Page 1

EARLE BROWN

SOUNDER ROUNDS for Orchestra

Unter der Nr. 11122 in die Edition Peters aufgenommen. EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED

HENRY LITOLFF’S VERLAG / C. F. PETERS FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK


Earle Brown

SOUNDER ROUNDS for Orchestra (1982-83) Commissioned by the Saarländischer Rundfunk. SOUNDER ROUNDS premiered in Saarbrücken, Germany in 1983, with Earle Brown conducting.

Score (transposed) Instrumentation

Program Note

Directions for Performance

SOU N DE R ROU N DS seems to me to be the third in a

Earle Brown formulated general instructions for “open form”

related series of works for large orchestra, the other two

sections and proportional notation for earlier compositions,

being TIME SPANS (1972) and NEW PIECE: LOOPS (1972),

such as NOVARA (1962; published by Editions Peters),

the latter also utilizing a large chorus. The three works are

excerpted below:

each based on a relatively simple sonic condition which is compositionally explored by fragmentation, juxtaposition,

Preliminary Notes

1 Flute

1 Glockenspiel

collage techniques and variations which can be made in

Spontaneous decisions in the performance of a work and

1 Alto Flute

1 Vibraphone

the actual conducting of the works.

the possibility of the composed elements being “mobile”

2 Oboes

1 Xylophone

1 English Horn

1 Marimba

As in many of my works, this piece is basically “closed form”

former to an extreme degree in FOLIO (1952), and the latter,

2 Clarinets in Bb

1 Harp

but has areas* in which the basic composed material can be

most explicitly, in TWENTY-FIVE PAGES (1953). For me,

1 Bass Clarinet

1 Piano

sequenced and juxtaposed spontaneously by the conductor.

the concept of the elements being mobile was inspired by

This potential for a work I originally (in 1952) called “mobile

the mobiles of Alexander Calder, in which, similar to this

12 First Violins, divisi a 2

score,” as influenced first by Alexander Calder, but this

work, there are basic units subject to innumerable different

10 Second Violins, divisi a 2

is now generally referred to in music as “open form” . . . the

relationships or forms. The concept of the work being

4 Horns

8 Violas, divisi a 2

actual final form of each performance being different and

conducted and formed spontaneously in performance was

3 Trumpets in C

6 Cellos, divisi a 2

unique but always recognizable as this particular work due

originally inspired by the “action-painting” techniques and

2 Trombones

4 Contrabasses, divisi a 2

to the unchanging basic composed material content. In

works of Jackson Pollock in the late 1940s, in which the

concept it is similar to viewing many aspects and details of

immediacy and directness of “contact” with the material is

a sculpture as one walks around it at different speeds and

of great importance and produces such an intensity in the

in different directions, or (as in my original influence from

working and in the result. The performance conditions of

Calder) as the elements of a mobile constantly change in

these works are similar to a painter working spontaneously

relation to each other.

with a given palette.

The relatively simple elements of SOUNDER ROUNDS are

The conductor may conduct the events in any sequence

rather dense “streams” of sound which expand, contract,

or juxtaposition, in changing tempi, loudness, and in general

separate, change shape and color, and “fields” of vertical

mold and form the piece. The inherent flexibility of the

aggregates (chords), which a German critic has referred

materials allows the work to constantly transform itself and

to as “sound columns” in writing of other of my works.

re-express its potential, while the sound materials and

1 Bassoon 1 Contrabassoon

1 Tuba Duration: approximately 20-25 minutes

have been of primary interest to me for some time; the

Earle Brown *Editor’s note: these “open form” areas are indicated in the score by large superimposed numbers.


characteristics which I have composed contain the essential

fingers. A conventional (right-hand) down-beat initiates the

conductor moves both hands from the “hold” position back

“identity” which makes this work different from any other.

activity. The relative speed and dynamic intensity with which

to the body and then outward towards the orchestra, palms

an event is to be performed is implied by the speed and

up (as if giving the initiative back to the orchestra).

I have felt that the conditions of spontaneity and mobility

largeness of the down-beat as given with the right hand. con d ucte d stop :

of elements which I have been working with create a more

the conductor may stop any event or

urgent and intense “communication” throughout the entire

The conception of the work is that the score presents

combination of events at any time during the performance.

process, from composing to the final realization of a work.

specific material having different characteristics, and that

The normal, two-hand cut-off signal will silence his entire

I prefer that each “final form,” which each performance

this material is subject to many inherent modifications,

group. Leaving the hands up will hold that silence until the

necessarily produces, be a collaborative adventure, and that

such as modifications of combinations (event plus event),

signal to continue from the point of interruption is given. If

the work and its conditions of human involvement remain

sequences, dynamics, and tempos, spontaneously created

the hands do not remain up in “hold” position, the musicians

a “living” potential of engagement.

during the performance. All events are always prepared by

are to expect another event-signal from the left hand,

a left-hand signal and initiated by a down-beat from the

and a down-beat.

Time Notation

conductor; the size and rapidity of the down-beat implies

There is a built-in factor of flexibility in the notation and

the loudness and speed with which the event is to be

mod i fication of s i ng le eve nt :

scoring of this piece because the availability of forms is

performed. The conductor must, as with any notation, insist

affects the entire group. The conductor may wish, however,

based on letting go of the idea of metric accuracy. This is

on accurately articulated relationships from the rhythmic

to modify only one event among two or more events

achieved through the notational system used in this work.

