DEREK BERMEL CANZONAS AMERICANAS for large chamber ensemble
Commissioned by the Los Angeles Philharmonic Association Gustavo Dudamel, Music Director
While writing Canzonas Americanas I had in mind a request from Gustavo Dudamel to consider the interconnectedness of North and South American musical traditions. This was not a difficult task, as our cultures are sonically intertwined, both historically and today. Barring the traditional instrumentations, Afro-Brazilian and African-American traditions – such as Pixinguina's chôros and Joplin's rags – can be difficult to distinguish. From Gershwin and Copland to Ellington and Gillespie, many of our trailblazing composers have been indelibly influenced by Latin music, and vice-versa. My hometown of New York has become as much of a center for salsa and merengue music as Havana or Santo Domingo, and the U.S. as a whole is becoming more bilingual and bicultural with each successive generation. In preparation for writing the piece, I returned to Rio de Janeiro for a month, where I spent days refamiliarizing my fingers with chôros, bossa nova, and samba standards, at night jamming with friends in clubs around the city. In this way, I reconnected with the South American spirit and the piece became as much about memory as music. The first movement, El Dude, transforms a quintessentially ―Americana‖ diatonic/pentatonic melody as it encounters Latin rhythms, blues, jazz, rock & roll, funk. The second movement, Silvioudades (ecos e lembranças), is an homage to Silvio Robatto, the great architect and photographer of Salvador. It is a simple Brazilian chôros with a slight Bulgarian inflection (how did that creep in?), which absorbs an echoing canon in each succeeding verse. The third movement, Montuno Blue, recalls the spirit of two great pianist/composers: the Puerto Rican Eddie Palmieri and the American Thelonious Monk. An atonal salsa undergoes various transformations, and along the way another revolutionary pianist/composer – this one from Europe – sneaks in and steals the spotlight. The fourth movement is a short song that I wrote while resident at the Fondação Sacatar on the island of Itaparica in Bahia. The island exudes a seductive, yearning softness; accordingly, the bass carries a mellow bossa rhythm as the traditional berimbau melds into the sound of the guitar. I wrote it for the magical singer Luciana Souza. Special thanks to John Adams and Chad Smith, and to the Institute for Advanced Study — Derek Bermel
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Flute (Picc.) Flute (Picc.)
Oboe Oboe
Clarinet in Bb Clarinet in Bb
Bassoon Bassoon
Horn in F Horn in F
Trumpet in C Trumpet in C
Trombone Trombone
Percussion I Percussion I
Percussion II Percussion II
Piano Piano
Electric Guitar Electric Guitar
Violin 1 Violin 1
Violin 2 Violin 2
Viola Viola
Violoncello Violoncello
Contrabass (Elec. bass) Contrabass (Elec. bass)
Allegro marcato ranchero (w=72) v HAllegro marcato ranchero (w=72) # # 9H
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CANZONAS AMERICANAS CANZONASforAMERICANAS Dogjam i. el dude i. el dude
Derek Bermel (2010) Derek Bermel #(2010)
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TH H TH H
Allegro marcato ranchero (w=72) solo ! ! ! v HAllegro (ranchero ( 0marcato 5 ( ( 5 (w=72) solo ( 9 H (! 0 (! 0 (! ( ( ( ( ( ( 0 ( ( ( 0 5 ( 5 v H ( ( 0 9 H f(giocoso ( 0 ( 0 ( ( ( ( ( ( ( 0 ( ( ( 0 5 e semplice (senza(vib.)5
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© Copyright 2010 by X Pyre Music All Rights for the World Exclusively Administered bySongs of Peer, Ltd. © Copyright 2010 by X Pyre Music All Rights for the World Exclusively Administered bySongs of Peer, Ltd.
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2
Ob.
Cl.
Bsn.
C Tpt.
Tbn.
10
Fl.
Hn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
f giocoso e semplice (senza vib.)
Vc.
Cb.
3
Ob.
A
Cl.
Bsn.
18
Fl.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
mf giocoso
Vc.
Cb.
mf
mf giocoso
mf giocoso
mp giocoso senza ped.
ord.
pizz.
mf
subp
vibraphone (motor off)
f giocoso
Vla.
mp giocoso, legato e marcato
poco distortion
pizz.
f giocoso
mf
mf mf
mf
4
24
Fl.
Ob.
B solo flute
f giocoso
Cl.
Bsn.
Hn.
solo
f giocoso
f giocoso solo
solo
f giocoso
f
C Tpt.
Tbn.
Perc. I
f f
(vibes)
Perc. II
Pno.
E. Gtr.
mf
drumset (rim clicks)
mp
Vln. II
Vla.
Vc.
Cb.
f giocoso
mf
Vln. I
f
f f
mf giocoso
pizz.
f
pizz.
f
f giocoso e legato
f
f
5
31
Fl.
Ob.
Cl.
Bsn.
Hn.
f earnestly
mf fluido
mp
sfmp
f earnestly
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
mf giocoso
con sord. (if possible)
mf
susp. cymb. (crash)
p
vibraphone
mf
mf
arco
f fluido
mf
arco
f earnestly
Vc.
Cb.
arco
pizz.
arco
f earnestly
f
deep cymbal or gong
mf
6
C 38
Fl.
Ob.
Cl.
Bsn.
Hn.
mf
f
Più a più funkoso...
f
f pesante
C Tpt.
Tbn.
Perc. I
(crash cym.)
f
crash cymbal
f
snare
p B.D.
f pesante
senza sord.
f pesante
Pno.
(vibes)
Perc. II
ff bluesy
senza ped.
E. Gtr.
light distortion
fp
mp
mp
fp
Vln. I
Vln. II
Vla.
