Edo Lullaby

Edo Lullaby For Two Flutes, Clarinet, Trumpet, and Violin Sean Harold 2011

Edo Lullaby C SCORE Instrumentation: Flute I dbl. Alto Flute Flute II dbl. Alto Flute, Bass Flute (no C flute) Clarinet in Bb dbl. Bass Clarinet Trumpet in Bb Harmon Mute Violin

Microtonal Notation

Duration: ca. 6’ Microtonal notation: The bulk of the microtones in this piece are based on the following set of ratios, and should simply be played “in tune” (according to a 7-limit Just Intoned system).

The bulk of the microtones in this piece are based on the following set of ratios, and should simply be played “in tune” (according to a 7-limit Just Intoned system). Microtonal Microtonal accidentals are used only when these ratios are not in place. Otherwise, all pitches should be assumed to be ones seen below (IE: all C#s should be played 12¢ sharp). accidentals are used only when these ratios are not in place. Otherwise, all pitches should be assumed to be the ones seen below (IE: all C#s should be played 12¢ sharp unless specifically noted otherwise): 1/1

&œ

25/24

9/8

75/64

#œ

œ

#œ

-29¢

+4¢

-25¢

5/4

4/3

45/32

3/2

8/5

5/3

7/4

15/8

-14¢

-2¢

-10¢

+2¢

+14¢

-16¢

-31¢

-12¢

nœ

œ

#œ

œ

#œ

œ

bœ

nœ

When the above ratios should not to be used, the ratio that should be used instead is given. This is shown in one of two ways: Horizontal harmony: If the connected enter at different times,This then thewith tuning is shown with a dotted line connecting them, and is labeled with the ratio in a circle.

When the above ratios should nottwo to be used, the ratiopitches that should be used instead is given. is shown a dotted line that connects two pitches: the pitch using a different ratio, and the pitch to which it should be tuned.

This connection is labeled with the ratio that Vertical harmony: If the pitches enter together (chords), then the ratio is shown in a box. should be used instead.

Cent deviations from 12-EDO are also given in these moments as a reference, but the ratios themselves are what are most important in tuning.

These alternate ratios use a 7-llimit Just Intoned system. Cent deviations are occasionally given in these moments as a reference, but the

ratios themselves are what are important is in almost tuning, not specificmodal, cent values.

The a cent deviations from the pitches are givensystem in relationship Movement I: The first movement entirely using relatively straightforward 5-limit centered on C. Of the pitches given in the above scale, only C, D, E, G, and to 12-EDO, with the fundamental always being 0¢ (IE: If the fundamental is C, a Bb marked -31¢ would be 969¢ away from C, a D marked B are used regularly. Three other pitches are used once each: the D# and F# from above, as well as an alternate G# (the 5th partial of the E). This tuning often makes the first +27¢ would be 227¢ away from C, etc). movement sound traditionally “consonant”.

Movement II: The second movement uses an extended 7-limit system to derive its pitches, and draws on beatings and “clashing” overtones to build its material.

Movement III: The third movement becomes largely modal again, this time centered around the B from above. Also returning to a 5-limit system, this movement uses B, D, F#, and G from above, as well as an alternate C# (the 3rd partial of the F#) for the bulk of its pitch material. The D# from above is used only once (the 5th partial of B). Once more, this often makes the movement sound traditionally “consonant”.

One further note on the microtones in this piece: Often, the ratios in this piece are disrupted by the playing techniques at work (vibrato, trills, etc). The collapse of the “pure” tuning is built into the composition, and should not be shied away from. These disruptions will cause beatings to occur even as the players attempt to tune to one another during performance. Again, this is intended.

Other Notation: All: Cent Deviations with Extended Techniques – Cent deviations indicate the center pitch (for vibrato), or one of the pitches to be played (for microtonal trills).

Vibrato – Vibrato is notated graphically. Occasionally, cent ranges are given alongside the vibrato. These ranges should be the outer reaches of the bends.