“shape” of phrase and pitch sequences in this work.

being performed simultaneously. To do this he signals the

This system, which I have called a “time-notation,” is a

any two-hand cut-off signal

number of the event to be modified with his left hand; then

development of the work in FOLIO (1952 and 1953) and most

General Modifications of Events

indicates the modification — a hold or cut-off — with only

clearly represents sound-relationships in the score as I wish

con d ucte d fe r mata :

his right hand. (Events not indicated by the fingers of the

them to exist in performance, independent of a strict pulse

fermata at any time during the performance, in any single

conductor’s left hand continue to proceed normally.) It is

or metric system.

event or combination of events. Both hands cupped

absolutely essential that the orchestra members clearly

towards the orchestra and held stationary indicates that all

understand this difference in signaling: a hold or cut-off by

Conducting

musicians in that group should hold the sound or silence

both hands affects an entire group; a hold or cut-off by

The conducting technique is basically one of cueing; the

which they are at that moment performing, until the next

only the right hand affects only the event indicated by the

notation precludes the necessity and function of “beat” in

sign from the conductor tells them either to cut off or to

fingers of the left hand. Players whose parts do not contain

the usual sense (although the conductor does indicate the

continue from the point of interruption. A cut-off is signaled

events signaled by the conductor’s left hand must remain

relative tempo). The number of the event to be performed

with both hands and must be followed by another event-

unaffected by his subsequent right-hand indications.

is indicated by the left hand of the conductor — one to five

signal from the left hand and a down-beat. To continue, the

the conductor may introduce a


Specific Instructions for SOUNDER ROUNDS As soon as the conductor initiates (by left-hand event-

Accidentals apply only to the note they precede.

signal and right-hand down-beat) a new event that appears

Pages 8, 9 (section C): open-form section. End with strings event 7 (loop). Indicate move to next section with

on the player’s part, the preceding event is automatically

Instruments are not synchronized during passages with

cancelled. No specific stop-signal is required. The player

black noteheads (streams). However, entire sections are

simply discontinues the event he is playing and, without

synchronized during passages with white noteheads (fields).

break between events, begins to play the new one.

large page turn. Page 10 (section D): cue instruments as indicated (fingers 1-5). Treat streams as in open form (stop, start, hold, etc.).

Events: small numbers above staves indicate that those With these procedures clearly understood by the conductor

events will be performed in sequence. Large superimposed

Page 11 (section E): treat string streams as in open

and the musicians it is possible to achieve smooth

numbers indicate open-form sections.

form. Bring in pianos and percussion as desired.

complexity and frequent modification. The first impression

Page 2: conduct events in sequence. Hold event 2

Pages 12, 13 (section F): cue winds and brass events in

derived from the score will be one of many sporadic

into event 3.

sequence independently, not simultaneously. Cue strings

transitions and long lines of connected material of extreme

fragments. This wealth of fragments shows the numerous

events any time, in any order. Bring in percussion, harp

formal possibilities inherent in the work, and it is this

Page 3: cue winds and second violins to begin

and piano as desired. Indicate move to next section with

realization, not the fragmentations, that must become the

simultaneously, after the violas have already started;

large page turn.

dominant characteristic of performance.

then cue brass and cellos to begin simultaneously. Pages 14, 15 (section G): open-form section. Pages 4, 5 (section A): open-form section. See general instructions for conducting open form. Pages 6, 7 (sections B1, B2): conduct events in sequence. Overlap freely as notated.


Sounder Rounds

TRANSPOSED SCORE

Earle Brown (1926–2002)

for Orchestra (1983) CUE TWO HANDS

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Litolff/Peters Nr. 11122

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Copyright © 2007 by Henry Litolff’s Verlag


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:

Vlc. 1

:

WA

Vlc. 2

C

YC

WC

C C

C

G@E!F#

C

YC

XC WC

C

C

C

YC

!

?

? YA

C

! WA

WA

! YA #

A

YC C

WC WC

C#D#B@

DCB!/EFGA!

C

YC

YC

WA

WA

A

A

A

A

A

C

C

C

WC

C

C

C

YC

WC

WC

C

YC

C

C

C YC

C

WC

WC

C

YC

C

WA

C WC

Tuba

:

:

WA

C

C WC

C

C

C

YC C

XC

YC

DC#B/E!FGA!

C YC WC YC

C

YC

C

C

C WC

C@E@B!

:

C

! : C YC

C

YC

XC

C

WC

C

C

C

C

C YC

C WC WC

WC YC

C

C

C

C

C

C WC

WC YC

C

C YC

C

C C

C

WC WC

C

YC C

C C WC

C

C

YC

C

YC C

WC C

C C

WC C

YC WC

C

C

C

YC

WA

A

A

? WA

WA

:

XA

WA

A

YA

YA

C

WC

XC C

C YC

WA

A

A

WA A

A

WA

A

A

WA

A

A

A

A

A

YA

WA

A

C

A

A

A

A

YA

YC

WC

YA

A

A YA

A

YA

A

A

WA

WA

WA

A

A

A

A

A

A

C

WA

YA

A

A

WA

WA

WA

WA

C

A

WA

A

WA

A

C

XA

A XA

WA

XA

A

A

WA

WA

A

A

í

A

A

YC

YA

YA

YA

A

A

A

3 4 A

A

A

A

? A

WA

A

A

A

A

WA

WA A

A

A

5 í

WA

WA YA

WA

# A #

A

A

# A

YC

WC

C C WC C C C WC YC C YC XC C WC C C YC XC C C C C WC YC WC C XC C YC C YC C YC XC C WC C YC C C C WC YC C YC C WC WC YC C C C YC C YC C : ! :WC C C WC C C C C WC YC C C YC XC C YC C C YC C C C WC WC YC C C C WC C C YC C YC C WC C XC C WC C YC WC C C YC C YC C C WC YC WC C C C YC WC : ! : C WC YC

#

Tbn. 2

WC

C

DCB!/EF#G#A

Tbn. 1

:

WA

WC

Tpt. 2

:

WA A

!

WA

A

! WA A ! !

? WA

A

! WA

! A A ! WA #

Tpt. 1

? WA

! WA

! WA

Hn. 2

:

!

