...but a pattern can change for soprano and orchestra
Timothy Miller (2008)
...but a pattern can change for soprano and orchestra
…but a pattern can change (2008) for soprano and orchestra Duration: 15:30
Premiered on November 12, 2008 Caroline Knight Drury, Soprano The University of Louisville Orchestra, Kimcherie Lloyd, conductor
PROGRAM NOTES
...but a pattern can change takes its name from the last line of an excerpt from the poem, Kali, by the Chinese poet Mei-Mei Berssenbrugge, who is widely recognized for juxtaposing abstract language against very literal or direct language, often within the same sentence. Because Berssenbrugge’s style is sometimes hard to understand, interpretations of her words become personal to the specific reader. My score interprets the poet’s juxtapositions through certain patterns within the orchestra. For example, a simple combination of staccato sounds over sustaining sounds is one of the contrasting patterns heard throughout the work. The harmonic structure of the score begins with a three note set presented by the accented notes of the opening section. Led by the vocal line, this structure is slowly transformed into other harmonic forms. Other patterns are created with texture, musical gesture, and rhythm. Although not entirely apparent, each of these patterns is continually transformed or shifted slightly to create new ideas. Neighbor tone pitch disruption is the one element of the work that remains constant and connects each of the other transformations, similar to the consistent use of certain images in Berssenbrugge’s poetry. Note by the composer
INSTRUMENTATION: Flute 1/2 Flute 3 (Doubling Piccolo) Oboe 1/2 Oboe 3 (Doubling English Horn) Bb Clarinet 1/2 Bass Clarinet Bassoon 1/2 Contrabasson Horn in F 1/2/3/4 Bb Trumpet 1/2/3 Trombone 1/2 Trombone 3 (Doubling Bass Trombone) Tuba Percussion: Player 1: Triangles (med. large), Suspended Cymbal (med., large), Chinese Cymbal, Bell Tree, Crotales, Glockenspiel, Bass Drum Player 2: Triangles (med. large), Suspended Cymbal, Chinese Cymbal (Shared with Player 1), Tom Toms (small, med., large), Xylophone, Vibraphone, Gong (large), Tam Tam (med.), Bass Drum (Shared with Player I Player 3: Large Suspended Cymbal, Vibraphone (Shared with Player 2), Marimba, Tam Tam (Shared with Player 2) Harp Piano Soprano Violin 1 Violin 2 Viola Violoncello Double Bass
TEXT Excerpts taken from Kali By Mei-Mei Berssenbrugge Text used by permission. I LOVE ARTISTS: NEW AND SELECTED POEMS, by Mei-Mei Berssenbrugge, (c) 2006 (c) Mei-mei Berssenbrugge. Published by the University of California Press.
4 She spans a bridge over a human being. She appears black from a distance, the way sky appears blue, but held in your hand is colorless like larvae or an element of the voice. Use crystals to identify this seed element introduced into my body, as if by genetic index. Matter becomes a matter of my expression. A fold in matter relates to the light of memory, the way the fold catches illumination and varies, according to the light of day. How does a fold determine “thin” and superimposable depth, the paper fold… …of the image of a wall? The cerebral cortex, gray matter, is a large sheet of two-dimensional tissue, wadded up to fit in the spherical skull. A room transforms itself into two dimensions, into consciousness, following a line, like the proliferation of the symbol for her dark skin. We’re made to believe she is the thin, per se, she is the picture. 5 Red flowers amid dark light reflecting from a plane of water drying up, lamella, maya, as if there were nothing prior for the girl, only this chaotic visual from which a symbol takes its volume. When the perception achieves speed, a wave becomes hard as a wall of marble. You learn from seeing the pain and humiliation on her face and thinking you caused it. If everything black embodies her as time, like a wall of black marble, how to think of black itself? Is it the point of enactment from a symbol? 6 I don’t care for this artificial layer anymore. Now my mother is dead and dark as the animal’s eyes. Her symbol, which has neither sound nor thought of sound, is the word for the thing which I inwardly speak by seeing it, but can’t see it and can’t say it. Her gown glows like crystal. The light wall lends her refinement and immateriality. Nevertheless, her expressiveness maintains through a place that’s neither sensible nor the unity of a synthesis, like strains on patterned cloth around her. A length of cloth would localize in space elements distributed across time. Love was not a sentiment, because in nature, this pattern had no place. In me, nothingness utilized the pattern as a mnemonic aid, but a pattern can change.
...but a pattern can change Transposed Score
for Caroline Knight-Drury
Timothy Miller
Text by Mei-mei Bersenbrugge
q=86
flz. to norm.
1. Flute1/2
mf
Flute 3
Oboe 1/2
Oboe 3
2
p
(h)
flz.
p
6
mf
f
mf
pp
e=150 / e.=100
h
e=216 / e.=144
h.
Trumpet in Bb 3
Trombone 1/2
Trombone 3
Tuba
Timpani
dim.
n
ppp
a2
3
6
mf
3
pp
3
mf
Horn in F 1/2
Trumpet in Bb 1/2
f
ppp
pp
Horn in F 3/4
a2
mp
Contrabassoon
3 breath accents
5
Piccolo solo
1.
4
Clarinet in Bb 1/2
Bassoon 1/2
3
ppp
Bass Clarinet in Bb
(Bass Trombone)
I-E§, II-F#, III-Eb, IV-E§
Percussion 1
Crotales, Triangle beaters
brass mallets
p
p
3
Gong, large felt
*Strike with the stick end directly into the gong at 90 degrees.
Percussion 2
Percussion 3
p
Harp
Piano
Viola
Violoncello
Contrabass
p
D# C# B / E F# G# A
q=86 2
3
3
3
3
4
5
pp
pp
p
mf
6
p
pizz.
mf
pp
5
pp
loco
pp
Violin 1
Violin 2
f
ppp
Copyright © 2008 Timothy Miller Music. All rights reserved. International rights secured. _
I LOVE ARTISTS: NEW AND SELECTED POEMS, by Mei-Mei Berssenbrugge, (c) 2006 (c) Mei-Mei Berssenbrugge. Published by the University of California Press.
rit. Fl. 1/2 7
Fl. 3
Ob. 1/2
Ob. 3
8
n
1. solo
n
n
p
13
3
n
p
ppp
Tbn. 1/2
Tbn. 3
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tba.
Timp.
Perc. 1
Perc. 2
Pno.
loco
7
3 3
p
Vln. 1
mf
Triangle, beater
Hp.
l.v.
f
9
Vla.
Vc.
Cb.
pp
11
10
sfz
n
sfz
pizz. div.
pizz. div.
sfz
p
a2
p a2
p
cup mute
mf
p
Crotales (brass)
mf
D§ Eb
rit.
poco
f
pp
Gong, Triangle beater scrape from edge to center
n
Vln. 2
pp
8
Glockenspiel, brass
(1.)
mf
Hn. 1/2
3
3
3
a2
f
Cbsn.
p
f
Bsn. 1/2
Bs. Cl
p
(Piccolo)
p
12
3
3 3
14
3
q=66
11
10
Cl. 1/2
9
sfz
2
12
13
n
n
mf
5
mf
q=66
14
3
...but a pattern can change - Timothy Miller -
accel. poco a poco
Fl. 1/2 15
Fl. 3
Ob. 3
Cl. 1/2
Bs. Cl
3
mf
2.