Winds: Breath – Moving from air noise (or airy pitches, marked as “br.” in the score) to normal playing is notated graphically.

Didgeridoo – A low, exaggerated vibrato similar to the sound of the didgeridoo (the term is convenient shorthand and in no ways implies reference to either the didgeridoo’s musical or spiritual tradition).

Trumpet: Valve Trem. – Rapidly alternate between two different fingering for the given pitch; akin to a timbrel trill.

Harmon Wah – A wah-wah effect using the harmon mute (if no speed is given, a medium pace should be assumed).

A Note on the Coda: The final movement of the piece is a transcription of the lullaby on which this work is based. Its performance is optional.

C SCORE

Edo Lullaby

Movement I: Talea Gently q = ca. 60 & 44 Œ

ALTO

Flute 1

Br. (Breathy)

œ P

Fl. (Flutter)

& 44

Trumpet in B b

& 44 œ .

Violin

Ͼ.

F

Ord.

& 44 Ó

j œ ˙ Ord.

œ. p

Ord.

j‰ j œ œœ p 3

MSP (molto sul pont)

j œ ˙ P

3

œ

j œ œ. p

˙

œ.

Br. (Breathy)

œ‰ j J œœ P 3

Fl. (Flutter)

Œ

Ó

j œo ˙ O

Ͼ P

Fl. (Flutter) 5

j j œ . œ@ œ@ œ p

(w/flute 1)

j ‰ j j œ œ. œ œ œ œ p P

Br. (Breathy) 5

, Senza Vib. ˙.

œ

œ

au point

j œ! œ@

Br.

Ord. 3

j œœ p

P

MSP Ord.

3

Ord.

5

@œ œ œj œj. œ F P Ord.

j j œ! . œ œ œ œ F 5

œ ‰3 j J œœ F

(w/flute 1)

Air

Ord.

œ

©2011

˙

Br.

Ord.

(w/flute 2)

(w/clarinet)

œo ˙ J

Fl. (Flutter)

& 44

Clarinet in B b

‰

j j œ œ@ œ@ œ . œ F

ALTO

Flute 2

Ord. 5

Sean Harold

(w/clarinet)

j j @ æ œ. œ œ œ œ p P

‰

Br. 5

(w/flute 2)

Br.

Ord.

œ.

œ. ,œ

˙.

n MST (molto sul tasto) 5

j œ œ œj œ . œ F

F

Fl.

5

j œ œ@ œ@j œ . œ P P Fl.

,

(w/clarinet)

˙ œo

(w/clarinet)

˙.

œ f

Ord.

j œœ

3

,

‰ œ.

P

˙

j œ ˙!

(w/flute 1)

‰ j œ ƒ P Br.

Fl.

@

œ@ ‰ œ œ F

æ

Senza Vib.

˙ pƒ

Senza Vib.

MSP

3

j ‰ œ ˙. f n

Senza Vib. Br.

#˙ 5/

4

p

(w/flute 1)

Senza Vib.

j œj œ œ.

Nœ ƒ F 5

P

Ord. 3

j œO

IV

O

j O œ. p

æ w F

f

2

Edo Lullaby

A

œo5

7 Fl. 1

Fl. 2

&

&

œ

r œp F

˙ w

B P

˙.

œ J ‰ œ ‰ #œ J p P

˙

P

Senza Vib.

w P

w

F

w

˙.

œ J ‰ P

F

5/ 3

(w/trumpet)

B b Cl.

& 7

B b Tpt.

œ

˙. f

œ

Ord.

&˙

ƒ

œ

Œ

3

œ ƒ

‰ j œ ˙ p

˙

œ.

P 5

œ F

œ

Ord.

7 Vln.

&æ w

‰ !j ˙ . œ F ƒ

,

Slow Wide Vib.

˙. p

Ord.

˙. f

MST

p

w

j ‰ œ œ ƒ p

˙

w

Senza Vib.

œo ˙ j ‰ ‰ J œ p P Air

Ord.

F

ß

œ.

