings with plectrum. Actual initial attack not heard (Vp:off).

Top stave: e-bow

Electric bow. Note that e-bow sounds without amplifier. Add a little Vp as necessary to get written dynamic. Top stave shows the string and single tone picked out by the e-bow. Bottom stave shows the frets stopped with MBN. Plectrum.

vib

Non vibrato unless othervise stated.

Bottom stave:

j

o

Place MBN on string silently.

Barré harmonics in the given fret. RH whammy 8ve

w

w “‘

LH holds down low whammy bar to minimum pitch of ca. 8ve down. Lower stave pitches approximate. Glissando to higher pitches as shown. RH MBN, or 3. barré, staccato back and forward between coils 1. + 2., changing timbre constantly.

Accordion Button accordion with three manuals MI, MII and MIII. Range MI:

Range MII/III:

‹

MI chin registers for sudden register changes and double register sounds: Written at sounding pitch. Where there are octave pitch combinations from registers/stops, the lowest octave is notated. Re-distribute chromatic chords between MI and MII as you feel necessary. A chromatic cluster outer tones included. A wide chromatic cluster in given range, exact tones not important. Gradually depress for gentle start, as if from nothing. Decresendo as if to nothing. Single tones naturally emerge one by one with crescendo, and disappear one by one with decresendo. Half-depress button (M1) to lower tone by ca ¼-tone. Bring out beats between the tones on MI and MII. Bellows shake (trem.).

>

vib

Accents always at maximum dynamic sff. Possible types of vibrato include: ord. LH vib, ord RH vib, knee vib, button vib – use as you feel appropriate. Always without vibrato unless otherwise stated.

Strings Violin 1 – 4 or 8 players, Violin 2 – 4 or 8 players, Viola – 3 or 6 players, Violoncello – 3 or 6 players, Double bass – 3 or 6 players Double basses: Scordatura prepared – fifth string de-tuned to G#.

sp

Sul pont: pp/ppp bring out overtones. pp/ ppp and flautando, overtones dominate sound. f/ff sound towards distortion.

½ sp

Sul pont colouring, but actual tone heard clearly. Glissando. Glissando to top of given string. Highest tone on string, this may vary during composition and from one instrument to another.

@@

or

22

I

Play on given string/s behind the bridge. Smooth molto flautando bow. Pitch varies from one instrument to another. Raised or lowered by ¼-tone. An expressive and timbral function. Crescendo from, and diminuendo to, nothing.

vib / m vib

sp

« « œ ‚o R R

ord

Assume non vibrato unless otherwise stated. Continuous and even transition from one timbre to the next. Bartok pizzicato, secco. Also on a harmonic.

Harmonics Artificial harmonic. Natural harmonic: string number and finger position is given.

oæo æ ‚ O

Natural harmonic trills are always s.p. with fast fluid bow. Distorted, but with very high overtones heard! The harmonic nodes or contact points on the given string are given.
 Always very fast trilling upper finger.

ææ æ œ™ œæ

Quiet trill and tremolando played together throughout. Near tip of bow. Fragile and beautiful, molto flautando.
 Always very fast and regular, very fast trilling upper finger.

tr

tr +trem

3 q ca. 40 Expansive. Static. 4 4 4 ‹

° Piccolo 1 &

U ∑

&

U ∑

Oboe 1,2

‹

Long (min 8'')

U ∑

∑

5 8

˙

œ J

air

tone

o

pp

void

4 4

œ

o

∑

U ∑

Œ

U Ó

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

&

U ∑

∑

U ∑

Clarinet 1 in Bb

&

U ∑

∑

U ∑

∑

Clarinet 2 in Bb

&

U ∑

∑

U ∑

∑

U ∑

‹

U ∑

∑

U ∑

∑

U ∑

?

U ∑

? ¢‹

?

Bassoon

Horn 1,2 in F

° & &

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

∑

U ∑

° ÙU ˙™ &

Accordion

Violin 1

Violin 2

Viola

Violoncello

Double Bass

U ∑

4.

U ∑ U ∑ U ∑

P HCoil

œ

mp

œ

Rins on Timpani arco lv sempre

mp

U ∑

‰ Œ

mp

non P

œ

∑

U ∑

∑

&

U ∑

∑

U ∑

∑

?

U ∑

∑

U ∑

∑

&

U ∑

∑

U ∑

∑

?

U ∑

∑

U ∑

° &

U ∑

‹

¢&

{

‹

single

S clean T treble

U ∑

°

∑

™ ¸

›

&

U ∑

&

U ∑

∑

U ∑

b Oo ™™ ‰ œ

& B ? ¢‹

?

Litolff / Peters EP 14042

∑

U ∑ U ∑ U ∑ U ∑

Œ Œ

&

Œ

o

‰ ‰

∑

™

m flaut I

o

U ~w

™

U ∑

Long (min 8'')

U

5 8

∑

∑ ∑

U

∑

ppp sempre

∑

U ∑

∑

U ∑

‰

#U Ϫ

U ∑

&

Œ

p

p

coil 2 diag

‰I · MBN ÊI · MBN

66. ‰ ™ R ™™

Œ

U Ó

o

b wU w w pp sempre

4 4

U Ó U ∑

pp

coil 1

U Ó

U Œ

U ∑ U ∑ U ∑

3

mp

S

S

∑

∑

∑

U ∑

∑

∑

U ∑

f

‹

U ∑

w wU w

U ∑

∑

3 4

o o æ ‚ bO

o

o æo æ ‚O

o

sp tr

oo ææ ‚O

o

sp II tr

o o ‚ #O æ oæ

U ∑ U

div a 3

#b w wo w

sp tr III

sp tr

U ∑

∑

™ ¸

™ MIII o

U ∑

∑

∑

MI

U ∑

∑

∑

¿ bb ˙˙˙ ™™™

U ∑

≈

Birch

œ-

lv

Œ

U Ó

mp

U ∑

mp

‰™

bœ œ R

‹

?

U Ó

Œ U ∑

. nH œ œ R

mp In 3

‰™

lv

U Ó

Œ

∑

U ∑

∑

U ∑

∑

›

∑

ææ ‚™

mp

ææ ‚™

mp

ææ ‚™

mp

‚™ ææ mp ∑

mf

¡L r ‰ TT

U ∑

∑

U w7

pp

?

U Ó

Œ U ∑

˙™

∑

U ∑

HCoil

Œ

explore

7™Balls 1-2

U ∑

∑

œ

lv

∑

∑

∑

33633

¿

∑

U ∑

* Let naturally occuring lower tone through [D].

d

U ∑

ww w U ∑

¿

BP2 c

Œ

3. ÙU w

Œ

∑

∑

j

mp

U ∑

%°

ppp

Œ

BD

∑

Stretch! #U w

harmon

4.

#5œœ

Y 2.

U ∑

lv

Buzz m ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

mp

U ∑

œãã ãã #œ œ Œ &

›

&

°

∑

U ∑

œœ

‹

∑

pp sempre

pp sempre

ppp sempre m flaut I

∑

U w

3 q ca. 40 Expansive. Static. 4 4 4

° &

U ∑

Ó

Ó

∑

U ∑

∑

Œ

∑

U ∑

lv sempre … secco is notated

‰

œ

∑

U ∑

∑

4.

‰ Œ

ÙU œ™ 3.

5˙

‰

mp

U ∑

Œ

#œ ™

1.

è˙

wait and mix Soli resonances

lv

22

Electric Guitar

5˙ ™

mp

{

o

∑

22

Piano

˙

mp

U ∑

FPs

D# Cb Bb E§ F§ Gb A§

o

U ∑

Y 3. lv sempre

{

w

U Ó

∑

con sord

Harp

o

mp

U ∑

?

/

o

∑

Tuba

Percussion Orch

7

U ∑

wawa

¢/

7

∑

?

Solo Percussion 2

flz*

U ∑

Trombone 1,2

&

U ˙

#˙

∑

wawa

/

U ∑

∑

U ∑

&

Solo Percussion 1

o

pp

∑

Trumpet 2 in C

¢

o

∑

harmon

Trumpet 1 in C

œ

U ∑

U ∑

@@

Contrabassoon

œ J

∑

U ∑

@@

Contrabass Clarinet in Bb

˙

Rebecca Saunders

U Ó

U ∑

tone

4 4

Œ

∑

Piccolo 2

air

3 4

&

o o o o

‰

4 4

w w

o

#w w

o o æ bO -‚™

o

mp

‰

o o ææ O ‚™ mp

‰

o o ææ O -‚ ™

o o

mp

‰

o #Oo -‚™ ææ mp ≈

½-sp

#b >œœœ ™™™™

sfmp

o

U ‰ Ó U ‰ Ó U ‰ Ó

&

U ‰ Ó

&

U Ó

o

© 2014 by Henry Litolff / Peters Litolff’s Verlag

5 8

2 10 ‹ ° Picc 1 &

∑

&

∑

∑

&

∑

? ¢‹

Œ

∑

U ∑

Œ

∑

∑

U ∑

∑

∑

∑

° &

∑

∑

?

&

∑

∑

?

‹

Cl 1

Hn 2

&

Tpt 1

#˙

pp

"fff "

#œ ™

7

Ϫ

ppp

ff

& 7

&

mf

∑

CH Cym arco lv

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

∑

∑

pp

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

∑

∑

∑

∑

∑

f

pp

f

pp

5˙ ™™

U ∑

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mf P HCoil

œ

Œ

Œ j œ

P

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mf

#œ

arco

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mf

Œ

¡ ¿

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∑ æ ˙æ™™

Uæ ˙æ™

BD

ΠΪ

5œ

Y 4.

