As Above, So Below by Eric Nathan

PERUSAL SCORE NOT FOR PERFORMANCE

ERIC NATHAN

As Above, So Below For Solo Trombone

PERUSAL SCORE NOT FOR PERFORMANCE

Commissioned by the New York Philharmonic, Alan Gilbert, Music Director Dedicated to Joseph Alessi *** Composed during a Frederic A. Juilliard/Walter Damrosch Rome Prize Fellowship at the American Academy in Rome

PERUSAL SCORE NOT FOR PERFORMANCE

For Solo Trombone (with F-attachment tuning slide removed)

Total Duration: 12 minutes

PERUSAL SCORE NOT FOR PERFORMANCE

PERFORMANCE NOTE: The F-attachment slide should be removed for the duration of the piece. V

Valve pitches: The notation “V” is written above pitches to be performed using the F-attachment valve. The valve should be pressed for the duration indicated. The sound will project behind the performer from the opened tuning slide. In all “V” passages the sounding pitches are written. Because the specific pitches that sound out the opened F-attachment tuning slide differ slightly for each brand of trombone, the trombonist will need to figure out the corresponding slide positions needed to produce these pitches on his or her specific instrument. [Generally, the pitches that sound out the removed tuning slide will either be at the unison or a quarter-tone to a half-step above or below where positioned on the hand-slide.] The “V” pitches should be performed so they sound as close as possible to sounding pitch (a slight detuning is acceptable but the pitches should not sound a half-step or more away from where they are written). Diamond note-head: In order to graphically separate the “valve” pitches from the normal pitches in the piece, diamond shaped note-heads are used in conjunction with the “V” marking.

(V)

Valve trill: A “(V)” over a pitch indicates that the performer should trill to the “valve” pitch placed under the “(V)” marking. For some trombones, this will not involve moving the hand slide, but for other brands the hand slide may need to be moved in conjunction with the valve to achieve the pitches notated in the trill. See example:

Important Note: “Valve” pitches in the lower range of the instrument may have an unfocused pitch center, and so, for all the upwards sixteenth-note gestures performed with the valve, found in the fast sections of the piece (see example below), these pitches should be approximated as best the player is able, and the intonation of these pitches need not be fine-tuned – the importance is in the timbre and the gesture. Example:

However, the trigger pitches in the high range of the trombone, found in the lyrical sections of the piece, should be performed so they sound as close as possible to sounding pitch, and as “in tune” as possible, though a slight detuning is acceptable: mm. 11-21, 34-38, 47-48, 53-54, 68-76, 112-120).

PERUSAL SCORE NOT FOR PERFORMANCE

PROGRAM NOTE: “As Above, So Below” takes its title from a popular maxim in Hermetic philosophy that in essence refers to the underlying unity between two seemingly separate worlds. My work, conceived as a duet for solo performer, focuses on a dialogue between two sides of the same instrument. In doing this, for the duration of the piece one of the trombone’s tuning slides is completely removed, so that by pressing a valve the player can either project the sound forwards out of the trombone’s bell, or backwards from the opened tuning slide. Two distinct characters are thus put into conversation – the full and rich sound projecting towards the audience from the trombone’s bell, and a fragile and muted sound coming out of the removed tuning slide at the top of the instrument. I composed this piece while in residence at the American Academy in Rome, which is situated atop the highest hill in Rome with a view of almost the entire city, and every morning I would go to the roof terrace and look out upon the city below. Since a child I have had dreams in which I was (miraculously) able to fly without any manmade aid, and during one of these early morning sessions on the terrace I similarly imagined being catapulted into the sky and soaring above the city. I imagined the feeling of being cradled by tufts of wind, and tossed about like a leaf. The piece is structured in three large sections. The first section centers on this fantasy of flight over Rome. The music builds over this section gaining momentum until we find ourselves rocketing through the sky, rising higher and higher until we fall, like Icarus, to the ground below. In the middle section, I imagine landing into the hauntingly beautiful grove of umbrella pine trees at Villa Pamphili, located in Rome’s Gianicolo. I happened upon this grove one afternoon on a walk and was immediately captured by the beauty of these hundreds of trees spaced evenly in rows. All the trees seemed to lean towards a center point, their branches coming together and touching above and I felt enveloped in this magical space. The final section once again returns to the sky. “As Above, So Below” was commissioned by the New York Philharmonic, Alan Gilbert, Music Director, and is dedicated to Principal Trombonist Joseph Alessi.

