sound and style: a compositional exploration of ... · sound and style: a compositional exploration...

University of Adelaide

Elder Conservatorium of Music

Faculty of Arts

Sound and Style: a compositional exploration of

appropriated source material

Portfolio of Original Compositions and Exegesis

Paul-Antoni Bonetti(B. Mus., Grad. Dip. Ed.)

Submitted in fulfilment of the requirements for the degree of

Doctor of Philosophy

In Two Volumes

Volume One

June 2014

ii

Volume OneCONTENTS

Abstract ............................................................................................................................... vi

Declaration ........................................................................................................................ vii

Acknowledgments ........................................................................................................... viii

PART A MUSICAL SCORESA.1 Moto Fuoco, Suite for Orchestra ............................................................... 1

2,2,2,2; 4,2,3,1; timp., 3 perc., hp., strings

I. Moto Fuoco .......................................................................................... 3

II. Alla Guitarra ....................................................................................... 47

III. Fortitude Street ................................................................................ 101

IV. Notturno Con Sprito ......................................................................... 133

A.2 Requiem Lux Aeternam .......................................................................... 195

SSAATTBB chamber choir, string ensemble, percussion, electronics

I. Introit: Isaiah 60:1 (attacca) ............................................................ 197

II. Requiem Aeternam

III. Lux Aeterna ...................................................................................... 243

IV. Verse Anthem: Let All Mortal Flesh Keep Silence ........................ 263

A.3 Love, Lust, Life And Loss: Choyce Madrigals on Intimately Procured

Poetic Texts ................................................................................................ 277

SATB a cappella vocal quartet

I. When Shall The Fair ........................................................................ 279

II. The Face is Still Clear ..................................................................... 283

III. Two Worms in a Bottle .................................................................... 287

IV. Angel Lovers .................................................................................... 297

Contents continued...

iii

A.4 Five Characteristic Songs for Baritone and Guitar ........................... 301

Solo Baritone and Guitar

I. Viola Song ........................................................................................ 303

II. Winnie Blues .................................................................................... 309

III. Two Roads ....................................................................................... 317

IV. You Didnt Half Remind Me ............................................................. 325

V. Walking Up the Elevator Down ....................................................... 329

A.5 Bonetti Motets Project ............................................................................ 339

SATB a cappella chamber choir

I. Intenderunt arcum ........................................................................... 341

II. O Quam Felix Est ............................................................................ 365

iv

Volume TwoCONTENTS

PART B EXEGESISB.1 Introduction ................................................................................................... 1

1.1 Conceptual and Aesthetic Frameworks: Chasing the Lyrebird ..... 1

1.2 Historical Context .............................................................................. 4

1.3 Methodological Framework: The Interface Problem .................... 13

1.4 Creative Framework: Orchestrating the Groove ........................... 16

B.2 Moto Fuoco: The language of urban contemporary music within

conventional orchestral performance idioms ........................................ 17

B.3 Rest In Pieces: Deconstructing the traditional origins of the Requiem ... 39

B.4 Song Cycles ................................................................................................ 43

4.1 Love, Lust, Life and Loss: Choyce Madrigals on Intimately Procured

Poetic Texts ..................................................................................... 44

4.2 Five Characteristic Songs for Baritone and Guitar: Departures from

the song cycle form ......................................................................... 50

B.5 Something Old, Something New, Something Borrowed, Something

Blue[s]: The marriage of music spanning three centuries of

compositional ancestry ........................................................................... 59

B.6 Conclusion .................................................................................................. 72

List Of Sources ..................................................................................................... 78

Appendices ............................................................................................................ 88

Original transcription editions of 17th century music by Carlo Bonetti and

Giovanni Bonetti: Researched, transcribed, compiled & edited by

Paul-Antoni Bonetti

APPENDIX A Intenderunt arcum, Carlo Bonetti ......................... 89

APPENDIX B O Quam Felix Est, Giovanni Bonetti .................. 109

APPENDIX C Domine Contra Fidem, Giovanni Bonetti .......... 127

Contents continued...

v

PART C SOUND RECORDINGS (inside back cover)

CD track listing in relation to composed works*

CD.1 Moto Fuoco, Suite for Orchestra

I. Moto Fuoco*

[1] II. Alla Guitarra ............................................................................... 8:00

The Tasmanian Symphony Orchestra, conducted by Kenneth Young, 2008

III. Fortitude Street*

[2] IV. Notturno Con Sprito .................................................................. 7:40

The Tasmanian Symphony Orchestra, conducted by Kevin Field, 2012

Requiem Lux Aeternam

Brisbane Chamber Choir and the Queensland Orchestra String Quartet,

conducted by Graeme Morton, 2009

[3] I. Introit: Isaiah 60:1 (attacca)

II. Requiem Aeternam ................................................................. 12:47

[4] III. Lux Aeterna ............................................................................... 5:43

[5] IV. Verse Anthem: Let All Mortal Flesh Keep Silence .................. 6:47

CD.2 Love, Lust, Life and Loss:

Choyce Madrigals on Intimately Procured Poetic Texts

I. When Shall The Fair*

[1] II. The Face is Still Clear ............................................................... 3:25

[2] III. Two Worms in a Bottle .............................................................. 4:35

Performed, recorded and produced by Paul-Antoni Bonetti, 2010

[3] IV. Angel Lovers .............................................................................. 5:40

Adelaide Chamber Singers, conducted by Carl Crossin, 2009

Five Characteristic Songs for Baritone and Guitar

Performed, recorded and produced by Paul-Antoni Bonetti, 2010-2015

[4] I. Viola Song ................................................................................. 5:21

[5] II. Winnie Blues ............................................................................. 6:18

[6] III. Two Roads ................................................................................ 4:04

[7] IV. You Didnt Half Remind Me ...................................................... 3:49

[8] V. Walking Up the Elevator Down ................................................ 4:28

Bonetti Motets Project

Adelaide Chamber Singers, conducted by Carl Crossin, 2009

[9] I. Intenderunt arcum ..................................................................... 8:25

[10] II. O Quam Felix Est .................................................................... 13:00

* Recordings not available for these works

vi

Abstract

This submission for the degree of Doctor of Philosophy at the Elder Conservatorium of

Music, University of Adelaide, consists of a portfolio of original compositions supported by

an exegesis. The materials are presented in three parts contained in two volumes; Part A

in Volume One, and Parts B and C in Volume Two.