3

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œ Œ Œ™

mp

3

ææ ˙7™™

&

∑

∑

∑

U ∑

∑

‹

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∑

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∑

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‹ › w w

&

›

o

f

w & #w

˙ #˙ord

ord

#n˙˙˙

& Ó & Ó

o

ord

#n˙˙

o

div a 4

Vln 2

ord

n˙˙

& Ó

o

1. non div ord

& Ó Vla

nb˙˙

o

div a 3

2.3. ord

& Ó

b˙˙

o

div a 3

& Ó ¢‹

?

5 8

o

div a 4

b˙˙˙

o

∑

¿ bb œœœ ™™™ ∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

∑

Ó

7 8

œœ ™™ œœ pp

f

œœœ ™™™ œœœ

pp

f

œœ ™™ œœ pp

f

pp

f

œœ ™™ œœ

pp

œœ ™™ œœ

pp

œœœ ™™™ œœœ ∑

o

b œœ™™ sub

o

sub

# œœ ™™

o

sub

n œœ ™™

œœ ™™ œœ

pp

nb œœ ™™

f

f

f

unis

o

bœ ™

sub

o

#nœœ ™™

sub

o

sub

##œœœ ™™

o

sub ord tr + trem

ææ æ æ œ™ œ

mp

f

˙˙ f

o o

˙˙ f

o

˙˙ f

˙ f

˙˙ f

˙˙˙ f

Ó

o

o o o o

U ∑ U ∑ U ∑

∑

ææ ˙7

mp

∑ œœ ™™

Œ ˙˙

3 mp

∑ ™™

m flaut unis I

ppp m flaut unis I

™™ ™™

ppp

U ∑ U ∑

B

-o ™™ O

III

o

mp

B

unis III

-o ™™ O

o

mp

U ∑

∑

∑

∑

∑ In

Ó

U ∑

∑

∑

Ó

o

S

j‰

o

∑

J ‰ Œ

double lead treble

¸™

-o #n ȮȮ

ȮȮ ™™™ ™

-o b OȮ

OȮ ™™

-o p

I

p

-o

ȮȮ ™™™ ™

-o J ‰ Œ nn## ȮȮ -o p

ȮȮ ™™™

Ó

T

. . . . . œœœœœ œœœœœœœœœœœœœœœ b œœœœœ . . . . .

o

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j .pp

Œ

o

ææ œœ ™™

o o o

Ó

Œ

Ó

Œ Œ Œ

ææ æ ˙ œ

pp

Œ

œ

3 4

∑

Œ

∑

Œ

∑

o

XIII

∑

∑

∑

∑

m flaut

unis

sp flaut tr sim III

unis

sp flaut tr sim

ææ #-‚ #O -‚ -‚ -‚

ææ ææ ææ ææ ‰ Œ ‚ # O -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚ -‚ # O -‚ -‚ -‚ -‚ -‚ o mp pp

unis

sp flaut tr sim

ææ #-‚ #O -‚ -‚ -‚

m flaut

ææ #-‚ nO -‚ -‚ -‚ o

ææ -‚o # O -‚ -‚ -‚

sp flaut tr sim

Œ

B

ææ æ èœ ™ œæ

ææ æ èœ ™ œæ

o

pp

Ó

m flaut

ææ ææ ææ ææ ‰ Œ ‚ # O -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚ -‚ # O -‚ -‚ -‚ -‚ -‚ o mp pp m flaut

ææ O -‚o -‚ -‚ -‚

ææ ææ ææ ææ Œ O O -‚ -‚ -‚ -‚ -‚ O -‚ -‚ -‚ -‚ O -‚ -‚ -‚o -‚ -‚ -‚ -‚ mp pp

sp flaut tr sim

unis

tr + trem

m flaut

ææ -‚o # O -‚ -‚ -‚

B

ææ ææ ææ ææ ææ #-‚ #O -‚ -‚ -‚ #-‚ O -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚ #-‚ O -‚ -‚ -‚ -‚ -‚ -‚ -‚ Œ o mp pp ææ ææ ææ ææ ææ #-‚ #O -‚ -‚ -‚ #-‚ O -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚ #-‚ O -‚ -‚ -‚ -‚ -‚ -‚ -‚ Œ o mp pp

ææ #-‚ nO -‚ -‚ -‚ o

Œ

tr + trem

j

. . . œœœœœœœœœœœœœœœ . . .

∑

unis

Œ

?

.

o

sp flaut tr sim III

Œ

Ó Œ

ææ œœ ™™

Œ

Ó

. . . . . . . . œœœœœ œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœ . . . . . . . .

o

pp

Œ

Ó

unis

∑

BS

≈Ó

Œ

‰

#œ

Œ ‹ o™ ¸™ Œ

‰

IX

?

o

∑

Œ

œ

o

∑

ord

mp

pp

III

o

ȮȮ ™™™

∑

‰

∑

p

2.3. -o bnn ȮȮ b & -o p

j .o

∑

O™

-Oo & 1.

# ˙- ™™

{_ . . . . . . . . . . . . b œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ 2. . . . . . . . . . . . . 3. 2. 3. 4.

sf 3. barré

∑

∑

-o bb ȮȮ -o p

‰

?

o

4.

b˙˙ ™™

∑

∑

∑

Ó

™™™™

Ó

lv

∑

mp

div a 3

mf

˙7™

lv

∑

div a 4

™™

œ J

∑

J ‰ Œ

m flaut unis II

w ‰

explore – like a song!

∑

J ‰ Œ

m flaut unis II

7

S

∑

div a 4

ppp

+ chain pp

S

∑

mp

4 4

Œ

∑

666. ‰ Œ J

pp

¿

∑

‰ ¿j Œ bb œœœ

œœ

¿œ

bp

f

coil 1 MBN

mp

BP2 c d

o

∑

∑

è˙ ™

Y 1.

Πmp

mf

∑

bœ bœR ‰ ™ Œ

coil 2 MBN diag

ppp

∑

ppp

U ∑

Œ

ææ lv œ7™ ‰ Ó

mp

∑

Long (min 7'')

˙˙

∑

o

mp

∑

∑

œ. œ7™ 7J

mp

‰

∑

lv

explore

U ∑

sfff

¡¿ ¡ææ¿

∑

BD + chain

∑

p

wawa

mp

∑

¢&

o

∑

∑

‹

#œ+

∑

?

∑

o

U ∑

‹

%°

b˙™

œ Œ

∑

{

∑

#œ ™

U ∑

?

‰

∑

∑

{

o

mp

∑

∑

mf

o

∑

∑

‹

&

o

Ϫ

˙

∑

∑

œ

espr

nœ

∑

∑

pp

Œ Ó

/

Vln 1

Db

mp

∑

Œ

∑

∑

BP +foil b lv

œ7™

∑

∑

∑

∑

∑

U ∑

mp

(Rins on Timpani)

° & Ó

Vc

œ7™

∑

∑

∑

BP1 +foil b lv

Œ Ó

p sempre

7 8

muta in Flute

Œ

˙

∑

∑

lv

pp

22

Accord

œ

¢/

° &

E Gtr

TT arco

∑

3 mp

muta in Flute

22

Pno

/

(FPs)

Ϫ

22

Hp

° &

#˙

#˙ ™

U ∑

p

Ÿ o2 + æ æ #œæ™ œæ pp

pp

≈Œ

∑

3 4

œ Œ

wawa

∑

∑

22

Perc Orch

?

4 4

Ϫ

p

Ÿæo2 + æ œ™æ œ

pp

3 mp

@@

Solo Perc 2

∑

Ϫ

@@

Solo Perc 1

¢

ppp

˙

@@

Tbn 2

Œ

∑

wawa

?

Tbn 1

wawa

Ó

wawa flz

Tpt 2

∑

@@

Hn 1

Long (min 7'')

U ∑

Picc 2

Cb Cl

7 8

Œ

m flaut

æ n-‚ æO -‚ -‚ -‚ o

ææ ææ ææ ææ Œ O O -‚ -‚ -‚ -‚ -‚ O -‚ -‚ -‚ -‚ O -‚ -‚ -‚o -‚ -‚ -‚ -‚ mp pp

o

∑

∑

∑

∑

Œ

7 8

7 8

20 ° Fl 1,2 &

∑

&

∑

&

∑

Ob 1

Cl 1,2 Cb Cl

Bsn

Hn 1

‹

?

¢

Tbn 1

Tba

Solo Perc 1

Solo Perc 2

Perc Orch

Hp

Pno

¢

Accord

œ

o

&

Ϫ

Œ

∑

mf

Œ

4 4

3

ppp

∑

∑

∑

∑

∑

∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

#w ææ

∑

∑

∑

∑

Ó

w

o

+ ˙™

pp

ppp

mp

+ Ϫ

∑

∑

∑

∑

pp

∑

∑

Ó

Œ

?

∑

˙™

∑

∑

∑

∑

Ó

Œ

˙™ pp

∑

∑

∑

∑

Ó

b˙™

∑

∑

∑

∑

∑

∑

∑

5œ nœ èœ

° &

&

pp 5. 1.

Ùœ ™

èn˙˙ ™™

Y 3.

Œ Œ

p

mp

∑

&

∑

Œ œ æ

∑ ‹?

%°

∑

‹

∑

{7 ?

