Scandinavian Knitting

Scandinavian Knitting for Orchestra

for The Bergen Philharmonic Orchestra Evan Gardner 2010/2012

Instrumentation 1 Piccolo 2 Flutes 2 Oboes 1 English Horn, Doubles on Oboe 2 Clarinet in Bb 1 Bass Clarinet 4 Horns in F 3 Trumpets in C 2 Tenor Trombones 1 Bass Trombone 1 Tuba Timpani Tibetan Prayer Bowl, Cymbal, Crash Percussion 1 Large Tam, Tubular Bell Over Water Bucket, Medium Tam, Suspended China, Sandpaper, Wooden Bongos, Crotales, Xylophone, Suspended Sizzle Cymbal Percussion 2 Waterphone, Small Tam, Snare Drum, Vibra Slap, Vibraphone, Bongo Drum, 2 Tom Toms, Suspended Cymbal, Large and Medium Triangle Percussion 3 Suspended Cymbal, Bass Drum, Crotales, Marimba, Thundersheet, Glockenspiel, 3 Tom Toms Harp Piano Violin 1 (6 desks) Violin 2 (5 desks) Viola (4 desks) Violoncello (3 desks) Double Bass (2 desks)

The score is in C.

Performance Notes

Brass Square note heads are to be performed tonelessly. The performer fingers the specified note but only blows air, not pitch.

For all instruments

Harmon tremelo Dynamic markings with quotation marks indicate the intensity of the performance action and not the resulting absolute volume of the action.

Indicates a quick tremelo effect with the hand rapidly covering and opening the exit of a harmon mute.

Accidentals are valid for notes they directly precede or for notes directly repeated.

Indicates a percusive effect in witch the hand slaps the mouthpiece of the instrument with the palm of the performers hand. The resulting sound is a light popping, percussive effect. Click the brass with a finger ring to mimick the sound of wind instrument key clicks.

Niente

Quarter tone sharp

Indicates a split note effect. Largely unpitched.

Three Quarter tones sharp

Indicates a toneless articulation where the player holds the instruments just in front of the mouth an rotates the head. The proximity of the lips will create the crescendo.

Quarter tone flat Three quarter tones flat

n.v. v.n. v.m.

Unless specified, all notes are to be performed non vibrato. non vibrato vibrato normale vibrato molto

Percussion

Notes in parentheses with a trill sign above indicates the note that is to be trilled. When a trill to the same note is indicated, use an alternate fingering.

Much of the percussion writing attempts to convey as clear a musical meaning without indulging in unneccessary complexity of notation. When creating rich, multiphonic sounding resonances on a tam with a stick or a superball, there is a great deal of possibilities available to a performer to modulate and alter the sound in terms of dyanmics, spectral richness, and general pitch. To acheive this result with the precision of a violin or clarinet, would appear to be very unlikey. I have therefor endeavored to indicate the a simple, yet detailed idea of the sound evolution I would like to acheive when using these techniques. I encourage the performer to focus more on the intention of the sound and the realizing the general idea more than worrying about precision in performance, which as stated earlier, is something that might not always be possible.

Downbow, breath out

The following graphic indications represent various tools and mallets and ways of attacking the instrument.

Indicates a unmeasured tremelo for strings and a flutter tongue for wind and brass. Mute, dampen. A sudden stopping of sound as if cut short electronically. For string instruments, silently dampen all other strings such that they are prevented from vibrating.

Upbow, breath in. Soft mallets

Winds

Hard mallets Sticks Square note heads are to be performed tonelessly. The performer fingers the specified note but only blows air, not pitch. The is to remove their mouthpieces when performing this action. The bassoon is to blow into either B or C key. Diamond note heads are to be performed as a mixture of both pitch and breath noise. The resulting tone quality should be light and airy. (Fl.& Cl.) Transitions between performance techniques are indicated by an arrow.

Super Ball: small, medium and large sizes are used. Jazz brush Soft, large mallet; represents idiomatic mallets used for Tam, Tubular Bells. Hard, large mallet; see above Fluted/ribbed stick Bow

Mutliphonic passages are notated with an M with a circle around it and a fundamental pitch center. The player is asked to find the appropriate fingerings that would provide a rich, dynamically flexible solution that is not strained or unstable.

Key Click Percussive sound resulting from fingering keys on the instrument without blowing. In some cases, light blowing might be helpful to reinforce the sound.

Hand, fingers when an arrow is present

The location of contact between a given beater and the percussive instrument (tam, cymbal, b.drum) is indicated with the following notation. Center Middle

Indicates a slap tongue, or am extremely percussive articulation on the double reeds.

Edge

Indicates a slap tongue with as little pitch as possible.

Rim

Tongue ram. (Fl.) Indicates a percusive effect in witch the hand slaps the mouthpiece of the instrument with the palm of the performers hand. The resulting sound is a light popping, percussive effect. The reed should be removed if time permits, otherwise make a percussive, non-pitched articulation with a sharp tongue attack.

The degree of sonic complexity found in scraping a tam with a stick, or using pressure with a superball, or bowing a cymbal is indicated in four degrees of complexity. Single tone, More tones, richer higher partials More noise, richer sound Extremely noisy and complex tone

Ebow: Electronic device made for electric guitars which sustains the vibration of a string indefinately. If placed properly on piano strings this tool can also create a perfect sine wave of indefinite sustain within the piano. It is important to note that the sine wave can become quite powerful and the pedal should be used to keep the vibrations from becoming overbearing.

Dead stroke

Mount a tubular bell with bungee cord such that it hangs and can be easily pulled down into a bucket to achieve a water glissando effect.

Dead stroke piano technique. One hand attacks the keys of the piano while the other hand used the finger to mute the string close to the bridge. The effect is similar to that of a palm muting on a guitar and should strive to maintain a clear sense of pitch, yet a muted quality of sound.

Controlled, pitched stick friction is achieved by carefully agitating the Tam along the surface of the instrument with a stick. The technique can be executed at both quite and loud volumes.

The superball is also capable of creating low pitched, moaning pitched effects when great pressure is applied to the surface of the instrument. This technique is most often employed with Tams and the bass drum. Notation indicates a general pitch contour.

The waterphone requires a special notation. This instrument is capable of a wide range of different pitches and registers, yet specific pitches are indeed quite difficult to reproduce. Within the normal five staff line, I have indicated the general contour of the pitched line to be performed. The water modulation amount is notated in terms of vibrato. When an arrow points to partials, try and achieve a feedbacklike distortion sound with harmonics. It is to be noted that the resulting pitch can vary greatly depending where the bow meets the brass rod, and the closer to the base of the instrument one performs, the higher the partials.

Harp The following percussion beaters will be used in the piece: sticks and brushes. Sticks Jazz brush

Piano

In certain sections, the pianist is asked to use a fluted/ribbed stick to play on the inside of the piano. These actions are notated using the piano clef shown here. This clef is used to specify percussive actions that take place inside the pianos on the various strings, or braces.

Strings x.s.t. a.s.t. s.t. nat. s.p.. a.s.p. x.s.p. a.l. a.n. crini legno

Bowing abbreviations extreme sul tasto alto sul tasto sul tasto naturale sul ponticello alto sul ponticello extreme sul ponitcello arco lento (very slow bow speed) arco normale (normal bow speed) use hair of bow to perform specified action use wood of bow to perform specified action Bridge clef Replace the traditional clef and depicts the shape of the instrument's fingerboard-strings-bridge. Wherever is occurs, it indicates the approximate position on the instrument where the action is to be performed rather than specific pitches. Body clef Represents the shape of the instrument and signifies action to be performed on the instrument. String clef Indicates actions to be performed behind the bridge on the strings. Each of the four spaces between the line represents a string. Tail clef Indicates actions to be performed on the tailpiece of the instrument.

The following tools are to be used: small brush, fluted stick, guitar pick, wooden wedge, a foam paint brush, wooden hammer and ebow. Wooden Wedge Foam Paint Brush Jazz brush

Jumbler Glass Hard, large mallet; see above Fluted/ribbed stick

Peg clef Indicates actions to be performed on the tuning pegs of the instrument. A toneless, airy sound created by bowing directly on the bridge while covering the strings. The bow pressure and the speed of the bow must be sensitively balanced to obtain a direct and audible result. Played with pressed bow. The result should be a dry rattling sound, strongly "perforated." A whining, smudged, or otherwise distorted tone should be avoided at all costs. The bow can be held with the fist. JetĂŠ technique, or bouncing the bow on the strings.

Pick Hand, fingers when an arrow is present

Highest note, when pizzicato, sounds like a wood block

Actions performed inside the piano have a picture of a piano next to the notation.

Hammer pizz. Indicates left hand "slapping" string to achieve sound. The right hand does not perform this action.

Small Brush: Place the brush between the bridge and the duplex bridge of the piano in the specified register.

Cork Block: Drag along the bass strings to create a resonant, windy sound on specified strings.

Jumbler Glass: By rotating the glass in a circular fashion, the performer can produce sustained, dissonant, and richly textured pitches. Should be placed in bass register, but another location may need to be found, depending on the properties of the piano being used.

The multiphonic sign indicates the player should bow the string such that two or more clear tones result. This can be achieved by exploring the angles of the bow meeting the string, bow pressure, and location. (Cb.) This kind of legno technique is to be performed on a muted string, such that the resulting sound is veiled and woody. The fingers should stop the strings as if playing a harmonic but all the reall harmonics should be muted with secondary fingers. Stopped pitched should be heard as a weak shading of the brightness of a bowed sound. Applies to both the battuto and tratto variations. Indicated a crush tone. Excessive bow pressure that is still slightly pitched.

