Keane Southard
Showers over Peaks and Vales For
Orchestra
(2013) (Duration: c. 10-11 mins.)
Instrumentation: 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 2 Trumpets in C 3 Trombones (3. Bass Trombone) Tuba Timpani Percussion 1: Tam-Tam, Glockenspiel, Whip, Large Bass Drum (w/perc.2), 3 Suspended Cymbals (w/perc.2), Hi-Hat, Geophone (ossia: Maracas), 4 Tomtoms Percussion 2: Vibraphone, 3 Suspended Cymbals (w/perc.1) [Bow required], Large Bass Drum (w/perc.1), Xylophone, Snare Drum, Rainstick Harp Piano Violin I Violin II Violas Cellos Double Basses (some with low C extension)
Score in C
Program notes: Showers over Peaks and Vales for Orchestra was written beginning in 2012 and completed in May 2013 while living in Campos dos Goytacazes, Brazil. I consider this my first real work for full orchestra (my Titanium and Mercury for Large Orchestra two years earlier was an orchestration of a piano piece.) Since I was a kid, I have dreamed about writing for the orchestra, but it has only been after years of studying scores and pieces that I have felt comfortable and qualified to write for this large ensemble. Prior to this piece, I had written almost everything but an orchestra piece, including pieces for string orchestra, chamber orchestra, wind ensemble, concert band, chorus and orchestra, a concerto for piano and chamber orchestra, and a full orchestra version of a piano piece. The title refers to the musical elements of the work. The piece begins and ends with a ‘shower’ of violins, be them like showers of rain or meteors. The ‘peaks and vales’ refer to the main motive used in the work, which rises and falls, usually by glissando (sliding) and ending back on the beginning note. This, both visually and aurally, creates a kind of little hill. The inverse of this, falling and then rising, is also used extensively and naturally forms a little valley. The use of the word ‘vale’ instead of more common word ‘valley’ is also a little tribute to my sister, this being her name. Keane Southard 2013
Performance instructions: 1. Tenuto marks (-) over notes indicate more weight/stress on the note and does not indicate space to be placed in between that note and the next (unless the tenuto is combined with a staccato). 2. There should be several Double Basses with the low C extension. Anytime a note requiring the extension is written (notes below the low E), basses without the extension should play the note an octave higher or the upper part if it is divisi. 3. Unless otherwise indicated, the damper pedal (for the piano) should be used discreetly to allow for maximum clarity. 4. Glissandi in this piece are very important. All glissandi should last the entire duration and move at a steady velocity (except for as noted in the beginning and ending unmetered sections in the violins.) If anything, glissandi should be over-emphasized. 5. Ideally, the opening unmetered section should not need any help from the conductor to be coordinated, but should work by the violins counting and observing who and when the other violinists are playing around them, as noted in the instructions in their parts. However, cues from the conductor may be helpful if this proves to be difficult to coordinate for the violins on their own. 6. Ideally, the opening violin figures (which end around rehearsal letter B) are played with
practice mutes on. If practice mutes for all of the violins can not be obtained, then all violins should instead use regular mutes instead. (This opening should not be played with a mix of practice and regular mutes. All violins must use the same kind of mute in order to produce a uniform timbre.)
Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com Website: keanesouthard.instantencore.com
Showers over Peaks and Vales Score in C Flute 1-2
Oboes 1-2
Clarinets in Bb 1-2
Bassoons 1-2
Horn in F 1-2
Horn in F 3-4
Trumpet in C 1-2
Trombone 1-2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Harp
Keane Southard
for Orchestra
Piano
10-20"
2-5"
3-8"
5-10"
15-20"
5-10"
Slow, Freely entire figure should last between 10-20" sul tasto Solo
con sord.
*
glis s.
(begin each gliss. very slowly and accel. to end)
glis s.
ppp p ppp mp (do not let open string ring during rest)
Slow, Freely, each player at own tempo, uncoordinated with others (begin anytime between 2-5" after solo violin has completed figure the first time)
sul tasto
Violin I
*
(begin each gliss. very slowly and accel. to end)
gli ss. con sord.
glis
s.
ppp p ppp mp (do not let open string ring during rest)
Slow, Freely, each player at own tempo, uncoordinated with others (begin anytime between 5-10" after your stand partner has begun playing)
gli altri div. a 2
sul tasto
*
con sord. gli ss.
