Peter Van Zandt Lane
Poa Pratensis Concertino for electric guitar and chamber ensemble
Peter Van Zandt Lane Written for the International Contemporary Ensemble
Poa Pratensis Concertino for electric guitar and chamber ensemble
• • • • •
Flute Bass Clarinet in Bb Percussion Electric Guitar (or amplified steel-string acoustic) Piano
Approximate Duration: 7:30 Percussion List and Setup Recommendations: • Marimba, • 2 Tibetan Singing Bowls, • Hand Drum (preferably loose-membrane type, up to the discretion of the performer). Percussion should be set up in ensemble with easy access to the inside of the piano, which the percussionist must access for muting strings and preparing harmonics. A note on the extended piano techniques: It may be desirable to mark piano strings that are effected by the percussion part, however it is also possible for the percussionist to identify the correct strings using the hammer movement as a reference. In the event that the piano being used does not allow for access to register notated, passages using muting techniques may be displaced by one octave.
Performance Notes: Accidentals apply only to the octave in which they appear, and hold throughout the measure. In highly chromatic passages, courtesy accidentally have been provided. Note that some musical sections recur in different tempi, some of which are established in preceding passages of music. Recurrences of musical sections in faster tempi should be accentuated with an increased performance energy level. Improvised hand drum sections should allow for heavily varied rhythmic patterns, contrasting the generally square, unison rhythms in the other instrumental parts. As noted in the score, a successful hand drum improvisation should increase the difficulty of the rest of the ensemble. In the rehearsal process, it may be useful for these improvised hand drum sections to gradually become more rhythmically complex as the ensemble becomes more familiar with the passages. Guitar: A volume pedal may be useful for sections such as rehearsal B. The desired fade-in effect can also be accomplished with the volume knob and a particularly dexterous pinky-finger. In the strumming passages (end of rehearsal A, rehearsal E, and L), the player may take some liberty with the notated strumming patterns, and should emulate a bluegrass flat-picking style.
For part requests, comments, or inquiries, contact the composer at peter@peterlanemusic.com.
Poa Pratensis
SCORE IN C
Concertino for electric guitar and chamber ensemble composed for the International Contemporary Ensemble
0 . . &/& . & . . &.
! ! Flute $ " ,
-
%! " "
0 . . &/ . . . &.
Somewhat rigid h=58
Bass Clarinet in Bb
Electric Guitar
Piano
fp
,
mf
! $" ,
,
%$0 & // &////
&&///// 0
Perc.
E. Gtr.
ff
. . . *. .
mf
ff
3 3 (
$ -
f
+**... . 0 . **...
$ -
#
$ -
Pno.
,
. **... ff
% -
-
pp
1
.
.
E. Gtr.
. . 7
3 3 *1
1 // /
. &. . ,
,
#
p
$ ,
Pno.
%
3
,
,
-
to hand drum
*1
*1
11
1
1& 1&
/ ///
, %
1
.
mf
pp
-
)
. . . *. . . . p
1& mf
)
1 11 1 p
.
1 1 1
'((((((((((((((((((((((((( 3 /. . . . .
,
ppp
)
)
3
.
/&
mf
pp
*. 5 *. *.
pp
*.
p
,
,
1 *1 /
,
p
/
3
mp
. .
.
/
# # # #
(( 1&
# #
1& ((
# #
pp
.
*/
1& hand drum (tone to slap)
) *.
,
rall. . . . . . . . . . .
6
6
,
)
,
3
$ .
,
pp
r.h. trill
% " ,
$
-
& 0.. && . & 4 .5 &&
,
mp
pp
) ) (
,
pp
Perc.
-
& .. && .& 4 5
/ +/// 0
)
6 ! '((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((( , Fl. $ 1
B. Cl.
03 & 4 5
3
5
mf
% B. Cl. " 6
,
f
f
! $" ,
fp
0 &11 1
'((((((((((((((((((((((((((((((((((((((((((((( '7 . . * . 1 . ! +. &. +. *. Fl. $ 6 3
-
2
2
fp
mf
+/ &. +. +. &. . . & . . mp
Tibetan singing bowls (with hard yarn mallet)
,
0 0 0 0 0 0. & . . 1 *. *. . *.
-
fp
p
! $" ,
#
6
mp
6
! $" ,
Percussion
Peter Van Zandt Lane
pp
.
*. .
*.'7
1 1
# # )
Copyright Š 2009 Peter Van Zandt Lane (BMI)
# #
2
A
! # +0.8 Fl. $ # 5 8
Relaxed, but with motion q=112
6
f
B. Cl.
,
%# " #
# 7 $ # 98 0
Pno.
6
-
,
#
! Fl. $ -
.; 0. 6 5
% B. Cl. " 6
+ .8 7 5 6 6 & 0.
E. Gtr.
. 9
,
mf
.
.
*. +.
.
*. . ; &. 5
6
0 .
* .8
0 *.
-
s
. 9
b
.8
-
s
. 9 b
6
14
Perc.
# $#
E. Gtr.
$ ##
#
%# #
6
f
)
. 3
. 3
-
+. p
3 7 *.8 &. . 7 *. & .8 0
f
f
3
, )
&. & .& . + . . 6
3
3 3 ! *. . &. . . 5 . &. &. # . + .& .
! #
3
+0.
6
6
6
-
6 6
-
. 6 5
. &.
*. . 3
0.
-
# #
-
# #
) 7 6 &.
-
4 < &. +. . +. * . . 0 &. 0 *. +. . 0. . 0 &0. +0. 0 0 *. . &. *. +. . . . 4 .= +. %
,
-
,
-
*.8 0 *0.8
,
6
. &. *. . . +0. &. 0. . +. 0. &. +. 0 0 0 &. 0 . +. 0 &. +. . & . *. . . . . 6 +.
& 0.8 & .8 &0.8 6 . +. 6 5 f
7 6 .. 08
7 . 6 * .8 0
# #
ff
ff
-
# # # #
)
3
mp
# #
ff
f
-
7 &. 0.
*. . &. . 3 . . &. &. ! +. &. . 5 +. . &. #.
)
,
0 0 . . . . &. &. +. . *. *. +. * . 7 6 0 & 0. f . . 0. . & 0. & . +0. . *. *. +. *. 0 &. 6 5 6
f
.8 & . 0:
Marimba
08 && ..... # $# 5
+0. 6 5
&. &.8 0; 0. &. . $ 6 5
-
ff
mp
3
ff
6
mp
-
6
3
3
! #
to marimba
6 ... 9 6 , .
9
.
f
& 0.8 %# 5 B. Cl. " #
! #-
)
s
b
((((((((((((((((((((((((((((((((((((((((((((((((((((((((( ; &. 6 .8 +'. +. . &. $ . 5 5
#
3
ff
b
% ,
8 .& . . . . 0 &. !. . #
)
.8
0 +.
s 7 97 6 .
$ 6
! # Fl. $ #
Pno.
,
bass slap
f
% ,
Pno.
