FULL SCORE
THEY SING AND THEY CLAP AND THEY SHOUT CHRISTOPHER MAYO
THEY SING AND THEY CLAP AND THEY SHOUT for alto flute, bass clarinet, percussion, piano, violin, violoncello and electronics
CHRISTOPHER MAYO
INSTRUMENTATION Alto Flute (and open-string Concert Ukulele) Bass Clarinet (and open string Baritone Ukulele) Percussion Glockenspiel Vibraphone 2 Pasi Gongs (Small 10”-12”, Large 14”-20”) Stiff-bristled brush on resonant metal surface 2 Bass Drums (Small and Large) Piano Violin (and open-string Baritone Ukulele) Violoncello (and open-string Baritone Ukulele) 3-channel electronic playback (Left, Centre, Right Channels)
NOTES FOR PERFORMANCE Ukuleles The piece requires one concert ukulele (played by the flutist) and three baritone ukuleles (played by the clarinettist, violinist, and cellist). The ukuleles should be placed on chairs or other flat surfaces immediately next to the performers so that they they can be strummed with one hand without being picked up (and without the other instruments being put down). Only the open strings are ever required. Ukulele Tunings Concert Ukulele (Alto Flute) Tuning:
&
œ œ œ œ
Concert Ukuleles are traditionally strung in reentrant tuning with the highest string on the bottom. While it would be possible to restring the Ukulele in linear tuning, for this piece it is acceptable to tune the highest string down an entire octave. The resultant instability will not be out of place in this piece.
& & & & œœœ Baritone Ukulele 1 (Bass Clarinet) œ Tuning: (Sounds 8vb)
œœœ œ
œœœ œ
œœœ œ
& & & & œœœ œ
#œ œœ œœœ œœœ œœ œ
& & & &
œœœœ
Baritone Ukulele 2 (Violin) Tuning: (Sounds 8vb)
œœœœ
bœœœœ
###œœœœ
Baritone Ukulele 3 (Violoncello) Tuning: (Sounds 8vb)
œ œ b œ & œ ∑ bœ ∑ œ & & & œœœ œœ bœ
∑
∑
∑
∑
∑
∑
& ∑∑∑∑ ∑∑∑∑ ∑∑∑∑ ∑∑∑∑ ∑∑∑∑ ∑∑∑∑ ∑∑∑∑ & & & ukuleles, the baritone ukulele parts could be played on the If it is not possible to obtain baritone
∑∑∑∑
Ukulele Alternatives upper four strings of classical guitars, though the much larger size of the guitars may cause some practical issues. If it is not possible to use ukuleles whatsoever, an alternative version is available from the composers which replaces the ukulele parts with electronic samples.
& & & &
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
& & & &
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
& & & &
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
∑∑∑∑
Notation The flute, clarinet, percussion, violin, and cello parts are written in proportional notation without time signatures, bar-lines, or rhythms. A cue-line for the traditionally-notated piano part is given in the other parts, and each player should follow the piano for coordination (except in the last section of the piece, where players follow the electronics playback). Techniques Bass Clarinet Air with shifting vowel - blow air through the instrument while changing the vowel shape of the mouth. Audio example from Heather Roche - https://bit.ly/2Mm5u6e Register Key Trill - slowly trill the register key to activate various high harmonics. Audio example from Heather Roche - https://bit.ly/2IpCNnW Percussion Stiff-bristled brush on resonant metal surface - press and move the brush slightly against the surface to create a quiet crackling and popping sound. I used a deck brush on a metal film canister. Video example - https://youtu.be/P3uDiEgcnDI Gongs - should be two gongs without clear central pitch and with a splashy metallic attack even a quiet dynamics. They do not absolutely have to be Pasi gongs, anything that fits this description would be acceptable. Bass Drums - two orchestral bass drums of different sizes, but more importantly, of noticeably different pitches. The smaller bass drum can be significantly smaller and if necessary even a large floor tom would suffice. Piano The piano should have a quiet, almost muffled quality throughout. It should probably be performed with a lid closed, and may even benefit from some other slight preparation of the piano to further dampen the sound. Violin On Bridge Overpressure - playing directly on the bridge so that some of the bow hair activates the string on either side of the bridge. With three different gradations of pressure indicated in the score as “slight”, “a bit more”, and “even more” overpressure. Recordings here give an approximation of the sound for each. These are to be performed with long bow strokes with the pressure causing the bow to halt and stutter on the string. slight - https://bit.ly/2Mo5fYq a bit more - https://bit.ly/30T7sAt even more - https://bit.ly/2oaLKuC Lateral Bowing - moving the bow between the bridge and the nut, a quiet crackling, popping sound. Audio Example - https://bit.ly/2VkvH9B
Arco Battuto -bouncing the bow hair on the strings, with minimal left-right movement. A little bit gritty. Audio Example - https://bit.ly/33buuUy Violoncello White Noise - https://youtu.be/ky0d8AVBPgE?t=40 Bow Between L.H and Nut - https://vimeo.com/92219931 Reference Recordings There are several short melodic fragments throughout the piece which are rough transcriptions of a slowed-down recording of Haywire Mac (aka Harry McClintock) performing Joe Hill’s Casey Jones the Union Scab. These source recordings are provided here as a frame of reference or source of inspiration, but the phrases do not need to be identical to the recordings. Flute After [K] - https://bit.ly/2Oo5OUU Before/after [V] - https://bit.ly/2MgJV7e Violin After [F] - https://bit.ly/2Vhkcjh Violoncello After [C] - https://bit.ly/33dfXIh Before [D] - https://bit.ly/2Iv8fkJ After [D] - https://bit.ly/30MKI56 After [E] - https://bit.ly/2APedIU After [G] - https://bit.ly/2o86h2V Before [H] - https://bit.ly/35b5fDR Before/after [J] - https://bit.ly/2LQXJpT [M] to [O] - https://bit.ly/335Q6BV Before/after [P] - https://bit.ly/2nryfpY Before/after [S] - https://bit.ly/2VjANmo After [W] - https://bit.ly/2IsKtWy
They Sing and They Clap and They Shout based on the songs of Joe Hill (1879-1915) Christopher Mayo
Fragile, dusty, and on the edge of collapse Very loose and free, follow piano for coordination Alto Flute
° & ?
Bass Clarinet (Bb)
¢ Stiff-bristled brush on metal surface press and move slightly (quiet crackling & popping)
Percussion
sempre sim. 2 Pasi Gongs [ Brush 2 Bass Drums.[
ee ° e ¢/ ˝
œ
œ
ppp
ppp
&
Independently, ensemble follows piano All tempo changes sub. except where indicated (
)
7" q = 63
(69)
q = 63
(63)
3 4 &8 ∑ 4
(69)
U ∑
3 4 8 ∑ 4
U ∑
3 8bϪ
ppp
(63)
ppp poco
poco l.v. sempre
Piano
?3 8bϪ
{
4 4 œ œ œ œ bw w
œ bœ œ œ w
4 4 œ œ œ œ bw w
œ bœ œ œ w
ø
° ° Violin & White noise, dampen string
? Violoncello
¢ 6
6
pp pp
=
A. Fl.
° & ?
B. Cl.
¢ Vibraphone (motor on, fast) l.v. sempre
bœ bœ
œ bœ Brush
° Perc. ¢&
œ / pp P sempre
p
ppp
6" 10" q = 63
(69)
U ∑
3 4 8 ∑ 4
U ∑
3 8bϪ
&
q = 58
(63)
U ∑
3 4
U ∑
3 3 4 bbœ˙˙™™ œ œ œ 8
3 8 pp
ppp poco Pno.
?
{
4 4 œ œ œ œ bw w
œ bœ œ œ w
ø
ø
on bridge, damp strings slight overpressure so it stutters and creaks
sim.
° Vln. & 6
6 pp
pp (white noise)
? Vc.
¢ 6
6 pp
2 Ukelele open strings, l.v. sempre
A. Fl.
° & ˚
∏∏∏∏∏
A
œœœ œ Ukelele open strings, l.v. sempre
? œ B. Cl.
