Ejnar Kanding Hammershøi Pieces
(2015)
Light in Structure 1–6 for cello, piano & live-electronics (Max) Dur. 23′
Commissioned by the American Friends of Statens Museum for Kunst (National Gallery of Denmark)
SCORE
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
Composed with support from the Danish Arts Foundation Støttet af Statens Kunstfond
Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Ejnar Kanding Hammershøi Pieces
(2015)
Light in Structure 1–6 for cello, piano & live-electronics (Max) Dur. 23′
PERFORMANCE NOTES The work Light in Structure is written with inspiration from Hammershøi’s paintings. His sensual light and backlit in a pervasive intimate atmosphere fascinates me. Sunlight breaks softly into a hazy environment. The underlying lines provide a unique cohesiveness; he says somewhere: “What makes me choose a given motif is chiefly its lines; what I would term the architectural structure of the image. And the light, of course. Naturally, the light is important, too, but I almost find myself loving the lines the most.” In different ways the pieces approach these characteristics: Light in structure transformed into music. The six movements are inspired by the following Hammershøi works: Tree Trunks, 1904 Nude Female Model, 1884 Landscape in Snow, 1895-96 Near Fortunen, 1901 Sunshine. Dust Motes Dancing in the Sunbeams, 1900 Living Room, Frederiksberg Allé, 1887
The movements can be performed as independent pieces or in any combination. Light in Structure 1, 3 & 5 use live electronics (Max). Light in Structure 2, 4 & 6 are acoustic pieces but should be amplified if performed together with some of the live electronics pieces.
LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on a computer or a MIDI pedal. If the ensemble has a sound director to control the balance between instruments and live electronics the “spacebarâ€? model can be used. The ensemble can even run the piece from stage if one of the musicians uses a MIDI pedal. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance. The appendices provide a description of the cues and gives a hint of what is happening in the live electronics. SETUP The piece is developed for a quadrophonic loudspeaker setup (L=1 R=2 Lr=3 Rr=4), but it can also be performed in stereo. Front of house must have subwoofers, rear speakers should be of the same kind as the front speakers. Make sure the volume is balanced between the four speakers. MIXING For a performance you can choose to use either a mixing console that is connected to an audio interface or only an audio interface. Using the mixing console connect both the three mics and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are again connected to the loudspeakers. The AUX send 1 and 2 from the mixer is connected to the audio interface (input 1-2). AUX sends must be in PRE mode. Ă Ă Ă Ă Ă Ă
AUX1 for the cello - continued to sound card input 1 AUX2 for the piano - continued to sound card input 2 audio interface output 1 – through the mixer continued to L speaker audio interface output 2 – through the mixer continued to R speaker audio interface output 3 – through the mixer continued to Lr speaker audio interface output 4 – through the mixer continued to Rr speaker
If only an audio interface is used connect the three mics to input 1-3 of the audio interface and connect audio interface output 1-4 directly to the loudspeakers. In both cases if you plan to perform in stereo, just two outputs are connected to the speakers. Concerning the microphones: close-miking of the instruments is important in achieving the best possible separation. The instruments have to be amplified so that they appear with a clear present sound. Use some EQ to compensate for the close-miking, and add reverb and compressor if necessary. REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics it is recommended that each musician rehearse individually as follows: Let the internal microphone of the computer picks up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences -> Sound -> adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback. CONTACT (MQDU .DQGLQJ Ă $QNHU +HHJDDUGVJDGH Ă '. )UHGHULNVYDHUN Ă 'HQPDUN HMQDU#NDQGLQJ FRP Ă W Ă VN\SH HMQDUNDQGLQJ KWWS NDQGLQJ FRP Ă KWWS VRXQGFORXG FRP NDQGLQJ
TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.10 or later, 8 GB RAM Audio interface: e.g. MOTU 896mk3, MOTU Traveler mk3 or RME Fireface 800 MIDI pedal: (optional) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression or TEcontrol Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-RLr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): at least 3 mic inputs, 4 line inputs, 2 aux sends (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphones (suggestions): Cello 1 DPA 4099 Piano 2 Neumann KM184 SOFTWARE: The patch used for performances has been developed in Max 7. A download of Max (which is required to run the supplied patch) is available from Cycling ‘74. The trial version of Max is fully functional for 30 days. After 30 days, it is still possible to run and edit Max patches, but changes cannot save without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way. 7KH SDWFK FDQ EH GRZQORDGHG IURP WKH (GLWLRQí6 ZHEVLWH http://edition-s.dk/assets/hammershøi-pieces-max-patch All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: í Open the application with the title of the piece. í In the left corner is the “start Max” - to start press the gray button that says “dsp start”. í Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”. 0 Mixing console setup: Channel (group) 1 set to Input 1, channel 2 set to Input 2, channel 3 set to Input 2. 0 Audio interface setup (without mixing console): Channel 1 set to Input 1, channel 2 set to Input 2, channel 3 set to input 3. 0 Rehearsing individually: í Cello: Channel 1 set to Input 1, channel 2 and 3 set to off í Piano: Channel 1 to off, channel 2 set to Input 1, channel 3 set to Input 2. 0 Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker. For stereo set Channel 3 and 4 to Output 1 and 2. í Below is the “stop Max” - press “dsp stop”. It stops all audio. í Below is the “INIT Max” - press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 starts the piece. í Below is the “CUE” – it shows the cue that is active. í Below is the “go to CUE”. Press the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar / MIDI pedal activates the cue, which was written. Since the real-time processing that is going on in the patch is rather complicated, it is recommended to close the patch both before a concert performance and sometimes while rehearsing.
