Tell Me, How Is It That I Poisoned Your Soup?

[FULL SCORE]

Tell Me, How Is It That I Poisoned

Your Soup? « Dîtes-moi, comment ai-je empoisonné votre soupe ? »

for 12 musicians + electronics

Louis Goldford (2019)

INSTRUMENTATION bass flute (and piccolo) oboe contrabass clarinet bassoon (and waldteufel)

STAGE PLOT Goldford | Tell Me, How Is It That I Poisoned Your Soup? Stage Plot v. 1 — prep. for Talea Ensemble, 29 March 2019 8

Harmon mute straight mute

vibraphone bass drum 4 tuned gongs —

1 bell plate (E5) Chinese cymbal (suspended) crash cymbal (suspended) large wood block large temple block log drum (waldteufel for bassoon)

[ bassoon ]

[ percussion ]

4 4

2 2

5 10

[ bass flute ]

1

11

[ viola ]

1

[ cello ]

9 [ violin ]

trumpet in c

Percussion

7 [ cb. clarinet ] 3

horn in f

stop mute straight mute silent brass mute

6

[ pno ]

[ oboe ]

5

8

7

3

[ horn in f ] 6

12

[ trp. In c ]

[ double bass ] [ conductor ] [ Stage line ]

[ 10 mics in ] [ to house ] L/R placed normally

[ 10* post fader sends to RECORD ] 9/10

[ house mics UNUSED in this piece ! ]

*to RECORD: 8 spot mics + 2 ch from laptop [ 8 ch to laptop / 2 ch returned to mixer ]

ELECTRONICS All electronics, live and pre-recorded, are triggered by the electronics assistant. The interface is available as a Max patch. Please contact louis.goldford@gmail.com for a tech rider and patch distribution.

PERFORMANCE NOTES

Piano

GENERAL ISSUES:

Violin Viola Cello Contrabass electronics assistant*

bisbigliando: can be any timbral trill of the notated event open noteheads: used to convey non- or semi-pitched sounds at approx. pitch height playing modes (text indications) above staff: Noteheads with no text indication are assumed to cancel any preceding playing mode and return to “normale,” except in the case of brass mute positions (+/o), percussion mallet assignments, or piano markings indicating an action inside the instrument or on the strings. In such cases the indicated playing mode continues until it is cancelled or changed by another indicator.

WOODWINDS and BRASS: T.R. = tongue ram (indicated also with, and often solely by, an empty triangular notehead) A filled-in triangular notehead indicates a high teeth-on-reed (“bite reed”) sound. play/sing vs. growl: When a small notehead appears on stem above a normal notehead, the small note is to be sung while the large one is to be played. If “play/sing” appears without an indicated sung pitch, any sung pitch is acceptable. The text indication “growl” indicates a non-pure, distorted, or ideally low pitch sung into the instrument while playing the indicated note. Although indeterminate, a low pitch and vocal fry effects may be used to achieve a growled sound. WOODWINDS: ord. (ordinario): In the woodwind writing, “ord.” is often used to clarify a return to normal playing just after another indication. It is assumed that noteheads with no text indication return to “normal” playing mode, regardless of other markings that may follow or precede it. Harmonic — A diamond notehead tells the Bass Flute to produce this note as any harmonic of any fundamental pitch.

multiphonics: Multiphonics are indicated by (1) their fingerings and (2) a chord representing the most salient frequencies present in the resultant sound. Sometimes these pitches are transposed down into a readable range for the instrument, but may be heard several octaves above staff. In all cases these multiphonics are “ideal” solutions, and should be taken as descriptive notation (i.e. rather than prescriptive). Individual instruments will vary in their response to the same fingerings. The fingerings and resultants provided here are simply a guide; the performer should seek to find a solution that best approximates the sonic character of each indicated multiphonic. rapidly-changing low multiphonics for the contrabass clarinet and bassoon: Especially in passages of rapidly-changing multiphonics (though not limited to these), some multiphonics may speak late or barely at all, towards the end of the indicated duration, or may result in colored air without much pitch. A resonant, fully-pitched multiphonic may not always be possible. BRASS: pedal tones: Low pedal tones are indicated with precise pitches, but are understood to be approximations of a relative contour of low, indeterminate pedal tones in the indicated register. The player is nonetheless asked to target the indicated pitches, to the extent that they will sound, although many of them will be indeterminant. In extended passages of pedal tones (e.g. mm. 114-135, or mm. 278-end), the relative contour or shape of these pedal tones melodies is asked to be targeted rather than precise pitches. Arrows along the stem pointing up or down toward the notehead indicate approximate pitch. These arrows remind the Trumpet and Horn players when a relative pitch contour is preferred. 1/2 open vs. 1/2 closed: both are the same mute position. 1/2 valve: These indications are cancelled by the note following, unlike the mute indications. PERCUSSION: The percussion setup changes throughout the score and is marked accordingly. Tremolo markings typically denote wiping and/or scraping actions on the surface of the instrument, for example on the cymbals. Often they are marked as such. Some, such as the knitting needle, must be taken as rebounded strokes. The player may freely interpret these tremolos as rebound strokes, when unmarked, in order to create timbral variety. Tremolos in woodblocks (mm. 221-248) will most often need to be interpreted as rebound strokes. When there is adequate time between events, woodblock events with tremolo markings should be re-attacked. Tremolo markings on woodblocks are never wiping actions. Mallet markings may be taken as descriptive notation indicating a desired resultant sound quality; i.e. the attack and resonanting qualities produced when the indicated mallet is used. This does not mean that the player should seek to observe the rapidly-changing mallet markings in the score, but instead should use the most efficient means to achieve, as closely as possible, the variety of timbres suggested by the mallet changes in each passage. It is asked that when wire brushes or knitting needles are used, for example, that metal-to-metal contacts be preserved as much as possible. The stick-on-stick marking should be used with those mallets which are readily available in each hand, according to the musical context. (In other words, the mallet and drumstick shown in the glyph are not strictly observed.) One mallet should always make contact with the head of the bass drum, while the shaft of the second mallet should scrape along the shaft of the first. PIANO: At rapid speeds, the string locations for guiro and pizz. markings (i.e. those inside the piano) may be taken as approximate locations for broad gestures. The palm icon is used to indicate a broad strike of the strings in the register of the indicated pitch (i.e. this pitch is also an approximation). STRINGS: ord. (ordinario) and S.P./S.T.: In the strings, “ord.” is often used to indicate (1) a return to arco playing and (2) a resetting of the bow position, unless these parameters are indicated separately and explicitly. When S.P. and S.T. appear by themselves above a notehead it is assumed to cancel any pizz. indication that may precede it.

