Into the empty sky (2017) Perusal Score

Page 1

DAVID CLAY METTENS

Into the empty sky for Sextet and Live Electronics

Score



Instrumentation Flute (doubling Alto Flute and Piccolo) Clarinet in B-flat (doubling Bass Clarinet) Score Violin Score Cello Percussion: Score

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! ! ! ! ! œ #œ œ 11 ? + + +œ + + + ? + !Gongs ! ! ! ! & & & & Tuned Thai (Nipple) (available from ! !! # œ œ & & the œcomposer) œ # œ œ œ œ œ bœ œ bœ Very High Japanese11Wood Block (available from the composer) + + + + + +? + ! ! #œ Triangle & & œ œ 11 Cymbal Splash + + + + œ + ?b œ + œ b œ 14 œo ) + ( o ! #œ Suspended ? & Cymbal ! ? (g œ ) & Œ ! ! & œ œ œœ & œ b œ œ bœ Bass Drum 14 œo ) ( ? ? (g oœ ) ! Œ ! & œ & Piano (doubling mini-MIDI Keyboard) œ " o 14 17 œ b œ b œ œ œ b œ ( œ ) Ensemble Set-up ? ? (g oœ ) ! œ Œ ! ! & &! ! ! & & œ The violin and cello should be positioned as far from the percussion as possible to reduce bleed-through into the live electronic processing. " Two possible set ups are: 17 œ bœ bœ œ œ bœ g i ! G: 11,&12, 14 ! ! Pno. Pno. & Perc. 1" 1˙o . ! i œ 1 j œ œ œ I Fl. Cl. Vcl. Cl. Perc. 17 œ b œ bœœ œœœ œ b œ P 22 Vln. Vcl. Vln. Fl. J ? ! ! ! ! Œ goi R . . ! & ‰ Œ ‰ ! & & ! 1˙ . G: 11, 12, 14 œœ iI˙ . 1 1 j œœœ œœœ b: 9, 11 E P 22 g i J ? R T. ‰ . Ÿ ~~~~~~~ o . T. ! ! Œ ‰ ! Œ 1 Duration m12, 14 G: 11, ˙. & i d + 1 œ j œ œ 1" f " œ ˙ . œ b œ œ I œ œ œ œ 22 ca. 11.5-12 minutes E b: 9, 11 P 28 J R ? & ? J J . . R Œ! T. ‰ ! ? ! Œ !! ! T.Ÿ~~~~~~~ & ‰! # ‰ ‰ ‰ Œ m ˙ . + "f " d b œ œ œ E b: 9, 11 $ 28 ? T.Ÿ~~~~~~~ ! ‰ # R ‰mT. J J ‰ ?Œ d + ! "f " ! ! b œ œ &œ 28 $ J J ‰ ?Œ ? R ! ‰ # ! ! ! ‰ &

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Technical Notes The sounds from the acoustic performers are amplified and processed by a Max/MSP patch. The following equipment is needed to perform the piece: • 1 Computer running Max/MSP • 1 audio interface with at least 4 inputs/2 outputs • 1 Mixer with at least 6 channels (4 for microphones and 2 for interface output) and 4 aux sends • 1 25-key mini-MIDI Keyboard for the pianist (available from the composer) • 2 Speakers (placed close to the ensemble to facilitate blend between acoustic ensemble and processing) • 5 microphones (placed close to the instruments to avoid bleed over from other instruments, DPA mics on the body of the string instruments or highly directional mics are preferred) Mic 1 (Flute) to Channel 1 of Mixer, aux send to Input 1 of interface Mic 2 (Clarinet) to Channel 2 of Mixer, aux send to Input 2 of interface Mics 3 (Violin) to Channel 3 of Mixer, aux send to Input 3 of interface Mic 4 (Cello) to Channel 4 of Mixer, aux send to Input 4 of interface Mic 5 (Piano) to Channel 5 of Mixer (only amplification, not sent to interface for processing) Channels 1-4 of the mixer are for amplification, and should be panned to mimic the set up of the ensemble onstage. Channels 5/6 are the processed sounds from the computer, and should be panned hard left and hard right respectively. When setting levels, the audio technician should be especially careful to blend the sound of the MIDI piano with the live piano, the sine tone with the sustained violin harmonic, and the ring modulated pizzicato sounds with their acoustic sources. Electronic cues appear in the score as numbers in circles above the electronics staff at the bottom of each system. The audio technician advances the patch in coordination with the ensemble. The rhythmic precision of sound file playback (Cues 41 and 48-59) is especially important.


?4 Piccolo) 2Celesta dream, Mombert's Mombert's!speaker speaker traverses agreat greatdistance distancetotoreturn return home, passing over aj home, passing over a jlan Instrumentation (2nd doubles English >œ traverses !22Oboes !A (2nd !Horn) ! Press !higher !rights reserved. ©©2015 2015 Mettens (ASCAP). All rights reserved. - Alfred Mombert (1872-1 œtone - Alfred Mombert (1872-194 . ! Piccolo) Flutes (2nd doubles œ̆aEaaEœgreat >œ transports 4Flutes 4 o doubles 4 µ Mettens 4Press 4œ̆ All 4 dream, 4 Viola œœO#passing b œŒ(ASCAP). b œ œ œ ( œo )Cello > > O n O + ± œ̆ # n O + œ & & Strings (minimum 10.8.6.4.2) aquarter tempo lower quarter tone B Mombert's speaker traverses great distance to return home, over a l > & Mombert's speaker traverses distance to return home, passing over a lan O b O O b O œ vision. My piece the listener through a hazy sonic landscape of overlapping œ contrasts œ through œ a hazy sonic landscape of overlapping piece transports the listener O bOOœb Oœœm ˙! r“guiro” gofbœ G) 2jof2Oboes (2nd doubles English Horn) œ Clarinets in(2nd B(doubles ‰ ) 1 ? This sound contrasts with a fingernail glissando over the strings fr (minimum 10.8.6.4.2) 1 Bass sound with a fingernail glissando over the strings from œ2 . Cello Flutes doubles Piccolo) 4 3 2p7 Oboes (2nd English Horn) œ œ Brass (Strings G ), ( p11 Indicates that the performer should try to approximate the intonation of an untempered 7th or 11th partial J J 6 11 4 3 Transposed 4 3 œ œ @ @ Transposed 24œ bDouble 4 J @ @ vision. My piece transports the listener through a hazy sonic landscape of overlapping B ‰ ‰ Œ Œ ˙ œ transports landscape of overlapping ‰ thesonic Œ flutes Œ wind ‰ around œ‰ em @ again, another comes to tothe fore.Wispy Wispy lines inthe strings flutes windaround g& ±Ó Œ andand #4 &‰A j 8b ‰ 10.8.6.4.2) ŒBrass Œ Œ Œ as. another comes fore. strings Strings (minimum !! listener Œ from Œ which bbœœ œœ .‰@. œseven ??Ólines &Double 16case 4piece 4flutes 4i œ! as‰notes 4through J a!in!hazy & 4 4 Jlines œ2Strings œ " "concert "‰ Jea J F3 to E4 on the sostenuto pedal, ring out during Clarinets in B b y from F3 to E4 on the sostenuto pedal, which ring out during th 2 Bassoons b (minimum 10.8.6.4.2) Bass again, another comes to the fore. Wispy in the strings and wind around ± of the given fundamental. In the of transposing instruments, the reference fundamental is given in another comes to the fore. Wispy lines in the strings and flutes wind around b œ o A moment of clarity near the end, Berg's vocal line appears complete as the bass line of 2 Oboes (2nd doubles English Horn) Duration -ca. ca. that the performer the intonation of an 7th orharmon 11th partial clarity near the Berg's vocal line appears complete as the basswith of a9 !( p7 jof œG ),in(4Bp11‰ ofjG) Duration -line 22 Clarinets J ‰ ÓIndicates oo f strings ++with pp end, âmute . âmute F 1˙ . should f pp try to approximate fstrings, ƒuntempered Gradually cover the opening ofthe the harmon one Gradually cover the opening ofof the with one h fth fthe Gradually opening the harmon mute with one b œ > Gradually opening of harmon mute with one ha œ œœ b ˘œ n œ4p1 œbfyb jœ pitch. œClarinets i these with the palm of his or hand after the glissando, but allow . the palm of his or hand after the glissando, but allow P moment clarity near the end, Berg's vocal line appears complete as the bass line of œ b œ œ b œ œ P of clarity near the end, Berg's vocal line appears complete as the bass line of a melody concluding with a final evaporation of the dream world. Performance Notes in the strings, concluding with a final evaporation of the dream world. œ̆2 42 Bassoons œ œ The horn players should produce these partials without correcting the intonation. 4422bBassoons 2 4 J Performance Notes j ± fundamental. In the case of transposing instruments, the reference fundamental is given in concert j A in B b œœ Œœœ I‰of Jthe given Œ !# œ Œ ‰ ‰ Ó "œ n œœ 4 Performance Notes œb œ3œP 4 ? # œj in the melody strings, concluding with finalevaporation evaporation the dream world. >Œœ œthe ˘œsound. strings, with aafinal of!of!the dream world. sostenuto pedal) toconcluding continue to sound. pedal) to continue bœœp. œ f j pitch. b y ‰ # œj# œSj Œto Schlafend trägt man mich ‰ ‰ Œ Œ 2 Horns in F Schlafend trägt man mich n b ˘ J 2 @ Performance Notes @ > ! ! The horn players should produce these partials without correcting intonation. 4 2 4 J Performance Notes j ! ! ! b œ b n ‰ " j " General Strings b œ œ 2015 Mettens Press(ASCAP). (ASCAP).All Allrights rightsreserved. reserved. 3 Bassoons Press General Œ # œ Œ 6± ‰# œNotes Ó 4© 2015 & 4 11Performance b œ Mettens ‰p4 ‰‰f .b y ŒStrings ?22Horns 4 in œ 4Œ Œ ‰ J nœ 4?J Performance œ œ Notes inmein meinHeimatland! Heimatland! trägtman manmich mich # œ# œSlt inSchlafend Schlafend trägt General Œ # Ó J in F Ÿ~~~~~~~~ o 2 Trumpets in C j 8 16 4 4 & . All trills are half-step trills. 2 Horns F General ! ! ! b œ fl Œf J43 KbGeneral ‰ ! Œ . fl fltoF œŒŸ~~~~~~~~ General F f komm her, ± Œ than b n # , approximating an untempered 7th komm inFerne mein inFerne mein Heimatland! ‰ œ jtone Œ lower Strings ƒ " ichichher, Strings L "Heimatland! p f sixth (33 cents) partial & General œ b œ & œ œ o 2 Trumpets in C F f f ƒ J K L b n # b y 2 Trombones All trills are half-step trills. 2Sixth Horns F (33 . untempered 2 Trumpets inin C(33 (33 cents) than approximating˙an an untempered 7 partial sixthtone tone cents) than œlower überGipfel, Gipfel, Schlünde, j Fjo über über Schlünde, i Ferne komm ichher, her, !2 ,b,,approximating !±.7th !interpreted Ferne komm ichüber gblower cents) lower than j partial jtone Œ L!Sixth ‰ # >œ tone Œ Œ and should always be as unmeasured tremolo. and should always as unmeasured tremolo. should always be interpreted as unmeasured tremolo. should always as unmeasured tremolo. J K n # ? 2 3 # >œ œ23JTrombones œ œ œ . sixth (33 cents) lower than , approximating an untempered 7th @ @ and should always interpreted as unmeasured tremolo 4 æ æ Œ Œ ! fl ‰ Œ ‰ Œ Œ ! ‰ ‰ # œ# œo E : 9, 11 and should always be interpreted as unmeasured tremolo # œ œ œ should always be interpreted as unmeasured tremolo über eindunkles dunkles Meer über ein K Lapproximating bfycents) 4 o an über Gipfel, überMeer Schlünde, über Gipfel, über Schlünde, 2 Trumpets inp(33 C(33 Sixth tone approximating an untempered untempered±.7th 7 partial sixth tone cents) lower than 1˙o 4. 4lower partialb n # ,, approximating an untempered 7 than R œ1 bTimpani ! ƒ 24B2œBTrombones 3 3 quarter tone lower µ quarter tone higher j Winds i fl œœquarter fl flot ! (with !! cymbal Œdrums) ‰ œ œ o Œ Œƒ inmein mein Heimatland. inüber 2toneof4the ! ! einHeimatland. dunkles Meer tonea8lower µ quarter higher suspended to invert over one 4 über ein dunkles Meer ? IWinds ? Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ " 2 Trombones b y " Winds Ÿ~~~~~~~ Ÿ~~~~~~~~~~~ p f Score Ÿ~~~~~~ Ÿ~~~~~~~~ 2B B quarter 38lower 44 to invert 3higher AllŒglissandi glissandi start immediately, the beginning the note value. Notes -the Alfred Mombert (1872-1 Trill: Trill between and harmonic tone µµ quarter tone immediately, atatthe beginning of note value. Notes in -of Alfred Mombert (1872-194 All start immediately, beginning of the note value. Note >O!P >O ‰ j O . Natural start immediately, beginning of the note value. Notes ! (with Œ!drums) Œ4Harmonic inmein mein Heimatland. harmonics are notated with apair pair ofRoman and Arabic numerals inRoman Heimatland. to harmonics are notated with anormal ofpressure and Arabic numerals. i O . . g 6 11 3 O quarter tone lower quarter tone higher a suspended cymbal over one of the Timpani 4 4 (with a suspended cymbal to invert over one of the drums) Timpani + œ œ " f " # d b y Score Winds O O . Quarter tone (50 cents) lower, Quarter tone (50 cents) higher J ? 