EJNAR KANDING: LIGHT IN STRUCTURE 1 – APPENDIX 1 vc pno MTD 1,4,3 rvb MTD
cello piano multi tap delay means bar 1, 4th beat, 3rd sixteennote reverb multi tap-delay: 5000 7500 11250 15000 ms L=left speaker, R=right speaker, Lr=left rear speaker, Rr= right rear speaker samp sample transposer 5000 ms = 1 bar
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ACTION
1
ready to start
2
MTD: 3750 5000 6250 7500
2
audio file: drone on C0
3
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STARTS
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ENDS
open vc
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1,4,1
7,1
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5,3
4
audio file: chord as pno
10,1
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5
audio file: chord as pno
11,1
overlaps 12
6
audio file: chord as pno
12,1
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7
audio file: chord as pno
13,1
overlaps 14
8
audio file: chord as pno
14,1
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9
audio file: dark drone on C0
47,4
about 60
10
MTD: 5000 7500 11250 15000
11
MTD fadeout in 5000 ms
12
ready to start Light in Structure 3
open vc close vc
48,2
49,2
55,1
EJNAR KANDING: LIGHT IN STRUCTURE 3 – APPENDIX 2 vc pno MTD 1,4,3 rvb MTD
cello piano multi tap delay means bar 1, 4th beat, 3rd sixteennote reverb multi tap-delay: 5000 7500 11250 15000 ms L=left speaker, R=right speaker, Lr=left rear speaker, Rr= right rear speaker samp sample transposer 5000 ms = 1 bar
CUE ACTION 1
ready to start
2
MTD: 12500 15000
3 4
MTD: 7500 20000
5 6
audio file: wood drone C0
7
MTD: 10000 12500 15000 17500
8
audio file: airy chord as written
9
SEND
STARTS
STARTS TO BE HEARD
ENDS
open vc
1,1
3,3
11,1
close vc
8,1
open vc
10,1
11,3
16,1
close vc
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15,1
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18,1
20,1
28,3
22,1
22,1
overlaps next airy
open vc close vc
10
audio file: airy chord as written
11
MTD: 10000 20000
12
25,1 26,1
open vc
27,1
close vc
30,1
open vc
34,1
overlaps next airy 29,1
34,1
36,1
49,1
13
MTD: 10000 15000 17500 20000
14
audio file: airy chord as written
36,1
overlaps next airy
15
audio file: airy chord as written
43,3
overlaps next airy
16
MTD off
45,2
16
long rvb
45,2
54,1
17
audio file: airy chord as written
46,3
overlaps next airy
18
audio file: wood drone C0
50,1
beginning of 64
19
audio file: airy chord as written
54,1
overlaps next airy
19
long rvb off
54,1
20
audio file: airy chord as written
57,3
overlaps next airy
21
audio file: airy C2
