Anna Thorvaldsdottir
INTO SECOND SELF for four horns, three trombones and four percussionists (2013)
Chester Music
The first performance was given on 19 April 2013 at Eldborg Hall, Harpa Centre, Reykjavik, by the Iceland Symphony Orchestra, conducted by Ilan Volkov. Duration: c. 8 minutes
Performance notes For performance, the instruments should preferably be placed in the concert space in the best suitable spatialization according to the following setup: Tbn. I
Tbn. II (stage)
Perc. I Conductor
Horn I
Horn II Perc. II
Perc. III Horn III
Horn IV Perc. IV Tbn. III
If possible, placement of each instrument should be on various levels (balconies) in the concert space. Only the Conductor and Percussionist I should be placed on stage. At the beginning of the piece, Perc. I walks slowly over the stage, rolling a big metal rim, from one side to the next, beyond and past the conductor, towards the performance base where the rim is laid on the floor. This should produce a subtly-pulsating rolling effect as the metal rolls over the surface of the stage, as well as providing a visual effect. It is foreseen that the duration of this walk will vary somewhat between different performances and venues, so it is suggested to test the duration of this with regards to the concert space. The rim should be as big as possible, preferably from a truck. If it is not possible to find a big rim for performance then find a substitute (a big piece of round metal, perhaps a wheel of sorts) that could be rolled over stage for this effect and then performed on throughout the remainders of the work. It is suggested to perform the piece in a dark space with two subtle spotlights on the Conductor and Perc. I for the walk in the beginning of the piece – and a performance light on the music stand of each performer.
Notation Brass When indicated to ‘breathe where necessary’ do not synchronize breath with other performers.
B I D Â
Quarter tone flat Quarter tone flat below Quarter tone sharp Quarter tone sharp above E Air sounds, no pitch (except for natural color changes in the sound). Always written on the middle line in the staff. Hit mouthpiece with the palm of the hand. Written without dynamic indication – this should provide a subtle attack/percussive effect. Always written on the middle line of the staff. Hit bell with a triangle beater or similar tool. Written without dynamic indication – this should provide a subtle metallic attack/percussive effect. Always written on the middle line of the staff.
Percussion Do not stop resonance of instruments or dampen, unless otherwise indicated. sust. refers to sustained. Instrumentation Each percussionist plays a large tam-tam (with thunder sheet) and large bass drum (with 4 two-by-four pieces of wood, three aluminium screws, and one piece from crotales). One further instrument is unique to the player as follows: Perc. I – large metal rim or wheel, as large as possible; Perc. II – large almglocken on D; Perc. III – large almglocken on G; Perc. IV – large almglocken on D . Metal rim or Almglocken Tam-tam Bass Drum (Two-by-fours) Two-by-fours: in mm. 44–77 the wood blocks are placed on the skin of the drum and then performed on with soft yarn mallets (it is suggested to test this with a regular hard mallet as well to search for the best quality of sounds; the use of mallets should be synchronized between percussionist to have the same types of mallets for these patterns). The wood should ideally have a rather smooth surface and produce subtle overtones. Each of the four levels below the staff, indicate one wood object: Thunder sheet: For the final measures of the work a piece of thunder sheet is placed on the back of tam-tam. This should produce a distortion to the sustained sound of superball. Aluminium screws: For the final measures of the work the screws are placed the skin of the bass drum. As a superball mallet is sustained over the skin, the screws should produce a subtle distortion as they bounce on the skin. Sticks
Drum stick
@ Soft yarn mallet
Regular hard mallet
Wire brush
Large soft bass drum mallet
: Bow
+ Hands
Superball mallet
Techniques Double noteheads on the same line: use both hands on the instrument. Similarly, when the hands are to play different mallets, dynamics, techniques etc., it is written below and above for right and left hand respectively. When more than one instrument is to be played at once (e.g. bass drum and tam tam), dynamics and techniques are written above the staff for the upper instrument and below for the lower instrument. Sustained note-values: When wire brush or drum stick is written to be used on sustained note-values, or in tremolo sustained note-values, on tam tam or bass drum, move the tool over the instrument in sustained strokes. When sustained tremolo is indicated with larger mallets (such as big soft mallet) then play tremolo. Examples:
Sustained back and forth tremolo strokes on tam-tam using wire brush. Tremolo, with one drum stick, inside the bell of almglocken.
Crotales on skin: play tremolo with two mallets in one hand and move over the skin. This should produce a glissing effect on the drum. When indicated to play on edge of bass drum, on the metal part, the notes are written one level below the lowest staff line. Play arrhythmic patterns as indicated (Perc. I & III only).
into
Second Self q = 46
Horn in F I
° 4 &4
∑
∑
on air
Ó
O
fl.
~
‚ ‚ ‰ Œ ‚ ææ
pp
Horn in F II
4 &4
∑
∑
on air
Œ O™
∑
~
O ææ
Ó o
~
Œ
∑
pp
Horn in F III
4 &4
∑
∑
on air
‰ ‚ O
Œ
~
,
~
O™
Œ
Ó™
pp
4 Horn in F IV ¢& 4
∑
on air
‰ ‚ O™
∑
,
~
O™
~
Œ
pp
°? 4 Trombone I 4
∑
on air
Ó™
‚
O™ æ
pp
Trombone II
?4 4
∑
∑
Œ
on air
O™
‚
O™
Œ
?4 ¢ 4
∑
∑
‚
O
fl.
p
mf
~ on air
Ó
O
O
pp
Ó
O
‚ O
fl.
