Never was a knight... for tenor & ensemble (2017)

Never was a knight...

a singspiel told in vignettes detailing journeys, reveries, ramblings and transformations from Cervantes's Don Quixote, for tenor and ensemble

-for Joe Dan Harper-

kurt rohde

ripley dog face publishing copyright 2017

2

3 PERFORMANCE NOTES

Percussion 2 bass bows (for use by percussionist & tenor) Large rubber superball mallet Bass drum Marimba (with low C – if unavailable, use marimba that is available and transpose accordingly) Glockenspiel Crotales (2 octaves) - if two octaves are not available, please use the lower octave and transpose accordingly Large bell plate 3 temple blocks 1 Tibetan prayer bowl (Eb) 2 tuned gongs (B, C#) Whip or slap-stick (for use by percussionist & tenor) Sandblocks

ABBREVIATIONS (noteheads will be used for some of the techniques) HS = hard stick SS = soft stick deadstroke = stopping the vibration of the instrument with the mallet ord. - in the ordinary manner con sord. = with mute senza sord. = remove mute slap tongue = the appropriate and typical usage of this technique for each woodwind/brass instrument air = in many cases, the passage marked "air" for each woodwind/brass instrument is simply blowing throw the instrument; however, in some cases, there are instances where pitches are written. In these instances, the most breathy, airy possible sound with pitch is asked for; if the pitched sound goes "in and out" during these passages, that is acceptable. NV = non vibrato HPN = highest possible note MST = molto sul tasto MSP = molto sul ponticello CLT = col legno tratto (playing with the wood of the bow) CLB = col legno battuto (tapping with the wood of the bow) molto flaut. = molto flautato crunch tone or crunch bow = extreme pressure with bow on string, without concern for pitch swipe bow = vertical movement of the bow along string, creating a rubbing timbre with pitch harm. gliss. = harmonic glissando snap. pizz. = typical Bartok pizzicato pizz. = pluck the string in the typical manner; for the piano, use fingernail or a plastic guitar pick arco = using the bow in the typical manner; for piano, strings will be prepared ahead of time with horsehair "bows," which are called filaments in the score

Arrows indicated a gradual transition from one timbre or technique to another.

The instrumentalists will each play a ukulele. The tuning for each ukulele is indicated in the respective parts. The part part is notated in the typical manner. Each instrumentalist will need a bass drum mallet to play the uke at the end of the piece.

I = viola A string/double bass G string II = viola D string/double bass D string III = viola G string/double bass A string IV = viola C string/double bass E string

Dampening sign indicates an abrupt, suddenly "choked" end to the music when indicated.

All glissandi begin immediately where notated and should take place over the written duration for the note they occur on.

Feathered beaming, either "slow to fast" or "fast to slow" is notated in the usual manner, and should be executed as such.

Quarter-tones are notated in the typical manner.

Pitch-bends are notated in the typical manner, with the direction of the bend indicated by the direction of the peak of the bracket (pointing up for bending UP, pointing down for bending DOWN). Pitch-bends should be microtonal, but the exact size of the pitch alteration is left to the discretion of the performer. The duration of the pitch-bend is indicated by the two points/notes that are attached to either end of the pitch-bend bracket.

Filaments: Piano will be fitted with horsehair or rosined fishing line on specific strings inside the piano for section that used piano "arco"

For "chorus" singing by ensemble, players should sing with a pure, simple singing voice, unforced and clear. Sing in the octave that is most comfortable for the written pitches.

4

5

Never was a knight... a singspiel of journeys, reveries, ramblings and transformations from Cervantes's Don Quixote, for tenor and ensemble

SCORE IN C

6

<qK Untethered, wandering q = 48 - 50

<q = qK >

= q> q = 72 - 75

Death Mask: Pavane and Recitative - Blessed be Almighty God

q = 48 - 50

Stage is dark: Tenor is onstage center wearing a death mask with his back to the audience the instrumental players are offstage in designated positions; their playing and singing begins from offstage.

4 /4 ∑ player situated offstage RIGHT Cl. in Bb/ ° 4 ∑ Bass Clarinet & 4 in Bb 4 Harmonica/ ∑ Percussion & 4 4 Ukulele/ ∑ Voice ¢& 4

3 4 3 4 3 4 3 4

Stage Directions

RIGHT ° 4 player situated offstage ∑ &4 4 Harmonica/ ∑ Percussion & 4 4 Ukulele/ ∑ Voice ¢& 4 RIGHT ° 4 player situated offstage ∑ Trumpet in C & 4 4 Ukulele ∑ Voice ¢& 4 player situated offstage LEFT ° 4 ∑ Percussion / 4 4 Ukulele/ ∑ &4

SopranoSaxophone/ Tenor Saxophone

∑ ∑ ∑ ∑

3 4 3 4 3 4

∑

3 4 3 4

∑

3 4 3 4

∑

3 4 3 4 3 4

∑

3 4 3 4

∑

∑ ∑

∑

∑

4 4 4 4 4 4 4 4

3 4 3 4 3 4 3 4

∑ ∑ ∑ ∑

4 4 4 4 4 4

∑

4 4 4 4

∑

4 4 4 4

∑

4 4 4 4 4 4

∑

4 4 4 4

∑

∑ ∑

∑

∑

4 4 4 4 4 4 4 4

∑ ∑ ∑ ∑

3 4 3 4 3 4

∑

3 4 3 4

∑

3 4 3 4

∑

3 4 3 4 3 4

∑

3 4 3 4

∑

∑ ∑

∑

∑

5 8 5 8 5 8 5 8

∑ ∑ ∑ ∑

4 4 4 4 4 4

∑

4 4 4 4

∑

4 4 4 4

∑

∑ ∑

∑

∑

7 8 7 8 7 8 7 8

∑ ∑ ∑ ∑

5 8 5 8 5 8

∑

5 8 5 8

∑

5 8 5 8

∑

∑ ∑

∑

∑

3 4 3 4 3 4 3 4

∑ ∑ ∑ ∑

7 8 7 8 7 8

∑

7 8 7 8

∑

7 8 7 8

∑

7 8 #œœœœ ™™™™ 7 8 7 8

˙˙˙ ˙ ∑

7 8 7 8

∑

∑ ∑

∑

∑

4 4 4 4 4 4 4 4

∑ ∑ ∑ ∑

3 4 3 4 3 4

∑

3 4 3 4

∑

3 4 3 4

∑

∑ ∑

∑

∑

2 4 2 4 2 4 2 4

∑ ∑ ∑ ∑

4 4 4 4 4 4

∑

4 4 4 4

∑

4 4 4 4

∑

2 4 2 4 2 4

∑ ∑

2 4 2 4

∑

2 4 2 4

∑

Voice Glockenspiel/ Crotales/Etc.

Marimba

Piano

4 ¢& 4 4 &4 ? 44

{ {

∑ ∑ ∑

∑ ∑

∑ ∑

‹ glock.: w/HS 4 w & 4 #w w w

4 pp 4 4 4

∑ ∑

∑

? 44

∑

∑

° 4 ¢& 4

3 4

∑

∑

NV innocent, almost naive & pure, never forced molto p Tenor Solo

Crystal Glasses

Ukulele

∑ ∑

œœœœ ™™™™ ∑ ∑

3 4 #˙˙˙˙ ™™™™ 3 4 3 4

∑

4 ww 4 #w w 4 4 4 4

∑ ∑

2 4 2 4 2 4

∑ ∑

player situated offstage LEFT

? 44

∑

4 4 4 4

∑

° 4 œ™™ &4 ‹ Bless 4 &4

4 &4

-

> 3 œ œ ™™ 4

œ. œ™™ R

œ. R

ed

Al - migh - ty

be

4 4

∑

3 4

#œ

> 3 œ œ™ 4

#œ

great

good

5 8 5 8

∑ ∑

∑ ∑

3 4 3 4

∑

4 4 4 4

∑ ∑

2 4 2 4

∑ ∑

ukulele: strum w/fingernails alla pavane

F#, A, D, B Ukulele/ Voice

5 œœ 8 #œœ 5 8 5 8

4œ 4 #œœ œ

∑

j œœ œœ

œœ ™™ œœ ™™ -

œœ œœ -

5œ 8 #œœ œ

j œœ œœ

œœ œœ

7 8 #œœœ œ-

j œœ œœ

poco f

œœ œœ

œœ œœ

3 j 4 #œœœ œ-

œœ œœ

j œœ œœ -

œœ œœ

mf

j œœ œœ

4œ 4 #œœ œp

œœ œœ

2 4

œœ ™™ œœ ™™

molto p

#˙ God

4œ 4 who

#œ has

done

œ such

3

œ for

œ

4w 4

5˙ 8

‰

7 8

∑

3 4

∑

4‰ 4

me[eee...]

œ His

>œ RÔ

œ ™™™

mer - cies

œ

œ

have

no

2 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

5 8

∑

7 8

∑

3 4

∑

4 4

∑

2 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

5 8

∑

7 8

∑

3 4

∑

4 4

∑

2 4

3 4

∑

4 4

∑

3 4

∑

4 4

∑

5 8

∑

7 8

∑

3 4

∑

4 4

∑

2 4

3 4 3 4

∑

4 4 4 4

∑

3 4 3 4

∑

4 4 4 4

∑

5 8 5 8

∑

7 8 7 8

∑

3 4 3 4

∑

4 4 4 4

∑

2 4 2 4

tenor holds kkwaenggwari w/S.S.

Percussion

Viola

Percussion

4 ¢/ 4

∑

LEFT °B 4 player situated offstage ∑ 4

4 /4

∑

∑

∑

∑

∑

∑

∑

∑

∑

ukulele: strum w/fingernails

alla pavane

F#, A, D, B Ukulele/ Voice

4 ¢& 4

∑

3 4

∑

4 4

∑

4 4 4 4

∑

3 4

∑

3 4 3 4

∑

4œ 4 #œœ œ

∑

4 4 4 4

j œœœ œ

œœœ ™™™ œ- ™

œœœ œ-

5œ 8 #œœ œ

j œœ œœ

œœ œœ

poco f player situated offstage LEFT

Double Bass

Percussion

°? 4 ‹ 4 4 /4

∑ ∑

3 4 3 4

∑

∑

∑ F#, A, D, B

Ukulele/ Voice

4 ¢& 4

∑

3 4

∑

4 4

∑

3 4

∑

5 8 5 8

∑ ∑ ukulele: strum w/fingernails

4œ 4 #œœ œ poco f

œœ ™™ œœ ™™ -

∑ ∑

7 8 #œœœ œ7 8 7 8

j œœœ œ

7 8 #œœœ œ-

j œœ œœ

œœœ œ

œœœ œ

mf

∑ ∑

3 j 4 #œœœ œ3 4 3 4

œœ œœ

j œœ œœ -

œœ œœ

∑ ∑

4œ 4 #œœ œp 4 4 4 4

j œœœ œ

4œ 4 #œœ œp

j œœ œœ

œœœ œ

œœœ ™™™ œ™

2 4 2 4 2 4

∑ ∑

alla pavane

j œœ œœ

œœ œœ -

5œ 8 #œœ œ

œœ œœ

j œœ œœ

œœ œœ mf

œœ œœ

3 j 4 #œœœ œ-

œœ œœ

j œœ œœ -

œœ œœ

œœ œœ

œœ ™™ œœ ™™

2 4

A 7

= q>

<qK

q = 72 - 75

10

Uke./ Voc. (Cl.)

° 2 ¢& 4

q = 48 - 50

5 4

∑

ukulele: strum w/fingernails

<q = qK > E, G, C#, F#

4 4

∑

alla pavane

∑

j œœœœ

‰ ##œœœœ

œœœœ ™™™™ -

œœœœ -

3 4 #œœ # œœ -

œœœœ

œœœœ -

œœœœ

j ##œœœœ -

œœœœ

œœœœ

poco f

j œœœœ

##œœœœ -

œœœœ -

œœœœ

œœœœ

4 4 #œœ # œœ

œœœœ -

œœœœ

œœœœ

œœœœ p

œœœœ

j œœœœ

##œœœœ -

œœœœ -

œœœœ

œœœœ

4 4 #œœ # œœ

œœœœ -

œœœœ

œœœœ

œœœœ p

œœœœ

j œœœœ

##œœœœ -

œœœ œ-

œœœ œ

œœœ œ

4 4 #œœ # œœ

œœœ œ-

œœœ œ

œœœ œ

œœœ œp

œœœ œ

mf

3 4

ukulele: strum w/fingernails

E, G, C#, F# Uke./ Voc. (Sax.)

° 2 ¢& 4

5 4

∑

4 4

∑

alla pavane

∑

j œœœœ

‰ ##œœœœ

œœœœ ™™™™ -

œœœœ -

3 4 #œœ # œœ -

œœœœ

œœœœ -

œœœœ

j ##œœœœ -

œœœœ

œœœœ

poco f

mf

3 4

ukulele: strum w/fingernails

E, G, C#, F# Uke./ Voc. (Tpt.)

° 2 ¢& 4

Glock./ Cro./ Etc.

°‹2 ¢& 4

5 4

∑

4 4

∑

alla pavane

∑

j œœœœ

‰ ##œœœœ

œœœœ ™™™ - ™

œœœœ -

poco f

T. Solo

œœœ œ

œœœ œ-

œœœ œ

j ##œœœœ -

œœœœ

œœœœ mf

3 4

glock.: w/HS

5 4

∑

° 2 >œ #œ ™™ ¢& 4 R ‹ li - mit,

4 4

∑

5œ 4

#œ

and

the

#œ sins

œ of

∑ sub. piu p

4 #>œ #œ ™ 4

œ men

do

‰

Ϫ

œ

not

œ

œ

œ

cur - tail

or

œ ™ ##œœœ ™™™

fpp > n˙ ™

œ

hin - der

3 /4

4 4

∑

˙ ™ ##˙˙˙ ™™™ ∑

U™ Œ ∑

3 &4

4 4

∑

3 4

∑

them[mmm.].

Players slowly process from their respective sides in tandem as they begin to play; they should try to begin playing each phrase together within their group, but not worry about staying together; stop moving abruptly when they are finished playing.

Tenor stops once he begins to sing; he is faced toward offstage; offstage choir fades out; no need to coordinate cut-off.

∑

4 w 4 #ww #w

™ ##˙˙˙˙ ™™™

3 4 b˙ ™

œ

Tenor slowly turns to the side and begins to walk offstage; exiting to the right or left is at the discretion of the performers.

18

3 4 #˙˙˙ ™™™ #˙ ™

˙˙˙ ˙

= Direct.

3 4 #œœ # œœ -

∑

‰ Ó

3 4

∑

3 4

∑

Ϊ

‰

2 4

Œ

3 4

∑

∑

voice

a tempo NV p Uke./ Voc. (Cl.)

° 3 ¢& 4 ##œœœ œœœ ™™™ œ- œ ™

j 44 Œ œœœœ

poco rit. ukulele

,

bœ

˙

What

is

œ

, œ œ™

j bœ

œ

say- ing? Which mer-cies

are

these,

b œ œ™

œ

U j œ

œ

##œœœœ œœœœ œœœœ -

bœ œ b w

and which sins of

2 4Œ

‰

men[nng...]?

œœœœ œœœœ œœœœ -

f

‰ #œœ 43 #œœ œœ œœ # œœ # œœ œœ œœ -

mp

œœœœ

œœœœ -

œœœœ

f

p

voice

a tempo poco rit.

NV p Uke./ Voc. (Sax.)

° 3 ¢& 4 ##œœœ œœœ ™™™ œ- œ ™

j 44 Œ œœœœ

ukulele

,

bœ

˙

What

is

œ

, œ œ™

j bœ

œ

say- ing? Which mer-cies

are

these,

b œ œ™

œ

U j œ

3 4 œ

∑

##œœœœ œœœœ œœœœ -

bœ œ b w

and which sins of

2 4Œ

‰

men[nng...]?

œœœœ œœœœ œœœœ -

f

‰ #œœ 43 #œœ œœ œœ # œœ # œœ œœ œœ -

mp

œœœœ

œœœœ -

œœœœ

f

p

voice

a tempo poco rit.

NV p Uke./ Voc. (Tpt.)

° 3 ¢& 4 ##œœœ œœœ ™™™ œ- œ ™

j 4 œœœ 4 Œ œ

ukulele

,

bœ

˙

What

is

œ

, œ œ™

j bœ

œ

say- ing? Which mer-cies

are

these,

b œ œ™

œ

U j œ

3 4 œ

∑

##œœœœ œœœœ œœœœ -

bœ œ b w

and which sins of

2 4Œ

‰

men[nng...]?

œœœ œœœ œœœœ œ- œ

f

‰ #œœ 43 #œœ œœ œœ # œœ # œœ œœ œœ -

mp

œœœœ

œœœ œ-

œœœ œ

f

p

Tibetan Prayer

a tempo Glock./ Cro./ Etc.

