To Call the Rain (for orchestra) Juhi Bansal by Juhi Bansal Music

To Call the Rain For orchestra 2024 Full score Juhi Bansal

Program note

There is a tradition in Hindustani classical music of Malhar ragas, of music that – when played with intention and inspiration - holds the capacity to invoke rain. To Call the Rain imagines this ritual in orchestral sound. Solo strings play delicate melodies drawing upon one of the ragas, and the orchestra reacts in vivid colour, responding to the call. What begins as a melodic voice grows from gentle patter to downpour, as movement and flow, drops and ripples and lush textures fill the space.

Commissioned by the Virginia Symphony Orchestra; Eric Jacobsen, Music Director.

Duration – 7 minutes

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Timpani:

Three drums, any sizes. Three temple bowls, tuned to the pitches shown below, are to be placed on top of the drums (one on each) and struck with mallets/sticks.

(Temple bowls may be substituted for any similar-sounding pitched, resonant metal with a long decay. The shape of the metal instrument must be such that it can be played while placed on the drumheads, produce a resonance that is amplified by the drumhead, and have the sustaining resonance shaped by the timpanist performing a glissando up-down with the timpani pedal.)

Percussion (3 players):

Percussion 1:

Mark Tree (the more unclear/ambiguous the pitches the better) (played with hands and triangle beaters)

Seed pod rattle(s) 1 or more, all mounted so they can be played with one hand (played with hands)

Large Thunder Tube

Percussion 2:

Unpitched glass wind chimes, mounted so they can be played with one hand (played with hands and with any type of mallets or sticks (glass/wood/acrylic/cord/other) that will produce a sound when struck against individual chimes at soft dynamics.)

Seed pod rattle(s) 1 or more, all mounted so they can be played with one hand (played with hands)

Sizzle Cymbal [Shared with Percussion 3] (a lightweight cymbal that can be easily activated when tapped by fingers, with a chain-style sizzle mounted that blends well with seed-pod rattles.) The sizzle should be the dominant sound throughout, not the attack when striking the metal. (played with hands and wire brushes)

Percussion 3:

Large Rainstick

Tam Tam

(played with tam-tam beaters, and scraped with triangle beater)

Sizzle Cymbal [Shared with Percussion 2] (a lightweight cymbal that can be easily activated when tapped by fingers, with a chain-style sizzle that blends well with seed-pod rattles.) The sizzle should be the dominant sound throughout, not the attack when striking the metal. (played with hands)

Harp

Strings

(At least 3 of the double bass players need to have instruments that extend the range down to low C)

Oboes

Clarinets in Bb

Horns in F

Trumpets in C

Instrumentation 2 Flutes 2

This score is transposed.

Notes to the conductor

Extended solos are drawn from the string sections throughout this piece; specifically solo cello mm 7 -45, solo viola mm 49 –116, two solo violins mm 120 – 255. These should always be audible and in the foreground whenever they are playing melodic material (although they may occasionally fade into the background while sustaining held notes.) Feel free to adjust written dynamics in the orchestra as needed to keep the solos definitively in the foreground.

Glissandi and ornamentation drawing on Indian classical music are used pervasively. All glissandi should be long (played over the full notated rhythmic length), round (rather than straight point-to-point), and vocal in character. Audio guides are included for solo cello, solo viola and the two solo violins to be distributed alongside the parts.

Notational Clarifications

 Bracketed notes are often used at the arrival (or mid-way-point) of a glissando. The bracketed arrival pitch is to be absolutely clear, but without any audible rearticulation whatsoever. It should sound like the beginning note melts seamlessly into the arrival note. Bracketed notes along the way (during a glissando) are similar – they should be clearly heard, but seamlessly slid into and out of.

In this example (from solo cello mm 7), we see a glissando to a bracketed note where the beginning note is a grace note.

 Aleatory (shown in boxes) is used frequently to create pads and textures where each player within a section improvises in some limited fashion, each out of sync with the rest of the section. This example from mm 20 shows the beginning of a section of cello aleatory, where each player moves at will between the harmonic ricochet technique described below and an ordinary sustained harmonic, both on the indicated G. The limited improvisation is continued till the end of the arrow.

 When the speed of a tremolo needs to move from slow – fast (or vice versa), the notation below is used to indicate that change of speed. This example (first used in harp mm 1) shows a tremolo beginning slowly and speeding up as it continues.