O
‚ ‰ ‚ æ
mf
mp
fl.
‚ ‰ ‚ O æ ææ
Œ
‚
O™
‰ ‚
O
O
mp
pp
‚ O
‚ ‰ O
‚
p
mf
mp
O™
p
p
‚ Œ O æ
o
w
Ó™
‚ æ
p
Ó
‚ æ
~ æ
O æ
Œ
Œ O™ æ
O æ
O æ
~ æ
O æ
Ó o
‚ ‚ Œ ˙ æ ææ o pp
O™ æ
O æ
pp
O æ
˙
p
Œ
~ æ
˙
pp fl.
Ó
mp
O™
O ææ
o
p
‚ ‰
O
~ ææ
Œ ‚ O ææ ææ
Π⠾
p
~ ‚
mp
O
‚ O™ æ O™
‚
Ó o
p
fl.
p
mf
‚ ‚™ ≈ O æ ææ
p
mp
O æ
‚
O ææ
‚ ‚ ‚ O æ ææ æ
O
~ ææ
p
pp
Trombone III
mf
‚
fl.
~ ææ
‚
p
p
~
O
Anna Thorvaldsdóttir
p
Πo
Œ ¿ ≈‰ Ó
œ
w
pp
Ó
‰ -≈Œ
o
hit bell with triangle beater
hit bell with triangle beater
≈¿ ‰ Œ
Ó
Ó
hit mouthp. with palm
∑
œ
Œ
˙
o
Ó™
∑
‰™ ¿
o ∑
Ó
hit mouthp. with palm
≈-‰ Œ
∑
o hit mouthp. with palm
Œ ‰ -≈Ó
∑
˙™
œ
œ Œ o
æ wæ ˙ Œ ® mp
˙ œ ® ‰™ ææ
Œ
œ ˙ o
pp
hit bell with triangle beater
≈¿ ‰ Œ Ó
Ó
Slowly and calmly roll the big rim over the stage, for visual- and subtle audio effect
Percussion I
Percussion II
° 4 /4 -
sustained 4 A• / 4 wæ p
æ ˙æ Ó
æ ˙æ ˙
A mp ⁄
p
mp
æ ˙æ ˙
æ ˙æ ˙
Percussion III
∑
A• sustained w æ p
Percussion IV
4 ¢/ 4
∑
∑
mp
æ ˙æ Œ
mp
˙™
æ ˙æ
æ sust. strokes œ̇æ ˙ ™ ˙
str. A⁄ mp sust. w. handle
A⁄ ⁄ A ˙˙
mp
Copyright © 2017 Chester Music Limited.
o
˙
œ
œ̇ ˙
place crotales on skin
Ó
mp
of mallet sustained strokes with handles of mallets
Ó
mp
p
æ ˙æ ˙™
˙w
o Ó
o
p
æ ˙æ
p
sust. str. w. handle of mallet
4 /4
ææ ẇ
˙ ˙
place crotales on skin
slowly move crotales on skin and trem. with mallet (head) (one hand)
Ó œ œ ™ ≈ ‘w ææ mp ⁄ A⁄ A mp o
p
‘ wæ æ
‘æ˙
‘ wæ
slowly move crotales on skin and trem. with place crotales mallet (head) (one hand) on skin
A⁄ ⁄ A Ó œ Œ ‘˙ ææ
‘æ˙ ™ æ
p slowly move crotales on skin and trem. with mallet (head) (one hand)
œ ™ ≈ ‘w æ o pæ ⁄ p A A⁄
‘æ˙ æ
Œ
Ó
˙ æ
∑
®
pp
o ˙ ˙™ Ó Œ æ A psust. •
A•sust. Œ æ˙ ™
Ó˙ ™ æ
mp sust.
œ w œ ˙ ææ ææ ™
o
oŒ
p
Ó
o
Copyright © annathorvalds
®
w æ
mp
˙
sust.
oŒ
w
œ œ̇ Œ ®
mp
®sust. ˙
mp
˙™
Œ
Ó
A•sust. ˙
p
w
‰ Œ
mf
o
A• æ œæ ™ ˙ œ®‰ æ
˙ æ
mp
∑
Ó
∑
o
mf
æ œ ˙æ™
æ ˙æ
Ó o
2 3
Hn. I
˙™
˙
˙
pp
Hn. II
sim.
‰ ¿ ≈Œ
& Ó
hit mouthp. with palm
‰™ - Œ
Ó
˙
˙
mp
p
Ó
≈¿‰ Ó
Œ
˙
Hn. III
& Œ
≈¿ ‰ Ó
‰ ¿≈ Ó
Ó
≈¿ ‰ Œ
Ó
Ó
˙
sim.
≈-‰ Œ
˙
mp
≈-‰ Œ
Œ
˙
p
‰ ¿≈
‰™ - Œ
‰ -≈Œ
Ó
∑
Hn. IV
¢&
hit mouthp. with palm
Ó
≈-‰ Œ
˙
gliss.
pp
Tbn. I
°? ˙
˙
gliss.
μw
˙
μ˙
w
˙ o
pp
Tbn. II
? ˙
,˙
hit mouthp. with palm
Tbn. III
Perc. I
Perc. II
Perc. III
? ™ ¢ -‰ Œ
°
Ó
gliss.
Bw
˙
¿ ‰™ Œ
˙
gliss.