(w/clarinet)

3/

œ ƒ P 2

‰ #O˙ ƒ F

˙

P

,

˙

Ord.

w f

w

w

F

Senza Vib.

˙ ƒ

˙ wO

ß

p

f

œ ƒ j ‰ œ

O˙

P

ƒ

œ.

‰ œ@j Ø

~~~~~~~~~~~~

Timb.

Tr. 5

œ

Fl.

Ord.

˙.

P

œo Œ jO œ ß n L.H. P

arco

III

pizz.

( )

3

Edo Lullaby

,

13 Fl. 1

Fl. 2

B b Cl.

&

w

p ˙.

w

Œ

& ˙. &

slowly insert harmon mute

w

ƒ

Senza Vib.

& j ‰ œ p f

13 B b Tpt.

w

F

P

ƒ

w

sub.

w

œ

n

,

ƒ

‰ j œ ˙.

P

œ J ‰ p

sub.

, w

w Ø

sub.

Con sord.

˙ ƒ sub. p

,

Mute Wah

˙

p

p

w ,

˙.

Throat Fl.

Slow

Fast

w

,

(Ord.)

trill slows

P

˙

F

w w

‰

n

Ø

p

˙æ

Ͼ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

III

Vln.

w P

Br.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (˙o ) 13 O O O &O w w w sub.

F ƒp Harm.

Tr.

Ø

˙.

Ord.

w

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ , ˙. w w

Br. Timb.

Tr.

w

Fl. 3

Ͼ Ͼ p

œ@

œ!

Ͼ

œ@

MSP

Ø

4

Fl. 1

Fl. 2

B b Cl.

Edo Lullaby

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 19 , w & w , &

&

w

˙ F

Br.

w

Ord.

Ord.

& ! œ &w

,

w

p ˙.

P

19 Vln.

p

w

42 ˙

Br.

Ø

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Br. j ‰ 42 œ w w ˙ œ p Ø P Timb.

Tr. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Br. w ‰ ˙ 42 ˙ œ. p P p Timb.

Tr.

19 B b Tpt.

w

,

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Timb.

Tr. Senza Vib.

œ.

˙

Col Legno Tratto (Ord.) MST

p

‰ ˙ P

n

Œ

˙.

Ø

w

F

‰

Slow

Mute Wah

œ. Ø

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 42 w ˙ p Ø

hair

p

w

42 ˙

MST

5

Edo Lullaby

3/2 (fl. 2 – fl. 1) 8/7 (cl. – fl. 1) 4/3 (tr. – fl. 1) 5/4 (vln. melodically from -16¢)

Movement II: Chaconne Gentler still; with unconscious turns q = ca. 75 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ C FLUTE Timb.

Tr. w w 24 Fl. 1 & 44 p BASS

? 44 w

(-16¢ to +6¢)

Fl. 2

6/5 (fl. 2 at -16¢ – fl. 1) BASS 6/5 (tr. – fl. 2 at +6¢) B b Cl.

? 44

Ó w

w

‰ œj ˙ .

w

œ

p

Œ

Ó

j œ ‰ Œ

B b Tpt.

Harmon Mute (Entire Movement)

& 44 # w

œ

n

Œ

MSP

& 44

24 Vln.

œ ˙. ‰ J

w

Ø

&‰

w

Ord.

r œ ˙ Ó

4/3 (tr. – fl. 1) 4/ (vln. +6¢ – fl. 2) 3 6/5 (vln. -16¢ – tr.)

n

Ó

Ó

Œ

Ó

‰

Ó

8/ 5 24

Œ

œ ˙ R Br.

Valve Trem.

3/ 2

˙ @ p

w æ œ.

˙ @

P Ord. MST

‰ Œ

‰

(-16¢ to +6¢)

r œ ˙

œ œ . ~~~~~~~~~ J p Timb.

Tr.

j œ. œ p ‰

bBr.œ . p

‰ œ. n p (Ord.)

j #œ. œ p

6

Edo Lullaby

4/3 (vln D – fl. 1) 5/4 (tr. – fl. 2) 4/3 (cl. – vln.)