 A recurrent figure in the piece is unpulsed and out of time, led by the timpanist. (This is always marked “out of time”, with x/x time signatures, and occurs at the beginning of the score, then at mm 45, mm 116, and mm 255). The arrows show beats which will be dictated by the conductor.

 First appearing at mm 18 in strings, an indication of “free ricochet” indicates an out-of-sync ricochet effect across a section. Each player individually ricochets the indicated harmonic pitch/pitches, at the speed of their choosing, retaking the bow as needed. The cumulative effect across the section should sound like a raindrops.

 All string bowings are suggestions only, they may be freely changed.

Solo espressivo, cadenza (Temple Bowls placed on timpani heads. Strike each temple bowl with a mallet, then gliss the timpani pedal while the metal rings to create a shifting resonance.) (4-6")

Unpitched Glass Wind Chimes (sparse, irregular, as if blown by a gentle wind)



D C Bb E Fb G A follow temple bowls (irregular tremolo, like leaves rustling in the wind)    

           Flute 1 Flute 2 Oboe 1 Oboe 2 Clarinet in Bb 1 Clarinet in Bb 2 Horn in F 1 Horn in F 2 Trumpet in C 1 Trumpet in C 2 Timpani Percussion 1 Percussion 2 Percussion 3 Harp Violin 1 Violin II Viola Violoncello Double Bass Gentle, flowing, like a ritual to call rain p Gentle, flowing, like a ritual to call rain pp pp pp Gentle, flowing, like a ritual to call rain                                            TRANSPOSING SCORE      (Follow timpani-temple bowls)       X X Out of time      X X          X X      X X          X X      X X          X X      X X      X X          X X 



 X X        X X 

 (4-6")  (5-7")

(6-8")

X X

 



 X X

     X X          X X  (First two desks

   X X          X X          X X      X X          X X                    



only)

pod rattle(s), like gentle drizzle

Seed pod rattle(s), like gentle drizzle

Sizzle cymbal, tapped lightly with fingers (blend into seed pod rattle sound)

Bisbigliando

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. pp mp In time, q = 130 5 7 ppmp In time, q = 130 5 7 pp mp pp pp p mp pp n mp mp mp pp In time, q = 130 5 7 mp pp mp pp p mp pp mp pp                                              9  6 5 5               Seed



      

 

   

divisi       tutti divisi sul G, sul D       sul G, sul C tutti divisi     (Solo)  Solo cello,

 (Tutti)   sul G                                                                                                 2

gliss

tutti

espressivo

(Gradually dampen any remaining sound)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n 8 n n n n                                                                                                           

                                     (Solo)  (Tutti)                                                                             3

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. pp 13 pp 13 n n p pp 13 mp  9   6                growing sparser   growing sparser   gliss                                     (Solo)  (Tutti)                                                                            4

Each player move freely

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. mp n 18 20 mp n 18 20 n mp n 18 20    5 5               (Gradually dampen any remaining sound)     Bisbigliando      (Free ricochet)    

divisi on pitch, each player move freely between harmonic ricochet and the sustained harmonic.          (Free ricochet)     Still divisi on pitch, each player move freely between harmonic ricochet and the sustained harmonic.          (Free ricochet)    

divisi on pitch, each player move freely between harmonic ricochet and the sustained harmonic.       (Solo) 3 3    (Tutti) (Free ricochet) 

Still

between harmonic ricochet and sustained harmonic.        (Free ricochet)  

between harmonic ricochet and sustained harmonic.                                                                        5

Each player move freely

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 22                            (Solo) 3 3 gliss 3 3  (Tutti)                 6

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. pp mp 28 26 ppmp 28 ppmp mp subito 28 mp subito mp subito sfz mp subito mp subito   9   6 5 5                     gliss    (Free ricochet)             (Free ricochet)       (Free ricochet)         (Solo)   (Tutti)    (Free ricochet)        (Free ricochet)                                                                           7

Cl. 1 (Bb)

Cl. 2 (Bb)

Hn. 1 (F)

Hn. 2 (F)

C Tpt. 1

Tpt. 2

           Fl. 1 Fl. 2 Ob. 1 Ob.

Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n p 30 np 30 pp pp 30 pp pp p pp pp                                              Solo     Solo                      Fb - F# Bisbigliando (vary speed freely)          half sectiononly continues, divisi Each player move freely between harmonic ricochet and sustained harmonic.          half sectiononly continues, divisi Each player move freely between harmonic ricochet and sustained harmonic.          Each player move freely between harmonic ricochet and sustained harmonic. half sectiononly continues, divisi       (Solo) 3 3 3 3 3 3  (Tutti)  Each player move freely between harmonic ricochet and sustained harmonic. half sectiononly continues       Each player move freely between harmonic ricochet and sustained harmonic. half sectiononly continues                                                                                                         8

Timpani. Perc. 1 Perc. 2

(F)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2

Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 35 34 pp pp 35 pp pp                                                          7  5           Sizzle cymbal,

fingers   F# - Fb gliss         (Solo)   3  (Tutti)                                                                                      9

Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1

Hn. 2

C Tpt. 1 C Tpt. 2

tapped lightly with

 



half section only continue, divisi (no

half section only continue (no ricochet)

half section only continue

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. mp mf n 37 40 mp mf n mp mf mp mf mp n mp n fp n fp n fp n fp n 37 40 mp mp sfz mf pp 37 40 sfz mf pp sfz mf pp mf sfz mf pp sfz mf pp    (no trill) 9    (no trill) 6   7   5 5 5  

  muted    muted   muted    muted          gliss   Bisbigliando     (Free ricochet) tutti divisi      

ricochet)       (Free ricochet) tutti divisi       

(no ricochet)      (Free ricochet) tutti divisi       

ricochet)   (Solo)    (Tutti) (Free ricochet) tutti   

half section only continue, divisi

half section only continue, divisi (no

    (Free ricochet) tutti   

(no ricochet)                                                                                                                                                         10

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 41 n n n                           



                             (Solo) gliss  3  (Tutti)       



                                   11

  

 





           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 45 p 45 pp pp pp 45 pp pp pp pp pp                                               (Follow timpani-temple bowls)   X X Gentle, flowing, like a ritual to call rain Out of time   X X   X X  X X   X X   X X   X X  X X   X X   X X  (4-6") (Temple

as before) Solo

 (4-6")  (5-7")  (6-8")  X X Gentle, flowing, like a ritual to call rain Out of time  X X  Glass Wind Chimes

blown by a gentle wind) X X  X X  follow temple bowls (irregular tremolo, like leaves rustling in the wind)     X X       X X    X X Gentle, flowing, like a ritual to call rain Out of time  (1st 2 desks

continue on A harmonic)    X X    X X  (Solo) X X  (Tutti)  X X    X X                                        12

Bowls gliss on timpani heads,

espressivo, cadenza

(sparse, irregular, as if

only

Seed pod rattle(s), like a gentle rain  Seed pod rattle(s), like gentle rain  Large Rainstick, like a gentle rain (rotate and flip as needed to create a constant sound)

unis. (join the first 2 desks)

(Tutti) tutti IV III II

Repeat this figure at your own speed, each player out of sync with the rest. (The section cumulatively should create a dynamic, moving textural pad.)

espressivo

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n p In time, q = 130 49 pp mp pp ppmp pp In time, q = 130 49 pp pp pp mp In time, q = 130 49 ( pp ) mp pp                                                      3 9  6 3        

      

  

   





    

                                                                              13



gliss

tutti

(Solo)  Solo

(Solo)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 54 53 p p 54 54    7 7     7 7                   Bb - B#         (Solo) 3 3 3  (Tutti)                                                                            14

Sizzle cymbal, tapped lightly with fingers (blend into seed pod rattle sound)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 58 mp mp 58 n n p 58 n mf p     Solo espressivo             

   Solo

           (Solo) 3 3 3 3 3 3 3  (Tutti)                                                                    15

Bisbigliando

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. mp n mp 62 62 sfz sfz 62  6 6                  gliss gliss Bisbigliando     gliss gliss Bisbigliando         (Solo) 3 3 3 3  (Tutti)                                                              16

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n 66 68 mf mf mf 66 68 sfzsfzsfzsfz mpsfz 66 68 f mp mp mp    3     7        muted Solo 3          Bisbigliando gliss.     Bisbigliando gliss.         gliss.    Fb - F#  (D C B# E F# G A)          (Solo)  3 3  (Tutti)   (tutti)    tutti sul C sul G                                                                                                17

