A dream within a dream for Baritone, 2 Harps and Accordion Based on the poem by Edgar Allan Poe
q = 48 Baritone
Wingel Mendoza wingel82@gmail.com
* Give your back to the audience in such way that you can see the players.
clap
4 4 Cricket gliss. scratch the strings between the tunning pins and the Bridge pins with a pick.
4 4 ppp
sfz
Tapping, hit the Harp with the entire hand in the sound board.
f. m.
s. m.
5:4
ppp
7:4
ppp
ppp
Harp I
4 4 clap
4 4 sfz
Whistle sound, the at of the hand very quickly slides up the wire strings of the harp.
Harp II
4 4 sfz Tapping, tap on the case of the Accordion.
Accordion
6:4
Scrap the bellows
3:2
clap
4 4 ppp
ppp
ppp
3:2
ppp
3:2
ppp
sfz
4
A
s. m.
Hp. I
1 4
4ยง 4
1 4
4 4
Dยง, Cยง, Bb, Eยง, Fb
ppp
Hp. II
b
1 4
4 4
1 8
3 4
1 4
4 4
1 8
3 4
sfz
sfz
Distorted sound 3/4 Bottom
1 4
4 4
1 4
4 4
1 8
3 4
1 4
4 4
1 4
4 4
1 8
3 4
Acc.
ppppp
ppppp
ppppp
q = 36 10
3:2
3 4
4 4
Acc.
3:2
3 4 2
4 4 pppp
ppppp
ppp
ppppp
pp
q = 48 13
5:4
3:2
5:4
3:2
4 4 Acc.
4 4 p
mf
f
16
1 4
3 4
1 4
3 4
1 4
3 4
Hp. I
p
3:2
Hp. II
1 4
3 4 p
3:2
Acc.
Distorted sound 3/4 Bottom
3:2
ord. sound
1 4
3 4
1 4
3 4
3:2
fff
sfz
3
20
B 43
5:4
B§
p
Hp. I
mp
F§ 3:2 3:2
3 4 p
3 4 Hp. II
3:2
F§
B§
5:4
3 4 mp
5:4
p espress.
21
Hp. I
A§
Eb F§
3:2
5:4
3:2
mf
f A§
Hp. II
F§
Eb
5:4
3:2
4
5:4
mf
f
Db
E, Fb
5:4
22
5:4
3:2
2 4
p
Hp. I
42 Db
2 4 5:4
5:4
Hp. II
E, Fb
3:2
2 4
p
23
Prés de la table
2 4
3 4
Hp. I 10:8
10:8
10:8
10:8
2 4
Acc.
3 4 3:2
2 4
3 4
p 5
ord. 25
Bยง, E#, F#
Bb, Fยง
3 4
6:4
Hp. I
3 4
6:4
f
Bยง, E#, F#
Bb, Fยง 3:2
3 4
5:4
Hp. II
3 4
3:2
5:4
3:2
3:2
f
3:2
3:2
5:4
5:4
3 4 5:4
Acc.
3:2
3:2
3 4 5:4
6
3:2
f
5:4 5:4 5:4
Eb, Fยง 27
1 4 10:8
Hp. I
1 4 10:8
1 4 3:2
Hp. II
1 4
3:2
7:4
Acc.
7:4
3:2
5:4
1 4
7:4 7:4
3:2
1 4 p 7
C 4 4
28
Bar.
1 4
ppp
3 4
2 4
Take
D§, C#, B§, Eb, F§
#
§
1 4
4 4
3 4
2 4
1 4
4 4
3 4
2 4
Hp. I
p
sfz
D§, C#, B§, Eb, F§
Randomly play the next pitches as fast as possible.
#
§
1 4
4 4
3 4
2 4
1 4
4 4
3 4
2 4
Hp. II
fppp
Randomly play the next pitches as fast as possible.
1 4
4 4
3 4
2 4
1 4
4 4
3 4
2 4
Acc.
sfz 8
fppp
p ord.
32
Bar.
2 4
= breath in p
ppp
3:2
5:4
4 4 this
kiss
Randomly play the next pitches as fast as possible.
U
pon
3 4
the
Cยง
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
Hp. I
ppp
Hp. II
Acc.
sfz
ppp 9
mp sempre m. v.
36
Bar.
3 4
2 4
5:4
small v.
4 4
brow
And
D§, C#, Bb, Eb, F§
§
i
b 5:4
3 4
2 4
4 4
3 4
2 4
4 4
A§
Hp. I
p D§, C#, Bb, Eb, F§
fp §
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
b 5:4
7:4
Hp. II
Acc.
p 10
fp
6:4
5:4
5:4
7:4
A§
10:8
39
senza v.
3:2
Bar. in
Eยง, Gb, Ab
6:4
Hp. I
7:4
Eยง, Gb, Ab
Hp. II
Acc.
10:8
7:4
5:4
10:8
11
Eยง
Eb, Gยง, Ab 40
5:4
10:8
Hp. I
f
Eb, Gยง, Ab
Eยง
Hp. II
5:4
Ab
C#
F
ยง
10:8
Acc.