~~~~~~~~~~~ ‰ Œ & œ.

œ

30 Fl. 1

Fl. 2

B b Cl.

‰ Œ

& œ. ? œ.

w

p

Œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Œ #œ w p

Timb.

Tr.

(clashes with trumpet)

‰ Œ

Throat Fl.

k Ͼ

+6¢

wæ

4/3 (fl. 2 +8¢ – fl. 1) 4/3 (cl. – fl. 2 -14¢)

5/4 (tr. -16¢ – fl. 1) 3/2 (fl. 2 – vln.)

6/5 (cl. – tr. +6¢) 1/1 (tr. -16¢ – vln. 2nd attack)

p

~~~~~~~~~~~~~~~~~~ Ord. ˙ œ ˙ 4/ P 3

Œ

4/3 (vln. – tr.)

C kw

#˙.

(others clash)

(clashes with vln.)

+6¢

p

Fl. Br.

˙æ.

w

&

# ˙ ~~~~~~~~~~~~ Timb.

Tr.

Œ

w p

w

P

œ

w p

Ord.

30 B b Tpt.

‰ Œ

& œ.

MSP

& œ.

30 Vln.

œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oo # Oo O #O Œ # O # O œ o w

Harm.

(Ord.) Tr.

‰ Œ

II

III

p

(-16¢ to +6¢)

Ó

˙. p

˙

j œœ ˙ p

j Œ3 ‰ œ j œ ˙ P

Œ

n

MSP

(Ord.)

3

P 2/ 1 3

Œ

œ œ J ‰ p

œœ J

Ord.

œ.

2

œ œ

œ p

n

#œ

Br.

9/ 8

œ

Ord.

p

œ

œ

œ J ‰ Œ& œ

j œ ˙ P

kœ

5/ 3

MST

˙

œ

9/ 8

3/

(clashes with flute I)

5/3

Ó

(-14¢ to +8¢)

(clashes with clarinet)

Harmon Wah

P

Œ

œ

Br.

œ

j œ ‰

Ord. +6¢

MSP

œ ‰ Œ J

Ord.

kœ

+8¢

7

Edo Lullaby

*A staggered vibrato played in rhythmic tandem with an embouchure trill in emulation of a timbrel trill.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ 36 N w Œ & P n Timb.

Tr.

Fl. 1

Fl. 2

Br. 3

&w

‰œ œ p

3/2 (fl. 2 – vln.) (others clash)

‰ # œJ F

Œ

Ord.

? œ@j Fl. Br.

œ.

F

6/ 5

B b Cl.

36 B b Tpt.

˙.

&w

&

œ.

3/ 2

œ ˙ J

˙

˙o ˙ ‰ O

36 Vln.

&

˙

I II

p

‰

Timb. Tr.

2/ 1

˙æ

Didgeridoo

j œ w F

˙. p

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ w œ P j œ@ ‰ Œ

6/ 5

˙.

Timb.

Tr.

~~~~~~~~~~~~~~~~

j ‰ Œ œ f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ j j ‰ Œ J ‰ ‰ œ œ w p F Harmon Wah

+8¢

5/ 4 (Ord.)

?

œ

*Pseudo

( )

P

5

˙ O

œ.

O.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ oo j w j ‰ Œ # OO œ w œ f F Harm.

Tr.

IV

III

Œ

Œ

Œ

9/8 (tr. – fl. 1 +6¢) 16/9 (cl. – fl. 1 -16¢) 8/5 (cl. – tr.)

(-16¢ to +6¢)

˙

w

j Œ k œ w & p 3

Br.

œ

4/ 3

Br.

P

˙

&

˙

+8¢

kœ P 3/2 (cl. – tr.)

Ó

˙

œ

j œœ

Br. 3

6/5

˙.

˙

Ord.

#œ P

œ ‰Œ P 3

+6¢

˙

˙

(violin clashes)

Œ

3/ 2

MST

‰ Jœ p

w

Œ

8

Edo Lullaby 8/7 (fl. 2 -16¢ – vln. D) 3/2 (cl. – tr.)