8

∑

&

∑ ∑

B

∑ ∑

Vla

B

∑

f

∑

Vc

? ? ¢‹

∑ ∑

* sf only with nail

∑

pp

sp flaut tr sim

ææ ææ ææ #O -‚ # O -‚ -‚ -‚ #-‚ -‚ -‚ -‚ -‚ # O -‚ -‚ -‚

mp sp flaut tr sim

pp

mp sp flaut tr sim

pp

mp sp flaut tr sim

pp

ææ ææ ææ #O -‚ # O -‚ -‚ -‚ #-‚ -‚ -‚ -‚ -‚ # O -‚ -‚ -‚

pp

3

3

-

b œ-

mf

œ

vib

œ-

mf

œ

o o

mp

∑

pp

∑

7

mp

S

∑

∑

∑

∑

∑

‰™

‰™

o

o

∑

∑

∑

∑

∑

∑

∑

∑ pp

œœ ™™

3 4

œœ ™™

o

‰

ææ ææ ææ ææ #>‚ #O -‚ -‚ #>‚ O -‚ -‚ -‚ -‚ -‚ n-‚ bO -‚ -‚ -‚ Œ sfpp

Œ

o

sfpp

Œ

ææ ææ ææ ææ #>‚ #O -‚ -‚ #>‚ O -‚ -‚ -‚ -‚ -‚ n-‚ bO -‚ -‚ -‚ Œ

Œ

ææ ææ ææ Œ æ #>‚ #O -‚ -‚ ‚ # O -‚ -‚ -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚ > o

Œ

sfpp

sfpp

ææ #>‚ #O -‚ -‚ sfpp

o

sfpp

3 8

™ ¸ ∑ ™ o ∑

∑

Œ

Πcoil 2 MBN

∑

ææ æ b œ ™ œæ

ææ æ b œ ™ œæ

ææ ææ œ™ œ

ææ ææ œ™ œ

∑

o o

∑

&

div a 3

∑

ord tr + trem

ord

mp

˙

pp ord

ææ æ b œ ™ œæ pp

pp

pp

∑

#“˙

o o o

∑

B

div a 3

∑

B

b˙

Ϫ Ϫ

mp

˙

mp

#˙˙

˙˙

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sf *

‰ 3

3

IX 3

3

‰

O

mp

˙ ˙ord

˙˙ ™™

˙˙

pp

Œ

Œ

Ó

o

˙

ord

‰ ‰

œ

˙

3 VI

Π3

3

bœ

Óœ J ‚ J

-

œœ

mp

-

b ˙˙

œœ

o

mp

3

b ˙˙

œœ

o

o o

‰

Œ

B

‰

Œ

B

mp

b˙˙

œœ

o

mp

?

o ‰

?

3

3

˙

œ

o

mp

1. non div

o o

mp

3

3

Œ

Ó

œœ

o o

Ó

˙™™

mp

3

œ

n ˙˙

div a 4

mp

o

XII 3

3

Ó

ord

#˙

‰

# ˙˙ div a 4

o

‰

.

∑

Ó

mp

#˙

3

≈

∑

O

pp

3

…

Ó

mp

Oo

o

œ

o

o

Ó

sf

3 VII

3

bœ

o

lv

. . . . . . > . . > . . . . sf> . . . œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ bbbœœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ Ó . . . . . . > . . > . . . . > . . . j Œ ≈ Ó . . . . pp p

˙˙

pp

Œ

‰

œ œœ ™™ œœ ™™

mp

pp

∑

IV 3

œ

˙

pp ord

pp

œ

˙

I ord

&

j .o

mp

ord

ææ æ b œ ™ œæ

o

œœœ œ

pp

∑

ord tr + trem

o

o

˙

div a 2

o

ord tr + trem

j

coil 1

Œ

“˙

o

Œ

œ7 ææ

mp

sf 3. barré

b˙ Œ bb n˙˙˙

sfpp

o

Ó

#˙ ™

4 4

˙7 ææ

_{ . . . . . . b b2.bn œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ 3. . . . . . . 4. 2. 3. 4.

¿ ¿ bb œœœ bb ˙˙˙

66. ™ R‰ Œ

˙7 ææ

In

XI

∑

Œ

∑ 3

pp ord

ææ ææ ææ Œ # O ‚ ‚ ‚ # ‚ #O ‚ ‚ ‚ >‚ -‚ -‚ - - - - - - -o

œ ææ

˙ æ

p

∑

sfpp

sfpp

BD + balls 1-5

f

div a 2

Œ

o

3

∑

ææ Œ O -‚ -‚ -‚ -‚

mf

7 -œ œ œ ‰ œ œ œ œ œ œ œ œ œ‰ ‰

G

3

∑

FCoil

‰ œœ J

‰

∑

ææ ææ O >‚ -‚ -‚ -‚ -‚ -‚

vib

Œ

∑

ææ O >‚ -‚ -‚

-

Ó

∑

ææ O -‚ -‚ -‚ -‚

œ

mp

∑

sfpp

Œ

∑

3

∑

sfpp

b œ-

n5œœ J ‰

∑

sfpp

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3

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ææ Œ O -‚ -‚ -‚ -‚

pp

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∑

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ææ ææ O O -‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚

Œ

Y

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∑

ææ ææ ææ O O -‚ -‚ -‚ -‚ -‚ O -‚ -‚ -‚ -‚ -‚ -‚ -‚

œ-

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∑

9 16

pp

∑

o

p

∑

ord

ææ ææ #-‚ -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚#-‚ O -‚ -‚ -‚

pp ord ½-sp

ppp

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∑

œ œ‰ Ó

mp

œ

o

∑

V

ææ O

b œ-

B˙

p

∑

p

sp flaut sim tr

pp ord ½-sp

ppp

˙

‰™

mp

j .™

ææ ææ #-‚ -‚ -‚ -‚ #-‚ #O -‚ -‚ -‚#-‚ O -‚ -‚ -‚

Œ

P HCoil

èœ

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¡I r

j # œœ ™™

∑

ææ O

b œ-

Bœ

∑

∑

M

œ

sp flaut sim tr

ord ½-sp

pp

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∑

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∑

mp

3

∑

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MI+III

_

∑

XI

Œ

mp

∑

3

p

Ó

S

∑

¿ bb ˙˙˙ %° sf j ‰ Œ .o

mp

?

œœ

mp

mp

Vln 2

&

H œ. lv œR ‰ ™

mp In 3

Œ

3 4

mf

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TT

mp

Vln 1

&

˙˙

sim

∑

+ œ

œ ‰™

G

Œ

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mp

lv

∑ Nico 1+2 lv

mf

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?

&

S

mp

∑

‹ ›

œ

∑

&

¢&

S

o

∑

∑

Œ

œ œ œ ≈

3

∑

?

‹

G

ppp

∑

/

‹

Œ

œ

∑

‹

FCoil

P HCoil

no chain

1.o #œ

Y

mp

+ balls 1-3

¢/

{

con sord

∑

∑

/

{

pp

Œ

œ

Ó

∑

∑

pp

o

∑

∑

?

j èœmp

ppp

+ ˙™

bb˙˙ ™™

∑

˙ ææ

bis

∑

° &

Db

∑

ppp

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3 8

&

° &

E Gtr

Ϫ

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vib

espr

pp

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?

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#˙˙ ™™

∑

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muta in Piccolo

∑

?

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b ˙˙ ™™ ∑

mp

?

9 16

pp

Ϫ

b˙

°?

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3 4

nb ˙˙

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o

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b˙˙

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o

mp

∑

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unis

èœ

pp unis

èœ

pp unis

œ pp unis

œ pp IV unis

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pp IV

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pp II

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pp III unis

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pp

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4

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&

∑

U ∑

∑

&

∑

U ∑

∑

U ∑

Œ

¢‹

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˙

pp

° Tpt 1,2 &

f

B

plunger

Tbn 1

plunger

Tbn 2

B

Tba

?

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Solo Perc 2

Perc Orch

Hp

¢

(FPs)

{

{

‹

° &

E Gtr

Accord

Vln 1

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¢&

{

‹ ›

o

∑

o j b œf plunger o Œ j œ-

+

plunger

Œ

f

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f

(

æ œæ™ ‰

pp

ppp

Ϫ

p

+

f

ff

Ϫ

p dolce

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r ‰™

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U ∑

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U ∑ U Ó

∑

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5˙ f

˙

f

˙

f

5˙ f

≥ ≥ ≥

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˙ f

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o

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f

œ

o

mf

Œ

™™™ o™ ¸ Long

MI+III heel

o o o o o o o o

>œ

‰

MBN

o

mp

o

p

˙

Œ

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

∑

U ∑

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mp

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3

3

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p

æ œœæ

æ œœæ™™

b Ȯo pp sempre

b Ȯo

Ó Ó

∑

Ó

∑

Ó

∑ Ó

Ó Œ

pp sempre m flaut I

ppp sempre

ææ æ ææ æ b œo b æœ b œ ™ bæœ p

Œ ææ ææ ææ ææ b œo b œ b œ ™ b œ

Ó sub sp ord

#>œ

sffp

sffp

I

1. j èœ–

3.

mp

3

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P

Œ

Œ

Ϊ

œ

Ϊ

¡ ‰P r ‰ ™

7

m flaut I

Œ

o o

‰ Ó ∑

H œ. ? œ ‰™ Œ ‹ R coil 2 %° diag 6. 66 ‰ ™ Œ R

7 8

jŒ ™

XII

∑

æ œœæ

MIII

U Œ U Œ

™

U Œ

oo ææ O -‚

p sp flaut tr

oo ææ O -‚

p sp flaut tr

oo ææ ‚- O

p

™

U Œ U ∑ U ∑ U ∑

sffp

33633

Œ Œ ææ æ œo ™ œ

Œ

˙˙ ™™

b ˙˙

˙ ˙

Ϫ Ϫ

p

f

˙˙

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Œ

nœœ ™™

p

Œ

nb œœ ™™

ord

o

1. non div ord

b œœ ™™

2.3. ord

ææ æ b œo b œæ

sp tr + trem

ææ æ b œ b œæ

sp tr + trem

o

ææ æ œ™ œ

p

o

ææ æ œ™ b œæ

o

p

ææ æ œ™ b œæ

o

p

o

‰

p

f

˙˙

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p

f

˙˙

œœ ™™

p

f

Ó

o o

f

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Ó

3 4

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œ œ œ œ œ œ œ ≈ 7

∑

∑

∑

∑

∑

∑

In

o

pp

#œ

œœ ™™ J

œœ ™™

pp sempre

#œœ ™™

o div a 3 o

sp tr + trem

∑

Œ

ord

3

MBN barré XI

∑

p

o div a 4 o o

°

˙˙

o

œ

sf sf _{ . . . . > . . > . . . . . bœœœœœœ œœœœœœœœœœœœœœœœœœ b#bœœœœœœ œœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœ b # Œ Œ . 2. > . . > . . . . . o . . . pp sempre 3. 4. ° mp 3.j r r Œ ‰ Œ ‰ ‰ ‰™ . . . 2. 3. 4.

