Page 1

Typographies III: a

"Le silence déjà funèbre d’une moire" - Stéphane Mallarmé, Hommage Á Richard Wagner

Bass Flute

Clarinet in A

<x=x> sempre

 q_xin 3= 63

in 2 

 

2

 

3

(e. = 105) (e.+e.+e.) in 3

                mf ppp p

ppp

Violin

Violoncello

    

Bass Drum Percussion





dead stroke





Piano

 pp    sempre.

  

ppp

 "mp"



"f"

  

 

7

  

scrape with triangle beater



 "mp"

mp

Snare Drum

   

(muted)

pppp

ppp

        

            

  

 

(e. = 105) in 3 (e.+e.+e.)



   

   

       

 

    

  

    

Daniel Bassin

        sf-ppp

 

 

"mp"

        sf-ppp

   "mp"

  



    

    

   

    

   

 mp

 

 

(q+q+q_x) in 3

  p

          p  p  p  w/brushes

(q_x+e+e+e) in 4

 

 

strike Eb8 w/Bb6 crotale

 

       

con sord.

p

 

 Bb6    lower into water  

to marimba

sf-mp

          (e.+q) in2

  

   

 

 

(Winter 2012/2013)

mf

'dead' pizz.

 

"f" mp

'air' noise

"Le silence déjà funèbre d’une moire" - Stéphane Mallarmé, Hommage Á Richard Wagner <x=x> sempre q_x = 63 in 2  in 3      

   

    

'dead' pizz.

 

Riveted Ride Cymbal

ppp

 

p

(q_x+e+e+e) in 4

5

              

'air' noise

(q+q+q_x)  in 3

4

(e.+q) 6 in 2

     

   

 


 

(e.+e.+e.+e.+e.) in 5

2 8

B. Fl.

Cl.

 



9

  

 



         mf p 

  

       mf

10

f, tenuto

     

  

       vib. 11

    

12

    

  

mp, tenuto

mf

     mf

7:5

   

pos. ord. poco sul pont. IV (vib.)

 



 

senza sord.

       

mf

p

 ord.              mp  

sul tasto

   

poco flautando

p

vib.

   

mp

 

mf

  pochissimo

p

Perc.



 

w/ soft mallets





  





Pno.

 

  

(sempre pedale)

  

    

to vibraphone

  

p

mp

  

(loco)



mp









    

poco vib.

       

 

  

    



  

w/rubber mallet

  



      

pp

pp

 

mf

 



   

       mp 

ppp

   p

p

 

 

crotales w/rubber mallet marimba

  

            mp 



 

p

mp, sempre

mf

mp

       

(non-dim.)

crotales w/bow

          

mf

p

  

mp

fp

mp, semplice

         sf

marimba

  



(non-cresc.)

mp, sempre

  poco vib.       

w/bow

   

flz.

(non-dim.)



                      mp 

 7:5         mp



7:5

p

(e.+e.+e.+e.+e.) in 5

marimba

senza motor



15

mf, risoluto

crotales

vib.

14

   

p, poco a poco morendo

          

13

dolce

quasi port.

    

  

mp, tenuto

mp

Vc.

  

mf

mf

Vln.



    

vib.

   


  

    

     f

16

B. Fl.

Cl.

 

  

     mp

 

  

mfp

 mf

 





    p

 

   

4:3

mp

    

      

    

    





  









 

let harmonic 'slip'

 

      

quasi glissando

               mp

pp

  

  mp

  

   p

 

fp

   ff

sf-mf

 

 

leggiero

p

   

  mp

       

mp

sf

mp



poco motor

     



sfp

vibraphone

     

   

  

mp, cantabile

 Pno.

         

                            quasi forte

w/hard yarn mallets

  Perc. 

   

      

  

 4:3       

3

mf, poco a poco cresc.



  

19

sf-mp



   

marimba

  

  

quasi forte

Vc.

17

f

fpp

Vln.

  

 4:3          18

 

pppp

 

L.V. Sempre

             p

       ppp


20

4

Picc.

21

to piccolo

       3

Cl.

mp

Vln.

       mf

Perc.



        

            mf 

   

 

Pno.

    

Piccolo

   

molto sul pont.

 

fppp

       p  mp 





   

      ppp

           



msxghjl[

 

   

    

 

sfz

   

 

sff

 

sfff

p







 

 

          mf

f 3

sffz

   

      

    





in 2   sf-mf 1/2

III II

 

  

  

sf, sec.



     

            

 in 3   

   

poco

sff

sfz

             

port.

