KM 2542 - Christian Mason, Lahara by Breitkopf & Härtel

Mason ∙ Lahara

Lahara – which literally means ‘wave’ – is a term used in Indian music to describe a

Christian Mason

repeating melodic phrase that accompanies tabla and pakhawaj solo. In such a traditional context the lahara would be played by a melodic instrument such as the sarangi, functioning as a background against which the flourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a long line stated three times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the musical evolution (if it is that) takes the form of a resonant ceremony

Lahara

enacted on bell plates and steel pans, situated not only on-stage but in four locations around the audience. If you want to look for it, the idea of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of players from the back of the hall to the front, which defines the form of the piece;

for Percussion Sextet

the waves of tam-tam crescendi at the end of each statement of the lahara; maybe even in the way that the foreground melodic figurations progressively increase in density over the course of the piece until they completely dominate our perception,

Score

before suddenly disappearing… And on a more concrete note every sound is, after all, a wave. (Christian Mason)

9 790004 504550 KM 2542

Breitkopf & Härtel ∙ KM 2542

ISMN 979-0-004-50455-0

KM 2542

Christian Mason

Lahara for Percussion Sextet Score

KM 2542 Printed in Germany

II Spatial Deployment • There are ﬁve spatially separated ‘stations’ from which the percussionists play, requiring seats to be blocked out of use: A. Front (on stage) B. Middle: left-side (within audience) C. Middle: right-side (within audience) D. Back: left-side (behind audience) E. Back: right-side (behind audience) • Each station has an array of instruments some of which will be used by more than one player, according to the varied musical situations that arise during the piece (see list below). • The intention of this spatialisation is to allow the audience to experience the sounds of metallic resonance up close and from a variety of spatial perspectives not possible with the traditional division of musicians and audience on- and off-stage. • According to the auditorium in which the premiere took place (Asian Arts Theatre, Gwangju) the location of the performing stations should be as follows:

Instrumentation (by player): • Player 1: Thai Gongs (low), Bass Drum, voice • Player 2: Triangles (x3), Suspended Cymbals (x2), Almglocken, Marimba, Thai Gongs (high), large Tam-tam, Conch Shell, voice • Player 3: Steel Pans, Vibraphone, Bell Plates, Spring Coils (x2), Conch Shell, Kathak Ankle Bells, voice • Player 4: Suspended Cymbals (x2), 4 Tubular Bells, Steel Pans, Bell Plates, Medium Tam-tam, Conch Shell, Kathak Ankle Bells, voice • Player 5: Triangles (x3), Chinese Opera Gongs (x2), Crotales, Steel Pans, Bell Plates, Conch Shell, Kathak Ankle Bells, voice • Player 6: Spring Coils (x2), Suspended Cymbals (x2), Chinese Opera Gongs (x2), Steel Pans, Bell Plates, Small Tam-tam, Conch Shell, Kathak Ankle Bells, voice In cases where players have multiple of the same instrument (e.g. 3 triangles) they should be varied sizes (e.g. small, medium, large) and make varied sounds (e.g. high, mid, low). All players are required to hum/sing while playing. This will ideally be at the written octave, but when that is not possible it is acceptable at whatever octave is most comfortable. All Steel Pans should be Low Tenor Pans (of which 6 are needed) and should sound at written pitch.

III Ranges of Required Pitched Instruments:

Instrumentation (at each of the stations) STATION A (on-stage) Thai Gongs [player 1], Bass Drum [player 1], 3 Triangles [player 2], 2 Suspended Cymbals [player 2], Thai Gongs [player 2], Marimba [player 2], Almglocken [player 2], Large tam-tam [player 2], Vibraphone [player 3], Bell plates (G, A, B-flat) [player 3], Bell plates (F, G-flat, A-flat) [player 5], Crotales [player 5], Steel Pans (Low Tenor) [players 3 and 4], Steel Pans (Low Tenor) [players 5 and 6], Conch Shell [Player 2] STATION B (mid-left): Bell plates (D, E) [players 5 and 6], Steel Pans (Low Tenor Pans) [players 5 and 6] STATION C (mid-right): Bell plates (D-flat, E-flat) [players 3 and 4], Steel Pans (Low Tenor Pans) [players 3 and 4] STATION D (back-left): Bell plates (G, B) [players 5 and 6], Steel Pans (Low Tenor) [players 5 and 6], Small Tam-tam [player 6], 2 Spring Coils [player 6], 2 Suspended Cymbals [player 6], 3 Triangles [player 5], 2 Chinese Opera Gongs [players 5 and 6] STATION E (back-right): Bell plates (B-flat, C) [players 3 and 4], 4 Tubular Bells (G, B-flat, B, C) [player 4], Steel Pans (Low Tenor Pans) [players 3 and 4], Medium Tam-tam [player 4] Portable Instruments: Conch shells [players 3, 4, 5, 6], Kathak Dance Ankle Bells* [players 3, 4, 5, 6] *These should be worn throughout by players 3 - 6. This will inevitably create some unwritten tinkling which is generally acceptable, but players should be sensitive to the musical context (for example making a special effort not to move in moments with no other sound to cover the subsidiary ankle bell resonance)

• The piece should be performed without a conductor, however the lahara (the low melodic line played by the Thai gongs of player 1) should serve as a reference point for ensemble synchronisation.

Duration: Processions c.13 minutes Score in C of with octave transpositions • The route the usual processions between stations are(crotales) indicated by arrows on the hall diagram above. If the physical distance is not equal to the musical time of the procession, the musical material should continue to be performed at the arrival point until the process is completed.

Programme Note

• For future performances in different venues the same general principle of spatial distribution should be applied to the given hall or performance space. Lahara - which literally means ‘wave’ - is a term used in Indian music to describe a repeating melodic Processions phrase accompanies tabla and pakhawaj In such the lahara wouldfrom be • In casesthat where the given performance space does not solo. allow this modelatotraditional be accuratelycontext replicated creative solutions the performers are welcomed taking into account the above note on theonintentions of • The route processions between stations indicated by arrows the hall above. If the physical distance is played by ofa the melodic instrument such asarethe sarangi, functioning as diagram a spatialisation. background against which the not equal to the musical time of the procession, the musical material should continue to be performed at the arrival point ﬂourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a • until In thethe case of performance in warehouse type spaces it would also be possible (indeed desirable) for the audience to walk process isthree completed. long line stated times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the mufreely between/around the performance stations. sical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, • For future performances in different venues the same general principle of spatial distribution should be applied to the given situated not only on-stage but in four locations around the audience. If you want to look for it, the idea hall or performance space. of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of Other Performance Notes players from the back the hall tospace the front, which thetoform of the piece; thecreative wavessolutions of tam-tam • In cases where the givenof performance does not allowdeﬁnes this model be accurately replicated from • The four movements are just divisions ofof a single wholenote and should be performed continuously a break. the performers areend welcomed taking into account the lahara; above on theeven intentions spatialisation. crescendi at the ofreally each statement the maybe in theofway that the without foreground melod-

ic ﬁgurations progressively increase in densityhowever over the course of themelodic piece line untilplayed theybycompletely domi•• The piece be performed without a conductor, lahara (the low(indeed the Thai gongs of In the caseshould of performance in warehouse type spaces it wouldthe also be possible desirable) for the audience to walk nate our perception, before suddenly disappearing… And on a more concrete note every sound is, after player 1) should serve asthe a reference point for ensemble synchronisation. freely between/around performance stations. all, a wave. Other Performance Notes

Duration: c.13 minutes • The four movements are really just divisions of a single whole and should be performed continuously without a break.