5
3
Cbsn.
mf
Hp.
p
n
3
sfz
mute out
pp
pp
To bucket mutes
pp
f
Crotales, bow arco
l.v.
p
f
f
f
accel. poco a poco
div. a4
2.
pp pp
3
3.
4.
pp
1.
2.
pp
18
19
20
spans
a
tutti, div. a4
She
pp
4. 3.
3
q=76
p lifeless
pp
17
16
tutti, div. a4
3 5
15 1.
mute out
pp
Vc.
sfz
Vla.
Bass drum, hard mallet
Cb.
f
3
Vln. 2
sfz / p
Vln. 1
sfz / p
sfz
(med. hard)
S.
n
Pno.
ff
Bass Trombone
ff
(cup mute)
Tba.
sfz
Tbn. 3
sfz
Tbn. 1/2
Perc. 2
straight mutes
sfz
3
mf
Perc. 1
Timp.
mf
ff
Tpt. 3
To English Horn
Tpt. 1/2
20
ff ff
Hn. 1/2 Hn. 3/4
19
ff
ff
18
Bsn. 1/2
3
1. mf
q=76
17
mf
16
Ob. 1/2
arco
pp
pp
arco, div.
arco, div.
div.
n
sfz / p
sfz / p
n
n
sfz / p
3
pp
pp pp
...but a pattern can change - Timothy Miller -
21
22
Fl. 1/2
23
24
25
26
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bsn. 1/2
Cbsn.
Hn. 1/2
(h.)
ppp
Bs. Cl
e=c. 86
2.
pp
1.
pp
pp
mf
ppp
p
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Timp. (arco) Perc. 1 Tba.
p
f Sus. Cymb., Snare stick on dome
Perc. 2
p
p
Hp.
3
bridge
21
Vln. 1
o
-
ver
22
a
hu
-
-
23
-
- 3
-
-
man
be
24
Vla.
inside piano w/ fingernail
Vln. 2
f
l.v.
pizz.
S.
p
Pno.
Vibraphone, med. hard Perc. 3
l.v.
-
ing.
25
mp
mp mp
Cb.
e. = c.96
Vc.
26
(one player only)
mf
4
mp
...but a pattern can change - Timothy Miller -
28
27
Fl. 1/2 Fl. 3
Ob. 1/2
Ob. 3 Cl. 1/2
Bs. Cl Bsn. 1/2
Tpt. 3
Tbn. 3
p sempre
gliss.
3
Sus. Cymbs., Snare Stick
p
f
(one player only) w
gliss.
3
3
from
a
dis - tance
3
s.
29
fp
gliss.
fp
gliss.
gliss.
fp
gliss.
mf
con legno, div.
f con legno, div.
f con legno, div.
p
3
f ord., unis.
ord., unis.
ord., unis.
p
p
p
5
mf
cresc.
the
way
(D§ C# B / Eb F#G# A)
3
sky
30
ap - pears
mf
p f p sul tasto------to----------sul pont.
mf
f
blue,
p f p sul tasto------to----------sul pont.
mf
p
31
unis. ord.
ord. unis.
unis.
3
pp
ff
pp
ff
pp
ff
pp
ff
unis.
32
3
3
mf
p
3
p
p
3
f
28
g lis
Triangle, beater, l.v. sempre
fp
ap - pears black
mp
3
p
p sempre
on dome
3
mf
p
3
the others div.
Cb.
bucket mute
Vc.
Vln. 1
Vla.
3
mf
She
Vln. 2
3
Marimba, med. hard
27
p
Toms, med. hard
S.
a2
mf
bucket mute
p
Perc. 1
Pno.
English Horn
Hp.
32
31
Perc. 3
mf
Perc. 2
3
p
Timp.
5
30
Tba.
p
Tbn. 1/2
Hn. 1/2
Tpt. 1/2
Cbsn.
Hn. 3/4
a2
29
p
mf
f
5
p
...but a pattern can change - Timothy Miller -
33
34
Fl. 1/2
35
Ob. 1/2
Ob. 3
3
mf
mf
Bs. Cl
Bsn. 1/2
Cbsn.
Tpt. 1/2
Tpt. 3
Tbn. 1/2
p
Pno.
f
p
f
a2
p
p
f
ff ff ff ff
open
open
mute out
open
mute out
med. hard mallets
3
f
p
mf
f
3
Vln. 2
Vla.
34
3
held
in your
Cb.
3
3
f
p
p
6
To straight mutes
p
p
sfz
sfz
sfz
3
sfz
f
ff
f
37 pizz. div.
pizz. div.
3
ff
hand
f
div.
f
p
p
3
f
3
sfz f 3 sfz
mf
p
f
f
sfz
36
n
f
3
3 sfz mf
l.v.
35
Vc.
mf
but
33
3
D# E§
f
open
Crotales, plastic
sfz f 3
f
S.
Vln. 1
f
Hp.
p
Perc. 2 (Toms) Perc. 3 (Marimba)
f
Perc. 1
Tbn. 3
Timp.
p
Tba.
p
Hn. 1/2 Hn. 3/4
39
f
38
p
f
mf
Cl. 1/2
37
Fl. 3
36
pizz.
pizz. div. a3
3 3
is col - or - less
38 sfz
sfz
3
mf
3 bend pitch
sfz 3
3
E#
like
39
2 stands only
arco sfz n mf 1/2 the section pp
...but a pattern can change - Timothy Miller -
40
41
Fl. 3
Ob. 1/2
Ob. 3
Fl. 1/2
Cl. 1/2
Bs. Cl
2.
Bsn. 1/2
Cbsn.
3
p
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Timp.
Perc. 1
Perc. 2
Perc. 3
mf
42
3
p
mp
5
q=96 sub.
45
44
46
mp
f
p cresc. poco a poco
f
p cresc. poco a poco
pp
mf
pp
2.
p cresc. poco a poco
4.
p cresc. poco a poco
1.
p cresc. poco a poco
scrape
Sus. Cymb., med. hard
p
p cresc. poco a poco
mf cresc. poco a poco
scrape
3
mf
mf
Tam Tam, med. felt
43
mf
solo
(English Horn)
mf
Tba.
p
Hn. 1/2 Hn. 3/4
mf
Vibraphone, med. hard
p
Hp.
Pno.
3
or an
el - e - ment
of
the
p
p
5
mf
mf
arco, unis.
mp
gliss.
mf cresc. poco a poco
mf
p
5
mf
voice.
43
42
remaining players
Cb.
41
Vln. 1
Vc.
mf
40
Vla.
secco
(pedal remains down)
lar - vae
Vln. 2
f
f S.
q=96 sub.
45
44
46
mf
p
arco, unis.
unis.
free bowing
n
p
3
n
3
n
p
pp
pp
7
slow gliss.
mf
pizz., l.v. sempre
mf
...but a pattern can change - Timothy Miller -
47
Fl. 1/2
mf
Fl. 3
mf
Ob. 1/2
Cl. 1/2
48
mf
49
ff
mf
3
mf
mf
3
f
3
3
3
mf cresc.
mf cresc.
f
f
3
3
f
Tbn. 1/2
Tbn. 3
Tba.