Violin and Viola: mm. 198-207: bow pressure graphics: are meant to convey a brief distortion of pitch at the central (thickest) point of each graphic. This means that pressure should be added until the sound becomes “scratchy” and then immediately begin receding in pressure according to the length of the graphic. The player may change the dynamic at the central point of each graphic to achieve the desired sound, if necessary. For example, sffz might appropriately convey the intended scratchiness in the middle. Likewise, if it is found that the harmonics are too weak to produce these scratches, the player may instead play ordinario (i.e. 2 octaves above the stopped pitch) and apply the same dynamics. m. 279, cello, “midway”: applies to the point behind the bridge, midway between the bridge and the wound part of the string.

EXPANDED PROGRAM NOTE Imagine this: Your psychiatric patient won’t eat the soup in the hospital because they swear you’ve poisoned it. How would you convince them it isn’t poisoned — and that they must eat? Here Edgar Levenson asks what constitutes an effective psychoanalytic treatment. For him, some approach analysis from a God-like position, telling patients about their own delusions. But a successful approach concentrates on how external factors trigger very real distortions and fantasy processes, including the actual physician/patient interaction. In this way, an interpersonal analyst would begin not from an authorial position but by genuinely asking, “What was it that *I* did to poison that soup?” To acknowledge another person’s inner reality, which for them is very real — Isn’t this for everyone? If ever we needed a formal definition of empathy it would be now, in today’s climate of intense polarization, public shaming, etc. After Levenson I remembered Christian Picciolini, the reformed Neo-Nazi currently de-radicalizing white supremacists. His techniques echo Levenson’s approach to analysis. Is finding a way out of polarization only for experts like Picciolini? These approaches suggest how each of us might consider interacting with our radically different neighbors. My relationship with my own music, and the distance between what I hear and what I can represent, serves as a ready example. What do we owe our neighbor? For composers instrumentally representing complex sounds found in their surroundings, or in nature, it’s clear. A composer and their source sounds: a strong bond representing an inner reality. In this piece, my source sounds tend to be field recordings from Taiwan, my home for years. But identifying sources is irrelevant. What matters is they serve as objects of intense fascination, and the musical structures derived from them necessarily come closer or farther in resemblance. Developing a specific musical “language” to represent each of these sounds would take years. Theoretically there could be some measure of a “perceptual distance” between a source sound and a target instrumental result. Every target would fall somewhere along the scale:

Musical targets that fall on the right more closely resemble their sources and retain some emergent qualities; those on the left sound more like orchestration as we know it. But everything along this continuum is useful. Targets closer to the right aren’t more valuable than those on the left. In Tell Me, I’m deliberately exploiting this distance, which continually varies within the musical fabric. A vague, hazy feeling that some emergent musical object is about to come into focus pervades; a threshold not quite reached. What do we owe our neighbor? The acknowledgement that these sounds, however close or far they may be from their source, still have intense value, somehow. Only then can we move forward, and often without realizing it, this is perhaps how we actually move forward already: by temporarily adopting one another’s inner realities. —Louis Goldford March 2019 New York City

PREMIERE PERFORMANCE Talea Ensemble

James Baker, conductor

31 March 2019 DiMenna Center for Classical Music

CONTACT INFORMATION Louis Goldford

louis.goldford@gmail.com

www.louisgoldford.com/works/tell-me

for James Baker and the Talea Ensemble

TELL ME, HOW IS IT THAT I POISONED YOUR SOUP? « Dîtes-moi, comment ai-je empoisonné votre soupe ? » for ensemble + electronics | Draft #2

Score in C

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©2019 Louis Goldford (BMI). All rights reserved.

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pick pins/ agraffes

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II

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SECOND DRAFT

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spectral delay; harmonic reverb; formant sweeps

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[ q = 138 ]

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keys

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pick pins

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P

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decel...

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IV

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o

air

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[ q = 138 ] l. acce

.

[ q = 112 ]

[ q = 116 ]

13

&

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$

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·

SECOND DRAFT

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pick felt/ agraffe

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pizz. III

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F flaut. I

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p

·

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ord. IV

F

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c.l. batt. S.P. III

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pick pins/felt

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whistle

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pick pins/felt

32 & 8ö8

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bá

F

bÏ Bsn.

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ä

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decel...

[ q = 116 ]

[ q . = 80 ]

16

[ q = 132 ]

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ord.

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c.l. batt. S.P. ord. II

c.l. batt. I S.P. II

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pizz.

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b IÏ

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Ÿ $ F

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4 4

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19

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?

19

o

·

ord. I Vln.

bŸ $ ¸

ä

4 4

ä

*As a reminder, pitched low pedal tones are approximations of a melodic contour.

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ì

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p

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[ q = 132 ]

[ q = 120 ]

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[ q = 144 ]

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decel...

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c.l. batt. S.P. II

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[ q = 132 ]

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&

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f

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22

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3 8

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Vln.

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S.P. I

4 4

c.l. batt. IV

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½ c.l.t. I

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&

pick felt/ agraffes

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ord. III

S.T. I

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nÏ

III

bÏ

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S.P. I

wound flaut. II

2 ¸ pizz.

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pizz.

S.P. I

? bÏ

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S.P. I

F

flaut. II

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ord.

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flaut. II

S.P. I

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2

?

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á

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&

II

á

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2 I

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c.l.t. III

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F

II

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á ì

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c.l. batt. S.T. II

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ì

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wound flaut. II

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 J

¸

2 P

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wound III

I

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& ¸

ord.

II

áÏ

Ï

2

ì

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á

flaut. I

F

¸ I

á

b b áÏ J

n áÏ F S.P. I

½ c.l.t. I

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wound pressure I

Â

AÏ

ì

2 ¸

ì S.P. I

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I

á

I

NÏ

ä

ä

ì ·

&

¸

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F N áII

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F

ord.

?

I

wound III

ord.

¸ ì

¸ ì S.P. I

b IÏ

½ c.l.t. III

¸ ì

wound S.P. ord. I III

ì

áIV

bÏ

 bÏ ? 2 ¾

I

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ÏI

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at bridge c.l.t. IV II

ì ¸

S.P. wound I I

I

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ì

Ï

ä

ä

c.l. batt. I

Ï

IV

ì ¸ # IIá

ord. II

ord.

Ï

¸

¸

S.P. II

¸ F

ord.

P Î

Âè

á

¸

Â

?

III

Ï

Î

S.T.

