"Quartet (lens 1)" for clarinet, voice, percussion, and piano

JELANI N. SURPRIS Quartet for voice, clarinet, piano, and percusssion

(2022)

Copywright 2022 by Jelani Surpris Music

i

“Quartet” Explanatory Note: “Quartet” is a large-scale piece that explores a contextual narrative of a light spectrum being analyzed by the mind's eye. Within each “lens” the color of the instrumentation changes exposing a new nature to the sound. Each player should keep in mind Written for the early formation of the Ensemble UNKWN in the Spring of 2022 at the Schwob School of Music. The version presented is the edited version which follows their performance of the first lens.

Instrumentation: voice, clarinet, piano, and percussion Duration: ca.7 minutes

Musicians: Gavin Gourley, voice Daniel García, clarinet Gary Gordon, percussion Noah Waddell, piano Jelani Surpris, conductor

Kenneth Butler (b. 2000)

“Surrounded by enigma The gloaming devours This place of madness Consumes my very soul shush my shouts Blinded cannot see Dawning may be near Climbing through descending shadows”

- 2022 -

Copyright 2022 Jelani Surpris Music

ii

General Technique: Raise or lower the pitch by 1/4 tone or 3/4 tone (ie.

). I understand that intonation and sound color

are closely related. Ultimately, the player should choose the best possible ngerings.

Dashed decrescendo informs the player to naturally allow the decay of the sound previously produced

ord. = return to original technique after playing alternative technique

A dashed arrow line indicates that players should gradually transition from one technique to the next.

Symbol =

quasi senza tempo = indicates for the player to continue playing without a pulse or given tempo; these sections are accompanied by non-existent bar lines

Repeated aleatoric gures are written within a pair of repeat signs followed by a thick line.

Symbols =

&

Endings to aleatoric gures are open-ended and only give a general suggestion for stopping the phrase. They are notated as such.

Symbol =

(

Notes with thick beams attached to the tail end of the head inform the player to sustain the given pitch or technique in cohesion with the rest of the ensemble.

Example =

Semi-aleatoric and aleatoric devices are accompanied by an overarching bracket to show the duration in which the texture should be played.

Symbol =

Voice: Unless otherwise instructed, Glissandi are meant to be played with rhythmic accuracy and precise pitch di erentiation. Singers are encouraged to willingly employ theatricality in their performance of these glissandi while keeping in mind the musicality of the phrase.

Square noteheads indicate that the singer speak plainly but within a general region speci ed by the notehead.

fi

fi

fi

fi

ff

Symbol =

iii

“X” noteheads indicate that the singer should employ a glottal vocal “rattle” to the given lyric. The intended lingual sound is notated in parenthesis.

Example =

Diamond noteheads indicate for the singer to use a whispered timbre within their normal vocal dynamic range. The singer should omit pitch in ection as well.

Symbol =

Rounded triangle noteheads indicate that the singer should shout with musical e ect and little pitch in ection.

Symbol =

A triangle notehead without pitch information indicates singing a high-pitch vocal fry. These are usually accompanied by glissandi.

Example =

A Z stem attached to a normal note stem indicates singing with a low smooth vocal fry. Pitch accuracy should still be considered when performing this technique.

Example =

Clarinet: Flutter-tongue markings are accompanied by a 32nd note tremolo marking and the text “ z.”

Symbol =

Bissbligandi are notated with an “N M” sta text; the N represents a natural tone and the M is a muted tone.

Symbol =

fl

ff

ff

fl

fi

fl

Multiphonic ngerings are provided in the score.

iv

Piano: Sforzato markings indicate that the pianist should strike the keys with an intense weighted force initially.

Tremolos on the piano require double and triple-stroke nger rolls. If the required speed is unattainable then using separate ngers on both hands to tremolando is acceptable.

