APPROVED: Philip Winsor, Major Professor Clay Couturiaux, Minor Professor Joseph Klein, Committee Member and Chair

of the Division of Composition Studies

James C. Scott, Dean of the College of Music

James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies

AESTHETIC AND TECHNICAL ANALYSIS ON SOAR!

Hsiao-Lan Wang, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

August 2010

Wang, Hsiao-Lan. Aesthetic and Technical Analysis on Soar! Doctor of Musical Arts

(Composition), August 2010, 92 pp., 11 illustrations, 1 table, references, 46 titles.

Soar! is a musical composition written for wind ensemble and computer music. The total

duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as

the most prominent influence on the imagery and local structure of the composition. The cyclical

nature of the birds' journey inspires palindromic designs in the temporal domain.

Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the

sounds. This effect is achieved by giving individual parts high degree of independence,

especially in regards to rhythm. Technically, Soar! explores various interactions among

instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and

integrates a large ensemble with computer music.

The conductor acts as the leader at several improvisational moments in Soar! The use of

conductor-initiated musical events in the piece can be traced back through the historic lineage of

aleatoric compositions since the middle of the twentieth century.

ii

Copyright 2010

by

Hsiao-Lan Wang

iii

TABLE OF CONTENTS

Page LIST OF TABLES AND FIGURES.................................................................................. iv PART I: AESTHETIC AND TECHNICAL ANALYSIS ON SOAR! ..................................

Chapter 1. Introduction: Migratory Birds and Their Formation ..............................2 Chapter 2. The Birth of the Composition Soar! .......................................................6 Chapter 3. Structural Elements ..............................................................................14 Chapter 4. Special Performance Techniques and Notation ...................................25 Chapter 5. Writing for Wind Ensemble and Electronics .......................................32 Chapter 6. The Conductor, the Leader ...................................................................41 Chapter 7. After Thoughts .....................................................................................44 Bibliography ..........................................................................................................46

PART II: SOAR! FOR WIND ENSEMBLE AND COMPUTER MUSIC

Instrumentation ......................................................................................................51 Performance Notes .................................................................................................52 Program Notes .......................................................................................................53 Musical Score.........................................................................................................54

iv

LIST OF TABLES AND FIGURES

Page

Tables

3.1 Palindromic structure in Soar! ...............................................................................14

Figures

1.1 Dan Dzurisin, Blackbird Swarm Near Starved Rock State Park .............................3

2.1 Illustration of heterophony from Shuang Hsin Hen .................................................9

3.1 Micro-entrances among woodwinds, Soar! m. 131-132 ........................................18

3.2 Evolving sound masses, Soar! mm. 16-19.............................................................19

3.3 Intervalic preference for small intervals, Soar! mm. 80-82 ...................................21

3.4 Embellishments of notes, Soar! mm. 79-81...........................................................21

4.1 Use of whispering breaths in brass, Soar! mm. 30-33 ...........................................26

4.2 Use of spatial time signature 4/X, Soar! m. 110 ....................................................27

4.3 Use of spatial time signature X/X, Soar! m. 133 ...................................................28

4.4 Boxed notation, Soar! mm. 162-165......................................................................30

5.1 Military band during the civil war era, c. 1864 ......................................................33

1

PART I

AESTHETIC AND TECHNICAL ANALYSIS ON SOAR!

2

Chapter 1

Introduction: Migrating Birds and Their Formations

Massive flocks of migratory birds travel through the North American continent

and other parts of the world each year. Driven by a genetic memory so powerful and

fundamental to their being, these birds travel through different terrains and across borders

that stretch between their breeding habitat and wintering grounds. During the years I

lived in the north Texas area, the coming and passing of these flocks marked the change

of seasons for me. Their arrival can hardly be missed. Suddenly, entire trees can turn

black with thousands of birds resting on the branches. The sounds of their chirps can be

thunderous if you get close enough to them. Up in the sky, their formations converge and

diverge, with countless variations in the shape and density. For bird watchers, the area

offers a wealth of opportunities to observe hundreds of species that visit throughout

different seasons each year.

One of the most intriguing aspects of these migrating birds is their formations

during flight. The complexity in their group flight behavior has been the subject of study

for many scientists. The discoveries about bird behavior can be and has been applied to

other social creatures from ants to human, as well as patterns of traffic flow and job

allocation.1 How do the simple actions of individuals add up to the complex behavior of

a group? How can each seemingly insignificant individual affect and contribute to the

large-scale survival and prosperity of the whole?

1 Peter Miller “Swarm Theory,” National Geographic, 22.1 (2007): 127-142.

3

Figure 1.1. Blackbird Swarm Near Starved Rock State Park by Dan Dzurisin2.

It has been found that each bird is primarily guided by its own inclination due to

biological default and is only concerned with those interactions between birds that are

closest to itself in a flight formation. Based on its feather structure and how it reacts to air

currents, each bird will find the optimal location to fit within a flock to minimize the

energy spent flying. Air deflected by neighboring birds can be an aid to the flight

efficiency if aligned correctly. In other words, simple interactions between individual

birds manifest into the looming formations that we perceive from the ground. From an

2 Blackbird Swarm Near Starved Rock State Park IL DDZ_0104. Dan Dzurisin,

Uploaded on January 6, 2008 via Flickr, Creative Commons License.

4

aerodynamic standpoint, flying in a flock is the most efficient way to travel for these

migrating birds.

The ever-changing current in mid-air throws variables into the mix. In order to

find the most efficient path against the wind, the birds have to constantly adjust

themselves. They do this collectively. In doing research about migrating birds, I came to

realize that the seemingly miraculous ability of these birds to navigate in large swarms of

their own kind is not as mysterious as it looks. Each individual behaves in a way that will

benefit itself the most. This system is described as self-organizing.3 As a result, their

collective behavior benefits the entire group. Minor variations in the way birds in a flock

align themselves have ripple effects on the local arrangement as well as the overall

formation. It can be said that each bird takes an insignificant role in the resultant

formation but at the same time every one of them holds a vital piece in place.

The local configuration frequently has irregularities that keep adjusting

themselves. The formations also vary greatly depending on the individual's minute

interactions as well as the flying condition of that given day. But if you look at the largest

scale of their journey – the destinations – we notice their path is very precise, year after

year. Sometimes the landing spot of their destination can be the exact pond or cliff where

their ancestors had arrived millenniums ago.

Aside from the scientific findings of aerial migration, the hovering formations of

these birds in the north Texas area have inspired composers such as Christopher Deane

3 Peter Miller “Swarm Theory,” National Geographic, 22.1 (2007): 127-142.

5

for his composition Vespertine Formations4. He captured the imagery through dispersing

chords among the four marimba parts that chase one another. The four marimbas are

situated as a square, with all players facing toward the center of the square. This

configuration not only facilitates the practical coordination required to play the work as a

quartet, it also provides spatial effects for notes to bounce from one side of the stage to

the opposite side, or to pass around in a circular manner. Constant sixteenth notes that

often cascade spatially mimic the motions of the birds' flight. Riding on the perpetual

pulse, these notes swell and fade from one phrase to the next. Vespertine Formations was

written when I was formulating ideas for Soar! and I was intrigued by his composition in

many ways. To be sure, Deane's harmonic language and phrasing tendencies are

drastically different from my personal composition style. However, the work's fluid

texture and shimmering sonority gave me many ideas to ponder when I first started

approaching the materials for Soar!

4 Vespertine Formations for Marimba Quartet. Christopher Deane, 2003.

6

Chapter 2

The Birth of the Composition Soar!

Having observed the migrating birds' pattern of behavior when I first arrived in

the north Texas area in Fall 2002, as a composer, I immediately realized that my

observation could be very useful in constructing a piece that potentially has numerous

entities within a larger scheme. This is how Soar! began.

This composition germinated from the images of massive flocks of migrating

birds that can be seen throughout the world, but particularly in Texas. The shape formed

by the birds provides the main inspiration for local musical gestures while the overall

structure of the work resembles a palindrome, signifying the returning pattern in the

journey of the migrating birds. The musical gestures represent organic shapes and forces

that can be found in nature, such as those created by wind and rain. The piece not only

reflects the elements of nature, but also provides a commentary that represents my poetic

interpretation of natural events.

Some have described my instrumental music as lacking melodies and rhythms.

The reason for this trait originates from my preference to minimize the importance of

individual notes in preference for texture, timbre, and dynamics as primary shapers of

gesture and local structure. This is an especially important device that I utilize frequently

in my larger ensemble works as well as tape works.

The motion in the birds' spectacular swarms has vivid musical implications to me

especially as a computer music composer. With the power of the latest computer, I can

7

emulate numerous sound strands with relative ease and assemble them in precise

arrangements to project the imagery of the swarms. Granular synthesis lends itself

perfectly to creating the type of sound mass I am seeking. In particular, granulation of

sampled sounds can provide a rich foundation for such treatment. With random processes

added to small grains derived from the sample, the resulting cloud of sound grains can

compare to the birds' flocking behavior. I am particularly interested in these birds'

seemingly unpredictable sudden motions. For reasons the human eyes cannot detect, the

flock sometimes shoots through the sky with surprising force and determination, and in

the next moment it makes a slow turn to gently unite with another flock. These imageries

can equate to gestures in music. In my earlier tape works5, gesture is arguably the most

important aspect of the compositional focus. For example, in Green Potato I for tape

alone (2001), the opening segment was primarily concerned with sound fragments that

zoom from right to left, from far to near, with varying degrees and assortments of digital

signal processing techniques. These fragments all came from the same original audio

sample, thus creating a unifying sonic character for the entire first half of the piece. As I

trace back to my inclination for fractal-like structures in music, it is revealing to note the

two major factors that have affected my fundamental understanding of musical texture.

My experience in Chinese heterophonic music and in gamelan music has led to my

fascination with self-mimicking cells.