Part A, the portfolio, contains the following five works: Moto Fuoco, a suite of four pieces

for symphony orchestra; Requiem Lux Aeternam, four movements for chamber choir,

strings, percussion and electronics; Love, Lust, Life and Loss: Choyce Madrigals on

Intimately Procured Poetic Texts, a suite of four songs for a cappella vocal quartet; Five

Characteristic Songs for Baritone and Guitar; and the Bonetti Motets Project, for a

cappella chamber choir. Part B, the exegesis, explains the conceptual and aesthetic

framework for the compositions, followed by chapters on the compositional methods and

techniques adopted for individual works. Part C contains sound recordings of the works

presented on two CDs.

The aim of this project has been to appropriate a diverse range of styles and sounds as

source materials that form part of the compositions. These source materials have

originated from forms of contemporary popular music such as hip-hop and rap, jazz, drum

and bass, electronic dance music, and heavy metal; as well as earlier styles of art music

such as medieval plainsong, the Renaissance madrigal genre, and characteristics of

Baroque and Renaissance style. As part of this process, it was important that these

source materials were adapted to fit with stylistic conventions of the instrumental or vocal

performance medium for which the compositions were written, yet still retain aspects of

their aural and/or stylistic characteristics in this new context. This highlighted a creative

and methodological tension that has been explored and resolved through the generation

of the composition works.

vii

Declaration

I hereby certify that the material presented in this submission is my own original work and

that due credit has been given to the work of others. I have clearly stated the contribution

by others to jointly authored works that I have included in the portfolio of compositions.

This work contains no material that has been accepted for the award of any other degree

or diploma in any university or other tertiary institution and, to the best of my knowledge

and belief, contains no material previously published or written by another person, except

where due reference has been made.

I hereby give permission for these materials to be archived in the Barr Smith Library, and

the Elder Music Library. I give consent to Parts A and B of this submission to be made

available in all forms of digital media and within usual copyright restrictions but I exclude

permanently the sound recordings in Part C because of the various copyright interests

involved in the sound recordings. Preview recordings of the works may be sought directly

from the composer.

I assert copyright over the original musical works contained within the portfolio of

compositions unless otherwise stated.

________________________________________

Signed

________________________________________

Dated

viii

Acknowledgments

Sing a new song to the Lord, for he has done wonderful deeds.

Shout to the Lord, all the earth; break out in praise and sing for joy!

Sing your praise to the Lord with the harp, with the harp and melodious

song, with trumpets and the sound of the rams horn.

Make a joyful symphony before the Lord, the King!

Psalm 98:1,4-6 1

I gratefully acknowledge the support of many people whose input and generosity has

been valuable and indispensable for the completion of this project.

Thanks go to my postgraduate supervisors and mentors: Graeme Koehne, for his

inspirational encouragement, wry chats, mentorship and support; Charles Bodman Rae,

for his spirited approach to scholarly ideas, assistance with editing, and meticulous

regard for detail; and Kimi Coaldrake, for her indispensable assistance and thorough

regard for the task. I am very grateful to Richard Mills for his support and encouragement

of my music and that of so many other young composers. I am truly thankful to The

Tasmanian Symphony Orchestra, Carl Crossin and the Adelaide Chamber Singers,

Graeme Morton and Brisbane Chamber Choir, and the many other fine ensembles and

conductors that have championed my works.

I thank Megan Barnes, my girlfriend, fianc and now wife, for her resilient support and

understanding. Learning to live with the highs and lows of a composer's erratic ways I

warrant is not an easy task. Megan, I thank you for your faith and belief in me, and your

unwavering love. Thanks go to Mum and Dad, who had belief in me from the beginning,

and to my brothers, Simeon and Andr, who are the closest friends a man can have.

Thanks also go to Paul Clare, James Beavis, Simon Munro, and Andrew Wiering for their

support and friendship in so many ways; to Jeannie Davison for her beautiful words and

friendship; and to Joe Twist, for helping me to believe it was possible in the first place, for

his musical inspirations, insightful conversations, and friendship. I also thank the many

friends who have helped me in so many ways; and lastly those who have opened their

homes to me for house-sitting, short-term stays, and refuge, all of which have been so

helpful along the way in providing me with a quiet place in which to work.

Finally, I acknowledge God the creator and redeemer in my life, from whom all blessings,

talents and opportunities flow.

1 Psalm 98:1, 4-6 (New Living Translation).

1 Moto Fuoco

Suite for Orchestra

Moto FuocoSuite for Orchestra

I. Moto Fuoco (6 30) 3

II. Alla Guitarra (7 45) 47

III. Fortitude Street (3 00) 101

IV. Notturno Con Sprito (7 30) 133

Transposed Score

Instrumentation:

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Moto Fuoco - Paul-Antoni Bonetti 2008

Moto Fuoco Paul-Antoni Bonetti May 2008

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> b . > . > . > .

> b . > . > . > .

jfl jfl J

. .

J J J

. .

# #

J# - - b

Jb J J j j j

> . > . > .

> b . > . > . > .

> b . > . > . > .

flfl jfl J

J J


&&

&

&

&

?

?

&&&&&??

?

&

&

B?

?

Timp.

I

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

52Jb P J

J J Jb JP

J J J J J J

wb >p

A2

JP J J J

j>P..

bf molto espres.