(begin each gliss. very slowly and accel. to end)
glis s
.
ppp p ppp mp (do not let open string ring during rest)
Slow, Freely, each player at own tempo, uncoordinated with others (begin anytime between 3-8" after you see that all the first violins are playing)
sul tasto
.*
con sord gli
gli ss.
ppp p ppp mp (do not let open string ring during rest)
Slow, Freely, each player at own tempo, uncoordinated with others (begin anytime between 5-10" after your stand partner has begun playing)
Violin II div.
sul tasto
Violoncello div.
(begin each gliss. very slowly and accel. to end)
gli ss.
ppp p ppp mp (do not let open string ring during rest)
Viola div.
*
con sord. glis s.
Double Bass
ss.
(begin each gliss. very slowly and accel. to end)
* Ossia: practice mute (prefered over regular mute)
©2013
h = 38 A
2
2
Fl. 1-2
3
4
5
6
7
8
B
9
10
11
12
13
14
15
16
17 a2
3
mf Ob. 1-2
Cl. 1-2
a2
3
Bsn. 1-2
Hn. 1-2
mf
con sord.
con sord.
C Tpt. 1-2
Tbn. 1-2
p
p
n
p
Hn. 3-4
n
p
p
n
n
n
n
p
1.
f
Tam-Tam
B. Tbn.
Tba.
h = 38 A
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
D C B / E F# G A
p
h = 38
A
B
p
l.v. (top staff only)
p
mp
If you are in the midst of the figure, complete it before resting.
If you are in the midst of the figure, complete it before resting.
If you are in the midst of the figure, complete it before resting.
mp
mp
mp div.
Db.
mp (no hairpins for bottom part)
mp
n
n
n
n
mp
p
mp
mp
mp
n
mp
mp
mf 3
If you are in the midst of the figure, complete it before resting.
Vln. II div.
Vc. div.
B
Vln. I div.
mf 3
mp
Vla. div.
mp
C Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
18
19
20
n
f
n
mf
23
24
D
25
26
27
28
29
30
31
22
3
f
21
mf (no hairpins for 2.)
Hn. 1-2
Hn. 3-4
con sord. (straight mutes)
C Tpt. 1-2
mp
Tbn. 1-2
n mp
mp
n mp
n
n mp
n mp
n
mp
n
B. Tbn.
Tba.
C Timp.
Perc. 1
(Tam-Tam)
mp
mp
Vibraphone Perc. 2
Hp.
mf
f
f
mf
Pno.
f
f
mf
Vln. I div.
Vln. II div.
Vla. div.
mf
n
n mf
Db. mf
senza sord.
mf
mf
n
n
mf
n
mf
mf
n
f
mf
n
mf
n
f
senza sord.
mf
mp
mf
mf
senza sord.
mf
Vc. div.
mf
D senza sord.
C
f
mp
f
D
E poco rit. 4
A tempo
32
Ob. 1-2
Cl. 1-2
Fl. 1-2
Bsn. 1-2
Hn. 1-2
33
34
35
36
37
38
f
a2
39
n
40
n
mp
42
f
mp
41
n
n
43
mp
mp
remove mutes
Hn. 3-4
C Tpt. 1-2
n
Tbn. 1-2
B. Tbn.
Tba.
E Timp.
Perc. 1
poco rit.
A tempo
Glockenspiel
mp (Vibraphone) Perc. 2
Hp.
Pno.
pp
Vln. I div.
n
mp
E poco rit.
n
pp
norm.
pp
s.p.
Vc. div.
n
Db.
pp
p
n
3
mf
3
p
n
pp
pp
3
mp
7
mp
mp
mp
n
3
n
mp
n
n
p
3
mf
p
3
f
3
n
III
mp
n
mp
mp
n
10
mp
n
3
n 3
l.v.
D C# B / E F G Ab
mp
mp
mp
mp
II
f
mf
pp
gli altri
II
I
I norm.
mp
n
3 soli
11
n
Vla. div.
n
norm.
s.p.
mp
A tempo norm.
7
3
5
mp
mp l.v.
l.v.
