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Contrasted Perspectives: Two Surrealist Portraits For Orchestra Composed by Jared Abraham Miller © 2013


Orchestration 2 Flutes 1 Piccolo 2 Oboes 2 Clarinets in B-flat 2 Bassoons 4 Horns in F 2 Trumpets in C 3 Trombones (2 tenor, 1 bass) 1 Tuba Timpani Percussion 1 on Almglocken, Nipple Gong (sounding B2), Tam-tam, Bass Drum, Woodblock, Tambourine, Coffee Can, Temple Blocks*, Slide Whistle and 2 Flexatones Percussion 2 on Vibraphone, Crash Cymbals**, Suspended Cymbal, Hi-hat, Police Whistle, Glockenspiel, Tomtom, Triangle, Ride Cymbal, Snare Drum and Crotales (sounding C6, D6, E6 & B6) Percussion 3 on Crotales (sounding D#6, F#6 & A6), Temple Blocks*, Windchimes, Chimes, Whip, Thundersheet, Crash Cymbals**, Marimba and Lion’s Roar Harp Violin I Violin II Viola Cello Double Bass with C Extension Duration: 12 minutes

*Shared between Player 1 (mvt. 2) and Player 3 (mvt. 1) **Played primarily by Player 2 with the exception of mm. 143-144 in mvt. 2 in which Player 3 plays this instrument


Contrasted Perspectives Over the past year, I have fallen in love with visual art, poetry and film from the Surrealist movement. Both the expansive, dream-like worlds and confluence of juxtaposing elements created by artists like Salvador Dalí, Joan Miró, Frederico García Lorca and Frederico Fellini (amongst others) have appealed to me greatly and have had a significant influence on my work. This piece attempts to explore these contrasting emotional worlds: the dream-like and the juxtaposed. The first movement, “Dalí” is most significantly influenced by his famous painting The Persistence of Memory. Evocations of shimmering waves of heat, distant bells and clocks are interpolated with melodic fragments that foreshadow material that is to come in the second movement. The quasi-blurred, yet luminescent timbral world of this movement and its almost subconscious reference to the following movement aims to depict both the emotional and psychological state of one who is dreaming. The second movement, “Fellini,” deals with the idea of juxtaposition. What excites me most about Fellini’s films are how the unexpected juxtapositions of images and ideas create a multitude of emotional worlds ranging from mirth to terror to tragedy and everything in between. In this movement, I have attempted to explore the same idea of juxtaposition in two ways. On a surface level, I attempt to combine sounds that evoke elements of reality but are found in unlikely combinations in the hope of creating new and interesting sound worlds. On a structural level, I have juxtaposed various musical styles, from jazz, to Stravinsky, to an Italian-style opera overture while retaining a limited amount of musical material. In finding juxtaposition on both sonic and structural levels, I hope to have evoked this confluence of emotion that was expressed so vividly in the Surrealist movement. –JAM


Score in C

i. Dalí ° 4 &4

∑

& 44

∑

4 &4

∑

~

Dream-like q=66

Flute

1 2

Piccolo

Oboe

1 2

1 Clarinet in Bb

Bassoon

Horn in F

Horn in F

Trumpet in C

Trombone

2

1 2

1 2

3 4

1 2

1 2

Bass Trombone Tuba

Timpani

a2 *

pp

n

~

*

pp

n

~

a2 *

pp

n

4 &4

~

a2 *

∑

pp

n

?4 ¢ 4

∑

& 44

∑

4 &4

∑

? 44

∑

?4 ¢ 4

∑

°? 4 ¢ 4

∑

~

a2 *

pp

n

~

a2 *

pp

n

~

a2 *

pp

n

~

a2 *

pp

n

~

a2 *

pp

n

° 4 & 4 b˙˙

nœ b œ

43 O ™ 43 O ™ 43 O ™ 43 O ™ 43 O ™

45 O

O™

45 O

O™

45 O

O™

45 O

O™

45 O

O™

45 O

O™

45 O

O™

45 O

O™

45 O

O™

45 Ó

Ó™

pp

n

pp

n

pp

n

pp

n

pp

n

pp

n

pp

n

∑

°

?4 Œ ™ 4 ˙

Nipple Gong

ppp sempre l.v. until m. 12

Vibraphone until m. 68 (High motor; soft mallets)