Vc.
mf
f
Cb.
sfp
sfp
Più a più funkoso...
sfp
sfp
sfp
mp
mp
sfp
sfp
7
Ob.
Cl.
44
Fl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
E. Gtr.
f
Vln. II
Vla.
Vc.
f
sim.
f
sim.
Cb.
sim.
Vln. I
f pesante
Pno.
f pesante
f pesante
8
Cl.
Bsn.
50
Fl.
Ob.
f pesante
f pesante
to picc.
D
piccolo
f bluesy
C Tpt.
Tbn.
Hn.
(crash)
Perc. I
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
(B.D.)
Perc. II
(snare)
f pesante
H.H.
high tom
low tom
mf
wa-wa pedal
f pesante
mp crisp cowbell (stopped, on lip)
f sempre pesante e funkoso
f bluesy
solo
mf marcato
mf marcato
mf marcato
f
f
f
mf
mf
mf
9
56
Picc.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
solo
mf sempre pesante e funkoso
f
f pesante
mf
f
f
Cb.
f
Vc.
f
mf
mf
mf
mf
f
f
f
mf
mf
mf
f
f
f
mf
mf
mf
10
62
Picc.
Ob.
Cl.
f sempre pesante e funkoso
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
f sempre pesante e funkoso
quinto tumba
f grande
f
(slap)
f FILL---------------------
f sempre pesante e funkoso
f sempre pesante e funkoso
Cb.
f sempre pesante e funkoso
Vc.
f sempre pesante e funkoso
Vla.
f
Vln. II
Vln. I
mf
E. Gtr.
2 congas
Pno.
mf
Perc. II
f marcato solo
11
E
68
Picc.
to flute
Ob.
Cl.
Bsn.
C Tpt.
Tbn.
Hn.
Perc. I
light metallic sound
pp 3 glass bottles mounted on kit
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vc.
Cb.
f marcato
f marcato
f marcato
Vla.
12
Fl.
Ob.
molto accel.
75
flute
mf fluido
mf fluido
C Tpt.
Tbn.
Cl.
Bsn.
Hn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp
mf fluido
p susp. cymbal
mp fluido
molto accel.
mf fluido
mf fluido
ff
ff
ff
mf fluido
mf
mf
xylophone
mf fluido
mf fluido
ff
mf fluido
F w=92
Fl.
Ob.
Bsn.
f con fuoco
fp
mf
mf
mf
fp
Perc. I
brassy fp
mf
deep cymbal
H.H.
(l.v.)
f
Perc. II
brassy
Tbn.
fp
C Tpt.
f con fuoco
brassy
Hn.
f con fuoco
Cl.
82
mf
f
13
f
f
f
f
f
mf
mf
ff con fuoco
Pno.
E. Gtr.
Vln. I
f
w=92 f con fuoco
Vla.
fp
Vc.
Cb.
mf
fp
mf
f
f con fuoco
Vln. II
f
f
f
f
f
14
Fl.
Ob.
Cl.
Bsn.
Hn.
89
Perc. I
Vln. II
Vla.
ff con fuoco
mf
f
f
ff sempre con fuoco
ff
ff con fuoco
f
ff con fuoco
bass gtr w/huge distortion...
Cb.
ord., con sord. (very thin)
ff con fuoco
f
Vc.
ff sempre con fuoco
f con fuoco
Vln. I
ff sempre con fuoco
huge distortion
E. Gtr.
ff sempre con fuoco
f
f con fuoco
mf
Pno.
(xylo.)
Perc. II
f
Tbn.
f
C Tpt.
G
f con fuoco
Fl.
Ob.
Cl.
94
15
H
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
f xylo.
ff sempre con fuoco
(OK to use clusters)
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff con fuoco
16
Fl.
Ob.
Cl.
98
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
(xylo.)
102
Ob.
Cl.
Fl.
Bsn.
Hn.
Tbn.
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
to picc.
C Tpt.
Perc. I
17
I
guiro (mounted) w/snare stick
mp
mp
sim.
mf marcato
mp
solo
no distortion solo
sub mf legato e marcato
sub mf legato e marcato
pizz.
mf marcato
pizz.
mf marcato
18
108
Picc.
Picc.
f ruzzolando
C Tpt.
Tbn.
Ob.
Cl.
Bsn.
Hn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
fp
mf
arco
f
f ruzzolando
mf
2 caxixi, play on side (wicker), not bottom (gourd) (parentheses = rebound)
f ruzzolando
to fl.
arco
f ruzzolando
f ruzzolando
115
Fl.
Ob.
J w=92
Bsn.
(ord.)
Hn.
mp
C Tpt.
Perc. I
Perc. II
Pno.
fp
fp
fp
f
mf toms
mf
mf
B.D.
FILL-----------------
FILL (8ths)-----
susp. cymb.
mf
f
p
mf
fp
fp
mp
fp
mf
f
fp
f
fp
mf
fp
fp
mf
f
FILL (2 bars)--------------------------------------
mf
mf
mf
f
mf
f
fp
f
fp
f
fp
f
p
f
fp
fp
fp
fp
mp
f
senza sord.
(ord.)
Tbn.
fp
Cl.
19
f
E. Gtr.
Vln. I
Vln. II
w=92
fp
f
Vc.
mp
fp
double bass
Cb.
fp
f fp
Vla.
mp
fp
f
mp
fp
fp
f
mp
fp
fp
f
mp
fp
f
mp
mf
fp
mp
mf
mf
f
f
f
mp
mp
mp
mf
f
mp
mf
fp
mp
fp
fp
mp
fp
mp
mp
20
124
Fl.
Ob.