# ord. Ï

¸ F

P

 f

34

Â

S.P. II

A Ïord.

2 F

wound III

F

áÏ ì

Vc.

Ï nÏ

P Ï

Ÿ ¸

Ï

2

&

34

n ÏÏ n ÏÏ

pick pins/felt

Ï

#Ï

S.T. I Vla.

Ï

P

Ï

¸ ì 34

NÏ NÏ NÏ

·

? î

&

ì

P

NÏ

Ï

Ï

F

ì

Ï

Vln.

bÏ

Ï

pick felt/bar pick pins/felt

&

34

Ï AÏ

o

¾ ¾ ¸ F

Ï

bÏ

î

½

Flz.

+o #Ï

p

¸

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Ï

+ j Ÿ bÏ % ì

#á

p

Ï

P

Ï

ord.

ä

Flz. distort (like plastic reed)

f

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Ï

À F

Ï

F

#Ï Ï Ï

air wide lips

b A N ÏÏÏ ¾ N AA ÏÏÏÏ nÀ ¸ P

# b ÏÏÏ # A ÏÏ

bÏ

ä

f

NÏ NÏ

·

34

Pno.

N ÏÏ N N ÏÏ

#Ï p + j Ï F

ä

À ì

#Ï #Ï

ì

34

Perc.

ä

½

Ï ¾

Ï

+o Ï

ä

Flz.

NÏ NÏ

P

#Ï f

F

Hn.

bÏ bÏ

nÏ

#Ï

?

o

nÏ

F

inhale closed

F bÏ

A ÏÏÏÏ A A ÏÏ

Û tooth emb. tooth emb. Flz. bisb.

A A #n ÏÏÏÏ N Ï b # ÏÏ F

ord.

AÏ AÏ

?

ä bÏ

?

[ 13 ] [ q = 144 ]

[ q = 144 ] decel.

decel...

accel...

..

[ q = 120 ]

air "i" 37

Bs. Fl.

Ob.

&

&

NÏ ¾ P

ä

ä

nÏ b AA ÏÏÏ F

Cb. Cl.

nÏ

A N ÏÏ Ï NÏ

f

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ä

bÏ

nÏ

P

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bÀ ì

Ï

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ä

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5 4

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ä

p

p

ä

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Ï

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?

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Hn.

&

+o Ï

o Ï

ä

ì C Tpt.

&

# +oÏ

+o n Flz. Ï ¾

¸ 37

Perc. 37

ä pick felt/ agraffes

37

& ?

ì +o #Ï

+o bÏ

+oÏ

Ï

Ï

AÏ AÏ AÏ

nÏ

Ï

Ï

Ï IV

&

ì

Ï

#Ï

Ï

Ï

[ edge ]

37

Vla.

&

Ï

¸

f 37

Vc.

Ï

S.P. I

?

Ï

S.T. I

S.T. II

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AÏ

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Cb.

áI

S.P. II

+ Ï

Ï

AÏ

nÏ

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o

ä

ä

½

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bÏ

F

bÏ

II

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5 4

.

Â

ì # áII

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½

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¸

AÏ Ï ì

Ï I

S.P. I

Ï

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flaut. II

Â

?

F

nÏ

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bÏ 4 4

+o #Ï

Ï Ï

f Ï

4 4

P

nÏ

bÏ

bÏ

À

P

o

ì

air "p"

+ Ï

Ï

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F +o Flz. Ï ¾

4 4

ì

+o ä

bŸ %

+o Ï

+o

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ä

+

+

Ï f

Ï

Ï

+ Flz. Ï ¾

bŸ %Ä

F

4 4

4 4

4 4

pick felt/ bar

bÏ

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ä

pick felt/ bar

Ï

pick felt/ agraffes

Ï

Î

#Ï

5 4

bÏ

ord. I

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pizz. S.P. I

b ¬Ï

S.P. I

NÏ

5 4

bÏ ¾

AÏ 5 4

ì

S.P. I

Ï

S.P. III

4 4

Î

S.T. II

S.P. I

ord. b b áÏ

F pizz. IV ¬

ì #Ï

Ï

5 4

SECOND DRAFT

Ï

II

N Ͼ ¸

. F

I

wound II

.

Â

ì #IIá ¸ Ï

½ c.l.t. I

n ÏI

flaut. II

áIII

& bÏ

.

P ½ c.l.t. I

AÏ

ì

S.T. III

Ï

ord.

nÏ

ord. III

AÏ

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S.T. I

4 4

¸

Ï

Ná I

S.P. I

bÏ

4 4

Ï 4 4

?

f

ì

F

¸

P c.l.t. I

pizz. III

ä Î

¸

n ÏII ¾ F

4 4 ord.

b ord. Ï

S.P.

Ï

P

¸ S.T. I

ord. II

Ï ¾ ì #Ï

5 4

c.l. batt. S.T. I

ä

bÏ

F

F

f

4 4

·

¸ Ï

P

ä

5 4

P

¾

bÏ

4 4

¸ S.P. I

trumpet emb.

#ord. Ï

·

¸ ½ c.l.t. II

ÏÏ NÏ A ÏÏ

5 4

ord.

ì ·

F #Ï

Ï

Ï

Ï

ä ¸

Ï

Ï

#Ï

wound pressure I

ä

S.T. I

Ï

accel...

N N ÏÏ AN ÏÏ N N ÏÏÏ

5 4

F flaut. I

Ï

Ï #Ï #Ï

nÏ nÏ

+

+o Ï

[ body ]

¸ ½ c.l.t. I

Ná

#Ï

F

ì

ì

[ side ]

ä

+o Ï

5 4

bÏ F

Elec.

flaut. I

F ord.

?

37

[ rim ]

ì flaut. S.P. I

bÏ

5 4

î

pizz.

N Ϭ

NÏ

bÏ

¸

bÏ

Ï

ord. III

ä

F

Î I

f

bÏ AÏ

Ï

5 4 bÏ

bÏ P

f

+o Ï

l...

À F

5 4

#Ï

ä

37

[ halfway ]

p

P

ì

ì

[ BASS DRUM POSITIONS ]

S.T. I Vln.

Â

nÏ

bÏ

air "sh"

Ÿ $ ¸

F

[ center ]

Pno.

+o

[ PITCHED GONGS ]

&

À ¸

5 4

P 37

Ná

á

¸

Ï

dece

[ q = 112 ]

whistle

A Ï n A ## N ÏÏÏÏÏÏÏ N A ÏÏ F P

[ q = 132 ]

[ q = 120 ]

trumpet emb.

air narrow lips

P

Bsn.