? WA

? ! A

Hn. 1

:

A

XA

C

Tbn. 2

:

WA

YC

Tbn. 1

:

WA

C

YC

:

YA

WA

XA

Tpt. 3

A

A

A

YA

C

C

A

WA

YA

YA

D#F@

WA

A

YA

A

C

A

XA

YA

WC

WC

A@F#

C YC

C

WA

Tpt. 2

:

A

YA

Tpt. 1

:

WA

WA

Hn. 4

:

WA

A

Hn. 3

:

A

A

Hn. 2

:

A

A

WA

A

A

A

WA

YA

YA

A

A

A

A

A

A

WA

WA

WA

YA

XC

A

A

A

A

A

A

YA

A

A

WA

A

Hn. 1

:

A

A

WA

WA

WA

YA

WA

A

A

WA

YA

A

WA

A

WA

WA

WA

A

WA

A

A

XA

A

A

A

:

YA

WA

WA

A

A

A

A

WA

A

A

A

A

A

WA

A

XA

WA

YA

A

A

YA

A

A

C

C YC

C

A

A

WA

WA

A

WA

WA

A

A

í

A

A

A

! A

YC

YC

YC

!

WA

YA

A

8va

Vn. 1

:

WA

C YC

í

:

A

WC

make subtle alternations

WA

A

Solo Instruments

A

C

WC

A@C#

DCB/EFG#A#

WA

XA

C

WC

WA

WA

XA

YA

A

WA

A

YA

YA

B

A

WA

A

A

# A

Cb.

WA

3 4 5 A

WA

YA

WA

# A

A

:

WA

A

A

YA

! : C

WA

XA

A

WC

WA

YA

:

A

A

B

A

A

A

A

A

A

# A

Vcl.

WA

A

# WA

A

:

WA

A

A

A

A

A

A

A

B

WA

A

" A

Vla.

:

WA

A

con sord.

XA

A

A

WA

" WA

A

:

WA

WA

A

WA

A

A

XA

A

WA

A

WA

:

WA

WA

B

A

í

A

A

! WA

Vn. 2

? YA

A

! WA

A

:

A

A

WA

WA

WA

A

WA

A

A

A

WA

B

? A

A

!

Vn. 1

:

A?

!

A

:

YA

WA

A

:

YA

A

WA

A

A

A

A

WA

A

WA

A

A

WA

YA

A

WA

A

í

A

A

3 4 WA

A

? YA

A

XA

A

? A

A

A

WA

YA

XA

WA

WA

A

A

XA

WA

WA A

í

A

WA

A

! WA #

? A

í

Fl.

A?

A

WA

A

A

YA

YA

A

A

YA

WA

WA

YA

A

WA

A

WA

WA

WA

WA A

YA

A

WA A

A

WA

WA

A

A

A

YA

XA

WA

A

A

WA

A

A

A

WA

A

YA

A

A

WA

A

A

WA

WA

WA

A

A

YA

WA

A

WA

XA

XA

WA WA

: : : :

Do not end with Woodwinds.

: : : : : : : : : :

: : : : : :


6

B 1 1very fast A. Fl.

Ob. 1

Ob. 2

E. H.

Cl. 1

Cl. 2

B. Cl.

ff

Fl.

A. Fl.

C C C CYC YCYC YC YC C C C C YC YC YC CWC C C C CYC CYC C C C YC YC YC CW C C C YC C C C C C C WC C C C CWC YC WC C C C YC CWC : ! : C C WC C C C YC CWC Y C C C Y C C Y C Y C C C C YC C C YC YC YC C C YC C WC C C WC C C CWC C C YC C YC C CWC WC WC C C C YC WC C : C C ! : WC

6*

Ob. 2

C C CYC YC YC XC C YC C C YC C C C YC YC YC C C C YCYC C C C WC WC C C CYC C CWC C WC C C C C WC C C CWCWCWC : C YC C YC C ! : C YC YC

10

# : C C WC C C C C C YC YC YC # : C C YC YC YCWC C C C YC

Bsn.

Cbsn.

p

Hn. 1

8 Hn. 3

Hn. 2

! :WC YC C C WC WC : Hn. 4

Tpt. 1 muted

3 Pno.

:W C

! # :

WC C

XC

C

YC

C

WC C

Where no dynamics given, follow conductor’s suggestions.

! : C # :

C YC

C

WC

4 WC Hp.

C

XC

YC C

Tpt. 2

C

C

YC XC

YC

C

XC

WC

DCB/EFG#A#

WC

C

A@C#

C

WC

C

C : WC

Tpt. 3

:

Tbn. 1

:

G@E!F#

C

C

Glock.

Vib.

Xyl.

Mar.

YC

YC WC WC C C C WC C ! :Y C C WC

7

C

p

! :

! :W C Y C C C W C W C ! :W C W C X C C Y C C C C C C YC WC ! : C YC C YC XC WC ! : C C WC C YC ! : C # : C YC C C WC

Tbn. 2

# :Y C W C Y C C Y C C

Tuba

# : YC YC

mf

:

C YC ! :Y C C C C C WC YC C C Y C WC C XC ! :W C C C WC C WC YC C C C WC C C YC C ! : YC C YC C C ! : YC C XC C WC C

9C

C YC

C YC

ff

:

C YC : YC : WC :

11 A Vn. 1

2 A Vlc. B

Solo Instruments W conC sord. C C Y C Y C C C Y C Y C C C C C W C W C senza sord. # : WC : ‚ Ë‚ Ë Ë‚ Ë W Ë‚ C Y Ë‚ ‚CË ‚CW W ‚CË W W ‚C ‚C Ë‚ Ë‚ # : C ‚C C W W ‚C W C C C WC :

mp

!

A

!

B

!

A

!

pizz. Vla.

W 8vaC C C Y C C W C C

: Y C C C YC WC C: : 8va C YC YC C C C : : WC 8va C : C C CWCWC C C : C :WC C C YC WC C : YC :WC C C C C : WC C C YCYC C C : : 8va

C

B

"

A

#

B

# :YC C C C C WC WC :

A

# :

Vlc.

All repeats : watch conductor for starts and stops. *Invent rhythm and dynamics. Vary octaves.

! :

B

Vn. 2

senza sord.

Fl.