-
)
0 +. 0. +. & . . . . *. . . 0 &0. +. + . +. *. +. # . + . 6 & . . $# +. . 7 . +. 7 6 +. . *. 7 6 +. . . . *. &. &. * . + . 0 0 . fp *. . : : 0: f mp f mp ff p # 7 6 % , ) ) $ # +. .. f: ; % # &... 6 , ) ) . # 5
11
Perc.
)
f
f
E. Gtr.
& .8
0 .
)
(hand drum) slap
Perc.
-
-
,
-
,
! $ 17
Fl.
)
. 7 % 6 5 B. Cl. &. " Perc.
E. Gtr.
#
8 &&&.... 5
6
% 6 7 +.. & .8
.
-
,
mp
. 5
6
$ .7 6 &. . . +. * . & . 0 . &. + . + . 0 0 0 0 & 0. . . 0. 0 +0. . &. 0 * . +. +. 6 & . $ 5 % -
Pno.
6
& 0.8 + . . . . *. . . * . ! 5 # -
0. . * . + . /&((
,
6
p
-
6
7 + .. & .8
! # -
-
-
# #
6
-
,
# 08 $ # &.5
6
-
0 0. + . * . & . . + . . *. 0. . *0.8 *. . 5
Pno.
#
ff
%# 7 # &&.. 0:
,
6
-
,
-
&. 6 *. . . & . + . . . . ff & . *. . + . & . + . 6 $ 4 . . 4 . . +. 0
#
% -
&.
6
7 + .. 6 & .8
-
6 6
. . 08
6
. 6 5
-
6
0. +. . &. +0.8 6 5
7 +.
6 6
. *. . &. +. *. &.7 0 08 mf 0. * . . & . +. *. 08 &. 5
&. &. 7 . 8 & ..8 08 0 7 &0.8 . &. . 5 08
6
mf
*.
6
6 6 6 +.7 . & .8
&. 6 6
6
. 6 6
6
-
*. 6 * .8 0
8 &&&.... 5
6
6
7 +. + .8 0
7 6 +. .8 0
-
.
6
-
.
6
7 . + .8 0
0.8 . . &0.8 5 6 fff
&.
. +. . . 0 0
* 0.8 +.8 &0.8 6 +. + . 5
-
-
*.
6
.; &..
6 6
7 6 . . . & .8 08 0 . . . &.7 6 08 08 fff
&.; ..
> # 7 & 0.
-
4 .< 4 < . ** .. : :
> #
7 6 *.. + .. 0
> #
08 *0.. **.+ ... 6 5 6 +.5 fff
7 6 ** .. + .8 0
> #
-
to hand drum
fff
$
6
-
fff
7 .8 +0.8 . + . 7 *0. 0 .8 +.8 . +. 7 5 *0.
& 0.8 & .8 08 + .8 .8 08 % +. +*. . +. +*.. . *.8 0
0 0 &. +. . 0. 08 *. &. 6 *. . . 5
0 & .8 + .8 . + . *0. 5 5
+.
mf
6
7 +.
)
. * .8 0
0. * . . & . +. *. 08 &. 5
ff
7 6 * +.. & + .8 .
. 5
. +. . . 0 8 0 8
******
Pno.
-
f
$ -
$ -
6 &.7
& 0.8 & .8 08 . +&.. -
-
8 + .8 & . . 8 8 * . ! 4 . . +. &. +. 6 Fl. $ 4 . . 8 0 ff &. . % 5 6 B. Cl. " &.
E. Gtr.
.
#
0 0 &. +. . 0. 08 *. &. 6 *. . . 5
)
23
Perc.
0. +. . &. +0.8 6 5
6
f
-
! 7 6 .8
7 6 . + .8 0
0 &.8 5
6
f
0. *. 0. . 0 . . . +. . *. # # %#
# $#
0; % # .. # . 5
0. *. 0. . 0 . . . +. . *. # #
-
,
ff
0 ! &. #
-
-
E. Gtr.
# #
$ # &*. ..
6
ff
-
6
0 &.8 5
Perc.
-
6
%# B. Cl. " #
ff
6
-
f
-
. ! 5 #
# #
6
20 . + . . *. 0 *. ! # 0. + . 0. . 4 0. . 4 0. . & . . . *. . *.58 Fl. $ #
ff
7 &.
6
mp
*0.8 +.8 &0.8 . +. 5 7 . . 08
-
08 +. ! & . . . . . *. . . #
0. . *. +. . 6
-
f
fp
,
6
f
7 +. 6
3
6
7 &. & .8 0
> # > #
4
! > Fl. $ #
? )
26
Perc.
E. Gtr.
as high as possible , ,' * . ((((((((((( '
7
%> " #.
Freely
B. Cl.
in tempo (q=112)
.
+. +. &. . . . +. .
3
.
fp
? )
> $#
#
! $#
7 .0
-
&&.. &. .
.. .
.. . (
with a bluegrass-strum feel.
mp
)
)
%! #
.
&+.. +.
%# #
5
6
) .
7 .
. .
. &. . . . . . &.
@
6
)
pp
-
) inner-piano: Mute the given pitch for the duration of the given value
%$ *-
) -
# # # #
p
)
)
Note: use volume knob or pedal throughou rh B.
.
/
n
mp
1
. . . &. &. . . . . . . . . . . . . . . . . . . . . . . . . . . . . &9 & . . 9 . . 9 . . 9 .
suddenly rigid and mechanical
. &. &.
mf
@ liberally
)
)
# #
# # # #
note: a relaxed, timbral/microtonal trill. +'**************************************************************** &1
p
# $#
# #
// && /&
// /
! # ! #
. *. &. +. .
)
/&
# $#
$
)
)
)
%# " # +1
#
pp
B
# $#
Pno.
mp
)
f
E. Gtr.
/
)
)
32
Perc.
/& )
7 ..( . +. &.
7 **... *.
! #
)
freely
! # Fl. $ # B. Cl.
.
p
)
) . ++..
. . . . . .
! #
-
! #
6
.
)
f
! $#
mf
.
! #
)
to piano strings
.
? )
/& 6
5
.
)
)
% ! .'. . &/ & " #
#
! #
! #
? )
%> #
! $#
Pno.
)
? )
p
E. Gtr.
! # ! #. 0
$ #> // && // &&
28
Perc.
p
! #
ff
! ! Fl. $ # B. Cl.
mf
)
hand drum interruptive
/& /& % > /& #
Pno.
3
ff
-
,'
! #
note: x-heads denote pitches being muted by percussionist
)
+'********************************************************** ! 1 ! Fl. $ #
5
35
mp
B. Cl.
"
Perc.
E. Gtr.
&. .
! $ A 00 &&
%! A
.
Perc.
E. Gtr.
%
/& (( $
#
$
Pno.
%
mf
-&
0&
)
& * 00 &
! A
)
! A
-
! #
+0
! # 0
) -- &&
--
&/& (
)
! #
) )
/& ((
)
& .'7
.&
n
)
)
) .&
& .'7
.&
.'7
ppp
&- &
. * . &9
.&
mf
-& -
pp
)
)
.'7
.