2 3 pressure to produce a “flickering” between the fingered pitch and Ÿ~~~~~~~ 3 4 3 j O & 8 16 4 4 ( p7 of G ), ( p11 of G) Indicates that the performer should try to approximate the intonation of an untempered 7th or 11th partial but should not be emphasized in any way. not1be emphasized in - Alfred Mombert (1872-19 butthe not be emphasized way. p J f harmonic t.( p7 !of G ), 4(An alternate fingering trill (also a timbre trill!toorapproximate microtonal trill) - Alfred Mombert (1872-1942 !!of14 Œ that ‰Œ astrill should not way. ‰ 4 Percussion should played on,>and andany theway. Arabic numeral designates thespeci speS Ó(with Œ alternate Œ Indicates obebeof. emphasized should played the Arabic designates the p11 G) the performer try intonation an 7th or 11thnumeral partial Transposed Transposed 44fingering 4 drums) (2 players) Ountempered Oon, An orknown timbre G: 11, 12, ˙ a suspended cymbal too invert over one of should the Timpani b œ the harmonic that sounds at that node. pizz. Score œ > i pizz. œ of the given fundamental. In the case of transposing instruments, the reference fundamental is given in concert C ˙the œ (also Ÿ~~~~~~~ 3 œfundamental. joctaves), p11 ofofG) that the try the intonation untempered 7th orconcert 11th partial g f i*,on 1ascase harmonic the D stringof ofan the violin, and IV/4. isthe the fourth partial har jof!ofGœG),),(œ44(players) the D string violin, IV/4. is fourth partial harm pCymbal t.(p7 An alternate fingering trill known ashould timbre trillto microtonal trill) given In the of transposing instruments, the reference fundamental isand given in Ÿœ~~~~~~~~ ! + =1 Percussion Œ. Indicates *Í œ œperformer Duration ca. Transposed p7 p11 G)ŒÍofalternate Indicates that the performer should try toorapproximate approximate the intonation ofof anthe untempered 7th or 11th partial I Duration - -ca. 9S Transposed (2 players) f B , Suspended Small Tam-tam, Tambourine 1:ÓGradual Crotales (2 Sizzle Cymbal 43b(:Percussion 4 An fingering or timbre trill o o œ o E 9,Percussion 11 œœ (2œœ > P 4 3 Gradual transition from one playing technique to another Play the given rhythm exactly in time while makin o given rhythm exactly in time while making > œ pitch. The horn players should produce these partials without correcting the intonation. & change from normal tone to breathy, slightly unfocused tone œ rhythm exactly in time while mak # ! Œ Œ ! Ó Œ ‰ ‰ Œ Ó of the given fundamental. In the case of transposing instruments, the reference fundamental is given in concert C œ œ Play the rhythm exactly time while makin œ & J O pitch.(2 horn produce these partials without correcting the reference intonation. f# Oshould 4 *, *Small ofThe the given In *the transposing the fundamental is œgiven Duration inDuration concert œSmall Ÿœ~~~~~~~~ œinstruments, 11, *,!of ! Percussion !(2The ca.9 j2: 38 ‰12, 3Percussion j1˙43.Cymbal bfundamental. OSizzle Ooctaves), Oplayers - -ca. œDrum 1 Brass ! (2 ,*4Suspended Cymbal Tambourine Percussion 1:"players) Crotales Cymbal f44octaves), B& O3œ Piano Suspended ,4correcting Tam-tam, Tambourine Percussion 1:Gradual Crotales Sizzle Cymbal 'o *Tam-tam, ,Jcase Suspended Cymbal ," Bass Vibraphone, Triangle, Sizzle Cymbal i j " ! ! ! Ó Œ Œ " @ æ‰ 14 æ 3 1 ? 4 3 44 44‰ ‰ æ 2 3 & R @ & ! Œ Œ Œ @ b œ 4 œ 4 4 # ! Œ Œ ‰ Œ Œ pitch. horn players should produce these partials without the intonation. change from normal tone to breathy, slightly unfocused tone œ œ r . . O I # ! Œ Œ ! Ó Œ ‰ ‰ Œ Ó O K œ œ ‰ Œ ! $ . w œ & 4 J O Œ ‰ ! Œ C pitch. The horn players should produce these partials without correcting the intonation. œ œ ? 6 11 4 3 # O n O Brass o & 4 4 n Othe *with *, jBass +#sizzle O b Ob O inside O4between >P The pianist required to produce different types of Osounds *Small change from breathy, unfocused completely airyfour Tambourine - The cymbal and suspended cymbal may be shared the*one two percussionists. œ dynamic: œœœ3 o ‰ "1 fæ *"Percussion 3Effort 44octaves), 44Suspended 3*,unfocused, O Sizzle O b Oslightly O O#Program ! 2:Gradual ,*tone Tam-tam, Percussion 1: Crotales (2 Sizzle Cymbal , Suspended Cymbal Drum Vibraphone, Triangle, Cymbal Gradually the of the harmon O3# mute , hand. Suspended Cymbal ,"Bass Drum Percussion 2: Vibraphone, Triangle, Sizzle Result will4!opening actually sound much softer jto !very 8@jcover 16Cymbal 4OProgram > 4is 4 ! ! Ó Œ Œ " ?Cymbal æAll æ Program Ÿ~~~~~~~~ ! pŸ~~~~~~~~ ! ! ! !N œ P 8 b œ 4 œ 4 f ˙ . fl fl All trills are half-step trills. œ j j Program f K œ œ $ & & & & . instrument. are half-step trills. C jf +trills .and suspended . osizzle ".cymbal Œ f b œHarp !˙cover * * sizzle and suspended cymbal mayof bemay shared the two percussionists. œ œ œ w > Gradual change from breathy, slightly unfocused tone to very completely unfocused, airy œ *Percussion - @The cymbal cymbal be between shared between the two percussionists. @ ˘Ÿ~~~~~~~~ @œ! o *pœæ- The œ œ # œ , Suspended Cymbal , Bass Drum 2: Vibraphone, Triangle, Sizzle Cymbal J ? Gradually the opening the harmon mute with one hand. " œ ! f ?I am E b: 9, 11 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ PP from œ- The ‰ ! ! Alban !Berg's !Mo œon . ŒAll "Sleeping am&carried..." carried..." isœbased basedon on melodic fragment from Alban Berg's Mom carried..." isis based fragment Berg's Mombe P may be bFlute œpŸ~~~~~~~~ ?a? trills are half-step trills. &"Sleeping &Œ & j j am carried..." based on melodic fragment Alban Berg's Í Strings I am is aaamelodic melodic fragment Alban Mom "from All trills are half-step trills. œ ˙ ˙ œ j . . "from " Œ Celesta ! * sizzle cymbal and suspended cymbal shared between the two percussionists. œ r œ œ # œ 4 3 J 2 3 @ @ Harp ˙ ˙ œbe ? . Transposed Score @ æ 1. Mark the following seven notes, which are sometimes played “stopped” or . to this melody throughout, but perhaps most noticeable is the poetic connection Transposed Score œ Harp Ó !! &most # ‰!J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ melody throughout, but perhaps poetic Œ ˙ !œœœ‰ # œœ œœœ Timbre . C œ !&isisthe ! 4 R ‰ &Œbut ! 4betwe !œ 44bet o pœœ b œT. & 4 connection .œœ ŒT. (orŒ subtle4 microtonal) to 43this throughout, but perhaps mostnoticeable noticeable isthe the poetic connection 4 melody perhaps most noticeable poetic connection betw & !throughout, b ˘œœ~~~~~~~ Œ # œœ œœ Horn œœ Ÿ œ Œ Strings & œ ˙ ˙ œ . . trill 4 œ œ œ # œhome, the strings a finger the agraffeœto toto ahome, hollow, dream,Damp Mombert's speaker traverses aagreat great distance return passing over al Mombert's speaker traverses aanear return over a alan œj" fœ "oœ œ œ Cmuted. Duration –ca. ca. m 4 traverses 38-8.5 J!j >‰ E b:! j9, 11 Harp Duration –passing 8-8.5 min ƒ& m‰ 1 Œ@# œœA@ note œ+ with œœŒ ! name Winds œ$ œproduce dream, Mombert's speaker traverses great distance to return passing over Óœ+distance #d JŒœa+ dashed !home, Mombert's speaker great distance to return home, passing over j Celesta > Winds R ‰ . +isœŒthe 1 Celesta œ œ œ + p 4 4 œ œ + + ‰ Œ ‰ Œ " ! with bracket indicates a natural horn effect. The note name sounding + $ @ $ # œ # œ # œ # œ n n œ œ n œ @ Horn @ @ wooden sound. vision. piece transports the listener through a hazy sonic landscape of overlappin @ @ My piece transports the listener through a hazy sonic landscape of overlapping m @ 68beb œinterpreted 11 œ@ . 3 ofofoverlapping œ transports # œas! unmeasured # œ œ #vision. #sonic œsonic & b œ a ahazy b œbStrings œœæƒshould œ #! jœalways æ16 ?hazy . Winds #œ $ œd œ!n œ My44piece # œ n œthrough # œlandscape n œ b bœœ tremolo. and œ œ œ œ piece transports the listener through landscape overlappi ‰ ‰ the listener ! Celesta (minimum 10.8.6.4.2) 1 ! œ œ # œ œ Winds @ K & 4 & & d œ j j 1 œ fundamental, but the written pitches are transposed for Horn in F. Play this figure as the 6 + + j again,! as horn another comes tothe the fore. lines inthe thestrings stringsand fluteswind wind around + œ@ ‰“flick” +œ natural another to fore. Wispy flutes around e T.@ œ œ A +fore. + in +Wispy ! Strings ‰ asŒunmeasured ŒŒ 10.8.6.4.2) ‰Œ interpreted +and name with dashed bracket effect. the ~~~ œThe #@œ single @ A2œtrill, @ note of a timbre œnote 3@ tremolo. @rquasi-mordent @ trill œ name b œ +islines 44comes 3flutes another comes to the Wispy inthe the!strings strings and fluteswind wind aroun .(also asŒ another comes to the fore. Wispy lines around œlines binœsounding œ. œ œ #"œ aagain, æ ‰ ororindicates @microtonal Kœœ3and ? # !and ‰œ@(also Œ of!"paŒaas .4 "(minimum Ÿ~~~~~~~ 4 3 ‰ ! 4 should always be bStrings b œ œ œ b œ œ œm ! An alternate fingering trill known as a timbre trill microtonal trill) ! Œœ œ ÓR&t.œt.pŸ~~~~~~~ ‰ Œ Œ 47 (minimum 10.8.6.4.2) An alternate fingering trill known a timbre ! ! 4 4 + œ œ œ 4 ! ! Œ r œ moment clarity near the end, Berg's vocal line appears complete as the bass line o œ p ~~ @ æ f " K œ œ œ œ œ œ of clarity near the end, Berg's vocal line appears complete as the bass line of ƒ d + + & & d œ œ through 14 partials sounding G (written D) fundamental. Do not change valve position for d &moment 4 ofaŒ 4œ + œ œfor + appears +as line + +complete 4 line +bass œœ fundamental, but the written pitches are!transposed F.the Play this figure the 6appears JŸ~~~~~~~ J " " asas clarityin near the end, Berg's vocal line complete bass œ the #? œ œ+Œœimmediately, # of Horn clarity near end, Berg's vocal thethe line œ œ #‰œ ŒœAll œStrings œ œ œ œ & œ‰(minimum œ & ? ! ! ‰ œ b œ œ œ 4 3 10.8.6.4.2) 3 œ b œ œ œ K ! Ÿ~~~~~~~ melody in the strings, concluding with a final evaporation of the dream world. glissandi start at the beginning of the note value. Notes in parentheses show the general speed or pace of the glissando, > 2. Produce a harmonic by playing lower note while touching the Œthrough ‰the Œ Doconcluding ‰ or the strings, concluding with & a!final evaporation of the!dream world. # œworld. 68 Œ Œ thepfingering 11 3dream fingering trill (also known timbre trill orœof microtonal ! trill ‰ alternate Œalternate > j ãÓ& & fundamental. t.t.pÓ-œ 4f &"œ> . rAn (also known aa timbre microtonal trill) 4 change 4 bracketed passage or “correct” the any of the partials. " F ŒAn 14 partials of! paasas sounding Gtrill (written D) not valve forb œofofthe melody strings, concluding with final evaporation thedream in4 strings, with aafinal evaporation world. Fingered “Glissando”: Perform the passage with theintonation œ position 16 4 4 # # # œ I Performance Notes œ " appropriate place on the string to get the upper note to sound. Mark those œ b œ F o Schlafend trägt man mich but should not be emphasized in any way. Schlafend trägt man mich S Ÿof~~~~~~~~~~~~~ 41 + Brass œBrass All glissandi immediately, at the beginning note value. Notes in parentheses show the or pace Schlafend ofSchlafend the glissando, > start‰ fingers œ ) general speed Ÿwith ~~~oforthe (two for the diamond noteheads the addition or o j the bracketed passage “correct” the intonation any of the partials. t.OrŸ~~~~~~ trägt man mich 4 3 F b œ œ Performance Notes trägt man mich j " F 4 ? 2 3 ? b O b œ œ g 4 3 $ œ ÷ . ( ) O b O b Œ nodes for the following harmonics. ? ? f ‰ bn!œœto produced meinHeimatland! Heimatland! ‰ y ÷ General Œ 4emphasized Œ of4faster Œœ œ . 4!# œ Notes Œ 7 ! œ!4 & œ . œO‰than œ Œbefore j pizz. Performance !4 !"Heimatland! Œ inininin ! 4 4 tŒ "should ! ‰œ œŒŒPiano O b Oway. F 43 !" a glissando !)2 !! ?? !mein Suddenly o in any the indicated keys œ œo o Œ +yfBrass œ++ DGradually œ Onot œ mein " mein Heimatland! ‰œœbut Œ Œ Œ Œ œ ! ŒAssistant !œ ‰ .œbeRsubtraction Ó Œ ‰ ‰ Œ Ó ‰ Œ Œ Brass Ÿ ~~~~~~ ( r œ J t.of the harmon Performance o 8 4 Notes > onef hand.j Fernekomm kommichichher, her, 4cover the opening 4 with Ferne F mute jet whistle