4 bœ3 nœ nœ ##w w & 4 bœœ œ n œ n#œœn œ œ b œ 3 ppp

Percussion 3

°

4 ¢/ 4

{

Dream-like q=66

∑

Ãæ

n

4 &4

∑

B 44

∑

Ãæ

n

Ãæ

n

Violoncello

Double Bass with C Extension

?4 4

∑

?4 ¢ 4

∑

Ãæ æ

n

Ãæ æ

n

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

44 ~

~

43 O ™

42 O

44 ~

~

45 O

O™

44

45 Ó

Ó™

44

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

44

∑

44 b˙˙

ppp

3

nœ b œ

∑

43 43

# œœ ## w w

∑

42 42

∑

44

∑

44 b˙˙

43

42

43

45

44

43

42

ppp

ppp

n

pp

43 æà ™

n

45 Ãæ

pp

43 æà ™

n

45 Ãæ

pp

43 æà ™ æ

n

45 Ãæ æ

pp

43 æà ™ æ

n

45 Ãæ æ

pp

pp

pp

pp

pp

##w w

œ œ Œ Œ 44

∑

44 ˙

ppp

?

3

ppp l.v.

44 Œ ˙ ˙

#œœ

Ó œœ ## w w œ #w

œ #w w œ ##w

3

nœ b œ ppp

44 bœœ3 #œnnœœ nœœ ##w w bœœ bn œœ n œ

pp

**

43 O ™

45

45 Ãæ

**

~

43

43 æà ™

**

44 ~

44 Œ

45

**

44

42

43

**

O™

43

45

œ #w w œ ##w

45 O

44 Œ ˙ ™

43

~

45

ppp

œœ ## w w œ #w

44 ~

43

43 œ œ ‰ œJ œ 45 Ó

∑

42 O

n etc.; do not synchronize dynamics

45

Temple Blocks (1 Med., 1 Low)

ppp sempre l.v. until m. 12

° 4 Violin I & 4

Viola

ppp l.v.

#œœ

?4 Œ 4 ˙ ˙

Violin II

##w w

∑

& 44 ˙

Harp

Crotales

∑

43 O ™

n etc.; do not synchronize dynamics

sempre l.v. until m. 12

4 &4

~

n etc.; do not synchronize dynamics

pp

n

44 ~

n etc.; do not synchronize dynamics

pp

n

43

# œœ ## w w

O™

ppp sempre l.v. until m. 12

Percussion 1

Percussion 2

43 O ™

45 O pp

n

43

∑

Almglocken 3

43 O ™

pp

n

° 4 &4

43 O ™

43 O ™

~

a2 *

∑

43 O ™

43

42

# œœ ## w w

44

# œœ ## ˙˙ ™™ ppp

45

44

44 Œ Œ3 #œ nœœ œœ ##w w b œœ œ 3

œ #˙ ™™ 45 #œœ nœœ œ# ˙

44

44

45

44

ppp

3

ppp

##w w

ppp l.v.

