Page 1

Nr. 12693 R

TSAO Un(cover) for ensemble (2010)


MING TSAO

(Un)cover for ensemble (2010)

Unter der Nr. 12693 R in die Edition Peters aufgenommen EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED

HENRY LITOLFF’S VERLAG / C. F. PETERS Ein Unternehmen der EDITION PETERS GROUP FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK


173

3

Trumpet:

"

Trumpet:

ĩ

ĩ

©# © ƒ © # © @ © "L ƒ© © L(Un)cover

Valve 3 detuned a quarter-tone.

Trumpet:

Trumpet:

Valve 3 detuned a quarter-tone. Performance Notes

@ © "L © L ©# © ƒ©

ĩ

Valve 3 detuned a quarter-tone.

"Fingerings are notated in the score for each of the pitches. L © The notated pitches indicate sounding @ © L © L © # © L © L © # © ƒ © ƒ© pitches.

Valve 3 detuned a quarter-tone.

Trombone (with F attachment)

©

I

Instrumentation

L 1  L L©1

Guitar:

Trumpet in C, Trombone, two Percussionists, Guitar, Pianoforte and Violoncello. Guitar: Guitar:

Guitar:

ĩ

III

IV

II

Seating arrangement

V

VI

K Gtr. © ƒ©

I

ĩ

VI

kkkkkkkkkkkkk =

III

IV

V

Perc. 1

Piano

§

@ ©

ĩ

II

I

VI

Perc. 2

Tromb.

173

h-cV

III

IV

Bowing across

the 7th

II

§

§

kkkkkkkkkkkkk =

I

h -c

Gtr.

@ K 11

(c) B

W

(d)

Quarter-tone notation C = one quarter-tone sharp Pianoforte: B = one quarter-tone flat Pianoforte: (a) (a) (b) W (c) B (d) U = let the sound die on its own accord "

11

" L 11 Pno. L 11

@ K 11

Brass

11

L 11

gentle overpressure bowing

ĩ

, +-ƒ

Cello:

III

IV

@ K 11

(c) B

(d)

ĩ

III Trumpet:

IV

V

"



11

ĩ

II

Litolff / Peters

§

III

ĩ II

-§ ƒ§ #§

@© I

ĩ

Pno.

gentle overpressure bowing

V

IV

III

IV

III

II

ĩ II

I

43

IV

III

I

II

I

§

gentle overpressure bowing

§ § The following notation 43 is used to indicate § barring across all six strings, where the top and bottom pitches indicate the frets on strings I and VI respectively where the barring should occur.

ƒ #

#

Guitar:

= strum downward (6 to 1) with the right-hand thumb.

h -c

Pianoforte: (a)

L 11

th fret. Barring across 7th fret Bowing across the 7the

L 1 1

(b) W

33103

33103

L 1  L1

K1 @ 1

(c) B

(d)

h -c

+§ th

"

Cello

IV

11

Guitar:

Both the guitar and the amplifier should be amplified. The amplifier should be only slightly   about higher in amplitude than the sound of the acoustic guitar. The point of the amplifier is less volume and more about suggesting a different kind of presence.

L 1  L1 "

33103

kkkkkkkkkkkkk =

When using the ebow, only the fundamental of the pitch should sound. Avoid harmonics of the fundamental from sounding. (Make sure that the ebow is not placed in the ‘overdrive’ setting.)

I

ĩ

Guitar:

kkkkkkkkkkkkk =

+ -ƒ#

Valve 3 detuned a quarter-tone.

33103

s

I

II

A straight mute, wispa mute @ © and plunger mute are required. ƒ © Valve 3 is Kdetuned a quarter-tone lower resulting in the following scale of fundamentals: ©

Bowing across the 7th fret.

The guitar is scordatura throughout the entire piece. The guitar part is transposed to standard guitar tuning as well as sounding an octave lower than written. The scordatura for the guitar is Cello: #© # © as follows: " Cello: #© "

Trumpet in C a

Guitar:

VI

IV

Valve 3 detuned a quarter-tone.

It is important that all pitches (including the quarter-tones) are played as natural harmonics Trumpet: of the fundamental for which the fingering is provided in the score (intonation should not " for example). This is particularly true of the partialsL that be adjusted by lipping the pitch up, © @© L© LVc. © with ƒ © which# ©are notated © # ©partial), are naturally flat (such as the naturalƒseventh the following Valve 3 detuned a quarter-tone. § § § § § § § § accidentals:

+§ -§

L 11

Bowing across the 7th fret.

1 amplifier with tremolo effect (of varying speeds) that can be activated with a footswitch 1 volume pedal 1 heavy glass slide 1 thinly threaded metal rod (American size 6-32, 30 cm in length) Trumpet: §kkkkkkkkkkkkk = gentle overpressureapprox. bowing .5 mm.) 1 guitar pick (medium thickness, 1 ebow " 1 bass bow #© ƒ© #© L©

VI

(b) W

h -c

h -c

Bowing across the 7th fret.

fret.

General Notes Duration Vc. of the piece is approximately 9 minutes. The score is in C, except for the guitar and violoncello which are transposed to standard tuning. Cello: © percussion " All of the instruments should be amplified " slightly (including each of #the K © © as the guitar and guitar Instruments: timpani, snare drums and vibraphones as#well L © I III II amplifier). IV

Guitar:

Guitar:

Cello

kkkkkkkkkkkkk = gentle overpressure Tpt. Guitar bowing

gentle overpressure bowing

ĩ

L 1  L1

Guitar: L 1 L 1   1 GuitarL (Steel-string acoustic guitar with built in pickup) L1

ĩ

A straight mute, wispa mute and plunger mute are required.

Ĥ


h -c

Bowing across the 7th fret.

Vc.

pressure bowing

Violoncello

The following notation is often used to indicate: (a) keys that are silently depressed, (b) all white keys between 43 and including the bottom and top pitches notated, (c) all black keys between and including the bottom and top pitches notated, and (d) all chromatic keys between and including the bottom and top pitches notated.

A finely threaded thin metal rod (American size 6-32, 30 cm in length) is required. The violoncello is scordatura throughout the entire piece. The cello part is transposed to standard cello tuning. The scordatura for the cello is as follows :

"

Cello:

Trumpet:IV

III

Pianoforte: (a)

Pno.

I

II

" 11 L

Occasionally, the upper stave notates pitches in the treble clef (for example, mm. 6-11). These " L© @ © ofLthe © open L © tuning © ƒ © to #the© standard ƒ © are#transposed pitches string and generally refer to a specific

ĩ

III

II

I

Ĥ

Valve 3node detunedon a quarter-tone. harmonic the string (for example, two octaves above the open string (4th harmonic), an octave and a fifth above the open string (3rd harmonic), two octaves and a 5th  above the open th  string (6 harmonic), etc.). The position of the bow on the string is then determined by the location of the notated pitch in standard tuning.

§

kkkkkkkkkkkkk =

gentle overpressure bowing

Guitar:

Litolff / Peters

The overpressure bowing technique requires moving the bow both vertically along the trajectory of the notated line as well as horizontally so that the bow hairs can set the muted string into vibration. The sonic result of this action should not be that of a ‘crunch’ sound. Rather, the pitches that the bow hairs produce when gently scraping along the strings should be the audible Cello: # © by result. This action is to be played extremely delicately with quasi " pitch glissandiK(produced © # © pitches are notated the bow hairs along the string) being the most audible result. When specific L © I III II in the upper stave with overpressure, then these pitches should beIVthe audible result as the bow scrapes along the string.

Pianoforte (grand piano, sostenuto pedal (3 ped.), una corda pedal and damper pedal (ped.)) One ebow and two long strands of heavily rosined fishing line are required. A strand of fishing line should be slipped around each of the strings indicated in the score near the hammer. The performer then `bows‘ the respective string by releasing the damper pedal and, whilst standing, moving the fishing line gently and slowly back and forth.

Bowing at the position of an octave and a fifth above the open string while fingering the harmonic a fifth above the open string, will produce a slight ‘buzzing’ sound, akin to a gentle overpressure sound, since the harmonic is prevented from speaking. Occasionally, the cellist ish-cBowing across the 7th fret. § from one harmonic node to another while fingering a fixed asked to move the bow continuously harmonic with the left hand. The general effect should be a harmonic whose sound transitions continuously from pitch to noise.

When using the ebow, only the fundamental of the pitch should sound. Avoid harmonics of the § fundamental from sounding. (Make sure§ that the ebow is not placed in the ‘overdrive’ setting.)

ƒ

#

@ K 11

(c) B

(d)

11

Percussion

La1  L1

#

L 11

(b) W

Percussionist 1 § 2 large timpani drums (D-A, F-C)

+

1 vibraphone (with fully functioning motor, 1 pair of soft, medium and hard mallets respectively) Crotale (E above middle C) - sounding I5ma higher than notated 3 bass bows 1 heavy gauge brush 2 thinly threaded metal rods (American size 6-32, 30 cm in length) 3 metal wire hangers (coat hangers) of medium thickness 3 loose metal snares (from snare drums, width 5 cm), one of which is broken in half to create 2 33103 snares of width 2.5 cm.) Percussionist 2 2 large timpani drums (D-A, F-C) 1 snare drum (with drum sticks) 1 vibraphone (with fully functioning motor, 1 pair of soft, medium and hard mallets respectively) Crotales (C#, G - each within the octave above middle C) - sounding 15ma higher than notated 3 bass bows 1 heavy gauge brush 2 thinly threaded metal rods (American size 6-32, 30 cm in length) 3 metal wire hangers (coat hangers) of medium thickness 3 loose metal  snares (from snare drums, width 5 cm), one of which is broken in half to create 2 snares ofwidth 2.5 cm.

Ĥ


(Un)cover q = 42

Ming Tsao

Timpani head tuned to F. Begin by resting part of the trumpet bell on Timpani head of Timpani F-C (29"). Gradually place the entire bell on Timpani head while playing.

Trumpet in C

Trombone

&

?

Trumpet player is standing near percussionist 1.

Tpt. - Detune valve 3 a quarter-tone lower throughout. Trumpet is notated at sounding pitch. Trombone player is standing near pianoforte.

Timpani

Percussion 1

Percussion 2

Guitar

÷

÷

&

85 μ ˙ ∏ 85

Ó œ

85

Scordatura:

μœ

Bœ mœ μœ

Piano

?

bO n n m OOO n :O m O

5 16

ÓÓ nœ ∏

Trombonist plays into piano.

5 8 n˙ P

Ó œ Œ ∑

44

(Ó) Ó 5 16 kkk

5 16

ÓÓ 5 n O 16 n n OO nO F

-

44

5 16

44

5 16

3. Ped.

Hold fingers against snare head until snare drum has stopped resonating.

38

OOab OObb

ÓÓ Œ n >œ F Ó ÓÓ n œ ® n >œ œ P

Pitch of right-hand bow. Left hand is muting string II in first position. Gentle overpressure. Bring out as much of the notated pitch as possible.

Cello

?

Scordatura:

Bœ mœ

5 8

(Cello is transposed to standard tuning.)

Note: Position of bow is at the 6th partial of string II past the octave.

4 &4

n¿

II

π

kkkkkkkkkkkkkkkkkk

œ.

Trombonist quietly moves to his/her respective seat.

Ó

44 P

.

Ó Ó ‰ . ∏p

5 16

ÓÓ

kkkkkkkkkkkkkkkkkk

Œ&

Vibraphone

ÓÓÓ ® >¿ Œ F

-

44 n n OO n n OO P

38 nœ. ∏

closed, gradual transition to open

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Snare Drum

ƒ (o) 44 ÓÓ ‰ . œ ƒ

plunger mute

38 .

Œ 44 w     Timpani pedal.

œ.

(+ )

Slowly affix bell of trumpet firmly to Timpani head.

q = 48

accel. 38 œ.

œ

5 16

( -) 44 ¿ Ø

85 n œÓ ‰ . > f 85

w p

bow

(Guitar is transposed to standard tuning.)