. . * . +. . . . . . * . & . + . . . . . . . . . 9 . . . )
)
! #
)
-
mp
! A
)
*. . . . . . . . . . . . 9 . . . 9 . . . 9 . 9 . 9 . 9 . 9 . 9 . . 9 +. 9 . . . + . # ! # #
-
-
)
mp
)
)
$ 0
! A
/&
)
-
# #
)
p
"
)
pp
# #
6
.%/ +'**************** 43 . ! Fl. $ B. Cl.
! #
/&
p
#, #
! $A -
#
)
# # /&
. 9 &. * 9 & . ! $A
Pno.
! #
.
2&
%$ +'***************************************************************************************************************************************** / /& /& ! #
#, #
)
mp
E. Gtr.
6
! #
)
% ! 2& " A .&
Perc.
overtone multiphonic
2& .5
! A
)
. . . . . . . . 9 . 9 9 . 9 .&. . . 9 &. 9 . 9 &. 9 . . 9 . . . . . . . . * . . * . . * . 9 . &. . &. . ! &. ! # A
%
39
)
pp
)
! ! Fl. $ A B. Cl.
--
$
#
! #-
)
.%/ $ -
$
Pno.
pp
%
. &9
)
.
-
. . . . 9 . . 9 )
) * . &9 &. *. .
. )
9 . . . . .
6
! $ 47
Fl.
B. Cl.
"
.&
.'7
$
#
$
Pno.
& .'7
$
Perc.
E. Gtr.
%
# #
)
*. &. *. .
# #
/
#, #
)
##
,
0
/&
-
p
# #
--
BCB DE
1
bend
BCB DE
mf
9 9 9 9 . . . . . . . . 9 . . 9 BCB DE
BCB DE
. .
)
pp
+'********************************************************************************************************************************* .& . .& . .& . ! BCB Fl. $ DE 50
)
BCB $ DE 00 &&
Perc.
00 &&
00
$ BCB DE
E. Gtr.
)
#
. . . . 9 9 . . 9 9 BCB $ DE
Pno.
% BCB DE
54
Perc.
"
%
) .
pp
$
-& )
.
0&
0
.
0&
-
)
)
. . . . 9 9 . . 9 9
. . . . . 9 . . . 9
. . . . . 9 . . . .
)
)
! #
)
)
! #
)
)
! #
.&
mf
)
)
! Fl. $ B. Cl.
00
)
.&
p
)
2&
pp
mp
% BCB B. Cl. " DE
BCB DE BCB DE
)
. . . . . . 9 . . . . . . . . . . . . # +. +. . # )
pp
,
pp
)
&. .
%
.&
)
+'******************************** /
)
)
. . p
poco rit.
%
)
# #
)
# #
Touch 1st harmonic in piano and pull out through overtones towards frame. Note that ample pressure against the string is needed for the desired effect.
1& & /.& . . . . . . . . . . .
$
# #
pno.
E. Gtr.
Pno.
$
#
)
! #
)
)
. . . . & . *. . . . . . . . . +. ! $ # *. . . %
)
! # ,
. &. .
,& . . &. . . *. . &. . &.
# #
) % ,F &.
&
F F F F .F &.F .F & . . . & . F F F F &. . . .
(approximate harmonics provided by perc.)
fff
. &. . . . . . . . . . .
$
# # # #
C
! # $# 58
Fl.
B. Cl.
4
0 0 & .8 .8 .8 .8 .8 & . .8 mf
%# 7 6 7 " #. 0. 0
ff
6
6
ff
Perc.
E. Gtr.
Pno.
0 6 &. 5
7 & 0.
&0. 0 &. 6
-
ff
0.
0 &.
mf
0 &. 5
7 . >A 6 . &. 6 0 0 0
6
7 0.
6
ff
# 7 6 7 6 # . &. 0 0
6
)
)
> A
)
# #
)
# $#
)
)
> A
)
# #
)
# $#
)
> A
)
#
ff
%# 7 6 7 #. . 0. 0.
6
) 6
7 6 &. & 0.
7 &. & 0.
& 0. & . 8 8 . . 8 &.8 & 0. +. ! +. 6 6 Fl. $ "
mp
to marimba # $#
62
B. Cl.
& .8 .8 . . 8 . . .8 08 0 &. & 0.8 8 . 8 &. .8 & .8 .8 . . # 5 6 6 4= 6 6 #
.8 .8 .8 .8 .8 08 & .8 .8 & . . *0.8 6 4= 4 6 >A -
Slower, Forceful q=96
% -
0.
&. &. 6 0 0
&. &. &. 6 . 0& . & 0. 0
. 0.
.8 .8 .8 .8 .8 .8
>A
mf
-
ff
0 0 0 . 6 .7 >A 6 &. &. 0
6
7 7 . >A 6 . &. 6 &. & 0. & 0. 0. 0.
6
# #
.8 .8 .8 .8 mp
f
7 # .0 6 # & .7 0
7 .0
6
6
0. . ((5 ((
# 7 6 7 6 # . &. 0. & 0.
6
-
-
6
fp
0 &. 5
6
7 &. & 0.
6 >A
ff
0 0. &. 6
-
&0. &. 5
6
. . 8 8 &. &. . . .8 & .8 f
&0. 0 6 6 5 6 . 5
&0. 5
6
08 0 8. & .8 .8 & . .8 . & .8 6 4= 6
# # 7 . 0.
0 &. 5
7
. 0
0.
&0. >A 5
6
Perc.
$
)
> A
)
# #
)
)
> A
E. Gtr.
$
)
> A
)
# #
)
)
> A
#
& 0. & . .8 8 0 . +.8 &.8 & . +. 6 $ 6
Pno.
% -
! > Fl. $ A 66
8 & .8 . . . & . .8 & .8 & . f
%> B. Cl. " A 6 &0. Perc.
E. Gtr.
#
> $A
Pno.
ff
6
0.
$ >A
> $A
. 0.
&. &. 6 & 0. & . 0
)
8 .8 & . . & . 8 & . . .8 & . . 0.
>A
f
6
ff
. 6 .7 >A 6 &. &. & 0. & . 0 0. 0.
0. . 6 6 (5 ## ((
-
fp
7 #0 .0 & .7 6 # &.5 6 0
&0. 5
# 6 #
6
7 . 0.
-
6
6
# #
6 0 . 5
6 &.7 0
6
ff
6
0. 0 .6
)
7 # 7 . & .7 6 # &. 6 & 0. 0. & 0.
&0. &. 5
0 &0. . f
6
.0 &0.
0 6 &. 5
-
f
ff
mf
>6 A
ff
. .6 0. . 0
&. . &. 0 0.
. 0. 0
. 0.
6
6 >A 7 &. >A & 0.
# #
, 0 7 &.5 & 0.
6
6
) 0 0. & . . & . . . 0. . . .
# # # # # #
f
> A 7 6 &. & 0.
. 0.
. . & .8 .8 0 .
> A
) 7 . 6 .7 & 0. 0.
6
0. . 0 . . . & 0. & . . . & . >6 A
, 6
> A
,
)
&0. . .&. . . . &. . . & . &0. . . . . 0 -
-
. . 8 8 &. &. . . .8 & .8
7 &0. 7 &. 6 6 &. 6 . - &. .. 6 5 & 0. & 0. 0 0.