° 3 Œ bowl w/ wooden beater/LV 4 4 ¢& 4 b˙

∑

∑

glock.: w/HS

U ‰ b˙ ™™

∑

3 4

∑

‹ &

‰

f

##œœœœ

œœœœ œœœœ #œœœœ

œœœ œ

2 4 #œœœœ

œœœ# nœœœ 43 #œœœ œ #œ # œ

œœœ œ

#œœœœ

œœœœ

œœœ œ

œœœ nœœœ œ œ

mp pp voice

a tempo poco rit.

NV p Uke./ Voc. (Pn.)

° 3 Ó ¢& 4

,

4 4 b˙ ™

bœ What

œ

is

,

, œ

your grace

œ œ™

j œ

Which mer-cies

are

bœ bœ ™ œ say ing?

œ

j œ

bœ these,

œ

ukulele

U b œ œ w

and which sins of

3 4

∑

Œ

Œ

#œœœ œ-

œœ œœ

œœ œœ

œœ 42 #œœ œœ œœ -

œœ œœ

œœ #œœ œœ œœ

a tempo meno p

° 3 &4 ‹

4 4

∑

∑

∑

U™ Œ

∑

Perc. (Ten.)

3 ¢/ 4

4Π4

∑

sim.

>œ+ œ œ œ neccessarily > > in tempo> û û û û œû œû œû œû œû œû œû œû Ó o pppp

Œ

‰

mp

œœ ™™ œœ ™™ -

œœ œœ

œœ œœ

œœ œœ

œœ œœ

f

halting and tumbling

halting and tumbling fpp

mp

3 3 Kr œ >œ œ ™™ >œ œ ™ #œ 3 œ #œ #œ œ 3œ œ bœ œ œ œ ™™™ 4 J n œ . . >

The mer-cies kkwaenggwari even scintillations, not w/S.S.

œœ œœ

men[nng...]?

f

T. Solo

œœ 43 #œœ ™™ œœ œœ ™™ -

are those that

God has shown to me at this ve - ry

œ ‰

in- stant,

> 2 œ ™™ 4 œ

The

3 œ #œ 43 œ #œ

mer cies,

and

as

I

3

œ œ3

#œ

said, my sins

œ bœ bœ . do

nœ.

not hin - der

poco rit.

>œ+ œ œ œ >œ œ œ œ >œ œ û û û û û û û û û ûÓ o pppp

U ∑

3 4

∑

2 4

∑

3 4

∑

∑

voice

a tempo poco rit.

NV p Uke./ ° 3 Voc. & 4 Ó ¢

bœ

,

4 4 b˙ ™

, œ

œ

(Vla.) What

is

your grace

œ œ™

j œ

Which mer-cies

are

bœ bœ ™ œ say ing?

, œ

j œ

bœ these,

œ

ukulele

U b œ œ w

and which sins of

3 4

∑

Œ

Œ

#œœœ œ-

œœ œœ

œœ œœ

œœ 42 #œœ œœ œœ -

œœ œœ

œœ #œœ œœ œœ

œœ 43 #œœ ™™ œœ œœ ™™ -

œœ œœ

œœ ™™ œœ ™™ -

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ ™™ œœ ™™ -

œœ œœ

œœ œœ

œœ œœ

œœ œœ

men[nng...]?

f

mp

f

voice

a tempo poco rit.

NV p Uke./ Voc. (Db.)

° 3 Ó ¢& 4

bœ What

,

4 4 b˙ ™ is

,

, œ

œ

your grace

bœ bœ ™ œ say ing?

œ œ™

j œ

Which mer-cies

are

œ

bœ these,

j œ

œ

ukulele

U œ œ bw

and which sins of

3 4

∑

Œ

Œ

#œœœ œ-

œœ œœ

œœ œœ

œœ 42 #œœ œœ œœ -

œœ œœ

œœ #œœ œœ œœ

œœ 43 #œœ ™™ œœ œœ ™™ -

men[nng...]?

f

mp

f

8 Players begin processing again once tenor sings sustained note using overtone singing; they stop in place abruptly as soon as he completes singing note.

B 27

Direct.

/

∑

∑

∑

∑

5 4

∑

4 4

∑

√ ∑

Players do the same as with previous sustained overtone note.

‰

Ó

√™ Œ

voice

NV p Uke./ Voc. (Cl.)

° Œ ¢&

pppp p

U Œ ##˙˙˙˙

Œ

5 4‰

Œ

##˙˙˙˙

bœ bœ

œ

˙

is

your

grace

bœ bœ ™ >

pp What

˙

say - ing?

4 4 bœ

œ

What

mer

b˙ -

œ

√™ Ó

√ ∑

√™ Ó

√ ∑

√™ Ó

√ ∑

√ b˙ ™

√ ∑

√™ Ó

√ ∑

œ

cies?

[sss...]

voice

NV p Uke./ Voc. (Sax.)

° Œ ¢&

pppp p

U Œ ##˙˙˙˙

Œ

5 4‰

Œ

##˙˙˙˙

bœ bœ

œ

˙

is

your

grace

bœ bœ ™ >

pp What

˙

say - ing?

4 4 bœ

œ

What

mer

b˙ -

œ

œ

cies?

[sss...]

voice

NV p Uke./ Voc. (Tpt.)

° Œ ¢&

pppp p

U Œ ##˙˙˙˙

Œ

5 4‰

Œ

##˙˙˙˙

bœ bœ

œ

˙

is

your

grace

bœ bœ ™ >

pp What

Glock./ Cro./ Etc.

°‹ ¢& ##œœœœ

˙

say - ing?

4 4 bœ

œ

What

mer

b˙ -

œ

œ

cies?

[sss...]

Tibetan Prayer bowl w/ wooden beater/LV

j nœœœœ

#œœœœ ™™™™

Œ

Œ

‰

∑

∑

5 4

∑

&

bœ

4Π4

∑

voice

NV p Uke./ Voc. (Pn.)

° ˙ ¢& #˙˙˙

œœ œœ

#œœœ œ

#˙˙˙ ™™™™ ˙

pppp p

5 4‰

Œ

pp

b˙

bœ

bœ

˙

What

is

your

grace

˙ bœ bœ ™ > say - ing?

bœ

bœ

What

mer

U ˙ -

4 4œ

œ

cies?

[sss.]

ca. 9-12 sec.; tenor should slowly cycle through various vowels producing a range of overtones on "ooo" and "uuu", and closing the word with "-red,"

√ 4 w^ 4

ord.

sub. p

mf fpp T. Solo

fp

f

ppp mf

° & n˙ ‹ >

Œ œ

nœ

œ >

œ

œ

œ

œ

œ

˙

Œ nœ

bœ

∑

¢/

˙

bœ

U™ Œ

mmm...

them[mmm...]

Perc. (Ten.)

5 pppp 4˙

5

∑

∑

rubato

j œ My

>œ+ œ œ œ >œ œ œ >œ œ œ >œ œ û û û û û û û û û û û û Œ o pppp

Œ

‰

¯ œû œû 5 >œû œû œû œû U œû 4

œ

rubato

mp 3

‰

œ

œ

œ œ œ

judge-ment is

re - stored,

U Ó™

free and

√ ∑

4 4

œ œ > clear

ca. 10-14 sec.; closing the word with "-ows"

sub. p √ ^ œ œ œ œ œ™ of the dark sha - dows,

√ ∑

o

pppp

voice

NV p Uke./ Voc. (Vla.)

° ˙ ¢& #˙˙˙

œœœ œ

#œœœ œ

#˙˙˙ ™™™™ ˙

pppp p

Œ

pp

b˙

bœ

bœ

˙

What

is

your

grace

˙ bœ bœ ™ > say - ing?

5 4‰ bœ

bœ

What

mer

U ˙ -

œ

cies?

4 4œ

√™ Ó

√ ∑

√™ Ó

√ ∑

[sss...]

voice

NV p Uke./ Voc. (Db.)

° ¢&

#˙˙˙ ˙ pp

œœ œœ

#œœœ œ

#˙˙˙ ™™™™ ˙

pppp p

Œ b˙

bœ

bœ

˙

What

is

your

grace

˙ bœ bœ ™ > say - ing?

5 4‰ bœ

bœ

What

mer

U ˙ -

cies?

œ

4 4œ [sss.]

Tenor begins calmly processing 9 once beginning to play kkwengari, and stops processing abruptly on beat 3.

Players begin quickly processing immediately as they play ukulele and stop abruptly when they dampen their ukuleles.

Players begin processional again after playing ukulele, this time slightly faster and with some anxiety; they stop abuptly in place when the tenor has finished speaking "has come too late." 35

Direct.

/

∑

∑

Ó

∑

‰

Ϊ

∑

4 4

3 4Œ

Œ

Œ

4 4

ukulele: strum w/back of fingernails; gently stop strings by dampening them with fingers to make a percussive, deadened sound

Uke./ Voc. (Cl.)

° ¢&

∑

Ó

Œ

¿¿ ¿ >¿ f

¿¿ ¿ >¿

¿¿ ¿ >¿

¿¿ Ó™ ¿ >¿

U Œ

Ó

‰

… ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 43 ¿¿¿¿¿¿¿¿¿¿¿¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ f

U Œ

Ó

‰

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ f

∑

4 4

U Œ

Ó

‰

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ f

∑

4 4

… 3 4

∑

4 4

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >f¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿

∑

4 4

∑

3 4

∑

4 4

∑

+ . . 3 ϞϞϞϞϞϞϞϞŠϞ ϞϞ 4 4 4

ukulele: strum w/back of fingernails; gently stop strings by dampening them with fingers to make a percussive, deadened sound

Uke./ Voc. (Sax.)

° ¢&

∑

Ó

Œ

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ >¿

¿¿¿ Ó™ >¿

ukulele: strum w/back of fingernails; gently stop strings by dampening them with fingers to make a percussive, deadened sound

Uke./ Voc. (Tpt.)

° ¢&

∑

Ó

Œ

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ >¿

¿¿¿ Ó™ >¿

Percussionist enters as tenor begins to whisper, and keeps repeated notes even, and continue until tenor has completed spoken text before moving on to next measure; Percussionist should cue players at the beginning of next measure Tibetan Prayer bowl w/ wooden beater

Glock./ Cro./ Etc.

° ¢&

∑

∑

Œ

+ bg g g

dampen w/mallet; make extra articulation in doing so

open

dead stroke

g g g g g g g g g g gg g

LV ¯ g g g g g g g g b >g g g g >g g g gœ> œ œ œ >œ œ œ œ >œ œ œ œ >œ ™

ppp f

ukulele: strum w/back of fingernails; gently stop strings by dampening them with fingers to make a percussive, deadened sound

Uke./ Voc. (Pn.)

° ¢&

∑

Ó

Œ

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ >¿

¿¿¿ >¿

∑

Ó

‰

transition from sung to whisper to spoken voice whould be immediate and without preparation whisper spoken ord.

T. Solo

Perc. (Ten.)

quivering r r Bœ œ

f r œ

° ≈ œ œ œ œ œ™ œ œ œ & ‹ im-posed on it by my grievous, constant

¢/

∑

pp

f

pp suddenly extremely halting and even

5

Bœ œ œ b œ b œ bœ ≈œ

œ bœ bœ bœ bœ Œ

b œ b œ bœ ‰™

œ

read-ings of de-test-a-ble books of chi- val - ry.

Ó

I

œ bœ bœ bœ bœ ¿ ¿ ¿

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿

re-cog-nize their ab- sur- di-ties and de-cep- tions, and my sole re-gret is that this real - i-za-tion

>œ+ œ œ œ >œ¯ ûûûûû mf

¿

U Πhas come - so - late.

∑

ppp

ff

ukulele: strum w/back of fingernails; gently stop strings by dampening them with fingers to make a percussive, deadened sound

Uke./ Voc. (Vla.)

° ¢&

∑

Ó

Œ

¿¿ ¿ >¿ f

¿¿ ¿ >¿

¿¿ ¿ >¿

¿¿ Ó™ ¿ >¿

U Œ

Ó

U Œ

Ó

‰

… ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 43 ¿¿¿¿¿¿¿¿¿¿¿¿ >f¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿

∑

4 4

‰

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >f¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿

∑

4 4

ukulele: strum w/back of fingernails; gently stop strings by dampening them with fingers to make a percussive, deadened sound

Uke./ Voc. (Db.)

° ¢&

∑

Ó

Œ

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ >¿

¿¿¿ Ó™ >¿

mp ppp

Suddenly a tempo q = 48 - 50 10

C

The tenor retuns to the "here & now" and proceeds to process further.

Tenor looks around, as if distracted or caught in a reverie.

Players begin processing once they begin singing and stop moving and freeze once they strike the ukulele that puncutaes the end of their passage; they should be at their stations by the end of the sung passage. Tenor also begins moving again, now nearly offstage, but changes direction, and moves toward station inside the piano; tenor continues moving after players stop.

40

Direct.

4 /4

3 4

∑

4 4

∑

3 4

∑

4 4

U ∑

∑

3 4

∑

∑

∑

voice

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly

exacting Uke./ Voc. (Cl.)

° 4Ó ¢& 4

3 4

‰ ¿¿¿ Œ >¿ f

4 4

∑

≈ ¿¿¿ ™™™ ™ >¿

3 4Œ

∑

Œ

¿¿ ¿¿ >.

‰

f

¿¿ ¿¿ >.

‰

≈ ¿¿¿ ¿ >.

‰

NV suddenly reserved, cool, mourning p 3

¿¿ ¿¿ >.

¿¿ ≈ ¿¿ 44 ¿¿ ¿¿ bœ ™ >. >. to

3 4

¿¿¿ ¿¿¿ ‰ ™ ¿¿ >> f

Œ

4 4

∑

3 4Œ

∑

die,

to

bœ -

bœ-

bœ- bœ

œ

˙

œ

˙

œ

˙

die.

voice

NV suddenly reserved, cool, mourning p 3

exacting

° 4Ó ¢& 4

3

œ bœ œ ™

3 œ nœ 4 bœ 3

ff

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly Uke./ Voc. (Sax.)

gliss. between notes at the last moment

,

¿¿¿ ¿¿¿ ‰ ™ ¿¿ >>

Œ

¿¿¿ ¿¿¿ ¿¿¿ ¿¿ ¿ >. >. >. ff

‰

f

≈ ¿¿¿ ≈ ¿ >.

¿¿¿ ¿ >.

¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿ >. >. >.

¿¿¿ ‰ ¿ >.

¿¿¿ ¿¿¿ ≈ ¿¿ >. >.

4 4 bœ ™ to

gliss. between notes at the last moment

, 3

œ bœ œ ™

3 œ nœ 4 bœ

die,

to

3

bœ -

bœ-

bœ- bœ

die.

voice strum w/fingertips

strum freely (slow or fast) before the downbeat

strum freely (slow or fast) before the downbeat Uke./ Voc. (Tpt.)

° 4 ¢& 4

3 4 #˙˙ ™™™ #n ˙˙ ™

∑

#œ œ œ nœ

4 4 #w #n w w w

3 4Œ

Œ

Œ #œ œ

#œ

nœ mp

poco f

mp

f

NV suddenly reserved, cool, mourning p 3

Play even repeated notes: need not be an exact 3/4 measure, and need not exactly line-up with choir.

##nœœœœ >

>œ

>œ

>œ

>œ

>œ

>œ

4 4 bœ ™ to

gliss. between notes at the last moment

, 3

œ bœ œ ™

3 œ nœ 4 bœ

die,

to

3

bœ -

bœ-

bœ- bœ

die.

ff Percussionist keeps repeated notes even: need not be an exact 3/4 measure, and need note exactly line-up with choir. Tibetan Prayer dead stroke bowl w/ wooden beater

Glock./ Cro./ Etc.

° 4 ¢& 4

3 4

∑

4 4

∑

3 4

∑

∑

Play even repeated notes: need not be an exact 3/4 measure, and need not exactly line-up with choir. strum freely (slow or fast) before the downbeat

strum w/fingertips

strum freely (slow or fast) before the downbeat Uke./ Voc. (Pn.)

° 4 ¢& 4

3 4 #˙˙˙ ™™™ ˙™

∑

poco f

œ œ œ œ mp

open

¯ + ≈ b g gg g g gg gg g g g g g g g g g g g g g 44 bœ œœœœœœœœœœ œœ œœœœœœœœœœœœœœœœ œœœ 43 bœ œœœœœœœœœœœœœœœœœœœœœœœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ o mp f p

4 w 4 #w w w

3 4Œ

Œ

Œ

œ #œ

œ œ mp

f

voice

NV suddenly reserved, cool, mourning p 3

gliss. between notes at the last moment

, 3

4 4

#œœœ >œ

b >œ

>œ

>œ

>œ

>œ

3 4 bœ ™

>œ

ff

b œ œ œ™

to

œ œ

die,

b œ-

to

b œ-

b œ-

bœ-

n˙

die.