  

  

3

           senza motor

 

f, risoluto

             mf

         

         

       

pp



in 2 

25

sf

mf, tenuto

  

in 3

pp

mf

f

   



 

24

       



f

 

23

f

Vc.

22

sf

sf

        sf



 

   

 

sff

   


26

Picc.

(q_x + q + q)

 in 3   

    

  

27

      

  

3    

fmp

5

mp

 

  

 

f



3

port.

 

f, risoluto

tenuto

Cl.

Vln.

   f



 

mp

poco

  



Vc.



   

f



sf

mf

 

sfz

sfz

     

ff

    

       

sf

3             

 

 

(e+e+e+q_x

28



29

   





       fp

mp

f

 

 

p

sfz

    

       mf

mp

   

  

fz

f

p

  

     f

   

        3



mf

p

sf

mf

f

mp

bravura

Perc.



  



    

f

 in 3    

Pno.



          sfz

sfz

        ff

5

f

   

to crotales

 

crotales

 

 

w/ rubber mallets

      3



pppp, sempre L.V.

 (q_x + q + q)  

 

      f, sec. mp 

vibraphone

  

f

      

     

(e+e+e+q_x

ffz

f

   

 

     

 

f

ff

mp

     

  2nd 

   

     

 ff







      

mp

  

  

f

 

  

ff

     f



   

 

 

5

f

mf

            



 

       f mf

tenuto



 

30

(q+e.)

   mf

        

 

  

mf

   



mp

     

mp

   



 


6 31

Picc.

Cl.

Vln.

 in 5  



 

 



  

Vc.

f possibile, risoluto

Perc.





 in5   

 

  

    

mf

 

 

sim.



 

 

 







   

sffz



   

  

 



   



f

 

sim.

   

   

sf

sfz

   

      

to flute

ff

 

mf

    

f, cantabile

Pno.

 

32

sim.

mf, non-dim.



  

  

mf, non-dim.

 



port.  port.

f, risoluto

          veloce

mp    sf

  

6

 

 



   



sfz

    

    

  

   

  

    

ff

3

  

 ff

 sempre

mf

sf

  

crotales w/brass beaters

 


33

Fl.

Cl.

Vln.

 

    

 

  

mp, tenuto

  

 

sff

Vc.

Flute

mf

  

    mf

     mf

  Perc.   

mf, risoluto

 

     

  

 

mp, tenuto



  

mp, tenuto

  

  

 

  

    

34

 

poco sf-mp

 

 

 

 



 



f

mf

  

     mf

   

   f

      

 

    

poco sf-mp

p

 

7

sempre sim.

f non-sforzato

f

   

 

  

 

  

poco sf-mp

f





..........                

SD (muted)

pp

sim.

 

    

10

15

   

vibraphone

 Pno.

    

    mf 

   

 

mp

 

 

          

sf-mp

1/2

    

sim.



    

    

   

........

sfz più piano



 

 


35

Fl.

Cl.



  

poco

mp, cantabile

sf

     

     

sf-mf

Vc.



sf-mf



        

mf

sfz

    

mp

       p f .....

(crotales)

 





         ff

   sempre 

  

p, non-dim.

     



mp



 

sf-mp

      

   

            mp  f

     

3    

37

  

  

    

ord.

S.P.

sf

II III

         

  

f

          L.V. sempre   mf



marimba

        sfz mp   

    

  

sf

mf

     

  

 

gl

crotales



 

f



vibraphone



p

        .......

mf

sffz

    sub.

p

 

 

     mf

 

sfff

        



    



sff

 

sff

       sf

muted at node



gliss.

  

     



        . s is

sfp



vib.

ffp

sf

 

flz.

f

IV

 

 

  

mf

       sf-mp

          sf-mp 

 

    

  

  

         sf-mp 

p

mf

mf

      vibraphone

   

  

mp

f, risoluto

 Pno.

  

sf-mf

L.V. sempre

 



  

mf

       sf-mp

Piccolo

 

  

fp

vibraphone

mf



sim.

      

 Perc.   

36

 

               poco f, risoluto

    



To Piccolo

    

sf-mf

Vln.

    

   



8

        f  sf, sec.

   

marimba



mp

      mp

  

mfp


   

38

Fl.

     

f

Cl.

Vln.

          ff mf        

Vc.

    

 

       

mp, tenuto

  

    

mp, tenuto

vibraphone

 

   

mp

    p

Pno.

