Harrison - Symphony No. 4 by Peermusic Classical

COcncnlSS10NE-b BY ChE- BROOKLYN phlL1JA.RcnON1C A.Nb Cl1E- BROOKLYN A.CA.bE-cny 01= cnUS1C A.Nb bE-blCA.CE-b \tV1C1J

LOVE- A.Nb A.SCON1S1JcnE-NC CO bE-NN1S RUSSE-LL bA.V1E-S

1=OURZ:h symphONY

A.pCOS 1984 - 1993

1=OUp. Ch

sympJ'1NY

Score is in C; the instrumental parts are transposed.

Instrumentation: 3 Flutes, Flute 3 doubling Piccolo 3 Oboes, Oboe 3 doubling English Horn (E. H. in Eb) 3 Clarinets in Bb , Clarinet 3 doubling bass clarinet 3 Bassoons , Bassoon 3 doubling contrabassoon 4 Horns in F 3 Trumpets in Bb

3 Trombones Tuba 4 Percussion

Celesta, doubling Percussion (Chimes) in Movement III Tack Piano

Celesta

Strings

Percussion parts are distributed as follows: Percussion 1: Sleigh Bells , Chimes , Guiw , Gong, Rasp, Keprak, Box

Percussion 2: Rattles, Gentorak , 3 Muted Gongs, 3 Chinese Drums Percussion 3: Vibraphone, Cymbal, Box , Field Drum Percussion 4: Bass Drum The Celesta player is assigned to the Chimes in Movement IlIl , bars 597 - 606, and bars 641 to 650.

Percussion Notes Instead of a very large Tam Tam I much prefer the true Gong Ageng of a gamelan.

The Keprak could just barely be imitated by a very large " temple block" struck with a heavy beater, & loudly. A good collection of small sweet sounding bells with inner " tongues " (each freely suspended) could substitute for the Gentorak. The two boxes with rasps should be built of 1/2 inch marine plywood , & look like this:

z,tr

/1. II

Notation (Movement II, Story II:

- strike the

drum head

and the rim.

,. ,

, -

Additonal Notes

In the course of completing my second reuisions of this

symphony the form of the whole work came clear to me , and I outline it here. Mouements I and III are Interualic mouements; the melodies in I mouing only by the Major second, minor third,

and minor sixth; and in III mouing only by the minor second

minor third , and perfect fifth. Mouements II and 111

are

modal

mouemcnts; in Moucmcnt II a fiue- tone mode

which (were it in a Jauanese tuning) would be called Slendro, pathet Nem. In Mouement 111

(correct old

Roman Numeration)

two six- tone modes are used which share basic tones:

fI - , Mouements I and II are composed using basic Jauanese methods

while Mouements II and 111 employ European ones; thus there is

an interlock of materials and methods , so: , M 2: m 3: mG \.

Jaua methods

II, patet Nem

, m 2: m 3: 5th

Modal

III , G tone modes - SQme

Europe methods tonics

Lou Harrison Novcmber 1992

Score revised 1991-92

for performances at the 1992 Cabrillo Music Festival, Aptos for performances in Basel , Switzerland in 1993.

California and again in 1992- 93

-- .

... ...

FOURTH SYMPHONY Largo

Lou Harrison

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Ham

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PERC IV

L. V.

CEL

Solo

PNO

HARP

IIf L.

VLNI

VLN

oJ r VLA

r r

...

g #

OBOE

CLAR

BSSN

HNI&II

HN II &

TPT

TBN

TUBA

PERC

PERC IV

CEL

f!tf!fl... PNO

HARP

VLNI

VLN

VLA

..fl....

!''

'- . . .-.. --, * "".

-; "..

' *

"'..

- . ' - ....

.. -

' .. *

" "

~ ~

fl f! PICC

.. I'

flf!