Pitches here are not exact; more important are the interval relationships moving from the highest note to the lowest; tenor will move through the various registers from a tight, high pitchless falsetto to a low, raspy, pitchless gutteral sound by the end that cuts off immediately, thereby cueing the entrance of the choir; need not be an exact 3/4 measure. rubato a tempo pp

mf

f meno f

T. Solo

° 4Ó &4 ‹

#œ r3 #œ. 4 v

µœ ™™

∑

4 ‰ 4

I

Perc. (Ten.)

4 ¢/ 4

˙

I

3 4

∑

∑

rubato, tumbling

ff

œ#œ œ. œ. œ. ¿ # ¿ #¿#¿ ¿ ¿ #¿ 4 ‰™ ≈ ≈ ¿n¿ 4 . . . . . . . . . n¿. n¿. b¿. ¿. n ¿. # ¿ # ¿ . . # ¿. n ¿. ¿. ¿. ¿. ¿. ¿. # ¿ n ¿ . .

feel

am

+ . . o 4 ŠϞϞϞϞϞϞϞŠϞϞϞΠ4 f

sub. p

œ #œ 3 #œ. œ™ 4≈ ‰ I,

I

3 4

I

am a -bout[tt]

U ∑

∑

4 4

≈ ¿¿¿ ‰ >¿

3 4

∑

4 4

∑

∑

3 4 ‰ ¿¿¿ Œ >¿ f

≈ ¿¿¿ ‰ >¿

‰

‰

¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿ ¿ ¿¿ ¿ ¿ >. >. >. >. >. >. ff

¿¿¿ ¿¿¿ ≈ ¿¿ >. >.

NV suddenly reserved, cool, mourning p 3

¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ 44 ¿¿ ¿ ¿ ¿¿ ¿ ¿ bœ ™ >. >. >. >. >. >. >. >.

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly exacting

° 4 Œ ¿¿ ‰ Œ ¢& 4 ¿¿ > f

‰™

¿¿¿ 43 >¿

∑

4 4

∑

∑

3 4

∑

∑

voice

to

Uke./ Voc. (Db.)

3 4

mp ppp

exacting

° 4 Œ ≈ ¿¿ ‰ Œ ¿¿ ¢& 4 > f

Ó

[ttt!]

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly Uke./ Voc. (Vla.)

Œ

∑

3 4 ¿¿¿ ‰ Œ >¿ f

‰™

¿¿¿ >¿

‰

gliss. between notes at the last moment

, 3

3 4 b œ œ œ™

œ œ

die,

b œ-

to

b œ-

b œ-

bœ-

n˙

bœ-

n˙

die.

voice

NV suddenly reserved, cool, mourning p 3

≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ 44 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ bœ ™ >. >. >. >. >. >. >. >. ff to

,

gliss. between notes at the last moment 3

3 4 b œ œ œ™ die,

œ œ to

b œdie.

b œ-

b œ-

11 Players put down ukulele and get their instruments ready to play in a stealthy manner

D 48

Direct.

/

∑

4 4

∑

√ ∑

∑

√ ∑

∑

√ ∑

√ ∑

ukulele

strike ukulele on vocal cut-off on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern mf Uke./ Voc. (Cl.)

ukulele (ff) and voice (ppp)

»

p

° ¢& nœj œ

j œ

œ

‰ œ

˙

4 4 ™™ ˙

√ ∑ w > mmm...

p Don't die,

Se

-

ñor,

your

grace...

ukulele

√ »

ff

¿¿j … ¿ >¿

##nœœœœ >.

w >

… √ ¿¿¿ Œ ™ ¿ >.

√ Ó

√ ∑

… √ ¿¿¿ Œ ™ ¿ >.

√ Ó

√ ∑

… √ ¿¿¿ Œ ™ ¿ >.

√ Ó

√ ∑

… ¿¿ √ Œ™ ¿¿ >.

√ Ó

√ ∑

sfffz ppp ukulele

strike ukulele on vocal cut-off on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

»

p

mf Uke./ Voc. (Sax.)

ukulele (ff) and voice (ppp)

° ¢& nœj œ

j œ

œ

‰ œ

˙

4 4 ™™ ˙

√ ∑ w > mmm...

p Don't die,

Se

-

ñor,

your

grace...

ukulele

√ »

ff

¿¿j … ¿ >¿

##nœœœœ >. sfffz

w >

ppp

ukulele

strike ukulele on vocal cut-off on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

»

p

mf Uke./ Voc. (Tpt.)

ukulele (ff) and voice (ppp)

° ¢& nœj œ

j œ

œ

‰ œ

˙

4 4 ™™ ˙

√ ∑ w > mmm...

p Don't die,

Se

-

ñor,

your

grace...

ukulele

√ »

ff

¿¿j … ¿ >¿

##nœœœœ >. sfffz

w >

ppp

ukulele

strike ukulele on vocal cut-off on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

» ff

° ¢& b œj œ

œ

j œ

Se -

ñor,

4 4

‰ ˙

j… ¿¿¿ >¿

bœ

˙™™

your

grace...

ukulele

√ »

p

mf Uke./ Voc. (Pn.)

ukulele (ff) and voice (ppp)

√ ∑ w >

#œ ### œœœ >.

w >

p Don't die,

mmm... ppp

sfffz

molto rubato and legato - text sung freely on written pitch, alla Gregorian chant, but NOT liturgical in affect a tempo poco f molto p T. Solo

° & ‹

∑

4 4

∑

√ w

∑

Œ

Forgive me my friends, making you fall into the error into which I fell, thinking that there were and are knights errant in the world.

#œ œ™

molto rubato and legato - text sung freely on written pitch, alla Gregorian chant, but NOT liturgical in affect sub. f

œ œ œ #œ

œ

j √ œ ˙ ™™

Se - ñores, let us go slow - ly

enter immediately, very slow at first and then pressing forward

> ® œ™™

œ

May

I was mad, and now I am sane; I was Don Quioxte of La Mancha, and now I am, as I have said, Alonso Quixano the Good.

my

-œ

œ

-œ

œ

-œ

-œ

œ

re - pen-tance and sin - cer

-

œ

i - ty

œ œ œ œ œ œ œ

5 œ œ œ œ

re-turn me to the e-steem your gra-ces once

need not be exactly w/voice - can be free and increasingly chaotic Perc. (Ten.)

∑

¢/

4 4

∑

√ ∑

∑

√ ∑

∑

>œo œ+ œo œ+ œo œ+ œo û û û û û û û

‰ ™™

+ œ+ ™û >œû œo û œ+ û œo û œ+ û œo û œ+ û œo û œ+ û œ¯ û œ+ û œ¯ û œ+ û œ¯ û 5

f

pp

f

pp

f

ukulele

strike ukulele on vocal cut-off on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

° ¢& b œj œ

»

p

mf Uke./ Voc. (Vla.)

ukulele (ff) and voice (ppp)

œ

j œ

Se -

ñor,

4 4

‰ ˙

ff

bœ

˙™™

your

grace...

j… ¿¿¿ >¿

√ ∑ w >

√ » w >

p Don't die,

mmm... ppp

ukulele

#œ ### œœœ >.

… ¿¿ √ Œ™ ¿¿ >.

√ Ó

√ ∑

… ¿¿ √ Œ™ ¿¿ >.

√ Ó

√ ∑

sfffz

ukulele

strike ukulele on vocal cut-off on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

° ¢& b œj œ

»

p

mf Uke./ Voc. (Db.)

ukulele (ff) and voice (ppp)

œ

j œ

Se -

ñor,

4 4

‰ ˙

ff

bœ

˙™™

your

grace...

j… ¿¿¿ >¿

√ ∑ w >

p Don't die,

mmm... ppp

√ » w >

ukulele

#œ ### œœœ >. sfffz

E 12 56

Direct.

/

Cl (Bb)/ B. Cl.

° ¢&

∑

∑

Players begin playing without any movement whatsoever; after finishing playing gesture, they should freeze in place as if stuck in the moment that they were in while playing prior to stopping.

3 4

∑

∑

U 3 4Œ Œ

Œ

4 4

… U nœ 43 Œ Œ

Œ

4 4

…U 3 4Œ Œ

Œ

4 4

…U 3Œ Œ b6. 4

Œ

4 4

… U 3 4Œ Œ

Œ

4 4

3U 4Œ Œ

Œ

4

… U 3 4Œ Œ

Œ

4 4

Œ

Œ

4 4

Œ

4 4

Tenor begins to remove death mask.

4 Π4

∑

Ó™

∑

Cl. in Bb

∑

∑

3 4 œ bœ bœ

∑

… œ ‰ Œ

Œ

… ‰ Œ

Œ

nœ bœ bœ

… œ ‰ Œ

Œ

4 bœ bœ nœ œ bœ 4 œ

… ‰ Œ

Œ

4 4

œ

… œ Œ

Ó

Ó

Œ

‰ œ bœ bœ

… Œ

Ó

Ó

Œ

‰

pp

Ten. Sax.

Sop. Sax./ Ten. Sax.

° ¢&

6

∑

∑

3 4

∑

6

œ œ bœ bœ œ nœ

6

œ nœ bœ bœ œ nœ

6

6

œ œ bœ bœ nœ œ œ œ bœ œ œ nœ

œ œ bœ bœ nœ œ

pp

tongue stop w/air

C Tpt.

° ¢&

∑

∑

3 4 Ϫ

∑

… ‰ Œ

tongue stop w/air

ord.

Œ

Ϫ

b6.

… ‰ Œ

tongue stop w/air

ord.

Œ

4 Ϫ 4

6.

pp

tongue stop w/air

ord.

… Œ

Ϫ

b6.

pp

tongue stop w/air

ord.

Ó

Ó

‰ œ™

Œ

b6.

pp

pp

pp

temple blocks w/HS deadstroke

Perc.

° ¢/

∑

∑

… ggg ‰ Œ

3 4 g

∑

Œ

pp

… g gg ‰ Œ

g

Œ

4 4 g gg g

pp

… ggg Œ

g

pp

Ó

pp

Ó

Œ

‰ œ

œ œœ

pp

ord. w/HS

#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 œ œ œ œ œ œ œ Mar.

∑

{&

∑

3 4

∑

∑

4 4

∑

∑

‰ Œ

?4

pp

#>œ ™ ?

∑

∑

… ‰ Œ

3 # œ #œ œ #œ &4

∑

… ‰ Œ

# œ #œ œ #œ Œ

5

Œ

4 # œ #œ œ #œ 4

5

… Œ

œ œ œ œ

5

# œ #œ œ #œ Ó

‰

Œ

‰

ff

5

5

pp

pp

Pno.

… ‰ Œ

3

{

?

∑

∑

3 &4 œ °

∑

œ

œ

… ‰ Œ

3

Œ

œ

œ œ °

3

Œ

4 œ œ 4 °

3

œ

œ

œ

œ

… Œ

3

…

Ó

Ó

ø

Œ

‰ œ œ °

°

œ

?3U Œ

4

spoken

a tempo molto f T. Solo

Perc. (Ten.)

° #˙ ™™™ & ‹ had

¢/

sub. pp

sub. molto f

œ. #˙ ™™™ R

œ. #>œ ™ œ. R

for me

∑

sub. p

>œ ™ œ. ¿ ¿ Œ

3 4

∑

∑

4 4

∑

∑

3U 4Œ Œ

3 4

∑

∑

4 4

∑

∑

¯ 3 U œ+ û œû œûœûœûœûœûœû 4 4Œ 4

and let the scribe con - tin- ue.

∑

∑

pp

MST ord. MST

Vla.

°B ¢

∑

∑

∑

o… 3 #œ œo bœ œ œ #œ œ ‰ Œ 4

Œ

o œo … #œ œ bœ œ nœ #œ ‰ Œ

Œ

o#œ nœ #œ nœ œ #œ #œ … 4 #œ œo bœ œ nœ #œ œ Œ 4

bb Oœ Ó

Oœ

Oœ ‰™

‰

# œ n œ# œ n œ œ # œ … #œ 3 U ‰ 4Œ Œ

Œ

4 4

Œ

4 4

7

p

7

pp

7 7

7

pp

Db.

°? ¢‹

∑

∑

∑

3 ≤ 4 #Oœ pp

… ‰ Œ

Œ

#Oϲ pp

… ‰ Œ

Œ

4 #Oϳ 4 pp

œO≤

… Œ

Ó

Ó

Œ

≤ ‰ #Oœ pp

… U 3 4Œ Œ

F 13

Driving, relentless q = 88 - 92/ h = 44 - 46 With death mask removed, Tenor takes notice of the players; beginning at arrow, he conducts them in tempo with his beating the kkwengari; he is proud & invigorated.

64

Direct.

4 /4

Cl (Bb)/ B. Cl.

° 4 ¢& 4

2 4

∑ slap tongue

∑

4Ä 4

∑

4 4

∑

ord.

…  ≈

6 >.

≈

≈

≈ 6 >.

# 6. >

n 6. >

6 >.

n 6. >

≈

‰

# 6. >

œ

bœ

bœ

2 4 Ϊ

nœ

œ

bœ

bœ

œ

pp

n 6. >

fff

slap tongue

Sop. Sax./ Ten. Sax.

ord.

° 4 ¢& 4

…



6

≈ 6 >.

6 6 >. >.

‰ 6 >.

6

2 4 Ϊ

‰ œ œ bœ bœ

6 >.

# 6. >

# 6. >

≈ n 6. >

6 >.

6 >.

6 >.

n 6. >

nœ nœ

4Ó 4 œ œ bœ bœ

‰

œ nœ #œ ™

pp

fff pp

tongue stop w/air

ord.

C Tpt.

° 4 #œ^ ¢& 4

œ. œ. œ. œ.

œ.

‰ 3

2 4 Ϊ

Ϫ

pp

deadstroke

Œ

‰

midrange cluster

{

˙ f

2 4 Ϊ

g g g

g

pp

g

 4 4

g g g

∑

pp

#>œ >œ œ œ œ œ œ œ œ œ œ œ >œ

ord.

ord.

#œ Mar.

Ϫ > fp

…

p lowest possible notes

 4 4‰ 6.

Ϫ

b6.

3

pp

° 4Ó ¢/ 4

ord.

œ. >œ™

f

Perc.

tongue stop w/air

ord.

… œ. œ. #œ. œ. >œ™

? 44

œ

œ œ



œ œ œ œ œ

2 4

Œ & ¿¿¿

¿¿ >¿ ff

>

4œ 4 >

∑

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

>œ û

Ϟ

>œ œ œ œ >œ û û û û û

3

ffp

ff ff

ord. fully chromatic cluster w/fist

“” > > > > 66 66 66 66 66 66 6666

4 &4 Œ

ord.

use both hands

66>666

‰™

… # œ #œ ‰

#œ

œ

2 4 Ϊ

‰

#œ

#œ œ



#œ

4 nœ 4 >

œ

3 5

ff

5 3

pp random very low note stopped w/LH

> 666 666

{

? 44

≈

‰

3

‰™

‰ &

>6 °

>6 >6 >6™

>6

œ



3

… œ

œ

2 4 Ϊ

œ

œ

œ

4 4

∑

4 4

∑

>6 >6

ff

T. Solo

ff

ord. fully chromatic cluster w/fist

Pno.

°

°



° 4 &4 ‹

2 4

∑

∑

Tenor may simply conduct, OR play straight 16th. notes, OR improvise on the kkwaenggwari up through the end of m. 69 instead of playing the notated part. Perc. (Ten.)

4 œû œû œû œû œû ¢/ 4

Ϟ Ϟ Ϟ

2 4

Ó

 4 >œ >œ œ œ û û û 4

∑

f

Ϟ

>œ û

Ϟ

ff

Ϟ Ϟ Ϟ Ϟ >Ϟ mf

Ϟ

Ϟ Ϟ

ff

arco MSP

#>6 6 6 6 6 6

pizz.

Vla.

°B 4 ≈ ¢ 4

» #>œ ™

MST

‰™ 3

ff arco MSP pizz.

Db.

°? 4 » ¢‹ 4 nœ > ff

» œ >

#œ >œ ffp

‰

o #œ œ bœ nœ

o… nœ #œ nœ 2 Œ ™ 4

# œ n œ # œ n œ œ # œ  ord. # œ 4 >œo 4

>œo >œo

>œo >œo >œo >œo >œo >œo >œo >œo >œo >œo œo œo œo œo œo œo œo œo sim. œ œ œ œ œ œ œ œ

>œo

>œo

7

pp

ff

7

pp

pizz.

n>6 6 6

III

» #>œ ‰™

arco

‰

#Oϲ

… 2 4 Œ™

œO≤ J



o 4> 4œ

>œo

>œo ™

#>œ

>œ

ff

fp

‰

3

fp pp

ff

>œ

14

67

/

Direct.