4/3 (cl. – vln. D)

5/3 (fl. 2 -16¢ – fl. 1) 3/2 (fl. 2 -16¢ – tr.)

4/3 (fl. 2 +6¢ – vln.)

(fl. 1 clashes)

(others clash)

42 Fl. 1

Fl. 2

&

˙

p

& ‰ œJ œ P

Œ

2/ 1

œ

œ

œ

Ord.

P œ ‰ J

Œ

(clash)

B b Cl.

(clashes with trumpet)

& ˙.

œ

3

‰?

Senza Vib.

œ

(clashes with clarinet)

kœ ˙ ‰ J p

42 B b Tpt.

&Œ

(-27¢ to 0¢)

Vln.

(MST)

&œ

42

Œ

+6¢

œ œ

P

œ

œ J ‰

# Br.œ

(clashes with clarinet)

Ord.

˙ p

Ø

œ

&K˙.

-19¢

Ø Valve Trem.

˙. @ Ø

(clashes with flute I)

?

-27¢

Kœ P

˙.

Ø

Œ

œ

˙

k˙.

P

F

w

5/ 4

+6¢

w

˙

w

˙.

p

Ord. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ? k˙. ˙ ˙ œ . Œ ‰ Œ & P n F 4/ p Timb.

Tr. 3

3

+8¢

˙˙ . .

P

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # OO . .

ww

OO

œ p

5

?

43 43

7/ 6

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. ˙ w w Ó p P F Harm.

Tr.

43

Ó

+6¢

Harmon Wah

Ord.

Œ

5

Br.

Œ

Œ

œ.

Ord.