B - Bb
Vln. II div.
mp
l.v.
mp
pp
n
mp
n
n
mp
n
mp
n
n
mp
Fl. 1-2
G
F
H
h = 28 (q = 56)
poco rit.
poco rit.
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
Cl. 1-2
n
2.
mp
n
Ob. 1-2
Bsn. 1-2
Tempo I (h = 38)
44
n
mp
pp
pp
n
n
Hn. 3-4
C Tpt. 1-2
Hn. 1-2
Tbn. 1-2
pp
B. Tbn.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
F
Vln. II div.
l.v.
H
h = 28 (q = 56)
poco rit.
(Vibraphone) pitch bends 3
3
3
mf
poco rit.
Tempo I (h = 38)
3
p
mp
0
0 0
0 0
p
p
p
p 3
H
h = 28 (q = 56)
poco rit.
poco rit.
Tempo I (h = 38)
n
0 0
"crying"
G
p
0
n
n
n
n p
"crying"
3
3
p
3
3
mp
3
3
norm.
s.p.
pp
n
div. a 2
Vla.
gli altri
p
p Vc. div.
I II
n
p
p
Db.
Ab - A F - F#
n
mp
Vln. I div.
3 soli
p
mp
F
G
n
p
pp
Tba.
p
p
3
p
3
pp
pp
p
3
3
3
mp
3
mp
3
3
s.p.
norm.
norm.
s.p.
pp
n
pp
n
pp
3
norm.
pp
mp
3
mp 3
3
3
p
3
3
p
3
"crying"
p
"crying"
s.p.
n
5
I
6
61
Ob. 1-2
Cl. 1-2
64
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Bsn. 1-2
Hn. 1-2
Tba.
70
71
I Timp.
Perc. 1
(Glockenspiel)
mf l.v.
Perc. 2
Pno.
I ppp
ppp
ppp
ppp
Vc. div.
n
n
n
"seagulls" I norm.
norm.
ppp
pp
n
n
mf
mf
glis
s.
p
mf
pp
ppp
pp
ppp
pp
ppp
pp
ppp
n
n
n
n
pp
n
n
"seagulls" II
p
Db.
mf
pp
pp
pp
ppp
Vla.
pp
Vln. II div.
p
6
High Suspended Cymbal with bow
l.v.
Vln. I div. a 3
mf
mf
l.v.
Hp.
mf l.v.
p
6
Medium Suspended Cymbal with bow
67
69
66
68
65
63
Fl. 1-2
62
gliss
.
n
Fl. 1-2
q = q (q = 76) J
72
73
1.
74
75
f
Ob. 1-2
1.
f 1.
Cl. 1-2
f
Bsn. 1-2
f
Hn. 1-2
senza sord.
f
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
3.
f
f
senza sord.
f
B. Tbn.
f
Tba.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
J
Vln. I div. a 3
Db.
ff
q = q (q = 76)
f
norm.
norm.
f
f
f
f
(no cresc.)
C# - C
Large Bass Drum with heavy felt beater
f
f
f
f
Vc. div.
J
Vln. II div.
Vla. div.
ff
q = q (q = 76) f
f
7
8
2. 2. 1.
Ob. 1-2
2. 2. 1.
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Tbn. 1-2
B. Tbn.
Timp.
Perc. 2
Hp.
Pno.
ff
(senza sord.) a2
(Large Bass Drum)
f
K
B - Bb
K
p
f
p
f
p
f
p
f
p
f
ff
Db.
Vc. div.
ff
80
a2
Vla. div.
Vln. II div.
79
Vln. I div. a 3
p
Perc. 1
C Tpt. 1-2
Hn. 3-4
Tba.
K
77
2. 78 2. Fl. 1-2 1. 76
Fl. 1-2
81
Ob. 1-2
82
83
84
85
L q = 96 89 87 accel. 88 9 ff
86
a2
ff
Cl. 1-2
a2
ff
Bsn. 1-2
Hn. 1-2
ff
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
senza sord.
ff
Tba.
Timp. Perc. 1
ff
ff
B. Tbn.
ff
ff
q = 96
ff
L
accel.
Xylophone with hard wood mallets Perc. 2
Hp.
ff
ff
ff
q = 96
ff
gliss.
accel.
n
gliss.
gliss.
n
ff
ff
gliss.
ff
ff
ff
n
ff
ff
n
ff
L
ff
Vln. II div.