        ......

sub.

mp

  

mf



 

 

  



f

 

   

 

mp



mp

  

   

p

   f

           

mp

     p

 

p

f



   

  

mfpp

    mf

     

non-cresc.

mp

 

  

p



   mf

  

      mf

        

  

 

 

p

          

    

      

mf, bravura

f

 

3



Peking Opera Gong

  

 6

mp

       3



 

pp

mp

 

w/med. yarn mallets



sf-mf

         

mf

p, tenuto mp

     

  

  

p

w/ hard wooden mallet vibraphone

at gong edge w ratans

 

sf-mf



  

mp

f, tenuto

  mp

mp

             

  

9

non-dim.

sfmp

  

p

mp

f

  

tenuto

               mp

      

  

dead center vibraphone w/ hard wooden mallet

marimba

ff

 

f

small tam-tam in G



40

......

ff

3

p

  

 

         



  

p

    

   

 

più forte

mp, tenuto

p

Perc.

  

      

  

p

39

ff

fffz



 

    mp

     mf

 sf

 

          pp p    sempre

  

sf-pp

    

 mf         

(sempre pedale)


10

   

  

41

Fl.

Cl.

Vln.



   

 

mp, non-dim.

  

                p, cantabile

   

 3     (vib.)      



w/bow



Pno.

  

       

   

   



 

(normale)

 f

  

 

mf

mf

 Una corda

f

p

      

 

  

p

   

ffz

  

   

           



  

43            f, risoluto

 

    

        

(vib.)

fff

  

   

  

         

            

(sempre f)

mp

mf

       sul tasto

fff

mf

mf, tenuto

    

 

mf

mp

f

     

mf

     

    

f

f

           sff

   sffz 

  

 

      

42

w/med. yarn mallets

sffz

 3            

 

f, tenuto

mp, poco flautando

Perc.

         f poco 

mp, non-dim.

f

Vc.

 

p

 

 

  

    marimba  sf

 

     

      mf

     

  

flz.              f sf  sfp

  

                  sfzp  ff     IV

fff

       mf (vibraphone)

 mp

  

  

  

 

poco vib.         

  

mp

mf

sfz

 

  

   mf

   

 

p

   f

  fp

  crotales 3:5        mp, semplice


44

Fl.

Cl.

Vln.

  

     

  

       

     

    (vib.)        ff mp

  

       f

f

   

p mf

Vc.

       

de-tune IV



  

mf, tenuto

molto

  



 

mp

        

mf

 

 

subito tenuto

molto s.p.

 

 IV       p, sempre

sff



ffz

    crotales                       mp mf p mp

    mf

  

 

.......         mfp

 

ff

  

f

 ff

             f, tenuto  



     fz     

  

 

sffff

     f, tenuto

 

mp

  

        più forte 

3 ff         marimba 

 



 

mf

        3             3           sf-mp  mf  f sfmp

   

11

(vib.)

 

port.

       mf, tenuto

mf

   mp

        mp f

  

mp

 

      

port.

mf, risoluto

  (IV) 3           3

f

mf, espr.

 

3 vibraphone marimba          

crotales

mp

mp

sf-mf

f

 

f

 

47

        

f

        sf-mp f

reinforce, if necessary

      

  (q + e.+ e.+ e.)

46

sf-mf



sff

Pno.

   mp

  

  

vibraphone Perc.

       

45



 (q + e.+ e.+ e.)          

sfff

mf

ff

 





f (sempre pedale)

  



 


48

12

Fl.

Cl.

Vln.

Vc.

 (e.+ q_x + e.)   

     



 

mf, risoluto

sfz

   

   

f

  

 

 

Pno.

   mf

f

port.



port.

 

poco

mfp

  

  

f

 

mf

  

 



       

f

  

 

 

50



 

 

ff

ff

 

 



ff

ff

sempre sim.

sempre sim.



    

     

(sempre sul IV)

re-tune IV

(marimba)



  

 

  

 

 (e.+ q_x + e.)  

mf

non-harm. (vib.)



   



f

Perc.

(e. + e.+ e. + q)

ff

3      

 

49

   





 

mf, risoluto

 

    

sfz



  

     

     

   

   

     

       

mp



3

mf, cresc.

 

 

 

 

fp

   mp

1/2 Ped. 'capture'

 

sempre più forte

 

(e. + e.+ e. + q)

 (e + e.)  

51

 (e + e.)   

 

 

 



 


52

Fl.

Cl.

(q_x + e+ e+ e)   

      ff

tenuto

  

  

ff

tenuto

Vc.

 

  



tenuto

(sim.)