OBOEI

**T~ BSSN I

f-f'

& II

(I only)

TPTI&II

;:rr TPT 1l

PERC 1l

.1'

PERC IV

CEL

if; p.r

PNO

ff-J VLA

PICC

OBOE

BSSN I

& II

CONTRA

TPTI&II

TPT 1l

PERC 1l

PERC IV

CEL

E~f PNO

E~f

f!f t. fl..

fl t

fl.... L.v.

HARP

L.v.

r--

ff! f

PICC

ff!

fl....

ff!

1'-

OBOE

CLAR

BSSN

I & II

CONTRA

PERC

CEL

g~~ff!

. E g

PNO

L.v.

HARP

PICC oJ

OBOE

CLAR 'd,

BSSN

I & II

III

#1'

71'

CONTRA #Q'

PERC

'd, CEL

'd,

..,.f!"'

fl ~t'"

..flf!

"'fl

E 6 f

r t:

PNO

T *. ~~T* ~T*' HARP

#v'

71,

,.,

',;

"'-

*.".

. :,

-.---

.: - ..... -.---_.- --:(._.-.--""---".--- _.'-... .-.,....,. ,..,

PICC

OBOEl 11.1

II.

iT (II) CLAR

C, 11

BSSN

I & 1/

CONTRAI/I

rj,

Go to ns"

III

T.INO

OBOE r

:EHJ-

r--

II,

F=1'-

7Tf CLARI&11

II: BSSN

I &11 .I

CONTRAI/1

" =3 .1''

.I-

PERC II

PERC IV

PNO

VLNI

VLN 11

..-r .1;'

VLII

S==: .I

CIJ .I

CLAR

I & 11

BSSN

I & II

...

"- .

CONTRA/II

(Gong)

PERCI

mf~ PERC

PERC IV (single tones) #

"'flf!f

L.v,

iI~

CEL

..fl*,flt. #r: L.v,

PNO

HARP oJ

VLNI

VLN

VLA

!!OBOE

CLAR .f

~T*"

BSSN

T ..

11"

TPTI

':i

Box

PERC

Box

PERC I1

g :n

f ~

CEL

..flf!f

PNO

HARP oJ

. ,- f #

r: t. fl

VLNI

VLN II

T~T VLA

(Pizz)

T ..

Ci I-

t. f .. f

f!..

.. f

f!..:.

..fl OBOE

I & II

..fl CLAR

BSSN

Hfn mf' TPTI

PERC

PERC II

PERC I1

HARP

VLA

Arco

7f,

71,

7f,

'f't A3

;flf!tt

A2 --

OE I & II

7:. CLA

LjBSSN

HNI

TPTI T'i ':T

PERC

PERCI

PERC

T J ..-t-tt:E CEL

f~-,*' "*11"

T.PNO,

HAP

VLA

r r

~f E

ttEL

.. *

t~ffflL

flf! OE

I & II

/IIE.

CLA

flfl....

BSSN

PERC

Gongs PERC

PERC

single notes

CEL

..fl~ttE

PNO

HARP

VLNI

VLN

71 . VLA

t:)

11 1

r.)

'f I

trv

I -

IIIII

"" ,,

-- 1

V .

()

. I

) v

v'h

'",... ..

,. ,.

C)-

v Q.

vc:

- ..

"'fl

..flf!f OBOE

1& 11 Oboe II

.o'"

.fl

OB IIJE. Go

toE.l,

CLAR Clar IIIto B,

BSSN

HNI

TPTI

PERC 1 mf

PERC II

1-PERC

HARP

VLNI

VLN

"T': VLA

Pizzo

C r,

tf!

'" ,

....

..-. -

-..

..*-=

5:L fl

fl.....

.. ff!

fl.....

fl"'""'

. tJ

OBOE

DB IIIE.H

I &: II CLAR

.L~ BSSN

HNI

TPTI

T* "f':

PERC

PERC II

CEL

ff tr

I ..

I .. 1\.