D C Bb / E F# G A
Db.
Vc. div.
Vla. div.
Vln. I div. a 3
Pno.
gliss.
n
90
10 Fl. 1-2
Ob. 1-2
Hn. 1-2
Perc. 1
f
sffz
p
q = 112
Whip
7
f
6 5
f
5
5
f
f
fff
q = 112
f
sffz
f
p
p
Db.
unis.
p
ss gli
F# - F
.
ff f
fierce!
f fierce!
fierce!
f
fierce!
fff
f
fff
div. a 3
fff
f
fff
f
f
fff
f
fff
fff
fierce!
f fierce!
fierce!
f
fff
fff
f
fff
fff
fff
p
f
Bb - B
3
5
f
fff
f
fff
6
ff
fff
f
ff
2.
f fierce!
Vc. div.
M
p
Vla. div.
1.
Vln. II div.
ff
f
f
Vln. I div. a 3
fff
3 3
fff
Perc. 2
Pno.
f
fff
(Xylophone)
Hp.
M Timp.
p
Tba.
96
B. Tbn.
95
1.
fff
Tbn. 1-2
94
C Tpt. 1-2
93
fff
Hn. 3-4
92
fff
q = 112
91
Cl. 1-2
Bsn. 1-2
M
fff
f fierce!
fff
f fierce!
3 ff
f
fff
sim.
97
Fl. 1-2
98
N
99
100
101
f
Ob. 1-2
f
Bsn. 1-2
Hn. 1-2
Cl. 1-2
3
3
3
3
3
3
f
3
3
3
3
3
3
Tba.
Timp.
Perc. 1
Perc. 2
1.
Pno.
ff 3 fff
3
ff 3 fff
mf
3
3
3
3
3 fff 3
3
mp
11
mf
3
mp
3
mp
N
to straight mutes
3
3
f
ff
fff
3
(Xylophone)
mf
ff
Medium and High Susp. Cym. with snare stick
f
p
O
Hi-Hat with snare stick closed (+) unless otherwise indicated (o)
f (not too tightly closed)
mf
ff
div. a 2
fff
fff
a2
3
fff
f
sim.
3
mf
mf
mf
mf
O
fff
fff
fff
unis.
f
mf
106
ff
Db.
O
105
ff 3
fff
3
B - Bb
Vc.
mp
f
Vla. div.
ff 3 fff
Large Bass Drum with hard felt beater
Vln. II div.
ff
Vln. I div. a 3
3
mf
N
f
Hp.
104
3
f
B. Tbn.
3
3
f
Tbn. 1-2
103
mf
f
C Tpt. 1-2
3
f
Hn. 3-4
3
102
mf
mf
sim.
3
3
ff
pizz.
pizz.
ff
f
f
12
3
107
Fl. 1-2
f
3
f
Bsn. 1-2
Hn. 1-2
Cl. 1-2
109
mf
f
3
3
f
Tbn. 1-2
mf
mf
Perc. 2
Hp.
mf
p
f
f 1.
f
1.
3 3
ff
ff
remove mutes
a2
ff
3
ff
P
pizz.
pizz.
pizz.
pizz.
pizz.
3
pizz.
Vc. div.
Db.
arco
arco
arco
pizz.
pizz.
pizz.
f
f
f
3
P
arco
f
arco 3
arco
mf
arco
mf
arco
arco
f
mf
mf
mf
ff
3 ff
arco
mf Tutti div. a2
f
ff
3
1st Desk
Tutti div. a2
arco
mf
arco
f
mf
1st Desk
arco
mf
mf
arco
mf
arco
mf
arco
f
ff
f
mf
Snare Drum with snare stick
3
f
pizz.
f
Vla. div.
3
f
f
f
f
ff
ff
3
2.
ff
mf
f
mf
f
p
f
mf
f
3
mf
f
mf
mf
D C# B / E F# G# A
Vln. II div.
Large Bass Drum with heavy felt beaters
Vln. I div.
(Hi-Hat)
Pno.
3
3
Timp.
Perc. 1
mf
114
con sord. (straight mutes)
B. Tbn.
Tba.