œ
˚
¢ Vib. Glock.
Glock.
œ bœ
Vib.
bœ bœ
/
nœ b œ
› &nœ
° &
› &œ
&
#œ œ
œ œ
nœ pp
p
œ pp
p
ppp
pp
p
Perc. Large Bass Drum 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
>œ (l.v. sempre) p
A q = 63 3 4 &8 ∑ 4
6" (69)
q = 58
(63)
5 4
q = 72
U ∑
3 4
4 4
3 8
p
pp
pp ppp
ppp
ppp poco Pno.
?3 8bϪ
4 4 œ œ bw w
{
5 œ œ 4 œ bœ ˙
3 4 bbœ˙˙™™
œ ˙ ˙™
ø
r 4 ™ bœœœœ 4 œœœw™™ bœb˙˙ ™™ R bw > ø
U ∑
œ œœ
ø
3 8
(on bridge)
Vln.
° & 6
6
pp ord., IV ord. white noise
o ?
? &œ
Vc.
œ
¢ 6
o pp
pp pp 1
Play.
° ¢/
6
=
A. Fl.
° ˚ Bass Clarinet multiphonic (pitch approx.) ZX `DF|hjl
œ #œ
œ &
¢˚
œ #œ
ppp
p
ppp
arp. always very slow
Vib.
bœ bœ &
p
ppp
Vib. Glock.
nœ ∏∏∏∏
°› &
ppp
?
nœ
› &
nn#œœœ
∏∏∏∏
œ B. Cl. (uke.)
&
n#œœœ
bœ bœ ppp
p
mp
p
mp
Perc. ppp Small Pasi Gong 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
>œ mp (l.v. sempre) p
6" q = 63
3 &8
∑
(69)
q = 72
(63)
4 4
5 4
q = 76
2 4
U ∑
7 8
U ∑
7 8
p pp
ppp
mp
ppp poco Pno.
?3 8bϪ
{
4 4 œ bw w
ø
œ œ œ
5 4œ ˙
œ 2 œ™ bœ œ œ œ™bœœœ 4 œœ˙ ™™bœ bœœ b˙ ˙ œ™ ø >
‰ ™ œœnœ ˙˙ ˙ ø
(on bridge)
Vln.
° & 6 IV white noise
? œ &
Vc.
o œ
?
¢ o
6 pp
3
B Alto Flute A. Fl.
° ˚
&#œ
o pp air only, slowly shift vowel shape
air sim.
6
6
? B. Cl.
¢ pp pp Vib. Vib.
œ
(Vib.)
∏∏∏∏
∏∏∏∏
Glock.
bœ ° &
› &
œ bbœœ
›Glock. & bœ
œœ œ
&
œ mp
ppp
p
mp Small Bass Drum
Perc. 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
bœ bœ
œ p
œ &
œ
pp
p
ppp
>œ
>œ p
p (l.v. sempre)
B 5" q = 69
q = 72
7 &8
q = 76
U ∑
2 4
(69)
(63)
3 4 8 ∑ 4
6 4
4 4
p
ppp
pp
q = 63
11 16 pp
p
pp
ppp ppp poco
Pno.
? 7 œ˙ 8˙
œ œ œ œœ œ™ œ œœ ™™bœœœ
ø
ø
{
U ∑
2 ™ 4 œœœ˙ ™™bœbœœ b˙ >
j 4 œœ ™™ 83 œœ ™ b œ ™ 4 œw bw J™ ø
11 œ ™ 16 œœ˙ ™™ œœœ ˙ >ø
œ
œ
6 4 œ bœ w™
œ
° Vln. & ˚
∏∏∏∏∏
Ukelele open strings, l.v. sempre
4 4 œ ˙™
Violin on bridge, as before
œœœ œ
&
6
6 p ord.
pp
?
pp
œ nœ
œ bœ
Vc.
¢ 6
o
o
pp
ppp
pp 2
Play.
° ¢/
6
= Alto Flute moving freely between various whistle tone harmonics WT
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Uke. A. Fl.
° & ˚
œ œœ œ
& O
p Bass Clarinet ord. very light and airy
˚
¢
∏∏∏∏∏
Uke.
? B. Cl.
pp
bœ œœœ œ
?
bœ p
o ppp
mp
œ œ ° (Vib.) &
Glock.
› &
∏∏∏∏
œ p
bœœœ
œ œ
œ œ
mp
ppp
pp
p
Perc. 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
œ >œ
>œ
>pœ
pp p
p
7"
5"
q = 66
q = 76
q = 72
q = 76
4 &4
U ∑
3 4
U ∑
2 4
2 4 p
p
pp
p
pp pp
pp ppp Pno.
? 4 œœœ ™™™ œ˙˙ ™™ 4w w > ø
U ∑
3 4 œ˙˙ ™™ œ œ œ
{
ø
œr 2 œ ™ bœœœ 4 œœ˙ ™™bœbœœ R b˙ > ø
U ∑
2 œ™ 4 œœ˙ ™™ œ œœ ˙ >ø
on bridge, a bit more pressure very light and airy
(on bridge)
Vln.
° & bœ
bœœ
bœœ
bœ
6 ppp
p
6 o p
III
œo very light and airy
?
œ
Vc.
bœ
¢ o pp
bœ ppp
bœ œ
œ bœ p
o
4
C WT A. Fl.
° & O pp
? B. Cl.
¢ Vib. Vib.
œ
°› &
bœ › Glock. & œ
œ &
bœ &
œ œ œ
ppp
pp
p
ppp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ ee e ¢/ ˝
>œ
mp p
C 6" q = 63
(69)
(63)
q = 80
(54)
q = 76
U ∑
3 8
&
∑
4 4
5 4
2 4
mp
pp
p ppp ppp poco
Pno.
? ‰˙™ œœnœ ˙˙
U ∑
{
3 8bϪ
4 4 œ œ bw w
œ
5 4œ w w w
œ
bœ œ œ
2 œ™ 4 nœœ˙ ™™ œœœ ˙ >ø
bœ œ
ø
ø ° Vln. & 6
ord., grace notes pitches approx. just inflection, don't sit on the grace notes white noise
bœ
œ œ.
œ.
œ. b œ
œ
nœ
n œ bœ
bœ
bœ
œ bœ
œ
? Vc.
¢ 6 p espress. in rilievo pp 3
Play.
° ¢/
6
= (WT)
Alto Flute ord.
Uke. A. Fl.
° ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ &
œ œ œ œ
˚
&
œ O p pp multiphonic (pitch approx.) ZX `DF|hjl
? &
B. Cl.
¢
air, as before
ord.
œ #œ
œ
?
6 o
ppp
ppp
pp
pp
bœ œ p
#œœ œ mp
œ œ ppp
p
∏∏∏∏
∏∏∏∏
° (Vib.) &
p
œœ œ
mp
Perc. Large Pasi Gong 2 P. Gng [ Brush 2 B. Dr.[
eee / ˝ ¢
œ >œ
>pœ
mp (l.v. sempre) p
4"
5" q = 72
U ∑
q = 76
U ∑
2 4
&
q = 69
2 4
p p
pp
pp mp
Pno.
?
{
U ∑
r 2 ™ bœœœœ 4 œœœ˙ ™™ bœbœœ R b˙ > ø
U ∑
2 4
‰™ b˙˙ b˙ ø
œœœ ™™™ œ œœ ˙ ˙ > ø
œbœ œ
Uke.
˚
66
∏∏∏
Lateral bowing, quiet crackles and pops
° Vln. &
œ œœ p
pp white noise
ord.
? œ
Vc.
bœ
œ
¢ 6
o pp pp
5 WT A. Fl.
° &
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
#œ œ O
o pp (air)
? 6 B. Cl.
¢ œ bœ
› Glock. &œ
nœ ∏∏∏∏
(Vib.)
° & p
œ bbœœ mp
ppp
pp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
>œ
>pœ
p
3"
4" q = 72
U ∑
q = 58
4 4
&
q = 76
3 4
q = 72
U ∑
2 4
p
p
ppp
pp
4 4
pp
p
pp Pno.
r 4 ™ bœœœœ 4 œœœw™™ bœb˙˙ ™™ R bw > ø
U ∑
?