3
f
3 ff
3 straight mute
cresc. poco a poco
mf cresc.
mf cresc.
mf cresc.
mf cresc.
f cresc.
f cresc.
mf
Triangle, beater
mf scrape
Tam tam, Snare Stick
3
f cresc.
l.v.
ord.
f cresc.
f
mf
ff
ff
ff
ff
f
f
ff
f
a2
Perc. 2
f
straight mute a2
Perc. 3
Tpt. 3
Perc. 1
f
a2
Timp.
ff
f
a2 Hn. 1/2
Tpt. 1/2
3 f
mf
Cbsn.
Hn. 3/4
Bsn. 1/2
ff
3
cresc.
3
cresc.
mf
ff
52 51
50
cresc.
3
Bs. Cl
mf
Ob. 3
mf cresc.
scrape with a zigzag pattern, slow to fast
ord. (strike)
Strike
mf
f
Hp.
Pno.
p
47
5
Vc.
Cb.
50
3
3
arco
f
f
3
3
3
mf cresc.
8
arco
3
ff
3
f
51
3
f
arco
Vla.
49
Vln. 2
mf
48
Vln. 1
E§ F§ G§
f
52
ff
ff
ff
...but a pattern can change - Timothy Miller -
53 (qq=96)
Fl. 1/2
58 54
Ob. 1/2
Cl. 1/2
a2
ff
f
f
Bs. Cl
f
p
Hn. 1/2
3
f
Tbn. 3
Tba.
Timp.
Perc. 1
pizz. div.
p
3
mf
mf
3
3
l.v. mp
3
3
mf
Marimba, med. hard
f
f
f
f
55
mf
arco
arco
mf
3
57
58
pp
pp
3
3
56
54
sfz
sfz
3
div.
pizz.
f
Vc.
Cb.
f
3
f
Vla.
Vln. 2
Xylophone, plastic
53 (qq=96)
Vln. 1
p
(D# C# B / E F G A)
f
l.v.
f
l.v.
mf
Pno.
f
3
f
f
Hp.
Perc. 2
Perc. 3
f
f
5
f
ff
3
open
f
f
ff
Tbn. 1/2
3
mf
pp
3
f
Tpt. 3
mf
Tpt. 1/2
3
p
f
Hn. 3/4
3
f
p
p
f Cbsn.
a2
59
p
f
Bsn. 1/2
57
(Piccolo) solo
Ob. 3
56
Fl. 3
55
3
59
f
f
p
p
9
3
mf
f
mf
f arco
3 3
mf
mf
3
...but a pattern can change - Timothy Miller -
60
61
Fl. 1/2
62
64
63
65
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
p
p
p
Hn. 1/2
3
p
p
Tpt. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
(Xylophone)
Perc. 3 (Marimba)
f
f
Cb.
l.v.
mf
f
3
D§ Eb
3
f
3
mf
cry - stals
to
i - dent - i
61
3
pp
p
pp
- fy
62
mf
this seed
3
el - e - ment
p
p
p
p
10
in - tro - duced
3
in - to
my
bo -
64
65
f
3
3
p
p
63
p
60
Vc.
3
Vln. 1
Vla.
p
p
Use
Vln. 2
S.
Pno.
3
Hp.
p
Perc. 2
f
Tbn. 1/2
p
f (straight mute)
Tpt. 3
3
Hn. 3/4
3
3 3
3
f
...but a pattern can change - Timothy Miller -
67
66
68
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
70
mf
f
a2
f
1.
f
3
mf
3
a2
3
mf
stopped
3
a2
mf
3
f
3
mf
f
Bsn. 1/2
rit.
69
3
mf
Fl. 1/2
Fl. 3
mf cresc.
f
3
f
Gong , Snare stick
mf
Chinese Cymbal, med. hard
Perc. 2
mf
mf
Hp.
Pno.
S.
3
Vln. 1
Vc.
Cb.
dy
67
3
as
ge - ne - tic
3
if
by
in
-
-
-
68
69
pp
pp
pp
pp
11
rit.
dex.
pp
p
-
Vla.
66
Vln. 2
70
harm. gliss.
pp
...but a pattern can change - Timothy Miller -
71
Fl. 1/2
(rit.)
73
72
q=66
74
76
75
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
mf
Hn. 1/2
Hn. 3/4
p
pp
f
mf
f
3
pp
p
pp
pp
pp
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
3
Tba.
Timp.
Perc. 1
(Gong)
p
(Chinese Cymb.)
Perc. 2
3 mf
pp
F#>Bb
ff
Crotales, bow arco
p
S.
f
p
71
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
harm. gliss.
72
q=66
73
(pp) gliss.
5
p
mf
mf
3
3
f
76
mf
12
gliss.
mf
be - comes
unis.
75
p
(pp)
74
3
Triangles, beater
Mat - ter
(rit.)
brass mallets
Pno.
Hp.
ppp
...but a pattern can change - Timothy Miller -
poco accel. Fl. 1/2
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
81
80
79
a2
Bsn. 1/2
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
S.
f
(D§ C# B / Eb F G A)
D# E§ F#
espr.
3
3
3
Mat - ter
be - comes
a
Vln. 1
78
Vln. 2
Vla.
Vc.
Cb.
79
81
mf
f
7
f
f
mf
q= c. 80, play 1X only
mf
3
(straight mute)
e= c. 160
mp
3
f
ex - pres
3
-
sion.
q=76 accel. poco a poco
rit. 82
mf
mf
mf
13
mf
p
(q=c. 80)
my
80
mf
3
poco accel. 77
f
cresc.
mat-ter of
mf
82
f
5
Pno.
p
Hp.
7
mf
mf
Bs. Cl
q=76 accel. poco a poco
rit.
(q=c. 80)
78
77
ff
mp
ff
mp
ff
mp
ff
mp
div.
...but a pattern can change - Timothy Miller -
83
Fl. 1/2
(accel.)
84
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Hn. 1/2 Cbsn.
3
Tbn. 1/2
Tbn. 3
Timp.
Perc. 1
Perc. 3
Hp.
Pno.
f
Vln. 1 Vln. 2
Vla.
(accel.)
3
ff
f
f
ff
3
3
3
3
ff
f
Cb.
p
85
Vc.
84
p
Speaking freely, espressively, rhythmic placement should be approximate f espr. and direct e
A
83
mf
1. To Harmon mute
hard Marimba,
S.
(h)
3
mf
p
3
mf
f
3
Perc. 2
3
Tpt. 1/2
Tba.
Hn. 3/4
Tpt. 3
87
Bsn. 1/2
Fl. 3
q=112
86
85
p
p
q=112
86
f
3
pizz.
3
f
14
3
3
3
3
ff
ff
ff
fold
87
in mat - ter
...but a pattern can change - Timothy Miller -
88
89
Fl. 1/2
90
92
91
93
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
3
3
3
3
3
3
3
3
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Cbsn.