A harmonic notehead that is half filled-in indicates a muted action. The player is to finger the note like a natural harmonic, but also add an finger behind that note to dampen the sound. Transitions between muted harmonics and natural ones are also required.

A darkened triangle above the staff indicated an increase in bow pressure. Althought his is a similar technique to the excessive pressure leading to noise technique described above, this technique mantains a degrees of the original tone. Exactly how much depends on the relative intensity of the darkened mass.

An arrow with the word "partials" indicates a adjusment of bow placement and pressure to create the specral content of a tone and even jump into higher overtones such as the octave or the fifteenth. The effect should be explored in a gradual manner and not be exaggerated. By all means eplore the resulting sounds, but do so in the context of the musical situation at hand.

Indicates a pronouncedly veiled, non vibrato intonation with a predominant bowing sound. The fingers should stop the strings as if playing a harmonic but all real harmonics should be muted with secondary fingers. Stopped pitches should be heard as a weak shading of the brightness of a bowing sound. Execute at a high stop on a low string. This is notated with a diamond and flaut. written above the staff.

Preparing the strings with Paper clips Some strings are asked to prepare their instruments with paperclips. This technique is perfectly safe for the instrument provided a paper clip with a plastic coating is used. This prevents any damage inflicted by scratching the string from metal to metal contact. Paper clips on strings provide a unique, metallic, multiphonic sound. Differences in sound quality depend on the point on the string or bridge where the bow makes contact. Bowing in front of the paper clip Produces a multiphonic sounding like pitched noise with the ability to increase the noise content by means of bow pressure and location Bowing in front of the paper clip (Multiphonic) This technique has the clearest pitch content and resembles a wind instrument multiphonic. It is created by bowing at the point on the string where the third partial would result. Bowing behind the paper clip Produces a more noise oriented sound with very little pitch content. Bow pressure and speed change the quality of this sound as does the fingered pitch location, though no focused pitch result.

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

English Horn

Clarinet in B b 1

Clarinet in B b 2

Bass Clarinet

Bassoon 1

Bassoon 2

Contrabassoon

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trumpet in C 1

Trumpet in C 2

Trumpet in C 3

Tenor Trombone 1

Tenor Trombone 2

Bass Trombone

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Harp

Piano

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Violin I 2

Violin I 3

Violin I 4

Violin I 5

Violin I 6

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–@

8

≈ Oœ

Œ

· · @

+

– @

6

@ œ

gliss

œœ

π

≈ Œ

‰

œ œ.

–@

p

5

P

Ó

π

Ÿ~~~~~~~~~~~~~~~~~~~~~ · (·) · · · ‰.

p

Œ

π

œ.

– – – – – – – – – – – – ‰.

“F ”

œ.

˙˙

π

∑

π

·· ·· .. @ @

≈

≈ ‰

“ƒ ”

œ œ

f

∑

œœ

s.p.

+

Ó

‰.

F π

Œ

‰

. œ œ ‰

5

∑

≈ Œ

·

.

œ

π

p

gliss

+

Œ

˙

œ bœ

œ.

Œ

@

π

Large Tam

+

–.

“ƒ ”

Œ

Œ ‰

–. ∑

–

“ƒ ”

∑

Ó

bœ

@ @ – – p

“ƒ ”

6

“ƒ ”

Œ

“F ”

Ó

Timp Head

–

Ÿ~~~~~~~~~~~~~~~~~~~ – – – ‰.

‰

“F ”

6

‰

œ.

p

∑

≈ Œ

s.t.

·

∑

“ƒ ”

6

Œ

‰.

p

v.m.

p

∑

Œ

–.

‰ œ

Œ

∑

Œ

π

senza sord.

≈

π

∑

· ‰. @

π

Œ

“ƒ ”

Ó

∑

‰.

Œ

F

∑

‰

s.t.

œ.

∑

Ó

· @ ·. @

ß

b˙.

(h)

– ‰.

œ œ ‰. Ó

œ

∑

a.l.

o œœ

Ó

œ

π

∑

∑

∑

s.t.

Œ

Œ

“ƒ ”

p

∑

d· ·

s.p.

Ó

· @

‰.

b˙.

Ó

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ œ ( œ) œ œ ‰.

“ƒ ”

Œ

≈

Ó

Crotales

œœ

∑

s.p.

∑

senza sord.

Œ

‰

π

∑

IV

Ó

Œ

Œ

œœ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰. œ (b œ ) œ œ

F

s.p.

‰.

‰

π

∑

π

nat.

Œ

F

∑

Ÿ~~~~~~~~~~~~~~~~~ II s.p. · (·) · · ‰ p

Œ

∑

Œ

‰

‰

P

Ó

Ó

–

œ

Ó

@ œ@ œ ‰ . Ó

œ@

π

∑

– ‰.

–

& ≈ œ . π

Œ

@ œ

‰

∑

π

Ó

v.m.

π

7

œ ≈ Œ @ f

P

‰

P

œ œ

Œ

∑

˙˙

Ó

x.s.p.

œ.

Œ

∑

∑

nat. a.l.

œ ≈ Œ @

π

‰

“F ”

6

π

∑

œ

π

‰

P

œ

π

Ó

P

3

≈

–

p

∑

∑

∑

–

6

∑

4 4

œ

∑

Œ

p

6

∑

5

Ó

– ≈

p

“F ”

∑

Œ

∑

– @

“ƒ ”

∑

Œ

Œ

œ

π

Ó

– – –––– – – – – – ––––– Œ

∑

Ó

“ƒ ”

– –. @ @

– @

“F ”

œ ≈ Œ @

x.s.p.

∑

Œ

Ó

“F ”

6

Œ

Œ

‰

6

∑ b· ‰ f ` °

Ó

– – – – –––– – – ––––––––––––– –––– – – Œ

5

œ

“ƒ ”

Œ

“F ”

≈

π

œ

dœ

Œ

p

‰

∑

“ƒ ”

‰.

9

Œ

∑

– ≈

–

“ƒ ”

≈

π

F

Œ

≈

‰.

π

∑

∑

≈ ‰ b œœ ◊ π

· ‰

‰.

P

F

8

· #· · b· ‰

‰.

≈

π

œ.

π

“ƒ ”

¬

“ƒ ”

œ @

F

F

π

·

œ

F

Ÿ~~~~~~~~~~~ œ . (œ) œ

≈ Œ

–.

∑

M

π

∑

Œ

Œ

f

∑

Œ

‰. œ@

v.m.

Ó

Œ

> P

≈ Œ

¿

ß

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

œ

F

x.s.p.

≈

∑

œ@

˘

π

≈

·

œ.

¬

∑

π

π

≈

Ÿ~~~~~~~~~~ œ. ≈ b œ .(b œ)

p

∑

∑

π

F

œ œ

# · ≈

œ.

≈ b œ .

‰. ·

œ

Œ

‰

5

Œ

p

bœ

F

Œ

∑

∑

5

“ƒ ”

œ @

π

∑ ‰

Œ

‰.

‰

#· ·

#·

∑ Œ

≈ Œ

∑

–––– ––– – – – – – – –

B. Drum

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ s.t. œ(b œ ) œ3œ œ œ(b œ ) œ . œs.p. œ œ B‰ ≈ ≈ Œ S π

·

∑

Ó

œo ≈ Œ @

s.t.

≈ Œ

‰

F

‡

Œ

“ƒ ”

‰

Œ

Œ

Ó

œo ≈ Œ @

s.t.

π

œ

pizz

P

Œ

· ≈ Œ

F

bœ

Ÿ~~~~~~~~~~~~~~~~~~~~~ œ ) œ. œ

s.t. b œ (

@

π

·

Œ

π

≈ b œ . @

π

œ.

œ œ

‰.

π

≈

F

‰.

∑

senza sord.

“F ”

œ

x.s.p.

œ

‰

œ ‰. @

œ ˙

“ƒ ”

œ

‰.

¬

?

p

5

d· b· b· · ≈ N· ·

≈

œ.

π

≈ –

≈ ·

Œ

Ó

π

œo ≈ Œ @

s.t.

P

Œ

dœ œ

#· #· · #· · · Ó

∑

‰

Œ

‰.

Œ

Œ

¬

pedal tone

x.s.p.

‰

p

‰.

P

∑

P

‡ ‡ π

≈ Œ

œ (b œ )

Ó

P

p

. œ ‰

Œ

Œ

≈ Ó

P

s.t.

‰

7

·

π

‰.

Œ

“ƒ ”

“ƒ ”

Ó

poco vib.

œo @

P

‰

Œ

– –

“F ”

∏

P

œo @

·

5

Ó

Œ

4

œ @

s.p.

–

∑

+œ @

‰

p

+œ œ @ @

∑

‰

œ

– (–)

π

∑

π

·.

· b· ·

#· ·

Œ

π

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

+ œ Ó

‰.

P

œo @

≈

Œ

“ƒ ”

–

Ó

∑

4 4

‰

≈

v.n.

∑

–

≈ Ó

“ƒ ”

∑

œo @

6

6

‰

b· ‰.

b· ·

– – – – – – – – – – ‰.

∑

œo @

· b· · b· #·

F

Ó

∑

s.p.

5

5

“ƒ ”

–.

#œ

Ó

‰

f

‰.

“f ”

Œ

–

5

P

Œ

“ƒ ”

Ó

≈ Ó

‰.

“f ”

œ.

