Keane Southard
No Interior do Rio de Janeiro For
Orchestra
(2013) (Duration: c. 5 mins.)
Instrumentation: 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 2 Trumpets in Bb 3 Trombones (3. Bass Trombone) Tuba Timpani Percussion 1: Agogô Bells, Guiro, Triangle Percussion 2: Claves, Vibraslap, Triangle Percussion 3: Shaker, Suspended Cymbal Harp (optional) Violin I Violin II Violas Cellos Double Basses
Transposed Score
Program notes: (English:) No Interior do Rio de Janeiro (“In the Interior of Rio de Janeiro”) for Orchestra was written entirely in November 2013 while living in Rio de Janeiro, Brazil as a Fulbright scholar. I had spent 2.5 months earlier in the year in the city of Campos dos Goytacazes, a city in the state of Rio de Janeiro about a 4 hour bus-ride away from the capital city. Campos is a medium-size city in what Brazilians call “o interior,” (“the interior”) which refers essentially to the vast expanse of land away from the large capital cities on the coast, such as Rio de Janeiro, São Paulo, and Salvador. I had already lived in Brazil, in Rio de Janeiro city, for a month, but I was told the interior was a completely different world. Unlike Rio, I couldn’t find anything about this city in guide books, and very little online, and even less in English, as no tourists ever go there and very little English is spoken there. In fact, the only thing I could find in English about the city called it “the worst city in the world.” What was I getting myself into! The whole reason I was going to this city was to work with “Orquestrando a Vida” (“Orchestrating Life”), the oldest music project in Brazil that was inspired by Venezuela’s famous “El Sistema” system of youth orchestras. After spending 9 days trying to find a place to live, and then another week sick with dengue fever, I spent a wonderful time working with the teachers, staff, and students and witnessing the wonderful work they are doing both musically and socially. This piece is a gift to my friends at Orquestrando a Vida for the wonderful time I was fortunate to spend with them. During my time there, I realized that there are two different kinds of repertoire that the orchestras play: the great masterworks of the European classical tradition, and Latin American works filled with dance rhythms. They play both very well, but they really get into the Latin works, dancing and having lots of fun with them because these rhythms are in their blood. I was fortunate enough to play piano with them performing Arturo Marquez’s “Danzon No. 2” and the energy level
was just incredible. In my piece, I wanted to use these rhythms that I’ve heard so much of during my time in Brazil. The other musical inspiration for this piece came from when I tagged along with one of their orchestras on a trip to perform at a theater in Rio. During their rehearsal onstage right before the performance, they warmed up playing a C major scale in 4 voices, each coming in a third lower, creating these beautiful parallel diatonic 7th chords. I use the idea of this exercise in the opening and closing sections of the piece, but add to it these Latin rhythms. (Português:) No Interior do Rio de Janeiro para Orquestra foi escrito completamente em novembro de 2013, enquanto vivia no Rio de Janeiro, Brasil, como bolsista da comissão Fulbright. Passei mais de dois meses antes durante o ano na cidade de Campos dos Goytacazes, uma cidade no estado do Rio de Janeiro. Antes disso, vivi na cidade do Rio de Janeiro por um mês, mas ouvi que o interior é um mundo muito diferente. Ao contrário do Rio, eu não poderia encontrar nada sobre esta cidade nos livros de guia, e muito pouco na internet, e menos em Inglês, como nenhum turista ir lá e Inglês é falado muito pouco lá. A única razão que eu estava nessa cidade era para trabalhar com “Orquestrando a Vida”, o projeto de música mais antiga do Brasil inspirado pelo famoso "El Sistema" de orquestras juvenis da Venezuela. Depois de passar nove dias tentando encontrar um lugar para morar e mais uma semana doente com dengue, passei um tempo maravilhoso trabalhando com os professores e alunos e vendo o maravilhoso trabalho que estão fazendo tanto musicalmente quanto socialmente. Esta obra é um presente para meus amigos no Orquestrando a Vida para o tempo maravilhoso que eu tive a sorte de passar com eles. Durante meu tempo lá, eu aprendi que existem dois tipos diferentes de repertório que as orquestras tocam: as grandes obras da tradição clássica européia, e obras latino-americanos cheios de ritmos de dança. Eles tocam ambos muito bem, mas eles se divertem muito e dançam com as obras latinas porque esses ritmos estão no sangue deles. Eu tive a sorte de tocar piano com eles tocando o “Danzon nº2” de Arturo Marquez e o nível de energia foi simplesmente incrível. Na minha peça, eu queria usar esses ritmos que ouvi tanto durante meu tempo no Brasil. A outra inspiração musical para esta peça veio quando eu fui com uma das orquestras do projeto em uma viagem para tocar num teatro no Rio. Durante o seu ensaio no palco pouco antes do concerto, eles fizeram um exercício tocando uma escala de Dó maior em quartro vozes, criando belas acordes de sétimas diatônicas paralelas. Uso a idéia deste exercício no início e no final da peça, mas adicionar a ele esses ritmos latinos. Keane Southard 2013
Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com Website: keanesouthard.instantencore.com
Para meus amigos de Orquestrando a Vida em Campos dos Goytacazes, Brasil
q = 145
No Interior do Rio de Janeiro
Transposed Score Flute 1-2
2
a2
Clarinets in Bb 1-2
Horn in F 1-2
5
1.