&

gradually to

Bowing "white noise" to gradual slight overpressure so that a low tone is present.

Snare Drum: loosen snares so that they rattle against the bottom of the snare drum. Tap snare drum with fingers.

85

44

l

44

With BASS BOW and METAL WIRE HANGER. Bow metal wire hanger in the center of the Timpani head (of Timpani D-A, 32"). Bow in the middle of one side of the wire hanger.

Bell of trumpet slightly off the head of Timpani.

Bell of trumpet firmly affixed to Timpani F-C.

38

π 38 ÓÓ ≈ Œ œ n >œ 38 .

44 nœ ∏ Ped. **) Ó - n O. a 44 ::: : n :O b F

38

kkkkkkkkkkkkkkkkkk

bow *)

arco with bass bow

& (b ¿ ) (n ¿)

44

Ped.

Right hand bowing position. Bow at 3rd partial on string III.

kkkkkkkkkkkkkkkkkk

ÓÓ ( n ¿) ≈

kkkkkkkkkkk

44 n¿

?

44 n O

¿

(n ¿) (n ¿)

44

&

*)

(gentle overpressure)

kkkkkkkkk kkkkkkkkkkkk

III

Fingered pitch should produce a lightly distorted sound.

*) Prepare vibraphone by laying a 1/2-width metal snare along the bars with the end-points at the indicated pitches. **) Slow and delicate rasqueado over soundhole across all six strings. The sound of the fingernails "tinkling"across the strings should be audible.

Litolff / Peters

33103

© 2012 by Henry Litolff's Verlag

2/13


2 o ally t gradu

7 Tpt. (C)

Tbn.

& Bw ( πp ) ?

Perc. 1

Perc. 2

arco motor off

&

∏ & n œ

Bell of Trumpet slightly off the Timapni head.

nw Timpani pedal ( πp )

∑ Vibraphone

q = 64

accel.

Note: Trumpet bell still firmly affixed to Timpani head.

ÓÓ 41 œ ‰ . ÓÓ p ∑ 41

motor on slow *)

gradually to

 

 

 

(n¿) (n¿)

(n¿) (n¿)

*)

≈   ( πp )

nœ. a π

πÓ nœ .

 

 

41

   

41   ÓÓ π

&

41

÷

41

&

?

Gtr.

3 16

(Ped.)

≈ m n m m n œœœœœ œ > F n n n n OOOO

1 4 œÓ Ó

˙.

3 16

Bow at 4th partial on strings III, IV.

& n¿ n ¿

&

kk

III IV

? O nO

3 16

3 16

‰.

1 4

**)

44

41

41 ‰ .

44

n :O . ::: n ::O . pÓ

Ó n¿ .

Ó .

OO

OO

¿

1 4 OO n O .

3 16

*) vibraphone preparations **) Guitar amplifier is only slightly higher in amplitude than the sound of the acoustic guitar. The use of the amplifier is less about volume and more about suggesting a different kind of presence.

33103

Ó n ¿Ó π

arco

+

con sord. (straight mute)

mw ∏

44 ‰.

n¿   ÓÓ

π 44 n ¿ Œ

¿O .

Ó ∏

Œ

 

 

23

arco with threaded metal rod

n¿

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

π

kkkkkkkkkkkkkkkkkkkkkkkkkk

44

1 4

4 4

1 4

4 ÓÓ ‰ . 4 nœ mœ F

(off)

41 n ¿

44

1 4 O nœ

4 OÓ . a 4 œ .b f

Ó Ó

23 3 2

Œ

23 23

kkkkkkkkkkkk kkkkkkkkkkkk

Ó

kkkkkkkkkkkkkkkkkkk

44

(on full)

23

kkkkkkkkkkkkkkkkkkkkkkkkkkk

threaded rod

23

Trumpet player quietly moves to his/her respective seat.

Œ

Œ

23

Arco with treaded metal rod. Notated pitches specify those pitches produced by the right hand. Mute strings II and III with the left hand in first position.

**) Bow at 3th partial on strings III. **) Left hand fingered harmonic should be clearly audible.

Fingered pitch should produce a lightly distorted sound.

III

41

Ó .

3 16

41 :::Oa . ::: ‰ Ob ÓÓ 14   .

-

3 b n œœÓÓ 16 m b n œœœ > > 3 n m b œœœ 16 ÓÓ f

threaded rod

f

Ó .

Right hand bowing position. Bow at 4th partial on string III.

41

a

Volume pedal (off)

Left hand fingered harmonics should be clearly audible.

Litolff / Peters

Ó Ó f

3 16

‰.

3. Ped.

Vc.

41

bow

(Ped.)

Pno.

3 16

q = 52

‰.

Œ

threaded rod

&‰.

≥ n¿ n ¿   ÓÓ π

II III

kkkkkkkk kkkkkk kkkkkkkk kkkkkk

23

arco at 4th partial (Pitches are transposed to standard tuning of the cello)


3

13 Tpt. (C)

Tbn.

Perc. 1

& 23 ? 23 & 23

q = 64

85

∑ (+ )

π

w. ( πp ) (remove preparations)

85 bow

85

45

con sord. (straight mute)

∑ + n˙

con sord. (straight mute)

45

π

(arco)

45

.

nœ π

Ped.

Perc. 2

π ≈ m ¿Ó . 3 &2    

.   ‰ Œ ÓÓ

Œ

Œ

85 n œ n œ .. ab P

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkk

(Ped.)

Gtr.

Pno.

? 23

mw

Ped.

Vc.

≥j 32 (   ) & ( π)

Litolff / Peters

45

(remove preparations)

Œ

 

R

7 16 ‚.. π

÷

5 16

3 ÓÓ Ó 16 æ >‚ ‚ Sp

5 16

gliss. heavy gauge brush along pipes underneath vibraphone

Ó ≈ Ó 3          .       16 “f ”(from lowest to highest)

7 ‰. 16

÷

bow arco

nœ ∏

h 3 h 85   (n ¿) m m m ¿¿¿     ¿¿¿     ¿¿¿ P ∏

3

 -

R

h    45 m m ¿¿ m ¿

Fishing line Slowly arco indicated string with a heavily rosined fishing line wrapped around the base of the string before the hammer. (The fundamental tone of the string should be audible.) Note: the two ends of the fishing line can be taped to the lid of the piano so that they are easily accessible.

π

π

3 16

 

48

∑ Ó ‚Ó Œ

?

F

48

Vibraphone

Ó 5 .. n œ n œ & 16 F

medium mallets

48

gliss. heavy gauge brush

R

kkkkkkkkkkkkkkkkk kkkkkkkkkkkkkkkkkkkk kkkkkkk kkkkkkkkkkkkkkkkkk kkkkkkkkkkkk kkkkkkkkkkkkkkkkkkk kkkkkkkkkkkkkkkkkkk kkk

p

3 &2

≤  

 

ÓÓ ‰ . b f

7 ÓÓ Œ . 16 œ F

along pipes underneath vibraphone ≈  Ó     Ó   5      . 3 ÷ 16     16 b f “f ” (from highest to lowest)

7 16 ..

x a : audible attack of left hand fingers against fingerboard R: audible release of left hand fingers from fingerboard

threaded rod

 

Œ.

+ Bœ w f >œ (senza sord.) ÓÓ ‰ . ∑ f

&

48

with medium mallets

Arco with threaded metal rod Notated pitches specify the pitches produced by the right hand. Pitches are transposed to standard tuning of guitar.

√  - ≥ n¿ 3 n :::¿ &2

q = 74

accel.

85

85

˙

kkkkkkkkkkk   kkk   kkkkkk   kkkkk  n ¿Ó ‰ .   kkkkkkkkkkkk kkkkkkkkkkkkk ( n ¿ ) Ó( )

Ó

Œ

?

bow

85

Ø

Œ

œ (O )

nO nO IV j π

‰ bO n ::O ◊Ó

3. Ped.

gradually to 3

(œ)

Ó O ‚ ‚ ‚ œ 3

(1/2 harmonic pressure)

R

R

h 3 h    ¿¿¿     ¿¿¿

ÓÓ ‰ . nœ

mœ 45 n œ ‰ . n >œ f

45

45

(ord. pressure)

III

bœ œ

IV

R

R

h3 h 3    ¿¿¿     ¿¿¿

R

R

h h3    ¿¿¿     ¿¿¿

R

h    ¿¿¿

ordinary rasqueado

R

3

h 7   16  

n n OO   f

7 16

f F > 7 Ó n n œO 16 b œ . n n OO ‰. Ped.

w w

f 33103

Ó 7 œ 16 œ .. π

Ó m O ::: . a 3 16 :: m >:O . b f

5 16

3 Ó 16 n œ. f ÓÓ 3 ‰ œ 16

5 n œ. 16 F 5 16

 -

48

≈ ∑

. nœ f

48 48

3. Ped.

III

n n œœ

F

IV

3 œÓ . 16 (n œ .) (P)

5 16

ÓÓ œ œ (n œ )

48


4

19 Tpt. (C)

Tbn.

Perc. 1

4 &8 ? 48 4 &8

n œ .a

bow arco

n œ .a

f

Vibraphone medium mallets

Perc. 2

nœ f

bow arco

l

78

78

œ

(Ped.)

94

7 8

Ped.

& 48

78

9 4

m

Ó Ó f

.

& 48 Gtr.

÷ 48

Pno.

a n nn OOO bb f

πp ) 94   n¿   (

& 48 n n nœœœ . n œ .. Ó f ? 48 n œ . Ó ( f)

78

a 78 n :::O ::O b mn O b f

Œ

≈ Œ

78

b‰ .

Œ

Œ

Œ. ∑

78

 

 

 

 

kkkkkkkkkkkkkkkkkkkkkkkkkkk

π arco with threaded metal rod

Ó.

?4 8

Litolff / Peters

64

+

con sord. (straight mute)

μ˙ π

œ

Ó

P

π nœ

 

 

 

24

24

(arco)

nœ π

˙.

œ

2 4

Ped.

Bow crotale on the centre of the timpani head (Timpani D-A, tuned to A)

94 nœ Timpani pedal π

 

bow

 

 

 

¤ than notated)

 

 

 

64 ( π)

Arco strings - with the bass bow across sound hole of the guitar. Mute strings - with left hand.

94 n œ n n œœ   n œ   ∏p -

   

   

   

94

   

    ∑

94

   

    π

a a b b

ƒ

Fishing line

64

24

64 . 64

94

64

Volume pedal

(3. Ped.)

Vc.

Œ

24

Crotale

 -

Œ

6 4

(sounding

-

64

Ó

Slowly arco indicated string with heavily rosined fishing line (the tone of the string should be audible and "clean", i.e. not "raspy". To achieve this, a strand of bow hair can also be used.)

π

24

24 24

nw.

Ped.

II II II Ó Ó ÓÓ O O O O O O O O O O O O O 9 (n) OO n O n O O O O 7 (n)OO œ ‰ b O O . . 8 4 Ó bœ III Ó ( πp ) π ∏ ( )

(

j)

ord. sul pont. ≤ ≥ (II) nœ nO 2 (O) n œ œ b œ 64 n Owm. O O O O O O O O O O O O O O O O O O O O O O 4 nœ n œ0 0 0 0 (III) π p > 6 III ƒ gradually to

nO

O

33103

O


5

23 Tpt. (C)

& 24

Tbn.

?2 4

Perc. 1

2 &4

q = 80

> hœ œ 5 16 ÓÓ Sπ

5 16

˙ (P) n

n

 

 

5 16

5 16

ÓÓ Œ œ ∏ n

n

(Ped.)

Perc. 2

2 &4

P

n :O a 2 : & 4 m n :::OO ba

-

Gtr.

÷ 24

P

5 16

ÓÓ  

5 16

5 16

˙ ∏

≈ Ó nœ . π

24  

 

f

24

ÓÓ Œ œ

? 24

O œ nO.