5 The term “tape works” here refers to the genre of computer music where manipulation

and assembling of digital audio culminates in two or more channels of fixed audio as the

resulting outcome. These works are designed to be performed through loudspeakers only.

At the time when my earlier “tape works” were composed, they were stored on compact

discs. However, the genre is commonly referred to as “tape music.”

8

At age nine, I started playing the yangchin, the Chinese dulcimer, in an orchestra

consisting of mostly Chinese instruments. Occasionally we would also play traditional

southern Chinese chamber music, jiang-nan-si-chu (江南絲竹)6. Prior to that point, I was

only studying western music on the piano and violin. The way traditional Chinese

chamber music was organized puzzled me at first. We often read from the same melody

but were taught to each add our own ornamentations and variations from that melody.

This technique is called jia hua (加花). Often times, the embellishment would be fully

notated for beginners to help them learn the traditional way of jia hua. As a youngster, I

enjoyed the sense of security of playing in unison with others, and I learned to appreciate

the freedom I was given to deviate from the ruling melody by way of either notation or

improvised embellishment. That was my first experience in learning about heterophonic

music. When I entered the National Taipei University of the Arts7, I studied jiang-nan-si-

chu with Professor Chen Chong-Shen. He explained that though all instruments in the

group play off the same melody, each should contribute to the liveliness of the

performance using the traditionally acceptable ways to develop and improvise. Another

essential point is to listen carefully and complement one another to create a cohesive

entity among players.

Figure 2.1 is an example of heterophony based on a melody taken from Shuang

Hsin Hen (雙星恨). The melody is stated on the top staff and can be played by various

6 Jiang-nan-si-chu (江南絲竹) is the general term for chamber music that is common

among the southeastern provinces of China. 7 Taipei National University of the Arts is the current name for the university, formerly

known as the National Institute of the Arts.

9

Figure 2.1. Illustration of heterophony from the opening of Shuang Hsin Hen (雙星恨).8

instruments beyond what is notated in this particular example. The principle is that each

player ornaments the melody in a way that is largely dependent on the instrument's

capability. On the woodwind instrument hsiao (蕭), it is easy to play trills. Thus players

commonly embellish by adding trills or turns to the melody. On yangchin (揚琴), it is

easy to play repeated notes as well as add octaves to the melody with the two hammers,

thus we see both types of ornamentation used several times in the example. On the low

lute instrument ruan (阮), to allow the tone to resonate fully, longer notes are played on a

simplified version of the melody. All three instruments play based on the same melody,

and at the same time. Each of them retains its characteristic way of embellishment as

demonstrated in Figure 2.1.

8 徐英輝. 廣東音樂及江南絲竹, 香港特別行政區政府教育局. 2009.

10

During my time at the National Taipei University of the Arts, I also studied

gamelan music, the influential ensemble music from Indonesia. Each set of gamelan

instruments as an ensemble is distinct in its tuning. This practice makes instruments from

different gamelan ensembles mutually exclusive. An instrument from an outside group

cannot successfully be integrated due to the discrepancy in tuning. Each of the

instruments in an ensemble is constructed to be very slightly off in pitch so they resonate

with one another to create the shimmering effect that is so characteristic of gamelan

music.9 Instruments are often constructed in pairs. Interlocking rhythmic patterns in pairs

are a staple of gamelan figuration. Besides heterophony such as in Chinese music,

gamelan uses self-derived structure within itself to form the basis of composition.

Traditional gamelan music often has a melody that loops for long stretches of time. In

between loops, there are bridges that connect looping sections. In the loops, the melody is

placed on several layers that move at different speeds, with the speed increasing as the

instruments diminish in size and rise in pitch10

. The basic construction of gamelan music

can be reduced to two or three layers and thus it assures flexibility for each performance

situation. Most of these ensembles consist of villagers that may or may not be able to

participate each time. This tradition brings to gamelan its reputation of being a flexible

ensemble that welcomes variation on size and orchestration. Texturally, the smallest

instruments play the fast figuration which enhances the richness of the overall sound, but

they can be left out or switch to play slower moving melodies. Gongs are the lowest

9 This phenomenon is called 'beating' in acoustics.

10 Colin McPhee “The Five-Tone Gamelan Music of Bali,” The Music Quarterly 35, no.

2 (1949): 260.

11

instruments in gamelan, and they mark large structural points with sparing hits at the foot

of each phrase or section. The idea of one melodic line zooming in on itself to form a

multi-layered musical texture is consistent with the heterophonic aesthetic of Chinese

chamber music. The endless loops in gamelan music remind me of the cycles of natural

events such as tides, seasons, and birds' migrations. Loop-based music has the power to

transcend the passing of time and send the performers into a meditative state of mind. In

Indonesia, it is not uncommon to play the same piece of music for hours on end during

religious ceremonies. The music forms a stasis or a constant that transports both the

performers and the audience from the material existence into a timeless plane.

These ideas from Chinese chamber music and gamelan music offered me different

perspectives on ways to organize materials in my own composition. With these Eastern

musical influences as my background, I gradually started thinking more critically about

the tension and release paradigm in western music, and it became the main focus of my

studies at National Taipei University of the Arts. How can the cyclical music model of

the East coexist with the tension and release tradition of the West? Both paradigms hold

special interest for me, but each has a very different approach to music regarding

perception of time, texture, and form. In trying to discover an answer to my own question

about this complex issue, I identified one subject that I felt could point me in the right

direction.

The fascination with golden mean in western arts has a long history from

antiquity, evidenced by Greek mathematical findings and architecture. Throughout

history, western intellectuals have found designs with the golden proportion aesthetically

12

pleasing. In the first movement of Béla Bartók's Music for Strings, Percussion, and

Celesta, the timing of fugal entrances is consistent with a sequence of the golden ratio,

including the main climax aligning with the phi position.11

Essentially, the structure of

the movement is based on placement of the climax and how each section pushes toward

or pulls away from that climax. This example of emphasis on the climax strongly

contradicts the cyclical nature and coexistent strands of musical thinking in Chinese

heterophonic music and gamelan music. The idea of the golden ratio prompted me to

consider the role of climax (and climaxes) in western music. Literally every piece of

tonal music in the western tradition values the arrival of one highest point in tension,

which often happens at or near the golden mean. This model is extended to operate in

similar ways for much post-tonal music as well. Is the perception of ideal beauty in the

golden ratio indicative of traditional western music's fixation on climax, especially in the

tonal music idiom? This question about climax, viewed from a more personal perspective

leads to another interesting finding.

Composer Cindy McTee wrote about this phenomenon of climax driven musical

preference:

The traditional, "western" conventions of tonal striving, climax, and closure are at

work here. The music bristles with rhythmic energy, and once spent, quickly

diminishes to a point of complete cessation.

The example that might be thought to exhibit both "masculine and feminine"

characteristics comes from my most performed work, Circuits. Even its title,

related to the word "circle," suggests integration. "Feminine" techniques might

include the frequent use of circular patterns, or ostinatos, offering the possibility

11

Larry J. Solomon, Symmetry as a Compositional Determinant, 1973, revised 2002.

13

of suspended time without the need for continuous forward movement and

development. Also "Feminine" might be Circuits's tendency, through its steady,

quickly-moving pulse, to inspire bodily motion.12

Is it possible that my desire to integrate both the climactic structure and circular

tendency in my composition results from my desire to understand my own masculine and

feminine qualities? This is a question that warrants further investigation. As I pondered

these intricate layers of influences and curiosities, materials for the composition Soar!

eventually surfaced.

12

Cindy McTee “Gender and Music Composition: A personal Perspective,” Society for

American Music Bulletin 25, no. 2 (summer 1999): 40-41.

14

Chapter 3

Structural Elements

A. Palindromes

As discussed in the previous chapter, the migratory birds' journey serves as the

main inspiration of Soar! Thus, symmetrical form is a logical choice to portray that

imagery. Musical palindromes have always exhibited interesting aural and psychological

effects for me. Studying Alban Berg's use of palindromic structures in his works, such as

his opera Lulu, the benefits of palindromes in painting a cyclical musical journey have

been confirmed. In Soar!, I have devised a similar overarching palindrome albeit in a

more relaxed manner. At the local level, strict palindromes hold the important power of

serving as pillars of the composition's structure. Prominent instances of palindromes in

my composition are outlined in the following chart.

Table 3.1. Palindromic Structure in Soar!

Measures Event Description

A1

30-41 Brass whispering, with light woodwinds

B1

89-107 Palindrome by itself, with m. 98 as center

C 62-66 Local palindromic figure in woodwinds - cluster

D 110-113 Center point of piece. Conductor cues players based on spatial notation.

E 145-147 Local palindromic figure in bassoon and piano - mirroring contours

A2

189-204 Brass whispering, with heavier woodwinds

B2

218-236 Palindrome by itself, with m. 227 as center, plus percussion palindrome

A3

246 Brass whispering, with very soft ambience

15

Referring to table 3.1, the entire piece is shown to be constructed based on a

palindrome. Material D as designated in the chart stands as the center of the entire piece.

From there, corresponding material pairs can be mapped as mirrors: material C and E are

both local figures in smaller palindromic shapes; B1 and B

2 are two almost identical

sections that are symmetrical in themselves; A material features distinct whispering

sounds blown into brass instruments. The symmetrical design has one exception – the

appearance of A2 starting at measure 189. This one interjection of the A material is

accompanied by a block-like woodwind section that takes over the foreground. In other

words, this extra occurrence of material A at measure 189 serves as a sub-current of other

more prominent material, thus lessening its impact on the overall palindromic form. The

irregular appearance of material A2 also makes the overall form more complex through

the inclusion of this element to the otherwise straightforward structure.

The center of the composition, material D at measures 110-113, plays a

significant role in the temporal sphere: it is the one point where the conductor has total

control over the timing of each event. It is a highly focused moment where the conductor

and players need to be completely in tune with one another to create a musical moment

that has the potential to be quite different during each performance. It is the concentration

and communal feeling required for this central point that brings a sense of focus, more

than the fact that it sits at the mid-point in terms of measure count.

