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Ejnar Kanding Partita Mallorca

(2018)

Sonata da Camera come Arcangelo Corelli for violin, viola, cello, piano & live-electronics (Max) Dur. 10′

Commissioned by and dedicated to Alfredo Oyágüez

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Composed with support from the Danish Arts Foundation With support from Koda’s Cultural Funds Projektet er støttet af Kodas kulturelle midler

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Ejnar Kanding Partita Mallorca

(2018)

Sonata da Camera come Arcangelo Corelli for violin, viola, cello, piano & live-electronics (Max) Dur. 10′

PREFACE Corelli composed 48 trio sonatas for two violins and continuo in his Opus 1-4 with 12 sonatas in each Opus. Opus 1 (1681) and 3 (1689) are church sonatas and Opus 2 (1685) and 4 (1694) are chamber sonatas (Sonate da camera). Most of them begin with a Preludio followed by most often four dance movements, fx. Allamanda, Corrente, Sarabanda, Giga. I have adopted this structure for my Partita Mallorca. The first movement is a Preludio Largo with an oriental ornamentated melody over a grooving cello and a rhytmic ostinato in the piano. The Allamada Pasacalle uses an ostinato in the piano and the strings develop gradually into threepart polyphony with two obligate counterpoints. Pasacalle was later better know under the Italian name Passacaglia, but the origin is Spanish from pasar (to walk) and calle (street). The Allemande is according to the tradition in quadruple metre and the Passacaglia in triple metre. The Sarabanda is in triple meter with a clear emphasis at the second beat. It evolved from a Spanish dance (zarabanda) with Arab influences with a double line of couples with castanets. I have interpreted the castanets to polyrhythms in the strings, while the cello and piano might be associated with Arab influences. Don’t expect to much of the later French slow melancholic character. Though the last movement might be a mixture of the Giga and the Gavotta, I have chosen a less obvious relation to the tradition, therefore the Calmo, pesante. It is in two parts with a homophonic texture followed by a canon in descending fourths.

LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on your computer or a MIDI pedal. If the ensemble has a sound director to control the balance between instruments and live electronics the “spacebar” model can be used. The best solution though, is for the ensemble to run the piece from stage using a MIDI pedal. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance. The appendix provides descriptions of the cues and gives an indication 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 the of the same kind as the front speakers. Make sure the volume is balanced between the four speakers. MIXING The piece can be performed either using a mixing console that is connected to an audio interface or just using an audio interface. If a mixing console is used, connect the three string microphones, the two piano microphones and the four outputs from the audio interface (output 1-4) to the mixer inputs (in all nine inputs). The mixer outputs are again connected to the loudspeakers. The AUX send 1-4 from the mixer are connected to the audio interface (input 1-4). All AUX sends must be in PRE mode. • AUX1 for the violin – continued to audio interface input 1 • AUX2 for the viola – continued to audio interface input 2 • AUX3 for the cello – continued to audio interface input 3 • AUX4 for the two piano microphones – continued to audio interface input 4 • 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 string microphones to input 1-3 of the audio interface and the piano microphones to input 4 and 5. 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. Close-miking of the instruments is important achieving the best possible separation. The instruments must 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 to create a natural sound. REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics it is recommended that each musician rehearse individually as follows (after downloading the Max software, see the next page): Let the internal microphone of the computer pick 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 Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding · http://kanding.com

TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.11 or later, 8 GB RAM Audio interface: e.g. MOTU 8M or RME Fireface UFX+ 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 Yamaha FC5 Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): At least 5 mic inputs, 4 line inputs, 4 aux sends (PRE), 4 outputs for loudspeakers (e.g. YAMAHA 01v96) Microphones (suggestions): Violin DPA 4099, Neumann KM184 Viola DPA 4099, Neumann KM184 Cello DPA 4099 (or AKG 414 or Neumann U89) Piano 2 Neumann KM184 (or DPA 4011 or AKG414) 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 be saved without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way. The patch can be downloaded from the Edition·S website: http://www.edition-s.dk/assets/partita-mallorca All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: • Open the application with the title of the piece. • In the left corner is the “start Max” – to start press the gray button that says “dsp start”. • Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”. • If a mixing console is used: Channel (group) 1 set to Input 1, channel (group) 2 set to Input 2, etc. • If just an audio interface is used: Channel 1 set to Input 1, channel 2 set to Input 2, channel 3 set to Input 3, etc. • For rehearsing individually with a Mac’s internal microphones: • Violin belongs to input 1, viola to input 2, cello to input 3 and piano to input 4, but rehearsing on your own you map your instrument to input 1, eg. for the cello set Channel 3 to Input 1, the other instruments set to Off. • 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.) • Below is the “stop Max” – press “dsp stop”. It stops all audio. • 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 to start the piece. • Below is the “CUE” – it shows the cue that is active. • 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. Pressing “dec” moves one cue backward, while “inc” moves one cue forward. 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: PARTITA MALLORCA – APPENDIX vn va vc pno PVE FS PS rec samp 1,4,3

violin viola cello piano pitch variable effect frequency shifting pitchshifting (adds bending microtones) recording sampler means bar 1, 4th beat, 3rd sixteennote

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1,1

9,2

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9,2

samp1 playing timestretch backward, speed -0.5 direct out, speed -0.33 through spectral gating filter

10,1

24,4

fadeout samp1 in two bars

23,1

25,1

rec pno to buffer 2 (16 bars)

open pno

26,1

41,4

fadeout rec (3 quarternotes)

41,1

41,4

samp2 playing (looping from "samplelength*40 / 4*16" to "end of sample") backward in four tempi (quintuplet polyrhythm) speed factor: -1, -0.8, -0.6, -0,4

42,1

58,1

samp2 playing (looping from "samplelength*28 / 4*16" to "end of sample") forward in four tempi (quintuplet polyrhythm) speed factor: 1, 0.8, 0.6, 0,4

58,1

74,1

samp2 playing (looping from "samplelength*28 / 4*16" to "end of sample") backward in four tempi (quintuplet polyrhythm) speed factor: -1, -0.8, -0.6, -0,4

74,1

90,1

samp2 playing (looping from "samplelength*28 / 4*16" to "samplelength*40 / 4*16") forward in four tempi (quintuplet polyrhythm) speed factor: 1, 0.8, 0.6, 0,4

90,1

98,1

fadeout samp2 in two bars

96,1

98,1

samp2 playing (looping from "samplelength*12 / 4*16" to "samplelength*40 / 4*16") backward in four tempi (quintuplet polyrhythm) speed factor: -1, -0.8, -0.6, -0,4

106,1

114,1

samp2 playing (looping from "start" to "end") forward in four tempi (quintuplet polyrhythm) speed factor: 1, 0.8, 0.6, 0,4

114,1

120,1

fadeout samp2 in two bars

118,1

120,1

FS vc&pno: L/Ls modulting with C1=65.704 Hz R/Rs with G1=98.444 open vc pno Hz

122,1

138,2

PS va: bending up(13 sec) & down(11 sec) major second over to major open va second under the played pitch

124,1

126,2

PS va off

126,2

PS vn: bending up(4 sec) & down (7 sec) minor third over to minor third under the played pitch

rec vc & pno to buffer 3

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130,1

138,1

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130,2

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128,1

126,2 128,1

130,2

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132,1

138,2

PS vn: bending up(4 sec) & down (7 sec) minor third over to minor third under the played pitch

134,1

138,2

samp3 playing through spectral filter that continously changes through three presets som gradually higher frequencies are let through

138,1

156,1

FS vc & pno off, PS vn & va off

fadeout samp3 in two bars

synth1: noise through reson filter G=1 cf=C3=262.814758 Hz Q=1 in 2 sec, then sine bass (ramp=500 ms) with C0=32.851845 & C1=65.70369, after 1 sec back to noise in 2 sec, back to sine bass

synth2: noise through reson filter G=1 cf=C3=262.814758 Hz Q=1 in 2 sec

synth3: sine bass (ramp=500 ms)

synth2

synth3

synth2

synth3

synth4: noise through reson filter G=1 cf=C3=262.814758 Hz Q=1 in 2 sec, then noise through reson filter G=2 cf=C2=131.407349 Hz Q=1 in 2 sec