2

Œ

bœ

–

‰

f

π

œ.

2

‰

. ..

nat.

F

@

Ó

o œ.

+ ‰

.

œo @

Ÿ~~~~~~~~~ s.p. œ .(b œ ) œ ‰

Π@

gliss

œo @

‰

π

π

S.B. Sm.

‰.

‰

Œ

√

IV s.p.

· ‰.

gliss

3 s Œ œ

œ

Waterphone

‰

Œ

∑

– ‰.

d ·M

III

Œ

·

π

∑

Ÿ~~~~~~~~~~~~~~~~~~~~ s.p. nat.

π

‰

f

‰

∑ 3

¬

∑

œ ‰.

œ ‰.

IV nat.

Ó

+ +œ

timp gliss resonance

1

≈ · b · · b · · ‰

3

–

Ÿ~~~~~~~~~~~~~~~~ – (–) – . ≈ Ó

Œ

F

P

π

Œ

p

··()

œ

‰.

Ó

π

bœ

π

π

∑

nat.

( h .)

F

π

+· +·

IV

P

Œ

π

¬.

?

˙.

Ó

Ÿ~~~~~~~~~~~~ s.p.

s.p. III

B

?

œ

Œ

“F ”

‰

œ

Œ

¬

–

straight mute

f

p

Œ

s.t. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ‰ bœ œ ( ) œ . œ œ œ œ. œ œ œ œ ‰.

Œ

Œ

f

‰

( h .)

˙

Œ

p

Ÿ~~~~~ b œ œ .( ) œ Œ F

· ·.

3 4

Œ

s.t.

#œ.

· ‰. @

gliss

f

‰

‰

π

o œ

œ

Tam

œ ‰

gliss

Œ

s.t.

a.s.p.

·@ @.

bœ

· ·.

œ

ƒ

π

˙

p

œ . ◊

M Œ · °

π

a.s.p. o o œo œo œo œo œo ‰ œ œo œ œ œo œ ‰ œo o o π p π

IV nat.

≈ œ .

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 s3 s3 œ( ) œ œ œ œ œ œ œ œ œ œ œ œ

π

Œ

Œ

près de la table

F`

–

–.

–

p

‰

+ œ

π

F

‰.

harmon mute

Œ

Œ

p

‰.

P

bœ

Œ

∑

‰.

œ

Prayer Bowl on Timp Head

∑ Ó

π

∑

Œ

D C# B / E F# G# Ab

·

√ IV nat.

B

?

P

P

s.p.

&

?

Œ

Sus. Cymb.

·

F

Ó

&

œ œ ‰.

‰.

Œ

p

‰

∑

∑

2

nat.

·o ‰

&

&

Ó

2

F

œo@

&

π

nat.

s.t. Ÿ~~~~~ œ .( ) œ ‰

‰

∑

∑

∑ ‰.

&

&

F

∑

&

?

œ œ ≈

∑

&

Œ

∑

S.B. Sm.

5

harmon mute

∑ ∑

‰

“ƒ ”

–.

–

Œ

∑

∑

p

‰

‰

Œ

∑

∑

+ #œ

?

–

Ó

∑ ‰

Œ

‰

6

Ó

π

π

Œ

∑

∑

‰

F

∑

Œ

· ‰

F

· @

≈ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · .(b · ) · · · ·. ·

∑

4 4

5

3

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 ‰ ·. · ·

# · (·) ·

∑

?

·

F

F

∑

∑

b· · b· ‰ · b·

· b·

· @S

5

5

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ # · (·) · ≈ · · ·.

∑

B

b· · b·

· @

5

p

–

p

p

· b· ·

b·

· @

3

Œ

Œ

· @

‰

b· ·

‰

Œ

3 4

Evan Gardner 2010/2012

for the Bergen Philharmonic Orchestra

5

– ‰.

“ƒ ”

Œ

Ó

“ƒ ”

b·

∑

Violoncello 3

Contrabass 2

≈

· +· · +·

p5

· ·. @ @

∑

bow grind on body belly

Contrabass 1

p

‰. π F Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . ‰ · #· ( ) · · ·. · ·

Œ

∑

B

Violoncello 2

Œ

· · ‰ @ @

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ‰ # · ( ·)· · · · ·

?

Viola 2

Violoncello 1

Ó

Ó

?

B

Viola 4

P

&

Viola 1

Viola 3

Œ

p

4 4

3

·.

· b· · ·

‰ b·

∑

&

b œ.

Œ

&

s.t.

Violin II 4

Ó

∑

&

s.p.

Violin II 3

∑

∑

&

3 4

2

Scandinavian Knitting

F

œœ . .

‰ Œ

P

≈ Œ

Ó

P

‰.

s.p.

Ó

Œ ∑ ∑

Ó

∑

Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ÿ~~~~~~~~~ œœ (b œ)œœ

P

nat.

‰ œ

p

2 10

Picc.

Fl. 1

&Ó

‰ ˙. @

&Œ

π

œ @

Fl. 2

&Œ

Ob. 1

&Œ

dœ.

œ.

≈ Œ

Ob. 2

E. Hn.

&

B b Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

T. Tbn. 1

T. Tbn. 2

B. Tbn.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

œ. @

π

œ

F

œ @

F

5

‰.

π

Œ

œ

‰.

œ

F

p

P

F

?œ

œ

‰.

œ

‰. ‰

p

F

p

p

F

œ

œ

?œ ?

p

π

5

œ œ œ p f p ~~~~~~~~~~~~~~~~~~~~~~ 5 ?· ≈ ·. · Œ F

‰

p

p

3

+ ≈ # œ .

&Ó

≈ # œ .

bœ.

5

bœ.

5

p

f

œ

œ.

œ

œ.

f

p

f

@ #œ

5

œ

o ‰.

gliss

?–

P

œ œ.

‰.

Waterphone

ã Œ ã w @

S.B. Sm.

π

F

2

œ œ

‰.

Large Tam

@

@

œ.

2

@ bœ

‰

π

f

v.m.

≈

Œ

f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbigliando # œ .(b œ) œ œ ≈ ≈

&Ó

p

?

f

∑

?