- b - b -

wbFb

f molto espres. - b - -

P b

JyMetal Guiro*shaken not stroked

*eg. LP brand "Multi Guiro"/TorpedoF J

y Jy Jy

52

wbpizz.F

Jb J Jn Jb J J J J#

-F

b - -

J J J#

F

- b - R -F

- -B

b

- - p

F

Ysizz. cymb.* (med. mallets)

p

ystroked with dreadlock scraperon the narrow serrations

Fy y y Jy Jy

>pizz. F

# >pizz.F

JF

* A harsh, scratchy tone resultant from use of very short bow strokes and a firm, "sticky" pressure on the string. No pitch is discernible. X-noteheads are used to indicate very slight variations in timbre.

Scratch tone* J

J

b

Jp J

Jp J

-f molto espres.

b . J J. .

J#p J

-f molto espres.

b . J J. . ?

j. j. . .

j. j. . .

j. j. . .

Y>

P To Marimba

>p. >

. . .

jflp

jfl J . .

J>pizz.

p J>

J J J J

J-F espres.- b

J# J

J-F espres.- b

j. j. j. j. j. j.

> . > . > J.

flfl jfl

fl

fl

J> J>


&

&

&?

&&&&

&??

?

&

&&

&

&

B

?

?

bbbb

Timp.

I (Mar.)

II

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

56 F

bb . Jn J#. J.

-(1)

# -F

b . J Jn. J

# .

-(1) # -

j. j. . . j. j. . . j. j. . .

> . > . . .

56

jfl jfl

J . .

j> j>

Jn

r .

J

R perky and agitated, like a rap

F #

jb . jfl j. jfl

j. jfl

> . > .

b jfl

Jfl

Jb > J>

Ritmico

Ritmico

58

J#p J

bf espres.fl . fl -

j

b .con sord. - harmon (no stem).

# .p

Marimba .

>p. >

. . .

# >D C# Bb E# F# G A

58

j>pizz.

P > j>

jb >pizz.

P >

j> j>

pizz.

P > j>

>pizz.

p >

>p

Jn J

jb #fl - n - b

n . .

> . > . > J.

##>

jb > >

j> >

j> >

b > > j>

b >

J J

#fl . fl # n

b . .

. .

> . > . . .

##>

jb > > j> j>

> j>

j> > j>

b > >

b >

J# J

. b . # Jb >

jb .

# . .

> . > . > J.

# >

j> > j> jb >

> j>

j> > j>

> > j>

>

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

~~~~~


&&&?

&&&??

?

&

&&

&&B??

bbbb

Timp.

I (Mar.)

II

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

62 J

# J

. b . # # . .

# . .

> . > . > # >

62

j> > jb>

>

j> >

> > j>

>

Jn J

b . . b . # - - # -

n . .

> . > . J.

# #>

jb> > j>

>

j> >

b> >

b>

J# J

. b . . # . b .

jb .P

# . .

> . > . J.

# >

j> > j> jb>

> j>

j> > j>> >

>

Jb

con fuocob . >

jb . j.

j.

bb .

> . j> . > .

j> > j> jb>

> j>

jb> > j>

#> j> >#> >

J# Jb

. b>

jb . j.

# . bb .

j> . . >

.

> > b> >

b> > j> J#

> J#>

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


&

&

&?

?

&&&??

?

&

&

&B??

43

43

43

43

43

4343434343

43

43

43

43

43

43

434343

42

42

42

42

42

4242424242

42

42

42

42

42

42

424242

43

43

43

43

43

4343434343

43

43

43

43

43

43

434343

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

67

# .con animatoF

A2 - . . -

# .con animato

Fn - # . . n -

## .con animato

F # - . . -

# .con animato

FA2 - . . -

JyMetal Guiro* & dreadlock scraper on the narrow serrations

p Ry. . Jy

67

# . Jn . # -

# . j. -

##.

Jn. #n -

# . J# . -

Ry. .

>F

##>

>Low Tom, S.D. & Tambourine (all struck with sticks)

F y . >

y.fy- y Jy

>arcof

Scratch tone*perky and agitated

> J.

pizz. >f>

pizz. >f>

> ##>

> y . >

y. y- y Jy

J

J

> >

>>

##> >

y

y. y- y

> >

>

>


&&&?

&&&

?

?

?

&

&

&B?

?

43434343

4343

43

43

43

43

43

43

43

43

43

43

43

43

42424242

4242

42

42

42

42

42

42

42

42

42

42

42

42

44444444

4444

44

44

44

44

44

44

44

44

44

44

44

44

43434343

4343

43

43

43

43

43

43

43

43

43

43

43

43

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

72

>f espres.

# > b >

> y >

Jy Jy y- y-

72

J

J

.#pizz.

>Fj>

(pizz. gliss)# >.#pizz.>F

J>(pizz. gliss)# >

b> # > # >> y >

y- y.

J J

.# > J> # > n >

(sim.)

.# > J> # > n >(sim.)

B

#b > > >>

j

bpizz.

F slap pizz.

>pizz.

F

.n

.n

## .con animato

Pn# - # . . n -

## .con animatoP

# - . . -

.con animato

P - . . -

>Cuica(high and low pitches)

f > J. J. > >

## . j## . n -

## . J#n . # - ?

. j# . # -

J. J. > > J.

J>L.H. pizz.


&&&?

&&&??

?&

&&B

?

?

43434343

4343434343

4343

43

43

43

43

43

42424242

4242424242

4242

42

42

42

42

42

43434343

4343434343

4343

43

43

43

43

43

42424242

4242424242

4242

42

42

42

42

42

43434343

4343434343

4343

43

43

43

43

43

Timp.

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

77

77

>slap pizz.

>arcopesante con fuoco

> J.

>sim.

> >

>

> > R

.

>

>

> J.

>

> > J.

>

J . .


&

&

&

?

&&&??

?

&

&

&

B?

?

43

43

43

43

43

43434343

43

43

43

43

43

43

43

42

42

42

42

42

42424242

42

42

42

42

42

42

42

44

44

44

44

44

44444444

44

44

44

44

44

44

44

43

43

43

43

43

43434343

43

43

43

43

43

43

43

Timp.

I (Mar.)

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

83

83

jfl

IV

arcopesante con fuoco

jfl >

JII

J0

>

jfl

jfl

jfl jfl

- - # - -

- - # - -

-P

b . J- J

#b . b - #n .

f>P

bb - nn - b - - bb - nn - n -

f#>P

- ## - - ## - # - bn - n# -f#>P

- ## - - #n - b - n - #n -f

p1

.Pb . n . b . . b . n . .f

pizz.f

pizz.f

pizz.f

P

j

j.p

> . . . . . >? &

>

+(L.H.) + +

# n >

# > >pizz.


&&&?

&&&??

?

&

&&B

?

?

43434343

4343434343

43

43

43

43

43

43

43

42424242

4242424242

42

42

42

42

42

42

42

43434343

4343434343

43

43

43

43

43

43

43

42424242

4242424242

42

42

42

42

42

42

42

43434343

4343434343

43

43

43

43

43

43

43

Timp.

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

88

flP >

88

>slap pizz.

jflslap pizz.

>pesante con fuoco

> J.

fl >

>sim.

> >

fl >

>

> > R.

fl >

>

jflsim.

>

> J.

. .

>

jfl

> > J.

jfl j.

>

jfl

J . .


&

&

&

?

&&&??

?

&

&

&

B

?

?

43

43

43

43

4343434343

43

43

43

43

43

43

43

42

42

42

42

4242424242

42

42

42

42

42

42

42

44

44

44

44

4444444444

44

44

44

44

44

44

44

Timp.

I (Mar.)

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

94

j.

94

jfl

IV

arcopesante con fuoco

jfl >

JII

J0

>

j.

jfl

jfl

jfl jfl

- - # - -

- - # - -

-F

A2 b . J- J# . n - n .

b -Pnb - bn - n - # - # - #

- -f

# -P

b - #n - n - - - ## - nn -f-P

1 - # - - b - n - - # -f

p1

>P

. # . . > # . . .fpizz.f . J

pizz.f . J

pizz.f

. J

Jb - Jn

. # - - # - -

-F

bb - nn - b - # - - #n - -

# -F- ##

- - # - - ## - -

Change to Bass Clarinet

b -F

n - b - n - b - n - - # -

. RP

>F

b . n . . #> . # . .


&&&?

&&&??

?

&&

&&

&

&

B

?

?

bb

bb

Timp.

I (Mar.)

II (Crot.)

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

99

> >Crotales p

D C Bb E# F G A

P 3>

3

99 >

>

>

>

3

>

3

>

>F >

>F >

>F >

>

3

>

3

>

>

>

>

>

3

>

3

>

> >

> >

>

>

>

3

>

3

>

>F . J

>F . J

>F

>pizz.

f >pizz.f

3

>

3

>

p

>f > >

>f > >

>f > &

>

> b>

Sul G