3
113
mf
C Tpt. 1-2
3
f
112
f
3
f
P
3
f
Hn. 3-4
111
f
mf
110
f
f
Ob. 1-2
108
mf
Fl. 1-2 115
3
ff
116
3
Ob. 1-2
Cl. 1-2
3
3
3
3
ff
Hn. 1-2
119
120
121
f ff senza sord.
3
fff
3
fff
3
fff
C Tpt. 1-2
3
f
ff
f
f
Timp.
Perc. 1
Pno.
Vln. II div.
3
p
3
f
Q
p
p
3
mp
3
fff 3
3
3
3
3
3
sfffz
fff
3
3
3
3
3
fierce!
sim.
sim.
f
fierce!
f
fff
Q
fff
f
fff
fierce!
sim.
sim.
f
3
3
3
3
ff
ff
ff
3
unis.
Db.
f
ff
3
3 3 3 3
Vc.
Geophone (ossia: Maracas) swirled
ff
f
ff
Vla. div.
ff
ff
ff
ff
fff
ff
ff
Vln. I div.
3 Susp. Cym. with snare stick
p
f
D C B / E F# G A
ff
3
ff
f
f
Hp.
3
f
ff
Large Bass Drum with hard felt beater
Perc. 2
3
3
p
a2
3
f
ff
f
B. Tbn.
13
1.
fff
Tbn. 1-2
Tba.
f
Hn. 3-4
Q
118
ff
117
ff
Bsn. 1-2
fierce!
fff
fff
3
fff
3
fff
sim.
f
14 Fl. 1-2
122
123
a2
124
a2 Ob. 1-2
a2 Cl. 1-2
Bsn. 1-2
Hn. 1-2
2.
f
Tbn. 1-2
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
p
3
p
ff
p
ff
p
ff
f
f
mp
3
3
mp
3
p
ff
ff
ff
ff
ff
mp
p
p
ff
3
mf
p
3
ff
"Shh" sound with mouth into instrument with mouthpiece removed
Rainstick
(Geophone or Maracas)
3
mp 1.
R
p
3
f
p
3
2.
p
mp
1.
p
"Shh" sound with mouth into instrument with mouthpiece removed
127
p
"Shh" sound with mouth into instrument with reed removed
Pno.
3
Hp.
3
C Tpt. 1-2
f
3
p
Hn. 3-4
126
R
125
"Shh" sound with mouth into instrument (fingering the pitch indicated but more "shh" sound than pitch)
f
R
Vln. I div.
Vln. II div.
fierce! sim.
f
Vla. div.
sim.
f fierce!
sim. f
Vc. div.
fierce!
sim. f
Db.
fierce!
128
Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
129
f
Timp.
Perc. 1
3
Pno.
"Shh"
p
ff
p
ff
3
3
3
ff
p
p
ff
mf
"Shh"
ff
p
p (Rainstick)
f
ff
(Geophone or Maracas)
ff
p
ff
p
p
"Shh"
p
3
Perc. 2
Hp.
ff
3
mp
Tba.
3
mp
mp
B. Tbn.
p
15
133
1.
Tbn. 1-2
132
2.
mp
C Tpt. 1-2
131
"Shh"
Hn. 3-4
130
p
ff
p
Vln. I div.
Vln. II div.
Vla. div.
Vc. div.
Db.
134
"Shh" Fl. 1-2
S
135
136
p
ff
Hn. 1-2
Hn. 3-4
2.
f
Tbn. 1-2
Hp.
Pno.
ff
"Shh"
ff
ff
ff
ff
ff
p
p
p
(Geophone or Maracas)
fff
S
mf
ff
(Rainstick)
Perc. 2
"Shh"
mf
p
a2
fff
mf
Timp.
Perc. 1
a2
mf
B. Tbn.
Tba.
p
mf
C Tpt. 1-2
"Shh"
p
fff
f
p
p
p
fff
fff
Bsn. 1-2
ff
p
p
p
"Shh"
Cl. 1-2
fff
"Shh"
ff
139
p
p
138
p
"Shh" Ob. 1-2
137
"Shh"
16
fff
S cresc.
Vln. I div.
cresc.
cresc.
Vln. II div.
cresc.
Vla. div.
cresc.
cresc.
cresc.
Vc. div.
cresc.
Db.
140
141
Fl. 1-2
Ob. 1-2
Bsn. 1-2
Cl. 1-2
T
142
ff
ff
B. Tbn.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
Vla. div.