Hn. 1/2
Tba.
Timp.
Perc. 1
Tam tam, Snare stick
Perc. 2
Perc. 3
mf
mf
Hp.
S.
88 Vln. 1 n
Vln. 2
Vla.
Vc.
Cb.
3
f
pizz. (w/ finger nail)
(D# C# B / E F# G A)
Pno.
f
re - lates
to the light
of
sing
89
mf
3
-
o
-
speak
ry,
3
poco
mf
mem
3
3
3
f
the way
90
the
92
91
n
fold
catches illumination
93
and var - ies
according
slow undulation between open string and harmonic
pp
15
...but a pattern can change - Timothy Miller -
94
Fl. 3
Ob. 1/2
(English Hrn.)
Ob. 3
p
a2
Cl. 1/2
Bs. Cl
p
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
S.
mf
3
plastic Glockenspiel,
Cym., med. hard Sus.
3
Cb.
To Oboe
p
pp
3
1. Harmon mute
f
p
mf
n
f
3
f
95
f
3
light
of
f
96
mf
day.
3
3
p
3
mf
(pizz.)
f
16
97
mp
3
f
mf
the
f
Vibraphone, med. hard
sing mf
mf
mf
94
Vc.
3
Vln. 1
Vla.
3
to
Vln. 2
mf
f
Perc. 3
Pno.
Perc. 2
Hp.
97
f
Bsn. 1/2
96
95
Fl. 1/2
...but a pattern can change - Timothy Miller -
98 Fl. 1/2
Fl. 3
Ob. 1/2
Ob. 3
a2
pp
Oboe
mf
mf
5
3
Bsn. 1/2
3
3
5
3
mf
pp
3
5
q.
mf
mf
3.
1.
rit.
pp
Hn. 3/4
(colla voce)
q=96
102
To Flute
pp
mf
Bs. Cl
101
mf pp a2
Hn. 1/2
100
mf
Cl. 1/2
Cbsn.
99
rit.
mute out
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
p
Bb
mf
speak
mp
mf
S.
mf
Pno.
Chinese Cymb.
mp
Hp.
How
does
a
fold
de - ter - mine
q
(w/ orchestra) e
"thin"
on downbeat
and
sup - er - im - pos - a - ble
q
depth,
the paper
a piacere mf
fold
of the image... ...of a
3
(colla voce)
rit.
98
Vln. 1
99
p
Vln. 2
p
Vc.
Cb.
trill: slow to fast
Vla.
rit.
q=96
(trill: fast) 100 101 102 trill: fast to slow p mp mf p mp p mf div. mf p mp pizz. div. a3 f
(pizz.)
f
17
...but a pattern can change - Timothy Miller -
103
q=86 104
Fl. 1/2
105
Ob. 1/2
Ob. 3
Fl. 3
Bsn. 1/2
p
a2
p
mf
pp
f
p
1. solo
mf cantabile
f
p
f
mf
p
p
f
p
f
p
110
p
p (renforcing the vocalist)
open
Hn. 3/4
f
p Flute
pp
109
open Hn. 1/2 Cbsn.
108 107 106 p
Cl. 1/2
Bs. Cl
a2
pp
mf
pp
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Hp.
p
mf
3
Triangles, beaters mf
f
3
f
p
f
cresc,
mf
S.
Glockenspiel, plastic
Pno.
mf
f
wall.
5
mf
3
The ce - re - bral cor - tex,
q=86
106 104 105 Vln. 1
103
f espr.
f
107
108
p
gray
109
3
dim.
mat - ter,
is a large
110
div.
sheet of
Vc.
Cb.
Vln. 2
Vla.
f
f
p
p
18
arco unis.
arco
ricochet
n
sfz
n
sfz
pp
ricochet
pp
...but a pattern can change - Timothy Miller -
111
112
Fl. 1/2
timbral trill 115
114
113
116
1.
3
mf
pp
pp
(1.) flz.
mf
To Piccolo timbral trill
Fl. 3
Ob. 1/2
Ob. 3
3
mf
pp
pp
q=72
Cl. 1/2
Bs. Cl
Bsn. 1/2
1.
Perc. 1
Hn. 3/4
solo
3
p
Hn. 1/2
pp
Cbsn.
slow to fast
f
a2
sfz
a2
sfz Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 2
Hp.
Pno.
a2 open
Chinese Cymb., med. hard
sfz open
sfz
Crotales, plastic
choke
111
Vln. 1 Vc.
Cb.
di - men - sion - al
mf
f
112
wad - ded up
to
gliss.
f dim.
f dim.
gliss.
skull.
115
114
gliss.
in the spher - i - cal
f dim.
fit
113
unis.
mf
3 3
tis - sue,
p
116
p
dim.
dim. p
gliss.
p
f
tutti, div. by stands
dim.
ricochet
mf
two
Vla.
(D# C# Bb / E F§ G A)
3
Vln. 2
mf
mf
S.
p
Tam Tam, large felt *Strike with stick end directly into Tam Tam at 90 degrees l.v., sempre
sfz
p
19
ppp
ppp
mp
mp
ppp
3
...but a pattern can change - Timothy Miller -
a2 121
117
118
119
120
mf
Fl. 1/2
3
7
mf
f
Ob. 1/2
accel.
f
Fl. 3
ord.
3
122
a2
3
f
Ob. 3
Poco accell. independently, reaching approx. q=96 by m. 119.
(q) q=60
Cl. 1/2
pp
(senza accell.)
Bs. Cl
Bsn. 1/2
Hn. 1/2 Cbsn.
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
2.
mf
p
1.
mf
n
mf
Timp. Perc. 1 Tba.
ord., strike
Perc. 2 (Tam Tam)
p
Perc. 3
Vibraphone, bow
f
arco l.v.
p
Hp.
Gong, Snare sticks
mf
Pno.
S.
p cold sound
A room
3
trans - forms it - self
in - to
two
3
mf sub.
di - men - sions
in
-
to
118
Vln. 1
119
the others
p
3
Vc.
5
p
3 players only, sul tasto
Vla.
mp
Cb.
120
Vln. 2
3
sul pont.
grad. to gliss.
20
con
-
5
mf
3
122
p
scious - ness,
accel. l.v.
121 117
...but a pattern can change - Timothy Miller -
rit.
123
Fl. 1/2
q=100
124
126
125
a2
mf
Fl. 3
flz.
Piccolo
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
cresc. poco a poco
Hn. 1/2
pp
Hn. 3/4
pp
Tba.
Timp.
f
pp
mf
Perc. 1 Perc. 2
Hp.
Pno.
f
p
f
p
f
f
f
f
p
dampen
Ab>Gb
Eb>Bb
sfz
mf
f
Vln. 1
q=100
a line,
124
sfz
sfz ord.
sfz
3 3
sfz
-
ra - tion
125
p
p
p
p
of
the
sym - bol
for
rit.
div.
127
sfz
div.
sfz
sfz
21
3
her
126
mf f
3
mf
like the pro - lif - er
3
f
123
mf
p
fol - low - ing
Cb.
trill: slow to fast
3
Vc.