~~~~~~~

Gliss

ando

~~~~~~~~

Gliss

ando

~~~~~~~~

Glis

sand

o

~~~~~~~~

Glis

sand

o

~~~~~~~~

Gliss

ando

~~~~~~~~

Gliss

ando

~~~~~~~

Glis

sand

o

~~~~~~~~

Glis

sand

o

~~~~~~~~

Glis

sand

o

~~~~~~~~

Glis

sand

o

~~~~~~~~

Gliss

ando

~~~~~~~~

Glis

sand

o


&&

&

&

?

&&&??

?

&

&

&

&

&

&

??

bb

bb

Cl. 1

B. Cl.

Timp.

I (Mar.)

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

105

p espres.Bass Clarinet

wp

bdolce

3

>

3

>

105 arcoleggiero dolcissimo

b

arcoleggiero dolcissimo

b


b


b

w

b

3

>

3

>

- J.P

p

dolcissimo.

b

3

>

3

>

espres.

Jb

espres.

Jb

espres.

Jb

b

3

>

3

>

J J

J J

J J

ww

b

3

>

3

>

F

- -

- -

- -

B

Fb b

F

w

wbF

-Fb - -

bbF

3

>

3

>

J. -subito poco pi animato

F b --

J. -subito poco pi animato

F b --

J.

-subito poco pi animato

Fb - - &

wbfw

wf

w>F

j. . 1 con sord.wf >P

bb Y>sizz. cymb.* (med. mallets)

P

3

>

3

>

b . JF J. b .

b . JF J. b .

b . JF J. b . B

~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~

Gliss

ando

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

Glis

sand

o

~~~~~~~~~~

~~~~~~

(rol

l)

~~~~~~~~~~

~~~~(r

oll)

~~~~~~~~~~

~~~~(r

oll)

~~~~~~~~~~

~~~~~(ro

ll)

~~~~~~~~~~

~(r

oll)


&

&

&

&

&

&?

&

&&??

?

&

&&

&

&

B

?

?

bb

bb

Cl. 1

B. Cl.

Timp.

I (Mar.)

Cb.

Vc.

Vln. II

Ob. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

112

ww

w

bb

3

>

3

>

112 JP

b b - -

JPb b - -

JPb b - -

Fcon spiritob b b n # #

>

Fcon spirito

b b . b n # . #

.F

con spirito jb n #

.bF

con spirito

F

con spirito b n

pizz.>F

con spirito b > n > B

Db C Bb Eb F G Ab

.

. . . b . . .

?

. .

.

b

b

b

> b > >

Fcon spirito - b - n -

F

con spirito

b - n - nF

con spirito b

>F

con spirito

> b - n - .>F

con spirito

>

Fcon spirito

b >

. . b . . >F

A

bF

. IIsub. R

.

F

. IIsub. R

.

Fsub.

