Break Out For solo trumpet and live electronics Matthew A. Bardin 2019
ASCAP
i
Performance Notes:
This work, at approximately 6-7 minutes in duration, is intended to serve as a commentary and interpretation of performance anxiety. In order to represent this, I utilize Ableton Live in order to create and loop samples of the performer playing their notated material through various times during the first several minutes of the piece. I then have the performer play back the recordings with slight electronic processing, which begin to gradually conflicts and obstructs the performer as the material keeps returning and repeating. This effect is intended to represent the performer being overwhelmed by their anxiety, fear of possible mistakes, and resultant hesitancy, where they ultimately break through the cacophony of their own creation and complete their performance with confidence. Sometimes we end up being our own biggest obstacle. This work was commissioned by Evan Fowler of the University of Iowa as part of a project to promote and record new music for solo trumpet and live electronics. Matthew A. Bardin Feb. 2019
Notation Guide:
Open/Closed Muting: The performer’s use of a plunger mute is shown with the symbols below. Notes with the + sign should be covered as completely as possible. Notes with the ° symbol should be played completely open. Any notes following the ° symbol should remain open until the next + symbol appears. Arrows indicate a gradual change from open to closed and vice versa. The degree to which the bell is covered is left to the discretion of the performer.
Indications of when to start and stop recording samples, as well as when to cue their playback are shown on a single line staff below the live trumpet’s material. Vertical dashed lines are used to show when these events should occur within the trumpet’s material.
ii
Notation Guide (continued):
When previously sampled music is being replayed through the speakers, the material is represented below the trumpet’s material. The only time that the performer should line up with the sampled material is when its playback is started. The material shown is not a direct, in-time representation, but rather shows which material will be on loop, and where in the performer’s material it should stop or fade out. The tempo of the loop is given when it enters or changes.
Aleatoric Material: Measure 105 is a long measure that takes place over approximately 30 seconds. Starting when notated, the performer can play any of the previously sampled material (notated below the measure for convenience) or nothing at all. The desired effect is that the performer is overwhelmed by the cacophony of their own sounds, so if the performer chooses not to play, they should still act as if they are attempting to be heard.
Tempo Indications: Ideally, the performer should work to perform as close to the indicated tempo as possible in order to facilitate the sample recordings. Performing at drastically different tempo (more than 8-10 BPM from what is indicated) will change the amount of material that is sampled and result in a drastically different performance.
iii
On Electronics:
The trumpet should be set up with a close microphone. Break Out was conceived with a microphone that clips onto the trumpet bell, but still allows for the plunger mute to move in/out in mind; such as the ‘Audio-Technica Pro-35 Clip On’ or the ‘AKG C519ML’ microphones. However, any similar microphone that allows for this to be achieved is acceptable. In order to perform Break Out, a Pure Data patch is needed to manage the recording and cuing of samples. This patch available to download for free at matthewbardin.com/break-out. Pure Data is a free audio software available at https://puredata.info/downloads/pure-data Input and output levels can be set by clicking and dragging the faders in the main patch. The patch is set up so that the performer can trigger all recording and playback through a MIDI pedal at the performer’s feet. A pedal such as the Zoom FS01 (or a similar momentary foot pedal) is desired. An expression style pedal, such as the M-Audio EX-P (or similar) may be used, but the pedal must be completely initialized and returned to the ‘off’ position for each cue. All pedal cues appear in time below the live trumpet material. Instructions for connecting the MIDI pedal to the Pure Data patch are located in the patch. (If the pedal has a 1/4in output cable, a secondary USB MIDI device with an expression input, such as the Akai MPKMini, will be needed) In the Pure Data patch there are pedal redundancies built in: Pressing the pedal twice within half a second will ignore the second press. Pressing the pedal three times will stop all playback. In the event of feedback, hitting ‘Emergency Kill’ will stop all audio processing immediately. To restore functionality, the DSP must be set to ‘On’ (Audio Settings menu) All recording and playback can be cued manually within the patch by clicking on the appropriate buttons. Stored recordings can be cleared the same way. All stored recordings are cleared each time the patch is closed out to prevent clashing of material. In each system, the bottommost staff in the score shows an approximation of when the sampled will be played back. Other than the start of the sample the performer should not try to sync up with the material in any intentional way. Because of the different meters and tempi from the live trumpet, this staff (staves) (Approx. Sampled Material), contains no barlines or time signatures. The staff only appears when sampled material is being output from the Pure Data patch and serves as a representation of the density of material for the convince of the performer.