Symbol =

Percussion: Instrumentation: Bass Drum Snare Drum (as resonator)

Tam-tam Large china cymbal with rivets 5 triangles of varying sizes (low to high = large to small) Two resonant metal plates (as thunder sheets)

Timpani 4 tuned gongs (low to high = large to small),(pitches of percussionist’s preference) 5 Crotales (pitches of percussionist’s preference) Marimba

Shorthand Instrument Changes: [name] BD = Bass Drum TT = Tam-tam CYM = Large China Cymbal TG = Tuned Gongs MAR = Marimba TS (#1) = Thunder Sheet TS+SD (#2) = Thunder Sheet and Snare Drum Resonator TR = Triangles

General Key =

fi

fi

*page v for further notation information

v

Mallets: An assortment of mallets of varying densities should be gathered to achieve timbral and spatial accuracy.

Additionally, the player should have triangle beaters, supernal mallets, and a bass bow.

Percussion Notation Bass Drum Symbols: An x notehead on the bass drum line indicates playing on the rim of the drum with harder mallets. The marking used is “rim.”

Example =

Bass Drum may also be resonated by a super ball mallet (sb). A visual guide for the movement of the mallet is given at each moment requiring its use. The corresponding symbols are listed below.

Example =

Thunder Sheet (TS#1) The player should strike this thunder sheet normally with a mallet of their choosing. The sheet should not be shaken or exed as a technique.

Notation =

Thunder Sheet + Snare Drum(TS#2) The player should allocate a snare drum to act as a resonator in “Quartet.” The Snare should be placed behind one of the thunder sheets (thick metal plates) vertically with the snare “on.” Mallet hardness should be determined by the player; whichever color the performer prefers in cohesion with the overall texture.

fl

Symbol =

vi

Large China Cymbal The large china cymbal should be played as normal but may also require bowing. The marking used is “arco.”

Varying pressures are required for bowing the cymbal if instructed. “X” note heads indicate to strike the cymbal normally.

Symbol =

hbp = high bow pressure (*contact to the cymbal) lbp = low bow pressure (*) np = no pressure(*)

Crotales The player should choose 5 di erently pitched crotales and place them on the skin of the timpani. These crotales will act as resonators when bowed in combination with the “wah-wah” from pedaling the timpani.

The marking used is “arco.” Their notation is marked using “stemless” noteheads.

Notation =

(low to high)

TMP +CROT: The “wah-wah” timpani and crotales pedaling e ect is marked with the words, “Pedal.” The player should adhere to the waveform shape provided.

Example =

Tuned Gongs: The player should choose 4 Tuned gongs di erently pitched tuned gongs to be hung. They should be played normally with mallets of varying timbre. Their notation is marked using “small” noteheads.

Notation =

Triangles: The player should choose 5 triangles at di erent fundamental pitches from low to high. They should be played with triangle beaters that achieve maximum resonance.

ff

ff

ff

ff

Notation =

vii

1

Lens I

I

Module I (q = 62)

&

Clarinet in Bb

4 4

Jelani Surpris (b. 2000)

∑

Œ nœ

<n> œ

˙

Œ

Ó

ppp molto sos.

?

Baritone

[TS]

ææ œ /

Percussion

Œ

æ œæ

Ó

ææ̇ n

?

Ó

ppp

ppp

&

Œ

h

>

[MAR]

œœœœ œ œ œ

pp

mp

œ

œ

/

ppp

4 4

Piano

?

=

4

Cl.

&

b˙

Œ

œ

Ó

Œ

U Œ n˙

p molto sos.

? ‰ b œJ Surr

p

œ J

‰

æ ¿æ™

‰

Ó

Perc.

Œ

U Œ

(rr)

‰

bœ ™

‰

Surr [TS] B

[TS]

/ Ó

œ

p molto sos.

p Bar.

Œ

ææ œ

‰

Ó

mp

ææ œ

U Œ

p

ææ œ p

&

Ó

Œ

U Œ

?

Ó

Œ

U Œ

Pno.

æ ¿æ™

‰

(rr)

Œ

Ó

?

2 q M NM

Cl.

&

N M

b -œ. -œ -œ >

Ϫ

-œ -œ œ

mf

‰

p

Bar.