f Bassoon 1-2
4
Oboe 1-2
3
f
Keane Southard
Horns in F 3-4
Trumpets in Bb 1-2
1.
f
Trombone 1-2
1.
f
Bass Trombone
Tuba
Timpani
Percussion 1
f
Percussion 3
Harp (optional)
3
Claves
Violin I
3
3
Viola
Violoncello
Double Bass
3
3
3
3
3
3
3
3
3
3
DCB/EFGA
f
3
3
3
3
3
q = 145
f Violin II
f
3 3 3 3 3
Agogô Bells
f
Percussion 2
f
©2013
2 6
Fl. 1-2
A
8
9
10
Ob. 1-2
7
a2
f
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Tpt. 1-2
B. Tbn.
Timp.
Perc. 1
f
2.
f
3
3
3 3 3 3 3 3
(Claves)
Perc. 2
(Agogô Bells)
3
Perc. 3
Tbn. 1-2
2.
Hn. 3-4
Tba.
3
3
3
3
3
3
3
3
3
3
Shaker
Hp.
Vla.
Vc.
Db.
non arppegiando
A
Vln. I Vln. II
f
3
3
3
3
f
11
Fl. 1-2
Ob. 1-2
12
13
14
15
16
3
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Hn. 3-4
2.
Tpt. 1-2
Tbn. 1-2
Vln. I
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
3
3
Vc.
3
Vla.
3
3
3
Vln. II
Db.
3
(Shaker)
Hp.
f
3 3 3 3 3 3 (Claves)
Perc. 2
(Agogô Bells) 3
Perc. 3
Timp. Perc. 1
B. Tbn.
Tba.
B 4
Fl. 1-2 1.
17
Bsn. 1-2
Hn. 1-2 Hn. 3-4
3
3
3
f
a2
f
Tba.
f
f
Timp.
3
3
3 3 3 3 3 3 (Claves)
(Shaker)
3
3
Hp. B Vln. I
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vla.
f
3
Vln. II
Db.
3
3
Vc.
(Agogô Bells)
3
Perc. 2
3
3
a2
3
B. Tbn.
Perc. 3
3
f
Tbn. 1-2
3
Tpt. 1-2
Perc. 1
3
22
3
21
2.
20
3
Cl. 1-2
19
3
Ob. 1-2
18
3
Fl. 1-2 23
3
Ob. 1-2
3
Cl. 1-2
Bsn. 1-2
Hn. 1-2
3
Perc. 1
Hp.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2
3 3
3
3 3
3 3
f
3
3
3 3 3 3 3
(Agogô Bells)
(Claves)
Perc. 3
3
Perc. 2
3
Timp.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(Shaker)
Vc.
Db.
Vln. I 3
Vln. II
Vla.
5
f
Tba.
3
3
B. Tbn.
Tbn. 1-2
3
3
Tpt. 1-2
25
3
Hn. 3-4
3
3
27
1.
3
26
a2
24
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
6
C 31
Fl. 1-2 28
3
3
29
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
32
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
Hn. 1-2
3
3
3
Hn. 3-4
3
3
Bsn. 1-2
3
3
3
3
3
3
3
3
2.
3
Cl. 1-2
3
Ob. 1-2
30
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Tpt. 1-2
Tbn. 1-2
B. Tbn.
f Tba.