The Pure Data patch was designed by Prof. Tina Tallon and Matthew A. Bardin at the Boston Conservatory at Berklee.
Break Out
Full Performance Score
|
for Trumpet and Live Electronics comissioned by Evan Fowler, University of Iowa
Matthew A. Bardin (ASCAP)
Hesitant and slightly detached; as if unsure of pitch and rhythm q= ca. 96 ca. 8 sec.
Amplified Trumpet
U + 5 &8 œ o
o œ œ œœœ mf
<e=e> throughout, unless otherwise specefied.
o 4‰ ‰ Œ 43 Œ ˙4 œ bœ. ˙o (Plunger Mute) +
+ 3 3 4 œbœ ™ ‰ Œ 8 œ o mf
+ +++ o 5 4œ j‰ ‰ 8Œ 4 b œ œ œ œ œ œ œ™ œbœnœ . > œ > œ o f mf f
+ 5 œ bœ œ œ 4‰ 8 œnœ œ 4 b˙ ™ . mf
++ bœ œ
+ +
Start recording Sample 1
=
Œ
Live Electronics Pedal Cues
Œ
œ ‰ ‰
9
Tpt.
3 5 &8 ‰ ‰ ‰ 8 ‰
œ œ œ
œ
mf Elec
‰
œ
Approx. Sampled Material
‰
œ
+ 4‰ œ bœ. 4 ˙-
‰ Œ o
œ œ œ
œ
16
œ
bœ.
‰
+
+
œ-
œ- ™
‰
+ + 4 & 4 œ. œ > mf
œ
+ + + + + œ >œ œ œ œ bœ.
3 4
+ œ œ#œ
Ó
+ ‰ bœ nœ + +
b˙-
If needed, hold until Sample 1 is finished before continuing, breathe ad lib.
o > n˙ ™
U 2œ≈‰ Œ 4
4 œo ™ œ. œ 4 mp
ff
&
<b>œ œ bœ œ œ bœ >
bœ
œ
+ œ ‰ Ó
œ bœ
bœbœ
Elec. Approx. Sampled Material
œ œ
‰
bœ
œ œ
+ Ϫ o
‰ 58 Œ ff
+ + + 4 œ bœ nœ 4
Trigger Sample 1 playback
= Tpt.
mf
+ 4‰ œ nœ œ 4 b˙ ™ . o
5 œo 8
‰
q= ca. 96
&
+ 3 Œ bœ+ œ+ -˙ 4 o
Approx. Sampled Material
œ
œ nœ
œ.
+ bœ
+ ˙
Ó
o + + + 3 5 œ œ™ œ œ . bœ 4 Œ nœ œ œ ≈ bœ œ 8 nœ œ œ œ ≈ >œ . f
Ϫ
œ bœ nœ œ.
r œ œ œ œ. bœ >
mp
bœ >
≈ 83
pp
Trigger Sample 1 playback (on loop)
q= ca. 96
&
œ œ
œ œ œ
œ bœ.
‰
œ-
Copyright © 201 9 Matthew A. Bardin/MaBMusic (ASCAP all rights reserved)
œ-
Ó
‰ bœbœb˙-
œ bœ
œ œ
œ nœ œ .
Break Out
2
23
Tpt.
<q.=q>+ + + bœ bœ œ
3 &8
∑
4 4
+ ™ +. + + + ™ + + + nœ œ œ œ œ œ œ 3 Œ bœ 4
++ nœ œ
+ œ
o ≈bœ œ
rall.
5 nœ œ œ œ ≈ œ 8 . >
mp
Approx. Sampled Material
Half-Time feel q.= ca. 58
f
6 -œo 8
sfz
mp
œ œ œ
‰
mp
pp
fade out recording so it is inaudible by A
&
‰
bœ
Ϫ
Ó
j œ
œ œ bœ nœ œ.
bœ œ œ bœ > >
œ œ bœ bœ
‰ œ
bœ nœ
molto rall.
+ 3 œ œ œ œbœ ™ ‰ 8 œj Œ > >.
œ œ
œ
œ bœ.
+ 4 œ œbœ œ >œ ™ 4 Œ ‰ nœ Ó .
12 8
pp
˙-
‰
Œ
‰ ‰bœ œ ˙o
= Suddenly more active, but still hesitant;
Tpt.