Score in C with usual octave transpositions (crotales) Lahara was commissioned for the opening season of Asian Cultural Complex - Asian Arts Theatre, • The piece should be performed without a conductor, however the lahara (the low melodic line played by the Thai gongs of Gwangju, South Korea, and is affectionately dedicated to Unsuk Chin, Sngkn Kim and Eunsi Cho. player 1) should serve as a reference point for ensemble synchronisation. Programme Note Lahara - which literally means ‘wave’ - is a term used in Indian music to describe a repeating melodic Duration: c.13 minutes phrase that accompanies tabla and pakhawaj solo. In such a traditional context the lahara would be Score C with usual octave transpositions (crotales) playedinby a melodic instrument such as the sarangi, functioning as a background against which the flourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a long line stated three times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the muProgramme Note sical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, situated not only on-stage but in four locations around the audience. If you want to look for it, the idea Lahara - which literally means ‘wave’aspects - is a term in Indian music to of describe a repeating melodic of waves can also be seen in other of theused piece: the slow wave the gradual progression of phrase that accompanies tabla pakhawaj solo.defines In suchthe a traditional thewaves laharaofwould be players from the back of the hall and to the front, which form of thecontext piece; the tam-tam played byata the melodic such as sarangi,maybe functioning background against which the crescendi end ofinstrument each statement of the lahara; even inas thea way that the foreground melodflourishing virtuosity of the increase soloist could evolve.over In my thisoffunction is also in the formdomiof a ic figurations progressively in density thepiece course the piece untilpresent they completely long line stated threebefore times fully in thedisappearing… Thai gongs, however is no virtuosicnote soloist. Instead, munate our perception, suddenly And onthere a more concrete every sound the is, after sicala evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, all, wave. situated not only on-stage but in four locations around the audience. If you want to look for it, the idea of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of players from the back of the hall to the front, which defines the form of the piece; the waves of tam-tam crescendi at the end of each statement of the lahara; maybe even in the way that the foreground melodLahara was commissioned for the in opening of course Asian of Cultural Complex - Asian Arts Theatre, ic figurations progressively increase densityseason over the the piece until they completely domiGwangju, South Korea, and is affectionately dedicated to Unsuk Chin, Sngkn Kim and Eunsi Cho. nate our perception, before suddenly disappearing… And on a more concrete note every sound is, after all, a wave.

Lahara was commissioned for the opening season of Asian Cultural Complex - Asian Arts Theatre,

for Unsuk Chin, Sngkn Kim and Eunsi Cho

Lahara Lahara I I

Christian Mason, 2015

Christian Mason 2015

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Lahara

°? 1 81

THAI GONGS

˙™

? æ 2 ¢ ˙>æ™

MARIMBA

(3/4)

ææ >˙

ææ œ

b˙ ™

˙™

BELL PLATES

∑

b˙™

œ #œ

THAI GONGS

Leseprobe

° Hum

Œ ≈#œ

∑

#œ Œ ‰ ‰ #œj J ‰

Œ 4 ¢ & ˙ b˙ o Hum (5/6)

∑

STEEL PANS 3

Sample page Œ

˙™

BELL PLATES

∑

˙™

∑

˙™

∑

¢ & b˙ ™

˙™

∑

STEEL PANS

‰#œ 3

KM 2542

#œ

Christian Mason

#˙ ™

? ææ ¢ #>˙ ™

ææ #˙

THAI GONGS

MARIMBA

∑

∏∏∏

/ Œ

MEDIUM TAM-TAM

¢&

∑

ù / œ Œ

¢&

w™

ææ ˙™

œ #œ

∑ ææ ˙™

Sample page pp

CHINESE OPERA GONGS

∏∏∏

SPRING COILS

∏∏∏

#w ™

Leseprobe

#œ

∏∏∏

°? 1 85

∑

œù Œ

∑

ææ ˙™

SMALL TAM-TAM

∑

/ KM 2542

∑

Œ ææ ˙™

Lahara

F PROCESSION 1: Players 3, 5 move forward...

GONGS °? THAI #˙ ™ 1

#˙

∑

#œ

∑

? #˙ ™ ¢ >

#>˙ ™

#˙ ™ ææ

Leseprobe

˙ #˙

F PROCESSION 1: Players 3, 5 move forward...

Walk in a ceremonial manner towards STATION C, stop walking to play conch shell where neccessary CONCH SHELL

/ œ

¢/ œ

f sempre

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ ANKLE BELLS

shake ankles while walking

∑

Sample page

F PROCESSION 1: Players 3, 5 move forward... ° Œ 5 /

Walk in a ceremonial manner towards STATION B, stop walking to play conch shell where neccessary

CONCH SHELL ANKLE BELLS

ææ ™ 6 ¢/ ˙

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ

Œ shake ankles while walking

f sempre

KM 2542

∑

Christian Mason

24 GONGS °? THAI #˙ ™ 1

° 3

¢/

° 5

/ œ

¢/

#˙

#˙ ™

? ˙™

#œ

Œ #˙

∑

THAI GONGS

∑

Leseprobe Œ

shake ankles while walking

∑

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ Œ shake ankles while walking

∑ KM 2542

‰ ‰

STEEL PANS

jœ œ #œ œ 3

CONCH SHELL

ANKLE BELLS

∑

STEEL PANS 3

Sample page œ

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ ANKLE BELLS

∑

≈ œ Œ œ #œ

‰ j œ f

Lahara

°? THAI GONGS #˙ ™ 1 97

¢&

#œ #œ #˙

∑

#œ

∑

Leseprobe Œ

¢& #˙ ™

‰ #œ #œ #œ Œ J f

∑

°/ œ

° 5

˙™

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ ANKLE BELLS

shake ankles while walking

#˙ ™

˙™

#˙ ™

˙™

∑

Sample page œ

#œ ˙

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ

ANKLE BELLS

Œ shake ankles while walking

#˙ ™ p

˙™ KM 2542

#˙ ™ f

˙™

∑

Christian Mason

°? n˙ ™ 1 101

THAI GONGS

? ˙™ p

¢&

∑ THAI GONGS 3

œ bœ Œ

MARIMBA

° 3 / œ

b˙ ™

#œ œ ‰ #œ ≈‰ œ #œ 3

Leseprobe f

Repeat box as neccessary until arrival at STATION C

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ ANKLE BELLS

shake ankles while walking

∑

STEEL PANS 5

#œ #œ œ œ#œ ˙

Sample page f

Repeat box as neccessary until arrival at STATION B

/ Œ

¢&

∑

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ

ANKLE BELLS

Œ shake ankles while walking

∑

∑ KM 2542

STEEL PANS

‰

#œ #œ œ œ#œ œ œ œ f

Players 3 and 5: stop still on arrival

Lahara

Players 1, 2, 4, 6: wait for the arrival of the procession

°? 1 105

∑

¢&

/ œ

¢& #˙ ™

G ° 5

/ Œ

¢& #˙ ™

∑

BASS DRUM

U ∑

∑

Leseprobe

Players 1, 2, 4, 6: Players 3 and 5: wait for the arrival stop still on arrival of the procession STATION C

G ° 3

U ∑

œ ˙™

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ ANKLE BELLS

shake ankles while walking

#˙ ™

˙™

CONCH SHELL: Insert fingers to bend pitch down

˙û

U ∑

∑

Sample page

Players 1, 2, 4, 6: Players 3 and 5: wait for the arrival stop still on arrival of the procession STATION B

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ ANKLE BELLS

Œ shake ankles while walking

˙™

#˙ ™

˙™ KM 2542

U ∑

CONCH SHELL

˙û

∑

Christian Mason

°/ œ Œ 109

BASS DRUM

œ Œ

MARIMBA

¢&

∑

#œ œ ≈ œ œbœ œ#œ œ ff

Leseprobe

°/ Œ

CONCH SHELL

¢&

˙û

∑

˙û

∑

Sample page

°/ Œ

CONCH SHELL

¢&

KM 2542

GONGS °? b˙THAI ™ 1

113

Hum (3/4)

¢& °

∑ ‰ ≈ œ#œ ‰ Œ R œ

Leseprobe

& b˙

bœ

& b˙

n˙

∑

bœ

¢/ ˙

arco

∑

STEEL PANS

œ #œ

Sample page f

& b˙

bœ

∑

n˙

˙™

BELL PLATES

¢/ Œ ˙

∑

KM 2542

n˙ ™

∑

n˙

p sempre

arco

ææ ˙™

shake ankle

SUSPENDED CYMBALS

STATION D 6

∑ ANKLE BELLS

STATION B 5

∑

SUSPENDED CYMBALS

n˙ ™

˙™

p sempre

Hum (5/6)