0 & .8 .8 . .
-
mp
.. .. 6 6&.. ## .. 5
)
7 # . 6 # & .7 & 0. 0.
,
# #
)
% > 6 &. A & 0.
.8 .8 .8 .8 .8 .8
. . & .8 8 . 0.
>6 A
. . . 0. 0
# #
, 6
7 7 &. 6 &. &. & 0. 0
# #
8
. . . . 8 .8 .8 8 &. . . &. 0. ! # 6 Fl. $ #
&. . .8 .8
70
B. Cl.
0 % # &.5 " #
# $#
Perc.
E. Gtr.
Pno.
6
6
6
0. 0 0. 0 0. &. .
6
6
73
-
. . . . 0.
%$ . . . . 8 .8 .8 8 # &. . . &. $# 0. 0 7 % # &. 6 &.7 6 6 . 6 # &.5 & 0. & 0. ff
5
D
! ! &. &. 6 +. Fl. $ # . . . . . . %! " #
0. .5
mf
! $# ,
Perc.
E. Gtr.
Pno.
.&2
&. & 0.
6
.8 &. &.8 &. 6 8 .8 8
7 .8
5
3
.8 .8
mp
mp
%.
*. &. +. 6
p
mf
. &2 .&2
. . . &.
6
&. . 6 &. 0 0.
. 0.
0 0 &0. 7 6 & . . 7 0. & 0.
6
.2 .2
7 . 0.
p
)
. &2 .&2
.2 . &2 .2 .&2
-
p
6
-
. ((5
6
.8 .8
.8
. ((
< 8 8 .8 &.8 4 .8 *.8 4 . .
.8 6 =
*. . . . . . . . *. 5
6
mp
)
)
)
%
)
8 8 % &. .8 .8 .8 . 6 $
#
5
mf
. 5 mp
5
6
.8 5 6
3
* .8 .8 & .8 + .8 .8 p
5
p
6
mf
.8 +.8 5 6 6 .8 .8 5 3
6
* .8 5
6
* .8 .8
8 .8 . .8 6
* .8 5
8 *.8 *.8 . *.8
.8 & .8 4= 4
8 .8 .
5
) 5
4 &.8 4 = .8
! #
fff
. ! .0 &. # & 0.
6
.8 *. 8
p
.8 5
6
.8 4 =
6
p
) 8 .8 &.8 .8 .8 & .5 6
! #
p
)
8 8 .8 .8 .8 . .8 .8 .8 8 4 *.= 6 .
6
! #
. . . . . . . .
%! #
4 .8 6 =
.2 .2
mf
)
.8 5
. ! # 0 &0.
,
)
.8 .8 6
6
fff
)
3
! #
)
+0.8 4 4 < 6 +.8 = 0
-
-
. &2 .&2
&. 7 . & .7 6 &&.. . &0. 0 0. 0. & 0.
6
6
fff
)
8 . *. .5 6**..5 6
6
7 0.
-
)
77
"
.&2
6
6
& 0.8 .8 .8
! $#
! Fl. $ 6 B. Cl.
0 &.
)
mf
#
6
-
p
)
p
Pno.
.&2
.
. . . &.
f
-
marimba
E. Gtr.
)
,
! &. 7 6 7 6 $ # . . . . . . . &. &&.. + . * . +.8
Perc.
.&2
6
fff
0 &. .0 6
. 0
(bend)
7 6 6 &.8 .8 &.8 +.8
p
B. Cl.
0. 5
7 &. 6 0
6
6 -
)
0. #5 $#
#
0 &. 5
. . &.
+ .8
* .8
& .8 8. .8 6 6
)
73 $. 6 7 +. . 6 8 +.8 8 8
* .8 + .8
6
& 3.8 + .8
6
*.8 5
6
5
< 4 . .8 *.8 .8 .8 .8 .8 +.8 *.8 8
.8 4 = 6
*.8
8 *.8 . +.8 8 8 *.8 8 . +. . 5
$
)
)
)
)
%
)
)
)
)
! $ 81
Fl.
B. Cl.
Perc.
E. Gtr.
Pno.
"
8 8 .8 * .8 . * .
5
* .8 4 = 6
.8
mf
p
.8
) .8 4 .8 = 5
$ 6
< $ 4 .8 6
#
8 .8 .8 & .8 + . * .8
6
%
Pno.
3
.8
.8 .8 +.8 5
*.8
6
6
.8 5
3
&.8 6 .8
.8
. (5
. ((
&.8 .8 6
6
mf
.8 5
p
8 .8 . .8 .8 4 .8 4 .8 =
6
4 4
9
# #
6
# #
*.8 .8
5
8 8 8 8 .8 . . . .
6
5
.8 .8 *. *. 6 +.7 6 8 8 8
5
3
&.8 . &.8 &. +.8 8 8
# # # # # #
%
)
)
)
# #
E
0.8 5
6
f
-
-
% # ' */ & " # ...
# $#
-
! #
.
! #/
)
. 5
6
6 */
*+... &&&
f
#
-
-
*.
! #
-
.
*.
6
mf
3
*.
.
.
. 5
&+.. +.
.
..( .
..( .
" # " #
)
*// */ */
p
.
*.
)
! +.. # + ..
/// /
" #
)
pp
to hand drum
# $#
*.. .
+.
" #
$ ##
)
! #
)
)
" #
%# #
)
! #
)
)
" #
%" B. Cl. " #
Pno.
6
0.8
)
87
E. Gtr.
6
0.8
)
! " Fl. $ #
Perc.
4
.8
)
mf
E. Gtr.
4
.8
)
84
Perc.
.8 .8
)
6
6
.8
$
! # Fl. $ # B. Cl.
.38 6 5
*/
#
! #
mp
" $# " $#
! #
)
) .
) . *. .
-
p
p
. *. . . .
3
4 . . . #! 4 . . . . . .
.
! &&.. .. # &. . . (
.. . (
. ++..
hand drum
pp
+. . + .. .. ( *.
p lightly embellish at will
.. . (
.
. *. . &.
. *.
. *.. *.
/
3
mf
# #
) -
p
# #
. . . . . . . . . . . . . . 4 . . . . .
# #
*.. +. .
# #
6
( .. .
6
( .. .
+.
&.
.
( &+.. .. +. .
..( .
" $#
)
! #
)
)
)
# #
%" #
)
! #
)
)
)
# #
10
! # Fl. $ # 91
) &.
% # 6 &. &. . B. Cl. " #
) . 5 .&
3
/&
mp
# $# .
Perc.
E. Gtr.
Pno.
# $#
#
*.
.. .
.
pp
.
.. .
6 . . 6 . . . 6 . . . . . . . . . . . . . . . . . . . . . .
E. Gtr.
Pno.
*.
.
.. .
.
..( .
*.
.( +..
3
..( .
.
)
)
)
) .
*. 3
/
.
p
f
fp
#
*.
. +..
..( .
.
..( .
.
.. .
.
*.
. +..
.
..( .
.
# #
)
..( .
.
# #
! # # . . . . . . . . . . . . # 0 0 0
)
6
.. .