PERUSAL SCORE NOT FOR PERFORMANCE Commissioned by the New York Philharmonic, Alan Gilbert, Music Director TROMBONE Dedicated to Joseph Alessi (with F-attachment tuning slide removed)

AS ABOVE, SO BELOW

Hovering q = 40 Suddenly bursting with engergy q = 152

Eric Nathan (b. 1983)

V Ÿ~~~~~~~~~~~~~~~~ # >‚ (V) >œ > U > gliss. > gliss. > ‚ > > >> ‚ œ œ. ‰ ? 44 w (b ‚ ) ‰ œ œ œ œ ‰ ‰ j # œj ‰ œ œ œ œ # œ ‰ ‚ ‚ ‚#‚ #‚ ‰ œ N œ œ >> >>>> f > π > f p f p ç F f ç f with supsenseful ƒ

All pitches are notated at sounding pitch

intensity

? ‰ #œ œ J f

p P

‚ #‚

gliss.

Soaring, gliding, swaying, floating q = 40 V

‚

gliss.

5 4

3 4

‚

‚ ‚- . J ‰ 2 J 4

‚

π

fragile, with expression, almost mournful, yearning

poco rit.

‚ # ‚- ‚ #3‚ # ‚ (ord.) - ‚. # œ ≈ ≈ # œ-

? 43 ≈

N œ- ‚ ‚ 3

π

a tempo

‚- # ‚

?3 4

‚ N ‚≈

(ord.) V

‚

≈

œ #œ aœ œ nœ œ œ (ord.)

‚-

#‚

# ‚-

poco rit.

2 4

‚

‚ ‚ ‚

#‚ #‚ J 3 ≈ 4 3

π

poco accel.

‚

π

gliss.

π

molto rall.

(V) 9

#œ œ

gliss.

œ œ

gliss.

> #œ ‚ V

‚ #‚

poco accel.

Nœ

(ord.)

Nœ

(ord.)

Nœ

‚ #œ œ œ.

œ œ œ3

(ord.)

3 4

‚- # ‚ V

#œ 2 4

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below -

a tempo V

? 42

#‚ N‚.

q = 108

accel.

‚ ‚.

#‚

#‚ nœ œ (ord.)

#œ

œ ‚. V

‚

Suddenly bursting with engergy q = 152

5 > > > > ‚ #‚ n‚ ‚ ‚ œ b œ b œ œ 44 >>>> f ƒ

(ord.)

(ord.) # ‚ > gliss. œ >‚ gliss. > > > > > > œ ‚ # œ # ‚ ? 4 ‰ j j ‰ #œ œ œ œ ‰ j J ‰ #‚ ‰ #œ œ ‰ #œ œ œ œ ‰ n œJ 4 ‚ œ ‚ ‚ œ œ œ > > >>>> >> > F f p p ç f > F f f f ç ƒ

gliss.

V >œ (ord.) > > œ > œ > >œ # >œ > > 25 > # ‚ n œ > > > > # >œ >œ > # œ # œ > > ‚ > > > >‚ >‚ # ‚ >œ # œ œ #œ nœ ?œ ‰ œ ‰ ‰ ‰ Œ #‚ ‚ ‚ # œ >œ >œ 3 J œœ œ œ # œ 3 >> >> >> f p ç f f ƒ

? ‰ œJ f

gliss.

#œ #œ

gliss.

p F

gliss.

p P

molto rall. V

#œ œ π

gliss.

#œ n‚ f

gliss.

5 4

‚ n.

4 4

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below -

Soaring, gliding, swaying, floating q = 40 poco rit.

‚ ‚ ‚ ‚ œ

‚

? 44

π

a tempo

#œ

‚. #‚ ≈ J V

œ nœ. ˙

π

ƒp

‚ nœ œ ≈

‚. 43 J

? 44 ‰

gliss.