B. Texture

The single most important method for forming harmony in Soar! is the use of

16

sound mass. A sound mass is a combination of many musical lines assembled in such a

way that none of the parts can be named as the main melody. There can be some lines

that are slightly more prominent than others. This differentiation is primarily achieved by

orchestration. Each instrument's sonic characteristics as well as registral strength can be

used to accentuate certain aspects of a given sound mass. Careful adjustment of dynamics

is also an indispensable tool used to shape these clouds of sounds. It is rare in Soar! to

hear a note that is played for any stretch of time without adding swells and fades or other

kinds of dynamic manipulation. I prefer to give the texture of each sound mass its unique

signature. To do that, orchestration and dynamics are indispensable tools for achieving

the goal. Wind ensemble is a great medium for producing sound masses because of its

abundance in timbres, number of players, and its large dynamic range.

Each sound mass in the piece has a different configuration within: some are dense

and narrow in register as in a cluster, while others are more spread out and span a larger

range; some are created using chance operation, while others are arranged through careful

consideration. A strong characteristic of these sound masses is that they are formed by

instruments in the same family or similar relatives. This preference originates from my

interest in self-mimicking structures as discussed in chapter 2. Sonically, it makes sense

to call for instruments with similar sonic impressions when what I aim to evoke is a

sound mass that resembles birds of the same species in a flock.

To depict the sudden shift of shapes of these birds' formations, I use micro-

entrances for a group of instruments, where each of them enters at a slightly different

time. This treatment makes the cluster sound more fluid and organic, creating a sound

17

mass that has mutating colors. György Ligeti remains an important influence on me for

utilizing this technique of micro-entrances. In his compositon Atmosphères (1961), he

created sound masses by giving each instrumental line a slightly different time to enter

the chords. The resulting effect is a texture that grows organically, and is always

changing. One technique that Ligeti developed was micro-polyphony where each line in a

cluster moves rather than remaining static. Though this technique is not used extensively

in Soar! it informs the way I see musical textures and my decision to employ micro-

entrances for sound masses.

For example, in figure 3.1, each instrument has a different timing regarding its

entrance. The composite rhythm is a straightforward series of sixteenth notes strung

together. However, the sonority grows and transforms as each line enters the sound mass.

Another interesting aspect of this arrangement is the spatialization of sounds on

stage. Since each instrumentalist is located at a different spot in space, the string of notes

that they play is dispersed throughout the space in time. Spatialization has become an

indispensable element in music making, especially since the rise to prominence of

electronic music. As a computer music composer, I am particularly attuned to the power

spatialization holds. In the study of aural perception – psychoacoustics –, it has been

discovered that the human brain is able to detect minute discrepancies of the time when a

sound reaches each of our ears. The brain calculates the time difference and translates

that difference as the location of the sound source. Spatialization creates another

dimension for a music performance to include “choreography” of sounds.

18

Figure 3.1. Micro-entrances among woodwinds, Soar! m. 131-132.

Since there are numerous sound grains in a sound mass, I saw this as an

opportunity to grow one sound mass out of another by dividing it into subsets. This idea

came from the birds' performance of diverging formations. Below is an example of

converging and diverging bodies of sound mass.

19

Figure 3.2. Evolving sound masses, Soar! mm. 16-19.

In figure 3.2, a frenzy of staccato notes start on the flutes and clarinets. When it

reaches the third beat of measure 17, the sudden dynamic change to p is intended to

create the effect of a contraction. Immediately, many more lines join in and bring the

music to a broadening crescendo. At the start of measure 19, most instruments stop

playing, except the oboes. They keep ascending like they are the birds that shoot out of

the flock. This is the point where one sound mass divides into two sound masses. The

20

bass clarinet fades to a lower dynamic level at measure 19 to provide a grounding

ambiance with its low pitch. This note on the bass clarinet contrasts against the oboes'

high notes, thus framing a wide spectrum that has no middle frequencies present. From a

poetic point of view, the bass clarinet note represents earth, and the oboes notes represent

the birds soaring high. The absence of any other notes in between portrays the vast space

between the earth and the sky. Coupled with the careful control of dynamics and

orchestration, these various sound masses evolve and reproduce, akin to the birds' ever-

changing formations. The close association between my work and nature is demonstrated

here using instrumental lines to correspond to birds' graceful convergence and divergence

in their flight formations.

C. Preferences for Small Intervals and Ornamentations

It is worth noting that certain small intervals are emphasized in Soar! Reflecting

my personal preference, small intervals such as minor and major seconds are used

frequently. This characteristic is most recognizable in sound masses, especially when a

cluster is called for. The preference for small intervals is a result of using sound masses

as the basic structures of harmony. When there is a prominent melody, the pitch

organization for the melody often favors minor and major seconds as well as minor

thirds. In figure 3.3, these intervals are given important roles.

If we add up a minor second, a major second, and a minor third, a tritone is

outlined – an interval that I use frequently. In the following example, all three intervals

are used. One important feature worth pointing out is that the tritone is the result of

21

compositing smaller intervals and not used as a primary interval on its own.

Figure 3.3. Intervalic preference for small intervals, Soar! mm. 80-82.

Figure 3.4. Embellishments of notes, Soar! mm. 79-81.

In both figure 3.3 and figure 3.4, quasi grace notes ornament the entrances of

important lines in the music. This technique is borrowed from the traditional Chinese

embellishment technique called jia hua (加花). In Chinese music, a note has a head, a

body, and a tail. The musician shapes the note throughout the entire duration by

ornamenting the entrance, sustaining and shaping the body, and eventually ending the

note with a punctuation. This notion of carrying the note throughout and not letting go of

the energy is similar to the discipline of Chinese calligraphy where the tension of each

22

stroke should be retained throughout. I put special emphasis on the head, or entrance, of

the notes. An ornamented note adds brilliance to the sound, and it animates the texture

without profoundly affecting the musical structure. In figure 3.4, every sustained note has

a group of ornaments to accentuate the long notes that follow. After the ornamentation,

the note stabilizes and yields a contrasting sonority from the activity that precedes it.

When the note comes to an end, I pay special attention to end it at an appropriate time

where closure can be sought. Often, this is achieved by ending the note on a beat or

eliding it with another phrase that is just beginning.

Small intervals and ornamentations are abundant in Soar! They serve the function

of giving delicate and lively sonic impressions to the sound world. These are the smallest

cells yet they give the piece its defining characteristics.

D. Juxtaposition of Musical Fragments

Multiplicity has been a prominent concept in music since the beginning of the

twentieth century. Multiple strands of musical entities coexist without the need to bridge

the difference between them. They can occupy different corners of the music

simultaneously, or they shuffle through contrasting fragments temporally. In either case,

it poses a challenge for the listener to make linear connection between each fragment,

thus this technique decreases music's directionality. This has been a significant discovery

to me in searching for ways to write music that is not driven by one climactic point.

Through repeated listening to music that exhibits a high level of multiplicity, it is evident

to me that such an aesthetic can yield meaningful results in writing non-climax-driven

23

music. To be sure, multiplicity in music does not necessarily prevent the occurrence of

climax. However, it provides a possible way to write music that is non-climactic, anti-

climatic, or multi-climactic.

One great example of vertical (simultaneous) multiplicity in music is Edgard

Varèse's Intégrales (1925) for 11 winds and 4 percussionists, in which musical materials

are presented as separate static strands. These strands are stated simultaneously as blocks

that can be swapped with one another. The way these materials are combined is carefully

planned so the total effect still conveys a sense of unity. Varèse's persistently used this

approach to construct many of his compositions. What he was most concerned with was

timbre and musical fabric. Temporal progression in his music operates in a more subtle

way: though his music often sounds colorful and rhythmic, it can also sound static. The

blocks he uses to build the piece tend not to develop. They may be extended, but rarely

develop in motivic ways.

In Witold Lutos!awski's Venetian Games (1961), the composer experimented with

the way a conductor can synchronize various instrumental subgroups of the orchestra by

cuing them at will. Each subgroup has suggested pitches and rhythms to play, but the

timing of their entrances is under the control of the conductor. These subgroups of the

orchestra act as separate strands that can be combined with one another differently each

time through temporal adjustments. The multiplicity coupled with aleatoric technique

becomes notable traits in Lutos!awski's music.

Those are but two examples of musical multiplicity that have influenced my

thinking toward the formal design in Soar! Charles Ives, Olivier Messiaen, Earle Brown,

24

and John Zorn have also offered me inspiration with their works using juxtaposition of

musical fragments. Although each of them has a different approach to organizing these

disparate musical materials, the unifying attraction for me is the ideal of inclusiveness in

music without suppression or sacrifice of the integrity of each element. In other words,

what I find intriguing about their ways of organizing multiple strands of materials is the

liberation from a history of progressional expectation in music.

My admiration for the aforementioned composers has inspired the way I

juxtapose multiple musical entities in Soar! In a wind ensemble, where an abundance of

instruments are available, it is logical to separate them into subgroups. These subgroups

are assigned self-fulfilled musical elements. When the subgroups present their individual

elements simultaneously, the result is a stasis that is complex and rich. This mode of

organization can be compared to montage technique in filmmaking. Montage is an

editing technique in film where a series of short shots are edited into a sequence to

condense space, time, and information. It is interesting to consider the effects that

montage film editing creates by manipulating our perception of time and space. In my

composition, the combination of multiple sound fragments in the instrumental writing is

an attempt to achieve musical effects similar to those of film montage.

25

Chapter 4

Special Performance Techniques and Notation

Soar! features a continuous strand of sounds that draws upon various instrumental

timbres within and outside of traditional techniques – players are required to produce

tones that are sometimes uncharacteristic of the instruments, as well as even less

conventional playing methods that will be discussed below.