Πo
Œ
≈-‰ Œ
œ
˙™
Œ
O™ æ
O æ
mp
‰™ ¿ Ó
œ
Ó™
‰ ¿ ≈ Ó™
‰™ - Ó
w
˙
pp
o
Ó™
A¶˙ ææ o
/ Ó
A¶˙ ææ o
/ Ó
˙™ ææ
Ó o
œ ææ
p
˙ ææ
œ ææ
p
œ ææ
pp
∑
æ wæ ≈ œ ‰ Ó™
œ œ o pp
˙
Ó o
Ó
˙
˙
Πo
mp
mute skin A⁄ ™ ≈ ‰ Œ ‰ œ œ
mp
mp
Ó
™ Ó
- ‰™
mute
Ó
A• sust. ˙ ææ o
∑
o ææ Œ œ
Œ
mute
≈ ‰ Œ œ
bw p
w
˙
˙ o
Œ
‰ ¿≈
∑
‰ bœ œ
Ó
p
μ˙
Ó
∑ w
˙
Ó o
pp
mute
æ ˙æ ≈ œ ‰ Ó™
mp
Œ
œ‰
mp p mute skin
A⁄ mp
o
w
∑
˙
Ó
Ó
Œ
‰
A£ œ ≈Œ
b˙
Œ
Aœ œ ¶ æ ææ o pp
˙ æ
A• sust. ˙ œ ææ ææ o p
˙ æ
˙ ææ
o
Ó
˙ ææ p
Ó o
A• sust. ˙ ææ o
A£ Œ ‰™ œ Ó
Ó™ o
mp
Œ Ó
˙ ææ p
A• æ ˙æ™
sim. pp
œ‰
™
Œ
‰
A mp £
‰
A£ Œ œ≈ mp
æ ˙æ Œ
Œ
A¶ str. œ œ ®≈ A•ææ ww mf
o ‰ œ ≈Œ ‰™ œ
A¶œ œ œ œ ⁄ A ≈œŒ o mf p
sust. circ.
o
æ ˙æ ≈œ‰
sim.
æ ˙æ ≈œ‰ Œ
œ ‰™ Œ
Πo
A• sim. pp æ ˙æ™ ‰ œ≈Œ
œ
p
mp
o Œ œ‰ œ Œ
æ ˙æ œÓ
æ œæ ‰™
bœ p
‰™ - Œ
p
˙
o O
˙
o
p
∑ pp
Ó
˙
bw
∑
/
¢/
˙
Œ
˙
‰
O
¿ ‰™ Ó
nœ
p
A mute skin ⁄
Perc. IV
- ‰™ Œ
Ó
o hit bell with triangle beater
œ
pp
Œ ‰™ ¿ Œ
˙
hit bell with triangle beater
Bw
˙™
B˙
o
p
∑
μ˙
pp
˙
hit mouthp. with palm
sim.
Ó™
‰ -≈Œ
o
pp hit bell with triangle beater
A
hit bell with triangle beater
15
° Œ &
Œ
ff
mp
sust. A • circ. A¶ str. æ ‰ œ œ ®≈ ææ ™ œ ˙˙ ™ mf
ff
mp
edge of drum metal
™ Ó œ‰
‰™
œŒ
‰™ œ Œ
A¶ œ
mp
œ
A ⁄ Ó œ ‰
mf
3 4
,
25
Hn. I
° &
& Ó
Hn. II
&
Hn. III
Hn. IV
Tbn. I
¢&
Perc. I
Perc. II
Perc. III
Perc. IV
<b> ˙
œ ‰
œ
bœ œ
œ
‰ o
gliss.
Πo
/
æ ˙æ ææ
Ó
® ‰ œ mp
p
æ œæ æ A¶ A⁄ ‰ œ ‰ œ mp mf
sust. ˙A¶ æ o
o
mp
sust. mp
œ æ
mf
mp
˙ æ mp
<n> œ ˙
w
p
∑
Ó
o
˙
œ
˙
˙
œ
p
∑
Ó
Ó
‰
˙ o
b˙
w
˙
˙
A A⁄ ⁄
˙ ææ ™
A• æ œæ
p (one hand)
œw ‰ Œ Œ œ æ A⁄ ⁄ Aæ o p œ æ
œ
Ó™
‘æ˙ æ
˙ ææ
æ ˙˙æ ææ
o Ó ˙ ææ
œ w æ
A⁄ ™ ™ ‰ Œ œ‰ œ Œ o mf
‘æ˙™ æ
mf
‰
˙ ææ
Œ
p
Ó w ææ
‘
p
o
Bœ ˙
‘æ˙
˙ æ
A⁄ ⁄ A Œ ≈ œ ™ Œ œææ w ‘™ ææ
˙
˙
mp
pp
˙
œ ,œ
˙
p
Πo
bœ
, œbœ ™
˙™
˙
p
w
œ™ , œ ˙
˙™
æ ™ œæ Ó o
˙
˙
˙
bw
mp
mf
mp
pp
˙
˙
˙
œ
mp
mf
mp
pp
‘ ˙™ æ
mf
‘æ˙ æ
w
A⁄ ™ œ‰
Ó™
‘æ˙™ æ
mf
˙ æ
p
Œ
æ ˙æ
æ ˙æ
mf
˙ ææ p
˙
œ œ ˙™
mp
mf
mp
pp
˙
˙
˙
˙™
mp
mf
mp
pp
˙
˙
˙
mp
mf
mp
pp
˙
˙
˙
w
mp
mf
mp
pp
mute with
‰™
œ Œ œ ‰™ Œ mp
˙
æ ˙æ
Œ
mute
™ œ‰
® Œ ˙ ™sust. ˙ Ó o
˙
æ ˙æ
Ó o
, Bœ
œ
A¶œ mp
æ œæ
≈O ¿ ‰ Œ
, w
edge
œ
A⁄ A¶ metal ‰ ‰™ œ œœœœ œ
mf p
Ów
o A¶˙ææ
fingernails - arrhythmic tapping
mp
o Ó
pp
æ ˙˙æ ™
fingernails arrhythmic tapping
‰™ œ Œ
p
p
Œ
sust. str. drum st. on dr. st.