#‚ ‚ #‚ ‚

Nœ œ #œ œ #œ

>‚ ‚ # ‚ ‚ #‚

(V) Ÿ~~~~~~~~~~~~~~ >œ >œ (b ‚ ) œ >œ >œ gliss. œ 55 œ ? ‰ J ‰ Œ ‰ J 43 ß f ç Í

‚

(ord.) gliss. œ ‚3 # ‚ > # œ œ n œ ≈ 4 42 4 F f

‰

>œ J

Ÿ~~~~~~~ (V) œ (b ‚) ˙ 43 ‰ J π f

(V) V V V Ÿ~~~~~ 3 >œ (b ‚ ) œ >‚ >œ œ ‚ œ >‚ J J 43 J ‰ 44 ‰ Í ƒ

‚ #‚

‚‚ ‚ ‚‚‚

gliss. > gliss. b ‚ N ‰ J ‚J ‰ # œ ‰ œ œ #œ > p f ç f

‰

(V) Ÿ~~~~~~~~~~~~~~ gliss. >‚ ‚ >œ . >‚ . >œ (b ‚ ) ˙ œ >œ ‰ # œ J J R

>œ

>œ #V‚ . > #œ ‚. ‚ 44 V

gliss.

V V > >œ b ‚ . œ # ‚ . ‚ ‰ 42 ƒp ƒp f

Nœ ‰ œ œ œ J > aœ aœ œ œ œ #œ #œ f f ç p p

N >œ # œ ? Nœ #œ œ

œ #œ ≈ J

f ƒp ƒ p ƒ p

gliss.

‚ n‚.

(ord.) # ‚ œ ‚ ‚ ? ‰ j j ‰ œ # œ 44 ‰ ‚ ‚ ‚ # ‚ # ‚ nœ œ œ aœ œœ œ bœ nœ > f ç F p F

‚ #‚ #‚

F (ord.)

V V V V > > œ # ‚ . > #œ ‚. ‚. ‚ . # >œ n ‚ . # œ ‰

Bursting with energy q = 152

poco accel.

[open notes should be brassy to contrast with "valve" notes]

ƒp

sotto voce, savoring the moment

? 44 # >œ # ‚ .. ‚ ≈ n >œ n ‚ . ‚ .

N‚

p (ord.)

gliss.

a tempo

œ b œ3 b œ œ œ .

a tempo

poco rit.

Fanfarish q = 69

π

fragile, cantabile, with yearning

(ord.)

bœ

(ord.)

V > V >‚ >œ ‚ . V œ b ‚ . # >œ ‚ . J ‰ 42

‚

>‚ J‰

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below -

œ 60 ?‰ J

gliss.

#œ

bœ

œ. œ #œ. œ‰ 4 ‰ 4 F F gliss.

gliss.

b >œ b >œ gliss. œ 4 >œ # >œ n >œ > 34 œ ‰ œ bœ Œ 4 J > 3 3 3 f f

œ bœ bœ J J œ

gliss.

Soaring, rocketing through the sky

b>·

3 # >œ > 3 œ #œ 4 > 3 > > œ œ #œ 2 # œ ‰ # œ ‰ Œ ‰ j #œ 4 4 œ œ #œ #œ œ 3 p f Í F

˙. > ƒ

appassionato, singing ecstatically

N >· .

-‚ # ‚3 ‚ # ‚ # ‚ # ‚ # -‚ (ord.) # # ‚ ‚ (ord.) # -‚ # ‚ 4 ‚ #‚ ‚ œ 3 #œ N‚ 4 4

gliss.

˙.

#œ

(ord.)

sub.

4 bœ œ #œ œ

cantabile, lyrical

- . 83 #œ #œ #œ #œ œ # œ ? 45 J‰ 3

# ˙f

œ 3b ˙ F

> ?˙

Œ # œ œ 43 # ˙ P 3

#œ

4 4

(ord.)

3 # œ 24 ‰ j b œ œ 44 # œ # œ œ- . œ p p F

# œ-

œ #œ # œ œ # œ #œ 3

gliss.

œ Nœ # œ œ œ ? ‚ #‚ nœ 2 Œ ‚ ‚ 4 ‚ œ œ # ‚ #‚ ‚ p f

n‚

3 4

b‚.

‚.

gliss.

> 4 #œ. 4 f

# œ-

-œ # ˙

F p

>œ >œ . œ ‰ Í

F #œ.