HARP

L. V.

VLNI

VLN

VLA

Arco::

/ g--

'" "

:'" ::. :;:

377

f g

'" " .. '"

rE ff

~tt

r f!t.

flfl--

1-.. BOn

.. -=#~~

"'''

fr:

& II

fl r-

&11

LARI

..fl

Bass CI SS

CLAR. ff

..fl

- .. A. SN I

& II ff

..fl

(II)

Contr

BSN IIICTRA

TPT

TBN 1&11

TUBA

PERC .o -

PERC

PERCI

-=f= PERCI

mfl

Cresc,

sim'

CEL OJ

rT~T*'

PNO

L.v.

HARP

ss.

Gliss.

fl f! (div,

VLNI

Divis

T~-..' It:' VLN II

VLA

--fl ff

f;;

?).

:;'

p.'

r,. SOLO VLN

SOLO VLN ': 71

'd,

SOLO VC

VC Gli AlIr;

SOLO VLN

Solo SOLO VLA

SOLO VC

legato BSsN

CONTRA

",fl SOLO VLN

SOLO VLA

SOLO VC

VC 2nd Solo

(50/0)

Solo

:i.

Do/ce

BSSN

CONTRA

Gelltorak PERC

L.v. CEL

L.v.

PNO L.

HARP

SOLO VLN

SOLO VC (50/0)

Solo

VC 2nd Solo

, -

47 FL 1-1/,

.. *

TEMPO PRIMO

only)

I, II &

Pice,

PICC

OBOE

ffz A3

CLAR

ifz A3

BSSN

ifz TEMPO PRIMO HN

I & II ifJ'z

HN /I &

ifz A3

TPT A3

ifz

TBN

ifz TUBA

Jrz

TEMPO PRIMO

Gong

Box

PERC

n",m. PERC

Box

ifz

PERC

ifz PERC IV

ifz CEL

ifz . T * PNO

'fz

r:Ii..

HARP

f(E

O PRIMO = Tutti

F",

VLN

Tutti f VLN

(solo)

Tutti

VLA

Tutti

ifz ifz

T MPO PRIMO Tutti

T.'

ifz

5-g *t..

FLI-

f..flt~

PICC

OBOE

CLAR

BSSN

TPT

TBN

PERC

VLNI

VLN

VLA

f! FLI-I/

f!fl

OBOE

CLAR

BSSN

TPT

PERC

etc., simile

VLNI etc., si ile VLN

VLA

fl... fl_

ICC

fl-

""'': ~~~

-,.

-- ~

..... . .... ..... !... '"

:.. ::

;. ..-

5'1 Io

JCC.

, PIce

* 1&11 OBOE

..I CLAR

A3;:.o

fl f!

BSSN

TPT

TBN

PERC

VLNI

VLN

T 'VLA

f!fl

.. f FL I.II,

fl..

ff!

OBOE A3

CLAR

I & II

TPT

/If TBN

I'ERC 11

f!f!

VLNI

f!f! VLN 11

VLA

f!..

PICC

f!...o

ff!

.. f

517 FL 1-

PICC

OBOE

I & /I

':.*

.. f ((I) f

DB II/E.

.. f

~~..... .

' -,.

....*.* ;: "'.

522

t;.. f!..

f!II to

CLAR

I & II inJ

TPT

PERC

VLNI

VLN

Arco

f"l

Pi::,

PICC

OBOE

I & II

g g ~f~~ ~

~r.~

;; f FL 1-2,

ffflfl ..

';f!

DB II/E. A3 flf!

CLAR

BSSN

PERC

PERC IV

"'flf!r.t~

CEL O"C'c

..flf! PNO tJ

VLNI

VLN

Arco

.. ...--.. -.

..flt

A rFL

PICC

ifz OBOE

Go to Oboe II

OB llIE. oj

fiz

'ifz

CLAR

BSSN

IfN I &

V!z HNII&IV

iffz TPT

TBN

J.z TUBA

Box

PERC I

PERC II

ifft Rm

PERC II

iffz PERC IV

..IIt CEL

..II T.PNO

HARP

GliS

VLNI ff

VLN 11

VLA

.i'

Go to Chimes

. . ....~~ .... . . ~~

,.,.