5* Y C

í

YC YC C C ! : C WC C ! : WC YC YC C ! : C C C YC YC ! : YC C C ! : C YCYC C WC : ! C ! : YC CWC ! : C YC YC C

Cb. B

YC

: CWC C C # : YC C C C : C C WC C C


B2

7

7*

C C C YC YC YC XC C YC C C YC C C C YC YC YC YC C C C WC WC YC C C C WC WC C C C YC C WC C WC C C C C WC C C C WC : C YC C YC C WC ! : C

Ob. 1

2 YC C C C YC C C CYC WC WC ! : 8va

Fl.

: C C WC C C C YC WC C C YC : ! : WC 8va

A. Fl.

8*

mp

E. H.

YC C C WC C ! : C

C WC C C C YC YC C C C C C YC C C YC C C WC C C C WC YC C C C WC WC C C YC C C WC C C WC C C C YC YC C C C C C WC XC :

9* C C C WC C C YC C C WC YC YC C C WC C C WC WC C C C C YC YC WC C WC C WC C C WC C C WC WC C : C WC WC C C C WC WC C W C C : !

SOLO

1

Cl. 1

Cl. 2

B. Cl.

Vn. 1 A

Y 8va CYC C WC C WC : ! : : ! : C YC CWC CYC : ! : CYCYC C C

SOLO Vla. 1 A

4

pp

C C C C C WC WC WC C C YC C WC C C WC WC C C C C YC YC WC C WC C YC C C WC C C YC YC C WC YC C WC WC C C : C C C YC ! : C C

# :

Bsn.

Cbsn.

C C : C C WC C C # : : C C YC YC YC WC

p

11 ! :

Pno.

C

WC

# :

6 YC

Hp.

10*

! :

WC

C

C#D#B@

# : DCB!/EFGA!

C

C

WC

C C

C

YC

YC YC

C C A@F#

C

C

WC

WC

WC

C

D#F@

C

C

WC

YC

WC

C

WC C

YC

C

C C

C WC

C WC

DCB!/EF#G#A

C WC

C

YC

C C

C

YC

WC

C C

C

YC

C

WC

YC C C

C

:

C WC

C YC

C

XC

:

C

YC :

C@E@B!

YC

XC

YC

C

C

WC

:

15

DC#B/E!FGA! Glock.

Vib.

12* Mar.

C ! : YC C

Xyl.

YC

XC C

WC

C

C

C YC

C WC YC

C C

WC YC

CYC

C C

XC

WC WC

YC C

C CWC

C

C

YC C

YC C

WC C

C C

WC C

YCWC

C

C C

YC

YC ! :W C W C

YC : C C WC C C C C C ! : YC C YC XC C WC C : 8va WC C XC C WC C YC WC C : ! : C :

YC C

C C

WC YC

CYC

13 pont. trem.

A

SOLO INSTR. A Vn. 2 B

!

All Instr. except SOLO 9

3C C WC WC C C WC C C YC :

! :

C

p

C

Vn. 1 B

C YC WC C WC YC : WC WC C YC WC C C C YC C 8va C pont. trem. C C WC C C YC YC C C WC YC YC C C C : : ! ! :

C

mf

ff

mp

C YC YC WC C WC C YC A

arco pizz. 5 pizz. C WC WC C C WC C Y C Y CW C C C # : Warco C C C YC C C C C C Y C C C C WC WC C WC C WC WC C C YC C C WC YC YC C

B

# :

SOLO INSTR. senza sord. Vlc.

arco

C

mp

pizz.

arco

C C C C WC WC C C C YC YC WC C WC C YC C C WC C WC C C YC C WC C WC WC C C C C C C C WC WC

SOLO INSTR. A pizz. Cb. B

*Invent rhythm and dynamics (soloistically). Vary octave. Strings: vary timbre (arco, pont., pizz., etc.)

14

YC WC WC C C C WC C C # : C : YC WC C C C C YC YC WC # : :

C C

XC :


8 Fl.

A. Fl.

Ob. 1

Ob. 2

E. H.

Cl. 1

Cl. 2

B. Cl.

Bsn.

Cbsn.

Hn. 1

mute

Hn. 2

Hn. 3

Hn. 4

Tpt. 1

cup mute

Tpt. 2

Tpt. 3

Tbn. 1

mute

Tbn. 2

Tuba

C OPEN FORM ! :YC YC

C ! :

C YC C

YC C

# : C # :

C

C

! : C ! :

YC

! :WC ! :WC ! : C ! : C ! :