∑

∑ #œ

Cl (Bb)/ B. Cl.

° ¢& Ó

∑

˙™

Œ #œ pp

Sop. Sax./ Ten. Sax.

w

f

° ¢&

Œ

#w

˙™

<#> w

pp f

C Tpt.

° ¢& œ

w

Œ

˙

w

pp

f

#œ

œ

œ

œ

œ œ œ œ >œ >œ >œ >œ œ

#>œ >œ >œ >œ œ

#>œ >œ >œ >œ Mar.

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 >œ œ

œ

>œ >œ œ

œ œ

>œ >œ œ

#>œ >œ >œ >œ œ

#>œ >œ >œ >œ

œ

≈

nœ œ œ > > >

œ

> > > > œ œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

#>œ >œ œ

œ

œ

n>œ

>œ >œ

‰

>œ

œ œ

œ

>œ >œ >œ >œ >œ > > > œ œ œ œ

n>œ œ

œ œ

œ œ

>œ

>œ

œ

> > œ œ

œ

Pno.

{

&

∑

∑

T. Solo

° & ‹

∑

∑

Perc. (Ten.)

¢/

Ϟ Ϟ >Ϟ

¯ œû œû œû œû >œû mf

Vla.

œ+ û

¯ œû œû >œû

œû œû ≈

Ϟ Ϟ >Ϟ

œû œû >œû œû œû œû œû œû œû œû >œ ™û

ff

>œ >œ >œ >œ œ œ œ œ o o o o n>œ >œ >œ >œ œo œo œo œo °B ¢ #>œ >œ >œ >œ œ œ œ œ œ œ œ œ œ œ œ œ

>œo °? ¢‹ #>œ

‰ >œ

>œo

>œo.

I o n>œ

>œo

œ¯ û

œû œû ‰

œ >.

Ϟ

‰

>œo >œo œo œo œo œo œo œo >o >o o o o o o o œ œ >œo >œo >œo œ œ œ œ œ œ œ œ

o n>œ

o œ>

‰

>o œ

‰

mp

>o œ

>œo ‰

œ œ œ œ œ œ œ œ œ œ

ff

>œ

?

≈

#w

>œo ≈

œ+ û

Ϟ

œ¯ û

‰

Ϟ

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 œ >o œ

> #œ

‰™ >œ pp

sffz

>œ

pp

>œo. ‰

#>œ

Œ

∑

f

II

Db.

œ+ û

Ó

15

70

/

Direct.

∑

∑

∑

5 4

∑

Gently lean on tied notes to create throbbing or pulsating articulation inside texture.

˙™

#œ Cl (Bb)/ B. Cl.

° ¢&

-˙

>œ

œ

-œ

-˙

œ

5 4

#œ

Œ #˙ f pp

Gently lean on tied notes to create throbbing or pulsating articulation inside texture. Sop. Sax./ Ten. Sax.

° ¢& #w

5 4

˙™

f

œ

œ >

pp

f

˙-

œ-

œ

˙™ -

-œ

œ

-˙

Gently lean on tied notes to create throbbing or pulsating articulation inside texture.

C Tpt.

>œ

œ

° ˙™ ¢&

bœ

˙

Œ

° ¢/

f

∑

∑ #>œ >œ >œ >œ œ

>œ Mar.

#>œ

œ

#œ œ œ

nœ œ œ œ ‰

{&

œ

œ

Ϫ

œ

?

T. Solo

Perc. (Ten.)

œ >

œ >

n>œ

>œ

œ >

>œ

ff

> > œ œ >œ œ >œ œ œ œ

n>œ

pp

>œ

° & ‹

œ

œœ

œ œ ‰

>œ œ œ œ œ œ œ œ >œ ™û ûûûûûûûû ¢/

<#> w °? ¢‹ f

œ

œ

œ œ œœ œœ

>œo >œo >œo >œo >œo

œûœû‰

œ œ œ œ >œ

œ

œ

œœœœœ

œ

œ œ

#>œ #>œ >œ >œ œ

œ œ

œ œ œ #œ œ œ

œ œ œ

œ œ

>œ

‰

œ¯ û

Ϟ

‰

œœœœœ

‰

¯ œûœû>œû œûœûœûœû>œû

>œo # œ œ œ œ œ œ œ &

mf

œ

œ œ

>œ sub. ff

>œ

>œ

‰

œ >

nœ

œ

œ œ

œ

¯ œ+ û œûœû>œû

œ ‰ > >œ

‰

œ

œ œ

>œ

>œ

>œ ™ nœ œ ‰ ™ >

≈

œ œ ‰

œ

œœ‰

#>œ >œ

#>œ

>œ

>œ

>œ

> ŠϪ

‰

nœ œ ≈ >

5 4

œ+ û œûœû≈

œûœû>œû œûœû >œ

>œ œ œ œ >œ ûûû û û

‰

œ œ

œ œ œ œ

œ œ

sub. pp

œ #œ œ œ

>œ

>œ

5 4

∑

¯ œû œûœûœûœû>œû œû >œû œû >œûœûœûœû>œû œûœû œû œû>œû œûœûœûœû>œû mf

5 4

?

#>œ ™

ff

œ œ œ œ œ

>œ

∑

ff

>œ

>œ

‰

? &

mp

n>œ >œ

œ

œœ œœœ

ff

sub. pp

>œ

>œ

∑

sub. pp

Db.

œ œ œ > & #œ

∑

œ

œ

œ nœ œ ‰ ™ >

#>œ

œ

œ

>œ

#>œ

œ

œ œ

ff

œ

f

Vla.

#>œ #>œ >œ >œ œ

5 4

œ œ >œ >œ œ >>

‰

°B ¢ #œ

œ

‰

Pno.

{

œ œ

5 4

∑

œ œ

pp

& nœ œ œ™ >>

œ

∑

#œ œ œ œ œ œ

>œ

5 4

œ

pp

Perc.

-˙

ff

mf

¯ œ+ û œûœû>œû

œ+ û œûœû≈ œûœû>œû œûœû 5 4

ff

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

œ

œ

œœœœœ

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

5 4 œ

ff

Gently lean on tied notes to create throbbing or pulsating articulation inside texture.

˙™

5 4 #œ

œ >

pp

ff

˙-

˙™ -

G 16

Untethered, wandering q = 48 - 50

Tenor immediately stops conducting once players freeze after playing final phrase in measure. 74

5 /4

Direct.

∑

∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

… Cl (Bb)/ B. Cl.

° 5 µ-˙ ™ ¢& 4

-˙

-˙™

œ

pp

poco f

bœ

bœ

œ

nœ

sub. ppp

… Sop. Sax./ Ten. Sax.

° 5 ¢& 4

6

˜ ˙- ™

˙-

œ

˙- ™

œ

bœ bœ

œ

nœ

œ

pp poco f

sub. ppp

tongue stop w/air

C Tpt.

° 5 ¢& 4 ˜˙- ™

˙-

œ

…

Ϫ

˜˙- ™

b6. poco f

pp

sub. ppp

… Perc.

° 5 ¢/ 4

∑

Ó

Ó

œ

œ

œ

œ

pp

pp

#œ #œ

œ

œ

œ

#>œ

5 Mar. & 4 {

œ

#œ #œ

‰

‰™

Œ

≈

Œ

Ó

Œ

pp

œ.

5 &4 ‰

‰

œ

≈

œ

œ

‰

≈

… #œ ≈

œ

Œ

Ó

#œ

œ

#œ.

Ó

œ 5

mp ppp

Pno.

{

? 45 Œ

‰™

Œ

. #œ

‰

…

3

≈

Œ

Ó

Ó

&

# œ.

œ .

nœ

nœ °

spoken

Tenor puts down kkwaenggwari and mallet; turns and addresses the audience

T. Solo

° 5 &4 ‹

∑

4 4

∑

√ ∑ Item: I bequeth my entire estate to Antonia Quixana, my niece, and I want to pay the salary owed to my housekeeper for the time she has served me, plus another twenty ducados for a dress. As executors, I appoint the priest and Bachelor Sansón Carrasco.

Perc. (Ten.)

5 >œû œû œû œû œû œû œû œû >œ ™û ¢/ 4

œ¯ û

œû œû ‰

Ϟ

‰

Ϟ

‰

œ+ û œû œ¯ û

‰

Ϟ

‰

Œ

4 4

√ ∑

… œo 4 4

√ ∑

Ϟ

‰

f

pp

MST

Vla.

° 5 #œ ¢& 4

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ o œ

œ

œ

#œ

o œ

œ

œ

œ o œ

o œ

o œ

o œ

o œ

o œ

‰

B

Œ

#œ

o œ

œ

bœ

œ #œ

7

ppp

pp

… Db.

°? 5 ¢‹ 4 µ˙ ™ pp

#Oœ≤ ˙-

˙-

˙ mf

sub. ppp

4 4

√ ∑

17 Tenor flicks his hand to the ensemble, as if to shoe them away or to halt them from proceeding; they react by playing & stopping. 77

√ Ó™

/ Œ

Direct.

∑

∑

∑

sorrowful, weary Cl (Bb)/ B. Cl.

° ¢ & œ bœ bœ

… ‰™

3 3 3 3

nœ

œ

œ

‰

#œ œ

œ

p

… 3 ° ‰™ & ¢ œ œ bœ

3

3 3 3

Œ

piu ppp

Sop. Sax./ Ten. Sax.

3 3

√™ Ó

œ

‰

œ

œ #œ ‰

œ

p

œ œ

œ

œ

‰ #œ œ

œ

3

œ œ nœ

œ

bœ bœ œ

mp

pp

√™ Ó

∑

∑

∑

… ‰™

√™ Ó

∑

∑

∑

… œ œ ‰™

√™ Ó

∑

∑

∑

piu ppp

ord.

C Tpt.

° -œ ¢& piu ppp

Perc.

° œ ¢/ piu ppp

Perc. enters on the words "to forgive the occassion..."; player proceeds in tempo as tenor finishes. w/SS

dreamy

#œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ √ Ó

Mar. & Π{

3

#œ œ œ œ œ œ œ

> 3 #>œ œ œ œ œ # œ œ œ œ œ œ œ œ œ > ≈ nœ œ œ œ œ œ

#>œ œ ≈

Ù

“” #œ

pp

mp

mp

pp

# œ. œ.

bb œœ ™™

œœ

œœ™™

n œœ œœ™™

nœœ^ œœ

≈

… œ ‰™

3

{

& œ

≈

“” . #œ œ. œœ # œ. œ. œ. œ. œ. œ. œ. n#œœ ®

3

nœ œ œ œ œ œ œ #œ œ œ œ œ >

nœ œ

dreamy

poco sfz

mp

pp

œœ

œœ J

œœ

> #œœ ™™

œœ ™™

# œ. œ. œ. œ. œ. n œ. bœ bb œœ ™™

3

pp

nœœ #œœ

6

sub. mp

3

pp

œœ n œœ ™™

poco sfz

sub. p

pp

mp

3

√™ Ó

∑

œœœœ

#œ

#˙

Ó ˙

œ pp

ø

°

Tenor will continue talking after the marimba enters and instruments proceed to play; tenor will finish speaking as the instruments are playing.

T. Solo

Vla.

√™ Ó

° Œ ¢& ‹

∑

∑

∑

Item: I implore the aforementioned executors that if they are fortunate enough to meet the author who, they say, composed a history entitled "The Second Part of the Exploits of Don Quioxte of La Mancha," that they ask him or her for me, as courtiously as possible, to forgive the occassion I unwittingly gave him or her for writing so many great absurdities, because I depart this life with qualms that I have been the reason he or she wrote them.

#œ nœ #œ œ … √ °B ≈ ™ ‰ Ó™ ¢

ord. sighing

˙

#œ ™

-œ

œ

œ J

Ϫ

#˙

‰

‰ pppp

p

mp

pp

p

œ J

b œ- ™ mp

7

piu ppp III dreamy Db.

°? Oœ ¢‹ piu ppp

… ‰™

√™ Ó

≈ nœ œ

“” # œ.

3

p

poco sfz

pp

3

3

pp 5

piu ppp

Pno.

#>œ œ œ œ #œ œ œ

6

mp

&

> ® nœ œ œ œ œ œ œ

6 3

… œ ≈ ‰ √ Ó™

œ œ œ > 3 nœ œ œ œ ‰

3

pp

# œ #œ

#œ œ

#>œ œ

∑ & ‹

o ˙™ v fpp

II

#˙o Œ

Œ

Πpp

œœ

I

VIGNETTE I: Aria - Somewhere in La Mancha 18

Piano plays tuning "A" inside of cluster; players comes to life and begins tunning their instruments at the tuning "A" become more clear. Tenor will enter in tempo just as ensemble finishes tuning.

Gently moving forward q. = 44 - 48

H 4 4

81

/

Direct.

5 4

∑

∑

∑

™™98

√ ∑

∑

™™ 88

∑

4 4

∑

9 8

√ ∑

∑

∑

Piano interrupts tenor with cluster; player gently tuning to the piano tuning "A".

… 3 -. 3 4 œ œ‰ 4 œbœ bœ ‰ ™ Œ Œ nœ œ

3 3

3

Cl (Bb)/ B. Cl.

° ¢&

œ

œ

œ ‰‰

3

œ œ 45 ‰ #œ œ

#œ œ

œ

3

œ œ‰

œœ œ

… ‰™

√ ∑

∑

™™98

™™ 88

∑

√ 4 √ 4 Œ Ó™

∑

9 8

∑

∑

3

p

mp

p

p

ppp Piano interrupts tenor with cluster; player gently tuning to the piano tuning "A". 3

Sop. Sax./ Ten. Sax.

° ¢&

… ‰™ Œ Œ

3

5 4

∑

4 4

∑

… ®‰ ™

√ ∑

∑

™™98

™™ 88

∑

√ 4 √ 4 Œ Ó™

∑

9 8

∑

∑

b œ b œ.

œ œ bœ ppp

Piano interrupts tenor with cluster; player gently tuning to the piano tuning "A".

C Tpt.

° ¢&

5 4

∑

… -. ‰™ Œ Œ œ

… ‰™

∑

√ ∑

™™98

∑

™™ 88

∑

√ 4 √ 4 Œ Ó™

… … ™ œ œ‰ Œ Œ œ œ ® ‰ ™

∑

√ ∑

™™98

∑

™™ 88

∑

4 4

∑

√ ∑

™™98

∑

™™ 88

∑

4 4

4 -œ 4

∑

9 8

∑

∑

√ ∑

9 8

∑

∑

√ ∑

9 8

∑

∑

ppp

Perc.

° ¢/

5 4

∑

4 œ 4

∑

ppp

Mar.

{&

#œ œ œ œ œ œ œ œ #œ #œ œ œ œ 3 > 3 ‰ ≈ nœœœœœœ ≈ 45 ≈≈nœœœ

>œ bœœœ≈ poco sfz

nœ œ ™

œ

∑

3 3

pp

mp

pp

ppp

# œ. œ. œ. œ. œ. œ. œ. <#>œœ

4 4

œ #œ œ

œœ ##>œœ ™™

œœ

œœ œœ œœ

5 4 Œ

&

‰

Interrupting the tenor's strumming, pianist plays chord, and then repeats the chord & individual pitches, thereby allowing tenor to the time to tune his ukulele; pianist cues double bass player before moving on.

œ. œ. œ. ‰ ®

‰

… . … 4 # œ #œ œ ≈ ‰ Œ Œ œ #œ ≈ ™‰ 4

Œ

√ ###w ww w > ff

∑

3 3

poco sfz

5

5

3

p

pp ppp

™™98

Pianist interrupts tenor by striking fully chromatic cluster; gradually removing notes "around" tuning "A" to eventually reveal the tuning "A" that players will use to tune; approx. 5-8 sec.

™™ 88

∑

4 √ 4 w > ff

∑

9 8

∑

∑

Pno. cluster w/fist

>j œ

{

&

3 3

#œ ™ œ œ œ œœœ >

Ϫ

bb œœ j nœ 45 œbœ

œœ n œœ

œœ nœœ #œœ œœ ™™

3

œœ 4 J 4 nœ

sub. mp

pp

poco sfz

∑

∑

Ϫ

Ϫ

Ϫ

œ œ™ œ >

Ϫ

pp

°

5 4

4 Π4

∑

°

Tenor stops playing, and begins to fine tune his out of tune ukulele; proceed when instrument is tuned; approx. 10-14 sec.

matter of fact, in tempo

∑

™™ 88

∑

ord.