60,3
beginning of 63
22
fadeout airy C2
62,3
beginning of 63
23
ready to start Light in Structure 5
64,3
EJNAR KANDING: LIGHT IN STRUCTURE 5 – APPENDIX 3 vc pno MTD 1,4,3 rvb MTD
cello piano multi tap delay means bar 1, 4th beat, 3rd sixteennote reverb multi tap-delay: 5000 7500 11250 15000 ms L=left speaker, R=right speaker, Lr=left rear speaker, Rr= right rear speaker samp sample transposer 5000 ms = 1 bar
CUE ACTION
SEND
STARTS STARTS TO BE HEARD ENDS
1
ready to start
2
airy C1
1,1
1,1
overlaps next airy
3
airy G1
2,2
2,2
overlaps next airy
4
airy Bb1
2,3
2,3
overlaps next airy
5
airy Eb1
3,2
3,2
overlaps next airy
6
airy F#1
4,1
4,1
overlaps next airy
7
airy E1
6,1
6,1
6,4
7
long rvb
open pno
6,1
6,1
beginning of 13
8
rvb off
close pno
13,1
8
airy C1
13,1
overlaps next airy
9
airy Eb1
18,1
overlaps next airy
10
record vc to sample buffer
open vc
20,1
24,1
32,1
samp buffer is repeated 10 secs after 24
26,1
26,1
34,1
11
airy F#1
21,1
12
recording fadeout in 5 secs
23,1
12
samp buffer starts playing after 5 secs
23,1
13
samp input off
close vc
24,2
13
long rvb
open pno
14
long rvb
close pno
14
beginning of 23 23,3
24,1
24,2
24,2
beginning of 32
samp buffer starts playing
32,1
32,1
39,1
15
airy Ab0
40,1
40,1
overlaps next airy
16
airy Bb0
41,1
41,1
overlaps next airy
17
airy C0&G0
41,3
41,3
beginning of 44
18
airy +D1
42,1
42,1
beginning of 44
19
airy +Ab1
42,3
42,3
beginning of 44
20
long rvb
open pno
50,1
50,1
beginning of 57
21
samp buffer starts playing
close pno
57,1
57,1
end of 64
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˙
w
b˙ ˙
˙ ˙
∑
&
ww w
Ó
w bw
ww w w
∑
w w
bw w
∑
ww w
∑
Ó
Ó
p ˙
˙ b˙
œ‰Œ J 22
w
Ó
b˙ b œ œ
œ‰Œ Ó J ww w w
ww w w
w w
w w
18 wood drone
∑
∑
∑
Ó
∑
Ó ˙ ˙
˙˙ ˙ ˙ ˙
∑
∑
∑
∏
w w ˙
w w
Kanding: Hammershøi Pieces - vc pno max - 7
œ‰Œ J b˙ ˙
w w
˙ b˙
˙ ˙
∑
20
Ó
∑
˙ b˙
U O
Ow
w
bw w Ó
w≥
œ bœ œ bœ œ œ œ bœ œ œ ˙
œ
∑ ∑
˙
∑
ww w w
œ b˙
œ‰Œ Ó J b ww w
∑
Ó
∑
˙ b˙ ˙ ˙
Ó
w ∑
bœ œ ˙
19 rvb off
∑
w w
ww w w
˙ b˙ ˙ ˙
˙ b˙
ww w w
17
∑
dim.
ã
f
œ‰Œ J ˙˙ b ˙˙ ˙ ˙ ˙
16 rvb, MTD off
˙ ˙ ? ˙ b˙ 52
œ bw
œ≤ b œ ˙
Ó.
44
w
∑ b˙
Ó
œ ‰ Œ J 23
U
w
U
˙ œ b˙. b˙ œ. œ. œ U
œ œ ˙. w Version 1.5: 25.4.2016
Light in Structure 4 Hammershøi Pieces Lento q = 40
b b & ˙˙ .. ˙. π ? bb œJ ˙ ..
1
Piano
6
&
bb n ˙
&b
11
&
b
˙. ˙œ . œ . J
˙ bb
˙˙ .. ˙.
œœ œ
˙
˙
œ.
œ œ œœ
˙˙ .. œ œ. J
œ œ œœ
˙˙ œ œ. J
n˙
n˙
œ
œ
˙. œ ˙œ . œ . œ œœ J
. œ œ œ œ œ œ. bœ œ œ œ 16 b J J &b b & b ˙˙œ .. œ . œ œœœ J &
bb n ˙
œ
œ
b ˙ b œœ & ˙ .. œ œ. œ œ J
b ˙˙ .. œœ œ œ. œ œ J œ. ˙˙ .. œ œ. J
œœ œ J œ œ œœ
p
œ ˙ .. J
˙
b b & ˙ .. œ ˙œ œ . œ œœ J
22
˙˙ .. ˙.