A tempo (q.= ca. 69) A compound time feel q.= ca. 69 molto rit. o + + ++ ++ + + + + + + + + o + o . j ™ n œ . . 12 9 3 9 œ n œ œ ‰ œœ8 ∑ 8 ‰ ‰ ‰ ‰ 12 & 8 œ œ œ œ œ ™ œ bœ œ œbœ œ ‰ œ. bœ. ≈ œ™ œ œ nœbœ ‰ Œ ™ œ œ œ œ œ™ œbœ œ œ œ œ œ bœ œ œbœnœ ‰ œnœnœ œ™ œ œbœ ‰ 8 œ œ œ œ ™ 8 b œ . œ œ . . . . . . œ. - > œ. n œ- > œ™ œ o o o mf f p Elec.
œ
start recording Sample 2. Immediatly plays on loop
= 38
Tpt.
-o 12 &8 ˙
˙™ -
accel. ++ + o o -œ ™ bœnœ- ‰ ‰ œ œ œ œ 98 œ œ œnœ ™ ≈ bœ œ œ 12 8 œ ‰ œ ™ œ nœ œ ‰bœ. . œ b œ. n œ > b œ nœ œ > . > >
pp mf Play lower F if possible Approx. Sampled Material
q.= ca. 69 + + + + + + + ‰& j j ‰ Œ j ‰ bœ. œ. œ. œ œ œ œ . . .
f pp sub.
+ + œ. œ .
Œ
+ + + + + ‰ jŒ b œ œ œ . œ. œ . .
increase loop volume gradually
+ + + + ‰ Œ b œ œ œ . œ. œ . . +
+ j œ
+ + bœ. œ.
‰
++ +o ‰ nœ œ™ œœ
+ + + Tempo I (q.= ca. 96) >-o >œ ™ -œ > - >œ œœ ‰ œ #œ ™ œ œ. JJ
molto rall.
mp
mf
ff
+ + œ. œ .
Œ
+ + + + ‰ œ. œ œ. œ.
f
+ + + + + + Œ ‰ Œ j b œ œ œ . œ. œ. œ . .
-˙™
+ + + + + j bœ œ ‰ œ Œ . œ. œ . .
Ϊ
Ϊ
o + + + + ‰ œ œ œ . . œ.
Break Out
44
Tpt.
Hold until Sample 2 completly fades out, breathe ad lib.
molto rall.
œ> ™ œ Œ œ ˙™
& Ϊ
3
> b-˙ ™
b˙>
f
œ o
‰
Subito e= ca. 112 Slightly more defined
U +
6 ‰ œo œ œ œ œ 4 8 œ bœ 4 n˙
w™ o
f
+ + + + + ‰ Œ b œ œ œ . œ. œ . .
+ + + + + ‰ Œ j bœ œ œ . œ. œ . .
+ + + + ‰ œ. œ œ. œ.
+ j Œ œ.
+ + + + + ‰ Œ b œ œ œ . œ. œ . .
= + . 4 & 4 œ œ bœ Ó f
=
œ
Losing what little confidence was built
60
Tpt.
mf Start recording Sample 3
+ & j Œ gl i ss. # œ- o
5 œ œ œœœ 4 8 œ œ. 4
Suddenly out of time Building in confidence q= ca. 96 + + o™ + oj3 + ++ > o > # œ 5Œ j 4œ bœnœ 3 nœ ™ ‰ Œ 3 ∑ 4 œ ™bœ. œ œ œ ™ œ œ 3 Œ bœ ™ œ 5 nœ. -œ b>œ œbœ ™ bœ nœ œ bœ œ gliss. j ≈ ≈ 8 4 8 4 8 J #œ œ. bœnœ 4 bœ œ œ œ œ œ œ œ bœ 4 nœ > > pp mf ff mp sub.
51
3
+ j œ o
q= ca. 84
B
accel.
Tpt.
U Ó
Elec.
fade sample 2 out gradually so it is inaudible before continuing to mm 46
+ & j Œ œ.
o 3 4 Œœœœ ˙
ff
Approx. Sampled Material
Hold until reverb accel. completly fades +
Œ
+ 6œ 8 o
+ +. + + + + + œ œ œ- b>œ œ œ ™ 44 ˙ f
+ b˙
like a car running out of fuel
C+ 12 8 œ. ‰ ‰ Œ ™ mf
ca. 5 sec.
+ + + + o ™ ‰ œ œ ‰ ‰ œ ‰ ‰ Œ b œ . . . . bœ œnœ mp
pp
Uo
œpp
+ j Œ™ œ o
Break Out
4
Tpt.
accel.