Timp. Perc. 1
3
3
3
3
3
3
3
Vln. I 3
3
3
Vc.
3
3
3
3
3
3
3
3
3
3
3
C 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Db.
3
Vla.
3
Vln. II
3
(Shaker)
Hp.
3
3
3 3 3 3 3 (Claves)
Perc. 3
(Agogô Bells)
3
Perc. 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 Fl. 1-2 33
a2
Ob. 1-2
3
3
3
7 3 3 3 3 3 3 3 3 3
3 3 3 3
34
3
3
3
3
35
36
3
3
3
37
3
3
3
3
3
3
3
3
3
3
3
3
Cl. 1-2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1.
Bsn. 1-2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2.
3
3
3
3 3 3 3 3 3 3 3 Hn. 1-2 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(Agogô Bells)
Perc. 2
3
3
Hp.
3 3
(Claves)
Perc. 3
3
3 3
Timp. Perc. 1
3
3 3
3
3
3
3 3
f
B. Tbn.
3
Tbn. 1-2
Tba.
3
3
3
3
Tpt. 1-2
Hn. 3-4
3 3 3
3
3
3 3 3 3
3
3
3
3
3
3
3
3
3
(Shaker)
Vln. I 3
3
3
3
3
3
Vln. II
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vla.
Vc.
3
Db.
3
3
3
3
3
3
3
3
3
3
3
8
3 3 3 3 Fl. 1-2 38
3
3
3 3 3 3 3
3
3
3
3
39
40
3 3 3 3
Ob. 1-2
3
Cl. 1-2
3
Bsn. 1-2
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3
3
3
3
3
3
3
3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
a2
3
3
3
3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 (Agogô Bells)
3
(Claves)
Perc. 2
3
3
Timp.
3
3
3
3
3
3
B. Tbn.
3
3
3
3
3 3 3 3
3
42
3
3 3 3 3
3
3
Tbn. 1-2
3
3
3
(Shaker)
Hp.
3
Perc. 3
3
3
3
Perc. 1
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Tpt. 1-2
Tba.
3
3
3
3
Hn. 1-2 3 3 3 3 Hn. 3-4
3
41
3
3
3
3
3
3
3
3
3
3
3
3
Vln. I 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vln. II
Vla.
Vc.
Db.
3
3
43 Fl. 1-2 3
3
3
3
3 3 3 3
Ob. 1-2
D 9 45 46 47 a2 44
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 a2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 a2
Cl. 1-2
Bsn. 1-2
3
3
3
3 3 3 3 Hn. 1-2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
with yarn Susp. Cymbal mallets
p
3
3
3
3
3
3
3
3
3
3
3
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3
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3
3
D Vln. I
Db.
3
3 3 3 3 3
(Shaker)
Vc.
3
3
3
3
3
3
(Agogô Bells)
Perc. 2
3
3
3
a2
3
3
f
3
3
3
Vla.
3
Vln. II
3
3 3 3 3 a2
(Claves)
Hp.
3
3 3 3
Timp.
Perc. 3
3
3
3
3
3
3
3
B. Tbn.
3
3 3 3 3
3 3
Tbn. 1-2
Perc. 1
3
3
3
3
Tba.
3
3 3 3 3
3
3
Tpt. 1-2
3
3
3
Hn. 3-4
3
3
f
3
3
3
3
48 Fl. 1-2
E q = 112
10
3
3
7
3
3
3
7
3
3
3
7
3
Hn. 1-2
3
3
7
3
3
Hn. 3-4
3
3
3
3
3
3
3
3
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B. Tbn.
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Tbn. 1-2
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Tpt. 1-2
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3
3
3
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Bsn. 1-2 3
51
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Cl. 1-2
50
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Ob. 1-2
49
3
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Tba.
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Perc. 1
(Agogô Bells)
3 3
(Claves)
Perc. 2
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3
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3
Perc. 3
Hp.
3
3
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3
Vla.
3
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3
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3
3
3
3
3
3
mf
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3
Vc.
3
E q = 112
Vln. II
Db.
3
ff
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Vln. I
mf
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(Susp. Cym.)
mf
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F
53
52
Fl. 1-2
Ob. 1-2
Cl. 1-2
1.
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1.
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Hn. 1-2 1.