! # /&
6 &. 0 &. /
$ . . . . . . . . . . . . . . . . . . $
! #
)
.. .
.
%# #
.
..( ! . #
. +..
*.
.. .
.
.. .
.
# #
$
)
)
! #
)
# #
%
)
)
! #
)
# #
F
% # 7 6 7 6 6 7 6 &0. B. Cl. " #. 5 & 0. 0. 0 ff
-
0. & 0. 0 0 0 0 0 &. 6 &0. 6 . >A 6 . &. 6 &.5 .7 6 5 0 &0. 0 0 0. 0 7 &. 6 &. 6 . >A 6 . &. 6 &. 7 6 5 0. 0 0 0
Heavily improvised. Ensemble downbeats have been provided. They may be ignored, embraced, or obscured at the performer's will. A successful improvised hand drum passage should make the rest of the ensemble's unison parts significantly more difficult.
# $ # 3. 5
ff
6
3. 5
6
36
.5
36
.5
7 # &0. $ # 7 6 . 6 6 &.7 6 5 . 0 0 0.
#
# $#
Pno.
.
.. .
3
)
0 ! # 7 7 6 . 6 6 7 6 &.5 Fl. $ # . &0. 0 0 ff
E. Gtr.
.( +..
3
)
97
Perc.
3
)
% .
. 5
pp
5
5
Perc.
.&
# $#
94
"
.. .
.
! Fl. $ B. Cl.
6 *. &
-
p
. . . . . . 6 . . . . . . +. + ..
)
3-
3.
. 6
3.
ff
% # 7 6 7 6 6 7 6 &.7 #. . &. & 0. .0 & 0. 0.
) -
36
.5
>3 A6
.
3.
3. &
6
5
.5
6
0 & 0. 0 &. 6 &0. . 6 0. > 6 0. &0. 6 &0. 7 6 5 0. 5 A
ff
)
.
> A
)
&. 7 . 7 > &. &. 6 . . 6 . A 6 . &. 6 &. .7 6 & 0. 0 &. & 0. & 0. 0 0 0. 0. 0.
6
&0. 5
6
& 0. 5
# 7 6 7 6 #. & 0. 0
6
0 &. 5
6
&0. 5
#3 #.
36
# .7 6 7 6 # &0. 0
5
6
3. 5
6
.5
0 # .7 6 7 4 .< &.8 .8 &.8 # 8 &0. 0 mf 08 .8 & .8 .8 & . #6 4 = #
# 7 6 7 6 #. &. & 0. 0.
6
7 &. & 0.
36
.5
0 .8 . &.8 6 ff
0. .8 & .8 6
6 &0. &. 5
& 0. & . 8 8 . . 8 &.8 & 0. +. ! +. 6 Fl. $ 6 101
B. Cl.
Perc.
E. Gtr.
"
% -
&. &. 6 0 0
$ 3-
3.
#
&. &. 6 & 0. & . 0
$ >A 36
3.
.
>A
0. 3.
6
3. &
fp
#
. & . .8 & .8 & . .
%> 6 A
&. & 0.
6
# 3 # .
p
6 6
0 &. 5 7 .
6
6 6
# $#
)
# $#
)
%# 7 # &.
6
7 &.
6
6
6
# 3 # .
0 0. - &. 6
3.
3-
3.
-
6
6
5
5
6
36
3.
# # 7 . 0.
7 . 0.
5
6
.. .. 6 &..5 ## ..
-
# 7 #&. & 0.
6
6
6 36
-
-
0. 0 . 6
36
3-
3.
0 # &.7 6 &&.. 6 # 5 & 0.
6
7 .
6
0. 5
-
6
.
6
3.
. 6
36
.
7 .
pp
7 .
-
6 .
6
p
.
.
. 0.
.5
>3 A6
3.
.
# #
3. &
6
5
.5
6
6
# #
)
# #
)
> A
)
# #
mf
) &.
# #
> A
7 .
6
7 . & .7
6
&.
&. pp
)
,
6 >A 7 &. >A & 0.
6
. 0.
> A
6 >A
)
)
6
.5
. . 8 .8 & . & . . .8 & .8
)
//
36
ff
)
7 .
.
0 &. >A 5
7 . &. 6 &. >A 6 6 6 7 7 6 . . &. 0. . & . &. 0 0 0 .0 0. & 0. 0 0.
-
&.
3.
6
)
p
to inner piano with yarn mallets, quickly.
7 &.
.
0.
&0. > 5 A
. . 8 8 &.&. . . .8 & .8
) 7 &. 0
. 0
6
0 > 0 &. .0 0 6 &.5 A 6 . 0. 6 & .7 &.5 6 0 0
, 7 6 . 6 .7 & 0. 0.
0 .
> A
)
.5
. 6
7 &0. 7 &. 6 6 &. 6 . - &. .. 6 5 & 0. & 0. 0 0.
0 . 6 &.7 5 0 .5
0 .
11
f
)
-
-
.5
fp
-
6
36
.5
f
mf
6
fp
# 7 #&. 0
)
$ ## .7
#
5
7 . & .7 6 0. & 0.
6
. 0.
6
0 0. - &. 6
-
0 &0. 0 &. 6 6 5 6 . 5 5
f
decrescendo while becoming more conformed to the ensemble's rhythm.
0. /& 5 ##
8 .8 & .
6
0 # &0. 6 &.5 6 # 5
6
ff
5
.5
3. &
6
0. /& 5 ##
8 & .8 . . > &. .8 &.8 &. 6 $A . f
6
)
7 .0 & .7 6 0
6
7 .0
mp
5
.
7 .0
0 6 (. (. (5 (
ff 8 8 8. & .8 .8 .8 & .8 .8 . & . .8 .8 & .8 .8 .8 .8 0 # 6 +(. (. # (5 (
6
&0. % # 5 B. Cl. " #
Pno.
6
6
109
E. Gtr.
>3 A6
.8 .8 .8 .8
# #
-
f
6
. 6 .7 >A 6 &. &. & 0. & . 0 0. 0.
ff
! # Fl. $ #
Perc.
.5
.5
$ >A
Pno.
. 0.
f
&. 0
mp
> A
8 .8 & . . & . 8 & . . .8 & .
%> 6 B. Cl. " A
E. Gtr.
36
.
)
% -
! > Fl. $ A
>A
0 0 0 . 6 .7 >A 6 &. &. 0
& 0. & . 8 8 . . +.8 &.8 & 0. +. 6 $ 6
105
Perc.
3.
. 6
$
Pno.
0.
.8 .8 .8 .8 .8 .8
11 )
-
# #
12
G
4 )
! Fl. $
B. Cl.
"
12-15''
4 )
4 ( 1( .. 1!
$
Pno.
ppp
4 $ ))
Perc.
E. Gtr.
Pno.