Œ ‰ œJ œ Œ 45 Ó

∑

ppp

42

45 Œ

˙™

œ œ Œ 43 œ œ Œ Œ 42 œ œ Œ 44

43

∑

44 Ó

#œœ

ppp

?4

˙ ˙

ppp

Œ œ œ Œ 44

œœ ## w w œ #w

œœ ## ˙˙ ™™ 54 #œ œ #˙ ™ œ

œ #w w œ ##w

™ 45 Œ & œœœ ###˙˙˙ ™™

ppp

44 ?4

4

44 Ã æ

Ãæ

43 æà ™

42 æÃ

44 Ã æ

Ãæ

45 Ãæ

44

44 Ã æ

Ãæ

43 æà ™

42 æÃ

44 Ã æ

Ãæ

45 Ãæ

44

44 Ã æ

Ãæ

43 æà ™

42 æÃ

44 Ã æ

Ãæ

45 Ãæ

44

44 Ã ææ

Ãæ æ

43 æà ™ æ

42 æà æ

44 Ã ææ

Ãæ æ

45 Ãæ æ

44

44 Ã ææ

Ãæ æ

43 æà ™ æ

42 æà æ

44 Ã ææ

Ãæ æ

45 Ãæ æ

44

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

n etc.; do not synchronize dynamics

*Diamond Noteheads: Wind and brass players blow air into their instruments to immitate wind. **Large X Noteheads: String players bow on the tailpiece to create a soft, unpitched, wind-like sound. This should last the entire bar in which the notehead occurs unless it is interupted by a rest or a regular note.


2

Fl.

1 2

Picc.

Ob.

1 2

Cl. 1

A 12 ° 4 ~ &4

~

23 ~ ™

43 O ™

44

~

23 ~ ™

& 44 ~

~

23 ~ ™

43 O ™

44

~

23 ~ ™

& 44 ~

~

23 ~ ™

43 O ™

44

~

23 ~ ™

& 44

Solo

bw

nw

bw

nw

23

n

Cl. 2

43

6

bœnœ œ œ œ œbœ nœ b w

nw

p

4 &4 ~

~

h™

44 bœ nœ œ œ œ œ œ œ œ œbœ nœ bœnœ œ œ œ œ b˙™ ppp

23 ∑

b˙ n˙

43

p

5:6

œ

œ

? 44 ~

~

23 ~ ™

43 O ™

44

Bsn. 2

?4 ~ ¢ 4

~

23 ~ ™

43 O ™

44

1

° 4 &4 ~

Œ

Bsn. 1

Hn.

2

23

b˙™

ppp

Hn.

Tpt.

Tbn.

3 4

1 2

1 2

B. Tbn. Tba.

Timp.

+o

23

bœ œ œ œb˙

~

23 ~ ™

43 O ™

44

~

23 ∑

?4 ~ 4

~

23 ~ ™

43 O ™

44

~

23 ~ ™

?4 ~ ¢ 4

~

23 ~ ™

43 O ™

44

~

23 ~ ™

°? 4 ¢ 4

∑

∑

23 23 w 23

4 & 4 nw bw

23

4 ¢/ 4

{

Œ

sempre l.v. until m. 19

?4 4 w

°

43

∑

∑

∑

23

∑

∑

23

°

bw™

ppp

°

‰ j 43 ™ œ ˙

44

43

44

43

nw™

sempre l.v. until m. 22

œ

œ

3. Cup mute

ppp

œ

œ

44

∑

43

∑

44

∑

43

∑

44 í ™™

23

∑

‰ j œ œ

Ó

œ

œ

œ

ppp

23

23

∑

23

™ œ œ œ ™î #œ œ œ

23

P.D.L.T.

bw™

Ó bw ™ ∑

ppp repeat quickly and freely

∑

23

43

∑

4 & 4 Ãæ

Ãæ

23 Ãæ

B 44 Ã æ

™ æÃ

44

∑

l.v. until m. 16

Œ 23 #w ™

col legno e sul pont.

n

?4 4 Ãæ æ

Ãæ æ

23 Ãæ æ

?4 ¢ 4 Ãæ

Ãæ

23 Ãæ

43 æà ™ 43 æà ™ 43 í ™™bœ nœ œ œ œ œ ™™î

col legno s.p.

w™

ord. s.p.

Œ

°

Œ

Ó

Ó

#˙ ™ 43 pp

43 æà ™

ord. s.p.