55
11
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Bsn. 1-2
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1.
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54
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Hn. 3-4
Tpt. 1-2
2.
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Tbn. 1-2
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B. Tbn.
1. solo
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Perc. 1
(Agogô Bells)
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Perc. 2
Perc. 3
Hp.
Vibraslap
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Shaker
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Fl. 1-2
Ob. 1-2
Cl. 1-2
56
Hn. 1-2
Tpt. 1-2
Tbn. 1-2
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59
a2
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58
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Bsn. 1-2
Hn. 3-4
57
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B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
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Guiro f
Claves
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(Shaker)
Perc. 3
Hp.
Vln. I
Vln. II
Vc.
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pizz.
pizz.
pizz.
mf pizz. Db. mf
arco
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arco
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arco
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arco f
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G
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60
Fl. 1-2
Ob. 1-2
Cl. 1-2
61
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62
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Hn. 1-2
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Hn. 3-4
Tpt. 1-2
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Tbn. 1-2
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Tba.
Timp.
Perc. 1
Perc. 2
(Claves)
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Perc. 3
(Shaker)
Hp.
Vln. II
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D C Bb / Eb F G A
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Triangle
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B. Tbn.
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13
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63
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( q = 45) H q = 80
64 Fl. 1-2
14
65
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Ob. 1-2
66
67
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Cl. 1-2
Bsn. 1-2
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1.
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1.
68
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Hn. 3-4
Tpt. 1-2
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Tbn. 1-2
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Perc. 1
Hp.
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Claves
Vln. I
Vln. II
Vc.
Db.
3 3 3 3 3 3 3 3 3 3 3
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3
3
3
3
3
3
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3
3
q = 80
3
Vla.
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( q = 45) H
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Perc. 2
Perc. 3
3
3
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3
3
3
3
mf
mp
mp
mp
mf
mf
3
I
Fl. 1-2
Bsn. 1-2
mp
mp
f
1.
3
mp
3
mp
mf
mf
mp
3
3
3
3
3
3
3
3
3 3
3 3
3
mp
Tbn. 1-2
mp
3.
Tpt. 1-2
15
f
Hn. 1-2
Hn. 3-4
mp
Cl. 1-2
70
mp
Ob. 1-2
69
2.
p
B. Tbn.
Tba.
mp
mp Timp.
Perc. 1
Perc. 3
Hp.
Vln. I
Triangle
Perc. 2
mp
(Claves)
mp
Vln. II
I
mp
mp
Vla.
mp
Vc.
mp
Db.
mp
3
71
16
Fl. 1-2
Ob. 1-2
mp
Hn. 1-2
ff
mf
Cl. 1-2
Bsn. 1-2
ff
mf
mp
mf
ff
3
3
3
3
3
3
mf
Hn. 3-4
3
mf
Tpt. 1-2
mf
3
73
mp 3
1.
mf
3
3
mf
3
3
1.
3
mf
3
mf
mf
mp
B. Tbn.
J
mf
Tbn. 1-2
1.
72
3
mf
Tba.
Timp.
Perc. 1
mf
Hp.
Vln. I
(Triangle)
mf
mf
3
Shaker
J
3
3
mf
mf
Vc.
mf
Db.
mf
Vla.
mf
Vln. II
mp
Perc. 2
Perc. 3
mf
3
3
3
3
3
3
3
3
3
3
74
Fl. 1-2
1.
Ob. 1-2
76
3
3
Hn. 1-2
3
1.
Tpt. 1-2
Tbn. 1-2
sfz
mf
a2
3
3
mf
mf
mp
mf
mf
Hn. 3-4
79
a2
sfz
78
mf
mp
17
K 77 accel. sfz
3
Bsn. 1-2 1.
3
mf
3
1.
Cl. 1-2
mf
75
2.
mf
mf
B. Tbn.
Tba.
Timp.
Perc. 1
mf
mf
3
3
mf
Perc. 2
Db.
3
3
3 3
3
K
3
3
Vc.
3
mf
3
Vla.
3 Vln. I
3
Vln. II
3
Hp.
3
(Shaker)
Perc. 3
3
3
3 3 3
3 3 3
sfz
3
3
3
3
3
3
3
sfz
3
3 3 3
3 3 3
3 3 3 3 accel.