Perc. II
f
f
E. Gtr.
Vln. I
f
f
mf
f
mf
f
mf
f
mf
mf
f
p
FILL----------------------
mf
mf
fp
fp
mp
fp
mp
fp
FILL (2 bars)--------------------------------------
mf
mf
fp
mp
mp
fp
mp
mp
mp
mp
p
fp
fp
Cb.
mf
fp
Vc.
fp
fp
FILL--------------------
mf
f
fp
f
mf
fp
Vla.
fp
(sus. cym.)
fp
Vln. II
f
fp
f
p
Pno.
fp
fp
fp
Perc. I
mf
fp
Tbn.
fp
C Tpt.
fp
Hn.
fp
Bsn.
fp
Cl.
Flute
fp
f
mp
mp
mp
mp
mp
fp
fp
fp
fp
fp
f
f
f
f
f
mf
mf
mp
mp
mp
mf
mf
mf
fp
mp
mp
mp
mp
fp
fp
fp
mp
mp
mp
mp
mp
mp
134
Fl.
Ob.
mf
fp
mf
fp
fp
fp
fp
fp
FILL (2 bars)--------------------
Perc. I
mp
Perc. II
mp
Pno.
p
fp
f
mf
Tbn.
mf
C Tpt.
mf
Hn.
K
mf
Bsn.
mf
Cl.
21
fp
f
fp
f
fp
fp
fp
f
FILL-----------------
p
toms
mf
solo f smooth
f
Vln. I
f smooth
mf
Cb.
mf
Vc.
mf
Vla.
mf
Vln. II
mf
mf
mf
fp
mp
f
mp
f
fp
mp
f
fp
mp
fp
fp
f
f
mp
mf
mp
f
mp
f
f
f
fp
f
fp
mp
f
f
mp
p
fp
mf
snare
fp
mf
f
fp
mf
f
mf
f
mostly clean
E. Gtr.
mf
f
mf
f
f
f
mp
mp
mf
mf
mf
22
144
Fl.
Ob.
fp
Cl.
f bluesy
ff
bluesy
Tbn.
E. Gtr.
f bluesy
mf
mf
f
fp
fp
FILL------------------
fp
f
fp
fp
fp
f
p
mf
fp
f
ff
fp
f
fp
f
ff
FILL-------------------------
f
fp
fp
fp
Pno.
mf
Perc. II
fp
Perc. I
fp
C Tpt.
ff
fp
Hn.
L
fp
Bsn.
xylophone
p
mf
f
mf
mf
f
Vln. I
fp
Vln. II
fp
Vla.
fp
Vc.
fp
Cb.
fp
mp
fp
mp
mp
mp
fp
f
mp
mp
fp
fp
fp
fp
mp
f
fp
f
f
f
mp
mp
mp
fp
fp
fp
23
149
Fl.
f
Ob.
Bsn.
Hn.
mf
mf
fp
mf
Perc. II
f
Pno.
E. Gtr.
mp
f bluesy
mf
mf
FILL-------------------------
mf
xylophone
f ruzzolando
mf
mp
f
f ruzzolando
mf
f
f
mf
mf
mp
mf
mp
mf
mf
mp
mf
mp
fp
mp
fp
mf
fp
fp
fp
mp
mp
mp
mf
mf
mf
f
Cb.
f
Vc.
mf
f
Vla.
fp
f
Vln. II
f bluesy
Vln. I
fp
mf
fp
mf
mf
ff
fp
f
Perc. I
fp
f
Tbn.
f
C Tpt.
f ruzzolando
ff
mf
f
mf
f
Cl.
24
M
157
Fl.
Ob.
Pno.
mf molto pesante
f legato
Vln. I
f
mp
mp
f
Vln. II
f
Vla.
f
Vc.
Cb.
f
f molto pesante
con sord.
con sord.
ff
mp ff
mf molto pesante
p
f legato
p
f pesante e legato
p
ff
ff
p
f legato/bluesy
ff
add chorus for fuller sound
Grinding Blues (e=104)
f legato
ff
f legato
f
p
low jamblock/woodblock
sleigh bells Rock&roll/blues feel scrape on ride f H.H. (half-open, loose sound) (l.v.)
ff
E. Gtr.
mf molto pesante
mf molto pesante
mf
Perc. II
f
Perc. I
f
Tbn.
f
C Tpt.
f
Hn.
f
Bsn.
Grinding Blues (e=104)
f
Cl.
p
p
f
p
f molto pesante
f molto pesante
f
p
25
166
Fl.
Ob.
Cl.
Bsn.
Hn.
N
f bluesy
ff funkoso
ff funkoso
brassy
brassy
f bluesy
C Tpt.
senza sord.
senza sord.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
f bluesy
bell-like mf
mf
mf
f bluesy
f funkoso
brassy
f funkoso
mf
mf
Vc.
mf bluesy
Cb.
pizz.
mf bluesy
f
ord.
mf sempre legato
ord.
mf sempre legato
mp
f
f
f sempre legato
f sempre legato
slow fall...
mf
f funkoso
tom 2
f bluesy
crash cym.
f legato
f tom 1
xylophone
ff
f funkoso
legato
ff funkoso
26
171
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f sempre legato
cresc. poco a poco
mf
senza sord.
mf
mf
mf legato
cresc. poco a poco
cresc. poco a poco
filling, towards groove...
mf
cresc. poco a poco
xylophone
cresc. poco a poco
transition to set
cresc. poco a poco
f
cresc. poco a poco
mf
cresc. poco a poco
mf sempre legato
mf
mf
ord. con sord.
cresc. poco a poco
mf
mf sempre legato
f sempre legato
mf
f sempre legato
cresc. poco a poco
mf
cresc. poco a poco
mf
mf
cresc. poco a poco
cresc. poco a poco
27
177
Fl.
Ob.