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j j +œ+œ

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3 3

th

9

- A key

key - G- G key

tongue pizz.

11

tongue pizz. bass drum

Hn.

(slow) +/- RH C #breathy

3

3

tongue pizz.

G

Hn. Perc.

t.

1010

5

t.

3

3

G

(œ)

(œ)

3

+/- RH C # (slow)

3

Cl.

(œ)

5

3

(Mar.) 3

3 40

Fl. Fl.

breathy to completely unfocused

B b Cl.

(œ)

III

IV

III

tongue pizz.

j +œ

breathy to completely unfocused Fl. 3

II

3

j +œ

- G key

molto sul. pont. pont.

D.B. D.B. jet whistle th

Pno. Harm.

(grace notes on the beat)

tongue pizz.

Vc. 3

molto molto sul.su p

sultasto tasto sul

Vla. Vla. jet whistle

j #œ

3

Vib.

3

molto sul. pont. pont.

53 53

j nœ

T. j œ q = 100

T.

14 tongue pizz.

tongue pizz. Perc. Perc. > >œthe > General > œœœ >œœ ?>! œoœ(œg œ )œ œ œ n œFerne >œŒ Œœkomm > Gradually cover the opening of the harmon mute with one hand. ? œ 43œ 4 4‰ ‰ ‰ ÷ General Œ Œ Œ ŒŒfirst œ œ n œ pizz. > >œ 3Œ >œŒ from! Œthe Play given rhythm exactly in time while making a yglissando to 44last pitch. between the starting note and the final grace note. ƒ Œ œ n œ œ & O>b#˙ŸO~~~~~~~~~~~~ > > œ Ferne komm ich her, y ! ! ich her, # œ # œ œ # œ œ œ œ > > 4 3 œ œ b Œ b œ Œ ‰ match piano intonation b œ Œ b œ Œ Œ ‰ œ œ œ & & > > ( ) a tempo q = 84 J J œ Piano Assistant 3 > 186 J K L b n # 4 3 J J œ n œ œ œ o Gipfel,über Schlünde, &? 4bpœ !harmonics, Schlünde, Œpsixth !b œcents) Œopening ‰ J,ofb approximating ‰œpiano Œharmon ÓŒandŒ an Œ% Œhand. 44 o D tone (33 lower than untempered partial #the # œ Œ? büber o& r ‰ making P pœÓopposite œofof Œ bstrings, œ ‰ Œ and ‰ œ Jœ&glissando œüber Œ" with Œf 7th O The ++Gradually (g œŒ)Gipfel, fsixth 4untempered ‰Œ vib. assistant stands at 4 the end thethe reaches inside to produce pluck Gradually cover the opening harmon mute with one 4 the 4über General # #JO oKpiano non. über Gipfel, über Schlünde, o cover the mute one hand. ! Œfirst Œ Meer f über Gipfel, über Schlünde, ‰ brc.OPerc. L b n # Play the given rhythm exactly in time while a glissando from to last pitch. & & tone (33 cents) lower than , approximating an 7th partial O&Strings œ über ein dunkles Œ 6 11 4 3 über ein dunkles Meer œ œ œ œ œ œ œ œ piano intonation Strings œ über > untempered J Kpiano bend n #3and 44 pluck #match "partial tone lower ,ofb approximating 3LKL˙sixth 44Score ˘œŒeinein Œcredit Œ"7th bstrings œcents) œ opposite œ the Œ an bœœ sixharmonics, Œ pianist œonly ‰ Jglissando bdunkles œ dunkles Œ4 Meer Œ bstrings, over areas ofœ2"the with a nfingernail plectrum (a plastic card will The plays onand the &The 8(33 16 Œand 4work). ˘œnmein über Meer ˘œthan Perc. assistant stands at the piano reaches inside to produce &different 43 ! Œ # nmein 3. Pluck these strings with a fingernail toŒproduce ainin “fingernail pizzicato.” non. vib. 4 Heimatland. œ f . Heimatland. t œ b Program Notes J K b n # 4 b œ sixth tone (33 cents) lower than , approximating an untempered 7th partial . $ quarter tone lower 2 ƒ ˙ 4µ quarter tone higher BBClarinet œ œ w œ o o o o o o œ œ œ b œ . œ Strings œ o o o o o o in mein Heimatland. 7 2 in mein Heimatland. Pno./ " œ " 4 3 25wkeys. 3 Strings As clear and resonant as possible: 4 !Œ & - Alfred (1872-1 over different areas of"theœ(sounding strings a nfingernail plectrum credit will pianist DŒ (a plastic ˘œ tone from 4))bman Score quarter tone lower quarter higher ‰ !(‰K(œKMombert Œ Œ (1872-194 Œ card Œ ((Kœœœwork). Œ( KŒœ ) on #. trill Œ a15va) !B quarter & œ3Mombert J- Alfred ) 4b œ 2, no.!plays ‰ (and ! keylower #µwith ŒProgram Œ& Œonly Œ bJœthe )4 ˙Ctone 4"Schlafend +Kcarried..." 4 4‰ !‰ Notes œ ) higher KAlban K(œ(bThe R > µ‰afragment I$ am is4based on melodic Berg's Mombert setting 2. I scatter references 4 &"Sleeping 4 4 ( Kœ8 ) trägt )bœœ) )Œ Op. MIDI MIDI 4 oœŒŒŒb œ(mich," > Alfred Mombert (1872Alfred Mombert (1872-19 quarter tone " > > œ > > > > > > ( ) ( ) j Teeth on the reed: Produce very high, fragile sound of œ o o o o o keys. œ Indicates œtry piano intonation œ is‰ thetremolo. ± p11 ±$ and should always interpreted unmeasured tremolo. #ŒœBerg's œ I #scatter 68!bebutkey 11‰match 44intonation 3 Transposed # œ most œapproximate j melody D P p theofatmosphere Transposed ! #2. ! 3g i 4 œman #as œasthat œMombert œ œ Œ!setting quarter tone lower µ quarter tone higher to this perhaps noticeable poetic connection between Mombert's of my piece. In) aœ references # trill ‰asP œ#the &7th bœœ)œand Pno. should be interpreted unmeasured & Œ#Pno. Œ &n œ and Œb‰œ (mich," Œœ# œform Œfœ( fKpartial Œ PP (@and p7 ofæBæG ), (#throughout, G) performer should to theimagery an untempered or 11th # œ # œ C + œ& œœ+of œ K œ R "Sleeping I always am carried..." isœj based on afrmark melodic fragment from "Schlafend Op. 2, no. ( Kœ ) trägt ( KAlban )vib. # œ & 16 4 # œ no. ‰ y @ 4 4 + non. # O n O indefinite pitch. Try to sustain this effect much as œ b œ O b O The assistant should nodes on the low strings to produce the following harmonics: Transpose b œ b œ ( ) or 11th partial ( ) Transposed b œ O b O j ( p7 ofMombert's G ), ( p11 of G) Indicates that the performer should try to approximate the intonation of an untempered 7th b œ ! ! !4‰ 9‰ ? ? 3 ? 44ca. match piano intonation Ó ?dream, speaker traverses a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral œ > > > > > > > œ and should always be interpreted as unmeasured tremolo. & & j Duration ‰ Œ Œ b œ Duration -1˙o .&-ca. ‰ Œ Œ Œ Œ G: 11, 12, 14 4 œreference ?is‰In jwaverings f pitch to this melody throughout, but perhaps most noticeable the poetic connection between Mombert's imagery and the atmosphere and form my piece.3partial In a Pshould @ æ of the given fundamental. the case of transposing instruments, the fundamental is given concert 4g 4 possible, but slight in and dynamic are 4 2 3 2 4 &Œ&ofin & i and should always be interpreted as unmeasured tremolo. œ ( p7 of G ), ( p11 of G) Indicates that the performer try to approximate the intonation of an untempered 7th or 11th ‰ ! # Œ Œ Œ Œ Œ Œ Œ 1 1 + œ œ œ j b œ Pno.pizz. @ æ œ œ 4th 5th Œ Œ ‰ Œ Ó ! + 7th non. vib. # O n O œ 7th 5th 5th I . 4 4 & r œ . 2glissandi b˙speed ˙ofcomes ˙ œ Duration ca1 b Otraverses b assistant O the The should mark nodes on low strings to produce the following harmonics: . of given fundamental. In the case of transposing instruments, reference fundamental is given concert vision. My piece transports the listener through a hazy sonic landscape ofKthe overlapping musical ideas. One ideathe emerges and into focus, only toin disappear Duration ca. b œ ˙ œ œ 4 4 4 4 4 P O b O œ œ ( p7 of G ), ( p11 of G) Indicates that the performer should try to approximate the intonation an untempered 7th or 11th partial œ 36speaker # O n O œ œ œ arco b ˙ b ˙ All start immediately, at the beginning of the note value. Notes in parentheses show the general or pace of the glissando, œ œ œ dream, Mombert's a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral 4. “Metallic guiro”: With a plectrum, sweep the non-pitched length of the $ actually desirable. partial partial partial partial partial partial " flJ given b œ fl pitch. The horn players should produce these partials without correcting the intonation. 2 4 O again, ?asœanother 4 3 ? . . œ œ œ œ I G:reference 11, 12, 14 of the given fundamental. In the case of transposing instruments, the fundamental is in concert glissandi start immediately, at the beginning of the note value. Notes in parentheses show the general speed or pace of the glissando, 4 2 3 2 4 b œ œ œ œ̆ + œ œ ! # Œ Œ Œ Œ Œ Œ ‰ ‰ Œ Œ ? fl ! i R ., vib. All + b œ œ œ œ # œ n œ œ ° o o o o o o o o comes to the fore. Wispy lines in the strings and flutes wind around each other, and rumbles ascend from the depths of the orchestra. In a j °œconcert .One idea . comes âstart œœœa hazy # œœpitch. n b in œœshould 1between 1 toin '&through produce partials without correcting the intonation. ŒMynot ‰transports Óœœœ beginning 7th +given 5th2 5thupper-register 4jreference 4 ! Œinstruments, Œspeed ‰of ! + œway. n+ œœœfundamental. 4any 2glissandi œœ the œœand .note .4value. Kthese ˙) overlapping œ# 4th +œhorn nb˙bplayers 68immediately, 11œIn 445th 3Ifarthest bg4œ7th .˙of!Notes of#The case transposing the ispin given vision. the ideas. emerges into focus, only disappear bridge and the hitch (the area #ŒJ#the $ !# piece ‰œœlistener 44near 4in40œmusical 4‰strings be emphasized ° #these #fundamental œ!.landscape œ.œthe œ& œof.line P ord.II/3. #?molto Oshould n‰should Osul.glissandi œthe œpiece bcomplete œ sonic II/3. glissando, G: 11, 12, 14paceord. b ˙ b ˙ All atœœn4the the of‰œ̆partial the parentheses show the general or the " 4 &the 16 4 partial partial partial partial bElec. O O but molto sul. pont.partial ( Kœ œœ iI˙ . 4 ?4 P pitch. The horn players should produce partials without correcting the intonation. 2 œ O35but ord.& moment of clarity end, Berg's vocal line appears as the bass of a radiant chorale. This subsides, and comes to rest on an extended not be emphasized in any way. pont. O ( ) 1 1 œ œ œ IV/4. . I j O œ . All start immediately, at beginning of the note value. Notes in parentheses show the general speed or pace of the glissando, 3‰ other, œdamped œŒ . Œofby ( around ) ( b œ o)from flœin) the ! the keyboard), but not on a section a ribbon. resulting o o o o o o o again, to the fore. Wispy strings and flutes wind each and rumbles ascend from the depths the orchestra. In a ˘ œ E b: 9, 11TheJ ! # Œ ! Œ œ œ â > pizz.as another comes R ! # Œ ( ) pitch. The horn players should produce these partials without correcting the intonation. K # œ II/3.lines œ œ . 4 4 J 7 2 ( ( ) ord. Vln. 1 Vln. 1 J œ & 4 ! ! ‰ ‰ ! 4 4‰ ‰ # œ # œ œ % J ( the ) O dream world. $ @@ but should not be emphasized in any way. ° # Œ Œ O‰ melody P & O $ . in the strings, concluding with a final evaporation of pizz. Ÿ~~~~~~~~ " 4 3 molto sul. pont. 8 4 œ K All trills are half-step trills. . . . ( ) should brittle, not and # œ )be T.glassy, ord.& #rhythm ‰ ( œ)bass Œto Œ emphasized ‰a) radiant Œchorale. ‰ Œrest ‰ Œwhile moment clarity the end, Berg's vocal line appears@Rcomplete as the subsides, theIV/4. comesrto onnoisy. an extended not benear any way. Rpiecepitched, molto sul.of pont. jand œ+but œ line ŸThis Ÿ~~~~~~~~ .1 35 ! lastmT.‰ pitch. ‰ . distinctly & 4~~~~~~~ 4 ‰ J p. Ópvery jetŒthe whistle # trill ( b œ from ) ( ! the half-step trills. J? ˘œœRof( œsound >œshould pizz.All trills are Play given exactly time a #sky glissando first & bin œ3rhythm ˙@final Cœ key II/3. E b: 9, 11 . 3 & 3 ( Kœ )in (6# œmich )Intomaking ord. O% d + O "f " " # œ the empty J O O O æ ( œthe )man Schlafend trägt Sleeping, I am carried @ @ ± O O œ . b œ œ œ melody in the strings, concluding with a evaporation of dream world. pizz. Ÿ~~~~~~~~ 4 3 Play the given exactly in time while making a glissando from the first to last pitch. f "bf&œœŸ~~~~~~~~ F Vln. 1"& pjœ # ˙! œ All F Œare f22 ‰ . Œ pf b‰œ œb œ" nœœ ‰ . half-step trills. J $ptrills. pj trills Œthe Œ theT.first #rhythm Œto lastT.‰ pitch. r ‰. Ó E4b: 9, 11 j ‰ 4 $ p œ jet whistle Ÿ ~~~~~~~ All trills are half-step J @ R @ ? 4 in mein Heimatland! to my homeland. Play given exactly in time while making a glissando from œ œ + C trill key . b œ n œ & O2nœO O b O O b O+ œ œ4 ‰ 2mich O ! O" T.˙O ˙. d. + O O ! " f " ord. Schlafend man Sleeping, carried œ œ inträgt molto sul.making pont. ! sul.æ#pont. sul Itasto j Jthe‰ given @R 4 ?while J Jbthe ±sulÓ tasto rhythm ! œ last Œ ‰moltoJ& time a glissando pitch. œord. ˙T.˙mŸ~~~~~~~ j ˙ œ 4 pj bPlay !@Jf b œafar ‰r nam #œR ‰from œ ‰ ?Œœfirst œŒ to p exactly 2 œ 4 4 4 b œ 4œ .!œ 3 & f Ferne komm ich her, From I come, mp b œ " 4 $ + j j œ J $ " f " 4 4J J Program Notes ! Œ J ± Winds d j in mein Heimatland! to my homeland. Vln. 2 œ œ Vln. 2 ŒŒBetween ‰ Œ & 4 b œ n œ 4 O2n O O bFO and b?œbridge œ œ and the the aüber plectrum to over mid-range strings between œ 2the 44 sul‰tasto Winds sul œ glissando molto pont. ! over molto sul. #pont. Jrehearsal tasto œ 4j Jœ ‰uses œ œ depths, ! Program O b O+ œH,4 b# ˙ ‰sul b œ ?Notes $ Ó‰tasto ‰ assistant Gipfel, über Schlünde, oversul. peaks, pbased 44# R ‰# J Jthe 3 ! œ 7 2 . ! ! references ‰ Œ 4 4 4 ‰ ! ! Œ Œ ‰ Ferne komm ich her, From afar I come, # Ó Œ # r 4 .2 & " j j & 4 " Program Notes b ± Winds â "Sleeping I am carried..." is on a melodic fragment from Alban Berg's Mombert setting "Schlafend trägt man mich," Op. 2, no. 2. I scatter j 3 8 4 pin (at the very end of the string, farthest from the keyboard), but not on a section of strings dampened by a ribbon. The Œ ‰ Œ 2 ? J J ? Ȯ hitch O R Between rehearsal F and H, the assistant uses a plectrum to glissando over the mid-range strings between the bridge and the œ œ œ œ œ ˙ œ œ über ein dunkles Meer over a dark sea ‰ ˙Œcarried..." is basedfp˙on. a melodic !œ depths, ! ! ‰ 2, no. ‰2. ŒI scatter references œ 4 œ fragment œ trägt P b# ˙ I am bsetting œMombert's Program Notes über Gipfel, über ŒSchlünde, over peaks, over &4 ‰ #Op. œ"Sleeping 4trill from Alban Berg's Mombert "Schlafend mich," 3 > ‰"microtonal >œ Winds $ . atmosphere this melody throughout, butfingering perhaps most is"‰ the poetic connection between imagery and‰man and form ! of"my piece. In a ! Œ key +a C #timbre "the t.toŸ~~~~~~~ An alternate trillnoticeable (also known asF trill or trill) bongo

rc.T.

3

&

14

14

3

3

3

3

17

3

3

3

33

33

3

33

3

3

17

3

3

+ Triangle Sample

33

3

3

22

3

3

3

22

10. 9. 8. 7.

13. 11. 10. 9.

14. 13. 11. 9.

11. 10. 9. 7.

22

14. 12. 11. 9.

28

28

3

28

3

33

3 3

3

3

3 3

3

MIDI Piano etc.

12. 11. quick decay 10. 9.

3

3

3

17

3 3 3

3

3 3


sub.

Vc.

43

#

&

#

! > > œ ‰. œ Œ Œ on a‰small, # be placed The pianist also 25-key MIDI keyboard which can &plays 43 on the left side of the piano, either on the music rack or the metal frame of the p Perc. instrument. The pianist must switch back and forth between the piano gong crotales 3 keyboard and the MIDI keyboard, and occasionally play simultaneously Œ Œon # & 4 œ I both. The MIDI keyboard parts are notated in the lower œ Istaff to reflect that it P p sempre is almost always played with the left hand. Piano (cont.)

i

iI

œ 238 “pedaling” The duration and b œof these œ notes is built into n ˙˙ the .. electronics patch, but the keys are sensitive to 3 œ ‰ dynamic contrast. &

4

Pno./ " f " this keyboard, p For rehearsals without the pianist mayP play the passages on the MIDI MIDI piano at the indicated transposition. 3 .

&

Percussion

3

#

4 b˙. i ˙I

44 œ P

The hard (rubber) mallet should produce a bright, brittle, xylophone-like sound on the marimba and wood block, and a slightly dull, delicate and distant (but resonant!) sound on the crotales. It may take some experimentation to find one mallet that works for all three instruments.

Œ

Ó

#

!3 >j bœ 44 Ó ‰ æœ # @J J Œ 3 ßp crotales 3 “Glissando”: Several passages at the end of the piece are notated as 44 Œ Marimba j i Œ Ó Ó ‰ n œ Œ gliassandibbetween an initial accented note and a grace note at the end of a line. œI 44 Ó 44

œ a‰ mixture of mallet types to obtain . Ó to use The percussionist is˙˙frequently asked 44 &qualities and timbres from the instruments. 43 g ˙˙ .. i Four-mallet different Elec.attack I p from left to rightnwith S for soft mallets (yarn) and H arrangements are listed for hard mallets (rubber). For example, SSSH indicates two yarn mallets in the left and one yarn/one rubber mallet in the right. In marimba passages with mixed mallet types, upward stems with accents should be played with the hard mallet in the right hand. 55

sub.

The percussionist strikes the initial note with a hard mallet, and then3 plays a tremolo on that pitch with the soft mallets, followed by an improvisatory chromatic descent or “fall” to the final note.b œThe W effect should be blurry and the changes between notes imprecise,‰however the gestures should always # begin precisely and last forŒthe notated duration of the fall. In general, P 3 longer and louder emphasize the tremolo on the initial pitch, "making f " it slightly œœ ˙˙similar than the ensuing fall. This “glissando” should imitate the piccolo’s # 246-247, etc. Œ technique in mm. 227, jœ ˙

i

The Tuned Thai (Nipple) Gongs are available from the composer. They should be mounted in a way that allows them to resonate as much as possible. # # The high Japanese wood block should be very secco and bright, almost like a Intoclave. the empty sky Stem direction (up and down) in the suspended cymbal passage from mm. 159-176 represents different strike points. Upward facing stems indicate a strike near the dome to produce a higher, brighter sound. Downward facing stems indicate a strike near the rim to produce a lower, darker sound. Set-up note: Position the set of crotales and wood block near the highest octave of the marimba to facilitate the passage from rehearsal X to the end of the piece.


Why did you vanish into the empty sky? Even the fragile snow, when it falls, falls in this world. — Izumi Shikibu (trans. Jane Hirshfield and Mariki Aratani)



Composed for Ensemble Dal Niente Commissioned by the Society of Composers, Inc, and the American Society of Composers, Authors and Publishers

Into the empty sky

Still - ca. 10" Brittle q = 84

Cello

Percussion

& 44 ‰ ? 44 ‰ & 44 ‰

crotales

bowed j 4 & 4 bœ

n

Piano/ MIDI Keyboard

Electronics

& 44 ‰ ? 44 ‰ & 44

teeth on reed U ±

∏ #UO

Œ Ó

O # O O Ȯ .. @

I

π

± R ‰.

Ow

(œ ) œ œ

sempre

U

√ > SSSH mallets b œ ‰ ∑ P U œIŒ Ó p marimba

U

‰ b O@ Oæ Oæ bœ œ œ ∏ p punta d'arco

&

> œ. œ œ Œ ≈ @J æ æ ßp ∑

Still - ca. 10" Brittle q = 84

U 1

¤ bUw

œ‰Œ @ Ó ∑ ∑

∑ w

43

43

Ȯ .. 43

(smaller noteheads only shown to clarify rhythm)

∑ w

b˙.

whistle tone

Sc

Violin

& 44 ‰

π

b-flat clarinet

œ œ≈

3 @ ∑ œO œO ≈ 4 ∏ > > bœ. ‰ bœ 3 Œ Œ ≈ 4 P P ∑ 43

sa l

Clarinet in B b

& 44 ‰

˙.

w

Pe

Flute

whistle tone

ru

bUw

c flute

David Clay Mettens

43 3 4

Ȯ .. Œ

>r bœ æ ßp

© 2017 Mettens Press (ASCAP). All rights reserved. mettensmusic@gmail.com

42 42

≈ b b œO@.. œOæ 44 œO@ œO ≈ Œ Œ 42 ∏ ∏ p > > > œ œ‰ bœ œ bœ @ 44 ‰ æ ‰. Œ 42 P 44 ∑ ∑ 42 punta d'arco

∑ ˙.

42

44 Ow

w

44

˙. 43

44

π

or e

C Score

44 44 44 w

∑ ∑

42 2 4 42


2

Vc.

(Mar.)

Perc.

Ȯ & 42 2 &4 Œ

2 &4

Pno./ MIDI

Elec.

? 42 (¤) 2 ˙ & 4

44

b b œOæ ∏

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Œ

43 ‰

3 4 43 . 3 ˙ 4

43

3

3 @ 5 ‰ Œ 4 œO œO

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55

4 Œ 4 >r œœœ

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44 4 4 44

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±

±

44 Ow

w

44

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3 4 43 43

3 4

4 4

3 4

43

44

43

34 j ‰ ‰ 44 Œ 3 ‰3 ‰3 Œ œ œ I œI œ I œ œ œ œ œ œ ‰ œI ∏ P π

43

43

43

" " noisy, quasi-woodblock

44

w

4 4

or e

43

3 4

˙.

Sc

Vln.

≈ ±. ±

4 4

w

sa l

B b Cl.

& 42

3 4

˙.

ru

2 &4

˙

Pe

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7

A

thai (nipple) gongs soft mallets 3

A

3 4

. 3 ˙ 4

4 w 4 Into the empty sky

3

∑ ∑

sempre l.v.

3

4 4 44

4 w 4

∑ ∑

w

3 4

3 4


3

B b Cl.

Vln.

Vc.

± 3 & 4 R ‰. Œ

Œ

Ȯ & 43

Oœ # Oœ Oœ Oœ @

3 &4

4 4

3 4

2 4

3 4

44

43

42

43

Oœ # Oœ Oœ @

44 Ow ?

4 Π4

˙. i

+ Elec. Gong/Ring Mod. pizz.

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P

43

+ Elec. Gong/Ring Mod. pizz.

˙. I P

3 4 Œ

3 42 Œ j Œ œI

i 2 ‰ œ 4

43

3 4

42

43

match percussion dynamic

Œ

3

match percussion dynamic

+ 3 & 4 ˙. π ? 43 °

Elec.

3 & 4

(¤) ˙.

44 ‰ 3 ‰ 3 Œ 3 œ œ œ œ œ œ P sempre l.v.

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˙.