∑

BELL PLATES

STATION E 4

∑

THAI GONGS

∑

STATION C 3

bœ

b˙

∑

STEEL PANS

‰

œ #œ œ J

∑

Christian Mason

°? 1 117

THAI GONGS

b˙™

? æ ¢ b ˙æ™

MARIMBA

Hum (3/4)

bœ

∑

ææ b˙™

b˙ ™

Leseprobe

& ˙™

∑

ææ ™ 4 ¢& ˙

Hum (5/6)

& ˙™

b˙ ™

ææ ˙™

BELL PLATES

ææ ™ 6 ¢& ˙

b˙ ™

shake ankle

∑ Œ

b˙

ææ ˙™

f KM 2542

BELL PLATES

n˙

p sempre

n˙

∑

ææ ˙™

n˙

b˙

∑

Sample page

ANKLE BELLS

ææ b˙™

∑

b˙

bœ

∑ ææ ˙™

Lahara

°? Œ 1 121

Hum (3/4)

nœ

THAI GONGS

bœ

b˙

∑

∑ ∑

& ˙™

bœ

¢&

Hum (5/6)

∑ ∑

& ˙™

b˙ ™

BELL PLATES

∑

bœ

& ˙™ ¢&

˙™

∑ ˙™

Sample page

BELL PLATES

b˙ ™

b˙ ∑

BELL PLATES

∑

Leseprobe

∑

˙™

b˙ ™

∑

KM 2542

Christian Mason

°? Œ 1 125

Hum (3/4)

bœ

∑

& Œ

THAI GONGS

‰ ≈ œ #œJ ‰ Œ R

∑

b˙

˙™

nœ

b˙

Leseprobe

bœ ∑

b˙ ™

nœ

THAI GONGS

n˙ mm

‰ œ#œ œ œ ˙ ™

#˙ ™

STEEL PANS

∑

Hum (5/6)

¢&

∑

& Œ

b˙

˙™

∑

& ¢&

b˙

∑

Sample page

∑

BELL PLATES

∑

n˙ mm

‰ œ #˙ ™ J

˙™

STEEL PANS

BELL PLATES

p sempre

˙™ KM 2542

Lahara

°? 1 129

THAI GONGS

˙™

bœ

? æ ¢ ˙™æ

æ ˙™æ

° Hum (3/4)

˙™

æ ˙™æ

Leseprobe

˙™

shake ankle

¢&

° Hum (5/6)

∑

˙™

ææ ˙™

∑

¢&

b˙ ™

BELL PLATES

∑

b˙™

˙™

∑

ææ ˙™

shake ankle

b˙ ™

ANKLE BELLS

BELL PLATES

ææ ˙™

∑

˙™ KM 2542

nœ J

Sample page

STEEL PANS

æ ˙™æ

ææ ˙™

& #˙ ™

ææ ˙™

ææ & ˙™

ANKLE BELLS

bœ ™

∑

Christian Mason

°? 1 133

b˙

˙™

Hum (3/4)

nœ

THAI GONGS

∑

n˙ ™

œ#œ œbœ œ

¢&

° Hum (5/6)

ææ / ˙™

‰

bœ ˙ œœ œ

˙™

∑

¢& ˙™

BELL PLATES

‰ œ #œ

STEEL PANS

˙™ KM 2542

ææ œ pp

∑

o b˙™ b˙ ™

∑

BELL PLATES

∑

Sample page Œ

MARIMBA

∑

œ #œ

b˙ ™

∑

n˙ ™

˙™

STEEL PANS

Leseprobe

∑

THAI GONGS

bœ

bœ œ ˙™ œœ œ

b˙ ™ ∑

Lahara

°? 1 137

∑

? æ 2 ¢ ˙™æ ° Hum (3/4)

æ ˙™æ

n˙ ™

¢&

° Hum (5/6)

¢& n ˙ ™

BELL PLATES

˙™ ˙™

STEEL PANS 3

‰ #œ f

∑ KM 2542

∑

˙™

#œ # œ n œ ‰ ≈ R œbœnœ #œ œ

œ™ ææ

∑

œ™ ææ

STEEL PANS

∑

˙™

∑

Sample page

∑

n˙ ™

∑

æ ˙™æ

˙™

∑

Leseprobe

∑

bœ nœ nœ #œ œ œ

#œ3

∑

Christian Mason

°? 1 141

THAI GONGS

˙ p

bœ

? æ ¢ ˙æ

ææ bœ

Hum (3/4)

Hum (5/6)

˙™

∑

& ¢& °

& ¢&

˙™ ˙™

b˙™

∑

THAI GONGS

? j ‰ Œ & ‰ œ #œ œr ≈‰ Œ Œ œ

Leseprobe b˙ ™

˙™

BELL PLATES

b˙ ™

∑

Sample page

∑ ∑

b˙ ™

˙™

3 #œ ≈ œbœnœœ#œ nœbœ œ #œ œ Œ Œ œ œ STEEL PANS

n˙ ™

∑

∑ ˙™

∑

∑ BELL PLATES

n˙ ™ n˙ ™

∑

BELL PLATES

∑

˙™ KM 2542

∑

Lahara

GONGS °? b˙THAI ™ 1

145

b˙

° Hum (3/4)

& œ

œ ææ

b˙ ææ

b˙ ææ f

nœ ææ

ææ b˙™

b˙

nœ

Leseprobe

¢&

Hum (5/6)

& œ

& Œ ¢&

∑ Œ

∑

∑ BELL PLATES

b˙

BELL PLATES

∑

b˙

∑

nœ

∑

BELL PLATES

KM 2542

˙ mm

∑ Œ

˙ mm

Sample page mm

b˙™

∑

œ ææ

MARIMBA

? Ó 2 ¢

bœ

˙ ∑

Christian Mason

°? 1 149

Hum (3/4)

∑

? æ ¢ b ˙æ™ °

& œ

b˙

THAI GONGS

¢&

Hum (5/6)

& œ

∑

Leseprobe

b˙

∑

∑ Œ

∑

BELL PLATES

b˙

BELL PLATES

∑

˙™

∑

˙™

∑ Œ KM 2542

ææ b˙

∑

bœ

∑

bœ

Sample page

& ¢& Œ

b˙ ™

ææ b˙™

∑

˙™

Lahara

°? THAI GONGS œ b˙ 1 153

Hum (3/4)

? ˙™ ¢ °

b˙ ™

˙™

Hum (5/6)

¢& °

¢&

∑

MARIMBA

#˙ ™

∑

BELL PLATES

#˙ ™

STEEL PANS 3

‰ œbœ ˙

Sample page ˙

˙™

∑

˙™

∑

BELL PLATES

˙™ KM 2542

#˙ ™

˙™

∑

bœ

#˙ ™ ? ˙ b˙ &‰ œbœ ææ ALMGLOCKEN

˙™

∑

b˙ ™

∑

Leseprobe

Œ bœ

∑ ∑

Christian Mason

40 GONGS °? b˙THAI ™ 1

157

˙™ ææ ? 2 ¢ Hum (3/4)

& ˙

Hum (5/6)

& ¢& ˙™ °

& ˙

bœ œ b˙ ™

˙™

Œ b˙ ™

bœ ˙™

˙™

∑

b˙ ™

∑

Sample page Œ

˙™

BELL PLATES

∑

BELL PLATES

& ˙™ ¢&

bœ

Leseprobe

∑

˙™

˙™ KM 2542

∑

˙™

Lahara

°? 1 161

˙™

? æ 2 ¢ ˙æ™

ææ ˙™

THAI GONGS

K b˙ ™

#˙ ™

˙™ mm

BELL PLATES

#˙ ™

∑

œ ∑

∑

#œ ‰ ≈ œr bœ œ #œ Œ ALMGLOCKEN

Leseprobe

Hum (3/4)