{
3 4 bbœ˙˙™™
2 œ™ 4 nœœ˙ ™™ œœœ ˙ > ø
œ œ œ
ø
r 4 bœœœœ 4 R ø
U ∑
Violin on bridge, slight overpressure Vln. (Uke.)
° ˚
œ &
6 as before pp
œ
? Vc.
¢ p espress. 4
Play.
° ¢/
6
= (WT)
A. Fl.
° ¯¯¯¯¯¯ &
WT
ord. very light and airy
¯¯¯¯¯
bœ O
O
o ppp
p pp ord. very light and airy
? B. Cl.
bœ
¢
œ bœ
bœ o
ppp
mp
Vib.
°› &
bœ bœ
(Glock.)
› Glock. & œ
&
#œ œ œ œ pp p
ppp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
eee / ˝ ¢
œ >œ
>pœ
>pœ
p pp
4" q = 58
4 &4
q = 80
3 4
q = 72
U ∑
2 4 ppp
pp
3 4
pp
p
pp
4 4 p
pp
Pno.
?4 4
{
œœœ ™™™ bœb˙˙ ™™ bw w >
2 œ™ 4 nœœ˙ ™™ œ œœ ˙ > ø
3 4 bbœ˙˙™™ œ œ œ ø
œr 4 œ ™ bœœœ 4 œœw™™ bœb˙˙ ™™ R bw > ø
U ∑
3 4
Lateral bowing, as before ord. very light and airy
° Vln. & 66
bœœ
bœ
bœœ o
ppp
p
pp very light and airy
?
œ.
bœ bœ œ
bœ œ
œ
œ œ œ
œ œ bœ œ
bœ
œ bœ
ppp
p
œ Vc.
¢
o Play.
° ¢/
6
A. Fl.
D (WT) ° ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ &
ord.
œ O pp air
? 6 B. Cl.
¢ pp
°› &
(Glock.)
bœ œ œ
bœ œ
bœ bœ
œ p
ppp
pp
p
Perc. 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
>pœ q = 58
D 4 4
q = 63
3 &4
3 8
∑
(69)
q = 72
(63)
3 8
4 4
6 4
ppp
pp
pp p sub. Pno. poco
? 3 bbœ˙ 4 ˙™™
3 8bϪ
œ œ œ
{
ø
4 4 œ bw w
œ
œ
œ 4 œ™ bœœ bœœœ 4 œœw™™ bœb˙˙ ™™ bw œœ > ø
3 8œ œœ œ
œ
ø
6 4
˚
∏∏∏
Uke.
° Vln. &
œœ
p
? œ
Vc.
œ
¢
pp
=
WT A. Fl.
° &
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
#œ œ O
o pp Uke.
˚
¢
œœœ œ
∏∏∏∏∏
6 B. Cl.
∏∏∏∏∏
(air)
?
œ œ
œœœ œ
p
°› &
(Glock.)
nœ nœ
œ &
œ
œ nœ
Perc. pp 2 P. Gng [ Brush 2 B. Dr.[
p
ppp
ee e ¢/ ˝
œ >pœ q = 58
q = 69
6 &4
q = 72
7 8 ppp
pp
mp
q = 58
4 4 pp
9 8
ppp
2 4
7 8
ppp
pp p
q = 69
pp
mp
Pno.
? 6 bbœw œ œ œ 4 w™™
7 œœ ™™ 8 œ˙˙ nœ œ œœœ œ™
˙™
{
ø
ø
4 ™ bœœœœ 4 œœœw™™ bœb˙˙ ™™ bw > ø
Violin on bridge, a bit more pressure
° Vln. (Uke.) ˚
9 bbœ˙ œ œ œ 8 ˙™™
œœ ™™ œ™
ø
2 ‰™ 4 b˙˙ œbœœ b˙ ø
ord.
œ œ œ
&
6 p
pp
bœ œ
? nœ
bœ
Vc.
¢ o
o pp 5
Play.
° ¢/
6
mf
7 8
7 Alto Flute ord.
A. Fl.
° &
∏∏∏∏∏
Uke.
œ ˚
œ œ
œ
œœœ œ
&
#œ œ o pp
œ
Bass Clarinet ord.
quasi gliss., muffled and unstable
œ ?
œ
#œ œ
B. Cl.
¢˚
œ
o bœ
Vib.
o p
œ mp
ppp
∏∏∏∏
œ œœ œ
p
∏∏∏∏
œ
° &
o
pp
#œœ œ
nœ
mp
p
p
∏∏∏∏
pp
œ nbœœ mp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
>pœ q = 72
7 &8
q = 58
4 4
6 4
7 4
ppp
pp
q = 66
ppp
pp p
9 8 ppp
pp
pp
Pno.
œ 4 œ ™™ bœ ™ nœ œ œœ œ™ œ œœ ™™ bœœœ 4 œœw™ b˙˙ ™ bw ø
? 7 œ˙ 8˙ ø
{
6 4 bbœw w™™
7 4
˙™
œ œ œ
9 8
œ˙ ™ nœ œ œ w w ˙™ w ø
ø Uke.
° Vln. &
˚
∏∏∏
œ œ
œ œœ
o
bow between L.H & nut, slight overpressure resulting in multiphonic I
p
-œ
?
bœ
bœ œ
“”O
bœ
œ.
œ
œ
œ œœ
œ
œ
#œ #œ
œ #œ
#œ &
Vc.
¢ p
mf
=
E A. Fl.
° & very slow, irregular trill w/ register key activating high harmonics
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? B. Cl.
¢ bœ pp
bœœœ
› Glock. & bœ
mp
pp
(Vib.)
° &
∏∏∏∏
œ
œ bœ bœ
p
p
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
eee / ˝ ¢
œ >pœ
mp
E q = 69 2 4
q = 58
9 &8
q = 72
7 8
ppp
pp
mp
q = 76
2 4
3 4
ppp
pp
p
mp
pp
mp
bœbœœ
‰™ ˙˙ ˙
Pno.
? 9 bœ 8 b ˙˙™™
{
œ œ œ
2 ‰™ 4 b˙˙ b˙
œœœ™™™
ø Vln. (Uke.)
œbœ œ
ø
7 8 œ˙˙
œ nœ œ œœ œ™ œ œœ ™™ bœœœ
ø
ø
2 ™ 4 œœœ˙ ™™ b˙ >
ø
° ˚ ord. (between L.H. and nut)
bœ.
O
bœ œ
bœ
bœ.
œ
œ
?
œ œ
Vc.
¢& p
mf 6
Play.
° ¢/
6
œ
œ œnœ
3 4
8
A. Fl.
° & œ o
pp
#œ <Ÿ>~~~~~~~~~
ord.
? œ B. Cl.
¢ o
bœ pp
Vib.
°› &
bœ & ppp mp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
œ œ >œ p
pp mp
q = 58
q = 80
3 &4
q = 69
q = 58
2 4 p
q = 58
2 4
9 8
2 4
pp
ppp
pp
q = 76
11 8 ppp
pp
ppp
pp
mp
mp
Pno.
? 3 bbœ˙ 4 ˙™™
{
‰™ b˙˙ œbœœ b˙
2 œ™ 4 nœœ˙ ™™ œœœ ˙ > ø
œ œ œ
ø
11 œw nœ œ ˙ 8 w
ø
œ™ œœ ™™
° ˚
‰ ™ œœœ ˙˙ ˙
9 bbœ˙ 8 ˙™™
ø
ø
œ œ œ
œœ ™™ œ™
2 4
ø
Violin lateral bowing, as before
(Uke.)
œ ∏∏∏
Vln. (Uke.)
2 4
œ œœ
&
66
p pp slow, variable trill
Ÿ~~~~~~~~~~~ O œ
? œ
Vc.
bœ
œ
¢
o pp
Play.
ppp
° ¢/
=
F WT A. Fl.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
° & O multiphonic (pitch approx.) ZX `DF|hjl
?
pp ord.