Flowing, slightly more confident q.= ca. 104 . + + + + + + + + + + + + + + œ o b œ b œ j œ œ b œ Œ ™ 98 œ œbœ nœ œnœ œbœ œ. 12 ‰ bœ œ œ œbœ 98 œ b œ n œ & nœ ™ œ œ. nœ. bœ œ œ œ œ œ ≈ nœ ™ œ œ 8 bœ ™ œ œ nœ nœ bœ ‰ ‰ ˙™ n œ œ ™ œ nœ œ. > . bœ nœ nœ > > o mf mp o o f mf f
65
‰
œ
Elec.
Approx. Sampled Material
Trigger Sample 3 on loop
q= ca. 84
&
Œ
˙ œœœ
œ œ™ œ œ
œ œ bœ. Ó™ 3
œ œ.
‰
‰
œ.
= + + + o + + + + + molto rall. + + +o +++ o > o ™ 9 12 & 8 œ nœ. bœ œ j nœnœ bœ 8 œ ™ ‰ œnœbœ œ™ ‰ œnœbœ #œ ™ œ . bœ nœ
71
Tpt.
-œ >-œ >œ
A tempo (qq.= ca. 104)
-˙ ™
Ϊ
mf
Approx. Sampled Material
&
3 ≈ œj bœ œ bœ œ bœ ≈ bœnœ œ œ œ
bœnœnœ ™
œ ™ bœ. bœ >œ œbœbœ Ó J bœ
recording begins overpower performer, but not completly
bœ ™ œ nœ. -œ b>œ œRbœ nœ
bœ œ œ œ œ œ ≈ nœ ™ œ œ œ. . bœ > o
Ϫ o
ff
q= ca. 96
Ó™
Ϊ
œnœ œ bœ œ œ œ R
-œ J
œbœ œ. Œ ™ 9 œ œ œ 8
f
q= ca. 84
Ó
˙ nœ œ œ
nœ œ™ J
œ œ
œ œ.
mf
3 ‰ œ œ bœ. Ó
‰
= 77
Tpt.
Approx. Sampled Material
+ + + o 9 & 8 nœ bœ nœ nœ f
&
+ j œ
Œ
+++ + + o 12 œ œ œ bœ œ. 8 b œ ™ >
3 j ≈ œj bœ œ. bœ nœ
œ œ bœ
œ œ bœ œ
rall.
+
o œ b œ n œ ‰ ‰ nœ œ ˙™ œn œ. o mf ≈ bœ nœ nœ ™
Ó
‰
q= ca. 96 > ‰ œ ™ bœ. œ œ J
mp
++ + 9 12 ‰ j 8 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . > > œ œ >œ œ. œ bœ bœ nœ > >
œ bœ bœ
Ϊ
Ϫ
bœ
‰
nœ
bœ ™ œ nœ. -œ b>œ œ bœ ™ bœ nœ œ bœ
œœœ
-œ J Œ
-œ J Œ
Break Out 82
Tpt.
rall.
o 12 & 8 nœ- ™
+ + + o ‰ œ œ™ œ œ-
5
D
Slower and slightly fragmented again e= ca.96
+ + + -o ™ œ ‰ œ œ œ
+. o b œ ‰ J n-œ
œ.
#-œ >œ -œ b>œ J J
#>œ ™
mf
+ bœ
+ ‰ œ
+ œ
+ o j 58 œ œ œ œ œ œ
f
œ bœ
4 4˙
Ó
˙
3 4
o
play lower F if possible Approx. Sampled Material
q= ca. 84
&
Œ
œ œ™ œ œ
˙ œœœ
œ
œ.
‰
œ
3
œ bœ.
gradually fade Sample 3 out; inaudible by D
Ϊ
Ó
3 j ≈ œj bœ œ. bœ nœ
œ œ œ œ œ œ œ
≈ bœ nœ nœ
o
=
E 87
Tpt.
3 &4 Œ ˙ o
+ + + ++ o 5 4 ≈ ≈ Ó 8 œœœ œ 4 ˙ o œ
poco accel. + + + o 3 + + + ++ + + + ++ + + + + + + + o 3 j 5 Œ j‰ 4 3 3 4 3 5 3 ≈ ‰ nœ ≈ 4 bœ ™ ‰ Œ 8 ∑ 4 œ ™ œœbœ nœ ™ ≈ œj 4 Œ œ ™ œ 8 bœ ≈nœ ≈ ‰ œ ‰bœ ‰ 8 ‰ 58 8 4œ bœ œ™ œ™ œ œ œ œ œbœ nœ œ bœnœ nœ œ
= 99
Tpt.