(III)

Litolff / Peters

Œ

24 n n n n OOOO 24 Πm ::O B n :O A

Ó

Ó

94ˆ16 3

‰.

Œ

Ó

Ó

9ˆ 3 4 16

64 f

Ó Ó

64   ÓÓ ∏

Œ ( πp )

Œ

n

n ::O . a : n ::O . a n w .b f

‰.

O

P

5 n n OO OO 16 ÓÓ III II

π

24 (n) ˙ n˙ 0

f

(III)

‰. Ø

94ˆ16 3

Ó.

Œ

Œ

94ˆ16 3

Œ

-

64

.

bœ nœ nœ nœ 64 nœ nœ bœ ∏ 64 Œ . .

64 œ œ

94ˆ16 3

(let strings - continue to die out on their own accord)

&≈

A 3. Ped. B 3. Ped.

(Ped.)

Vc.

Œ

64

24 ÓÓ ‰ .

Pno.

? 24

fÓ Ó ‰. 24 a   b‰ . ÓÓ f n

‰.

6 œÓÓ 4 ƒ

2 n˙ 4 ∏ n

ÓÓ       ÓÓ Timpani pedal ∏

Volume pedal

64 œ@Ó Ó ƒ

(senza sord.)

Ó Ó       ÓÓ

5 16 ∑

2 &4

24 æ˙

(senza sord.)

j) œ.

(II

mœ mœ

nœ nœ nœ

nœ bœ

√ nœ mœ

94ˆ16 3

nœ mœ

nœ mœ

94ˆ16 3

f

√ mœ nœ mœ nœ nœ bœ nœ nœ nœ nœ nœ nœ mœ

5

Ó

18:17œÓ

π

π

Ped.

94ˆ16 3

f

&

P 33103

94ˆ 3 16


6

27

q = 74

Tpt. (C)

3 & 94ˆ16

Tbn.

? 94ˆ16 3

μ‚ π

n‚ n‚ B‚ B‚

‚ n‚ ‚ n‚ b‚ B‚ B‚ ‚ n‚ n‚ B‚ B‚ ‚ n‚ n‚ b‚ B‚ ‚ n‚ ‚ n‚ b‚ B‚ B‚ ‚ n‚ ‚ n‚ b‚ B‚ n‚ n‚ B‚ ∑

Crotale

Perc. 1

Perc. 2

3 & 94ˆ16 9 3 & 4ˆ16

 

 

 

 

 

 

 

 

Ó .  . Ó

 

 

 

 

 

 

 

 

Ó .  . Ó

Bow crotale on the edge of the timpani head of Timapni D-A. Timpani is tuned to A.

π

Timpani pedal

n œ Timpani pedal

 

fpp

74

ÓÓ ‰ .

μ‚ ƒ

B˙ ∏

l

74 nw > Sπ

74  

a

bœ p

∑.

Gtr.

h n ¿¿   b 3 n ¿   & 94ˆ16 ∏3 3 ÷ 94ˆ16

Pno.

R

R

h h ¿¿   ¿¿    ¿   ¿   3

R

h ¿¿   ¿   3

R

h ¿¿   ¿  

R

3

h ¿¿   ¿  

R

(II

3 & 94ˆ16

nO

π

R

h ¿¿   ¿  

3

R

h h ¿¿   ¿¿    ¿   ¿  

3

(on 1/2 way)

√> n Wa nn b WW Wb 3 9ˆ16 &4 Ï 9 3 & 4ˆ16 (Ped.) (3. Ped.) (3. Ped.)

Vc.

R

R

h ¿¿   ¿   3

R

h ¿¿   ¿  

R

3

3

j)

3

mO

nœ 0

O

O 3

3

O

œ

O

O

O

3

œ

O

O

3

O

œ

O

O 3

3

O

œ

O

O

O

3

œ

O

33103

R

h ¿¿   ¿   Ó

Ó .

Œ

√> n :œ . n b n n œ::œ .. Ó Ï

*) strum across strings with plectrum behind the nut where the tuning pegs are located

Litolff / Peters

R

h h ¿¿   ¿¿    ¿   ¿  

7 4  

 

 

ƒ

O

Ó ?nœ œ . O nœ . (II)

3

III

-

n ::O : ≈ 74 n :::O ab b

R

R

h h b n n ¿¿¿    ¿¿¿     ¿¿¿  -

f

bΠ.

.  .

 

R

R

h ¿ h  ¿    ¿¿    ¿¿

R

R

h ¿ h     ¿¿   

π

‰ “f ”  R ¿¿ h   ¿¿ ¿   ¿

(let strings - continue to sound throughout the measure)

74

7 4

ƒ

*)

 -

˙

R

R

h ¿ h  ¿    ¿¿    ¿¿

p

‰

R

R

R

h ¿ h  ¿ h     ¿¿    ¿¿     

INSIDE THE PIANO gliss. across notated strings inside the piano between the bridge and the tuning pins. Use a thick plectrum.

7 Π4

IV III II I 6

74 œ ‰ n O n O œ nO f π

nO

O

O O O 6

O O O

O O O 6

O O O

O O O 6

O O O

O O O 6

b ¿                                 p

O O O

O O O 6

O O O

O

nO

IV III II

bO 6

p

bO


7

29 Tpt. (C)

Tbn.

&

˙.

? nw.. ∏

Perc. 1

Œ bœ

&

π

 

Ó Ó a   ÓÓ b ‰ . F

 

Ped.

Perc. 2

Œ

&

Œ

 

 

 

 

85

85

Œ

(Bow crotale on edge of timpani head.)

85

æ œ Bœ. P

˙.

Vibraphone motor on slow arco

q = 78

a

Œ

÷

85

ÓÓ œ ‰. f

œ ( πp )

Π3

œ

43

Ó n >œ Sp

Ó Ó n >œ œ Í

œ.. Ó œÓ ‰ . ∏

43

Ó bœ bœ f

medium mallets

Ó

motor off

Snare Drum with loosened snares

Œ

Œ

43

Ó *) ¿ f

f

Ó

85

Œ

85

n ˙˙ .. aa n ˙˙ .. ba F

85 motor on fast

Vibraphone

l

(≈

medium mallets

3 & 4 n b ˙˙ .. a b P

Œ)

85

Ped.

(let strings - continue to sound throughout the measure)

  

-

Gtr.

n ::O & m n ::OO a n œ bb F ÷

R

R

h h n n n ¿¿¿    ¿¿¿     ¿¿¿ π 5

h    m n m ¿¿¿

R

5

R

h ¿ h  ¿    ¿¿    ¿¿

R

R

h n ¿    n b ¿¿ 5

R

h ¿ h  ¿    ¿¿    ¿¿

R

h    m n m ¿¿¿ 5

R

R

h ¿ h  ¿    ¿¿    ¿¿ 5

R

R

h ¿ h     ¿¿    ÓÓ

85 n O m m OO f 5 8

‰.

Œ

85

                n ¿                                ÓÓ ‰ . † π

Ó.

?

(Ped.)

Vc.

?

nO I

II

nO

III

bO 5

IV

bO

O

O

O

O 5

O

O

O

O

O 5

O

O

O

5

O

O

O

O

O 5

O

O

O

5

O

O

O

O

*) Tap snare with fingers; hold fingers against snare head until snares have stopped resonating.

Litolff / Peters

85 m :ŒO n ::O

Œ

33103

> (n) œ

(n) œ(n) œ

F

5

III

nœ 0

5 8 n œœ

π

IV

. 34 n ::::O a n n :OO .. bb F

3

3 4

Ó nœ > f

Ó

43

Ó Ó mœ œ > f

43 III II

(IV)

III

Í

3

(IV)

W

85

Ó

(off)

n ::œ : n n œœœ œ . ÓÓ (P) b b œœœ ‰ . ÓÓ P

R

h h m ¿ ¿ m   ¿ ¿ ≈ n ¿   ¿     ¿¿¿ π

Ó

R

5 8

Ó œÓ œ > p

85 85

Ó

Ped.

Ó B œ n O n O 43 n œœ œ O 3

  

-

n n OO nœ f

3. Ped.

O

O

  Ó

  

& Pno.

R

III

nO

P

IV IV III

nO nO

nO

7:6

II

mO

nO I

O

7:6

II

O nO 5 O O O O 8 O


8

32 Tpt. (C)

Tbn.

Perc. 1

& 85

?5 Π8

Œ

Ó Ó μ >œ œ Sp

3

nœ nœ Ó F

5 &8 Ó (Ped.)

44 B œ . . π 4 4

44

œ μœ œ. π

(‰.

n ww aa n ww> bb f

ÓÓ Bœ œ.

œ

œ.

œ

œ

Perc. 2

motor off

motor on fast

≈l Œ .

motor off

≈ 58 ( &

q = 42

l‰

)

‰)

(‰.

44 m m wwa b f

≈l

‰.

Ó.

Ó œÓ ƒ

‰.

Ó.

®

motor on fast

l.

ÓÓ œ ƒ

Ó b œÓ

R

h h 58    m n m ¿¿¿     &

R

¿¿ h   ¿  

R

¿¿ h   ¿  

Gtr.

÷ 85

R

¿¿ h   ¿   ≈ ÓÓ Ó  

Pno.

? 85 Œ

Œ Œ

3

Ó nœ F Ó Ó nœ œ > f

n :O a 44 ::: m n :OO b

4 4 4 4

®

Ó

sub. tremolo on medium speed

f

ÓÓl

..

> n ::œ :: œ ::: n . ::: ::: :: :œ

Vc.

III

III

Ó ? 85 n O m O n ‚ n ‚ m ‚ n ‚ n ‚ b ‚ b ‚ n ‚ n n œO OO > 6 π IV Sp (II)

6

> œ œ. f

l

> mœ P

œ

44

(nœ)

a

®.. ‰

nœ ÓÓ Ï

()

Œ

Œ

≈...

b (m œ )

Œ

Œ

9

- *)

n :O .a ::: ®    n ::O .b

Ó.

®

ƒ

. bœ œ œ œ œ

nœ nœ

Øa nœ ÓÓ P

f

‰.

œ

9

œ

œ

œ œ œ œ œ

œœ

œ

œ

œ

9

Ó.

œ œ œ œ œ œ œ œ œœ œ œ œ

œœ 9

9

Ped.

ÓÓ OO n Oœ .. 0 f p

*) attackless harmonics: lightly touch the strings at the indicated position with the left hand

Litolff / Peters

œ.

tremolo off

Ped.

(3. Ped.)

n >œ Ï

strum across all six open strings

W

5 Ó & 8 œÓ ‰ .

®.. Œ

(m œ )b

l b >œ

Œ)

-

44

( n œ )a

motor off

(Ped.)

R

9

III

ÓÓ mO O. B œ œ. > III f II

molto sul pont.

III

IV

bOJOnOnOnO

π

nO bO JO nO ƒ

33103

®

arco ord. III

nO

Ø

nO I

II

nO

6

O

O

IV

nO

O

O

O 6

O

O

O

O

O

O 6

O

O

O

O

O

O 6

O

O

O


9

35 Tpt. (C)

Tbn.

Perc. 1

&

15 16

44

?

15 16

44

15 n œ 16 π

& (Ped.)

Perc. 2

& Ó

bow arco

Œ

(Ped.)

& Gtr.

÷

(on full)

& mœ Pno.

?

(

nœ nœ

bœ œ œ œ œ

πp )

œ

œ

œ œ œ œ œ œ œ

œ

9

Vc.

œ

œ

(off)

œ

œ

(n) O

O

O

(n) O

O

O

O

9

O 6

O

O

O

O

O

9

O 6

O

O

O

O

44

44

. Ó

15 16

44

15 16

44

œ œ bœ œ œ œ œ œ œ œ œ œ 15 n œ n œ œ œ œ 16 œ œ œ œ œ œ œ œ œ œ œ 44 œ mœ œ œ œ œ œ œ 15 16

6

Litolff / Peters

œ

œ œ œ œ œ

9

(Ped.)