C

YC YC

C

# : C

WC

YC

C

YC WC C YC C

C

WC

C

C

WC

C

WC YC

C

WC

C

C

YC

C

C

YC YC

C YC

C YC YC

C

YC

C WC

C

WC

C

WC

WC

C

C

C

YC

C

C

YC

C

C

C

C YC YC

YC

YC

C

YC

YC C

C

YC

YC

C

WC

C YC

C

C

C

C

C

YC

C

YC

YC

WC

C

YC

YC

XC

C

WC

C

C

C

WC

C WC

C

C

C

C

C

C

YC

C

C WC

WC

C

C

C

YC C

C

C WC C

YC

C

WC

C YC C

C WC C

YC

C

C

C

WC

C

C

YC

YC YC C

C

C

C

C

WC

C

C

WC

XC

C

YC

C

C

YC YC

C

YC

YC

C WC YC

C

C YC

C

WC

C

WC

C

C

C

YC

C

XC

WC

WC C

YC

C

XC

C

C YC WC YC

C

YC XC WC C YC

C WC C

C WC

C YC

C YC

C

WC

C

C

YC

C

C

C YC XC WC

C

C

YC

C YC C

YC

WC

WC

C

C YC

C YC

C

C YC

C

C YC

C

WC

C

YC

YC WC WC

C

YC

C

C WC C YC

YC

C WC

C

C

C

YC

YC

C

C

XC

C

C

WC

C

C YC WC

C

C YC XC WC

C

C

WC

WC YC

C

YC

C

C

C

C WC

C YC

WC

C YC WC YC C

C

C

C

C

C

C

WC

C

C YC

C YC

C YC C

YC WC YC C

WC

C

C

C

C

C

C

C

YC

C

WC

C

WC

C

WC

WC

C

C WC

YC

YC

C

C

C

YC

C

C

C

C

C

YC

C

C

C

C WC

YC

C

C

WC

C YC

C

C

C

YC

C

YC

C

C

YC

YC

C

C

C

WC

YC

XC

YC

WC

C

WC

WC

C

C

C

YC

C

C

C

C

WC

C

C

WC

C

YC

WC

C YC

C

YC

YC

YC

WC

YC

WC

WC

C YC

C

YC

C

WC

WC

YC

C

C YC

YC

C C

C YC YC

C

8va

C

C

C

C WC

C YC

C

C

WC WC

C

C

C YC

C

C

C C

YC

C

C C YC

C

C

YC

C WC

C WC

C

C

YC C

C

C

C

C WC WC WC YC

C

C YC

C

WC

C

C

C WC YC

YC

C YC

YC

C

WC YC

C

C

C

C

WC

YC

C

YC

YC

C

C

C

C

WC

C

C

C WC

C

C

YC

YC

C

YC WC YC C

WC

C

YC

C

C

C

C YC

C YC WC YC

C

C

C YC C

: C

C

C

YC

C

WC C WC C

:

YC :

C

C YC XC

C

:

:

YC

C

:

:

C

C

C

C

:

WC

C WC WC YC

C WC

:

YC WC WC

WC

:

:

C

WC

:

:

C

C YC YC

C WC WC XC

YC

C

C

WC

XC

C

C

C

C

: C :

C WC

C YC YC YC

C

C

C

WC

C WC

YC

YC

C

C WC XC

C YC

C

C

C

4

C WC WC YC

XC

C

C

YC

WC

C

C

C

WC

C

C WC

C

C

YC

C

WC

C YC YC

WC

C

C

C

C

C

C

C

C WC XC

C

C

C

C

C

C

C

C YC

YC WC YC C

C YC YC

C YC

C

C

C

WC

C

C

C C

C

C

C YC YC

C

XC

C

YC

C

WC

C WC

C

YC

C

YC C YC

C YC WC

C

YC YC

C

WC

WC

YC

C

C WC

C

C

8va

C

C YC

C YC

C

WC

C YC

C WC

C

C YC

C

WC

C

C YC XC WC

WC

WC

C

C

C WC

C

C

C

C

WC

C

C

C

C

C

C YC

C YC

C YC

WC

YC

C

C

C

WC

C

C

C YC

YC C YC

C YC

C

C

YC YC

YC

C

C

C YC

C

YC YC

C

C YC

C YC

WC WC

C

C

C

YC

C

C

WC

C

C

C YC

YC

C

C

1 2 3 C

WC

C

C

C YC

C WC

YC

C

C WC

C

C

C

C

C

WC

C

C

C

C

C

WC

C YC

C

C

C

3 4

WC

C

YC YC YC

C WC

C

WC

C WC

YC

WC

C

C

YC XC

YC

C C

C

YC

YC

YC

C

C YC YC

WC

C

C YC YC

C

YC

C

C WC

YC YC

WC

C

C YC

C WC

C

C

C

YC YC XC

WC

C

C YC

C

C

YC

C

C

YC

C

C

C

C

C

C

C

YC

C WC WC

C YC

8va

C

C YC

WC

C

YC

C

C

C

C

C

WC

C

C

WC

C YC

C

C

YC

C

YC

WC

C

C

8va

C WC

C YC

WC

C YC

C

C

C

C

C

WC

WC

YC

C WC

YC

C

C

WC

C

C

C

C

C

C YC

YC YC

YC

C

C

WC

C

C

C

C

C

C YC

C

C

YC

C

C

C

C YC

C

C WC YC

C

C

C

YC

C

C

WC

WC

WC

C

C

C

C

C

C WC WC

C

C

C

C

C

C

WC

C

C

C

C

C

C YC

YC

WC

C

C

C WC

WC

YC

# :YC WC YC # : YC

C

C WC

YC

YC

C YC

C WC WC YC YC C

C

YC

C

C

C

C YC YC

! : C

! :

C

C

! : C YC YC

! :

C

1 2

! : C WC WC

! :

C YC

C

C

C WC

: :

C

: : :


A?

? A

? YA

A

A

í

!

A. Fl.

!

Ob. 1

!

WA

A

A

XA

Ob. 2

! WA

WA

WA

WA

A

A

! WA

E. H.

Cl. 1

A

WA

WA

WA

A

Cl. 2

!

B. Cl.

! WA #

Bsn.

#

Cbsn.

A Vn. 1 B

A Vn. 2 B

A arco Vla. B

A Vlc. B

A Cb. B

A

A

! :

C

WA

A

C WC WC

C WC

C

WA

WA

A

A

WA

A

A

A

WA

YA

WA

A

A

A

WA

WA

A

WA

WA

A

A

A

A

A

WA

WA

WA

:

A

XA

WA

WA

:

A

YC

C

WC

C YC

C

C YC WC

C

C YC

C

C C

C YC YC

! WA

A

Hn. 3

! WA

Hn. 4

! WA

!

! A

Tpt. 2

!

Tpt. 3

!

Tbn. 2

:

Tuba

WC

YC

8va

C WC YC

C

YC C

WC

YC

C

C

C

C

8va

C

C WC

C

C YC YC

C

WC

YC YC

C YC YC XC

WA

WA

WA

A

A

A

A

WA

WA

WA

A

WA

A

A

A

A

A

A

# A

A

C

C WC

A

A

YA

XA

WA

A

A

WA

A

A

WA

A

A

A

WA

A

WA

WA

WA

WA

WA

A

A

WA

A

:

A

A

YA

:

A

YA

WA

A

YA

WA

WA

A

WA

A

A

XA

WA

C

C

C

C WC

C

C WC WC

C WC WC

C

A

WA

A

A

A

A

A

YA

C WC

WA

WA

A

A

C

A

WA

A

A

C YC

C

A

A

WA

A

C WC YC

C

XA

9

A

5 A

A

A

WA

WA

WA

A

# A

C

í

YA

A

# A

Tbn. 1

:

A

? WA

Tpt. 1

:

WA

A

A

:

WA

A

A

A

A

A

A

WA

YA

YA

C

WA

WA

WA

:

A

? WA

Hn. 2

:

A

A

? WA

Hn. 1

:

WA

A

WA

:

YA

YA

A

C

A

WA

A

A

A

A

A

WA

WA

YA

A

WA

5

XA

A

A

A

A

A

WA

A

A

WA

! WA

XA

A

Fl.