4 j3Œ 4 œ 44 2

4 w 4

Œ

fade sine tone

43

3

œ

sub.

13

Pno./ MIDI

44

sa l

& 43

to SSSS mallets

ru

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Pe

Perc.

& 43

Ó

3

Œ

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3 34 3 ‰ œ œ œ œj Œ œ œ P > 3

3

j 2 œ 4 œ

3

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43

3 4

2 4

3 4

3 4

2 4

3 4

43

42

43

3

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Into the empty sky

Ó


4

B

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3 &4

2 4

3 4

4 4

B b Cl.

3 &4

2 4

3 4

4 4

2 ≈ 4

3 4

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42

43

4 ‰≤ 4 œ π

43

34 ‰3 œ œ œ p

(Mar.)

Perc. (Gongs)

& 43 Œ

Elec.

‰ œ œ # œ œ b œ n œ ‰ 42 > p F Œ Œ 42 3

3

& 43 œ I

+ 3 . &4 ‰ œ ˙ p ? 43 ° 19

Pno./ MIDI

B

& 43 Œ

4

++ 3

42 Œ œ œ 43 I π 42 ∑ 43

∑ F: 7

‰ gb œ π

œ. P

2 ≈ 4

44

or e

œ. P

43

0

œ p

Sc

?3 4

œ. P

3

∑ ∑ ∑

œ

3

œ‰ F

Ó

3

7

+ 44 ˙ 44

44 ‰ gb œ π

F: 7

œ. P

≈ Œ

Into the empty sky

+

‰ Œ œI 3

5

0

F: 7, 8

œœ

+ Œ j œ œ p 3

∑ 3

3

Ó

‰ œœ p

i

‰œ Ó 3 p

Œ

3 44 ‰ œ3# œ œ b œ n œ ‰ Œ ‰ œ # œ n œ # œ ‰ ‰ œ œ #œ #œ œ œ Ó > p F p f P echo 44 ∑ ∑

sa l

Vc.

≤ ‰œ π

ru

Vln.

3 &4 Œ

+ Harmonizer sul tasto, non vib. arco

Pe

19

3

œœ ‰ Œ F

Ó

°

0i Œ œJ Œ 3 P

+ 3+ 3+ ‰ ‰ ‰ Œ œ œ œI P ∑ 3


5

&Ó

Vln.

&Ó

(Gongs)

& 25

Pno./ MIDI

Elec.

&

?

sempre

Œ ‰

ord.

≤ Œ ‰œ π

˙.

˙.

j œ bœ ˙

œ

molto

œ œ. 43 F

œ

molto

∏ ∏

‰Œ ‰Œ

& Ó

6

3

6

Œ

‰j œ œ π

molto

3 4 œ œ. œ œ. P

œ œ

3

˙. P

˙. i

+ Elec. Gong/Ring Mod. pizz.

F

3

˙. ∑

‰Œ

Œ

∑ Œ

œ œ ‰ œ œ. œ œ F P + + + 3 Œ Œ Œ Œ ∑ ≈ œ b œ . I I œI F P ∑ ∑ ∑ ∑

7

3

Into the empty sky

2 4

˙. π

2 4

˙. π

≤ #œ π

molto

ϲ

arco

π

match pno. dynamic

Ó Œ ‰ 43 œ œ b œ œ œ œ ‰ Œ œ bœ œ œœ œ P f 3 3 3 ‰ ‰ Ó ∑ 4 œ œ P C + + + 3 3 Ó Œ jŒ Œ 4 Œ ≈ b œ . I‰ b œ œI p ∑ ∑ 43 3

j j œ nœ œ œ bœ œ

b˙ P

3

œ ˙. π sempre ord., non vib. ≤ 3 Œ ‰ 4 œ œ œ. π F + Harmonizer arco non vib.

˙.

sa l

Perc.

&

˙. π

ru

(Mar.)

3 4

alto flute

or e

&

B b Cl.

Vc.

3 4

Pe

Fl.

C

Sc

25

molto

f f

Π42

Œ

Π42

œ œ ≈ ‰ Œ 42 # œ œ œ œ œ 6

œ F

œ ≈ œ. œ

3

Œ

8

B: 7, 12

#œ. j œ. π

œ œ f

f

42 42 42

Œ

Π42


6

(Mar.)

Perc. (Gongs)

Pno./ MIDI

Elec.

3 4

? 42

3 4

2 &4

43

3 2 &4 Œ œ œ P 32 + 3+ 2 & 4 Œ œ œj p ? 42 ∑

sempre l.v.

& 42

œ‰

˙

‰ Œ Œ œ œ p

3

œ

42

œ

2 4 Œ

2 4 Œ

42 Œ

43 œ œ œ . ‰ œ Œ œ Œ + 34 ‰3 Œ Œ ∑ œ

œ

#œ π

44

œ

œ 3

π

œ

≈ #œ π ≈ œ≤ 3

œ

42

3 3 3 2 4 ‰ ‰ j 4 œ- œ # œ œ œ 4 œ #œ 4 œ #œ œ P

3 j‰ 4 ‰ œ œ œ

˙.

f

π

f

43 43

I

∑ ∑

42

42

42 Œ

9

B: 7, 11 3

≈ j+ œœ π

œœ

f

44

˙

3 4

2 4

4 4

4 4

3 4

2 4

4 4

42

44

6

44

œ œ

42

44 3 œ ≈Œ Ó 4 ≈ œ œ # œ #œ #œ œ #œ œ #œ F f 4 3 ∑ 4 Ó ≈ œ. ‰ œ 4 Œ P 44 ∑ ∑ 43 6

3

4 4

or e

Vc.

˙

˙

4 4 . ˙

ru

Vln.

2 &4

43

2 œ #œ œ œ 4 œ p 3

Sc

& 42

˙

Œ Œ

sa l

B b Cl.

3 4

Pe

A. Fl.

2 &4 32

44

Into the empty sky

43

43

≈ œ. Œ ∑

42

44

42

44

42

42

44

∑ ∑

10

44


7

? 44 ‰ œ i Œ 3 P 0

Vc.

(Mar.)

Perc. (Gongs)

4 &4 Ó

4 &4 Ó

Elec.

? 44 & 44

∑ Ó

&‰

Œ

. # # Ȯ .

3 4 #˙.

+ Harmonizer arco

≤ œ π

non vib.

3 4 œ

#œ œ

3 ≈ œ œ# œ 4 # œæ œœ P F 43

Œ ∑

39

Pno./ MIDI

# # Ȯ

Œ

4 &4

44 w

43

3

sub.

4 & 4 # œ . # # œO .. ‰ # ˙ π P π + Elec. Gong/Ring Mod. pizz.

‰ bœ ˙ π

sub.

or e

3 4

π

43 ˙ .

4 w 4

3

Sc

Vln.

& 44 w

˙

‰ bœ

# œœæ

œ œ P

6

3

3

+

œI P °

œ

# œœ æ p ∑

Œ

f

? n

4 4

‰ Oi pizz. III

P

3

OI

IV

O

sim.

4 4 O 4 4

Œ

11

E: 7, 10 arco

≤ # œ j œ π

43

D b: 7, 10

œœ

j œœœ œ

œœ œ P

Into the empty sky

3 4

∑ Œ

3 ‰ O Œ j 43 O 3

3 4

3 3 ‰ œ œ Œ œjIŒ œj 44 Œ œ œ œ I I D P Pno. bœ œ œ œ nœ œ œ b œ J 44 Œ Œ ∑ 43 Œ 3 P f 3 p b œ MIDI œ œ bœ bœ œ 3 44 b œ Œ ∑ ∑ b œ & 4 6 (d ) 5 Eb (g) Db

ru

B b Cl.

3 4 ˙.

œ #œ ˙

sempre l.v.

3

3

Pe

A. Fl.

D

sa l

4 & 4 #œ 39

œœ

12

44

œ

43 43 43 43


8

A. Fl.

3 & 4 ˙.

4 œ 4

B b Cl.

& 43 ˙ .

44 œ

+ Elec. Gong/Ring Mod.

Vc.

(Mar.)

Perc. (Gongs)

3 &4

3 &4 Π3 &4

Pno./ MIDI

3 &4 Œ & 43 Œ

‰ œ œ F 3

13

Elec.

Œ

43

Œ

44 44

44

44

Œ

œ ‰ bœ œ 4 4 Bb

3

Ó

‰. œ Œ

π F MIDI 5 (sounding 8va) Œ ‰ b œ œ œ 44 œ b œ œ œ œ œ 3 p

Ó

œ

d œ gœ

œ

5

œ œ

œ

œ ‰ bœ

œ

œ ‰ b œp

p

44 ‰

œ

œ

œ p

Pno.

Œ

Ó Ó

14

Ó

+ Harmonizer vib. ord. arco

≤ ‰ #œ π

Œ Œ

Π+

3

Ó +

œ œ P

°

Into the empty sky

?‰

‰ ∑ Œ

3

+

œ J bœ 3 π j3 œ œ π

or e

œI F

Œ

œ bœ ˙. π

Sc

0 ? 43 ‰ œ i Œ 3 F

0

3

œ bœ ˙. π

sa l

3

œ ‰ ‰ bœ œ P

ru

Vln.

& 43 Œ

+ Elec. Gong/Ring Mod. pizz.

œ ‰ ‰ b œ- œ P 3

Pe

43

œ œ. f

œ ‰. R

# œ œb œ b œ b œ œ # œ ˙ @ æ 3 3 F

Œ

Œ

G # : 13, 16

‰ ? + # œœ

π

œœ

œœ .. f

Ó Œ

∑ 3

œ+ œ P ∑

œœ ‰ .

Ó

œ+


9

Vc.

(Mar.)

Perc. (Gongs)

P

Œ ‰

? Œ # œ≤ π

˙

F ? Œ # œ œ b œ b œ œ œ œ- œF

&

& ‰œ Œ +I π & Ó ? Œ

≤ + # œœ

π

6

f

œ

+ Harmonizer arco

3

43

œ

non vib.

. Œ ‰ b b œœœœ 43 ˙˙˙˙ ... ∏ Pno.

MIDI

‰.

42

Œ ‰

F

&

43

B b: 11

3 œ ‰ 4

3 44 b œ b œ œj b œ œ œ b œ P p

˙.

43 ‰ œ

44

Œ

œ œ œ œ P p

œ ˙ 3

43

42

44

Ó

b ˙≤

43

42

44

œ #œ œ œ œ œ bœ. ˙ @ æ 5 F p ∑

43

‰ b œœœ ˙˙˙

43

42 ‰ . œ Œ 44 œ p P

P

œœ 3 œœœœœœ bœ œ Œ 4 (d ) 5

(sounding 8va)

˙˙

œ

˙.

j œ

3

. 43 æ˙ p 43

œ æ

œ

p

43

4 bœ œ 4

or e

3 34 œj nœ

& Ó

3

Elec.

3

bœ ˙

œ.

47

Pno./ MIDI

P

‰ ‰ b œ 42 ˙ 3 ∏ ∏ 3 2 œ ‰ ‰ bœ 4 ˙ œ

Sc

Vln.

& œ

3 œ 4 J nœ

sa l

B b Cl.

bœ ˙

œ.

& œ

ru

A. Fl.

Pe

47

œ

p

3

œ

‰.

?

42

44

42

∑ ∑

42

Into the empty sky

Ó

œ ∑

Œ

44

Œ

44

Œ

π p œ œ ‰ œ œ- œ œ œ œ 3 (d ) 5 3

&‰

3

œ.

43

43 ‰ 43


10

Vln.

& 43

Vc.

? 43

(Mar.)

Perc. (Gongs)

Pno./ MIDI

Elec.

? 43

3

bœ ˙ π œ œ œ p

˙

p

‰Œ

œ‰Œ

œ bœ ∑ ∑

& 43

52

œ & 43 œœ

œœœ ‰ Œ

& 43

3 & 4

to two-toned mallets (ossia: medium mallets)

π

˙ ∑

3 2 44 4 ‰ nœ œ œ #œ ˙ p

15

42 42

‰ bœ œ ∏

b˙ π

œ œ. œ

w ∏

w

b˙ π

œ bœ. œ

w ∏

w

bœ œ ∏

or e

& 43

π

2 4 ‰ 4 b œ œœ œ œ œ 4 ˙ p

bœ bœ œ œ œ nœ ˙ p π

E

44

Sc

B b Cl.

œ bœ

3

44

sa l

‰ bœ ˙

5

≈ # œ@. ˙æ. Ø

44

42

44

42

44

42

44

2 4

4 4

Into the empty sky

SOLO

E

∑ ≤ Œ ‰ #œ w ∏

Ó

42

Pe

A. Fl.

3

ru

3 &4 52

˙æ p

œæ Œ ∑


11

(Mar.)

Perc.

w

≥ ? œ œ œ p

(Gongs)

& œ œj Œ I p

Ó

+ œ. p

Elec.

& Ó & &

∑ ° ∑

œ

F

Œ

œ

> œ 43 œ œ b œ œ œ # ˙æ F 6 3 sub. ∑ 4

‰ # œæ œæ ∏ poco

60

Pno./ MIDI

43 ≈ # œ 3

3

3

7 16

∑ + Harmonizer

˙

? Ó

˙.

43

&

7 ‰ 16

7 ‰ 16

∑ π + + Pno. +

7 16

43 Œ

?

16

?

43 ≈j # # œœœ 3

7 16

7 16

+ j 43 œ

œœœ

3

œ. bœ.

b Ϲ

43

œ

# œ- œ- œ3

˙.

œ

≤ 34 ‰ # œ

œ

œœœ

Œ

7 16

œ f

3 4

43

Into the empty sky

+f 43 ‰ # œ > sub.

43 ‰ j # # œœœ

œ ˙æ.

p

∑ ∑

˙I œœœ

œ œ œ Ø

disappearing

j œ.

œ œ #œ Ø 3

bœ bœ œ œ > #œ œ œ 43 ‰ # œ œ b œ œ œ œ œ œæ 3 P 6 F3

7 œ 16

3

disappearing

43

Sc

Vc.

43

œ. œ.

3 4 ˙.

sa l

Vln.

&

ru

B b Cl.

& w

Pe

A. Fl.

7 ‰3 16 b œ π

or e

3 4 ˙.

60

∑ œœœ f

œœœ

17


12

3 4

5 8

4 4

&

44

43

85

44

&

44

43

85

44

44 ‰

85

44

B b Cl.

Vln.

Elec.

Ó

≤ 43 ˙ p

arco

f

Œ

? ?

∑ ∑ ∑

44 44 4 4

ru

&

F

sa l

6 6 5 Ÿ~~~~~ > 3 5 3 ? œæ œ@ œ # œ œ œ œ œ œ 4 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 # >œ œ n œ œ œ œ œ œ œ œ 5 œ # œ œ œ œ œ # >œ œ œ œ >œ œ œ œ 4 4 4 8 4 p 3 5 6 F 6 sub. p

65

Pno./ MIDI

# œœ Ii Œ F

43

sub.

f + 43 # ˙ . I >

3 j ˙≤ 4 #˙ p

Pe

Perc.

?

pizz.

Sc

&

or e

4 4

A. Fl.

Vc.

F

65

85

18

Into the empty sky

85

f

Œ

5 8

19

44

44

4 4

mute Harmonizer


13

A. Fl.

4 &4

2 4

3 4

4 4

B b Cl.

& 44

42

43

44

42

43

44

42

43

44

Elec.

Sc

5 6 >œ >œ 3 3 6 # >œ # >œ ? 4 # >œ œ n œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 # œ œ œ œ œ œ œ œ 3 # >œ # œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ 4 ‰ # œ ‰ ‰ œ œ Ó 4 4 4 4 > 6 6 5 F 6 p 5 P 6

& 44 69

Pno./ MIDI

f

sa l

Perc.

Ó

œ ∏

sub.

f + ? 44 # w I > ? 4 # ˙˙≤ 4 p

f

42

ru

Vc.

œ P

Pe

Vln.

≤ 4 &4 ˙ π ? 44 ˙≤ p

or e

69

Ó

42 20

2 4

mute Harmonizer

43

44

43

44

3 4

4 4

Into the empty sky


14

A. Fl.

&

3 4

3 8

4 4

3 4

5 4

B b Cl.

&

43

38

44

43

45

Vln.

&

3 4

3 8

4 4

3 4 Œ

5 4

43

38

44

≤ 34 # ˙ . π

Pno./ MIDI

Elec.

Sc

œ p

sa l

73

&

? ?

∑ ∑ ∑

43 43 43

ru

Perc.

Œ

œ œ bœ œ œ nœ nœ œ bœ 3 bœ bœ œ œ > > > œ œ œ œ bœ bœ œ œ œ > > b œ b >œ œ œ œ œ œ ‰ > 3 ? bœ ‰ 38 b œ œ 44 œ 43 ‰ b œ ‰ #œ 4 #œ œ œ œ 6 3 3 3 3 p p P p 5 F F fF 7 f P f sub. f sub. f sub. sub. sub. sub. sub. 38

Pe

Vc.

?

or e

73

∑ ∑

38 38

∑ ∑ ∑

44

44

44

Into the empty sky

43 43

21

Œ 43 j ˙ . C#: 7 π

∑ ∑

Œ

G: 7

p jœ

45 &

45 45 45 45


15

G

78 Suddenly slower, insistent q = 76

A. Fl.

5 &4

6 16

B b Cl.

& 45

6 16 #œ. ∏

3 4

12 16

43

12 16 # œ .

12 16

∑ j œ.

j œ.

3 4

43

2 4 4 Œ #œ 4 π senza vib.

42

44

barely perceptible

Perc.