4 ))
)
)
0 . 6 . . . . 5
,
mp
12-15''
with momentum q=112
6
mf (with piano)
) 3
7 . *. , . 0 .8 0
6 ..mp
f
# #
! #
)
)
#
# $ # ))
1 11 (
0 %# . 6 . # . . . 5 5 % mf
119
)
1 11 (
)) ,
6
3
f
))
3
f
7 . *. , . 0 .8 0
6 ..-
)
))
# #
/ && ! /(/ & #
1 11 (
mp
# #
3 ! *. +. *. . . +. # ... . & .7 6 6 *. .8 6 .'7 &. . # *. *. +. . &. &. # 0 mp
! #
1 11 # $# (
# # # #
4 )
# $#
! # Fl. $ # B. Cl.
n
4 )
! # Fl. $ #
%# B. Cl. " #
# #
4 1 11 ((
Silently depress keys, or, sostenuto ped. (to be played by perc. inside the piano)
%
114
#
Arpeggiate at random in varying rhythms with 12-15'' fingers. Crescendo using volume pedal or knob.
4 )
12-15''
%#
mp
$
#
4 )
4
Roll randomy between the chromatic indicated strings (F-B) with yarn mallets inside the piano. Accelerate and decelerate irregularly. Sustained pitched held by pianist are indicated in parenthesis.
12-15''
E. Gtr.
# #
12-15''
12-15''
% 12-15''
Perc.
4 )
12-15''
112
mp
f
# #
! # 22 &&
%#
#
37 &3. ! ... 6 6 6 6 . # *. 7 +. . *. +. *. . . +. &. &. ## . & .7 .' *. *. 0
)
)
5 %# <4 4 . 4 4 . . 4 . . &. 4 . . . . . . . . . . . . 6 . . . . . . . . # " +0. . +. . . . . .. . . 0 0. 0. 0. 0. . . . . . . . . . . . .
ff
Perc.
E. Gtr.
Pno.
to low register 7 # $ # ..! 8 6 0 ff 0.8 & & .. # $# 5 6 -
#
ff
,
)
)
)
,
)
)
)
5 %# <4 # . . . . . . . . . . 4 . . . . 4 . . . . . . . . 4 . . . . . . 4 . . . &. 4 . . . . . . . . . . . . . . . . . 6 . . . . 00000 0
ff
5 %# <4 # +. . +. . . . . . . . 4 . . . . 4 . . . . . . . . 4 . . . . . . 4 . . .&. 4 . . . . . . . . . . . . . . . . . 6 . . . . 00000 .%/ 0
Fl.
! $ ,
B. Cl.
"
%
0.8 +0.8 5 6 5 -
0. & 0. & 0. 4=6 = 44=
123
& 0. .8
3
ff
0.8 6 5 6
0. . & 0.8 & 0. 0. 5 6 4 46 3
0.8 & 0.8 0.8 . *. = +0. . 5 6 +. . 44= 6 5
<4 <4 <4 <4 4 44 4 44 ......... ... .. .... ... ... .. .... ... ... . .
13
f fp
fp
ff
mf
0.8 0. &
< < .4...4.........4
Press and slide fingers along bass piano strings F2-Eb3, drawing out overtones. Glissandi indications are rhythmically approximate.
Perc.
$
E. Gtr.
$
#
%
Pno.
)
3333333333333333
&. . . . . . . . . . . . . . . . . . .&. ......... ... .. .... ... . . . . . . . .%/
................
%
'((((((((((((((((((((((((((((((((((( */
"
mp
%
-
)
$ 6
6
)
)
)
# #
)
)
)
# #
)
)
# #
6
Note: upward slashes indicate moving from the middle of the string to the outside (ascending overtones).
E. Gtr.
Pno.
B. Cl.
..
Perc.
)
$
#
6
% <4 6 . . . . . . .7 6 . . . .%/
6 . . . . . . . . . . . . 6
p
5
3
3
3 3 3 3 3 3 3 3 3 3 3 3
pp
5
H Cadenza, Freely (q=80-100)
3
Pno.
6$ ,
p
..
mp
)
)
)
)
%# " #
)
)
)
12-15'' 4 Roll strings with mallets, as before.
(
# $#
#
)
&. mp
# $ # )) %# #
6
.
&.
.
. &.
3
mf
)) )
.
.&
6 .
.
p
5
&.
&. . &. +.
mp
? / ( fp
)) )
# # # #
11
)
! # $#
$ ## 11!(
,
mf
-
3
ppp
E. Gtr.
5
mp
mp
2 2& . .& 5
gliss. 2 2 2 2 6 .2 .2 2. 2. . . . .
)
% < 4 7 6 6 3 3 3 3 3 3 3 3 3 3
131
Fl.
)
&3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 &3 333333333 333 33 3333 333 3 3 3 3 3 3 3
127
Perc.
)
Note: upper octave effected by percussionist.
! . Fl. $ B. Cl.
)
)
# #
14
! Fl. $
)
)
? )
! #
%
)
)
? )
! #
134
B. Cl.
"
E. Gtr.
to singing bowls
$
Perc.
$
#
* .'
+. +.
+.
*.
.
.8 & .'&. = 4 &. .
&. . &.
f
I
q=96
)
Perc.
! $#
)
& ... ! $#
.
Fl.
! $
B. Cl.
Perc.
E. Gtr.
"
.8 *.8
2&
mp
)
8 .8 . .8
pp
mp
&.8 4 6 =
5
)
-
$
)
)
2&
#
%
8 *.8 . +.8 8 8 *.8 8 < +. +. . 4 .8 6
6
3
5
< 4 . .8 *.8 .8 .8 .8 .8 +.8 *.8 8 )
6
.8 4 .8 6 = 5 )
.8
* .8
3
! #
*.8 *.8
3 3 3 3 * .8 + .8
6
5
4 &.8 4 =
.8
.8 .8
* .8
.8 .8
4 4
+ .8
mf
3
& .8 + .8
p
& .8 5
3
6
6
.8 5
.8 *. 6 8
6
7 3 .8 6 .7 .8 .8 6 8
-
& .8 .8 .8 6
.8 .8 .8 .8
4 4
.8 .8
6 6
.8 .8
6 6
-
0.8 0.8
4 4 4 4 3
2
p
.8 .8 +.8 6 5
? )
)
)
8 .8 .8 & .8 + . * .8 * .8 .8 .8 * .8 .8 * .8 .38 4 = 6 5 6 4 = 6
6
! #
p
)
5
* .8 5
3
3
5
*.8
ff
*.8 +.8 6
? ! , #
! #
.8 +.8 5 6 6 .8 .8 5 3
6
5
mp
7 6 .7 6 &.7 6 . . . . *.
8 .8 .
6
2&
p
)
+ .8 4 $ = 6
... . +.+.*.*.
)
. . . *. 3 . 6 .5 6 &.5 6 +. . +. *. . 5
.8 & .8 4= 4
p
%
$ 6
Pno.
mp
)
)
%! #
f
+. . * . +.
))
.8 8 .8 8 8 *.8 .8 .8 . . . 4 =
.8
)
3
p
$ #!
141
mf
+.. 5
+& 6 1 +1 1
)
)
%! " #
#
mp
' +. . * .+ .
)
B. Cl.
E. Gtr.
'(((((((( *. ' +6 . &.8 0/ &. ? . ' *. . +* .. + . . . * . + . 5 *. *. . * . * . 5 & . +. 5 ))
%
137
*. +.' *.' . . . +. &.&. . . *. +. . . &. *. +.