R . b

Fp leggiero

b

>p

> b >?

wf p- b n b f p

.b

wf p- b n

b >

(solo)n

b > b > b >

F

1 con sord.

con spirito b

- b n #

A b .b

P

b b .b

b > b > b >

growl

~~~~~~~~~~

~~~(r

oll)~~~~~~

~~~(ro

ll)

~~~~~~~~~~

~~~~(ro

ll)


&&&&?

&&

&??

?

&

&?

&

&B?

?

bbbb

Cl. 1

B. Cl.

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

Ritmico

Ritmico

117

# .

perky and agitated, like a rap(growl tone indicated by )

.f espres.# J# m

>m>

j.1 con sord. b .

j.con sord. b .

# .P

.

Low Tom, S.D. & Tambourine (all struck with sticks)

p y

Y> sizz. cymb.* (med. mallets)P

>

117

# >pizz. P >

>pizz.P >

>pizz.P >

pizz.

>P > j>

>pizz.

F J>p

. b . J #m>

Jb . . jb . # .

n . ## .

y

n > # >

> >

> # >

b > > jb >

b > > Jb >

# - - - # . # >

j. b . j. # .

# . # .

y

# > >

> # >

> >

b > > jn >

b > > Jn >

. # . # . . jfl #

m>

Jn . . j# . # .

nb . #n# .

y

n > # >

> # >

b > n >

b > > jn > b > > Jn >


&&&

&?

&&&??

?

&

&&B?

?

Cl. 1

B. Cl.

Timp.

I (Mar.)

II

Cb.

Vc.

Vln. II

Ob. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

121

flpoco pi F#

m> . fl

m>

J# . . J. j# . .

j# .

## . y

121 # > # > >

b > j>

n >b > J> n >

. flF # #

# . . # . b .

### . .

y y

# > >

# > ># > >

j> j>

J> J>

# .f espres.. # # . . # .

j. b . j.

.

# . .

y

# > >

> > > >

> > j# >

> > J#>

con fuoco# > . >

J. . j. j# . .

jn .

nb . y

n > > b >

> j> >> J> >

. n > Quick change to Bb Clarinet

. . senza sordino

. b .senza sordino

# . .

y y

# > >

> >> >

j> J>

j> J>


&

&

&

?

&&

&

?

?

?

&

&&B??

42

42

42

42

4242

42

42

42

42

42

42

42

4242424242

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

126 .con animato

fA2 b - . . -

b .con animato

fbb - . . -

.con animato

f1 # - . . -

b .con animato

fb-

. .

-. - . . -

Jy

ratchet(held in a cloth to dampen)

p Ry. . Jy

126

. Jb . -

b .jb . n -

. Jb . -

b . Jb. -

B

Ry. .

## .con animato

Pn# - # . . n -

## .con animatoP

# - . . -

.con animato

P - . . -

>

Cuica(high and low pitches)

f > J. J. > >

## . j## . n -

## . J#n . # - ? B

. j# . # -

F

J. J. > > J.


&

&

&

?

&

&

&B

?

?

&

&

&

B

?

?

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

Timp.

I (Glsp.)

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

130 pp

.p

. ..

.p

bb . bb

P

J .

P

b

pGlockenspiel

130

arco

b b

arco

b b

arco b b

arco

b b

arco

b b

b

bb bb

b b

b

p b b

pb b

pb b

pb b

p b b

F

b b b

F

b

F

b

A2 b b b

b

b b b

bPbF

b . b.

b b

bF

b b b

b b b

b b b

b b n

b b n

Jb

A2

Jbfl

Jfl

Jb

Jb

Jb fl

Jbb

J

jfl

jflf

Jb

jy Brake Drumfl

Jbb (div.)

Jbb (div.)

Jb (div.)

jfl

jfl

Jb

Jbb fl

Jbbfl

jnfl

Jbb

Jbb fl

Jbb

Jnb ?

jfl

Jb To Marimba

Jbb

Jbb

Jb

jflpizz.

jflpizz.


&

&

&?

&

&

&

?

?

?&

&&

&

&

B

?

?

bb

bb

83

83

83

83

83

83

83

83

83

8383

83

83

83

83

83

83

83

83

43

43

43

43

43

43

43

43

43

4343

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

4242

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

4444

44

44

44

44

44

44

44

44

Timp.

I

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

135 -

b .

-

b .

-

.

- . .

- . .

# -

. jfl

135

# - .

- .

# - .

# - . .

# - . .

# - .

j##fl

J Jb

f

J jbfl

f

J Jb

f

A2

jn

jb

f

jn

jb

f

Jb

jbb fl

J#

J

jfl

>f

-D C Bb Eb F Gb Ab

f

f

arco f pizz. >f

Jb

Jb

Jb

j.

j

Jfl

j

Jfl

jbfl

J#

jfl

jyBrake Drum> >

(l.v.)

Jbbdiv. 4

Jbbdiv. 4

R>

.

R>

.

139

139

>pizz.f >pizz.f

>pizz.

f

>pizz.

f

>f

gliss.

gliss.

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

Glissando

gliss.

gliss.

gliss.


&&&?

&&&??

?&

&

&B?

?

Timp.

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

141

141

>pizz.

>pizz.

>pizz. >pizz.

pizz.

>

>

> >

>


&&&?

&&&??

?&

&

&

B

?

?

Timp.

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

145

j.F j.

145> > >

jflarco

pesante con fuocoperky and agitated, like a rap

J. J

.

Jarco

pesante con fuocoperky and agitated, like a rap

J. J.

J.

J.

j. j.

jfl(sim.) J

. J.

J(sim.)

J. J.

J. . .

J. . .

Sul GSul G/C

Sul G Sul G/D


&

&

&?

&

&

&

?

?

?&

&

&

B

?

?

Timp.

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

149

j. j.

149

jfl

b . # . .jfl

b . # . .

b . # . . . > b . # . . . >

ww#wwwb

j. j.

jfl

b . # . .jfl

b . # . .

.. j.P

.. J.P

. j.P

b . # . . . >f b . # . . . >


&

&

&?

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?

&

&&B

?

?

Timp.

I (Mar.)

II

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

153

. J>

. J>

w Pcon sord.

. J>

Marimba

>Low Tom & S.D.

>>F

. .

153

jfl >f

R. .

.

J >f

R.

..

J> >f

J>

>f

w

J>

>FP

>>>F

flfl >f

fl

fl>f

>f

>f

. J>

. j#>

w Pcon sord.

. j#>

>>>F

. .

jfl >f

R. .

.

jfl >f

R.

J>

>f

j#> n>f

w

j#>

>FP

>>>F

flfl >f

fl fl>f

jfl >fJ

>f