- - - -

:; -.

u2. FL

Pice

TPT

TBN

PER

VLNI

VLN II

;-:; E FL

Pice

tfl... fl..

PiCCo

I & II OBOE

OB llIE.

eLAR

BSSN

TPT

PERC II

VLNI

VLN II

VLA

....;

- -

;.,

... .,.....

~ ."..~ ..

eLAR

....

;.,.O' &I

BSSN I

':.. :..

-..

.,.O' II t

II t

(II)

----

II t

BSN IIIeT

TPT

I ~ TBN

(go gs) PERe

VLNI

VLN

VLA

FL I-lI

OBOE

t..lIt

Ice

t~ t.. tt~

Ob II

II to

eLAR

BSSN

I&I

TPT

TBN

Box PERe

PERe (drums).

Box PERe

VLNI

VLN

VLA

i.....

....

(1, II FL I-II,

PIce

OBOE

A2 .

#!;...O'

1",.

A2 BSSN I

(II). nSN III/CTR

fI~

HNI

PERel

PERe II

VLNI

VLN II

O'. VLA

Picc.

r..

;....O' eLAR

,. '

...

----. ...... .. .. ..':::' .. ""':'

....~.. #........ - ~~~~

-.-

.----.-..-..,-.,.. -.-..--.-

---*'--..=:-::.__ '' .,

~~fI"~~ fL

II, PlCC

flfI~~ OBOE I /$ II

jJ~ Iklf C,

CLAR

1&11 BSSN I &

BSN IllCTRA

HNI oj jJ

nif TBN

TU 9.

PERCI

PERCII c'Jc

PERC ll

PERC IV

Chimes CHIMES

~f-

VLNI

II --

II: VLN II

VLA

'I'"

tJ7

BSSN

HNI&ll

HN II

TPT

4J 4J

.I .I .l

TBN

PERC II

sim.

r-t

VLNI sim. VLN II

VLA

A2 t~

t~ t

f. ~ .

OBOE

r.::

Oboe II

CLAR

BSSN

HN I

HN II

TPT

.I .1.1

.1.1.1 .1.1.1 .1.1.1 1.1.1.1

.I.s.s .s.s.s

TBN

PERC II

VLNI

;:~ ft fE E6

VLN II

Div. VLA

...... ...... . ':-~ :::=

:-.. ......'" .". "'"'

".':.. ,;..

.,* .,

- -

(P'f

:;t~ OBOE

to E.

CLAR

BSSN

HN I

HN II

TPT

TBN

PERC 11

Y:t:

VLNI

VLN II

I.... il VLA

-r.

-r

~(:

. -

--.."

I, II ;

€ g E

E ~

gg E

;.,..

..,.

. .

..:

Picco

tttt....

r- .. OBOE

CLAR II

BssN

HN I oJ

J J

HNII&I A3'" TPT

ff-J T.N TUBA

f"1

"7-

PERCI

vong PERe II

PERC IV

CHIMES

PNO

-J";.."" HARP

VLNI

VLN II

unis. VLA

-q V

;; ::

/'1 oq'

) (q .,

-q I

'r1l

V --

.11

.. --

V V

i- V

v v

'" v

FL I, II,

....

"'.!

tt~

Picc

"_.

-..

;;.'!

..-

(''' '''

---

~fI..~,

:i:4-. eLARI&1I

elar CL. IIIB.CL.

I & II

BSSN

Bon

BSN IIICTRA

(I) HNI

& II

(I TPT

lpl"h

1,,//

PERC

eEL

HARP

V)r

;0:

VLN

VLA

III -

...

~--

-. --

....

, II

- ~/" .... ..''. .."

-;.

. ..

.. '- ..

.,--

-.- ..--

r-:

Pice.

FL I, II Pice

OBOE

oj '- ':

ff'

CLARI

R", CL.