∑

¢& b ˙ ™

BELL PLATES

Hum (5/6)

b˙ ™

∑

Sample page Œ

#œ ‰ œ bœ œ#œ

STEEL PANS

#˙ ™

∑

¢&

∑

˙™

∑

BELL PLATES

˙™

∑

∑ KM 2542

∑

Christian Mason

°? 1 165

#˙ ™

THAI GONGS

? ææ 2 ¢ #˙ ™

MARIMBA

& Œ

b˙

#œ œ ‰ œ bœ #œ œ bœ nœ Œ

f 3

#˙ ™

n˙ ™

∑

#˙

ALMGLOCKEN

æ #˙æ™

Leseprobe

Hum (3/4)

Œ #œ œ

∑

BELL PLATES

#˙ ™

∑

¢&

° Hum (5/6)

& Œ

BELL PLATES

b˙ p p

b˙

& ¢&

∑

Sample page

∑

#œ œ œ bœ #œ œbœnœ ‰ J STEEL PANS

∑

#˙ ™

n˙ ™

∑

˙™

KM 2542

œ mm

BELL PLATES

ff BELL PLATES

STEEL PANS 3

#œ œ ‰ œ bœ #œ nœ f

Lahara

43 GONGS °? THAI #˙ ™ 1

169

#˙

Hum (3/4)

Hum (5/6)

? #˙ ™

MARIMBA

˙™

#˙

∑

#œ &œbœ œ f

#œ n œ b œ œ #œ nœ bœ nœ ≈ Œ

b˙

nœ

ALMGLOCKEN

Leseprobe

& ˙™

b˙ ™ p

∑

¢&

∑

b˙ ™

BELL PLATES

b˙

∑

Sample page

& ˙™

b˙ ™ p

b˙

nœ Œ Œ 3

∑

nœ

∑

& ¢ & bœ

#œ

STEEL PANS 3

‰ œ bœ f

KM 2542

œ #œ

BELL PLATES

p 5

#œ n œ bœ #œ œbœnœR ≈ ‰ œ

Christian Mason

°? 1 172

THAI GONGS

˙™

#˙ ™

Hum (3/4)

¢& Œ °

& œ

ALMGLOCKEN

#œ ≈ œ#œ œbœnœ#œ Œ œ f

bœ

Hum (5/6)

& Œ ¢& °

& œ

& Œ ¢&

‰ œ œŒ bœ f

3 #œ # œ n œ œ b œ #œ Œ œ œ J

STEEL PANS 3

#œ

˙™ ææ

MARIMBA

˙™

∑

bœ

Sample page

∑

bœ

THAI GONGS 3

Leseprobe 5

BELL PLATES

#˙

BELL PLATES

˙™

∑

BELL PLATES

˙™

p KM 2542

Lahara

°? 1 175

∑

b˙™ ææ ? 2 ¢ Hum (3/4)

#œ

#˙ ™

Leseprobe

& b˙ ™

n˙ ™

b˙

& b˙ ™

∑

Hum (5/6)

#˙ ™

BELL PLATES

L #˙ ™ f

n˙ ™ ææ

#œ

THAI GONGS

¢&

∑

bœ mm

b˙

BELL PLATES

∑

bœ

Sample page L

& b˙ ™ mm

∑

¢&

∑

n˙ ™

b˙

BELL PLATES

bœ mm

∑

˙™ ∑ KM 2542

∑

Christian Mason

°? Œ 1 178

Hum (3/4)

‰ #œ #œ #œ J

THAI GONGS

#˙ ™

? #˙ ™

¢&

Hum (5/6)

#˙ ™

˙™

∑

& Œ ¢&

b˙

∑

#˙ ™

#œ

Leseprobe ∑ Œ

∑

BELL PLATES

∑

b˙

Sample page ˙

#˙ ™

#œ #œ #˙

b˙

˙™

BELL PLATES

∑

∑ ææ ˙™

SMALL TAM-TAM

∑

∑ KM 2542

Lahara

°? n˙ ™ 1

ææ ˙™

181

THAI GONGS

#œ

ææ ˙™

LARGE TAM-TAM

∑

° 3 &

Leseprobe pp

∑ MEDIUM TAM-TAM

ææ ™ 4 ¢/ ˙ pp

° 5 & ææ ™ 6 ¢/ ˙

∑

∑ ææ ˙™

ææ ˙™

∑

ææ ˙™

Sample page ∑

∑

ff KM 2542

∑ ææ ˙™

∑

œù

CHINESE OPERA GONGS

Christian Mason

PROCESSION 2: Players 3, 4, 5, 6 move forward... M rall.

°? b˙ ™ 1

THAI GONGS

185

¢/ œ ff

bœ

œ f

b˙ ™

∑

Leseprobe

PROCESSION 2: Players 3, 4, 5, 6 move forward... M rall.

Play while walking in a ceremonial manner towards STATION A

CONCH SHELL insert fingers into shell to create pitch bend CONCH SHELL

Œ Œ Œ Œ Œ Œ Œ œ / û ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ ANKLE BELLS f

Œ œû Œ¯¯¯¯¯¯¯¯¯ ANKLE BELLS

Play while walking in a ceremonial manner towards STATION C

¢/ Ó

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ Œ

Sample page f

ANKLE BELLS

PROCESSION 2: Players 3, 4, 5, 6 move forward... M rall.

insert fingers into shell to create pitch bend

Play while walking in a ceremonial manner towards STATION A

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙û ANKLE

CONCH SHELL

¢/

ANKLE BELLS

BELLS

Play while walking in a ceremonial manner towards STATION B

∑

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ

CONCH SHELL

¯¯¯¯ Œ

ANKLE BELLS

KM 2542

Lahara

°? bœ œ Œ ‰ 1 189

THAI GONGS

bœ bœ

b˙ ™

¢/

∑

Leseprobe

Œ Œ Œ Œ ° / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙

CONCH SHELL

Œ Œ Œ Œ 44 œû Œ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ANKLE BELLS insert fingers into shell to create pitch bend

™ 4 ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ û Œ

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯ 44 Œ

Sample page

ANKLE BELLS

Œ Œ Œ Œ Œ ° ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ /

ANKLE BELLS

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 44

CONCH SHELL

6 ¢/ œ

˙û

ANKLE BELLS

KM 2542

ANKLE BELLS

insert fingers into shell to create CONCH SHELL pitch bend

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ Œ

Œ 44 œû Œ¯¯¯¯¯¯¯¯ ANKLE BELLS

Christian Mason

Players 1 and 2 wait for the arrival of the procession

°? 4 1 4

q = c.60

193

¢ / 44

∑

U ∑

∑

U ∑

Players 3, 4, 5 and 6: stop still on arrival BASS DRUM

œ Œ Ó

∑

Players 1 and 2 wait for the arrival of the procession

∑

Players 3, 4, 5 and 6: stop still on arrival

Leseprobe

q = c.60 Repeat box as neccessary until arrival at STATION A

CONCH SHELL ° 4 3 / 4 wû

ANKLE BELLS

CONCH SHELL: start with fingers in shell and pull them out to bend pitch up

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ ù˙ ™ ANKLE BELLS Œ

Repeat box as neccessary until CONCH SHELL arrival at STATION C

4 ¢ / 4 ¯¯¯¯¯¯ ˙ Œ

STATION A

∑

STATION C

¯¯¯¯¯¯¯¯¯ Œ ù˙ ™

˙û

∑

CONCH SHELL

Sample page Players 1 and 2 wait for the arrival of the procession

q = c.60 Repeat box as neccessary until arrival at STATION A

° / 44 ¯¯¯ ˙ ™ Œ

CONCH SHELL

ANKLE BELLS

STATION A

œû ¯¯¯¯¯¯¯¯¯¯¯¯ Œ ù˙ ™ Œ

CONCH SHELL

Repeat box as neccessary until CONCH SHELL arrival at STATION B

4 ¢ / 4 ¯¯¯¯¯¯¯¯¯ œ Œ

Players 3, 4, 5 and 6: stop still on arrival

˙ ™û

STATION B

¯¯¯¯¯ Œ ù˙ ™ Œ

CONCH SHELL

KM 2542

III

GONGS °? 3 b˙THAI 1 4 ™

197

b˙

Hum (3/4)