Œ

~~~~~~~~~~~~~~~~~~

Timb.

Tr.

w

P

4/ 3

(-16¢ to +6¢)

˙. Ø

, #˙.

F

Œ # O œœ O p

43

MSP

Ó

Œ

-27¢

K˙.

P

43

9

Edo Lullaby 8/5 (cl. – fl. 1) 3/2 (cl. – fl. 2) 5/4 (cl. – tr.)

12/7 (tr. – fl. 1) 4/3 (vln. – cl.)

6/5 (cl. – fl. 1)

(vln. clashes)

3/2 (fl. 2 – trp.)

5/3 (cl. – tr.)

D

(fl. 1 clashes)

& 43 # ˙ p

48 Fl. 1

Ord.

Br.

œ

Pp

? 43 ˙ p

Br.

#œ

Ord.

Fl. 2

B b Cl.

P Br.

? 43 ˙ & 43 # ˙ p & 43 Œ

48 Vln.

45 b ˙ . Ø

Ord.

kœ

˙.

#œ

2/ 1 +6¢

54 k ˙ . Ø +6¢

œ p P

P MST

kœ P

+8¢

, K˙

54 ˙ . Ø

45 Ø

48 B b Tpt.

œ

Br.

(fl. 2 clashes)

Ord.

45 n ˙ . Ø

(-16¢)

-47¢

&

4/3 (fl. 2 – fl. 1) 4/3 (vln. – fl. 2) 14/9 (cl. – tr.)

8/7 (tr. – fl. 1) 3/2 (cl. – fl. 2) 14/11 (fl. 2 – vln.)

, #˙ ,

,

44 ˙

jU

œ ‰ ‰ jU

œ3

œ 3 J œ ˙.

44 ˙

œ ‰ Œ

‰ œ ˙.

˙

44 ˙

œ U J ‰ Œ

œ ˙.

˙

44 ˙

j U‰ Œ œ

3

‰

3

‰ bœ ˙.

3

MSP

, b˙

* Sing the fundamental pitch while playing harmonic glisses ad lib.

5/4 (fl. 2 – fl. 1) 12/7 (vln. – cl.)

8/5 (tr. – fl. 1)

U2"

œ œ. œ Ø +12¢

U 2"

œ jœ. œ Ø

The glisses should not be rhythmically consistent.

Continue the glisses during the fermata.

, Ord. ,

œ

U

, b˙

œ. œ Ø

44 ˙

U

œ ‰ Œ J

MST

‰

3

œ ˙.

2"

œ. œ œØ

œ

(clashes with flute I)

3 œ Jœ œ

-19¢

Ord.

7/

œo œ

b œ bœo bœo o œ o bœ o o

o bœ

(sung)

MSP

(MST)

œo

bœ

? œ j ˙œ +12¢

+12¢

, Kœ

˙œ

Gliss

˙

U

(sung)

*Harm.

Ord.

Ø

2"

Gliss

œ

˙

, Ord. œ bœ . Uœ j ˙ 2"

*Harm.

(clashes with trumpet)

o b œo œo o œ oœ

œ 6 (tr. – cl.)

(others clash)

U 5"

œ

U 5"

œ

U 5"

˙

œ

U ~~~~~~~~~~~~~~~~ ˙ œ

Harmon Wah

# # O˙

P 3/2 (fl. 1 – tr.)

3/ (fl. 2 – vln.)

2 5/4 (cl. – fl. 1)

5"

5" U O

œ

10

Edo Lullaby

8/5 (fl. 2 – fl. 1) 4/3 (cl. – fl. 2) 7/6 (fl. 1 – tr.)

3/2 (fl. 1 – vln.)

, Ord. & . ˙ Ø

54 Fl. 1

Fl. 2

B b Cl.

, Ord. ? ˙.

Ø

, Ord. ? ˙. Ø

, Ord. &b˙ . Ø

54 B b Tpt.

Vln.

, 54 n O . n ˙. & p

5/4 (cl. – fl. 1) 3/2 (cl. – fl. 2) 3/2 (fl. 2 – tr.)

7/4 (cl. – vln.)

U 3"

Timb.

Tr.

œ

U ~~~~~~~~~~~~~ 8"

41 œ

8" U U ~~~~~~~~~~~~~ Timb.

3"

œTr.

14 œ

U

U

3"

Didgeridoo

œ U œ

Valve 3" Trem.

8"

41

œ

1 Uœ 8"

@

4@

bUO

4/ 3

3"

bœ

F

3/

2

U

n n Oœ ~~~~ Oœ 41 f

8"

11

Edo Lullaby

Movement III: Hocket A dialog; fading in and out q = ca. 45 C FLUTE

& 44

56 Fl. 1

Senza Vib. (thru mvt.)

BASS

Ó

‰

(flute 2, clarinet, and violin together thru mvt.)

Senza Vib. (thru mvt.) Br.

Fl. 2

& 44 # w BASS

? 44 w

B b Tpt.

Œ

œ

Œ

Œ

Ord.

œ

œ

#œ.

j j‰ œ œ P

Œ

#œ J

w

w

j ‰ Lœ w

w

5

?‰

P

Œ

p

‰ Ó

p

‰ œ ˙ J p

œ

œ

-8¢

~~~~~~~ 5 Œ j ‰ ‰ L Jœ œ . œ p

Ó

Œ

‰ œ œ @J æ F Fl.

Con sord.

j Lœ œ F

(until noted)

3 -8¢

Œ

Harmon -8¢ Wah

Œ

p

Timb.

Tr.

œ J #œ.

F

œ ‰ Œ J

Œ

w

j œ ‰ Œ p

Œ

(w/flute 1)

Ord.

#œ F

Air

Œ

Œ

Moltissimo ST

‰ œj w

œ

Br.

w

(w/ensemble)

slowly insert harmon mute

Senza Vib. (flute 2, clarinet, and violin (thru mvt.) together thru mvt.)

Moltissimo ST

& 44 w

56 Vln.

Senza Vib. (thru mvt.)

& 44 Œ

56

Œ

~~~~

(w/trumpet)

Ord.

Br.

(flute 2, clarinet, and violin together thru mvt.)

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5

62 Fl. 1

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slowly remove mute

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