IIUB CL.

idtt

BsN lI/e TRA

rl,

ff~

dtt

BSsN I &

rl".

t#tt

ff'" Contra

HN I & 11

TPT

TBN I

f".

TUBA

PERCI

PERC II

PERC IV

mfl

Cresc.

CEL tr

PNO

TT-

L.v.

HARP

L.v.

VLNI

VLN II

VLA

CUss.

L.v.

ff~./

GUss.

p.,'

p..

* ~

7:5

III Largo Flute/Piccolo

Oboe

Clar.

Bssn mf

Solo

bfl

hn.

ti..

hn.

Horn I (noble,

the fore)

Horn II

Trumpet

Trombone

Tuba

Pere I: Chimes Percussion

Pere I: Chime

Perc. III

Celesta

Tack Piano

Harp

Can So rd.

bp..

~#t

b..

Violin I

ppquasi senza espr. Con Sord.

Violin II oJ

"-n 1I1!

Viola

div.

Violoncello

Contrabass 1I1!

un is.

.."

" ..

p.,!:

':..

---

Espr. FL

PIce

-.'

#~ ~ \:-"". ""'.

I,..

Espr.

OBOE c I

b.m BSsN

( b..

1,.

HNI II

-- L

Solo

HN II

I & II"

bJ.

To the Fore

TBN

g b bt

b..

seltza sord.

.. u

VLNI

senza sardo

VLN II oj

111'

b.J

VLA

d;"

unis.

9 f'

#E g FL

PlCC

OBOE

div.

VLNI

IIf VLN II -J

VLA

'9''

'/1'

p.,

.. (: ..

p.."

.. ..

... "' ..

*". .. --

=).

1&11 FL

PICC mfi

U i U

i U i U

i Di

W i

OBOE

HARP

u. .. unis.

VLNI

div.

VLN II

""'.H. div. VLA L.

P..'

f;'O.

..1

E ~

fI FL

PICC oj

1"'

.. rr oj

..v...

HARP 1,. ..

t..

..v'

.. ..I,.

I'"

VLNI

VLN -c

un;s. VLA

=....~.. =..

#~~ " ..

.. ~

.... --

--..

'--

1'%

CELESTA

E t

PNO,

I..

u #d

t t

fI II

IIf

1:-

I..

ti..

; I:

HARP

VLNI

VLN II

eEL 1I1f

~ #d..~ PNO,

1I1f

'1.

H.. I..

ti.. IIIf

HARP

VLNI

VLN II

oj P. mo/to

q.. q..

"..

eEL oj

T.PNO.

HARP

VLNI

VLN

r- 3

VLA

divisi

b..

q.. ...

# ~

!,;

;-..

~."-"-

~~~

q..

... ,.

L60

E1~flt tl..

FLi

OBOE

eL.B. CL.

I & II BSN I &

(Contra)

CONTRA

I & II HN I & ;I

mj' II onlv HN II

TBN

TUBA

eEL

I.Jt t:"

mo/to

PNO.

9. HARP

diViSi A ,

VLNI

qfl

tT VLN II

C., b.. VLA

rt.. #~ (divisi)

#..1

O' v"-

9 .

p";

'61 FLI

OBOE

bit#~bll"

b,' ~

CL.B. CL.

BSN

I & II

CONTRA

HNI&II oj #:;

:1'

HNII&IV " tJ

;11

TBN

TUBA D-d

In!

PERC I

PERe

PERC

PERC IV

t:d~b....

~ L

eEL

bmlf (jump up to Eb)

PNO.

fI..

b,'

b...

HAP

diVis

tutt

f:'

VLNI

divisi VLN

VLA

";I

tutt

D.J

h: .

P?:

I Jj I

. .

'- .

~~~

.._

..-

. ,. .. ' ~~~

" ~

- -

.,.

.. ~ p"p", #~ p",

CRESC.

-gl

Broaden a little

Majestic ' &picc. ,,

1!'

& II

'\3 -- I

CL.

~ #t!

CL.