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synth5: sine bass (ramp=4000 ms) with C0=32.851845 & C1=65.70369 in 4 sec

open vn

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STARTS STARTS TO BE HEARD ENDS

138,2 154,1

156,1

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Kanding: Partita Mallorca - 16

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Œ ∑

Sarabanda q = 60

& 43

∑

& 43

∑

122

? 43 ≥ œœ f & 43

122

≥ œœ ..

j ≥ œœ œœ

∑

bœ œ bœ œ œ f

bœ bœ bœ bœ œ

5:3

≥ ˙˙ >

j œ b œ >œ b œ b œ œ n œœ ‰ Œ >

b >œ œ >œ b œ œ >œ f

& 43 œ b œ œ œ b œ œ b œ œ œ œ > > > > œ bœ 16 FS @vc&pno 3 ã 4 œJ ‰ Œ Œ

j3 ≥ ≥ & œœ b œœ b œ œœ œœ œ 3

129

B ?

∑ bœ œ

129

˙˙ >

∑

œœ

B bœ œ bœ œ œ 5:3

j œ œ

b >œ œ >œ b œ œ >œ & 136

& œ bœ œ œ bœ œ > > > ã

∑

j œ œ œ œ

∑

5:3

œ œ

b˙ ˙ >

j‰ Œ œ > œ œ

≥

5:3

j œ œ œ œ

b˙ ˙ >

5:3

œœ

microtones @va

j‰ Œ Œ œ > 19 microtones @vn œ ‰ Œ Œ J 3 j3 œ œ bœ œ œ œ bœ œ œ œ

bœ bœ bœ bœ œ 5:3

j œ œ

œ. œ.

œ b œ >œ b œ b œ œ j ‰ Œ bœ >

œ bœ œ œ bœ œ bœ œ œ œ > > > > œ œ œ ‰ Œ J

bœ œ bœ œ œ

j œœ ‰ Œ >

œ œ

b˙ ˙ > ∑ ∑

∑

j‰ Œ Œ œ > 23 microtones @vn œ ‰ Œ Œ J

∑

≥ b˙ >

≥ ≥ ≤ j ‰ j ‰ ‰ b œj œ œ

≥ œ œ J

bœ. Œ

j‰ Œ Œ bœ œ œ œ œ œ > œ > samp3 on spectral filtering œ ‰ œ ‰ Œ J J

j œ œ œ b œœ œ œ bœ œ œ

bœ bœ bœ bœ œ

bœ. œ.

∑

5:3

j œ œ

œœ b œœ ..

œ b œ >œ b œ b œ œ

va off

bœ œ bœ œ œ

∑

˙˙ >

œ ‰ Œ J

∑

œ b œ >œ b œ b œ œ j ‰ Œ bœ >

∑

∑ j œ bœ œ œ

bœ. œ.

∑

3 j3 j œ œ bœ œ œ œ ‰ Œ œ bœ œ œ œ bœ >

bœ bœ bœ bœ œ

œ bœ œ œ > > b œ >œ b œ œ >œ œ œ b œ

∑

œœ

3 j œ œ œ b œœ œ œ bœ œ œ 3 f

∑

b >œ œ >œ b œ œ >œ

œ b œ >œ b œ b œ œ b >œ œ >œ b œ œ >œ

vn off

œœ

∑

b˙ ˙ >

œ ‰ œ ‰ Œ J J

œ œ

∑

bœ. œ.

œ bœ œ œ bœ œ bœ œ œ œ >rec samp3 > > > œ œ

3 j œ œ œ œ œ & bœ œ œ bœ œ

œ. œ.

b >œ œ >œ b œ œ >œ

136

j œ ‰ Œ bœ >

˙˙ >

j‰ Œ Œ œ > 17 microtones @va œ ‰ Œ Œ J

∑

j‰ Œ œ >

5:3

j œœ œœ

œœ ..