& 45 # œ >f G

6 Π16

5

Elec.

? 5 4

œ ‰. Œ Ó œ R f

22

6 16 6 16

∑ Œ

6 16

43

Pe

& 45 ? 45

12 16

sul tasto, non vib.

3 4 Œ Œ

#œ i

pizz.

p

2 4 Œ

#œ i

4 4

match mar. dynamic

5 6 3 12 3 2 4 œ œ œ œ 16 # œ œ œ œ œ œ œ œ œ œ 4 # œ œ œ 16 œ œ œ œ œ # œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 # œ œ Œ 4 # œ Œ 4 p murmuring, blurry

78 Suddenly slower, insistent q = 76

Pno./ MIDI

3 4

43 Œ Œ # œ 42 Œ Œ 44 π

or e

? 5 œ ‰. Œ Ó 4 f

Sc

œ I l.v. f

43

sa l

Vc.

‰. Œ Ó

6 Π16

ru

Vln.

& 45

∑ ∑

43 3 4

5

5

4

12 16

43

12 16

3 4

12 16

Into the empty sky

43

42

2 4

42

44 44

∑ &

4 4


16

& 44 # œ

Vc.

?4 4

Œ b œj œ π 3

#œ i

& 44 ‰ œœæ π 3 & 44 ‰ # œœæ 3

Perc. (Mar.)

& 44 84

Pno./ MIDI

Elec.

Œ

œ

sim.

œi

œi

nœ i

œœæ n n œœ@j œœæ œ@j œæ 3

3

3 3 朜 b b œ@jœ œæœ œ@j œæ bœ œ

? 44 4 & 4

Œ

+ Harmonizer

Ó

4 Π4

44

43 n œ Œ œ

44 #œ

3 4

43 ˙ .

F

œ iœ iœ i

43 ˙æ. P 43 ˙˙æ.. 43

Œ

3

A b: 7

j gœ œ π

Œ

4 4

œ

∑ Œ

#œ i p

œ

œi

œi

3 4

3

6

5

H

∑ ˙.

Œ

œi

44 ‰ œ bœ bœ œ œ ≈ Ó #œ œ œ #œ œ > œ > > f p f p sub. sub. bœ 4 nœ #œ œ #œ œ œ œ œ œ œ ‰ Œ 4 Ó

?

43

∑ 23

or e

Vln.

sim.

3 4 Œ œ Œ

Sc

& 44 Ó

sa l

B b Cl.

Œ

Pe

A. Fl.

H

ru

4 &4 Π84

9 16

6 16

9 16

6 16

9 16

6 16

9 16

# >œœ .. # # >œœ .. J J f >œ . # >œ . 6 J J 16

9 16

9 16

6 16

44

6 16 6 16

4 4

6 16

∑ F

3

6 16

44

Into the empty sky

9 16 9 16 24

9 16


17

Vc.

?9 16

(Mar.)

9 & 16

π 5

? 16 9

5

9 bœ. & 16 gb œœ .. π

F: 7, 8

Œ

j œœ .. 44 œœ

Œ

œ. J

4 œ bœ bœ œ œ bœ œ œ œ œ œ œ œ 4 p 4 ∑ 4

. # # œœœ .. π

B: 9, 10

Ó

#œ f ‰

Ó

Œ Œ #œ

pizz.

p

‰ #œ ∏

Œ œ

pizz.

œ

#œ p Œ

>œ >œ # >œ . > ‰ Œ b @ Ó ‰ b œœ b n œœ n œœ .. # ## œœœ Œ ‰ # # # œœœ Ó œ P @J P f f bœ œœœœœœ œœŒ π ‰ œ œ œ bœ œ Ó ‰ nœ œ œ 5

3

44 j . œ œ œ .. J

Ó

Ó

Œ

44

∑ ∑

j œœœ ... J

4 œ 4

5

∑ A b: 7

Elec.

œ.

9 bœ bœ œ œ œ œ œ œ & 16 œœ œœ > œ bœ œ Í ?9 ∑ 16 89

Pno./ MIDI

+ Harmonizer arco non vib.

∑ 5

Perc.

# # œœ .. π

j œ . 44 œ

or e

9 & 16

œ.

Sc

Vln.

j œ.

9 bœ. & 16 π

sa l

B b Cl.

œ. π

4 4

j œ.

Pe

A. Fl.

+ Harmonizer

ru

9 & 16 89

44 œ œœ

Into the empty sky

∑ 25

Œ

& Ó

Ó

Œ

26

∏ lœ


18

Vc.

& #œ ? ‰

œ

‰ œ ‰ œ ‰ œ 43 œ

œ œ ‰ ‰ 3 4

j 3 朜 n œœ@ œœæ b œœ@j ˙˙æ & œ #œ ˙. œ œ ˙. æ 3 @J æ ? ∑ 3

Perc. (Mar.)

93

Pno./ MIDI

Elec.

w Œ

Œ + Jœœ 3

A: 8, 11

˙˙

Œ

˙. f #œ f #œ f

Œ

Œ

Œ

Œ

œ ‰

œ >f

œ ‰

#œ > f

6 16

2 4

7 8

6 16

42

78

arco sul tasto, non vib.

#˙. π #œ

f

Œ

6 . 16 œ Œ

≈ œœ .. # # œœ œœ œœ œœ ‰ ≈ # œ b œ œ œ Œ ‰ b n œœ 43 # # # œœœ œœ œœ œœ œœ Œ # œ œ . > œ > >f > > > > >f > > > > F >œ b œ œ œ ‰ >œ ≈œœœœœ 3 Œ Œ ∑ Œ 4 6

5

6

43

&

˙. f

5

43

&

&

43

Œ

or e

Vln.

3 4

Sc

& w

3

sa l

B b Cl.

Œ j œ ˙ π

ru

A. Fl.

& Œ

+ Harmonizer

Pe

93

3 4

∑ f ˙˙ .. ˙.

∑ Œ

> # + œœœ f

‰ œœœ J

Into the empty sky

6 œj. j 16 n œ . b # œœ .. > > 6 >Jœ . n >œ . 16 J

6 16

∑ 27

6 16

42 ˙ 42

78 78

3 42 œ œ œ ‰ œ œ >>> >> >œ >œ >œ ‰ >œ >œ 2 4 3

78 &

6 16

42

78

6 16

2 4

7 8

42

78


19

b˙ π

œ.

& 78 œ ‰ Œ f

Perc. (Mar.)

? 78 Ó

& 78

Pno./ MIDI

Elec.

π

44 w

I

œ f

accel.

44 Ó

44

∑ 28

Ó

gb ˙ π

A b: 7

œ

π

A b: 8, 10

b œœ

44 Ó b ww˙ .

Œ

±

‰.

≈ ¿.

°

dœ œ ‰. f

Into the empty sky

œ≈

ƒ œ # œ œ >œ 3

Oœ # Oœ œO Ȯ .. @

Oœ # Oœ œO @

Œ Ó

Œ Ó

ƒ

¿≈

to SSSH mallets

a tempo q = 84

p

A b: 11

Ȯ ..

#O

œ

ƒ ∑ 29

œ œœ

Œ Ó

ƒ œ ≈Œ Ó œœ

fade in sine tone

∑ ±

I ord. w

π

∑ ±

"metallic guiro"

Œ

œ≈Œ Ó ƒ

œ

teeth on reed

bœ œ œ 44 œ œ œ œ b œ b œ œ œ ≈ œ œ b œ œ œ œ œ œ bœ œ œ œ œœ # œ # œ œ œ # œœ œœ œ 6 bœ 5 6 >f 3

& 78 & 78

+ Harmonizer

5

& 78 99

˙.

44

Œ.

œ p

Sc

Vc.

44

+ Harmonizer

Œ

+ Harmonizer

or e

sul pont.

Vln.

4 Ó 4

a tempo q = 84

sa l

B b Cl.

7 &8

accel.

ru

A. Fl.

I

Pe

7 &8 99

punta d'arco

i b w¤ ∏

∑ w


20

Vln.

&

Vc.

? Œ ‰

b b Oœ Ȯ π

>¿ ‰ Ó & Œ F hard mallet

104

Pno./ MIDI

Elec.

& & &

(¤) w

Œ

Oœ b b Oœ Oœ Ȯ .. @ punta d'arco

√ >r bœ æ ßp

Ó

# Oœ Oœ Ȯ @

Ow

high wood block

Perc.

‰.

43

≈ ±. ±

Ȯ .. 43

Oœ b b Oœ .. Ȯ 3 @ 4

mar.

˙. æ

∑ ∑

w

±. Ȯ ..

n

3 4 43

. 3 ˙ 4

±.

Oœ ..

>¿ ≈

Oœ J

√ >r bœ

œ #œ

ßp

œ œ

Ȯ ..

Oœ b b Oœ Oœ Ȯ @

œ >¿ . 34 Œ Œ

#œ # œ

Œ ‰

or e

&

±

teeth on reed

Sc

B b Cl.

±

sa l

&

3 4

Pe

A. Fl.

ru

104

Into the empty sky

Œ #œ œ

4 4

±.

44

Ȯ ..

Ȯ ..

Ȯ ..

≈ bœ. ˙ @ æ ∏

œ œ > æ @ ‰ ‰ ¿ 44 p P

∑ ˙.

˙. ˙.

π ±.

∑ ˙.

66

˙. ˙.

∑ ˙.

b b Oœ ≈

∑ ˙.

44 4 4

4 4 44 4 4


21

Vc.

(Mar.)

Perc. (Gongs)

4 &4 4 &4

Oœ # >œ O œ O œ O œ O 3 # œ O œ O Ȯ 4 5 P π3 sub. >O O Ȯ .. b Ȯ .. bœ œ 3 @ 4 P π √> > bœ bœ. 3 ∑ Ó ≈ 4 F 3 ∑ ∑ 4 Oœ

& 44

111 Pno./ MIDI

Elec.

& 44

±.

(¤) w & 44

42

Ȯ .. Ȯ ..

±

gongs

∑ ∑

43

43 43

24 # Ȯ

Oœ 2 ‰Œ 4

2 4

43

J

∑ ∑

˙.

∑ ∑

34 Ȯ .. 3 4

3 4

3 3 2 3 j ‰ 4 4 œ #œ œ œ œ I# œ I ∏ p

soft mallets

∑ ˙.

‰Œ

3 4

or e

?4 4

43

±.

2 œœ ‰ Œ 4

Sc

Vln.

& 44

±

˙. ˙.

sa l

B b Cl.

& 44

J

3 ˙˙ .. 4

ru

A. Fl.

w w

Pe

4 &4

111

sempre l.v.

42

42 42

∑ ˙

Into the empty sky

∑ ∑ ∑

#œ ˙ 34 ‰ # œ ˙ π 34 ‰ œ ˙ ˙. 43

≈ ±.

teeth on reed

Œ Ȯ ..

±

≈ >Oœ Oœ Oœ Œ @ P π

4 4 44

44 Ow 4 4

>¿ Œ ≈¿ ‰ Œ P

4 4

˙. ˙.

44

high wood block

˙.

˙.

±

Ow

3 3 3 4 Œ ‰ 4 ‰œ #œ œ œ œ π

44 44

∑ w


22

(Mar.)

Perc.

3

Elec.

& ?

43

Ȯ 42

Ȯ .. 43

Ow

Ȯ ..

Ȯ ..

&

∑ ∑

& (¤) w

2 4

œ 43 n œ œ œ ≈ Œ œ #œ 3 ßp Œ Œ 43 Œ

Œ Œ

& œ jŒ œ #œ P p

√3 >j bœ

3 4

6

Œ

2 4

3 4

43

43 43

∑ ˙.

3 4

3 ‰ 42 œ œ p P #œ 24 ‰ # œ π 24 ‰ œ

42

˙

42

Ȯ .. 43

& Ó

&

42

Ow

118 Pno./ MIDI

to bass clarinet

(cut off with marimba)

3

(Gongs)

43

2 ˙˙ 4

43 Œ

Œ œ # œj #œ p œ œ œ. ˙ œ 43 œ œ . ˙ ‰

œ

3

43 œ œ . ˙ 43

Ȯ 42

Sc

Vc.

&

± ±≈

3 ˙˙ .. 4

sa l

Vln.

±.

#œ œ ˙ ‰ # œ œ 42 ˙ 3 p ∏

ru

B b Cl.

&

3 4 Œ

Pe

A. Fl.

or e

118

˙.

Into the empty sky

3

2 4

Oœ .. ≈

to c flute 3 œœ ‰ . Œ Œ 4

43

Ȯ .. 43

Œ Œ j œ œ F

3

∑ ∑

2 4

3 4

42

34 Œ Œ 3 œ #œ p

i

‰œ Œ 3 P

42

43

44 44

Œ ‰ œiŒ Œ 44 3 F

+ Elec. Gong/Ring Mod. pizz.

24 ‰ # œ œ 43 # ˙ . #œ œ #˙. 42 ‰ n œ œ 43 ˙. ˙

?

+ Elec. Gong/Ring Mod. pizz.

Π43

30

4 4

˙.

31 n

4 4

4 4

44

fade sine tone

?

44

∑ 32

?

44


23

≤ & 44 # Ȯ # ∏

Œ Oœ ‰

arco

Vln.

Vc.

Perc.

? 44

Elec.

p

mar.

˙æ ˙ ∏

œæ.. œ

#œ #œ #œ œ. 4 # & 4 œ œ # œ ≈ nœ. Œ p floating ∑ & 44 °

126

Pno./ MIDI

ww ii wI P

?4 4

? 44

K

33

poco

j œ@ œ

poco

j œ œ

œ.

poco

≤ # # œO ∏

œæ.. œ

‰ œO P ∑

≈ œœ .. p

Ó

j œ@ œæ œ œ

#œ # œ # œœ # # œœ œœ n œœ .. ∑

poco

˙

≤ 43 # Ȯ # ∏ 3 4

. 3 œœ ‰ 4

7 8

∑ œ

or e

œ.

j œ

3 . 4 ‰ œ

Sc

bass clarinet

˙ ∏

3 4

sa l

B. Cl.

? 44

ru

4 &4

K

Pe

Fl.

126

Œ

œæ œ

Œ

œæ œ

œO P arco ≤ œœ π œæ œ

œœ œœ n # œœ .. # œ- # œ- # œ œ œ . 3 ‰ 4 # œ œ # œ ≈ œ n œ ≈ n œœ . π p P sub. ∑ 43 43

∑ Into the empty sky

78

3 4

43 œ œ œ b œ œF p 3

œ

3

molto

78

Œ Oœ ‰

7 8

œœ b b œœ b œœ œœ n œœ œœ 43 F p

Œ.

43

3

3

molto

78

78 # œ n œ 78 78

Œ.

43

œ œ œ. œ #œ œ.

43

œ i‰ Œ œI

43

43


24

B. Cl.

?3 4

?3 4

Perc. (Mar.)

? 43

˙˙ .. ii ˙.I P pizz.

sub.

˙˙æ.. ˙. ∏

- œ 34 # # œœ # œœ # # œœ ≈ n œœ œ œ œ œ nœ & p P sub. P 34 ∑ &

Elec.

? 3 4

˙˙æ.. ˙. P

‰.

˙˙ i ˙ iI P

œœ ‰ œ ∏

#œ # œ # œœ # # œœ ≈ n œœ œœ ≈ œ œ œ . nœ #œ œ. p ∑

Pe

130

Pno./ MIDI

π

œ Ÿ~~~~~~~~~ œ(O)

π

Into the empty sky

Œ

≈ # # Oœ ..

arco

p

Œ

Ÿ~~~~~~~~ T.Ÿ~~~~~~~~~~~~~~~~~ #œ 4 ≈ œ #œ œ 4 P

T.

sa l

Vc.

ru

Vln.

& 43

Œ

or e

3 &4

Ÿ~~~~~~~~~ # œ œ. ≈ ‰ c flute T.

Sc

Fl.

130

Œ

Ÿ~~~~~~~~~~ > ‰ œ œJ . ( O ) ≈ ‰ Oœ p p >O ‰ œ # Oœ ‰ Œ p

replace hard mallet with triangle beater

√ >œ i #œ œ # œ n œ ≈ œœ # œœ ‰ œ I F sub. p œ #œ Œ Œ ‰ œ# œ

œœ œœ # œ # œ

≈ # œœ ..

4 4 44 44 44 44 44

4 4


25

B. Cl.

Vln.

Vc.

?4 4 Oœ .. # # >Oœ Oœ 4 &4 Oœ .. b >Oœ Oœ

?4 4

5 8

5 8

>O œ

Oœ # >O # œ

>Oœ

Oœ >O O œ œ

Oœ # >Oœ

Oœ n >Oœ Oœ

Oœ ≈ n Oœ 5 Oœ 8

4 ˙ 4 π b˙ 4 4 π Oœ ..

Oœ ≈ Oœ

Oœ ..

molto

85

? 44

>œ i œI

b >œœ b ‰

œœ i I

>œ œ i ‰ œ œI

85

44

œ.

œ. Oœ ≈ b b >Oœ Oœ @ @ @ Oœ ≈ # >O O # œ œ @ @ @ ∑

2 4

œ œ œ œ

> ≈ Oœ @

2 4

@ œO ..

≈ 42

≈ >Oœ Oœ .. @ @

≈ 2 4 ã

? 4 4

Pe

>œ œ b >œ œ œ n œ >œ # œ œ œ # œ œ œ bœ nœ œ bœ 44 œ ‰. & # œ œ b œ œœ n b œœ œœ b œ b b œœ n œ b œ . b œ œ n œ n œ œ b >œœ œœ . > # œ œ n œ b œ . b œ œ n œ # œ n œ b # œœ n œ œœ 5 œœ b œœ .. n œ œ 4 œ b . n œœ œœ 44 ≈ œ œ œ œ œ ‰ 8 #œ # œ nœ 4 #œ & J

134

Elec.