¢? 43

æ b ˙æ™

MARIMBA

∑

BELL PLATES

∑

& 43 Œ œ

Œ Œ

BELL PLATES

∑

Œ b˙ p

Sample page f

N ° 3p & 4 œ œ

mm mm

3 &4 œ Œ

BELL PLATES

STATION B

∑

b˙

œ b˙

œb œ œ 3 œ bœ #œnœ 4 ¢& 4 Œ ‰ œ

STATION A 5

æ b ˙æ™

œ ˙

STEEL PANS

Hum (5/6)

æ b ˙æ™

STATION C

∑

Leseprobe

N ° 3p & 4 œ œ

mm mm

STATION A 3

bœ

3 6 ¢& 4 Ó

œ Œ

œ ˙

œ b˙

∑

œ œbœ nœ #œ # œ Œ œ#œ nœ nœ

BELL PLATES

KM 2542

STEEL PANS

Christian Mason

°? 1 201

Hum (3/4)

∑

Hum (5/6)

& œ

˙ mm

Œ ‰ bœ

& Œ

œ œbœbœ 3

≈ ‰

THAI GONGS

‰ nœnœ

Leseprobe ˙™

∑

¢&

b˙™

∑

BELL PLATES

∑

œ œ#œ ‰ Œ J

STEEL PANS

∑

Sample page

& œ

BELL PLATES

#œ œ œ ≈ Œ f

bœ

ALMGLOCKEN

∑

THAI GONGS

& œ

¢& bœnœ ‰ 5

Œ Œ

™ Œ Œ

∑

˙™

BELL PLATES

KM 2542

bœ mm

BELL PLATES

Œ bœ Œ p

œ œ bœ nœ ˙™ bœ bœ ‰ nœ f

∑

bœ mm

STEEL PANS

∑

˙™ ∑

Lahara

°? b˙THAI GONGS 1 bœ 205

Hum (3/4)

¢& °

& œ

∑

Hum (5/6)

¢& °

& œ

bœ

b˙ ™

n˙ ™

∑

b˙ ™

j ‰ œ Œ

∑

j œ

#œ

j œ

KM 2542

#œ

BELL PLATES

Œ #œ

∑

œ ∑

œ™

∑

BELL PLATES

b˙ ™

∑

œ™

b˙

n˙ ™

Sample page

& ¢& Œ

n˙ ™

b˙ ™

Leseprobe

BELL PLATES

MARIMBA

& Œ

nœ bœ

‰

j œ

∑

Christian Mason

°? b˙THAI GONGS 1 bœ 209

Hum (3/4)

& œ

Hum (5/6)

& Œ ¢& °

& œ

bœ

∑

˙ mm

bœ

b˙ ™

nœ

∑

b˙

THAI GONGS

‰ ≈ œ #œR ≈ ‰ Œ R

Leseprobe #œ

#˙

n˙

BELL PLATES

∑

ææ b˙™

∑

#˙

n˙

∑

BELL PLATES

#œ #˙

bœ

∑ Œ

Sample page #œ

MARIMBA

bœ

STEEL PANS

‰ œ #œ œ œ

BELL PLATES

bœ

˙™

#˙ ™

¢&

∑

Œ KM 2542

BELL PLATES

Lahara

°? 1 213

THAI GONGS

∑

˙™

∑

¢ n˙ ™

° Hum (3/4)

& œ mm

b˙™ ˙

n˙ ™ b˙ ™

& œ ¢&

° Hum (5/6)

& œ mm

‰ œ#œ œ

˙™

∑

Leseprobe Œ

∑

BELL PLATES

bœ

Sample page

˙™

∑

bœ

∑

BELL PLATES

ALMGLOCKEN 3

∑

bœ

‰ œ #œ œj ‰ Œ

STEEL PANS

¢&

∑

∑ KM 2542

BELL PLATES

Christian Mason

°? 1 217

THAI GONGS

∑

˙™

∑

¢ n˙ ™ b˙ ™ MARIMBA

Hum (3/4)

THAI GONGS 5

& œ mm

Œ Œ œ#œ œ ≈ ≈ f

Leseprobe

Hum (5/6)

awe

∑

STEEL PANS

‰ œ#œ œj ‰ Œ

bœ

∑ Œ Œ

Sample page f

& œ

∑

Œ ≈ œ#œ œ Œ

& œ ˙ ¢&

˙™

BELL PLATES

∑

ALMGLOCKEN

˙™

∑

awe

∑

BELL PLATES

bœ p

bœ

Œ Œ

STEEL PANS

‰ œ#œ 3

¢&

∑

Œ KM 2542

BELL PLATES

Lahara

°? bœTHAI GONGS 1 ˙ p 221

bœ

‰ œ#œ œj Œ

THAI GONGS

2 ¢& Œ

° Hum (3/4)

& œ

ALMGLOCKEN

‰ œ#œ Œ

Hum (5/6)

& œ ¢&

#œ

& œ

˙™

∑ Œ

#œ # œ ‰ ≈ œ œ œ ≈ R

STEEL PANS

Sample page ˙

#œ

j‰ Œ & œ ¢& Œ

#œ ≈ œ#œ Œ

MARIMBA

˙™

#˙

∑

Leseprobe

BELL PLATES

˙™

#˙

#œ

∑

#˙

STEEL PANS

‰

BELL PLATES

œ #œ œ Œ J f

KM 2542

∑

#œ œ œ Œ ‰ 3

Christian Mason

°? Œ 1

bœ ™

224

Hum (3/4)

THAI GONGS

¢& Œ

nœ J

˙™

‰ œ #œ ‰ J J THAI GONGS

& Œ

#˙

∑

#œ ¢& ‰ œ Œ

° Hum (5/6)

& Œ

& Œ ¢&

#œ

awe

‰ œj œ

BELL PLATES

#œ

#˙ ah

∑

BELL PLATES

∑

#œ

Sample page p

#˙

œ nœ

STEEL PANS

∑

Leseprobe ∑

nœ

b˙

#œ

awe

∑

#˙ ∑

STEEL PANS 3

œ #œ Œ

KM 2542

#œ

#˙ ah

BELL PLATES

#œ

#˙ ∑

Lahara

°? 1 227

THAI GONGS

˙™

bœ

Hum (3/4)

¢& °

& Œ

n˙ mm

‰ œœŒ

awe

STEEL PANS

BELL PLATES

& Œ

#œ

& Œ

bœ

œ Œ

#œ

n˙

BELL PLATES

˙ Œ

Sample page n˙

#œ

awe

‰ ≈nœ œ

STEEL PANS

bœ

∑

‰

#œ

n˙

BELL PLATES

¢&

#œ œ œ j œœ bœ ‰

STEEL PANS

KM 2542

#œ œ ‰ Œ 3

#œ

STEEL PANS

bœ

& Œ

#œ ‰ J œ œ Œ

BELL PLATES

b˙™

MARIMBA

Leseprobe #œ

#œ Œ 4 ¢& ‰ œ Hum (5/6)

ALMGLOCKEN

∑

‰

Christian Mason

°? b˙THAI GONGS 1 230

bœ

Hum (3/4)

¢&

∑

& #œ

∑

nœ

BELL PLATES

& #œ ¢&

MARIMBA

‰ bœ nœ

bœ

BELL PLATES

œ Œ

bœ p

Sample page

nœ

∑

œ œ ‰ Œ 4 ¢& ≈

≈ œ bœ ≈ Œ ALMGLOCKEN

STEEL PANS

Hum (5/6)

b˙ ™

Leseprobe

∑

nœ Œ

œ KM 2542

bœ

∑

Lahara

°? 1 233

∑

œMARIMBA 2 ¢& R ≈ ‰ Œ Hum (3/4)