#Â ì

b ÏÏÏ A ÏÏ bÏ P

Flz.

accel...

¬

¬

p

 P

.Â

·

bÏ Î

?

S.P. II

Ï

f

4 4

ì 4 4

[ 14 ] w / elect.

39 Bs. Fl.

Ob.

Cb. Cl.

Bsn.

&

&

Come senza tempo; souffle [ q = 120 ] 4 4

<

Å Å Å ä >Ï Å Ï # Ï .

Ï ä #Ï ¸ > F

4 4

ÏÏ ÏÏ ä P

A b ÏÏ ? 4 A bn ÏÏ ä 4 P Ï ä ? 44 39

Hn.

&

4 4

C Tpt.

&

4 4

(Blend with texture of strings & percussion until mm. 71...)

pitch/air (until mm. 71...)

Ï ä f ¬ Ï ä

Ï¨Ï >

Ï Ï ¸

r 6:4Ï

F

F

r 6:4Ï

r 3:2Ï

#Ï Ï Å ä Ï. #>Ï > b >Ï Ï Å Ï Ï Ï #Ï Ï Ï Ï ¨ b >Ï Å >Ï ¨ Ï > F ¸F ¸ ¸ F¸ ¸ F F

Ï

r 6:4Ï

r 6:4Ï

Ï ä Ï Ï Ï. Å Ï > b >Ï # Ï Ï F ¸ F ¸ ä

Î

î

·

·

Î

î

·

·

·

·

·

·

·

·

·

·

·

F 39

&

GONGS

4 4

Perc. 39

BASS DRUM

4 4

= med. hard vib. mallet ricochet, trem., single attacks Î î Ï>¾ F ; reibestock rubbing > ΠϾ p

> #Ï

Î

Å Ï. ¾

Î

3:2Ï

Å #Ï .

Ͼ. f

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Ͼ ¸

î

·

·

î

·

·

·

·

·

Î

Ͼ F

keys

39

Pno.

& ? 44 39

Vln.

b ¬Ï 4 4

$

ä

ì wound III

4 4

Î

Â

p

½ c.l.t. (until mm. 71...) r 6:4Ï

Ï Ï

ÏÏ Ïä &Ï Å ¸ bÏ

r Ï

Å

Ï ÏÏ

aÏ

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Vla.

&

4 4

bÏ Ï Ï Ï ¨ #Ï . bÏ Ï Ï Ï ä Ï #Ï ¨ Ï Ï B Ï r 6:4Ï

¸

P Ï Vc.

ä

? 44

F

#Ï Å

#Ï

ÏÅ ä Ï r 6:4Ï

ä

¨ ¨nÏ ¨ Ï

j 3:2Ï

F

¸ F

½ c.l.t. (until mm. 71...)

Cb.

?4 4

#Ï Ï bÏ Î

NÏ p

Elec.

4 4

4

Ï

Ï Ï

ä

Ï

#Ï Ï

Ï Ï

r 6:4Ï

Ï

Ï

nÏ ¨ Ï

NÏ ä

Ï Ï Ï #Ï

¸ Ï ¨#Ï Ï #Ï Ï ¸F Ï ¨Ï Ï #Ï

r 6:4Ï

Å

#Ï

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bÏ ¸ F Ï ä.

Ï

Ï Ï.

bÏ

bÏ

Ï

Ï F ¸ F¸ F ¸

r 6:4Ï

Ï

Ï

aÏ bÏ #Ï #Ï

Ï Ï

r 6:4Ï

#Ï Ï bÏ bÏ

nÏ J

Î

bÏ

Ï nÏ

Î

¸ ä

j 3:2Ï

nÏ r 6:4Ï

bÏ Ï

nÏ bÏ bÏ bÏ Å r 6:4Ï

Ï

Ï bÏ Ï r 6:4Ï

#Ï

î

·

SECOND DRAFT

r 6:4Ï

Ï Ï

Å ¨#Ï Å . Ï #Ï

¸F

#Ï bÏ bÏ bÏ

Å

r 6:4Ï

nÏ Ï r 6:4Ï

Launches sound file: "Singing.Lake.filtered.53s.wav." Filtered low wind sounds + gongs and bass drum. Resets all spectral delays.

Î

nÏ Ï Ï

Ï Ï F¸ F¸

r 6:4Ï

F

Ï Ï. r 3:2Ï

Ï Ï Ï #Ï Ï Ï Ï Ï bÏ

r 6:4Ï

j 3:2Ï

Ï

ä

#Ï

F ¸ r 6:4Ï

Ï

Ï

Ï

r 6:4Ï

r Ï

¸ F

½ c.l.t. (until mm. 71...)

¸ 39

r Ï

½ c.l.t. (until mm. 71...)

S.P. I

39

3:2 NÏ Ï Ï Ï Ï aÏ bÏ Ï nÏ Ï Ï bÏ Ï ¨ Å Ï #Ï bÏ Ï . bÏ Ï Ï Ï Ï Ï Ï 6:4 ¸ F 6:4 ¹F ¸

·

#Ï Å

¨ Ï Ï. Ï

Ï

42

Bs. Fl.

¨ Ï Ï. & ¨ Ï. > #Ï ¨ Ï bÏ . Ï >F ¸ F¸ r 6:4Ï

42

Perc.

& #Ï ¾

42

Vln.

Ï

&

Ï

Vla.

B

Ï #Ï

Ï Ï.

F¸ r 6:4Ï

42

Vc.

? Ï

Ï

F

¸ Ï #Ï . #Ï Å Å Ï ¸

42

Cb.

?

Ï

Ï

Ï

#Ï nÏ

F #Ï bÏ

F¸ F ¸

#Ï Å

bÏ

Å.

Ï

r 6:4Ï

Ï Ï Ï bÏ

Å >Ï Ï F

ä

j Ï

bÏ

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Ï

9

> ¨ Ï bÏ Ï .

ä

r Ï

r 6:4Ï

#Ï R ä f

r 6:4Ï

Å bÏ Ï Ï Ï Ï Ï nÏ Ï

Ï

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Ï F

Ï bÏ

bÏ #Ï Ï .

¸ Î

r 6:4Ï

j 3:2Ï

bÏ

p

F

nÏ

bÏ

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r 6:4Ï

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r 6:4Ï

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Å

bÏ .

Ï Å

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¨

F¸

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Ï

¸

Ï

Ï

Ï

Ï

Ï

r 6:4Ï

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F Ï

ä

¸

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Å Ï

r 6:4Ï

Å

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p ·

·

3

3 Ï

45

Bs. Fl.