?œ
œ &#œ
B. Cl.
¢
ppp
p
ppp
pp
bœ
bœ œ
bœ ∏∏∏∏
(Vib.)
° &
#œœ œ
p
mp
ppp
Perc.
ee e ¢/ ˝
œ >œ mp p
q = 69
q = 66
2 &4
q = 63
3 4
3 8
F 4 4
(69)
q = 80
(63)
7 16
4 4
7 8 p
pp
pp
ppp
mp ppp poco Pno.
? 2 b‰˙™ 4 ˙ b˙
œbœ œ
{
ø
3 4
œ˙ ™ ˙™ ø
nœ œ œ
3 8bϪ
4 4 œ bw w
œ
ø
(lat.)
Vln.
œ
œ
7 16 œ œœ ™™™™ œ ™™
j 4 œœ ™™ œ ˙ ™ bœ ™ 4 œw™ ˙ ™ w > ø Uke.
° & ˚ 6 6 O œ
∏∏∏
2 P. Gng [ Brush 2 B. Dr.[
œœ
p
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
muffled and unstable
#œ
Vc.
¢ p
ppp
pp
7 8
Alto Flute molto vib. slow
(WT)
Uke.
9
A. Fl.
° &
∏∏∏∏∏
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ œ
˚
œœœ œ
&
œ
O p
p
#œ œ
œ
? &œ
B. Cl.
¢ o pp œ œ
° (Vib.) &
› Glock. & bœ
ppp
pp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
œ >œ
>pœ q = 69
p
q = 72
7 &8
q = 76
2 4
q = 69
6 4
2 4
ppp
pp
mp
mp
11 8 p
p
2 4
pp mp
pp
ppp
pp mp Pno.
2 ™ 6 ‰™ ™ œœn˙ 4 œœœ˙ ™™ bœbœœ 4 w w w ™™ b˙ > ø
? 7 œ˙ œ œ œœ œ™ œ 8˙ œ œœ ™™ bœœœ
{
ø
ø
œ œœ b‰˙™ œbœœ b ˙˙
2 œ™ 4 œœ˙ ™™ ˙ > ø
˙™
11 œw 8 w
ø
nœ œ ˙
2 4
œ™ œœ ™™
ø
Violin ord., grace notes pitches approx. just inflection, don't sit on the grace notes Vln. (Uke.)
° ˚
œ œ & œ
b œ-. œ
œ
n œ. b œ
œ bœ
œ
bœ
nœ
œ
p espress., in rilievo
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O ord. œ
œ ? œ Vc.
¢
œ
o
o p
ppp
p
ppp
7
Play.
° ¢/
6
=
G (molto vib.) slow
fast
(vib.)
fast A. Fl.
° & œ
œ
o
o p
œ B. Cl.
¢& °› &
#œ o pp (Glock.)
œ bœ
œ œ
bœ œ pp Perc. p 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
ppp
œ
œ œ >œ
mp
p
q = 76
2 &4
q = 58
mp
G q = 69
q = 80
3 4
mp
q = 76
2 4
11 8 p
pp
2 4
3 4
pp
ppp
ppp
pp
mp
mp
mp
Pno.
? 2 ‰˙™ œ œ œ 4˙ ˙
{
3 4 bbœ˙˙™™
ø
ø
œ œ œ
2 œ™ 4 nœœ˙ ™™ œ œœ ˙ > ø
‰™ b˙˙ b˙
œbœ œ
ø
11 œw 8 w
nœ œ ˙
œ™ œœ ™™
ø
2 ‰™ œ œ œ 4 ˙˙ ˙
3 4
ø
Vln.
° & ˚
∏∏∏∏∏
Uke.
œœœ œ
p ord.
III between L.H & nut, as before
O œ ?
?
œ bœ
nœ
&
Vc.
¢ o p
mf
p
pp
o ppp
Alto Flute timbral trill slow
10
fast Ÿœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ
A. Fl.
∏∏∏∏∏
Uke.
° &
œ œ ˚
œ
œœœ œ
ord.
&
œ o
œ
p pp
∏∏∏∏∏
Uke.
œ B. Cl.
¢&
œ œ
˚
œ
œ
œœœ œ
o p
°› &
(Glock.)
œ œ #œ
œ œ
œ œ
œ p
pp
p
ppp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
eee / ˝ ¢
œ >œ
>œ
p
mp p
q = 58
q = 80
3 &4
q = 69
q = 72
2 4
7 8 p
q = 76
2 4
7 8
pp mp
ppp
pp
mp
mp
ppp
pp
p
pp
Pno.
? 3 bbœ˙ 4 ˙™™
œ
2 œ™ 4 nœœ˙ ™™ œ œœ ˙ >ø
œ œ
{
‰™ b˙˙ b˙
ø
ø
‰™ ˙˙ ˙
œ 2 œ ™™ bœ nœ œ œœ œ™ œ œœ ™™ bœœœ 4 œœ˙ ™ bœœ b˙ ø >
7 8 œ˙˙
œbœ œ
ø
œ œnœ
7 8
ø
arco battuto (with bow hair), variable speed and dynamic Violin Uke.
° ˚
œ œ œœ
œ &
œ o pp
p—mf
bœ.
bœ bœ
œ ?
œ
œ #œ œ
nœ bœ œ œ bœ
Vc.
bœ
¢
nœ bœ
p 8
Play.
° ¢/
6
=
A. Fl.
° & œ
o B. Cl.
¢˚ °› &
Vib.
œ œ
(Glock.)
œ & ppp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
œ >œ p
q = 63
mp
q = 80
7 &8
q = 69
2 4 pp
>œ p q = 72
7 8 pp
p
q = 76
q = 58
2 4
mp
ppp
mp
3 4
2 4
mp
ppp
ppp
pp
pp
p
pp
Pno.
? 7 bœ 8 b ˙˙
{
ø
œ œ œœ œœ ™™ nœœœ 42 œœœ ™™™ œœœ œ œ™ œ ˙˙ ø >
‰™ œ b˙˙ bœœ b˙ ø
‰ ™ œœnœ ˙˙ ˙ ø
7 œœ ™ bœœœ 42 œœœ ™™™ bœbœœ 8 œ˙˙ nœ œ œœœ œ™ ™ œ b ˙˙ ø ø
3 4 bbœ˙˙™™
œ œ
œ
ø
(batt.)
Vln.
° &
œ œ œ œ
bœ
-
bœ.
bœ nœ
?
œ œ bœ
Vc.
¢ p
Play.
° ¢/
œœ
œ
bœ œ
œ #œ
œ
2 4
11 (molto vib.) slow
H A. Fl.
fast
° & œ o
&
B. Cl.
¢˚
p Bass Clarinet multiphonic ZX `DF|hjl
ord.
œ #œ
œ
œ ppp ppp
p
pp
bœ bœ
œ ∏∏∏∏
(Vib.)
° & ppp
œ #œœ œ
p
mp
p
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
œ >œ
>œ mp
p p
H q = 52 2 b-œ -œ &4 œ œ œ 11
q = 69
mp
q = 72
7 8
q = 76
2 4
mp
q = 80
2 4
mp
ppp
pp
q = 63
7 8 ppp
pp p
4 4
pp
p
pp
mf Pno.
? 2 œnœœbœ 4 œ >ø ° Vln. &
‰™ b˙˙ œbœœ b˙
{
p
œ 2 œ ™™ bœ œœ œ™ œ œœ ™™ bœœœ 4 œœ˙ ™ bœœ b˙ ø >
7 8 œ˙˙ nœ œ
ø œ œ œœ
‰ ™ œœnœ ˙˙ ˙ ø
ø
7 8 bbœ˙˙ ø
œ œ œœ œœ ™™ nœœœœ 42 œœœ˙ ™™™ œœœ œ œ™ ˙ > ø
4 4
arco battuto as before ord.
œ
bœ
œ o
p—mf pp between L.H & nut, as before
“” O
œ
&
Vc.
˚
¢ p
mf
∏∏∏
II
?
Uke. open strings, l.v. sempre
p
œœ œ
p
=
I ord. A. Fl.
° & #œ o pp reg. key tr. as before
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ? B. Cl.