œœ œ
œ ˙ .. J
œ
œ œ. J
˙˙ .. œ œ. J
œ œ œœ
œ. œ ˙ J
˙
˙
n˙
˙˙ .. œ œ. J
œ œ œœ
˙ .. ˙œ œ . J
œ œ œœ
˙
˙
˙˙œ .. œ . J
œ œœœ
œ
œ ˙. J
˙œ œ . J
œ œ œ J
œ.
&
˙
˙œ œ . # ˙œ œ . J J œ.
œ.
œ ˙ J
˙œ . œ . J œ. œ œ œ J
œ œ œ œ œ J
un poco mosso
poco rit.
F ˙˙ .. # œ œ œ. œ œ. J J ˙
a tempo
˙
œœ œ
œ ˙
n˙
dim.
˙˙ .. œ œ œ . œ œœ J œ.
œ˙ J
calando
˙œ . œ . J
˙ #˙ ˙œ œ . ˙ J ww
π wœ ˙ .. # œ œ œ. J J
Kanding: Hammershøi Pieces - vc pno max - 8
˙˙ .. œ œ œ . œ œœ J ww wœ ˙ .. J
˙ .. œ ˙œ œ . œ œœ J U w
w
∏
wœ ˙ .. J
Version 1.5: 25.4.2016
Light in Structure 5 Cello
Max
&
?
Piano
?
5
ã ?
˙ w
? ?
Hammershøi Pieces
Lento q = 48
≤ j ? Œ ≤ Œ bœ. œ ˙ œ. #œ œ #œ œ œ œ œ #œ œ. œ 1 F 2 3 4 5 Œ œ‰œ‰Œ Œ œ ‰Ó ã œJ ‰ Œ Ó J J J ? œ œ b˙ b˙. w œ
1
∑
p w w
∑
˙ ˙ Ó
b˙ b˙
≥ b œœœ . œ
w
˙
w w œ
&
Œ
f
˙ ° p siempre
œ #œ œ œ œ œ. œ œ œ bœ bœ œ J
‰
6
Œ Ó
#w
j bœ bœ œ bœ. F
∑
p
#w # w
œ bœ œ œ œ œ œ œ œ
œ œ
œ œ œ ∑ ∑
√ ˘ bœ ˘œ J ‰ J ‰ Œ
bœ œ œ #œ w ° 8 ≤ # >œ ? ‰ œ bœ œ œ. bœ œ œ œ œ œ p π (√) b ˘œ ˘œ ‰ Ó & Œ f siempre ? ˙.
Œ
f rvb pno 7 œ ‰ Œ Ó J
∑
∑
?
j œ
Œ
≈
w
#˙ °
Œ
˙ °
˙
Kanding: Hammershøi Pieces - vc pno max - 9
œ.
œ.
œ. ‰ Œ J
≥ œ ‰ œ œ bœ #œ œ œ œ
œ œ œ #œ œ bœ œ œ. J ∑
b œ.
œ.
b œ. 3
P
œ.
œ. J
‰
Œ
b˙ ° Version 1.5: 25.4.2016
>œ œ . ˙ . b ? œ
˙
11
ã
f
∑
& Ó ?
?
15
ã
œ
?
19
ã
œ.
œ œ b œ œ œ œ >˙ .
œ œ
b œ.
œ.
œ.
œ.
b œ.
∑ œ.
œ.
œ‰Œ Ó J 8
®Œ Ó
≥ ‰ œ œ œ bœ œ. ∑
∑
∑ ˙. ˙.
∑ ∑
ww
π
œ œ
˙ ˙
˙ ˙ Ó
j œ. #œ p 9 œ ‰ Œ Ó J
bœ œ œ œ œ œ œ œ ˙.
œ œ
˙ ˙ œ
3
record cello 10 to buffer
œ‰Œ Ó J ∑
˙˙
∑
∑
˙. ˙. 3
∑
∑
≥ ≥ bœ œ bœ œ œ bœ œ j ≈ ˙. œ #œ œ œ > > > > > œ #œ . p > > f 6
∑
rvb off
˙. ˙. *
∑
≥ 7 œ bœ œ œ bœ œ œ . ˙ F >
∑
w
6
&
?
Œ
œ #˙ * °
&
?