? (n) O (n) O

œ

œ

15 16

nœ π

π) Ó b œ . . Ó

(

bow arco

O

O

O

6

33103

O

π

15 (n) O (n) O 16

π

7:4

(n) O O 6

O

(n) O

O

O

O 5

O

O

O

O

O

O

O

ÓÓ

7:6œÓ

O

44

O

π

44


10

37 Tpt. (C)

4 &4

15 16

Tbn.

? 44

15 16

Perc. 1

4 &4  

 

 

 

 

 

 

 

 

 

 

15 16

 

 

 

 

15 16

(Ped.)

π) 4 & 4 b œ (

Perc. 2

(Ped.)

b

ebow + slide *)

Gtr.

& 44

j

nw

π glissando with glass slide and ebow.

nœ & 44 m œ n œ Pno.

(m w )

P ? 44 m œ a ÓÓ P

bœ œ œ œ œ 9

‰.

œ

(

œ

œ œ œ œ œ œ œ

œ

9

Œ

œ

œ

œ œ œ œ œ 9

œ

œ

œ

œ

œ œ œ œ œ

œ 9

Ó

π)

m (

15 16

nœ œnœ

π)

bœ œ œ œ œ 9

œ

œ

œ œ œ œ œ œ œ

œ

9

œ

œ

œ œ œ œ œ 9

œ

œ

œ

œ

œ 15 œ œ œ œ 16 œ 9

15 16

(Ped.)

Vc.

O O O (n) O O O O O O O O ? 44(n) O (n) O O O O O O O O O O O (n) O 6

6

6

6

nO O O O n O( ) O O O O O O O ( ) n O O O O O O O O () nO O O O

*) Note: With ebow, only the fundamental pitch must sound. Avoid harmonics of the fundamental from sounding. Use volume pedal slightly to balance sound with the ensemble.

Litolff / Peters

33103

6

6

6

6

(

πp )

15 16


11

39 Tpt. (C)

15 & 16

44

Tbn.

? 15 16

4 4

Perc. 1

15 & 16  

 

 

Ó  Ó . Ó

 

 

Ó .  . Ó

(Ped.)

Perc. 2

15 & 16  

(Ped.)

Gtr.

15 & 16

bœ nœnœ œ œ

œ

œ

œ œ œ œ œ

œ

œ

œ

œ œ œ œ œ

 

 

 

44  

 

 

 

7:4

œ

œ

ÓÓ

7:6œÓ

6

O 5

O

O

O

O

O

O

O

O

10

∏ 4 m œÓÓ 4 b P

(Ped.)

O

(n w )

œ œ bœ œmœ œ œ n œ œ œ 44 n œ œ œ œ mœ œ

(n) O O 15 (n) O(n) O ? 16 O O nO

Litolff / Peters

4   4

44

Pno.

Vc.

(n ˙ . . .)

15 & 16 mœ 15 ? 16

Ó b œÓ

O

‰.

44(n) O (n) O

O 7

III

O nO nO IV

Ø

nO

II

œ

œ

œ

œ œ œ œ œ œ œ

œ

œ

10

œ

œ œ œ œ œ œ œ

10

Ó.

nO

33103

œ œ œ œ œ œ œ

nO I

O

O 7

œ

œ

10

O

O

O

O

O

O 7

O

O

O

O

O

O

O

O 7

O

O

O


12

41 Tpt. (C)

Tbn.

Perc. 1

Perc. 2

&

15 16

43

?

15 16

43

&

 

 

 

 

15 16  

 

ÓÓ 15 16  

(Ped.)

 

&

 

 

‰.

 

 

Œ

Ó Ó   ÓÓ

Gtr.

&

10

Pno.

œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ 10

?

10

nO (

Litolff / Peters

πp )

15 16

(Ped.)

Vc.

œ

nO

nO

O 7

nO

O

O

O

O

O

O 7

O

O

O

O

O

O

O 7

O

O

O

O

ÓÓ

œ mœ œ œ œ œ œ œ œ œ 15 n œ n œ b œ œ œ 16 œ mœ œ

10

?

43

(n ˙ . ) 15 16

bœ œ mœ œ n œ œ œœ & mœ nœ

O

O

O 15 O O 16 O

7

33103

9

p

nO π

œ œ œ œ œ œœ œœ

3 4

nœ. ∏

(Ped.)

(b w )

‰ ‰

43

(m œ )

‰ ∏p

œ œ œ œ œ œ œ œ 3 œ œ œ 4 œ œ

ÓÓ

7:6œÓ

9

43

nO

nO

nO

7

O

O

O

O

O

O

O 6

O

O

O

O 5

O

O

O

O

O

O

43


43 Tpt. (C)

3 &4

7 16

43

Tbn.

? 43

7 16

3 4

Perc. 1

& 43

nœ ∏

7 16

(Ped.)

Perc. 2

& 43

.

7 16

. P

(Ped.)

ebow *)

Gtr.

34  & n˙. 0 ∏

÷ 43

3 bœbœ &4 mœmœ œ œ π

..

Ó

œnœ œ

Ó

7:6œÓ

œœ

œ bœ

Vc.

≥ O. n O. IV ( πp )

. F

b œ ..

.. F

3 4 bœ bœ p3 34 m œ a ‰ . ÓÓ p ≥ 34 O O F

nœ nœ œ

3

œœ

3

3

œbœ œ

œ

œ œ œ 3

Ó

π

m œ p

 

 

 

p

b

œ

œ œ

3

4 4

∏ 44 n œ a ÓÓ P Ped.

III

n n OO p

IV

*) Note: Only the fundamental pitch must sound. Avoid harmonics of the fundamental sounding. Use the volume pedal to balance sound with the ensemble.

Litolff / Peters

44

Ped.

≤ 7 16 OO .. ..

4 4

4 4

.

mœnœ

44 w

. 43

7 nœnœbœ œ œ œ 16 n œ œ

44

4 4

43 ˙ .

8:7

7 16

. π

π

Volume pedal

Ped.

? 43

3 4

7 16 ..

∑ Ó

? 43 n œÓ a ‰ . Ó P

.. P

7 16 œ..

7:6œÓ

Pno.

3 4

13

q = 46

33103

44 O O

nœnœ

bœ mœ œ œ œ œœœ œ œœ œ œ œ 9

‰.

9

Ó.

œ

œ

œœ

œ œœœ œ œœœ œ œœ œ œ œ 9 9


14

47 Tpt. (C)

Tbn.

Perc. 1

&

43

45

?

43

45

p

&

 

∏≈

Ó   .

 

Œ

43

(Ped.)

Perc. 2

P

&

b

P

∏ ÓÓ

‰.

43

(Ped.)

Gtr.

Pno.

‰.. ÓÓÓ ∏

Ó

45

π ? m œa ÓÓ P

bœ mœ œ œ nœ nœ œ

œ

œ œ œ œ œ œ œ 9

9

‰.

œ

45

43

÷

43 ˙ .

& w

&

( p)

45

œ

œ

œ œ œ œ œ œ œ

œ

œ œ œ œ œ œ œ

œ

43

9 9

43

Ó.

bœ mœ œ œ nœ nœ œ

45

œ

œ œ œ œ œ œ œ

œ

œ

œ

œ œ œ œ

45 45

(Ped.)

43 OO

? nO n O

III

Vc.

π

P

IV

Litolff / Peters

33103

(O )

O.

III

harmonic left hand finger pressure gradually toward normal left hand finger pressure

O

45


15

49 (e.+e.+e.+e.+q+q) & 45

42

Tbn.

?5 4

42

Perc. 1

& 45

Tpt. (C)

.

.

42

(Ped.)

Perc. 2

5 &4

. P

nœ. Ped.

Gtr.

5 & 4 œ. ( πp )

÷ 45 .

5 nœ &4 Pno.

πp ) ? 45 Ó . (

ÓÓ 7:6œÓ

.

œ. F

œ.

˙ π

.

.

ÓÓ

nœ œ

7:6œÓ

œ

π

œ

œ

œ

ÓÓ

œ œ œ œ œ œ œ

œ ÓÓ

8:6œÓ

Ped.

œ

œ

œ œ œ œ œ œ œ

42

(arco)

nœ ∏

98 98

Ped.

9 8

98

W

42

98

7:8œÓ

œ

bœ mœ n œ nœ nœ mœ n œ nœ mœ

œ mœ mœ ‰ (

P)

(œ)

mœ 9

?

nœ nœ nœ 5

6

bœ nœ nœ nœ mœ

normal left hand finger pressure

42 n n :OO

(III)

*) No attack, silently depress indicated keys. Depress all white keys between and including C, G.

33103

98

*)

42 ® ∑.. œ œ nœ. œ œ m m nœ nœ m >œ n >œ . >œ >œ > F (F) ≥ (with slight vibrato) 42 B ˙ . n˙. IV F III

? 45 w ( πp )

Litolff / Peters

Ó.

&

ÓÓ

9:6œÓ

(Ped.)

Vc.

4 2

(arco)

ÓÓ F

‰.

98

98

≤ œ œ

≥ μ˙. ˙. Í

≤ œ œ

ƒ

98


16

q = 74

con sord. (wispa mute)

+ 9 & 8 n œ@ n œ@ B œ μ œ n œ μ œ B œ m œ μ œ μ œ B œ n œ μ œ n œ n œ m œ B œ μ œ π ∏

51 Tpt. (C)

Tbn.

9 &8

Perc. 1

9 &8

+ ≈ n œÓÓ ∏

Bœ μœ μœ bœ Bœ Bœ mœ μœ nœ Bœ bœ Bœ μœ nœ mœ nœ Bœ μœ

n œ B œ μ œ n œ B œ μ œ n œ n œ m œ B œ b œ n œ B œ n œ μ œ n œ μ œ 78 n œ@

Ó n( œ )

Ó n( œ@) p

æ

æ

æ

æ

78

Ó Ó ≈ ∑ ∏

Ó nœ π

7 8

con sord. (wispa mute)

Ó P

(Ped.)

Perc. 2

& 98

Ó

(Ped.)

Ó

p

(arco)

Ped.

Ó p

78

Note: Create slight crescendo by placing the ebow closer to the string. *) ebow + slide (with glass slide and ebow)

Gtr.

Pno.

Vc.

& 98

Ó œ ( π)

w

w

j

nw

(as little noise as possible when placing the glass slide on string)

?9 8

?9 8

≥Ó ?9 œ 8 œ ƒp

w w

(III)

œ Ó

Bw w

w

*) Use volume pedal slightly to balance sound with the ensemble. Only the fundamental pitch must sound. Avoid harmonics of the fundamental sounding.

Litolff / Peters

33103

Ó

78

&

78 7 8

Ó œ œ Ó π

78


17 Ó

7 nœ Bœ kœ nœ 15 &8 nœ μœ μ œ n œ μ œ B œ n œ m œ n œ μ œ B œ B œ 16 n œ μ œ nœ nœ Bœ Bœ μœ μœ Bœ nœ bœ nœ nœ Bœ Bœ π p ∏

54 Tpt. (C)

7 & 8 b œÓ ≈ Ó . Ó π

15 16

(senza sord.)

Tbn.

Perc. 1

7 &8

n œ. . π

 

 

15 16  

 

(Ped.)

Perc. 2

& 78

15 16 nœ π

j) (b ˙ . .) & 78 π (

Pno.

& 78

Œ

?7 8

Œ.

Ó

78   . .

 

 

98

98

Ó .

78 .

. Ó

78 (m ˙ . .)

Ó œ. œ.

Ó 78 œÓ ≈ œ

98

Ped.

(Ped.)

Gtr.

Ó   . . Ó

78

con sord. (straight mute) >+ . nœ œ

98

gradually increase speed

motor on slow (arco)

ÓÓ ≈ Ó . ∏

78 ! ! μ œ! n œ! B œ! μ œ! n œ! μœ mœ μœ Bœ n >œ n œ nœ nœ μœ Bœ Bœ μœ SP π ?