?

#nœœ ™™ ord

oo ææ Œ ‚- O o p

sp flaut tr

o

div a 4

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œ

mp

D# Cb Bb E F G§ A

mp

4 4

ord

o o ææ #-‚ #O Œ o

sp flaut tr

o

#œ ™ nœ ™

o o ææ #-‚ #O Œ

p sp flaut tr

&

æ œœæ™™

sp flaut tr

o

™ ¸ ˙˙

p

BS

∑

∑

o

mp

∑

p

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∑

Ϊ

o

Œ

mp

Ϊ

p

Œ o™

5

∑

œãã ãã œ ‰ Œ J

›

&

œ œ ‰

ppp

mp

∑

p In 3

œ ‰™ R

&

Ó

p

ppp sempre

‰ Ó

p

U Œ

™

› bœ

∑

Ȯo ™™ min 7'' U Œ

ppp sempre m flaut I

mp

coil 1 diag

‰ œœ

j œ

P

∑

∑

‰ œœ œ œœœÓ

Ϊ

bœ ™ œ ‰ ‰ R

‰

∑

Œ

HCoil

j œ

p

mp

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U ∑

™

Ó

mp

∑

U ∑

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œ œ

œ3 œ Œ

G FCoil

U Ó

‰

œ

∑

o

o

G

FCoil

mp

j

ppp sempre

sp tr + trem

sp tr + trem

r j #>œ œ™ >˙

∑

Ó

3

∑

Œ

∑

U ∑

3

∑

o

f

∑

∑

3

pp

∑

U ∑

˙

pp

+

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U ∑

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∑

Ó

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∑

∑

U ∑

j

∑

U ∑

∑

XVII

∑

∑

U ∑

pp XI 3

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∑

Ó

p

∑

o

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∑

U ∑

Œ

∑

mp

bis

∑

U ∑

lv

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˙

3

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mp

#œ ™ ææJ

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U ∑

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∑

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lv

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G Nico

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∑

lv

Ó

∑

∑

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Œ

Ó

˙

3 4

∑ ∑

mp

mp

∑ ∑

b˙

ord œo ‰ #œ

9 16

Ó

mp

pp

3 4

Ó

b˙

+ fast tr. + osub #œœ œ2œ ™™ œœ J ææ æ

Œ

lv

œ

Ó

p

œ

∑

m flaut

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∑

U ∑

3

lv

Ó

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U ∑

Œ

coil 1 MBN diag

∑

U ∑

Œ

#œ

“œ ãœã ãã

∑

U ∑

Œ

∑

mp

arco

mp

j ‰ ææ ææ #œ œ >œ œ œ œ

U ∑

Œ

˙

p

BS

U ∑

Œ

∑

∑

U ∑

Œ

HCoil

3

U ∑

Œ

o

∑

(min 10'')

Œ

‰Œ

∑

3

U ∑

3

mp

∑

sffz

Ó

˙ mp

TT

∑

sffp

∑

5œ

Ó

œj ‰ Ó bœ

Œ

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3.

mp

f

…

∑

Ù˙

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mp

Œ

Ϫ

U ∑

∑

≥

LR very low

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¿ ¿Ó bb œœœ #bœœœ %°

mp

∑

U ∑

∑

Œ

œ

)

U ∑

3

Œ

lv

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Ó

wawa

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f

∑

wawa

Œ

∑

U ∑

U w7 ææ ) (æ

Œ

∑

explore

f

B èœ

? ¢‹

Ó

o

Œ

∑

U ∑

fast

Vln 2

Db

f

U ∑

˙7

æ ˙.

° & èœ

?

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BD thick snares

& èœ

Vc

∑

ff pp

‹

?

?

S

?

&

U ∑

≈ >> œœ œ7™

&

&

∑

f

‹ bb ˙˙ ?

?

j œ7 Œ >

&

Pno

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S

(BD)

?

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∑

&

‹

ppp

∑

BP2 + foil b lv

‰

/

&

#˙

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U ∑

∑

W

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mp

ppp

° &

¢/

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∑

U ∑

Œ

œ æ

o

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Ó

f

?

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U ∑

@@

?

pp sempre

4 4

∑

Ó

@@

r ‰™ œ

‹

˙

@@

&

Cl 2

pp sempre

bis

U ∑

min 7''

Ó

@@

Cl 1

˙

@@

Ob 1

Cbsn

∑

‹

Picc 2

Cb Cl

∑

@@

&

U ∑

@@

∑

@@

28 ‹ ° Picc 1 &

Long (min 10'')

o o o o

‰

∑ o

æo Œ #‚ æ™ O -

sp flaut unis tr

‰

mp sp flaut

‰

o æo Œ #‚ æ™ O -

unis tr

mp

‰ ‰ ‰

unis

Œ

o o ææ b-‚ ™bO

sp flaut tr

mp sp flaut tr

o o ææ Œ b-‚ ™bO

unis

Œ

mp sp flaut tr

o o ææ O ‚™ -

mp

‰

sp flaut tr

oo Œ b‚æO

Œ

mp

‚™æ æ

p

oo Œ b‚æO æ

o

p

O Π#⾾

‚™æ æ

sp flaut tr

sp flaut tr

o o ææ O -‚™

sp flaut unis tr

o

o

o

‚™æ æ

p

o o o

o o o o o

‰ Œ ‰ Œ ‰ Œ

‰

9 16

‰™ ‰™

‰

‰™

‰

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‰

oj o ææ O ‚™ >

sfmp

‰

oj o ææ O ‚™ >

∑ oj ææ o #>‚ ™ O sfmp oj ææ o #>‚ ™ O oj o ææ b>‚ ™bO sfmp oj o ææ b>‚ ™bO

o o

sfmp

o o

sfmp

o

sfmp

o

o o b>‚æ™ O æ J

o

sfmp

sfmp

o o b>‚æ™ O æ J

o

‰™

‰™ ‰™ ‰™ ‰™ ‰™

‰™

‰™

‰™

‰™

‰™

‰™ ∑

3 4

3 4 ‹

37 ° Picc 1 &

&

Cl 1

Cb Cl

Tbn 1

Tbn 2

Solo Perc 1

Solo Perc 2

Perc Orch

Hp

#˙ ææ

o

mp

?

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?