¢& o
bœ pp
bœ ∏∏∏∏
Perc. 2 P. Gng [ Brush 2 B. Dr.[
bœ ∏∏∏∏
(Vib.)
° &
œœ œ
mp
œ bbœœ
p
mp
p
œ
eee / ˝ ¢
>œ p
I 4 &4
q = 63
q = 69
œ b-œ bœ œ
q = 72
7 8
bœœ 5
mp
q = 76
2 4 pp
q = 63
q = 80
7 8
ppp
2 4 ppp
pp p
pp
p mp
Pno. mf
bœ bœ œ œ œ™
?4 4
{
b œ> ø
7 8 œ˙˙
œ œ œœ œ
œœ™ œ ™™
p
ø
2 ™ bœœœœ 4 œœœ˙ ™™ bœbœœ b˙ >ø
∏∏∏∏∏
˚
ø
7 8 bbœ˙˙
œ œ œœ œœ ™™ nœœœœ 42 œ œ™
ø
ø
Violin lateral bowing, as before
Uke.
° Vln. &
‰ ™ œ œnœ ˙˙ ˙
œœ œœ
&
66
p Cello ord.
pp
œ.
œ ?œ
#œ bœ
nœ
Vc.
¢˚ o
o
pp
ppp 9
Play.
° ¢/
6
mf
œ. œ
12
J A. Fl.
° & < >~~~~~~~~~~~~ ? Ÿ
B. Cl.
¢ bœ
bœ bœ ∏∏∏∏
(Vib.)
° &
œ bbœœ mp
ppp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
œ œ >œ p
mp
>œ p
pp
J 7 4
q = 66
2 &4
bœ œœœ b œ œ œ
-œ b -œ -œ œ œ œ
mp
Ϫ q = 72
q = 76
2 4
7 8
œ 5
pp
pp mp
mp
Pno. mf p
?2 4
{
‰™ œ b˙˙ bœ œ b˙
œœœ ™™™ œ œœ ˙˙ >
bœ œnœ œ
7 4 Ϫ
œ> “ø‘
ø
‰ ™ œ œnœ ˙˙ ˙
œ 2 œ™ bœœœ 4 œœ˙ ™™ bœbœœ R b˙ > ø
7 8
ø
on bridge, as before, even more overpressure Vln.
° & 6 mp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ŸO œ
œ #œ
-œ.
œ
?
œ #œ
#œ
nœ œ
Vc.
¢ ppp
Play.
p
° ¢/
=
K Ÿœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ
timbral trill, slow
A. Fl.
° &
p
∏∏∏∏∏
Uke.
? œ œ B. Cl.
˚
¢
œ
œœœ œ
p Glock.
nœ ∏∏∏∏
(Vib.)
° &
› &
nn#œœœ
œ œ
œ œ
p
mp
p
pp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
eee / ˝ ¢
¿ ¿ œ > p
q = 63
mp
q = 80
7 &8
mp
q = 69
2 4
K q = 48 2 4
q = 66
3 4
q = 76
- b-œ œ œ bœ
7 8
bœ mf 11
pp
ppp
ppp
pp p
pp mp
mp
Pno.
? 7 bbœ˙ 8 ˙
{
nœœœ 42 œœœ ™™™ œ œœ œ ˙˙ ø
œ œ œœ œœ ™™ œ œ™
ø
‰™ b˙˙ b˙ ø
œbœ œ
3 4 œ˙˙ ™™
nœ œ œ
ø
bœ 2 4 bœ œ œ b œ> ø
arco battuto as before
œ œ œ œ
° Vln. & 6
p—mf
O œ
œo
<Ÿ>~~~~~~~~~~~~~~~~~~~~ III
? œ
Vc.
¢ ppp
pp
p
‰™ ˙˙ ˙ ø
œœœ
7 8
13
A. Fl.
° &
ord. quasi gliss., grace notes pitches approx. just inflection, don't sit on the grace notes
fast <Ÿ>~~~~~~~~~ œœ
L WT
œ
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
œ œ œ
œ o
O p pp Bass Clarinet ord.
∏∏∏∏∏
Uke.
bœ &
B. Cl.
˚
¢˚
œœœ œ
œ œ
o p
°› &
p
(Glock.)
bœ bœ
bœ bœ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
pp
p
eee / ˝ ¢
œ œ >œ p
q = 63
mp
q = 80
7 &8
>œ p
pp
L 4 4
q = 69
2 4
7 8
2 4
q = 76
-œ bœ œ œ œ œ
7 8
5
ppp
pp
ppp
pp p
pp
p
pp
mp Pno.
? 7 bbœ˙ 8 ˙
œ œ œœ œ
{
ø
œœœ™™™
‰™ b˙˙ œbœœ b˙
nœœœ 42 œœœ ™™™ œœœ œ ˙˙ ø
7 œœ ™™ bœœœœ 42 œœœ˙ ™™™ bœbœœ 8 œ˙˙ nœ œ œœœ œ™ b˙
ø
ø
œ >mf ø
ø Violin ord.
(batt.)
œ œ œ œ œo
° Vln. &
4 4
bœ nœnœœ œ™
7 8 p
bb Oœ
&
œO o
o
pp
pp
Uke.
∏∏∏∏∏
Cello
? Vc.
˚
¢
œœœ œ
?
œ
o p
pp
10
Play.
° ¢/
6
= (WT)
Alto Flute ord.
Uke. A. Fl.
° &
∏∏∏∏∏
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ œ
˚
œ
œœœ œ
&
œ O p pp
B. Cl (Uke.)
∏∏∏∏∏
Bass Clarinet quasi gliss., muffled and unstable
¢˚
œœ œœ
? #œ
p
° Perc. ee ¢ / e ˝
pp
œ œ 6
>œ
2 P. Gng [ Brush 2 B. Dr.[
p
q = 63
q = 80
7 &8
>pœ
mp
q = 69
q = 72
2 4
7 8
ppp
pp
q = 76
2 4 pp
p
mp
7 4
ppp
pp
p
pp
mp
mp
Pno.
{
ø ° Vln. &
œbœ œ
7 8 œ˙˙
nœ œ œœ œ™ œ œœ ™™
ø Oœ
‰™ ˙˙ ˙ ø
œ 2 œ™ bœœœ 4 œœ˙ ™™ bœbœœ b˙ ø
œ œnœ
7 4
Uke.
œ œ
˚
∏∏∏
œ œ œœ œœ ™™ nœœœœ 42 œœœ˙ ™™™ œ œœ œ œ™ ˙ ø
? 7 bœ 8 b ˙˙
‰™ b˙˙ b˙ ø
œœ
o o
p pp
pp II
?
œ œ
Vc.
o &œ
¢ o
o pp
Play.
° ¢/
14
M A. Fl.
∏∏∏∏∏
Uke.
° &
œ œ #œ
œ
˚
œœœ œ
œ
o p
œ ? œ B. Cl.
¢
œ
o
o p
°› &
Vib.
bœ œ
œ
& ppp
Perc.
p
eee / ˝ ¢
2 P. Gng [ Brush 2 B. Dr.[
œ >œ mp p
-œ b -œ b -œ ˙ œ bœbœ bœœœ b œ œ œ
M q = 60 7 &4
q = 80
q = 69
5 8
q = 72
2 4
7 8
2 4
bœ 5
ppp
pp
p
ppp
pp
mp
mf
Pno.
p
2 ‰™ 4 b˙˙ œbœœ b˙
3
bœ bœœ œ
?7 4
{
b œ> “‘ ø
5 j 8 bœ œ œj œ -
œ™ ø
ø
7 œœ ™™ 8 œ˙˙ nœ œ œœœ œ™ ø
2 ™ bœœœœ 4 œœœ˙ ™™ bœbœœ b˙ > ø
Violin Vln. (Uke.)
° ˚
œ œ œ &
œ pp
œ ? bœ
œœ
œ bœ
œ
œ.
œ bœ
nœ œ
œ
œ œ
œ.
œ bœ
Vc.
nœ œ
¢& p espress. 11
Play.