Cl.
Bsn.
Hn.
poco accel.
(lower notes optional) sim.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
E. Gtr.
Vln. II
Vla.
Vln. I
Vc.
Cb.
poco accel.
28
183
Fl.
Ob.
f
f
Cl.
Bsn.
Hn.
f
f
f
C Tpt.
f
Tbn.
f
Perc. I
Perc. II
f
E. Gtr.
f
f
Vln. I
f
Cb.
f
Vc.
f
Vla.
arco
mf
f giocoso
ff sassy
ff sassy
ff sassy
sizzle cymbal (l.v.)
more distortion slide on same strings
ff
ff
ff
f
f
f
ff
ff
(w=72) Tempo I
ff
ff
f heavy groove...
f giocoso
f giocoso
f
ff
f giocoso
ff
f
Vln. II
Tempo I (w=72) (in 2)
O
Pno.
heavy vibrato w/whammy bar (let chord resonate thru m. 193 as background texture)
f giocoso
f giocoso
sub. p
f giocoso
sub. p
sub. p
f giocoso
29
189
Fl.
Ob.
bell-like
Bsn.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
mf
mf
ffp
f ffp ffp
mf
ff
f
fp
(l.v.) (crash)
molto rit.
Vln. I
Vln. II
Vla.
Vc.
Cb.
e=126
poco rit.
mf
f
mf solo
mf
mf
mf
bell-like
mf
e=126
molto rit.
poco rit.
mf
E. Gtr.
mf
Cl.
Hn.
P
(in 4)
ffp
ffp
gliss.
ffp
gliss.
ffp
ffp
30
Più pesante, un poco maestoso
195
Fl.
Ob.
Cl.
Bsn.
Hn.
bell-like
mf
Tbn.
Perc. I
Perc. II
mf
sub. p
sub. p
f
f
ff
B.D. f
mp
ff martellato
f
f
ff
Vln. I
Vln. II
f
pizz.
Vla.
pizz.
Vc.
Cb.
rit.
s. glis . gliss
ff
ff
f
f
arco
ff
sub p
f sub p arco
ff
f
gilsisss.. gl
ff
ff
f
fill
. ss gli
f
ff
heavy distortion
e=72
p
Più pesante, un poco maestoso
sffp
sub. p
ff
ff
tom
ff martellato
xylophone
sffp
ff
ff
f
ff
sffp
ff
ff
ff
sffp
sub. p f sub. p
ff
sub. p
ff
sub. p
sub. p
sffp ff
sub. p
ff
sub. p
f
ff martellato
f
p
f
ff martellato
ff
mf bluesy
Pno.
E. Gtr.
mf
f
f
C Tpt.
sub. p
f
e=72 rit.
sub p
sffp
ff
ff
sffp
ff
sffp
sffp
ff
sffp
ff
ff
31 para a família Robatto
ii. silvioudades (ecos e lembranças) Grace notes should be played quickly and as close as possible to the main note.
Clarinet in Bb
Cadenza (tempo ad lib.)
Percussion II
p encantamento
Cl. 7
Perc. II
mp
Bsn.
Perc . I
Perc. II
Fl.
Perc . I
Perc. II
mp
mp
p encantamento frog guiro
mp
mf
sim.
mp
sim.
mp
mp
mf
mp
mp
mp
mf
mp
mp
mp
Perc . I Perc. II
Cl.
Bsn.
p
soli (w/fl.)
mp
pp
21
27
Fl.
Cl.
Bsn.
mf
p encantamento
A Tempo de chôros (e=104) soli (w/bsn.)
mp
mf
Cl.
large maracas (swish sound)
pp
14
Fl.
mf
mp
p
p
p
32
33
Fl.
Ob.
Cl.
Bsn.
Hn.
Perc . I
B
pp legato ma un poco marcato
pp legato ma un poco marcato
pp legato ma un poco marcato
p
mp
mp
mp
sim.
jumbo caxixi (swish in circles) R.H. swish counterclockwise
Perc. II
E. Gtr.
Vln. I
Vln. II
Vla.
Dm
p
A7
mp
mp
Dm
pizz.
mp
mp
Cb.
etc... arpeggiate chords in eighth note pulse (not strummed)
mp
Vc.
mp L.H. swish clockwise
nylon-string guitar
33
39
Fl.
Ob.
Cl.
Bsn.
Hn.
Perc . I
Perc. II
E. Gtr.
Vln. I
Vln. II
Vc.
A7
Vla.
Cb.
mp
D
mf
mp
mf
mf
mp
mp
mf
mp
D7
mp
mp
mp
mf
34
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Perc . I
Perc. II
C7
E. Gtr.
Vln. I
Vln. II
Vla.
Vc.
Cb.
sim.
C
E¨7 (lydian)
A7
mp
mp
mp
mp
mp
35
49
Fl.
Cl.
Bsn.
mp
mp
mp
E. Gtr.
Vln. I
Vln. II
Vla.
Cb.
D
mp
D²
p legato ma un poco marcato
D6
p legato ma un poco marcato
D
mf
mp
B7/D#
etc. continue bossa rhythm
Em
mp
p legato ma un poco marcato
maracas (swish)
p legato ma un poco marcato
mf
p legato ma un poco marcato
continue ad lib
strummed
Vc.
p
Perc. II
mf
mf
mp
Hn.
Perc . I
Ob.
C
mp
mp
mp
mp
mf
mf
36
55
Fl.
Ob.
Cl.
Bsn.
p
p
p
f
f
sub p
Hn.
Perc . I
large maracas (swish)
mp
mp
Perc. II
Em6
Em
E#—
D
Dsus2
D
E. Gtr.
Em7
Em²
Vln. I
Vln. II
Vla.
mf
mf
f
mf
Vc.