√ √√ 4 6666 666666666666 9 4 66 6666666 6 œœœ œ 8 œ™

pp

ø

Tenor takes his ukulele T. Solo

√ √ √√ √ UU √ 9 Œ œœœœœ #œ # œ #œ œ œœœœ ™™8 œ p

3

ø

° & ‹

… … 3 ™ œ ‰ Œ Œ œ nœ‰ ™ .

Ó Œ

∑

sung

a tempo

√ ∑

™™98

… √ √ ‰ #œ #œ 44 Œ Ó

mf

™™ 88 #œ ™

∑

Ϫ

Some - where

a tempo

√ 9 ™ ‰ ‰8 Œ

mp

Œ ™ #œ ™

in La

Some

#œ ™ -

where

Œ #œ œ œ™ in La Man

-

With this, he brought his will to a close. gently strumming out of tune ukulele and recognizing it is not in tune

once tuned, tenor begins playing, emerging from piano resonance; repetition is at the discretion of the tenor.

F#, A, C#, G#

begin playing, emerging from piano resonance once the ensemble has just completed tuning

F1/4#, A1/4b, C1/4#, G3/4# Uke./ Voc. (Ten.)

5 4

∑

¢&

4 4

∑

j µµB˜œœœœ œœœœ œœœœ

∑

√ ∑

j 3 œœœœ œœœœ œœœœ œœœœ

™™98 # #œœ # œœ

j œœœ œœœ œ œ

j j 8 œœœ œœœ œœœ œœœ ™™ 8 ###œœœ œœœ œœœ œ œ œ œ œ œ œ

p

j œœœ œœœ œœœ œ œ œ

… √ √ 4 Œ Ó 4

mp pp

Vla.

°B ¢

Ϫ

œ ≈

#œ œ J 45

-œ

# œ n œ # œ œ… o… œ n œ # œ 4 ≈™ ‰ Œ Œ ‰‰ 4

#˙ ™

Strings interrupts tenor with pressed bow sound. I, II MST flaut. heavy pressure

Interrupting the tenor's strumming; coordinate with pianist on downbeat. ord.

MST

^ Ϫ

≥o œ^ ∑

‰

√ Œ

√ Ó

™™98

™™ 88

∑

∑

7

pp

poco sfz

fff mp

pp mp

ppp 7

pp

Double bass player waits for cue from pianist before proceeding

Double bass player does not repeat measure. a tempo

arco III I ˙o Db.

° ¢& ‹

˙o

5 4

Ó mp

III

‰ pp

o Ϫ

O Œ ‹? 44 œ ppp

pizz. … … œ. ‰™ Œ Œ ‰™

∑

√™ Ó

√ œo pp

√ ‰ #œœ 98 # #œœ œœj œœ œœj œœ œœ œœ # #œœ œœj œœ œœj # œœ # œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ - p mp

o ˙™

™™ 88 ppp

√ o ))

à 9 Π8

∑

∑

∑

∑

ƒ ppp

Strings interrupts tenor with pressed bow sound. MST heavy pressure flaut.

œo œo œo

™™98

√ o Bb 4 66 4 ƒ f

∑

√ √ 4 ˜6 ) 4 f

à 9 Π8 ppp

1 œ œœœ œœ œœœ œœœ œ œœ œ

19

J 91

Cl (Bb)/ B. Cl.

° ¢&

Ϊ

∑

Ϊ

‰ #œ

Ϫ

pp

˙™

œ œ™

nœ œ œ

p

Ϫ

pp

#œ ™

Ϫ

mf

p

#œ- œj œ™

Ϫ

j œ '

œ

mf

∑

∑

2 4

∑

p

“” ∑

&

Ϊ

∑

#œ- ™ Æ ™ ≈ ™ #œœ ™™n#œœœ ™™ Œ ™

Ϊ

#nœœÆ # œ #n œœ #œÆ ™ nbœœÆ nbœœ # œ #œœ ™™ ≈ #œ ≈ œ ≈ œ ≈ ‰ œ œ #œœ œœ œœ ' œœ ' œœ ' œœœ '

-™ ≈ ™ #œœœ ™™

Ϊ

#nœœÆ ‰ œ #œ ™ ≈ Œ ™ #œ

Ó™

∑

#œ- ™ ‰ ™ ≈ ™n#œœ ™™

Ϊ

pp

mf

Ϫ

&

œ œ™ >

œ

Ϫ

˙™

#œ œ ™ > sub.

Ϫ

œ

Œ ™ 42

Ϊ

pp

mp

œ œ™ œ Œ™ >

#œ œ ™ >

œ œ

œ Œ™ >

Ϫ

p

sub. mf

Pno.

{

œ™ Æ ™ œœ ™™n#œœœ ™™ ‰ ™

∑

∑

∑

∑

2 4

∑

mp

mf T. Solo

Uke./ Voc. (Ten.)

° & #œ ™ ‰ œ#œ œ œ œ œ œ œ œ #œ œ œ ˙ ™ ‹ cha, in a place whose name I do not care to re- mem - ber, j ¢& ###œœœœ œœœœ œœœœ - -

j œœœ œœœ œ œ

1 œœœ œœœ ###œœœ œ œ œ-

œœ œœ

sub. piu p

Vla.

Db.

œ œ œ œ

‰ œ œ œ ≈œ œ œ œ ≈ œ œ œ

œ œj #œ œ œ

a gen-tle-man lived not long a- go,

1 j j œ œ œ œ œ œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ -

one of those who has a lance

∑

œ

‰

and an- cient shield

mp

œ #œ

œ on

œ

‰ œ

a shelf,

a

∑

œ œ

œ œ œnœ J

œ J

skin - ny nag,

and

a

#œ

∑

∑

°? ¢‹

Ϊ

Ϊ

∑

in La Man - cha...

j œœœ ##œœœ ™™™™ # œœœ œœœ œœœ œœœ œœœ œ œ- œ- œ œ œ œ

Ϊ

-˙ ™ ˙™

Ϫ Ϫ

‰ #œœ pp

p

arco III

o Ϫ

o œ -œ œ œ J

œ œ œ œ

œ œ

pp

o -˙™

œo o -œ J

œo œo

‰ #œ pp

-œo œ J

œ œ

p

œo

#œ- ™ œ™

Ϫ Ϫ

mf

p

#œ ™ œ™

o Ϫ

mf

œÆ nœ J

p

œ™ #˙ ™ ∑

p

œo IVo #œ J œ™

IV

#œ ™

pp

œ œ

mf

o Ϫ

œo -œo J

#œ- nœœ # œœ ™™ œ J

j 2 œœœ œœœ œœœ ™™™™ 4 œ œœ

###œœœ ™™™™ œpp

sub. p

Ϊ

2 Ϫ 4

‰ #œ ™ œ #œ ™

Ϫ

Some - where...

j ###œœœ ™™™™ œœœ œœœ œœœ œœœ œ- œ- œ œ œ

∑

molto p

‰#œ œj œ

∑

grey - hound for rac- ing.

sub. piu p

°B ¢

p

œ œ™ œ

∑

2 4

∑

2 4

o

mp II

œo

o ˙™ o œ™

œo J

mf

∑

p

o

mp

= A tempo q = 44 - 48 Cl (Bb)/ B. Cl.

sorrowful, weary

K 4 Π4

100

° 2 ¢& 4

∑

3

3

3 3 3

3

œ

œ

œ

‰ #œ œ

œ

p

3

3 3

‰

3

3

3 3 3

œœ

œ #œ ‰ œ œ

œ

œ

œ

œ #œ œ

3

œ

‰

œ

œ

‰ ‰

œ nœ bœ bœ

œ

3 œ œ 45 ‰ #œ œ

#œ œ

œ

œ

3

œ

3

p

mp

pp

p

mp

3 4 ‰ œœ œ œ œ‰ œ 4 œœ

p

p

w/SS

dreamy

Mar.

2 Π{& 4

#œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ > 3 #>œ œ œ œ œ # œ œ œ œ œ œ œ œ œ > 4 ≈ nœ œ œ œ œ œ ≈ 4 3

#œ œ œ œ œ œ œ Ù

#œ œ > # œ œ œ # œ œ œ œ nœ œ œ œ œ œ œ > n œ œ œ œ œ œ œ ® ≈ nœ œ > #œ œ œ œ œ

> #>œ œ œ # œ œ œ œ > 3 ≈ nœ œ œ œ ‰

> ≈nœ œ œ bœ œ œ ≈

œ œ œ œ #œ #œ œ œ œ 3 > 3 ‰ ≈ nœ œ œ œ œ œ 45 ≈ ≈nœ œ œ nœ œ ™

4 4

œ œ #œ œ

3

pp

6 6

poco sfz

3

mp

pp

mp

œœ™™

n œœ œœ™™

bb œœ ™™

2 & 4 œ œ™ œ

#œ œ œ œ 3

4 Π4

pp

mp

3

œœ^ œœ ™™

pp

#œœ J

≈

œœ

œœ J

œœ

> #œœ ™™

mp

pp

œœ

bœ ™ bœ b œ ™

œœ n œœ ™™

pp

œœ #œœ

poco sfz

œœ œœ

3 3

pp

œœ ##>œœ ™™

mp

œœ

pp

ppp

œœ œœ œœ

bb œœ 5 4 ≈bœ

p

p

œœ

n œœ œœ œœ #œœ œœ ™™

3

œœ 4 J 4

3 3

p

dreamy

poco sfz

poco sfz

mp

p

poco sfz

mp

Pno. 3 3

{

3

2 &4

∑

4 4

∑

œœœœ

#œ

#˙

Ó

œ

° 2 ¢& 4<#>˙ ‹

ø

4 Π4

‰

œ

ø

4 4

Œ

Œ

œ

œ J

#˙

bœ ™

∑

∑

-œ

4 ‰ 4

4 4

ø

mp

mf III dreamy

∑ & ‹

o ˙™ v fpp

pp

mp

œ J

^ Ϫ

b -œ ™

≈ mf

pp

Πpp

poco sfz

#œ œ J 45 poco f

#˙ ™

4 4

#˙ ™

4 4

mp

pp

˙o

5 4

Ó

-œ pp mf

I ˙o

II

Œ

Ϫ

œ

#˙o Œ

Ϫ mmm...

œ J

œ œ™ #˙ ‰

pppp

5 4 ‰

Ó

˙

mmm...

˙

#œ ™

ø mp

œ

Œ

mmm...

Db.

Œ

mp

˙

ord. sighing

°? 2 ¢‹ 4

Ó

pp

mp dreamily

Vla.

j nœ 45 œ ‰ ™

poco sfz

°

°B 2 ¢ 4

Ϫ

pp

°

T. Solo

#œ ™ œ œ œ œœœ >

˙

III

‰ pp

o Ϫ

Œ

? ‹

4 4

20

L 2 ‰ 4

106

Cl (Bb)/ B. Cl.

° 4 w ¢& 4

œ #œ

3 4

œ J

œ #œ J

œ

œ

œ

j #œ

Ϫ

4 4

3 4

∑

M 4 Π4

∑

U™ Ó

U™ Ó

Œ

pp

slap tongue

Sop. Sax./ Ten. Sax.

° 4 ‰ ¢& 4

j œ

#œ

œ

2 4

j œ

œ

3 4

∑

∑

4 4

∑

3 4

∑

U™ Ó

4 4

∑

# 6. v ff

pp

U™ Ó # 6. v

con sord. stright mute

C Tpt.

° 4 #w ¢& 4

2 4

œ Œ

3 #˙ ™ 4

œ Œ

4 4

Œ

3 4

∑

4 4

∑

pp

œ

U ˙™

œ

U ˙™

U™ Ó

Œ

U™ Ó

Œ

U™ Ó

Œ

U™ Ó

pp

large bell plate w/SS

Perc.

° 4 ¢/ 4

2 4

∑

∑

˙™

3 4

4 4

∑

3 4

∑

4 4

∑

Œ

p

“” #œ œ œ œ

4 &4 ®

œ œ nœ

œ œ œ œ nœœ œ œ nœ œ

8

œ nœ

œ œ œœ

œ nœ

œ

œ # œ>œœ #œ œœ

> # œ-œœ # œœœœ j

# ˙˙˙ ™™™

˙˙˙

2 4

nœ

3 4

œœœ

œœœ nn œœœ j n œœœ j

œ

#œ

œœ

œœ j œ

˙˙™™

w w

4 4

4 # #wU 4# w w

3 4

5 6

meno p

7

pp

sfz

pp

Pno.

>˙

{

œ ™ œ. œ. œ. >œ œœ œœ ™™™™™™ œ œ ™™™

4 &4

3

> ##bœœœ-œœ œœœœœ œœœœœ nœ œ œ

b ˙™ 3 # ˙˙˙ ™™ 4 #n˙˙ ™™

b˙˙ #œ 42 ##n˙˙˙˙

mf

pp

œœœœ œ

œ œ œ œœœ œœ œœ œœ œœ œ 44 w

3 ˙™ 4

4 4

U w ww

3

sfz

10

sfz

pp

spoken

rhythms for glissandi need not be exact

sub. piu p

T. Solo

° 4 & 4<#>œ ‹

j œ

#œ ™

œ

very rapid - a litany; matter of fact, direct. frantic at first

ppp

2 #˙ 4

3 4

œ J

˙

#œ J

Ϫ

œ

#œ J

4 ˙ 4

3 4

Ó

4 4

∑

‰

U™™ Ó

U™™ Ó

‰

ahh...

who did everything from saddling the horse to pruning the trees. His complextion

He had a housekeeper past forty, a neice not yet twenty, and a man-of-all-work

snap pizz. a stopped low string Uke./ Voc. (Ten.)

4 ¢& 4

2 4

∑

‰ # #œœ ™™ # œœ ™™ -

3 4 # #œœ # œœ -

j œœœ œœœ œ œ

œœ œœ

œœœ œ

Ϊ

œ ##œœœ

j #œœœ œ

4 4 # #œœ # œœ

œœ œœ

˙˙˙ ˙ > f

œœœ œ

œœ œœ

3 4 # #˙˙ # ˙˙ >

œœ œœ

4 œœœ 4 œ

Œ

U™ Ó

Œ

U Ó

U™ Ó

»

U™ Ó

pizz.

Vla.

IV °B 4 wo 4 ¢

»

2 4

∑

3 4

∑

∑

4 4

∑

3 4

∑

4 4 œ. v

œ. v

ff

Db.

II o °? 4 ˙™ ¢‹ 4

pizz.

Œ

2 4

∑

3 4

∑

∑

4 4

∑

3 4

∑

4 4

^». #œ ff

U™ Ó

^». #œ

U™ Ó

U » ‰ v¿ sfffz

A tempo q. = 44 - 48

∑

™™98

∑

N ™™

∑

™™98

∑

™™

114

/

Direct.

Cl (Bb)/ B. Cl.

3 4

∑

° ¢& w

4 4

∑

3 4 ˙™

3 4

∑

4 4 w

∑

3 4 ˙™

21

∑

Ϊ

∑

#˙ ™

Ϫ

˙™

ppp

pppp

slap tongue

subtone

subtone 3

slap tongue

subtone 5

only play first time; do not play if repeated

slap tongue

5

subtone 5 5 5 7

Sop. Sax./ Ten. Sax.

3

° ¢&

7

Œ

7

≈

ΠO O #O #O O O

# 6. v

° ¢& w

≈ 44

‰ nO nObO ® O nO #O #O #O

ppp

# 6. v ff

ppp

C Tpt.

3 4

3 4 ˙™

Œ

nO nObO ®

Œ

4 4 w

3

≈

O n O # O # O # O O O O O O O # 6. v

ppp

# 6. v ff

7

3 4

Œ

≈

O O #O #O O O

™™98 ‰

Œ

ŠΪ

Ϊ

™™

∑

≈™ Œ

‰ ® # O nOn O n O n O n O O #O #O #O #O

#O #O #O O

O O #O #O O O

3

OOOOO

nO

ppp

3 4 œj œ

j œ œ™

#œ ™

™™98

Œ

™™

∑

∑

∑

p

w/2 HS: 1 striking bar. 1 pressing bar

riebstock 5

Mar.

{

? œ7 ‰ œ7 ‰ œ7

‰

3 œ7 ‰ 4 ‰

œ7

p

‰ œ7

‰

4 œ7 4 ‰ œ7 ‰ œ7 ‰ œ7 ‰

mp

œ7

œ7

‰

mf

3 4

∑

™™98

∑

^ 3 4 ‰ ™ ###œœœ ˙˙˙

∑

Ϊ

#œ ™û

Ϊ

ff

4 4

#œ ™ 3 ≈æ 4 æ

∑

Ϊ

˙û

Œ

f

only play first time; do not play if repeated

extremely rapid & even

&

™™

∑

#˙ ™ æ æ

˙ æ æ

#˙ ™ ™™98 ææ

Ϊ

™™

∑

∑

™™

∑

∑

pp p Pno.