° ¢/
6
=
N Uke. Alto Flute A. Fl
° ˚
œ & ˚
œ
œ p
o pp Bass Clarinet ord.
˚
¢
œœœ œ
∏∏∏∏∏
? B. Cl.
∏∏∏∏∏
Uke.
œ œ
œœœ œ
?œ pp
p
∏∏∏∏
° (Vib.)bœœ & œ mp Perc. œ ee e ¢/ ˝
œ œ
2 P. Gng [ Brush 2 B. Dr.[
mp
mp
q = 76
q = 58
3 4
&
ppp
pp mp Pno.
? ‰˙™ œœnœ ˙ ˙ ø ° Vln. & œ
{
>œ p
3 4 bbœ˙˙™™
œœ
œ
ø
N q = 52 - -œ 2 4 œ œ bœ œ 11 mf œbœ 2 4 œnœ œ p >ø
q = 69
q = 72
11 8 p
pp
œœœ œœœ ™™™ œœœœ œ œ™ ø
2 ™ 4 œœœ˙ ™™ bœbœœ b˙ >
mp
11 b‰w™ 8 w bw
mp
œbœ˙ ™
ø
œ
œ nœ
bœ
œ œ bœ
bœ œ
œ œ
Play.
° ¢/
‰ ™ œœnœ ˙˙ ˙ ø
o
pp
œ # œ. bœ
¢
7 8
œ œ œ.
?
q = 76
2 4
o Vc.
mp
7 8
15
O A. Fl. (Uke.)
° ˚
∏∏∏∏∏
Alto Flute
œ œ
œœœ œ
& ˚
œ o pp
?
œ
? &œ
B. Cl.
#œ
¢ o
o
pp
› Glock.
° &
&
#œ œ
œ œ œ œ
pp
p pp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
œ
ee e ¢/ ˝
>œ p
q = 63
mp
O q = 66 4 4
q = 78
7 &8
2 4
q = 69
œ b-œ bœ œ bœœ 5 bœ bœœœ œ™
ppp
pp
p
pp
Pno. mf
? 7 bbœ˙ 8 ˙
œœœ™™™
œ œ œœ œ
{
nœœœ 42 œœœ ™™™ œœœ œ ˙˙ ø
ø
4 4 b œ> ø
q = 76
11 8
2 4 ppp
pp
mp
11 œw 8 w
œ œ ˙
2 ‰™ œ 4 ˙˙ œœ ˙ ø
œ™ œœ ™™
p
ø Uke.
° &
œ ˚
∏∏∏
Vln.
œ œœ
&
p muffled and unstable
œ ?
#œ œ
Vc.
¢
œ
o
o
pp
Play.
p
° ¢/
=
P ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Alto Flute WT
∏∏∏∏∏
Uke.
° A. Fl. œ (Uke.) ˚
œ œ
œœœ œ
& O
p pp reg. key trill, as before ord. air, as before
Ÿ~~~~~~~~~~~~~~~~~~~ ? 6 B. Cl. ¢
œ #œ
&
?
bœ pp pp
p
pp
pp
Vib.
bœ bœ
œ ∏∏∏∏
° › (Glock.) & œ
&
n#œœœ
œ p
ppp
p
mp
Perc. 2 P. Gng [ Brush 2 B. Dr.[
ee e ¢/ ˝
œ >pœ
mp
-œ b œ- -œ œ
Ϫ
5"
U ∑
2 4
&
bœ œ œ œ œ bœœ œ œœ
P 7 4
q = 66
q = 72
2 4
5
pp mp Pno. mf p
U ∑
?
{
2 ‰™ 4 b˙˙ b˙
bœ œnœœ
7 4
œbœœ
œ> “‘ ø
ø
2 ™ bœœœœ 4 œœœ˙ ™™ bœbœœ R b˙
Ϫ
ø on bridge, a bit more pressure
Violin
° Vln. &
œ œ
6 o
pp p
bœ œ ?
œ.
bœ.
bœ
œ
œ
bœ œ
bœ.
bœ
œ
Play.
¢ ° ¢/
p espress. 12
6
bœ.
bœ nœ œ
œ œ
Vc.
œ
bœ
œ. œ
œ.
16
Q ord. A. Fl.
° &
œ œ o pp
< >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Ÿ
Uke.
B. Cl.
œ
˚
¢ bœ
p Vibraphone
œ œ
Brush
° Perc. & ¢
/œ
& ppp
pp
3"
2" q = 88
U ∑ &
Q q = 48 2 4
q = 66
U ∑
4 bœ bœ œ 4 œ bœ œ œ
3 4
œ b-œ bœ bœœ
mf 11
ppp
pp Pno. 7
pp
U ∑
?
{
U ∑
7 bœbœœœbœ œœbœbœœ œb œ œ œ b œ
4 4
3 4
bœ 2 4 bœœœ b œ> ø
œ˙ ™ œ œ œ ˙™
7
bœ™ °
p
° (on bridge)
ord. muffled and unstable Vln.
° &
œ œ bœ 6
œ
o
o
pp
bœ.
œ. œ bœ
?
b-œ
Cello Uke.
œ
œ
?
œ œœ
œ
p
pp
Vc.
˚
¢
Play.
p
° ¢/
=
R
∏∏∏∏∏
A. Fl.
° & œ œ
B. Cl.
¢˚
œœœ œ
° œ ee ¢ / e mp ˝
œ œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
>œ p
q = 76
q = 63
&
mp
q = 80
7 8
>œ p
pp
R q = 76 4 4
q = 69
2 4
11 8
2 4
b-œ œ œ œ œ œ
3 4
5
pp
ppp p
pp
p
mp
pp
mp
mf
Pno.
? ‰˙™ œœœ ˙˙
{
ø
7 8 bbœ˙˙
œ œ œœ œœ ™™ nœœœ 42 œœœ ™™™ œœœ œ œ™ œ ˙˙
ø
11 b‰w™ œbœ˙ ™ 8 w bw
ø
ø
œœ œœ
œœ ™™ bœœœ 42 œœœ ™™™ bœbœœ œœ™™ œ b ˙˙ ø
4 4 œ >ø
bœ nœnœœ œ™
3 4 p
arco battuto as before Vln.
œ œ œœ
° &
p—mf
œ ? œ
Vc.
¢ o 13
Play.
° ¢/
6
17
A. Fl.
° &
œ œ œ o pp
pp
∏∏∏∏∏
(Uke.)
œ œ B. Cl.
œ
¢˚
œœœ œ
p Glock.
› &
(Brush)
° Perc. / ¢
6
œ ppp
4"
4"
q = 58
q = 66
U ∑
3 &4
3 4
ppp
pp
U ∑
9 4
U ∑
9 4
ppp
pp
Pno.
U ∑
? 3 bbœ˙ œ œ œ 4 ˙™™ ø ord. muffled and unstable ° Vln. & œ bœ o pp
{
3 4
œ˙ ™ ˙™ ø
œ œ œ
ord.
œ
œ œ œ pp
o p Cello
Uke.
œ ?
? bœ
œ Vc.
˚
¢
p
Play.
œ
œœ mf
° ¢/
=
S A. Fl.
∏∏∏∏∏
Uke.
° &
œ œ œ
˚
œœœ œ
œ
o
p Bass Clarinet ord.
œ &
B. Cl.
¢˚ œ pp
°› Perc. ¢&
Sm. P. Gong Brush (Glock.)
œ œ /
œ mp
S 9 &4
-œ b -œ w b œ œ
q = 60
pp
6" q = 69
œb œ b œ œ b œ œbœ
2 4
U ∑
7 8
U ∑
7 8
bœœ 5
mp Pno. mf p
2 ‰™ 4 b˙˙ œbœœ b˙
bœ bœœœ
?9 4
{
b œ- œ™ “>‘ ø ° Vln. &
ø
œ œ
o White noise
?
œ œ bœ
nœ
bœ
œ
œ #œ
nœ
œ bœ
bœ
Vc.
¢
bœ
nœ
6 pp
Play.
° ¢/
18
T ° ˚
∏∏∏∏∏
(Uke.) A. Fl. (Uke.)
