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TSAO Not Reconciled for clarinet, trombone, guitar, percussion and violoncello Full Score

EP 12736R


MING TSAO

Not Reconciled for clarinet, trombone, guitar, percussion and violoncello

Unter der Nummer 12736 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


Clarinet in B D

Sounding a major second lower)

 Âś

 |

Âł 

[ÂĄ

Âł

O ´



Trombone

 7Âś

" Âś 

7"



 ™  B” !

™

Q

°

†

Q

°

Â?

Âł 

CÂł C Âł  Âł

O ´

 

´ ´ ´ [³ C³



C´ ’ ’ ’ � Q 



2

Performance Notes ‹ 

 

Âś

Instrumentation

´

‡ !    ´ ´ 



‹



clarinet in b-flat, trombone, guitar, percussion (2 snare drums) and violoncello

General Notes (a, m, i)

7  a) ž Duration ca.14œminutes. œ ™ j  

right hand (notated at sounding pitch)

6

™

7”

11C ”

 ž 

C”

BÂĄ C ÂĄÂĄ  ÂĄ [ ÂĄ OÂĄ ÂĄ ÂĄDÂĄ

**)



 

M







Snare perform this transition evenly over the allotted time interval.pont. position (at either end of the Snare)

CÂĄ

Â’ Â’ Â’ Â’ 

Â’



[¥ finger) œ  The(arpeggiate ™ repetitions C ³ [ ³ B ³ jof j | ´  are a few  oržtwo measures.  Snareofwithrepetitions ž ´ short BRUSHES by xk, where k is the number of e) There number is indicated ´ one 2. Snare Drum  Light Brushes tap  repetitions. 7" 5:4 ( ‰) (

SD2 *)

SD1

ž

)

Â?

2 Q G ˜7 Âś Âś j  f) Âś Quarter-tonenotation: C =‹one quarter-tone sharp B = one quarter-tone flat

G (”) œ

 SLIDE žv ”   Âś  ! Q

”

 

  Â?

B” �

 

ž

’ = a gradual transition from one state to another.     II II  II III ‹  III C” B” ž B ” C ” ž ž ž 7" h) At times, a number 7 of iterations is notated via ‘ C ” ’.   Âś ™ GLASSSLIDE j|  ™  I

Rim

Rim

Bar strings P-M with Slide and gliss. upwards.

g) batt. ‘

Œ Violoncello ”

ž

†ž ž  II

(3)

ž

 ž‡ž 

† ž

II

without liftingevenly Snare, glissspaced, Slide along but Snare not exactly evenly spaced. There III the number of iterations roughly should be a subtle amount of while pushing in 3 3 3 Head with other hand S Q QQ

irregularity to the proportioning 2 of the iterations. Q Q Œ

Q ž ž III * ”CžIÂł ” II Âł ´ Âł j * II * † ‡" [ i) * nd (transposed  7 C Âł Perform Âś! of iterationsunevenly. CÂł = Âśdrunken rhythm. the number ´   andard tuning) ™ Âś Âś Âś | ž BÂł  $ Âł ´     ÂĄ  ´ bright  Q "ÂĄ  ÂĄ O ÂĄ ´ ´dieG on its own accord. ‹ Â? ÂĄÂ’ j) 3 ÂĄ [ = Let the 3vibration of the note j ´ ´ dark  Q 5QQQ

Q Πscordatura 1 2 3 4 ***)

ž

(5)

(11)



ž

Â?

Â?

right hand (notated at sounding pitch) lift Snare above Head and arpeggiatePerform Snare. Let Snare rattle against Head 3

 O ´



I

IV

c.l. tratto

II III

j



ž ž



Â? scordatura

Âś

ž ž™

ž

| j ž

Q R P Q Q Q :  7 * KP 7     ™ Â’ Â’ then Â’ Âś all Â’ ofÂ’ theinstruments  C Âł If³³ amplification  c) Â’ Cœ´’is used, S    should ‹be amplified.      B Âł BÂł Âł [Âł CÂł C´ B´    CÂł Âł Âł  Q  d) RThroughout Â’ the piece, there are aC ´numberC ´of fermatas accompanied by an exact time value in seconds. Try to adhere to the exact time Q occurs over a transition each fermata of some kind (such as a transition in dynamic or timbre), then try to ( demands. If the fermata 2 ord. position (middle of Snare)

nd (transposed F andard tuning)

cussion

 Âś

SLIDE

b) Score is transposed. accel.

Guitar

Â?

7"

2

R

R

(rasg. across all strings at indicated position) 5

(batt. with Slide held in R.H. against indicated string)

ž Q

k) IIIf a glissando has no termination point notated, then the glissando should not be larger than three quarter-tones (i.e., a semitone plus a notated  that termination point should not be rearticulated unless indicated ™  point |for™ against quarter-tone). termination a  glissando, then ž it rattles Drum ” is ”” ahead  when struck B ”” right side up with žž B CIftop *) 1. Snare detuned and snareBloosened so that the bottom head C otherwise. 2. Snare Drum played upside down primarily on the snare itself. Also loosen the snare. Detune bottom drumhead (now the top drumhead) slightly III

( 2

Q

III

Winds j

j

**) For each �rasgueado“ delicately brush the fingernails across all six strings in slow motion. near bridge topstrings of neck hand dampens the six strings in first position, undampening only those  harmonics or open strings are to be executed (notated in the lower stave). The left on which over soundhole (Clarinet and Trombone) For allright-hand battuti with the slide, the left-hand dampens the strings in first position, only undampening a string when that string is notated in the lower clef.

‹

 

‹



† ‡ [  ” ” ³´³ j * † ‡ † [‡  [ ”  ” ” ³” ´ ³³ ´j ³ *j * ´ ´ b) = Exhalation ’¥ (a sound ¥of blowing out air) ´ ™ j ´ ´ ´ dark  bright  ´2 3 ´ 4´ 5 ’ ´ bright c) = Flutter-tongue ¥ ¥ 1  j ´ accel. ´ ¥’ : ¥ dark  ‡ ´ j ´ ´ dark  1K 2 3 4 5

over fingerboard 

bottom of neck 

 = Inhalation of sucking inleft-hand air) dampens all strings in first position. In this case the arco actions with the bow will produce only a white noise texture. ***) Fora) all arco actions, if there are only(a restssound in the lower stave, then the For all battuti with the bow, the left-hand mutes all strings in first position, undampening only those strings on which harmonics or open strings are to be executed (notated on the lower stave).   bright 

K bridge  near Â’edge  ´ of fingerboard ž  (in  j ™near[!Âłthe j Clarinet b-flat) octave harmonic 

’  bottom œ  of tailpiece [ ³ ´’ ž

1 2  j top of tailpiece  3

‹

3

4

5

‹

‹

‹



(7 Qposition) (closestÂ? to brigde) G 2 Âł Âł ´ [ ” ” j  * a) = Toneless breathing through the prescribed fingerings for the indicated pitch. ‡ near bridge  top of neck  2010 by Henry Litolff's over Verlag soundhole  j j j Â’     ´³ Âł ™ fingerboard ” Litolff/Peters ´ b) =jBreathy, a hint of pitch. K    ´ 33094 over * Â’Âł Cbridge bottom 10[ ‹ with only top of neck ” near j    of neck  bright  ž´ ‹ overC soundhole ÂĄ ÂĄQnear bridge  j  ž  top of neck ÂĄÂ’ j over j  j ´ ´ !”over soundhole bottom of neck  dark   j j Âł ´=ÂłBreathy, j Q*yet with c) fingerboard pitch fully identifiable. ´ ‡’ [  j ” fingerboard 5over bottom of neck  bright  ´ 1 2 ´ 3ƒ 4 5 ‹ ÂĄ ÂĄ j ´ ´ dark Âł Âł ´ [  ” ” jR Q*P brightN 1 M 2 3 A4 O´5AM ´RAM  d) = Pitched key-click. † ‡’ ! R´ O ‹  ™  ™   ÂĄ | ž ¥™   ™dark  j ´j  ´œ ž ™ ž ž ž   e) ” notated ´³ ´ Âłas j (see ‹ use Occasionally, the will make of the[ ‘breath  4´” clef’, *‹Trombone (a) below), which will not ask for breath bright C ” clarinet j 1† ‡2 3 5´ ž Â’ÂĄ ž ž žbut ajmore ´ soundsÂĄthrough specific fingerings general indication of lowest (darkest) to highest (brightest) breath sound. ´ dark  2 G ear bridge  top of1 neck2 3 bright  4 5 ´ ´ near bridge  bottom of tailpiece  Â’ oundhole  j ´ ‹ j ÂĄ ÂĄ j ´ ´ edge offingerboard  j ngerboard j  j | near™near   bottom of neck  ‹   the ‹ ‹ dark  bridge bottom of tailpiece octave  harmonic   neck   top  of tailpiece  bridge  top of C Âł(7 edge of fingerboard  j  1 2 3 4 5 jto brigde) near bridge bottom of tailpiece ndhole jj position)  (closest j near the octave harmonic top of tailpiece  Q  edge of fingerboard rboard  bottom of neck  j near the octave harmonic  j j near bridge (7 position) to brigde) top of neck  (closesttop of tailpiece  er soundhole  j (7 position) j (closest to brigde) fingerboard  bottom of neck  near bridge  žtop of neck ž  ” ž over soundhole  j ™   Âśbottom of neck  j  over Âś  fingerboard | ™ th



horse flutter





(11)

 SLIDE

(m)

rasg.



5

5

th

th

th DRUM STICK

Q



near bridge  dge of fingerboard 

”v ! G

GLASS SLIDE rotate Slide back and forth and slide along Snare without lifting Snare above Head. Do not push Head in.



Q

j

BRUSH

Light Brush

Rim

Rim

near bridge 

over soundhole  over fingerboard  bottom of tailpiece 

j



top of neck 

bottom of neck 

j


position  ž ž  !´ ™  Âś  (m,| a,ž e) ž | ϫ ž  indicated  Â’ B ³’ žrasg.      | | | ´ ™   7 Âł ž | ž Âś Âś ž ž   | j   j ‹     ´    4 4 ž ž ÂŒ Q 2 Q G ˜ ( 2   G 

Gt. S G( 5 Q G 2 Q percussive strum R AM C³ * * (undampen strings)    rasg. across all strings at| PLECTRUM ‹     ‹ ‹ ‹    rasg. (m, a, e) indicated position rasg. 8 8 žC ³ ž  |  | ž ž | œ  | ž œ œ ž žC ³   j ‹   Trombone (tenor trombone with F-attachment, straight mute and plunger mute) R  žaccel. : 4 4 press Slide ord. : rall. pont. :  Drumstick ³  with pressure along Snare. ž ³ 

3" 6 Some rattling of Snare against Head should be heard. DRUM STICK ( 2 Drumstick across Head; Gt. 5 Q 7 ³ ³ S G 7 G ³ ´ use 4" 173distinct gradations of ³ ´ ³as j . This [* 73a) ž The trombone ¥ 

³† 2tighten Âł  to no ” attacknotated on ” makes Drumstick Headdistinguish of  SD1.” clef’,  ** clef asks theRtrombonist ‡j theSnare A M C Âł across †ž ‡ [  ”often ” ™ ” 7 five SD2 *‘breath B Âł Âł ™ œ”  ž |     Âł 7 Âł |are´  notated C   Âś Âś ™ Âś breath sounds, from lowest to highest. These five sounds as follows:   S Cl. v ‹     ‹ ‹ ‹        | ™ Âś CÂł Âł B ´  ‹  j    ´ ´ ” C ³ž ž # # ž C Âł #bright ” ´ bright SD1 Â’ ´Q ´ ‹ ´ ‹ !j Dtr ÂĄ ÂĄ ÂĄ ˜ ! Â? ÂĄÂ’ ´ B R j ´ Â? G Q ´ ´ Q Â? Q Â? ÂŒ G G ( dark press Slide with pressure along Snare. ord. pont.  dark  Drumstick 4" sord. Some rattling of Snare against Head should be heard. DRUM STICK Âł  Drumstick across Head; senza sord. 1 con2strum 3 7 all4strings56 batt. percussive across 15 2c.l. batt,3on I,II 4and lock5Bow 3"position ž accel. : tighten Snare on SD1. Drumstick across Headat indicated C ³³  no attack ! c.l. tratto strings to prevent them ‡ against ” ™ ” ” ž | ‡K ž SD2 C (dampen7 strings I-III) ‡ sounding longer then indicated. I ´ ™ asked to make various types of transitions between breath states. It is important to follow      "  vž Tbn. j  ‹ The trombonist ž ‹œ is often  1/2 c.l. ´ ž !      ™  Âś II thej ´  |  ™™ Âś  ž ™ S ϫ ™ |   Âś  CžžII³ž  as™ possible,   ™ ! ™ paying   ž j   ´ ´ | ™ ž notated gesture as faithfully attention to the ritardando and accelerando curves.  ž CÂĄ [ÂĄ C” 7” C” ‹ j  j  ž vž ”, ” SD1 B ” ž  žž ž G Q ž Q! Â? II II I ! 17 ƒ Q IV II ! III Q ˜ Q Â? G III III III III Â? a bit ofž moisture ÂŒ Q 4" Â? Â? Q Q G ( G to the breath sound. (faint † breath’ indicates adding b) ‘dirty ! Vc. rasg. 7 G unfocussed SLIDEall 3" G Q G percussive strum across strings c.l. batt, on I,II and lock Bow ˜near bridge ( *  “whistleâ€?) top of neck near bridge  top of neck (i, m)  at indicated position (dirty breath)    c.l. tratto  against strings to prevent them ž soundhole 7 M 7 ” batt. I G  ž ( ÂĄ)  ž a tempo (:) (:)      ž over ÂĄ C  (dampen strings I-III)  over soundhole ž ž ž ‹ ž ™ ‡ sounding longer then indicated.    Âś j‡ ÂĄ  "   I  j j j c) = Faint, unfocussed whistle added to the breath sound. A discernable frequency should be avoided. ™ ž ™ | ž | Âś Âś    j j ´ ž ´    Âś ! O ´

    ž fingerboard ‹ ž‹! bottom j  vž ÂĄ ‹ ‹ ™ |   C 1/2 c.l. ! II II  j ‹ over fingerboard of neck   v   bottom of neck 13 C !ÂĄ jover  ” ž C ! ´  ´ a tempo  ™ ,  vž CÂł ™ ž ™  Âś II ™ vjž  | ž     Âł  ‹ Âł Âł  Âł Âł  ´  œžž    ™  P| ” Gtr. C ” j , 7 ” v C ž  ” IV ‘trigger 5 Q  d) žž on trigger off’ž indicates a change in the trigger on to off as evenly andB slowly as possible over : 2Q Â? II Q Gt. IV II I II2 G key from III 7"G ( 7 III III III III ž (: the indicated duration. * Q Â? Â? Q 2 rasg. * Q Vc. P 7 4:7 ( Ă™) a, e) K G ! G Q C ÂĄ G   Âś  Âś *    Âś ( Âś CÂĄ K C ÂĄÂĄ ��  ˜ ‹ Âś ™ ™ Âł   O ´ Âś    C Âł C K I  G C Âł     ž Âł C Âł C ÂĄ Âł ´ [  ” ž ” v Âś * Âś C ÂĄÂĄ ™  Âś  of the e) flutterž Âś|  =j Breathy Clips. Âł   †™ ‡ "C ” ž B ” B ´’ ™horse Â’C ³‹  the Cembouchure  ™  by  loosening  pitch  ‹ž produced ‹  Handle of Brush along Q | ž‹ ž   R P AM  R ord. Snare; push in Head  C Âł tap rall.    7:5 † ‡  ‡ 7 7 II slightly with other hand Handle of Brush across 3:4 žQ86f) 2 4" Â?G Â?attack.= Horse-flutterQbright (i.e.,  place the{ mouthpiece´ fully the mouth Sometimes the exact number3 of † K 5 2žwithout IV flutter-tongue).3" Dand ´ ”into Head Clarinet in B 7 7  Â’ ž ” Â’ Â’ Â’   *ÂĄ SD2 Âś 4:7 ( Ă™)  ÂĄ ™  Âśiterations provided. Â’ ™ C ” C ” 7a” major is Â? j ´œ ´  ´| C´’ Â’ (Sounding  R 7‹ B ” C‹´’ Â’ ™   Âś  ™  ™ Âś |      (shake) [ Âł Rim  Âś  Cl. Q  ´    B  B ´ dark Âś Âś Âś ‡ ´ Âł C [ B ´   6:5 Âś     ÂŒ Head       j ž C ´ C ´ near bridge   C ´ bottom of tailpiece BÂł  ´ ´ near bridge of tailpiece   P B B ³³ ž C ´ B™ ™ †K  second lower) 7 ´ 1ž 2 3 4 5bottom ž ” C Âł edge of fingerboard  edge of fingerboard     Q SD1 j j j  Âł B  j j g) = A slight shake of the slide. ž Âś ™ ÂŒ Âś  j   Q ( Â? Qtop of tailpiece GÂ? Q top ofÂ? ‹ Rnear v,Âł octavejharmonic  the  ´  near 2 Q octave harmonic tailpiece  ´ the ord. ( 2 rall. : Vc. th † ž ž ‡ th rall. † k)´ (7 position) ‡[ ÂĄ Q sord. (closest to brigde) (7 position) (closest to brigde)† † con. 7 7‡ ! 3:4 †   5 h) + = Use a straight mute unless indicated otherwise.   Kstrum across all strings Q Â? { 86 ( BRUSHES   ‹ ‡ ” C Q Â? ´       N O ° ° Â’ Â’ Â’           Â’ Â’ ” ” ” batt. ™ ‹ ‹ ´ C ž Âł ž  M      C ”  Light Brush on SD1 P Âś ´ ™ | ™ ™ ™ Âś [ Âł C  Âś Âł Âł ™  ‹   Âś Â’ Â’ ™,  C ” 7 ” ´ B ”       Â’ with nails (mute strings I, II) ´ Cl.C ”   Tbn. ™j   j     III  Rim   Âś | Âś | Âś ´ Head  C ´ [ Âł ´ ´ ´ I   B´ 5 arco C ´ O [ Âł B ³ž 3"##4"´# # IIB ”  ™ P  P C´ C´  ´ ž žK  arco C ´ B ´C ” ž IVž žž strum II  SLIDE  CRim B ´ž B ´ Head 7 ´ balz. C2 ”” Â?  Âś( 2 ( ž B ” C ´ Q !   7Â? 7 Q  GK  žž| ™(guitar  andž cello) ž ž C ” 7 7 ””9Q topK(of neck 2ÂŒ ™  QÂŒ | near   ÂśÂ?Q 2Â?  |ž!C ”  jStrings !ž bridge  Q    Âś Âś ™ ™ Q Â? 2 j ž ž ™   |  Âś ž 2:3 ( ‰) ž      j ‡ soundhole ver  ž  ž   j |   ™ vž  j| ž Rim † ‡ † III  Q Q bottom of neck   Head !  žÂ?  hand R Â?erÂ’fingerboard M  | ™ Âś a) right fingering: p =rasg.thumb i = index Qm =† middle aSLIDE e6 = pinky strum 3= ring Q ‹    ( Q 3Vc. ÂŒ 3 7" Â? Â? ˜ Q 3 P´ Q  K ( rasg. ´ *ž ™Â?  ‡´Q K   ™  5handle Q HeadÂś!žwith™IVslightCpressure.  of Brush Â?  ž Âś 2j !žQ Âś  5 C Âł C Âł ž ³ž  B Âł across  Â?  Âś   ™ ™ ™ Âś [ Âł Âł  ž | |´  ž ´ batt.  Tbn.2j ( Âś Âś   Âś     ! ! ´ ´  *   ž ž j j        ´ , ´ ´  ž ž  ™   = Percussive   |  " # # # # 7 7 b) strum across all strings (keep strings dampened with left hand unless notated otherwise)  C ” C Âł B ” ‹ arco B ”   Âś  Âś  Âś  Trombone " |  |C Âł † arcoÂłbalz.  C Âł Q ™2 (j !´ III C ”³ C ”C ‹C ””  BÂśB ”” 7´ Âś Âś ™  Pianoforte: verbow to the extent † ‡ !    ‹ C Âł Â?  ÂŒ Q G Q 2 ž , 2 Â? Q  2 t a low pitch CÂł  is™audible) ( (a) (b) W Gt. 5 ž ž II ( G ž C Âł 7 Âł $ ÂłQž@ÂłQ ϫ   G Âś Â’ Â’  , III " ( j  ‹ II ž Â?III c) ž Q ™ž Â?*= rasgueado strum (arpeggiating the right-hand fingers i, m, a, e in sequence across all strings). Unless specifically notated L 11 ‹ ‹  ‹ ! ! Q IV III QQ