3 4

∑

œ &œ

œ œ

œ œ

F

π

œ ≈

‰

5

Vln. II 3

Vln. II 4

Vln. II 5

œ

gliss

~~~~~~~~~~~~ (√) œo œo . œo . F

œ. œ.

œ &œ

œœ . .

&Œ

˙. ˙.

π

5

œœ

œ œ

π

œ. œ.

F

5

œ œ @

s.p.

Bœ BÓ

Vla. 3

BŒ

Vc. 1

Vc. 2

Vc. 3

Cb. 1

Cb. 2

B ‰. ?

s.p.

œ.

π

‰ s.p.

P

5

? ‰. ?Œ

P

F

s.p.

œ

P

partials

‰.

œ ‰.

‰

‰

π

s.p.

œ

P

partials

partials

œ‰

œ

partials

œ ˙

P

Œ

œ

s.p.

?Ó ?Œ

œ

p.v.

œ ˙

˙

P

v.m. 5

s.p.

œ

P

œ ‰.

œ

P

œ

bœ

œ f

∑

Œ

+ ≈ Œ

∑

Ó

Œ

∑

≥ ≤ > – ‰ – ‰ – ≈ Ó

‰

‰.

œ

œ

œ.

œ

F

≈

‰ Œ

partials

œ œ.

˘ ‰. —

ß

œœ ‰ . Œ

œ ≈

4 4

Œ

∑ œ. œ.

œ œ

nat.

p

œ ‰. Œ œ

f

Œ

Œ

≈ œœ .. œœ @ @ s.p.

∑

œ œ

nat.

≈

œ. œ.

œœ . .

œ

‰

¿

Œ

≈ œœ .. œœ @ @ s.p.

Œ

∑

p

‰

Snare

π F

œ ‰. @

f

œ œ

F

œ.

partials

œ

partials

œ

F

partials

œ f

œ ‰. Œ f

œ.

≈ Œ

Œ

≈ Œ

Œ

Œ

f

≈ Œ

œ. f

partials

œ.

œ

F

Œ

œ ‰. Œ f

partials

œ œ

F

p

œ

œ

Œ

Œ

f

√

Œ

≈ œœ ..

ƒ

“f ”

Œ

Ó

.

Œ

‰

“ƒ ”

“ƒ ”

‰

‰

I }{

f

Œ

Œ

‰

œœ . ≈ . @

Œ

‰

II

I }{

f

}{

f

}{

f

Œ

‰

III

œ . ≈ œ. @

Œ

‰

III

p

ƒ

ƒ

œ œ . ≈ œ œ. @ @ s.p.

p

ƒ

Œ

‰

legno tratto IV

}{

f

}{

f

IV }{

f

≈ Ó

IV crini + legno tratto

“ƒ ”

legno bat. IV . . .

‰. ¿

ƒ

legno bat. IV . . .

‰. ¿ pizz.

‰.

pizz.

‰.

‰ Œ

œ

ƒ

#œ

pizz.

‰.

ƒ

ƒ

œ

ƒ

legno bat. IV

‰.

¿ fl

ƒ

“ƒ ”

f

‰

Œ

‰

IV

IV

Ó

˘

}{

ƒ

˘

}{

ƒ

Ó

Ó Ó

& ‰

‰.

& ‰.

œ

s.p.

p nat.

nat.

& ‰. nat.

@ œ.

p

œ œ @

f

p

P

Ÿ~~~~~~~~~~~~ œ (b œ ) œ œ ≈

p

P

@ œ.

5

gliss

‰

P

‰ œ @

˙ @

‰ œœœ

Ó

Med. Tam

p f

B. Drum Side

œ. œ @ @

F

5

‰

III }{

ƒ

Œ

‰. Œ

Œ

F

Ó Ó

‰.

s3 F

I

·

. ..

ß

Œ Œ

IV

d ·M π

(q)

¬

–

–

‰

≈ ≈

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ – (–) – –. – ≈ Œ

P

–

P

≈

∑

B Œ

?Ó

s.t.

‰ +œ

P

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

π

s.t.

‰ +œ s.t.

–

–

–

–

“f ”

œ ˙.

p

3 4

p

‰ +œ p

œ ‰. œ

F

5

œ

@ ˙·

œ

p

œ. œ

partials

≈

III

II

œ

œ ‰

Œ

Œ

≈

˙

partials

œ

œ ‰

œ œ‰

partials

Œ

≈

œ

‰.

Œ

nat.

Œ

Œ

Œ

≈

Œ

nat.

∑

≈ Ó

œ.

p

œ.

œ ‰.

Œ

p

∑

o ‰ œ

˙

π

œ. œ

5

Ó

·.

œœ . .

p

Sus. China

œ. œ 1

œ.

Waterphone 1

œ ≈

œ

p

partials

œ.

œ

≈ Œ

≈

œ.

œ

œ

partials

p

˙

‰

∑

partials

s.p.

p

˙

œ.

F

s.t.

≈ + œ .

œ

π

œ

F

s.t.

+œ

π

œ

œ.

œ

œ ‰.

F

œ

F

≈ Ó

F

Ó

œ

œ. ‰

π

Œ

≈

π

‰.

π

∑ ˙. @

Œ

π

œ3Œ S

Œ

3 ‰œ

œ

œ . ≈

Œ

Ó

s œ Œ

Œ

‰œ

œ

œ . ≈

Œ

Ó

œ@

@ œ ‰.

Œ

‰.

Œ

Œ

‰.

Œ

Ó

F

3

p

p

3

p

s.p.

· ‰

3 ‰ œœ

( h.)

Œ

p

3 ‰ œœ

Œ

Ó

∑

∑

f

Oœ .. ≈

nat. a.l.

f

f

v.m.

nat.

p

f

v.m.

‰ . ‰ ·œ ·˙ @ @

∑

Œ

≈ Œ

Œ

π

∑ ∑

∑

Œ

∑

Œ

&

Œ

F

∑

∑

w @

F

œ œ

œ . ≈ œ. (h)

≈ ·

·.

II

F

F

œœ

p

œœ . ≈ . F

‰

+ · (+ · ) ·

Œ

‰

nat.

F

Œ

x.s.p.

F

‰

@ +œ

˙@

œ

˙.

F

Œ

Ó

d d ·œ ·œ ‰.

B

Œ

B

≈ Ó

D D ·œ

nat.

Ó

‰

p

nat.

nat.

‰

b b Oœ .. O˙ nat.

d d ·œ p

·˙

p

p

Œ

‰

∑

Ó

Œ

‰

∑

Ó

Œ

‰

Oœ

5

s.p. I

Œ ·

π

s.p.

≈

& Œ

nat. I

·œ .. ·œ ..

f

O˙ ..

s.p.

f f

s.p. III

‰.

s.p. III

p

6

f

≈ Œ

3

≈

Œ

Ó

≈

Œ

Œ

≈

Œ

Ó

Œ

f

Ÿ~~~~~~ · (· ) · ‰ .

Ó

π

II

¤€ ≈ # œ o

6

f

nat. III

Œ

Oœ ..

Œ

·

. ..

π

p

Ó

π

II

p

≈ œ. π Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · .( ·) · (h)

Ÿ~~~~~~~~~~~~~~~~~~~ · (·) · · ‰.

F

œ œ @

s.p.

Ó @ œ.

(q)

F

p

Ó

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · ( ·) · ( h ) ·. F

a.n.

≈ Œ

¤€ o o o o œ œ œ œo o #œ ‰ ≈ œo # œo œ

f

œ œ

‰.

·.

Œ

·œ .. Oœ ..

“ƒ ”

Ÿ~~~~~~~~~~~~~~~~~~~

s.p.

5

s.p.

Ó

f

5

œ

Œ

œ . ≈ œ.

œ3Œ œ S

p

f

18

p

a.l.

Œ

œ œ

F

œ. œ.

‰.

3 ‰ œœ

œœ 3 Œ Œ S nat. Ÿ~~~~ ≈ œ (. b œ) œ ‰

a.l.

∑

π

Œ

3

·.

p

Dœ

F

œ Œ œ S

·

s.p.

π

∑

17

# # œO

p

P

Ó

≈ œ@. ˙@.

·.

.

gliss

– ‰ @

œ

v.n.

5

∑

F

s.p.

∑

Ó

∑

F III

@

Œ

partials

Œ

p

5

Œ

p

Œ

p

p

nat. n.v.

œ ‰

s.p.

œ . @ ‰

œ. œ @ @

∑

nat. n.v. II

@gliss

Œ

f

partials

≈ œ .

œ

œ ‰. œ

partials

œ @

˙ @

– ‰

≈

œ. œ.

f

F

P

w

∑

∑ @

p

s.p.

œ ‰.

p

s.p.

Œ

π

∑

∑

4 4

?

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 gliss œ (œ) . d œ@ ‰ .

∑

16

p

5

@ .gliss @

Ó

∑

Ó

‰

œ

f

œ ≈ Ó

F

œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # œ (œ) œ œ. œ

5

π

∑

bœ œ.

œ

p

5

p

p

Ó

∑

œo

Œ

#œ.

5

œ.

œ

œ@

‰ Œ

P

p

p

∑

“f ”

œ@

œ@

π

≈

p

– @

Timpani Head

F

p F

#œ

– ‰

œo .

π

? ‰.

5

5

Œ

p

p

– @

5

œ. œ

œ F

5

≈ Œ œ. œ p Ÿ~~~~~~~~~~~~~~~~~~~

Œ

P

Œ

p

p

œ

5

∑

P

‰

Œ

s.p.

‰ @œ

harmon mute

œ bœ œ bœ

dœ.

Œ

B

œ

F

‰.

p

cup mute

∑

F

œ F

5

œ.

p

p

Ó

p

5

#œ

Œ

œ. p

‰

≈

œ.

F

‰.

harmon mute

“ p”

∑

p

5

œ. œ

∑

“f ”

f

F

˙

? Œ

Œ ‰.

Œ

B

#œ

œ

w

– ≈ Œ

“f ”

5

Œ

B Ó

Œ

·M

–.

œ œ ‰. @ @

π

Ÿ~~~~~~~~~~~~~~~~~~~~

s.p.

≈

(q)

–

Ÿ~~~~~~~~~~~~~~~~~~~ œ œ. œ œ ‰.

≈ œ .

‰.

œ ˙.

Œ

“f ”

5

≈

p

Œ

p

‰

Œ

p

v.m.

“f ”

sord.

Œ

˙

‰.

sord.

‰.

˙ ˙

Œ

– ≈

∑

“ p”

∑

œ

F

Ó

∑

≈

p

Œ

p

œ

p

œ œ ‰ S

F

Œ

‰

p v.m.

v.m.

∑

∑

‰. ‰.

Ó

– ≈ Œ

Œ Œ

∑

5

Ó

F p

f

v.m.

Ó

p

3

‰.

Œ

Œ

Œ

5

F

p

Ó

“f ”

Œ

p

F

B ‰

.

œ b œ b œ ≈

–. –.

p

Œ

Œ

œ œ ‰ S

∑

Œ

œ. œ

3

p

∑

œ œ

œ

œ

∑

?Œ

·M

Œ

π

œ œ ‰ @ @

‰.

p

≈ Œ p

∑

Ó

a.l.

& Œ

B

Œ

Œ

F

∑

p

s.p.

≈

s3Œ ·M

œ œ

nat.

s.p.

.

bœ œ œœœ

œ.

5

Ó

œ ‰ @

& ‰

∑

P

≈

“ p”

‰.

‰

& Œ

∑ (q)

–

P

–.

s.p.

π

∑

π

p

‰

P

≈ d œ . œ

‰

∑

P

“f ”

Œ

≈

# # œ· ..

∑

+ M·

‰.

Œ

a.l.

& Œ

IV

Œ

P

Ó

∑

≈ Ó

Œ

‰.

œ @

Œ

Ó

≈ Ó

bœ.

®‰

p

≈ d œ . œ

p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ .( œ) œ 5 œ S

Ó

≈ œ . œ . ≈ Ó

≈ Œ

œ.

F

w

Œ

∑

‰.

π

π

∑

¬

Œ

& Ó

≈ Ó

œ.

œ bœ œ ® ‰

F

∑

∑

“ƒ ”

–

P

œ @

≈ Ó

‰.

≈

∑

∑

IV legno tratto

œ œ œ

∑

œ ‰. Œ œ @

∑

≈ Ó

n œ œ œ œ ≈

18

˙

Ó

π

π

∑

¿ œ

‰

@ œ ≈ Œ

F

π

“ƒ ”

œœ

œœ

‰.

–.

Ó

œ

≈ Ó

Œ

≈

F

–.

“f ”

œ

‰

π

≈

≈ Œ

∑

– – ‰. @ @

Timp. Head

œ @

f

œ

& ≈ œ· ..

III legno tratto

≈

p

Ó

œ ≈ Ó

Ÿ~~~~~~~~~~~~~ œ (œ) œ œ ≈

π

≈ Ó

Œ

.

Œ

3

s.p.

‰.

Œ

Œ

‰.

œ œ @

nat.

nat.

legno tratto IV

f

∑

5

.

F

v.m.

œ. 6

œ œ

Ó

∑ gliss

5

15

& ‰.

≈ Ó

‰.

F

œ. @

∑ œ

near agraffe

‰.

‰.

Œ

∑

5

& ≈

“ƒ ”

‰

E

p

°

crini + IV legno tratto

Ó

œ œ . ≈ œ œ. @ @ s.p.

≈ œ . @

P

°

œ.

‰ — ~~~~~

P

B. Drum Skin

P

œ œ

F

∑

P

‰ — ~~~~~

– ≈ Ó

5

bœ bœ bœ œ œ œ.

crini + IV legno tratto

II

ƒ

“f ”

hand slap on mouthpiece

Œ

?Œ

IV

“ƒ ”

‰

s.p.

– –‰

P

hand slap on mouthpiece

œ

œ b œ b œ ≈ ‰ ‰ .

¬

“f ”

‰

Ó

œœ . ‰

–

“f ”

Œ

‰

duplex strings

‰.

¬

‰ –

∑

–.

–

“f ”

Œ

P

14

Œ

ƒ

‰ ‰

Œ

◊

Œ

Œ

“f ”

Ó

¿

crini + legno tratto

œ . ≈ œ. @ s.p.

P