Sus. Cymb., med. hard
Vla.
sfz
Vln. 2
p
S.
p
a2
3 a2
(q)
sfz
pp
p
Tbn. 3
pp
pp
f
pp
pp
Tbn. 1/2
f
pp
Tpt. 3
f
Tpt. 1/2
(Clarinet 2) Start cresc. on beat 3
mf
128
sfz
flz.
q=96 sub.
(q=72)
127
div.
p
(D# C# Bb / E F# G A)
dark
skin.
(q=72) 128
sfz
sfz
q=96 sub.
*Bass harmonics sound down one octave.
*
mp
n
...but a pattern can change - Timothy Miller -
129
130
Fl. 1/2
131
132
133
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
3
5
3
3
p cresc.
Hn. 1/2
3
f
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Timp.
Perc. 1
Perc. 2
Hp.
mf
fp
p cresc.
fp
p cresc.
3
p
Vibraphone, bow arco
mf
f
mf espr.
We're
129
130
Vln. 1
div.
Vln. 2
3
mp
p
p
f
mp
div.
3
p cresc.
p cresc.
3
mf
f
3
mute out
n
n
f
f
p
B§
mp
p
mp
p
22
p
3
is the thing,
n
n
per se,
134
p
mp
mf mp p mf
n
she
133
to be - lieve
132
mp
f
made
131
tutti f
Cb.
3
Vc.
Vla.
S.
Pno.
a2
Tbn. 3
Tba.
straight mute
ppp cresc.
Hn. 3/4
3
135
a2
3
p
134
135
...but a pattern can change - Timothy Miller -
136
137
Fl. 1/2
138
a2
p
flz.
139
mf / p
140 3
mf
Fl. 3
Ob. 1/2
Ob. 3
timbral trill
3
p
Cl. 1/2
Bs. Cl
2.
p
Bsn. 1/2
Cbsn.
Hn. 1/2
pp
pp
3 3 5
mf
pp
pp
3
p
141
5
3
mf
pp
2. con sordino
con sordino
Hn. 3/4
pp
pp
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tba.
Timp.
Sus. Cymb., med. hard
Perc. 1 Perc. 2
3
p
med. hard mallets
p
Pno.
mf
3
is
the
138
139
pp
sfz
p
p
div.
p
p
sfz
div.
3
3
div.
mf
pic - ture.
137
pp
5
3
5
3
pp
cresc. poco
Vln. 1
136
Cb.
mf
She
Vc.
Vla.
p
Vln. 2
3
S.
p
Hp.
3
Tbn. 3
1. open
sfz
sfz
140
p
23
pp
pp
pp
141
mf
...but a pattern can change - Timothy Miller -
142
q=116
143
144
Fl. 3
Ob. 1/2
Ob. 3
Fl. 1/2
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
mute out
Tbn. 1/2
Tbn. 3
Hp.
Pno.
mf
3
S.
pp
mf pondering
Red
142
Vla.
Vc.
Cb.
q=116
flow - ers
143
3
ppp
mute out
ppp
3 a - mid dark
144
Vln. 1
Vln. 2
p
3
Perc. 2
p
3
Tpt. 3
Perc. 1
3
Timp.
3
Tpt. 1/2
Tba.
3
3
3
p
147
p
1. con sordino p
146
(Piccolo)
Hn. 1/2 Hn. 3/4
145
3
light
re - flect - ing
from
a
145
146
pp
p
mf
plane
of
wa
3 -
ter
147
pp
pp
pp
pp
pp
24
p
mf
p
mf
...but a pattern can change - Timothy Miller -
poco rit. 149
148
Ob. 1/2
5
p
pp
3 p pp
5
mf
timbral
3
5
5
mf
Tpt. 1/2
Tpt. 3
Tbn. 3
Tba. Timp.
pp
pp
mf
Hn. 3/4
Tbn. 1/2
6
3
3
3
timbral
Bsn. 1/2
3
3
3
Bs. Cl
pp
pp
3
Hn. 1/2
5
Cl. 1/2
Cbsn.
Ob. 3
151
Fl. 1/2 Fl. 3
q=100
150
Slowly, random bells, gradually becoming less active
Perc. 1
Perc. 2
Bell Tree, Triangle beaters
Vibraphone, soft mallets
p
3
mf
Perc. 3
Large Sus. Cymb., med. hard
pp
Hp.
Pno.
-
-
ing
up,
Vla.
pizz. div.
pizz. div.
pp
Vc.
mf
3
3
3
p
D§ B# Ab
q=100
pizz.
* Bass harmonics sound down one octave.
151 l.v.
l.v.
l.v.
l.v.
mf
mf mf mf
Cb.
150 pizz. div.
pp
poco rit.
149 Vln. 1
p
pp
mf
lam
148
Vln. 2
3
dry
(D# C# B§ / E F# G A)
pp
S.
3
pp
mf loco
*
mf
p
25
ppp
-
...but a pattern can change - Timothy Miller -
152
153
154
Fl. 3
Ob. 1/2
Ob. 3
Fl. 1/2
3
3
3
3
155
156
158
157
Cl. 1/2
3
Bs. Cl
3
3
3
Hn. 1/2
1.
3.
Bsn. 1/2
Cbsn.
Hn. 3/4
3
mf
Tbn. 1/2
Tbn. 3
p
Timp.
Perc. 1 (Bell Tree)
(Sus. Cymb.)
Pno.
S.
mel
-
a2
3
3
p
mf
Large Sus. Cymb.
p
Xylophone, hard
poco
mf
p
p
Hp.
Perc. 3
mf
3
p
3
a2
(Vibr.)
Tba.
3 3 3 3 3 3 p
p
Tpt. 3
Perc. 2
mf
Tpt. 1/2
la,
ma
-
ya,
3
as
if
there
poco
was
mf
noth - ing
noth - ing
mf
noth
f
-
155 156 158 157 154 5 5 5 5 Vln. 1 pp mf pp pp 5 arco Vln. 2 152
153
arco
5
pp
Vla.
arco
p cresc.
Vc.
Cb.
mp
mf
3
pp
mf
pp
pizz.
3
3
arco pp
p
mf
pizz.
p
26
mf
pp
arco
...but a pattern can change - Timothy Miller -
160 161 3 3 mf f
159
Fl. 1/2
Fl. 3
mf
Ob. 1/2
3
a2 162
163
a2
3
f
p
mf
3
p
mf
Hn. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 3/4
Tpt. 1/2
3
3
1.
p
mf
3
mf a2 3
p
3
mf
a2 3 p 3
a2
p
3
3
3
a2
mf
Tpt. 3
Tbn. 1/2
f
Tba.
Timp.
Perc. 1
Perc. 3
Pno.
S.
mf w/ increasing intensity
159
Vln. 1
Vla.
Vc.
Cb.
3
as
3
if
160
f
f
mf
noth
arco
p
3
27
ing
mf
mf
mf
f
pri - or for
mp
-
mp
p cresc.
3
mf
mf
3
f
162
mf dim.
mp
was
p
mf
div.
5
161
there
3
Slowly strike each bell seperately, reaching the lowest bell by m. 164
(highest bell)
p
3
p
- ing
Vln. 2
mf
Hp.