˙™*

∑

Ãæ

23 Ãæ

44

Ãæ

23 Ãæ

44

23

pp repeat quickly and freely; do not synchronize and slur through the repeats

col legno s.p.

23

44

col legno s.p. etc. until m. 22*

col legno s.p. etc. until m. 22*

44 #w 44

Ãæ

w

+o b˙

∑

23 Œ Œ Ó * œ

n

1. Harmon mute

44

∑

Œ

∑

4 &4 ~

23 Ãæ

Db.

n.

23 ~ ™

~

44

bœ œ œ œ

œ

23 Œ bœ w

Ãæ

Vc.

ppp

bw 23

~

° A ° 4 Vln. I & 4 Ã æ

Vla.

44

?4 4 w w

Vln. II

Ó™

43 O ™

4 &4

Hp.

bœ œ

+o+o+o+oetc.

n ad lib. n p repeat quickly and freely; slur through the repeats

23 ~ ™

ppp l.v. until m. 17

Perc. 3

w

43

23

~

4 &4 ~

° 4 & 4 nw bw ° Perc. 1

Perc. 2

+ o +o

1. Harmon Mute

œ Œ

mp

44 í ™™ ™™î bœ nœ œ œ

œ

ppp

n

n˙ ™

ppp

œ

6 œ 23 bw œ bœnœ œ œ

#w ™ 23

23 ##w~~w™™™ div.

*Slowly shift back and forth between col legno sul pont. and regular sul pont. by rolling your bow over and back. Using a spare bow for this effect is optional. Do not synchronize changes.

w™


3

° & í ™™ bœ bœ œ œ ™™î 18

Fl. 1

44

n p n ad lib. repeat quickly and freely; slur through the repeats

&

Fl. 2

Ó™

˙™

˙™

n

Picc.

Ob.

1 2

Cl. 1

Hn.

Hn.

Tpt.

Tbn.

¢ 2 1

1 2

~™

44

~

~

&

~™

~™

44

~

~

&

bœbœ œ œ œ

44

nœ œ œbœ œ

mf

p

œ

bœbœ œ œ œ

˙

?

sub. mf

q ~™

í ™™

œ œ œbœ œ

b œ n œ œ bœ

Ϫ

j œ ˙

44

bœ nœ œ

j œ œ

n

w

p

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

n

™™î

n

~

44

n

~

n

42

U ∑

44

&

∑

∑

44

∑

∑

42

U ∑

44

44

∑

∑

42

U ∑

44

42

U ∑

44

42

U ∑

44

¢

+o

+o +o +o +o+oetc.

&

<b>œ

?

~™

~™

44

~

~

~™

~™

44

~

~

?

3

œ œ œ œœœœ

∑

b˙˙ ™™

b˙ ™

˙˙ ™™

¢/

{

Ó

∑

° & &

Ó

°? ¢

Perc. 2

b˙ ™

Œ

Œ

b˙˙

*

∑

° &

&

Vln. II

∑

?

Vc.

¢

?

42

U ∑

44

∑

∑

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

42

U ∑

44

44

#w

w w

44

44

Ãæ æ

Ãæ æ

44

Ãæ

Ãæ

44

q

#w ™ ~ ™ <#><#>w~w™™

w™

#w ™ w~~w™™™

bw

bn w w

44

∑

B

Vla.

∑

44 í ™™

?

n

∑

Ó

∑

n

44

Ó

&

Db.

U ∑

∑

2

Vln. I

42

∑

1

Hp.

Ϫ

mp

44 í ™™

™™î

~™

a2

44

44

2

Perc. 3

~™

j œ

U ∑

∑

1

Perc. 1

&

Ϫ

42

∑

4

Timp.

n

44

° &

3

B. Tbn. Tba.

44

U ∑

repeat quickly and freely; slur through the repeats

&

Cl. 2

Bsn.

n ad lib.

p

™ ™ œ í ™œ œ œ bœ™î

œ

n

42

bw

∑

#œ œ œ

°

nw w ∑

™™î

w

#w

∑

°

Ãæ æ

Ãæ æ

Ãæ

Ãæ

w™

44 44

#w

n

∑

n

n

w

#w

w n

w~~w

w~~w

*

*

n

44 í ™™ bœ nœ œ ™™î

í ™™ bœ nœ œ œ ™™î

n

n


4

° 4 &4 23

Fl.