(√) # >œœ œœ 44 ‰ .

ru

∑ L

Pno./ MIDI

sa l

molto

Perc.

>O œ æ ß >O œ 44 æ ß 44

or e

Fl.

L

Sc

4 &4

134

n >œ 5 œ œ 8 œ

5 8

Into the empty sky

œ .. œ

4 4

42 42 42 2 4


26

(Tgl.)

Perc. (Mar.)

b >Oœ b ? 42 æ ã 42

Oœ @

7 16

‰ ‰

7 16

& 42

n >œ b œ b œ œ œ b œ œ bœ loco

& 42

138

Pno./ MIDI

Elec.

p

>˙ 2 b &4 ˙ ? 42

ϲ

œ. J

π

38

7 16

>œ œ œ b >œ œ œ bœ

P >œ 7 16 œ 7 16

>. b b œœ . J ∑

‰ f

p œ

78

‰ f

≤ b b œœ

38

7 16

38

7 16

38

œ

38 38 38

38

p

‰‰ 3 4 43

˙ œ. p II Ÿ~~~~~~~~~~~~~~~~~~~~~~~ 78 # ˙ (# O) œ ‰ ‰ 43 F Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # ˙ (# O ) œ pizz. 78 ‰ œœ ii 43 œI F f 78 triangle œi Œ Œ. 43 F 78 43 œœ@ œœæ œœæ.. π

or e

@ œO

& 42 b œOæ >

œ. J

7 8

‰ f

Sc

Vc.

7 16

œ

œ

M

‰ f

sa l

Vln.

? 42

˙

3 8

œ. J

ru

B. Cl.

7 16 œ

˙

Pe

2 &4

138 Fl.

T.Ÿ~~~~~~~~~~~~~~~~~~~~~~ #˙ œ

Rich and full, but not forceful

b >œ œ œ œ

?

‰ f

> b b œœ

‰ ∑

#œ # # œ œœ # # œœ ≈ n œœ œœ ≈ n # œœ œ #œ 78 F F p sub. 78 ˙ œœ .. ˙˙ œ. Rich and full, but not forceful

M

?

78

Into the empty sky

T.Ÿ~~~~~~~~~~~~~~~~~~~~ #˙ œ œ ≈

p

2 4 42

˙.

Ÿ~~~~~~~~~~~~~~~~~~~~≈ OI #˙ œ (# O) 42 F p arco Ÿ~~~~~~~~~~~~~~~~~~~~ #˙ œ (# O ) ‰. 2 4 F œi F ˙˙æ..

Œ

‰ œ i 42 42

>œ #œ #œ #œ œ œ # œ œ # œ ≈ n œ œ n œœ œ 43 42 p F sub. 43 ˙˙ .. 42 ˙. 43

42


27 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ T.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ T.Ÿ~~~~~~~~~~~~~~~~~ # œ # ˙ œ . # œ œ œ œ # œ œ # œ œ nœ œ bœ œ . 143 ‰ ‰ 4 ‰ 2ˆ 3 2 5 J 5 J ≈ 2 J &4 8 4 8 4 16 4 3 3 p p molto f molto T.

? 42

(Tgl.)

Perc. (Mar.)

ã 42 ? 42

Elec.

œ

w p

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~ II >œ œ ( O ) œ OI O > œ ( O )J 4 58 4 P F p sub. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ arco # ˙ (# O ) œ pizz. IV ≤ ‰ œœ i 44 w 85 I F f p O.

F

˙˙æ

85 Œ

4 ‰œ 4 p F 44 œœ

85 œæ œ

œi p @ œœ

O ‰

Ó

? 42

85

44

œ.

œ

Œ

Ó

œœæ

˙˙æ

3 42ˆ16 b˙

III Ÿ~~~~~~~~~~~~~~~~~ 3 œ ‰ 42ˆ16 85 œ . ( O ) F

85 b b œœ ..

>œ #œ #œ œ #œ œ œ #œ #œ #œ œ œ œ # œ œ œ # œ nœ œ # œ # œ œ # œ ≈ n œ œ ≈ n œœ .. œ œ œ ≈ n œ # œ n œœ ‰ 4 #œ nœ 2 5 &4 8 4 p F ? 42 ˙ 5 44 w ∑ 8 ˙˙ ww

143

Pno./ MIDI

œ

85

or e

Vc.

˙ F

4 œ‰ 4

Sc

Vln.

& 42

85

sa l

? 42

ru

B. Cl.

Pe

Fl.

Into the empty sky

85

85 b œæ. œ. 85

œœ ∑

œœæ

# œœ n œ b œ # œ n œ b œ n œ œ# œn œ œ

j œ.

Ÿ~~~~~~~~~~~~~~~~~ j ˙ œ ≈ 42 (O) f

III

j œœ ..

3 b ˙˙ 42ˆ16 3 42ˆ16

3 b ˙æ 42ˆ16 b˙ 3 42ˆ16

5 8

2 3 4ˆ16

85

3 42ˆ16

42

j œœ@ ..

42 42 42

œœ œ œ œ b œ b œœ b b œœ œ n œ n œ # œ 42 J R 5 ∑

2 4

42


? 42

6

43 ‰

˙ f

Ÿ~~~~~~~~~~~~~~~~~~~

& 42 ˙ ( f IV

Vc.

(Tgl.)

Perc. (Mar.)

O

)

f

? 42 b ˙æ ˙

Elec.

? 2 4

˙

34 ‰ # >œ œ # œ p sub.

œœ b œ œ b œ 2 & 4 b œœb œ ? 42

sub.

43 ‰ œœ π

148

Pno./ MIDI

œ π

sub.

? 42 b n ˙˙ f ã 42

sub.

43

>œ b œ b œ > nœ œ

∑ ∑

œ

œ≈ œ

˙

# >œ # œ œ b ˘œ >œ œ n œ #œ n œ œ 44 3 f 44 œ œ

˙˙ ∑

Œ 43 ‰ œœ ii Œ œI f N # >œ >œ . # >œ ≈ n œ œ . b b œœ 43 ‰ # œ F ∑ 43 3 4

>œ œ œ œ >œ n >œ . >œ # œ œ œ n œ œ œ œœ ≈ œ œ > œ œ œ #œ œ œ 4 2 bœ bœ œ œ œ 7 4 4 8 6 6 6 3 f 44

ru

Vln.

# >œ œ # œ # œ

˘ ≈ n n œœ

or e

B. Cl.

P

b œ œ 3 ‰ # >œ # œ # œ >œ œ nœ 4 f p N

œœ ≈ œœ

44

44 Π44 44

>œ . œ.

π ‰ œ@ œœ >œ n >œ b >œ b œ ‰ œ# œ f ∑

4 4

Into the empty sky

42

˙æ ˙˙ Œ

78

˙

>œ œ œ >œ . b >œ ≈ b >œ b œ œ œ ≈ bœ 24 78 42

˙˙

Sc

Fl.

Ÿ~~~~~ œ œ œ bœ bœ

T.

sa l

2 &4

148

Pe

28

42 > ≈ œœ ..

42

˙æ ˙˙ n >œ # 24 œ 42 2 4

78

˙˙

78

∑ >œ . ≈ œ. ∑ ∑

78 78 78

7 8


Vc.

(Tgl.)

Perc. (Mar.)

Elec.

3

? 78 ã 78 ? 78 & 78 ? 78 ? 7 8

œœ b b œœ œœ F

Œ

Œ

# >˙ # ˙

3

3

3

∑ ∑

3

44 bœ œ bœ œ 44

44 œ œ

6

5

œ

f

6

œ

œ

œ

6

œœ

œi

6

3

6

œ

6

œ

œ

œœ

5

6

# œœ

œœ

6

# # œœ

Œ

œi

6

44

4 4

°

3

˙

nœ # œ j

n œœ

˙˙

œ œ

3

Œ

6

œ J

œ œ

œ

œ @ p

˙. i æ

44 b œ i Œ œi Œ ∑ œI b œI # ˘œ n >œ # œ œ œ œ œ œ œ œ œ œ œ œ n œ œ # œ œ # œ œ œ œ œ # œ # œ œ œ œ œ # œ 44 p

œ

>œ n œ >œ œ œ > >œ # œ >œ # œ Ÿ~~~~ # œ # œ œ œ œ œœœ≈ #œ #œ nœ œ œ œ œ œ œ œ œ ˙(œ ) ≈

b ˘œ ‰

b œœ œœ 44 b œœ œœ

f j œ iŒ b œ . œœ i œ . I > n œœ J

f

or e

3

œ œ œF > bœ œ œ œ ‰ œ œ œ œ & 78 6 Í3

152

Pno./ MIDI

Œ

Í3

Sc

Vln.

? 78

6

4 4

> > > > œ̆ œ # œ # œ œ œ œ œ œ œ œ œ œ # œ # œ ≈ œ œ œ œ n œ œ # œ # œ œ œ n œ b œ œ œ > œ Ÿ~~~~~~~ œ bœ œ ˙ ( œ )

sa l

B. Cl.

>œ œ œ œ

Pe

Fl.

#œ œ œ œ

3

sub.

ru

7 &8

152

29

6

6

∑ ∑

Into the empty sky

6

6

Œ

f Ÿ~~~~~~~~~~~ œ (# œ ) ˙

f ‰ &

Ÿ~~~~~~~~~~~ # œ ( # œ) ˙ ?

&


w ƒ

Vln.

&Ó

Vc.

? ww ƒ

(Sus. Cym.)

Perc. (Mar.)

Elec.

‰ œO@ œOæ π molto

3 4 œOæ p ˙. 43 ˙ . p

ã

43

?

43

155

Pno./ MIDI

molto

43 ˙ . p

&Ó ? &

O

œ œ ‰ œ œ ∑ ∑

p

°

Oœ@ ‰ # Oæ # œ p 3

rit.

43 43 43

# œOæ

˙. π æ œO

˙˙ . .

‰ n O@ Oæ bœ œ π

œ œ

˙.

24 j 3 Œ œ

æ. b b Ȯ . P ˙˙ . .

2 4 O@j O œ œ π œ 42 œJ Œ 3

or e

?

Sc

B. Cl.

&Ó

π

i

b b œœ I 3

Œ

Œ

œœ

∑ Into the empty sky

(non trem.)

œO

4 4 44 4 4

Œ

44

Œ

44

sus. cym.

œ œ

Œ

3

Pe

Fl.

O

Slightly slower, meditative q = 76

sa l

155

rit. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ T.-Ÿ~~~~~~~~~~~~~~~~~~~~~ T.Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ non trill œ œ œ œ bœ œ œ ˙. œ œ œ ‰ œ œ ‰ ‰ 3 2 J 4 4 3 3 p π P π π T.

ru

30

œœ

œi 42 ‰ π 3

soft mallet

(stem up = near dome, higher, brighter sound stem down = near rim, lower, darker sound)

24 ‰ œœ æ 3 π

œœ æ

Slightly slower, meditative q = 76

b˙. b ˙.

24 ‰ 3 b œœ œœ π MIDI 24 ‰ œ j œ Pno.

∑ ∑

&

3

42

34

D: 7

44 44 44 44


31

Vc.

(Sus. Cym.)

Perc. (Mar.)

4 & 4 Ȯ . .

Œ

? 44

43

ã 44

43

? 44 ww æ & 44 ˙˙ ..

Elec.

4 & 4

˙. ∑

43 œ j œ œ P MIDI 43 b ˙˙ .. MIDI

œ œ œ œ & 44 ‰ J jœ œ 3

34 ˙˙ æ

160

Pno./ MIDI

3 4

b˙.

3

3

3 4

&

b˙. π

3

œœ ‰ æ 3

con sord.

π

˙˙ ..

P

4 4

3

44

œo w

œo # œo ȯ J #O 3 p

π

44

43

44

4 4

43 n œ j œJ œ œ œ 3 p3 P Pno. 43 b b ˙˙˙ .. .

œ œ J 3 P

44 ww

˙˙ .. ∑ Into the empty sky

43

Œ

44

3

3 4 b˙. ∏

œ œ J

P

3 4

4 4 bw b b wO P 44 œ œJ # œ ˙ 3 p

. b b Ȯ .

transition to SHHS mallets

œ œ œ j˙ J 3 p

o œo œ J O

or e

43

Sc

Vln.

? 44

o œo # œ J #O

# œo #O π ˙.

P

sa l

B b Cl.

3 4

Pe

Fl.

˙.

ru

4 &4

160

43

˙

Œ

43 pœ i Œ

Œ

MIDI

3 4


32

&

o #œ #O

œ bœ 44 J

˙.

3

& œj Œ

Œ

&

3

Vln.

Vc.

Perc. (Sus. Cym.)

ã

Pno./ MIDI

Elec.

3

œ

?

p

3

MIDI

˙

42

4 ‰ bO O 4 bœ œ œ œ ˙. π 44 ‰ # œ œ

i 2 4 œ Jœ œ 3 π 42 ˙˙˙ 42

. b Ȯ .

6

&

3

44

π

œo O

œo n œo œo O nO

œ œ J 3

œ

œ J 3 P

œo ‰ 3 4

2 4

œ ‰ 43 ∏

42

œ ‰ 43

2 4

42

42

π

˙.

p

3

2 4

42

œ œ œ J

j3 & œœœ b b œœœ ˙˙˙ &

Œ

166

&‰

42

3

sa l

3

˙

. b œ . b œO . b œJ œ P œ. œ œ J 3

∏ œ ‰ 43 π

j œI Œ P

Ó

Œ

4 4

Ó

44

Ó

Œ n Jœ j œ 3 F 3 Œ œj œ b b œœ œœ

ru

Pe

B. Cl.

?‰

π

œo # œo #O J 3 P

o œo œ J O

or e

Fl.

2 4

o 4 ‰ #œ 4 #O

Sc

166

44

Into the empty sky

Ó

35

Œ

j bgb b œœœœ œœœœ

3

D b: 7, 8, 9, 10

43

3 4 œ œJ œ œJ œ

2 4

43 ˙˙˙ .. .

42

43 ˙˙˙˙ .. .

42

3

3


33

43

B. Cl.

Vln.

Vc.

bœ œ œ J πmolto 3

& 42

œ œJ œ 3 π

43

molto

(Sus. Cym.)

ã 42 2 &4

171

Pno./ MIDI

Elec.

& 42 & 42

∑ ∑ ∑ ∑

43

o 4 w 4 F

œ ‰ 42

π

to B b clarinet

2 ˙ 4 ˙ œ ‰ 42

˙

œI Œ P

Œ

42 Œ

J

3

D: 11

π

œ

42

˙

œœœœ

44

∑ œœ

4 œ jœ œ œ œ 4 J 3 F 44 wwww 44

Ó

π

44

œi Œ

3 2 4 nœj œ œ œ œ œ 4 œ nœ 3 P Pno. 34 24 Œ 3 j b b ˙˙˙ ... # # œœœœ 36 °

43

œo ‰

œo

44 4 ww 4 f

Pe

Perc.

˙

π

(less than Vln.)

2 3 ˙. & 4 b œ . b œO .. ‰ 4 ˙ . π π molto

2 4

or e

? 42

molto

œo

Sc

Fl.

˙o O π

sa l

3 4

+ Harmonizer

ru

œo # œo œo 2 & 4 O #O O J 3 π

171

w

F

Into the empty sky

o œœo Œ J 3 π I II

Œ

3

œœ ‰ Ó π o ˙ȯ ..

4 4

43

44

3 4

4 4

oȯ . ˙ 34 .

44

œi Œ

43 Œ

‰ œI Œ π

jœ œ

œ œ

3 4 jœ

‰ œ œ

p3 MIDI 3 Œ œj œ b b œœ œœ œ

j œI Œ p

Œ nœ

3 4

Pno.

‰ # n œœœ œœœ #œ œ

œ ‰ Ó

π

&

44 4 4

43 œœœ ‰ b b œœœ œœœ œ

44

43

44

MIDI


34

Q

Fl.

4 &4

B b Cl.

?4 4

3 4

Vln.

4 &4

3 4

3 4 Œ Œ

bœ bœ. bœ b œ œ . b œ n œœ 4 ‰ ‰ Œ &4 π delicate but incisive mar. hard mallets (HHHS)

Perc.

4 &4

177

Pno./ MIDI

Elec.

4 &4 & 44

Q

Œ Œ

œ œ J

∏ distant 3

b b ˙˙˙ ...

o # œœo 3 ‰ 4 ∏ II III

o ˙ȯ ..

Sc

& 44

o œœo ‰ Œ

o œœo

2 4

2 4

poco

œ œ œ nœ ˙ J J 3 3 π Œ

j œ # # œœœ ˙˙˙˙ .... 3

Pno.

œ

Pno.

3 4

2 4

3 4

2 ≈ 4

43 Œ

Œ

+ Harmonizer

P

o œœo

43 ‰ .

bœ œ ‰ # œœ

3 4

B: 7 ∏ ‰ j œ 42

˙

sub.

5

G#: 7

Into the empty sky

n >œ ‰ œ 44 P

p

3

p 34 ˙ l# ˙ ∏

44

Œ

œ bœ bœ œ nœ. œ Œ

œ œ œ 3 4 5 (d )

4 4

œ p

oo œ 43 œ

MIDI (sounding 15va)

37

4 4

3 4 #˙ ∏

>œ b œ . œ œ.

√ bœ.