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. mp 72 70 mf n 72 sfz sfz 72   3 6          67               gliss Bisbigliando gliss.               (Solo) 3 3 3 3 3  (Tutti)                                                                                                   18

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. mf mf 77 74 mf mf mf mf mf cresc. mf cresc. mf cresc. mf cresc. 77 mp mf mf 77 mf mf mf n  3 3 6666 666 6  66666666  3 3     3 3 666 6  muted, solo   muted, solo   muted, solo   muted, solo 3     Sizzle cymbal (with wire brushes)        tutti div.   tutti   (Solo)  (Tutti)                                                                                                         19

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. f p 81 78 mf f p f mf f f pmf mf f p fp f n fp f n fp f n fp f n 81 f p mf p mf f p f p 81 f p ( f ) f p p  33666 6  3 3 33666 6  33  3 3  33  Solo espressivo 33666 6  3 3 33 6 6   remove mute   remove mute       Mark Tree (w hands)   Tam Tam (scrape outer edge with triangle beater)   gliss  gliss            unis.  sul G        (Solo) 3  (Tutti)   con sord                                                                                                                                                                                                                                                                                                            20

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 82 n         5                       (Solo)  (Tutti)                                                                                                     21

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. mf 86 p p p p 86 86  Solo espressivo 5 55 5          (slightly irregular, like leaves rustling in the wind) Trill  (slightly irregular, like leaves rustling in the wind) Trill  (without mute)    (without mute)               (Solo) 5 5 5 5 55  (Tutti)    tutti con sord                                                                                                                    22

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 91 90 mf p p 91 91  55    solo espressivo 5 5    simile   simile                  (Solo) 5 5 5 5 5 5  (Tutti)                                                                                                                                    23

(with tam-tam beaters, blend into low strings)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 97 94 f mp mp mp 97 p mf 97 mf mf  5 55 5   5       (no mute)   (with mute)   (with mute)     Tam

     divisi.

  (Solo) 5  (Tutti)  ord.                                                                                                                           24

Tam

sul tasto

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. f p 101 98 p pp pp pp 101 n p dim. p 101 dim. p ( f ) p ( p) ( p)   5 55   5          (no mute)             half section only  (Solo) 5 5  (Tutti)                                                                                                                                                                       25

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 105 102 p 105 105 n dim. mp pp pp        Solo   Solo                    (Solo) 5 5 5 5 55  (Tutti)                                                                                                     26

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 110 106 pp pp 110 110 p ppp ppp  rit.      (slower tremolo)       rit.        rit.   (Solo) molto espressivo 3  (Tutti)                                                                     27

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 111        simile    (slower tremolo, match Cl.1 )                   (Solo) 3 gliss 3     (Tutti)                                                       28

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. Gentle, flowing, like a ritual to call rain 116 n p Gentle, flowing, like a ritual to call rain 116 pp pp Gentle, flowing, like a ritual to call rain 116 pp                                               (Follow timpani-temple bowls)   X X Out of time  X X  X X  X X   X X  X X   X X    X X   X X  X X  (4-6") Solo espressivo,



 (5-7")  (6-8")  X X Out of time  X X 

wind) X X  X X  follow

  

X X       X X   X X Out of time   X X  (Solo) X X  (Tutti) X X  remove mute   X X  remove mute   X X                             29

cadenza (Temple Bowls gliss on timp heads)

(4-6")

Glass Wind Chimes (sparse, irregular, as if blown by a gentle

temple bowls (irregular tremolo, like leaves rustling in the wind)



muted (blend with trumpets)

muted, (blend with trumpets)

Large Thunder Tube

Seed pod rattle(s), like heavy rain Sizzle Cymbal (with hands), intermittent  Rainstick, like rain (rotate and flip as needed to create a constant sound)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F)

Tpt. 1

Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. In time, h = 65 120 sfzp n sfzp n sfzp n sfzp n In time, h = 65 120 f f f f f In time, h = 65 120 p f p f p f p f p f                                                        





         (Solo) Solo espressivo     

divisi     each player individually move at will into free ricochet        tutti divisi sul G, sul D     each player individually move at will into free ricochet     (Solo)     (Tutti) sul G, sul C tutti divisi     each player individually move at will into free ricochet     without mute sul D     3    3    3    3    3    3   without mute sul G             3                                                                                30