 Pno.

sempre f



3 L.V. sempre

fff

    mf

(q_x + e+ e+ e) 

     

   p

   

    

  



 

 

in 3 

  

  

 

 

 

13

  

  

    

con sord.

sfffz

con sord.







 

crotales

 

w/bow

in 2 

  sff

 

.....

  

fff, risoluto

mf

 (q+ q+ q_x)  

  

  

f

mp



   

56 in 3

  3       

          f, cresc.

ffz

   

  

  

  

tenuto



   

55 in 2

poco a poco cresc.

    

 



ffffz

 Perc.  

 

54 in 3

(sim.)

       

 Vln.

  

 (q+ q+ q_x)    

53

p

 

mp





f

in 3   

 

  

sf

(sempre pedale)

 


<jjjjjjq = q> 57

14

Fl.

Cl.

Vln.

 

"Le bon sens nous dit que les choses de la terre n'existent que bien peu, et que la vraie réalité n'est que dans les rêves."

q = 45

 

-Charles Baudelaire, Les Paradis artificiels

flz.

 

  

7  

(c.s.)



   



    



mp Small tam-tam in G

 w/ hard woooden mallet   Perc.      ff





7

  3    



        7

mf

  



mp

 

 

       

sul tasto



sf-p

    mf p



 Pno.

 

 

f

 

  

3

p

flz. ten.

     

   

mp

II III IV

3



  



f

    sfff

II I

  gliss.      7 p 



       sf-mp

 

f

ffz mf

 

63



3

 

62

 

 

Ride Cymbal

"Le bon sens nous dit que les choses de la terre n'existent que bien peu, et que la vraie réalité n'est que dans les rêves." -Charles Baudelaire, Les Paradis artificiels

3

  

 

61

  

   

 

f

Peking Opera Gong

w/heavy, soft beater

 

 ten.  7                  7

      3

60

sff

<jjjjjjq = q>

q = 45 

   

ppp poco sf-mp

  

 

pp, morendo

7

To Flute

mp

(c.s.) poco sul pont.

poch. senza calore sf-p

mf

Vc.

  

3

  (e=90)

59 Flute

58 vib.

(e. = 60)

p

5







p

 



  

Vibraphone



ppp

7   p 7              mp mf      7

Small Triangle 3



sf

w/ratans at gong edge 3

   

  

    5

mp

(e=90)

 

poco motor

sf

 (e. = 60)     

pppp


 

<q. = e>

 e=40

<x. = q> 64

Fl.

Cl.

q=60

 

3

5

pp, senza calore

msxghjl[

  

  

mf

Vln.

  

7      

mp, tenuto

p

mp

   

3



p

    

7



66

67

 (x=80) 

 

68

69

  

fp

pp



pp

sfmp

3   

 

Quasi fermata

65

   

f

molto s.p.

mp

molto tasto



  f

       3

5

p

    



 

15

         mp

p

mf

3

    

 

  

ppp

  

 

           p

 

senza sord.

3

pp

f, tenuto

Vc.

3

5

p, senza calore

 7   

mp, tenuto

 

p



Perc.

     ppppp

 

    

 

mp

3

 



 

pppp





p

<x. = q> q=60

7          7

mp

Pno.

 una corda (sempre con pedale)

ppp

7

 ppp





mp

pochissimo

   

pp

Vibraphone 7

 

p

7



   

 

 

mp

 

Quasi fermata



ppp

  

Vibraphone

mp

 (x=80)  

marimba

Small Triangle

w/ soft, heavy beater

p

mf

Small tam-tam in G

<q. = e> e=40

(sempre L.V.)

    

 

 pppp

 3      

senza sord.

     

 

3

 

pp

  

 

(sempre pedale)

 p




70

16

Fl.

    

  

Cl.

  

Vln.

Vc.

 

 



         mf

mf

mqxsdghjl;

 

71

  



   

 mp

     

(arco)

     

p



    

    

mf

 

     

mp

   

mf

    mf

  

ppp

 

pp

  

Vibraphone

 

mf

p

 

 

78

79

 

mf, tenuto



   f

mp, dolce

II I



    

    

     

  p

pp

mp

5

I

     

p, sempre

    5





  

 

mf



Crotales

 

  5

5

5

mp

 





p, sempre

sf-mp

 mf



5



 

Pno.

    

 

   sf-pp

p

    

Tre corda

3



 

 

 

(e=40)     .....



ppp

mp



  

f

5       

5

(q=20) poco a poco accel.

f

f

mf

   (q=40)

  



sf-mp

 

 

3   gliss.  