A. Whispering Breaths

One special performance technique used in Soar! is whispering into the brass

instruments. This performance technique's inspiration came from Phil Winsor's Asleep in

the Deep (1970), version for five tubas, where performers are asked to produce breath

sounds into their instruments with consonants such as 's--' or 'sh--' that are often followed

by a vowel glide from 'i--' to 'oo--' or vice versa. The initial consonants give the noise-

based breath sounds more defined entrances. In Soar!, I incorporated this technique in the

brass section and asked every brass player in the ensemble to whisper into their

instruments. This creates a sea of non-pitched sounds that permeates the entire space.

Each player is instructed to change breaths as needed and to stagger their breathing

changes with one another. This is to insure that variables are introduced into the sounds

that appear random or organic. The performers should not try to align their breath

changes with the beat.

26

Figure 4.1. Use of whispering breaths in brass, Soar! mm. 30-33.

B. Time Signature Considerations

In the example shown in figure 4.1, I use the time signature 4/M. The M stands

for metronome, and it means the players should recognize where the beats are and know

the passing of exact amount of time according to beats but not trying to align musical

events to the beats. This idea came from Cindy McTee's approach to meter in the case of

27

conducted spatial music as in her Einstein's Dream (2004). She indicated the usage of

2/M, 3/M, 4/M, etc, for music that has periodic beats as in traditional meters, and players

simply “fit in” their music between the bar lines. For the purpose of my composition, the

breath sounds are not traditional musical notes but they can operate in the same fashion

and simply fit in their sounds as the conductor beats regular meter. This time signature

4/M also affords the possibility for multiple musical components to play at the same time

– some of them use meter while others do not. Since the beat pattern of 4/4 is the same as

4/M in a conductor's beating pattern, the conductor can coordinate everyone in the

ensemble using one beating pattern.

Figure 4.2. Use of spatial time signature 4/X, Soar! m. 110.

28

Figure 4.3. Use of spatial time signature X/X, Soar! m. 133.

Similarly, I have used 4/X and X/X in the score when I would like the conductor

to have total control over timing of each sound event. This idea also comes from McTee's

approach to meter. The X refers to variable time between beats. For example, when the

29

time signature is 4/X, the conductor beats four beats, but each beat can happen at any

given time according to the conductor's direction. This allows each beat to have variable

duration for each conductor and each performance. The beats are indicated with a circled

number.

When X/X is used, it is intended that there can be any number of cues from the

conductor and each cue can last variable amount of time within the range of duration

allowed. In McTee's music, she indicates duration for each beat in seconds, but I am

taking a more liberal approach by allowing the conductor even more freedom regarding

timing. I have only indicated the approximate duration for the entire measure. In Soar!,

the meter X/X is used when the conductor improvises with the orchestra.

C. Boxed Notation

Boxed notation has been used commonly by contemporary composers to

designate repetition of notes placed in the box. I have used boxed notation in Soar! as

well as in my other works to indicate a continued musical content that is to be repeated or

sustained until the end of a line and arrow that are attached to the box as shown in figure

4.4. The performer plays the notes in the box and reiterate them a few more times as the

conductor marks the passing of time. When the intended duration is reached, shown by

the line that extends out of the box, the player stops playing the boxed material. The note

events in the box are not to be synchronized with the metronome beat, as is indicated by

the time signature 4/M. While this use of boxed notation is not a standardized way to

indicate such musical activity, it comes from the modernist tradition of graphic notation.

30

Figure 4.4. Boxed notation, Soar! mm. 162-165.

A large number of modern composers have used graphic scores in various

manners. The idea is to convey information that is otherwise difficult to convey with

traditional notation. In this work, the aleatoric mechanism is built into the boxed notation

as the number of times the material is repeated depends on the tempo and rest duration

that the performers choose for that given performance.

Finally, after examining the special performance techniques and notation, it

becomes clear that the challenge of event coordination in sections with aleatoric

operation requires some interesting solutions in the notation. I have used non-traditional

time signatures such as 4/M, 4/X, and X/X to allow the conductor to manage timing

issues in an efficient way. My experience in conducting contemporary works with

graphic notation has validated the effectiveness of using this type of conducted event

coordination.

Boxed notation offers an easy way to instruct the performers to improvise based

on prescribed material in the box. It induces spontaneity in the way players interact with

one another. To encourage and facilitate such interaction between voices, I always place

31

boxed notation on multiple instruments that are in the same family. The proximity of

these players assures their ability to hear one another, and to recognize the collective web

they are forming through controlled improvisation.

Soar! has instrumental parts that blend with the computer music part to invent a

“mega instrument” as a whole. This “mega instrument” can produce sounds that neither

wind ensemble nor electronics can produce on its own. To connect the two sound worlds,

noises are utilized in the instrumental parts to mimic some of the complex sounds in the

computer music. These noises are considered extended techniques, such as breathing and

whispering consonants into brass instruments. With these sounds as the bridge to the

computer music part, the connection between the two sound worlds can be easily

achieved. Pitch materials in the wind ensemble also have an impact on the digital music.

These interactions between the wind ensemble and computer music part demonstrate my

desire to combine the two into one powerful entity The interactions between the wind

ensemble and the computer part will be discussed in more detail in the next chapter.

32

Chapter 5

Writing for Wind Ensemble and Electronics

A. Historic Background of the Wind Ensemble

Early predecessors of today's wind ensemble, or 'band' as a more general term,

came from a much different origin than that of the orchestra. Thanks to the high volume

and bright timbres of the wind and percussion instruments, wind band traditionally

played outdoors and served the function of signaling in battles or social functions as well

as entertainment. The immediate predecessor of the modern band is the military band,

dominant up until the middle of the twentieth century. Grove Music Online has the

following entry about the different traditions between the band and orchestra:

In Europe the wind and percussion band is descended from the ‘high’ or ‘loud’

groups of the medieval period and from the civic waits or the Stadtpfeifer, who

generally performed outdoors and therefore used predominantly loud brass and

percussion instruments. Bands were often mobile, had a vernacular appeal (they

usually performed lighter forms of music, often to a non-paying audience; as such

they have also served as useful propaganda tools, or at least assisted in promoting

nationalistic or patriotic fervour), and were often associated with specific military

or civic duties and were thus uniformed. The orchestra, on the other hand, is

descended from the medieval ‘low’ or ‘soft’ instruments (strings and softer wind

instruments), and usually plays indoors. It was originally associated with the

church or the nobility, and later with formal concerts of more ‘serious’ and

sophisticated music for which audiences paid.13

The band's traditional association with state and social functions has given the

literature of band music a vernacular connotation. In the tradition of the band world,

music is something that supports, inspires, and rouses. The band music of today still has

many of the traits of its early day military band incarnation.

13

Keith Polk, et al. “Band,” Grove Music Online, accessed 4/21/2010.

33

Figure 5.1. Military band during the civil war era, c. 1864.14

The modern concept of a symphonic band or concert band emerged in the middle

of the twentieth century when the popularity of the medium rose with the return of

veterans from World War II. The development of the band reached an important stage

when conservatories and schools started forming bands across the United States in the

1950s. Many new works for band were commissioned in response to the lack of

repertoire and to combat the practice of playing merely transcribed music from choral or

14

Fort Monroe Va. The Post Band, c. 1864. Olde Yankee Map and Photo. Uploaded on

July 30, 2008 via Flickr, Creative Commons License.

34

orchestral classics. Wind ensemble emerged out of that period of band development and

originally differentiated itself from other types of wind bands in that there was only one

player per part. The traditional configuration of a band is multiple players on each part.

This distinction in instrumentation refinement undoubtedly helped transform the wind

ensemble as an art form.

B. My Approach to Writing for Wind Ensemble with Electronics

Despite the effort to sophisticate the music for wind band, the prevalent trend in

band literature boasts chorale-like texture, strong rhythmic emphasis (partially because of

the expanded percussion section), and less adventurous harmonic language compared to

its orchestral counterpart. These traits are evident in the medium's history. What prompts

me to write for the wind ensemble is the potential to write a different kind of music for

the band world. The opportunities in the wind ensemble world are appealing. Wind

ensembles are more receptive to new music than orchestras and generally allow more

flexibility regarding artistic approach and practical issues since the medium does not have

the heavy burden of a long tradition. I am also attracted to the medium because of its rich

timbral content as well as its powerful acoustic force. While wind ensemble represents a

relatively new sound world, computer music is even more so with less than a few decades

of development. The lack of musical literature for the combination of wind ensemble and

computer music prompted me to compose Soar! My intention has been to create a work

that brings out the best qualities in both media and integrates them in a way that surpasses

the notion of “wind ensemble music” with “computer music”. The combination of the

35

two forces should be perceived as a whole new instrument that is capable of producing a

wide variety of sounds. In my mind, the wind ensemble has a bright future and much

room for future contributions.

Coming from an orchestral background, I have relied heavily on strings for my

instrumental compositions. The homogeneous quality of the strings has always served as

the foundation for my large ensemble works. The first challenge I had when writing

Soar! was the lack of strings and the assortment of string techniques that I had become

accustomed to using. Instead of searching for a substitute in the wind ensemble, I realized

that the lack of strings needed to be a fundamental character of the piece. I decided to

abandon the orchestral sound in my head and start from scratch, building another sound

world that is uniquely for this medium – wind ensemble and computer music.

My interest in sound mass technique and integration of multiple musical fabrics

has guided my recent compositions. Stylistic elegance and the contemplation of time are

the two most carefully considered subjects in Soar!

C. Technology as Enhancement

The use of pre-recorded computer music in conjunction with a large ensemble is

getting increasing attention. In an ensemble environment, where an abundance of timbres

is available, the use of pre-recorded sounds poses an interesting challenge for the

composer. Either using sound synthesis or musique concrète, the electronic part provides

an added layer of musical texture and meaning to the composition. Previous works in this

36

genre have exhibited very different approaches and aesthetics in the inclusion of pre-

recorded sounds. The following are two drastically different examples:

In Varèse’s Déserts (1954) for two-channel tape and large ensemble, the

composer's approach to the tape is unique: it is played as a series of interludes between

each instrumental movement. In other words, the tape and the ensemble never play

together. The contrast between the instruments and the electronic sounds is shown

through juxtaposition, and this character reaches into the psychological realm of the

abandoned city that Varèse intended to depict. With the factory sounds and percussive

hits captured on the tape, he successfully created a dream-like illusion of an urban desert.