III j Pno.  Â?  in this manner. QQQ ‡ j ÂŒ  Q ™  5:4 L 11 DRUM      M 3 SLIDE R K otherwise, all rasgueado are performed Deviations from this will specify either which r.h. fingers to brush ( ‰ ) Âś Âś Âś ž     |  ž  STICK 6 strum  S Q    rasg.  B Âł j    C Âł the strings 2!( rasg. Â?žthe ! ž C Âł  4:3 K across strings or which strings to brush across. The rasgueado is often performed while dampening with the  Qž   Â’ ž Â’ Âł Âł B % ™   ž ™™ žœ  K ž | 7 Âł B|Âł  ž |ž j |Âś  ´   ž ž ™  Âś   P Q    of the right-hand nailsž against Âś ž ž the j   asÂś much variation ž ‹Œ R isI the or  left-hand. The result sound strings. It is important that as C Âł 2 j´ ‹ L.H. pizz. * R audible  C C ³³ R 2   C ” G   -S C ofÂł | Âś Âś near bridge !Âś Q isconveyed Unlock Snare. Lift Snare above Head and slowly arpeggiate the Snare.    Âś 2 thought Q bottom tailpiece II various C Âł | (:)  the rasgueado strums by attention to the curves in position of attack. BRUSH Qv ™   ÂŒpossible C ÂĄ     :  DRUM STICK ž (rall.) Let Snares faintly touch the Head when Q vibrating. : erbow to the extent    , accel. 2paying Q R ( Gt. G edge of fingerboard ( ” ”  G brush Handle up Head of SD1 Qa low pitch 5 ( j j Heavy Brush † tive is audible) BRUSH 5 ‡ (Light † Brush) žRim ‡ strum ar the octave harmonic ž 5:4 ( ‰) !top of tailpiece !5 ” 79  * ! ! and Q ž ž ll strings at ÂŒ   SD2 ž 2 Q         h  rasg. d) All harmonics are open string harmonics are notated with respect to the left-hand fingerings required to produce these ž ™   K    j  Âś G™(closest d position ™  žœto Â’brigde)   position) Â’i) Â’ C ³’ Â’ Âś|, §   Âś  ™   ™   Âśrasg. ž    ||  (a, Â’ m, Â’ ž ž  Cl.S Âśj     ž  Â’ Â’ B ´’ ´ ž’ ž    ™žpont. open  Âł  ssÂś strings  Bit,´ Csuch K ™ | shifting      ž the ž B Âł C ´ B Âł harmonics on the indicated strings. Note that an accidental with an arrow beneath as , indicates  Âł [ 7 Âł ´ C Âł  | C ´ C ´ ! C ´  B ´ Âł Âł B %  tap 3 batt. along strings ž 7´ arco žacross strings fingering ” Q 2C ´  ž ÂŒ 2 7" C ´ 3 B ´ harmonic. 4 ” 1/2 SD1 ™ ž  Rbatt.below batt. RG slightly the notateddrunken to attain the natural seventh IIIIII c.l. 4 left-hand R v R  rhythm.   right hand ! III ( 2 ™ |Q III  2 QLift SnareÂ?above Head and slowly arpeggiate 2 Â? ( the Snare.Â? Q G  CG  Â?2 Snare. ( Q Unlock ´” !B ”  ! *RA M| C ÂłSII C ” C ” BRUSH DRUM STICK !   5 Let Snares faintly touch the Head when vibrating. ” a (notated at  ž * | | IIIžBrush ™žacross |SD1to - - -|- at rall. G(Light Brush)! to - - - -  Trigger On  | je) ofstrings Handle up Head  brush     Heavy  ‹very Trigger slowly  |indicated Bar all  the ™ ÂśOff Hairs  Bow K  position   ž†Â?| ž |  BRUSH Rim  !´ G  Â? ‡|ž   = ‡rotate  ž  ÂŒ ž ž sounding pitch)  at indicated position I  ”arco žC ” ž žž  I ž  C Âł ™  ž ž ž ž C Âł Âł SD2 arco  batt. ž  strum  Tbn. j  rasg. ž  žž 2  ´ QIIB Âł  Âł ž trattož ord.Ming ™ž  II ! ! TsaoC ”  ™S  ! ™   II , C C ”” Â? C ”   KB6” ÂłÂ? ™ j(   ´ž  |Âł Q ž IIC ” Â?™5  Q Âś œ³ [ Âł !C ÂłII žž            batt.    ž  B ´  ´ ´ | | 2 ™ ™ | Âś | 7 | ” G ord. pont. ! j  C B ””   j   C ”II 6  C ” ž j 7 ´  II C ” mstick ” ! 2 ( Q žI žž Guitar  Headž ™4 ™  žIII " III Q C B ”” Â? III  II II III G ™SD1 ‹ 7 ” Drumstick across | III 3 v drunken rhythm. Âś    ‹ Â’    Â’ ” ” ” ž Â’ ™ Â? Â? Â? Q (gliss. Plectrum between strings II, III turn pick sideways so that it touches string O and creates Guitar heavy rod (size 2 6-32, 1 foot long), 1 guitar pick): ( slide, II ™ glass | 1thinly threaded metal III 6:5 ( Ă› ) QQQ Q™ QIII 1along 22 Q(accessories: Q fingerboard a5 subtle glissando up the string. Unmute string O Q against frets); ™  Âś  Â? S Vc. G left hand (transposed G Q  Q 5 P (mute strings) 6:5 ( Ă› ) PLECTRUM rotate Bow Hairs Q G Q ” ž a)  The at indicated position to standard tuning) ÂĄ) ( ÂĄ ) ( ÂĄ) arcoentirearco ! I ³ž is´asÂł follows: is scordatura throughout the piece. The tuning * [C ”I  for ‹ :) :  †  j * *  guitar  ! ! !™ ( strum II batt.  ”the ”guitar ‡ ™ ™ Âś Âś  ™   Âś † C ” ž rasg. tratto Âś ord.    II Q Â? Q  j  ž ž ÂŒ ! G II  "       "    ! ! II II ™   ™ ´    C ”    ž ™ Âś ‹ Âś     ™ | Âś Âś ž ‡ † C ” ž † ‹  percussive Âś ‹   C ”           j        B ”     ž  ™ C Ball”” strings batt. C ”” ž! ž ™  C Âś j  žž  ™ ™ j  Litolff | ž Âś / Peters | ž C: ,II and lockjBow C ”   across strum ž$ Âł | 7 ” ž  ™ atž indicated rall.  ÂĄD ÂĄ position gs to prevent them ´ ™ C ´ ž  ÂĄ ž I  2 III Q ž ž ´ 4 ´stringsž I-III) IIIž Q (dampen bright  nger then indicated. II [ ÂĄ O ÂĄ II III III ( Gt. III ´ ‡ QÂŒ ! 7 Â’ IV  O ´

Âł 

II Â? ´ ‹ ÂĄ  ! Q ( ÂĄ ÂĄ  II Q (Ă›) j ´ ´ 5 G 6:5 Q Âś ™ |†2 2R ž   ( † ‡ Q |Â?C ” !7Q” (rasg.)C ” ™ C Âł ´  j ‡ R M G dark Vc.  Q 33094  ™  6:5 ( Ă› ) BIII!Âł   BIIIž” C Âł C ”ž‹ Q G Q´ † ‡  ‹ 1 2        C ” ™ b) The guitar is notated on two staves. S ž ž . C ”   ™   * 3 4 5 | †j ™ œ‡ |  Â?Âś ´ ´  ™Q Âł  | | Â’ Â’ ™  ´ [ Âł C Âłscordatura !  ! ! B ” ´ G und)  "  B!‡´ ™  ž ž œž *  Cposition  "  | Âś ‹  ´ C ´ (upright Slide)   C´ ™ ž     Âś jpont.   Âś  atraised end   !  $Âł Snare above Âś Â? ™ Lifteither Â’Snare. top stave an action clef. Â’ Â’ Â’  |2 Head. Âś ‹ 2 4:5 ( ‰) Quses ´  ThežUnlock 6:5bottom ofÂśSlide 2 (held Â?clef or treble tasto position Gliss. upright) Q´C Âł  ™  |(A) Â? (raise Snare  ´ ´ (!Snare without touching along IV at one end Â?  IV 4:5 ( ‰Head ) Â? Q with Slide † ‡ † above Head) Â? ‡ ‡ 2 (I) † The action clef indicatesPthe right-hand position with respect to the sound-hole. 33094 pont. ž ž ž ž !´ ( !ÂĄ Sž ž  ž ž ž   ! ž  ž | Âś ™ ž ž ž "  SD2 j C Âł      | ´ ™ Âś | Âś  near bridge top of neck  ž  ž ž B™  ™ over  tasto  ‹ ž |   soundhole  C ³³ ™  ´’ Â?ž ž  Âś Â’  ÂĄ j  Âś |CjÂĄ  Âś | Âś ,   ž j j j Q     4Ă ™ 2 ‹ P  Âś  over fingerboard   bottom of neck  R ‹   rall. 7:5 SD1 † pont. Q { 7‡ 7" † Q 5 G The action clef is primarily used for the rasgueado strums. SLIDE 2 Â? Q Q ( Â? Â’ Â’(LightBrushes) 2 |ÂŒ Â? strum Â’ Q  ÂśQ ( Â? OÂś Â’ Â? ” C ´’ SLIDE ”   Q MC ´ B ´P [ Âł [ Âł strum rasg. Q   B ´  Q P O SD2 !  arco batt. C ”” *B Âł!  ´ž  C ”C ´ B´ B ´ arco balz. arco !7 ´! | ™  tap  ��ž C  | | | ™ | | ™ | arco (II) The treble clef is used for the glass slide and threaded metal rod. Note that the Rim arco treble clef for the right-hand indicates the ‹ Rim ž  S balz. ™  B j j ”   Percussion j ž loosen Bow Hairs fullyHead  žÂ?ž Âś (batt.Q with SlideÂ?held B ” ž Âś | |  all strings at ž indicated position) balz. string)Œž(rasg. batt. in R.H.Qagainst ž 2 *) !4indicated heard pitch andso across is5žQnot transposed. Here are some examples. ”  ž   6 ž      II | B Âł  Âś ™     Âś ™ | | Âś Âś ™ Âś   | | ž ™ ™ ž  † SLIDE4:5  ÂŒ  ž žž j  Âś  GÂ? IIIž ž Q 2 2 3 Â? 2 * K Q ž ž ž Head ž SD1 ž no ž IIIII ž and ž IIIII žat the heard ž slide Q 2Âś * ™ Ϫ  [ Âł C ÂłC ”C Âł  Âł  R    Rim ™ tap ™ ÂŒ Hold thej slide the right-hand pitch on string 5. Then gliss žthe slide upwards. When ž SœžÂ? | ´j žwith  Âś ‹  ” 7 C ” ( 2 ´ ´    Vc.  Q not exceed2three quarter-tones. ‹ **) R # ‹#Q# # P| termination ™  is ‹providedÂśfor the gliss, the gliss should  Â? Q * C Âł Â? ÂŒ Q Q 1/2 c.l. C ÂĄ 2 II II žB Âł2R ž II ž Q ‹ žII ™  ž  IÂ? "Q  ‹ near bridge bottom of tailpiece   ž P  ž *| j   Q  III ž 7C ””SLIDE edge of fingerboard  j  the octave harmonic R M   j strum ™j near top of tailpiece  !ž    ord.  ž 6™ ‹  4Ă tap  ž III Âł ž Âś STICK j    (7BthÂł position) (closest to brigde)  Âś Q ”2  Âś  quietlyžlock 3 ( ‰) ž ž žDRUM ked) 2 Â? Q C ” Q   33094 Snare On |  v 6:5™ | ( 6:5  7:5 ! ! ž batt.

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‡ † ‡ ! ‡ C2 B Âł †  Q  ´™ C”  S  R     ™œ  |  Âś ™ C ”R  | | C ´’ C ´’ ™ ™  | C ´ C ”  Âś | 7 ´  |  ™  †  ™  B ´ ž žž™ G  B ” C ”  ™  ´  7 ´  ™   C ‹ ‹   ! 5:3 rall. (:) Qa tempo (:) QÂ? 2 Â? Q  rall. 6:5 5 Q ‡ Q Âł  ˜!  O ´

{ G ‡ ( † ³³ C Âł Âł Q ÂŒ ³³  m, i) ³³ 10 SLIDE ‡ † B†C(a,   ‡ SLIDE *) ‡ S † 1/2 c.l. arco balz. 1/2 c.l.    Â’   œ‡ 6:5 ( ‰) ! Âł [Âł CÂł 7 !†   Âł -S ´  6 Âł  Cl. c.l. tratto  " ‹ [ !ÂĄ  [ Âł ´ !´ ´ (rasg.) B´  ´  Âł  (( Û‰)  Âł ´†³ 4:7 3:4  " | ÂĄ   P   P Âś | ´ Âś ™ ´ ™ Âś Âś right hand ž ! ! 7 Tbn. ž ž Â’  ÂĄ Âł  ‹ j ‹ j        

ž 13"   

 5  ž ´   | B ” 7 ” Â’ C ”   ž  Âś ™ | ž K žC C ””  |™ ´ ž ž ž7 ™ along ž | Â’ Â’ j  ž4 4" points   Â’ the glissando. The number of articulations is indicated at the bottom. Â’ Bž” ž ž C ” ž žž† ž ‡ ž žGj Articulate Â’ (notated at C Âł 4 4Ă 2 Q Q2 GQ [ ( 7Âł Q QQ

QQ

ÂŒ ! ! II ž slow gliss. Âł 7:5 ! Q ( P Q sounding pitch) G Q { Q II Q ÂŤ_______ {  :  D´( Â? |3 B ” * Q 2 : : 4:5 ( ‰) F (m, a,strum e) (i) 15 2 Â? 

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O !´  Âł Âł  Â? strum strum  SLIDE Q !ž *38 CQ´ M Â? strum M4:5 P B ( ‰ )   rasg. Q    Q P O ™   ™ ´ !  ! C ´ Âł Âł C  4:7 ( Ă› ) C ´ ´ ! Tbn. Â? *  ž l. * Â? ‹ C ”” 3:4 ( ‰) P  | C ” | ™    Q!‡ ž |žjÂś ž™ : ‹ indicated  |‹B” with    manner ž  ž| the |the |slide Âś  the strings ž  Âś 5 –™ 1Âś inthe | ž ™ beginning | C |žpitch ™ | žon™string ž Guitar Q Cl. Gliss across notated     j j 5. j  ”   Âł    

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‡ ! e bow hairs at C ´ !  ! 3:4 ( ‰)  : CÂł ! Q  ÂĄ  Âł with jA)´ C ´ SLIDE 4Ă 5 to String ÂŒ ´ Âł  C ÂĄ  1 beginning (String Âł ´ (transposed Âł Âł BÂłC³³ ed position ! 4" C7 !IV 5:3 2 Âł ‡left † 4" P [ !ÂĄ hand [ Âł Gt. Bow ´ Â’ 2 Â’ Â’ Â’ QÂ’ Â? ‡ ˜SLIDE Â? 4:5  7 Q P frog G 13" Â’ P 2 (œ‰ ) 2 E slow Â? Âł tuning) [ Âł QB Âł † ´ Â?  | 73B ´ C7 |Qto  4:7 ( Ă› )G Âł 5:3C ´ ž Q Q* QÂ? (rasg.) Rgliss. Q Â? gliss. coil 2 Â’ Âś ÂŤ_______ ‡ standard ´ Q™slow6:5 Â?[ Âłmetal ´  Âł P 7 ´ [ Âł ” Â? ord. 7 ” ”  pont. Q P    " ž        , E B ´ (Light Brushes) ´ * *   C ´  Â’ i.e. ™ ™ ž | | | | |  D  ´ 

| | | ™ C ´ ” ´ K      ™  C ´  S   B ”    BRUSHES j C”  j  ´  žQ Gž j ‹   ž |™ ™ | B ”  7 B” ” ‹C ” Â’  ‹ž Â?Âś Â?|QB ” [ ÂĄ || j Â? ™ Âś quietly sing ‹an octave belowÂś the sounding pitch ž ™ 4Ă C ”‹C ÂĄ C ”  ž  C ´ Brushes) (Light D ÂĄ ÂŒ 2 C Âł Â?  2 CÂĄ C ´ ´ Â? ÂĄ ž Â? ! ”  ÂĄ sord.  B Âł con C ÂĄQ Â? ˜ Q P ° Q G ” 3 Âł Q % G ž6:5 Q ÂĄ or O Â’ arco balz. tap Q  Q  |Q ™  Âś  [ÂĄ P    Q  Gt.  [ ÂĄ |Q  Rim ÂĄ ÂĄ  2 ÂĄ4:5 ( ¥‰)  top of neck  Âś | Rim ‡  Â? ( Tbn. BÂĄ Â?  ‹ 3:4 ( ‰)  a, e)GS† Q(i) žR ‹(m, ‹ ž¥ Head  3:4 ( ‰)      Â? M N OP Q ž ž ‡ R 4x M ´ 7x ž R  SLIDE  4:5 ( ‰ ) ž  ” [ ÂĄ ÂĄ ÂĄ ÂĄ B ÂĄ 4" )  ´ ™ 74"† 7 ž‡ of neck  j13" 13" j ‹ 1 toBRUSH ( ) ( ) ( ) ( B Âł [ Âł [ Âł C-SÂł 7™”  ord. j‡  ž | Âś *  |bottom Âś 415 | ´4:7 ( Ă›with ) (String string beginning G)    * , ™  DRUM STICK |   Âś  ´ DRUM STICK slow gliss. Â?      P 3 Âś 4 st Q quietly lock  ÂŒ † 7 7 ‡ K ÂŒ Bow à   ( ‰)unlock‹ Snare ´ unlocked) (1 position) 2 frog ž    ™| Âś ´ Snare On ™ "6:5 Rim | j  Âś IVstrum Light Brush Head  scordatura ! C Âł (Snare ’‹ Â’ ’‹Â’ | percussive  Q  . Rim  |Â’ ™  ™ ™ ÂŒ5:4 " Âś ™ ÂŒ  Â’ | E 4:3 6:5  [ ³’: ´ CÂł   Â? metal coil .        j j j with i, m across all strings ! ! Q Â?C ÂĄ  ÂĄ[ ÂĄ  ” B Âł ”  ´ ” Qž ž arco!´ i.e. Kž ” C Âł  ž ” žE ´  P 4Ă  (a, m, i) C 7:5 ÂĄ B Âł SD2 C ´ ž !  2 Q Â? Âś ! Âś ž ž ™ P batt.| ž   Q C Âł      Q arco† 5 ™ Q ‡ ž 2     j ‹ ‹ Q ž | ™ | ™ | | ™ Âś | | (as if brushing) Â? Â? G R 3:4 (  ‰) 5 Q G  žIžIIAžv ž II ‡ jII 1/2*c.l. II ž”v II žQ ord. ‹ž II 1/2  c.l. A MC balz. v °  pont.  ž Âł (Light Brushes) A P III 7 7 ž M P ž ” ” ž ” ” B ” S R P C ” ž ž strum  ‰) SD1ž ™ ž Â’ M™ N ™’OÂś P ™žž ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ|ŽŽŽ™ŽŽŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽBstrum  Âł C´ ž™arco balz.BRUSHES  3 M N OP III  |6:5‡ œžœP SLIDE ™ŽŽŽŽŽŽ ž 4"3:4 (13" 7|”raised ! ÂŒ Â? ! (Light Brushes) Q ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ! ( Â?  | 7j‡” ÂŽÂŽÂŽÂŽÂŽÂŽ!SLIDE  j ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ´žCGt.    unlocked and snare strum  ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽbrush ´ ‡ † ž  ŽŽ´ŽŽŽ ÂŽÂŽÂŽžŽŽŽŽŽŽ 2 [ Âł Q ÂŽÂŽÂŽ ž light  ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ˜ ÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ ž    Q Â? 2 ÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽ  ÂŽÂŽÂŽ Q Q 7 ” G ÂŽÂŽ ÂŽÂŽÂŽÂŽ B ´ ÂŽÂŽÂŽÂŽ 5 ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ 5:4 ( ‰) ÂŽÂŽÂŽÂŽ top of neck   ž C ” ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ   4 ž ™ ´ ÂŽÂŽÂŽÂŽ 3  ž 7 ” 2 ÂŽÂŽÂŽ Â’ G ÂŽÂŽÂŽ ÂŽÂŽÂŽ ” C ÂŽÂŽÂŽÂŽ ! ÂŽÂŽ Ă    ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽ ” ” ” 7 7 ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ C ´ ÂŽÂŽ III drum stick pont. position ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ III Âś ‹ | Âś ™ C ÂłC ´  raised ÂŽÂŽÂŽÂŽÂŽÂŽ SD2   žI žj | ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ   across  ÂŽÂŽÂŽÂŽÂŽagainst  ÂŽÂŽÂŽÂŽ5,ÂŽÂŽÂŽÂŽend  œŽŽŽŽŽ ÂŽ4ž™and  žstrings ÂŽÂŽÂŽ| ÂŽÂŽÂŽÂŽ Rim batt. jheard across strings  j across ÂŽÂŽÂŽstring  ž  ‹ | ™strings    4 will vary  on  tap | ™ ™ string  depending ž AQ| Qž ™  j C ”batt. Q| žGliss  slide on both strings beginning with E 5. The pitch on how IIIIII Âś ‹  ‹ uponbatt. Âś    j ‹  bottom of neck   Âś IIIIII Rim II 4:3 ( ‰ ) Â? Rim   IIIIII  K Â? 2 S 2 j Q percussive    2 Â? batt. Head batt. Q 2 st R M tasto position batt. | |  Q  (Bow) 4 arco (1 position) Q ÂŒ Q Â? Q Ă  C Âł ž ž ž the slide is held. Occasionally, that second pitch will be notated also. pont. position ! ! 2 II ž 7 ” 1/2 c.l.  3:4 ( ‰ ) strum arco tasto position ” ord. C” BÂł Â? * Q 2 Q Light(Brush. II III ž Â? ÂŒ SD1 ž! C”  .RÂ? † . *tratto 4:3 !Q ‡-balz. Ϊ  , 2 R C ÂĄ Q 5ÂŒ3 B ” C ” ž 3:4 ( ‰) ! hold BrushesÂśperpendicular QSnare ÂŒ ” 7to”|Head and gently C 6:5 Brush along Arpeg. Snare in ž 13" 7ÂŒ    twist™Brushes C ” ž| with Snare slightly raised above Head. SLIDE ™  BRUSH II ž III | ™ | ž ž | ™ | | Âś | | S 7 III 2 ´ ord. position very ž 7 ” S  Q 