‰

œ #œ

F 3

# >œ >œ . œ

più

N >œ >œ . œ

œ- œ

44 œ-

Ÿ~~~~~~~~~~~ >. (V) (b ‚ ) ˙ œ ‰ ‰ J Í f

Brilliantly, luminous, fanfarish Bell tones

4 4

œ 3 œ ‰ #œ #œ œ 5 J 4 4 J p

V >œ . # œ . 3 # >‚ >‚ n >‚ >‚ # >‚ >‚ > > # 3 (ord.) # œ ‚ #‚ 3 ‰ j 3 #œ œ 4 œ # œ 4 œ #œ #œ œ 4 œ 43 p F p sub. ƒ

N >‚ >‚ b >‚ > > 88 (ord.) ‚ b ‚ b >‚ ?4 ‰ 4 Nœ œ #œ #œ p p sub. ƒ V

# >˙ .

(ord.)

Gradually building, climbing

? 44

‚ ‚ # ‚ ‚ # -‚ # -‚ 4n -‚ - (ord.) # ‚ ‚ # œ3 # œ 2 J 4 4 4

N ˙>.

œ >‚ >‚

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below 102 b >‚ >‚ >‚ > ? 42 ‚Œ p

b >œ >œ . œ

? 43 Œ

>œ >œ . > > b >œ >œ . 34 œ œ. 54 >œ >œ . f Í (ord.)

Bell tones

106

b >˙

44 N >œ >œ .

b >œ >œ .

3 > 3 3 œ > ‚ # >‚ ‚ # œ 3 J ‰ 44 œ #œ œ 3 4 œ œ œ #œ #œ ß p f

>> b >œ >œ . œ œ .

# >˙

bœ œ. >>

The Zenith – falling to the earth below

? # >œ

110

œ >

? ‚J >œ .

115

? œj ‰ # >˙ .

120

3 œ #œ œ n œ # œ J ‰ œ #œ œ œ Œ œœ

# >˙

>œ > œ bœ > 3

rall.

b˙. > F

# >˙

>‚

>œ

‚ # >œ n >œ

> œ œ b ˙ œ œj ‰ #˙. > > >

rushing up once last time

#œ ? 45 œ

133

? 44

gliss.

π

139

#˙ f

œ.

œ # >‚ . J

N >œ

>· .

‚ gliss. N ‚ # ‚

‰

#œ

gliss.

#˙

N >·

>œ #V>‚

>œ # >œ > œ œ bœ > 3

> œ

q = 72

U ‰ 45 bw ƒ ƒ

lunga

˙ >

più

˙ .. gliss.

∑

N‚ Nœ

gliss.

f q = 76 gliss.

bœ ˙ f

œ.

gliss.

#œ π

∑

‰ 44

[time to rest embouchure as needed]

Œ 44

(ord.)

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ (V) gliss. b ‚ . œ 44 Œ ˙ ( ) œ 43 p n.

# >˙

43 ˙ œj ‰ 44 N w > f

#œ #œ #œ # œ œ œ ? 44 œ #œ #œ œ Œ œ œ œ œ #œ #œ p f fÍ

129

# >·

Broadening

j #‚

q = 152

>˙ .

œ ‰ #œ J p

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below -

6 The Pines at Villa Pamphili

q = 92

-. U U œ œ ? 43 b œ ‰ Œ Œ œ . Œ Œ 44 œ . ≈ ≈ Œ Œ # œ. 43 œ œ # œ œ Nœ œ- . -.. π p p p 5 P p

143

poco accel.

a tempo

? 3 # œ # œ œ œ 4 # œ œ œ œJ ‰ Œ - # œ œ ˙ 4 œ œ #œ 4 Nœ #œ P warm p3 q = 60

? œ.

#œ ˙ J

gliss.

cantabile, simply stated, haunting, with expression

? 44 ˙

œ ˙ # œ ‰ œ 43 # œ- œ3

π

a tempo

? 45

#œ

167

‰ œJ œ

a tempo

172

# œπ

#œ

œ ˙

q = 72

? 4 - Nœ #œ 4 œ

176

#œ ‰ - #œ #œ # œœ 3 π

161

#œ œ

poco rit.

#˙ p

#œ p

#œ œ #œ

Œ 44

43 œ- N œ 3 ˙ 4

#œ. p

#œ

N œ-

œ œ J‰ 3 4 # œ-

gliss.

# œ-

#œ

#œ œ.

#œ a œ-

4 œ. #œ ˙ 4 J p gliss.

#œ œ œ œ #œ J‰ #œ 5

4 Nœ #œ p

‰ œ

œ ˙ U 3 Œ 4 U ˙.