 

Ó

8:7œ

Ó

7:6œÓ

8:7œ

15 (n ˙ . ) 16 ( π) n œa ≈ b n œœ b Œ b ÓÓ 8:7 p Ped.

Œ. Œ

m ::O n :O

15 n ˙ . 16 b˙. P 15 16

7 8

98

98

Ó. ∑

9 8

3. Ped.

j) ? 7 (n ˙ . .) 8 (III

Vc.

Litolff / Peters

. Ó

( n ˙ .) 15 16 33103

7 (n ˙ . .) 8

9 8


18

57 Tpt. (C)

Tbn.

Perc. 1

q = 94

5 6 6 98 6 & Bœ 4 45 ÓÓ ‰ . n œ B œ n œ μ œ B œ μ œ μ œ b œ (μ) œ (b) 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 (b) œ bœ nœ μœ Bœ nœ nœ μœ nœ nœ P

? 98

Ó 8:9œ

(senza sord.)

(n w ) (

Ó

π)

∏≈ Œ Ó 9 & 8 Ó     Ó ( π)

Œ

Œ

Œ

64 ( 6 4

n w .)

54 (n w ) gradually increase speed

motor on slow

5 4

(Ped.)

Perc. 2

& 98

64

(Ped.)

9 & 8 (n w ) Gtr.

Pno.

Vc.

gradually increase speed

motor on medium

. p

Ó

π

64 B w .

64

9 &8

64

? 98

64 ‰ . ÓÓ

? 98 (n w )

Litolff / Peters

Ó

45

Œ

45

( π)

π)

(

45

÷ 98

(3. Ped.)

Volume pedal

w

œ

tremolo on slow

45

bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ π B 54 m ::O m :O Ped.

(u.c.) depress silently

III

nO . 64 n w . II 0 ( π)

45 33103

O w

P

O œ


19

60 Tpt. (C)

Tbn.

Perc. 1

&

? (b w )

(n w )

(b w )

motor on fast

&

p

( ) (Ped.)

Perc. 2

motor on fast

& (Ped.)

&

w

÷

œ

Gtr.

&

bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Pno.

?

(create diminuendo by slowly pulling the ebow away the string)

w ( π)

œ

˙. ∏

πpp )

Ped.

(Ped.)

(tremolo off)

Ó

3

bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ (

3

bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ó

(u.c.)

Vc.

?

Litolff / Peters

O w

O œ

O œ

O w 33103

III

nO nO

IV

π

III

nO nO IV p


20

q = 88

+

63 Tpt. (C)

Tbn.

&

con sord. (plunger mute)

μœ ∏

w

œ π

? (n w )

w

œ

(m w )

w

œ

(n w )

w

(n w )

motor off

Perc. 1

&

Ó F

b

l

‰ ∑

(Ped.)

Timpani

motor off

Perc. 2

Ó F

&

b

l

‰ ∑

bow

÷

(Ped.)

slide

glissando with slide (glissando should sound upward as the left hand glisses downward)

n ::¿ :: n ::¿

&

π

(with bass bow and metal wire hanger) Bow a metal wire hanger on centre of timpani head (D-A). Bow in the middle of one side of the hanger. (white noise, gradual transition to slight overpressure producing a low tone)

(- ) ¿ ∏

n ::¿ :: n ::¿

m ::¿ :: m ::¿

Use right hand thumb to strum across all six strings behind slide (i.e. between nut and slide strum across strings slowly and gently)

Gtr.

÷

?

(tremolo on fast)

(tremolo off)

Ó ‰ ∑ bœ

& Pno.

n ::¿ :: n ::¿

(Ped.) (Ped.)

n ::¿ :: n ::¿

?

Litolff / Peters

m ::¿ :: m ::¿

∏p

nO m ::O

3. Ped.

(u.c.)

Vc.

O O

O O

O O π

O O

O O P 33103

O O

O O π

O O


21

q = 92 67 Tpt. (C)

&

q = 96 accel.

(plunger mute)

(+ )

(gradual transition to open)

(closed)

Ó Bœ ( π)

w

44ˆ16 3

Ó œ.

w P

45

(o)

(open)

μœ π

w

con sord. (plunger mute) (open)

Tbn.

Perc. 1

?

bœ ‰. ÓÓ

(senza sord.)

4ˆ 3 4 16

(arco) motor on slow

&

bœ Ø

Perc. 2

Gtr.

÷

ÓÓ ‰. F

45

45

m ::¿ :: m ::¿

44ˆ16 3

> 54 n n n œœœ ‰ . n n œœ

44ˆ16 3

F b

44ˆ16 3

Ó .

n ::¿ a :: ‰ . n ::¿ b ÓÓ

& ÷

n œ ? b n b œœœ ‰ . ÓÓ F

44ˆ16 3

44ˆ16 3

Use right hand thumb to strum across all six strings in front of slide (over sound hole) (Note: strum across strings slowly and gently)

Vc.

?

Litolff / Peters

O O p

œ

w

4 4

motor off

to fast

l

glissando with glass slide

 -

P

Tremolo on slow

b b œœ 45 n m œœ ‰ . ÓÓ f

(3. Ped.)

(+)

(closed)

(gradually to closed)

w

44

44

b

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

> n œ n & n n œœœ ‰ . Pno.

(motor on slow)

45

Ó . π

(produce a low tone) kkk

π

ÓÓ ‰ . F

Ped.

( ) ( π)

w

45

44ˆ16 3

5 4

o b (œ)

œ p

44

b ::¿ :: b ::¿

44

44

Tremolo off

44

44

Ped.

O O

3 O 44ˆ16 O π

Ó O. O. 33103

45

O O P

O O

Oæ! O π

Oæ! O

44


22

(accel.) Tpt. (C)

Tbn.

Perc. 1

71 (o)

& 44

(+) ? 44

(+ )

(o )

(open)

(closed)

Bw F

w π

(o ) w

π

(+ ) w

98

P

& 44

π

(arco) motor on fast

nœ π

45

(>o)

B wæ π

(open)

(closed)

(open)

(senza sord.)

98

æœÓ Sπ

9 8

Ó

Ó æ ¿

! ¿æ

ƒ

45 5 4

Ped. Snare Drum

Perc. 2

Gtr.

÷ 44

Vc.

!æ ¿

n ::¿ : 4 & 4 n :::¿ (P) ÷ 44

Pno.

(with sticks) (tighten snares against bottom head)

 

98

(snare roll)

n ::¿ :: n ::¿

p

b ::¿ :: b ::¿

F

 

b ::¿ : 98 b :::¿ Ó 98

Ó

 

45

 

Ó

Ó

n ::¿ :: n ::¿ 45 Ó P Ó

45

& 44

98

45

?4 4

98

45

?4 4

Litolff / Peters

(3. Ped.)

Oæ! O F

O O π

9 8 33103

Ó O O f

O O

5 4


23

74 Tpt. (C)

q = 100

& 45

b œ B œ B œ n@œ μ œ μ@œ n œ h œ μ œ m œ B œ b œ n œ n œ B œ nœ @ @ @ @ m@œ n œ @ @ @ @ @ @ @ @ μ œ@ n œ@ B œ μ œ@ n@œ μ@œ @ @ @ @ @ œ 5 5 l 5 5 ƒ (natural 7th) 5

μœ ? 5 ≈ B@œ μ œ n œ n œ B œ μ@œ b@œ b@œ @ 4 @ @ @ @ ( ƒ) (senza sord.)

Tbn.

Perc. 1

5 & 4 ÓÓ f

@ @ @ n œ μ œ@ n œ@ B œ μ œ n œ @ @

&nœ

m œ@ b œ@

5 bœ Bœ nœ 5 nœ mœ Bœ nœ Bœ μœ mœ μœ nœ μœ μœ 98 nœ μœ Bœ μœ bœ μ œ nœ μœ nœ 5 5 5 P

Ó μœ . π

soft mallets

motor off

‰.

(motor on fast)

b

to slow

≈ n n mn œœœœ

l

Œ.

∏pp

(Ped.)

Perc. 2

b ¿a

Gtr.

Pno.

soft mallets

&

::: 5 :: & 4 b :¿ b Ó

Ó.

‰.

÷ 45 Ó

Ó.

‰.

n ::O :: :: ::: m ≈ O

:::O . :: ::: :O .

::O aa n n OO .. :: :: :: bb n n n OOO .. :O .

5 &4

? 45

B > b >:œ n ::œ :: ::: :: :: ::: :: :: :: :: : : n ::œ b :œ

( ÓÓ)

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

ƒ

Ped.

*)

ƒ Ó Ó

n ::O a :: n ::O b

OO

OO

OOO mœ F

(sul pont.)

nO. ? 45 O n O . O !æ III π II

98

98

98 98

W

sul pont.

I

9 8

OOO w

9 8 (œ)

(‚)

sul tasto

b œ b œ n œ μ œ b œ II III IV μœ nœ nœ Bœ II μ œ m III œ mœ nœ nœ nœ Bœ μœ nœ b‚ n‚ 5 6 ƒ

O !æO

*) see measure 34

Litolff / Peters

nœ m b œœ n œ ∏pp

œœ œœ

 -

Ped.

Vc.

œœ œœ

Ped.

Vibraphone

ÓÓ @ 5 ÷ 4 ¿ ‰. f

œœ œœ

98

33103

1/2 col legno tratto

III 3

n‚

j

n‚ ∏

98


24

76 Tpt. (C)

Tbn.

Perc. 1

9 &8

ÓÓ ≈ ∑ nœ p

43

9 Ó & 8 b œÓ ≈ ∑ p

43

œœ m œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ m œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

9 &8

œœ m œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ m œœ œœ œœ œœ œœ œœ œœ œœ œœ 3 œœ m œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 4 œœ œœ œœ

œœ œœ œœ œœ œœ œœ

(Ped.)

Perc. 2

9 œ & 8 b m œœœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

43

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

(Ped.)

9 &8 Gtr.

Pno.

÷ 98

(chord still sustaining from previous measure)

bœ 98 n n n œœœ & n b œœ b œ ∏pp ? 98

œœ œœœ œœ

œœ œœœ œœ

Ped.

Ó

8:9

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

43

43

8:9

8:9

œœ œœœ œœ

Ó

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

‰ Œ

œœ œœœ œœ

8:9

œœ œœœ œœ ∑

Œ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ bœ œœœ 43 œœœœ œœ b b œœ

œœ œœœ œœ

43

œœ œœœ œœ

7:6

œœ œœœ œœ ∑

shaded (half) harmonic finger pressure gradually changing to harmonic finger pressure

(III

Vc.

?9 8

Litolff / Peters

(‚)

j)

n‚ n‚ n‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ( πpp ) 3

3

3

3

3

(O )

(‚)

‚ ‚ OO OOOOOOO‚ 3

∏pp

3

3

3

Ø

(O)

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ O O O 3

3

33103

3

3

3

O

( ‚)

O O O O O O O O O O O ‚ 43 ∏pp 3

3

3

3

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 3

3

3


25

81 Tpt. (C)

&

Tbn.

&

Perc. 1

m œœ & œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

m œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

m œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

&

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

5:6

(Ped.)

Perc. 2

œœ œœ

œœ œœ

m œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

5:6

œœ œœ

m œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

5:6

œœ œœ

(Ped.)

Gtr.

Pno.

&

b œœ & b œœœœ b œ ?

œœ œœœ œœ

(Ped.)

œœ œœœ œœ

7:6

7:6

7:6

7:6

7:6

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

ord. arco

Vc.

?

Litolff / Peters

‚ ‚ ‚ ‚ ‚ ‚ ‚

3

3

3

(O )

O

O O O

3

O O O

3

3

O

O

O

3

O O O 33103

3

O O O

3

O O

b œœ œœœ b b œœ

(‚)

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚

3

3

3

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

(O )

‚ ‚ ‚ ‚ ‚ ‚ ‚ O

3

3

3


26

86 Tpt. (C)

&

Tbn.