˘œ
b ˘œ
Ó
˙˙
∑
bw bw
˙ ˙ j œ. #œ ˙ œ‰Œ J
œ œ bœ bœ
Ó
11
∑
∑
#w # w
Kanding: Hammershøi Pieces - vc pno max - 10
∑ w w
w f
recording fadeout & start 12 buffer next bar
œ‰Œ Ó J ∑
w Version 1.5: 25.4.2016
? r≈‰ Œ œ
24
㠌 t
Ó
∑
∑
∑
∑
∑
œ‰ Ó J
∑
∑
∑
∑
∑
13
rvb pno
buffer played from max
w
√ ˘ bœ ˘œ J‰ J‰Œ f
& Œ
˙
˙
w˙ .
∑
? r≈‰ Œ Ó œ °
Œ
∑
∑
∑
ã t
∑
∑
˙w
& Π?
b ˘œ
˘ ‰œ 3
°
˙
˘œ
‰ J ‰Œ
b ˙w œ.
b œ.
3
∑
œ ? ≥œ b œ # œ œ œ b œ œ œ œ
35
ã
t &
?
œ.
œ.
b œ.
œ.
‰
œ‰Œ Ó J
14 rvb off
œ.
˘œ ˘œ ‰Œ J
bw f
∑
b˙
˙
˙˙. ˙ # œ b w˙ b ˙
∑
®Œ Ó
∑
∑
∑
∑
∑
œ œ œ œ bœ œ œ œ œ œ œ. ≈ J ∑
˙ ˙ w
w w
let ring
œ œ bœ
∑ w
‰Ó
˘œ
b ˘œ
∑
?
30
˘œ
b ˘œ
˙w
#œ
∑
˙.
∑
∑
∑
∑
∑
∑
#œ
œ #œ œ œ œ bœ œ œ
≤ œ œ Œ œ œ bœ.
∑
∑
rit.
&
œ
œ #œ ∑
˙
œ œ b œ bœ ˙
b˙
b˙
∑
∑
∑
∑
∑
∑
Kanding: Hammershøi Pieces - vc pno max - 11
w
∑ ∑
Version 1.5: 25.4.2016
jœ œ . N œ b œ & œ œ
39
ã
t
∑ w
&
?
?
∑
œ‰Œ Ó J
bw Œ
p
∑
∑
Ó & bw
œ
bœ
? ww ww
˙
Œ
œ œ œ π
cresc.
œ J Ó w w w °
b˙
bœ œ œ œ œ œ œ. J J ≈
ƒ
∑
œ ‰ Œ J b˙ 19
∑
Ó ww w °
*
œ œ œ œ œ œ œ. œ œ œœ
‰ Œ
18
œ
˙ ˙ °
∑ ∑
œ œ œ F
w w w w
≥œ . œ œ b œ œ œ œ œ . ≥œ J & J ≈ p F ∑
˙ ˙ °
w w w
46
w & b ww
b˙
b˙
w w w w ˙
? ww w w
ã
œ ‰ Œ J œ
˙
f 17 œ ‰ Œ J
16
bw
bœ œ & œ œ œ œ Œ ? ww w w
œ. p subito
œœœ œœ œ
œ bœ œ œ œ œ œ bœ œ œ. œ œ
œœ œ œ. J œœ
15
43
ã
a tempo
rit.
∑
r bœ ˙. œ ˙. œ ˙˙ . œ . °
r bœ ˙. œ ˙. œ ˙. œ ˙. °
j b œ œJ œ b œ
œ
bœ
bœ
œ
3
3
œ ˙ ˙ ˙
Kanding: Hammershøi Pieces - vc pno max - 12
œ
œ ˙ ˙ ˙
œœ œ j œ œ œ œ. 3
w w w w w ww
∑
bw π w w w
∑
w w ww Version 1.5: 25.4.2016
50
& ã
& ?
54
a tempo
œ J
‰
rvb pno
20
œ.
b œ.
∑
œ.
P
œ.
œ.
b œ.
œ.
Œ
∑
Ó
®Œ
∑
∑
Ó
œ.
∑
bw bw °
b œ.
œ.
p #w w °
w w
&
∑
∑
ã
∑
∑
∑
& ?
œ.
b œ.
∑ œ.
π w w °
œ.
b œ.
? œ b˙.
t &
?
˙.
®Œ Ó
∑ w w
˙
59
ã
œ.
œ.
∑
∑
˙
w
∏ w w °
œ.
œ.
b œ.
œ.
œ.
˙
Ó
∑
˙
b˙
π
œ‰Œ Ó J rvb off
w
21 start buffer
t
w
®Œ Ó
˙
∑
œ ˙.
b˙
b˙
∑
∑
∑
∑
∑
∑
∑
∑
Kanding: Hammershøi Pieces - vc pno max - 13
˙ ∑
w
˙
∑
˙
∑
∑
∑
w w
∑ ˙
®Œ
?