& œ mm

& œ

THAI GONGS œ Œ ‰ ≈ œ ≈bœnœ Œ R

Œ ∑

Leseprobe

#˙ mm

BELL PLATES

b˙ ™

THAI GONGS

#œ

nœ

œ nœ

#œ

œ ‰ bœnœ bœ ˙ ™ b˙ ™

Hum (5/6)

¢&

& œ

& Œ ¢&

∑

BELL PLATES

#˙

#œ

#˙

∑

#œ

Sample page BELL PLATES

‰ œ

˙ ™ b˙ ™

STEEL PANS

œŒ

∑

3 STEEL PANS

b˙

#œ Œ

nœ

BELL PLATES

œ KM 2542

œ nœ

#œ

∑ Œ œ

œ mm

∑ Œ

Christian Mason

°? THAI GONGS œ 1 b˙

bœ

>œ œ # ≈ >œ ≈ œbœ œ Œ 2 ¢& œ

> #œ >#œ ≈ œ#œ ‰ >œ œ >œ#œ ‰ ‰ #œ

237

MARIMBA

Leseprobe

& b˙ ™

stop hum

œ ‰ œ &

STEEL PANS

Hum (3/4)

∑

¢ & b˙ ™

>œ#œ#œ > œ #œ >œ#œ # > ≈ ‰ œ œ ‰ ‰

BELL PLATES

Hum (5/6)

& b˙ ™

∑

VIBRAPHONE

∑

Sample page stop hum

>œ œ œ # & œ ≈ >œ ≈ bœ œ Œ STEEL PANS

¢&

> #œ >#œ œ #œ ≈ œ#œ ‰ >œ >œ ‰ ‰ #œ

∑

˙™

BELL PLATES

KM 2542

˙™

Lahara

°? 1 240

THAI GONGS

bœ f

bœ

b˙ ™

bœ

œ ≈#>œ#>œ œ #œ œ r > ‰ œ œ ‰ ≈ œ ≈ œ bœ Œ œ œ œ 2 ¢& œ > >

∑

>œ # > r œ ≈ œ œ #œ œbœ Œ ° VIBRAPHONE œ > # œ œ œ ‰ ≈ ≈ ‰ œ œ œ 3 & œ > >

∑

MARIMBA

Leseprobe 5

¢ & b˙ ™

∑

BELL PLATES

Sample page

° ‰ >œ œ ≈#>œ#>œ œ ‰ ≈ r œ ≈ œ œ #œ œbœ Œ œ œ œ 5 & œ > > STEEL PANS

¢&

∑

BELL PLATES

mf KM 2542

∑

Christian Mason

°? 1 243

∑

THAI GONGS

bœ

˙™

>œ #œ 2 ¢& ≈ œ Œ Œ

œ nœ œ # œ > > # œ n œ ‰ >œ ‰ >œ ‰ œbœ œ ‰ ≈b>œ œ ≈#œ ‰ R

>œ #œ ° 3 & ≈ œ Œ Œ

Q > ‰ >œ#œ ‰ >œnœ ‰ œbœ œ ‰ ≈b>œ œ ≈ ‰ RR

MARIMBA

Leseprobe

VIBRAPHONE

¢& Œ

¢&

b˙

∑

Q > ‰ >œ#œ ‰ >œnœ ‰ œbœ œ ‰ ≈b>œ œ ≈ ‰ RR

> #œ ‰ #œ

˙™

BELL PLATES

∑

KM 2542

bœ

Sample page f

>œ #œ ° 5 & ≈ œ Œ Œ

#œ œ œ œ > #œ

BELL PLATES

∑

b˙

STEEL PANS

BELL PLATES

Lahara

65 THAI GONGS °? ˙™ 1

246

¢& Ó

‰

¢&

∑

¢&

#>œ œ #œ œ œ œ œ œ >œ œ œ œ œ >œ œ œ #>œ œ >œ œ œ œ œ œ œ œ

Leseprobe

∑

° 5 &

MARIMBA

° 3 &

f p

b˙ ™

BELL PLATES

∑

Sample page œœœ

trem. #>œ #œ ™ Œ ‰ ææJ ææ

STEEL PANS

BELL PLATES

n˙

>œ ææJ

∑

KM 2542

œ™ ææ

∑

>œ > œ #æ>œ æœ æœ™ ææ æ æ æ

∑

œ ææ

Christian Mason

°? 1 249

#˙ ™

THAI GONGS

#œ

>œ œ œ œ œ#>œ œ œ >œ œ #>œ #œ œ œ œ >œ œ œ œ œ >œ œ #œ >œ œ >œ œ œ >œ œ œ >œ ≈ R ≈ ≈ R 2 ¢& ≈

Leseprobe

f p

° &

f p f

f p

∑

f p

f p f p f p

∑

∑ > #>œ œ œ >œ œ œ œ œ STEEL PANS

¢&

° 5 &

¢&

BELL PLATES

∑

bœ

Sample page p

œ œ ™ œ #>œ œ œ >œ ææ æ æææ æ ææ æ æ æ ææ STEEL PANS

∑

#>œ ææ

œ ææ

œ >œ œ œ œ ææ ææ ææ ææ æ æ

BELL PLATES

KM 2542

#>œ œ ææ ææ fp

œ ææ

>œ ææ

f p

#>œ ™ ææ

>œ œ œ ææ æ æ ææ

>œ ææ

fp fp

∑

Lahara

°? Œ 1 252

#˙ ™

THAI GONGS

#˙

#œ

#˙

>œ œ œ œ œ >œ œ >œ œ œ #>œ >œ >œ #>œ >œ œ œœœœŒ ‰ ≈ R ≈ R 2 ¢& > >œ œ œ œ œ 3 p f f p f p f

Leseprobe p

° BELL™ PLATES 3 & b˙

> #œ œ œ >œ œ >œ œ œ #>œ >œ œ #>œ >œ STEEL PANS

¢&

° #œ ™ 5 & æ æ

¢&

f p

∑

≈

>œ œ œ

∑

>œ œ œ #œœ#œ >œ ‰ > nœ ≈ bœ œœœœr ≈‰ ≈ œ f p p

Sample page

f p f p

>œ œ >œ œ > >œ >œ > >œ >œ # œ # œ ææ æ æ æ ‰ ≈ R #œ œ æææ

fp fp

f p

∑

>œ pœ

∑ KM 2542

#œ œ œ >œ f

bœ

> œœœœ œ‰ ≈ œ œ œ f p

BELL PLATES

Christian Mason

°? 1 255

THAI GONGS

˙™

∑

>œ œ # ≈ > ≈ ‰ 2 ¢& œ f p

° 3 &

>œ

‰

>œ

≈

#˙ ™ ∑

Leseprobe b˙ ™

BELL PLATES

∑ >œ

∑

#>œ œ ≈ ≈ #œ ≈ ≈ 4 ¢& ‰ >œ >œ

∑

> STEEL PANS ° ‰ #>œ œ ≈ œ ‰ ≈ > r ≈ ‰ 5 & œ >œ œ œ f p

STEEL PANS

f p

Sample page STEEL PANS

¢& Œ

> >#œ ≈ œ ‰ Œ ≈ œ ≈

>#œ > Œ ≈ œ ‰ ≈ œ œ

>#œ > ≈ œ Œ ≈ œ œ ≈ œ

#œ œ#œ œ nœ œ #œ #œ >œ œ œ >œ ‰ ≈ Œ ≈ ‰ œ b œ nœ 3 >œ 5 f

KM 2542

Lahara

°? THAI GONGS #˙ 1 258

#œ #˙

∑

#œ

>œ œ #œ œ œ nœ œ #œ >œ # œ Œ ≈ >œ ‰ œ > ‰ ‰ ‰ ‰ ≈ ≈ ≈ ‰ ‰ æ ææJ 2 ¢& æJ bœ œ p 3 > p f f 5