Cb.
f
mf
f
37
61
Fl.
Cl.
mp
p
mf
mp
Perc. II
Em
Em²
Em7
Em6/G
NC
E. Gtr.
B/D#
Vln. I
Vln. II
Vla.
Vc.
Cb.
mp
p
p
mp
Hn.
Perc . I
Ob.
Bsn.
mf
pizz.
38
D
66
Fl.
solo
Ob.
Cl.
Bsn.
Perc. II
Vln. I
guiro
mp
Vln. II
Vc.
Cb.
mp
mp
sim.
sim.
sim.
A7
p
p
p
mp
Dm
mp
p
caxixi (swish in circles, as before)
Vla.
sim.
p legato ma un poco marcato
p legato ma un poco marcato
Dm
E. Gtr.
p legato ma un poco marcato
Perc . I
mp
Hn.
mp
p
mp
39
71
Fl.
Ob.
Cl.
Bsn.
Hn.
Perc . I
Vln. I
Vln. II
Vc.
mp
f
mp
mp
D
mp
mp
D7
mp
mp
mf
mf
A7
Vla.
Cb.
Perc. II
E. Gtr.
mf
mp
mf
f
f
mp
f
mf
40
Fl.
Cl.
Hn.
Perc . I
Perc. II
E. Gtr.
Vla.
Cb.
mp
C
E¨ (lydian)
p
E¨7
mp
mf
sim.
mp
mf
mf
p
mp
Vc.
Vln. II
mf
mp
C7
Vln. I
Ob.
Bsn.
76
mp
mp
41
Fl.
Cl.
p
Perc. II
pp
p
slow strum
p
pp
A7
pp
p
E. Gtr.
p
p
Perc . I
p
Hn.
p
Ob.
Bsn.
Poco rit. al fine
80
pp
Poco rit. al fine
Vln. I
Vln. II
Vla.
pp
pp
p
pp
Vc.
Cb.
p
p
pp
42
Flute (Picc.)
for the Dude
iii. montuno blue
Allegro con salsa (e=120)
Oboe
Clarinet in Bb
Bassoon
Trumpet in C
Trombone
Horn in F
Percussion I
Percussion II
clave (mounted on foam)
mf marcato
poco distortion, trebly sound
Electric Guitar
mf marcato
Piano
Violin 1
Allegro con salsa (e=120)
Violin 2
Viola
Violoncello
Electric Bass (Cb.)
43
7
A
C Tpt.
Tbn.
Fl.
Ob.
Cl.
Bsn.
Hn.
Perc. I
Perc. II
E. Gtr.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
con sord.
pizz.
poco distortion, trebly sound
E. Bass
mf marcato
conga drums (improvise in Latin (salsa) style on 4-bar pattern)
mp
mf marcato
pizz.
mp marcato
mp marcato
44
13
Fl.
Ob.
Cl.
flute
mf marcato
B
mf marcato
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
E. Gtr.
Vln. 1
mf marcato
Vln. 2
Vla.
Vc.
E. Bass
mf
arco
arco
mf marcato
mf
mf
f
continue as before
mf marcato
pizz.
p ma intenso
ganza (back & forth, use rebound)
pizz.
mf marcato
Pno.
con sord.
mf
continue as before
45
19
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
f
f
mf
mf
senza sord.
mp
senza sord.
mp
Tbn.
Perc. I
Perc. II
E. Gtr.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
E. Bass
f
mp
mf
mf
mf mp
mp mf arco
(pizz.)
mf
pizz.
f
f
mf
mf
f
f
mf
mf
mf
arco
arco
46
C
25
Fl.
Ob.
Cl.
Hn.
f punched
mf
C Tpt.
f punched
f punched
mf
Tbn.
mf
Perc. I
Perc. II
E. Gtr.
Cm
f punched
Pno.
Vln. 1
Vln. 2
mf
E. Bass
G7/B
f punched
f punched
B¨7
E7/B
G7/B
mf
f
E¨
B¨7 E7/B
G#m
E¨
B7
mf
G#m
mf
bell-like
Cm
slap
f
f
f punched
Vc.
f punched
Vla.
f punched
f punched
f
f punched
mf
mf
f punched
Bsn.
C^/G
ff
A¨7
Cm
Gm
mf
f
mf
f
C^/G
B7
A¨7
Cm
Gm
47
D
Fl.
Ob.
Cl.
Bsn.
Hn.
30
mf
C Tpt.
Tbn.
Perc. I
Perc. II
E. Gtr.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
F#m
f
solo
3
3
3
3
G#&
p espr
f
E7/G#
Cm
mf
(in 2)
F#m
E. Bass
mf
(in 2)
Cm E7/G# G#&
48
Ob.
Cl.
Bsn.
36
Fl.
Hn.
solo
3
3
3
3
3
3
3
3
p espr.
3
3
3
3
3
3
3
3
3
Perc. II
E. Gtr.
Vln. 2
Vla.
Pno.
Vln. 1
Vc.
3
Perc. I
Tbn.
3
mp espr.
3
C Tpt.
3
3
mp melancolico
E. Bass
49
E
42
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
3
3
E. Gtr.
Pno.
Vln. 1
3
3
3
3
3
Vc.
E. Bass
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp espr. sempre con ped.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp espr.
3
3
3
3
3
3
3
3
3
3
mp espr.
3
3
3
3
3
3
3
3
3
mp espr.
mp espr.
mp espr.
Vla.
3
mp espr.
3
mp espr.
Vln. 2
vibraphone (w/motor on slow)
Perc. II
mp espr.
3
3
3
3
3
3
3
3
3
50
48
Fl.
3
3
3
3
Bsn.