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° &

Y

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∑

∑

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∑

∑

∑

∑

∑

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Œ

j œ

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œ

o o

Ϫ

o

mp

Ϫ

o

mp

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˙mp

mp

&

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∑

{

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3

∑

œ

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lv

°

~~~~~~~~~~~~~~~~~~~~~ Buzz

∑ Œ

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Œ

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TT + chain

j œ7

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mp

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lv

sf

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∑

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XI

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Œ

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∑

?

3 4

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∑

mp

sp flaut tr

Œ

‰

o o sim ææ #>‚ #O-‚ -‚ -‚ -‚ -‚

&

& B

Œ

‰

sf

o o sim ææ #>‚ #O-‚ -‚ -‚ -‚ -‚ pp

(unis)

Œ

(unis)

Œ

‰

‰

(unis)

Œ

sp flaut

n>œ

sffmp

sp flaut tr sim

o o ææ #>‚ #O-‚ -‚ -‚ -‚ -‚

pp sp flaut tr sim

?

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sp flaut

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sffmp

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n˙

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o

3

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o

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æ œ™æ

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3

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r

3

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j

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3

œ

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≈ 3

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o o ææ #>‚ O-‚

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œœ œœ ™™ > sub o

œœ

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mp

o 33633

∑

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Crotale arco

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o

o

sim

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pp

sfpp

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3

3

o

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div a 4

o

ord

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o osim ææ ‚ O‚ > -

ææ ææ ‚ O ‚ ‚ ‚ O‚ ‚ ‚‚‚ > - - > - - ---

ææ Ó -‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚

b>‚ O#-‚ -‚ b>‚ On-‚ #-‚ --‚‚‚ ææ æ

#-‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚ Ó ææ

o o b>‚ O-‚ ææ

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sf

sf

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sf

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Π3

XIII 3

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mp

ord

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r

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3

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tr

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pp

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f

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lv

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o osim ææ O >‚ -‚

tr

sfpp

3

mp

sfpp

m flaut sp tr

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7

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sfpp

sf

∑ ord, non div IV/V

Ϫ

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tr

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mp

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sfpp

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sf

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Œ

∑

#œ

3 4

mp P HCoil

>r . . . . > . . . . > . . . . > . > . . > . . ™‰ b#bœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ b#bœœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœ œœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœ œœœœœœ bbœœœœœœ œœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœ ‰ ™ R > . . . . > . . . . > . > . . > . . > . . . . ° °

3

#œ

‰

Ùœ ™ 3.

‰™

lv

sim

Œ

.

n5œœ

o

mp

∑

Nico

Œ

Œ

˙

∑

Y 4.

o

mp

Œ

∑

Œ

˙

mp

sfpp

XVI

‰™

Œ

Œ

˙

‰

p

Œ

sf

3

-

Ϫ J

o

mp

∑

Ÿ o2 + æ #œæ™

ææ #>‚ O -‚ -‚ -‚ -‚ -‚ -‚ -‚ Œ >

sf

oo ææ ‚O‚ ‚ ‚ ‚ ‚ > - - - - -

-

5œ ™ J

˙

∑

p

ææ ææ #>‚ O -‚ -‚ #‚ #O-‚ -‚ -‚ -‚ -‚ > sf

pp

?

r

sf 3.

ææ ææ #>‚ O -‚ -‚ #‚ #O-‚ -‚ -‚ -‚ -‚ >

pp

œ 7J

& œr ‰ ™ bœ

pp

9 16

BP + foil b

sf

‰™

™™™ o™™ ¸

¿

mp

∑

sp flaut tr

¢‹

j œ7 ¿

‰

. . . . . . . . . . . . . . . > . . > . . ? b#bœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ b#bœœœœœœ œœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ . . . . . . . . . . . . . . . > . . > . . ° %° j

‰™

o

˙

Œ

ppp

∑

›

‰

Ϫ J

5

‰

∑

d

‰™

∑

{

BP2 + foil b c

‰

∑

∑

{

‰™

4 4

∑

Ÿ o2 + æ œæ™

∑

∑

& ?

‰™

5.

3

¢/

9 16

∑

o ppp

∑ 5œ

Vln 1

Db

∑

o

∑

Œ

° &

Vc

∑

wawa

/

¢&

Vla

∑

ppp

E Gtr

Vln 2

∑

wawa

?

° &

Accord

∑

mf

&

Pno

∑

Ϫ

∑

? ¢‹

¢

Œ

#œ

3 4

∑

∑

‹

Bsn

Cbsn

∑

&

Cl 2

9 16

o o o

∑

3

7 8

6

4 4

3 8

7 8

43 ‹ ° Picc 1 &

∑

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑

Picc 2

Ob 1

‹

∑

∑

∑

3 4

˙™™

∑

Ϫ

o

pp sempre