“f ”

Œ

–

13

Œ

s.p.

Œ

Œ

œ

– ≈ Œ

Ÿ~~~~~~~~~~~~ ‰ – (– ) – –‰

≤ –

Ó

p

P

Ó

Œ

œ œ . ≈ œ œ. @ @

ƒ

– œ‰

Ó

Ó

∑

v.m.

œ

‰.

‰

ƒ

‰ –

Œ

f

3

f

Œ

‰ œ œ ‰. @ @

3

‰. dœ

Œ

œ‰

–

≥ –

P

Œ

p

‰ –

Œ

œ . ≈ œ. @

f

œ ‰

π

p

œ ‰. œ

f

partials

≈

‰

ƒ

œ œ . ≈ œ œ. @ @ s.p.

œœ ‰ . Œ

f

œ.

partials

f

œ

œœ

‰

œ.

F

œ œ

œ. œ.

≈ œ

f

œ œ œ œ

nat.

p

œ ‰. Œ œ

nat.

Œ

‰.

Œ

f

œ œ

Œ

‰

F

‰

≈

≈

‰

œ . ≈ œ. @ s.p.

Œ

Ó

“f ”

E

Ó Œ

Œ

“f ”

f

Œ

Ó

3 P

F

˙ @

F

∑

Ó

¿

π

œ

Œ

œ @

ß

Œ

Œ ‰ ¿

œ ‰ . ≈ #œ.

∑

Ó

Timpani Side

Ó

‰ œœ œœ œ œ Œ S Œ

∑

Œ

π

Œ

Med. Tam

‰. œ @

Œ

ß

C

B. Drum Side

– –.

P

œ . ‰

œ @

œ ‰.

œ œ.

17

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ (œ) œ œ œ ‰ Œ ‰. Œ

‰.

∑

> ‰ – ≈ Ó

‰.

Œ

–

senza sord.

œ‰

π

∑

Œ

f

f

π

4 4

16

‰.

œ ‰.

Ó

≈

3 4

Œ

M

œ œ.

Ó

π

ß

Ó

∑

Œ

Œ

≈

s.p.

P

œ. œ. @

œ.

‰.

hand slap on mouthpiece

œ ‰.

‰

P

Ó

‰.

f

f

œ

π

∑

– –

‰

“f ”

‰

> ‰ – ≈ Œ

ß

∑

Œ

P

senza sord.

+œ

∑

œ ≈ Œ @

–

senza sord.

ß

¨

#œ

‰

“f ”

M

f

π

senza sord.

Œ

∑

π

ß

Œ

∑

Œ

“f ”

–

“f ”

– –

– ≈

P

senza sord.

∑

Œ

–

P

–

Ó

≈ f

‰

≈ œM.

˙

Ó

Œ

ß

œ

F

Ó

œ. œ

π

Ó

‰.

π

#œ F

π

#œ œ. bœ œ dœ œ. @ @ @ @ @ @ p

Ó

p

œ

œ. œ

∑

“F ”

Œ

Ó

F

¿ ≈ Œ

Ó

Ó

∑

5

œ

‰.

F

˙

≈ # œ .

‰.

∑

≈

≈

Œ

ƒ

Œ

p

“F ”

Œ

∑

¿.

“ƒ ”

œ ‰.

f

ƒ

‰.

∑

Œ

œ

¿ (¿ )

p

b·

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ key click

≈ œ .

∑

∑

‰.

‰

p

b· ·

– ‰. @

∑

‰. ? ‰. œ >

œ œ‰ Œ

F

“ƒ ”

∑

nat.

Œ

≈

œ.

œ partials

π

partials

œ

partials

s.p.

∑

· · b·

∑

œ. œ.

π

Œ

∑

Œ

œœ . .

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. œ. œ ≈ œ. œ & ˙.

Vla. 2

Vla. 4

π

œ œ @

5

Vla. 1

œ ≈ œ

œ œ

∑

∑

≈

nat.

≈

œ . ≈

12

“ƒ ”

Ó

s3 œ œ f

≈

∑

œ

f

f

5

Œ

≈ – . @

f

≈

f

π

Œ

p

Ó

Œ

partials

œ. œ.

œ œ. œ œ. @ @

‰.

5

œ.

˙˙

P

5

p

&Œ

π

F

5

≈ – .

5

F

≈ Ó

œ œ

F

5

“ƒ ”

Ó

∑

œ. œ. @

p

s.p.

Ó

Ó

11

œ ˙ œ ˙ @ @ p II Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ III s.p. ·· ·. · ·. · ≈ ·( ) ·. · ·. ·

Œ

f

5

Dœ œ. @S @

5

P

5

b– – b–

Œ

f p

°

Œ

œ ‰.

5

“ƒ ”

œ ‰.

∑

Glass

œ ≈ œ

π

Vln. II 2

œ. œ.

nat.

& œ œ.

œ &œ

Œ

œ œ œ œ

‰.

&Œ

‰.

. .

≈

∑

p

5

Œ

œ ‰

#œ

œ. @

f

p

∑

&

œ. @

Ó

‰.

œ

f

∑ œ @

b– b– b– – b– –

“ƒ ”

6

∑

π

#· · . ≈ # · · · ‰ Œ @@ @ @ @

≈

Œ

∑ œ ≈

5

Œ

Œ

Ó

∑

gliss

–– – – – – – – –

‰.

Œ

f

∑ 5

œ

œ ‰.

∑

œ@ @.

Ó

dœ

f

∑

“P”

p

+ 5 # œ œ ≈ p

f

≈ – – – – – – – – – 5

œ

œ œ . ≈

∑

≈ Ó

‰.

π

Ó

15

œ. ≈ @ =@œ

5

f

œ

˙.

p

@ œ.

Ó

–.

œ.

p

‰ #œ

+

π

U

14

œ ‰.

≈

+

‰

∑

“ƒ ”

㠌

&Œ

Vln. II 1

‰

p pos.

@ œ ≈

5

p

f p

Œ

œ

13

œ

≈

p F

p F

œ.

œ.

p

bœ œ.

œ œ.

Œ

5

B œ ‰

o

@ œ.

œ ≈ Œ

?Œ

&

‰.

π

˙.

p

≈

# œ@

Œ

≈

œ

p

Œ

˙@

≈ Œ

p

‰.

œ

≈

π

‰ œ

∑

Vln. I 3

Vln. I 6

p

f

Œ

‰ bœ

Œ

Œ

F

œ@

π

? ?

œ ≈

π

œ.

π

π

?

5

œ.

P

straight mute

# ˙@

p

π

≈

Œ

cup mute

π

p

5

Œ

π

+

+ @ @ #œ œ

π

˙

π

‰

F

dœ œ

‰.

Œ

s œ

œ

p

bœ

&Ó

œ. œ

∑

∑

&Œ

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∑

∑

∑

Ó

‰.

6

∑

∑

‰

ß

¨

Ÿ~~~~~~~~~ 3

‰.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~

≈ ‰

œ œ

π

˙M

∑

Œ

‰.

Œ

∑

∑

Ó

≈ œ .

woodblock pizz.

‰

5

œ

∑

woodblock pizz.

œ ˙

Œ

œœœ œ œ

≈ ‰

∑

v.n.

p

p

5

∑

III

F

p

œ. œ

œ

Ÿ~~~~~~~~~~~ key click ¿ (¿) ¿

3

‰.

F

F

#œ

Ó

5

∑

hand slap

woodblock pizz.

¤€ o o o ≈ œo œo œ œ œ œo œo ≈ Ó arco

Œ

#œ œ #œ œ œ Œ

Œ

∑

˘˘ ˘˘ —— ——Ó

‰.

· @

@ ‰.

∑

Œ

˘ —

Ó I s.p. arco

Ó

∑

woodblock pizz.

f

‰

π

Œ

∑

3

& Œ

Ó

œ

≈

5

œ

ß

Ó.

p

Ó

≈ Œ

∑

f

#œ œ ≈ œ œ # œ

π

Œ

∑

f

Œ

∑

∑

‰

&

∑

p

œ fl

6

∑

≈

∑ pizz.

ƒ gliss

f

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # œ (œ) œ œ . ‰

∑

≈

Ó

Œ

Œ

bœ

f

∑

5

p

5

5

#œ ˙ ≈ # œ œ œ

∑

p

œ. œ œ.

π

5

p

p

˙

@ ˙

P

·· b· ‰ Œ @ #·

∑

≈

∑

œ ‰.

bœ œ

f

Ó

Œ

‰.

s.t. v.m.

‰

Ó

Œ

Œ

∑

woodblock pizz.

‰ @ @ #œ œ

œ œ œ œœ œ @ @ @ @ @ @

Œ

π

p

Œ

Ÿ~~~~~~~~~~~~~~~~~ œ. œ ≈ # œ . (œ) ≈ ‰

#œ #œ #œ ≈ œ Œ

w

‰.

Œ

p

∑

œ.

‰.

Œ

p

Ó

5

Ó

‰.

Œ

Ó

Œ

‰. œ ß Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ ‰. œ (. b œ) œ œ ?

‰

p

s œ œ ‰

III v.n.

Œ

‰ Œ

p

∑

∑

a.s.p.

Œ

3

Œ

p

p

p

Œ

o œo œo œo œo o # œ œo œo

p

œ ‰

f

‰

¿ ‰.

p

œ S

II v.n.

Œ

œ ·. ·. ·. ·. Œ @

Œ

‰.

woodblock pizz.

ƒ

f

œ ‰ œ

Œ

œ œ œœ œ @ @ @@ @

F

œ@ ≈

≈

f

‰

legno bat. . .. III

5

œ œ S

p

3

5

p

Ó

‰

5

·. ·. ·. ·.

Œ

p

Œ

Ó

¤€ œ œ ¿ ≈ ¿ ‰ .

∑

3

F

F p

‰

≈ Ó

œ . œ ≈ Œ

œ3œ S œ

p

5

∑ Œ

œ œ œ @ ≈ œ œ @ @ @ @

‰

∑

œ ≈ @ f

Œ

œ @

∑

œ ≈ Œ @

5

Œ

π

œ @

∑

F

woodblock pizz.

¿ ‰.

p

Œ Œ

ƒ

¤€

∑

Œ

legno bat. . .. II

B ≈ œo # œo œ III

œ ‰. œ

legno bat. . .. I

∑

F

21

ƒ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · (h) ·.

∑

œ @

26

Ó

π

‰

F

œ œ @ @

‰.

Snare Side

Ÿ~~~~~~~~ œ (œ) œ ‰ .

p

F

˘ ˘ ˘ on mouthpiece ———‰ Œ

Ó.

p

F

+œ @

∑

œ . œ ≈ Ó

œ dœ S

‰ dœ

œ

Œ

4 4

Accel. 25

Œ

˘˘˘ ———‰

Œ

F

Ó.

p

œ

5

∑

˘˘˘ ≈ — — — Œ

≈ Ó

œ. œ

5

Œ

hand slap on mouthpiece

‰

p

‰

œ

f

œ

5 4

24

@ œ ≈

p

p

p

p

23

∑

œ . Mœ Mœ Mœ ‰

˘˘˘˘ — ~~~~~~~~~~~

˘ ≈ — .

@ œ.

œ ‰. œ

nat.

Ÿ~~~~~~~~~~~~~~~~~~~~~ œ (œ) œ œ. ≈ ‰

(¤€) o o œo & œo œ œ ‰ Œ

M

p

@ œ

œ@

5

senza sord.

Œ

∑

?Ó

hand slap on mouthpiece

π

≈ Œ

@

F

≈ Mœ .

≈ Ó

¤€ œœœœœœœœœœ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰

Œ

∑

· @

Ó

∑

π

·.

œM ‰ .

F

Œ @ œ œ@.

∑

œ @ ‰.

&

?Ó

–. @

– @

F

∑

?Ó

s3 Œ —

π

Ó

&

B

—

‰

w

>œ ¿ ‰.

≈ Œ

f

&

B

3

œM

p

œ @

w

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~ œ ( œ) œ œ. ≈ Œ

II

6

Vc. 1

—

≈ œ@.

@ œ

Œ

f

F

6

Vla. 3

—

‰

∑

≈ . d œ

p

∑

Œ

∑

p

&‰

B

—

Ó

Œ

Œ

@ œ

≈ œ . II

Vla. 1

—

Ó

f

&Ó

&

3

œ ‰.

pedal tone

≈

&‰

Vln. II 5

—

‰.

f

œ. œ.

s.t.

Vln. II 1

—

Ó

˙. & ˙.

s.t.

—

Ó

20

s.p.

Vln. I 3

3

—

senza sord.

19

Vln. I 1

—

∑

œ œ @ @

&@

—

˘ ˘ ˘ ˘ — ~~~~~~~~~~~~~ Œ

œ œ ‰. Ó

œ œ @ @

3

—

p

‰

p

‰ dœ

≈

F

p

Œ

Ó

œM.

p

Œ

Œ

2

œ œ

≈ œM.

‰ dœ

Ó

Œ

œ ‰.

“F ”

˘ — ‰.

∑

& ‰.

?

π

hand slap on mouthpiece

≈

p

3

—

‰.

Ó

5

Œ

∑

∑

f

—

œ

p

5

@ œ

p

∑

?

3

—

p

f

Œ

p

œ ˙

Ó

w

@ @ @ œ œ œ

Œ

?Ó

bœ bœ œ

P

π

œ œ

∑

?

œ œ

π

p

‰

‰.

?

Œ

M

f

œ.

Ó

w

&Ó

?Ó

œ ‰.

œ

M

freely, off rhythm

—

≈ œ .

&

f

f

œ œ @ @ 5

œ

Œ Œ

p

œ. @

5

œ œ œ ‰. œœ

freely, off rhythm

—

œ

ã ‰.

œ

M 5

P

p

p

œ @

p

œ œ

‰.

p

6

freely, off rhythm

“ƒ ”

˙

p

œ œ

Ó

œ ≈ ≈ œ . ˙

ã ‰.

P

Œ

π

&Ó

œ œ œ

œ bœ

bœ @

‰

‰.

Œ

Ó