Vc. div.
3
3
3
ff
Susp. Cym. with snare stick
sim.
glis s.
gliss.
IV T ff
IV ff IV ff
IV ff
III
III
ff
ff
a2
Db.
3
ff
glis s.
ff
ff
Vln. II div.
Large Bass Drum with hard felt beater
Vln. I div.
ff
ff
f
T
17
ff
ff
3
ff
Tba.
ff 3
ff
Tbn. 1-2
ff
C Tpt. 1-2
a2
ff
Hn. 3-4
144
ff
ff
Hn. 1-2
143
ff
ff
ff
Ob. 1-2
5
Cl. 1-2
Bsn. 1-2
Hn. 1-2
5
5
5 5 5
ff
B. Tbn.
p
ff
Timp.
(Susp. Cym.)
sim.
sim.
3 3
3
Hp.
Pno.
U
5
5
5
5
(III)
(IV)
(IV)
5
(III)
5
Db.
3
ff
ff
Db C B / E F G Ab
(IV)
Vc. div.
Vla.
Vln. II
(IV)
Vln. I
ff
4 Tomtoms with snare sticks
3 Susp. Cym. with snare stick
3
(Large Bass Drum)
Perc. 2
3
3
3
3
3 3 ff a2 a2
p
Perc. 1
Tbn. 1-2
3
p
3
C Tpt. 1-2
150
a2
3
Hn. 3-4
Tba.
5 5
149
147 148 U
146
F - F# Ab - A
145 Fl. 1-2 5 5 5 5
18
U
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
div.
ff
3
152 151 7
accel. 154 2. p fff 6 3 3 p fff
(q = 45)
molto rit.
Fl. 1-2
Ob. 1-2
Cl. 1-2
3 6
a2
Bsn. 1-2
Hn. 1-2
Hn. 3-4
5
3
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
3
6
Perc. 2
fff
Pno.
molto rit.
Vln. II div.
3
Vc. div.
Db.
unis.
3
p
5
p
p
p
f
5
f
3
fff
(q = 45) q = 72 ss.
5
gliss.
3
3
5
s. glis
p
. iss
fff
.
fff
gl
l i ss
3
3
3
p
3
fff
fff
p
3
"seagulls"
p
fff
3 6 6
"seagulls"
p
6
3
p
fff
g
3
5
accel.
5
mf
5
gliss.
fff
3
fff
gli
p
3
6
p
Vla. div.
p
3
3
6
fff
3
Vln. I div.
3
3
19
accel.
(3 Susp. Cym.)
fff
ff
155
f
p
Tam-Tam
1.
3
fff
fff l.v.
Hp.
f
(q = 45) q = 72
molto rit.
Perc. 1
3
3
3
6
fff
3
fff
153
fff
fff
3
3 3 3 3 3 fff 5 5
3
Timp.
fff
q = 72
gliss.
ff
p
gliss.
ff
p
p
V q = 96 20
Fl. 1-2
156
157
158
159
W
160
Ob. 1-2
Cl. 1-2
Hn. 3-4
C Tpt. 1-2
Bsn. 1-2
Hn. 1-2
Tbn. 1-2
1.
mf
B. Tbn.
Tba.
V
q = 96
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
W
Hi-Hat with snare stick
mf
not closed too tightly
V
q = 96 Vln. I
like an improvisation
mf
Solo
Solo
like an improvisation
mf
Vln. II
W
vary dynamics as desired
3
5
3
3
5
3
5
vary dynamics as desired
3
5
5 3
Vla.
gli altri
hold and strum like a guitar
pizz.
f
Vc.
Db.
mf
Fl. 1-2
161
162
163
X
Ob. 1-2
Cl. 1-2
Bsn. 1-2
1.
mf
Hn. 3-4
C Tpt. 1-2
Hn. 1-2
Tbn. 1-2
f
2.
Timp.
Tba.
(Hi-Hat) Perc. 1
Perc. 2
Hp.
Pno.
X
(Solo) 7
Vln. I
3
7 7 5
3
3
X
7
7
mf
Vln. II div.
mf
7
5
Vla.