&

r 6:4Ï

Ï

Ï

Ï #Ï

bÏ Ï > Å Ï Ï

b>Ï F ¸ F

45

Perc.

& Î

ä

Ͼ F

bÏ ¨ nÏ Ï bÏ Å ä Ï # Ï . &

Vla.

. B Ï Ï

bÏ

#Ï Ï

F

Vc.

#Ï Ï Ï . Ï . ¨ Å Å # Ï . b >Ï . > #Ï Å ÏÏ AÏ ¸ F¸ F : Ͼ F

bÏ Ï nÏ

r 6:4Ï

45

Ï Ï

3:2Ï

î

45

Vln.

Ï Ï bÏ Å

bÏ

Ͼ

ä

Ï #Ï . bÏ . Ï

Ï Ï Ï ä

#Ï Ï

Ͼ ¸

Ï.

Ï Ï bÏ Ï

Ï

Ï Ï #Ï Ï.

bÏ

Å

F ¸ F ¸ F ¸ F ¸ bÏ bÏ Ï Ï Ï Ï #Ï . bÏ . #Ï ¨ Ï Ï n Ï Å Ï Å Ï Ï Ï Ï Ï Ï Ï. Å b Ï Ï #Ï bÏ ¨ bÏ Ï nÏ

r 6:4Ï

¸ F ¸

F¸ Ï #Ï bÏ

F ·

F #Ï

Ï

nÏ Ï Å ä Ï 3:2 ¸ F

Î

Ï bÏ Ï

j 3:2Ï

Ï Ï

Fp

p ·

SECOND DRAFT

¨ ¨ Ï

nÏ .

#Ï

Ͼ

b >Ï

Î

Ï Ï > #Ï ¸F ¸

3:2Ï

Ï

Å

Î

Ͼ

Ï Ï

>

Ï F¸ F Ï

Ͼ.

r 6:4Ï

ÏÏ

Ï Å nÏ bÏ Ï nÏ NÏ Ï Ï Ï bÏ 6:4 F ¸ F¸ F¸ F Ï Ï Ï Ï bÏ Ï nÏ #Ï Ï Ï Ï. Ï Ï bÏ Å Ï Ï Å Ï

Ï Ï bÏ

r Ï

r 6:4Ï

F ¸ F #Ï bÏ bÏ bÏ Ï #Ï . ¨ Å Ï Ï #Ï Ï Å bÏ Å Ï Ï nÏ ¸

bÏ Å.

r 6:4Ï

r 6:4Ï

Å Ï

F

¸

¸

F¸

r 6:4Ï

r Ï

j Ï

r 6:4Ï

ä

Î

F ¸ F ¸ F ¸ Ï bÏ . 45 Ï #Ï Ï ? Ï Å . Ï Ï bÏ Ï Å bÏ Ï Ï Å Å . bÏ Ï bÏ bÏ Ï J Ï Ï 6:4 3:2 ¸ ¸ F F b Ï Ï Ï bÏ Ï j #Ï . ¨ bÏ Ï 45 #Ï ¨ Å bÏ Ï Å Å ä bÏ ? ä Ï J Î bÏ Ï 45

Å

Ï

¸ #Ï

Fp

Elec.

: Ï f

ä

r Ï

Cb.

Ï Å.

r 3:2Ï

bÏ ä bÏ Å #Ï Å

F

r 6:4Ï

bÏ Ï

Ï

ä

¸

#Ï ¸

AÏ Ï ä . J

Ï Ï

·

Ï Ï bÏ

F

bÏ

Ï

F

bÏ #Ï

F Ï

#Ï

ä Ͼ

r Ï

F¸

F

ä.

bÏ Ï nÏ Ï . Ï b Ï n Ï b Ï b Ï n Ï Å ¨ Ï ¨ nÏ Ï #Ï Ï Ï 6:4

r 6:4Ï

Å Ï Ï bÏ Ï Ï ä

Ï F

j 3:2Ï

bÏ Ï r 6:4Ï

r 6:4Ï

ÏÏ

Å

Ͼ f

Ï Å Ï Ï . Ï Å bÏ Ï ä

Ï ä bÏ

F ¸

> bÏ Ï Å Ï Ï Ï Ï Å. Å Å Ï Å bÏ Ï Ï Ï Ï Ï ¸ ¸ F

Ï

r 6:4Ï

F ¸F ¸ Ï

r 6:4Ï

Ï ä > F ¸A Ï F

¸

: 6:4 Å ¾ Ï F

Ï

¸ nÏ Å Ï nÏ

Å

#Ï Ï

r 6:4Ï

42

Elec.

Ï

bÏ bÏ

Î

j 3:2Ï

F ¸ F¸ #Ï Ï Ï bÏ Ï ¨ bÏ Ï nÏ Ï Ï Ï

Ï

Ï.

NÏ

Ï Å bÏ #Ï NÏ

Ï

F¸ 42

Ͼ

Ï P

Ï Ï Ï

Ï.

j 3:2Ï

3:2Ï

ž î Ï f

#Ï

¨Ï Ï

ä

[ 15 ]

r 6:4Ï

r 6:4Ï

F

#Ï . Ï bÏ Ï bÏ

¸ Ï Ï Ï.

#Ï ä

r 3:2Ï

·

F Å bÏ Å

ä

[ 16 ] 48 Bs. Fl.

&

Ï Ï

Ï

¸

AÏ

& Ï.

#Ï ¾ f

48

Vln.

& Ï Ï

Ï. Ï Ï ä bÏ Ï > Ï F¸ ¸

¨ Î

48

Perc.

Ï

6 Ï

ä

Vla.

Ï

Ï Ï bÏ Ï .

bÏ Ï bÏ

Ï Ï

#Ï Ï

Ï

nÏ

bÏ Ï

Ï

Ï

F¸

Ï.

Å nÏ ä

Ï

Ï

Ï bÏ Ï

Ï . 3:2 ¸

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Ͼ

Ï

r Ï

j 3:2Ï

j 3:2Ï

ä

Ï

Ï bÏ Ï Ï b Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï bÏ Ï Ï 6:4 6:4 F bÏ ¸ F Ï bÏ Ï Ï Å Ï bÏ nÏ Ï ¨ ä ¨ #Ï nÏ #Ï Ï #Ï Ï

Ï Ï Å Ï #Ï Ï >> #Ï > F ¸ F

¾j î Ï

Ï

#Ï 3:2Ï

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bÏ

bÏ

Ï äÏ Å

F bÏ Ï Ï Ï Ï Å

F Ï Ï bÏ Ï bÏ Å r 6:4Ï

¸ F ¨bÏ . Ï #Ï

r 6:4Ï

·

bÏ Ï ä Ï

bÏ Ï Ï #Ï

bÏ Ï .