12
C
f
10:8
p
41
5:4
3:2
mf
2 4
Bar. par
ting
from
Cยง, Bยง Eb
2 4 Hp. I
5:4
5:4
5:4
2 4
Cยง, Bยง Eb
2 4 5:4
Hp. II
5:4
5:4
2 4 ppp ppp
F
2 4 10:8
Acc.
10:8
10:8
10:8
2 4 ppp 13
p
42
Bar.
ppp
you
no
3 4
5 8
2 4
2 4
3 4
5 8
2 4
2 4
whispering
5:4
Hp. I
E# f
p
5:4
Hp. II
E#
f
2 4 Acc.
3 4
5 8
2 4
2 4
p
2 4
5 8
3 4
2 4
5 8
3 4
10:8
2 4 14
3 4
5 8
2 4
2 4
3 4
5 8
2 4
2 4
f
p
46
Bar.
3:2
p
mp
3:2
3 4 ow
Thu
us
mu
3 4 Hp. I
3 4 pp
3 4 Hp. II
5:4
5:4
3 4
5:4
3:2
3:2
3:2
3:2
3:2
3:2
pp
3 4 Acc. 3:2
3 4
3:2
3:2
3:2
3:2
3:2
5:4
5:4
5:4
pp 15
ppp
48
3:2
Whispering
5:4
3 4
Bar. ch
let
me
a
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
vo
ow
Hp. I
ppppp
Hp. II 5:4
5:4
5:4
ppppp
Acc.
3:2
3:2
3:2
3:2
3:2
3:2
ppppp 16
D
mp
52
Bar.
ppp
3:2
p
2 4
3 4
4 4 You
are
not
wro
3:2
mp
ong
who
5:4
de
3:2
4 4
3 4
2 4
4 4
3 4
2 4
Hp. I
p
5:4
5:4
5:4
ppp
Dยง, C#, Bยง, Eb, F#, Gยง, Ab.
3 4
2 4
4 4
3 4
2 4
4 4
3 4
2 4
4 4
3:2
Hp. II
ppp
Acc.
4 4
3:2
6:4
f
3 4
pp
5:4
2 4 17
p
55
3:2
5 8
Bar. em
E#, Aยง
mp
p
4 4 tha
a
at
my
3:2
58
44 7:4
Hp. I
3:2 3:2
5 8
4 4 p
mp
5 8
4 4
5 8
4 4
mp
p
Hp. II
p
3:2
5 8
4 4
5 8
4 4
Acc.
18
3:2
p
p
58
ppp 3:2
2 4
Bar.
4 4
days
ha
E 2 4
3:2
ve be
en
a
2 4
dream
D#, C#, Bb, E#, F#, Gยง, Ab 3:2
2 4
4 4
2 4
2 4
2 4
4 4
2 4
2 4
Hp. I
p
p
2 4
4 4
2 4
2 4
2 4
4 4
2 4
2 4
2 4
2 4
2 4
2 4
Hp. II
sfz (air)
2 4
4 4 p
Acc.
2 4
4 4
3:2
19
64
2 4
4 4
2 4
4 4
D#, C#, Bb, E#, F#, Gยง, Ab Hp. I
10:8
4 4
2 4
p
D#, C#, Bb, E#, F#, Gยง, Ab
2 4
4 4
2 4
4 4
Hp. II
p
sfz
Acc.
20
2 4
4 4
10:8
5:4
66
D§, E§
Hp. I f
p espress.
mf
3:2
D§, E§
Hp. II
5:4
6:4
f
p espress.
mf
Eb, F§ 6:4
68
3:2
5 4 5:4
7:4
Hp. I
3:2
3 4
5 4
3 4
5 4
3 4
mf dim. 3:2
Eb, F§
Hp. II
3:2
7:4
3:2
5 4
3 4 5:4
f
p dolce 21
70
Bar.
ppp
4 4
3 4
yet
4 4
3 4 ppp
Hp. I
3 4
4 4
3 4
4 4 ppp
Hp. II
4 4
3 4 Impuls always
3 4
4 4
3 4
4 4
Acc.
ppp 22
p
p
73
mp
5:4
3:2
mf
p
3 4
Bar. if
hope
has
flown
away
Pedal slide
C§>C#
3 4
Hp. I p
Pedal slide
C#>C§
3 4
Hp. II p Impuls
5:4
3 4 Acc.
3 4
Breathing
77
Bar.
3:2
5:4
3:2
3 4
4 4
3 4
3 4
4 4
3 4
3 4
4 4
3 4
3:2
5:4
3:2
Acc.
23
p
80
3:2
4 4
3 4
Bar.
in Eยง>Eb
Hp. I
3 4
4 4
3 4
4 4
a
5:4
ni
4 4 ight,
or
in
a
4 4
p Fยง>F#
Hp. II
3:2
3:2
p
3:2
3:2
3:2
3:2
3:2
4 4 4 4
3 4 3 4
Acc.