3
3
3
Hn.
C Tpt.
Tbn.
3
3
Perc. I
mf
mf
mf
3
f
mf
mf
f
mf
f
mf
mf
mf
mf
H.H. improvise in 16th note pulse w/accents on rims
mf
f
f
f
mf
f
f
f
f
mf
mf
con sord. (thin sound)
f
f
mf
mf
3
3
mf
3
mf
3
Cl.
mf
3
Ob.
mf
etc.
(vibes)
3
Perc. II
3
3
E. Gtr.
Pno.
Vln. 1
3
3
3
3
3
3
Vc.
3
E. Bass
mf
3
Vla.
3
Vln. 2
3
3
mf
mf
f
f
at frog
f
at frog
mf
at frog
mf
at frog
f
mf
f
f
f
f
mf
f
mf
f
mf
f
mf
mf
mf ord. (w/overdrive)
mf
solo (w/overdrive)
mf
mf
mf
mf
54
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
E. Gtr.
Vln. 1
f
mf
f
f
3
3
3
mf
mf
f
3
3
3
3
f
f
f
f
3
molto legato
slow fall
f
mf
f
mf
slow fall
3
slow fall
f
3
Più pesante (e=108)
mf
mf
slow fall
mf
sizzle cymbal
w/reverb, sustained
f
mf
f
3
mf
mf
3
mf
slow fall
ff
3
f
mf
mf
slow fall
f molto legato
f
mf
mf
f
mf
f
f
mf
slow fall
f
3
f
mf
Più pesante (e=108)
f
mf
f
3
f
mf
f
mf
f
E. Bass
mf
f
Vc.
mf
f
Vla.
f
f
3
f
f
mf
3
mf
mf
f
f
mf
f
Vln. 2
f
Pno.
51
F
f
w/reverb, sustained
3
molto legato
52
Fl.
59
ff
Ob.
Cl.
ff
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
3
3
mf
con sord.
mf
3
3
3
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
E. Bass
ff
3
3
4
4
ff
senza sord. open
4
ff
senza sord. (if possible)
4
ff
ff
legato
sfp
distortion, sustained
ff
4
ff
ff
con vib.
4
4
poco rit. ff legato
4
(in 8)
(in 6)
legato
3
f
legato
ff
3
E. Gtr.
3
3
3
3
stopped con sord.
(in 8) rit. poco
(in 6)
ff legato
4
ff
distortion, sustained
ff
4
ff
con vib.
4
4
4
4
53
G
64 Misterioso (e=88)
Ob.
Cl.
Fl.
Bsn.
sfp
Hn.
C Tpt.
Tbn.
Perc. I
gong
(l.v.)
mf
vibraphone (motor on slow) arco
Perc. II
E. Gtr.
Più dolce, generoso
vib.
mf floating...
glock.
p
solo
sfp
Pno.
sfp
Misterioso (e=88)
Vln. 1
Vln. 2
Vla.
Più dolce, generoso
mp lirico
Vc.
vib.
E. Bass
sfp
solo
mp lirico
54
70
Fl.
H
mf lirico
Ob.
Cl.
mf lirico
C Tpt.
Tbn.
Bsn.
Hn.
Perc. I
Perc. II
E. Gtr.
Pno.
Vln. 1
Vla.
Vc.
E. Bass
vibraphone
mf lirico con ped.
solo
to Contrabass
(port.)
Contrabass pizz.
mf
p espr.
mf sempre lirico
mf
solo
mf
mp lirico
mf lirico
mp lirico
Vln. 2
mp
55
Fl.
Ob.
76
rit.
Bsn.
Hn.
Tbn.
Perc. I
Perc. II
E. Gtr.
Pno.
Vln. 1
Vla.
Vc.
E. Bass
p
f
f
f
susp. cymbal
mp
rit.
mf
mf
mf
arco
mf
f
mf
Vln. 2
mf
mf lirico
f
mp lirico
C Tpt.
f
mf lirico
Cl.
f
f
f
f
56
I
83
Fl.
Ob.
Tempo I (e=120)
mp marcato
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
p
Perc. II
E. Gtr.
Vla.
Vc.
Cb.
p
mp smooth
p marcato
solo con sord.
mp marcato
con sord.
p marcato
p
pizz.
p marcato
Tempo I (e=120)
Vln. 2
triangle (improvise on pattern in 8ths)
Pno.
Vln. 1
rim clicks
solo con sord.
pp
pp
pp
to electric bass
57
89
Fl.
Ob.
Cl.
J mf
mf
mp
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
E. Gtr.
Vln. 2
Vla.
Vc.
E. Bass
ord.
mf
mp
senza sord.
mp
mp
mf
mf
mf
mf
mf
mostly clean
mf
(mp)
mp
Pno.
Vln. 1
pizz.
mp
mp
mp
mp
pizz.
mp
mf arco
electric bass
pizz.
mp
arco
mf
mf
58
95
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
E. Bass
mf capriccioso
p
mf capriccioso
A7
mf capriccioso
Gº
G
(triangle)
to picc.
mf capriccioso
A¨
E. Gtr.
101
Fl.
Ob.
Cl.
Bsn.
piccolo
f marcato
59
mf marcato
C Tpt.
Tbn.
Perc. I
Perc. II
E. Gtr.
sus. cymbal mf
mp (l.v.)
ganza (back & forth, use rebounds)
K
Hn.
glis s.
poco distortion Cm G/B
mf
arco
f marcato arco
f marcato
E. Bass
mf
poco distortion Cm
B¨7
E7/G#
f marcato
Vc.
f marcato
Vla.
f
mf
mf
mf
f
mf marcato
mf marcato
f marcato
Vln. 2
Pno.