Œ
mp
Ó
‰ ‚ ‚
œ ‰™ Œ
o
p
A¶ ¶ A on edge - metal part ‘w p
mute
A ⁄ A⁄ Œ œ ‰™ ≈ œ ‰ mf o mf
‰
w
, bw
mp
pp
‘æ˙™ æ
˙™
˙
mf
œ ‰ œ ææ o mp
p
˙ ææ
B˙ ™
˙
A⁄ hand ≈ ‰ Ó œ
mf
˙ ææ
w
˙
®sust.
‘æ˙ æ
Bb ˙
, œ
place crotales on skin and slowly move on skin
p
˙
p
œ B˙
place crotales on skin and slowly move on skin
‘™
˙ mf
,
˙™
place crotales on skin and slowly move on skin
mf
‰
p
place crotales on skin and slowly move on skin
‘™
œ œ
Œ b˙ ™
˙
˙ mp
, p
˙
˙
p
o
o
˙™ Œ
bw
o
w
∑
w
Ó o
Bb ˙
,
Ó™
p
p
˙ ææ ® ˙™ ˙ æ
o
<n>w
(one hand)
mf
‰
,
p
p
Ó o
w ˙ ææ
Œ
œ Bb ˙ ™
bw
o
Ó
Ó o
sust.
o Œ œ æ
˙
˙
˙
Œ
w
sim. A¶ A metal ¶ A⁄ ⁄ A Œ ‰™ Œ œ ‰ ‰ ‰ ‰™ Œ ææ œ œœ œœ œ œ wæ mp p pp p æ
/ ˙ææ™™ æ
¢/
bœ
Bbw
˙
o Œ ˙ ææ
˙
˙
edge of drum
/
w
∑
Ó
p
œ
˙ ‰ bœ œ
n˙
p
? Bbw
°
o
w
? Bw
¢
œ
Bw
gliss.
<b> w
°? Ó
Tbn. II
Tbn. III
w
‰
œ ‰™ Œ mp
mute
œ‰
™
edge
Œ
Œ
A A¶metal ⁄ A¶ ≈œ œ≈ ≈ œ œœœœ mp
mf
p
4 5
B ‰™
36
Hn. I
° &
&
Hn. II
<Bb> w
<b> w
Œ & ‚
Hn. III
œ
œ ‰ ≈ ‰™ O ¿
Œ ¿‚
Ó‚
mf
p
p
Hn. IV
Tbn. I
‰ ≈Œ O ¿ & ¢
°? <B>œ
Ϫ
¿
Œ œ ‰ o œ
‰™ ‚O
Tbn. II
mf
Tbn. III
¢
‰‚ ≈ ¿ ÓO™ ‰
O
mf
p
p
mf
Œ ‚
‰ ≈ ‚ ≈¿ ‚ ÓO
Perc. I
pp
p
mf
O
O
œ‰ ‚‚
/
o
p
Perc. II
/
Œ
œ
p
≈
A¶ œ mp
A⁄ œ œ Œ
‰
A¶œ mp
mf
edge
Perc. III
/
‘˙
Πo
p
≈ ‰ œ
Perc. IV
¢/
mp
‘˙
mf
p
‚
O
‰™ ‚
≈ ‰ ¿ ‚ ‚ ‚ ‚ ‰ Œ
p
mf
f
o
p
mf
p
‚
Ó Œ
‚ ‰ Œ
‰™ ‚O
‰™
ΠO
≈ ‰ ¿
p
‚ ‰ ‰™
f
‰ -≈Ó o
p
p
f
p
‚ ≈¿‰ ‚ ‚ ‚ ‚ ‚ ‚ p
f
‚
mp
p
A A¶ ¶ ‘w
fingernails arrhythmic tapping
‰ o
mp
Πo
Œ
‰™
A¶ œ mp
edge (metal)
‰™
p
f
p
,
‰™ ‚ ‚ ‚ ‚ ‚
A¶ edge - metal ‰™ ‰ Ó œ œœœ
Œ ‚
≈ ‰ b˙ ‚¿‰
mf
pp
p
mp
mp
A sust. str. ¶ on edge
¿Œ
o
p p
Œ
w
¿O
‚ ‚ ‚
‚
f
p
Πo
bw
‚ ‚ ‚ ‚ ‚
‚
‰™
-Œ
p
p
, bœ
˙
gliss.
Bœ
bœ ˙
gliss.