œ ‰ 44

3 4

oȯ ˙ 42

bœ bœ bœ . #œ ≈ b œ b œ œ b œ 2 n œœ ≈ n œ . ‰ œ 43 Œ ‰ 4

≈ b œœ .. n œœ

3 4 ˙ p

+ Harmonizer

sa l

o wwo

‰ œ 42 ˙ ∏

or e

ru

Vc.

Pe

177

P

4 4 4 4

Œ œ p

44


35

Fl.

4 &4

B b Cl.

?4 4

4 &4 ˙

œ ‰Œ

Perc. (Mar.)

œ 4 œ &4

?

œ . >œ ≈ # œ . œ # œœ ≈ n œœ .. P

sub.

Elec.

& 44 ˙

B: 7, 11

œ

Œ # Ȯ ‰ œ œO ˙ # > P p senza sord. I Ÿ~~~~~~~~~~~~~~~~~ #˙ œ >Oœ Oœ (# O ) Œ p F

# >œœ n œ b œ œ # œ n >œ # œ œ≈œ # œ‰ œ œ #œ P

‰ Œ

√accel. œ

Pe

#œ #œ

Œ & 44 Ó π (sounding 15va) œ #œ œ œ #œ œ œ & 44 ‰ J 3 3 5 3 (+) ( j) 38

∑ Ȯ

# # Ȯ

#œ œ Í

œ œ > f Ÿ~~~~~~~~~~~~~~~~~~~~~~> >œ # >œ ˙ œ œ (# O ) ‰

Oœ # >Ȯ # ‰.

F

b œ b œ œ # œ . b b >œœ . œ œ n œ œ ≈ n œ. . nœ ‰

˙

f Í

>œ # œ n œ b œ > œ nœ # œ ≈ œ œ # # œœ .. œ b œ ‰ nœ

f

>œ # >œ œ ‰b œ f

sub.

182

Pno./ MIDI

Sc

4 &4

sa l

Vc.

ru

Vln.

accel.

or e

182

Fp

sub.

Ó

#œ œ #œ œ +

5

( ) ?

39

A: 11

œ œ œœ œ

œ bœ

5

œ œœ œ 5

Ó

l

( ) 40

Into the empty sky

D#: 7

3

Œ bœ bœ bœ œ œ (g ) 5 (d ) E b: 7, 11

œ œ œ #œ +

( ) 41

5

B: 7, 11

Ó

f

œ œ #œ œ œ œ œ œ ‰ œ 3 ( j) ∑


36

Fl.

R Suddenly faster than before q = 100

186 a tempo q = 84

&

6 8

œ̆ J

Œ

bœ œ̆ J 11 16 f F

Œ

b œ 11 b ˘œ J 16 f F

‰.

Œ

sharp

(Mar.)

Perc.

&

ã Ó

68

˙. Í œ œ # 6 œ nœ 8 ƒ 68

≈ œ .IŒ F

bass drum

Pno./ MIDI

& 42

Elec.

?

œ # œ # œœ n œœ b # œœ ‰ ∑

>œ >œ # >œ > > œ n œ # >œ

R Suddenly faster than before q = 100

186 a tempo q = 84

&

11 16

6 8

MIDI (sounding 15va)

68

&

ƒ >œ # >œ # >œ > œ #œ #œ ‰ > >

43

¤ + 6 # #+ œœœœ n b n œœœœ # # #+ œœœœ + + j œœœœ n b n+ œœœœ b bgœœœœ 8

12. 11. quick decay 10. 9.

+ Triangle Sample

10. 9. 8. 7.

œ

13. 11. 10. 9.

14. 13. 11. 9.

11. 10. 9. 7.

14. 12. 11. 9.

f

>œ b œ ≈ b >œ 44 f

11 16

Ó

43

O. J

III II IV III Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~ Ÿ~~~~~~~~ O (œ) 4 O (œ) O 4 O. (œ ) 43 O (œ)O >

j œ.

œ

n >œ n œ >œ # œ >œ >œ > œ

MIDI Piano etc.

3 4

Œ

ƒ

≤o 44 w w

44 4 4

Into the empty sky

4 4

43 œ œ ≈ # œ n œœ # œœ œ # #œ ‰ œ nœ b œ ∑

>œ

>œ # œ >œ # œ >œ œ # œ 4 n œ 11 16 4 > > > 11 16

ƒ œ n ˘œ

Ó

‰.

œ œ œ œ œ œ # 11 œ n œ œ # œ œ # œ n œœ 4 # œœ 16 4 11 16

œ œ̆

or e

‰ Œ Œ j œ sharp fl ƒ (grace notes on the beat) Ÿ~~~~~~~~~~~ 68 œj >O . 11 >O O .( œ ) 16 œ Í Í 68

Sc

?

&

sa l

Vc.

&

ru

Vln.

?

Pe

B b Cl.

b-flat clarinet

4 4

>œ œ ≈ b >œ

3 4 43

>œ >œ ≈ # >œ n œ # >œ >œ ‰ 3 4 > > > ‰ œ # œ ≈ # œ # œ # œ œ 43 > > ∑

3 4


37

Vc.

? 43

(Mar.)

Perc. (B.Dr./Cym.)

Elec.

II Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O. (œ) 42 O Í o o ˙. œ 42 ˙. œ

œ œ # 3 œ nœ &4 ã 43 3 &4

190

Pno./ MIDI

>œ œ

>œ # œ 3 &4 3 & 4

œœ œ œ œ . # œ # œ n œ . b # œœ 42 >œ # œ

∑ >œ

>œ # œ

>œ .

> œ bœ. > ∑

o ——o

III IV

>œ

ord. ƒ IV sul pont. —o o œ ≈ ‰ œ >ƒ

42 ‰ œ f

b >œ

2 4

b œ 42 > 2 4

ƒ

b ˘œ

Œ

∑ ∑

Œ

3 16 ∑

2 4

‰.

sharp

ƒ

Œ

3 ∑ 16

42

‰.

sharp

˙˙ >

or e

& 43

42 Œ

œ̆

3 ∑ 16

Sc

Vln.

‰ bœ

ru

B b Cl.

& 43

2 4 Œ

Pe

Fl.

˙ >

sa l

3 &4

190

œ # œ n œœ # œœ ≈ # œœ .. ƒ ∑ >œ

>œ # >œ >œ . ≈

ƒ >œ # >œ # >œ ≈ > . œ ∑ Into the empty sky

3 ∑ 16 3 16 ∑

3 œj. 16 3 16 ∑ 3 ∑ 16 3 16

42 ˙ ˙ > 42

‰. B

˙ >

œ œ œ œ. # 2 œ nœ #œ ≈ #œ. 4 42 2 4

>œ

>œ # >œ >œ . ≈

24 >œ # >œ # >œ ≈ >œ . 2 4

‰.

œ œ

+ Harmonizer

p

f

p

f

œ œ

+ Harmonizer

œ>œ œœ ƒ >œ œ ƒ

‰. ‰. 44

?

‰.

œi Œ

85

>œ œ œ œ

5 8

>œ œ œ œ

85

Pno.

p

85 5 8

splash cym.

j G: 11, 12, 14 + œœœ œœœ

85 85

œ.

5 8

f

5 8


38

S

Fl.

5 &8

2 4

3 4

2 4

4 4

B b Cl.

& 85

42

43

42

44

(Mar.)

Perc. (B.Dr./Cym.)

ã 85 Œ . S

& 85

196

Pno./ MIDI

# >œ # >œ

& 85 # œ # œ > > °

# >œ

¤ 5 & 8 #œ + œ > >

#œ >

œœ

œ #œ nœ bœ bœ # 24 œ # œ œ ≈ œ œ

bœ bœ œ œ

42

œ # >œ # >œ #œ œ > >

or e

42 ˙ ˙

?

Pno.

nœ I loco

42

&

43 ˙ . ˙.

Sc

nœ œ

MIDI (sounding 15va)

45

Elec.

œœ

43 ˙ . ˙.

>œ # œ n œ >œ # œ n œ >œ ≈ 34 # œ # œ œ œ œ œ n œ

sa l

Vc.

42 ˙ ˙

ru

Vln.

& 85 œ . œ >. sub. ƒ ? 85 œœ .. > sub. ƒ œ #œ # œ# œ & 85

# >œ # >œ # >œ > ≈ # œ # >œ

Pe

196

43

# >œ # >œ # >œ >œ >œ >œ ≈ > 34 n n œœ

Pno. 24 # >œ # >œ # >œ 34 # >œ # >œ # >œ ≈ >œ >œ œ ≈ # >œ œ > # >œ > MIDI (sounding 15va)

MIDI Piano etc.

#œ >

longer decay, more resonant

#œ j œ > >

2 4

sim.

3 4 Into the empty sky

42 ˙ ˙

˙˙

42 ˙ ˙

˙˙

sul pont.

>œ . b >œ > œ # œ n œ b œ œ . œ ‰ œœ # œ # œ œ ‰ œ 42 42

42 œœ .. b œœ ‰ > > 42 ‰ #œ. #œ > > 2 4

44

sul pont.

œœ >

# >œ # >œ # >œ

> ‰ #œ

# >œ # >œ # >œ ‰ # œ > œ > MIDI (sounding 15va)

46

B

44 44 44 44 44 4 4


≈ >œœ .. œœ

>œœ œœ 4 . &4 ‰ ƒ ord. >œ œ . ‰ B 44 ƒ

Vc.

(Mar.)

Perc. (B.Dr./Cym.)

& 44

85 Π.

ƒ

>œœ œœ œ œ 4 & 4 ‰. Pno. > œ œ 4 & 4 ‰. œ œ

# œœœ œœœ . ‰ 4 & 4 p

G: 11, 12, 14

85 Π.

>. ≈ œœœ .. œœœ

85

≈ >œœ .. œœ g >œ . œ ≈ b œœ .. œœ

85

A b: 11, 12, 14

f P

p

4 4

˙

œ

+ Harmonizer

p

44

>œ ww œ 4 ‰ 4 ƒ > ‰ œ 4 w 4 ƒ

>œ >œ b >œ > œ œ œ œ œŒ 85

≈ ã 44 œ . œ i ‰ œ œ .i Œ

°

Elec.

ƒ ≈ >œ . œ

201

Pno./ MIDI

85 Π.

ƒ

5 8

7 16 œ

f

œ

7 16 7 16

or e

Vln.

5 8 Œ.

f P ƒ + Harmonizer œ œ ≈ >œ . œ . ‰ & 44 85 Œ . f P ƒ p ord.

˙

7 16

Sc

B b Cl.

p

˙

œœ

b >œ . 5 J ‰ . 16 f b >œ . 5 J ∑ 16 f

œ

œ

œ. J

J

œ J

œ. J

œ J

œœ J

œœ . . J

œœ J

J

œœ . œ . 5 œ .. J 16 J p œ. œ. J 5 J 16 p

œ J

. bœ #œ # œœ b œ ≈b œœ . # # œœ .. œœ œœ œœ ≈b œ œœ # ‰ œ œ ‰. 5 œ # œ ‰ 44 7 16 16

œ œ i 44

7 16

Œ

j 5 ‰. œ . 16

j œ

bœ #œ # >œœ ii ≈b œ . # œ . œ œ œ b œ œ # œœ b œ œ œ œ œ . . # œ œ ≈ # nœ œ bœ œ ‰ œ I 4 ‰ œ œ ‰. 5 œ # œ ‰ 7 œ œ œ nœ 4 16 16 > > > > MIDI (sounding 15va) > 7 bœ . 5 ‰ n œœ iI 44 ≈b œ . b œ . œ ‰ œ œ ≈ n œ œ 16 œ ‰ 16 b œ b œ ‰ #œ > # >œ # œ œ > > °

Pe

Fl.

+ Harmonizer

sa l

4 ‰. &4

201

b >œ . œ

ru

œ œ

+ Harmonizer

Œ.

47

d œœ iI

E b: 9, 11

4 4

bœ. d œ.

œ

œ œ

Into the empty sky

≈ œ

œ

7 16

dœ œ

‰.

5 16

œ

œ. J

œ J

bœ #œ œ# œ

39

7 16 7 16 7 16 7 16

7 16

7 16

j 7 œ 16

‰. bœ #œ œ# œ

bœ œ ‰ ∑

7 16 7 16


(Mar.)

Perc. (B.Dr./Cym.)

œ. B 7 J 16 bœ #œ œ# œ 7 & 16

œi

bœ #œ œ# œ 7 & 16

207

Pno./ MIDI

Elec.

7 & 16 b œ b œ 7 & 16

œ. 3 J 16

bœ #œ œ# œ 2 3 16 4

Œ

7 ‰. ã 16

œ

Π?

‰ ∑

>˙ 24 ˙ ƒ >˙ 2 4 ƒ

œœ . . 3 16 J

œ

Pno.

bœI & ◊

3 16

‰. Œ

œ 44 œ 4 4 ∑

5

3 2 16 b œ œ 4 MIDI

loco

œ

2 4

p

∑ ∑

>œ ˙ @ æ ∑

œ @ p √ T > 44 ‰ # # # # œœœœ ƒ Pno. 4 ‰ n œ>œœ 4 48

4 ‰ 4

w

ƒ (cut off with bass drum) >œ ‰ Œ Ó ƒ

Long enough for cymbal resonance to completely fade

U

U

Still - ca. 6"

to piccolo

Œ Ó

U ±

U ±

teeth on reed

π

n

fade in from sus. cym. resonance

(cut off with bass drum) sul pont.

# >œ ˙ . œ ˙.

44

42 œ œ œ œ œ 44 ‰ P f

bœ #œ œ# œ 2 3 16 4

3 16

44 ‰

p bœ ˙.

w

>œ

Ÿ~~~~~~~~~~ U U w (# O ) #O O O w Ïp π √ sul pont. (b œ ) w œ sul pont. U U Ow Ow ‰ & b b Ȯ .. w œ @ æ π ∏ Ï fade in from sus. cym. resonance

or e

œœ

42

>œ

Œ

4 ‰ 4

bœ ˙.

œ œ æ

Sc

Vc.

œ. 3 J 16

œ

œœ . . 7 & 16 J

2 4

‰.

T

sa l

Vln.

œ. 7 J & 16

3 J 16

>œ

ru

B b Cl.

œ.

œ

7 J & 16

207 Fl.

œ.

Pe

40

˙. æ

sus. cym.

˙˙˙˙ ... ii .I

(cut off with bass drum)

w

A b: 7, 8 E b: 7, 8, 9

Into the empty sky

œ iœ . fl Ï

to HSSH mallets

Œ Ó

i [

≈ ‰.

∑ wwwww

49

sine tone

π

U

U ∑

U ∑

(sus. cym.)

∑ Œ Ó

(release pedal with bass drum)

¤ bw

U

secco possibile

˙˙˙ ... IIi

√ b b g g œœœœœ ˙˙˙˙˙.. .. J

w

splash cym.

U w

]

U

Still - ca. 6"

U

U

U

U w


41

±

& (

Vln.

&

≥O ≤ )

π sempre

≥≤ & Ow π sempre (

Perc.

)

43 43

∑ O.

Œ ‰

3 4 Ȯ ..

±

O

Strings: Free bowing, with imperceptible changes; time bow changes so that the bursts of tremolo can be punta d'arco

4 Ȯ .. 4

3 4 43

±. π

±. ord. punta d'arco (non trem.)

Oœ Oœ ≈ 43

Œ

& & &

(¤) w

∑ ∑

43 3 4

. 3 ˙ 4

44 Π4 4 4 4

bœ.i

"

f"

° w

Ó

43 Π3 4

O.

ȯ i

pizz. I

P

ȯ .I II

4 4 44

∑ ±

Ÿ~~~~~~~~~~~~ b˙ œ ‰

T.

π

‰. Œ Ó

Ó

(cut off with wood block)

. # >O (non O Otrem.) 44 @ arco punta d'arco (non trem.)

4 b b >Oœ Oœ Ȯ .. 4 @ p π

√ >r hard mallet bœ œ > ¿ 4 Œ ‰ . @R æ 4 P ßp

n œo i Œ Œ œ ∑ J 3 P ∑ ∑

(2nd partial harmonic)

trigger playback

50

sine tone continues # œœo i 3 ˙ Œ J 4 3

n

Into the empty sky

o ˙˙ .. Œ

51

˙

∑ ∑ o ˙˙ .. ˙˙ . . P

44

4 4

52

4 4

œœ i b¤ ‰. ˙. n

π

‰ Œ

sul tasto

>r œ ‰ b œ œ œ >¿ @ Œ Œ 3 ßp

bœ i "

f"

playback cuts off (abruptly) with wood block

53

Œ

± ±

O

w.b.

fingernail pizz.

∑ ±.

O.

O #O O O 34 @ π

√ >r >r > > hard rubber mallet bœ bœ bœ œ œœœ 3 4 3 J @ æ Œ Ó 4 Œ Œ ‰ Œ ‰ & 4 4 ßp F ßp3 215 Delicate, suspended q = 66

Elec.

π

wispy

44 Ó 44

U

Pno./ MIDI

4 Π4

sa l

Vc.

‰Œ Ó

3 4

ru

B b Cl.

&

Pe

Picc.

Ÿ~~~~~~~~~~~~~~~ ≈ bœ. œ œ œ piccolo T.

or e

215 Delicate, suspended q = 66

Sc

U

w

Œ Ó ∑


Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

42

T.

Vc.

Perc.

± ±‰

Elec.

ord.

≈ >¿ .