Vln. 1
G/B
B¨7
E7/G#
60
C Tpt.
Tbn.
106
Fl.
Ob.
Cl.
Bsn.
Hn.
Perc. I
Perc. II
A9
E. Gtr.
Pno.
Vln. 1
E¨
B7
Cm/G
Em
f
ff
Cm
Vla.
A9
E¨
B7
Cm/G
Cm
Em
F#m/C#
C/G
C/G
D/F#
F#m/C#
E. Bass
Vln. 2
f
Vc.
3
ff
3
D/F#
61
112
Fl.
Ob.
Cl.
Bsn.
Hn.
L
or bass line
f
to flute
senza sord.
senza sord.
f
Perc. I
Perc. II
E. Gtr.
Vln. 1
Vln. 2
Vla.
Vc.
E. Bass
cowbell (stopped, on lip)
F7
G7
G#+
f
f
E7/G#
Cm
G7
F7
G#+
E7/G#
ff
più distortion Cm
f
f
f
Pno.
f
senza sord.
Tbn.
f
C Tpt.
G7/B
B¨7
f
f
ff
f
ff
Cm
f
più distortion Cm slap
f punched
G7/B
Em7/B B¨7
G#m/B
ff
f
Em7/B
E¨
f
f
f
f
G#m/B
E¨
62
117
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc. II
flute
Pno.
Vln. 1
C²/G
A¨7
Cm/G
3
ff
Gm
F#m/C#
B7
C²/G
mf
mf
mf
mf
A¨7
Cm/G
f
f
f
Gm
F#+
f
f
E7/G#
f
G#+
f
F#m/C#
F#+
f
E. Bass
f
Vc.
f
Vla.
f
Vln. 2
B7
E. Gtr.
3
f
f
f
f
G#+
E7/G#
Fl.
M q = 108 poco rit. 122 3
Ob.
Cl.
3
Hn.
C Tpt.
Tbn.
3
3
f legato
Perc. II
E. Gtr.
Pno.
mf
Vln. 2
Vla.
Vc.
3
f legato
q = 108
Vln. 1
poco rit.
3
Cm 3
f legato
f
3
3
mp
mf
3
3
ff
3
3
ff pizz.
f
Pesante (q = 108) mf
3
3
3
3
3
ff
mp
3 3
3
3
3
3
3
3
3
3
f
3 3
3
f
3
f
3
con sord.
3
ff
f
3
3
mp
3
ff
con sord.
ff
ff
ff
mf
3
ord.
E. Bass
3
add reverb, let ring
mp
ff
thunder sheet
ff
3 3
3
ff
3
ff
3
ff
ff
ff
Cm
mf
3
ff
ff
ff
ff
ff
ff
chinese (splash) cymbal rolls with random crescendos
Perc. I
ff
ff
ff
ff
ff
63
3
f legato
Bsn.
Pesante (q = 108)
3
3
3
f
arco
3
3
3
3
3
3
3
3
64
128
Fl.
Ob.
Cl.
poco accel.
f
f
Hn.
Tbn.
Perc. I
3
3
Perc. II
E. Gtr.
f
Vln. 1
Vln. 2
Vla.
Vc.
E. Bass
mp
f
3
3
3
3
3
f
(l.v.)
reverb off
B.D.
q = 60
mf
fff
sffp
molto rit.
3
3
f
fff
mf
ff
fff
fff
q = 60
ff
sffp
fff
sffp
fff
sffp 3
fff
gong or thundersheet
f
sffp
mp
fff
cymbal
sffp
sffp
fff
sffp
fff
fff
sffp
f
move offstage
f
poco accel.
f
f
3
f
3
f
Pno.
senza sord.
f
senza sord.
C Tpt.
sffp
ff
Bsn.
molto rit.
sffp
fff
fff
fff
for John Corigliano on his 70th birthday
Gently (e=80)
Flute
pp
Oboe (offstage)
Horn in F
Percussion I
p
pp
p
p
Trumpet in C
Trombone
pp
Bassoon
Clarinet in Bb
65
iv. itaparica
berimbau
Percussion II
(poco vib.)
p
rain stick
p
(vib.)
sim.
Nylon-String Guitar
Voice
Violin I
Violin II
Viola
Violoncello
Piano
Gently (e=80)
pizz.
p
Contrabass
66
5
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
cup mute
pp
3
3
p mp lontano, molto legato
solo (offstage)
3
mp cantando
p mp lontano, molto legato 3
p mp lontano, molto legato
p
pp quasi eco
pp quasi eco
p
p
mp
pp
p
cup mute
pp
p
dim.
solo
Vln. I
p
3
p cantando
3
mp lontano, molto legato
arco
pizz.
p
arpeggiate chords in eighth notes
pp
3
p mp lontano, molto legato
nylon string guitar
C
pp
sempre sul tasto
3
mp
sempre sul tasto
p
mp p
Cb.
rain stick
Vc.
3
Vla.
p
pp quasi eco
3
Vln. II
Pno.
cup mute
berimbau
Voice
p
Perc II. Gtr.
67
Ob.
Cl.
11
Fl.
Bsn.
Hn.
Perc. I
Perc II.
Gtr.
p
p
pp quasi eco
pp quasi eco
pp quasi eco
C Tpt.
Tbn.
A
p
p misterioso
mp
Vln. I
sempre sul tasto
Voice
Pno.
Vln. II
Vla.
Vc.
Cb.
I - ta - pa - ri - ca,
call
-
ing
for
the
to
sea
draw
p
mp
sempre sul tasto
p
sempre sul tasto p
mp
mp
68
Ob.
Cl.
16
Fl.
Bsn.
Hn.
C Tpt.
Tbn.
Perc. I
Perc II.
Gtr.
Voice
Pno.