Bbœ
mp
f
mp
‰™
Œ
-Œ
‚ ¿ ≈‚ ‚ ‚ ‚ ‚ f
p
o
p
˙
o
pp
p
‰ ¿ ≈≈-‰ o
‰
‰™
w
- ‰™
Œ
≈ ¿ ‰ ‰™
¿
o
b˙
˙
p
¿ ‰™
p
¿ ‰ bœ p
GRADUALLY PLACE 4 WOOD OBJECTS ON SKIN OF BASS DRUM
A¶ ‰™ œ
Œ
pp
Aª sust. on skin ˙˙
Πo
‰™
¿ O
‰ ¿‰
¿ ‰™
-Œ
pp
≈ ¿ ‰ ‰™
edge
A metal ¶
‰™
≈-‰
p
p
‰ -≈Œ
5
≈¿ ‰ ‚ ‚
mf
p
œ œ ≈ ‰ Œ œœœœœ mf
¿Œ
p
Œ o A ⁄
‰™
‰ ¿≈ Œ
o
‚
‘˙
‘˙
p
Œ
‚ ‚ ‚
≈-‰
mp
‘w
mp
≈¿ ‰ ‰ - ≈Œ
o
p
‚ ‰ ‚ ‚
sust. strokes with dr. st. on dr. st. on edge (metal part) of drum
sust. dr. st. on dr. st. on edge metal
‚
Œ
p
f
Πo
f
‚
f
O
¿ ‚
≈‰ ¿ ≈O o p
p
‚ ‰ ≈-‰
p
- ≈ ¿ ‰ ‚ ‚ ‚™
p
‰™
O
‚ mf
Œ
- ≈¿ ‰ ‚ ‚ ‚
o
p
‚
p
≈ ‰ Ó ¿ ‚ ‚ ‚
p
¿
‰™
¿
p
≈ ‰ Œ ¿ ‚ ‰ Œ o p
p
A ¶ ⁄ A ‰ Ó™ œ œ ≈ œœœ œœ o p mf
‘œ
Œ ¿‚
p
sust. str. dr. st. on dr. st.
A on edge - metal A¶ ¶ ‘w
p
‰™ ‚ ‰ ‚ ‚ ‚
mp
A¶ metal Œ œœœœ
p
edge metal
A¶ A¶ ‘˙
Ó
ΠO
O
¿ ‚
mf
Œ
edge metal
‰™
p
mf
O
p
°
Œ
p
Ó™ O
? ˙
¿
p
‚‰ -≈≈-‰
‚™
mf
≈ ‰ ¿ ‚
‚ ‰ ≈-‰ ≈¿ ‰ ‰ ¿ ≈O
‚ ¿ ≈‚ ‚ ‚ ‚ ‚ ‰ Œ
p
Œ ‚
≈O
‚ mf
O
o
‰™
‚
p
‰
p
? ‚
≈ ‰ ¿ ‚ Œ
o
œœœ
‰
A ⁄ ‰ œ Œ
‰™
mf
A¶ Œ œ
mp
A> ⁄ ‰ œœ‰ œ Œ
A⁄ œ ‰ Œ mf
mf
A¶edge A⁄ A⁄ ≈ ‰ ‰ ‰ Ó œ œœœ œœ œ
mf
A Aª sust. ⁄ ‰ œ ˙
mp
pp
p
w
ww
≈ o
œœ
A¶edge Œ œœœœœ mp
pp
A⁄ Ó œ ‰ mf
pp
A˙ ¶ ææ o
p
˙
mf mp
A¶ edge > ‰ Ó œ œœœœœœ
mp
A ¶ ≈ ‰ ≈ Ó œ œœœ
mf
A ⁄ ‰ ‰™ œ o mf
‰™
A¶ edge ‰ œœœœœ
mp
˙ ææ pp
A edge ¶ A⁄ ‰ ≈ œ œœœ
Ó
pp
mf
Œ
‰
mp
A⁄ A⁄ > ‰ œœ œ Œ
mf
mf
44
Hn. I
5
C
6
° & ‰™
- Œ
- ≈ ‰™
‰
œ ˙
Œ
œ
o
p
& ≈ - ‰
Hn. II
‰
˙
œ
<b> w
œ
Tbn. I
¢&
¿ ‰™
Œ
- ‰™
‰™
≈ ¿ ‰
b˙
-Œ
°
/
A⁄ ⁄ A on wood objects on skin ®≈ Œ œœœœœœœ œœ œœœ œœœœ œœ œœœœ œ œœœ œ œ œo
Perc. II
Perc. III
/
œ œ
pp
Perc. IV
o A¶˙ææ ¢/ Ó
‰
Œ
GRADUALLY PLACE 4 WOOD OBJECTS ON SKIN OF BASS DRUM
˙™
œ
‰
˙
œ
gliss.
μœ
œ
˙
œ
gliss.
Bœ
˙
˙
œ
gliss.
Bb œ
˙
p
bœ p
bœ ˙
A¶edge> ≈ Œ œœœœ œ œ œ mp
œ
® w
‰
pp
œ A⁄ mf
‰™
edge
A¶ mp
Œ
sust.
o
A¶ > ≈ œ œ œ œ œ œ œ edge
mp
pp
p
A ¶
œ
˙™
p
mp
p
œ
o Πo
Œ
p
bœ
œ
w
p
mp
p
Ó
Œ
œ
mp
‰™
œ ˙
p mp
Ó
Ó
o
œ
œ
p
bœ
œ
œ
p
mp
p
A⁄ ⁄ A on skin œœœœœœ œœ
Ó™
œ
pp
ppp
p
A• str. ˙ mp
˙w ææ A mp •
o
o Ó
w æ
GRADUALLY PLACE 4 WOOD OBJECTS ON SKIN OF BASS DRUM
œ ææ
Ó™ o
on wood objects
Ó™
œ pp
p
‰ bœ œ
o
œ
p
sust.