˙ ™™

Ϫ

o

pp sempre

∑

muta in Flute

‰ Œ

∑

2 4

muta in Flute

‰ Œ

∑

∑

∑

∑

∑

∑

œ

∑

œ œ™ J

œ

pp

mp

#˙ æ

∑

∑

∑

∑

∑

∑

∑

ppp

∑

o

5

 ¿¿

æ œæ™

rim

skin

ff

ppp

mp

‰

∑

Ó

f

∑

∑

∑

&

∑

∑

∑

∑

‹

∑

?

{

›

Ϊ

D# Cb Bb E F Gb A

. . . ? b#bœœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœÓ . . . . > . . . °

‹

3

¢&

{

‹ ‹

&

.

j

‰

?

Ó

o

I j

3

Œ

w w w w

‹

pp (div)

Vln 1

&

œ

# ˙ ™™ #n ˙˙™™

& B B ?

T

w

RH whammy 8vei

œj

∑

œœ ™™

Œ Ó

‰

o

œœ ≤ œœ

4 4 ff

œœ

≤

b œœ ™™

Ó

‰

o

Ó

Œ

bœ

Ϫ

&

o

pp

œ J &‰

ord

2.3.

Ó

Œ ∑ ∑ ∑

≤

≤

œœ

o

œœ

œœ

&

≤

ff

œ ff

œœ

‰

œ

ord

o

œ

pp

ff

2.3. ord #œœ œœ ‰ ‰ J

o

Œ

.

f

r

œœ

pp

ff (II

˙˙ ˙˙

ppp sub

ff (II

˙˙ ˙˙

ppp sub

ff (II

˙˙ ˙˙

ppp sub

ff (II

˙

˙

ppp sub

ff

ff

n˙

˙

ppp sub

ff

b ˙˙ ff

3 8 o

pp )

o

pp )

o

pp )

o

pp )

pp

ff

#œ ™

o

#>œ ™ ff

‰

o

Ó

mp

∑

‰ no chain lv ‰ Ó œ

∑

mp

p

∑

∑

∑

∑

∑

∑

¡¿

j lv œ. ‰ Œ

BD

/

Œ

3

Œ œœ

BP + foil b 3

Œ

˙7

mp

æ ˙æ™

æj œæ ‰ Œ

BD

ppp

lv sempre

mp

∑ Œ

Nico

p

b˙o ™

ord œ-œœã ãœã ã

G

∑

TT

‰ Œ™

lv

∑

S

™ o ∑ ™™ MI ¸ ∑ n œœ ™™ œœ™™

double clean treble

7 8

n œœ

-

b œœ

-

#b œœ

-

Ϫ

pp

∑

œ-

Œ

œœ ™™

#œ-œ

Ϫ

n-œ

J Œ

o

mp

j

-

J Œ

o

mp

J Œ

o

mp

J Œ

o

mp

j

-

J Œ

o

j

-

J Œ

o

j

-

J Œ

o

j

-

J Œ

o

∑

Œ

pp coil 1 MBN

™™

Œ

Œ

œ œ

P HCoil

lv

∑

mp lv

Œ

∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 4

unis

j

∑

∑

∑

coil 2

‰ Œ

o

™

™™™ ¸

∑

™

m flaut

I

∑

ppp sempre

unis

I

™

™

ppp sempre

unis

II

™

™

™

∑

™

ppp sempre

™

™

m flaut

∑ ∑ ∑ ∑ ∑

II

ppp sempre m flaut unis

II

™

™

ppp sempre m flaut I

™

™

ppp sempre m flaut unis

I

™

™

ppp sempre

∑

˙˙

2 4

∑

-

∑

o

-

o

-

o

sub pp

m flaut II

b˙˙

sub pp

ppp sempre

unis

›

&

sub pp

m flaut

∑

∑

pp sempre

m flaut

j

-

mp

33633

∑

j

-

66. ‰ ™ Œ R

œœ ™™ œ™

j

-

mp

∑

coil 2 MBN diag

mp

mp

b œ-œ

∑

˙˙ ™™™™ ˙™™

mp

œœ ™™

∑

o

-

œœ™™

T

∑

˙˙ ™™™™ #˙ ™™

b œœ

œœ ™™

∑

∑

sub

Œ

œ ‰ Ó ‚

∑

pp

˙˙

ppp

∑

lv

∑

pp

˙˙

ppp sub

Ϫ

…

MIII

ppp sub

‚™

G Nico

CH Cym arco

∑

…

˙˙ ˙˙

∑

mp

Ó

∑

n ˙˙ # ˙˙

‰ Œ™

∑

≈Ó

∑

#œ ™

/

lv

p

∑

#˙˙ ff

bœ

. .

‰

b˙ b ˙˙˙

œœ

pp 1.

&

≤

œ

œœ™™

H .r œ≈Ó œ

nb ˙˙˙ n ˙ ff

pp ord

1.

œœ

œœ ™™

f In 3

n bn ˙˙˙ # ˙

œœ

pp ord

∑

∑

∑

œœ ™™

n ˙˙

“w

f

œr ≈ Ó bœ

‰

5

.

∑

div a 3

? ¢‹

¿ bb œœœ ™™™

ff

Vc

?

¿ bb ˙˙˙ °

pp

div a 3

Vla

sfff

mp

œœ™™

div a 4

Vln 2

S

7 8

ord

&

double lead bass

sfff

∑

o

?

wœ J

Ϊ

‹

˙

(div)

Œ

bb œœ ™™

∑

o . > . . .

Œ

‰

˙7

∑

3

Rins arco

&

∑

∑

mp

∑

3

22

Ϊ

œ ‰

lv ‰ œj Œ

∑

mp

∑

BD

3

j œ

mp

22

œ œ œ

lv

HCoil

BP1 + foil b

1.

22

œ

œ -œ œ œ

œ œ™

P

èœ

-

22

∑

7

Œ

∑

o

sub pp

-

22

ppp

Œ

∑

o

sub pp

-

22

p

3

∑

3.

o

sub pp

-

22

3

∑

mp

‰ Œ

Ù˙

o

sub pp

-

22

‚

Œ

P

TT gradually only ½

&

{

Ϊ

Œ

lv

@@

(Nico)

lv

5

 ff M j ‰ œ≈Ó R. W sf back „

TT

3 j œ œ ‰ œ ‰ Ó

œ œ œ

∑

Y

è˙

@@

œ

∑

˙˙ ææ

pp sempre

@@

∑

n5˙˙

Ÿ o2 + ˙˙ ææ

@@

œ

Œ

›

° &

Db

∑

@@

Accord

∑

@@

G FCoil

¢/

° &

E Gtr

∑

@@

∑

&

Pno

∑

@@

Hp

‰

@@

Perc Orch

∑

pp sempre

ppp

@@

Solo Perc 2

∑

Y

(FPs)

‰

∑

@@

∑

pp

/

f

∑

@@

ppp

∑

@@

/

j œ œ™

∑

@@

Solo Perc 1

° &

nœ ™

∑

@@

∑

f

∑

@@

° Tpt 1,2 ¢&

∑

ppp

‰

∑

@@

∑

j œ œ™

∑

@@

? ¢‹

Cbsn

Ϫ

∑

@@

∑

∑

@@

∑

?

∑

@@

‹

Cb Cl

∑

@@

∑

@@

∑

@@

&

Cl 1

ppp

˙ æ

bis

o

sub pp

#˙ ™

o

˙

p

œ

Œ

Œ

Œ

Œ Œ

B

Œ

B

Œ

?

Œ

?

Œ

o

∑

∑

∑

pp

harmon

∑

nœ

›

&

Œ

{

‹ › œ bœ

‹

?

∑ Œ ∑

∑ Œ

≤ #œœ ord

5 8

≤ n n# œœœ ord

≤

ord

# œœ pp

≤

ord

#n œœ pp

S

∑

BD

j [+/- chain] œ ˙

p [ p <> mf

Œ

≤ bœ

pp

≤ œœ

ord

B Œ

pp

≤ œœ

ord

? Œ

1.2.

pp

div a 3

? Œ

Ϫ

CH Cym arco

‰

lv mp

∑

U ∑

∑

U ∑

∑

∑

U ∑

∑

∑

U ∑

œœ œœ ™™

Db C§ Bb Eb Fb G# A

3 4

MI

Ó

™™™ ¸

MIII

j b œœ ‰ œœJ

mp

™ o™ -

3

#œœ f

f

œœ œœ ™™

S

∑

œœœ œœœ ™™ n#n œœœ

œœ œœ™™ œ™

div a 3

œœ œœ ™™

≤ bœœ bœ

œœ œœ ™™ œ œ ™

pp

? Œ Db ¢‹

œœ œœ ™™

œœ œœ ™™

ord

pp

U ∑

∑

≤ bœœ

3. non div

∑

∑

∑

∑

∑

j b œ- œ™ j œ- œ ™

wawa

ff

pp

∑

‰ ‰

∑

∑

∑

sff f

-

3

3

# œœ f

-

3

# œœ f

bœ f

-

œœ

f

3

-

3

bœœ f

-

3

bœœ

#bœœœ

œœœ

ppp

#nœœ

œœ

ppp

nœœ

œœ

ppp

#bœœœ

œœœ

ppp

œ

œ

ppp

-

3

bœœ bœ f

#œœ

ppp

j

Œ

o

j

Œ

o

f

3 œ-j œœ

ff

∑

∑

∑

∑

∑

∑

Œ Œ

Ÿ o2 + ‰ æ b œœ ™™ ‰

æ œæœ

p sempre dolce

æ ˙æ˙

pp

æ œæ™

& bœ #œJ

X

œœœ ™™™ U œ™ ‰ Œ

ppp

j

Œ

o

œœ 1. non div

#nœœœ ppp

#œ ppp

#n œœœ ppp

U ≤ ˙˙ ™™

Ϫ

U ≤ ˙˙˙ ™™™ u U™ ≤ ˙ U ≤ ˙˙ ™™ U ≤ ˙˙˙™™™ u ≤ U ˙™ ˙ ™™ ≤ ˙U ˙™

Œ

p

‰

ff

∑

f

f

>≥ ≈#nœjœ™™ J >

sp

ff

sp

ff

≥ ≈ nœjœ ™ >™ sp

ff

>≥ ≈ b jœ ™ # œœJ ™™ > sp

ff

≥ ≈ >œ ™ J sp

ff

≥ ≈ #œjœ ™™ > sp

f

ff

>≥j ™™ n # ≈ œœœ™ J > sp

f

ff

>≥ ≈ #œJ ™ sp

f

ff

>≥ # œœœ ™™ ≈ J sp

f

ff

ff

lv

‰ œ œ≈ Ó

¿. ¿. ‰ ™ Œ

Œ

ΠΠmf

o

&

p

‚

f

‚J

‰

>≥ ™ ™ J

sff

>≥ ™ ™ J

sff

>≥ ™ ™ J

sff

≥j ™™ >

sff

>≥ ™ J

sff

>≥ ™ J

sff

>≥j ™™ J >

sff

>≥ ™ J

sff

>≥ ™ ™ J

sff

Œ j

o

≈Œ

4 Sub q = 69 4

o

o

slow

∑

∑

∑

∑

∑ palm

ppp sempre

∑

Ó

∑

Ó

5 8

Ó

Ó

∑

«

Ó

unis II

«

Œ

Ó

unis II

II

™ ™

Ó

™

Œ

r ‰™ # œ.

‰

Ó

Ó

sff

«

sff

33633

arco

j œ ˙ >

ff

o

Ϫ

™

‰

pp

ææ æ # ˙ # œæ

‰ æ ææ # œ ™# œ

ææj æ ‰ Œ # œ # œæ

ææ æ # ˙ # œæ

ff

‰ ææ æ æ œ™ œ

tr + trem

pp

∑

ff

Ϫ

™™™ #>œœ ¸ Œ ‰™ R

o

Ó

ff

‰ Œ