¿æ glis æ s. ¿™

n

ææ ¿

µœ œ

p

molto sos.

p

? Œ

nœ ™ p

n-œ. -œ. -œ. -œ. -œ. -œ. -œ. œ

Œ

(rr)

œ œq œ œ

n

Ϫ

‰ ‰ ¿ææj ¿ææ

[TS] slow trem

œ Ó

œ

fp

/

p

æ ¿æ™ ‰

(rr)

h

Perc.

ppp molto sos.

ound

[MAR]

?

˙

fp 7

æ ¿æ

∑

æ œ

Ó

æ œ

fast trem

æ œæ™

‰

mp

n

Ó

ppp ppp

& Pno.

?

=

A Module II 5

10

Cl.

& Ó

U Ó

Ó

Œ

Œ

3

j b œ <b> ˙

œ b -œ -œ -œ -œ -œ -œ -œ -œ -œ -œ œ <b> œ ™ mf

p molto sos. (whis.)

p

mf

Bar.

? >O Œ UÓ

b˙

ded

Perc.

/ Ó

Ó A

U Ó

? Ó

U Ó

Pno.

∑

(yuh)

Ó

(p)

Œ ‰™

nœ nœ b ˙ e

[TS]

œ

>-5 - - - - 5- œ œ œ œœœœ

p

mp p mp p

mf

-

‰

p

œb œ µœ œ œ œ œ œ J ‰

[BD]

U Ó

p

mp 7

by

& Ó

7

M NM N MNMNMN

-j œ ‰ Œ Ó

∑

3 h

14

Cl.

∑

&

∑

Œ

nœ

œ

p molto sos. p

f 3

Bar.

<b> œ n œ œ ?

J

œ ™ >œ

n -œ œ ˜œ n œ œ œ œ œ œ œ ™ œ

Œ

œ -.

œ œ œ œ -. -. -. -.

p

f

f

Ó

Œ

the

[BD] 3

Ó

ppp

> 6û

ma

Œ

M N M

mf

[TS+SD]

Perc.

N

5

nig

ææ / œO

M

Œ

f

[TS+SD]

[TS+SD]

> j œO ‰ ‰ ee e ‰ J

Uæ æ̇

ææj ææ œ œ

[TG]

ppp sempre

> j ≈ eJ œO 5

3

mf

‰

p

& Pno.

?

=

17 3

Cl.

&

5:4

b >œ B >œ n œ µ œ >

œ

œ nœ

p

f

µœ nœ µœ nœ µœ

Œ

Ó

∑

ppp

f

(tp, high sibilance)

(whis.)

p

mp

? nœ b œ œ œ œ œ B œ œ 3

Bar.

3

gliss.

œ œ

gloo

> ≈ 6û

p

mf

f

> O ≈ 6™ 5

Œ

Œ

ming

de

m o l t o

vour

6 ææ

ff

> ¿ ≈‰ Œ R

6 ææ

(ss)

[TG] [TG]

Perc.

/ Ó

>j e ‰ e ee ‰ 5

pp

& Pno.

?

3

∑

5

‰ ‰ ‰ ‰ e œ œ e e p

mf

[TS]

mf

Œ

4

20

Cl.

Bar.

B Module III

5 4

& Ó™

U Ó

? Ó™

U Ó

[TG]

Perc.

/

> U ‰ e ee Ó

e™ e e

e

∑

∑

∑

∑

[TMP+CROT] arco

3

5:2

‰ ‰œ J [TS]

4 4

(f

[f]

f

f

W

)"An

s o s t e n u t o

mf

B

5 4

& Ó™

U Ó

? Ó™

U Ó

4 4

∑

∑

∑

∑

Pno.

= 23

Cl.

-. N-. M-. N-. M-. N-. M-. N-. M-. N-. M œ bœ œ œ œ œ œ œ œ œ œ œ M

& b˙

5

œû ≈ ‰ R

Œ

7

ppp

n˙ #˙ n˙

f

m o l t o

ppp (tp)

p

mp

f

fp

7

Bar.