1 2

Cl.

Bsn.

Hn.

Hn.

Tpt.

Tbn.

∑

45 Ó

Ó™

42 #˙˙

44 w w

ppp

42 ˙˙

43

∑

∑

44

∑

45 Ó™

Ó

42

4 &4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Ó

42

& 44

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Ó

42

& 44

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Ó

42

?4 ¢ 4 2

∑

45 Ó

Ó™

42

∑

44

∑

B2

˙ ™™ 45 ˙

˙˙

42

° 4 &4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

45 ˙˙ ™™

˙˙

4 &4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

Picc.

Ob.

B

1 2

1 2

1

1 2

3 4

1 2

1 2

B. Tbn. Tba.

Timp.

#œœ

44 #˙˙ ™™

œœ cup mute

Ó

#˙˙

ppp

45 Ó™

∑

˙˙

42

45 ˙˙ ™™

˙˙

42

ppp

Ó™

42

∑

44

∑

42

∑

43

∑

? 44

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Ó

42

?4 ¢ 4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Ó

42

°? 4 ¢ 4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Ó

42

3

nœ b œ

# œœ

45

## ˙˙

Perc. 1

?4 Π4

˙™

(Nipple Gong)

ppp

l.v.

4 ¢/ 4

∑ ord.

& 44 ˙

° 4 Vln. I & 4

& 44

B

42 Œ

w ## w

44

# œœ

42

43

ppp

## ˙˙ ™™

43

44

w w

44

45 Π*

Ó

Ó

42

44

45 Π*

Ó

Ó

42

#w œ 42 #œœ nœœ œ 44 # w

#˙ ™™ œ 42 #œœ nœœ œ 43 # ˙

44

45 Π*

Ó

Ó

42

42

42

43 ##˙˙ ™™

44

45 Π*

Ó

Ó

42

45 Ó™

Ó

42

45 ˙˙ ™™

˙˙

42

3

˙˙ ™™

45 Ó

Temple Blocks

ppp

°

˙˙ ™™

45 ##˙˙

Crotales

∑

?4 Π4

# œœ

42

Perc. 3

{

˙˙ ™™

44

˙˙ ™™

Straight Mute

3

sempre l.v. until m. 31

& 44

ppp

42 Œ

45

4 bœ3 nœ nœ 5 ##˙˙ & 4 bœœ œ n œ n#œœ n œ œ 4 bœ 3 ppp

#œœ

œœ œ

## ˙˙ 54 #˙

œ œ

∑

∑

45 ###˙˙˙

œ œ Œ

ppp

˙˙ ™™ ˙™

42

42 Œ

∑

Ó™

Œ

42 #œœ

˙™ ˙˙ ™™

45

45 Ó

ppp

l.v.

sempre l.v. until m. 29

˙ ˙

44 ##w w

42

42

∑ œœ œ

œ œœ

∑

∑

44 Ó

‰ œJ œ ppp

## w w 44 #w

44

42

42 Œ

∑

∑

42

42

43

∑ œœ œ

42 #œœ

44 #w ##w w

44

ppp l.v.

l.v.

∑

## ˙˙ ™™ 34 #˙ ™

44

∑

Œ #œœ #œ nœ

44 #˙˙ ™™

Œ

44

p

œ œ

™ 43 ###˙˙˙ ™™

∑

43 #˙˙ ™™

ppp

43

Œ

* °

arco e div.