or o Œ ‰ ™ ææ b O b>‚ sp tr

ff sp tr

Ó

or o Œ ‰ ™ ææ b O b>‚

Ó

or o Œ ‰™ æ n>‚ nO

Ó

or o ™ Œ ‰ æ n O n>‚

Ó

or o Œ ‰ ™ ææO >‚

Ó

or o Œ ‰ ™ ææO ‚>

sp tr

sp tr

sp tr

sp tr

ff

ææj æ ‰ Œ # œ # œæ

pp

unis

T

ff

‰ ææ æ # œ ™# œ

tr + trem arco

∑

ff

ppp sempre tr + trem arco

Ó

ff

ppp sempre m flaut unis II

Ó

ff

ppp sempre

sff

r ‰™ œ.

™

bœ

&

4 Sub q = 60 4

ppp sempre

unis

r ‰™ œ.

∑ ™ o™

ppp sempre

m flaut

∑

MIII

o

™

m flaut

∑

S

›

∑

∑

¿ bb ˙˙˙ %° double clean treble

‰ Œ

ppp

bœ bb œœœ

sfff

ppp sempre

unis I

œæ™

f

Œ

‹ œœ™ ããœãã ™ œãœã ãã & Ó

m flaut

Ó

‰

/

f

vib

Sub q = 52 ∑

Ͼ

ppp

∑

w wãã ãã

∑

unis I

¡æ¿ ¡¿æ

∑

∑

m flaut

≈Œ

≈Œ

Ó

∑

∑

∑

j

j

fast

m flaut

≈Œ

≈Œ

∑

∑

j

j

p

lv

Œ

∑

o

o

‚ ‚

∑

≈Œ

≈Œ

∑

Ó

≈Œ ‰

j

G Nico

Ó

pp sempre

bã˙˙ãã ã

mp

f

∑

‰ Œ

≈Œ

o

Ó

p

∑

j

o

lv

∑

j

o

Rins arco

#œ

∑

™ ¸ Ó

Ϫ

∑

j ¿ Ó bb œœœ

Ó

œ

∑

‰

j

o

lv

Œ

∑

∑

o

œ œ

∑

‰ Œ

mp

∑

∑

…

f

p

∑

‰ bœJ

Œ

∑

∑

Π....

Œ

HCoil

œ- ™ œ- - - - - --- - - - - -

Œ

mf

‰ j Ó bbb œœœœ

¡¿

ff

ff

ord

Œ

&

sim

P

èœ ™

mp

senza

‰

bœ

mp

3

Ó

Ó

Œ

∑

5. 3.

4. 1.

2. senza

∑

5œ n œ Œ è œ Ù œJ Ó Y

lv

fff

O™

>≥j ≈#bœœœ ™™™ J >

f

Ó

ff

∑

f

œ™ >œ ™ MI+III

f

.. ≈ ¿¿‰ Œ

Œ

Œ

∑

œ

∑

∑

& ≈ bœr Œ bœ

ff

f

sff pp

BD b rim

Œ

& & œ. #œ ≈ œr ≈ Œ R œ & r ‰™ Œ .o sf “O ™

In

T

U ≤ ˙˙™™ u

Œ

ff

æ ≈ œæ™™ >

æ œæœ

senza

∑

f

∑

f

U ∑

U ≤ ˙˙˙ ™™™ u

œ‰

f

∑

œ œ œ œŒ œ 5

˙

∑

FCoil

f

P Coil P MP

long (min 12'')

3

-

double lead treble

G

œ

∑

∑

∑

Œ

f

∑

5 j œ œ œ œ œ ≈ œææ™ >

∑

∑

˙

mp

mp

∑

P œ. ‰ Œ

>j œ œ

G

bœ

p

∑

∑

Œ

p

∑

∑

lv

U ∑

∑

œ

U ˙™

]

div a 3 2.3.

œœ ™™

pp

lv

∑

ord

1.

B Œ

b œharmon œ ™™

U ∑

div a 4

& Œ

Vc

‰ œ J.

S

∑

pp

pp

Vla

p <> mf

∑

div a 4

‰

FCoil

U ˙™

∑

∑

f

∑

& Œ

p

∑

‹

¢&

+/- Metal needle Tip*

f lv

H. ? œœ ‰ ™ ‹ R bb œœ¿œ %° ° ∑ & mp 3 In

˙™

S

∑

mp

mp

∑

*needle lightly touches surface on/off - explore!

pp

lv

& Œ

Vln 2

∑

œ

œ œ œœ œ œ-

TT

S

G FCoil

¡I r ‰™

‰

Œ

∑

U ∑

∑

∑

° & Œ

Vln 1

∑

U ∑

pp

&

Accord

U ∑

∑

mp 3

Œ

∑

ì ì

E Gtr

∑

∑

? b œœ ‰ ™ ‹ R

{

U ∑

Ϫ

∑

mp

œœœ

‰

TT

Pno

∑

FCoil

/

{

∑

pp

mp

Hp

∑

œ

∑

f

œœ œœ ™™

∑

/

&

pp

mp

∑

f

U ∑ U ∑

pp

° &

/

Ϫ

œœ œœ ™™

#œœ

? Œ

5

Perc Orch

Ϫ

∑

@@

&

¢/

pp

∑

@@

b œœ

(con sord)

Solo Perc 2

mp

pp

? Œ Tba ¢

Solo Perc 1

pp

Ϫ

∑

@@

? ¢‹

#œ ™

‰ Ó

pp

22 22

U ∑

Ϫ

f

22 22

œ

pp

22 22

œ

Ϫ

22 22

∑

œ

7

∑

22 22

U ∑

Œ

∑

22 22

∑

Œ

∑

@@

Tbn 1,2

pp

œœ œœ ™™

pp

° Hn 1,2 & Œ Tpt 1,2

U ∑

∑

4 Sub q = 60 4

∑

@@

Cbsn

? Œ

∑

∑

#œœ

‹

U ∑

∑

@@

Cb Cl

& Œ

muta in Piccolo

∑

∑

&

Ϫ Ϫ

5 8

Sub q = 52

@@

Cl 1,2

pp

œ œ

long (min 12'')

4 Sub q = 69 4

@@

Ob 1

œ bœ

3 4

@@

53 ° Fl 1,2 & Œ

5 8

ææ æ æ œ™ œ

pp

∑ div a 3

∑

pp

‰

Ó

1.2.

b œœ > ff 3.

#>œ ff

∑

#>œ ff

Œ

Ó

Œ

Ó

o o

Œ

o

IV non div V

# ˙˙

o

7 8 q = 40

8 63 ‹ ° Picc 1 &

∑

&

∑

Picc 2

Cl 1

Cl 2

Cb Cl

Cbsn

Hn 1

Hn 2

Tpt 1

Solo Perc 1

‹

&

∑

&

∑

sff

o

sff

o

>œ ™ J

≈Œ

Ó

∑

≈Œ

Ó

∑

˙

œ

o

p

b˙

œ

o

œ

œ Œ Ó

œ

œ Œ Ó

p

∑

∑

∑

Hp

Accord

∑

Œ

Ó

∑

∑

ff

∑

o

∑

∑

∑

∑

∑

∑

∑

∑

∑

muta in Bass Clarinet

o

Ó

∑

∑

∑

∑

∑

∑

∑

? ¢‹

j œ

‰ Œ

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

° &

∑

&

∑

¢&

∑

° &

∑

FCoil

G j 3

>

∑ Ó

(Nico)

9

p

f sffpp

æ œæ™

f

M

mp

_œ _œ ‰ Œ

‰ Œ

Ó

f

ff Crot

&

› && bœ

‹

{

‹

‹coil 1

¢&

P

3

f

mp lv

‰Œ

ff

°

œã ãã œãã ã ‰ ™ R

fff

5

c d

66 66 ‰ ™ 66 66 .. o

Œ

œ œ Œ™

b

Œ

‹

&

‚

Vln 2

&

B ?

‚

? ¢‹

Œ

o

Œ

o

ææ

Œ

o

o

j ææ ‰ ææ o ‚ ‚ O

(unis)

o

Vc

?

o

ææ

Œ Œ

# ˙˙ ™™ ff

Œ

™ ¸ Ó ™ o

o > œœ ™™

› bœœœ ™™

∑

FCoil

o

sp tr

o ‚o bO ææ

o

sp tr

o ‚o bO ææ

o

∑

Ó

∑

∑

∑

∑

∑

∑

Ó

&

∑

∑

∑

∑ j œœœ ˙˙˙ ‰ Ó

o

fff

b Ȯo

Ó

∑

Ȯ

p sempre div a 2

Ȯo

Ȯ

p sempre ord

#˙

Ó div a 2

˙

p sempre

˙ ˙

˙ ˙

p sempre

æ ‚æ

ff

‚ ææ

ff

‚ ææ

ff

o o o o

Œ

˙

˙

p sempre

Œ

pp

mp

~w

b -Ȯo

Oœ ™™

pp

pp

-˙

mp

pp

mp

w

w w

pp

˙

pp

œ

˙

˙

r ‰™ >œ

U Ó

«

sff

Œ

˙

pp

œ ∑

‰&

Œ

o

˙O

I pp

o

Œ Œ

Œ Œ

∑

o

œ‚™™

∑

o

‰ ‰≈ r nœ >

div a 3 sff

Œ

∑

o

mp

Œ

∑

‰ ‰≈ r b œœ >

sff V arco IV non div

‰ ‰≈ r œœ > sff

˙˙

unis

unis

˙˙

o

ææ o æ #-‚ O -‚ ‰ > >

ppp sempre

∑

o

sfp

XI

∑ Ó

MIII

o

Œ

Œ

o o ææ ææ ‰ b-‚ # O -‚ > >

Œ

o o ææ ææ ‰ b-‚ # O -‚ > >

Œ

>o o > b-‚ O -‚ ‰ ææ ææ

ff sp unis tr

>o o > b-‚ O -‚ ‰ æ ææ

ff sp tr

o #>-‚ Oo >-‚ ‰ ææ ææ ff

Œ

Œ Œ Œ

Œ Œ

Œ

Œ

Ó Ó Ó

∑

p

æ # œœæ™™

ææj œœ

7 8

ææ œœ

∑

o

Ϊ

Œ

3 4

o o ææ ææ ææ ææ ææ ææ ™ #-‚ O -‚ -‚ -‚ #-‚ >‚ -‚ -‚ -‚ -‚ >‚ -‚ #-‚ #O ‚ -‚ -‚ -‚ -‚ ‚ -‚ #-----‚ ‚ ‚ ‚ ‚ ‚ -‚‚ Œ > > o o p

sp m flaut tr sim

ææ o ææ #-‚ O -‚ ‰ > >

o o ææ ææ ‰ O ->‚ >-‚

o

sp m flaut tr sim

Œ

?

∑

BS

o™

‹

∑

Ó

#œ

f

˙æ™™

∑

ff sp tr

ff sp unis tr

33633

¡æ¿

∑

o

P  œ œ

∑

∑

sp tr

ff sp unis tr

o

FCoil

∑

∑

ff sp unis tr

o

∑

∑

∑

o

∑

∑

p

o

ff sp tr

˙

∑

∑

œ

B

∑

∑

o

‰

∑

ff

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ ∑

°

VI

2 4 4 q = 46 4

mp

div a 2

Œ

ff

bœœãã ãã ™™ >

flz > Œ #7œJ

Œ

> > > > _{ bœœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœœœœœœœœœœœœœœœœ œœœœ œœœœ œœœœ œœœœ ≈ b# bœœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ # b # œœ œœ œœ œœ œœ œœ œœ œœœœœœœœœœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 2. 3. > > > > 4. ° ° 3. j j ‰ Œ ‰ Œ ∑ .o .p o 2. 3. 4.