Head    j ” j ‹ j ž      *´ ™Bristles * C Âł back and forth with very slight breaks in between each twist. *  4" B ” C Âł % Âł      7 7 ÂŒ of Brush should also touch Head ž ‹  @ Âł C Âł  Rim  )‹ III™  Âś Â? ™Œ C|Âł  ÂśQ ´‹ with finger ‹™ ‹( |”‰) slowly  against ‹ (strike !73:4 j ž ™ ž ™   SD2  Brushes II ž  C C ÂĄÂĄÂĄLight Âś|‹ Âś   ” |  7C!³³ ³™žœ |Pž AM ( ” ´ ´ Â? BRUSHES Brush 4      C Ă III  arco ! on !strings with D on 4. The‹ other pitches on the‹ remaining strings will BRUSHES ! 4j – 1 beginning | ÂŒ ™ batt. ‹ vary4:5depending 7:5 G HeadC ÂĄ drag Brush across 7:5 C ”  5  Gliss  Q4Ă  2 ™Light ™  ˜slide ™ arco (Light Brushes) C ¥‹and Clight Âł ifstring (as brushing) Â?‡slide Â? 2 2 Q Rim  unlocked raised snare ( Head and Q 1/2 c.l. Â? Q Q G Vc. HeadC ÂĄ using the motion indicated) Percussion IIž II I II Q Brushes Â? brush tap Q 7:5 Q upon how the is held. II Â? ž ž ž Q 2 Q BRUSHES ž Lightžbalz.  II ž ž Â? ÂŒ ž 7:5 II 1/2 IIIon Rim drum stick B ” pont. position Brush raised endc.l. SD2 *) against Rim S A ™ C ” ž ž ž       C Âł R M ™ ™  ž ž ž*ž žœ  ž 33094 ž   7S ” ™ * III  SÂ? ž  žž ™  ž   ž  ™|   3:4 ( ‰)| j snare  ž    RÂśAQP  C ÂĄ jÂ?ÂŒ  G ÂŒ "pont.   j  locking A ž   4 ž ‹ ‹ ™ ‹ Âś ‹ ‹ Âś | tasto position ž M RUM STICK Light Brush. Brush along Snare P v (Bow) à ž position ž Snare slightly ™ ž raised IIIž  pont. position  Head.| ”III žžSnaredevice žž žž Arpeg. in 13"SD1 ” žž |BRUSHžI with ž  above (ž ‰) on Head ‡” ™ŽŽŽŽŽŽŽŽŽŽŽŽŽŽŽtasto  3:4Stick  † žDraw C Âł position  SD1  7followed ord. very CÂł 7  Âś Rim ŽŽŽŽŽŽŽŽŽžŽŽŽ ‡”  ŽŽ‹ŽŽŽŽstrings  4" ÂŽÂŽÂŽ j    Âś batt. Cacross the thinly threaded metal rod across strings 6 – 4 with string 6 dropping out first by string 5 before the   I ÂŽÂŽÂŽ Bristles of Brush should also touch Head II 4:3 ( ‰ ) ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ 4" spring  Q 2 Q ÂŽÂŽÂŽ Âś 3Head 2 Â? slowly with finger  ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ™batt.C ” ŽŽŽŽŽŽŽŽž Q 2  ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ 7 ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ‹ | Vc. ™ IV Q ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ Q ™ Âś | ™ ÂŽÂŽÂŽ ÂŽÂŽÂŽ Â? Â? ÂŽÂŽÂŽ ” ž ” ”  [ IIIIII ž Q ÂŽ Q ÂŽÂŽÂŽÂŽ Â? range of the glissando should j  ÂŒis notated, ÂłIÂŽÂŽÂŽÂŽ77´ŽŽŽ”” 7Âłžž 3:4|has Â? be from one quarter-tone to IV finished. j( ‰) 713"  ŽŽŽŽ”ÂŽ 7 ”™” QÂŽÂŽÂŽÂŽglissando * Â?*ÂŽÂŽÂŽIfÂŽÂŽÂŽKÂŽÂŽÂŽÂŽÂŽnoÂŽÂŽÂŽ termination  ™ then the  2 | point 4  Ă |žv | † |‡  ™ ™ arco    ‹ 33094  | | II quarter-tones. ž”v  ÂŒ ž‹ ÂŒ II III  three ” ‹ ”  B ”  arco III S 1/2c.l. tratto ‹ ‹ batt. balz. ÂŒ ‡ j C Âł % Âł "     2 ÂŒ II ÂŒ ! Âł C Âł j  arco @  ž ž ÂśQžž ™ slow†7single | Brush  bright ‹ ‹ ™Œ C Âł II † ´ III very  ord.Â? ‡ II ! ÂŒ ! ÂŒ Âł Âł     ´ * Heavy ž †žž  K  C” ! rotation ofž! Bow ´ II         III ! ÂŒ Â’ Q G  ™ | 7 ” C ” ™ 7 ” ™ ž Q ´ ‹ (Bottom: along Snare) C ””  ž ÂĄ  C ” 7 C ””snare  ž2 j j QÂĄ ,5 ‹ Â? ž   GQ ( ” B C ” j ´   ‹ ‹ ‹ C ” 7 2 6:5 ´ clef and a treble clef.batt.Note 3:4 ( ‰) :5 ( Ă™) ž Â?a rest, žž  thenQ dampen locking dark an IIIIII G I Q batt.  action ” (B) bottom stave also uses two clefs: stave contains  acrossThe strings I acrossthat stringswhen the bottom 4" arco device ord. * I strum 1 I 6:5 3 ‹ 4 I 5B ”  IIIIII II batt.  left-hand. This is generally  | IVIIIIII  the batt. strum ´ Âłsymbol B ” (2‰) by ” Â?I 7 ”³ 7spring ‹ j13" * III.ÂŒ ‹ Â? batt.Q ” dampening strings|with reinforced indicating the[left-hand 7 7 ””  ‹perc. C ”  ‹33094 ‡  |‹ III2  j C ”Â? † ž ž  Vc.  ž Âś all S B ž C ” ” C ” 7 ”    ! Â? C ™ ™ ™ ™ | | ” 7 ‹ ! Q C ”  Light Brush on Rim  |7 ” ž j   II      ÂśB ”  B ”  5 ž | I |BRUSHES |   ž , | Â?j”  ™ B ” III  ž II     ‹ II  B ”  II Â? ž  Q4ž ™ II II ž " žž Âś (I) ž The žj  * position treble clefžž indicates left-hand and so is transposed to standard tuning. The left-hand only fingers natural ž 3 very slow single ! Q     ž | ™ ž | bright   ´  ´ Âś   Âł Âł ´ [ ” Q Â’ ”      rotation of Bow  7 Âł % Âł j ‹ ‹  II ´ j  Q Â? * Q 2 Âł @ C Âł % Âł [ Âł ‡ † ÂĄ ÂĄ ž  Âś harmonics at the given fingering notated by a diamond-head noteshape. Q j ´ 5 hand  ´ thatÂ? Q Â?Âś G * II Â? fingerright Q same 2 *batt. across ™  strings QWhen |is played ™ž by a harmonic on that  ÂŒ Â? Q an open string followed string, that harmonic without dark reattacking (notated at IIIIII ™   1 2 3 4 5 ‡  CÂł †  *‹ ´ : * ž IIÂśnear   ‹ ‹ ‹ bright string. ´ bridge top of neck   sounding pitch)    ™  | j   ™¥’ ÂŒ ‹  B Âł | ÂŒ | | over ÂĄÂĄ ÂĄsoundhole Âś ÂĄ  ‹ j‹ j Âś Â’ Â’ ´ ´‹  ‹ ‹   ÂŒ B|™”  j ™Œ ‹ ‹ S     j over C C C Âł ´ j ™ ™  7 ”   | dark fingerboard K    4 bottom   Âł C Âł Â’ :   K of neck   Â’ Heavy  Brush  B ” C ” B ”  : III (Bottom: along Snare) Ă  3 IV-I ´ 7 ´ ´ C ´ Âł 1 2 3 4 5  B”  B´ ´ ´ 3" 5" C Âł Âł QFor the left-hand, ˔  2Â’  (II) ! of theÂŒ 7 andÂ’, down the neck. In general, it is very ! the action clef indicates a ‘rubbing’ motion left-hand up C Â’ Â’ Â’ Â’ !  7 ! Q Â?  ™ C Âł |  Â?I ™ Violoncello 7  I |B ” to2 ! : Â? ™ Q C ´  C Âł C ´ ™important I Â? accel. pay attention position curves for both right and left-handÂ? actions. ”  to the ***) C ” notated I  # # # # # # ™  B C ””   43 Â? ™! B C ””  | ™ B ” B ´ | | C B ” Crall. con sord. (faint unfocused whistle) C ÂĄ ´ ™ ”   j  Âł ´ near bridge 5 top of‹neck    Â’ ÂŒ ‹   C ´ B Âł  hand (transposed II   ™ C Âł Bsoundhole ‹ ´ ÂŤ____________________________ K  Âś II   ´ II Q: II Â? ‹ C Âł Oover 5 left  ´ (gliss. 1/8 (senza sord.) j j j Âł Q tone)Cl. †  O ´ ´   

   

 

ÂĄ   C ´  ( ) ‡ !    Âś overfingerboard bottom of neck  † 3x‹ ´ Âś 3 C ´ ž @ ÂĄ  Violoncello ž 5´ Q to standard tuning)  Q Q j  Â?´ ´  2 Â’[ ÂĄ[ ³’ ĂŒ2 Â’ Â’ Q 2  Âś   ™ [ ÂĄ C ´ C ´ ™  [ Âłtop C ˔ near Â’ |     Â’  GG   Q 

Q Â’ B ” ™ 3x C ´ Âł ´ | ! C ´ bridge ° ž C Âł  of neck Ă‹  ´ B      B Âł B ³’ Â’ 3" 5" |  [´³œ ™ j [ Âł ž |  Â?| C ” Q ™ C ” ÂŒ ™ Â’ C ³’ ÂĄ |   Â’ Q QQQ

 7 ´ ™|  Âł ™ jÂś ™ overj ™soundhole  |" Â? ™ |, | BÂł ‹™ƒ j  C ´ con sord. 7   C ´  OÂĄ 7 C Âł  a) The cello is scordatura throughout the entire piece. The tuning for the cello is as follows: C ´   ‹ ‹( ) C´  over fingerboard bottom !‹  Â’ Â? of neck ÂĄ  ! Q! ÂŒ 2 Â? 5 ÂĄ 2 B ´  "     [ nearÂśbridge  bottom of tailpiece G5 (rasg.) ‹5 ‹Q (m, i) 2 (rasg.) ™ ‹ ‹ ‹ Â? Tbn. ÂŒ 3       ƒ 5 (m) [ ÂĄ Â? fingerboardP Q ‡ edge of [ ÂĄ IVÂ? BÂĄ Qž Â? ž  j ‡ j | ž I Q horse  ž |  7"™j   near tailpiece  flutter top of ™ ™ ™ ™     S the octave harmonic† C  ” j ž     7 † ! Q 2 scordatura strumb) (with7 The N ”m) cello K žœ M  (7 thposition) C ” is notated °  Â’ †ž on two  (closestto brigde)   ™  staves.     ž ž ™  ´  | | ™!ž Q  ™4´ Q rasg. ™ ‡    (i) (with pressure) ´ (percussive strum with (slow strum with heavy ž  C ÂĄ ž [ ÂĄ ž ž   ž   ž   ™  |    2,   ´ SLIDE ™ Âś ™ ™ j   C ³’ Q™   Ă j ™  pressure against strings) nails of R.H.) rings)Âś  , j    8" 2 Q  Q ´ (i, m) 2 ´ either uses (A) The top stave action clef Â? ÂŒ Por treble clef. Q ! ( P C an rall. 7 ! ” Q ÂŒ  ž B ” 5 *    bridge  žv  | ž | | Âś bottom  ™ Âś |  ž of tailpiece ž ™  C ” O ´ Q  Â?j  near KA ƒ O ´  Âś Âł  5Â? jrasg.3Q ž Q 5 ÂŤ____________________________ ‡ ž ž ž v v      Â? edge of fingerboard ÂŒ  Q M *) 1. Snare Drumvž rightvžside up with | to the edge   ofthe   j finger-board x 4 K the right-hand Pj j to C ³³with indicates position respect the  and bridge.  Â’ ™THREADED  , ”(I) 5 ‹The action clef (a, m,Q i)   Â’ ’  Â’ROD METAL ‡ C † arco near harmonic  Q top of tailpiece  C Âł  ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ octave ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ  [ Âł   ÂŽÂŽÂŽÂŽÂŽ ( ) ž    ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ! Âł C ÂŽÂŽÂŽÂŽÂŽ  Â’ [ Âł ! ÂŽÂŽÂŽÂŽÂŽ Â’  Â’ ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ   2. Snare Drum played upside down ÂŽÂŽÂŽÂŽÂŽ Âł ÂŽÂŽÂŽÂŽÂŽ v M ÂŽÂŽÂŽÂŽÂŽ Âś ™  P 3 CC”³ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ thÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ   ™ P™ O žN ÂŽÂŽÂŽÂŽÂŽ strum m)ÂŽÂŽÂŽÂŽÂŽÂŽ j´ Âś   | QBP ÂŽÂŽÂŽÂŽ (with Âł Gt.OB ´™žN  MP|AQM™ ™ C ´   Âł CO´ NM R™ C ” ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ (7ÂŽÂŽÂŽÂŽÂŽ position) ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ (closest to brigde) 2 Â? G ( P ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ C Âł ÂŽÂŽÂŽÂŽÂŽ rasg.   [™   (lightly with near bridge (  ž  žLight ž ™ ´ž ord. 7 ”” of  along B ”*  of(slight ž  of™tailpiece  or| |R!bottom Brush ž7 ž | C ” Â?  C B ” j C( C³´ )™ pont. žfingerboard  Snare)   (broken ž ™ | ™ ™ 7 edge K * pressure nailsjagainst strings) C ” Q j Â? j    ƒ 2 Q ž2Rim  2  | BRUSHES      the octaveAharmonic top ofÂŒ tailpiece ™Â? Âś  ž ž  slightly) |  ‹ ‹ Q‹ Q 2 Q Q ž     ” 5 K ”  G Rnear CÂł * ” ” ž Â? M R th  C ÂĄ (7 position) B Âł (closest to brigde) **) For each â€?rasgueado“ delicately br of Brush 5 ‡ ord.  P(Handle  3Q PÂ?  |tap Â? 7 Âł Q|  Âś  5  Q horse flutter across Head)    ž   Q The left hand dampens the six strin 5  K    ž | ‹ž  ž ”    ™  Âś  ž vž Â’ ”  Âś ™   ‹  Snare off.   ž ž ž   BRUSHES        7 Âł is used forÂś the battuta (batt.), rotations drawing theFor metal situated Âś |  (II) ž ϪThe treble Âśclef Âś bow ™ and occasionally ™ ™ the string  allcoil right-hand battuti with the s Strike Heavy Brushes on Head. Then brush Rim v4       ž ord. jwith  ‹     (Brush ž j™œ ´ Head v ord. | Âś  the2:3frog  bow. BRUSHES C Âł Ă‹    the bristles of one Brush with the other. ( ‰) Handle of Brush across Head on Head) above on the Note that the treble clef for the right-hand indicates the heard pitch and so is not transposed. Q Â? ÂŒ 2 SLIDE CÂŒ Âł8"  S5 ÂŒ Snare offQ (no attack)ÂŒ Â? ( ƒ ” Â? ”Q 7 e along Snare. BRUSHES ” ” ” ””  žž  Here are some examples. SD2 ” ! R Heavy Brush along Snare. Q Â? de diagonally flat. Q  -S  tap  BRUSH    ord.Q A M THREADED Push Head in. Bristles of ™ | arco Âś |***) Âś pont. ord. balz. ,     4 (a, m, j i)Rim 5 7:6 METAL ( Ă™ )  tap Ă For all arco actions, if there are onl ROD , ‡ Brush should fall against Head. ord. †  arco batt. of Brush across Â? ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ Handle ™  Drop the žsounding žHead C ” the”7 ” notatedžpitches. ÂŽÂŽÂŽÂŽÂŽÂŽ att. across strings ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ tap !”  5ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ! ÂŽÂŽÂŽÂŽÂŽ 1/2 c.l. tratto ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ‡ vSD1 ž batt. IIžrasg. III K bow on II the indicated strings The bow should bounce by its own weight, producing III IV ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ C ÂŽÂŽÂŽÂŽÂŽÂŽ II  ÂŽÂŽÂŽ tap ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ” ž ÂŽÂŽÂŽÂŽÂŽ  across all strings C   ”  žIIIIIIIV B ” ÂŽÂŽÂŽÂŽÂŽ 5 ÂŽÂŽÂŽ ÂŽ  ž IV) Q7 ” ™ Â? ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ the bow, the left Âą 2all battuti with ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ  |   III,  ÂŽÂŽÂŽÂŽÂŽÂŽ  ””4 ”strings ”7 ”gesture ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ž C ”This  ž ™”ž  ™žž  ™ ž C B(mute ™” C  ”Qsound. ™ j ž” the case unless a specific G For   ŽŽŽŽŽŽŽŽŽŽžŽŽŽof™ the  agradual ™accelerando bouncing is generally number of iterations is(  Ă K ‹ G ™   ž         ™  of IIInails against  Âś   ™ ™ ž ™ j  | | III , ™ ž Âś 7” |  | pressure ™(slight ™ strings)called for. (percussive strum with v  ž ”     ÂŒ Âś ™2j R ™ ž ™ 5:7 ( ‰) nails of R.H. across all strings) ”  ” Â? *I 2 ”  Q A M  ž ÂŒ Q 8" Â? Q Â? Â? Q Â?ÂŒ II C ” Qž ! Q ÂŒG 1/2 c.l. Â? ! 7Âł Â? 7 II Q Q Â? II ÂŒ Q for the 7”   K is‹provided  i. e. ´     ÂśWhen  gliss,  žnot exceed  three  C ” ‹ Â?   no termination ž žthe gliss should |  | ž quarter-tones. |Âś   ‹ jÂś Â? B ´ ™ 7 Âł  žÂ? ™*™ j  C B ””  ž C ”     draw the Bow using batt. across strings ‹ ‹ 4 C´  IV I  the metal coil,rasg.  II , ž 4 all strings IIIIIIIV near across ! III batt. I percussive batt. across strings C ´ ! (mute strings III, IV) batt. II frog at the indicated III across strings 5 C Âł * * IV ‡ IVIIIIII II ž IIIII1/2 c.l. II pitch position Vc.c.l. ™tratto C Âł  Q3 Âś G Q ( G arco  Âś 3 II C ” j   7 ” IIQ7 ” Âś 4:3( ‰)  ™ C ” C ”       ž ™ | | ž Âś    Heavy Brush along Snare.  C ” B   ” C ”  j    Âś ™  C ” | | ™ ™ ™ | | ™ ™ ž ™ ž  C ” * BRUSH v C ”   ord. L.H. žpizz. 7K1/2 c.l. j  Push Head in. Bristles of  tap III against ž fall ,vž Head. IIIII Âś Handle of Brushacross” Head ‹ III Brush should    | |Âś  "  III ‹ ™ |  ‹ CÂł  ´ S j      ” ” 5 Q G ÂŒ 2 Q 2  CÂł IV-III-II-I Â? Â? C ÂĄ III Q (  G  : Q 55 Âł 

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ž  ž ž ! ž ! simile Âś      significant pauses between up and  strikes of the ž ‡ A     | Rod Âś  down   ‡ C Âł † ‡ † P ÂŽÂŽÂŽ M | ž ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ! ÂŽÂŽÂŽÂŽÂŽÂŽ ž ÂŽÂŽÂŽÂŽÂŽ ! ! ! ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ  ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ B ” ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ  C ” ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ ŽŽŽŽŽŽŽŽžŽŽ ž , ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ Q ŽŽŽŽŽŽŽŽŽŽŽž C ” ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ Rim ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ Â? ÂŒ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽ    ÂŽÂŽÂŽÂŽÂŽÂŽ ÂŽÂŽÂŽÂŽÂŽÂŽ    Âś Â?  ™ Unlock Snare.Lift Snare|above™HeadÂś and slowly  arpeggiate the Snare.  Head BRUSH STICK A M(LightP AM Let Snares faintly touch the Head when vibrating. Brushes) RA M QDRUM (Light Brush) Rim ( ƒ ž ÂŒ ž batt. ord. ž ” 2 IV-III-II-I ! II batt. across the four strings beginning with the B on     string IV and following the notated curve.  ‹  ž™ II ‹ ‹ II C ”  | C ”   ž     ™   Bow  | Âś | C ™ | ™ 7 ” ” | | frog IVj  ž C ”” ž   ž E”! C ”  7 metal coil Thin Metal Rod with one end placed against Head ” ” III ” 3 v III EB III ken rhythm. ” percussive pont. position Â? Â? 5 Q Â?BRUSHES arco metal rod Light Brush G batt. 5 position G 5 pont. (slight over pressure) 2 Light Brush Â? tasto BOW Â? Bow Rim arco balz. I RimI | co ord. †  arco ž ž strum ‡ II  C ” ž ” ” ž C ” ž Rotate the bow on the indicated strings sounding, This action does not involve drawing atto top of neck  ord. ! | ž ž B Âł   II  degree, the notated pitches. !   C ” ‹   ž | ™ !ž™ C Âł  žœœ II C ”  to some C the ” ™ bow  ‹   B ”   j j   | Âś in any way, although some vertical motion of the bow may be necessary. ™ | Âś | 7 |  Âś ”   C ”  bottom of neck  j   III ž ™ I st ž ž (1 position) very slowly. Conversely, a rotation IIA rotation occurring over a long implies thatIIIthe rotation must be performed II III . duration  . (notealong this Snare gesture II Â? Light Brush 6:5 ( Ă› ) Qover a short duration must be performed quickly. 5A rotation is performed with the bow hairs fully loosened as indicated in 2 indicates a single 2 G 6:5 ( Â? Q Q Q Ă›) metalthe score. G ÂŒQ rotation ofarcothewith bow) ™ coil (with tiny * !1/2!c.l. ! *) 1/2 c.l. arco balz. interruptions) ‡ I C” "  | Âś raised  II   c.l. tratto ™ metal Âś snare ž  coil above II unlocked and II C ”  the frog    accel.   C ” Draw the on the bow across the indicated string sounding, to some degree, the notated pitch and light brush 7 ” ž ž    ž ž   $ž Âł raised ™   ™C ” j  ™ ™ |ž |™ drum stick pont. position end against Rim   † glissing downward slightly. žIf nožž termination point is notated, then the range of the glissando should be from one quarterž ž ž O ´

! ! IV! II ž III Â?  to three Bow tasto position tone (Bow) frog IV  B ³’ Â’ Â? III quarter-tones.     tasto position  pont. position ™ ‹ | E 2 7 ” Q ÂŒ metal coil Â? Q 2 ”  C     ´ * ( 33094  ´ C ” ” ” [Âł  E ” !ž * ´     ž ž ž ™Â?  ™   ‹ 2  (B) The‹ bottomGQstave Q    also uses two clefs: an action‹ clef and a bass clef. Note the bottom ‹ that when ‹Âł stave contains a rest, ‹ then dampen arco bow balz.hairs at ! ! *) rotate j Âł ´ [ ” ” j  * all strings with theindicated left-hand. This is generally reinforced by indicating the left-hand dampening symbol . position Q Â? top of neck  † ‡ 2 ž      j j  ‹ ‹ snare bottom™of neck    Âś   locking st (I) The bass clef indicates left-hand position (1and so™ is transposed to standard tuning. The left-hand only fingers natural position) device bright  . harmonics Â’ . ÂĄ ÂĄ at the given fingering notated by a diamond-head noteshape. j ´ ÂŒ

”

THREADED METAL ROD arco with Threaded Metal rod

(

)

(3)

(13)

(

)





ot Reconciled



!‡ ´ 4 �

”

   

Bow

spring

´

frog IV dark  When open string is played followed by a harmonic metal coil on that same string, finger that harmonic without reattacking1 that2 (i, m) † an string. E K ” ‡ 4xrasg. 7x Ming Tsao

E

´ ´ ´ 3

4

5

 light  |  ž  žv raised snare   -S brush and  unlocked  end   ‹ ™  ‹G   |raised | Âś       ž stick pont. position against ´ clef Rim indicatesdrum a ‘rubbing’ motion of the left-hand up and down the neck. In general, it is very C ´ (II) For Cthe ! left-hand, the action C ´ arco balz. Q important to pay attention to the notated position curves tasto for position both right and (Bow) left-hand actions. pont. position 2 tasto position 2 top of neck ‹ ‹ ‹ ‹ ‹  * j PK ž     j j top of neck  ‹ ™   j near bridge   CÂł  ‡ ‹ bottom of neck † over soundhole       j j j K         ™ C ³‹ C ™rall. ™ (1st position)    :    ´ ‹  ´ over fingerboard  ‹ bottom of neck  Bow  ‹ frog IV j .! .  Eof SD2. h Brush on head ‡ R Âł 

metal coil O ´

Ming TsaoMing Tsao 2 Â? ! ” hould be heard. † ” c) = Finger-nails 2 C Âł ´  E snare  ” ” Âł ´ Âł ” j *  GLASS SLIDE C Âł ´ circular motion locking  SLIDE around Head A ™ ‡B ” [ž ´  ”Gd)  device Âł P M Âł ´ ”  [ Âł   CÂł Âł ´ ´ 1/2(i,K*harmonic ´ =j stop by left-hand. † ! ( ”  )S a vague hint of pitch should be discernable m)  P AMOnly     ž ž spring  ™ arco balz.  ™ ´ ´ |  C ´ ™‹   snare |  bright ™    ÂĄunlocked and raised  light   ´ ž  brush Â’ Â’ Â’ ž  ž ž j ´ C ”  , ´ ž e) = Arco balzando. A bouncing of the bow hairs against the indicated strings.pont. position Q Â? ´ against bright top of neck drum stick  raised end  ´ dark2 gliss slide  mpo Â’  Rim ´ ‹ C Q ÂĄ ÂĄ Â? ž ÂŒj down Head Â?  j2 rall. 1 2 j3 ´ (4 ´ 5Q G 2 ÂŒ C: of SD1 dark  bottom of neck  rall. ) : tastohair. position * col legno) f) 1/2 c.l. = (1/2 draw Âł  the bow with some (Bow) ‡ O ´

position 1 2(1st position) 3some4wood 5  and  pont.    ‡ tasto position ³ O ´

    !     