Ï nÏ

Ï Ï Å Ï

#Ï Ï Ï #Ï Ï Ï ä ¨

r 6:4Ï

¸ F Ï Ï Ï Å

r 6:4Ï

Ï

¨

Ï

Bs. Fl.

&

Ï.

r 6:4Ï

r 6:4Ï

·

Ï

¨ #Ï Ï Î Ï > Ï ¸ F

Å

Î

& ¾. Ï ¸

bÏ f

¾j Ï F

r 6:4Ï

Ï & Ï ¨#Ï Å

Ï Ï Ï Ïä

Å

¸

? ¨ Ï bÏ Å Ï . bÏ bÏ

¨ Å #Ï bÏ Ï ä r 6:4Ï

¸ F Cb.

Ï Ï bÏ ä ? ( p)

51

Elec.

nÏ

#Ï Ï

F

51

äÏ

bÏ

r 6:4Ï

#Ï Ï

r 6:4Ï

Ï

¨ Ï bÏ

Å Ïä

#Ï Ï Ï Ï ä Ï

¸

bÏ

Ï . bÏ Ï

r 6:4Ï

r 6:4Ï

¸ F Ï

Ï

Î

r 6:4Ï

F

¸

F Ï.

r 6:4Ï

#Ï Ï Ï Ï Ï Ï #Ï ä Ï

#Ï

r 6:4Ï

Ï

r 6:4Ï

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Ï. ¸

#Ï Å Ï Ï ¨¨ Ï Ï Ï bÏ Ï Ï > > Ï Ï #Ï Ï AÏ Ï F ¸ F¸ 6 Ͼ

Î

Ï

Ï Ï Ï Ï Ï F¸ Ï Ï b Ï bÏ Ï Ï

r 6:4Ï

Ï bÏ

Ï

r 6:4Ï

Ï #Ï Ï F

#Ï Ï Ï Ï r 6:4Ï

Å #Ï î ¸

#Ï Ï Ï Ï bÏ Ï Ï

Ï

Ï Ï .

¸ F¸

r Ï

Ï

Ï

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¸ F Ï Å Ï

Ï #Ï Ï Å bÏ bÏ Ï Ï Ï Ï ¨ Å b Ï Ï bÏ Å

r 6:4Ï

p ·

·

SECOND DRAFT

Ï Å

Ï

bÏ ¸F ¸ F¸ bÏ bÏ Ï Ï Ï. bÏ #Ï nÏ Ï

¸F

Ï

nÏ

Ï

F ¸F ¸ Ï Ï 6:4 ¨ Ï b Ï Ï n Ï b Ï nÏ . # Ï Å b Ï Ï b Ï ä ä

¸F

nÏ Ï Ï #Ï bÏ b Ï #Ï ¨ Ï.

ä Å #Ï Ï Ï #Ï ä Ï r 6:4Ï

Ï ¨

¸ F bÏ Ï #Ï Ï Å Ï

¸F

¸F

#Ï Ï

6 Ï Å ä

Ï Ï Ï bÏ Ï bÏ ä nÏ . bÏ

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71

ÏÏ

+o + ½ valve ä . bÏ ä Ï Î. Î Ï ä Ï b Ï ¸ F p + + o½ o ½ 3:2 + o + >Ï Flz. Flz. + + Ï Î Å bÏ ä bÏ ä Ï Ï b Ÿ Å Ÿ Ï Ï ÏF. ¾ ¾ ( 6:4 ì ¸ F ¸

F

71

Vla.

ä

·

jazz Jap. rod brush wipe 1x

bÏ . Å

?

71

A? B  Ï Ï

fingernail pins/felt

71

Â

Flz. tongue

** See FOOTNOTE on the percussion + mallet setup here. Perc.

ä ä

play/ sing

play/ sing

bÏ

71

ord.

j 3:2Ï

T.R.

b Ͼ Ͼ N ° ä ì P

Î

r 3:2Ï

j 3:2Ï

P

b A ÏÏÏ ÏÏÏ b A ÏÏ ÏÏ J

3ö2ö3 8

·

>+o C Tpt.

#Â .

r 6:4Ï

3ö2ö3 8

? î.

ä.

Flz. tongue

tooth emb. shake

Cb. Cl.

play/ sing

air "ee"

2 2

2 2

NÏ p

Î

ä Å

Ï Ï P

·

3ö2 8

3ö2 8

[ 21 ] Pull Back [ q = 152 ]

75

Bs. Fl.

&

3ö2 8

ä

#À

3ö3ö2ö2 8

Î

¸

Ob.

&

3ö2 8

AÏ

#Ï ¨ À. F

P

Cb. Cl.

? 38ö2

Flz. tongue

slap closed

ä

# Ͼ ¸

ä

ä

j 3:2Ï

P

j 3:2Ï

j #Ï > ì

play/ sing

j Ï P

# ÏÏ Ï 3ö3ö2ö2 N ÏÏJ 8

pizz. tongue

¬

T.R.

Ï

#° ¸

Hn.

C Tpt.

&

&

3ö2 8

ord.

3ö3ö2ö2 8

ú

¸

3ö2 8

3ö3ö2ö2 8

+o Ï J

Î +

to stop mute...

+ 3:2 Flz. j ¾ bú Ÿ & ¸ j Ï

#Ï F 75

Perc.

3ö2 8

ä

Å.

3ö3ö2ö2 8

Î

ä

ord.

Ï

Ï

Flz. tongue

AÀ J

A Ͼ ì f

3ö3ö2ö2 8

NÏ NÏ

&

pizz. strings

Pno.

? 38ö2

Ϭ

# Ͼ ì

Ï

AÏ

AÏ

pizz. lips

A´ p

#Ï

Ï ¸

ä

o

Ÿ &F ½

j bÏ ì

Î

2 2

G

T.R.

N°

slap closed

> bÏ ì

P #Ï

2 2

j À Ï

À ÀÀ ÀÀ À . Ï. F

3ö3ö2ö2 8

À ¾J f

À p

Ï Ï Ï

N N ÏÏ NÏ

Ï Ï Ï

2 2

P

bÏ

#Ï

Ï

D+ o ÏFlz. # Ï ¾

ä

À

Î + Ï ¾ ¸ Flz.