{

3 4 ‰™

∑

&

4 4

œœœ ˙˙˙ v

3 4

∑

∑

™™98

∑

repeat only if needed to finish speaking text and timing the sung entrance

gradually relaxing T. Solo

° ‰ & ‹

3 4 ‰

Ó™™ was weathered, his flesh scrawny, his face gaunt, and

Ϊ

‰

he was a very early riser and a great lover of the hunt.

‰

4 Ó 4

Œ

3 4 Œ

Œ

Some claim his family name was Quixada, or Quexada,

∑

Ó

™™98

∑

sung

mp

™™

∑

Œ

j œ #œ ™

Ϫ

Quex-a -

na.

Ϊ

Ϫ

Œ

j œ He

for there is a cetrtain amount of disagreement among the authors, although reliable conjecture seems to indicate his name was

ord.

need not begin in tempo, but should be in tempo by the beginning of 9/8 measure

Œ

‰

» 3 4 Œ ¿v sfffz

» Œ

»

4 Ó 4

‰

Œ

v¿

v¿

sfffz

sfffz

»o œ^. »

Vla.

°B ¢ œ v.

Œ

Ó

3 » 4 œ. v

» 3 ‰ ##œœœ 4 ‰ ¿v œv >œ f

nbbnœœœœ

bœœ n œ œ b >œœ n œœœ œœœ >

bbbbœœœœ

j j œœœ ™™™™ œœœ œœœ ™™ ###œœœ œœœ œœœ œœœ ™™™™ œœœ œœœ ###œœœ œ œ œ œ- œ œ œ- œ œ œ-

™9 nbnœœœœ###nœœœœ ™8 ###œœœœ ™™™™ -

œœ œœ

œœœ œ

œœœ ™™™™ œ-

mp

in tempo, and need not be with tenor's ukulele

»o œ^.

4 » 4 œ. v

Œ

‰

œo

œo

œo œo

œo

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œo

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»

3 4 Œ

Œ

Œ

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‰

œ. v

f

arco

œœ ™™ œ™ #œ ™

™™ #œœ ™™

Ϊ

∏∏∏∏∏∏∏∏

¢& Ó

∏∏∏∏∏∏∏∏

Uke./ Voc. (Ten.)

œœ ™™ œ™ #œ ™

Œ™ #˙ ™

p pp

II arco

Db.

» °? ≈ #œ^. ™ ¢‹

Œ

Ó

» 3 ≈ #œ^. ™ 4

Œ

Œ

» 4 ≈ #œ^. ™ 4

Œ

Ó

» 3 ≈ #œ^. ™ Œ 4

o ˙™ Œ

∑

™™98

∑

™™

Ϊ pp

o Ϫ

o ˙™

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j œœœ œ

22

∑

∑

O 7 16

∑

∑

7 16

122

/

Direct.

Cl (Bb)/ B. Cl.

∑

° ¢& <#>œ ™

∑

˙™

Ϫ

˙™

∑

∑

∑

5 16

œ

5 16

Œ

5 16

œ

5 16

∑

5 16

###œ>œœ

5 16

Ϫ J pp

slap tongue 5

5

5 3 5

Sop. Sax./ Ten. Sax.

° ¢&

®

Ū ΠO O O O O # O# O# O# O #O #O O O O O# O

‰

O O O #O #O O nO

j nO

Ϊ

Œ

Ϊ

∑

7 ff 16 j

∑

Œ

j

# 6. ™ v

# 6. ™ v

senza sord.

C Tpt.

° ¢&

∑

∑

∑

7 16 œJ ™

∑

Ϫ J

œ

pp

ord.-w/HS lowest possible notes

? Mar.

Ϊ

‰

#Ϟ

Ϊ

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Ϊ

˙û

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Ϊ

Œ

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‰

{

œ J

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Ϟ J

7 16 ≈

Œ

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ >¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ pp mp

∑

&

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Ϊ

∑

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Ϊ

#n œœÆ nb œœÆ 7 # œ œ ≈#œœ ≈ œœ 16 ‰

#n œœÆ # œ ≈ œœ #œœ

nb œœÆ œ

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mf mf

p Pno. p

{

Ϊ

∑

&

Ϊ

7 16

?

Œ

j œ

Ϫ

˙™

j œ

œ

Ϫ

‰™

∑ &

Ϫ

5 16

nnœœœ > °

sub. piu p mp T. Solo

° & #œ ‹ spent

j œ his

#œ times

j #œ

Ϫ

of

lei

œ -

‰

sure,

#œ #œ

œ #-œ œ J

œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ #œ-

read-ing books of chi- val - ry,

he for-got a-bout the hunt and e

≈ œ #œ œ œ œ

ven

-

≈ œ #œ œ œ œ œ œ

a-bout his e - state,

his rash cu - ri - o - si - ty

œ œ œ went so far

œ œ œ œ

œ œ œ

f 7 >œ #œ 16

as to sell a - cres of land

œ

œ

to buy books of

#>œ

œ

œ

chi - val - ry,

> #œ œ œ #>œ œ œ 5 œ 16 as ma-ny of them as he

w/fingernails

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j œœœ œ

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pizz.

o -Ϫ Db.

°? ¢‹

o -˙™

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# œ- ™

mf

pp

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j œœœ ##œœœ œ œ-

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7 16 ##¿¿¿¿ ¿¿¿¿ ‰ > > ff

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> 7 nœœ 16 œ ‰

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pizz. arco

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∏∏∏∏∏∏∏∏

Vla.

œœœ œ-

j œœœ œ

pizz. arco

°B ¢ #œ ™ -

j j œœœ ###œœœ #œœœœ œ œ-

œœ ™™ œ™ œ™

#œ- ™

mf

mp

harm. gliss.

-o Ϫ mp

œ-

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mf

-˙o ™

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##¿¿¿¿ ¿¿¿¿ ‰ > >

5 16

pizz. arco

∏∏∏∏∏∏∏∏

Uke./ Voc. (Ten.)

Œ

» j œ™ vff.

Œ

5 16

Œ

5 16

f

-o Ϫ mf

-œo ™

pizz.

>œo -o œ™

7 16

‰ f

Œ

» #œ^. ™ J ff

P accel.

23

Surging q = 136 - 144

128

5 / 16

Direct.

∑

∑

∑

Ϫ Cl (Bb)/ B. Cl.

° 5 œ™ ¢& 16

œ

Ϫ

4 On screen, the hands of Don Quixote holds up a large, illuminated manuscript, with elegant handwritten script and lavish, coloful images. On stage, he is almost paying reverence to the object, and it transfixed. 4 ∑ ∑ ∑ ∑ ∑

∑

Ϫ

œ

œ

Ϫ

œ J

4 4

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˙

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˙™

∑

˙ œ >

˙

w

w

w

3

ff

p

ff

p

f

pp

ff

pp

ord.

Sop. Sax./ Ten. Sax.

° 5 ¢& 16

3

‰

‰

‰

4 4

‰

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˙

œ

ff

p

ff

p

f

pp

Ϫ

œ J

˙

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˙

ff

p

ff

p

f

pp

#œ ™ # 6. ™ v

C Tpt.

# 6. ™ v

° 5 œ™ ¢& 16

œ

# 6. ™ v

Ϫ

œ

# 6. ™ v

>. . . œ œ œ

. œ

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. œ

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˙

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w

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3

4 4

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ff

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5 & 16

∑

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∑

4 4

∑

∑

∑

Ó

poco f

ff Mar.

ord.

{

5 ≈ ? 16

≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ >¿ ¿ ¿ ¿ ¿ ¿ ¿ pp mf

5 & 16

‰™

∑

≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ >¿ ¿ ¿ ¿ ¿ ¿ ¿ pp mf

###œœœ^

Œ

4###œ>œœ œœœœœœœœœœœœœœœœœœ œœœ œ>œœœœœœœœœœœœœœœœœœœœœœœ ###œœœœœœœœœœœœœœœœœœœ>œœœœœœœœœœœœœœœœœœœœœœœœœœœœœ ###œœœœœœœœœœœœœœœœœœœœœœœœ Ó 4

≈ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿>¿¿ p f

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nn œ>œ ™™ nn œœ ™™

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8:5

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p

4 4

ff

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≈

p

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p

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5

###œœœœœœœœœœœœœœœœœœœœœœœœ ###œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ ###œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ ###œœœ ™™œœœ œœœœœœŒ œœœ > ∑

∑

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∑

∑

sub. pp

˙˙ ˙˙

œœ > œœ œœ ™™ J œœ ™™

ff Pno.

{

5 & 16

‰™

∑

?

nnœœœ v

Œ

nnnœœœ v ø

œœœ v

Œ

nnnœœœ œœœ œœœ v v v ø

4 4

> ™™ ≈###œœœ ™™™™

˙>˙˙

œœœ

###˙>˙˙ ™™™

˙˙˙ ™™™™™™™™™

ø emerging out of the texture of the ensemble pp

8:5

8:5

T. Solo

° 5 #>œ œ >œ #œ œ #>œ œ >œ #œ œ & 16 ‹ could in - to his house, none as wor - thy as

> >œ #œ œ > œ œ œ #œ œ œ

#>œ œ œ œ #œ œ œ

˙

4 4

∑

∑

∑

Fe- li - ci - a - no de Sil - va, where he would of ten find writ- ten:

œ

œ

œ "The

œ œ

rea

-

-

son

for

œ

˙

œ

the

un -

œ rea

-

son

snap pizz. a stopped low string Uke./ Voc. (Ten.)

Vla.

5 » ¢& 16 ¿ ™ v sfffz

°B 5 » ¢ 16 œ™ v.

» ‰

»

™ v¿ sfffz

‰

»

‰

^». œ™

‰ ™ v¿ sfffz

»o œ^.

‰

»o œ^.

» œ. v

Db.

‰

‰

∑

∑

4 4

»o >œ

∑

arco

Œ

Ó

Œ

» #œ^. ™ ‰

˙˙ ™™

œœ

∑

∑

∑

‰

»o 4 #>œ 4

arco

Œ

Ó

¯¯ > w w

¯¯ w w

f

pp

>o w

wo

f

pp

Œ n˙ ™ ppp

œ

¯¯ w w

˙˙ ™™

ppp

8:5

» #œ^. ™

» #œ^. ™

»o œ^.

» œ. v

8:5

» °? 5 #œ^. ™ ¢‹ 16

4 4

™ v¿ sfffz

˙™

wo

the

Q 24

Still moving forward, but with less anxiety q = 116 - 120

poco rit. 138

/

Direct.

Cl (Bb)/ B. Cl.

∑

° ¢& w

∑

∑

∑

œ Œ Ó

w

∑

∑

∑

b œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ #œ œ œ œ œ œ œ w Œ Œ J

Ó

3

3

3

3

3

3

∑

∑

Ó

5

poco f

ppp

° ¢& <#>œ Œ Ó

3

3

3

œ J ˙ ™™ > sffz

3 3

Sop. Sax./ Ten. Sax.

∑

3

ppp

3

3

poco f

∑

∑

∑

∑

∑

∑

Œ ‰#œ œ œ #œ œœœ ‰ ‰#œ œnœ œ ‰ ‰ œœ œ œœ

w

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∑

Ó

∑

∑

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œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ ˙™

Œ

3 3

3

3

3

Ó ˙™™ >

3 3

o

mf

pp

3

∑

3

3

3

o

mf

mp

3

3

Œ ‰ ‰ ‰ œœ ‰ ‰ œœ nœ œœ #œ œ # œ œ œ #œ œœœ

w

sffz

3

3

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∑

Ó

3

3

o

3

mp

Ó

j œ ˙ ™™ >

œœ œ œ # œ # œ # œ œ œ œ œ œ œ œ œ œ ˙™ ppp

˙

sfz

ppp

Œ

pp

∑

j œ

3 3

3

∑ ˙™™ >

ppp

∑

3

j œ

Œ Œ j nœ œ œ w œ œ œœ nœ œ#œ œ œ œ # œ œ # œ œ œ œ # œ œ œ 5 bœ ppp

∑

ppp

˙ o

sfz

3 3

C Tpt.

° ¢& w

3

3

3

3

3 3 3

Œ Ó

∑

Œ Œ nœJ œ œ œ œ œ œ œ œ œ œ œbœ bœ œ œ œœ œnœ œ œ œ w

Ó

œ J ˙™™ >

œ 3 3

3 3

ppp

Perc.

° ¢/

Mar.

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∑

∑

∑

3

∑

∑

Œ###œœœ

∑

3

poco f

5

ppp

∑ w

∑

∑

Œ œ œ œ œ œ œbœ œ œ œ œ œnœ œ œ œ ˙™

Ó

#œ ˙ ™ > sfz

3 3

o

∑

mf

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∑

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mp

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3

sffz

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3 Œ ‰#œ œ#œ #œ œœœ ‰ ‰#œ œnœ œ ‰ ‰ œœ#œ œœ

∑

ppp

˙ o

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∑

∑

∑

∑

∑

∑

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∑

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∑

3

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Œ ###œœœ

œœœ Œ

∑

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j ###œœœ ™™ œœœ

Ó

Œ###œœœ

Ó

pp

&

∑

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∑

∑

∑

∑

#˙>˙

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#˙˙

˙

˙

#˙

˙

> #w w

#w

∑ mf

ff

pp

f

Pno.

{

?

∑

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∑

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∑

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Œ œ œ

Ó

œ œ œ >œ œ œ #˙˙ ™™

#œ>œ œœ #œœ œœ œœ œœj œœ ™™ œœ ™™ #œœj

#˙˙ ™™

& 3

œœ #œœ ™™ œœ ™™

3

pp

f

pp

f

pp

f

T. Solo

Uke./ Voc. (Ten.)

Vla.

˙ ° ˙ œ œ œ œ & ‹ rea - son for the un-rea

¢&

¯¯ °B w w ¢

∑

œ

œ

œ -

-

˙

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-

son,

the

w

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∑

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∑

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son for the un - rea

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son, the rea

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the

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son

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∑

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mp

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to which my rea

ff

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œ

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turns so

∑

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œ

w

˙ #˙

#œ weak

∑

-

ens

my

∑

#˙ ™

#˙

rea

son that

-

∑

∑

with

∑

˙™

œ

œ

œ

œ œ ˙

#œ rea

-

son

∑

I com - plain

∑

of

thy bea -

∑

∑

¯¯ w w

¯¯ w w

¯¯ w w

¯¯ w w

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¯¯ w w

¯¯ w w

¯¯ w w

wo

wo

wo

wo

wo

wo

wo

wo

wo

pp

wo

wo pp

S 25

rit.

R 157

The image of Dulcinea gradually appears above Don Quixote; her likeness changes slowly, as if it is alive and is depicting all of the sides of Dulcinea that Don Quixote is drawn to. Direct.

/

∑

Cl (Bb)/ B. Cl.

° ¢&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó b˙

w

w

w

w

w

w

w

w

w

w

w

w

pp

nw

w

5 4

∑

4 4

5 4

∑

4 4

w

∑

∑

∑

∑ w

pp

∑

w

w

pp

ppp

poco f

Sop. Sax./ Ten. Sax.

° ¢&

∑

5 4

Ó b˙

w

w

w

w

w

w

w

w

w

w

w

w

w

w

4 4

∑

w

∑ w

w

w

pp

pp pp

ppp

poco f straight mute

C Tpt.

° ¢&

∑

Ó

b˙

w

w

w

w

w

w

pp

w

w

w

w

w

w

poco f

w

w

5 4

w

4w 4

∑

pp

∑

w

w

pp

ppp

large bell plate w/HS

Perc.

œ œ œ -œ œ œ œ œ œ œ œ œ œ œ

° ¢/

∑

Ó

∑ 3

pp

3

3

∑

Ó

5

o

mp

Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 3 3 3 5 o pp mf

∑

∑

∑

∑

∑

∑

∑

5 4

4w 4

∑

∑

∑

∑

pp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

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∑

4 4

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∑

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∑

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∑

4 4

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5 bb˙˙˙ ™™ 4

4 4

∑

∑

& Mar.

{

˙˙˙

w bbww

mf

∑ mp pp

pp

Pno.

3

{

j & <#>œœ#œœ ™™ œœ œœ œœ ™™ œœj ˙˙ mf

∑ œœ # ˙˙ ™™ > ff

∑

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∑

∑

∑

∑

∑

∑

∑

∑

∑

ww

5 4 4 bbœœœ œœœ œœœ œœœ œœœ 4

∑

∑

° mf T. Solo

Uke./ Voc. (Ten.)