))
! ! Fl. $ #
Pno.
' +.+ . . *.+.
p
$
Pno.
. *.
-
0.8
6
0.8
3
6 3
3
3
5 5 3 8 .8 . .8 .8 4 .8 4 .8 *. .8 .8 .8 &.8 &. 6 .7 6 . &.8 +.8 = 8 8 8 .8 &.8 8 5
&.8 .8 6
.8
'((((((((((((((((((( . &. . 6 5 )
&.8 .8 6
.8 6 5 )
8 8 8 8 .8 . . . . 5
J
! $ 145
Fl.
q=108
%)&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& +*
15
,
%&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& ( , * B. Cl. " )$ * ! Perc. $ "
E. Gtr.
pp
. $$ . %
/ /
to hand drum
f
++** ** 0* * %
$ +*
#
$
Pno.
f
(
f
p
f
Pno.
E. Gtr.
5 *
,
$ "# ,
* * -* -* * -* * *
** * %
* 00**
*
! # "$ "
,
'
! "
'
# "
,
'
! "
'
# "
*6
- *6
5 *
mp
*
6
,
*
*6
*
,
5 -*
' ++** *
mp
*
(# 4 "
+++**** 1
****
0-*** ))) -* ) 1
3
+ *6
-*
-** -*
* * 0- ** 4 *1
**% -** * -* 0 * + * ) ) )))
+*
3
&
5 0* &
light, sparse improvisation, growing in density
+0** * 0* 4
**% *
% +** *
)) $$ )) $$
3
** * %
* 1
*
+ *6
6 0 *6 5 -* 5 0* -*
,
**% *
+0** * 0*
- *6
* ***
# "
* 1
# " # " # "
-** 0* **% 0 ** * 0* * -*
-* -* * * - * )) $$ )) $$
5 -*
0 *6
&
4 5 +*
*6
3
5 *
* 1
# "
0* * +* -* - *6
&
++** +* *
+*
*
* * -* *
&
4
* 1
# "
# "
mf
mf
# " # "
-* 0* * - * - *
-** 0* 0 ** * 0* -*
) -* * 0* * * -* * )
+0 ** 4 ** 1
** * %
- ** ** 1
* " -*6 +0*** "
6
,
-*
0* 0 **
'
* 0* -* "4 0* 0* * "
p
0*
! "
! " 4
-* * 0* * * -* * )
' * 00**
"5 "*
" "
*
5 *
"4 "
" "
*
4
*
'
* -* *
-** *
+ *** ))) * * )
,
% ** * 0*
**% *
2 -* * * * +* * * "! 0* * -* -* *
,
-*
*
% ** *
) *6
% +0** ** * 0* *
+*
-** -*
4
-* +* 0* * -* * 0*
$ "# +*
#
# "
* * +* * 0* 1 0*
* -* *
-*
+* ) ( # 4 ++***1 ))) "
! # $"
* -* 1
5 -*
** * %
#
'
'
+ * 0 * * - * * 0 * --** # $"
Pno.
- *6
p
(# 5 B. Cl. " "+* Perc.
*6
! "
-** **% **% -* * * 0 * -*
3
* * -* -* * -* * *
'
pp
mf
++** # $ " +* *
152
Fl.
3
'
(# 5 B. Cl. " "+*
E. Gtr.
*
mp
149
! # "$ "
000***
* * * * * * * -*
-*
! # Fl. $ " ,
Perc.
** * %
,
'
*
* * -* * *
3
5 -* &
* 00**
-** -*
-*
-* 0* * +* -*
3
3
*
*6
-*
16
* *
-* 0* ! -* Fl. $ 156
3
B. Cl.
Perc.
E. Gtr.
! "$ & $
#
$
Pno.
5 *
( " ,
(
+ *6
&
4
0*
&
* * -* -* 0* * * 3
*
K +*
4
(" : B. Cl. " " 0*: 4 05* 4 5
4
-* -*
ff
Perc.
E. Gtr.
! " "$ " $ ""
#
&* 1
4
ff
: 4 * 0* ff
(" "
+ 5*6 ! " 1 Fl. $ "
Perc.
E. Gtr.
1
(" : " " 5* ! " "$ " &*1
(" : " * 5*
* * -*
-* 4
: + 5*
4
5 +* 1
&4
*1
*6
"5 " +* f
" & " 0* 0 ** * 1
" " +* f
" "
, 5 *
* -*
- *6
*6
5 -*
0*6
& -** -*
* ** *
, * *
# "
0*
+*
0* 0*
4 4
4
: +* + 5*
: +* + 5*
4
,
5 05* +*
4
5 * 1
74 8
,
+5* 5 +* 4
5 5* +*
4
: * 5
74 8
&,
&*
&*
&4
* 4
4
+5* 1
,
+* +* 4 5 5
&,
&*
: 4 + 5* &* 1
4
ff
ff
4 &4
5 +* 1 *1
,
4 &4
*1
*
7& 84
*1
: 4 +* + 5*
4
: +* + 5*
4
+5* +*1
4 ,
* 4
,
*
&
-** 0* *
+0** 0*
: * 5*
4
* *
4
*
&4
: 5* *1
7 4 8 7 & 8 4
4
7 4 8
6 **** 9 4
" " " "
4
" "
5*
5 +* 4 +* 1 5
: *5
4
" "
*1
4
" "
&*
*
&* $
4
1
5 5* + * * * * *
* 5*
" "
+* 4 +*: + 5* + 5*
: * 5*
*6 *6 *6 *6 *6 *6
" "
: 5*
: 4 5*
" "
1
*1
ff
+5*
5 +*
4
*
&*
4
&* $ 4
'+* 0*
*6 *6 *6 *6 *6 *6 ff
+* + 5*
4
" "
4
,
mf
+* + 5*
" "
f
'
7 , 8 : * 5*
" "
: *5
ff
* 5*
0* 0 **
+5* 4 +5* 1
f
* 5*
" " " "
+* +*
5 5 5 0 * + * 0 * + * 0 * - * * * 7 + * * - * * * * 5* 1 8 ,
" "
5 *
7 , 8
,
5 *
74 8
-*
6 6 **** **** 9 4 9 2 2
* *
05*
5 -*
&
ff
+ 5* + * *6 6 * 0*6 +*6 + 5* 0* 4 +* +* 4 + 5* 5
&
f
* * * + 5* 5
&*
-5*
5 0*
7 8
5*
*6 *6 9 2 2 9 4
5* * 5 * * * + 5* + * * * * 7 , 8
+ 5* + * *6 6 5 * 0*6 +*6 + * 0* 4
* +* 0* -* * -* -*
56 6 5* 6 *6 + *6 *6 + * * + * 4 2 9 4 4
+* +* +* 4 5 + 5*
,
56 6 5* 6 * *6 + *6 *6 + * * 9 4 2 4 mf
# "
+* +*
*6 9 4
+ 5*
* ** * ** - 0 **6 - ** * 9 * # 9 4 9 2 2 "
-* -*
ff
4
# "
+ 5* 5 +* 4
mf
: 4 *: 4 * 5* 5*
# 5 " 0*
6 -*
&
++** * * * 00** -* *
* * * * 0 *6 # 9 4 2 9 9 2 "
* *
&
" +* " +*
-* -*
4
*
5* * 5* 5* + + 4 + * 4 * * * 0* 0 * + * +5* * * * +* * 5 *
5 + 5* + * * * * 1 4 $ ""
#
-** 0* *
: +5*
*1
0 *6
" "
* -*
'
" $" ,
Pno.