Vln. I
Vln. II
Vla.
near
pp
I
-
p
ta - pa - ri -
ca,
p
e - ras - ing
all
the
mp
trac
-
es
of
the
who
souls
walked
Vc.
Cb.
pp
pp
pp
p
p
p
p
p
p
mp
mp
mp
69
Ob.
Cl.
B
20
Fl.
Bsn.
Hn.
C Tpt.
Tbn.
sus. cym. soft yarn mallet for shimmer
Perc. I
p
Perc II.
Gtr.
Voice
mp
Vln. I
Vln. II
Vla.
Vc.
Cb.
here
Pno.
F
p
mp
I - ta - pa - ri - ca,
mf
gath
-
er - ing
the waves
from
all
sides
mp
p
I - ta - pa - ri - ca,
mp
mp
mf
mp
mf
mf
mp
mp
p
mp
p
p
mp
mp
70
Ob.
Cl.
Hn.
Perc. I
25
Fl.
Bsn.
C Tpt.
Tbn.
Perc II.
Voice
Pno.
Vln. I
p
p
mp
so
p
(sus. cym.)
mp
mf
man - y
cup mute
sec - rets
mf
hid
-
ing
un - der - neath
the
F/Eb
high
tide,
D&9
I - ta - pa - ri - ca,
mp
I - ta - pa - ri - ca,
cup mute
Vc.
Vla.
con sord.
Vln. II
Cb.
p
Gtr.
mp
mp
mp
mp
mf
mf
mf
mf
mf
mp
mp
71
29
Fl.
p
Ob.
Hn.
C Tpt.
Tbn.
Perc. I
Perc II.
G&7
Gtr.
Pno.
p
p
p
pp
sing
p
to
me the vows
glock
p
that
you've
heard,
pp
sempre sul tasto e un poco legato
p
sempre sul tasto e un poco legato
p
I - ta - pa - ri - ca,
pp
pp
sempre una corda pedale
Cb.
Vc.
Vla.
pp
(I - ta - pa - ri - ca,)
Vln. I
Vln. II
pp
p
pp
p
p
Voice
solo (offstage)
pp
pp
p
C
pp
p
pp
p
Bsn.
Cl.
C
p
solo
p
72
Ob.
Cl.
34
Fl.
p
Hn.
p
mp
p
p
mp
mp
3
Perc II.
Gtr.
Voice
Pno.
Vln. I
p
Perc. I
C Tpt.
Tbn.
p
Bsn.
p
-
ta - pa - ri - ca,
Vc.
Cb.
p
through - out
p
Vla.
Vln. II
I
(glock.)
p
the
a - ges
p
mp
p
mp
mem
-
or - ies
sus. cym. soft yarn
p
that
burn
in
soft
words
mp
mp
3
73
Fl.
38 D
mp
3
Ob.
mf
3
mp
Cl.
Bsn.
Hn.
Perc. I
mp
mp
mf
mf
3
3
p
3
3
p
p
p
mp
Perc II.
3
3
mp
F
Gtr.
p
Voice
Pno.
mp
I -
ta - pa - ri - ca,
mp
Vln. I
mf
mf
all
mp
Vla.
mp
Vln. II
prom - is - es
you
once
3
p
made,
3
I -
ta - pa - ri - ca,
mf
mf
3
3
Vc.
the
mp
Cb.
C Tpt.
Tbn.
3
3
3
3
p
74
42
Fl.
Cl.
mp
Ob.
Bsn.
3
mf
mp
mp
mf
mf
(con sord.)
(cup mute)
Perc. I
Hn.
C Tpt.
Tbn.
(glock.)
Perc II.
Gtr.
mp
Voice
melt in - to
Pno.
Vln. I
mp
mp
Vc.
Cb.
mp
Vla.
un
Vln. II
no - thing
-
der - neath
sand
and
p
Eb&11
mf
hot
mp
mp
p
(cup mute)
mp
mf
3
3
mp
mp
p
mp
mp
(sus. cym.)
3
I - ta - pa - ri - ca,
shade,
mf
mp
D&9
Ab&
I - ta - pa - ri - ca,
I - ta - pa - ri - ca,
mp
mp
p
p
3
3
mf
mf
mp
mf
mp
mp
mp
p
p
p
75
Fl.
E 47
p
p
Ob.
Cl.
p
Bsn.
Hn.
p
Perc. I
p
Voice
Pno.
Vln. I
C
pp
p
p
mp
I - ta - pa - ri - ca,
call -
pp
p
p
rain stick
ing for the sea
to
draw
near
p
to
draw
near
mp
blend with berimbau...
p
blend with guitar... berimbau (poco vib.)
mp
p
p
pp
p
p
p
p
pp
mp
Cb.
p
p
p
Vc.
G(b9)
pp
pp
p
Vla.
p
Vln. II
Db&11
Gtr.
p
mp
p
pp
p
Perc II.
p
p
Tbn.
p
C Tpt.
mp
p
mp
pp
pp
p
p
76
Rit. al fine
53
Fl.
Perc. I
Perc II.
p
3
3
mp
rain stick
(vib.)
sim.
Vln. I
p
3
Rit. al fine arco norm. solo
glock.
p
berimbau
Cb.
Vc.
Voice
Vla.
Vln. II
Gtr.
Pno.
C Tpt.
Tbn.
Cl.
Hn.
solo (offstage)
Ob.
Bsn.
3
mf
una corda al fine
3
mp
arco
mp
arco
mp
77
57
Fl.
Ob.
Hn.
3
Perc. I
Perc II.
C Tpt.
Tbn.
Cl.
Bsn.
3
pp
vib.
Gtr.
Voice
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
3
mp
p
p
pp
pp
pp
p