BSN I & II

eONT P-6

HNI&

HNII &IV

TBN

Majestic TUBA

Chime.

PERe I

PERe

LV PERe

tJ I 11; q-. " I

PERC IV

eEL

T.PNO.

CRESC. n a litle

HARP

j) IO

tutti

VLNI

tutt

" Ii J

ifz, p

VLN

ifz, p fI

VLA

3-- 1" .. divisi

P!j '

ifz, p

~ E

b"L- t#~ ,

(Highpoint)

..3

b,.

#~ b,.

H" #

iJ..

H" iJ..

bfl

#d..

b..

' b,. I

FLi

qt ~ _ OBOE

CL.B-CL.

BSN I

& CONTRA

#F' TBN

TUBA

PERC I

PERC II

~ .. ~ b ~ b.. q.. PERC

1--

PERC IV

(Highpo int)

t#~

eEL

'l-

PNO.

(Highpoint)

:1"

HARP

ff;..

A .. ~

b.. b

VLNI

VLN II

.. b..

VLA

I;,

b..

' b,. I

FLi

& II

OBOE

mp espr, CL.B. CL.

I & II & CONTRA

BSN

TBN

TUBA

*1 D"

q..1

PERCI

Creat Cong PERC

PERC II

mo/to P, LV

PERC IV

CEL

PNO,

HARP

Solo VLN I //f, VLN

:;1)" ~

I)"

VLA SUb

1/2 pizzo

1/2 areo

1/2 pizzo

1/2 area

1/2 pizzo

1/2 arco

sub.

..' P" sub. P

9*.c..' D" sub. P

--1'

espr.

"' 5

FLUTE

I '1

1 I

OBOE

CLAR

Gent PERC II

/lp PERC

"fI

/lp CEL

"II

/lp PNO.

So/a

VLNI

Vivo

1. -

511

/If espr.

espr.

VLN II

. 90'

'1.

It'''".

VLA

div.

Imis.

"".

...

~,. ~..

'5&

I, Solo

t--

.1'1

FLUTE mj; espr.

OBOE

PERC II

eEL oj

PNO. oj

VLNI

VLN oj

VLA

11.

f1' L-

.)I

FLUTE

OBOE

PERC II TlI

PERe II

"fJ--

eEL

PNO.

(con sordino)

VLNI

(con sordino)

(sord) VLN II

.1' ,-

rc,

Solo VLA

div.

Tutti Arco

Tutti Arco Q'

17*

00 RIT. .11

FLUTE

RIT. 8"'

PNO. loco o1l1yJ

/ocoT " I

HARP

S=LV

=FRIT. VLNI

VLN II

VLA

COME PRIMA FLUTE

BSN I

/lp Solo

1..

l_.

(I only)

1'.

HN I &

Gong Ageng

PERC I

PNO.

bn-

HARP

T-.

I bu b,a.

Con Sord.

I bu b..

b,a.

b..

VLNI

PP quasi se" za espress Con Sord. VLN II

b., VLA

l/f 111'

DIM. & RIT. FLUTE

#.0 BsN

DIM. & RIT.

! II

b.. L

H.. HN I

bJ. TBN

/lp

g b #t:

E b~ b..

DIM. & RIT.

VLNI

VLN II

VLA

v-' unis.

div.

9,' 9' .

;.,..

.. .,..

...,*

...,

j;;.

1S1 FLUTE

b4) BSN I

LJ HN I

TBN

HARP

VLNI

VLN II

VLA

71== unis.

div.

HARP

(sord)

VLNI tJpp

(COt, sardiua)

VLN II

Soli div. a

VLA

Snli div. a

Tum

Soli

div.

...,..

.. ..

.. .. ..

.. . ~

...

.. -, ..

IJ V.

HARP

.. ,.1,.

1,.

VLNI

VLN II

VLA

::A:

HARP

,,ti!

VLNI

VLN 11

al "ieute VLA

al "iente

::4 ",ell

.. -, ..