œœ

∑

25 vn va vc pno off

≥ b˙ >

≥ œ

≥ bœ.

≥ j bœ bœ

∑

Kanding: Partita Mallorca - 17

bœ bœ

œ. œ.

œ œ

œ. œ.

∑

œ bœ J

j œ bœ

∑

œ œ œ bœ œ J

œ bœ œ œ œ J

∑

≥ b˙ >

j ‰ j ‰ ‰ œj #œ œ

> ˙

≥j ≥j œ ‰ œ ‰ Œ

∑

#œ & œ

>˙ ˙

bœ bœ

œ. œ.

#œ œ

>˙ ˙

? œ bœ

>˙ b˙

#œ #œ

œ. œ.

œ œ

143

∑

150

> B b œJ ‰ Œ

? bœ bœ

& Œ B Ó

œ #œ J

œ. œ. œ. œ.

ã 156

œ bœ J

∑ œ

œ bœ 3

œ œ œ 5:3

? j ‰ j ‰ ‰ j bœ œ œ > > > œ & œ

œ. œ.

? œ œ

œ. œ.

156

∑

? # >œ # œ >œ œ œ n >œ #œ & #œ

œ œ J

∑

150

œ bœ J

#œ œ J

bœ nœ

# >˙ ˙

#œ œ

˙ ˙ >

Ó œ #œ #œ

j œ œ bœ bœ

∑

# >˙ ˙

œ œ

œ. œ.

>˙ b˙

∑

œ œ bœ J

∑

#œ #œ œ œ œ

œ œ #œ œ #œ

j‰ Œ œ >

#œ #œ œ œ

œ. œ.

∑

œ œ

bœ œ œ 5:3

œ bœ > bœ œ bœ >˙ ˙

>˙ b˙ ∑

#œ œ J

Œ Ó

œ #œ

œ œ œ 5:3

œ œ

œ. œ.

œ œ

œ. œ.

œ œ J

∑

j œ œ œ œ

˙ ˙ >

∑

∑ œ œ >œ œ œ b œ

œ œ

œ. œ.

#œ #œ

>˙ ˙

#œ œ J

#œ #œ

œ. œ.

œ œ J

#œ œ

# >˙ ˙

œ ‰ Œ J

>˙

œ œ œ

>˙

j ‰ œ >

˙ ˙ > >˙ ˙

œ 3

samp3 fadeout in two bars

œ œ

œ #œ bœ œ J

# >œ # œ >œ œ œ >œ

∑

j ‰ j ‰ ‰ j Œ œ œ œ > > >

>˙ b˙

# >˙ ˙

#œ #œ

œ. œ.

>œ J ‰ Œ

5:3

j bœ bœ œ œ

œ. œ.

>œ J ‰ Œ

5:3

∑ œ #œ J

j j œ ‰ œ ‰ Œ

∑

œ. œ.

j j bœ ‰ œ ‰ Œ

bœ bœ

œ œ

5:3

bœ bœ œ bœ œ

∑

bœ bœ œ nœ bœ J

∑

œ œ bœ bœ bœ

œ œ

>˙ ˙

#œ #œ

5:3

j j #œ ‰ œ ‰ Œ

#œ œ J

∑

j bœ bœ œ œ

œ. œ.

∑

œ > #œ œ bœ

œ #œ

#œ œ

œ ‰ Œ J

5:3

˙ > >˙ ˙ ˙ ˙ >

œ œ

∑

Kanding: Partita Mallorca - 18

œ œ Œ

˙ ˙ > ˙

27 synth1

∑

œ J ‰ Œ

attacca

œ J ‰ Œ

attacca

j œ ‰ Œ œ ˙. ˙. ˙. ˙.