∑ ∑

Ϫ

pp

Ϫ

coil 2

Ϫ

b -˙

ord

p sempre

Œ

Oœ™™

˙

j

∑

-o bb Ȯ

ord

˙

™™™ o™ ¸

7 8 q = 40

~w

ord

p sempre

Œ

mp

In

?

∑

o

∑

pp

b˙

In

∑

Œ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó ∑

Œ

…

∑

lv

sim

bœ

Ó

°

f

&r œ ‰™ Œ œ ° ff

™™

‰

o

Œ

& bœr ‰ ™ Œ bœ ff

XVIII

pp

ord

Ó

coil 1 MBN

vib

5œ

…

ord

sff ppp

Ϊ

p

pp

ord

Ó

˙˙˙™™™™™™

666. ‰ ™ Œ R

M Nico

ff

æ ˙æ

¿

∑ coil 2 MBN diag

≈ _ œR ‰

∑ BD rim b j

#œ R ‰™ ff

5

pp

>

∑ P

senza

∑

f

∑

‰ œ œ œ œ œJ ‰ ‰ Tr

∑

ppp

ord

Œ

ææ

unis

Œ

&

pp

Ó

∑

Rins on Timpani arco

∑

mp

∑

∑

∑

œ¿ ¿

pp

∑

mf

∑

ææ

ff

Œ

.

R ‰™

bœœãã ãã ™ R‰

Ó

f

b‚

ff

∑

?

&

bœ ≈#œ ‰ Œ R

sim

∑

BP2

ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ ∑

‰ ≈ œr lv‰ Œ .

senza

P HCoil lv

∑

Ó

sf

Ó

Œ

%°

b‚

W

∑

‹ ‹ # œœ.

&

Œ

ff

coil 2 MBN

MBN

{

#œR ‰ ™

›

?

w

Ϊ

˙ ææ ∑

‰ œ œ œ œ™ Œ

> # œœ. J

 œ œ

∑

/

?

˙

p sempre

pp sempre

∑

P FCoil

Œ

/

&

w

∑

Ÿ o2 + œ w ææ ææ

Œ

5

f

∑

wawa

> ≈ œ œ œœ≈≈ œ œ œ œœ >œœ œ œœ œ œœ Œ

¢/

b˙

p sempre

/

{

?

pp

Vln 1

Db

∑

‰ Œ

° &

Vla

Ó

3 4

pp

° &

E Gtr

Œ

j bœ

?

&

Pno

≈ œ ‰ R >O ff ‰™ #œ R

∑

TT

Perc Orch

>O

7 8

‹

sff p

Solo Perc 2

>Ϫ J

2 4 4 q = 46 4

sf

sf

o o ææ ææ ææ ææ #-‚ O -‚ -‚ -‚ #-‚ >‚ -‚ -‚ -‚ -‚ >‚ -‚ #-‚ #O ‚ -‚ -‚ -‚ -‚ >

o

p

o

p

sp m flaut tr sim

sf

o o ææ ææ ææ ææ b-‚ # O -‚ -‚ -‚ b-‚ >‚ -‚ -‚ -‚ -‚ >‚ -‚ n-‚ O>‚ -‚ -‚ -‚ -‚

sp m flaut tr sim

o o ææ ææ b-‚ # O -‚ -‚ -‚ b-‚ >‚ -‚ -‚

o

sf

p

sf

p

ææ æ œ™ œæ

p

ææ æ œ™ œæ

ææ æ œ œæ

o

ord tr + trem

o

ææ æ æ œ™ œ

ord tr + trem

o

o

sf

sf

o o ææ ææ ææ ææ ‚- O -‚ -‚ -‚ -‚ >‚ -‚ -‚ -‚ -‚ >‚ -‚ -‚ O>‚ -‚ -‚ -‚ -‚ ord tr + trem

ææ ææ ‰ Œ™ ‚> -‚ -----‚‚‚‚‚‚

ææ ææ ææ ææ ‰ Œ™ O ‚‚‚‚‚‚ -‚ -‚ >‚ -‚ n-‚ >‚ -‚ -‚ -‚ -‚ >‚ -‚ ------

sp m flaut tr sim

o

ææ ææ ™ ‚> -‚ #-----‚ ‚ ‚ ‚ ‚ ‚ -‚‚ Œ o sf

ææ æ œ œæ

p

ææ æ æ œ œ

p

sf

o o o

‰

ææ ææ Œ ‚> -‚ ---‚‚‚‚ ord

b˙ ™

Πdiv a 3

‰ ‰

pp sempre

ord

b ˙˙ ™™

Œ Œ

o

sf

div a 3

o

Ϊ

j œ-

sff

j œ-œ

pp sempre

sff

ord

j œœ œ-

b˙˙ ™™ ˙ ™

pp sempre

sff

3 q = 60 4 ‹

71 ° Picc 1 &

∑

&

∑

‹

Picc 2

Cb Cl

‹

?

Cbsn

Hn 1

#œ ™

f

œ

pp

Œ

f

>œ ™ ææ œ œ

#œ ff

æ ¿æ™™

≈

/

›

‹ ›

f

œ& lv ≈ œ‰ Œ R °

‹

‹

¢&

{3 &

4

? ¢‹

‰

∑

∑

Œ

b˙

ææ o O

ff sp tr

o

#>‚

ææ o O

o o ææ b>‚ # O

sp tr

ff sp tr

o o ææ b>‚ # O

ff sp tr

o o ææ O >‚

ff sp tr

o o ææ O >‚

o o o o

f

ppp

f

j œ ˙

˙

∑

‰

∑

∑

#˙

∑

∑

Œ

∑

∑

∑

∑

∑

∑

∑

∑

pp

∑

ff

f

ppp

cup

‰

ppp

ff

j œ ˙

f

Ó

∑

f

∑ M

TT

≈ œ J

∑

lv

≈Œ

¡

æ r œ. ≈ œæ

rim b

lv

œ

f

f

¡ ¿

f

Œ

lv

pp

o

ff

> ™™ ≈ ææœ

‰ ‰ œ œ œœœœœ 5

3

pp

ff

∑ æ œæ™

skin

Æ¿ ¿

æ œæ

o

œ

p

œ œœ

∑

∑

¿ ææ œ

FCoil 5

G

ff

∑ BD +balls 1-5

∑

pp

æ œæ™

æj œæ ‰

‰ œ. œ. ‰ ™ TT

Œ

ff

…

f

¡¿7j™

ppp

M

f

œbœ

∑

ff

3

Œ Œ

lv

sf

P P

f

oj æo ≈ #‚ æ™ O > ff

o o

Œ

4 4

Œ

ff

oj o ≈ æO Œ ‚> ™ o ff o oj o ≈ ææ O Œ ‚> ™ o o

Œ

..

≤

j ‰ œ œ nb œœ

o

#˙≤

III

∑

ff

≤

ord

j ‰ b œœ

œ œ

≤ #˙

Ó

ff

ord

o

o

j ‰ œ

œ œ

mp

div a 3 2.3.

œ œ

mp

ff

j ‰ b œœ

ff 1. III II

œ œ bœjœœ ‰ # œJ

div a 3

mp unis

#œ ™ f

2.3.

Œ

…

Œ

b>œ ≈ œR ‰ Œ

Œ

#‚

3 4

∑ ord oj non div ææ o ≈ #‚ ™ O Œ #>œœ > sp tr

unis

ff

‰

o

ff sp tr

o

ff

unis

sp tr

ff sp tr

≈

5 8

∑ Œ

∑

‰

Ϫ

nœ > ff

pp

ff 1. non div ord

ff sp tr

ff

ff

Ϫ

j ‰ œ

œœ ™™

j œœ ‰

œœ ™™

j œœ ‰

pp

pp

a3 oj o 2.3. ord æ ≈ æ O Œ #œœ n>‚ ™ > o

unis

ff

pp

> >o o ≈ b‚æ™ O Œ #nœœœ æ J

œœœ ™™™

unis sp tr

ff div a 3

œ™ ## œœ ™™

o

div a 3 ord

o

ff

œœœ ™™™

ff

j ‰ œ

Ϫ

3 4

∑ oj o ≈ #‚ ææ™ O > sp tr

ff

oj o ≈ #‚ ææ™ O > ff

pp

∑

o

o o

Œ Œ

‰

#“w

Œ Œ

˙

˙

o

∑

∑

I

66 ™™ j‰ V

oj o ææ Œ Œ ™O >‚ o ff unis sp tr oj o ≈ ææ O Œ Œ ™ >‚ o >o o ≈ b‚æ™ O Jæ

unis

≈

«

ff

o

Œ Œ

r ‰ Œ Œ œ.

o

Œ

o

pp sempre

~

ord

I

~

ord

3 4

∑ rit.

œ

œ

œ

q ca. 52

div a 4

œ

b œœ

## œœ

‚ ‚

~o

&

p sempre

&

O™ O™

bw

˙™

p sempre ord

p sempre

w

arco

p sempre

div a 4

œ

# œœ n œœ

7 8

Ϊ

¸™

æ # œœæ

. . . . . . . œœœœœœœœœœœœœœœœ œœœœ œœœœœœœœ œœœœ œ œœ . . . . . . . ° ‰ Œ XVI

bœ

œ

o

mp

∑

BS

p

ææ œœ

4 4

˙˙ ™™™™ mp

o

mp

o

mp

o

˙˙ ™™™™ ˙˙ ™™™™ ˙˙ ™™™™

o

mp

~o

II ord

œ

3

œ

∑

p sempre II ord

XIII

∑

p sempre

sp tr

≈

o

p

2. 3. 4.

p sempre

ff

unis sp tr

“ #w

ord

Œ

p sempre

oj o ≈ ææ Œ Œ b O b>‚ ™ o ff sp tr oj o ≈ ææ Œ Œ b O b>‚ ™ o

sff

33633

4 4

?

Œ Ó

∑

ord

ff

œœœ J

>6. 6 ‰™ R

∑

sff

sp tr

oj o ææ Œ n œ #œ ™O >‚ o div >

≈

j ‰ œ

ord

‰ Œ Œ

coil 2 MBN diag

ff

j ‰ œœ

pp

Œ Œ

ÍÍÍÍÍÍÍ

°

Nico

G

. . . > . . . _{ . . . > . . ‰ b œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ b œœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœ œœœœœ . . . > . . . . . > . . . 2. 3. 4. p 3. j j ∑ ‰ ‰ .o . pp sempre

In

. .. . o sf ff … coil 1 ◊j (silent) #‚ 66 666™™™™ ‰ Œ R IV # ‚ œœ. ™ b>˙ ™™ Œ Œ R ‰

sp tr

ff

o o

œœ ™™

≈ ¿j bb œœœ ™™™

pp

∑

pp

oj ææ o Œ ord b>‚ ™bO #œ >

ff sp tr

∑

ppp

nœ >

oj o ≈ ææ Œ b O b>‚ ™

unis

&

™ ™ ™ bœ œ ¸ Œ œJ œ

ord

o

∑

∑

ff

oj æo ≈ #‚ æ™ O Œ >

unis

%°

Œ

Œ

ff

1.

ord

unis

j ‰ n œœ

o

‰™

sff

ff

o

o

ff

Œ

o

œ œ

≤ #˙

Ó

IV

j ‰ # œœ

≤

ord

Ó

≤

ord

ord

∑

o

∑

◊#‚o

∑

œ œ

div a 4

oj o ≈ æ Œ b>‚ ™ # O ff

∑

∑

o

&

∑

∑

∑

oj o ≈ ææ Œ b>‚ ™ # O

Œ

∑

div a 4

∑

∑

∑

∑

∑

∑

f

2 4

∑

∑

sfff

bœ 3

∑

∑

∑

arco

b˙

‰

∑

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