Ó
w œ œ œ œ ≈ œ œ œ œ œ œœŒ GRADUALLY PLACE 4 WOOD OBJECTS ON SKIN OF BASS DRUM
bœ
‰
œ
mp
o
o
A⁄ ⁄ A on wood objects on skin ®‰ Œ œœœœœœœ œœ œœœ œœœœ œ œ œ œ œ œ œœ œœœœ œ œœœ œœœ o
æ ˙æ œ œœœœŒ
o
˙™
mp
mp
mf
˙
pp
Ó
œ
p
on wood objects
®sust. w
pp
A⁄ > œ œ ‰
æ ˙æ ‰
w
w
Œ
ppp
o ææ ˙ / ≈ œ œ œ œ œ œ œ Ó > edge mp pp A ¶
Bœ
˙
Πo
˙
œ
gliss.
˙™
pp
˙
? <b>w
œ
w
p
Perc. I
o
p
pp
? <Bb>w
¢
‰
˙
Œ
b˙
o Tbn. III
w
Œ
mp
°? <B>w
Tbn. II
Bœ
Πo
Hn. IV
gliss.
p
o
p
&
œ
Œ
- ≈ Œ bœ
Hn. III
˙
A⁄ ⁄ A on skin ≈‰ œœœ œœœ œ œœœœ œœœ œ œœ œ œ œœœ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ o pp
Œ
Ó
6 7
49
Hn. I
Hn. II
Hn. III
Hn. IV
Tbn. I
Tbn. II
° &
&
&
¢& °?
?
œ
o
˙
<b> œ
o
Perc. I
Perc. III
o
/
¢/
œ
˙
˙
Πo
≈
Ϫ
Œ
Ó
˙™
˙
˙
p
mp
p
Ϫ
œ
œœœœœœœœœœœœœœœœœœœ
˙ ææ
A⁄ ⁄ A œœœ
∑
Œ
œ
≈
B˙ o o
‰™
Ó
˙
œ
mf
œœ
œœœœœœœ
œ
∑
œ
p
‰ o
Œ
®‰
œœ œœœ œœœ œ œœœ o
μ˙ o
o
Πo
˙ mp
w p
Ó
‰
Œ
≈
A⁄ A⁄ œœœ
mp
Œ
‰
A⁄ ⁄ A ˙™ æ
p
A A⁄ 7 ⁄
7
œ œ œœ œœœœœœœœ
mp
o
Ó
œœœœ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œo
≈ Ó™ œœœœ œœœœ œœ œ œ œ œœ œ œœ œ œ œo
mp
μœ o
®Œ
p
A⁄ ⁄ A
Πo
mp
A⁄ ⁄ A œœœ
˙ mp
œ
o ˙
˙˙ ææ
≈
o
o
˙
˙
mp
o æ œæ
œ
∑
w
p
˙
®‰
œ mp
w
p
p
œ
‰™
Bb œ
˙
o
<b>œ
Œ
˙ mp
∑
A sust. ª / æ˙˙ ™ æ
/
Bœ o
p
<b>˙
Bœ o
o
,
Ó™
Ó™
œ
œ p
Ó
mp
Perc. IV
Œ
Ó™
mp
Perc. II
p
? ¢ <b>w
°
˙™
bw
œ
o Tbn. III
Œ
Ó
œ
œ œ œœœœœœœœœœ œœœœœœ œ
A A⁄ ⁄ p ææ ®≈ ˙ œœœœœœœ œœ œœœ Œ œœ œœœ œ œœœœœœœ o mp A⁄ ⁄ A
æ ˙æ Œ
œ A mp ¶
sustained on skin
A ¶
œ mp sustained on skin dr. st. or handle of mallet
æ œæ œ
o Œ œ
mf
p
‰ o
53
Hn. I
° & Œ
‚
‚
p
‚
‚
mp
p
‰™ o
O
-
Ó
&
b˙
<Bb> ˙
œ
œ
°?
˙ Ó™ o
<μ>˙
‰ o
œ
mp
bœ
˙
‚
‚
p
mp
œ
˙
‚
‚
‰ o
œ p
‰™
- ≈ Œ
Perc. I
Perc. II
?
°
/
/
œ
w
˙
˙
Bbœ
gliss.