+
5 &8 ™ œ
+ Ϫ
o œ
o b œ ≈ œ j œ 3
3
3 8œ ‰
+
5 8œ
+ œ.
‰
+ nœ
+ œ
≈ o
+<x=e> 6 8 Ϫ o
o œ
Short pause only if needed for page turn
œ
œ
bœ
œ
bœ. mf
U™ Œ
Break Out
6 Play any selection from "Approx. Sampled Material", shown below, or other material ad lib. If no material is played, act as if still playing.
F Tpt.
& Ϊ
ca. 1 5 sec.
‰ ¿
Ϊ
‰ œ
start all samples simultaniously; play on loop
F Sample 1
q= ca. 96
Approx. Sampled Material
œ œ œ
œ œ o
& Ó Sample 2
+ bœ. o
q.= ca. 69
& Ó
‰
+
‰
œ.
œ bœ. +
‰ +
œ.
œ-
œ+
Œ
Ó + bœ.
‰
œ
+ œ.
œœœ
=
œ œ œ
œ œ
˙ o
œ
œ.
‰
Ϊ
+ œ.
+
+
Œ
œ.
‰
œ œ bœ.
œ
+ bœ.
+ œ.
Œ
œ
‰
+ ‰ œ nœ œ bœ .
+ ˙
+
+
+
œ.
Œ
œ.
Ó
Œ
‰
œ ‰
3
Play any selection from "Approx. Sampled Material", shown below, or other material ad lib. If no material is played, act as if still playing.
105(cont.)
bœ ™
œ J
‰bœbœb˙-
q= ca. 84
& Ó™
œ.
Œ
+ + + ‰ bœ. œ. œ.
3 ≈ œj bœ bœ nœ
+
Ϫ
b>œ
+ bœ.
+
+
Œ
œ.
œ œ bœ
œ bœ nœ œ. ‰
œ
œ œ bœ œ
œ.
œ b>œ œ œ bœ bœ ‰
Approx. time given. Performer may take longer if desired.
(ca. 30 sec. total)
ca. 1 5 sec.
+ &
+ bœ ™ nœ
+ + œ
‰
œ
& bœJ
>œ
œ œ
+ + + ‰ bœ. œ. œ. œbœbœ
bœ
œœœ + œ. Ó
Œ
œ bœ.
‰ + œ
+
+
œ-
œ-
‰
+ bœ.
bœ ™ nœ
+ œ. œ
‰ Œ
‰
+ + œ. œ .
‰
Œ
+ œ
‰
bœ ™ œ
œ J
‰bœbœb˙-
+ + + ‰ bœ. œ. œ.
nœ. -œ b>œ œbœ ™ bœJ nœ œ bœ œR œ
+
œ R
Œ
+ œnœ œ bœ . ‰
+
‰
œ.
œ
-œ J Œ
-œ J Œ
+ bœ.
+ ˙ + œ.
Œ
‰
+ + œ. œ .
Œ
Π+
œ™ œbœnœ œ. b>œ ‰
œ
+ + + ‰ bœ. œ. œ.
q= ca. 84
˙ œœœ
œ œ
œœœ
œ œ.
Ϊ
+
œb>œ œ œ bœ +
Œ
œ.
‰
œ
œ œ bœ. 3
Œ
+ bœ.
‰ + œ. Ó
+
œ.
œ.
Œ œ ™ bœ.
q= ca. 96
‰
106
2 4
3 2
∑ fade out
+ bœ ™ nœ
+ + œ
+
œ Œ™ J
≈ bœ nœ nœ
&
& ‰ Approx. Sampled Material
+
œ.
Sample 3
Tpt.
+
‰ œ + + œ. œ .
+
Œ
œ ‰
œ.
œœ
Ϫ
bœnœ
‰
œ bœ.
+ + bœ. œ. 3 ≈ œj bœ
Break Out
7
Rubato, emotional h=ca. 69-72
Tpt.
G PLAY o 3 & 2 œ œ œbœbœ w o ‰
&
Approx. Sampled Material
‰
&
Becoming more confident
6 nœ œ œ 8 bœ œ™ bœ ≈nœ
3 2 ‰ œ™ -
mf
+ 6 œbœ œ 3‰ 8œ 2 ˙™ . b œ n œ œ. mf
o ‰ œ œ™ bœ +
Ó o
mp
rall. o
6 3 œ 8 2 b œ b œ œ œ œ™ bœnœ . > œ > bœ o mf
‰Œ
+ ˙-
o
+
+
œ.