Vla.

p

° w & ‹ -

¢&

¯¯ °B w w ¢

p

Ó #w

Ó

thy

∑

¯ ˙˙¯

∑

°? wo ¢‹

w

¯ ˙˙¯

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beau

∑

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-

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pp

˙

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˙ -

∑

w

p

ty

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˙

∑

œ œ œ ˙™

˙

œ œ œ ˙™

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∑

˙˙˙

° p

œ ˙

˙

œ the hea - vens

∑

˙˙˙

poco f

Œ œ ˙

∑

on high, the hea -

∑

∑

vens

on high, the hea -

∑

∑

vens

on high

∑

5 ™ 4 b˙

di - vine - ly

∑

heigh

4˙ 4

˙ ten

-

thy

˙

œ œ ˙

di - vin - i - ty

∑

5 4

4 4

∑

∑

∑

5 b œœ œœ œœ œœ œœ 4 4 ‰ J 4

∑

∑

¯¯ w w

∑

bœ

˙

œ

with stars

Œ œ

˙

and

∑

make,

∑

pizz.

∑ f

Db.

w

˙

ty

∑

b˙

poco f

bb˙˙˙

∑

∑

∑

∑

∑

∑

∑

∑

∑

pp

f

Œ bœœ œœ œœ bœœ J J

pp

mf

∑

pp

pizz.

˙o ∑ ˙

w

w

w

w

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

5 bœ œ œ œ œ œ 4 4 4

bœ ™ ∑

∑

œœ J

œ

6:5

f

pp

f

pp

mf

pp

∑

and

T 26

rit.

Slower still q = 38 - 40

Pensive q = 44 - 48 179

Direct.

/

Cl (Bb)/ B. Cl.

° ¢&

The image of Dulcinea slowly darkens and morphs into a black and white landscape with dark, foreboding clouds and a bleak terrain.

∑

∑

∑

5

œ

5 4

∑

4Ó 4

U Ó

U ∑

∑

5 4

∑

4Ó 4

U Ó

U ∑

∑

5 4

∑

4Ó 4

U Ó

U ∑

∑

5 4

∑

4Ó 4

U Ó

U ∑

∑

5 4

∑

4 4

5

Πw

∑

˙™

bœ

˙™

œ

ppp

Sop. Sax./ Ten. Sax.

° ¢& w

j œ ˙

Ϫ

Ó

j œ

Ϫ

ppp

C Tpt.

° ¢& w

œ

œ

j œ

Ϫ

Œ ˙™

ppp large bell plate w/HS

°

w ∑

/

Perc.

∑

U ∑

∑

ppp Percussionist addresses the audience in a calm, cool, detached manner spoken

Uke./ Voc. (Perc.)

∑

/

∑

∑

5 4

∑

U Ó

4Ó 4

∑

U Œ

U™ Ó the poor gentleman lost his mind, and...

With these words and phrases, crotales arco

Glock./ Cro./ Etc.

‹ & ¢

∑

∑

∑

5 4 ˙˙

##˙˙

Ó

Ó

U nœœ

Œ

4 ‰ nœœ ™™ 4

U Œ

œœ nœ #œ œ -

4 ˙˙ 4

U ˙˙

U > w w

4 4˙ ˙ °

U ˙˙

U w w >

4 4˙

U ˙

U ∑

p

∑

&

∑

‰œ

Ó

œ

œœ œ b œœ œ

œœ ™ œ œ œœ #œ œ œ nœ

#œœ™ #œ œ œœ ™

#œ 5 # œœ n œ # œ 4

œ œ nœ œ œ #œ œ

nœ

œ #œ nœ nnœœ

p

pp

Pno.

{

∑

&

‰™

∑

œ b >œœœœ poco

Ó

˙˙˙˙˙ ™™™™

œ

#œ

5 4 œ

#œ #œ nœ œ œ

œ œ œ œ œ œ

œ œ

n œ œ- œ

ø

sfz Sost.

° o

T. Solo

° & ˙ ‹ make

¢&

thee

œ

Œ

˙

de - serv

-

˙

œ

ing,

de

∑

Ϫ serv

-

∑

-

-

œ

œ

ing

of

the

œ ‰

œ de

serts

-

∑

Œ

5 4 #œ

#œ

thy

great -

Œ

Ϫ

ness

de

5 4

∑

‰

œ

-

-

-

-

4Ó 4

∑

U ∑ w/fingertips gently strum chord repeatedly in an uneven, unpredictable manner

serves."

U Ó

∏∏∏∏∏∏∏

Uke./ Voc. (Ten.)

œ

j œ

Uw w w w p

III/IV arco

Vla.

°B ¢

∑

Ó

¯¯ œ ‰ œ

¯¯ ¯ ¯¯ ¯ œœ œœ¯ œœ œœ¯

3

¯¯ ¯ œœ œœ¯

¯ œœ¯

3

¯¯ ¯ ¯ œœ œœ¯ œœ¯

¯ ¯ ¯ ¯ œœ¯ œœ¯ œœ¯ œœ¯

3

3

3

¯ œœ¯

¯ œœ¯

¯ œœ¯

¯ œœ¯

3

¯¯ œœ

¯ ¯ œœ¯ œœ¯

3

¯ œœ¯ #Oœ Oœ

Db.

∑

Ó

5 o 4 #œ

Oœ J

Oœ J

Oœ

Oœ

œ J

U ˙

U > w

4 o 4˙

Uo ˙

Uo w >

III harm. gliss.

œo J

œo

‰ 3 ppp

o œ

Oœ

ppp

II arco

œo

5 #O 4 œJ

3

ppp

°? ¢‹

4˙ 4

NV

Oœ Oœ

3

œo œo J 3

œo œo œo J J

œo 3

3

o œ J

œo 3

œo

œo J 3

œo

III

o & #œ ‹ ppp

o Ϫ

o œ J

o Ϫ

o j œ

? ‹

Suddenly slightly moving forward q = 44 - 48 27 186

/

Direct.

Cl (Bb)/ B. Cl.

Ensemble enters immediately after percussionist says the word "and"

∑ … bœ ‰

° œ bœ bœ ¢&

∑

Œ

Ó

∑

∑

Ó

‰

Sop. Sax./ Ten. Sax.

j œ

œ

œ > mf

ppp

pp

… 6 ° ¢ & bœ œ bœ b œ b œ n œ ‰

Œ

Ó

∑

Ó

‰

j œ

œ ppp

C Tpt.

… n6. ‰

Œ

Ó

∑

Ó

‰

j œ

#œ

pp

œ

∑

2 4

œ

‰

∑

∑

2 4

‰

∑

∑

2 4

‰

∑

∑

2 4

∑

∑

2 4

∑

∑

2 4

Ϫ

ppp

œ > mf

ppp

Ϫ

ppp

œ > mf

pp

° bœ ™ ¢&

∑

∑

Ϫ

œ ppp

temple blocks w/HS

pp

… œœ œ ‰

° / œ Œ

Perc.

Πg

g

Ó g

gggg gg g

mp

g‰

∑ Ó

Œ

∑

∑

pppp

bass drum w/HS - dead center deadstroke

Uke./ Voc. (Perc.)

speak as before, and effortlessly hand-off end of phrase to pianist

∑

¢/

∑

∑

Ó

spoken

Œ

Œ

w/HS

# œ # œ œ #>œœ nœ nœ œ œ ∑

&

Ó

‰™

Œ

pp

sub. mp

Mar.

{

?

∑

# œ œ nœ

œ

&

… ‰

œœ œ œ >œ œ nœœ œœ œœ

œœ n# œœ œœ n œ

# œ œ œ #>œœ nœ œ œ œ

Our gentleman was not very happy, but...

Œ

∑

∑

≈

pp

≈ #œœ œœ œœ œœ œ œ #œœ œœ œœ‰ > #>œ œ œ œ œ œ >œ mf mf pp mf

Œ

>œ œœ œœ œœ œœœ œ œ œ

œœ œ œ œ ™ œ nœœ œœ œ ™

sub. mp

pp

∑

pp

œœ œœ 2 4

sub. pp mp

∑

∑

2 4

∑

∑

2 4

∑

∑

2 4

ord.

stopped w/LH 3

3

3

‰ 6

œœ œœ

mp

∑

b6

œœ œœ

6

œ 6 6 n6 6 6 6 6 6 6

b6 6 6 6 6™ 6 6™™

b 6 6™™ b 6

6™™ 6 6

∑

w

5

pp mp

Pno.

p

pp

{

œ

œ

& #œ

… ‰

˙™

?

Œ

Ó

∑

∑

Œ

p 3

° spoken

picking up spoken phrase immediately from percussionist, without a break, doing so without concern or change in affect. Uke./ Voc. (Pn.)

° ¢/

∑

∑

∑

∑

Ó

Ó

2 4

∑

he praised the author for having concluded his book with the promise of unending adventure. sub. p

T. Solo

o bœ ™

° ‰ & ‹

. œ J

Ϫ

he

‰

spent

bœ

œ

sleep - less

. œ

6

‰

≈ œ œ œ œ nœ

nights,

try - ing

. œ

poco sfz

6 . . 5. . . œ œ œ #œ œ œ œ œ ‰ nœ œ œ œ . . . . .

3 3

plucked & stopped

‰

‰ œ

to un - der stand,

œ

-œ

. œ ‰ J

ex - tract mean - ing,

not a - ble to de-ci- pher

j #¿ '

Ϫ

or un der stan[nnn...]

-

∑ bgggggggggggg ggbg

gœ

œ

mf

œ

∑

∑

∑

2 4

˙

pp

o…

°B ¢ œ œ bœ bœ bœ nœ œ ‰

2 4

d[dh].

-

IV MST

Vla.

∑

¯

¢& ‰

7

∑

open

+ Uke./ Voc. (Ten.)

3

mp

pp

pizz.

Œ

Œ

‰™

bœ bœ > pp

œ œ >

œ

œ œ œ œ œ > > >

œ

œ >

œ

> œ œ

o o o n>œ œo >œ œo >œ

o o #>œ œ >œ œ >œ œ œ >œ # œ œ œ œo >œ œo >œ œo fp

fp

fp

p

pp

arco use a lot of bow, very airy and ringing

> œ œ >œ œ >œ œ # œ œ > fp

‰

fp

2 bœ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ 4 n œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- nœœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- œœ- b œ- œ- œ- œ- œ- œ- œ- œœ- œ- œ- œ- œœpp

III

˙o Db.

°? œ≤o ¢‹ pp

… ‰

Œ

Ó

Ó ppp

o ˙™™

œo J

>œo

pizz.

œo

…. œ Œ mf

ppp

‰ pp

…. œ

…. œ

…. œ

…. œ

…. œ

…. œ

…. bœ

…. œ

…. bœ

…. œ

…œ.

…œ.

…œ.

…œ.

…. œ

…. œ

2 4

U

Chorus begins imperceptibly singing when the tenor sings the word "heavens": violist speaks as indicated.

28

Suddenly moving forward q = 63 - 66

ca. 5-8 sec.

192

2 /4

Direct.

Cl (Bb)/ B. Cl.

∑

4 4

U ∑

U ∑

U Ó

U Ó

U ∑

U ∑

∑

∑

∑

> œœ œ … 4 ≈ 4

U ∑

U ∑

U Ó

U Ó

U ∑

U ∑

∑

∑

∑

∑ œ bœ bœ bœ œ

° 2 &4

∑

œ œ

œ

‰

Chorus changes on downbeat immediately after the words "ever had" are spoken.

pppp 3

pp Uke./ Voc. (Cl.)

2 ¢& 4

f

∑

U ∑

4 4

∑

U ∑

U #˙

U Ó

U w

U #w

[nnn...] 3

Sop. Sax./ Ten. Sax.

Uke./ Voc. (Sax.)

° 2 &4

6 6

∑

2 ¢& 4

‰ œ œ b œ b œ n œ œ œ œ b œ œ œ n œ œ n œ >œ pp f ∑

∑

… ≈ 44

U ∑

U ∑

U Ó

4 4

U ∑

U ∑

U Ó

U Ó

U ∑

C Tpt.

∑

‰

Ϫ

Ϫ 6.

bœ

#w

w

[mmm...]

U ∑

∑

∑

∑

pppp

U #˙

U w

U #w

[nnn...]

° 2 &4

w

[ahh...]

… ≈ 44

U ∑

U ∑

U Ó

4 4

U ∑

U ∑

U Ó

w

#w

[ahh...]

U Ó

U ∑

w

[mmm...]

U ∑

∑

∑

∑

œ pppp

pp Uke./ Voc. (Tpt.)

2 ¢& 4

f

∑

∑ temple blocks w/HS

Perc.

° 2 /4

∑

‰

U w

U #w

[nnn...]

œœœ

œ

U #˙

œœ œ

œ

pp

>> … 4 œ œœ≈ 4

U ∑

U ∑

U Ó

w

#w

[ahh...]

U Ó

U ∑

w

[mmm...]

U ∑

∑

∑

∑

sung

f

pppp Uke./ Voc. (Perc.)

2 ¢/ 4

∑

∑

n#n œœœ ## œœ œœ nn œœœ œœœ œœœ œœœ œœ # œ 2 Mar. & 4 { mf

‰

U #˙

U Ó &

U w

U #w

w

#w

[ahh...]

w

[mmm...]

4 4

U ∑

U ∑

U Ó

U Ó

U ∑

U ∑

∑

∑

∑

… 4 ≈ 4

U ∑

U ∑

U Ó

U Ó

U ∑

U ∑

∑

∑

∑

4 4

U ∑

U ∑

U Ó

U Ó

U ∑

U ∑

Œ

pp

∑

U ∑

[nnn...]

white-note cluster

#œ #œ œ #œ

2 &4

U ∑

4 4

66>666

œ œ œ œ

‰

® 5 5

pp Pno. f arco 3

œ

{

? 42

∑

œ

œ

‰

≈™ œ

œ

H

∑

œ #### 6666

3

pppp sung

black-note cluster

Uke./ Voc. (Pn.)

° 2 ¢/ 4

∑

pppp

U ∑

4 4

∑

°

U ∑

U #˙

U Ó &

U w

U #w

[nnn...]

molto p

∑

U ∑

4 4

∑

œ

U ˙

The

rea

son...

-

MSP

o

U œ™ Œ

U ∑

U ∑

∏∏∏∏∏∏

p

Œ

j œœœ œ

U ˙˙˙ ˙

sub. p

#œ ™ E

œ #œ J -

Œ

very- thing

#œ

#œ œ ™ ‰ œ

read

knights

nœ #œ Œ er - rant

6

Œ

#œ #œ # œ. #œ. #œ. #œ. . . right-ing all man-ners of

quasi bisbigliando

quasi bisbigliando

Ó™™

w

mp

j œ œ >.

œœœ œ

U Œ

U ∑

U Œ

∏∏∏∏∏∏∏

4 U w 4 w w w quasi

∑

#w [mmm...]

The hea- vens...

∏∏∏∏∏∏∏

∑

∏∏∏∏∏∏∏

2 ¢& 4

U™ Œ

‰

w/fingertips gently strum chord repeatedly in an uneven, unpredictable manner

Uke./ Voc. (Ten.)

w

[ahh...]

mp

œ

∏∏∏∏∏∏

T. Solo

° 2 &4 ‹

H

U U œœœ Ó œ

∑

∑

∑

U ∑

∑

∑

∑

U Ó

∑

bisbigliando

o # œ n œ # œ n œ œ # œ >o #œ œ bœ œ œ #œ œ œ # œ œœ œœ 7 - f 7

Vla.

°B 2 4 œ œ œ œ œ œ œ œ œ- œ- œ- œ- œ- œ- œ- œ-

… 4 ≈ 4

U ∑

U ∑

U Ó

U Ó

U ∑ spoken

gently, tenderly, with compassion Uke./ Voc. (Vla.)

2 ¢/ 4

∑

4 4

∑

U ∑

U ∑

U Ó

U Ó

U ∑

U Ó

The truth is that when his mind was completely gone, he had the strangest thought any lunatic in the world ever had;

to become a knight errant and travel the world with his armor and his horse to seek adventures and engage in

Œ

Œ

he had

Œ

Œ

Œ

that

Ó

Œ

engaged in,

arco Db.

… °? 2 bœ. ‹ 4

…. œ

…. œ

…. œ

… bœ.

#Oϳ

≤™ Oœ™

… 4 ≈ 4

U ∑

U ∑

U Ó

4 4

U ∑

U ∑

U Ó

2 ¢& 4

∑

∑

U ∑

U ∑

∑

∑

∑

pppp

f Uke./ Voc. (Db.)

U Ó U #˙ [nnn...]

U w

U #w [ahh...]

w

#w [mmm...]

w

Direct.

/

∑

∑

V 5 4

Cl (Bb)/ B. Cl.

° &

∑

∑

5 4

202

¢& w

5 4 #˙

w [ooo...]