In Kaija Saariaho’s Verblendungen (1984) for orchestra and tape, the ensemble

and the electronics work as two rivaling components. “The orchestra and the tape are

moving in opposite directions with respect to the tone-noise axis. The piece starts with a

thick orchestral tutti, which is first hidden then shaded by the noise on the tape.

Throughout this piece the orchestral coloring is transformed into instrumental noises,

which, before withering away, shade the quasi-string orchestra on the tape. The orchestra

is built to have a heterogeneous nature to contrast with the even colors on the tape.”15

In

other words, the two components transform and exchange roles gradually throughout the

work.

Psychology also plays an important role in electroacoustic music. The simple fact

that certain sounds have certain associations in the ears of the listener is a powerful tool.

This can be utilized in order to evoke extra-musical meanings through the integration of

15

From the program notes of Verblendungen by Kaija Saariaho, (1984).

37

concrète sounds with the instruments. Throughout the composition Soar!, images of

migrating birds have inspired and guided me in shaping the piece. I have also included

other psychological details imbedded in the tape part that will enrich the work through a

web of sonic associations.

D. Challenges of Combining Wind Ensemble and Computer Music

Along with the new possibilities of these combined media, there are also potential

problems. The difficulty in adding sounds that work with wind ensemble, a very timbre-

rich ensemble, lies in delicately balancing the instruments and the computer sounds. As I

started working on the computer music part, the integration of the live instrumental

sounds and the pre-recorded and pre-processed sounds became an element that required

special attention. Due to aleatoric technique used in the instrumental parts, as well as the

wish to avoid traditional wind ensemble sonority, it has been proven challenging for me

to 'hear' the exact sounds of the music I am writing, an ability that I confidently possess

in orchestral writing. When working on the computer music part, every sound is

produced clearly and definitely. I know one hundred percent of the sounds I produce on

the computer, but have a less level of assurance in regards to the sound I am trying to

create in the wind ensemble.

Studying wind literature had helped tremendously for me to gain mastery in the

live instrumental parts. Even though it is not as natural a process to me compared to

writing orchestral music or computer music, the entire process of composing Soar! has

been one of the greatest learning experiences in my career as a composer.

38

E. Techniques and Digital Signal Processing Used in the Computer Music Part

Going back to the original inspiration for composing this piece, it was the birds'

vivid formations that suggested the imagery for me. Each bird is unique just as each leaf

on a tree is unique – that is if we look at them in microscopic detail. Biologically, all the

birds in a flock are very similar. Looking from a far, they seem to be replicas of one

another. When they gather in large numbers, the viewer starts to ignore the individual

birds' existence. Rather, one focuses on the combined image, or the big picture. This

phenomenon can be simulated in computer music with granular synthesis.

Granular synthesis is a method by which sounds are broken into short fragments

and redistributed to create the resulting sound. In the granular synthesis technique, the

fundamental units that are used to weave the sound are called grains. These small

fragments of sounds can have unified or varied sizes. The temporal distribution of grains

can be regular to produce a pitch or randomized to form a cloud of sound.16

With

powerful computers today, the task of creating granular synthesis can be done with

relative ease. Programs such as Max/MSP can readily assist the composer in creating

sounds easily, for what was once an extremely time-consuming endeavor. I decided to

use recorded samples as the sound source for granulation. Next, I had a few basic

parameters to define: grain size, grain density, frequency range, and amount of

randomness allowed in these parameters. Given the similarity between the principles of

birds' formations and granular synthesis, utilizing granular synthesis for the computer

music part became a natural choice. I have used this technique extensively in creating

16

Charles Dodge and Thomas Jerse, Computer Music: Synthesis, Composition, and

Performance, 2nd ed. (New York: Schirmer, 1997), 262-276.

39

computer music for Soar!. By adjusting the randomness level, the sound can transform

from pitched to noise-like, or vice versa. That fluidity matches perfectly the imagery I

want to portray. Granular synthesis's ability to transform the quality of the sound has

been one of the most powerful tools I have in creating my electroacoustic works.

Another technique that is central to the computer generated music for the piece is

convolution. I strictly use the computer music software Bias Peak to run this type of

digital signal processing. Convolution is taking two audio signals and modifying one of

them with characteristics of the other. As a result, the spectral quality of one sound can be

applied to the other sound. With the complexity of audio samples, it is sometimes a trial

and error process to find the right sound for what I am looking for. Nonetheless,

convolution has been a staple of my digital signal processing vocabulary.

I strongly believe in technological enhancement and assistance to augment

traditional music making. The endless possibilities in computer technology today make it

possible for composers to add another dimension to instrumental playing. It has also been

my belief that computers and electronics help us achieve dreams that were not attainable

before by extending our capabilities beyond what is physically difficult or impossible to

produce. Loudspeakers play the pre-processed computer music on stage along with live

musicians, in the absence of any visual evidence of the act of sound making. This

disconnect between what the audience sees (the wind ensemble players) and what they do

not see (the computer music playing through loudspeakers) can blur the sense of reality.

The magic power of electronics often resides in our inability to see the act of sound

production, thus creating an illusion that sounds very real, yet always lures us into the

40

unknown. Hopefully this layer of computer music played with wind ensemble adds an

interesting aspect to the overall listening experience.

41

Chapter 6

The Conductor, the Leader

Being a conductor myself, I have always paid special attention to the execution of

my compositions from a conductor's point of view. The leader of a large group of

musicians is naturally given ample authority in order to shape the music played. This

authority to lead had been expected by both the conductor and the players in the

ensemble.

Non-traditional time signatures are a necessity for Soar! to be successfully

conducted. Using meters such as 4/M, 4/X, and X/X17

, the conductor is given control

over the timing of events. In essence, the conductor determines the larger structures by

defining temporal elements and the players realize controlled improvisation under the

conductor's direction. This type of composition gives conductors a new sense of

ownership over the performance. The conductor is actively creating the piece as it

unfolds in front of both the players and the audience. I have used this mechanism in some

of my earlier compositions, such as Rugged Edges for string orchestra (2003).

From my exploration of new types of conducting models, I discovered that I

would like to see more freedom of creativity for the conductor in compositions for large

ensembles. This is definitely not a new idea. Aleatoric works rely heavily on the

conductor to coordinate improvisatory operations. As mentioned earlier, Venetian Games

(1960) by Witold Lutos!awski gives the conductor (often the composer himself) a large

17

For detailed explanation of these time signatures, see p. 26-29.

42

amount of freedom to determine the order and timing of each musical segment, with

multiple strands of musical activities happening simultaneously.

My inclination for conductor-centered music also stems from John Zorn's game

pieces such as Cobra (1984). Zorn designed a system of strict rules on how musicians

should interact in their improvisations, but with no pre-defined event order. The

conductor prompts ensemble players with note cards for event changes. The result is a

highly engaging improvisation among the players and the prompter. Another musician,

Butch Morris, also takes a similar approach to music making using 'conduction' to guide

improvisations. He does not use note cards, but instead uses only hand gestures and baton

as a traditional conductor would. Both Zorn and Morris see the conductor as the true

leader of the ensemble. As such they give the conductor the power to dictate not only the

timing of events but also the way the improvisation should be done.

My musical background of playing strictly from written music has given me the

advantage of sight-reading at a competent speed. Orchestral score reading for traditional

repertoire has never been an excessively difficult task for me. As I venture into more

experimental type of compositions where improvisation is required, it is both challenging

and liberating at the same time. I have increasingly been interested in conducted

improvisation in recent years. The Electric Monster Laptop Ensemble that I founded at

Montana State University in 2009 is a group that plays mostly improvised music on

laptops. Although some laptop orchestras or ensembles have relied solely on free

improvisation, the large number of players in Electric Monster, as well as the different

musical backgrounds of the members, makes it difficult to practice free improvisation.

43

Instead, I, as the conductor, have consistently used hand gestures to direct the timing and

especially the change of musical events. It is a system of cultivated proficiency, and it

requires a group of players that have become accustomed to these gestures.

Conducting is as much a skill as a philosophy. New types of music ensembles

emerge, such as laptop orchestras, mobile phone orchestras, and even theremin

ensembles. These unorthodox musical groups challenge our very notion of music making.

With advancement in technology, more modes of coordination and performance ritual

emerge. Therefore, the art of conducting has to adapt to the type of music that is being

produced in order to be efficient. To be the true leader of a musical group, the conductor

must find the best way to guide and inspire his/her fellow musicians.

44

Chapter 7

After Thoughts

The word 'soar' brings to mind the idea of hope and a projection of humane

imagination. As I composed Soar! and probed deeper into my personal way of thinking

about music, a few recurring themes have surfaced.

I have taken particular interest in cyclical structure, sound masses, and

multiplicity in organizing musical materials and have affirmed my intention to explore

them further in my future works. Just as I am fascinated with migratory birds' yearly

journey between their wintering grounds and breeding spots, cyclical or symmetrical

form such as palindrome holds a special role in my treatment of musical form.

Experiencing different sound colors has always been a profound pleasure for me both as a

musician and listener. Using sound mass affords me the tool to blend sounds and

transform them easily. Placing multiple musical entities simultaneously helps me create a

musical texture that is multi-dimensional, both sonically and psychologically. Besides

these elements that are central to my musical creation, technology is another element that

I view as indispensable. Beyond the immediacy of hearing what I am creating, which is

fully satisfying, the capability of being able to affect sounds at a microscopic level makes

computer technology an extremely powerful tool for music making.