&

Perc. 1

m œœ & œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

m œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

m œœ œœ

œœ œœ

œœ œœ

œœ œœ

accel.

œœ œœ

œœ œœ

m œœ œœ

œœ œœ

œœ œœ œœ œœ

œœ œœ œœ œœ

7:6

m œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœ œœ œœ

7:6

(Ped.)

Perc. 2

œœ œ œœ b m œœ œ

&

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œœ b m œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

(Ped.)

Gtr.

Pno.

&

b œœ & b œœœœ b œ ?

œœ œœœ œœ

œœ œœœ œœ

(Ped.)

7:6

7:6

7:6

7:6

7:6

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

(‚)

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

Vc.

3

O O O O ( πpp )

Litolff / Peters

3

O O O

3

O

O

O

3

O O O

3

O O O

3

O

O

O

3

O O O 33103

3

O O O

3

O

O

∏pp

œœ œœœ œœ

œœ œœœ œœ

b œœ œœœ b b œœ

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ ∑

(gradual transition)

ord.

?

œœ œœœ œœ

‚ ‚ ‚

3

‚ ‚ ‚ ‚ ‚

3

3

(O)

sul tasto

‚ ‚ ‚ ‚ ‚ ‚ ‚ O

3

3

3


27

Tpt. (C)

&

Tbn.

&

Perc. 1

q = 106

(accel.)

91

œœ m œœ & œœ œœ

œœ œœ œœ œœ

œœ œœ œœ œœ

œœ œœ

œœ œœ

œœ œœ

(Ped.)

Perc. 2

œ œ & œœœ b m œœœ

œœ œœ

7:6

œœ œœ

œœ œœ

œœ n n œœ œœ œœ n n œœ œœ Ø

mn œ m n œœœ Ø

7:6

œœœ œ

5:6

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœ œœ

œœœ œ

7:6

œœœ œ

œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ

œœ m m œœ œœ œœ œœ œœ œœ œœ

œœ œœ

œœ œœ

œœ œœ œœ œœ

7:6

œœœ œ

œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ

œœ m m œœ œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœ m m œœ œœ œœ

œœœ œ

œœ œœ

7:6

œœœ œ

œœœ œ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœ œœ

(Ped.)

n ::O . a :: : n :O . b

n :O . a :: : n :O . b

-

&

÷

∏pp

Gtr.

Pno.

Vc.

b œœ & b œœœœ b œ ?

œœ œœœ œœ

(Ped.)

? O

Litolff / Peters

3

œœ œœœ œœ

3

Tremolo on slow

œœ œœœ œœ

œœ œœœ œœ

œœ œœœ œœ

3

O O O O O O O O

œœ b œœ œœœ œœœœ œœ b b œœ Ø

sul pont.

O

p

3

œœ œœœœ œœ

œœ œœœœ œœ ∑

Ó Ó 3 O O O

œœ œœœœ œœ

œœ œœœœ œœ

O

3

œœ œœœœ œœ

Ó O

œœ b œœ œœœœ œœœœ œœ b b œœ

Ó O

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

O

O

3

33103

O O O Ó Ó 3

œœ œœœœ œœ

œœ b œœ œœœœ œœœœ œœ b b œœ

Ó O

œœ œœœœ œœ

œœ œœœœ œœ ∑

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

b œœ œœœœ b b œœ

(O )

(gradual transition) 3

5:6

œœ œœœœ œœ

œœ œœœœ œœ

sul tasto

3

O

O

3

Ó Ó O3 O O

O Ó

O

3

O

3

œœ œœœœ œœ

œœ œœœœ œœ

Ó Ó 3 O O O

œœ œœ


28

accel. 96

Tpt. (C)

Tbn.

Perc. 1

&

Perc. 2

7:6

7:6

7:6

œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ

(Ped.)

œ œ œ & œœœ m m œœœ œœœ

œœ œœ œœ œœ œœ œœ œœ œœ

(Ped.)

Gtr.

n :O . a : & :::: b nO.

Pno.

œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ

œœ m m œœ œœ œœ

œœ œœ

œœ œœ œœ œœ œœ œœ œœ œœ

œœ œœœœ œœ

(Ped.)

5:6

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

b œœ œœœœ b b œœ

(‚)

œœ œœœœ œœ

5:6

œœ œœœœ œœ

œœ œœœœ œœ

œœœ œ

∑ con sord. (cup mute)

B ˙. ∏pp

œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ

Vc.

Litolff / Peters

3

O

3

O O O O O ‚ Ø 3

œœ n n n œœœ œœ n œ

œœœ œ

œœœ œ

œœ œœœœ œœ

‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 3

b œœ œœ b bb œœœœ

œœœ œ

œœœ œ

œœœ œ

œœœ œ

m œœœ œ

œœœ œ

œœœ œ

œœœ œ

œœœ œœœ œœœ œœœ œ œ œ œ

œœœ œœœ œ œ

œœœ œ

œœœ œ

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

œœ œœœœ œœ

(O)

3

‚ ‚ ‚ ‚ ‚ ‚ ‚ O 3

33103

3

b œ nn n n nn n œœœœœœ n m œœœ

j)

œœœœœœœ œœœ

œœœœœœœ œœœ

7:6

œœœœœœœ œœœ

œœœœœœœ œœœ

(ord.)

(harmonic glissando)

œœœ œ

œœœ œ

œœœ œ

Tremolo off

œœœœœœœ œœœ

œœœ œœœ œ œ

ord.

3

œœœ œ

7:6

(III 3

n mn œœœ œ

œœ m m œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

(sul tasto)

? OÓ

˙.

n :O . a :: : n :O . b

Tremolo on medium

b œœ & b œœœœœ b œ ?

œœœ œ

÷

&

œ & œœœ

+ B˙. ∏pp

con sord. (cup mute)

nO

œœœœœœœ œœœ

b œœ œœœœœ m œœœ

œœœœœœœ œœœ

œœœœœœœ œœœ

œœœœœœœ œœœ

7:6

œœœœœœœ œœœ

œœœœœœœ œœœ

very slowly and gradually transition to sul tasto

nO

œœœœœœœ œœœ


101 Tpt. (C)

Tbn.

Perc. 1

&

&

˙. Ø

˙. Ø

˙.

˙.

œœœ m œœ œ œ œ

&

œœœ œ

œœœ œ

œœœ œ

œœœ œ

œœœ œ

˙. ∏pp

œœœ m œœ œ œ œ

œœœ œ

œœœ œ

œœœ œ

œœœ œ

œœœ œ

7:6

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ

&

7:6

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ

œ n nn œœ n œ

7:6

œœœ m œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ

(

œœœ œœœ œœœ œœœ œ œ œ œ

œœœ œ

œœœ œœœ œ œ

(

Pno.

Vc.

&

b œœœ œ & m œœœœœœ ?

œœœœœœœ œ œœ

œœœœœœœ œ œœ

Litolff / Peters

œœœœœœœ œ œœ

œœœœœœœ œ œœ

b œœœ œœœœœ m œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

(Ped.)

? nO

œœœœœœœ œ œœ

œœœœœœœ œ œœ

nO

nO

m œ œœœ m n n œœœ œ

œœ œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

b œœœ œœœœœ m œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

nO

œœœœœœœ œ œœ

7:6

œœ œœ

7:6

œœ œœ

œœ œœ

πpp )

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œ œ

œœ œœ

m œœ m œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

7:6

œœœœœœœ œ œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

œœœœœœœ b œœœœœœœ œ œ œœ m œœ (

πpp )

nO

O 33103

œœœœœœœ œ œœ

œœœœœœœ œ œœ

nO

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œ m mm œœ m œ

œœ œœ

œœ œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

œœœœœœœ b œœœœœœœ œ œ œœ m œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

∏ cresc. gradually and very slowly

œœœœœœœ œ œœ

œœœœœœœ œ œœ

œœœœœœœ œ œœ

W œ n œ œœœœœ ::::œ œ œœ n ::œ

:::œ ::: œ

:::œ ::: œ

∏ cresc. gradually and very slowly ∑

(gradual transition)

œœ œœ

œœ œœ

nO

œœ œœ

∏ cresc. gradually 7:6 and very slowly œœ n œœ œœ m m œœ

3

Bœ nœ ∏ ( πpp ) cresc.

sul tasto

≈ Bœ μœ œ Bœ œ œ nœ mœ œ œ œ ( πp ) cresc. gradually and very slowly

˙ ∏pp

˙.

œœ œœ

πpp )

(Ped.)

Gtr.

˙.

˙. Ø

˙. ∏pp

(Ped.)

Perc. 2

q = 112

(accel.) ˙.

29

ord.

nO

nIIIO n O

very slowly and gradually transition to sul pont.

nO nO bO nO nO mO II

∏ cresc. gradually and very


30

107 Tpt. (C)

Tbn.

Bœ œ Bœ nœ & nœ nœ mœ μœ œ œ œ œ

& nœ

10:12

nœ nœ mœ œ nœ œ nœ Bœ nœ

nœ μœ mœ nœ nœ Bœ

nœ Bœ Bœ œ œ œ

11:12

nœ nœ mœ œ œ œ μœ nœ μœ nœ nœ

nœ Bœ nœ œ œ nœ nœ mœ œ œ œ μœ

nœ Bœ Bœ œ œ Bœnœ œ œ œ œ nœ

11:12

11:12

mœ œ œ œ μœ nœ nœ nœ μœ μœ œ

nœ nœ nœmœ œ œ œ nœ nœ Bœ nœ

gradually and very slowly

Perc. 1

mœ & mm m œœœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ œœ œœ

7:6

œœ œœ

œ m mm œœ m œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

7:6

œœ œœ

œ m mm œœ m œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

7:6

œ m mm œœ m œ

œœ œœ

œœ œœ

œœ œœ

7:6

œœ œœ

œœ œœ

œœ œœ

œœ œœ & œœ m m œœ

œœ œœ

œœ œœ œœ m m œœ

œœ œœ

œœ œœ

œœ œœ œœ m m œœ

œœ œœ

œœ œœ

œœ œœ œœ œœ m m œœ œœ

œœ œœ œœ œœ

œœ œœ

(Ped.)

Gtr.

&

(W)

& Pno.

?

:::œ :: :œ

(Ped.)

5:6

:::œ ::: œ

:::œ ::: œ

:::œ ::œ

slowly

Litolff / Peters

:::œ :: :œ

:::œ ::: œ

n OI n O m O n O n O b O II n O n O nO mO O nO ? (II)

Vc.

:::œ ::: œ

III

:::œ ::: œ

5:6

nO nO nO bO nO

:::œ ::: œ

:::œ ::œ

:::œ :: :œ

:::œ ::: œ

5:6

IV

III

JO nO bO nO nO nO bO

nO bO nO

:::œ ::: œ

33103

œœ œœ

œœ n œœœ œœ m œ

π

œœ œœ

œœœ œ

œœ œœ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœœ œ

7:6

:::œ ::: œ

:::œ ::œ

:::œ :: :œ

:::œ ::: œ

bO nO mO nO nO II

nœ nœ mœ œ œ œ nœ Bœ nœ μœ nœ

π

œœ œœ

III

nO nO

nO

nO mO O

œœ œœ

œœœ œ

:::œ ::: œ

:::œ ::œ

:::œ :: :œ

π

III II III IV III II III

IV

nO nO

5:6

:::œ ::: œ

œBœ Bœ œ œ œ

11:12

œ m mn œœ m œ

œœ œœ

(Ped.)

Perc. 2

nœ μœ mœ nœ nœ Bœ π

O O O nOnOnO O

II

nO I

II

O

π

:::œ ::: œ

III IV III

5:6

:::œ ::: œ

:::œ ::: œ

:::œ ::œ

nO nO nO nO nO O O bO bO bO nO II


31

112 Tpt. (C)

& nœ Bœ nœ œ œ nœ nœ μœ mœ œ œ Bœ

11:12

Tbn.