œ œ œ
œœœ œ
#œ œ ?œ B. Cl.
¢& o
o
pp
Vib.
œ œ
œ L. B Dr. Brush
œ ° Perc. ¢ /
œ /
& pp
>œ p
p
5"
T 2 4
q = 69
7 &8
6"
q = 52
q = 72
U ∑
- -œ œ œ bœ
2 4
U ∑
4 4
U ∑
4 4
œ mf 11
ppp
pp
p
pp
Pno.
? 7 bbœ˙ œ œ œ ™ 8 ˙™™™™
{
ø
r 2 ™ bœœœœ 4 œœœ˙ ™™ bœbœœ R b˙ > ø
U ∑
œ bœ 2 4 œnœ œ >ø
p
Violin Uke.
° Vln. &
œ œ
∏∏∏
œ ˚
œ œœ
&
œ p ord. muffled and unstable
pp
(white noise)
œ ?
#œ œ &
Vc.
¢
œ 6
o pp
o
p
14
Play.
° ¢/
6
=
U Alto Flute A. Fl.
° ˚
& œ
œœ œ
œ œ
œ
mf Bass Clarinet
∏∏∏∏∏
Uke.
? œ œ
œ
B. Cl.
œ
˚
¢
œœœ œ
&œ
p
pp Vibraphone
bœ ° /
& p
Perc. 2 P. Gng [ Brush 2 B. Dr.[
eee / ˝ ¢
œ œ pp
mp
11"
U q = 63 4 &4
q = 66
U ∑
œ b-œ bœ œ
2 4
7 4
bœœ 5
mp Pno.
?4 4
{
b œ> mf ø
U ∑
œbœ bœœ œ™
2 ‰™ 4 b˙˙ b˙
7 4
œbœœ
p
ø muffled and unstable
° Vln. &
œ œ
œ o pp
œ o pp between L.H & nut, as before
“O” & ¢
ord.
II
Vc.
p
Play.
° ¢/
Uke.
? ˚
œ mf
p
pp
o
œœ p
19
V A. Fl.
° & œ œ. œ
œ.
œ. b œ
∏∏∏∏∏
Uke.
œ œ B. Cl.
œ
¢&
œ
œ
˚
œœœ œ
o p 2 P. Gng [ Brush 2 B. Dr.[
Perc.
∏∏∏∏
(Vib.)
° ¢&
œ bbœœ
/
ee e ˝ >œ
œ
p
mp
œ
>œ
pp
p
mp
- -œ œ œ -œ b œ
V 7 &4
Ϫ 3" q = 72
œ œœb œ œ b œ œ
q = 76
q = 80
U ∑
2 4
2 4
œœ 5
pp
pp mp
p
Pno. mf
r œœœ 2 œœœ ™™™ œ œœ œ 4 ˙˙ R > ø
p
bœ œ nœœ
?7 4
{
œ> “‘ ø
œ 2 œ™ bœœœ 4 œœ˙ ™™ bœbœœ R b˙ ø
Ϫ
U ∑
‰ ™ œœnœ ˙˙ ˙ ø
on bridge even more overpressure Vln.
° &
œ bœ
6
œ
o
o
mp
p
III
œo Cello
œ ? Vc. (Uke.)
œ œ ¢˚ pp
15
Play.
° ¢/
6
=
W Uke.
∏∏∏∏∏
Alto Flute A. Fl.
° &
œ œ ˚
œ
œœœ œ
&
œ p pp (Uke.) B. Cl (Uke.)
œ œ
œ
œ
¢˚
p Glock.
° Perc. ¢ / eee ˝
› &
œ
2 P. Gng [ Brush 2 B. Dr.[
pp
5" q = 46
q = 63
(69)
(63)
(58)
W U ∑
- b-œ 83 œ œ bœ
&
4 4
bœ mf 11
ppp ppp poco Pno.
U ∑
?
{
bœ bœ œ œ
3 8bϪ
4 4 œ bw w
p
b œ> ø
œ
œ
œw bœ œ w w
œ
œ bw ˙ b˙
ø ord.
° Vln. &
œ 6
œ o pp
œo
? œ
œ
bœ
bœ
Vc.
bœ
¢ o Play.
° ¢/
œ pp
p espress.
bœ bœ
20
A. Fl.
X ° &
œ œ œ pp
o Uke.
∏∏∏∏∏
Bass Clarinet B. Cl (Uke.)
¢˚
œœœ œ
œ œ
œ
&
œ
˚
o pp
°› Perc. ¢&
p
(Glock.)
œ œ œ p
12"
X q = 76 U ∑
- -œ œ œ œ bœ
& œ 5
mf Pno.
?
{ œ >ø
U ∑
bœ nœnœœ œ™
p
muffled and unstable Vln.
ord.
° &
œ œ bœ œœ o pp
o pp
p
Uke.
œ ˚
¢
∏∏∏
? Vc.
œ œœ p
16
Play.
° ¢/
6
= molto vib. slow
Y A. Fl.
° &
ord. fast
œ
œ
œ op
o
o
pp
Bass Clarinet Uke.
? ˚
œœ œœ
œ œ
∏∏∏∏∏
¢˚
œœ œœ
∏∏∏∏∏
∏∏∏∏∏
œ B. Cl. (Uke.)
œœ œœ
o pp
p
° œ ee ¢ / e mp ˝
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
q = 76
&
pp
Y 7 4
q = 60
-œ b œ- b œ ˙ œ bœbœ œœ b œ b œ œ bœœ 5
13"
U ∑
2 4
U ∑
2 4
mp Pno. mf p
bœ ? ‰˙™ œœœ 7 bœœœ 4 ˙˙ b œ- œ™ “>‘ ø ø ° Vln. &
{
œ
œ œ
bœ bœ
nœ
œ
o pp
o ppp pp
Cello Uke. Cello
˚
¢˚
∏∏∏∏∏
œ ? Uke.
œœ œœ
?
œ
o pp
Play.
° ¢/
p
pp
21
Z Uke. A. Fl.
° &
œœ œ
˚
∏∏∏∏∏
(Uke.)
œ
œœœ œ
œ œ
p Bass Clarinet
p
#œ œ
?œ
?œ
nœ
pp
o pp
&
B. Cl.
¢˚ o pp
° ee ¢ / e ˝
œ
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
pp
Z 2 &4
- -œ œ œ bœ
9"
10"
U ∑
U ∑
U ∑
U ∑
œ 11
mf Pno.
? 2 œœœbœ 4 œ >-ø
{
p
Uke.
œ œ œ
˚
o
∏∏∏
° Vln. &
œ œœ
p muffled and unstable
œ ?
#œ œ œ
Vc.
¢
œ
o
o
o
pp
p
°/
?
bb œ
ì7 œ8
Where the
Play. 17
6 ¢/ =
A1 Follow playback for coordination A. Fl. (Uke.)
° ˚
œœœ œ
œ
nœ ? &
B. Cl.
¢ ° ee ¢ / e ˝
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
A1
q = 60
& Pno.
?
{ Vln.
° ˚ ?
Vc.
¢ q = 50
°? b 7 b 8
q = 60
œ œ
j œ
œ œ œ
œ™ œ
œ
œ
œ
4 4
œ œ
œ
œ
œ œ
œ
œ
j œ
œ Fra -
Play.
¢/
ser
ri - ver
flows,
j œ œ
each
fel - low
work - er
knows,
they
have
bul - lied
and
op - pressed
us,
but
5 4
22
A. Fl.
° ˚
B. Cl.
¢&
bb
U Œ
5 œ. 4 œ œ. œ œ œ œ
?
œ o
≈ œ œ œ œ
‰œ
9 œ 8
U Œ
‰ œ
œ
œ
œ œ œ œ
œ
U Œ
pppp very loose and messy don't stick exactly with the tape
° ee ¢ / e ˝
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
& Pno.
?
{ Vln.
° ˚ ?
Vc.
¢ q = 50
q = 60
U Œ
°? b 5 b 4
q = 48
U Œ
‰
≈ œ
œ œ œ
œ
œ
œ œ œ œ œ
9 8
œ œ
œ œ œ œ œ
œ œ œ œ
œ
boys,
for
œ
Play. still our u - nion grows.