œ.
Œ
+
‰
œ
<b>œ œ bœbœ œbœ œ
&
+
+ +
‰
bœ. œ.
≈bœnœnœ ™
+ +
+
Œ
œ. œ .
œ œ ™ bœ. œ
q= ca. 96
Ϊ
‰
+
+
bœ. œ.
‰
+ + œ. œ .
Œ
+
‰
œ
fade out
>œ
œbœ
bœ
bœ
Ó
nœ
+ +
‰
bœ. œ. œ™ œ
+ +
+
Œ
œ. œ .
‰
œ
nœ. -œ b>œ
œbœ R
+
+
bœ.
œ. bœ œ œ
bœnœ œ
+ +
‰
œ. œ .
Ϫ
Œ
+
‰
œ
+ + bœ. œ.
+ +
‰
œ. œ .
+
Œ
œ
‰
+
+
bœ.
œ.
‰ o
=
h=ca. 69-72) 113 A tempo (h
+ 3 & 2 ‰ bœ ‰ nœ bœ ™ œ
Tpt.
o
mf
Approx. Sampled Material
&
‰
+
+
œ.
œ.
Œ
+ œ
A tempo (hh=ca. 69-72)
molto rall.
o
+ +
œ
6 8 œ œ œ bœ œ œ -
n˙
œ œ ‰ œ- œ
œ-
mp
‰
3 2 Ϫ
‰
mf
+
+
bœ.
œ.
‰
+
+
œ.
œ.
fade out
Œ
+
œ
‰
+
+
bœ.
œ.
‰
+
+
œ.
œ.
Œ
+ œ
‰
+
+
bœ.
œ.
‰
6 8
w o
+
+
œ.
œ.
Œ
+ j œ
‰ o
Break Out
8
117
Tpt.
++ 6 8 œ œ. œ ‰ . ff
o <q.=h> H ++ + 5 6 3 ™ œ. bœ. Œ œ ™ 8 œj Œ Œ 8 ‰ œ œ. bœ œ œ 2 w -o o mf
= A tempo (q.= ca. 92) +
129
œ œ ˙™ b œ œ œœ
Tpt.
+ 5 œ ‰ œ. œ ‰ 3 wo 8 . 2
= 139
Tpt.
= Tpt.
poco accel.
++ . . 6 5 6 3 œ™ œ bœ 8 bœJ bœ 8 œbœ œ. ‰ œ- 8 nœ œ œbœ œbœ 2 w . > > >
I
-œ+ 9 o ™ œ 8˙
+. + + accel. +- o ™ j 6 œ œ bœ 5 ‰ œ œ. ‰ -œ 6 o œbœ œ œ œ 8 8 8 œœ œ .
Tempo I (q.= ca. 96)
Ϫ
+ o . -œn œ b œ bœ œ œ+ n œ b œ ‰ ‰ ‰ ‰ nœ œ ‰ œ ‰ bœ œ ‰ œ œ œ œbœ. ‰ Œ ™ œ œnœ bœ œbœbœ œbœ œ œ œ™ œ J œ. œ. . -
rall.
J
A Tempo I (q= ca. 96)
<e=e> <q.=q> bœ > œ -œ œ œ -œ ‰ 5 4 -œ™ œnœ œ œ 3 bœ ‰ ‰ œ 6 -œ ‰ œ œ 5 œ ‰ œ 4 #>-œ ™ >œ ™ -œ 3 #>-œ >˙ 6 œ™ œ ‰ ‰ 4 #œ ™ >œ ™ -œ 3 #œ ˙ b œ 8 œ œ œ œ œ ™ œ bœ 4 4 4 8 4 4 JJ J œ œ œ. - 8 œœ 8 œ œ. 4 > > > - > > o f mp mp mf f ff
150
j ™ œ œ
3 3 8 ∑ 4 j œœ- >œ ™ œ> >
molto rall. + . œ bœ œ ‰ bœ œ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ™ j j˙ œ- œ J œ ™ b œ ™ œ œ œ œ œœ œ œ. b œ- œ >- > - >- œ- >
+ U j Œ ‰ ‰ bœ. bœ > b œ œœ œ œ. œ- œ > o
Completed 2/9/1 9 in Boston, MA approx. 6 minutes and 30 seconds in duration