#œ #œ ˙

π

34 œ N œ

œ ‰ 44 J

#œ ˙ 24 # œ œ œ œ œ- N œ # œ- n œπ p

poco rit.

wistfully

#œ #œ œ J

U 4

Œ Œ

a tempo

q = 72

#œ #œ π ∏

#œ ˙ N œ œ œ # œ 43 œ ≈ # œ

œ # œ-

∑

œ‰ J

149

155

a tempo

#˙

poco rit.

#˙

poco rit.

#œ ˙ 5 4 Nœ #œ ‰Nœ œ p π 3

#œ œ œ # œ U˙ . J ‰ 5 #œ #œ 4 # œ#œ

œ J‰Œ π

œ ‰ J

4 4

poco rit.

U 3 Œ

π

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below -

With slightly more motion q = 76

# ˙-

œ- œ-

? 43 # œ # œ œ œ

œ. #œ œ œ

? 5 œ. #œ ˙ 4 J

# ˙ # œ # œ œ # œœ ‰ 4 ‰ œ œ œ J 4 3 3 p P

180

gliss.

185

≈ œ n œ 44

#œ #œ #˙

#œ

œ.

#˙.

? 3 #˙ 4 p

poco rit.

? ˙

? 44

#œ ‰ 3

200

206

# œ#œ. p

? 4 - #œ 4 #œ

212

? 44

N œ-

# œ # œ 42 ˙ 3

π

#œ œ

gliss.

Œ π

œ-

#œ

œ œ

43 # œ- # œ œ.

#œ Œ œ N œ # >œ > > > f f ‰

#œ œ # œ ‰ # œ œœ-

3 œ 3 ˙ 34 œ # œ # œ œ 42 œ N œ œ ‰ , 44 ˙ ‰ # œ œ 4 J N œ œ 3 π π

poco rit.

‰

#œ

π U

∑

œ œ- N œ 42 #œ P

#˙

4 4

a tempo

q = 152

π

‰ 43 ‰ œj # œJ # œ p

4 œ. #œ ˙ 4 J p hauntingly

2 ˙ # œ œ 4

with more motion

sotto voce

Ÿ~~~~~~~~~~~~~~~~~~~ (V) #Uw (‚ ) œ. p

œ #œ #œ

#˙. œ œ œ # œ œ ≈ # œ

217

#œ. # œ œ

œ œ ≈ # œ ≈ # œ 45 #œ #œ π sotto voce

gliss.

#˙ œ # œ # œ ? 4 ≈ # œ 2 # œ œ n œ 5 ≈ 4 œ #œ #œ œ #œ #œ 4 œ4 3 F P

195

œ œ

œ #œ #œ #œ #œ 5 #œ œ œ œ #œ. j 3 4 J‰œ #œ 4 4 œ 4

haltingly

190

gliss.

#œ ·

(ord.)

#œ.

(ord.)

π p 43 (V.S. Page Turn)

q = 60

#œ.

‚ · J V

‰

#˙

π 3 4

· π

‰ . œR 44 œ.

‰ 44

4 4

PERUSAL SCORE 8

q = 60

q = 152

Ÿ~~~~~~~~~~~~~~~~~~~~~~ 220 # ˙.( ) œ. >œ >œ ? 43 44 N ‰ ‰ # œ œ # >œ >œ >> f π f U (V) ‚

?‰ ‚‚ p

224

N >‚ > #‚ ‚ ‚

NOT FOR PERFORMANCE

- As Above, So Below -

∑

œ f

(ord.) # >‚ > N œ œ b ‚ N ‚ ‚ ‰ gliss. ‰ j œj ‰ #œ #œ œ #œ œ aœ aœ > > f f ç p f f

(ord.) gliss.

V >‚ > 3 # 3 (ord.) œ 227 > > > > > ‚ > > > n >œ # œ œ > > >‚ # >‚ ‚ # ‚ ‚ #‚ ? # ‚ ‰ ‰ ‚‚ nœ œ #‚ ‚ ‚ #‚ ‚ ‚

>œ >œ # N œ œ ‰ j ‰ #œ œ bœ f p > ç

>œ > > œ ‰ N œ N œJ ‰ œ œ œ # œ ‰ J f ç p f gliss.

(ord.)

œ f

j ‰ œ #œ #œ œ Nœ œ œ Nœ œ #œ p > ç 3

>œ >œ 3 3 # >œ >œ . œ > > N >œ >œ . œ > > > 3 N 230 3 # œ # œ 3 > # œ 3 # œ œ œ. œ 3 œ œ. œ ? #œ #œ nœ #œ œ œ œ N >‚ a >‚ ‚ 45 ‰ # œ # œ œ œ 44 Œ 4 #œ f fl f p f V

?3 4

234

# >˙ . Í

(ord.)