Sul G

Sul G


&

&

&?

&

&

&

&??

?

&

&&B

?

?

Timp.

I (Mar.)

II

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

157 . J>

. J>

w P

. J

>

>>

>F

. .

157

jfl >f

R. .

.

J >f

R

.

J> >

f

J>

>f

w

J

>

>FP

>>>F

flfl >

. .. >

jfl >. ..

>

ww Fw# F

w F

> > > > >

>

> > >

>

> > >

ww w

w

> > >

fl > > put bow down

}* (play bracketed notes if low D unavailable)

>}

>}

put bow down

Sul G

Sul G Sul D

Sul D


&&&

&

?

&

&&???

?

&

&&B??

B. Cl.

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

Molto Ritmico

Molto Ritmico

161

fl . fl

flF . fl

jflperky and agitated

espres. jfl

jfl . .

jflA2perky and agitated

espres. jfl J

. .

j.F . . .

j.con sord.

F . . .

flcon sord. - cup mute

F fl

jfl

.F

.>

P. > .

> . .

yTambourine

P yY

sizz. cymb.* (med. mallets)F

161

fl fl

fl fl

flfl jfl

fl fl>

flfl jfl

fl fl

>

j. . j.

j. . j.

fl fl jfl

. .> . j> .

> J.

y y

fl . fl

fl . fl

jfl jfl

j#fl . .

jfl jfl

J . .

j. . . . j. . . .

fl fl jfl

. .> . > .

> . .

y y

fl fl

fl fl

fl #fljfl

fl fl >

flfl jfl

fl fl>

j. . j.

j. . j.

fl fl jfl

. .> . j> .

> J.

y y

fl . fl

fl . fl

jfl jfl

jfl . .

jfl jfl J

. .

j. . . . j. . . .

fl fl jfl

. .> . > .

> . .

y y


&&&

&

?

&

&

&

???

?

&

&

&

B?

?

B. Cl.

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

166 fl

bfl

fl b

flfl jfl

fl fl>

flfl jfl

fl fl

>

j. . jb .

j. . j.

fl fl jfl

. bb .> . j> .

> J.

y y

166

bfl b . fl

bfl .

jfl jfl

jfl # . .

jbfl jfl

Jb n . .

jb . . b . . j. . . .

bfl fl jfl

bb . .> . > .

> . .

y y

b>pizz.

f >crescendo. . . j>

b>pizz.f

>crescendo. . .

J>

b

b

bfl#fl jfl

bfl flb>

bflfl jfl

bfl fl

b> b

jbb . . j.

senza sordino

j. . jbb .

senza sordino

bfl fl jfl

bb . .

> . j> . > J.

y y

b> j> j>

b> J> J>

bb

b

flcrescendo. . .

bfl jfl fl fl

>

bcrescendo. . .

b jfl > b

jb .con sord. - harmon (no stem)

f . j.

Jbb .con sord. - cup mute

f . J.

Jb .f . J.

bb .

f .

>f. j> .

> J.

yf yYf

jb .pizz.

crescendo. . .

. j.

jb .pizz.

crescendo. . . . j.

jb .pizz.

crescendo. . . . j.

b> j>

j>

b> J> J>

bb b

flbfl jfl

fl fl . .

b b jfl . .

jb . . . .

Jbb . . . .

Jb . . . .

bb .

.

> . j> . > . .

y y

jb . .

jb . .

jb . .

b> j>

j>

b> J> J>


&

&

&

&

?

&&&

???

?

&

&&B?

?

43

43

43

43

43

4343

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

4242

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

4444

44

44

44

44

44

44

44

44

44

44

44

44

44

B. Cl.

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

171 bb

b

flfl jfl

fl fl >

b jfl >

jb . . j.

Jbb . . J.

J. . J.

bb .

.

> . j> . > J.

y y

171 jb .

. j.

jb . . j. j.IV . j.b>

j> j>

b> J> J>

bb

b b

flfl jfl

fl fl # . .

b jfl . .

jb . . b . . Jbb . . . .

J. . n . .

bb .

b .

> . j> . > . .

y y

jb . .

jb . .

j. .

b> j>

j>

b> J> J>

Jb

Jbb

J

bfl fl

bfl fl

jbb fl jfl

Jbb J

Jn J

b .f .

Jbb .

.

>f >

Jy y

jb . j.

jb . j.

jn . j.

.b>>j>>

.b>> J

>>

Jbb

Jb

J

fl

fl

fl fl

jbb fl jfl

Jbb

J

Jn J

. .

Jbb .

.

> >

Jy y

jb . j.

jb . j. jn . j.

.>>j>>

.>>j>>

. . j.

Change to Bb Clarinet

. . j.

jbb fl

Jbb

senza sordino

Jn

. . j.

> > y

jb .

jb .

jn .

fl fl

fl fl


&

&

&?

&&

&??

?

&

&

&

B

?

?

44

44

44

44

44

44

44

4444

44

44

44

44

44

44

44

44

44

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

176

f.

fl . fl

fl1 fl

j.f . . . j.f . . . jflf

jfl

f j

.f

.>f. > .

> . .

yTambourine

f yY

sizz. cymb.* (med. mallets)f

176

> >

arcoVivace

f b

> >arco

Vivacef b

> >

arco Vivacef b

> >

j>f

>

> J

>f

fl fl

fl fl

j. . j.

j. . j.

jfl jfl

j

. .> . j> .

> J.

y y

>

f b .

.

>

f b .

.

>

fb . .

> j> j>

> J> J>

.

fl . fl

fl fl

j. . . . j.

. . .

jfl jfl

j

. .> . > .

> . .

y y

>

fb . .

>

fb . .

>

f b ..

> > j>

> > j>

fl fl

fl fl

j. . j.

j. .

j. jfl

jfl

j

. .> . j> .

> J.

y y

b . f espres.

. .

b . f espres.

. .

b . f espres.

. .

> j>

j>

> j>

j>

.

fl . fl

fl fl

j. . . . j. . . . jfl

jfl

j

. .> . > .

> . .

y y

. . F

. .

. . F

. .

. . F

. .

> > j>

> > J>


&&&?

&&

&??

?

&

&

&

B??

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

181 b

fl bfl

fl b

j. . jb .

j. . j.

jfl jbfl

j

. bb .> . j> .

> J.

y y

181 bf

. . . .

bf

. . . .

bf

. . . .

> j> j> > J> J>

b b .

bfl b . fl

b

jb . . b . . j. . . . jbfl

jfl

b

j

bb . .> . > .

> . .

y y

bF espres.

b . b . b

bF espres.

b . b . b

bF espres.

b . b . b

b > > j>

b > > J>

bb

bb

jbb . . j.

j. .

jbb . Jb J

b j

bb . .

> . j> . > J.

y y

b b . . . b . b .

b b . . . b . b .

b b . . . b . b.

b > j> j> b > J> J>

b

b

j. . j.

jbb . . j.

Jb J

b j

bb . .

> . j> . > J.

y yYf

>

Molto Vivaceb . Jb espres.J. b .

>

Molto Vivaceb . Jb espres.J. b .

>

Molto Vivaceb . Jb espres.

J. b .

b > j>