Leseprobe

° 3 &

∑

b˙ ™

BELL PLATES

˙™

>œ œ #œ #œ # œ ≈ > ≈ ‰ R ≈ ‰ 4 ¢& ‰ æ æJ >œ p f STEEL PANS

œ œnœ >œ > ≈ ‰ ‰ ‰ ææœJ Œ ≈ œ œ bœ

Sample page 3

>œ œ #œ œ œ nœ œ #œ >œ ° # œ Œ ≈ >œ œ > ‰ ≈ ≈ ‰ ‰ ‰ ‰ ≈ ‰ ‰ æ ææJ 5 & æ b œ J p 3 >œ p f f 5 STEEL PANS

>œ #œ # œ œ ≈ > ≈ ≈ ≈ Œ 6 ¢& ‰ æ æJ >œ p f STEEL PANS

KM 2542

œ œ œ >œ œ > ≈ ‰ ææœJ Œ ≈ œ ‰ ‰ 3

Christian Mason

°? Hum

#˙ ™

œ™

? #˙ ™

261

(1/2)

R ah

Hum (3/4)

¢& °

∑

æ ˙™æ

#˙ ™

j #œ #œ # œ mm ee

∑

¢&

∑

#œ #œ #˙

#œ

#˙ ™

œ™

˙™

‰

∑

œ™

∑

¢&

∑

æ ˙™æ

j #œ #œ # œ mm ee

STEEL PANS

œ™

‰

#œ

b˙ ™ ∑

#œ #œ # ˙ mm ee

æ ˙™æ

#œ #œ # ˙ mm ee

∑

bœ ææ

Sample page

æ ˙™æ

#œ

Leseprobe

mm ee

‰ #œ #œ #œ Œ J

BELL PLATES

THAI GONGS

œ™

Hum (5/6)

‰ #œ #œ #˙

œ™

#œ #œ #œ J mm ee

THAI GONGS

#œ

b˙ ™ ææ

∑

∑ KM 2542

∑

Lahara

71 265 ° ? Hum

(1/2)

n˙ ™

? n˙ ™

THAI GONGS

ææ ™ 2 ¢& ˙

& n˙ ™

bœ

˙™

œ ææ ˙™

œ ææ 4 ¢&

∑

œ œæœ ≈ œ æ

ææ ˙

∑

∑ b˙™ ææ

bœ ˙ ‰ ™ R ææ

b˙ ™ œ

œ nœ œ ≈ œbœ ≈ œ ≈ ≈

Sample page

& n˙ ™

ææ ˙™

ææ & ˙™ oo

œœ æ 6 ¢& ‰ œ æ

STEEL PANS

œ nœ œ ™ ≈bœ œ ææ f

bœ

˙ ææ KM 2542

˙™

∑

& ˙™

STEEL PANS

BELL PLATES

Hum (5/6)

Leseprobe

Hum (3/4)

bœ

ææ ˙™

TAM-TAM

bœ

œ oo

∑

˙™

ææ ˙™ ˙™ ææ

b˙ ™ ææ f

œ f

œ nœ œ ≈ œbœ ≈ œ ≈ ≈

Christian Mason

°? b˙ ™ 1 269

THAI GONGS

& ¢&

° 3 &

∑ ∑

bœ

∑

>œ #>œ > #œ

>œ

ALMGLOCKEN

>œ #>œ > #œ

>œ bœ nœ ≈

Leseprobe Œ

MARIMBA

f sempre

nœ bœ Œ

PROCESSION 3: Players 4 and 6 move forward...

>œ

>œ #>œ > b œ >œ n>œ #>œ > #œ #œ bœ Œ ≈ œ œ œ nœ nœ

VIBRAPHONE

∑

f sempre

bœ #œ ≈ nœ Œ 4 ¢& ° ™ 5 & b˙ ææ

PROCESSION 3: Players 4 and 6 move forward...

Play while walking in a ceremonial manner towards STATION A

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

Sample page

#œ ≈ b œ 6 ¢& nœ Œ

blow through shell

ANKLE BELLS

PROCESSION 3: Players 4 and 6 move forward...

>œ

>œ > > b œ >œ n>œ > > #œ#œ #œ #œ œ nœ ≈ œ œ nœ bœ Œ

STEEL PANS

f sempre

Play while walking in a ceremonial manner towards STATION A

˙ blow through shell Œ¯¯¯ CONCH SHELL

∑ KM 2542

ANKLE BELLS

Lahara

™ GONGS °? b˙THAI 1 272

bœ

>œ

ALMGLOCKEN

¢&

MARIMBA

>œ

4 ¢ / ¯¯¯¯ ˙

œ ≈

>œ œ

œ #>œ #>œ > ≈ ≈ ≈ œ ≈bœ œ Œ œ

>œ

nœbœ œ ≈

œ >œ #>œ#>œ n ≈ bœ ≈ œ nœbœ œ

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ Œ

Sample page f

ANKLE BELLS

6 ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙

nœ ≈ bœ > œ

≈ œ ≈b>œ œ Œ

> > ° Œ œ ≈ œ œ ≈ ≈ #>œ ≈#>œ ≈b>œ œ Œ 5 & œ œ œ œ Œ

#>œ#>œ

Leseprobe

CONCH SHELL

>œ

#>œ #>œ

œ ≈ ≈ ≈ œ œ

° 3 & Œ

>œ

bœ

CONCH SHELL

>œ

œ >œ #>œ#>œ n bœ œ ≈ bœ ≈ œ nœ

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ

ANKLE BELLS KM 2542

Christian Mason

°? bœTHAI GONGS ˙ 1

b˙

275

˙™ f

>œ >œ

#>œ >œ >œ

ALMGLOCKEN

nœ ¢& >

#>œ >œ

#>œ bœ œ ≈ œnœ ≈bœ œ ≈ ≈ œ >œ

Leseprobe

œ ≈ œ œœ

MARIMBA

>œ

> ≈ #œ ≈ œbœ œ ≈ nœ >œ

>œ >œ >œ #>œ >œ >œ #>œ #>œ >œ > ° n>œ œ œ ≈ bœ œ ≈ œnœ ≈bœ œ ≈ ≈ ≈ #œ ≈ œbœ œ ≈ > nœ 3 & œ œ œ œ >œ 4 ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

Sample page Œ

ANKLE BELLS

>œ >œ >œ >œ >œ >œ >œ >œ >œ # # # >œ ° > n œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ n œ œ b œ œ b œ œ œ œ 5 & #œ bœ œ ≈ >œ nœ œ œ œ œ> 6 ¢/ ˙

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ Œ

ANKLE BELLS

KM 2542

¯¯¯¯¯¯ Œ

ANKLE BELLS

Lahara

™ GONGS °? b˙THAI 1

˙™

278

poco a poco cresc.

ALMGLOCKEN

b˙ ™

#>œ >œ

#œ > œ ¢& #œ ≈ bœ œ œ

#>œ >œ #œ nœ ≈ #œ œbœ œ œ >

#>œ >œ œ >œ #œ >œ œ œbœ ≈>œ ≈ ≈ ≈ ≈ n bœ œ

Leseprobe

MARIMBA

>œ >œ >œ >œ >œ >œ n œ >œ # # # # œ # œ # œ >œ ° >œ œ œbœ ≈>œ ≈ ≈ ≈ ≈ bœ œ ≈ ≈ #œ œbœ œ 3 & #œ n œ n œ œ bœ œ >

¢ / ¯¯¯¯¯¯¯ ˙ Œ

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ Œ

Sample page f

ANKLE BELLS

>œ >œ >œ >œ >œ >œ n œ >œ # # # # œ # œ # œ >œ ° bœ œ ≈n>œ œ œbœ ≈>œ ≈ ≈ ≈ ≈ ≈ #œ œbœ œ 5 & #œ n œ œ œ bœ œ > 6 ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ

ANKLE BELLS KM 2542

Christian Mason

rall.

THAI GONGS °? ˙™ 1

281

˙™

ALMGLOCKEN

∑

>œ >œ

>œ œ b >œ œ >œ b œ œ ≈ nœ ≈ bœ ≈ œ ≈ ¢& œ MARIMBA

Leseprobe

bœ

nœ

œ œ

#œ ≈

rall.