Ï ì ä

E+o j Ï ì

Vln.

&

¬

j 3:2Ï

ä

ä

3ö3ö2ö2 8

3ö3ö2ö2 8

î c.l. batt. S.T. I

75

Vla.

B

3ö2 8

Î

bÏ J

Ï P

bÏ p f bÏ

b ¬Ï J

3ö3ö2ö2 8

Î

¾j AÏ ì

S.P. I

#Ï bú J ¾ ¸3:2 F II

Vc.

II ? 3ö2 Ï

8

ä

j Ï

F

3ö3ö2ö2 8

S.P. I

Ï

F

c.l. batt. pizz. IV II

Ï J

¸ 75

pizz.

¬ #Ï ì

À

bÏ F

ä

Cb.

? 38ö2 Î .

75

Elec.

3ö2 8

ä

·

j 3:2Ï

¬ Ï f

c.l. batt. S.P. IV IV

ord. IV

B

NÏ S.P. III

Ï

bÏ P S.P. II

bÏ

S.P. III

Ï ¾ ¸ F

Ï

¸

c.l. batt. S.P. S.P. I

#Ï

ord. IV

¬Ï J #Ï ì

Ï F

ì

ord.

S.P. IV

S.P. II

Aú Aú

j ¾ Î Ï P Ï

j 3:2Ï

Ÿ & Do Ï F

À Ï f

À

2 2

3 4

3 4

p

o

Ï J #Ï

ú

+oÏ J

+ Flz. bú ¾

o #Ÿ &

j 3:2Ï

j À À. Ï Ï.

(choke)

À,

¬Ï

2 2

p bÏ

ä

2 2

bÏ

III

bÏ ì

pizz. III

# ¬Ï

ord. IV

Ï

f Ï

3 4

3 4

À Ï

3 4

ú F

3 4

2 2

Ï

Ï

j 3:2Ï

Î

2 2

pizz. III

N á¬

c.l. batt. S.P.

#Ï

¾ ¸ P

3ö3ö2ö2 8

Ï J

AÏ F

Ï

ord.

b Ͼ b Ï ¸ P

3ö3ö2ö2 8

·

SECOND DRAFT

Aá

IV

F

pizz. IV

¬ B j Ï Ï ì P

ord.

bú F

GÏ Ï¬ J ¸3:2 F P

b ÏI

pizz.

S.P. III

ú ¸

j Ï

ì

Ϭ

Î c.l. batt.

ord.

3 4

J

f flaut. I

pizz.

Ï p

j 3:2Ï

2 2

ì NÏ

pizz. 75

f

bú

2 2

2 2

3 4

j 6:4Ï

À, Ä

ú

Ï

S.P. III

3ö2 8

j 3:2Ï

3:2Ï

Ÿ

ord.

Flz. tongue

Ï

2 2

3 4

P

À ¾ F

Ï

#Ï

î

3:2Ï

Î

3ö3ö2ö2 8

¨

A AA úúú ú

# úú A Ï A # úú

#Ï

75

3:2Ï

Ï

P

stop mute

ä

pizz. lips

¬

(choke)

== ÀÀ ÀÀ . p

keys

3ö2 8

À

Ï #Ï J F

#Ï . 75

bÏ

¸

? 3ö2 î 8 75

trp. emb.

F

Ï Bsn.

Flz. tongue

j Ï

A Ï 3:2 j Ï ¾ ¸

2 2

ì

F 2 2

3 4

pizz.

A ¬Ï ord.

b b áú

j 3:2Ï

3 4

ì

áI

I

#á

S.P. I

3 4

S.P. II

bú

j Î Ï p

3 4

F ·

3 4

[ 22 ] 78

Bs. Fl.

Ob.

Cb. Cl.

&

&

Further Back [ q = 126 ]

3 4

3 4

?3

A NN ÏÏÏ .. . #Ï .

Å ä

T.R.

j 3:2Ï

Flz. throat

b Ͼ b° ì ¸ growl, buzzy, "kazoo"

î

Ï ì

ä.

4

Ï Ï Ï Ï ord. J #Ï Î 3 f

.

Tempo II° [ q = 120; q = 180 ]

3ö3ö4 8

NÏ b N ÏÏ

j ¾ Ï

P

3ö3ö4 8

Flz. throat ord.

N N ÏÏ j # ÏÏ AÏ N Ï

Ï NÏ ¾ ì P

Ï N bN ÏÏÏ

ord.

j Ï

8

Bsn.

?

3 4

ä . b Ï ÏJ Î # Ï 3:2 p

3ö3ö4 8

À ¾

bÏ

Ï J

Î

Ï

Hn.

&

3 4

j Î Ï . #Ï Ï AŸ P & ì

o

C Tpt.

&

3 4

j"buzz" 3:2Ï

ord.

j 3:2Ï

½

Ï. ¾j +o + #Ï Ï bÏ ¾ ¾ &A Ÿ ì Flz.

j 3:2Ï

78

Perc.

78

&

3 4

3 4

Pno.

¾ À. Ï. p

j À À À Ï Ï Ï F p

+ #Ï

bÏ Ï

+ Ÿ 'F

j Ÿ

o

+½ Flz. Ï ¾

À,

f r 6:4Ï

ÏÏÏÏ Ï

ä

¾j Ï D F

slap

bisb.

78

Vln.

&

78

Vla.

B

3 4

NÏ .

pizz. IV

3 4

Vc.

?

bÏ .

>Ï

À Ï E F

À Ï p j

3 4

78

?3

4

ì

3 4

3ö3ö4 8

N Ï Ï ½IVc.l.t. ord. J Ï #Ï j 3:2Ï

Å

&

ä NÏ j 3:2Ï

·

pizz.

¬Ï F

b ‡

ì

bÏ

ä

ä

j Ï ¸

II

Ï

3ö3ö4 8

Ï ì pizz. III

3ö3ö4 8

¬Ï f

3ö3ö4 8

3ö3ö4 8

bÏ

Ï J

Ï

NÏ J

ord.

S.P. I

#Ï

NÏ

NÏ

AÏ ¾

Ï ¸

Î.

o

Flz.

j Ÿ ' F

#Ÿ P 6 8

>Dj À Ï >D

H

À Ï  P

#Ï

6 8

î

#Ï

keys

6 8

N Ï air J Â F ¸

AÀ

#Ï . p

o

S.P. I

6 8

6 8

¾ #Ï . ì

#Ï .

¾ #Ï . ¸

&Ÿ ì

j 3:2Ï

SECOND DRAFT

j Ï ¸ Ï ¾J

Î.