j> b > J> J>

b

b

j. . . . jbb . . . . J

b J

b j

bb . .

> . j> . > . .

y y

J> b . b . >

J> b . b . >

J> b . b . >

b > j>

j> b > J> J>


&

&

&?

&

&

&??

?

&

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

186

b

b

j. . j.

jb . . j.

Jb J

b j

bb . .

> . j> . > J.

y y

186 > b . Jb - J. b - .

> b . Jb - J. b - .

> b . jb - j. b - .

b> j>

j>

b> J> J>

b

b

b b

j. . b . jb . . .

Jb J

b j

bb . b .

> . j> . > . .

y y

b b . b b

b b . b b

b b . b b

b> j>

j>

b> J> J>

Jbb

Jbb

J

jbb .f j.

jn .f j.

Jbf J

bf

.

J

bb .

.

>f >

Jyf y

b .Agitato

b n . b > n

b .Agitato

b n . b > n

b .Agitato

b n . b > n

.b>>fj>>

.b>>f J

>>

Jb

Jb

J

jb . j.

jn . j.

Jb J

senza sordino .

J

bb . .

> > Jy yb b . n . . J

b b . n . . J

b b . n . . J

.>>j>>

.>>j>>

>

A2 b> > B

bpizz.

bb flpizz.

nflpizz.

b

fl


&

&

&?

&&

&

B??

?

&

&&B??

44

44

44

44

44

44

44

44

4444

44

44

44

44

44

44

44

44

44

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

191

.

fl. fl

#fl . fl

A2

j.f . . . j.f . . . flf

fl>

Cantabile con fuocob . J espres.

J. . ?

flf fl

jfl

.F . j.

. .

>f. > .

> . .

yTambourine

f yY

sizz. cymb.* (med. mallets)f

191

fl fl

> > j>

>

> J>

fl fl #fl

fl

j. . j.

j. . j.

fl fl

J - - b - -

fl fl

jfl

. . j. . .> . j> .

> J.

y y

fl fl

> j> j> > J> J>

# .

#fl . fl #fl # .

j. . . . j.

. . .

#fl fl

swell

- # -

fl fl jfl

. . j.

# . .> . > .

> . .

y y

fl fl #

> > j>

> > j>

#

#fl fl #

j. . j.

j. .

j. #fl

fl.

f

fl fl jfl

. . j.

# . .> . j> .

> J.

y y

fl fl #

> j>

j>

> j>

j>

.

fl . fl #fl .

fl

j. . . . j. . . . fl

senza sordino

-f espres.

b . J- J. - .

fl fl

jfl

. . j. . .> . > .

> . .

y y

fl fl

> > j> > > J>


&

&

&?

&

&

&

?

???

?

&

&&B??

Timp.

I (Mar.)

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

196 b

fl bfl #fl

b

b

j. . jb .

j. . j.

J# - - b - b - -

J# - - b - b - -

fl fl jfl

. . j. . bb .> . j> .

> J.

y y

196 b

fl bfl

> j> j> > J> J>

b b .

bfl b . fl bfl .

b

jb . . b . .

j. . . .b

F1

f- - b -

bswell

- - b -

bswell

- - b -

bfl fl jfl

b . . j. bb . .> . > .

> . .

y y

b

bfl fl

b > > j>

b > > J>

bb

b

b

b

jbb . bf

Cantabile con fuoco

b b

j. bf

Cantabile con fuoco

b b

bP

- b J.

f- b b .

f Jb .

.f Jb .

bfl fl jfl

b . . j. bb . .

> . j> . > J.

y y

b

b

b > j> j> b > J> J>

b

b

b

b - espres.

b . J- J. - .

b - espres.

b . J- J. - .

Jbf J

J.

.

J.

Jb . . J.

Jb . . J.

bfl fl jfl

b . . j.

bb . .

> . j> . > J.

Y

b

b

b > j>

j> b > J> J>

b

b

b

Jb b b

Jb b b

Jb J

J.

.

. .

Jb . . . .

Jb . . . .

bfl fl jfl

b . . j.

bb . .

> . j> . > . .

b

b

b > j>

j> b > J> J>


&

&

&?

&

&

&????

?

&

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

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42

42

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42

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42

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42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Timp.

I (Mar.)

II

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

201

b

b

b

b fb

b fb

Jb J

J.

.

J.

Jb . . J.

J. . J.

bfl fl jfl

b . . j.

bb .

.

> . j> . > J.

201 b

b

b> j>

j>

b> J> J>

b

b

b b

b

b

b ## n

b ## n

Jb J

J.

.

b .

Jb . . b .

J. . .

bfl fl jfl

b . . j.

bb .

b .

> . j> . > . .

b

b

b

b> j>

j>

b> J> J>

Jbb

Jbb

Jb

Jb

fl b>A2

J

fl b>A2

J

A2 b> J

Jb . J.

Jb . J.

J. J.

bflf fl

b .f .

Jbb .

.

> >

Jb

J

Jb

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.b>> J>>

Jb

Jb

J

Jb

#fl > J

#fl > J

# > J

Jb.

J.

Jb . J.

Jn . J.

fl fl

. .

Jbb .

.

> >

Jb

Jb

J

.>>j>>

.>>j>>

b

b

fl

J# >

J# >

J# >

Jb.

Jb . Jn .

jfl

j.

bb > To B.D.

>

b>

bb >

n>

b>

>


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&

&

?

&

&

&

?

?

?

&&

&

&

B

?

?

bbbb

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Timp.

I

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

Hp.

12

34

Agitato

Agitato

206 #

> nA2 b>

##

> bn fl b>##

n> # nn fl b>

#

> >

##

n> # nn b>

##

n> # nn b>

#fl> n

b >

#

> b>

#

> >

206 arco

>

b>

#arco

>

bfl

b>#arco

>

>

f

Jb

f Jb

f Jb

A2

j.

f j

Jfl

f j

Jfl

jbfl

J#

j

Jfl

>f

jy>Brake Drum

-D C Bb Eb F Gb Ab

f>

(l.v.)

Jbb div. 4

Jbbdiv. 4

f

R>

.

arco fR>

.

pizz. >

con animato

A2 b . J

con animatobb . J

b

con animato. J

bcon animato

. J

> R

.

>r..

> R

.

. b> R

.

.

>r..

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f

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S.D.

y>Chain Tree**Chain lengths susp. over Tam-Tam stand struck with metal hammer

P

b .con animato

F . j.

.con animato

F . j.

>r..

>r..

J. . J -

J. b . j# -

J. . j -

Jb. . J#

-

>

y>

jb . . . j. -j. . . j# . -

gliss.

gliss.