And
we're
gon - na find
a way,
short - er hours
and
high - er
pay,
boys,
and
we're
¢/
=
B1 A. Fl.
° ˚
? b9 œ. œ œ œ œ œ œ œ B. Cl. ¢ b 8 œ . ° eee ¢ / ˝
œ
œ 45 œ œ œ œ™ œ
U Œ
‰
13 4 j 4 16 œ œ™ œ œ œ œ. œ œ œ œ
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
B1 & Pno.
?
{ Vln.
° ˚ con sord.
™ j 4 . 13 bb œ œ 16 œ œ œ œ œ œ œ œ 4
? Vc.
¢ pppp very loose and messy don't stick exactly with the tape q = 60
°? b 9 b 8
q = 52
œ œ œ
œ
œ
œ œ œ
5 4
q = 63
œ œ œ œ™
U Œ
13 16
‰
œ
œ œ œ
4 4 œ
Ϫ
œ œ
j œ œ œ œ œ œ
Play. gon - na
¢/
win
the
day,
boys,
where
the
Fra - ser
ri - ver
flows.
Fel - low
work - ers
pay
at - ten - tion to
23
A. Fl.
° ˚ ? bb 4 4
B. Cl.
œ œ™ œ
¢ ° ee ¢ / e ˝
U Œ
13 5 œ. œ œ œ™ ‰ œ œ 16 œ œ œ œ œ œ œ œ 4 œ œ œ œ. œ œ
‰
j œ
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
q = 60
q = 56
q = 54
& Pno.
?
{ con sord.
° Vln. ˚
b j œ
&b
pppp very loose and messy don't stick exactly with the tape
? bb 4 œ œ™ œ 4
Vc.
¢
œ. œ œ œ ™ ‰ œ œ 13 œ œ œ œ œ œ œ œ 5 œ œ œ œ. œ œ 16 4
q = 60
°? b 4 b 4
q = 56
‰ œ™
œ
œ œ
13 16
U Œ
‰ œJ
U Œ
‰
q = 54
5 4œ
œ œ
œ
œ œ œ
œ œ™
œ
œ
j œ
œ
œ œ œ
œ
œ œ œ
work - ers
of
the world.
Play. what
I'm
gon - na
men - tion,
for
it
is
the
clear
con - ten - tion
of
the
And
¢/
=
A. Fl.
° ˚ U Œ
? bb
B. Cl.
¢
œ
° ee ¢ / e ˝
œ. œ œ œ œ œ™
‰ j œ œ œ
U œ. œ œ œ œ œ™ Œ U œ. œ œ œ œ œ ™ Œ -
‰ j œ œ œ ‰œ œ œ J
œ™ œ œ œ œ œ -
U Œ
j4 œ 4 œ œ. œ œ œ œ œ œ .
œ ™ œ 45
œ™ œ 5 4 œ™ œ 5 4
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
& Pno.
?
{ Vln.
Vc.
° b &b œ ?b œ ¢ b q = 66
œ J œ J
4 œ œ. œ œ œ œ 4 . œ œ . œ 4 œ œ œ œ œ. œ œ 4
U Œ
j œ
4 4
q = 58
U Œ
°? b b œ
U œ™ œ œ œ œ œ Œ œ™ œ œ -œ œ œ U Œ
œ
‰ j œ
œœ œ œ
œ
q = 66
œ™ œ œ œ œ œ
œ
Ϫ
œ
when
the
œ œœ œ œ œ œ
œ
Ϫ Play. we
¢/
should
all
be rea - dy,
true heart - ed,
brave, and
stea - dy,
to
ral - ly round
the stand - ard
5 4
24
C1 A. Fl.
° ˚
bb œj 44 œ œ ™ œ œ œ œ ‰ œ
œ
œ œ œ œœ œ
‰ œj 45
œ œ
o p pppp very loose and messy don't stick exactly with the tape
U 5 ? b œ œ B. Cl. ¢ b 4 œ œ™ œ Œ ° eee ¢ / ˝
4 ‰ j ‰ œ œ 4 œ œ œ œ œ œ œ™ œ œ œ ™ œ œ œ œ
‰ œ
œ œ œ œœ œ
‰ j 45 œ œ
œ
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
C1 & Pno.
?
{ Vln.
Vc.
° bb 5 œ œ œ œ U œ™ Œ & 4 œ ? bb 5 œ œ œ ™ œ U Œ 4 ¢
4 j œ 4 œ œ œ œ œ œ œ™ ‰ œ œ œ ™ œ œ œ œ ‰ œ œ 4 œ œ œ œ œ œ œ ™ ‰ œ œ œ™ œ œ œ œ ‰ œ 4 J
‰ œ ‰ œ
q = 60
°? b 5 œ b 4
q = 52
U Œ
red flag is un furled.
Play.
4 4
‰
œ œ œ™ œ œ
œ
Where
the
q = 56
‰ œ œ œ œ œ œ œ™ Fra - ser
œ œ œ œœ œ œ œ œ œœ œ
ri - ver flows,
j œ
‰ œj 45
œ œ
œ ‰ œJ 45
œ q = 60
Ϫ
‰ œ
œ
œ
‰ œ
œ
œ œ œ
œ œ œ œ
j œ
œ œ
each
fel - low
work - er
knows,
they
have bul - lied and
op
pressed
us
but
¢/
=
A. Fl.
U Œ
° bb 5 ˚ 4œ
œ œ
B. Cl.
œ
U Œ œ
œ
œ. œ œ
œ œ œ
œ œ œ
‰ œ
œ
œ. œ œ
œ. œ œ
œ œ œ
≈
œ U Œ œ
œ
œ
œ. œ œ
? b5 ¢ b 4œ
° ee ¢ / e ˝
U Œ
‰
≈ œ œ œ
œ
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
& Pno.
?
{ Vln.
U Œ
° bb 5 & 4œ
œ œ
? bb 5 œ 4
Vc.
U Œ
‰
œ
œ œ
¢
œ
œ
œ. œ œ œ. œ œ
U Œ
œ
œ
œ
œ. œ œ œ. œ œ
‰
≈
œ œ œ
œ œ œ œ
œ œ œ
U Œ
≈ œ œ œ
U Œ
≈
œ q = 56
U Œ
°? b 5 b 4œ
‰ œ
œ
œ
œ
œ
œ œ
œ œ
œ
œ
u - nion
grows.
œ
œ œ
œ
œ
œ œ
still
Play.
¢/
our
And
we're
gon - na
find
a
way
boys,
to
short - er
5 4
25
U ° bb A. Fl. œ œ œ œ œ œ Œ ‰ œ ˚ U ?b B. Cl. ¢ b œ œ œ œ Œ ‰ œ œ œ
U œ œ œ. œ œ œ œ œ œ Œ ‰ œ . U œ œ œ. œ œ œ œ œ œ Œ ‰ œ .
œ 4 œ œ œ œ™ ˙ 4
U w
œ 44 œ œ œ œ™ ˙
U w
o o
° ee ¢ / e ˝
œ
Perc. 2 P. Gng [ Brush 2 B. Dr.[
& Pno.
?
{ U ° bb œ œ Vln. & œ œ Œ ‰ œ œ œ U ?b œ œ œ œ œ œ Œ ‰ œ Vc. ¢ b
U œ œ œ. œ œ œ œ œ œ Œ ‰ œ . . œ œ œ œ œ œ œ. œ œ œ U Œ ‰
œ 4 œ œ œ œ™ ˙ 4
U w
œ
U w
o œ 4 œ œ œ™ ˙ 4
o q = 48
q = 60
U Œ
°? b b œ
œ œ œ
‰ œ
œ
œ
œ
q = 52
U œ Œ œ œ œ œ œ œ
‰ œ
œ
4 4
U ∑
œ œ œ œ™ ˙
œ hours and high - er pay, boys,
Play.
¢/
and
we're gon - na win
the day,
boys,
where
the
Fra - ser
ri - ver flows.