3
3
5
7
6
hold and strum like a guitar
mf Vc. div.
mf
Db.
f
gli altri
Solo
3
mf
B. Tbn.
21
164
22
Fl. 1-2
165
166
167
Y
168
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
f
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
1.
f
(Hi-Hat)
Y
5
Vln. I
f
Y gliss. 3 5 6
f
ff
mf
Solo
B. Tbn.
Tba.
f
f
div.
IV-III-II-I I-II-III-IV sim.
Vln. II div.
IV-III-II-I I-II-III-IV sim.
f
Vla. div.
Vc. div.
3
3
pizz.
Db.
f
"Jet whistle"
169
Fl. 1-2
170
171
23
172
sfffz
Ob. 1-2
Z
a2
f
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Hp.
Pno.
B. Tbn.
Perc. 2
f
Tbn. 1-2
Perc. 1
2.
C Tpt. 1-2
Timp.
Hn. 3-4
Tba.
f
2.
mf
mf
(Hi-Hat)
Z
Z Vln. I div.
f
Vln. II div.
f
Vla. div.
Vc. div.
Db.
sim.
sim.
"Jet whistle" 24
173
Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
Perc. 2
Hp.
1.
3
3
6
Vln. I div.
Vln. II div.
3
3
3
3
3
3
6
3
3
3
3
3
3
a2
3
3
3
3
3
3
ff
Vla. div.
Vc. div.
Db.
(Hi-Hat)
Pno.
sfffz
B. Tbn.
a2
175
Tbn. 1-2
Perc. 1
C Tpt. 1-2
Timp.
Hn. 3-4
Tba.
174
3
3
3
3
3
3
25
AA
Fl. 1-2
176
Ob. 1-2
177
f
Bsn. 1-2 Hn. 1-2
p
Hn. 3-4
p
2.
Perc. 1
Perc. 2
Hp.
mf
mp
mf
f
ff
AA
ff
Vln. I div.
ff
ff Vln. II div.
f
Pno.
(Hi-Hat)
mp
AA
f
Timp.
f
Tba.
f
f
B. Tbn.
Tbn. 1-2
C Tpt. 1-2
f
Cl. 1-2
178
ff
Vla. div.
f Vc. div.
f
Db.
f
"Jet whistle" 26
Ob. 1-2
a2
179
Fl. 1-2
BB
a2
sfffz
180
ff
Cl. 1-2
a2
Bsn. 1-2
Hn. 1-2
f
f
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
Perc. 2
Hp.
Db.
f
3
3
3
3
ff
ff
ff
ff
ff
BB
gliss.
ff
gliss.
Vc. div.
Xylophone with hard wood mallets
Vln. II div.
Vla. div.
D C# B / E F# G A
Vln. I div.
ff
ff
BB
f
ff
ff
ff
Pno.
ff
ff
(Hi-Hat) Perc. 1
ff a2
181
Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
183
182
CC a2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Tba.
Timp.
Perc. 1
(Xylophone)
Perc. 2
Hp.
Vln. I div.
Vc. div.
ff
ff
ff
ff
27
ff
CC
CC
184
ff
Vla. div.
Vln. II div.
Db.
Pno.
(Hi-Hat)
Hn. 1-2
C Tpt. 1-2
ff
28
Fl. 1-2
Ob. 1-2
185
186
187
(!)
Cl. 1-2
Bsn. 1-2
Hn. 1-2
B. Tbn.
Perc. 1
(Xylophone)
Perc. 2
Hp.
5
3
3
gliss.
gliss.
fff
fff
Vln. I div.
3
3
3
Pno.
(Hi-Hat)
f
f
Tbn. 1-2
C Tpt. 1-2
Timp.
Hn. 3-4
Tba.
Vln. II div.
Vla. div.
Db.
Vc. div.
return to normal playing position
return to normal playing position
3
3
3
DD Fl. 1-2
fff
Hn. 1-2
fff
10
Cl. 1-2
Bsn. 1-2
Ob. 1-2
188
10
fff
fff
10
fff
fff
10
10
Tbn. 1-2
189
C Tpt. 1-2
10
29
fff
Hn. 3-4
fff
B. Tbn.
fff
Tba.
fff
DD Timp.
fff
Perc. 1
Tam-Tam
(dampen quickly and fully!)
fff
Large Bass Drum with hard felt beater
Perc. 2
fff
Hp.
gliss.