~~~~~~~~ gliss D œ ≈ Œ

&

≈ Œ

Œ

M

&

&

œ

p

5

p

œ.

Pno.

Œ

p

M

œ.

Hp.

œ SÓ

f

˙.

&Œ

Marimba

Perc. 3

Ó

f p

5

Waterphone

Perc. 2

3

Ó

œ. œ œ.

Sus. China

Perc. 1

Ó

p

œ

œ

&

Ó

œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. œ œ œ 5 œ œ ≈ ( ) S

∑

3 4

22

w

Ó

œ

œ

&

21

Œ

B

≈ Œ

Ÿ~~~ ¿ ‰

tap on body

p

tap on body Ÿ~~~~~~~~~~~ ¿ ¿ ¿ ≈

‰

P

F

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ¿ ¿ ¿ ¿ ¿ ¿ ≈ S tap on body

p

F

p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ arco nat. tap on body #· ¿ ¿ ¿. ¿ ¿ ≈ ? ‰ œ

p

P

‰

arco

p

# ·œ

nat.

π

·œ

π

4

q»60 29

‰. bœ œ

30

&

Fl. 1

&

œ

&

‰ . b œ@ œ@ ‰ ‰

&

Œ

&

Ó

&

Ó

Œ

&

Ó

‰

&

Œ

?

Ó

Fl. 2

Ob. 1

Ob. 2

E. Hn.

B b Cl. 1

B b Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

T. Tbn. 1

T. Tbn. 2

B. Tbn.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Hp.

Pno.

?

π

P

5

œ. œ œ F

p f p

‰ bœ œ p

‰

‰

p

Ó

p

P

œ œ œ œ

Vln. I 2

Vln. I 3

Vln. I 4

Vln. I 5

Vln. I 6

Vln. II 1

Vln. II 2

Vln. II 3

Vln. II 4

Vln. II 5

Vla. 1

Vla. 2

Vla. 3

Vla. 4

œ bœ œ

P

œ p

F

Œ

Œ

Ó

# Mœ

‰ bœ

≈ # œ .

œ. œ œ f

Œ

œ ‰.

F

œ œ.

œ

‰ bœ

œ œ S

‰

œ

œ3œ S

π

‰

‰.

‰

≈ # œ .

œ

œ

F

p

F

3

π

œ

π

P

π

F

π

P

π

‰

œ œ S œ.

œ œ

F

5

sord.

Œ

sord.

bœ

‰.

œ ‰.

Œ

b œ@ œ@.

p

œ ‰.

bœ ‰.

Ó

p

gliss

π

π

p

“f ”

p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ¿ ¿ ‰.

Œ

?

∑

¬ @

– ‰. @

Œ

p

ã ã

∑

&

∑

∑

“F ”

p

Ó

Œ

&

b b œœ

Bowl on Timp

‰

Crotales

Vibes

π

‰

π

p

Œ

‰

œ ˙ @ @

‰.

Œ

Sus. Cymb.

π

s3 œ Œ

#œ œ

Œ

œ

π

œ π

œ ≈ Œ

1

p

œ.

‰

p

œ.

œ

5

œ œ. @ @

F

Ó

∑

∑

‰. ‰.

s.p.

∑

∑

∑

∑ ∑

Ó

B

∑

Œ

?

·w

?

·˙

s.p. IV

Œ

P

s.p. IV

‰ #œ

nat. v.m.

·

‰

Œ

·.