>œ œ > œ >œ >œ œ b œ œ œ œ b œ b œ ° ≈ nœ ≈ bœ bœ nœ 3 & œ ≈ œ ≈ #œ ≈

¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ˙ Œ

Sample page f

ANKLE BELLS

rall.

CONCH SHELL

>œ œ > œ >œ >œ œ b œ œ œ œ b œ b œ ° ≈ nœ ≈ bœ bœ nœ 5 & œ ≈ œ ≈ #œ ≈ 6 ¢/ ˙

CONCH SHELL

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ

ANKLE BELLS

KM 2542

Lahara

°? Œ 1 &

P. 1, 2, 3, 5 wait for the procession

molto rall.

283

>œ

44 ˙™

˙THAI GONGS

fff

>œ

ALMGLOCKEN

œ b œ œ œ nœ bœ 44 œ ≈ b œ b œ ≈ & n œ # œ ¢ ff MARIMBA

>œ

>œ >œ #>œ ≈ >œ#œ ≈

Leseprobe fffpossibile!

molto rall.

U ≈ Œ

P. 1, 2, 3, 5 wait for the procession

>œ >œ >œ > œ œ # œ œ œ bœ bœ 4 œ >œ U ° n œ ≈ ≈ b œ b œ Œ ≈ ≈ ≈ 3 & 4œ nœ #œ #œ Repeat box as neccessary until arrival at STATION A

Œ 4 ˙ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯ 4 ¢/ 4 Œ

CONCH SHELL

Sample page f

ANKLE BELLS

molto rall.

U Œ

fffpossibile!

Repeat box as neccessary until arrival at STATION A

¢/ ˙

P. 1, 2, 3, 5 wait for the procession

>œ >œ >œ > œ œ # œ œ œ bœ bœ 4 œ >œ U ° nœ ≈ ≈ ≈ ≈ ≈ b œ b œ Œ 5 & 4œ nœ #œ #œ

fffpossibile!

CONCH SHELL

Œ Œ Œ 4 ¯¯¯¯¯¯¯¯¯ 4 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Œ

ANKLE BELLS

KM 2542

U Œ

Christian Mason

Extremely slow, like distant waves q = c.40 Players 4 and 6 stop still on arrival

°? œ Œ Ó

œ Œ Ó

Œ ˙ ™û / ù ¢

Œ ˙ ™û ù

∑

285

BASS DRUM

CONCH SHELL: start with fingers in shell, pull them out to bend pitch up and put them back in to bend down

Leseprobe

STATION A 4

STATION A 6

œ Œ Ó

Extremely slow, like distant waves q = c.40 Players 4 and 6 stop still on arrival

Œ ˙ ™û ù

∑

¢/

Œ ˙ ™û ù

∑

CONCH SHELL

Sample page ff

Extremely slow, like distant waves q = c.40 Players 4 and 6 stop still on arrival

Œ ˙ ™û ù

∑

¢/

Œ ˙ ™û ù

∑

CONCH SHELL

KM 2542

Lahara

°? 3 1 4 289

3 2 ¢& 4 Hum (3/4)

3 & 4

3 &4

3 4 ¢& 4

Hum (5/6)

& 43

3 6 ¢& 4

T b˙

THAI GONGS

b˙™

bœ

THAI GONGS

b˙ ææ p

b˙ mm

ææ œ

arco

p p sempre con ped.

STEEL PANS

b˙ ææ p

b˙ ™

b˙™ ææ œ œ æ æ

œ ææ

ææ bœ œ æ æ

œ bœ

ææ œ œ æ æ

œ ææ

ææ bœ œ æ æ

˙™ ææ f

œ ææ

˙™

Leseprobe

VIBRAPHONE

bœ

ææ œ

œ p

sim.

b˙

CROTALES

arco

bœ p

STEEL PANS

b˙ ææ p

ææ œ

˙™ ææ f

œ ææ

˙™

œ bœ

ææ œ œ æ æ

œ ææ

ææ bœ œ æ æ

Sample page

bœ

œ p

Œ œ ææ

˙™ ææ f

KM 2542

sim.

bœ mm

Christian Mason

80 GONGS °? b˙THAI ™ 1

293

2 ¢& ˙ ææ

THAI GONGS

Hum (3/4)

b˙

& œ™

& Œ

Leseprobe œ

‰ œ

STEEL PANS

Hum (5/6)

˙ ¢& ææ °

& œ™

& Œ

bœ

bœ ææ

ææ œ

ææ ˙

ææ bœ œ æ æ p

bœ

ææ ˙

bœ

ææ bœ œ æ æ p

ææ œ

Sample page ‰ œ

STEEL PANS

6 ¢& ˙ ææ

bœ ææ

CROTALES

b˙™

ææ ˙

VIBRAPHONE

b˙ ™

ææ œ

nœ

œ ææ œ

bœ

bœ bœ ææ

bœ

ææ bœ œ æ æ

ææ œ

æ ˙æ

ææ ˙

KM 2542

ææ ˙

bœ

Lahara

°? b˙THAI GONGS 1 297

bœ

˙™ 2 ¢& æ æ f

& ˙™

VIBRAPHONE

& œ

STEEL PANS

˙™ 4 ¢& æ æ f

Hum (5/6)

& ˙™

b˙ ™

bœ

œ ææ

ææ œ bæœ æ p

˙ ææ

bœ mm

œ bœ

œ ææ

ææ œ bæœ æ p

b˙ ™

bœ

ææ œ

b˙ ™ ææ

b˙

b˙ ™ ææ

ææ œ

STEEL PANS

˙™ 6 ¢& æ æ

b˙ ™ ææ

bœ

Sample page

CROTALES

& œ

b˙

˙ ææ

nœ

Leseprobe

æ œæ

˙ ææ

THAI GONGS

Hum (3/4)

nœ b˙

KM 2542

bœ mm

œ bœ

œ ææ

æ œæ bæœ æ p

Christian Mason

°? Œ 1

ææ 2 ¢ & bœ

ææ ææ œ nœ

301

bœ

THAI GONGS

Hum (3/4)

& bœ

ææ 4 ¢ & bœ

nœ

ææ ææ œ nœ

& bœ

ææ b œ 6 ¢&

ææ bœ

‰ #œ

œ™

ææ ˙

#œ

æ #œæ

bœ

ææ bœ

nœ

ææ ææ œ nœ

æ ˙æ

STEEL PANS

#œ

bœ

ææ #œ

æ bœæ

ææ ˙

KM 2542

bœ

ææ œ

bœ

ææ ææ œ bœ

ææ œ

æ œæ

bœ

ææ ææ œ bœ

ææ ˙

bœ

nœ

‰ #œ

œ™

b˙

ææ ææ œ bœ

æ ˙æ

Sample page

& bœ

CROTALES

ææ #œ

STEEL PANS

Hum (5/6)

ææ ˙

∑

Leseprobe

VIBRAPHONE

∑

Lahara

°? 1 305

THAI GONGS

∑

˙™

ææ ˙ 2 ¢& œ ææ

˙™ ææ

THAI GONGS

Hum (3/4)

& œ

U ∑

#œ

U ∑

#œ ææ

U ∑

˙™ ææ

˙™

#œ

U ∑

#œ

∑

Sample page

CROTALES

& Œ

˙™

ææ ˙ 4 ¢& œ ææ °

Leseprobe

STEEL PANS

Hum (5/6)

#œ ææ

VIBRAPHONE

& Œ

U ∑

∑

ææ ˙ 6 ¢& œ ææ STEEL PANS

#œ

∑ ˙™ ææ

#œ ææ p

KM 2542

Mason ∙ Lahara

Lahara – which literally means ‘wave’ – is a term used in Indian music to describe a

Christian Mason

Lahara

for Percussion Sextet

Score

before suddenly disappearing… And on a more concrete note every sound is, after all, a wave. (Christian Mason)

9 790004 504550 KM 2542

Breitkopf & Härtel ∙ KM 2542

ISMN 979-0-004-50455-0

KM 2542