K † ™ ™      C Âł ´  near bridge batt. bottom of tailpiece  j ‹     3  ! † . 7Âł . arco ´ C ³³   C Âł ´  1/2 c.l. edge of fingerboard    II balz. j j j C ´   bow entirely c.l. tratto the wood. ‹ with  harmonic  R‹™ g)  ‹= DrawII7”the ‹ Âł  ‹ ‹³ C Âłthe ‹     ž ž ™    ™ K near octave top of tailpiece j   | ™ | [  B ” ´ ´ ´ ´  ™ B  j  žž ž  ´ [ ÂłC Âł ž  (7th position) C ”´ ´  C ”³  ž ” ´ ![ (closest to brigde) C´ III Âł Âł ! ž ´ ” ”  III jbattuta. * ‹Use enough ‡ h) ‹ = Percussive III ord. force so thatC ´the wood of the bow strikes the wood of the fingerboard. † Â’ Â’ Â’ ‹ e( Q top Q  G Â’ Â’ ÂŒ ’‹  j Q Â? 2 2of neck Â? snare unlocked and raised e  °jQ Â? Q ´pressure so that a continuous, low tone is produced. j of Â?neck light brush ” top Qbow Slideend i) in R.H. = Overbow the tailpiece). the  with enough bright d near bridge bottom ofat neck * (rasg.(on across all strings indicated position) (batt. with held against indicated string) Draw ´"  drum stick pont.‹position raised Â’ against Rim ´  Âś j” 6 |Ӵ ™ Âł ´ Âł ™   ÂĄÂś   over snare     soundhole    5 j ™erSLIDE | |  j ´ [    ž ™   bottom  ‡  j *   ‹ † fingerboard ´ of neck locking ž dark ž™ ž ž 1  2 3 tasto position  (Bow) ž device 4 5 Âś ™ | pont. positionC ”  of  jž  (Accessories: 1 bass bow,  : 2ž  snare drums.  slide, 1 ‹ 1 heavy´glass Ctasto ” ‹ position  pair light brushes and 1 pair of heavy brushes, 1 thin,  7‹” Percussion Q Â? ‹ bright   ´ spring Q R PÂĄ  smooth metal rod and 1 pair of drumsticks). ´ ‹ Q ÂĄÂ’**) 33094 j ´ batt. ´ across strings Q Q dark  sg. (II-I) * IIIIII cross all strings 1 2 3 4 5  (i)  Snare   a) Set-up: drum #1 (bottom stave) is played in the usual manner. However, the top head is detuned (so that it is slightly ‘floppy’) ‹   ™  ž          ‹ ‹ ‹ ‹ žj |  Âś | sostring) | against |position)  the held| in R.H.    across j  head  allB ”strings indicated (batt. with Slidesnare against indicated B Âł atÂłthe and is loosened that it(rasg. rattles bottom when the top head is struck in any manner. ‹ 3x”

Not Reconciled ot Reconciled

  









 

 









(2)

j

of tailpiece2 over soundhole  j ž ž™the snare j over j snare Â?ngerboard Â? stave) isbottom  of the action occurs on the snare itself. The bottom ord.fingerboard b) Snare drum #2 (top played upside-down loosened. Most ž žj žwith ž  ž ž Âś ™ |  bottom ofžneck position (middle of Snare)   j  ž j ž C ”  Âś ™ | ™ locking ” 7 C ” ž  Snare near bridge bottom tailpieceshould jž  žof the  harmonic C ” head (now top i.e., the with the be detuned slightly, but not to the extent that the top head was detuned for * headtophead of tailpiece  7ž” pont. position of snare) C ” either (at Q the Snare) device R end edge of fingerboard P ‹  **)   j j ‹ ‹ ‹      Q  Q ™ear the ™ (closest to brigde) R P snare #1.  Qwith       ‹ joctave ‹ **)harmonic  Q near bridge (arpeggiate Snare finger) top of neck Q  top of tailpiece    , Q spring BRUSHES Q th position) * over soundhole  j 2. Snare Drum j (closest to brigde) * Q Light  Brushes  snare at the indicated position in one sweeping gesture. Â? verfingerboard bottom of neck tap  ‹    ™  Arpeggiate the snare by dragging a finger across the   ‹ 5:4 ( ‰ )  ™  ž  B Âł Âł ” BÂł Âł 33094  Q  Âś   Rim Q   v ž” ž Rim ž ‘ord.’ position = middle of the snare ord. position (middle of Snare) ! ord. positionSnare (middle of Snare) Â? pont. position (at either end of the Snare) Â? ‘pont.’ position = end of the snare (at either end) Q Snare pont. position (at either end of the Snare) Â? near bridge bottom of tailpiece   Snare with finger) (arpeggiate (rasg. across all strings at indicated position) 5 Q 5

(batt. with Slide held in R.H. against indicated string) 6 near 6bridge  SLIDE

SLIDE ear bridge

j j

top of neck 

= arpeggiating the snare with the finger-nail. edge of fingerboard  j j ³ ³ ´ ‹ ‹ ‹ ‹ ‹ [ j * ‡  ” ” near the octave† harmonic top of tailpiece  arpeggiating motion. This is generally the case unless a specific number of (7 position) to brigde) ” † ž Indicates a ritardation of the(closest  ‹ ž C” ž ž ” ž   iterations is called for. ž near bridge bottom of tailpiece  œ bright  ´ ´  ¥’ž  ž  ž¥‡ž  ‹   †ž v edge of fingerboard ´ ‹ œ  j ž | j ž  v j ´ j harmonic ” earž the octave topžžof tailpiece  ´  (arpeggiate Snare with finger) 2. Snare Drum

2. Snare Drum tap th  tap III (3) III

” Q Q * œ II II Bž” III C ” C”

BRUSHES

Light Brushes II

II

! c) Lock snare Â? Q Unlock snare Â? Q Q QQ

III !  ž B³ |$ ³ ´   III III ž ž II† III ž  ž ž C ”  QQQ

ž Qž Q |  j near bridge j|   over soundhole

j

2Q 3

Q Q QQ

* 3

 over fingerboard 

Q QQ Q !

´

j

Â?

† ž II‡ž  Œ ž žž

3 it rattles against the bottom head when struck the snare. Detune bottom drumhead (now the top drumhead) slightly II III III

* CÂł

5:4 ( ‰)

5:4 ( ‰)

Rim

Rim Rim

Rim

(3)

j

BRUSHES

Light Brushes

dark  ž = snareIIIis engaged (closest to brigde) � 1 2 3 4 5 = snare is not engaged third � snare drum with snare unlocked throughout is optional). Œ (a �

7th!position) 3

(3)



II

Q

III



ž

ž †ž‡ž  ž

O ´

II

III

Œ

‹

† ž Œ



 top of neck 

bottom of neck  O ´

j


j

5

| j ž Q

Q

f thearco Snare)balz.

ž

O ´

ž

.

:

 œ ” E

IV

Â?

ž

ž ž™



ž ž

.

Q

bottom of neck  (1st position)

:

Âł 

Âł 

O ´

j

5 O ´ ³ 

Âł 

F

O ´

 C³ ™      B ³ ³        ’ C ´ ³ ´ Qraised is ³asked unlocked and ³ light ´ brushthe percussionist ³ ³ to unlock ´the³ snare on #2 and raise the snare above the ! snare C ´  Sometimes head. The percussionist is stick then Qasked arpeggiating the snare or sliding drum position raised end against Rim Q pont. � to play �snare (either Q the Q � the glass slide up and down the snare) while holding the snare above the head and, in some cases, Bow frog metalcoil









tasto position quietly sing an octave below the sounding pitch (Bow) preventing the snare from touching the head. Sometimes the percussionist is asked to raise the  con sord. snare on #2 without unlocking the snare. In Â’this case, the snare will rattle against the head.

pont. position

j

tasto position top of neck 

 [ ÂĄ BÂĄ  ÂĄ ÂĄ ÂĄ ÂĄ   ÂĄ ) lightB ÂĄ or heavy, will be indicated in the score). (1 position) ( [ ÂĄ (the ) ( ÂĄ )gauge( ÂĄ d) The percussionist is often asked to brush against the rim of the snare of) (brush, Â? Q ÂŒ    percussive strum Rim‹ ‹ ‹ ‹  Bow ( ‰ ) V j with i, m across all stringsž (a, m,frog i) Rim K ‘Arpeggiate’ (slowly drag the bristles) of the light gauge brush against the rim of snare #2 in the following ž metal coil   | ž     ™     ž manner. ‹ ‹ E ž Â? snare Â? 3 locking raised snare 2 brush should move across the rim and onto the head in one sweeping motion. Often, this brushing motion light brush Q The device ( ‰) 3 drum stick pont. position against Rim is then continued onto motion. A single  brush stroke occurring over a long  itself in a single sweeping   ‹ the head ‹ ‹ II Âś K spring     II top of neck duration implies that the stroke must be performed very slowly. Conversely, a single brush stroke over a short †ž C Âł BÂł tasto position ‡ž  † (Bow) ÂŒ C ÂĄ j ž ž  must be performed quickly. tasto position R ž bottom of neck R duration hold Brushes perpendicular to Head and gently twist Brushes Bow Q

back and forth with very slight breaks in between each twist. st frog

)

)

 

Light Brushes

Q

 Âś of neck   bottom st

‹

BRUSHES

5:4 ( ‰)

‹

(

)

(

)

(1 position) III Brushes metal coil BRUSHES (strikeMotion Light Brushacross against the drum head (with either brush, handle e) of brush or drumstick).

(Light Brushes) E E on the head. TryŒ to be as faithful to the accelerandoand with stick or brush tap ritardando curves � as possible, tracing theQ notated curve ”

IV

‹ ” ”   ‹  S  S ™  O ´  |‹  ´ ž    G G  Indicates a sweeping ž”v ž žžmotion with the žž‹stick on the žž head of #1. ™ ” ‘v’ symbol‹ on the ž ‹ ‹ ‹ j The note stem indicates to hold the stick against the head after the initial attack snare ead top of necklight  brush arco balz. arco balz. Q � � (dead stroke). locking drum stick pont. position 2 Q Œ � against Rim j � ottom of neck ž

BÂł

Head and drag Brush across Head using the motion indicated)

Head

†ž mhead) slightly

1st position)



”

device

arco balz.

j

† ‡ †   ™ ž K    ” C  ™ | 7 ” C ” ™ 7 ” C ” C ”  B ” C ” C ” 7 ”  ž  C ” 7 ” ž ž ž j    žž the center of the head, f) ‘Tap’ = Tap head with finger. Often a general position is providedž such as batt. II

tasto position

(Bow) spring (3)

(2)

1/2 c.l. tratto

arco

II

Q ÂŒ Â? Â? Q ‹ *g) 2The percussionist ‹ is asked to bow a smooth,‹ thin metal rod on the head of the snare drum. ž ž      rum stick pont. position     Âś ‹ noise texture. ‹ arco actions with the bow will produce only a white open strings are to be executed (notated on the lower stave). snare Â? Œ‹ Q ‹ ‹ ‹

III executed (notated in the lower stave). g is notated in the lower clef.

6:5 ( ‰)

tasto position

locking device

(Bow)

‹

 

‹

SLIDE

PC ”

C” Q 4

‰)

BRUSHES Snare off

 Âś 

I

‹

ž 4

 j

P

P

Â?

C” ”



 |  CÂĄ

”

(4)

j

. ,.

unlocked and raised snare and raised snare light brush unlocked raised end raised end against Rim



"

near bridge  over soundhole  over fingerboard 

‹

con sord.

 ™  ‹ [ ¥ [ ¥ B ¥  near  bridge  bridge 2over Q near ° soundhole over soundhole

j

j 

 j  j j over fingerboard over fingerboard   (

™

7

)

8"

Âś

 

‹



‹

(i) (with pressure) (percussive strum with (slow strum with heavy pressure against strings) nails of R.H.)

j

 ™ 7œ 

 

 žv  ž

top of neck  !  |  | ž | |bottom Âś of žžneck žž j™  v vž vvž

2 (

  CÂł

G 3  * | 

‹

(

‹

j



j

top of top of neck neck  bottom bottom of neck of neck 

‹ j

j

‹

P near  bridgeBRUSHES near bridge Snare off. of tailpiece bottom bottom of tailpiece    Strike Heavy Brushes on Head. Then brush of fingerboard edge of edge fingerboard ord.   Handle of Brush across Head the harmonic octave harmonic near octave top of tailpiece  Ă‹-S the bristles of one Brush with the other. top of tailpiece    8"thenear (no attack) th th near bridge  (77position) (7 position) ”  to brigde) (closest(closest to brigde) ”” ””  bottom of tailpiece žž  edge of fingerboard     |   ™ Âś |  near the octave harmonic ,  4 top of tailpiece  Ă , (3)  ž ž (7th position) (closest to brigde)

Q

j

j

G

K  ž Q

 Âś    

ž



‹

‹

Â?

‹



 ž B ” 

(2)

.

, or near the rim,

E





7

  ´’  ! Q



.

ž

”

E

pont. position pont. tastoposition position tasto position ™ Âł Âł Âł Âł ´ ´ [ [ ” ” ” ” j  * j  * ‡ ‡ † : ‘ † ’ and ‘ ’ indicate up and down bow respectively. : 3" 5" = Overbow. Draw the bow with enough pressure so that a continuous, low tone is 7 Âł ´ 7Âł jÂ’ : ܠ ‡ [  ” ” produced. ´´ ´ bright  bright  * ´ Â’ ´ ´ ‹ ‹‹ ÂĄ ÂĄ # ´ # # # # #  j ´ j ´ C ÂĄ ÂĄ  ¥´ ‹ ‹  Âł ´ ´  j j dark dark C ´ B Âł    ‹ the snare locking ‹ ´ device. Âś  to bow the spring C Âł C Âł B ´ will have   contained   under  1 A2high ´ In m.snare 223, the percussionist brightjust 1 3unpredictable 2 4 3 5 4 frequency 5 C ´ ´ Â’ ´ ‹ C´ ÂĄ shouldlocking be audible. ÂĄ j ´ ´ Q dark  2 Q 2 ° GG Qdevice 

Litolff/Peters 1 2 3 4 5 3" 5" ‹ spring ‹ ‹ 7 7 spring

‹

Â?

III

.

j

”

IV

 ž 4 G

1/2 c.l.

j

j " 

j

L.H. pizz.

‹

j

j

GÂą2

7

8"

 ž 

ž ,

Q

j7K

arco

S CÂł  C ÂĄ III IV 0 Q Â?



33094

j

1/2 c.l.

(

 ´ 

Q

j

(

(percussive strum with nails of R.H. across all strings)

 | |¶ |  ¾ ! G (  | | 

‹

CÂł

IV

|Âś

‹



‹

‹

‹



j

‹ j

‹

‹


Not Reconciled Ming Tsao

e = 72 Clarinet in B b

(Sounding a major second lower)

U ( n ‚)

7"

μœ.

28 ®

& 81 ‰

Trombone

28 U‰

7"

Guitar left hand (transposed to standard tuning) & nœ Bœμœ

bœ # œB œ 

ã 81   P

·

rall.

38 ≈ m¿ >

p

°

π

38

C#

e = 63

≥ > 58 !!! ‚ ‚.

(· )

· n n · .. ·.

38 ‰

28 U‰

38

8

j 1 & 8 n· n·

7"

SLIDE

&≈

6

n¿

b¿

p P ∑ **)

n¿

P

(rasg. across all strings at indicated position) 5

p

85 Π.

*)

SD1

7"

Violoncello left hand (transposed to standard tuning) ?

μœ

IV

Bœ I

& 81 ≈

n¿ m¿ II

p 3 ***) P n I· II n· ?1 ≈ 8 3

scordatura

28

28 U‰

38 v ¿  > p

 

¿

 tap

28 ‰

ã 81 ‰

U

7"

m¿ n¿ II

II

3

P 3

P ‰

3

n· II

38

 

III

n¿

3

P 38 ‰

p

   

48

m· ·

48

 

48

p

≈.

48

pont. position (at either end of the Snare)

2. Snare Drum

U

batt. I right hand (notated at sounding pitch)

   ≈

 

® ã  .

(arpeggiate Snare with finger)

Percussion

&

ord. position (middle of Snare)

Snare

SD2

85   .

48

n‚ æ æ æ π p

scordatura

‚ ‚ ‚ μ· n· 

85

2 U‰

( n ‚)

 

(batt. with Slide held in R.H. against indicated string)

(a, m, i) right hand (notated at sounding pitch)

( ·)

p

°

?1 ‰ 8

a tempo (e = 72)

(3)

ã®

π    .

III

p ( pp) > ®J · ‚ . III

p ( ppp)

85

BRUSHES

 

Light Brushes

Œ

5:4 ( ‰ )

 

Rim

Rim

π

π ≤ .   85

 

m·. 85  

II

II

III

p

p

.  ≥  .

≤  

48

∏  

( n ‚)

48

*) 1. Snare Drum right side up with top head detuned and snare loosened so that it rattles against the bottom head when struck 2. Snare Drum played upside down primarily on the snare itself. Also loosen the snare. Detune bottom drumhead (now the top drumhead) slightly

**) For each ”rasgueado“ delicately brush the fingernails across all six strings in slow motion. The left hand dampens the six strings in first position, undampening only those strings on which harmonics or open strings are to be executed (notated in the lower stave). For all right-hand battuti with the slide, the left-hand dampens the strings in first position, only undampening a string when that string is notated in the lower clef.

***) For all arco actions, if there are only rests in the lower stave, then the left-hand dampens all strings in first position. In this case the arco actions with the bow will produce only a white noise texture. For all battuti with the bow, the left-hand mutes all strings in first position, undampening only those strings on which harmonics or open strings are to be executed (notated on the lower stave).

© 2012 by Henry Litolff's Verlag

33094

Litolff/Peters 2/13


2

b

B tr

& 48

(· )

5 Cl.

( n ‚)

· ∏

p

straight mute

Tbn.

& 48

μ >œ . œ  . !! p ( ppp)

(gliss. 1/8 tone)

p

SD2

SD1

& 48

&

ã 48   Head  

   .

≥ ã 48  

arco balz.

π

®

n‚

(

n‚

( ·)

 

81 ‰

(senza sord.)

(hold Slide with p, i in R.H.)

3 ≈ n n ¿¿ 16

P π

5:3

4:7 ( Ù )

≈ 

78 v   f P 78 ‰ .

18 j n·

3 16

¿ p

¿

1 8

∏ n¿

3 ≈ 16

III

π

3 ≈ 16

¿

 m m ··  m· 

n¿ 4:5

III

ã

p

P ‰ 81

‰.

Œ π

j Head Rim       . ‰

p

48

78 ≈ ≤ II  

≥   

78 ‰ .

P nœ Œ

II

III

III

III

P F

 

arco balz.

∏ ∑

p

Œ.

L.H. pizz.

p

 

Vc.

?5 ‰ 8

7 32

‚ m‚

28

≥ !! 85 · ‚ . > P p ( ppp)

3 ‚r . 32

&

π

6:5 ( ‰ )

j n ¿ n n ¿¿

m¿

 

∑ ≈

(4)

3

 

ã

π

7 32  

  ≈ & 28 ® m ¿ b ¿ n ¿ .

p

π

(m, a, e)

p

P 28 ® ‰

π .   ≈. 7 ® 32 ≈.   J ∏

2 ‰ 8

7 32    .  I

28 r  

BRUSHES

Œ. ≥    .

p

   

III

P P

≈. b· ·. ® Œ > P p III

arco (as if brushing)

II 1/2 c.l.

p

.   

II

7 32

®

p

p

28

π

3 32 œ

nœ. 

ord.

pont.

¿

¿

3

batt. (3) II

m¿ &≈

p

33094

b n ¿¿

II

III

4:3 ( ‰ )

 

ã

85 ‰

®

¿

p

n m ¿¿ n n ¿¿

batt. I II

I II   3 ® ã 32 RÔ P

85

  II . π

85

n· n · II J

Œ

85

I

5:4 ( ‰ )

ª rall.

·· 68 · μ· n· b‚ æ æ æ p   

 

(rasg.)

P

 . π

 

4:5 ( ‰ )

π

III

p P

π

&

68

&

68 68

≈ & n· m·  n· 

∏ π

 

Head

Rim

1/2 c.l.   II   ..

 

4:5 ( ‰ )

®  ..

Kr 5 nII· K · k· n· ã . n· 8 ‚   > P π p

III

5 8

m m ¿¿ J

(2)

5:4 ( ‰ )

85 ‰ 5 8 ® p  ..Rim ‰

¿

2:3 ( ‰ )

(Light Brushes)

3  tap 32 r ¿. P

3 ≈ 32

ã

¿

≈ Œ.

(i)

4:7 ( Û )

7 ‰ 32

3   32

(Light Brushes)

arco balz. III

≈ ã ≈.

 

4:7 ( Û )

#

85

#

G C#

m n ·· .. a ·. G

85

ord.

48 Œ

≤ 85 ‚ .

3 ≈. 32

∑ SLIDE

P

¿.

7 32

≥ 28 μ ·æ ‚ . > p ( pp)

48 ‰

&

Œ

Head

≤  

 

  ≈. Œ

4 8

Rim

85

48 j   p

     .  

Rim

5 8

48

(‚)

Head

π

p

arco

I

4:5

Œ

(·)

n·. n ·. n·. π

handle of Brush across Head with slight pressure.

m¿

81

II

7 8 ‰.   v  F

  ‰

p

BRUSHES

π

2:3

  P

4:7 ( Ù )

ord.

 tap

4 ‰ 8

(faint ≤ > unfocussed !! (dirty breath) ! !! ( œ .“whistle”) ) 78 ‰ ‚!   . . ‚.   ‚. p P p π rasg.

(m, a, e)

1 ã8   ≈ p

b¿

ã

(e = 63) a tempo (e = 72)

( n ‚)

p

& 85

& 85

P

n‚)

( )

Gt.

SD1

7 8

R

& 85 ‰

ã 85

(slight pressure)

&

1 8 ‰

e = 72

R

SLIDE

SD2

≤  II v 

c.l. tratto I

p b( ‚ )

> · · ·. 10 · 5 & 8 · · ·. ã 85

I

rall.

Tbn.

  II         1/2 c.l. IV III

p P ? 48 ‰ ª

Cl.

3 16

3 16

Head

Vc.

!! ! m‚

SLIDE

ã 48 Gt.

(k œ)

3 16

accel.

  Head

   .

®   . Rim

6 8

68

 

p ∏

68


3

& 68

e = 63

15 Cl.

3 8 æ ≈. ‚ > π p

( n ‚)

(œ)

b‚.

æ @ & 68 μ œ œ   . > p ( pp) con sord.

Tbn.

 .

 

(gliss. 1/8 tone) (

k œ)

Ø

6

SLIDE

& 68 ‰

38

P

& 68

5

n n ¿¿

p

38

SD2

SD1

ã 68

j Head       Head π

ã 68   Vc.