Story I W."

Vibt'S

G9 T)''" qTeR'l

Cr/rsla

these tones. The squared tone is tonic. '1'

Baritone

Coyote was

So he went to

around but himself.

first built

people.

and

day

one

road

walking down the

it of clay and it

made

large oven;

determined

a tree,

his house under

him that

occurred

there

was

some other

to make

was round like the top half of

--- r=He then made bread batter, and from it

an egg because good things come from eggs.

great number

people.

of small

all the people

had

Coyote made a bed of charcoals in the

made

have

made.

and he looked at

oven

shall have

that

m:my

fashioned

bake

r-. three times, "

and sealed for

the door.

without

awhile

the

not r; -#

ff#

removed

board,

people jumped

up and

put them

disappointed

them in the

oven, and

opened

the door.

ran

have

to wait,

did

the

but he

decided

Coyote

When

fall asleep.

sealed

and

And

nervous

got

people

the

more.

Coyote

the door,

He removed the board

and

put some

sang his

the

sacred

his

put some more

that

opened

white

people

very

careful

the

pale.

door

But the

people. Coyote

the

song and when the reddish

eyes

But they jumped

shall

people were

oven,

quickly

door.

Coyote knew that on earth there were

tried once

to rest

Then

stil white, looking

were

the

he woke

people.

black

there were

oven

the

put them

board

The people were burned black.

board.

the

said.

away,

sealed

people

But

pulled out the board and

too soon.

of the

that on earth

them too much"

cook

very

fallng asleep.

Coyote knew

and ran away.

some

shall just

Now

the door and

pulled away

people

He placed

he said.

board,

was

put

song was done

brown - the color of

II:, -

perfect

bread!

These

both Americas,

people

And

became

that

the

his friends,

end

and

this

they

story.

make their

homes

this

day

ATTACCA

Story II by Daniel- Harry

Steward

l' 7

Gu;ro

Tom toUlS

Field drllm

Bliss drum

Baritolle Clever Coyote ,ould change hIs

form and become

cricket,

eagle, or the

GUlIW

TOMS

F.DRUM

lIp I3,DRUM

BAR

wmd.

There was a hme when Co-yo- te pursued Te - ho-ma,

guardIan of the

smokmg mountam.

GUIRO

TOMS

F.DRUM

I3.DIWM

BAR

Hawk and squirrel,

musk - rat and wren proclaImed Te - ho-ma their ChIef

and God of the

smoking vol.

GUIRO

TOMS

F.DRUM

DIWM

BAR

cano.

Co- yo- te

heard these tales

and

wanted to know more about thIs new man - god.

GUIRO

TOMS

F.DRUM

DRUM

BAR

walked up the smoking

mountain and called upon the

spmts of earth and

fIre

to follow him inside the

GUIRO

TOMS

F.DRUM

DRUM

BAR

cave

between the

sky

Fmdmg Te - ho-ma at the hearth furnace,

world.

and the center of the

GUIRO

TOMS

F.DRUM

DRUM

BAR

Co- yo- te offered him

acorns

brought from the

valley,

and he breathed

deeply of the smell of this

GUIRO

TOMS

F.DRUM

DRUM

BAR

man- God

and looked upon his youthful body.

Letus

eat

and

celebrate ourmeehng In this sacred

ftN GUIRO

TOMS

F. DRUM

DRUM

BAR

wake

and

nse

the

smouldenng

mountain spilt In

two

and hlled the

air

with burning

GUIRO

TOMS If

F.DRUM

DRUM

f,:

BAR

the

Gone were the snows,

hre.

rocks,

the trees

and

GUIRO

TOMS

F.DRUM

DRUM

BAR ,; all

Co- yo- te

the unlucky spmts.

called and

searched

the thunder and the ash filed

GUIRO

TOMS /lp

F.DRUM

IWRUM

BAR

dark but Te- ho- ma

could

not be found.