I have discussed my musical background, my interest in abstract formal relations,

as well as certain sonic qualities that are important to me as a composer. What I have not

touched on is the issue of identity and its relation to one's musical output. As a composer

45

who also happens to be a woman, does my gender have any impact on my musical

preference? The blood that runs through my body is unmistakably Asian. Does my

upbringing cast any predisposition on the way I understand music? Is it possible that as

an immigrant in a foreign country, I equate the birds' migration with my own personal

experience of migration? Much exploration and deliberation on these matters will

promise to intrigue me in my future work as a composer as well as a conductor.

46

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on January 6, 2008 via Flickr, Creative Commons License.

Fort Monroe Va. The Post Band, Date c. 1864. Olde Yankee Map and Photo. Uploaded

on July 30, 2008 via Flickr, Creative Commons License.

50

PART II

SOAR! FOR WIND ENSEMBLE AND COMPUTER MUSIC

51

Instrumentation

Flute 1Flute 2Flute 3 (double on piccolo)Oboe 1Oboe 2Eb ClarinetBb Clarinet 1Bb Clarinet 2Bb Clarinet 3Bb Bass ClarinetBassoon 1Bassoon 2

Bb Soprano SaxophoneEb Alto SaxophoneBb Tenor SaxophoneEb Baritone Saxophone

F Horn 1F Horn 2F Horn 3F Horn 4Bb Trumpet 1Bb Trumpet 2Bb Trumpet 3Trombone 1Trombone 2Bass TromboneEuphoniumTuba

Piano

Timpani (A, D, F, G)Percussion 1 marimba sleigh bells glass wind chimes lion's roar* tubular bells* snare drum tom-toms, 3 sizes bass drum*Percussion 2 woodblocks 5 sizes large sus. cymbal medium gong crotales (e1, e2, g2) bass drum* lion's roar*Percussion 3 vibraphone tubular bells* bass drum* medium gong* tam-tam bowed sus. cymbal

Stereo Digital Audio

*shared instrument

52

Performance Notes

Number in the hexagon indicates track number for audio file playback.

Repeat notes in the box until end of the extension line.

Play enclosed area for approximately 10 seconds.

number in the circle indicates the current beat count within the measure

XX free timing

X

M44

denotes 4 conductor’s beats per bar with variable time between beats

denotes 4 conductor’s beats per bar at metronome speed

53

Soar! is a musical composition written for wind ensemble and pre-recorded stereo audio. The total duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as the most prominent influence on the imagery and local structure of the composition. The cyclical nature of the birds' journey inspires palindromic designs in the temporal domain.

Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the sounds. This effect is achieved by giving individual parts high degree of independence, especially in regards to rhythm. Technically, Soar! explores various interactions among instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and integrates a large ensemble with pre-recorded electronic music.

The conductor acts as the leader at several improvisational moments in Soar! The use of conductor-initiated musical events in the piece can be traced back through the historic lineage of aleatoric compositions since the middle of the twentieth century.

Program Notes

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Flute 1

Flute 2

Flute 3(double piccolo)

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Oboe 2

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Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Bassoon 1

Bassoon 2

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Alto Sax.

Tenor Sax.

Baritone Sax.

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trumpet in Bb 1

Trumpet in Bb 2

Trumpet in Bb 3

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Piano

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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

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F

F

F

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F

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F

F

F

F

F

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exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

4

4

4

4

4

4

4

4

4

4

4

4

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31

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32

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

38

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

45

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rœ ‰ œ œb œ œ œ œ œ

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50

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60

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

51

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6 6

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63

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56

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57

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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60

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61

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Hn. 2

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Hn. 4

Bb Tpt. 1

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Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

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Perc. 2

Perc. 3

Pno.

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Euph.

Tuba

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Perc. 1

Perc. 2

Perc. 3

Pno.

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Euph.

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Perc. 1

Perc. 2

Perc. 3

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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Œ Œ.˙

PŒ Œ

.˙bP

Œ Œœ ‰ Œ $ .œb

PŒ Œ

œ ‰ Œ Œ Œ Œ

!!

!œœ œœ

rœœ œœ

rœœ

pÉã

!Öã Œ Ó Œ

90

Œ Œ œ œ.œ Œ Œ

3

Œ Œ œ œ.œ Œ Œ

3

Œ Œ œ œ.œ Œ Œ3

!!

Œ Œ œ# œ.œ Œ Œ3

Œ Œ œ# œ#.œ Œ Œ3

Œ Œ œ# œ#.œ Œ Œ3

Œ Œ œ# œ#.œ Œ Œ3

Œ Œ Œ œ ˙3

Œ Œ œ Œ œ ˙3

3

Œ Œ œ Œ œ ˙3

3

!

!

Œ Œ Œ œ ˙3

Œ Œ Œ œ ˙3

!

!

!

!

Œ œ Œ Œ Œ Œ3

Œ œ Œ Œ Œ Œ3

Œ œ Œ Œ Œ Œ3

œ œ Œ Œ Œ Œ3

œ œ Œ Œ Œ Œ3

Œ œb œ Œ Œ Œ3

Œ œb Œ Œ œ ˙3

3

Œ Œ ŒœP ˙

3

!!

!

!

!!

91

˙œ .œ $ Œ œ Œ

33

˙œ .œ $ Œ œ# Œ

3

3

˙œ .œ $ Œ œ Œ

33

Œ Œ Œ Œ Œ œ3

Œ Œ Œ Œ Œ œb3

˙œ .œ# $ Œ Œ

3

˙œ# .œ# $ Œ œ Œ

3

3

˙œ# .œ# $ Œ œ Œ

3

3

˙œ# .œ# $ Œ Œ

3

˙# Œ Œ Œ Œ3

Œ Œ .œ $ Œ Œ œ3

Œ Œ .œ $ Œ Œ œ#3

Œ Œ Œ Œ Œ œ#3

Œ Œ Œ Œ Œ œ3

!

!

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ# Œ3

Œ Œ Œ Œ œ œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ ‰ $ œ œ Œ œ3

Œ Œ ‰ $ œ œ Œ œ3

Œ Œ .œ œb Œ Œ œ3

Œ Œ ‰ $ œb Œ Œ

!

!!

!

!

!!

92

Œ Œ .œ œ Œ Œ

Œ Œ .œ œ Œ Œ

Œ Œ .œ œ Œ Œ

Œ Œ .œ œ Œ ŒŒ Œ .œb œ Œ Œ

Œ Œ .œ œ Œ Œ

Œ Œ .œb 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 ˙

˙b Œ ˙

˙# Œ ˙

˙# Œ ˙

˙ Œ ˙

!

!

!

!

!

!

!

!

!!

!

!

!!

93˙ Œ ˙

˙ Œ ˙#

˙ Œ ˙

˙ $ .œ Œ Œ˙b $ .œb Œ Œ˙ Œ Œ Œ˙b Œ ˙

˙# Œ ˙

˙# Œ Œ Œ˙

Œ Œ Œ˙ œ# .œ Œ Œ˙ œ .œb Œ Œ

˙ œ# .œ# Œ Œ˙ œ# .œ Œ Œ

˙ œ# $ ‰ Œ Œ

˙ œ $ ‰ Œ Œ

˙ œb $ ‰ ˙

˙ œ# $ ‰ ˙

˙ œ $ ‰ ˙

˙ œ $ ‰ ˙#˙ $ .œ Œ $ œ> œ

˙b Œ Œ $ œn > œ

˙b Œ Œ $ œ> œ˙ Œ Œ $ œ> œ

˙ Œ Œ $ œ> œ

˙b Œ Œ $ œb > œ˙ $ .œb Œ Œ˙ Œ Œ Œ

!!

!

!

!!

Soar!

66

&

&

&

&&

&

&

&

&

&??

&

&

&

&

&

&

&

&

&

&

&

?

?

?

?

?

&?

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&ã&

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

94

Œ Œ œ œ.œ Œ Œ

3

Œ Œ œ œ.œ Œ Œ

3

Œ Œ œ œ.œ Œ Œ3

!!

Œ Œ œ# œ.œ Œ Œ3

Œ Œ œ# œ#.œ Œ Œ3

Œ Œ œ# œ#.œ Œ Œ3

Œ Œ œ# œ#.œ Œ Œ3

Œ Œ Œ œ ˙3

Œ Œ œ Œ œ ˙3

3

Œ Œ œ Œ œ ˙3

3

!

!

Œ Œ Œ œ ˙3

Œ Œ Œ œ ˙3

!

!

!

!

Œ œ Œ $ œb > œ Œ Œ3

Œ œ Œ $ œb > œ Œ Œ3

Œ œ Œ $ œN > œ Œ Œ3

œ œ Œ $ œ# > œ Œ Œ3

œ œ Œ $ œ# > œ Œ Œ3

Œ œb œ $ œ> œ Œ Œ3

Œ œb Œ Œ œ ˙3

3

Œ Œ Œœ ˙

3

!!

!

!

!!

95

˙œ .œ $ Œ œ Œ

33

˙œ .œ $ Œ œ# Œ

3

3

˙œ .œ $ Œ œ Œ

33

Œ Œ Œ Œ Œ œ3

Œ Œ Œ Œ Œ œb3

˙œ .œ# $ Œ Œ

3

˙œ# .œ# $ Œ œ Œ

3

3

˙œ# .œ# $ Œ œ Œ

3

3

˙œ# .œ# $ Œ Œ

3

˙# Œ Œ Œ Œ3

Œ Œ .œ $ Œ Œ œ3

Œ Œ .œ $ Œ Œ œ#3

Œ Œ Œ Œ Œ œ#3

Œ Œ Œ Œ Œ œ3

!

!

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ# Œ3

Œ Œ Œ Œ œ œN3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ ‰ $ œ œ Œ œ3

Œ Œ ‰ $ œ œ Œ œ3

Œ Œ .œ œb Œ Œ œ3

Œ Œ ‰ $ œb Œ Œ

!

!!

!

!

!!