π

≥ ≤ I ®   ..     II III

π

  Ø

c.l. tratto

P 6 ã 8 Œ.

‰ ..

  ≈

?

p n‚

I

     

II

III

m‚

n‚

III IV

4:3 ( ‰ )

Cl.

& 85 !! · ·. 

Tbn.

& 85

‚.

SD2

SD1

(

 .  .

μœ)

Œ

& 85 Œ

48

mœ) (mœ)

(

∏   J p j  m·  n n ··  n ·  m· 

Œ

 .

Handle of Brush on Head in large circular motion

ã 85 ≈  . ã 85   J

p

  ..

arco I

II

π L.H. pizz. P ? 5 j Œ. 8 nœ III π

 

π

p

∏ j   ∏ p

48

π

7:6 ( Ù )

3   8

·

· p

π

( ·)

·

3 32

· π 

48

r 3 32   .

  Œ

48

7 16

 

Ø

arco balz.

   

π ∑

  ≈.

&

3 ≈. 32

(2)

p

5:7 ( ‰ )

>‚

rall.

≈.

‚ !!

! μ œ! ˙

81 j n·

Œ.

85

68 ®

Œ

Œ.

85

p

n·. 

   

π

¿ ∏

  n¿. 81 III

81 ® n · . III

33094

 

v.

Head

5

 

(Brush on Head)

≥ 1/2 c.l. tratto ã    III J   p π

85

π

arco balz. II

6 8

28

28

&

28 ® n ¿ 

28

1 8 ≈

III

π Ø ¿    .

(lightly with Light Brush along Snare) (broken slightly)

 

π

5 8 5 8

(e = 52) a tempo (e = 72)

81 ‰

38

81 ‰

38

 

  81 .

P

π

n¿

® 38

(2)

38

1 8 ‰

3 8

(m, a, e)

ã

ord.

b n ¿¿

85

Œ

batt.

j !!  

π

(Slide)

p

II

π

68 ®  .

6 8

π

ª

(m) 18  

3 32 ≈ .

3 ≈ 32

b¿ n n ¿¿ b ¿

batt.

81 ‰

π P 3 32 ≈ .

p

π

p

1 8 ‰

·. R ∏

j p   Rim

p ( ppp)

of Brush 7 (Handle 68 across    Head) 16   v   ®  . Rim vR ∏ π p

m¿ 7 16 ≈ n ¿

P j  n·  n n ·· 

BRUSHES

68 ‰

æJ >

con sord.

(rasg.)

(m, i)

p P 7 ŠΠ16

1 8   ≈.

81

  ≈.  

(rasg.)

P

·.

5

5 8

j n· ·

&

p

7 ≈   ® 16

(m)

3 ≈. 32

(arpeggiate Snare with other hand)

III

81  .

(broken slightly more than previous measure)

( ppp) 4 ¿ 8

.. 48   ..

(3)

1/2 c.l. II

j b¿

III

ã

( œ ) ‚

!! ‚ ‚ > π

7 16

® 81 ‰

p P ≈ Œ

48

(brushing)

p

¿  .

III

(· )

m· ∏ J π

 

arco balz. II

Vc.

#

¿.

3 ≈ & n m ¿¿ 8

e = 63

quietly sing an octave below the sounding pitch

ã 85 Œ Gt.

G

rall.

20

¿.

® b‚. π

(faint unfocused whistle)

18 j n·

pont.

batt. II

IV

n‚

II

ª

38 ®

ã

ord. 3:2 ( ‰ )

 

7 r 16 !! Œ ‚ > π

j ‚ π

81 ‰

(gliss. slide across strings)

Gt.

1 8

(senza sord.)

38 ≈ b¿

≈ n¿   ≈ Œ        p  

!! m‚ > P

≈ b ¿. m ¿ n ¿ . . m ¿. p

≥ 6 !! æ n ·æ æ 8 B· ‚ n‚ · > p ∏

e = 72

(2)

2 8

 

28 ‰

¿.

(2)

®

≈ n b ¿¿ n m ¿¿ II

III

p 3

28

P ∑

F 81 n ·j

π

81   ≈ .

(3)

81 ‰

ã

38 38


4

26 Cl.

Tbn.

& 38

≤ n‚ ‚. >

≥ 3 ≈ μ · ‚ &8 !! P ( p) rall.

e = 63 ( n ‚)

2 ‚ 8 n ¿. b ¿ ® ‰ . π 28

>

n‚ æJ

p ( pp) ∑

Gt.

& 38

2 8

28

7 16 · ≈ .

SLIDE

ã 38

(· )

&

?

æ æ ¿ ‚ μ >· n . n ¿. >‚ P

® n ·æ ‚ > π ( n ‚) ≥ ≤ !! !! . ‚ μ‚ ã ‚ π> p

p ≥ (·) 7 !! 16 b· p

1 8 ‚

81

r ‚ ∏

(dirty breath)

5

   7 ≈ m ¿ n b ¿¿ m n ¿¿ 16 ≈ n¿   n¿      π p π P 7 ‰ ∑ ≈ 16 

n¿. 

ã

nœ.

≥ !! b‚ >

3

SD2

SD1

ã 38

 tap

¿ p

π across Head

Handle of Brush

rasg. 1   8 J P P 18 ‰

  handle of Brush > π across Head

1/2 c.l.

 

II

II

 

III

  n‚ ( )

28   ≈

 

IV

III

? 3 ®n· ‚ 8 > p

IV

(

Cl.

Tbn.

n‚ )

p j n·

&

48

5 & 32

®

48

p

5 ã 32

¿. π

5 ‰ ã 32 Vc.

? 32 5 ‰

III

π

7 16

π

∏   Rim     .Head

II III

p

n· > III p

n¿.  m ¿ .

> 7 n ¿ ® 16 ¿

IV-III-II-I

  ® ‰.

II

III

P

5

7 16

batt. ord.

  ≈.

® n n ¿¿ .. II

percussive batt.

5 !! m ·æ æ b ¿ 32 μ· . ‚ p P ( n ‚)

· π

> B!œ œ . ! p

con sord.

III

π

n¿ 81   ® b ¿ II

b n ¿¿  

II

(3)

 

III

III

π

5

1 8 ≈.

II

n m ··

III

5 ® 32

Head

ã

5 32 5 32

n ¿.

® ≈

p

11 32

3 32 n¿ ‚ π

85

3 ≈. 32

85

81 ‰

11 32

5 32

j 18  v  

11 32

3 ®   32

5 32

j 81 n · n·

11 32

P 3 32 ≈ .

5 32

!! 81 ‚

œ.

(i, m)

   .

 

 

v

π

  v  J

5 32

5

48 ‚ b ·J· k· n · ã  

π ∏

  J

p

GLASS SLIDE

j   gliss slide down Head π 1 8

≈.

P

II

48  ..  

 

F π

11 32

of SD1

5   32 5   32

85

rasg.

ã

85

light circular motion with Brush on head of SD2. A tiny crinkling sound should be heard.

Handle of Brush across Head

≥  

 .

(Light Brushes)

( ·)

π   Rim 4 ‰ 8

1 ‰ 8   J Rim π

5 32

ª

BRUSHES

 tap

SD1

48

®

SD2

48

5   ã 32 Gt.

  ..

5 32

accel.

≥ 5 ® n‚ !! & 32 m‚ n‚ m‚ p> ∏

(i, m)

(2)

π

5 ã 32

& m¿

P 2   ≈. 8

ª 32

   . > (down Head)

¿

c.l. tratto

ã 38 ®     Vc.

2 8

  ‰

5 32 ≈

 

3

Handle of Brush lightly along Snare

5 ® 32

BRUSHES

‚ n‚ n‚ ∏

® ® 33094

batt.

&≈

P ≈

3

III

1 n¿ 8 p

(2)

81 ‰

n b ¿¿ II

III

 

®

ã

circular motion around Head

   . F

11   . j 32   .   .. III   f p II

11 32

1/2 c.l.

arco balz.

r 3 ≈ 32    . ∏ f

5 8

3 ≈ 32  

85

3 ≈. 32

?

85


G

e = 63

(e = 84)

Cl.

Tbn.

>‚ · (·) m 38 ‚ · n 5 ≥ & 8 ‚ n‚ m‚ · !! æ π p 

π

 

 .

π

≈  

 . Head

Rim

p

≥ III   5 ã 8 J

π &

 

? 85

III

 

5

b · K· k · n · K· μ · ã   .. π p π

5 ≈ n¿ b¿ n¿ 16 m¿ n¿ n¿

5 16 ∏

p

P

ª

& 81

43 Cl.

P

Tbn.

3 16

& 81 ‰ ã 81   J p

Gt.

& 81

&

SD1

ã 81  Kr ≈ .   RÔ

3 16

II b ¿ IIm ¿ 1 ≈ &8 n ¿

Vc.

n ¿

n¿  R

p

III

¿

2:3 ( ‰ )

p

13 ® 32 nœ

BRUSHES Snare off

¿

13 ‰ 32

π I

II

3

3 16

p

6:5 ( ‰ )

  R

(4)

ã

13 ‰ . 32 13 32

1 8

p

5 32

5 32

3

nœ (p)

5 r ® 32 ¿ p π

 .

5 32

œ œ. μ( œ ) ( œ . ) ∑

68

π

æ ‚ · .. π

p

æ œ œ ( œ ) ( œ ) p

mœ) (mœ) (

1 8

81

1 8

?

e = 76

f

® 28 ≈

1/2 c.l.

?

28   R f

L.H. pizz.

π

 

Œ

π

81

‚ !! ‰ p

7 32

28

5 32

7 32

28

°

U U

(

mœ)

° (i) (with pressure) (percussive strum with (slow strum with heavy pressure against strings) nails of R.H.)

ã

U

7 ®>  ® ® ‰ ® 32

5  v 32  

P F

f 3 7 P ® 32

5 32 n·

‰.

U

8"

5 32

‰.

U

8"

(3)

p

U 1/2 c.l.

arco

F

5 ‚ 32

p

 

vv  

F

  ≈ & 28

vv  

   .... J F

28

(percussive strum with nails of R.H. across all strings)

7 ® ®‰ ® 32   > f F 7 ® ® 32

28

Snare off. Strike Heavy Brushes on Head. Then brush the bristles of one Brush with the other.

˘K r ¿¿ ¿¿ .. 7 ® 32 RÔ J fflP BRUSHES

¿

5   32

 . J

j r n· . n œ III IV 0 p π

28

p

π

81

5 32

ord.

Handle of Brush across Head (no attack)

&

ª

3" 5"

28 ≈ μœ μœ p P

28 ≈

   ..

≤    

arco

5"

28 ≈ U‰ .

Œ

1 8

  

arco balz.

1/2 c.l. tratto

II

68 Œ

8"

Œ

81 p

  

III

28 ! m · n œ ! n‚ P p P con sord.

   π

(3)

3" U U

π

≤ 68 ≈   j   ã  

(2)

B ·@ ‚ n ‚@ @ n ·@ @ @ n· m‚ n‚  ff ( p )

33094

( n ‚)

quietly sing an octave below the sounding pitch

6 8

6 8

≈.

81 ‰

p

!! 68 μ œ!. π

5 ® b¿ n¿ 32 n¿ b¿

j ..   p

·.

con sord.

81   ≈ .

    .. p

!! · · p π

(Light Brushes)

 tap

7

hold Brushes perpendicular to Head and gently twist Brushes back and forth with very slight breaks in between each twist. Brushes BRUSHES

e = 63

( n ‚) ( · )

(·)

F

3

 13   m ¿ 32

(2)

π

II n¿ 3 n ¿ n ¿   16

3

P 1 ã 8 ‰

SLIDE

3 ‰ 16

ord.

SD2

13 32

P 3 16

j m·

13 B ‚æ ‚ 32 > p

3 16

(i, m)

b n ¿¿

e = 96

accel.

≈.

π

batt. II

III

Vc.

81

5 16  vr ¿ P

(a, m, i)

5 32

( ·)

(·)

6 8

1 8  

(strike Light Brush against Head and drag Brush across Head using the motion indicated)

≤ 

II

P

( n ‚)

5 32 !! · ‚ π

81 ‰

Head

3:4 ( ‰ )

  >   .... III

arco

5 16

3:4 ( ‰ )

 

5 16 ®   Œ

‰ & j ∏ n·

  Rim  

B· >

p

e = 63

1 8 !! ‚ n‚.

percussive strum with i, m across all strings

5:4 ( ‰ )

π

5 ã 8 ‰

j  

5:4 ( ‰ )

 

5 ã 8 ‰

!! n‚

5 16 ‰

5 16

Light Brushes

SD1

p

5 &8

BRUSHES

SD2

e = 84

( n ‚)

 

5 ã 8   ≈. Gt.

5

#

IV

®‰

28

28


6

R

rall. 50 Cl.

Tbn.

2 &8 ? 28

5

2 & 8 ≈ n m ¿¿ m ¿  p π 

Gt.

& 28

π

3 32

∑ SLIDE

≥K 4 r n‚ 8 ·

3 32 ≈

(·)

( n ‚)

e = 63

æ !! b · · . · · · · ·. · ·

p

con sord.

48 !! ˜œ œ

&

3  . 32 R p

4 ≈. 8  

3 32

48

(rasg.)

ã

(·)

E

r m· .

π

j  

∏ π

SD2

SD1

ã 28

 

®

π

> 2 ã 8   ≈. Vc.

? 28

¿

¿

π

f

III

p

≤ ã  RÔ p

48 ‚

ã 13 16 ‚ !! p

(senza sord.)

Tbn.

 

(

n‚ )

 

II

 æ   ..

(

f

® & n¿ b¿

81 81

≈ P ≈

ã

® ?®

III II I

       

P

m‚

n‚

m‚

n‚

IV III II I

1/2 c.l.

   . II

F  . III

J

j

F

85  

5:4 ( ‰ )

81

III

tratto

5    & 32 ® (heavy

batt.

v v

ƒ

pressure)

P ‰

5 32

n ¿ mII¿ I

n b ¿¿ II

III

P

4:5 ( Ù )

p

33094

81 81

68 !! ‚ ƒ

r   3 v. ® ã 32  . (i)

68 ã

®

(4)

  . . ‰

¿

¿

π

p

3 32

 

3 ≈. ® 32 3 ≈. 32

ã

f

13 16 13 16

®

π

j   π

  ®ã ∏

rall.

!! · . · · .. >

‚. F

13 16 ª

Eb

(·)

13 16 13 16

F

( ·)

( n ‚)

æ b n ·· ·· · · > P  

 

π

f

    > P

3 32

.

  > p

‰ ..

&

Handle of Brush across Head without attack in the manner indicated (Snare unlocked)

 . ƒ

  p

arco 68             J 3 P ƒ

3 32

≤ !! 3 32 ‚ ‚. > P S (P) π

≥ ‚. J

1/2 c.l.

68

&

68  

® 68

13 16

.    .

85 J · b · n · n · ‚ (p) ( pp )

® 81

π

5:4

III

3

3 ≈. 32

ord.

p

j Head      . J

 

ã

m Kn ··· 

&

Rim

π

5:4

 

III

π 3 32 m ·r .

P ‰

4:5

II

≥ ≤ 3 !! 68 32 · n‚ ‚ m‚ p P p

. n ¿. m ¿. 1 n¿ 5 ¿ n 32 ≈ 8 n¿ P p

‰ π   .Rim 85 Œ .

e = 84( ·)

P

4:5

p

accel.

 

 

 

p

n ‚ m ‚ b ‚ 13 16 æ P π

® ã 85  

  m¿ n ¿ p

r   5 32  v ≈ ¿ F f

 

IV c.l. tratto

(3)

≈.

Snare unlocked; Stick across Head with attack

(upright)

( pp )

batt.

DRUM STICK

  13     ã 16       unlock Snare Slide p slide upright slowly down Head of drum

ã 13 16  .

 

SLIDE

5 32

Vc.

 

  π

ƒ

)

ã 13 16   ..  

j

e = 63

ƒ

light circular motion with Brush on Head

SD1

( n ‚)

π

π

6

BRUSH and SLIDE

SD2

 

π P   P 18 ® ≈

r 5 æ  ‚ 32

f π

& 13 16

p I (b ‚ )

r 5 !   32  ! ‰

 

 

æ æ æ   n· n· B· ‚ 

& 13 16 Gt.

5 8  

81

   

 

6

n· b· μ· n· ‚ μ· æ & 13 μ · n · ‚ .. 16 æ æ æ æ æ æ æ 7 P p 

(

I II

II

III

III

IV

e = 96

56

n‚ )

 

III

( pp )

(accel.) 

 

π

II

IV

III

48  

n >· RÔ (p)

3 ≈ 32

≥6

c.l. tratto

II

ª

Cl.

≈.

j   P

81

arco

III

85

BRUSHES Light Brush across Head. (no attack)

48

3 r nb ¿¿ 32   π

P ‰

n· ≈.

3 32

p

& b n ¿¿ ..

( ·)

· ·.

Light Brushes

¿

II

P

pont.

batt.

m‚ n‚. p

18 j n n ··

n ≥· . 5 8 !!

‚æ ‚ . > n‚ π

(rasg.)

1 8

Œ.

ord.

1 8

1  æ   .   . m œæ 8

p

( n ‚)

3 32

≈ Œ

arco balz.

 

3 32

‰ p

&

3 32 3 32


R

(rall.)

‚‚ 3 & 32 ‚

61 Cl.

Tbn.

≤ 5 32 m ¿ ‚ > p

5 32

3 ≈. ã 32 r 3 ã 32   .

rasg.

Gt.

≥ 5 ! 8 ‚! ‚ > ∏ p ( ppp)

p 3 & 32 r n· .

85

5 32

5 8 ‰

5 32

ã

C#

(·)

e = 63

· ·

3:4

π

( ·)

( n ‚)

·

7

R

·

p

3 æ 16 ‚ π

 

p  

85 ‰

 

3:4

 

Ø

π

e = 52

rall.

n ¿. ≈ . 3 . 16 ‚ n ¿

∑  

π

1 8

® ≈.

3 16

3 16

&

81

1 8

 

 j 81 n n ··  n· 

5 32

1 8

5 32

81

5 32

1 8

5 32

81

BRUSHES

SD2

SD1

lock Snare  tap

5 32  v ¿ p

3 ≈. ã 32

5 32

3 ≈ n¿ & 32 b¿ ? 3 ≈. 32 ª

5 32

e = 72

& 81 .. ≈ .

67

ã

5 æ æ ≈. n ‚ 32 m ‚ n ‚ p π

85 ®

π P 1 . &8 .‰

e = 84

> .ã . 44 ≈ !‚   ! Ï 2x

SD2

SD1

ã 81 .. ®

¿.

5 32

& 81 .. ‰

ã

5 ® 32

Vc.

? 1 .. ‰ 8

 

5 32

1/2 c.l.

  ∏

II III

π

III

 

7 32 ‚ π

  !!    

 

7 32

 

   

f

 

f  .

&

&

 .

f

44 Œ

 

II III

ƒ

 

 .

f

III

P

(4)

π

  P F j    .

7 32

81

 

81

 

5 32

π

® 81

(7)

5 n m ¿¿ 32

≈.

(3)

II

III

5 32

® 81 81

33094

P

®

81 ‰

3 ≈. 32

81 ‰

3 ≈. 32

85

81

3  . 32 R

85

3 r 32 n· .

85

SLIDE

 b ¿

p

(2)

rasg.

ã

81 ‰

&

π

85

7 32

7 32 ∏ ?

!! ‚ > p

‰.

7 ® n¿ 32

7 32

 

arco ord.

3 16

b n ¿¿

batt. II

®

¿.

rall.

 .

¿

¿ ¿ ∏ π

3 ≈ 16

1 8

v

(darkest air sound)

 

‰.

 tap 3

ª

gliss. with slide along Snare; rotate Slide back and forth. Push Head in slightly with other hand while moving Slide

.. 44 ‰

ã ..

π

(rub. R.H. along strings)

44 Π.

® .. 44

&

p

 . . ( n‚ )

  !    !

GLASS SLIDE ord.

Head

≤  

III

3 16

( ppp) π

 

.. 44 Œ ã ..

≥  .. II  

(brightest air sound)

> . .. 44 !‚   ! Ï

 .

5:4

∏ π

p

(p)

5 32

 

II

5 ® 32

ã 81 ..   .

≤ .

II

 .

Rim

K· n · m · ‚ 85 ®

5 32

ã 81 .. ‰ rasg.

Gt.

n n ¿¿

(3)

5:4 ( Ù )

Vc.

Tbn.

® 85

pont.

5:4 Head

   .

arco

batt.

Cl.

∏ .Rim   ®

Light Brushes

ord.

 .

®

p

∏ r

  π P

batt.

® & m n ¿¿ III J ∏ II

(5)

 tap

81  v ¿

π

  81 R 81 ‰

II

®

¿

3 ® 32 n¿

p

3 ® 32

85

p I II

b b ¿¿

π KI· · 3 K 32 ® II

ã

85 85


8

8

e = 72 (·)

·

3 n· · m‚ b· 8 ‚. @ @ @ p

ã 85 ‚!! ‚ . p> π

 

   

>‚ !! ≈ . p

 

 

   

P Œ

5 &8 ‰ 5 ã 8

  J

π   Rim  

 

p

5 ã 8 ®

arco

Vc.

? 85 ®

Light Brush on SD1

 .

 

π

IV

IV

 

π

Cl.

3 ≈. & 32

Tbn.

3 ≈ ã 32 ‚

p

ã 

3 ≈. ã 32

   p

Gt.

3 ≈. & 32

SD2

SD1

3 ã 32

  p

3 ≈. ã 32 Vc.

3 ≈. ? 32

13 4

® 13 4 tasto ≈

13 4 Œ.

   

p

F P

8

¿.

1 8

π

  f

38

&

1 8 81

 

F π

P arco balz.

Œ

‰ ∑

 

P

‰ ..

Œ

 .

m‚ F

!!    .

F

Ø ã

81 v   v  J F P 81 ‰

≥j ! ‚! f

3 32

m¿ m¿

II

U U

3

U

P3 p

1 8

 

3 32

v  v 

f ‰

1 8 ≈

III

p

  ≈.

(i, m)

¿ F

3 32

j ¿

ord.

3

3" 4"

38 U‰

ã

 tap

U

81 ‰

4"

5 ≥ æ B ·æ m ‚æ æ æ ‰ n‚ n‚ n‚ m‚ b· 5

p

 

 

p

  

F

3 32

P

strum across all strings with nails (mute strings I, II) 5

≈.

ã

3 32

®   ≈. > ƒ 5

81 ‰

?

3 32

® n· ≈. n· III IV

(7)

 

Œ

≈.

 

>    !! .

e = 104

n‚   P

 

≥ æ   m· 

f

turn pick sideways so that it touches string  and creates a subtle glissando up the string. Unmute string 

. ≈ (œ )  .

‰. p

p

(

œ)

(

 

œ.)  .

>‚ !! J f

to - - - -  Trigger On

‰ f

(10)

(upright Slide) tasto position

 

‰.

.. ® ‰     II  

III

3 8

p

3

 

3 32

ª

π ≈.

nœ n n n œœœ  _

3 ‰ 8

n¿

( μœ)

U

U

I

 

n¿ 

3"

‰ senza sord.

b ¿

8

1 8 ‰

4"

4"

3 U‰ ≈.

U

U

U ® & 38 ‰

f

rall.