? nœ

#œ œ

This

place

œ œ. œ. œ. œ. œ. œ. nœ - - - - - -

/ ‰

ness

w

p

Pno.

mad

j œ -uniilamun- œ f

∑

& ppp s o s t e n u t o

? ≈ n œ œ ˙™ bb œœ œœ ˙˙ ™™

ff

b œ nœ œ œ œ œ œ œ œ œ

of

[BD] (sb)

Perc.

pp

5

Ó

ppp

nn ww (ppp) 3

œœœ

‰

Œ

Ó

j ¿ ‰ (ss)

5

Cl.

<n> ˙ & #˙ <n> ˙

œ œ ‰ Œ œJ

f

∑

‰

ppp

3

bœ

nœ œ B œ

pp

mf

œ Bb œ

mf

mf

Πn

(plainly, tessitura)

mf Bar.

?

∑

Ó

Œ

-6 -6 6-6 -6 -6 -6

∑

con - sumes my ve - ry soul [TMP+CROT] arco

Perc.

f f f / ( )Mmm ˙ [f]

Pno.

[CYM] arco

W

s o s t e n u t o

œ

pp

> & ## ww ww >

mp

3

Œ

w w ww

3

p

∑

∑

3

nn -œœ -œœ -œœ -œœ -œœ -œœ -œœ -œœ

(ppp s o s t e n u t o)

?

Œ

bb œœ nb œœ

p

mp

Œ

Ó

mp

=

. n œ B œ µ>œ b œ . & nœB œnœ µœ œ ≈nœ B >œ nœ<µ>>œ ≈B œ œ. œ.

28

Cl.

3 4

5

mf

p

mf

?

4

(ff)

∑

[TG]

Perc.

œœ œ

ææ -O O ‰ ≈ O œ O J p

∑

ææ œ

∑

ææj œ™ ≈ mf

j œO

n

p

3 4

∑

4 4

∑

[BD]

-. -3. -. >. -. 5-. -. ‰ ‰ œœœœ œ œ œ ppp

f

> bn w w bnnnw w ww sffz

∑

ppp

f

[TS+SD]

Pno.

?

nœœ œ

ppp

p

[TS]

mf

&

n#˙˙ n˙

∑

3

/ ‰

µ œ ™û J ≈

7

ff

Bar.

<µ> œ

4 4

+ 50s

e nv

∑

to

ppp

‰

6

2 4

Cl.

&

ord. fast

™™î í ™™ e#e e e e e e e

4 4

ppp

Bar.

Perc.

?

f

f

p

<b> ˙˙ <b>˙˙˙˙

∑

[CYM] arco lbp

hbp

˙

œ

pp

f

Ó

Œ

5

Ó

p sostenuto

mf

∑

Œ

bnœ>œ œœ n#-œœ n -œ - - - # œ n# œœbnœœ œœnœœœ ww w

Pno.

?

Ó

n

∑

4 4

Œ

( <n>e<#>e e e e e e e

f

∑

&

ord.

(growl)

∑

/

2 4

w + h.

Ó nn ˙˙ >

ww

=

34

Cl.

&

Più mosso (q = 72)

3 4

poco accel.

nœ B œ nœ µœ œ

Œ

mf

<µ>œ

œ

p

œ

mf

‰

j nœ

n

p

(fry)

ff

Bar.

1>

f

?

nœ

3

œ

ff

ff

ff

1>

1>

7

œ

shush

œ

1>

ff

1>

œ (sh)

pp

mf

> ≈ <n>œ œ my

n

mp

œ Bb œ œ œ œ œ œ œ ™ œ J

‰

soul

[BD] rim.

>. >. >.

/

¿ ¿ ¿ fff

Œ

Œ

Ó

-œ J

‰

mf

-21/0

Più mosso (q = 72) 3

∑

∑

Ó

n##n œœœœ

∏∏∏

&

3 4

®‰

j nœ >

p sostenuto

Pno.

3

?

∑

∑

Ó

‰ nœ nb œœ

∏∏∏∏∏∏

Perc.