Perc. 1

& μœ nœ nœ nœ mœ œ œ œ μœ nœ œ

œ & m mm œœœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœœ œ

7:6

nœ Bœ Bœ œ œ Bœ nœ œ œ œ œ nœ

11:12

nœ nœ nœ mœ œ œ œ œ nœ Bœ nœ

œ m mm œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœœ œ

7:6

nœ μœ œ nœ nœ Bœ p

11:12

nœ nœ mœ œ œ œ nœ Bœ nœ μœ nœ π

œ m mm œœ œ

œœ œœ

nœ Bœ Bœ œ œ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœœ œ

7:6

nœ Bœ nœ œ œ nœ nœ mœ œ œ œ μœ

11:12

mœ œ œ œ μœ nœ nœ nœ μœ nœ œ

œ m mm œœ œ

œœ œœ

œœ œœ

œœ œœ

7:6

œœ œœ

œœ œœ

œœ œœ

nœ Bœ Bœ œ œ Bœ nœ œ œ œ œ ≈

11:12

nœ nœ nœ mœ œ œ œ nœ μœ ‰

œ m mm œœ œ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

œœœ œ

œœœ œ

œœœ œ

œœœ œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

7:6

œœ œœ

(Ped.)

Perc. 2

œœœ œœœ œm œ

&

œœœ œ

œœœ œ

œœœ œœœ œm œ

œœœ œ

œœœ œ

œœœ œœœ œm œ

œœœ œ

œœœ œ

œœœ œœœ œm œ

œœœ œ

œœœ œ

œœœ œœœ œ œ

œœœ œ

œœœ œœœ œm œ

œœœ œ

(Ped.)

Gtr.

&

(W)

& Pno.

Vc.

?

::::œ ::œ

(Ped.)

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

I n O n O O n O II m O ? mO

Litolff / Peters

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

III

nO nO nO bO nO mO

IV

nO nO nO nO bO mO nO

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

III

nO nO nO nO nO

III

33103

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

::::œ ::œ

nO mO nO nO O mO nO nO nO nO II

::::œ ::œ

IV

nO nO

nO KO O O nO bO nO nO nO nO nO III

nO

II

nO mO O nO nO bO nO III

nO nO KO II

nO nO


32

accel. Bœ nœ Bœ œ

44

& nœ nœ Lœ œ œ nœ Kœ nœ œ œ œ

44

117 Tpt. (C)

Bœ nœ nœ œ mœ nœ nœ

&

μ P

11:12

Tbn.

9

10 11 10

9

IV (G n)

8

7

6

7

8

9

Number in harmonic series:

Bœ Bœ nœ Bœ nœ nœ nœ œ œ œ œ œ œ μœ œ œ 15:16

nœ nœ nœ Kœ œ nœ mœ Lœ mœ mœ mœ œ nœ œ œ 10

9

8

7

6

7

8

9

10

gliss.

p

12

11

V (F #)

10

9

8

9

34 nœ Bœ nœ Bœ œ n œ B œ n œ nœ μœ mœ nœ F

44 B œ B œ n œ B œ n œ n œ œ œ œ œ œ œ œ œ μœ œ

43 m œ L œ m œ œ œ m œ m œ K œ œ œ œ

44 K œ n œ n œ mœ œ Lœ mœ œ œ nœ Jœ œ œ œ œ

11:12

10

P

Note: maintain the notated contour through the harmonic series as the slide moves continuously from IV position down to VII position.

Perc. 1

œœ m m & m œœ Ó p

Œ.

11 12 11 10 gliss.

9

8

7

8

9

10

15:16

11 10

VI (F n)

9

8

7

8 9 10 11 gliss.

prepare Vibraphone: Place the end of a metal snare (for a snare drum) under each of the vibraphone keys notated in parentheses and tape the other end on top of the neighbouring keys.*)

44 m ¿ (m ¿ )

Œ

43

44

13 12

VII (E n)

11

10 11 12

(Ped.)

Perc. 2

œœœ ‰ . œ ÓÓ p

&

Œ

prepare Vibraphone: Place the end of a metal snare (for a snare drum) under each of the vibraphone keys notated in parentheses and tape the other end on top of the neighbouring keys.*)

Œ

44 (m m ¿¿ )

43

44

44

43

44

(Ped.) Gtr.

& (W)

& Pno.

?

:::œ ::: œ

n ::œ ::: n :œ

W+B

p

:::œ ::: œ

ord. bow pressure sul pont.

Vc.

& nO ?

:::œ ::: œ

:::œ ::: œ

j

III

n˙. P

:::œ ::: œ

4 4

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

4 4

(Ped.)

II

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

3 4

:::œ ::: œ ∑

:::œ ::: œ

:::œ ::: œ

4 4

:::œ ::: œ

4 4

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ ∑

very slowly and gradually transition to overpressure bowing

nO

44

44

w

O

O

43 43 ˙ .

*) When the motor is eventually turned on, the end of the snare should vibrate or "clack" against the bottom of the indicated keys.

Litolff / Peters

3 4

33103

O

44

O

44 w

O

:::œ ::: œ

:::œ ::: œ

:::œ ::: œ


33

121 Tpt. (C)

Tbn.

Perc. 1

Perc. 2

Bœ nœ nœ Bœ nœ & μ œ m œ n œ μ œÓÓ ‰ . f & mœ nœ μœ μœ nœ ? F

Œ

64ˆ16 3

& Œ. Gtr.

Œ.

÷

(W+B)

::œ & :::: œ f ? (Ped.)

::œ ::: : n :œ

:::œ :: ::œ

≤Ó

n ::O :: n ::O Ó p Ó

-

::O :: ::O

7:8

:::œ :: ::œ

:::œ :: ::: œ

6ˆ 3 4 16 64ˆ16 3

5 8

74 m ¿ (m ¿ )

5:3

Ó ::œ a ::: ‰ Œ :: œ ƒ ∑

5:3

Ó ≈ O:: . :: 74 ::O . Ó Ó 74   .

Œ.

n ::O n :O 3. Ped.

&

O

Litolff / Peters

w F

5

5

5

5

5

μw..

5 (m m ¿¿ ) 8

∑ motor on fast (prepared Vibraphone)

85

Ped.

::O . . :: ::O ..

13:14

85

85

∑.

5 8

∑.

85

full overpressure

(n O )

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

O

3 nO 64ˆ16

III

Vc.

?

5

p

Ó 7 n b n œœœÓ ‰ . 4 n n n œœœ > ƒ 74 n œÓÓ ‰ . n n n m œœœœ >

‰.

5

74

64ˆ16 3

:::œ :: ::œ

7 4

ƒ

f)

::O . 64ˆ16 3 ::: :O .

:::œ :: ::œ

5 μOnO O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O 8

Ó œ.

64ˆ16 3

&

6ˆ 3 4 16 m w . (

n O μ O O 74

ƒ

f)

(

&

(add air to pitch by using an ununfocused embouchure)

64ˆ16 3 μ . w

(senza sord.)

mœ Bœ nœ μœ nœ Bœ nœ μœ μœ nœ ≈ f

strum across strings with plastic pick (medium thickness)

Pno.

q = 116

6ˆ 3 4 16

nO

O

O

O

IV

nw. f

33103

ordinary bow pressure

? nO ( )

Ó bœ . p

7 4

ord. bow pressure ord. position for bowing

≥ (with vibrato) 5 b w . . ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ 8 n w . . ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ f ƒ


34

q = 132 124 (air only)

Tpt. (C)

Tbn.

Perc. 1

5 &8

? 85

(Blow air through the specified fingerings)

ca 9" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U 48 28 n‚ μ‚ ( ) ‚ ‚ “ff ”

Ó œ. ( ƒ)

48

Œ.

motor on fast (prepared Vibraphone)

5 &8

U ∑

ca 9"

48

÷

28

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 48 48 Ó 85 Ó 85

μ‚ ( “ff ”

n‚)

48

(air only)

p

85

Ó

Ó

ff ”

48

85

U

28

48

85

48

85

U

28

48

85

48

85

ca 9"

Ped.

Perc. 2

5 &8

Pno.

(Ped.)

()

48

48

& 85

> n :œ m :œ Ó

?5 8

Ó n n >œœ

÷ 85

> *) Ó ƒ

attackless harmonics

Œ.

4 8 48

Ó

(3. Ped.)

Vc.

?5 8

ca 9"

-

n ::O a :: n ::O b

& 85 Gtr.

48

> n :œ m :œ ‰ Ó Ó Ó m n >œœ

5

nœ F

.

U ∑

2 8

U ∑

28

Ó n n >œœ

ca 9" 5

Detune string IV down a tritone very slowly while playing (mm. 124-144). Continue to detune throughout the fermata.

4 8

ƒ 28 ‰

ca 9"

Œ.

U

ca 9"

(> )

-

n ::O a ::O n n m O bb Ob > Ó

U ∑

ca 9"

28

2 8

33103

85

48

Ó

> n ::œ m œ Ó

4 8

> n ::œ m œ ‰ Ó

48

4 8

*) see measure 34

Litolff / Peters

48

Ó Ó m n >œœ

.

85

Œ. 5

5

( )

-

n ::O a ::O n n m O bb Ob

5 8

> n :œ m :œ Ó

85

Ó n n >œœ

5 8

Œ

Œ.

Ó

.

48

85

48

85

4 8

5 8

48

85

4 8

5 8


35

Tpt. (C)

131 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

5 &8 Ó

Tbn.

÷ 85

Perc. 1

5 &8

7 16

‚..

7 16

28

Ó

28

U ∑

38

9 16

ca 4"

U ∑

38

9 16

U

38

9 16

U

3 8

9 16

U ∑

> 38 Ó ƒ

48

ca 4"

48

7 16

28

48

7 16

2 8

4 8

7 16

> 28

7 16

Ó

ca 4"

(Ped.)

Perc. 2

5 &8

ca 4"

(Ped.)

5 &8 Gtr.

Pno.

Ó 5 ÷ 8

5 &8

7 16

? 85

7 16

Ó Ó

()

ƒ 28 ‰

28

28

Ped.

(3. Ped.)

Vc.

? 85 Ó

Litolff / Peters

7 16

..

28

Ó n n >œœ

n ::O a :: : n :O b

-

ca 4"

48 48

Ó > n ::œ m œ Ó ‰

P 33103

U ∑

48

ca 4"

48

ca 4"

48

ca 4"

U ∑

U

()

38

38

38

Ó n b >œœ

38

 -

n ::O a ::: n :O b

.

4:3

Œ

-

n ::O a ::: n :O b

Ó

> n ::œ n œ Ó

() > Ó

Œ

‰ Ó n b >œœ

.

Ó

> n ::œ n œ Ó

4:3

Œ

() > Ó

Œ

‰ Ó n b >œœ

.

-

n ::O a ::: n :O b

9 16

9 16

> n ::œ n œ Ó

4:3

Œ

Œ

9 16 9 16

9 16


36

138 Tpt. (C)

Tbn.

Perc. 1

9 & 16 9 ÷ 16

Ÿ~~~~~~~~~~~~~~~~~~~~ ÓÓ Œ n‚

μ‚ ( p

)

(air only)

Ó

‚Ó

ff ”

p

48 B ˙

28 b œ

48 μ œ

28

48

2 8

4 8

ff ”

28 μ œ

Œ

&

9 & 16

Ó 85 μ œ

p

43 μ ˙ .

85

43 b ˙ .

85

85

43

85

5 8

3 4

5 8

π

p

85 B œ .

Ó μœ

˙

μœ.

p

π

π

p

p

(Ped.)

Perc. 2

9 & 16

(Ped.)

9 & 16 Gtr.

9 ÷ 16

9 & 16 Pno.