A

C

C WC

C

C

: :

A

:

YA

:

WA

WA

:

:

A

WA

A

A

C

C YC

: : :

C

WC

C YC YC WC

:

C

1 2 34 5 6 7

! : C ! : WC ! : ! : " :

# :

C

YC YC

C C WC C

# :WC # :

C

C C

C

C

C

YC

# : YC WC

C WC

C YC YC WC

C WC YC YC C

C

C

C

C

C YC

C WC WC

C WC

C

C

C

C

C

C

C WC WC

C

C

pizz.

C

C WC WC

C YC YC

C WC WC C

C

WC

C YC

YC YC

C WC C

C WC

C WC WC

C WC C

C YC YC WC

C YC YC

C

C

C

C

C

C WC WC C

WC

C

C

C

C WC WC

C

C

C

C

C WC

C

C

C WC

C YC

C

C YC YC WC

C WC

YC

C

C

C

C

C YC

YC WC

WC

C

C

C YC YC

C

C WC

C

C

C WC WC C

C

C

C WC WC

C

C

!

C YC

C WC

C WC

C

C

YC

C

C

C

C WC

WC

C

WC

C

C YC

C

C WC

C WC YC YC

!

8va

í

WC

C

C

C

8va

C

C YC

WC

CYC C CWC

pont. trem.

C WC

C

8va

C WC

8va

YC

C

C

WC

C

WC C

WC

C WC

WC

C

WC

C

C

sul tasto

WC

C C

C

C

C

C YC

C

C

YC YC 8va

YC

C YC

C

pizz.

C

C YC YC

C

C WC YC

C

C

WC

C

C WC

C

C

C YC YC WC

C WC YC WC

C

C WC WC

C

C

C

C YC

C

C

Y8vaC Y C

C

WC WC

C

8va

C

C

YC YC

C

YC

C WC

C

WC WC

C

C

C

C

C WC

WC

C

C WC

C C

C WC WC

C

C

C

WC

C

C YC YC

C YC

C

C WC

C WC WC

C

C

C

C

C WC WC

YC

arco

C

C

C WC WC

WC

C

C

C WC WC

C

C

C WC

C

C

C

C

#

í

YC

WC YC C YC

C

C

C

C

C YC

WC

C WC WC

C WC

C YC YC

C WC WC

C

WC

C

WC WC

C

C

C WC

C YC C

C

C YC

C

C

C

C

WC

C WC

C

C

C

C

C

C

YC YC

C

: C WC WC

: C :

:

C

C WC

YC

C

C

C

C YC

: : :

C

C

C

C :

C

C WC WC

:

C YC YC

: C

:

C

C

: C C YC

pont. trem.

WC WC

C WC

:

C

C WC

C WC YC YC C

:

C WC

C

C

C

: YC WC

C WC C

C

C

C

:

C

: :


10

D

C YC C WC C C C C C YC YC YC WC C C C YC C WC C C YC C C C YC YC C C C WC YC YC YC C C C C YC YC C C C YC : 8va C C C Y C C C Y C C Y C Y C C C C YC C C YC YC C C WC C C YC C YC WC C C WC WC WC C C C YC YC C C YC C WC C C WC C C C C WC WC WC C C C YC : ! : 8va YC C C C YC C C C YC YC YC C C C YC YC YC YC C WC C C WC C WC C C C C C C WC : C C C WC WC WC C WC WC C C C YC YC XC C C YC C YC C ! : C C C C YC YC YC C C C YC YC YC C C C C WC C C C YC YC YC YC C C C C WC WC C C C YC C WC C C C C C C WC WC WC YC YC XC C C YC C YC C : WC C ! : !

Fl.

A. Fl.

Ob.

1

Ob.

2

E. H.

Cl.

1

Cl.

2

8va

YC C :YC

C WC C C C YC

C

C C

WC

YC C C WC C C WC C C C YC YC C C C C C YC C C YC C C WC C C C WC YC C C C WC WC C C YC C C WC C C WC C C C YC YC C C C C C WC XC ! : C YC YC C C YC C WC C YC C YC C C C C YC C C C YC YC C YC C WC C YC C WC C WC C C C YC WC C YC C C C WC C YC C YC WC C C WC WC C ! :

B. Cl.

! : C YC YC

C

C WC

Bsn.

# :

C

C C C YC YC YC YC XC C C YC C WC C C YC C YC C C C YC YC

C

C

WC

C

# : C C YC YC YC

Cbsn.

Hn.

1

Hn.

2

Hn.

3

Hn.

4

Tpt. 1

Tpt. 2

Tpt. 3

Tbn. 1

Tbn. 2

Tuba

A

Vn. 2 B

A Vla. B

A Vlc. B

A

C

C

C YC

C C

C

WC

C YC YC C

C

C

C

C C WC WC XC C YC C C WC WC XC C YC C C WC C YC C YC C C C YC WC YC C YC C WC C YC C YC C YC XC WC C C WC YC C C WC C YC C C WC C YC C C C YC C C WC C YC YC WC C C

C

C YC

! :WC

WC WC C YC

! : C C ! : ! : C # : C

C

C

YC C C

C WC

C YC

C

! : ! :

WC

! :YC YC C WC ! : C C " : C C C WC C C # :

C WC C

C

WC YC

C

C YC YC YC YC

C

C

YC C YC

C

C

C

C YC C YC XC

C

:

C

WC

: YC C C C C C C YC YC YC YC C C C YC C WC WC C C C YC YC YC C WC C WC C C C WC C YC C

C YC

C

C

C

C C C C WC YC C C C C YC WC YC C YC WC XC C YC C C WC C YC C YC WC WC C WC : C WC XC C YC C C WC C WC C C : YC WC WC C C C C YC WC C C C YC WC YC C C WC

C C C

C

C

C WC WC YC

C WC WC XC C WC C C C YC

C

WC

WC YC C YC

C C

: C :

YC

:

C YC

C

C YC XC : C C : C

C

C WC

C

:

: C YC C C YC C C YC WC YC C C C C WC YC C C WC YC C C WC C YC YC C WC C C C C YC WC C YC C WC : WC C YC C C WC C YC C YC C C WC C YC C WC C WC C C YC WC YC C YC C WC C C YC C C C YC C C YC YCWC CWC YC C CWC C C YC YC C CWC YC YC C C CWC YC C C C C WC C CWC C C YC CWC C C C WC

C C WC WC C C C C YC YC XC C WC C C YC C WC C C WC WC C C C YC YC C C WC YC YC C YC WC C C WC C C C C YC WC YC YC C C C C WC WC C C C C WC WC C C WC C C YC C WC C C WC WC C C C C YC YC WC C WC C WC C C WC C C WC WC C C WC YC YC C C C C C C WC WC C C C C C C C WC WC C C C C WC C C YC C WC C C WC WC C C C C YC YC WC C WC C WC C C WC C C YC YC C C YC YC YC WC WC C C C C YC C WC C C WC WC C C C C YC YC WC C WC C YC C C WC C C YC YC C C WC YC YC C C C C WC WC C C C C C WC C C YC C WC C WC WC C C C YC YC WC C WC C YC C C WC C C YC YC C C WC YC YC C C C C WC WC C C C C WC WC C WC C C YC C WC C C WC WC C C C C YC C C YC YC C C WC YC YC C C C C WC WC C # C YC YC C ! C C C WC WC C WC C C YC C WC C C WC WC C C C C YC YC WC C WC C YC C C WC C C C C C WC WC C C YC WC C WC C YC C C WC C YC YC C C WC YC YC C C C WC C C YC C WC C WC WC C C C C YC C WC WC C C WC WC

YC WC C WC C C C YC YC C C

C WC

WC C C YC C C C YC C C YC WC C C C WC WC C C WC YC C WC C C YC C C WC C C C WC C C C C YC WC YC C YC C YC C C C C WC WC C C WC C YC XC WC C C C YC WC YC C C C C WC C YC C C WC C YC C YC C C WC C YC C YC C C WC C YC C C WC C YC YC C C C YC C YC C WC C C C YC C C C YC WC YC WC C C C YC C YC C YC C YC C WC C C C C YC YC C WC C YC XC WC C C WC WC YC C YC WC YC C C C C C YC WC YC C YC C WC C C YC C YC XC WC C C YC C C WC C WC

# : YC WC YC C YC C WC C C YC C YC XC C C WC # : WC C C C YC WC YC C C C C C YC C YC XC YC C C C WC WC C C WC C C YC WC C C YC WC C C ! : C

C

C YC WC WC

C

C C

C

YC

C WC

C

C YC

C WC

C WC

C YC

C WC YC

C C WC C YC

C

C YC

C WC

! :WC YC

Vn. 1

A

C

C YC

C

YC WC WC C C C C WC WC C ! :YC ! :

8va

B

WC

WC

:

YC YC XC YC C WC XC C YC C C WC C C C YC YC C C YC C C WC C C WC C : WC C C WC C C WC C YC C C C YC YC C WC C C YC C YC C C YC C WC C YC C C YC YC :

C YC

C

C

YC C YC YC

! : C YC C WC

C

:

C

# : C C C YC C YC C C YC YC C C C WC WC C C WC C C WC WC C C C YC YC WC C WC C C C WC C # : C WC YC YC C C C

C WC WC C C WC

C

C

C

YC

C WC

C

C

: : : : : : : : :

Cb. B

# :YC WC C C C YC C C YC YC C C C YC YC WC C WC C C C WC WC YC YC

C

C

C

C WC WC

C

C

C

C WC WC

C

C

WC

C

C YC

C WC C

C YC WC C C C :

Hand 1 Left LEFT

2

3

4

5

Hand 1 Right RIGHT

2

3

4

5

Hand 1 Either LOW

2

3

4

5


A Vn. 1 B

A Vn. 2 B

con sord.

1 = arco 2 = pizz. 3 = pont. 4 = harmonics 5 = free A Vla. B

A Vlc.

11

E C C WC C C YC CWC C C YCWC C C C C YC YCWC CWC YC C CWC C C YC WC WC C C YC CWC C C C CWC YC C C C C YC C C YC YC C WC WC C C C WC WC C C : ! : ! : ! :

C

C C WC WC C C C C YC YC XC C WC C C YC C WC WC C C YC WC C C YC YC WC C WC C YC C C WC C C YC YC C C WC YC YC C C C C WC C C YC :

C

C C C WC WC C YC YC WC C WC WC C C WC YC YC C C WC C C WC YC YC C C C C WC WC C WC C C YC C WC C WC WC C C C C WC C WC C C WC C C C : C C

C YC WC C C YC C WC C C WC WC C C C C YC YC WC C WC C WC C C WC C C YC YC C C C C WC WC C C C C YC YC C C C C WC WC C C C ! :Y C Y C C WC WC C C

:

C C C C C WC WC WC YC WC C C YC C WC C C WC WC C C C C YC YC WC C WC C YC C C WC C C YC YC C C WC WC C C WC C C YC C WC C : C C C YC ! : C C YC YC WC C WC C YC " : C C C C WC # :

C

C WC

C

C YC YC

C

C C C WC WC C C C YC YC C C WC YC YC C !