∑
≥œ b œ ≥ œ œ bœ œ
∑ #œ
œ.
b œ.
b œ.
∑
w w
∑
?
œ.
œ.
∑ œ.
∑
∑ ∑
U
w
U
w
∑
∑ ∑
Version 1.5: 25.4.2016
Light in Structure 6 Hammershøi Pieces Lento q = 48
œ ? b Œ j j Œ ‰ Œ Œ ‰ Œ Œ b œ. œ. œœ. œ. œœ. œ. p π
˙
˙
&b
w w
œœ
1
Cello
Piano
b
∑
f
P
? b b w w w °
? b ˙ b b & b ˙w w
n˙ œ nœ œ nœ
? b œœœ b w Œ ° °
n˙ ?
œœ
œ
°
œ œ œ œ #œ œœœ
œ.
Œ œœ °œ œ
? b b ˙.
9
? b b
œ.
A n ˙˙˙ .. ..
œ
°
π &œ
œ π œ œ ° °
Œ œ œ Œ œ °
p Ó w w w °
œ œ œœœ
œ J
˙
Œ
œ
˙. °
˙
œœ
œœœœ
cresc.
˙. œ œ œ ‰ J
œ
œ
°
œœŒ
œ
œ.
œ J
œœ
j œœ ˙w œ w
œ
œœ
˙
œ w œ ° Œ
Kanding: Hammershøi Pieces - vc pno max - 14
œ
œ
œ
œ
œ
œœ
j œ
œ œ. J
œ.
˙
cresc.
˙ .. ˙ ..
w Œ
˙
j œ ˙ A œœ ww J
a tempo
poco rit.
? b ˙˙˙.. b
Ó
w w w °
n˙
5
∑
j œ œ˙ . ˙
œ˙ . ˙ œœ œ œ
œ °
œœ œ œ °
j œ œ
n˙ n˙ nœ œ nœ œ œœ œœ °
Version 1.5: 25.4.2016
≥œ
poco a poco piu mosso
? b n˙ b p
12
&
œ
cresc.
bb
n ˙w ˙ w p cresc. œ ? b ‰ œ œœœ b j œœ °œ œ
œ °
œ. œ œ œ œ œ œ. 15 ? b J b ƒ œ œœœ
˙˙˙˙ ....
°
°
œœœ œ
° °
œ. œ œ œ ? b J b p π bb
œ ˙˙ .. œ p π ? b ˙˙ . # œ œ b ˙. °° ° &
? b b
23
b &b ? bb
œ.
˙ .. ˙˙ . œ œ °
œ
œœ
œ œœ œœ
œœœ
˙
˙ .. ˙ ..
˙. œ œ œ
œ œ J
œœœœ œ œœœ œœ
œ
œ
œ.
œ J
œœ
j œœ ˙w œ w
œ
œ.
œ œœ
œ œœ
œ
œœ
˙
œœ œ
f
œœ œœ °
œ˙ J
œ
°
˙˙ ˙
# œ œ œ œ. > œ> œ °
œ œœœ
œ. bœ œ œ J
œœœ œ
n˙ œ nœ œ nœ
œ
calando
œ. œ ˙ J
œ b œœœ .... œœœ ... œœ œœœ ... œœ .. œ œ. œ. b www www w w ° ° ° ° °
n˙
œ œ œ w ° Œ
œœ œ œ œœ
poco rit.
f œœ œ
œ
œœœ ... œ.
œ œ ˙˙˙ œ œ ˙
œ ˙ J
œ.
œ œ œ œ œ J œ ˙˙˙ œ œ œ ˙
meno mosso
19
œ œœ œ
˙ .. ˙˙ .
œ
M.D.
a tempo
b œœœ ... œœœ ... b & œ. œ. ƒ œ. œ. ? b œœœ ... œœœ ... b
œ œ J
œ.
n˙
œœ
n ˙w w
œœ œ ° œ
œ
œ ‰ j œ œ œ œ °
˙ œ œœ
œ
M.D.
œ
. œ. œ. œ. œ- U œ œ Œ Œ J‰ Œ Œ J‰ w
a tempo
œœ œ
w w
œ œ œ œ œœ w œ œœœ w œ œ ° ° ° °
Kanding: Hammershøi Pieces - vc pno max - 15
w w w w
U
w w w w
Version 1.5: 25.4.2016