Pno.
gliss.
arco
10
fff
10
fff
10
10
10
gliss.
fff
fff
gliss.
10
10
10
10
10
10
fff
fff
arco
10
fff
Vln. II div.
Db.
fff
Vc. div.
fff
Vla. div.
fff
DD Vln. I div.
fff
30 Fl. 1-2
191
a2
Cl. 1-2
a2
Hn. 1-2
Perc. 1
3
fff
q = 76
(Tam-Tam)
rit.
3
p
fff
p
3
B. Tbn.
fff
Tbn. 1-2
p
192
C Tpt. 1-2
Timp.
Hn. 3-4
Tba.
3
10
Bsn. 1-2
3
10
3
10
Ob. 1-2
q = 76
rit.
190
193
f
(Large Bass Drum) Perc. 2
Hp.
gliss .
Pno.
Vln. I div.
Vln. II div.
gliss .
rit.
*q = 76
3 3
The following figure (at rehearsal mark "EE") may begin anytime during these three previous bars if preferred so that they would be practically inaudible until "EE" but already ongoing.
The following figure (at rehearsal mark "EE") may begin anytime during these three previous bars if preferred so that they would be practically inaudible until "EE" but already ongoing.
*
The following figure (at rehearsal mark "EE") may begin anytime during these three previous bars if preferred so that they would be practically inaudible until "EE" but already ongoing.
fff
G - G#
3 3
Snare Drum with snare stick
*
3
The following figure (at rehearsal mark "EE") may begin anytime during these three previous bars if preferred so that they would be practically inaudible until "EE" but already ongoing.
*
10
3
10
10
fff
High Susp. Cym. p with medium yarn mallets
10
10
Vla. div.
10
Vc. div.
Db.
p
p
p
fff
fff
fff
EE Fl. 1-2
ffff
tacet
ffff
tacet
ffff
tacet
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
ffff
ffff
ffff ffff
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
ffff
B. Tbn.
Tba.
31
tacet
tacet
tacet
tacet
tacet
tacet
ffff
tacet
EE ffff Timp. tacet Perc. 1
ffff (Tam-Tam)
ffff (Snare Drum)
Perc. 2
Hp.
tacet
ffff
tacet
ffff
tacet
Pno.
ffff
20-30"
10-13"
10-13"
10-13"
Slow, Freely, each player at own tempo uncoordinated with others, entire figure should last between 10-20" sul pont. (begin each gliss moderately con sord. fast and rit. to end) (poco accento) like a distant flare
EE
Solo
tacet
gliss.
p
pp pp
gliss.
p
When all other violins have stopped, complete the figure (if you are in the midst of it) and then play it one final time by yourself before resting
3-8"
ppp
Slow, Freely, each player at own tempo uncoordinated with others, entire figure should last between 10-20" sul pont. (begin each gliss moderately con sord. fast and rit. to end) (poco accento) like a distant flare
Vln. I
gliss.
p
pp pp
gliss.
p
After this cue, complete the figure and then tacet
ppp
Slow, Freely, each player at own tempo uncoordinated with others, entire figure should last between 10-20" sul pont. (begin each gliss moderately con sord. fast and rit. to end) (poco accento) like a distant flare
gli altri div. a 2
gliss.
p
pp pp
gliss.
p
After this cue, complete the figure and then tacet
ppp
Slow, Freely, each player at own tempo uncoordinated with others, entire figure should last between 10-20" sul pont. (begin each gliss moderately con sord. fast and rit. to end) (poco accento) like a distant flare
gliss.
p
pp pp
gliss.
p
After this cue, complete the figure and then tacet
ppp
Slow, Freely, each player at own tempo uncoordinated with others, entire figure should last between 10-20"
Vln. II div.
(begin each gliss moderately sul pont. fast and rit. to end) con sord. (poco accento) like a distant flare
Vla. div.
Vc. div.
gliss.
p
pp pp
ffff
tacet
ffff
tacet
p
gliss.
After this cue, complete the figure and then tacet
ppp
tacet
ffff
tacet
ffff
2 Soli
Db.
gli altri
ffff/ pp
ffff
(gli altri: tacet)
(2 Soli)
End only after all others have finished and you are the last instrument still playing.
n