œ ‰ ˙ J

Œ Œ Œ

attacca

Calmo, pesante q = 60

& 44

∑

B 44

∑

162

? 44

w f

& 44 ˙˙˙ .. ˙ .. f ? 44 w ã 44 œJ ‰

162

166

œœœ j ‰ Œ œœ

-̇

166

& ˙˙˙ ... ˙.

œœœ œ > Ó

synth3

#œ œ œ œ œ œ œ œ œ & f œ. œ œ œ œ œ B f 170

& ˙˙ .. ˙˙ ..

w w œ J

‰

synth3

˙˙˙ .. ˙ ..

œœœ œ >

w Ó

∑

œœœ œ

˙˙˙ ... ˙.

bœ bœ

œœœ œ >

∑

œ œ

∑

Ó œœœ œ >

w w Ó

30 synth2

#œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ #˙.

˙.

œ.

œ œ

œ œ ≈ œ œ œ œ œ œ #œ

˙ œœ œœ >

28 synth2

∑

œ-

˙ œ œ

˙˙ .. ˙˙ .. w w

œ œ ˙ œ œ

bœ

œ œ œ ˙. ≈

œœ œœ >

bœ

∑

œ œ œ œ ˙

œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ -

œœœ œ >

≈ œ œ œ ˙.

170

˙˙˙ ... ˙. w

∑

? ˙

ã œJ ‰ Œ

˙˙˙ ˙

∑ œ œ œ œ œj ‰ Œ

œœœ œ

∑

-̇

B w

˙ œœœ œ >

∑

˙˙˙ .. ˙ ..

œœœ œ > Œ

∑

œœ œœ w w

Kanding: Partita Mallorca - 19

-̇ ˙˙ ˙˙

œœ œœ >

∑

œœ

œœ˙

˙˙ .. ˙˙ .. w w Ó

œœ œœ >

32 synth2

174

& œ œ œ œ œ œ œ bœ œ

≈ œ œ œ ˙.

œ œ

≈ œ œ œ ˙.

œ.

œ œ œ

? ˙ 174

& ˙˙˙ ... ˙. ?

w w

ã œJ 178

& ≈ & Ó

‰

∑

œ J

‰

synth3

≈ bœ bœ œ œ œ œ bœ ‰ ƒ &

‰

bœ & bœ œ œ Œ 181

œœœ >

œ & œœ 181

? ‰ ã

bœ

‰

bœ œ #œ œ œ #œ œ bœ bœ œ #œ ≈ œ œ bœ

> b b b ˙˙˙

‰ œ

‰ Œ

œ œ

bœ

œœœ œ

˙˙˙ ... ˙.

œ œ

bœ bœ

œœœ œ >

bœ

b b œœœ > ‰ œ

≈ bœ bœ œ œ œ #œ nœ ‰ ƒ b ˙˙˙ > œ

nœ Œ

‰

bœ

œ bœ bœ œ œ ≈ ‰

synth2

‰

bœ œ #œ œ œ ≈ R

≥ ≥ œ bœ bœ œ œ #œ nœ bœ Œ œ #œ

Œ œ37 synth3 œ ‰ Œ J

‰ Ó

œœœ >

j Œ œ

Kanding: Partita Mallorca - 20

Ó œœœ œ >

w w ˙

34 synth4

˙ # ≥œ œ n ≥œ

nœ

bœ bœ œ œ œ nœ bœ ≈ Œ

œ bœ ‰

nœ ≈ ≈ bœ bœ œ œ œ #œ nœ ‰ > # # # ˙˙˙

œ œ œ œ > n b n œœœ

b œ œ b œJ

‰

œ-

œ œ bœ ≈ ≈ bœ œ #œ œ œ

# # œœœ

œ œ #œ œ œ #œ nœ

b ˙˙˙ ... œœ

œ œ œ œ

œœœ >

∑

œ œ

∑

œ œ œ œ œ #œ

‰

œ œ œ œ œ œ œ ˙. œ œ ≈

bœ bœ œ œ œ œ bœ ≈ ≈ œ œ œ œ œ

œœœ

j Œ œ

œ œ # œ œ œ # ≥œ œ n ≥œ & ≈ & œ #œ nœ ≈ Œ

∑

œ œ œ œ œ œ œ ˙.