     

             5

     mp, tenuto

p

5

(q=40)

mf, sempre

 5       mp

II I

     

5

 

p

  

82

To Bass Flute

marimba Tri.

II

5

81

          5

5



80 5

(vib.)

5

5             mp ff

Crotales

Ride Cym.

77

     

Small tam-tam

76

  

p

p

(arco)

 

 

3

 (q=20)

poco a poco accel.

75

 

sf-mf

'dead' pizz.

 (e=40) 

74

f

'dead' pizz.

"mf"

pp

 



p

      Perc.     

 

73

p

"mf"

  

 

    

 

  

72

    5

mp




83

84

   

85

Bass Flute B. Fl.

Cl.

 

5

 5      sf-mp

5

 

        5

Vln.

fpp

 vib.         mf  sff

Vc.

89

    5

90

 

 

   

5



5

   

 

5



     

mp



  mp

"sfff"

mf

 5           pppp 

 

     mp 5



5

q = 63



5

Pno.

   sff

5

5



  

    

5

   

mp

pp

       5

 

   mf

5

 

 

3

  

   

 

5

f poco sf

 

 

mf





mf

5

7

pp. sempre

una corda

mf

    

 

 

mf

f

f



   

  

17

mf subito

  mf, tenuto

sf, possibile

  

 5    gli ss.

strike w/Eb7 crotale, then immediately submerge in water.

Crotales 



sf-mp

  

    ,     96

sf

      sf-mp

7 3                



 

w/ratans on gong edge 7

  

Small Gong ing G

(non-cresc.)

     mf 



mf, tenuto



  

95

   

 

94

p

vib.

5

 

93



sfffz



p

3

Peking Opera Gong

light sliding glissando on "white and black" keys without lifting mallets







  

 

 

5

92

mf, tenuto

 5 5        

 



Perc.

  5

5

Vibraphone Bass Drum

5

  



p

"sfff"

   

sffz

mf

5

91 5

sfff

5

 

88

q = 63

    

5

87

   5



sff

86

 3    fz 

 



   



mf, sempre

 senza pedale

  

 ,    


18

B. Fl.

Cl.

Vln.

97

 

 

 

98

 

 

 

 

7   5     6         

*B.Fl., Cl., Mar. in time, Vln., Vcl. freely.*

mf, staccato possibile

   

   

       

  

                                                  6

6

.......

  

 

6

6

  

jeté throws to ..... *several acheive 30 articulations

etc.



5

5

 *B.Fl., Cl., Mar. in time, Vln., Vcl. freely.* 

     

   

     

  

 

103

   

104

mf

 



   

mp









   

mf

"sf"

Peking Opera Gong

 

 3   

sfff

     

 

 f

mp

  

 

mf pp

10:6

"sf"

      

 

       

acheive 30 articulations

etc.

   sff 

tongue ram

mf

    

 

      

... *several jeté throws to

                                                    10

102

sff, tenuto

p

      ........

mp

Pno.



6

pp, sempre staccato

 

  

.........

........

marimba

 Perc.  

6

  

*........

 

101

mf

  

*........

100

p

p, staccato possibile

mf

Vc.

                        99

    sf-mf 

  

   

mf pp

 

5

Vibraphone





 

  pp

5 5  3                  

ppp

 una corda

 


105

B. Fl.

Cl.

Vln.

 

 

 

3

             mf 5

3

  

mqsdghjl

mqxsdghjl;

      mp

 

5

109

      

p, tenuto



p, sempre

3             p mf 

mp

       

108 timbre trill (less than 1/4 tone)

f

  

  



       

    sf p



   Perc.  

 

  

7

   

(ppp) Pno.

 Tre corda (sempre pedale)



   

7th harmonic

3

sf-mf

mp

9th harmonic

   

  

p

mp

          

 

7

  

 

  

7



7

5

       mf

pppp

 

  mp

    



  

  

arco



marimba

mp



   

  

 sf-mp 

 

5:3

  

 

sf-mp

    

   

5

p una corda

 

      5:3

pp

 

   

mf

Bass Drum

placed on Timp in middle C

sf-p

 

mf

   

Prayer bowl

sempre L.V.

mf

mf

sf-p

  quasi niente

mp

sf-mf

 

sff

 

19

  

3

Peking Opera Gong

5



 

    

II III IV

 

110

p, tenuto

pizz.



mqxsdghjl[

mp, tenuto

Vc.