Ï.

N IIá .

6 8

6 8

¸ ord. III

ä F

#Ï . f

S.P. III

A IV á

#Ï ì

back/forth

r 4Ï :Ï.

ÀÀ À¾ Ï >E pD f

Ï + Ï J J f p

j 3:2Ï

ä

F ·

c.l. batt. II

Ï.

ì

3ö2 8

3ö2 8

3ö2 8 S.T. IV

ä

S.P. III

b Ͼ Ï F¸

c.l. batt. S.P. I

#Ï

Î.

‡

6 8

·

III

3ö2 8

¸ >wipe

À¾ Ï E P bÏ

+ o½ j j Ÿ Ï

½

#Ï .

S.T. III

Ï

3ö2 8

j Ï

F

p j Ï

3ö2 8

+ 3:2 bisb. # Ï ä j 38ö2 bÏ ì

o

>À . À. ¾ D p

À. Ï. E f

pizz. III

ord.

ä

Ï

Ï J bÏ J

j 3:2Ï

Flz.

½

like mpiece only

j Ï

ord.

Î.

3ö2 8

nÏ j¾ J AÏ 3:2 ìP Flz. tongue

c.l.t.

ord.

Î.

¾j Ï

½

j Ï

#Ï subtone

Ï.

pick bridge/ pins

bú F ¸ ú

f

¸

c.l. batt. S.T.

o

trp.

A ´ emb. A ´ J j 38ö2 NÏ 3:2 f F

. >Ï F

Flz. tongue

bisb.

6 8

>1 wipe À Î

NÏ ¾ # # úá ¸ ì F

F

slap closed

#Ÿ F

IV ¬ Aú NÏ Ï ì ¸ F

ord.

Ï J

Î

6 8

? pizz. IV

air narrow lips

+

b # >ÏÏÏÏ ÏÏÏÏ Ï Ï

S.P. I

ì S.P. IV

À Ï D p

Ï.

¸

bŸ ' f +

> f

3ö3ö4 8

S.P. I

Ï.

78

c.l. batt. S.P.

j Ï

S.P. I

Elec.

¬ bÏ

b Ïord.. Ï Ï ¬ J Ï bÏ 3:2 f P F

¸ Cb.

IV

j Ï Ï Ï ¾ ¸ F ¸ P

S.P. I

78

S.P. j III 3:2Ï

Ï

½

play/ sing

N ÏÏ .. b Ï. j b Ï. b P F

b ÏÏÏÏ Ï Ï

bisb.

#Ï ì F bŸ & ¸

pizz. IV

c.l. batt. ord. I

o

Â.

A b ÏÏ .. b Ï. j Ï. P >Ï ¸

P

"buzz"

ä

½

Flz. ¾j Ï F

(choke)

b b# ÏÏÏÏÏ

NÏ

play/ sing

slap

Ï P

+

bisb.

¸

3ö3ö4 8

j Ï

#Ï . p

3ö3ö4 8

>wipe back/forth 3ö3ö4 À 8 ¾

j 3:2Ï

? 34

3ö3ö4 8

6 8

ä

NÏ . ¾j N A ÏÏ .. À Ï. ¸ P

f

F

+ 78

ä

ä

6 8

bÏ f

j Ï

ä

6 8

bÏ P ì ú Ïbisb. ord.

f

P

ä

#Ï ì

À¾ ì

ord.

Ï

ä

souffle

6 8

b° f

Flz. throat

P

N ÏÏ 3ö3ö4 A N # ÏÏ

T.R.

ä À¾ ¸

#Ï

f

#Ï b N ÏÏ N ÏÏ

[e=e]

ä bÏ

3ö2 8

3ö2 8

F pizz. ¬ ¬á Ï

ord. IV

bÏ

3ö2 8

F pizz.

ä

á.

j 3:2Ï

II

Ï ì ·

¬ jä Ï

3ö2 8

3ö2 8

[ 23 ] 85

82

Bs. Fl.

Ob.

Cb. Cl.

Bsn.

&

&

?

3ö2 8

3ö2 8

Ͼ Ï ¸P

Ï.

play/ sing

AÏ .

AÏ Ï

air narrow lips

À. ¾ ì Ï.

b Ï

? 3ö2

À

8

82

Hn.

3ö2 8

&

3ö2 8

AÏ AÏ

Flz. play/ throat sing

P

o

slap

ä

# Ÿ. &

j >Ÿ ¸

3 8

3 8

3 8

C Tpt.

&

82

Perc.

82

& Pno.

3ö2 8

Ï.

À¾ Ï

À À À ÀÀ Ï Ï P

?

&

3ö2 8 3ö2 8

3ö2 8

Ï p Ï

B 38ö2

82

? 38ö2

ord. IV

ä

3 8

#Ï

o

3 8

3 8

b IÏ ä

Ï.

ú

Ï J f

A b ÏÏÏÏ AÏ

ä

Ÿ '

¾j Î b ì +

play/ sing

5 4

Ï

# ¬Ï

+ j Ï p

¬

flaut.

bÏ f ¸ì

5 4

c.l.t. I

3 8

3 8

S.P. III

bÏ Ï

Ï ¸ì F b Ïflaut. ord. III

Ï Ï ì P ¸

IV

bÏ . f

ÀÀ¾ Ï Ï

ä

Ï

bÏ ¾ F ·

N á¬

3 8

ä ä

ì 3 8

·

¬Ï

¨Å

Ï

H

Â

A A áÏ F

& r 3:2Ï

Ï F

pizz. I

¬

H

keys

À Ï Ï ¸P

pick bridge/ pins

·

3ö2 8

4 4

·

3ö2 8

4 4

·

3ö2 8

+o Ÿ &

4 4

4 4

ä

¬ #Ï .

Å.

Å

Å ä r 6:4Ï

¸

3ö2 8

Ï ä. î. F

4 4

4 4

pizz. strings

bÏ

#Ï

p f pizz. ¬ strings Ï ä.

wound III III

ä Â ¸

S.T. III

bÏ ä

o

ä. î.

3ö2 8

ä. î.

3ö2 8

î.

3ö2 8

Ÿ & ¸

o

½

NŸ ¸

Ï f

4 4

·

3ö2 8

4 4

·

3ö2 8

p

¸ Aá ÅA Ï

Å b b áÏ ä ¸

S.P. I

#Ï AÏ bÏ .

Å Ï #Ï F ¸ S.P. II

b ord. Ï

bÏ

b ÏI

c.l.t. III

Ï F