3
3
mf
3 3 3
3
3
3
mf
3 3 3 3
3
3
sfz
mf
sfz
mf
sfz
mf
L
18 80
Fl. 1-2
Hn. 1-2
Hn. 3-4
Tpt. 1-2
mp
ff
ff
Tba.
Timp.
Perc. 1
mf
3
Hp.
3
Vln. I
Vln. II
Vla.
Vc.
Db.
3
3
mp
f
L
q = 112
ff
ff
ff
ff
mf
3
3
f
3
DCB/EFGA
3
ff
mf
ff
3 3
mp
ff
mf
(Shaker)
Perc. 3
f
(Triangle)
3
f
(Claves)
Perc. 2
ff
3
f
ff
f
mf
ff
B. Tbn.
ff
mp
mp
ff
a2
Tbn. 1-2
mf
Bsn. 1-2
83
mf
Cl. 1-2
82
mf
Ob. 1-2
q = 112 81
ff
mp
mp
f
f
84
Fl. 1-2
f
a2
Ob. 1-2
Bsn. 1-2
f
Cl. 1-2
ff
ff
a2
f
ff
a2
f
a2 Hn. 1-2
85
M
a2
ff
f
Hn. 3-4
Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
f
f
Perc. 1
Perc. 2
sfz
sfz
ff
f
ff
sfz
f
f
sfz
ff
sfz
f
Guiro
(Shaker)
ff
(Claves)
sfz
sfz
sfz
sfz
19
ff
Timp.
ff
a2
ff
a2
87
86
sfz
sfz
sfz
ff
Perc. 3
Hp.
ff
ff
M
arco div.
mf
pizz.
mf
pizz.
mf
pizz.
Db.
mf
Vc.
pizz.
pizz.
Vla.
arco div.
Vln. I
Vln. II
mf
ff
arco
ff
pizz.
pizz.
arco ff
arco ff
arco
sfz
arco
sfz
pizz.
pizz.
sfz
arco
arco
sfz
pizz.
pizz.
arco
sfz
arco
sfz
20 Fl. 1-2
ossia:
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
B. Tbn.
Tba.
Timp. Perc. 1
f
f
mp
f
f
a2
p
sfz
sfz
p
f
mp
f
f
f
mf
mf
ffp
mf
ffp
ffp
mf
f
f
ffp
mf
f
f
ffp
f
ffp
mf
f
a2
f
mf
f
f
mf
ffp
mp
mp
mf
f
mf
mf
f
a2
f
Perc. 2
Hp.
ffp
f
f
Vla.
ffp
ff
Db.
pizz.
pizz.
p
f
mp
f
mf
N
p
p
arco
sfz
arco
sfz
ffp
f
6
Vc.
f
Vln. I Vln. II
ffp
f
(Shaker)
Perc. 3
ffp
f
(Claves)
f
90
mp
mp
mp
mp
f
p
mp
mp
mp
sfz
f
f
p
(Guiro)
f
p
Tbn. 1-2
6
Tpt. 1-2
p
p
Hn. 3-4
89 N 6
88
p
p
f
mp
f
mp
f
p
f
f
mp
mp
mf
f
ffp
f
mf
f
ffp
f
mp
f
f
f
mf
f
mf
ffp
f
mf
ffp
f
ffp
Fl. 1-2 a2
91
ff
Ob. 1-2
ff
Cl. 1-2
ff
Bsn. 1-2
ff
92
a2
a2
Hn. 1-2
3 3
ff
Tpt. 1-2
3 3
3
a2
3
ff
B. Tbn.
Tba.
Timp.
Perc. 1
ff
ff
(Guiro)
f
Perc. 2
Perc. 3
Hp.
ff
Vla.
Vc.
ff
ff Db.
ff
ff
ff
f
3
3
3
3
f
f
f
3
3
f
f
3
3
3
3
f
3
Agogô Bells
Vln. I
Vln. II
3
Claves
3
3
f
f
f
ff
f
ff
(Shaker)
f
ff
(Claves)
f
21
3 3 3 3 3 3
ff
Tbn. 1-2
3
3
ff
Hn. 3-4
( q = 60 ) O q = 145 94
93
rit.
f
( q = 60 ) O q = 145
rit.
unis. f
unis. f
f
f
3
f
3
3
3
22
Fl. 1-2
95
96
97
98
99
Ob. 1-2
Cl. 1-2
1.
f
3
3
3
3
3
3
3
3
Bsn. 1-2 3
3
3
3
Hn. 1-2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2
f
3
3
3
3
3
3
3
3
4.