4"

nœ p

3"

SLIDE

≈ !! æ æ μ ·æ m ‚æ ‚  æ   .. n‚ b‚ n‚ P π p !!j       > P p

p

loosen Bow Hairs fully

13 4

≈.

 .

≈    .

 

p

U ? 3 ‰

5

pont. position at raised end Unlock Snare. Lift Snare above Head. Gliss. bottom of Slide (held upright) (raise Snare along Snare without touching Head at one end with Slide above Head) pont.

π

e = 76

· U≈ ‰

3"

accel.

(gliss. Plectrum between strings II, III along fingerboard against frets); (mute strings)

13 4 ≈.

81

3 j Œ 8   p

π

13 Œ. 4 !! ®Œ . n‚. > P ≥ Trigger Off very slowly to - - - -  13 4 ‚  .

PLECTRUM

81

arco balz.

j   π P ‰

III

π

batt.

(rall.) (e = 63) e = 76

79

3 8

(œ)

con sord.

Snare; push in Head slightly with other hand

Head

II

n· b· J · k · ‚. ( pp ) ( ppp)

ª

F

3:4

  ‰

ƒ

1 8

3 m· 8

j 81 n n ·· n· Handle of Brush along 

3:4

ƒ

38

Handle of Brush across Head without attack.

v

38

®   J P j n n ··

5

Gt.

SD1

 

  rasg.

5 ã 8   ≈

SD2

≥ 38 ‚   !! J p

U(· )

3"

π

Tbn.

e = 104

( ·)

5 & 8 n·

73 Cl.

accel.

    π

arco balz.

arco batt.

® ..   II   III p

 

.. ‰      (3)

33094

  ‰.

P

 

 .

P

p

arco batt.

 

II III

π

(7)

  p

®‰

≈ ‰

  .

p

Œ

 

 

arco balz.

J

F

® ®   ≈. ≈     F P

 


9 e = 84

7

Cl.

æ æ æ æ & μ· n· μ· b‚ n‚ n‚ n‚ ƒ 

3 æ ≈ Œ 8 ‚ >

Tbn.

38 ≤ ‚. p

 

ã

ƒ

ã

38 ®

&

38

Gt.

press Slide with pressure along Snare. Some rattling of Snare against Head should be heard.

SD1

ã

  v 

38

f

Vc.

?

≈.

n‚.

p

( f)

rasg. (m, a, e)

P

5 ®  . 16

  ®‰

5 16

p P

3

r Œ   F

® !! b‚ > S

® ‚  . !! S p

Œ

‚ !! F

percussive strum across all strings at indicated position rasg.

 

®   ‰.

f

®

Œ

> n· !! p

π

‰.

5 16

I  

 .

  π

F

c.l. tratto

II

æ æ & ®b · m ·

f œ nnœ ≈.

I

II

‰. ‰.

  R Pr  _ n·

p

  R

rasg.

P

3 32 3 32

ord. 6

¿

> ®   Œ

&

batt.

®

III

P

Œ

¿

∏ p

percussive strum across all strings at indicated position (dampen strings I-III)

¿

π

n¿ b¿

π

  ®

Cl.

3 & 32

Tbn.

Gt.

m n ¿¿ III p

II

ã

!! ≈ n‚

81 ‰

7 32

3 ≈. ã 32

81 ‰

≤ ≥ ≤ !! ‚ 7 ‚ ® 32 81 ‚ p PF

> 3 ã 32   ≈

81  .

p P 81 ‰

F

3 r & 32 n· .

3 ≈. ã 32

3  . ã 32 R P

rasg.

Vc.

? 32 3 ≈.

81

&

 .

7 j ® 32   .. p

rotate Bow Hairs at indicated position

81 ≈ n m ¿¿ II

III

81 ‰

p

81

78

  ≈ . 78 j  

rasg.

F

 81 m ·j m ·

ã

(4)

3 32

IV

7   n¿ 32 n¿ II

(3)

III

7 32

p

≥ æ æ æ 5 ! ‰ μ· μ· ‚ m 32 ! ‰ n‚ m· ‚ p π P

æ æ Œ ® n ‚æ æ n ‚æ ≈ n ¿ n ¿ b ¿ m ¿ n ‚ n‚ b‚ p F p π ≤ ≥‚ ! ≈. ≈ ‰ ‚! ≈ . J ‚ ‚. π f p P

78 ‰

Œ.

78 ‰

>  

SLIDE

5 & μ · n · n · B · 32   ‰ @ @ @ @ P π 

6

>

Œ

¿

ã

Œ

&

≈ 81 81

  F ‰ ‰

≈. 7 ‰ 8 drunken rhythm.

ã

ã

arco II tratto

78    .. III

p

78 Œ

Unlock Snare. Lift Snare above Head and slowly arpeggiate the Snare. Let Snares faintly touch the Head when vibrating.

 

p

nn ¿¿I > > ®&  I   . II . II P f p

arco ord.

Œ.

33094

p

f

5 32 n·

3 m ‚ m ‚ ® 16 n‚ m‚ ∏ p !!j ‚ ∏

p

    > > >  .

π

f

3 16

® 81 ‰

3 16

BRUSH

ã

?

v

f

3

5

5 ® >  ‰ 32 strum

 

&

5 ® ‰ 32 J· IV

3 16

π

n¿. 81 ® b ¿ .

3 n m ¿¿ 16

II

II

III

III

6:5 ( Û )

6:5 ( Û )

3 16

81 ‰

5 1 ≈ 32 ® > ≈. ® 8 ¿

II

>  5 32 ‰

81

5

(Light Brush) Rim

π

n ¿I n¿

ã

DRUM STICK

 

(13)

81

strum

 ‰ &n         ¿ p P

rall.

7

81

batt.

7

brush Handle up Head of SD1

Heavy Brush

π

81

7   ‰. ® 32 > f 7 ≈. 32 K·

rasg.

BRUSH

SD1

3 32

ª

SD2

3 32

p

ª 86

3 32

 

f

3 32

Œ

r ¿ > f

®

!  !

  ® ã ® ‚.

Drumstick across Head

c.l. batt, on I,II and lock Bow against strings to prevent them sounding longer then indicated.

  ≈. v 

3

pont.

® ≈. ‰. ¿ > f

‚ > n · ‚ B · n ¿. æ æ p

Œ

Drumstick 5

DRUM STICK Drumstick across Head; tighten Snare on SD1. no attack

n·. ·. J π 

p

 

F P

m·.

≥> 1/2 c.l. 5    .. ≈ 16 ≈ . ≈ .     II  . IV II I II III III   III p f ƒ F f 38 5 ∑ ∑ 16 38

ã

f  .   f ∑

>≥ . . 5 16 ‚ ≈ ‰

(undampen strings)

PLECTRUM

SD2

5 16 ‰

81

P 18 ‰

p

5

3 16


10

R C

(rall.) (e = 72) a tempo (e = 84)

3 & 16

93 Cl.

Tbn.

5 32

3 ã 16

&

æ μ· bœ > Sp

5 ® 32

_  (a, m, i)

Gt.

5 16

®

ã

3   ≈ 5 ® >  ® ≈ . ã 16   32 p ƒ 33 P 3 ∑ 32 5 ® ≈. & 16 m · nœ

SD2

SD1

3 ã 16

5 32

4:3

3 & 16   ‰ Vc.

3 ? 16

π

ã

5 32

5 16 m m ¿¿ Ô II R p P I

&

≈.

nœ n·

e = 96

3

( n ‚)

Œ

! ® ‚!. > p

Œ

3 32   ≈

5 5

∑ p  .

Œ.  

¿ ¿ ≈

 

≈ 68 ‰

p π

π

5  . 16   . ®‰ .

6 ® n m ¿¿ .. 8

5 16

68

   n m ¿¿ .    .

P

81

5 32   ‰ f

f

‰ ..

5

2 8

5 32

28

ord.

3 ® ≈ 32  ¿v > F 3 32 ≈ .

81 ‰

5 32

≥ II I

c.l. tratto

ã

1 8   ≈.

&

n· 18 n· J

3 ≈. 32

¿  

π batt.

IVIII

IV

5 32 ≈ . 5 32

P

28 n¿ m¿

I

Cl.

e = 72

nœ 2 &8

? 28 ‰ ã 28 ‰

Gt.

SD1

28

IV-I

& 28 ‰

e = 84

 F Ï

8"

U

8"

3"

U

3 ≈. 32

81 ‰

3 ≈. 32

> 18 ® μ!œ  . !

3"

·

Ø F Ï U

8"

U

U

3"

81  

3 ® 32

81 ‰

rasg.

U

5 n ·æ ‚!! 32 > P ( pp )

13 16

F

slight shake

5   nœ ‰ 32 (

&

)

π

5

3 ®   32

accel.

5 ®   32 vv J f P 5 ∑ 32

≈.

13 16

n‚ f

® ‰

®

!! μ · ã ‚  . S p

ã 28 ‰   & 28 J

Vc.

?2 ‰ 8

U

8"

U

3"

DRUM STICK

13 16 v  ‰ ..

rasg. (with pressure against strings)

3 ≈. 32

U

>≤ 3   32

81 ®

  (no attack) P

c.l. tratto

U

8"

U

3"

U

I II III

ã

p

3 ≈. 32

Stick across Head of SD1

5

batt. on II, III

® 81 ®   v  3 3

5 32

  p rasg.

5   32 (lock Bow F against strings)

v

II 81 ® n n œœ III

5 32

P

13 16 Π33094

b· B· μ · n · ·!! n‚ n‚ n‚ n‚ m‚ æ J P ƒ >

e = 96

>‚ !!

r    

 

Œ

5 16

Œ

5 16

  f

 .

P

Stick across Head of SD1 (attack on the first beat only)

 

p

..      ..

rotate the Bow at the general position indicated II II III

  R

p

5 16

f

  R

Ï

5 16

Œ

F _  n ·

13 16 Œ

® 13 16 ‰ .

7

rasg.

13 16  v ¿ > Sp

ƒ

SD2

2 8

ª

Tbn.

II

π3

ª 100

28

?

5

81 ® n · ≈ . m ·

4

n n ¿¿    J p

5 32

DRUM STICK

2 8

broken breath !! 5 . ‚ . 32 ã   n·  > F π

> 1 ®   ≈. 8

BRUSHES Light Brushes along Snare. Break the sound with pauses

3

&

3 >  ≈ 32 RÔ P P 3 32 ≈ .

rall.

1 j 8  

æ æ æ 3 n · μ · n ‚ 32 B>·æ ‚  p F p

_ ≈ 68

5 ≈ ≈ m · . ≈ 68 16 m·. _ 

5 32   ≈ . > ƒ

  6 ‚ !! 8 !! ≈ . R p

m, i

π

( ·)

accel.

 

5 ≥ 16 ‚

ord.

   .

5 ≈ ≈  . 16

Head

m· 6 n æ 8 m ¿ ‚ ‚ ·· > p

#

>   

>     

>   

arco with slight pressure

 

III

Œ

>

r   ƒ  P

‰.

  II v  III

f

v

v

> ã  J F

v

Ï

5 16

5 16 5 16


11 R

≤ (broken breath) 5 ≈. 32   n‚. P

5 ‰ & 16

105 Cl.

Tbn.

5 ≈. ã 16 ‚ ( fff )

5 32

‰.

Gt.

5 & 16

®

P

® n· æ

?

6 n m œœ .. 8 nœ.

5 32   ‰ > ƒ

  F

≈.

π

rasg.

 

5 32

&

68 n œ .

®

n· n·

(

ã®

μ œ)

P

π

ã

e = 104

7

æ æ æ æ æ æ æ m· n‚ μ· B· n· n‚ m‚ n‚ æ p F

7 r 16 !! Œ . n‚

 

6 8

®

p

·. ·. !!· . P 

π

3

rasg.

5  . ã 16 f

≥   B· æ p

accel.

F

‚. !! f

æ   ‚ ≈ ƒ

æ μ ·æ æ æ 7 m · ã ‚ 16   π p

& n·

68

&

SD1

5 ã 16  . (P)

F

>≤  ≥    5 ã 16 v  v  Vc.

F

Tbn.

&

& 68 ã 68

G

n‚ ·. n ¿. ‚ ‚ · . æ π p > ‰ ‚ !! π

 

 

c.l. tratto

II III

&

  p

7 16

(11)

6 8

without lifting Snare, gliss Slide along Snare while pushing in Head with other hand

lift Snare above Head and arpeggiate Snare. Let Snare rattle against Head

p

68

®

p

n m ¿¿

F P

≈.

   m n ¿¿ ..

II

III

 

r  

π

f

7   16 .

m¿

III

p

SD2 Light Brush along Snare

  ≈

b¿. b ¿. 6 &8 ® II

p

n¿.   n ¿. I

II

≈   4:5

π   ¿ .. ‰ ®

4:5 ( ‰ )

π

P

π

I

? 68

!! ‚ ∏

p

∏  ¿.

≈ μ ·æ ‚ 81  j > p

‰.

. ® n m ¿¿ .

   ..

III

π

®Œ

38   ≈ Œ

j

38

 n· n ·

38

 

p

(gently arpeggiate Snare with finger while brushing Snare)

II

e = 84

accel.

6

n ‚ n ‚ n ¿ m ¿ 38 Œ . . b‚ n‚ p π

Œ.

BRUSH

Vc.

ã‰

& 68 ‰

ã 68

#

rasg.

J

68

6 8

®≈ Œ

68

6 8

7 16

ª

e = 76

Gt.

SD1

Bar strings - with Slide and gliss. upwards.

8

& 68

SD2

P

5 32 ® ≈ . k·

6 8

m¿ π

IV

ª

Cl.

3

?

®  .

∏ ¿.

6 8

rasg.

ƒ

3

68

‰.

GLASS SLIDE

5 ®>  ≈ . 32

 

( f) r P 5 ã 16   Œ > f

110

5 32 ®  v ≈ . ¿ > ƒ

7 16 ‰ . 7 16

Œ.

SD2

f (¿)

SLIDE

∑  .

6 8

Ø   ≈

&

æ 81 æ n · ≈ nœ p > S

ã

f 55

81 ® n · ≈ .

7 16

¿

π

38 ‰ .

‰.

batt. II

b n ¿¿ .. III J p II 38 ‰ . n m ·· .. III J

81 ®

p (4)

ã

81 ≈

¿v > f >  

strum

f

81 ≈ n ·

IV

33094

7 16

7 16

3 3

  

n¿     P

 

 

ã

 .

II, III arco balz.

   .. J p

arco

  J

P

P 7 16     ‰ .

p

I II

n n ¿¿

3

p

≈& ‰

P

3 32

rasg. _  _   _     48 ‰   ≈     32 3 (m)

ã

48

BRUSH

  . Rim

Light Brush

  II b¿ 48 J n ¿

  3

P III

48

3 32

≈ 4 ‰ 8

p

π

3 32

Ø

(11)

GLASS SLIDE rotate Slide back and forth and slide along Snare without lifting Snare above Head. Do not push Head in.

DRUM STICK

¿

7 ≈ 16

48 j Œ .  

horse flutter

SLIDE

&

48 ‰ .

7 16   .. p

>  81 ® ≈ .

ord.

38

f

7 16

≥ 3 æ æj   μ· ‚

  .Rim

‰.

3 32

ã

3 32

?

3 32


12

3 & 32  æ

115 Cl.

Tbn.

p

3 ® ã 32 3 ã 32 ®

Gt.

3 ® & 32

≈ ≤

‚ p  

1 8 n¿ . p

æ n· n¿ .

81  

≈.

p

n ¿.

n ‚æ

μ·

æ b· > π

r æ  3   . 32

‚.

® B ·æ ® ≈ p>

& strum 5

≈.

®   ≈. > P ® n·

5

p P

1 16 æ n‚ > ƒ

> 3  . ‚ 32 R æ p

161 ‚æ > ƒ

3 ≈. ® 32

 .

 

rasg.

ã

≈.

5

81 ‰

!! n‚ >

3

1   8

rasg.

7

1 16 ®

®

3 ≈. 32

161 ®

?

>  

strum

ƒ nœ n n n œœœ n n œœ 3

4 8

®

48

®

4 8

48

3

SD2

SD1

3 ã 32 ≈ .

1 8 ®

≤ 3 I  ã 32 II III IV Vc.

3 ? 32

IV-I

n· n·

®

≈.

¿ > p

81 ® ¿ v  F 55 81 ® n œ

III

j ¿ π

strum

stick across Head

batt. with percussive attack. > c.l. Lock Bow against strings II, III

c.l. tratto

®

DRUM STICK

stick 5

≈.

P n·

≈.

I

3 32 ®  v ≈ ¿ > P > 3 32  

strum

gently brush Snare BRUSH with Light Brush

stick 4:3

4 8

π

strum

161   > ƒ 116 m · n· IV-I R

F

3 nœ m· 32

¿

1 16 ®

II

0

48

®

48

ª

ª

U

6"

& 48 ‰ .

122 Cl.

Tbn.

U

6"

? 4 ‰. 8

U

6"

ã 48 ‰ . Gt.

SD2

SD1

U

& 48 ‰ .

6"

 . 4 ã 8

( pp )

ã 48 ‰ . ? 4 ‰. 8

3"

!! !

U

3"

U

3"

U

U

3"

U œ

e = 96

7"

π

U

(

II III

U

P

6"

 

p

U

U

3"

Bœ )

π U

7"

U

7" U

ã

5 ‰ 32

7"

& m n ¿¿

ã 

U

U

II

π III

π

III

senza sord.

5   32

®

(i, m, a)

π P

5 32

≤ ‚

π

°

≥ n ¿. p

≈.

®  . p

® n·. n ·.  n·.

®  . π P

pont.

Ø

batt. II

® & n¿ ∑

π

(2)

n¿

  ≈ ∑

81 .. ≈ .

n ¿.

38 ≈ . b ¿.

81 .. ≈ .

‚ p

38  

p ≤

strum 3

(i, m)

(m) 6:5

6:5

¿.

5   32 5 32

> ® μ· ‰ æ P 6:5 ≥ !! ‚ ‰ > P

P

ord.

5 32

. ® μ�� ≈.

® 81 .. ≈ 1 8 .. ≈

U c.l. tratto II

n‚ π

°

7"

5 ‰ 32

a very slow single rotation of the Bow

c.l. tratto

Vc.

nU·

¿

  ¿

π

π

(3)

® b n ¿¿

≈.

II

p

III

III

33094

p

&

81 .. ≈ .

¿

38

p

strum

   .. P

≈ ∑

ã

81 ..   ≈ . > P 81 .. n · ≈ . IV

‰ π

.. 81

π

38 ≈ b¿         ‰ 3 8

ord.

¿.

≥ !! .. 81 b ‚! p

SLIDE

3

pont.

pont.

 

P

 >

≤ ≈ n‚ n‚

&

p P

38

6

.. 81

 

38 ‰ .

. 81

ã.

π n¿ p

≈ .. 81

P

.. 81 p

III

.. 81


13

n ¿.

1 & 8 ≈.

129 Cl.

Tbn.

π ≥ ‚

ã 81 ≈ .

j  

π

SLIDE

> 1 ≈ ã 8   ≈ & ≈ b¿   ã   π 3 p ∑ ∑ & 81 3

strum

Gt.

SD1

Vc.

¿

ã 81 ≈ .

? 81 ‰

strum across strings with Slide at indicated position

‰.

7 32 ‰

n‚ m‚ ‰. π p

≥ ‚æ  æ   .   ≈ Œ > p P π

p n·

Œ

‰.

7 32

‰.

n ¿ m n ¿¿ 7 32 ®

SLIDE

&

7 32

&

® n¿ ∑

≈. ‰

®

¿ ..

   .

π

p

m ¿¿ ..     13 ® n 16 ã  

arco balz.

arco balz. 1/2 c.l. tratto

p

13 16 Œ

   ..

&

π P ≈ ‰ ‰.

ã  .

ã

≥ 5 !! ‰ 32 ‚

ã

18 >  ≈ .

5 ® n¿ 32

F

&

6:5

&

5 32

81 ‰

5 ‰ 32

5 !! ã 16 μœ > ß

b b ¿¿

81 n · ≈ . 

4:3

3 ® ≈ 32  ¿v > P

® ‰

7 n¿ 32

® m¿. III

®

π

p

7 32

SLIDE

strum

3 ≈. 32

batt. across strings IIIIII batt. along strings

ß

7:5

5 16

p

5 16

DRUM STICK

 

7 32

 

3 32

p

n >œ 5 æ 16

 

 

 

π P

3 !! ≈ 32 B· p

5 32 ‰ .

18 ≤j ‚

(shake)

‰.

Œ

3 1 n ¿. m ¿ m ‚æ 32   ® 8 ‰ . π P π p

unlock Snare and lift Snare above Head. Use Light Brush and brush along Snare. Have the bristles of Brush occasionally fall off Snare BRUSH onto drum Head

 

13 16

π

& 81 ‰

13 16 ≈ . 13 16  

( n ‚)

® μ·.

13 16 n· _  J

j  

ord.

SD2

13 ‰ 16

≈.

b ¿.

( ·)

e = 76

arco 1/2 c.l.

3 ® II 32 III  P

ã

81   ≈ . p

3 ≈. 32

5 Kr 16 ¿ > f

batt. across strings IIIIII

n ¿. ® n ¿ 5 ® 32 batt. III

&

81 ‰

5 32

π5

5 ® 16

p

ª

5 & 16

136 Cl.

Tbn.

ª

6:5

5 ® !! 7 ‰ 32 n ‚ m ¿ n ¿ n ¿. 32 > . . S p

p

ƒ

≤ ‚ ‚ R f F

5 ‰. ã 16 5 ¿ & 16 .

Gt.

P

5 32

5 ã ®   ® 32 ‰ > ƒ

®‰

b‚ b‚ p

3 μ >œ ≈ 32 æ ß

> 5 ‚ ‰ 32 æ p

5:3

ord.

SD1

5 ≈ ã 16

¿.

¿  

p

F

batt. across strings IIIIII

5 ≈ & 16

b¿

II

n¿ m¿

III

P p 5

Vc.

? 5 Π16

 

strum

f

3 32 ®

(3)

percussive batt.

BRUSH

¿ ƒ

 .

 

Light Brush Rim

unlock Snare

7 32

5 ® ≈ ã ¿ ® 32 > II   III > ƒ p nœ n· 5 P ∑ 32 I

5:3 5:3

&

p4:5 P ∑

5 32

≈.

p

π

7   >   . 32  .

arco ord. arco balz.

1/2 c.l. tratto

f

7 32

π p

®

(Snare unlocked) 4:3

3 ® ≈ 32  ¿v > f

3 ≈ ® & 32

n ¿.

batt.

3 ≈. 32 33094

p

5 32

strum

® ®n ¿

®

SLIDE

&

≈.

®

n¿

Pp

≥ > B ® ‰ ? ® !!œ ! 7:5 ß ®m ¿

>   ã

strum

  ≈.

 

P

quietly lock Snare On

5 ® 32

m¿

P

6:5

7:5

‰.