∑

∑

∑

Œ

sempre l.v. until m.40

∑

44

45

∑

44 í ™™ #œ œ #œœ

˙˙ ™™

œœ

œœ œœ

œœ

™™î 45

slide quickly and smoothly between the two notes; do not synchronize arco e div.

Ó

#˙˙

ppp

42

∑

42

45 í ™™ #œœ œœ œœ

œœ

slide quickly and smoothly between the two notes; do not synchronize

B 44

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

45 Ó™

Vc.

?4 4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

Db.

?4 ¢ 4

∑

45 Ó

Ó™

42

∑

44

∑

42

∑

43

∑

∑

44

∑

Vla.

cup mute

42

45 Ó

ppp sempre l.v. until m. 31

Vln. II

p

˙˙

∑

(Almglocken)

Hp.

˙˙ ™™ 43

# ˙˙

4 &4

° 4 & 4 b˙˙

Perc. 2

4

œœ

™™î

arco e div.

42

˙˙

42

45 Ó™

Ó

42

45 Ó™

Ó

42

ppp


5

° 2 &4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

2 &4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

& 42

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

& 42

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

#˙˙ 45

˙˙

## ˙˙ 47

˙˙

˙˙

45 Ó

#˙˙ ™™

42 ˙˙

45 ˙˙

˙˙ ™™

42 Œ

45 ˙˙

˙˙ ™™

42

32

Fl.

1 2

Picc.

Ob.

Cl.

Bsn.

Hn.

Hn.

Tpt.

1 2

1 2

1 2

3 4

1 2

#œœ

œœ

B 2 bœœ ¢ 4 2 1

3

° 2 & 4 <#>˙˙

2 &4

Tbn.

2

#œœ

43 ˙˙

Œ

43 ˙˙ ™™

˙˙

2 &4

43 Œ

∑

˙˙ ™™ 43

cup mute

1

# ˙˙ 43

˙ ? 2 b˙ 4

ppp

j #œœ

ppp

œœ

˙˙ 45

œœ

ppp

b ˙˙ ™™

œ 42 œ

# œœ

#œœ 3

# œœ # œœ

œœ

3

mp

44

47

˙˙

˙˙

˙˙ ™™

44

#œœ

47

˙˙

˙˙

˙˙ ™™

44

∑

47

Œ

˙˙

˙˙ ™™

44

˙˙ 42

47

##œœ

ppp

˙˙

˙˙

˙˙ ™™

44

?2 ¢ 4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

°? 2 ¢ 4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

° 2 &4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

Perc. 2

2 &4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

Perc. 3

2 ¢/ 4

∑

43

∑

45 Ó

Ó™

42

∑

47

Ó

Ó

Ó™

44

45 #˙˙

˙˙

47 ##˙˙

˙˙

˙˙

45 Ó

Ó™

B. Tbn. Tba.

Timp.

Perc. 1

{

2 &4

Hp.

œœ

# œœ

2 &4

Vln. I

Vln. II

Vla.

3

43 #˙˙

#œœ

43

∑

#œœ ∑

œœ

42 œœ 42

3

#œœ

#œœ ∑

mp

47

43

45

42

47 í ™™##œœ

#œœ

œœ

œœ

2 &4

43

45

42

47 í ™™ #œœ

#œœ

œœ

œœ

œœ

™™î 43

45

42

#œ 47 í ™™ œ

œœ

œœ

œœ

œœ

B 42 í ™™ œœ

œœ

bœœ

œœ

œœ

œœ

44 44

∑

° 2 &4

3

#œœ #œœ

™™î

44

™™î

44

™™î

44

slide quickly and smoothly between the two notes; do not synchronize

˙˙ ™™ 43

˙ ? 42 b ˙

arco e div.

Vc.

ppp

Db.

?2 ¢ 4

∑

43

˙˙ 45

∑

45

˙˙ ™™

2

&4

∑

42

˙˙ ∑

47 #˙˙

˙ ˙

˙™ ˙™

44

47

Ó

Ó™

44

Ó

Miller: Contrasted Perspectives