3
p
mf Perc. 2
on beat 2
a2 3 mf
3
Tbn. 3
this
163
ff
girl,
f
f
f
f
...but a pattern can change - Timothy Miller -
165
3
164
Fl. 1/2
flz.
Fl. 3
ff
3
5
Cl. 1/2
ff
3
166
167
168
pp
p
p
3
ff
pp
mf
(Oboe)
Ob. 3
3
ff
ff
mf
a2 Ob. 1/2
pp
mf
Hn. 1/2
2. To straight mute
To straight mute
Bs. Cl
f f
Bsn. 1/2
Cbsn.
f
f
Hn. 3/4
f
Tpt. 1/2
f
f
Tpt. 3
Tbn. 1/2
f
Tbn. 3
f
Tba.
f
Timp.
Perc. 1
Perc. 2
(lowest bell)
ppp
Pno.
Gong, Snare sticks
f
Hp.
II. Bb>C
164 Vln. 1
f
Vc.
f
Cb.
sfz
poco
f
on - ly
this cha
div.
sfz / p
unis.
sfz / p
p
sfz
-
ot
-
ic
vis
-
f
u - al
167
from which
5
f
mf
unis.
f
sfz / p
3
mf
sfz / p
166
165
f
f
f
Vla.
Bb
Vln. 2
f
f
(D§ C# B# / E F# G Ab) f
S.
a
sym
pp
28
bol
pp gliss.
-
168
pp
...but a pattern can change - Timothy Miller -
171 169
170
p
mf
Fl. 1/2
Ob. 1/2
p
Fl. 3
p
3
3
p
poco rall.
172
mf
173
mf
f
mf
Ob. 3
Cl. 1/2
Bs. Cl
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Bsn. 1/2
Cbsn.
Hn. 1/2
Tba.
Timp.
Perc. 1
Perc. 2
Glockenspiel, plastic
Vibraphone, med. hard
3
p
p
p
S.
f
Pno.
f
Hp.
takes
its
3
vol
-
-
-
-
-
5
(D§ C# Bb / E F# G Ab)
f
mf
169
Vln. 1
mf
Vln. 2
Vla.
170
div.
ume.
poco rall. 3
171
172
n
173
f
p
mf
mf
Vc.
Cb.
fp
fp
29
...but a pattern can change - Timothy Miller -
Slower q=92
176
177
174
Fl. 1/2
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
S.
175
2. straight mute, harsh!
mp
3
straight mute, harsh!
C§ B§
mf
3
Slower q=92
Vln. 1
Vc.
Cb.
pp
175
pp
a
pp
gliss.
-
chieves
176
a
wave be - comes
n
30
pp
3
hard as
a
wall
179
div. a3
178
ppp
mute out
177
speed,
Stands 1-2 only, div. a4 sul tasto (gently)
180
3
174
Vla.
179
3
mp
When the per - cep - tion
Vln. 2
178
of
mar - ble.
180
p
solo, espr.
con legno, tutti, div. a4, unis.
3 mf f
p
3
...but a pattern can change - Timothy Miller -
molto rit. 181
Fl. 1/2
183
q=72 sub.
182
poco accel. 185
184
186
187
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Hn. 3/4
Tpt. 1/2
Tpt. 3
Bsn. 1/2
Cbsn.
Hn. 1/2
Perc. 1
Perc. 2
Hp.
pp
mf
pizz. (w/ pad of finger)
Pno.
mf
Tbn. 3
Timp.
pp
Tbn. 1/2
Tba.
f
181
Vln. 1
Vln. 2
Vc.
q=72 sub.
molto rit.
182
183
184
ppp
mf
p
You learn
from see - ing
mp
pp
non. vibr.
the pain
3
and
186
p
ppp
ppp
-
mil - i - a - tion
pp
pp
rit.
188
mf
mf
non. vibr. grad. to----------------------------------vibr. pp
p
31
hu
187
pizz. div.
mf
poco accel.
p
tutti, div.
185
p
pp
pp
Cb.
3
pp
ppp
Vla.
f
S.
rit. 188
arco unis.
pp
...but a pattern can change - Timothy Miller -
189
flz.
q=72
190
Fl. 1/2
191
192
193
(Piccolo)
f
p
Cl. 1/2
Bsn. 1/2
Cbsn.
Hn. 1/2
a2
pp
Tbn. 1/2
Tbn. 3
Timp.
3
ppp
mp
mp
p
ppp 3
open
p
Tpt. 3
Tba.
Tpt. 1/2
ppp
ppp
mp
ppp
n
pp
C>Ab
mf
Small Triangle, beater l.v. sempre
Large Sus. Cymb., med. hard
pp
3
loco
3
3
you
q=72
caused
pp
ppp
C#
6
it.
190
p
(D C§ B§ / E F# G Ab)
f
p
f
mf
mf
189
rit.
191
192
193
pp
gliss.
194
mf
highest note possible 195
ppp
Vln. 2
Vla.
Vc.
Cb.
pp
and think - ing
Vln. 1
S.
ppp
Pno.
mf
ppp
Hp.
Perc. 1 Perc. 2
mf
3 p mf
Hn. 3/4
p
Bs. Cl
p
Ob. 3
195
f
Ob. 1/2
rit.
194
f
Fl. 3
unis.
ppp
3
p
pp
mp
ppp
ppp
32
n
...but a pattern can change - Timothy Miller -
196
Fl. 1/2
Più mosso q=72
q=66
197
198
199
200 1. flz.
201
norm.
p
mf
pp
202
Fl. 3
Ob. 1/2
Ob. 3
e.= 86, repeat figure 1x
ppp
Cl. 1/2
e.= 82, repeat figure 2x
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Gong, Snare stick
Bs. Cl
Bsn. 1/2
Cbsn.
Tba.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
Vln. 1
q=66
p
3 3
p
em - bod - ies
her
as
p
loco
p
3
time.
F§
3
like
(D C# B / Eb F# G Ab)
mf
3
mf
a
wall
of black
Più mosso q=72 197
198
199
200
one player only
201
ppp
Cb.
p
pp
one or two players pp
33
202
Vc.
Crotales, plastic
eve - ry - thing black
pp
p
p
3
p
pp
196
Vla.
If
Vln. 2
ppp
p espr.
S.
ppp
*Strike with the stick end directly into the gong at 90 degrees.
pp
pizz. unis.
p
3
...but a pattern can change - Timothy Miller -
poco accel.
poco rit. A Tempo 203
Fl. 1/2
Fl. 3
Ob. 1/2
Ob. 3
204
205
206
p
207
208
p
210
209
q=84
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
p
1.
3.
p
p
a2
gliss.
p
mf
3
p
pp
p
p
Timp.
ppp
Perc. 1
Perc. 2
Bow
Hp.
Pno.
S.
f
f
p
f
mf
3
f
loco
p
5
f
mf
how to think
3
of black it - self?
Is it
poco rit. A Tempo 203
Vln. 2
Vla.
Vc.
Cb.
204
205
mf
3
mar - ble,
Vln. 1
A§
scrape w/ coin
f
mf
p
arco
208
D# E§
sym - bol?