C WC YC YC

C

C

C WC WC

C

C WC WC C C C C WC C C YC C WC

B

C WC WC C C YC WC # : C C C WC WC C C C C WC C C YC C WC C WC WC C C C C YC

A

# : C

B

# :Y C W C

YC

WC WC C C C C WC C C C YC YC WC

C WC C YC C C WC C C YC YC

C

C

C WC WC C C WC C C WC C C YC C WC WC

C

C

C C C C YC

C C WC WC C C C C YC YC WC C WC C YC C C WC C C WC C YC C C WC C C YC YC C C WC YC YC C C

C WC YC YC

C

C C WC WC C C WC WC C C C C WC

C

C YC YC C C

:

C WC WC :

C

YC

C

C

#

:

C WC C C

:

Cb.

Pno.

! : # :

Glock.

Vib.

Xyl.

Mar.

C

WC

C

YC

C YC

C

XC

C WC

C YC YC WC

WC C

WC C

C

WC

C

C

XC

YC

C

CYC

C

C

YC

WC

C C

WC

C

C YC YC C

XC

C

C

C WC

C

C

C

YC

YC

YC

C WC YC YC

C

C

C

WC C

C

YC

YC WC C C C : C WC WC C C WC WC C C WC C C WC C C YC C C C

C

WC

C C

C C

YC

C

YC

WC

WC

C

YC

C

WC

C

YC C C WC : ! : Y C C C CW C Y C C Y C C CWCWC C CW C C Y C C Y C C C Y C C Y C C C Y C W C Y C C C CW C Y C C C X C CW C C YC XC C C C C C CWC YC C C YC C C CWCYC C YC C C YC C CWCWC C CYC CYC C : ! :WC C CWC C WC XC YC YC CYC XC CWC C C C WCYC C Y C Y C CY CX C C YC C CY C C C CW C C W C Y C C C CW C C CY C CY C CW C C X C CW C C Y CW C C C C C CWCYC WC C C YCWC : ! : ! : C YC

YC C

XC C

WC

C

C

CYC

C WCYC

C C

WCYC

CY C

C C

C

WCWC

YC C

C CW C

C

C

YC C

YC C

WC C

C C

WC C

Y CW C

C

C C

C

YC :

YC C

WC

YC

C

C C

C WC C

C

XC WC

C

WC

WC

C C

C

YC

WC

C C

YC

1 (L.H.) 2 Solos (any octave, dynamic), invent rhythm

3 4

C

WC

C

YC

WC

C C

C

WC

WC

C C

C

WC C

CWC

C YC

C

C WC

C

C

XC

YC

YC C WC

XC YC C

: :


12 Fl.

A. Fl.

Ob. 1

Ob. 2

E. H.

Cl. 1

Cl. 2

B. Cl.

Bsn.

Cbsn.

F 1 IY C

2 IY C C W C C C C

YC C C ! : C WC WC C ! :

C C C C YC YC YC WC C

C C YC YC

WC YC C C C C C WC C WC WC WC

YC YC C C C C WC WC C C C

C C YC YC ! : YC C C ! : C YC YC C WC : !

WC C CWC C C CYCYC C C

! : C YC YC C # : C C WC C

YC

WC

C YC

C WC

C C YC YC C C

# : C C YC YC

YC

YC YC

C C WC C YC

C

C WC C

WC C

C YC

C WC

C

C

C

C

C

YC C

C

C WC

C WC

C

C

C

C WC

C

WC

C C

C YC

C YC

C WC

C WC

C

YC

C

C C C YC C C YC C C WC

C

YC C C WC C C YC C

C ! : YC C WC

C C C YC C WC

YC

C C WC C C C YC YC C

C

WC C

YC C C CYC C CYC C WC C CYC CYC

C YC YC C ! :

4 I

C WC

C

C

C

C

WC

C

C

C YC

C

C

YC

YC C C C C C C WC WC WC

8va

C

YC YC C

C C YC YC C YC XC WC C C C YC C WC XC C YC C WC

C

C C YC C YC XC C WC

C

YC

A. Fl.

Ob. 1

Ob. 2

!

C YC C C C C C YC YC C C C WC YC YC C C C YC YC C C CYC WC

C YC C C C WC C C YC C C WC C WC WC C C CYC WC C Y C W C ! 8va YC C C CYCYC YC YC XC C CYC CWC C CYC C ! YC 8va YC C C YCYC YC C C C ! C WC CYC C 8va

!

Cl. 1

YC C C WC ! WC C C 8va CY C W ! C

Cl. 1

Bsn.

Cbsn.

Pno.

Hp.

Glock.

Vib.

Xyl.

Mar.

!

# :

! : C

# :

C

WC

WC XC

C

C

WC

! :YC C

8va C ! :W C C

C

! :WC YC ! : C YC

C

C

C

WC

C YC

C

C

XC

C YC WC

C WC C

WC

C

C

YC

C

C WC YC

C WC

YC

XC

A@C#

DCB/EFG#A#

C

WC

WC C

C C

C XC

C YC C

C

G@E!F#

YC

XC WC

YC

C WC WC

C

C YC C

C YC

YC

C YC

C WC

WC YC

C

C

C YC

C

C

C

C YC XC C

C

C

YC C

WC

WC

C

C WC

C WC

WC YC

C WC

C

C

YC

C

C YC WC C YC

C

XC

C

YC

C#D#B@

DCB!/EFGA!

C

C

C

C C

C

C

C YC

C

C

YC

C

WC

C

C

WC

C

YC WC

WC

C YC

YC C

Vlc. 2

C

YC

C

C

C

C YC

WC

C

C

D#F@

C YC YC C C

C YC

WC WC

C

WC

A@F#

C

WC

Vlc. 1

C

C

WC

C

YC

YC

C

YC

C WC

WC

C

C

C

C

WC

C

WC

YC C

XC

DCB!/EF#G#A

C

C

C C WC

C

C

C

WC

YC

C

C YC WC YC

C

C

YC

C

WC C

C C

! YA # A

A A WA A A YA YA WA

WC

DC#B/E!FGA!

C

C

WC C

C WC YC

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15 : : : : : : : : : :

: : : : : :

Earle Brown: Sounder Round  
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