9 ? 16

28

‰ Ó n n >œœ

n >::œ m œ Ó

Œ

ÓÓ

28

(3. Ped.)

Vc.

?9 16

Litolff / Peters

ÓÓ

ƒ ‰

28 n >œ m ::œ 2 8

Œ..

(> )

28

Ped.

Ó n ::œ m >œ

-

n ::O a ::O n n Ob m Ob Ó

> n ::œ m œ ‰

48

85

48

85

48

85

4 8

5 8

Ó n n >œœ

48

85

33103

n >::œ m œ Ó

Ó

Ó

Ó

Œ.

.

43

( )

> ƒ 43 ‰

43

3 4

Ó m n >œœ

Ó

43

-

n ::O a :: n ::O b

Ó Ó

n >::œ m œ Ó

5:6

5 8

5:6

85

85

Œ.

Ó

85

85


37 Quickly walk over to Timpani drum (Timpani F-C) (perc. 2).

144 Tpt. (C)

Tbn.

Perc. 1

Perc. 2

& 85 n œÓ

P Ó & 85 œ P 5 &8

43

˙

Ó œ

ƒ Ó 3 4 Bœ ƒ

˙

‰ ‰

38

Ó

3 8

Ó

3 4

(Ped.)

5 &8

74

Ó.

38

74

5 &8

÷ 85

5 &8

n˙. 43 n n n ˙˙˙ ... n n ˙˙ .. “ff ”

Gtr.

Pno.

? 85 Ó (3. Ped.)

Vc.

? 85

Litolff / Peters

43 43 Ó m n >œœ ( ƒ)

43

Ó

43

(on full)

38 œœœ ... œœ .. œ. 38

Ó 

Ó

(off)

74

motor off

l UÓ

ca 10"

÷

Timpani

ca 20"

U ÷¿ Ø

kkkkkkkkkkkkkkkkkkkkkkkk

(bow as continuously as possible, change direction of bowing when necessary or unless indicated otherwise)

74

3 4

Ó

Ó œœ œœ œœ

Œ.

Set guitar on a flat surface with the neck of the guitar raised slightly to allow an ebow to rest on its strings

-

n ::O . a :: n ::O . b

Œ

(attackless harmonics)

(on full)

U Ó

ca 20"

(off)

3 4

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the Timpani head (Timpani D-A). Bow on one side of the wire hanger. Produce a low tone. ca 10"

(Ped.)

U Ó

ca 10"

Ól .

43

Quickly walk over to Timpani drum (Timpani F-C) (perc. 1). ca 20"

Over the 20" interval, gradually slow the motor speed of the vibraphone to motor off. ca 20"

motor off

U Ó

ca 10"

U Ó

7 ( Ó .) 4

3 8

43

Ó.

7 4

U Ó

ca 20"

Place an ebow on string  near the 11th or 13th fret. Make sure only the string fundamental sounds and not a harmonic. Also, place the ebow so that no buzzing string noise is present.

U Ó

ca 10"

Œ

43

Œ

ebow

nœ Œ

> n ::œ Place ebow on the notated string ca 20" ca 10" m œ (G #) at a position where only the n ˙ U U . n ˙ . sounds and not a ? 3 7 . Ó Ó fundamental Ó ∑ harmonic. Also place the ebow 8 4 n ˙ so that no buzzing string noise ( ƒ) is present. p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ebow 38 74 mœ n ˙ . ( n ˙ .) œ. ˙. ˙ ˙ Î π

43 43 43 43

Ped.

38

74

. 33103

(sounding pitch)

n˙.

U

ca 20"

˙

U

ca 10"

˙

43


38

q = 46 148 Tpt. (C)

3 &4

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the timpani head (Timpani F-C, 29") Bow in the middle of one side of the wire hanger. Produce a low tone.

÷

44 ¿ Ø

Ó 81

accel. 43

24 ∏

& 43

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the timpani head (Timpani F-C, 29") Bow in the middle of one side of the wire hanger. Produce a low tone.

÷

Ó 44 ≈ ¿ . Ø

(with bass bow and metal wire hanger) Bow a metal wire hanger in the centre of the timpani head (Timpani D-A, 32") Bow in the middle of one side of the wire hanger. Produce a low tone.

÷ 43 ¿ Ø

÷ 43

4 4

Gtr.

Ó 81

43

24 ∏

45 ∏p

1 Ó 8 π

3 4

2 4 ∏

5 4

44 ∏

Ó 81 Ø

43

24

45 π

81 Ó œ

43

81 Ó œ

43

s.t.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

& 43

Quietly walk over to Snare Drum (Perc. 2)

˙. Arco string with heavily rosined fishing line wrapped araound the base of the string.

Arco continuously and very slowly. Change direction of bowing when necessary and as smoothly as possible.

?3 4 ˙.

(Ped.)

44

44

w The tone of the string should be audible and 'clean', i.e. not 'raspy'. To achieve this a strand of bow hair can also be used instead of a fishing line.

mw ∏

44 w

81 œÓ

˙.

˙.

43 ˙ .

24

24

?3 4

Litolff / Peters

˙. π

44

w

18 ≤Ó œ

34 ≥ ˙. F π 33103

45

˙

45

˙

24 ˙ ord.

Vc.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

?3 4 Pno.

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

Perc. 2

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

Perc. 1

45

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise)

Tbn.

q = 52 accel.

24 ≤ ˙

œ

w

œ

w

45 œ

45

w

sul tasto (s.t.)

œ

w

sul pont. (s.p.)


39

154 (accel.) Tpt. (C)

Tbn.

Perc. 1

Perc. 2

÷ ( p)

(P)

Ó 81 F

÷ ( πpp )

p

÷ p

÷ ( π)

P

q = 56

44

43

44

1 Ó 8

4 4

3 4 “f ”

4 4

Ó 81

44 “f ”

43 “ff ”

44

1 Ó 8

4 4 “f ”

3 4 “ff ”

4 4

43

44

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(with Bass bow and wire hanger) Bow a metal wire hanger in the centre of the snare drum. Bow on one side of the wire hanger. Produce a low tone.

Snare Drum Snare off. (can be performed on an optional bass drum, if available)

(Bow as continuously as possible. Change direction of bowing when necessary unless indicated otherwise.)

÷ Gtr.

&

œ

? Pno.

?

?

œ

81 Ó œ

w

œ

w

œ

w

œ

w

œ

s.p.

w

*) string III is transposed to standard tuning.

Litolff / Peters

w

œ (Ped.)

Vc.

w

81 Ó œ

s.t.

s.p.

œ

w

81 œÓ

s.t.

s.p.

Ó

81 Ó œ 33103

44 ¿ ∏p 44 w

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

44

w

44 w

ord. position slow bow speed *)

44 m ≥O w p III

43

43

˙.

˙.

43 ˙ .

gradually transition to very slow bow speed

43 O . ˙.

44

44 44

44


40

Tpt. (C)

≤  . “ffff ”

44

≤  .

44

≥  .

≥ 54 .  

≤  .

.

≥  

≤  

÷ 44 “f ”

45

≥  .

≤  .

.

45

≤    . “ffff ”

÷ 44

45

≤ .     “ffff ”

≥  

≤  

.

45

.

≥  .

÷ 44

44 .

≥  

≤  .

45

44

.

≤  

≥  .

44

.

.

.

≤  

≤  

≥  .

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

Perc. 2

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

Perc. 1

≥  .

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

Tbn.

(Bow as continuously as possible without any break in the sound.) "The notated rhythms indicate change of bow direction only and should NOT be projected in any way."

159

÷ 44 “ff ”

45 .

≤   “ffff ”

≥  .

.

≥ 44  

.

≥  .

45 .

≥  

45

≤  .

≥  .

≥  .

.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

÷ 44

(continuous bowing, change direction of bowing only when necessary)

45 “ffff ”

œ

w

44

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Gtr.

& 44 ?4 4

Pno.

w

w

?4 4 w

(Ped.)

45 45

œ

45 œ

w w

44 44

45

w

45

w

44 w

œ

œ

45 œ

w

œ w ( “ffff ”)

w

œ

w

w

œ

w

¿O

¿O

44

44 44 44 44 44

Bow at 6th partial on strings III, IV. Produce a multiphonic on string III.

n¿ & 44 n ¿ Vc.

¿

very slow bow speed

? 44 O w ( p)

¿

5 4 O œ “f ”

¿O

w

¿

¿

4 O 4 w

5 4 O w

Maintain slow bow speed throughout crescendo. (Crescendo is more a result of bow pressure than bow speed.)

Litolff / Peters

33103

¿O œ

œ

w

4 4


164 Tpt. (C)

Tbn.

Perc. 1

Perc. 2

÷ 44

≤  .

≤ 54 .  

≥  .

.

≤  

≥  

.

≥  .

≤  .

.

rall.

≤  . ( “ffff ”)

q = 52

( ) 54 π

≤ (continuous bowing, change direction of bow only when necessary) 78 .             p

( ) 54 π

(continuous bowing, change direction of bow only when necessary)

78 . p

÷ 44

÷ 44 .

≥  

÷ 44

.

≥  

45

.

( “ffff ”)

.

kkk

(-)

≤  .

45

45 .

≥  

≤  .

≥ (continuous bowing, change direction of bow only when necessary) 78 .  .           p

( ) 54 π kkk

(-)

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

.

≥  .

≤  .

≥  .

.

≤ (continuous bowing, change direction of bow only when necessary) 78 .             p

( ) 54 π kkk

(-)

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

÷ 44 4 &4

? 44

w ∏

w

45

45

œ

œ

45 œ

¿

¿

? 44 O w

Litolff / Peters

45

w

(Ped.)

Vc.

(-)

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

? 44 Pno.

kkk

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

78 ÓÓ ≈ Œ

45 O w

w

œ

w

w

œ

w

w

œ

w

¿O

¿O

¿O œ

œ

w 33103

44

44

44

44

Guitarist quietly moves back to guitar.

kkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkk

Gtr.

41

78

78

œ.

œ.

78 œ.

78

Œ

Œ

˙

˙ ˙

normal bow speed (detune string IV while playing)

œ. “f ” p

45

5 4

œ

œ

45 œ

45

w

w w

(sounding pitch)

nœ ( p)

w

44

4 4 44

44


42 use full length of bow for each bow stroke

≥ ÷ 44 ∏

(top)

169 Tpt. (C)

≥ 54

≤ 64

≤ 64

≤ p

≤ 6 4

≤ p

≤ 7 4

≤ 64

≤ 74

(bottom)

≥ 45

(top)

5 ≥ 4

≥ 45

p

≤ 74

≤ 74

≥ “f ”

ÓÓ U‰ .

Ó Ó U‰ .

Ó Ó U‰ .

keep bow affixed to hanger

use full length of bow for each bow stroke

≥ ÷ 44 ∏

(bottom)

Tbn.

use full length of bow for each bow stroke

≥ ÷ 44 ∏

(top)

Perc. 1

(bottom)

use full length of bow for each bow stroke

≥ ÷ 44 ∏

(bottom)

Perc. 2

Gtr.

Pno.

& 44

45

w

?4 4 ? 44

(top)

œ

64

w

45

(Ped.)

p

74

w.

64

45 œ

w

f

“ ”

≥ “f ”

ÓÓ U‰ .

keep bow affixed to hanger

keep bow affixed to hanger

keep bow affixed to hanger

U ÓÓ ‰ . œ

w.

mute strings to prevent ebow from sounding

U ∑

74

64 w.

w

f

“ ”

ÓÓ U‰ . œ

74 w.

prevent ebow from sounding Loosest string tension possible without the string rattling against the fretboard while playing. (Note: a 'flutter' sound should emerge from bowing the string)

Vc.

?4 4

Litolff / Peters

(detune string IV while playing)

œ

45

64

33103

74

U ÓÓ ‰ .

keep bow affixed to string


EP 12693R Ming Tsao, (un)cover, Ensemble, Score  

Rental Material

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