Hn. 3-4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Tpt. 1-2
Tbn. 1-2
B. Tbn.
3
Tba.
Timp.
Perc. 1
3
Hp.
Vln. I
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vla.
3
3
3 3 3 3 3
Vln. II
f
3
3
3
3
3
3
3
3
Vc.
3
Db.
3
(Agogô Bells)
(Claves)
Perc. 3
3
3
Perc. 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 1-2
100
23
P
101
102
103
104
a2
Ob. 1-2
f
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3
Cl. 1-2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bsn. 1-2 3
3
3 3 3 3
3
3
3
3
a2 3 3 3 3 3 3 3 3
3 3 3 3 Hn. 1-2 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
3
Tpt. 1-2
Tbn. 1-2
3
3
3
3
Perc. 1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Shaker
f
Vln. I
Vln. II
3
3
(Agogô Bells)
Perc. 2
non arpeggiando
P
f
3
3
3
3
3
3
3
3
3
3
3
3
Vla.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3
Vc.
3
Db.
3
(Claves)
Hp.
3
3
Perc. 3
3
3
Timp.
3
3 3 3 3 3 3
B. Tbn.
Tba.
3
Hn. 3-4
3
3
3
3
3
3
3
3
3
3
3
3
3
24
105
Fl. 1-2
106
107
3
3
3
3
3
2.
3
3
3
3
3
3
Hn. 1-2 3
3
3
3
3.
3
3
3
3 3 3
3
3
Tpt. 1-2
3
f
Tbn. 1-2
3
3
3
3
3
3
3
3
3
3
3
a2 3
3
3
3
3
3
3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
3
3
3
3 3 3
3
a2 3 3 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3
f
3 Timp.
3
3 3 3 3 3 (Claves)
Perc. 2
(Agogô Bells)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(Shaker)
3
Vla.
3
3
3 3 3 3 3 3 3 3 3 3 3
B. Tbn.
Vln. II
3
f
Hn. 3-4
Vln. I
3
3
3 3 3 Bsn. 1-2 3 3 3 3
Hp.
f
Perc. 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Cl. 1-2
Perc. 1
109
Ob. 1-2
Tba.
108
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 Vc. 3 3 3 3 3 3 3 3 3 3 3 3 Db.
f
3
3
3
3
3
3
3
3
Q a2 110 111 112 113 114 25 Fl. 1-2 f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Ob. 1-2
3 3 3 3 3 3 3 3 3 3 3 3 3
Cl. 1-2
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
3
a2
3
3
3 3 3
Bsn. 1-2
3
3 3 3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Hn. 1-2 3
3
Tbn. 1-2
f
B. Tbn.
3
3
3
3
3
3
3
3
3 3 3
3
3
3 3
3
3
3
3 3
3
3
3
3 3
3
3
3
3
3
3 3 3 3 3
(Claves)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(Shaker)
Hp.
3
3
(Agogô Bells)
3
Perc. 2
3 3 3
Timp.
Perc. 3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 a2
Tpt. 1-2
Perc. 1
3 3 3 3 3 3 3 3 3 3
Hn. 3-4
Tba.
3
3
Q Vln. I f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vln. II
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
Vla.
3
Vc.
Db.
3
3
3 3 3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
3
3 3 3 3 3
3
3
3 3 3 3 3 3 3 3 Fl. 1-2 3 3 3 3 3
115
116
117
26
3 3 3 3 3 3
Ob. 1-2
3
Cl. 1-2
Bsn. 1-2
Hn. 1-2
3
f
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
Tbn. 1-2
B. Tbn.
Tba.
3
3
3
3
3
3
3 (Claves)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
3
3
3 3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3
(Agogô Bells)
3
3
3
Perc. 2
3
3
3
a2
3 3 3 3
Tpt. 1-2
3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
(Shaker)
Hp.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
Perc. 3
3
3
3
Hn. 3-4
Perc. 1
3 3 3 3
a2 3 3 3 3 3 3 3 3 3 3 3 3 3
Timp.
3 3 3
119
3
a2 3 3
118
Vln. I 3
3
3
3
3
3
3
3
3
3
3
3
Vln. II
3
Vla.