A⁄p ⁄ A æ 7 7 ‰ ˙æ œ œœ œ œœœ œ œœ œ œo Œ A⁄ ⁄ A p ææ ®≈ œ œ œœ œ œ œo mp
æ œæ œ mf
Perc. IV
/
¢/
æ œœæ
æ œœæ
mf
p
Œ
A⁄ ⁄ A œœœ
mp
œ A ¶ o
mp sust. on skin dr. st. or handle of mallet
Œ œ
Πo
‰
ææ œ œ
mf
p
Œ
‰
o
p
o
æ œæ œ
o ‰
‰™
‚
‚
p
- ≈ Œ
¿ ‰™
≈
‰™
p
Œ
œ ˙ o p
7
7
Ó
‰ Œ
®‰ œœ œ œœ œ œ œœ œ œœœ œœ œ œœœ œœ œ œ œo
p sust. on skin with handle of mallet
œ
≈ - ‰
mp
pp
o
#˙
˙™
˙
˙
˙™
bœ
‚
‚
o
œ
Œ
‰
‰™
Œ
‰™
o
A⁄ ⁄ A œœœ ppp
A⁄ ⁄ A Ó™ œœ œœœ œ œœ œœ œ œ
p
A¶ sust. œ
œ
œ
mp
mf
p
7
œœ œ œ œ œœœ œœ
œ
¿ ‰™
œœœ
- Œ
œœœ œ œœ œ œ œ œ œ œ œo
p
Remove wood objects off of skin
˙™ p
Remove wood objects off of skin trem. - one hand
A⁄ ⁄ A w æ p
‰™
A⁄ œŒ Œ
f
A! ! A ˙ ææ
‰ o
p
∑
‰ ¿≈ o
n˙ ™
bœ o
® ‰™
Remove wood objects off of skin
Œ
pp
A⁄ ⁄ A ≈ œ œœ
œ
p
p
Ó™
Ó
Œ
5
mp
Œ œ
¿ ‰
‰
Remove wood objects off of skin
Œ
- ‰ ¿ ≈Œ ‰ -≈Œ
o
Ó
A⁄ ⁄ A ®≈ Œ œœœœœ œ œœ œœœ œœ œœ œ œ œ œ
œ œ œ œ œœ œ œœ œœœ œœ œ œœ œ œ œ œœ œ œo mp
A⁄æ æ œ̇
¿
p
7
‰™
O mp
mp
o
A A⁄ ⁄ ‰™ œœ œœœ œ œœ œœœ œœœœ œœ œ œ œ œ œo
‚
p
Œ
o
‚
Ó
A⁄ ⁄ A7
‚
o
o
˙
‚
Πo
˙
sust. on skin with handle of mallet
Perc. III
mp
˙™
œ o
o
p
p
¢
‚
5
Bœ
gliss.
œ mp
p
? bw
Tbn. II
p
Œ
Œ
p
Tbn. III
¿ ≈ Ó
‚
8
5
p
¢&
‚
o
o
bw
Tbn. I
‰
&
Hn. III
Hn. IV
≈ - ‰
∑
Œ
‰
Πp
Hn. II
7
D
w ææ
A⁄ ™ œ‰
f
Œ
A• æ ˙æ
p
≈œ‰ mf
8 9
,
58
Hn. I
° &
&
Hn. II
Œ
˙
o
bœ
œ
˙™
œ
˙
p
œ
˙
b˙
mf
Ϫ
& ≈-‰
œ ˙™
œ
˙
œ
˙
˙™
p Hn. IV
Tbn. I
¢&
<#> œ
°? Œ
Πo
œ
? œ
Tbn. III
Perc. I
¢
?
°
Ϫ
œ
o
≈˙ o o
˙™
Perc. III
Perc. IV
œ
œ
˙
, ™ ˙
œ
œ
œ
˙
œ
/
o ææ Œ œ ≈œ‰ Ó
/
/
¢/
‰™
mute
œŒ
œ
≈
œ‰
Œ ≈ ‰ Œ œ
˙
≈ ‰ Œ œ
œ
Œ œ ‰™
A A⁄ ⁄ Œ œææ o p
w ææ
˙ ææ
A⁄ ™ œ‰
mp
Œ w ææ
Ó o
f
˙
œ
‰™
Œ
œ Œ
mute
™ Œ œ‰
mute
≈ ‰ ≈ ‰ Œ œ œ
˙ ææ
˙ ææ
≈ ‰ Œ œ
A! A! ˙ ææ
, œ bœ ™
‘™
Œ
Œ
˙™
œ
b˙™
œ
Œ
Œ
Œ
Œ b˙ ™
˙™
œ
Ó™
˙™
Ó™
Ϫ
b˙
Ó™
œ
≈ bœ w
≈
œ
˙
w
œ Ó™
˙™ ,
˙™
w
A⁄æ ⁄ A æ œ
œ œ≈œ
b˙ ™
, œ œ w
w
bœ
˙
w
˙ ææ
‘æ˙™ æ
mf
˙ ææ p
place crotales on skin and slowly
Œ move on skin w ‘™ ‘æ˙ ææ æ -Place thunder sheet at back of tam tam
∑
˙ ææ
œ ≈ bœ ˙
≈
p
œœ ≈
˙™
œ≈œ bœ œ œ ≈
Ó o
mp
˙ ææ
o
mp
mp
Πo
®sust. œ Œ œ œ ææ o p mp
w ææ A! ! A ˙ ææ
®sust. Œ œ œ
˙ ææ
mf
p
w ææ Œ
‘æ˙ æ
® sust. œ œ ˙
Ó™
o
mp
place crotales on skin and slowly move on skin
‘æ˙ æ
Œ
p
f
A! ! A w ææ
Œ
, œ w
mp
w ææ
æ ˙æ
˙™
(one hand) mute
œ
≈ nœ œ
˙
œ
≈ œ œ œ
≈ œ bœ
Ϫ Ϫ
œ
≈
Ϫ
œ ≈
œ ≈ ‰™ œ
mf
Ϫ
˙
œ ≈œ œ
œ ≈bœ ˙
œ
œ™ ≈ bœ
œ
Ϫ
≈ b˙