4 4
4 4 ppp
84
Bar.
5:4
3:2
3:2
f
5:4
4 4
3 4 day
in
a
vi
sion
or
in
no
5 4 ne
Impuls
4 4
3 4
5 4
4 4
3 4
5 4
Acc.
f 24
Approximate pitches
Breathing
p
p
87
Bar.
whispering
5 4
3:2
4 4 is it there fore
the
less sssss gone?
All
Dยง, C#, Bb, Eยง, Fยง, Gยง, Ab.
5 4
4 4
5 4
4 4
Hp. I
p
5 4
4 4
5 4
4 4
Hp. II
5:4
p
4 4 5 4
4 4
5 4
4 4
Acc.
25
mp
90
p
3:2
p
3:2
3:2
Bar. that
we
see
or
seem
is
a
Eb, A§
3:2
Fb
5:4
5:4
3:2
3:2
but
Hp. I p
3:2 3:2
Eb, A§
5:4
3:2
Fb
Hp. II 3:2
p
3:2
mp
92
6:4
3:2
ppp
Bar. dre
am
wit
thin
a
dre
C§ E§ F# 3:2
6:4
5:4
5:4
Hp. I 3:2
5:4
3:2
3:2
Hp. II
26
5:4
3:2
C§ E§ F#
3:2 3:2
5:4
94
3:2
Finish until you almost don't have more air
mf 5:4
7:4
F
Bar. a
am q = 72 D§, C# B§, E# F# G§, A§
Hp. I
mp q = 72 D§, C# B§, E# F# G§, A§
Hp. II
mp e = 90
Acc.
58 58 mp
27
96
Hp. I
Hp. II
Acc.
28
G
D# C§, B§, E# F# G§, A§ q = 126
98
4 4+ 3 Hp. I
4 4+ 3 D# C§, B§, E# F# G§, A§ q = 126
4 4+ 3 Hp. II
4 4+ 3
q = 117 e = e
44
58
44
44
58
44
Acc.
29
Ab 99
3:2
5:4
Hp. I
3:2
mf
f
mp
Ab
Hp. II
3:2
mf
44
f
58
3:2
Acc.
44
58
3:2
f 30
mp
Fยง 100
Hp. I
f
p
Fยง
5:4
Hp. II
3:2
f
p
3:2
44
58 5:4
Acc.
6:4
58
44 f
p 31
D§ C§, Bb, E# F§ G§, A§
H q = 135 101
3:2
e = e
3:2
34
24
58
34
24
58
Hp. I
D§ C§, Bb, E# F§ G§, A§ q = 135 e = e
34
24
58
34
24
58
Hp. II
q = 108
34 3:2
Acc.
34 32
3:2
102
4 4 Hp. I
4 4 f
4 4 Hp. II
4 4 f
4 4 Acc.
4 4 f 33
Start to walk randomly in the stage.
104
Bar.
I 4 4
q =48
2 4
4 4
2 4
4 4
2 4
4 4
2 4
Distorted sound, move the pedal between E§ and E# creating a ditortion. Don't ďŹ nd a clear sound,alwas play with the buzzing created with the effect. The distortion range from o to 1: 0 = no distortion (inactivity pedal) 1 = less dist. 2 = middle dist. 3 = dist. 4 = high dist.
3:2
4 4
0
3:2 1
2
4
3
4
2
3
3:2 0
2
3
2
3
5:4 2
1
2 4
Hp. I
4 4 sfz
2 4 sfz
Hp. II
4 4
2 4
4 4
2 4
Acc.
4 4
2 4
4 4
2 4
34
ppp
J
108
Bar.
2 4
4 4
2 4
4 4
3:2
5:4 3
4
3
4
3
3:2 2
3
2
1 Take a bow to play over the E1 string.
Hp. I
2 4
4 4 sfz
2 4
4 4
2 4
4 4
Acc.
fff
35
112
Walk beside the acc. meanwhile you said the next text.
3:2
3:2
Bar. Isssssssss
Hp. I
Acc.
36
all
that
we
seem
or
seem
but
a
dream
within
a
dream?
Walk beside the Harp I. and when you arrive ask her/ him almost in the ear:
whispering
115
3:2
Walk beside the Harp I. and when you arrive ask her/ him almost in the ear:
3:2
almost imperceptible
Go out to the Hall and never look to the audience meanwhile you ask by yourself Is all that we seem or seem, But a dream within a dream?
Bar. but a dream
3:2 1
within a dream?
a
Wait until the Baritone player leave the hall.
3:2 2
3
4
3
4
2
dream?
1
2
0
Hp. I
fff
Wait until the Baritone player leave the hall.
7:4
3:2
5:4
Acc.
37
119
Bar.
f. m.
3:2
7:4
f. m.
Hp. I
f. m.
applause
s. m.
3:2
sfz
applause
Hp. II sfz
sfz
sfz
sfz
Clicking continues
f. m. 3:2
Acc.
38
7:4
f. m.
s. m.
applause
sfz