7:5

 ¿v ® ® ¿v. > > Sp P > ã 

® b n ¿¿   ‰ π

DRUM STICK

batt. across strings IIIIII

5 32

p 6:5 F ≥K ≤ ≥ ≤ ≤> r ‚ ≈. æ ‚       RÔ P f

> ® ã   ®   ≈. > f π P

 n¿

≥ .n ¿ n ¿. ≈ ® ® n ‚æ n ‚æ ≈

m >· ® !! ‰

    ≈ π

P

5 ® m¿ 32 SLIDE

≥ ≤ ≥

DRUM STICK

5 ® 32

ã

> 3 ® 32   ≈ .

7  ≈ ‰   32 RÔ P P 7 ∑ ∑ 32

5 ® 32 n · nœ

≤ r 5 32 ≈ . m ‚

ß

?

rasg.

3

5 Π& 16

7 ‚≥. ‰ 32 æR p F

strum 3

®

≥ n >œ 3 ® !! ≈ . 32 accel.

SD2

5 16

?

7:5

F

IV

∑ ∑

 

>

    P p

p4:5 P ∑

6:5

¿ > f

®

batt. across strings IIIIII

n¿ . ¿. . ® n b¿ ® batt. II III

&

>

> ≈ ã  ®

strum

7:5 7:5

®

f

IV


14

μ >·

(accel.)

145 Cl.

Tbn.

7:5

& ®n‚ n‚ m‚ ≈. p

ã Gt.

& m·

SD2

SD1

¿ ® ã π ã

ª

7:5

  >p P

p P

161 ‚ >

b¿

ƒp ?

   

  161

3 ≈. 32

æ m· > Sp

‚ 1 J 8

j 81   81 ‰

®

161 ≈

1 32

f

(

®

1 32

n· )

π

1 32

ã

81 ‰

1 32

® >   RÔ Ï rK nœ n n n œœœ n n œœ

strum

pont.

DRUM STICK

¿. ®  v ® ® ¿ ¿ > F f 6:5 p > ® ¿ ≈

perc. batt.

f

P P

4:3

> ®  

Stick on Head 3

3 32 ≈ . batt. across strings ord. IVIIIIII

3   ® 32

& m¿

P

II

II ® n n œœ m ·

3 ≈. 32

®

III

n¿

1 16 ®  v ¿ f

IIIIII

p

  1 16 R

1 j 1 8   32 >> p 1 8 ‰

161 ≈

®

Kr   > Ï n· 1 32 n · Ô IV-I R

strum

1 32

ã

81 ‰

≥ ≤ μ· Ÿ~~~~~~~ 13 ( b ‚ ) Kr 1 ® 4 ® m¿ 8 ® æ 32 8 . n ‚ n‚. ‚ π >p p f Ï ≥ !! ≤ ≥ ‚ 1 13 4 ‚ ! ≈ ‚ 32 ‚ . !R 8 8 Ô p f Ï

ã

13 32

n·. 13 32 n·. _

SLIDE

81 ®

&

P ® 81 ‰

b¿ .

13 32

5

13 32

13 32

&

U? U

π

5

n¿

π

!! .. ® B · ≈ P 5

.. n ·æ ≈ . p (

¿)

..   ≈ m ¿

p

 

.. ‰

μ· æ π

3x

≈ .. ‰ 5

.. ≥‚ ≈ . & n œ ‚ ∏ π 5∏

≈.

5

n ˘¿ 5

ã

     _

  ® n¿

&

ord.

SD1

ã 81 ‰

& 81 ‰

®

  

≈ m ¿ ..   ® b b ¿¿ π

‰ 5

¿

π n¿

p

p

.. ® n ¿ . P III

IV-III-II-I

¿

® .. ≈ .

batt. across strings

Vc.

? 81 ‰

μœ π

slow gliss. (

ã

nœ)

81

°

3:4 ( ‰ )

4" 13" U U

Œ

81

U U

81

3:4 ( ‰ )

Œ

3:4 ( ‰ )

U

13"Arpeg. Snare in

U

¿

4"

4 ≈ 8

ord. position very slowly with finger

1 8

(17)

3:4 ( ‰ )

4"

II

48

p

U

13"

1 8

Œ

very slow single rotation of Bow

81

p

π

p5

  J

m ¿.

˘ 3 ≈ n ¿ 32 ≈ p

  J   ≈.

3 32

   

  ≈

 

.. ‰

  ® m · ® n ¿. !!

n¿ 5

π

æ 1 æ æ n‚ 8 n· n‚ ≈ > π

μœ ≈ !!

81 ‰

Ø

>  3 ® ® 32

strum (with m)

ã

3 32 ≈ .

p

3

.. ® æ n ·æ ® .. 13 16 m‚ ∏ π ≤ .. ® .. 13 ≈ 16 ‚ > π 

ã

. 81 ≈  

rasg.

p5 5 1 ≈ 8 n·.

..   ≈ .. ≈ .

.. ‰

5

 

 tap

¿ ∏

.. ‰

batt.

n¿ ® ≈ v  ≈ .. ≈ II

5

≈ n œ ≈ .. ‰ II

 tap

5

 ¿v > π m n ¿¿

II

III

p

P

pont.

5

 

 

¿

≈.

∏ ® nv¿  

5

33094

III

p 55 nœ

III

¿

3 ® 32

p

batt. across strings IIIIIIIV

® ®

b¿

π P ‰

ã

3 ≈ 32 3 ≈ 32

 tap

¿ >p

  .. 13 16

π n·

SD2

13"

b ¿. 4 Ibb ¿¿ U   ® 8 ® II

p P 18 ‰

1 8

slow gliss.

3:4 ( ‰ )

batt. across strings batt. IIIIII

1 8 m¿.

(œ)

π

4"

48 ≈

    RÔ 81 ≈.

f

® 48 ≈

Light Brush. Brush along Snare BRUSH with Snare slightly raised above Head. Bristles of Brush should also touch Head

¿.

  

p

13"(· )

nU·

4"

ª

ã 81 ® !‚ ≈ ! ∏5

P 1 &8 ‰

3   ® 32

® n· ‰

≥ 3 æ ≈ 32 ‚ p

SLIDE

& n¿

6:5

& 81 ≈

®   ≈. F>

e = 84

SLIDE

ã

strum 6:5

strum

strum

p

p

6:5

Bœ m ¿. 1 ! ® ® m!· ≈ ® &8 ! ! p Ø π

154

Gt.

≈.

6:5

?

Tbn.

4:5

Vc.

Cl.

μ ·æ p>

? ‰ ≈.

F

μ >œ !!

3 b ¿. ® 1 ® 16 m ¿. ® 32 ®

!! ≈ .

e = 96

3:4 ( ‰ )

. 13 16

ã.

ord.

® 81

¿

π

.. ‰

.. 13 16

.. ‰

.. 13 16

rasg. across all strings (mute strings III, IV)

  81  

π nI· n· II

P 18 ‰

.. ‰

. 13 16

ã.


15

13 & 16 ‰

164 Cl.

Tbn.

≥ !! ‚  . p

ã 13 16 ≈ .   ã 13 16 ≈ .

Œ

π

> ≈ & B!œ · . ! F F (p) &®

13 ã 16 Œ

SD1

16 ã 13

m· μ· μ· n· ≈. æ æ æ æ P p

π

 

 ..

¿

‰.

‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹

P

ã

7 ‚ 32 !! p

≈.

7 32

7 32

7 ‰ 32

arco ord.

I II

 

≈&

F p

n n ¿¿

3:5 ( Ù )

Tbn.

Gt.

4:3 ( · )

I

I arco II

ã 

 

 

p P ‰.

II

  π

3 ≈ & 32

( n ‚)

&

7 ≈. 32

28 μU·

7 ‰. !! 32 b·   π P

π

 . 7 32 ≈

strum

F

rasg.

  >

7 32

P

p

SD1

Vc.

3 ≈. ã 32

 

2 UΠ8

2 UΠ8

7 .. ≈ 32

17"

≥r 7 .. !! . 32 ‚ π 7 32 .. ≈ 7 32 ..

4:3  tap

π  Rim ≈  

7 v 32 ≈ . ¿ F

5:3 strum

®

rasg. across all strings

7 ≈.   ≈   32 > π F 7 ∑ 32

gliss Slide along Snare. Hold Slide diagonally flat.

U¿

17"

28

π

2 UΠ8

28 UŒ

‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹ ‹ ‹‹‹‹‹‹‹‹

b‚ p>

π      ® ‰

≈   ∏

rasg.

π

 .

3 ≈ .. 16

3 ≈ .. 16

∏ >  

IV

7 .. 32

II

®

13 16

≈.

P

 v

!!  ! . F

13 Π. 16

(a, m, i)

c.l. tratto

p

I

b·

_

!!j  .

THREADED METAL ROD

ord.

_

p

percussive batt. across strings IVIIIIII

. 3 & . 16 ® n ¿ ¿

33094

P

j   p

Œ

f

II 1/2 c.l. ® ã 13 16   III J   f P 13 16

π

3 32 3 32

ª 5

ææææ 5 ®μ · μ · m · n ‚ 16 π

5 16

¿.

p

Handle of Brush across Head

13 16

3 32

ã

II

3 32

Œ

P P

BRUSH

¿

n n ¿¿ ..

p

&

≥ ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ >≤ ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹ ‹‹‹‹‹ ‹‹‹‹‹ ‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹ n ¿ . ‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹ n>¿. ‹‹‹‹‹ 5 ‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹ ≈ ‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹ & 16 arco

13 16

¿ π

3 .. 16

II

3 32

®

I

I

horse flutter

(slight pressure of nails against strings)

 tap

3 .. 16

 

. ® n m ¿¿ .

®

I

ã

BRUSHES

π   Rim ≈   7 .. 32 ≈.

7 .. ≈ . 32

m¿ ® ≈ m ¿

P

≈   ®

π

≥ >≤ . 3 ‚ . 16 æ. ‚ RÔ P p

≈.

p

P

rall. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ·) ( n ‚) ≥ !! 13 æ æ . æ ® n ‚ · ‚ ‰ 16 μ· m‚ n‚ .) (n ‚ P p P f

3 ≈ .. 16

n‚ n‚ ≈.

 _

( n ‚)

3x

3

17"

≈ . m n ¿¿ ..

GLASS SLIDE

Heavy Brush on Snare

3 ‰ ã 32

n ·)

17"

Light Brush

3 ≈. ã 32

(

≤ U ‚ 28 ‚ ‰ . RÔ π

7 ær ‰ 32 ‚ p

SD2

  ‰.   ≈.

m n ¿¿ p

7 32

e = 84

17"

3 ‚ ≈ ã 32 3 ≈ ã 32

≥ 3 !!‚ 32 RÔ p

‚ ® ‰

∏ ∑

∏ p

P

b ≥¿ ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹

Heavy Brush (Bottom: along Snare)

b b ¿¿ J

F

≥ ≤ ‹‹‹‹‹‹‹‹ ‹‹‹‹. ‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‰ ®n ¿ . ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ≈ n ¿ ‹‹‹‹ ‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹ Pπ

3 ® 32

B· n‚   æ π

®‚ > π

_

ã 13 16 .. II     III p P 13 ã 16 Œ

3 ≈. & 32

π  .

ª

Cl.

BRUSHES Light Brush on Rim

π

169

≥ æ ‰ μ· m‚ æ n‚ p

‰.

Brush along snare with Heavy Brush

1/2 c.l.

Vc.

Œ

P

 _ n ≥¿ .. ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹

Draw a finely Threaded Metal Rod across strings at the notated pitch on string .

æ æ æ æ 7 μ · m · ‚ 32 ® m ‚ n ‚ ≈ b ‚ · n‚ P π p

n‚

f

BRUSH

SD2

m‚.

e = 76

( ·)

( œ ) ( n ‚)

® B·.

THREADED METAL ROD

Gt.

rall.

( ·)

Heavy Brush along Snare. Push Head in. Bristles of Brush should fall against Head.

π

II

≥ n II¿ .

p F

p

b¿ &n ¿ III

draw the Bow using the metal coil, near frog at the indicated pitch position

5 16

5 16

5 16 5 16


16

5 & 16 æ ‰. b‚ ‚. > F π

4 ≈ 8

5 ã 16

48

175 Cl.

Tbn.

e = 76

Gt.

SD1

¿.

5 ® ã 16

π

5

7 32

 tap ord.

π5

ord.

¿  

®  v ® 48 ≈ ¿ ∏ p π

¿  

p

batt. across strings IIIIII batt. II II

 tap

¿ p

®

p

5 ã 16

π ∏

III

π

III

48

p

ord.

¿  

®

π

¿

7 32

π

≤ ® ‚. π

≈.

≥_

p

11 32

b· 4 !! 4 ! F

≥ 44 !! ‚! P

11 32

π

44

  ®    ® . 11   ‰ 32 ≈

Light Brush

 

11 ≈ . 32

I II

p

5

7 32

P

II

11 32

Rim

π

arco with metal coil (with tiny interruptions) II

n ≥¿ .

≈ . n b ¿¿

π ∏ p III

ª

7 & 32

180

Tbn.

Gt.

π Trigger Off (dirty breath)

On

‚ p

SD1

7 32

m‚ !!

‚ !! ‰ . F p

7 32

‰.

7 32

≥> ≤ ≥ ‹‹‹‹‹‹‹‹‹‹‹ ≤> ‹‹‹‹‹‹ ‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹ > ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ m >¿ . ‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹ ‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹ ‹‹‹‹‹ ‹‹‹‹‹‹ ‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹  n ¿ ‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹

F

_ 

‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹ ‹‹‹‹‹‹

‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹

‹‹‹‹‹‹‹‹‹‹‹‹‹‹

 _  _ 

(

)

Ø

7 32

Thin Metal Rod with one end placed against Head

pont. position tasto position

arco metal rod (slight over pressure)

≤ .  . ® ®‰

Bow ord.

BOW

≈ 44 Œ

(

p

≥ .

pont.

)

P

7 32

‰ p

π

c.l. tratto    ..   4 ≈.    & . ≈ ® ®≈ ã 4     ..           > >> II   III π p P F P > P   Œ 44 Œ .       ≈. ≈ > > *) rotate bow hairs at indicated position p π P 1/2 c.l.

*)

1/2 c.l. arco balz.

≈.

7 >‚ ã 32 æ p

j 81  

m‚ P

‚.

P

7 & 32

7 & 32

ã

81 ‰ 81   J p 1 j 8 n·

(i, m)

≥ 3 n ·!! 32 > ∏ 

3 32 3 32

e = 84

≥ > .. n ‚ . !! R π

81

.. ≈ .

≈.

 . R π 3  32 m ·r. m ·.

.. ≈ .

rasg.

.. ≈ .

n‚ P

3 .. ® .. 32

3x

≈.

≤ 81 ‚j > P

3 .. ≈ . .. 32 π

  81 J P 1 8 j b·

3 .. ® .. 32 3 .. ≈ . .. 32

n‚ > p

_

 

(i, m)

∏ P

®

≥K r 5 .. 32 .. ! ! n‚ P

7x

7 32 7 32

5 .. ≥‚ .. 32 !! P

π

p

n b ¿¿ 7 ® & 32 II

III

7 ã 32

.. 42

≈.  _ ( ¿ .)

SLIDE

®

5 & .. 32 .. ≈

n¿.

.. 42

.. 42

p

5 .. . 32

ã.

ord.

≤  .. 7 J ã 32

Vc.

.. 42

4x

pont.

SD2

n‚ n‚ !! !! p

ª

accel. Cl.

44

Rim

( n ‚)

·

simile significant pauses between up and down strikes of the Rod

 ‹‹‹ 

P

( ·)

‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹‹ ‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹‹‹‹‹‹ ‹‹‹ n ¿ ‹‹‹‹ ‹‹‹‹ ‹‹‹‹‹‹‹‹ ‹‹‹‹ ‹‹‹ ‹‹‹‹‹‹‹‹ ‹‹   ‹‹‹‹‹‹‹‹‹ ‹‹‹‹‹‹‹‹‹‹ ‹‹‹ ‹‹‹‹‹‹‹ ‹‹‹ ‹‹‹‹‹‹ 11 ® ≈. ‰ 32

Light Brush along Snare

III

P

11 32

® æ ®‰ m‚ p

n¿ n n ¿ 7 ® . ® 32 ¿

II

e = 63

rall.

BRUSHES Light Brush

ord.

5 ® n ¿ . ® b ¿ . ≈ 48 ≈ m ¿ ≈ ® n b ¿¿. ® b n ¿¿   n ¿ . & 16 3

 

THREADED METAL ROD arco with Threaded Metal rod

7 ® 32 n¿. p5 7 32

®

pont.

¿.

® b b ¿¿ ® n n ¿¿   ® n n ¿¿

batt. across strings arco with metal IIIIII coil (with tiny interruptions)

Vc.

7 32

n‚ p

5

5

4   m¿. 8 ≈. p 48

≈.

pont.

SD2

π

n ¿. ® ≈

≈.

SLIDE

5 & 16

≈ ® n ¿. ≈ .

3

5 ‰ & 16

b ¿.

P

81 ‰

3 32

81 ‰

.. ≈ .

≈.

3 .. ≈ . .. 32

5 .. ® .. 32

loosen Snare on SD1 (as in the beginning)

81 ‰

3 32

≈.

81 ‰

3 32

≈.

tighten bow hairs

rasg. across all strings

ã

..  

π

.. ≈ .

®

81 ‰

3 .. ® .. 32

  81 J p

3 .. ≈ . .. 32

33094

π

(II-I) (i)

 

π P

®

¿.

®

p

batt. across strings IIIIII

5 .. ® . 32 m¿.

&.

5 .. .. 32

P

®

.. 42

. 42

ã.

.. 42


17 e = 52

Cl.

Tbn.

Œ

>‚ ã 42 !! ‰ . p

(continue gliss after second repetition)

 .

SD2

SD1

π

ã 42 ®

  .. π

pont.

tasto

Tbn.

 

(p-flesh)

p

P

e = 104

≤r 3 & 32 n ‚ . p 3 ≈. ã 32 3  . ã 32 R P 3 r & 32 n· . 

≤ ≈ n‚ > π

         

   ∏

P

Œ

≥ !  ! ‰ . > p F

≤ ≈ ‚

π

   

(arco balz.)

p

≈    

≥ 38 ® !! ‚. p

 

P > P ≈   ®‰

·

‚. π

_  rasg.     ‰

p

F

F

e = 52

P ∑

® ≈

 

p

®‰

 . p

ã

≈.

Œ > ®   ‰.

P ‰

 

 

 

Œ

P 3 ≈   ‰. > p

  ‰

≈ Œ

85

5  . 8 ∏

‰ p

SD1

Vc.

3 ≈. ã 32

38

3 ≈. ã 32

38

3 ≈. ã 32

38

48

pont. tasto

48

®

48

P ‰.

®  .

π

(arco balz.)

  .. π

 

π

 

85   .

 

85   .

 

P 58   Œ J p P 33094

p

 

>· · . ( ‚) ‰. !! P π

3 32

Œ.

3 32

n‚

(13)

78

3 32

F > > ®   ≈   78 ®  . .   p P5 F 78 .  

P

P

7  . 8

Œ.

&

π

P

 

> >  7 >  P  ® ® 8 ≈. Œ

P F

48 ≈ . ≥ 48 >‚ !! F

48 ‰ .

 

 

 

® ‚. P

 

π P &‰

pP

  ‰.

> . ‚ ≈

æ ‚ ‚ ‰ > π p

m·.

3

3 32

3 32 3 32 3 32

ª

85 85 85 5 8

48   48  j

F P > > >   ≈  ≈   4 P 8 P F

π

 .

 

π

≤ n‚

 

>> ≈     48 ‰ .

F

P

p

b‚   > F

  P

®  ..

f

(e = 63) e = 104

 

f

f

f

arco Metal Rod against Head (Snare is unlocked)

SD2

P

horse flutter

(overbow to the extent that a low pitch is audible)

 

ã

  

> !!· · .

(overbow to the extent that a low pitch is audible)

85

Œ

78  

(with Pick)

85

4 n · 8 m·  n·

≥ (>œ ) n!œ · .. ! p

     

Œ

.. ‚ ‰

7 8

Œ

p

(e = 63) a tempo (e = 52)

≈ Œ

accel.

48

48

 

 

> P ®  ®‰

48

 

Œ

π

3

3 8

®≈

 

P Œ

!! ! ! n ‚ b ‚! ! n‚ π

®

π

p

π

≥ 38 ‚!! . · >

38 ‰

p

  

 

 

(arco balz.)

 

≈.

≥ æ ‚. > p

Œ

(lightly  with Pick)

7

> ≈.   ≈.

 

>  P ≈.

rasg.

Gt.

Œ

≈ ‰

π

® .     π

ª

Cl.

Œ

π

Œ

arco tailpiece

ã 42 Œ

189

 

unlock Snare arco Metal Rod with one end placed against Head

4 ã 2 ‰ Vc.

≈ã≈

ã 42 Œ BOW

>≥‚ ≤ !! ‚ ‰ P3

behind bridge (m-flesh)

& 42  . Gt.

≥ ≈ . æ !! n ‚ ‚   .. P>

accel.

& 42 Œ

187

Œ.

85

Œ.

85 ∑

85


18

& 85

194 Cl.

Tbn.

b‚ > P

ã 85 ‰

≥ ! n ‚!

≈ ‰. ≥

≈ . ‚ P

ã 85 Œ Gt.

SD2

SD1

≤ ‚ ‰

p

Tbn.

SD1

ã

ã 85

pont. tasto

  J ∏

Œ

ã 85

3 r 32 ‚. π 3 32

>  > >       ‰

  π

p

 .   π >P   ≈. Œ

 .

2 ® 8

p

 

3 r 32  .

28  

3  . 32 R

28 28

π

e = 63

≥ ≤

≥ ≤ 201 !   n‚ ‰ & 68 n ‚! ® . >> > n >‚   π F p ≥ >≥‚ >≤ >≥ ! ‚ ‚ ®‰ ã 68 ≈ ‚! ≈ ‚ > æ P π p

7 32 ¿ ‚ . fl π

! μ ¿ ·! fl p

7 ‚ ≈. 32

!!‚   p

p

&

7 ® 32

4:5 ( ‰ )

rasg.

 .

 

Œ. ã

Œ

f

Œ

> 6 ã 8   ≈ Œ.

 . ∏

tasto

6 8

7 32 n·.

p

π P 18 ‰

ã

68

7 32

68

7 32

81 ‰

7 32

68

7 32   > p

® ‰

81 ‰

7 32

68

#

U

7"

bUœ

8"

Bœ)U

11"

(

j μœ . p

rasg.

p 5 F n· U > ‰   & 38 ‰ n· R 3 F _

U

U

‰.

U

U( œ )

a tempo (e = 63) rall.

4"

‚ ≤ 78 !! ≈ ã ® >   . ! ‚. ( n ‚)

p (

nœ) ã

78 Œ

® .     π

&

3 32 b‚ n‚ > m‚

81

≥ 3 !!r   ≈ 32 ‚. > p ∏

81

3 ≈. 32

81

>  >     ≈ Œ

3 ≈. 32

π

78 78 ‰

p

>≥‚

°

ã

>≥‚  

(e = 52)

ª

≤   ‚. > p

p ∏

&

81

8" 11"

pont.

 .  .