· ≈

Œ

Ÿ~~~~~~~~~~~~~~~~~ 5

≈ d · .( ·) P

Ÿ~~~~ ‰ ¿ ¿.

F

≈

Ÿ~~~ ‰ ¿ ¿ ‰.

p

Œ

P

f

P

“F ”

Œ

≈ –@.

–

–. –

5

≈

π

≈ # ·œ .. π

π

‰ Œ

π

#œ œ v.m.

π

Ó

‰

s.t. II

π

œ œ

v.m.

F

œ. Ó Œ

‰

arco

‰ # # œ·

π

Ÿ~~~~~~~ ¿ ¿ ¿ ‰ Œ

P

·œ

·œ 3 ·œ S

·œ

·œ

·œ 3 ·œ S

·œ

f f

≈

œ œ

π

‰ Œ ‰

π

F

P

? ‰.

·œ

π

≈

œ ‰. œ @

œ.

v.m.

P

5

œ. œ p

P

Ó

Ó

Œ

Ó

‰

œœ .. œ.

œO ‰ .

gliss

œO ‰ .

5 4

œ @

F

œ ‰. @

s.p.

π

‰.

F

Ÿ~~~~~ œ (œ ) œ ‰ . F

‰.

Œ

s.t. n.v.

s.t.

œ

œ v.m.

p

œO ≈ Œ

œ ‰.

P v.m.

5

œ ‰.

œ ‰.

P

P

b ·œ

P

‰.

ƒ

p

P

5

œ

+œ @

œ @

œ . œ ≈ Ó @ @

œ@

3

F

œ @S

3

œ. @

F

F

‰

∑

∑

Ó

Œ

Ó Ó

f

œ œ

s.p.

≈

≈

s.p.

≈

@ œ

5

F

Œ

‰.

Ó

œ@

˙@

‰ œ

œ

π

Ó

Œ

œ

‰

F

Small Tam

‰

@ œ

‰

Œ

œ

3

Ó

‰ Ó ‰.

Œ

6

Œ

œ (œ)œ

p

Ó

œo @

‰

∑

f

II }{}

F

¤€ nat. œœ œ ≈ # œ œ Ó F

Œ

π

6

œ.

œ

F

œ ‰

Thunder Sheet

π

Ÿ~~~~~~~

F

5

œ . (œ ) œ œ ƒ p F Ÿ~~~~~~~~~~~~~~~~~~~ 6

6

≈ ‰ œ (œ)œ œ œ p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6

ƒ

π

‰

π

œ @

π

Œ œ. @

5

œ @

F

9 8

≈

s.p.

≈

‰ Œ

ƒ

∑

Œ ‰

œ. œ p

∑ œ ˙.

F

≈ œ . s.p.

partials

F

≈ œ . F

w

s.p.

œ

‰

œ @

w @

s.p.

p

œ ˙.

partials

s.p.

F

F

nat.

‰.

œ œ @ @

‰

≈

‰

π

√ b œ # œœ

ß

F

œ . œ ≈

Œ

π

‰

π

3

‰.

≈

s.p. III

œ ‰. œ

∑

∑

∑

Œ.

∑

≈ Ó

‰ Œ.

∑

@ ‡.

@ Œ ‡

Œ.

∑

∑ Ó

‰

∑ ∑

Ó

œ@.

Œ

Ó

f

‰

E

œ œ œ

3

Œ

Œ

∑

‰

œ @

Ó

Ó.

‰ ∑

4 4

5

œ @

P

36 nat.

≈ b b œ· ..

Œ

‰

Œ.

‰

Œ

p

I

p

5

#œ @

œ. @

s.t.

p

¤€ nat. I o o o o œo œo œ # œ # œ ‰ . œo # œ

π

≈ Ó

nat. I

p

3

≈

5

. ..

‰

‰

# # œ· ..

gliss nat.

‰.

b b œ· œ·

Œ

≈

¤€ 5 I o # œ œo œo œ ‰ . o # œo nat.

p

. ..

∑

‰

#œ

F

# # œ· ..

‰

P

‰

œ·

P

≈ Ó

F

Œ.

Ó

. ..

≈ # œ

Ó

‰

œ·

P

œ·

nat.

nat.

Œ

nat.

s.t.

∑

≈ Ó

¤€ + œo # œo # œo œo o œo # œo # œo œo œ ‰.

‰

F

‰ Œ

6

π

#œ

‰

Ó

nat. Ÿ~~~~~~~~~~~~~~~~ # · (· ) ·.

Œ

Œ.

œ·

P

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # · ( ·) ·. · ·

Œ

“ƒ ”

œ·

π

3

π

œ. @

∑

s.t.

œ ‰. @

2

∑

s.p.

œ ‰. @

f

p

π

∑

‰

‰

“ƒ ”

œ

Thundersheet

‰

Ó.

@

Waterphone

‰

∑

œ ‰.

‰.

œœ œœ ‰ œ œ

5

‰

‰

∑

∑

∑

∑

∑

5

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ·( )· · 3 · ·. ≈ S

π

f

‰

Ó.

v.m.

3 n œo œo ‰ . œo œo œo

F

¿ œ >

Œ

Ó.

¤€

‰

Bass Drum

œ ‰.

≈

o o n œo œ ‰ #œ œ œo œo o 3 F π

P

Ó

‰

Œ

¤€ 3

œ

‰.

Large Tam

‰

Ó.

F

?

∑

œ ‰. v.m.

Ÿ~~

b · b(· )

∑

Œ

p

– @

p

∑

∑

π

∑ legno bat. IV

≈ ¿ fl

ß

Œ

ß

‰ ‰

pizz.

≈

ΠΠ}{}

pizz.

≈

Ó

III

5

∑

˘ – Œ

ß

Ó.

p

≈ ¿ fl ∑

∑

35

legno bat. IV

Ó.

Œ.

‡

°

F

¤€ o o o o œo œ œ œ #œ

œ ‰. œ.

7

Œ

π

F

f

F

3 o œo œo #œ œ ‰ œo œo o 3

˙ œ

3

Œ

‰

π

∑

∑

F

˙@

¤€

partials

partials

∑

“ƒ ”

∑

v.m.

˙. @

3

5

˙

‰

Œ

F

∑

œ . œ ≈ Ó

F F

˙.

f

˙

n.v.

¤€ o o œo nat. o # œo œ œ œo œ ‰

‰

≈ Œ

5

s.p.

P

˙@

œ . œ ≈ Œ

partials

s.p.

n.v.

∑

5

˙.

œ

II v.n.

s.p.

œ . œ ≈

partials

s.p.

F

Ó Ó

Œ

‰ œ (œ)œ ˙ . œ p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 6 ˙.

œ

& ‰.

∑

ƒ

œ (œ)œ

f

≈ œ .

p

5

–. –. –. –. –. –. –. Œ

¤€ œœ œœ œœ b œœ œœ œœ œœ ≈ ¿ ¿ ¿ ‰.

Ó.

II

Ó

∑

Œ

f

II

˙ @

π

¤€ o o ≈ ≈ # œo œo œo œ œ Ó

≈

π

‰.

‰

‡.

π

œ ‰. @

P

œ œ

II s.p.

Œ

5

π

∑

∑

x.s.p.

œo . @

5

∑

ß

‰

5

∑

‰

pedal tone

– ‰.

5

Ó

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · (·) ·. · · · ‰

s.p. II

‰.

p

œo @ ‰

∑

Ÿ~~~ ƒ

p

‰

‰

π

“ƒ ”

∑

w w

‰.

– fl

pedal tone

∑

œ œ

Œ

π

F

∑

∑

p pos.

Œ

∑

‰ œœ

Ó

œ.

π

‰

œ@.

œ@

≈ œ . @

Ó

‰.

@ œ.

F

∑

Wooden Bongo

Œ

Œ

p

‰

‰.

Œ

∑

œo @

ß

Ó

F

b ˙@

– fl

“F ”

˘ –

Œ

≈

p

p

≈ Ó

∑

∑

Œ

Ó

p

Ó.

Ó

s.p.

‰.

œ.

π

–– – –– – – “ƒ ”

“F ”

∑ Sus. China

“f ”

5

“F ”

Ó

Ó

“ƒ ”

^ ^ ^ ^ ^ ^ – –– – – – ‰

Œ

¬.

Ó

≈ Ó œ (œ)œ œ œ. œ ƒ p s.p. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6

∑

Ó

@ ≈ œ

34

s.p.

π

‰

π

∑ ∑

“ƒ ”

Ÿ~~~~~~~~~~~~~~~~~~ – – – – ‰

“ƒ ”

œ œ

bœ œ œ.

Ÿ~~~~~~~~~~~~~~~~~~~ · (·) ·.

– – – – – – – –

ß

Œ

œ @ Ó

+ œ

F

33

≈

Ó

@ œ

@ ‰. œ

œ@

‰

œ@

œ@

@ œ.

∑

‰ Ó

œ

ƒ

≈

œ@

F

∑

^

s.p.

Ó

Œ

‰ Œ

œ.

f

‰ ‰.

√ b· @

‰.

Œ

bœ

∑

5

œ@.

ß

‰.

36

‰

∑

5

modulate low buzzing with between position pedaling

3

p

Ó

∑

œ

ß

Oœ

œ ‰ œ

Ó

∑

˙@

∑

Ó.

œ@

Ó

¿ ≈ Ó œ >

F

p

Ó

Œ

œ

‰

4 4

∑

Œ

F

‰

5 ß

œ

Œ

œnœ

˘– Ó

ß

Ó

Ó.