~~~~~~~~

Glissa

ndo

gliss.

gliss.

gliss.


&

&

&?

&&

&??

?

&&B??

Timp.

I

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

210

b . J

b . J

#n . J

#

#. J

> R

. > R

.

. > R

.

. b > R

.

. >

r..

>r..

> > y>

210

. . j. # . . j.>

r..

>r..

J. . J -

J. b b . J

-

J# . b n . j# -

J#. n . J

-

> y>

j. . .

j. -j# . n . . j. -

## . J

#

# . Jn

. J

b. J

> R

. #> R

.

. #> R

.

. b> R

.

. >

r..

>r..

> > y>

. . j. b . . j.>

r..

>r..

J# . n . Jb -

J# . . j# bb -

J.

. j -

Jb.

b .

J -

> y>

j. b . . j. -jb . . . j. -


&

&

&

?

&&

&

??

?

&&B??

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Timp.

I

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

214

b . Jb

#

b . Jb

. J

. J

b > R

. b >

R.

.

b > R

.

.

b > R

.

. >

r. .

>r.

.

> >

y>

214

. . j. . . j.>

r. .

>r.

.

J. b b . Jn

-f crescendo

-

J# . bb bb . jn# -f crescendonb -

J.

. j-f crescendo-

J.

.

J-

f crescendo-

>

y> To Susp. Cymbal

j. . . j- -j. . . j- -

- - b - -# - # - n - -## - - - -n - b - # - -

-f - # - -n -f b - - -


&

&

&

?

&

&

&

?

?

?

&

&

B??

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

42

42

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42

42

42

42

42

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

83

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Timp.

I

II

III

Cb.

Vc.

Vln. II

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Vln. I

Vla.

Perc.

Hrn.

Tpt.

Trb.

B.Trb &

Tuba

Fl. 1 & 2

12

34

217 Jb

-f crescendo

- # > n - b - b - jb -f crescendo

- # > n - b - b - j-f crescendo

- ## > - - -

j# -f- #n > - - -

jfl .

Jb

.

jfl .

rfl . rfl .

Rysusp. cymb.

.

217

J-(sim.)

- > - b - - J

-(sim.)

b - > - bb - - J# -

(sim.)

bb - > n - bb - # - J-A2 f crescendo

- > - b - -

jb - - b > - - -jfl

.

Jb .

jfl .

rfl . rfl .

Ry .

J-

- > - bb - -

jb - bb- > n# - b - n -

J- b - # > # - - -

J-(sim.)

- > - b - -

j-A2f crescendo- > -

- - j# - - n > - - -

j#fl .

Jb .

jfl .

rfl . rfl .

Ry .

J-

f crescendo-

J-f crescendob -

J#-

f crescendon -

J-f crescendo-

J# -f crescendon -

J# -

f crescendo-

bfl-f crescendo

-

bb

n -f crescendo

b -

-

f crescendo-

Jfl

jfl

rfl rfl

Ry

jflpizz.

> - b -

# > # - n -

## > # - n -

> - b -

## > # - n -

# > - -

>- b -

> - b -

# > - - .

J > >

(Floor Tom)

>

Jb

Jbb

J

sound and style: a compositional exploration of ... · sound and style: a compositional exploration...

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