96.œ $ Œ œ Œ Œ Œ

3

.œ $ Œ œ# Œ Œ Œ3

.œ $ Œ œ Œ Œ Œ3

Œ Œ Œ œ Œ Œ3

Œ Œ Œ œb Œ Œ3

.œ# $ Œ Ó $ œ> œ

.œ# $ Œ œ Œ Œ $ œ> œ3

.œ# $ Œ œ Œ Œ $ œ# > œ3

.œ# $ Œ Ó $ œ> œŒ Œ Œ œ ˙

3

.œ $ Œ Œ œ œ ˙33

.œ $ Œ Œ œ# œ ˙33

Œ Œ Œ œ# Œ Œ3

Œ Œ Œ œ Œ Œ3

Œ Œ Œ œ ˙3

Œ Œ Œ œ ˙3

Œ Œ œ Œ Œ Œ3

Œ Œ œ Œ Œ $ œ> œ3

Œ Œ œ Œ Œ Œ3

Œ Œ œ# Œ Œ $ œ# > œ3

Œ Œ œ œ Œ Œ3

Œ Œ œ Œ Œ Œ3

Œ Œ œ Œ Œ Œ3

‰ $ œ œ Œ œ Œ Œ3

‰ $ œ œ Œ œ Œ Œ3

.œ œb Œ Œ œ Œ Œ3

‰ $ œb Œ Œ œ ˙3

Œ Œ Œœ ˙

3

!!

!

!

!!

97

Œ Œ .œ œ Œ Œ

Œ Œ .œ œ Œ Œ

Œ Œ .œ œ Œ Œ

Œ Œ .œ œ Œ ŒŒ Œ .œb œ Œ Œ

Œ Œ .œ œ Œ Œ

Œ Œ .œb œ Œ Œ

Œ Œ .œ# œ Œ Œ

Œ Œ .œ# œ Œ Œ

œ ˙.œ œ

Œ Œ3

œ ˙ Œ ˙#f

3

œ ˙ Œ ˙f

3

Œ ˙#f

˙

Œ ˙#f

˙

œ ˙ Œ ˙#f

3

œ ˙ Œ ˙f

3

Œ Œ Œ ˙bf

Œ Œ Œ ˙# fÓ Œ ˙# fÓ Œ

fŒ $ œ# > œ Ó Œ

Œ $ œ# > œ Ó Œ

Œ $ œ> œ Ó Œ

Œ $ œ> œ Ó Œ

Œ $ œ# > œ Ó Œ

Œ $ œ> œ Ó Œ

œ ˙ Œ Œ Œ3

œ ˙Œ Œ Œ3

!!

!

!

!!

98wf

œÏ

wf

œÏ

wf

œÏ

wf

œÏ

wbf

œÏw

fœ

Ïwbf

œÏ

w#f

œÏ

w#f

œÏw

fœ

Ïw œ

Ïw œ

Ïw# œ

Ïw œ

Ïw œ

Ïw œ

Ï

w œÏ

w œÏw œ

Ïw œÏwf

œÏ

wbf

œÏ

wb f œÏwf

œÏ

wf

œÏ

wbf

œÏw

fœ

Ïwf

œÏ

!!

!

!

!!

99

Œ Œ œ .œ Œ Œ

Œ Œ œ .œ Œ Œ

Œ Œ œ .œ Œ Œ

Œ Œ œ .œ Œ ŒŒ Œ œb .œ Œ Œ

Œ Œ œ .œ Œ Œ

Œ Œ œb .œ Œ Œ

Œ Œ œ# .œ Œ Œ

Œ Œ œ# .œ Œ Œ

Œ Œœ .œ

F œ3

˙#F

Œ ˙ œ3

˙F

Œ ˙ œ3

w#F

Œ

w#F

Œ

˙#F

Œ ˙ œ3

˙F

Œ ˙ œ3

˙bF

Œ Œ Œ

˙#FŒ Œ Œ

˙#FŒ Œ Œ

FŒ Œ Œ

Œ $ œ> œ Œ Ó

Œ $ œ> œ Œ Ó

Œ $ œb > œ Œ Ó

Œ $ œb > œ Œ Ó

Œ $ œ> œ Œ Ó

Œ $ œ> œ Œ Ó

Œ Œ ŒF œ

3

Œ Œ ŒF œ

3

!!

!

!

!!

100

Œ Œ Œ œp

Œ $ .œ3

Œ Œ Œ œ#p

Œ $ .œ3

Œ Œ Œ œp

Œ $ .œ3

Œ Œ œp

Œ Œ Œ3

Œ Œ œbp

Œ Œ Œ3

Œ Œ Œ Œ $ .œ#p

Œ Œ Œ œ#p

Œ $ .œ3

Œ Œ Œ œp

Œ $ .œ#3

Œ Œ Œ Œ $ .œ#p

˙ œ Œ Œ Œ3

˙ œ œp

Œ Œ $ .œ33

˙ œ œ#p

Œ Œ $ .œ3 3

Œ Œ œ# pŒ Œ Œ3

Œ Œ œp

Œ Œ Œ3

˙ œ Œ Œ Œ3

˙ œ Œ Œ Œ3

Œ Œ Œ œp

Œ Œ3

Œ Œ Œ œp

Œ Œ3

Œ Œ Œ œp

Œ Œ3

Œ Œ Œ œ# pŒ Œ3

$ œ> œ Œ œp

œ Œ Œ3

$ œ# > œ Œ Œ œp

Œ Œ3

$ œ> œ Œ Œ œp

Œ Œ3

$ œ> œ Œ œp

Œ œ œ $ ‰3

$ œ> œ Œ œp

Œ œ œ $ ‰3

$ œb > œ Œ œp

Œ Œ œb .œ3

˙ œ Œ Œ œb $ ‰3

˙ œŒ Œ Œ3

!!

!

!

!!

Soar!

67

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&&

&

&

&

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&

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

101

Œ œ Œ $ .œ œ˙

33

Œ œ# Œ $ .œ œ˙3

3

Œ œ Œ $ .œ œ˙

33

œ Œ Œ Œ Œ Œ3

œb Œ Œ Œ Œ Œ3

Œ Œ $ .œ# œ˙

3

Œ œ# Œ $ .œ œ#˙

3

3

Œ œ Œ $ .œ# œ#˙

3

3

Ó $ .œ# œ#˙

3

Œ Œ Œ Œ ˙#3

œ Œ Œ $ .œ Œ Œ3

œ# Œ Œ $ .œ Œ Œ3

œ# Œ Œ Œ Œ Œ3

œ Œ Œ Œ Œ Œ3

!

!

Œ œ Œ Œ Œ Œ3

Œ œ Œ Œ Œ Œ3

Œ œ Œ Œ Œ Œ3

Œ œ# Œ Œ Œ Œ3

œ œ Œ Œ Œ Œ3

Œ œ Œ Œ Œ Œ3

Œ œ Œ Œ Œ Œ3

œ Œ œ œ $ ‰ Œ Œ3

œ Œ œ œ $ ‰ Œ Œ3

œ Œ Œ œb .œ Œ Œ3

Œ Œ œb $ ‰ Œ Œ

!

!!

!

!

!!

102

Œ Œ .œœ œ Œ Œ

3

Œ Œ .œœ œ Œ Œ

3

Œ Œ .œœ œ Œ Œ3

!!

Œ Œ .œœ œ# Œ Œ3

Œ Œ .œœ# œ# Œ Œ3

Œ Œ .œœ# œ# Œ Œ3

Œ Œ .œœ# œ# Œ Œ3

˙ œ œ Œ Œ œ3 3

˙ œ œ œ Œ œ33

˙ œ œ œ Œ œ3 3

Œ $ œN >f œ Œ Ó

Œ $ œ# >f œ Œ Ó

˙ œ œ Œ Œ œ3 3

˙ œ œ Œ Œ œ3 3

Œ $ œb >f

œ Œ Ó

Œ $ œb >f

œ Œ Ó

Œ $ œ>f œ Œ Ó

Œ $ œ# >f œ Œ Ó

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ œ3

Œ Œ Œ Œ œ œ3

Œ Œ Œ œ œb Œ3

˙ œ œ Œ œb œ3

3

˙ œ œŒ Œ

œ3 3

!!

!

!

!!

103˙ Œ ˙

f˙# Œ ˙

f˙ Œ ˙

fŒ Œ .œ $ ˙

fŒ Œ .œb $ ˙b

fŒ Œ Œ ˙

f˙ Œ ˙b

f˙ Œ ˙#

fŒ Œ Œ ˙#

f˙ œ œ

˙f

3

˙ œ .œ œ# ˙f

3

˙ œ .œb œn ˙f

3

Œ Œ .œ# œ# Œ ‰ œ

Œ Œ .œ œ# Œ ‰ œ

˙ œ .œ œ# Œ ‰ œ3

˙ œ .œ œ Œ ‰ œ3

˙ ‰ $ œb ˙

˙ ‰ $ œ# Œ ‰ œ

˙ ‰ $ œ ˙

˙# ‰ $ œ Œ ‰ œ

Ó .œ $ ˙f

Ó Œ ˙bf

Ó Œ ˙b fœ .œ $ .˙

œ .œ $ .˙

œb .œ $ .˙

˙ œ .œb $ Œ ‰ œf

3

˙ œŒ Œ ‰ œ

f3

!!

!

!

!!

104

Œ Œ œ .œ Œ Œ

Œ Œ œ .œ Œ Œ

Œ Œ œ .œ Œ Œ

Œ Œ œ .œ Œ ŒŒ Œ œb .œ Œ Œ

Œ Œ œ .œ Œ Œ

Œ Œ œb .œ Œ Œ

Œ Œ œ# .œ Œ Œ

Œ Œ œ# .œ Œ ŒŒ Œ

œ .œŒ Œ

˙# Œ ˙

˙ Œ ˙

˙ Œ ˙#

˙ Œ ˙#

˙ Œ ˙#

˙ Œ ˙

˙b Œ ˙

˙ Œ ˙#

˙# Œ ˙

˙ Œ ˙

!