Ϫ
≈b˙
p
mf
æ ˙æ Œ
˙™
, œ bœ œ
˙
mf
˙™
˙™
b˙
≈ bœ
p
˙
p
, œ bœ ™
<b>w
œ
˙™
bœ
˙
mf
œ
≈
p
˙
p
œ œ™
p
˙
œ
A⁄ mf
Perc. II
˙
mf
œ ≈bœ œ
˙
œ
mf
œ ˙™
w
p
˙
p
p
Tbn. II
œ
, ˙
˙™
˙ ,
bœ
œ bœ œ
mf
,
, b˙™
˙
p
mf Hn. III
w
, w
E
,
˙ ææ
Ó™ o
p
Ó
mp
Πo
® sust. œ œ p
Ó Œ
œ Ó™ p o
ŠϪ
A⁄ ⁄ A move crotales on skin ˙ ‘æ˙ ææ ™ ‘ æ
œ
®sust. œ
œ
mp
mf
‘æ˙ æ
®sust. œ œ
Ó™ o
mp
Ó o
˙ ææ
œ
˙ ææ
mf
mp
A⁄æ⁄ A Œ move crotales on skin æ œ w ‘™ ææ
p
˙™
mf
Ó o
-Place thunder sheet at back of tam tam
∑
‘æ˙™ æ
mp
˙ ææ
p
Πo
9 68
Hn. I
° &
Œ
≈
˙™
bœ ™
w
mf
&
Hn. II
<b> w
Œ
˙™
bœ
œ
œ mf
w
˙
˙™
w
˙
œ
œ
œ
≈
& ˙™
w
Hn. IV
¢&
w
œ
Tbn. I
bœ ™
˙™
w
œ
œ
f
mf
œ
œ
œ
f
mf
bœ œ
œ ˙™
w
≈ ™ œ œ
œ
w
Tbn. II
œ™ ≈
bw
˙
œ
‰ bœ œ
œ
mf
Tbn. III
¢
? w
œ
œ™ ≈
˙
w
˙™
œ
w
f
mf
œ
‰
mf
Perc. I
Perc. II
Perc. III
°
/
‘æ˙
˙ æ
o
®sust. / œ œ Ó mp mf o
/
A¶ Œ ææ˙
f
Œ
mf
Perc. IV
¢/
Ó™
A¶œ ææ
Ó
Œ
®sust. œ œ mp
® œ mp
sust.
œ mf
Aœ œ ¶ ‰ ™ æ ææ æ
® sust. œ œ Œ Œ mp mf o
Ó™
Πo
mf
Œ
®sust. Œ œ œ
œ æ ‰
mp mf
Œ o ‰™
Ó
œ ®sust. œ ææ ‰™ œ
f
Πo
A⁄ ≈œ‰ Œ f
A⁄ œ Ó
A¶˙ æ
f
mf
mp
A⁄ ™ œ‰ Œ
A¶˙ ææ
f
f
Œ
A¶œ ææ
˙ mf
œ
œ
œ
˙
mf
f
mf
Πo
mf
A¶œ æ
œ ææ ‰™ ¶ Aœ ææ
-Place 3 metal screws
f
f
f
f
mf
œ ‰ b˙
Œ
œ
‰
-Place thunder sheet at back of tam tam -Place 3 metal screws on skin of bass drum
A⁄ ™ Ó™ œ‰
œ ™ æ‰ Œ
f
mf
A¶œ ææ
œ ™ æ ‰ Œ
f
mf
A ⁄ œ ææ ‰™ ≈ œ ‰ Œ
A¶œ æ mf
œ ™ æ‰
œ ææ ‰™ Ó
w
w
w
w
w
Œ
œ ææ ‰™
‰
œ ≈Bbœ œ
Ϫ
≈nœ
w
w
w
œ
w
w
w
œ
w
w
U œ Ó™
w
w
U ™ œ Ó
Breathe where necessary
w
w
Breathe where necessary
w
w
≈ œ Bœ w
w
w
w
U™ œ Ó
w w
w w
w w
w w
U œœ Ó™
w w
w w
w w
w w
U œœ Ó™
w w
w w
w w
w w
U œœ Ó™
®®sust. œœ w w
w w
w w
w w
U œœ Ó™
®
®sust. w œ w
sust. f
f
-Place 3 metal screws on skin of bass drum
∑
Œ
® ®sust. ˙˙ ™™ f
Ó™
œ
U Ó™ w
˙™
A¶œ æ
œ
U™ Ó
Breathe where necessary
® A⁄ f sust. sust. ≈ ‰ œ w w œ f f ®
-Place thunder sheet at back of tam tam -Place 3 metal screws on skin of bass drum
w
˙™
˙
mp
A¶˙ ææ
w
Breathe where necessary
˙
w
w
U™ Ó
w
œ bœ
œ ≈ œ ˙™
f
on skin of bass drum œ ‰™ A⁄ mute ™ Ó™ ‰ æ œ
A ¶ A ⁄ ≈ ‰ ‰™ æœ æœ œ æ
˙™
˙™
w
w
˙™
f
Ó
œ
œ
f
f
œ ææ ‰™ Œ
Ϫ
w
U™ Ó
Breathe where necessary
≈ ˙™
œ f
œ ‰ ˙
w
w
˙™
w
F Static
Breathe where necessary
Bb œ ™
w
Œ
mf
? <b>˙ ™
w
B œ ˙™
≈
≈
Œ
≈
˙
œ
‰ ‰
mf
°? <b>w
w ,
mf
Hn. III
bœ
Œ
≈
Ϫ
œ f
≈
Breathe where necessary
10
w w
A ¶ ‰™ æœ ææœ æ mp
œ™ ≈ Œ æ
pp
f