[TT]

f

7 37

Cl.

5

& <n>œ

œ -.

œ -.

f

Bar.

Perc.

7

œ

Bœ

gliss.

œ œ. œ. œ. œ. œ - - - -

f

nœ

gliss.

p

œ

Ϟ J

‰

ff

n

?

∑

∑

/

∑

∑

& ˙™

˙™

(p s o s t e n u t o)

Pno.

? ˙™ <b> ˙˙ ™™

˙™ ˙˙ ™™

= C Module IV, meno mossso (q = 66)

39

Cl.

4 4

bœ œ œ bœ ®

nœ

& #œ pp

m o l t o

6

b œû ‰ J

f

f

n

^ ^3 j nœ b œ nœ nœ B œ

fff

5

-. n n œ n-œ. #œ. -œ. œ. -œ. œ. -œ. -œ. n-œ. n-œ. -. œR b œ - - -

?

^

5

Ϫ J

≈

blind

[CYM] arco np

Perc.

n

œ

Œ

(

ff

C

4 4

Ÿ~~~~~~~~ ~~~~~ ~ Ÿ~~~ Ÿ~ b œ n œ Ÿn œ n œ #Ÿ ~~~ ~~ Ÿ Ÿ œ n œ nœ #œ nœ nœ b œ nœ nœ #œ & m o l t o

mp

Pno.

? bb œœ

nœ

bœ b œ bœ nœ

fp

nœ ™ 7

bœ bœ J

ffp

nœ ™™ œ b œ J RÔ

p

œ

nnœœ b œ n œ œœ œ n œ

nœ

3 j Œ bœ bœ

can - not

see

f n w + h. f Man [f]

3 4

#˙ ™™ nn# ˙˙˙ ™™

)

s o s t e n u t o

4 4

∑

fff 5

5

ffp

[TMP+CROT] arco

œ

m o l t o

<B> w

ded

hbp

œ J

‰

/

4 4

p molto sos.

mf

m o l t o

mf Bar.

nœ ™ œ

3 4

˙™ n ˙™ n ˙™

∑

8

Cl.

U

&

µ˙

œ

3 4

poco accel.

<µ> ˙

œ

‰

j œ

nœ B œ nœ µœ œ

pmolto sos.

mf

p molto sos.

˙

ff

Bar.

?

Œ

n˙

n˙ ™

U Œ

b œ ™ n œ nœ J

˙

Dawning

may

be

[BD] [BD]

ppp

f

. . . 5 . [TS +SD] > . . ≈ ≈ ≈ œ ¿ ¿ ¿ ¿ ¿ ¿ œO œ Œ R (rim)

[TS]

h -j U Œ / œ -M œ 3

Perc.

(sb)

3

j œ ‰

Œ

ppp f

Œ

U Œ

sf p

#nn˙˙˙ ™™™

n ˙˙˙ ™™™

∏∏∏

& Ó

3 4

f mp

Pno.

?

Œ

sfz s o s t e n u t o

Œ

U Œ

# n˙˙ ™™™ #˙

˙˙ ™™™ ˙

∏∏∏

? Ó

=

45

Cl.

&

4 4

3 4

5

<µ> œ

r œ Bœ

œ

pmolto sos.

Bar.

<B> -œ. b œ ™

˙ ff

ff

ff

ff

> > > œ µ œ 1 œ 1 œ 1 <µ> œ 7

p

œ

∑

(p molto sos.)

f

(ff)

? n˙

œ -œ. -œ. -œ.

4 4

µœ

œû J ‰ Œ

Ó

æ œæ

Ó

near [MAR]

Mar.

?

Ó

æ n æ̇

<n>œ

pp

&

4 4

∑

Pno.

nœ

œ

œ

mf

3 4

œ œ mp

∑

ppp

4 4

∑

p sostenuto

?

Ó bn ˙˙

˙˙ ™™

Œ

ww

/

9 Cl.

∑

&

∑

∑

p (plainly, high to low tessitura glissando)

mf Bar.

?