3
3
3
3
3 3 3
Vc.
Db.
3
3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
3
3
3
3
3 3
3 3
3
3
3
3
3
3
3
3
3
3
R a2 120 121 122 123 124 27 Fl. 1-2 3 3 3 3 3 3 3
3 3
3
3
3 3
3
Ob. 1-2
3
3
3
3
3
3 3
3
3
3
3 3
a2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Cl. 1-2
3
Bsn. 1-2
3
3
3
a2
a2 Hn. 1-2
3
3
3
3
3
3
Tpt. 1-2
3
3
3
3
B. Tbn.
3
Tba.
Perc. 1
Hp.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3 3 3
3 3 3 3 3 (Agogô Bells)
(Claves)
Perc. 3
3
3
Perc. 2
3
3
Timp.
3
3
3
3
3
3 3 3
3
Tbn. 1-2
3
3
Hn. 3-4
a2
3
3 3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(Shaker)
R Vln. I 3
Vln. II
Vla.
Db.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3 3
3
3
Vc.
3
3
3
3 3 3
3 3 3
3
3
3
3
3 3 3 Fl. 1-2 3 3 3 3 125
28
Ob. 1-2
3
3
Cl. 1-2
Bsn. 1-2
Hn. 1-2
3
3
3
3
3
3
3
3
B. Tbn.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 Timp.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
Vln. I
3
Vc.
3
3
(Shaker)
Vla.
3 3 3 3 3 (Claves)
Vln. II
3
(Agogô Bells)
3
Perc. 2
3
3
3
3
3
3
3
3
3
Db.
Tbn. 1-2
Hp.
3 3 3
3 3 3
129
3
Perc. 3
3
3
128
Tpt. 1-2
Perc. 1
3
3
127
Hn. 3-4
Tba.
3 3 3 3 3 3
126
3
3
3
3
3
3
3
3 3 3
S
3
130
a2 Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Tpt. 1-2
Timp.
Perc. 1
(Claves)
(Shaker)
Perc. 3
Hp.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Db.
3
3 3
Vc.
3
3 3
3 3 3
S Vln. I
Vla.
3
3
Vln. II
3 a2
3
3 3 3
(Agogô Bells)
3
Perc. 2
29
3
3
3
3
Tba.
134
3
3
3 3
3
B. Tbn.
133
3
3 3
3
3
132
3 a2
3
Hn. 3-4
Tbn. 1-2
3
3
131
3
3
30
135
Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Tpt. 1-2
3
a2
a2
a2
a2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
T
3
3
3
Vln. I
Vc.
Vla.
a2
3
Vln. II
3 3 3 3 3
(Shaker)
Db.
(Agogô Bells)
(Claves)
Hp.
139
a2
3
Perc. 2
138
Timp.
Perc. 3
B. Tbn.
Perc. 1
3
T
137
Hn. 3-4
Tba.
Tbn. 1-2
136
3
Fl. 1-2
Hn. 1-2
ff
3
3
3
3
3
3 3 3
3
ff
Tba.
Timp.
Perc. 1
3
Vln. I
Vln. II
Vla.
Db.
ffp
fff
3
3
3
ff
3
fff
fff
ffp
3
3
ffp
fff
ff
ffp
fff
p
ff
fff
fff
3
3
3
3
g
s. lis
fff
3 3 3 3 ffp ff 3 3
fff
3
3
ffp
ff
ff
ff
fff
3
ff
3
with yarn mallets
3 3 ffp
3 3
3
3
ffp
ff
ffp
3 3 3
fff
3 3 3
ffp
fff
ffp
fff
ff Vc.
fff
3 3 3
p
Hp.
ffp
(Agogô Bells)
Susp. Cymbal
Perc. 3
ffp
fff
3 3 3 3
(Claves)
Perc. 2
3
3
3
fff
3 3 3
3
ff
fff
3 3
7
ffp
3
fff
3 ffp
ff
B. Tbn.
fff
3 3 3
Tbn. 1-2
ffp
ff
7
ffp
3 3 3 3
ff Tpt. 1-2
3
3 7 fff ffp ff 7 3 3 3 3 ff
Hn. 3-4
142
Cl. 1-2
143
141
Ob. 1-2
Bsn. 1-2
140
3
ff
3
ff
31