Bell tones

4 ‰ j j ‰ œ # >œ # >œ ‰ 4 œ #œ œ œ œ > f p f p ç gliss.

> > N >‚ # >‚ > N >œ ‰ ‰ œ #œ #œ a ‚ a >‚ ‚ ‚ > > F p ç ƒ f gliss.

(ord.)

(ord.) >œ >œ . œ > > >œ V # N # œ 3 # œ 3 # œ 3 #œ #œ œ. œ ? # >œ # >œ >œ ‰ 3 ‚ # ‚ # ‚ ‚ ‚ ‚ ‰ # œ # œ # œ # œ # œ œ œ #‚ ‚ 3 3 3 f f F P p F

237

240

>œ >œ . œ

# >œ >œ . œ

# >˙

œ # >œ >œ . >œ >œ . 3 4 4 4 p F

V (ord.) œ N >œ 3 > 3 > > J ‰ ‚ # ‚ N ‚ ‰ jgliss.j ‰ œ #œ nœ #œ œ ß > p f p ç

gliss.

PERUSAL SCORE NOT FOR PERFORMANCE

- As Above, So Below -

>œ # 3 3 3 3 > > 244 # œ #œ ? N œ ‰ ‰ j j ‰ ‚ # ‚ ‚ # >œ # >œ >œ >œ Œ œ N œ # œ >‚ >‚ > > F p çf ƒ 3

(ord.)

249

œ #œ nœ œ F

œ #œ. œ #˙ J

‰

N >œ . ˙

>œ

# >œ 24 ‰ j N >œ 44 Œ œ > f P F

>œ # >œ > # œ #œ œ Œ

?Œ

# œ 43 œ # œ Œ œ Nœ #œ œ 3 p F p

q = 108 (Subito)

261

œ>

44 b œ œ N œ ‰ # œ J #œ F

#˙

gliss.

#œ

with expression, molto cantando

‰

#œ #œ ˙

sub.

#œ #œ œ. #œ œ 3 4 f sub. p

#˙

gliss.

p 3

#œ œ

#œ œ œ #œ Nœ #œ œ œ œ ? 4 J ‰ #œNœ J‰ J‰ 3 4 4 3 3 f f sub. p gliss.

gliss.

266

q = 120

272

gliss.

#œ

5 4

>‚ #‚ V

œ > œ > F

gliss.

n >œ # >˙

N œ . # œ œ >œ # >œ J

#œ #œ #œ #˙ 3

gliss.

aœ

4 4

accel.

œ. #œ #œ JŒ 5 4 f p gliss.

rall.

>‚ >‚ # ‚ œ N‚ œ œ bœ ≈ ≈ ≈ ≈ V

, > > # œ > #œ > # >œ # œ œ

#œ #˙ Nœ #œ #œ #œ œ œ Nœ œ 2 4 4 4 3 3 3 p 3

gliss. > #œ #œ œ œ Nœ #œ #œ #‚ #‚ nœ nœ ? 45 J ‰ J ‰ J ‰ 44 ≈ ≈ ≈ P F f sub. p gliss.

> b˙ f

#œ. #˙ #œ œ œ N œ 44 ‰ 43 4 sub. p F molto rall.

255

gliss.

- As Above, So Below -

Sustain tension through rests q = 92

>‚ ‚

b >œ œ

∑

275

> gliss. #‚ #‚ V

?Ó

282

q = 66

π

let color grow and blossom

∑

œ œ œ gliss.

‚‚

π

b‚ J‰Œ Ó

? 42 Œ

296

‰ # œ 44 # œπ p

π

∏

∑

π

#U w

rit.

2 4

lunga

∑

# -‚

a tempo

molto rall.

‚ Œ J‰

œ N œ œ Œ UŒ ‰ œ # w J p dolce, plaintively p

≈ # œ w #œ

∑

gliss.

q = 60

rit.

gliss.

∑

rit.

gliss.

Œ Ó

(ord.) gliss.

#œ œ

# >‚ # ‚

(ord.) gliss.

gliss.

290

PERUSAL SCORE NOT FOR PERFORMANCE

#‚ n.