So he spoke

to the wind for

wings

and flew so

~~~

/03

GUIRO

TOMS

F.DRUM

DRUM

UAR

gods walked like

tWIlight,

men.

lIsten,

you can hear Coyote callmg to Te- ho-ma who walts a -

Keprak GUIRO

TOMS

mp:. F.DRUM

mp: DRUM mp

BAR

bove In the starry

starry

that

mght.

is the end of this

(Sample. Player s Part) 2nd ending

Story II (keprak cue) BAR

voice/perc only

story.

~~~ '/p:: '/p

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.. .. .....

ID1 Coyote s Path

If;;:..,

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Harp

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Violill II

sill tasto Viola

sill tasto Violoncello

sill tasto IIorlllal

Contrabass III

/o$' Story II Fl

Pice

sim.

A. OUOE

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Story II HN II & 1

I"f 1&11 TUN

TlIUA

PERCI

Story II PERC II

Vibes

Hll-E EE1N , e-do'

PERC II

these tones. The squared tone is tonic,

/lp PERC IV

CEL

these tones.

e squared tone IS tome,

--/tj..

PNO,

HARP these tones. The squarea tone IS tome.

etc.

Story II

A. BAR

Co yo Ie

A. VLNI

A. VLN II

VLA

Cll

was

walk ing

down

the

road

one

day

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Story III v:...

I. I".-. L", , Vibes

WHILE VOICE SINGS THE STORY

3mpro\'e:1: tl

Crlesta

y-n-

titJOt!l

squared tOne is tOnic.

n:es.e

Ilarp

A" Baritone

was walkIng down the road

Coyote

It had be

only of food.

one day, thInkIng

several

and he felt so sorry for himself that he sobbed with his face against his arm.

days since he had last eaten

r-. His stomach was making noises like boilng water and

hurt. And then ,

his head

near where the sumac grows

#11

saw great clusters

delicious looking berries!

red,

Just as his

to grab them.

hand touched the

grew

Coyote

very

ran

excited

over

talk he had had with the

berries his mind remembered

7.=-":.-: Wise Old

During

Man.

h_u,,-

nfr-did we get this land; was it (rf#

Coyote..

given to us by our

it belongs

to them.

And the Wise Old Man replied

great, great grandchildren.

To remind us of this, the children

berries near where the sumac grows.

These berries are theirs

Of course not,

We must take good care

of the future have put bunches

matter how hungry

of red

you get you

must

never

And the Wise

fall

They are

eat them.

come.

yet

What wil

Old

Man

off.

alw ays

Coyote

ate the berries.

Coyote

Sweat was running

fool!

Besides , how could I

fast

the berries?" asked Coyote.

but

remembered

Coyote

down his face ,

What does

to the children

land belongs

eat

sorry,

This is what

ate

you that the

Old Man

replied,

known the Wise OId Man

the berries for himself.

remind

only

happen

He stopped and thought a moment.

ancestors?"

We are borrowing this land from our great, great,

of it because

wi #

many conversations Coyote had asked, "TelI me, Old Man , where

their

one

you

eat those berries your behind

his

hands touched the berries.

.-J and he

he know?

lL:.

said to himself, " I

is just

tryng to keep

owe something to people who are not even

he could and as

many

have

here yet?" So

he could.

Coyote .n

fel t

fine!

He looked behind him and his behind had not

fallen

off.

Helaughed very

loudly and began

.. ...

::'

,...

/67

skipping down the road.

he began

to get diarrhea,

been! Coyote felt terrible! Man, and he was

uf# :e w :nt t

: hi

children yet

He had not gone far when his stomach

first

little,

himself in the deep

Coyote walkedslowly to

brushes.

awful.

great stream. Coyote was sick, the sickest

then

He thought about the childrenwhowere

very embarassed.

began to hurt something

And then

had

ever

yet to come, and he thought about the Wise Old

the river where he got a

drink of water and then

He didn t want anyone to know that he had forgotten

come, and that his behind had

fallen off

And that is the end of this

the

story.

ATTACCA

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