&4
4
ff
163
B. Cl.
&*
! "
* 1
&
+5* 1
Heavily improvised, as before, but with even more energy.
5 +;; ; + ; $ ""
Pno.
! "
4 5 -*
! " 0* 0* 4
ff
- *6
! "&
+* *: +** $$
4 0*: 4 5
1
! "
* * -*
!5 " 0*
,
% % +0** ** ** + * * 0* * *
! " Fl. $ " 160
-* -*
: * 5*
4
" "
-* 4 1
" "
,
" "
: * 4 5*
" "
! # $ # &.7 0
0 6 &.5
6
& 0. 6 5
%# B. Cl. " # & .7 0
0 6 &. 5
6
6
6
36
166
Fl.
Perc.
E. Gtr.
3.
# $#
6
5
# '&. *. . . $# .
#
3. 5
6
% # &0. B. Cl. " # 5
169
E. Gtr.
# $ # 3. 5
#
$ ##
Pno.
! > Fl. $ A B. Cl.
Perc.
E. Gtr.
Pno.
0 . 5
-
0 0. 6 &.
3-
3.
36
.5
6
6
&0. 5
6
3. 5
6
7 . 0.
6
6
6
0 . 5
6
36
. +.
0.
.
. +.
.
0. * .
0.
.
0.
.
.
.
6
. . & .8 8 . 0.
0.
$ >A 36
.
3.
> $ A .&
. 0.
. 0.
.
6
. 0
0.
3.
.
6 36
-
6
7 &. 0
-
36
0.
.
.
.
. *.
.
0.
.
.
.
. *.
.
> 3 A 6
3.
6
. . *.
.
.
. 0.
> A
6
> 6 &. A & 0.
0.
0 .
6
0.
0 .
6
.
6
3.
. 0.
&. 0
3.
.
36
. +.
0 .
0 .
0. & .
0 . +. &.
.
.
. *.
. +.
0 .
0.
6
0. 5
-
0 0 . . 6
6
0 7 &. & 0. 5
6
0 # &.5 #
6
0 &. 5
6
6
7 &. 0
6
0. 5
-
6 . 0 0.
3. & 5
.5
6
# 3 # .
6
6
36
3-
3.
6
6
. . ## /
, 6
7 7 &. 6 &. &. & 0. 0
36
.5
*. . . . &.
%$ 8 8 # . . . . &.8 . . .8 . &. # 0. 0 7 7 # &&.. 6 &. 6 6 . # 5 & 0. & 0.
.5
. *.
0 &. 5
f
0 &. 5
6
.
6
.
6
.
0.
.5
& 0. 5
0 . +. &.
6
5
7 . & .7 6 0. & 0.
6
0.
&0. 5
3.
# #
0. & .
-
. 0.
.
ff
6
6
6
.
6
-
7 &. & 0.
6
&0.
&0.
6
7 0.
0 &.
0 &.
6
7 .0
3.
.
36
. *. . . . . .
.5
. .
f
, 0. .5
&. & 0.
. 0.
. 6 0. 0.
&. & 0.
# #
# #
&0.
6
5
.
0 .
& 0. # 5 #
6
5
6
.5
)
6
7 . & 0.
*. &
3. &
ff
0 7 &.5 &0.
6
# #
0.
6
7 . 0.
7 .0 & .7 6 0
> 6 &. A 0
6
6
6
0 &. 5
7 &. & 0.
6
3-
.5
# #
0.
mf
. 0.
6
7 . &.7 6 0 0
> 6 &. A 0
.5
. . 8 8 &. &. . . .8 & .8
0 &. 5
6
6
. . >&. 4 +. A
-
&. . 6 & 0. 0
17
&0. &. 5
. .
+ . . & .8 8 . 0.
%> 6 A
.
ff
6
6
.5
0.
.
ff
-
0. 5
f
*. . & .5 6 -
6
0.
#
6
. . + . &. +.
& 0. 5
%> 6 " A
> $A
&0. 5
0. * .
% # &.7 # & 0.
171
6
&0. 6 &. 5
7 6 &. 6 & 0.
%# # & .7 & 0.
# $#
-
)
! # &0. Fl. $ # 5
Perc.
0. 5
mf
# $#
Pno.
6
.5
. . &.
. . 8 8 &. &. . . .8 & .8
6 &. & 0.
6
. . 7 . 0.
# #
> A > A > A > A > A > A
18
! Fl. $ 6 174
B. Cl.
"
$ 36
Perc.
#
$
Pno.
7 .0
7 6 & 0.
.5
3. 5
6
3.
36
. *. . . &. . . . . 5
&. .
% 6
. .
.
ff
6 7 . 0.
36 . 6
.
7 .0 .5
& 0. . . .
f
7 6 &. & 0.
6
0 0 &0. &. . 6 . &. 0 0
6
0. 5
0. *..
3
. &.
, fff
&. &. . &. 6 &. & 0. 0 0 0. & . 0
&. .
& 0. 5
6
0 &. 5
6 36
.5
0. .. 5
6
7 . 0.
6 36
0. .. 5
7 .0 .5
6
6 6 36
0. ..
0. 5 0 . 5 .5
0. ..
0.
-
fff
,
0. fff * 0.. . 0 . *.
,
0.
fff
3
0.
bend
,
&. 0
-
*0.
& 0.
,
fff
. . . . . . . . &. . . . . . . . . . . . . . . . &. . . .
mp
6
6
0. 5
(((((
$
7 6 &0.
0. & 0.
(((((
E. Gtr.
% 6
7 . 0
& 0. &0. 0. 6
7 &. & 0.
6
(fff)
6
7 . 0.
6
7 . 0.
f
-
. 0.
&. & 0.
,
! Fl. $
)
)
)
%
)
)
)
177
B. Cl.
"
%$ &-
mute piano strings
$
Perc.
$ ,
E. Gtr.
#
$
Pno.
. &.
)
,
&&+/// /
1 11 1
n
&. .
)
p l.v.
. . . . . . . . . . . .
%
--
-
. &.
&. .
. . 9 . . 9 . . &. . 9 . . 9 . 9 . 9 . . . . . &9 . . . 9
)
)
)
! Fl. $
)
)
4 )
%
)
)
4 )
180
B. Cl.
Perc.
E. Gtr.
"
.%/ 0 $ 0 $
#
$
Pno.
%
&--- &&&
----
4 ) 4 )
)
)
9 9 9 9 . &9 & . . 9 9 . 9 9 . 9 9
9 9 9 09 09 09 & 9 9 9 & 9 9 9 0 9 9 9 9 fff
)
)
@
4 ) 4 )