(Tutti)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 124 sfzp sfzp sfzp sfzp 124 p f p f p f 124 p f p f p f n p f n p f                                                                     (Solo)     (Tutti) (free ricochet)            (free ricochet)            (tutti) (free ricochet)                3    3    3    3         3        3                                                                              31

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. (Feel in 1) 129 n n n n (Feel in 1) 129 p p p (Feel in 1) 129 p p p n n                                                                    (Solo)     (Tutti)                                                                                      32

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 133 133 133                         (Solo) slow to fast      (Tutti)                                                                                       33

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 139 138 sfzp sfzp sfzp sfzp 139 f f f 139 f f f p f p f                         (Solo)        (Tutti)                             3    3      3             3                                                                        34

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 143 142 n n n n 143 p p p 143 p p p n n                                                                    (Solo)   3 3   (Tutti)                                                                                                              35

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 147 147 147                      (Solo) 3 gliss   (Tutti)                                                                 36

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 151 155 sfzp n sfzp n sfzp n sfzp n 151 155 f pp f n pp f pp 151 155 f pp mp f pp f pp p f n p f n                       (Solo)   (Tutti)           (Solo) Solo espressivo   (Tutti)                      sul D     3    3    3    3    3    3    sul G             3                                                                                              37

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 159 156 159 n 159 f                         (Solo)   (Tutti)           (Solo) 3   (Tutti)                                                                 38

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 163 161 163 163                         (Solo)   (Tutti)         (Solo) 33 333 3 3 3 3 3 3 3 3 3   (Tutti)                                                                        39

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. (Feel in 1) 166 168 165 (Feel in 1) 166 168 n f n n ff (Feel in 1) 166 168 f ff f f mf mf mf                                                                Thunder tube        (Solo)  (with solo Violin II) 4 4   (Tutti)    (no ricochet)        (Solo) 3 (with solo Violin I) 4 33   (Tutti)    (no ricochet)             (no ricochet)           divisi    players w C extension take the low C divisi                                                                                    40

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 172 170 172 172                                                                                                                                                                 (Solo) 4 4 4 4  (Tutti)   (Solo) 4  (Tutti)                                                                                               41

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 176 175 176 176                                                                                                                                                                    (Solo) 4 4 4  (Tutti)   (Solo) 4 4 4  (Tutti)                                                                                    42

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 180 180 180                        (Solo) 5 5 5 5 5  (Tutti)  (Solo)  (Tutti)                                                                                 43

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 185 185 185                        (Solo) 5 5 5 5 5  (Tutti)  (Solo)  (Tutti)                                                                                    44

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 191 190 191 191                       (Solo) 5  (Tutti)  (Solo)  (Tutti)                                                                  45

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 195 198 195 195 dim. dim. dim.                                                                       (Solo)  (Tutti)  (Solo)  (Tutti)                                                   46

 Tam Tam (with beater) low, muffled, blend into low strings

(Solo)

(Tutti) unis. IV III IV III

Flowing, rolling, no stress or emphasis anywhere

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n p n 199 n p n mf 199 p f 199 p f f p p p                                                soft but articulate, with motion 

but

     

mute       

   

    



 unis.

   

    

sul A sul E  gliss                                                                                                                                      47

soft

articulate, with motion

Smooth and round, without

 



(Solo) 

(Tutti) unis. molto sul tasto, muffled 

Flowing, rolling, no stress or emphasis anywhere sul G unis. sul C

unis.

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n p n 203 n p n mf 203 p f 203 f f                          (Solo) 3  (Tutti)   (Solo)  3  (Tutti)               gliss                                                                                                                                  48

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n pn n 207 n pn n mf p ( f always) ( p always) ( f always) ( f always) ( p always) ( p always) ( p always)         soft but articulate, with motion    3              (Solo) 3  (Tutti)   (Solo) 3  (Tutti) 3             gliss                                                                                                                                                            49

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. p n 212 211 p n 212 p 212                        (Solo) 3 3 3  (Tutti)  IV III IV III                                               (Solo)  (Tutti)              gliss                                                                                                                                                                           50

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. p n p 216 215 p n p mf 216 ppp 216                Smooth and round, without mute             (Solo)  (Tutti)                                                                  (Solo)  (Tutti)              gliss                                                                                                                                                                                               51