210
209
q=84
gliss. f pp
div. tutti,
arco
pp
poco accel. 207
206
the point of en - act - ment from a
mp
tutti
34
p
3
3
3
mp
p
p
...but a pattern can change - Timothy Miller -
poco accel.
213 212 3 5
211
Fl. 1/2
p
3
accel. poco a poco 214
215
216
mp
Fl. 3
Ob. 1/2
Ob. 3
Bsn. 1/2
Hn. 1/2
p
mf
mp
mf
mf
Perc. 2
Hp.
Pno.
mf
mf
3
mf
p
p
212
poco accel.
213
pp Vla.
Vc.
accel. poco a poco216
Vln. 2
214
pp
Cb.
p
211
Vln. 1
a2
pp
p Tbn. 3
p
p
Tbn. 1/2
Perc. 1
Tpt. 3
Timp.
p
p
Tba.
3
3
3
p
mp
p
Tpt. 1/2
p
p
Hn. 3/4
3
Bs. Cl
Cbsn.
Cl. 1/2
35
f
f
215
p
p
...but a pattern can change - Timothy Miller -
219
(accel. poco a poco) 217 3 Fl. 1/2 mf
p
Fl. 3
218
3
p
ff
mf
ff
mf
f
q=96 accel. poco a poco
flz.
ff
mf
f
mf
f
mf
220
f
f
f
Ob. 1/2
mf
Ob. 3
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
mf
Timp.
Perc. 1
Hp.
Pno.
Vc.
a2
3
a2
3
p
ff
p
ff
p
p
p
ff
ff
ff
p
ff
Large Sus. Cymb., med. hard
mf
mf
f
f
f
f
Gong, hard felt
p
f
219
(accel. poco a poco)
f
q=96 accel. poco a poco
218
p
Cb.
Vln. 1
Vla.
217
Vln. 2
ff
p Perc. 2
p Tba.
f
Hn. 3/4
ff
ff
mf
Cl. 1/2
f
mf
mf
36
3
3
220
cresc.
cresc.
...but a pattern can change - Timothy Miller -
221
Fl. 1/2
a2
mf
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
mf
a2
mf
6
3
a2
6
mf
3 3 3 3 3 3 Hn. 3/4
Tpt. 1/2
Tpt. 3
a2
f
f
mf
mf
3
mf
f
Timp.
fff
fff
fff
fff
3
3
3
fff
fff
3
fff fff
fff
3
3
a2
a2
3
3
f
5
5
Tba.
mf
f
Tbn. 3
a2
f
Tbn. 1/2
f
Hn. 1/2
fff
5
5
f
mf
fff
f
5
f
6
3
3
f
6
3
q=120
223
f
3
mf
6
222
fff
3
3
3
3
fff
fff
fff damp
fff
Perc. 1
Bass drum, hard
ff
Perc. 2
Large Gong (felt mallet)
dampen suddenly
p
f
Hp.
fff
(D# C# B / E§ F G A)
Pno.
S.
fff
unis.
unis.
Vla.
Vc.
Cb.
221 Vln. 1
Vln. 2
with a sudden f sense of clarity
222
q=120
223
f
ff
fff
ff
I
div. a4
37
3
3
3
div. a4 fff div. fff
div.
fff
div.
fff
don't
care
...but a pattern can change - Timothy Miller -
Fl. 1/2 Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Tpt. 3
Tbn. 3
(Bass Drum)
f
3 f 3
mf
f
5
3
3
p
5
p
5
a2
3
a2
mf 3
mf
3
3
f
f
Eb>Bb
Med. Sus. Cymb., med. hard
mf
f
C§ Bb Eb Ab
for
this
ar - ti - fi
-
cial
Vln. 1 224
3
225
unis.
3
ff
3
lay - er
Vla.
Vc.
228
226
227
f
unis. mf unis.
mf
5
f dim.
an - y - more.
38
mf unis.
p
mf
p
Vln. 2
3
f dim.
S.
Cb.
3
Pno.
Hp.
To Flute
5
p
Perc. 2
Perc. 3
5
f
Tbn. 1/2
Perc. 1
a2
f
a2
Timp.
Tpt. 1/2
Tba.
f
Hn. 1/2 Hn. 3/4
226
Bsn. 1/2
225
Bs. Cl
Cbsn.
227 a2 228
224
f
p
f
p
...but a pattern can change - Timothy Miller -
229
Fl. 1/2 Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bsn. 1/2
Cbsn.
233
a2
ff
234
Flute
mf
mf
f
f
3
mf 3
p
3
f
ff
a2
f
ff
ff
a2
p Bs. Cl
232
231
230
mf
3
mf
mf
f
f
f
a2
Tbn. 1/2
Tbn. 3
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tba.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
229
Vln. 1
Vln. 2
Vc.
Cb.
fp
fp
p dim.
f
Now
my
3
mf
f
f
a2
f
f
A
is
E§
f secco
3
230
moth - er
Vla.
3
S.
3
p dim.
a2
dead
and
dark
231
f
p
f pizz. unis.
f
as the(e)
232
an
-
i
-
mals
eyes.
234
233
p
mf
3
mf
39
f
3
f
3
mf
5
5
arco
f
f
f
mf
...but a pattern can change - Timothy Miller -
(3+2+2) 235
236
237
q=100
238 3
p
q=100
Fl. 1/2
3
p q=100
Fl. 3
Ob. 1/2
Ob. 3
(Flute)
f
239 240
3
p
f
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
p
p
Hn. 3/4
p
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Pno.
p
p
p
p
Hp.
mf
f ff f
ff
ff
f
f
f
f
f
f
D§ F#
(Db C Bb / E§ F G A§)
(3+2+2) 235
Bass drum, hard
f
Vln. 2
f
f
Vln. 1
f
ff
f
f
S.
236
ff
ff
Her
sym
f
238
237
fp
pp
fp
pp
Vc.
fp
pp
ff
fp
div.
-
bol
3
which
has
nei - ther
sound
239 240
n
Vla.
Cb.
f
Crotales, plastic Perc. 1 Perc. 2
pp
f
40
3
nor thought of
...but a pattern can change - Timothy Miller -
241
242
243
244
245
246
Fl. 1/2
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
p
plastic Glockenspiel,
p
Chinese Cymb., med. hard
Perc. 2
Hp.
pp
Pno.
(D# C Bb / E F# G A)
p
loco
3
F§
S.
3
p
p
3
3
3
3
3
mf
sound,
241
Vln. 1
Vln. 2
n
242
is
the
word
for
the
243
Cb.
thing
f
3
which
I
in - ward - ly
245
n
f
n
41
f
f
246
n
n Vc.
244
f
Vla.
3
3
n
f
n
...but a pattern can change - Timothy Miller -
247
Fl. 1/2
rit. poco a poco
248
dim. poco a poco
dim. poco a poco
dim. poco a poco
Ob. 3
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
pp
(w) n
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Timp.
p
Perc. 1
(Crotales)
p
Perc. 2 (Chinese Cymb.)
3
n
1. solo
Hp.
p
3
Pno.
p
S.