“ƒ ”

‰

œ @

Large Tam

œ œ @

s.p. · ≈ ‰ œ @

p

≈

Ÿ~~~~~~~~~~~~~~~~~~~~~~ (h) ·( ·)· · ‰

π

gliss

π

5

p

Œ

s.p.

F

œ œ. œ œ œ. œ @ @ @ s.p.

œœ .. œœ

Œ

f

‰.

Œ

œ œ

Œ

“F ”

œ @

¿ ‰ Ó. œ

≈

œ œ. œ œ.

Œ

p

6

∑

œ.

Œ

∑

Ÿ~~~~~~~ · (·) ‰

Ó

Bass Drum

˙.

P

F

ß

≈

Œ

‰

Ó.

π

π

4

5

≈

bœ

F

F

bœ œ bœ bœ

‰

> ≈ œ ‰ Ó

˙˙

P

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s 3 œ (œ) œ œ œ

˙@.

≈ Ó

¿

ß

œ

p

p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ (œ) œ œ œ. œ œ ‰.

π

5

5

∑ Timp. Side

f

˘ – Ó

ß ß

Œ

M

π

@ @ œ . œ ≈ Œ

œ@

P

– ‰.

p

s œ Mœ

3

œ

˙@

+œ

“ƒ ”

P

‰

ß

˘– ‰

Œ

Ó.

‰ @ œ

5

M

M

Œ

∑ @ Dœ

–@. –@ ≈

œ

œo @ ‰.

˘– Ó

ß

˘ – ‰

Œ

∑

Ó ‰ Œ

p

Œ

Ó.

Vibra Slap

œ P

‰

π

π

˘– ‰

∑

∑

“F ”

π

œo @

35

∑

‰

+œ

ã

≈ ‰ .

partials

œ ‰. œ

3

Œ

. .

œ.

p

f

∑

‰.

‰ Œ

≈

s.t. v.m.

≈

“ƒ ”

œ ˙

∑

s.t.

P

s.t. v.m.

F

œ· ‰ Ó

gliss

arco

œ œ

s.p.

s.t. v.n.

5

Œ

Ó

a.l.

s.t. v.m.

≈

‰ Ó

π

˙ ˙

Œ

Ÿ~~~~~ œ (œ)œ œ ‰

π

Ó

œ ‰

∑

œO

≈ Œ

F

Ó

œ @

∑

s.p.

π

‰.

‰ +œ @

∑

nat.

Œ

‰

Ó

∑

π

5

Ó

œŸ~~~~~~~ (b œ ) œ

Ó

∑

s

≈ ‰

f

. .

?Œ

p

F

P

5

Ó

œ ‰

P

–

“f ”

œ œ ‰. @ @

p

œO

π

Ó

P

∑

π

–@

“F ”

ã

s.p.

gliss

π

‰

‰.

Ó

P

Ÿ~~~~~~~~~~~~~ ≈ ¿ ¿ ¿‰

œ ‰

Ÿ~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ arco ¿ ‰ ≈ ¿ . ¿ ¿ ‰ ? # # œ·

p

œ.

nat.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ d · .( ·) · · ‰

Œ

‰ #œ œ

π F

s.p. IV

œ ˙. œ ˙.

Ó nat. v.m.

Ÿ~~~~~~~~~~~~~

≈ d · . (·)

Œ

·œ ..

+œ œ ‰

P

œ œ œ œ @ @

π

Œ

∑

&

‰

π

F

∑

P

straight mute

‰ Œ

5

∑

∑ ∑

p

∑

Œ

&

Œ

–

∑

nat.

Vc. 3

‰.

∑

Œ

P

‰.

p

∑

∑

Œ

œ. @

Ó

+ œ œ . œ ≈ ‰ .

5

‰.

nœ

32

∑

Œ

≈ ‰ + œ

5

∑

∑

∑

Ó

œ. œ œ.

∑

∑

‰.

π

∑

≈ Œ

&

B

nœ

31

∑

œ @

gliss

Ÿ~~~~~~~~~~~~~~~~ œ (b œ ) œ 5 œ S ‰

Ó.

π

‰

P

F

Œ

P

∑

∑

π

5

+œ ‰

œ ‰

∑

&

Ó

œ3 œ S

∑

∑

B

œ3 œ S p

.

≈ ‰ + œ

∑

∑

Ó

œ.

p

∑

&

B

œ œ.

∑

∑

œ

p

Ÿ~~~~~~~~~~~~~~~~~~~~~~ œ (b œ ) œ œ

∑

F

p

∑

&

π

P

5

œ . œ ≈ ‰ .

Œ

‰.

œ

p

gliss

∑

∑

&

‰.

+œ

‰.

∑

œ.

∑

5

≈

œ.

p

Œ

bœ

œ @

‰.

π

œ. œ

‰ Dœ

Ó

p

P

5

P

30

&

harmon mute

partials

∑

∑

&

+œ

≈ œ .

Œ

œ

œ

∑

Œ

∑ Ó

p

π

F

‰. =œ œ

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 œ (b œ ) œ œ œ S

œ S ‰.

5

œ . œ ≈ ‰ .

π

‰.

œ

∑

“f ”

p

œ

π

˙

œ

˙.

∑

∑

≈ D œ .

F

π

œ

∑

key click

‰.

œ

Œ

p

Œ

‰.

Œ

Ó

?

∑

Ó

œ. œ

œ. œ

Ó

cup mute

“f ”

œ

∑

Œ

π

9 8

34

∑

∑

œ

p

5

v.n.

B ‰

π

˙

Ó

Œ

p

&

w @

@ @

∑

π

Œ

p

Œ

π

Ó

Ÿ~~~~~~~~~~~~~~~~~~ ¿ ¿ . ≈ Ó

&

p

Ÿ~~~~~~~~~~~~~~~~~ ¿ ¿ . ≈ Ó

∑

p

5

Œ

∑

&

π

key click

key click

p

œ @

∑

∑

∑

π

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ œ .(b œ ) œ œ ‰

‰

˙

v.n.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ œ ( œ) œ œ . œ ≈ Œ

π

v.n.

‰ œ

‰ œ ‰

‰

œ. œ œ 5

Ó

œ œ

5

π

‰.

∑

?

p

˙

π

Œ

&

ã

‰.

œ

π

œ

v.n.

Ó

∑

∑

‰

π

Ó

π

p

π

n.v.

p.v.

œ œ.

Œ

˙

v.n.

Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~~ œ(n œ) œ . ≈ ≈ œ . œ œ ‰ ()

œ.

π

∑

&

œ (œ) œ

p

œ@ œ@ ‰ Œ

sord.

œ

bœ

≈ b œ .

&

?

F

“ƒ ”

‰.

?

œ

œ bœ œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~

“F ”

Œ

?

π

6

≈

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ – (– ) ¬ – ‰. œ œ.

‰ œ

33

Ó ‰.

Ó

∑

Ÿ~~~~~~~~~ ‰ œ (œ) œ ‰

3

∑

Œ

œ œ‰ Œ

œ

∑

Ó

π

F

‰.

œ

p

π

5

∑

∑

M M

F

bœ

Œ

P

∑

∑

π

œ3 œ S

π

π

œ

Œ

P

œ ‰.

≈ # œ .

∑

?

œ3œ S

π

∑

Vc. 2

Cb. 2

Dœ

˙

sord.

Ó

Ó

M

p

p

‰

π

b· · b· · Œ

Œ

Ó

‰.

π

π

F

Œ

&

Vc. 1

Cb. 1

œ

œ œ.

29

Vln. I 1

π

π

3

‰ bœ

&

&

π P

œ ‰.

5 4

32

∑

Ÿ~~~~~~~~~~~~~~~ 5

b œ .(d œ ) œ

∑

& bw

&

π

‰

bœ ˙

? ?

Œ

œ œ.

Picc.

31

+œ fl ß œ fl ß

f

‰

Œ

‰

Œ

p

Œ

?@

@S

Œ

?

S

Œ Œ Œ

“F ”

“F ”

Œ.

arco

@

“F ”

@S

arco

“F ”

S

@

“ƒ ”

“ƒ ”

@

“ƒ ”

“ƒ ”

Œ ‰.

Œ

Œ

‰.

Œ

Ó

Ÿ~~~~~~~ ≈ · . (·)

a.s.p. II

p

Ÿ~~~~~~ ≈ .( ·) ·

IV a.s.p.

p

?

∑ ‰.

Œ

Ó

‰.

Œ

Ó

(√) · @ 37

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

E. Hn.

B b Cl. 1

B b Cl. 2

B. Cl.

Bsn. 1

Bsn. 2

C. Bn.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

T. Tbn. 1

T. Tbn. 2

B. Tbn.

Tuba

&

38

· @

· ‰. @

π

–

&

Œ

&

≈ – .

&

≠ @

p

“F ”

Perc. 2

Perc. 3

Hp.

Pno.

Œ

–.

(h)

p

–5 – @S @

p

~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~ ‰ ‰ Œ · · · . · ·(b ·)· · π

&

Ÿ~~~~~~~~~~~~~~~~~~ –. ≈ – (– )– ≈ Œ

?

Œ

?

“ƒ ”

p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 (h) ≈ # · (· ) ·. ·

Œ

?

π

“F ”

≈ – . @

Œ

‰.

Ó

?

– @

p

– ‰ Œ @

– –

–

“f ”

∑ ∑

&

∑

& &

Ó

&

Ó

Œ

Ó

&

∑

&

∑

?

∑

?

Vln. I 3

Vln. I 4

Vln. I 5

Vln. I 6