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n n 219 n n mf dim. 219 dim. 219 dim. dim. dim. dim. dim. dim.                    (Solo) 3 3 3 3  (Tutti) IV III IV III                                                               (Solo)  (Tutti)                sul D sul A   gliss                                                                                                                                                                                                                      52

Wind Chimes (use any type of mallet or stick (glass/wood/acrylic/cord/other) that will produce a sound when struck against the chime.) Solo. Strike isolated chimes with mallets.  

tasto, (out of sync)

divisi ( players w C extension take lower divisi)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. pp n pp 223 n pp n pp npp pp npp pp n pp n pp n mf n 223 p p pp 223 pp pp ( pp always) ( pp always) ( pp always) ( pp always)     soft but articulate, with motion   soft but articulate, with motion   soft but articulate, with motion          Mark Tree Solo.

triangle

    



 

 

  

 (Tutti)

                                 sul tasto

  sul tasto



                                                                                                                                                                                                                    

             

                                                                                 53

Strike isolated chimes with

beaters.

Glass





(Solo)

(Tutti)

(Solo)

IV III II I ord.

(out of sync)

(out of sync), divisi 

sul







           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n n pp 227 n pp n npp npp npp npp n n pp n pp n 227 227                      (Solo)   (Tutti) IV III IV III                                                               (Solo)  (Tutti)                                                                                                                                                                                                                                                                                                                                                                                              54

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n n pp 231 n pp n npp npp npp npp n n pp n pp n 231 231                 (Growing sparse)   (Growing sparse)       (Solo)  (Tutti)                                                                  (Solo)   (Tutti)                                                                                                                                                                                       

                                                                                                                                                                                                   55

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           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n 235 pp n n n n pp n 235 n n p 235 ppp p ppp ppp ppp ppp                       (Solo)  (Tutti)                                                                  (Solo)  (Tutti)                                                      

 

                                                                                                                                                                56

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           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. ppp 240 239 ppp ppp ppp 240 240                          (Solo) 3  (Tutti)                                                                  (Solo)  (Tutti)                                                                                                                                                                                                                            57

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n ppp 244 246 243 n n n 244 246 n n 244 246                   Thunder tube  Sizzle Cymbal (with fingers)      (Solo)  (Tutti)                                                                  (Solo)  (Tutti)                                                                                                                                                                                                                                                            58

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. n 248 250 247 pp n pp n pp n 248 250 pp ppp ppp n 248 250 ppppp possible (barely audible) ppppp possible (barely audible) ppppp possible (barely audible)                         (Solo)  (Tutti)                                                                  (Solo)  (Tutti)                                     gliss      gliss gliss      gliss gliss                                                                                                                                                                                                                                                                                                                                                                        59

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 254 251 254 n 254 n n n                  (Dampen

       (Solo)  (Tutti)                                                                  (Solo)  (Tutti)                                                                                                                                                                                                          60

any remaining sound imperceptibly)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. 255                          (Solo)  (Tutti)                                                    (Solo)  (Tutti)                                                                                                                                        61

(Tutti)

Mark Tree (sparse and gentle, with hands)  X X

Glass Wind Chimes (sparse, irregular, as if blown by a gentle wind) X X

follow temple bowls (irregular tremolo, slowing down, like leaves rustling in the wind)

(All but first two desks drop out on downbeat)

(first two desks only)

           Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 (Bb) Cl. 2 (Bb) Hn. 1 (F) Hn. 2 (F) C Tpt. 1 C Tpt. 2 Timpani. Perc. 1 Perc. 2 Perc. 3 Hp. Vln. 1 Vln. II Vla. Vc. Db. Gentle, flowing, like a ritual to call rain 259 p Gentle, flowing, like a ritual to call rain 259 ppp n pp pp n ppp n Gentle, flowing, like a ritual to call rain 259 ppp n n ppp n ppp n n       X X Out of time   X X   X X   X X    X X    X X   X X    X X    X X   X X  Solo espressivo, cadenza

 (4-6") 



   X X





          



(4-6")

(5-7") dim.

(6-8")





 X X

         

    X X

X X

(Solo)   X X

  

        X X 

  X X  (Tutti)

but first

desks drop out on downbeat)   

two desks only)         X X   X X   X X    X X                                                  62

(Solo)

(All

two

(first