!

!

!

!

!

!

!

!!

!

!

!!

105

Œ œF

Œ $ .œ œ˙

33

Œ œ#F

Œ $ .œ œ˙3

3

Œ œF

Œ $ .œ œ˙

33

œ Œ Œ Œ Œ Œ3

œbF

Œ Œ Œ Œ Œ3

Œ Œ $ .œ#F

œ˙

3

Œ œ# Œ $ .œF

œ#˙

3

3

Œ œ Œ $ .œ#F

œ#˙

3

3

Œ Œ $ .œ#F

œ#˙

3

Œ Œ Œ Œ ˙#F3

œF

Œ Œ $ .œ Œ Œ3

œ#F

Œ Œ $ .œ Œ Œ3

œ# pŒ Œ Œ Œ Œ3

œp

Œ Œ Œ Œ Œ3

!

!

Œ œF

Œ Œ Œ Œ3

Œ œF

Œ Œ Œ Œ3

Œ œF

Œ Œ Œ Œ3

Œ œ#FŒ Œ Œ Œ3

œF

œ Œ Œ Œ Œ3

Œ œF

Œ Œ Œ Œ3

Œ œF

Œ Œ Œ Œ3

œF

Œ œ œ $ ‰ Œ Œ3

œF

Œ œ œ $ ‰ Œ Œ3

œF

Œ Œ œb .œ Œ Œ3

Ó œb $ ‰ Ó

!

!!

!

!

!!

106

Œ Œ .œœ œ Œ Œ

3

Œ Œ .œœ œ Œ Œ

3

Œ Œ .œœ œ Œ Œ3

!!

Œ Œ .œœ œ# Œ Œ3

Œ Œ .œœ# œ# Œ Œ3

Œ Œ .œœ# œ# Œ Œ3

Œ Œ .œœ# œ# Œ Œ3

p œ Œ Œ Œ3

˙p

œ Œ œ Œ Œ3

3

˙p

œ Œ œ Œ Œ33

!

!

p œ Œ Œ Œ3

˙p

œ Œ Œ Œ3

!

!

!

!

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ Œ œ Œ3

Œ Œ Œ œ œb Œ3

p œ Œ Œ œbF

Œ33

p œŒ Œ Œ3

!!

!

!

!!

Soar!

68

&

&

&

&

&

&

&

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

107˙ Œ ˙

"˙# Œ ˙

"˙ Œ ˙

"Œ Œ œ ˙

"Œ Œ œb ˙b

"Œ Œ Œ ˙

"˙ Œ ˙b

"˙ Œ ˙#

"Œ Œ Œ ˙#

"Œ Œ Œ

˙"

Œ Œ .œ œ#"

˙

Œ Œ .œb œn"

˙

Œ Œ .œ# œ#"

˙

Œ Œ .œ œ#"

˙

Œ Œ ‰ $ œ#"

˙

Œ Œ ‰ $ œ"

˙

˙ ‰ $ œb"

˙

˙ ‰ $ œ#" ˙

˙ ‰ $ œ"˙

˙# ‰ $ œ" ˙

Œ Œ œ ˙"

Œ Œ Œ ˙b"

Œ Œ Œ ˙b"Œ ˙ ˙

"Œ ˙ ˙

"Œ ˙b ˙

"Œ Œ œb ˙

"!

!!

!

!

!!

108

Œ Œ ˙ œ œ3

Œ Œ ˙ œ œ3

Œ Œ ˙ œ œ3

Œ Œ ˙ œ œ3

Œ Œ ˙b œ œ3

Œ Œ ˙ œ œ3

Œ Œ ˙b œ œ3

Œ Œ ˙# œ œ3

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109

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110

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slightly and slowly bending pitches up and down

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slightly and slowly bending pitches up and down

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slightly and slowly bending pitches up and down

crotales

vibraphone

2

F

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69

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Bsn. 1Bsn. 1

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Hn. 2Hn. 2

Hn. 3Hn. 3

Hn. 4Hn. 4

Bb Tpt. 1Bb Tpt. 1

Bb Tpt. 2Bb Tpt. 2

Bb Tpt. 3Bb Tpt. 3

Tbn. 1Tbn. 1

Tbn. 2Tbn. 2

B. Tbn.B. Tbn.

Euph.Euph.

TubaTuba

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Perc. 1Perc. 1

Perc. 2Perc. 2

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Pno.

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slightly and slowly bending pitches up and down

change breaths as needed

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slightly and slowly bending pitches up and down

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slightly and slowly bending pitches up and down

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slightly and slowly bending pitches up and down

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Fl. 2

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Bb Cl. 2

Bb Cl. 3

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Bsn. 2

S. Sx.

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T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

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Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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114

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Fl. 2

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Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

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Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

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Pno.

119

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Ob. 1

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S. Sx.

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Tbn. 1

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B. Tbn.

Euph.

Tuba

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

131

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Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

Conductor cues instrumental families to mimic sounds on tape.

5

133

ca. 41"

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

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Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

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S. Sx.

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Hn. 2

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Fl. 2

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B. Cl.

Bsn. 1

Bsn. 2

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T. Sx.

B. Sx.

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Hn. 2

Hn. 3

Hn. 4

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Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

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Euph.

Tuba

Timp.

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Perc. 2

Perc. 3

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Fl. 2

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Ob. 1

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Bsn. 1

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S. Sx.

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Hn. 2

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Tbn. 1

Tbn. 2

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Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

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Bsn. 1

Bsn. 2

S. Sx.S. Sx.

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Hn. 1

Hn. 2

Hn. 3

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Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

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Pno.

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

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

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Tuba

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Tuba

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Ÿ~~~~~~~~~~~~Ÿ~~~~~~~~~~~

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Fl. 2

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Hn. 2

Hn. 3

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Bb Tpt. 2

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Tbn. 1

Tbn. 2

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Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

44M

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182

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Bb Cl. 3

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Tbn. 1

Tbn. 2

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Euph.

Tuba

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Perc. 1

Perc. 2

Perc. 3

Pno.

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

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F

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exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

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44

44

44

44

44

44

44

44

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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

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

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

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

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

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

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

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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196

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5

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5

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3

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10

199

- œ ‰ Œ

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200

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201

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œƒ

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!!

!

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202

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!!

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.œ œ# œ $ .œ# ˙

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84

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44

44

44

44

44

44

44

44

44

44

44

44

44

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44

44

4444

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

203

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wæ

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wæ

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wæp

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bass drum

U

U

U

U

U

U

U

U

UU

UU

U

U

U

U

U

U

U

U

U

U

U

U

U

U

U

U

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X

X

X

X

X

X

X

X

X

X

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X

X

X

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X

X

X

X

X

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X

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X

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X

X

X

X

X

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X

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X

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X

X

X

X

X

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X

X

X

XX

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

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204

ca. 10"rœ

ƒrœƒrœƒrœƒ

rœƒ

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rœƒrœ

ƒrœƒrœƒ

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wwwƒwwwƒwwwwwƒwwwƒ

205

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œflßœfl

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206

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$ œfl œfl œfl$ œfl œfl œfl œb fl œfl œfl œfl

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85

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1Hn. 1

Hn. 2Hn. 2

Hn. 3Hn. 3

Hn. 4Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.Timp.

Perc. 1Perc. 1

Perc. 2Perc. 2

Perc. 3Perc. 3

Pno.

U

U

U

U

U

U

U

U

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UU

U

U

U

U

U

U

U

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X

X

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X

X

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X

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X

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X

X

X

X

X

X

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X

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X

X

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X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

XX

X

X

X

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X

X

X

X

X

X

X

X

X

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207

ca. 8"

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209

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210

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86

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45

45

45

45

45

45

45

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45

45

45

45

45

45

45

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45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

212

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213

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87

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

F

218˙

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

F

223

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3

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

230

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33

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3

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33

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3

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3

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3

3

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3

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œ# Œ Œ $ .œ Œ Œ3

œ# Œ Œ Œ Œ Œ3

œ Œ Œ Œ Œ Œ3

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Œ œ Œ Œ Œ Œ3

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œ Œ œ œ $ ‰ Œ Œ3

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Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

237

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!

!!

!

!!!

244

!

!

!

!

!

!

!

!

!!

! œ#F! œF!

!

!

!

!

!

!

!

.˙ Ó

.˙ Ó

.˙ Ó

Ó .˙P

Ó ‰ œ#P

˙

! œF

Ó ‰ œ#P

˙

! œ#F!!

!

!!!

Soar!

91

&

&

&

&

&

&

&

&

&&

??

&

&

&

&

&

&

&

&

&

&

&

?

?

?

?

?

&?

?

ã&ã

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Eb Cl.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

Bsn. 1

Bsn. 2

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Bb Tpt. 1

Bb Tpt. 2

Bb Tpt. 3

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Pno.

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

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

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

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

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

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

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

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

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

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

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

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

rit.

"

"

"

"

"

"

"

245

!

!

!

!

!

!

!

!

!!

˙ .f˙ .f

!

!

!

!

!

!

!

!

!

!

!

˙ .˙f

˙ .˙f

˙ .˙f˙ .˙

f˙ .f

!!

!

! with wire brushes?

œf œ œ œ œ œ œ œ œ œ œ œ œæ"

3

3 3

3

!

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

XX

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

X

play reeds only on cue

play reeds only on cue

play reeds only on cue

play reeds only on cue

P

P

P

P

P

P

P

P

P

P

P

P

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

exhale through the instrument with consonant "s", change breaths as needed, stagger breaths

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

play key clicks on cue

13

P

p

p

p

p

p

p

p

p

pp

pp

p

p

p

p

F p F

246

Conductor cues woodwind groups sparsely.

wwb æP

marimba

wp

l.v.

bow suspended cymbal gently 3 times, allow enough space between each time

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

drop out gradually

p P p P " p "

ca. 30"

"P

Soar!

92