Œ

7  . ® 32

(m, i)

81 ‰

 >  > > >  >  (i)   U8" 11" U 3 . . ® ® ≈ ≈ ® 8 ‰ ‰. 

f 5 > > > ‰   ®    ® ‰ 3

38 ≈

1 8  .

® 68

38 ≈ U‰ n m œœ nœ π ?

rasg.

6 8

 . p

b‚ ≈ n‚ m‚ π p ≤

7 32

8"

Lock Snare arco Metal Rod against Head

P

with Pick behind bridge

  ‰

p π π 4:5 ( ‰ ) P >   ≈ &‰ 6 ® ‰. n· ‰ ã 8

ã 68 Œ

7 32 ‚

_ 

≥ 7 .   81 ‰ !!‚ 32 3 π

π

≤ 1 j 8 ‚ (p)

7 32    

E

π

 .

p

28

P 3 32 ≈ . ∏

 

p

‰.

0

 .

  π

p ≥ ≤ 28 !! ‚ ‚. p

(i)

R π P 3 32 ≈ .

( n ‚)

C

ã 68 Vc.

2 8

b m ·· ..

F

SD2

μ·. 3 ! 32 !R π

arco Metal Rod against Head (Snare unlocked)

ã 68 ‰

Gt.

‚ > p

ª

Cl.

b‚ > ∏p ≤

 .

 

& 85 Œ

®

π

rasg.

ã 85 Œ Vc.

p

!  !.

104 e = 63 rall. (e = 52) e( ·= )

p P Œ

 .

f

 . f

> > P ≈.   ≈     ‰ > f 3

F

38    

U

8"

F

38    

P U ≈ .   38 ≈ ‰ > F 33094

 .

U

11"

 .

U

‰.

78

  π

78   π 78   π

arco balz.

 

p  

 .  .

p P       ≈ Œ. > p>

3 ≈. 32

81

3 ≈. 32

81

3 ≈. 32

?

81


19

1 &8

206 Cl.

Tbn.

e = 84

ã 81 1 ã 8

Gt.

‰ ‰

>   ≈.

>   ≈.

strum

f

ƒ n œœ P 1 n & 8 n n œœ ≈ . n n œœ open strings

SD1

Vc.

ã 81

ã 81

percussive batt.

¿ >

ƒ ? 81 n n œœ P≈ . n n œœ

5 & 32

213 Cl.

≈.

3 32

>   ≈

5 ã 32 5 ã 32

Gt.

85

∑ >   ‰

&

® 81

  v strum

  ≈ >

3

2   ≈. 8 v  v 

48 ‰

π

3

3 ≈. 8  

& ≈ n¿ b¿

28 ‰

≈.

28 ≈ .

81   ≈ . > f

28 ‰

¿ f

&

81 ‰

38

3

 nœ

¿  

œ

π

 

P ‰

≈.

n¿

38 ‰

m¿ ≈

II

III

π

π

5

5

38

II

π

¿  

3

48

p

p

85 ‰

e = 72

‚ ≥ ‚. > π

3

≈ Œ. n¿ n¿   p

f n œœ P‰ 5 5 n & 32 n n œœ 8 n n œœ (undampen strings only

‚ >p

≤ ‚ > p

Œ.

ã

rasg.

≥ j ‚ >

 

p3

pont.

lock Snare

SD1

5 ã 32 Vc.

? 5 32

¿ f

v

85 ≈ .

strum

  ‰ > f

&

ã

5 32 5 32

48 ≤j ‚ >

3

48  .

π

85 ‰

¿  

Œ.

π

batt.

≈ n¿ n¿   ≈. II

p

sul pont.

III

≤   > π

Œ

ã

5

85

arco Metal Rod against Head (Snare unlocked)

ã

>≥  

II III

p

 . π

≥    .   > P

>≤      

P   p

33094

48

  π

48  

π j 48  

3 16

81 ‰ 81 ‰

68 ?

68

Œ

> 3 16   ® ‰

81

3 16

1 8 n· J

6 8

≤     .. > p

3 16

81 ‰

68

81 ‰

68

81 ‰

68

strum

≥ !!    ! > p 5

P ‰ ∏

3 ! 16 !     ‚   > > > ∏ F f

≥ ‚ > π

48 ‚

4 8

≥ !! ‚ ‚ >

f

BOW

DRUM STICK

5 ã 32

5 32

Œ

at the moment of attack)

SD2

5 32

3

Œ

III

5

ã

5 32

π

48 ‰ n ¿   ≈ .

m¿   n¿ ≈ ‰

III

p

48 ‰

≈ ‰

5 32

 

5

¿

≥ ! ‚! ® Œ > p

≈ n¿ n¿ b¿ ‰

48

5 32

3

4 ‰ 8

≈ b¿ n¿ ‰

38 ‰

≈.

p

28

≥ j n‚ π

Œ

5

SLIDE

strum

π

Œ

n ¿. m ¿. ≈ p

SLIDE

0

m ¿. n ¿. ® ≈ . 5

Tbn.

3

4 ‰ 8

ª

85 ‰

p

b ¿. Œ

38

strum slowly with extreme pressure of the nails against the strings

ƒ nœ P 3 n 32 n œœ ≈ nœ

28

1 8 v    v J F 81 ‰

3 ‰ 8

® b ¿. ≈ π

ord.

3 32

2 ‰ 8

81 ‰

ƒ n œœ P 3 n 32 n n œœ ≈ n n œœ 3 32

IV-I (undampen strings only at the moment of attack)

ª

3 32

stick across Head (unlock Snare)

j  ¿v > f ≈.

1 8 ‰

≈.

open strings

DRUM STICK

SD2

3 32

Œ

j   π n·

(i, m)

_ 

68

percussive batt.

   ..

3 ®‰ ® 16 ¿ > ∏ f m· ? 3 nœ ‰ 16 0

I


20

a tempo (e = 72)

U

11"

Cl.

U

U

13"

5"

& 68 Œ

219

Œ

quietly sing an octave below the sounding pitch

Tbn.

? 6 UΠ8

5"

U

Gt.

13"

Bœ (B œ ) U

Œ

U

P ‰

Œ

GLASS SLIDE slide along Snare. BRUSH Rotate Slide back 13" and forth very slowly.

SD1

ã 68

¿

p   

p

π

≥ U ã 68   π

5"

II

Vc.

U

I

? 68II n ·

1 U≈

16

)

11"

a very slow single rasg.

p

U

U

U

13"

II

11"

1 U≈

78 Π.

III

 

 

p

U

3"

161 ≈

11"

P

P U Œ

1 U≈ 16

3"

π

≈.

≥>

r n ·æ

‚.

p

>≤ ‚ ‚

5

_

 

π

≥j

& 68 ‚ ≈ .

Cl.

. m ¿. ‰ ®n¿ ≈ ‰ π

6

Tbn.

ã 68 ‚ . π

BOW

78

®  . > π

≤ 7 > 8   II

π

III

U 161 ≈

5

>≥    

5

78 Œ

SLIDE

& 68 ΠGt.

Œ

p

®n¿ n¿ b¿   

π6 P

& 68

ord.

SD2

   >

SD1

j ã 68   Vc.

( pp )

? 68

&‰

5

® Œ.

∏ π 5

m¿. n¿   n ¿.

III

® Œ.

II III

p

π

3

‚ !! ‚

5

    æ ∏

  !! p

6

® ‰

18 U≈ bU·

≈ Œ

&

π

U

30"

œ ≈.

U 81 ≈

U

U 81 ≈

U

j   ∏ j m·

≈ ≈

85 ‰

Ø

mœ ≈. Ø

Bow

81

ã

81

U

U

11"

U

18 II n · n· III ∏

¿ ∏ U

30"

 

I

U

n· ·

 

rasg.

&

85 ‰ 85 ‰

_ 

    >

    ≈.

p

π P ≈

SLIDE

 

≈ ‰

j nœ œ

≈ ‰

b¿ b¿

π P

3:2 ( ‰ )

Œ

‰ ‰

85 ‰

&

®

π

m¿

II

®

batt.

¿.

π

(3)

n¿

II

III

33094

85

P

b ¿.

≈. >≥ . !!‚ ≈ p

48 ≈ . n ¿ n ¿   ≈ ®n ¿ ≈   p P 48 ∑

48 ‰

(3)

≈‰

48 ‰

7:4 ( ‰ )

5

48 ‰

¿  

p

(4)

n¿

68

68 6 8 68

7 32

7 32

7 32 7 32

pont.

¿

‰ ≈ ‰

≈.

n ¿. p

3:2 ( ‰ )

68

ª

48 ‰

ã

II

Œ

5:4 ( ‰ )

®

≥     .. III æ ( pp )

 

6 8

68

 .

   >  

≤ > 

≈ n ¿. ≈ ® n ¿. ≈ ‰

π

&

ord.

 

ord.

85 ‰

π Ø

p

n ¿.

≤6

6

85

11" 30"

‚ ‚. >

accel.

(œ)

U 81 ≈ n œ π

11" 30"

ã

e = 84

n>·   n ·  ..

III

‚. >

≈.

(harmonic gliss.)

II

≥ > 1/2 c.l.     J

>

j ‚

‚ >

≈.

   > p

spring underneath gently arco the spring Snare lock underneath the snare lock. BOW A high unpredictable frequency should emerge.

¿ ¿

ã 68 Œ

(·) 11" 30"

ord.

   

5

   . >

11"

Œ

‚   ∏

‚ >

≈.

arco Metal Rod against Head tasto

. ® n¿ ≈ ≈. n¿ ‰ . ∏

7

≈.

®

ª 222

p

6

e = 76

3

æ

>

 .

‚≤

‚ !!

& B œæ ã‚

5

rasg.

≥5 ‚ B ·!! b ‚!! > π ≥7 !! ‚ & μœ ã‚ >

U

‚ >≥ . !!‚

5

78 ‰

16

‚ b‚ >

≤ 78 ® >‚ π

3

7 ≈ 8 n‚ π

U 161 ≈

3"

3

Heavy Brush drawn very slowly (in one sweep) against Rim (allow for small breaks in the sound)

U

5" U

(

‚ π π

13"

6 UŒ

U œ

3"

dirty breath with faint, unfocused whistle 3"

11"

ã

&8

SD2

π

(œ)

1 U 16 ≈

Add the voice 5 seconds into the fermata.

5" U 6 ã 8 Œ

n ‚ ·(·.) !!

a tempo (e = 72)

48

≈ m¿ n ¿ II

III

p

≈.

5:4 ( Ù )

n ¿.

batt. II

7 32

7 32 7 32


21

Cl.

Tbn.

e = 112

7 & 32

227

7 ã 32

3 16

≥‚ . ≤  !! f

3 16

3 16

7 & 32 Gt.

ã

7 & 32

ã

‚≤ . J

(brightest air sound)

3   8 J

f

≥  . J strum

&

ƒ 3 n n n œœœ P ® ‰ 16 nn œœ nœ

ƒ

3 ‰ 8

SLIDE

SD2

SD1

7 ã 32

v.

¿ f

7 & 32

 

p

ã

Vc.

? 7 32

j  .

38 ‰

ƒ

3 16

  ® ‰ > ƒ nœ P 3 n 16 n œœ ® ‰ nœ IV-I

&

Cl.

Tbn.

≤ 1 ‚. ã 8 p

Gt.

SD2

SD1

& 81 ‰ Vc.

? 81 ‰

5 U≈

7"

8

&

3 ≈. 32

ã

(lock Snare)  tap

ã

π

SLIDE

U

85 m ¿

π U 85 ≈ U

7"

85 ≈

3 32

III IV

  > P

3 ≈. 32

85 85

7"

5

π

U

π

3

J· IV π

161

81 ‰

28

5 32   ‰ > f

ã®

 .

II

III

≤   p

  > π

≥   !! !

5 32   ‰ > f

1 16

5

‚. 3 R 32 p

3 32 ≈ .

161

P &

rasg. with same pressure

3   32 . vR p P 3 32 ≈ .

Œ

U

( n ‚)

U

pont.

  17"

_

81

&

¿ F

1 8   v 

F 18 ‰

  v 

¿

81

81

® m n ¿¿ ≈ III

3

P

≥ ( n ‚)

(· )

( n ‚)

π

U

5 8 ‰ 85 v  ≈ .

≈  

.   ≈

®  .

®

‚. >

5 π

rasg.

p 33

85 ‰

(

· p

® ã® ‚ > ∏ p bœ)

85 ‰

3 ≈. 32

>≤ 85   J II

π P 58 ‰ III

3

!! ‚ · ‚ > π

68

j ‚

6 8

 >   π

3

≈ m· II

3

33094

p

p

p

&

  !!J   !! !J

(harmonic gliss.)

3

P Œ

π

68

j  

   . > p >≥ ≈ ‰   π

68 68

n·. 

arco Metal Rod against Head (Snare unlocked)

>≥    

ª

≥> . ≈ B!œ     !

3 ≈. 32

3 ≈. 32

6

81

®

5

1 8

II

85 ‰

b‚. > π

1 8

batt.

  28   ≈ . v  v  28

ã

ord.

28 ‰

4:5 ( Û )

≈.

m¿  

∏ P

3

≈.

81

5

28

(Snare unlocked)

slow strum with pressure against strings using R.H. nails IV III II I

tasto tasto

≈ ? n· ∏ III

81 ‰

1 8

 

π

2 ‰ 8

(press finger against fingerboard at the harmonic node once the harmonic chord has sounded)

17"

U

&

n ¿. ‰

SLIDE

1 8 ‰

a tempo (e = 72)

Œ

    > p

>   ã®

®

  > ƒ

nœ 161 n n n œœœ n n œœ

161

17"

  ≤   ..

1 16

5 ‰ 32  ¿v f

U

rasg.

>   ≈.

5 32

(Snare unlocked) arco Metal Rod against Head pont. BOW 3 3

P ‰.

5 32

17" ≥ 5 ≤ U !! .. ‚ ‚ ‚ ‚ ‰ > > π p

2 ≈. 8

17" (œ)

®‚ > π

 

1 8 ‰

≤6 ≤6 ≥ bUœ !! ® ® n‚. ‚ ‚ ‚. > > > π p π∏

 

3 32  ¿v ≈ P strum

n ¿.

II

® n ¿. ≈ ∑

(Snare unlocked)

≈.

III

p

1 16

DRUM STICK

π

e = 72

7"

3 ≈. 32

ã 81 ‰

7"

8

P

& 81 ‰

III

38

5 U · 

≥ 3 ‚R ≈ !!  32 Ô

ã 81   ≈ . > p

b n ¿¿  

II

5 32

 

p

batt.

ã

(undampen strings only at the moment of attack)

>≥ 3 32 n ‚ ‚ æ P

& 81 ‰

¿

3 ≈. 8

ª 234

π

ord.

3 16

38

strum

® n¿

® n b ¿¿

5 32

5

DRUM STICK (unlock Snare) stick across Head

® m ¿. ® ≈

π

38

ƒ

>   ® ‰

n ¿.

(darkest air sound)

&

68 68


22 e = 84

Cl.

n ¿. ≈ n ¿. ≈ ‰ ® b ¿. ®

6 &8 Œ

239

π

Tbn.

≥ 6 ã 8 ‚. ∏

‰.

Œ.

SLIDE

& 68 ‰ Gt.

 π P

≈ ‰

48 ‰ ≈.

b¿    ∏

® m¿ ≈ . ∏

5

5

n¿ n¿

& 68

6

3

4 ‰ 8

! . ‚! ≈ ∏

a tempo (e = 84)

Œ

5 ≈. 32

n¿

5 ∏

48

 

® b b ¿¿ ≈ ≈

48 ‰

® m¿ ≈. ‰ .

≥ ≤ 5" 5 !!   . 3 U‰ 32 n ‚   8  p π

5

3

π

≈.

5" ≥ ≤ > >‚ 3 U ‚ 8 ‰ p

strum

5 32   ‰ > p

ã

5 32

&

3 U‰ 8

5"

38 U‰

≥ n ¿.

≈.

π

a tempo (e = 84)

7"

®

U

b ¿. ∏

7" U

2 8

28

&

SLIDE

U

7"

® b¿ ≈ b¿  π ‰

28 ‰

U

28

3

n¿ ‰

pont. ord.

SD2

SD1

6 ã 8

  ∏

≈ ®

batt. II

π

? 68

nUœ

Plunger Mute

& ≈ > 

strum

Gt.

Pr n· & n· _

P 12" ≥U μœ

®

P

U

12"

U

U

12"

SD2

SD1

ã

12"

ã

 

1/2 c.l.

IV

Vc.

? IV

nœ 0

°

U

¿

n¿   m¿

≈.

48

U

5"

5 32  v ‰ ¿ p

3 ‰ 8

percussive batt.

≈ ‰

5 32 ¿ ‰ > p

ã

5 32

&

3 U‰ 8

5"

38 U‰

pont.

7" U

¿ π 5

≈. ‰

5

n b ¿¿. III π II

¿ ® ���.

2 ‰ 8

®‰

U

7"

∏ 5

28 ‰ .

®‰

I II

7

U

28

. m m ¿¿ ∏

Î

ã μœ

U

*)

Ø*) U

31"

(

)

81

3 U≈ . 32

81

11"

Î

3 U≈ . 32

U

32

U

U

31"

11"

3 ≈. 32

31"(very slowly)

 

 

arco

U

U

œ F

œ *) Ø*)

11"

3 U≈ .

U

3 U≈ . 32

11"

Ø*)

31"

ã

ª

U œ

*)

31"

12"

& ≈

ã

48 ‰

® m¿ ® ‰

II

7:4 ( Ù )

244

Tbn.

III

4 ‰ 8

≈ ‰

≈ b¿ n¿.

ª

Cl.

¿

Œ

π

& 68 ‰ Vc.

¿.

3

Lock Snare  tap

ã

3 U≈ .

32

11"

3 U≈ . 32

Î

*) The decresc. and cresc. should be gradual over the time allotted to each fermata. Use circular breathing if possible to maintain the pitch over the long duration indicated.

81

e = 96

3 32

≈.

81 ‰

48

>≥‚ . 3 32 !!R p

>≤ 18 ‚J

>≥‚ J

48

3 32

81   ≈ . > π

strum

  > p

nœ 81 n n n œœœ n n œœ

≈. P ≈.

undampen strings only at the moment of attack.

3 32

≈.

81 ‰

≈.

P

open strings

  > p

nœ n n n œœœ n n œœ

≈.

48

P ≈.

48

undampen strings only at the moment of attack.

 tap

81 81 81

®

≈ P ‰

5

 ¿v > p

strum 3

  > p

3 32

3 >  32

P r 3 n n ·· .. 32 n· . II III IV

33094

81 ‰

≈.

81 ‰ 81 ‰

≈ arco batt.

≈ ≈

 tap

5

¿ > p 3

48

¿ >

48

n n œœ n n œœ

P ≈

48

p

3


23

e = 72

& 48 ‰

250 Cl.

Tbn.

≥5

≥ 5

!! æ n‚ ‚ ‚ ‚ ‚ ‚ > > > p P p ≤

>‚ 4 ≈. ã 8

U ( n ‚)

16"

®‚ > p

≥ ! ‚! ‚ > P

6

ã 48 Œ

≥6 ≤ ® !! m‚ ‚ ‚ > > π

® 85 ‰

U U

U

U

16"

7"

≈  

≈  

U

U

≈  

j · m n ·

p

≈  

85 ‰ ã

≈.

5 8 ‰

≈.

a tempo (e = 72)

>    p >  p

 

U 81 ‰

7"

®‰

æ ‚ ‚ ‚. > p

π

>≤ ‚ ‚

p

π

°

6

≥ >. ‚ !‚ !

>≤. ã® ‚

85 ‰

nœ ‚ ®& p ∏

‚ >

  J p

& 48 Œ

œ ∏

U

a tempo (e = 72)

16" 7"

rasg.

Gt.

*) (œ)

7"

1 U‰

‚ ≈ 8

7"

π

5

 

≈ ‰

π

≈.

 

>≤ 85 ≈ ‚

≥ ≥ >. >≤. > . ‚ ‚ ‚ ‚ ‚ ‚ !! !!

1U 8 ‰

≥6

‚ ‚. >

3

7" 18 U‰

≥ !! 85 ®n ‚!. > ∏

5

!! ‚‚‚ > π

π

    85 ≈

3

‚ ‰

j 5 8 ≈     Ø

U

®‰

7

  ≈     J π n· . ≈ ‰ & n· _

≈ ® 

π

p P  ‰ 5

5

BOW

U

16"

SD2

SD1

>≥  ã 48 II

Vc.

≈  

ã 48 Œ .

arco

P

≈  

U

16"

      !! II III

π

? 4 K>· · ‚   8 !! (P)

7"

>≤ I  

II

P

P ≈

π

>≥  !!  

3

≥ c.l.

U *) arco 7"

>≤ tratto    

p ∏ I

U

5 8 ‰

≤ 85   J ( pp )

 

ord.

I

π U

ã

  85 π

5

j    > π ≥  J

3

    > p ≤ >    !!  ..

5

5

   > p

*) produce the indicated transitions very gradually over the time allotted by the fermatas

33094

 

1 8 ‰

‰.

5

5 8 ≈

 

5

    >

π ‰

π

≤6

      > ∏

π

≥ >    !! !J p

U

7"

≤ ≥ >  >    !! 85 ≈ J 7 ∏

≥  

≈.

U 81 ‰

II III

P 18 U‰ ? 85 Œ .

  !! !

®‰

    > π ∏ III >≤    ≥  .

arco

7"

5

3

p

III

°

≈ J·. (harmonic gliss.) (p) °

notengrafik berlin

U

arco Metal Rod against Head (Snare unlocked)


Edition Peters For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Bach, Edition Peters had by 1802 acquired Beethoven’s First Symphony as well as several solo piano and chamber works. In the second half of the nineteenth century, an active publishing policy enabled the company to develop the catalogue through the promotion of contemporary composers such as Brahms, Grieg and Liszt. This policy continues today: as the publishers of composers such as John Cage, James Dillon, Jonathan Dove, Brian Ferneyhough, Bernd Franke, Anders Hillborg, Mauricio Kagel, Rebecca Saunders, Richard Strauss and Erkki-Sven Tüür, Peters continues its historical role as a champion of new music. This is accomplished in conjunction with the continuing development of the traditional catalogue.

The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße

Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Klavierwerken. Schon zwei Jahre später waren die Rechte an Beethovens erster Sinfonie sowie an diversen Klavier- und Kammermusikwerken hinzugekommen. Durch enge Zusammenarbeit mit zeitgenössischen Komponisten wie Brahms, Grieg und Liszt gelang es in der zweiten Hälfte des 19. Jahrhunderts, den Katalog beständig zu erweitern. Dieser Tradition ist das Unternehmen bis heute verpflichtet: Als Verleger von Komponisten wie John Cage, James Dillon, Jonathan Dove, Brian Ferneyhough, Bernd Franke, Anders Hillborg, Mauricio Kagel, Rebecca Saunders, Richard Strauss und Erkki-Sven Tüür ist die Edition Peters weiterhin Anwalt neuer Musik, während zugleich das angestammte Verlagsprogramm kontinuierlich ausgebaut wird.

w w w.e d i t i o n p e t e r s .c o m


EP 12736R Ming Tsao, Not Reconciled, ensemble