P

& (¤) ˙i

Œ

o Œ œ IÓ ∑

˙. O ord. arco punta d'arco

> ‰ . b b Oœ Oœ Oœ Ȯ @ @ p π

> > bœ. ¿ F

g ˙o .i

(7th partial harmonic)

∑ ∑

? n œo œo 54

sine tone continues

π

O

III

Ó

œ ‰. Œ w p

O

n œo i ‰ Œ 3 P

&

&

Œ ˙. ∏

I pizz.

& Ó

&

Ó

# >O O O . O @ @

O.

223

Pno./ MIDI

Œ

œ p

bœ i

3

n

P ˙.

o ȯ œ . gw 55

P

Œ

Œ

Ó

œo

56

∑ ¤ i . ‰ b˙.

"

f"

ßp 3 3

≤ # œ O

3

ßp

°

wi

sine tone continues

n

Ó

j ˙o . 57

n

Into the empty sky

Oœ Oœ

bœ J

p ßp

Œ

Ø

sul tasto

√ > >r œ ‰ ¿ bœ J æ Œ

5

sul tasto, non vib.

O

Ow

π

œ. ≈

√ >r > œ bœ bœ Œ ‰ æ @J J Œ æ

Œ

-+jA b key j b œ b O O O b On œj O b O Oœ ≈Œ ‰ Œ

- A key

or e

&

˙.

Sc

Vln.

&

‰ œ œ ∏

w

sa l

B b Cl.

† Ó

Pe

Picc.

3

ru

223

j œœ b O

3

œ

‰ ∑ trigger playback, fade sine tone

"

F"

Œ

Œ

œo

P

3 4

43

w

‰ Œ Ó bœ i

43 ∑

3 4

43

43

∑ wo

43 43


Vc.

Perc.

‰ #œ œ ∏

3 &4

3 &4

Elec.

gong

& 43 œ I P

Œ

soft mallet

∑ Œ

#œ. 3 #œ œ #œ Œ &4 R I 5 p 5 ? 43 ∑ 3 & 4

ord.

4 4

42

44

œ # œ- œ œ- œ 2 J 4 3 F ord., vib.

P

only

espress.

3 &4

229

Pno./ MIDI

˙.

˙.

2 4

2 4 2 4 42

SOLO

∑ ∑ ∑ ∑

∑ ∑

Still, but expectant

42 42

2 4

4 Œ ‰ 4 4 Ó 4

3

"

œ. œ.

pizz.

∑ ∑ ∑

Œ

4 Ó 4

f" p Œ

44 b w i p sempre crotales

bœ œ

Œ

Œ

Œ

"

f"

hard rubber mallet

Ó

44 4 4

π ∑ ° ∑

Into the empty sky

Œ

‰ b œ iŒ Ó Œ

Œ ‰

F bœ

3

> ‰ ¿ 3 P bœ i 3

"

f" ∑

Œ

43 3 4

bœ p

3 4 Œ

Œ

3 4 Œ

34 ‰ .

√ > bœ.

P

43

˙.

n

3 4

bœ i

"

f"

Œ

œ œ

pizz.

π f "f " bœ

43 b ˙ .I

58

≈ b b Oœ≤ .. ‰

P noisy, quasi-woodblock

3

w.b.

Œ

V Suddenly mobile q = 72

44 Ó

3

‰ b b œO@ œO@.. ≈ Œ Œ π ord.

√ >r bœ œ ‰ . @R æ ßp bord. œi

≥ 6 œ̆ . . . . .

arco

pizz.

arco

or e

& 43 Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ. œ œ. bœ œ œ 3 JŒ Œ ‰ 4 3 3 ∏ p T.

Sc

Vln.

sa l

B b Cl.

3 †4

Pe

Picc.

Still, but V Suddenly mobile q = 72 expectant

ru

229

43

3

Œ

œ

ord.

p

3

œ J


44 poco rit.

235 Picc.

4 Ó 4

B b Cl.

&

44

mœ œŸ~~~~œ b ‰. ‰ ‰ π

a tempo

T.

T.

sul tasto, non vib. ˘≥œ œ. œ. œ. œ. œ punta . d'arco b œ œ œ≤ w ≈ ‰ 44 @ & 6 5 F π ∏

>¿

w.b.

P & Π235

Pno./ MIDI

& Π?

59

Elec.

&

p j ˙˙ .. n

Œ

Œ

≈ b œ .I Œ crotales

Œ

> ≈ bœ œ œ ≈ P5

or e

44 æ ‰. Ó œO œO p √ >r mar. b œ œ ‰ 44 Œ æ @ Œ ßp 44 ∑

Œ

F "f "

Œ

‰ œI Œ p

Ó

gong

bœ.

44 Œ # œ œ œ # œ ≈ œ . Œ œ Ó MIDI P π3 p 44 ∑ Ó & ‰ œ bœ Œ

44

p

3

œ ‰

gœ Œ œI I n Into the empty sky ‰

F

3

œ

3

F

π

6

Œ

b n Ȯæ

punta d'arco

>√ œ ˙ @R æ ßp Ó

mar.

‰.

b˙I P

crotales

b œ- œ œ œ œ œ ≈ F

60

Ó

≥ . . . . . . . . œ̆ œ œ œ œ œ œ œ œ ˙

arco

3

œO f

a tempo

poco rit.

˙.

pizz.

≤ ≈ # œO .. Ȯ ∏

Sc

@ œO

≈ bœ œ bœ

ord., vib.

jŒ Œ œ

˙ p

espress. (non trem.)

sa l

&

F

≈ # œO@.. œO@ ∏

˙

5

ru

Perc.

&

punta d'arco

œ œ

Pe

Vc.

Ó

‰ œ ˙. ∏

arco

Vln.

Œ

˙. Œ

7

π

Œ

Ó

∑ 61

n

˙

œ


45

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ W w œ bœ 4 w 3 œ œ œ Ó † 4 4 p ∏

239 T.

>œ >œ œ . ‰ ‰ ‰ @ Œ @ &@ p

44

˙. p

œ bœ

punta d'arco

Vln.

43 Œ

sub.

& Π& 239

Pno./ MIDI

Elec.

& & &

"

œ

i

f"

˙˙ . p

√ > > ‰ œ ‰. œ Œ p ∑ ‰

bœ œ 3

p

œ

∑ Ó

œ ‰ n

3

"

f"

43

43

43

Œ œ I œI P p sempre

gong crotales

≥ . . . œ̆ b œ. œ. œ. ˙

œ

44

F

π

n˙.i 34 ˙ . I P MIDI 43 b ˙ .. i ˙I 62

43 g ˙˙ .. i I

7

44 œ P

Œ

44 Ó

Œ

Œ

arco

ru

Perc.

&

Pe

Vc.

pizz.

or e

43

&

Sc

B b Cl.

44 Œ

3

j b œI

44 Ó

√3 >j ‰ æœ 3 ßp Ó

Œ

Œ

44

44

∑ Into the empty sky

>œ @ p

Œ

p

b˙. ∏

Ó

œ bœ

pizz.

Œ

f" 3

"

sub.

Ó

sa l

Picc.

œ. ≈ b œ.

SOLO

∑ bœ @J J Œ

3

bœ i W "

‰ nœ i Œ

Ó

f"

Œ

Pno.

crotales

3

P3

œœ jœ bœ

∑ ˙˙ ˙ ∑


46

Vc.

Perc.

&

Elec.

bœ œ π arco b œ b œ œ. œ. ≈ ‰ ‰ 3 P

f

5

& & &

>¿

w.b.

P ≈

bœ.i

œœ " f " #P œœ œ & œ &

œ œ

pizz.

F"

"

œ

œ

œ

5

Œ

œ "

f"

≤ ≈ œO .. p

arco

Ó

√ bœ œ @ æ π ∑

P

F

Ó

œœ .. œ.

œœ œ

Ÿ~~~~~~~~ œ œ

‰.

T.

P

T.Ÿ~~~~~~~~~~~~ ‰. œ œ ˙ p

≥ 6 . . . . . . . œ. œ̆ ‰ arco

&

243

Pno./ MIDI

œ

Œ

œ. œ. ≈ œj b œ. ‰

œ @

œ @

œ æ

p # # œœœ œœœ

pizz.

"

molto

sa l

Vln.

&

3

sub.

ru

B b Cl.

p

œ @

Pe

Fl.

mT. œ nœ ‰

or e

≈ œ. œ. mœT.

f"

Sc

T. ≈ bmœ ≈ b œ. ≈ fltr. œ. @ † P molto

243

bœ @

F

‰ bœ ˙ æ

P3

∑ Into the empty sky

p

3

molto

sul tasto, non vib.

π ‰.

Œ

œ æ

∑ ∑

˙˙ . ˙ ..

3

w

p œ

3

bœ J

≤ œo ȯ .

sul D

œ

‰. w

"

œ @ ‰ Ó

i

f"

Œ

Ó


Vc.

Perc.

Pno./ MIDI

Elec.

& Ó

‰ œ œ π

w

&

œ

˙.

ord., vib.

F

& 246

& &

˙

3

"

p

œ

œ

arco

f"

Œ Œ

p P œ œ nœ œ w ∑

‰.

Œ

b˙.i p bœ ‰

p

crotales

"

Œ

F3

i

f"

Œ

Ÿ~~~ n œ œjŒ P

b O O O b On œj Œ

T.

˙.

œ œ̆ b œ. œ.

p ∑

&

pizz.

œo j œo ȯ . & J 3 p &

œ

œ

"

i

f"

w

P

3

n ϲ J

π

√ > bœ ‰ æ 3 3 ßp

Ÿ~~~~~~~~~~~~~ œ œ . # œ œ 78 œ Œ Œ . ∏ p T.

78 œ œ œ . p

œ̆ œ. œ. œ. œ. œ. ˙

˙

Ó

Œ

or e

Œ

Sc

Vln.

+ A b key

sa l

B b Cl.

j On œ

ru

Picc.

- - A key b œœ b O O b O

Pe

246

47

f

œ F

Œ

bœ J

@J Œ Ó 3

∑ nœ

Ó

"

Into the empty sky

i

f"

Œ

6

œ

p ∑

42

Π78

42

78

42

> ‰ . n œR œ @œ ‰ Œ 78 ∑ @ æ ßp gong 78 Œ Œ. ∑ œI p ∑

2 4

78

p

42 42

42

2 4

#œ œ 78 Œ œ œ 42 œ 7 8


48

Vc.

Perc.

2 &4

& 42

& 42 & 42 2 &4

251

Pno./ MIDI

Elec.

& 42 ‰ & 42

∑ ∑ F # œ3

œ. œ. œ. œ. œ

±

42

π

˙.

œ

π ȯ

5

œo j œo œo J

44

F

3

Œ

3

Œ

∑ ±

‰ 2 4 Œ

b œ≤ œ J

or e

˙ & 42

p

3

2 4

Sc

Vln.

sa l

B b Cl.

2 †4

mT.œ n ‰ ‰

n >œ ˙ @J æ ßp

ru

Fl.

T. T. ä. . . ≈ ≈ mœ # œ. mœ ≈ œ œ œ œ 4 ‰ 4 5 5 F 5 teeth on reed ± 44 œ ‰ Œ ∏ arco ≥ pizz. œ œ #œ n ˘œ œ. 4 J ‰ Œ 4 3 3 3 " f " non dim. P SOLO sulo D œ ȯ ‰ 4 Œ 4 ∏ imperceptible entry √ >œ # >œ 44 Œ f crotales 44 œ . i ‰ œi ‰ # œ I p sempre X #œ œ ˙. 4 4 p œ sub. 44 ∑

X

Pe

251

42

Ó

42

œ #œ œ œ 3 π

p

2 4

œ

2 4

42

42

Into the empty sky

3

∑ ∑

˘ . 4 bœ œ 4 F ± ‰ 44 bœ

f "non dim. molto œo ‰ 4 4 √ >œ

44

44 ‰ b œ i

π

4 4

Ó dœ

f

b >œ œ œ œ œ

F 44 n w

44

5

dbœ Œ J 3

"

3

œ #œ. œ

Œ

œ

pizz.

4 4

5

fltr. T. ‰ œ d œ. ≈ œ. ≈ #mœ Œ @ @

Œ

Ó

Œ

œI

Œ

œ

˙

π

3

b >œ 3

¿

w.b.

bœ I


49

œ̆ . . . b œ. .̇

arco

Vln.

Vc.

Perc.

&Œ &Œ

&Œ

Elec.

&Π& &

w

p

5

(√) ‰ >œ Œ &

256

Pno./ MIDI

P ȯ .

3

Œ ‰

3

3 4

Œ

œI

π

3 4

b >œ

π œ

œ

œ

œ

œo

j ˙o

F

5

œ #œ J

f œo

3

" " sempre

poco

bœ œ œ œ 3 4 J 3

34 ˙ . 43

5

Œ

pizz.

‰ Œ Œ

P Œ ‰ 43 bœ I

3

±.

43

Œ

F ±

P

‰.

√ >œ .

+œ 3

Œ

as if suddenly cut off

f

œI p sempre n ˙- .

44

Œ

4 Π4

d œ #œ

or e

&Ó

43

3

œo

Ó

3

œo j œo œo J

Sc

B b Cl.

3

3 4

. œ. #mT.œ œ œ d ‰ @ 44 ‰ ‰ ‰ Œ p fltr.

n >œ

sa l

3

T. œ̆ œ. œ # œ. œ. ≈+ œ. nmœ

Pe

Picc.

T. m Œ b œJ Œ 3 p ±

ru

+ œ n œ. ‰ œ. †æ J

256 fltr.

b œ .I

F

3 ∏

Œ

4 4 44

3

‰ . œI44 Œ ≈ # œ . Ó I 4 4

P ˙˙ .. ∑ Into the empty sky

44

44

b œ. ‰ f

œ.

3

T. m . ≈ œ ‰ ‰ œ ≈ ≈ # œ. ‰

j œ

p

3

bœ œ J

3

ȯ æ Í √ b >œ f

3

Œ

œo . ≈ j œ≤o @

punta d'arco

molto

>œ œI

b >œ œ œ œ œ F w ww

5

∑ ‰ Œ

3

molto

œ I ‰ . # œ IŒ œ œ J

p

#œ π


50

Vc.

Perc.

&

Elec.

3

#œ Œ J Œ 3

œo . ≈ @ Œ

ȯ & æ Í

√ b >œ >œ > ‰. œ Œ Œ & f & b œi 261

Pno./ MIDI

& & &

b œ.

F w ww

Œ

œ.

# >œ p

Ó

j œ

3

œ.

# œ.

œ ˙

J 43 Œ 3 ∏ 43 43 43

Œ

nœ i J Œ Œ 43 Œ 3 "f " 43

∑ ∑

3 4

˙.

j ϲo

Œ

∑ ∑

b œi

√ b >œ

Œ

3 P Œ

bœ I

3

b >œ . p

rit.

63

˙.

Y

4 Ó 4 44 44

ȯ .

+ Reverb. (fade in gradually)

bœ œ œ bœ œ œ œ œ œ π

P

3

∑ Into the empty sky

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b œ ˙ ˙ ‰

Delicate, suspended q = 66

44

Œ

±

π œ

or e

Vln.

bœ œ J

sul tasto, non vib. arco

Sc

B b Cl.

T.

Pe

Fl.

œŸ~~~~~~~~ ˙ b œ. œ. ‰ . b œ. œ. ‰ . œ mœ 3 ‰ 4 Œ J 3 5 5 3 π ∏ F ±. ± ‰ Œ Œ 43

T.

sa l

261

rit.

ru

b >œ œ. œ. œ. œ. mœ œ . # œ œ ‰ ‰ † 3 f 5 p P molto ±. ± & ∏ π T.

œ-o

P

T.

˙.

p

±

œ #œ œ

˙ o œo œ-

œo j œo J 3

√ >j bœ œ œ Œ @J æ @J ‰ 3ßp

ord., vib.

o œo jœo œo œ- œo J J 3

3

espress., quasi-cantabile 3

œi

∑ ∑ ∑ ∑ ∑

44 Œ

44 3œiŒ Ó œ IJ p Delicate, suspended q = 66 n ˙- . bœ i Y ‰ 44 "f " pw ww ww w w w 44 gong crotales

4 4

p

poco espress.

∑ ∑ ∑

œo


Ÿ~~~~~~~~~~~~~~ - A key j b˙. œœ b O O b O n œj O ≈Œ ∏ ±. ± ‰ Œ

51

T.

Vln.

Vc.

& & &

±

43

w

43

œo œo

‰ Ó

∑ ±. ˙.

˙.

œ-o j œo œo J 43 F3

o œo œJ

43

Œ

‰ Ó ¿I ∏ 3

distant

267

Pno./ MIDI

Elec.

& & &

œ œœœ

œ œœœ JŒ Ó 3

F

43 œ I p n œ- œ- . gong

3 4

p˙ . ˙˙ .. 34 ˙ . ° 43

(release pedal with bass drum)

p

ru

& Œ

bass drum

Œ

3

≈ bœ .i Œ

crotales

Pe

Perc.

&

√ n >œ

œo j œo ȯ J

3

sub.

˙.

˙

i

˙˙f .." ˙˙ ..

"

Œ

44

44

44

Œ

bass drum

¿I ∏

Œ Œ

∑ ∑

Œ

Ÿ~~~~~~~~~~~~~~~~~~ ˙ œ œ 4 ‰ 4 3 ∏ ± 44 π w T.

or e

B b Cl.

3 4

Sc

Picc.

sa l

267

Into the empty sky

Œ

œo p

44 w i p

œo jœo œo J P

3

44

U

w

sul tasto

U

œo œo wo J 3

U

p

U

U

w

p ww 44 °

±

crotales

4 4

U

w

U

ww ∑

U ∑

64

U

fade DSP output