Sop. Sax./ Ten. Sax.

° &

4 4

∑

∑

5 4

∑

4 4

∑

∑

5 4

#œ ˙

5 4

ppp

f Uke./ Voc. (Cl.)

29

∑

œ

end

∑

-

-

-

-

ing

5 4

∑

4 #œ 4

n˙ wrongs,

win

-

œ

#œ

ning

re

4 4

∑

‰

˙ known[nng...],

#œ œ œ™ e - ver - last

-

ing

fame[mmm...].

∑

5 4

#œ ˙

5 4

∑

ppp f Uke./ Voc. (Sax.)

¢& w

C Tpt.

° &

Uke./ Voc. (Tpt.)

¢& w

5 4 #˙

#w [ooo...]

end

∑

-

-

-

-

œ

˙

ing

wrongs,

5 4

∑

4 4 #œ

‰

win

-

œ

#œ

ning

re

4 4

∑

˙

#œ œ œ™

known[nng...],

e - ver - last

-

ing

fame[mmm...].

∑

5 4

#œ ˙

5 4

∑

ppp

f

5 4 #˙

w [ooo...]

œ

end

-

-

-

-

4 #œ 4

n˙

ing

wrongs,

œ

˙

ing

wrongs,

win

-

œ

#œ

ning

re

œ

#œ

ning

re

‰

˙ known[nng...],

#œ œ œ™ e - ver - last

-

ing

fame[mmm...].

ppp Uke./ Voc. (Perc.)

f

° ¢& w

5 4 #˙

#w [ooo...]

end

-

-

-

-

4 4 #œ

5 4

‰

win

-

˙

#œ ˙

#œ œ œ™

known[nng...],

e - ver - last

-

ing

fame[mmm...].

w/HS

gently, but precise Mar.

∑

{&

Ó

nœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ #œœ œœ œœ 45 #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰

Œ

ppp

mf

nœ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ ≈ #œœ œœ œœ œœ œœ œœ œœ #œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ ™

4 Ó 4

ppp

ppp

mf

5 4

Œ

ppp

ord.

gently, but precise

∑

&

5 4 Ó

∑

Œ

‰

œœœ œœœ œœœ œœœ œœœ œœœ 4 œœœ œœœ œœœ œœœ œœœ ‰ ™ 4 ppp

p

œœœ œœœ Œ

pppp

‰

œ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ 5 4

pppp

pp

ppppp

Pno.

{

? H

Uke./ Voc. (Pn.)

5 4 H

H

∑

5 4

#œ ˙

5 4

∑

ppp

f

° ¢& w

4 4

Ó™

5 4 #˙

w [ooo...]

œ

end

-

-

-

-

ing

wrongs,

sub. pp

fp

4 #œ 4

n˙

win

-

œ

#œ

ning

re

˙

‰

known[nng...],

#œ œ œ™ e - ver - last

-

ing

fame[mmm...].

mirroring the chorus 3 3

3

T. Solo

° nœ. ‰ & ‹ wrongs,

‰

œ. œ. nœ- ™ œ. œ.

#œ œ J

‰

op - po - tun - i - ty

him - self

#œ ™ v

µœ

5 #œ 4

#˙

in[nnn...]

œ

‰

Œ

dan - ger,

end

µ˙ ™

4 œ 4

#˙

Œ

-

-

-

-

-

-

#œ

ing[nng...]

œ Œ

œ

5 4

Œ

wrongs...

e

-

ver

-

Uke./ Voc. (Ten.)

¢&

∑

∑

5 4

∑

4 4

∑

∑

5 4

Vla.

°B

∑

∑

5 4

∑

4 4

∑

∑

5 4

∑

5 4 #˙

#œ ˙

5 4

sung

ppp Uke./ Voc. (Vla.)

¢/ Œ

Œ

Œ

Œ

&

end

seizing

Db.

°? ‹

œ -

-

-

-

n˙

ing

4 #œ 4

wrongs,

win

-

œ

#œ

ning

re

˙

‰

known[nng...],

#œ œ œ™ e - ver - last

-

ing

fame[mmm...].

placing

∑

∑

5 4

4 4

∑

∑

5 4

#œ ˙

5 4

∑

ppp f Uke./ Voc. (Db.)

¢& w

#w [ooo...]

5 4 #˙ end

-

-

-

-

œ

˙

ing

wrongs,

4 4 #œ win

‰ -

œ

#œ

ning

re

˙ known[nng...],

#œ œ œ™ e - ver - last

-

ing

fame[mmm...].

Speaking the text, players get through "muttering" the words, by speaking the notated rhythm as closely as possible, allowing the breath to run-out, thereby creating a natural diminuendo, as if the words are trailing off.

30 207

Direct.

5 /4

∑

4 Ó 4

Cl (Bb)/ B. Cl.

° 5 &4

∑

4 4

Œ

ca. 6-10 sec.

Œ ∑

ca. 5-8 sec.

Spoken text rhythms are executed as if words are gradually aligning.

U Ó

Ó

Ó™

U Œ

∑

U Ó

Ó

∑

Ó™

U Πquick, abrupt inhalation

sfz freeze! …U Ó

spoken, almost muttering

mf Uke./ Voc. (Cl.)

5 ¢& 4<#>˙

ppp

4 /4 Ó

#˙ ™ >

ΠThe

Sop. Sax./ Ten. Sax.

° 5 &4

4 4

∑

poor

man

i

-

ma - gined

him -

… ‰

self...

Ó He

U Ó

∑

… Œ

went to

look at his nag,

and

though its

hooves

had...

2 … U ‰ Œ ¿>

Ó

cleaned his ar - mor

Ó

a[ah!]

U Œ

Ó™

∑

quick, abrupt inhalation

sfz spoken, almost muttering

…

U Ó

6

5 ¢& 4 ˙

4 Ó

/4

#˙ ™ >

ΠThe

C Tpt.

° 5 &4

freeze!

…

ppp

mf Uke./ Voc. (Sax.)

4 4

∑

poor

man

i

3

Ó He

U Ó

∑

… Œ

6

‰

ma - gined...

-

6

went to

look

at

his

nag,

and

though...

cleaned

his ar - mor

Ó

2 … U ‰ Œ >¿

Ó

and

a[ah!]

U Œ

Ó™

∑

quick, abrupt inhalation

sfz freeze! …U Ó

spoken, almost muttering

mf Uke./ Voc. (Tpt.)

5 ¢& 4<#>˙

ppp

4 Ó

#˙ ™ >

/4

Œ ™

… ‰ ™™

Ó

™

The

poor

™

man

… ‰

i...

2 … U ‰ Œ ¿>

3

Œ

‰

™

He went

to

look

at...

cleaned

his

ar- mor...

and

a[ah!] quick, abrupt inhalation

sfz Uke./ Voc. (Perc.)

4 Ó

/4

#˙ ™ >

ΠThe

b œœœ œœœ Mar.

5 Ó {& 4

Ó

freeze! …U Ó

spoken, almost muttering

ppp

mf

° 5 ¢& 4 ˙

poor

man

i

… ‰™

Ó

ma - gined...

-

… Œ

He

went

to

look

at

his

nag...

cleaned his ar - mor

Œ

and made...

2 … U ‰ Œ ¿>

‰ and

a[ah!]

b œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

4 4

‰

‰

U Ó

Ó

∑

Ó™

U Œ

U Ó

Ó

∑

Ó™

U Œ

U Ó

Ó

∑

Ó™

U Œ

pppp

b˙™ b ˙˙˙ ™™

œœœ

5 &4

‰™

Œ

Ó

Œ

4 4

Ó

Œ

4 4

Œ

Pno.

? 45 H

{

∑

quick, abrupt inhalation

° 5 ¢& 4<#>˙

sfz

…

spoken, almost muttering

freeze!

…

ppp

mf Uke./ Voc. (Pn.)

U Ó

5

4 Ó

#˙ ™ >

/4

ΠThe

poor

man

i

° 5 ˙ &4 ‹ last

Ó He

went

to

look

at...

cleaned

his

ar - mor

2 … U ‰ Œ >¿

5

Œ

≈

and...

and

made

a[ah!]

spoken, almost whispering

#>œ Œ -

… Œ

5

Œ

ma...

-

mfpp T. Solo

5

Œ

4 4

∑

U Œ

U Œ

Ó

∑

Ó™

U Œ

ing...

...wearing the crown... Uke./ Voc. (Ten.)

5 ¢& 4

∑

4 4

∑

U Ó

Ó

∑

Ó™

U Œ

Vla.

°B 5 4

∑

4 4

∑

U Ó

Ó

∑

Ó™

U Πquick, abrupt inhalation

…

… sfz

mf Uke./ Voc. (Vla.)

5 ¢& 4<#>˙

spoken, almost muttering 6

ppp

#˙ ™ >

/

4 Ó 4

freeze!

ΠThe poor man i - ma - gined him- self wear-ing the

Db.

°? 5 ‹ 4

4 4

∑

…

7

U Ó

6

Œ

crown...

U Ó

∑

2 … U ‰ Œ >¿

7

≈

Ó He went

to look

at

his

nag, and

≈

though...

Πcleaned

Ó

his

ar -

mor...

and

made

a[ah!]

U Œ

Ó™

∑

quick, abrupt inhalation

…

sfz mf Uke./ Voc. (Db.)

5 ¢& 4 ˙

4 Ó

#˙ ™ >

freeze!

spoken, almost muttering 3

ppp

/4

U Ó

ΠThe

poor

man...

… 3

Œ

Ó He

went

to

look...

3

‰ cleaned

his

ar

-

… j Œ mor...

3

‰ and

2 … U ‰ Œ >¿ made a[ah!]

W X

31

212

/

Direct.

U ∑

∑

U ∑

U ∑

U ∑

∑ a tempo on the word "lady"

Cl (Bb)/ B. Cl.

° &

∑

Ó

˙™

U Ó

U ∑

U ∑

U ∑

U Ó

U ∑

U ∑

U ∑

U Ó

U ∑

U ∑

U ∑

U Ó

U ∑

U ∑

U ∑

∑

U Ó

U ∑

U ∑

U ∑

∑

U Ó

U ∑

U ∑

U ∑

∑

U ∑

U ∑

U ∑

∑

U ∑

U ∑

U ∑

∑

Πppp

whispered

Uke./ Voc. (Cl.)

spoken, relaxed

Œ

¢/

Œ

full

out

of

a

∑

sim-ple head - piece...

a tempo on the word "lady" Sop. Sax./ Ten. Sax.

° &

∑

Ó

˙

Ó

ppp whispered

Uke./ Voc. (Sax.)

¢/ Œ

spoken, relaxed

≈ Œ ™ hel...

C Tpt.

° &

Uke./ Voc. (Tpt.)

¢/ Œ

out

of

∑

a

Ó

sim-ple head - piece...

whispered spoken, relaxed

‰™

Πmet

out

of

a

sim-ple head - piece...

temple blocks w/HS

gently imitating the part spoken by the pianist

° ∑

/

Perc.

Ó

U Œ

œ œ œ œ œ pp

spoken, relaxed

Uke./ Voc. (Perc.)

U Ó

Œ

¢/ f[fff...]

out

of

a

enter after the words "errant knight" w/CB

sim-ple head - piece...

begin gliss. after the words "defeat him"

begin gliss. after the words "his knees"

a tempo on the word "lady"

w/2 HS

arco

arco

Mar.

∑

{&

Ó

U Ó

U ∑

U Œ

U ˙™

U Ϟ

pp

f

U Œ

U #Ϟ

U Œ

#˙ ˜˙ mp

∑

&

Ó

U Ó

Ó

U Ó

U ∑

U ∑

U ∑

∑

Pno. arco

{

?

∑

U H

Œ

U H™

U H

∑

pppp

° °

spoken, relaxed

Uke./ Voc. (Pn.)

° ¢/

U Œ

≈ Œ

U ∑

U ∑

U ∑

full

hel...

out

of

a

sim-ple head - piece...

He said to him-self: sung

proceed without preparing to sing sung molto p

sung

alla Gregorian chant poco f T. Solo

° & ‹

∑

Ó

U Ó

Œ

spoken

U ˙ If I, because of my evil sins or my good fortune, meet with a

Uke./ Voc. (Ten.)

∑

™

∑

¢&

Ó

U Ó

U œ

U Œ

giant somewhere,

as ordinarily befalls knight errant,

poco f

, U œ

#U œ

and I unseat him or conquer or with a single blow, or cut him in half,

U ∑

U œ #œ de-feat

spoken

œ Œ him would it not be

U #˙

#U œ

good to have someone so that he might fall to his knees before my

sweet

n˙ ™ œ la

-

-

-

-

strummed w/fingertips

U ∑

dy,

freely, as if improvised

5

U ∑

Œ

Œ

Ó

###œœœ œ mf

Vla.

°B

∑

Ó

U Ó

U ∑

U ∑

U ∑

∑

U Ó

U ∑

U ∑

U ∑

∑

spoken, relaxed

Uke./ Voc. (Vla.)

Œ

¢/

™ full

Db.

hel - met

°? ‹

out

of

∑

a

Ó

sim-ple head - piece...

enter after the words "errant knight" w/Vla.; remain steady, even, and unyielding, repeating notes until indicated otherwise MSP sim.

U Ó

U ∑

U Ó

U ∑

Œ

¢/ full

≤ ≤ ≤ ≤ œ œ œ œ . . . .

œ œ œ œ . . . .

pppp

spoken, relaxed

Uke./ Voc. (Db.)

U Œ

Πout

of

a

sim-ple head - piece...

U ∑

œ œ œ œ œ œ œ œ . . . . . . . .

a tempo on the word "lady" ord.

œ œ œ œ œ œ œ œ . . . . . . . . U ∑

œ œ œ œ . . . .

-œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ ∑

Y molto rit.

32

A tempo q. = 44 - 46

218

Direct.

/

Cl (Bb)/ B. Cl.

° ¢&

∑

3 4

∑

w

4 4

∑

3 4 ˙™

w

3 4

∑

4 4w

U ∑

9 8

∑

∑

U ∑

9 8

∑

∑

9 8

∑

∑

. . . . . . . . . . . . almost . . . .to .a grinding . . . . .halt . n>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98

∑

∑

3 4

Œ ˙

slap tongue

Sop. Sax./ Ten. Sax.

° ¢&

w

3 4

œ ˙™

4 4 ˙™

3 4 w

Œ

‰

U Œ

U Œ

˙ 6 v. ff senza sord.

harmon stem out

C Tpt.

° ¢&

Ó

3 4 #œ œ œ œ 4 #œ œ œ œ œ œ œ œ œ œ œ œ 4 Ó

#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 43 #œ œ œ œ œ œ œ œ Œ

this time only, coming

>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

p ff

mp

ppp

ppp

w/2 HS press into marimba bar w/1 HS to lower pitch

Mar.

{ & #˙

3 4 ˙

Ó

˙ ˙

Œ

4 4˙

?

Ó

3 4 ˙û

Œ

U ∑

9 8

∑

∑

f

ord.

&

Ó

Ó

Œ

3 4

#œ

#˙

∑

4Ó 4

#˙

3 4 #˙

Œ

U ∑

9 8

∑

∑

4˙ 4

˙+

3 + 4˙

Œ

U ∑

9 8

∑

∑

Œ

U ∑

9 8

pp Pno. pizz.

{

?

˙+ ™

œ+

+œ

˙+ ™

˙+

3 œ 4

p

5

T. Solo

° & ‹

˙

Ó

Œ

#˙ Dul

3 #˙ 4

œ -

-

ci

ne

-

œ -

-

4 n˙ 4

˙

of

To

a

5

3 4œ

œ -

bo

-

Ϫ -

p

so.

œœœ œ

œœœ œ-

˙˙˙ ˙

###˙˙˙ ™™™™ ˙

3 4 #˙˙ ™™™ # ˙˙ ™

4 4

∑

3 4Œ

Œ

Œ

p

œ œ œ™ Dul - ci - ne

U ∑

9 ˙ ™ 8 #˙˙ ™™ ˙ ™

Œ

j œœ # œœ

∏∏∏∏∏∏∏

¢& ###˙˙˙˙ ™™™™ -

Ϫ

Ϫ -

-

-

a,

strum w/fingertips

… ###œœœ ‰ >œf

5

∏∏∏∏∏∏∏

Uke./ Voc. (Ten.)

œ œ™ J

O Prin - cess strum w/fingernails

5

Œ

˙ ™ n#˙˙˙ ™™™

Œ

p

ord. throw bow Vla.

°B ¢

∑

∑

3 4

∑

4 4

∑

3 4

≥ U Œ œ. œ. œ. œ. œ. œ. œ. œ. œ. > ff ppp

∑

U Œ

9 8

∑

U Œ

9 8

∑

≥ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. > ff ppp

Ϊ