3
speak
247
rit. poco a poco
Vln. 1
by
see - ing
it,
248
Vla.
f
Vc.
f
pp
p
mp
4.
pp
pp
mp
Vibraphone, med. hard
3
250
249
pp
3
can't
pp
42
see it
and
can't
say
mf
pp
mf
n
mf
252
251
n
p
Eb Fb
but
f
Vln. 2
Cb.
n
3
3
p
Perc. 3
To Piccolo
Bb>Eb
(h)
p
Tba.
Hn. 3/4
252
251
n
Ob. 1/2
Cl. 1/2
(q)
Fl. 3
250
249
pp
3
...but a pattern can change - Timothy Miller -
253
Fl. 1/2 Fl. 3
Ob. 1/2
Ob. 3
q=80
rit.
254
257
255
q=72 poco rubato 258
256
Cl. 1/2
p
Bs. Cl
Bsn. 1/2
Hn. 1/2
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
pp
Cbsn.
Hn. 3/4
p
p
pp
pp
pp
p
p
Timp. Perc. 1 Tba.
Perc. 2
Hp.
pp
Pno.
ppp
pp
S.
(D# C Bb / Eb Fb G A)
5
(remains down until ms. 266)
pp
mp reflecting
it.
q=80
rit. 254
253
solo (one player only)
255
256
257
pp
Vln. 1
Her
gown
glows
cresc.
like
q=72 poco rubato
258
ppp sempre tutti, div. a2 at stands
tutti, soli
p
ppp sempre tutti, div. a2 at stands
Vln. 2
Vla.
Vc.
Cb.
ppp sempre
pizz. unis.
pp
43
arco
pp sempre
...but a pattern can change - Timothy Miller -
260
259
Ob. 1/2
Ob. 3
Cl. 1/2
mp
mp
p
mp
p
3
mf
p
dim.
p
263
p
dim.
p
3
p
5
p
mp
p
mp
p
3
mp
p
p
p
Bsn. 1/2
Hn. 1/2
mf
Piccolo
262
Bs. Cl
Cbsn.
261
mf
mp
3
mp
Fl. 1/2
Fl. 3
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
pp
Timp. Perc. 1 Tba.
Perc. 2
Hp.
Pno.
(pedal remains down until ms. 266)
S.
cry
259
port.
-
ppp sempre
one player only
Cb.
p
261
3
262
3
3
mf
The
260
3
stal.
Vln. 2
Vc.
Vln. 1
Vla.
mp
f
light
wall
lend
her
re - fine
263
44
-
ment
...but a pattern can change - Timothy Miller -
264
265
Fl. 1/2
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
pp
Bsn. 1/2
Cbsn.
Hn. 1/2
3
a2
pp
Hn. 3/4
a2
pp Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
mp
pp
Bs. Cl
268
267
266
pp
mp
pp
mp
pp
mp
pp
Hp.
Pno.
) 3
S.
(
and
264
Vln. 1
Vla.
im - ma - ter - i - al
-
265
div.
p
mp
Nev - er - the - less,
her
2 stands only unis.
3
45
268
267
266
i - ty.
3
Vc.
Cb.
Vln. 2
pp
...but a pattern can change - Timothy Miller -
269
270
Fl. 1/2
Fl. 3
p
p
273
272
Ob. 1/2
Ob. 3
271
p
mf
274
p
p
mf
(Piccolo)
p
mf
p
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
Tba.
Timp.
Perc. 1
Perc. 2
Hp.
Pno.
S.
p
3
ex - press - ive - ness
269
Vln. 1
Vln. 2
Vc.
270
Vla.
Cb.
ppp
p
271
main - tains
through a place
that's
nei - ther
tutti
46
pp
3
3
p
nor
the
n
n
mp
p
n
mp
n
mp
pp
mf
n
(D# C Bb / Eb Fb G A)
mp
n
mf
p
274
sens - i - ble
n
273
pp
mf
Sus. Cymb., med. hard
Glockenspiel, brass
pp
272
n
3
3
3
...but a pattern can change - Timothy Miller -
275
276
Fl. 3
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Bsn. 1/2
Cbsn.
Hn. 1/2
Hn. 3/4
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
Tba.
Timp.
Perc. 1 Perc. 2
Hp.
S.
pp
Pno.
pp
Vln. 2
Vla.
5
mf
Cb
D§ C§
mf
piu mf
syn - the - sis.
Love was not
277
278
279
pp
mf
3
mf
47
pp
pp
div.
con sordino
pp
mf
pp
280
pp
a
mf
pp
3
280
3
279
p
3
Cb.
p
pp
pp
Vc.
p
276
p
1. p
a
275
of
278
1.
p
un - i - ty
Vln. 1
277
Fl. 1/2
p non cresc.
...but a pattern can change - Timothy Miller -
281
282
Fl. 1/2
Ob. 1/2
Ob. 3
Cl. 1/2
Bs. Cl
Hn. 1/2
(Piccolo)
a2
pp
a2
pp
Tbn. 1/2
n
p
mp
Perc. 1
(Glockenspiel)
(D§ C§ Bb / Eb F§ G A)
3 sent - i - ment,
be - cause in nat -ure,
this
3
pat - tern had no
place.
(al fine)
pp
Vc.
282
Vla.
pp
pp
pp
283
p
p
p
p
p
pp
espr., w/ rubato
In
me,
3
p
noth - ing - ness
286
48
287
3
Morendo al fine
pp
285
slow undulation between open string and harmonic
pp
pp
284 281
Vln. 2
mf dim. poco a poco
Vln. 1
mf dim. poco a poco
S.
p
Cb.
pp
Tbn. 3
Pno.
n
Tpt. 3
Hp.
287
pp
Perc. 2
286
p
Tpt. 1/2
Timp.
Morendo al fine
285
p
Hn. 3/4
Tba.
284
Bsn. 1/2
Cbsn.
Fl. 3
283
u - ti - lized the
...but a pattern can change - Timothy Miller -
(Morendo) 288
289
Fl. 1/2
290
291
292
293
pp
pp
Tpt. 1/2
Tpt. 3
Tbn. 1/2
Tbn. 3
pp
solo
pp
II. strike bowl
Large Triangle, beater
p Tam Tam, large felt *Strike with the stick end into the gong at 90 degrees.
p
p
(al fine)
S.
p
pp
Pno.
Hp.
pp
Hn. 3/4
Perc. 2
Bsn. 1/2
Perc. 1
Bs. Cl
Timp.
p
pat - tern,
3
as a mne - mon - ic aid,
but
a pat - tern
can change.
(Morendo) 288
289
pp
p
pp
p
pp
p
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
Lunga
Cl. 1/2
Tba.
297
pp
Hn. 1/2
296
Ob. 3
Cbsn.
295
n
pp
Ob. 1/2
Fl. 3
294 timbral
290
pp
p
pp
p
291
292
293
pp
n
pp
n
pp
n
pp
n
pp
pp
p
295
296
n
297
Lunga
mp
mp mp
mp
sim.
slow undulation between open string and harmonic
294
mp
dim.
n
April 8th, 2008 Clarksville, IN
49