œ.

œ œ œ œ œ nœ bœ ≈ ≈ bœ bœ œ œ œ nœ bœ ‰

178

œœœ œ >

w w

bœ bœ œ œ œ œ bœ ‰ ƒ

& b ˙˙˙ ... ƒ ? œ-

˙˙˙ ... ˙.

œœœ œ >

synth3

œœœ œ˙

-̇

œ œ œ œ œ œ œ œ ≈

‰

œ bœ œ bœ

∑ œ # ≥œ

n ≥œ œ œ b œ b œ œ œ ‰

œ bœ bœ œ #œ ≈ ‰ œ œ bœ nœ bœ œœœ ‰

‰

bœ œ

≥ ≈ œR œ # œ œ œ œ # œ bœ

b ˙˙˙ > œ

‰

œ ∑

n ≥œ

#œ nœ bœ œ #œ ≈ œœœ > bœ

‰

184

#œ œ œ #œ nœ

& œ œ bœ bœ œ #œ ‰

187

‰ b œ œ b œJ

œ-

œ œ #œ œ œ

> # # # ˙˙˙

#œ & # œœ 184

‰

≥ ≈ œ œ bœ nœ bœ œ bœ R

& ‰

‰

œ #œ

> n b n œœœ

œœ œ

œ bœ œ bœ

œ #œ

& œ

bœ

187

& œœœ œ

ã &

œ b ˙˙˙ >

? ‰

‰

& bœ

œ bœ.

œ & œœ

œ.

189

? ‰ ã

bœ

> b b b ˙˙˙ ‰

‰

œ œ bœ nœ bœ bœ

> b b b ˙˙˙

b b œœœ >

‰

œ.

œ bœ œ

œ bœ œ ≈ R

‰

œ #œ

œ bœ œ bœ œ #œ #œ nœ œ bœ bœ œ

‰ œ

# œ n œ b œ œ # œr ≈

œœ

38 synth2

œ39 œ J

‰

synth3

r ≈ ‰ œ

‰

nœ

bœ

œ #œ #œ nœ

b b œœœ > ‰ œ

synth2

j Œ œ

œ bœ œ œ ≈ R

œ œ.

> n b n œœœ b œ œ b œJ

‰

œ bœ œ bœ

‰

∑ Œ Œ Œ

b˙

bœ

b˙.

ƒ ˙.

˙.

œœœ >

œœœ

p p

œ41 synth3 œ ‰ Œ J

Kanding: Partita Mallorca - 21

p ˙

œ bœ œ œ bœ bœ œ

> # # # ˙˙˙

b ˙˙˙ ... œœ

œœœ >

#œ nœ œ œ œ bœ bœ œ œ bœ

‰

œ-

≈ #œ nœ œ œ œ bœ bœ

‰

œ bœ

b ˙˙˙ ...

#œ nœ œ bœ bœ œ.

bœ

bœ œ œ bœ bœ œ œ œ œ ≈ ‰ ‰ R

œ bœ œ œ bœ bœ œ œœœ ‰

œ bœ œ #œ nœ bœ œ œ #œ nœ

≈

bœ

# # œœœ

‰

bœ

œœœ >

‰

œ bœ œ bœ bœ œ ‰

‰

bœ œ #œ nœ bœ œ œ #œ

∑

& œ #œ œ ‰

œ b œ b œ œ # œr ≈ ‰

bœ

‰

œ bœ œ bœ bœ œ. ‰

œ bœ bœ

nœ

∑

œ bœ

#œ

≥ œ œ #œ nœ bœ

r & bœ œ œ bœ bœ œ œ #œ œ ≈ ‰

189

œ bœ œ œ œ #œ œ bœ œ bœ bœ œ ≈

œ bœ bœ œ œ ≈ ‰ R

‰ Ó

j Œ œ

w w

ƒ ƒ

b ˙˙˙ ... >

synth5