107

mfp

 

106



 

   p

   

 


20

B. Fl.

Cl.

111

 

   

 

112

  

     

 

113

 

 

114

p

115



 

  

116



117

To Piccolo

ppp

Piccolo

     

p



118

119

subito

   

  



G.P. ca. 5"



To Flute



 3



ppp

ppp

sfp

pp

subito

Vln.

    

     

sf-mp

Vc.

 ppp

sf

     

     

sf-mp

 



p

  



ppp

  

mp

     3

 

p

sf

3     

 

mp

Crotales

Perc.



 Pno.

       pppp

 

  

pp

p

  

   



mf

 

mp

 

  

f

 

    ppp

 



  



p ppp

  



marimba

Cym.

w/bow

p

 

   

         poch. sf-ppp   pp 5

   

 

     

    

 

 

sf-mp



 p

   

sf-p

3

  

  "f"





  

mp, tenuto

"f"

 

 

     

7th harmonic

"mf"

pp

  3

3  3               p p pp

Peking Opera Gong Small tam-tam Prayer bowl in G on timp.

ff

 

 

fff

improvisando



Poco rit.

G.P. ca. 5" Poco rit.

sempre L.V.



 


"A Round of fiddles playing Bach" -Louis Zukofsky, A 120

A tempo

Fl.

 

121

122

Flute "En



p

p

p

Vc.

    

Vln.

    

Cl.

  

 

l'an..."

    

Perc.

 

   

     

Pno.

mf

      

  

 

  

 

                              6

 

6

6

6

6

  

Crotales

 

pppp

mf

  

 mp



Timp.

      

sf

  

      sf

fp

     

  

 

    

  

 

      

 

    

 

III         

 

mf

 

  





sf

 

mp

    

 



pppp

    

21

sf

      

  

  

 

IV

sf

sf

         

     

  

mp

 

 

129

mp

pppp

  





mp

 

   128

mp

         sf

  

 

127

   

sf

fp

mp, sostenuto

  

 

sf

 

sf

  

ff, risoluto



       126

mp

    

"A Round of fiddles playing Bach" -Louis Zukofsky, A A tempo l'an..." "En





ppppp

 

125

mp

p

Timp. in middle C

  

124

                  

 

123

 

sf         

     

 

 mp

      

  

  

 


130

22

Fl.

  

131

 

f

I

f

Vc.

132

    

 

133

 

  

    

    

 

    



 

Perc.

 Pno.

 

mf

pppp

  

 

"...de mon

      

  

 

  

 

  

 



  

    pp

 

 

 

 

 

141

 

 

 



 

 

 

  

    

   

  

    

 

 

 

 

    



 

  

  

 

 

mp, poco cresc.

 

 

140



   

 

  mf



mp, sostenuto

 

139

 

mp, sostenuto

pp

 

 

  

 

pp

 

  

mp, sostenuto

   

 

138

mp, sostenuto

pp

 

 

aage," Grand Testament de Maistre François Villon

mp, sostenuto

  

mp

 

137

pp

   

 

136

 

mp

         

 

mp

p

  

   

135

mp

p

 

134

     p

   

Vln.

 

aage," Grand Testament de Maistre François Villon

p

Cl.

 

"...de mon

 

 

  

   

     f

      

 

f

 


142

Fl.

Cl.

 

144

f

 

  

f

      

f

 

pp

f

   

        

Vc.



f

Perc.

3       

 

   

         pp

sfz



Crotales

f

 

      

 w/ brass beaters   

      

pp



    mf



  

        ff   



  

   

   

Timp.

  

 f

 

 

 

  

Crotales w/ bow

 

  

       6

3

f

 

23

To Bass Flute

  

    

Pno. middle C ad lib: only without "rolling" the chord

 

148





pp

 

147

pp

sfz

     

146

      

  

145

 

f

   

Vln.

 

143

 



6



 

   6



 


24

B. Fl.

Cl.

Vln.

Vc.

149

 

 

 

150

151

152

153

154

   

Bass Flute

155



ppp

 



   

   

quasi niente

 

ppp



 Perc.  

  

3

3

pp, senza espr.

sempre L.V.

3

5

quasi niente

3                        

w/ rubber mallets

ff

156

    

3

 



like an echo

 morendo

perdendosi

 Pno.

 

  

6

      6

 mf



        

"sfff"

  

     

 

  

  "sfff"

 

  

3

  





 


Typographies IIIa  

A "Pierrot-plus" composition from my "Typographies" series of compositions, inspired by the work of the late French philosopher, Philippe La...

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