6 6

æ ¿æ™

Cli - ming

(ng)

6

Ó

gliss .

[TG]

Perc.

‰ Ó

∑

f

3 3

?

Ϫ

>3 3 > ‰ Œ Œ 3 3 ‰ J J

‰

>3 3 æ J ‰ 3æ

3 3 3

sf

sf

ææ 3

ppp

∑

∑

3

Œ

n˙ >

<b><n> ww

ww

ææ 3 fff

b >˙ n˙ ˙ (fs o s t e n u t o)

fsempre

#n ˙˙

ææ 3

molto

f p

(p s o s t e n u t o)

Pno.

r 7≈ >

through

∑

∑

&

m o l t o

fff

n˙

sf pp

fff

[TR]

> > ‰ e e e e e e ‰ e e

/

m o l t o

(shout!)

f

5:4

5:4

œ ææJ

(sing)

n 3

flz.

Ϫ

b˙

n˙ ˙˙ >

w ww

=

52

Cl.

2 4

6 4

U ∑

&

4 4

W growl

ord.

™™î í ™™ n>œ B œ n œ

∑

sf

Bar.

U ∑

?

∑

U ‚ œœO ‰ ‚ ® ‚ u

/

p

2 4

& Pno.

U <b> ˙ n˙ ˙

∑

mp

‚ ‚> >O ‚ ‚ ‚ ≈ ‚ ‚ ™ ‚ ≈ ‚ ææ 3

3

fpp

fpp

6 4

‚ U ææ Œ

œ

ff

f

(sb)

q.

j Œ œwall œ m

3

fpp ff

∑

sub. pp

4 4

p

mp

∑

sostenuto

?

U ˙ # ˙˙

f

[BD]

[BD, TS+SD] [TR]

Perc.

sub. p

∑

∑

p

10

D Module V (q = 72) (

W)

55

Cl.

ord.

(growl)

(

& (f)

nœ B œ n œ

b >œ

p

p 3

Bar.

ord.

7j 7 nœ œ

? Œ

nœ

f

f

n

p

œ7

7 7 gliss. µœ ‰

œ7

de

Bœ

nœ f

n

7 œ

gli

≈

bœ

n

f

n

r 7 #œ ≈ ‰

7 ss.

Œ

ce [BD] [TS+SD]

Perc.

‰

j œ

-. -. -. -. -.

-.

j œœO œ œ œ œ œ œ œ œ œ > -. -. -. m o l t o

∑

/

(rim.)

-.

-.

>. 5>. >. >.

œ

œ

≈ ¿ ¿ ¿ ¿

ff pp

D

6

∑

& Pno.

ff

Œ

b œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. Œ

sostenuto

f

p

? bœ œ œ n >œ bb œœ œœ >

˙ ˙˙

mf

sfz

Œ

˙ ˙˙

nnbn œœœœ

=

57

Cl.

5

≈ œ-. -œ. -œ. -œ. -œ. -œ. <b>˙

& <b>œ b œ -. f

p

molto

ffp Bar.

mf

? µœ7

7 œ

ff

gliss.

7 7 bœ ‰

de

gliss.

gliss.

n˙ (ppp)

ppp

ffp

molto

7 7 nœ gliss. nœ

ff

ff

œ7

7 nœ >

cen

molto 3

cen

>> > Perc.

/ ¿ ¿ ¿

7 7 7> œ bœ œ œ > 7

(ff)

Ϫ 7

‰

[CYM] arco lbp

> -. -. -. -. -. -. -. -. -. -.

™ œ œ œ œ œ œ œ œ œ ‰

ff

ding

3

¿ œ

ææj ‰ œ ff

[BD] 3

æ nœ

˙

Ó

p

sub. p

ppp

b >œ. bœ 6 œ. œ. œ. b œ. œ. œ. ≈ ‰ J bnn b œœœœ #œ f

Pno.

nbnbb œœœ J

∏∏∏

& ‰

œœœ

˙˙˙ mp

ppp

?

˙ <b> ˙˙˙

nœ. œ. œ.

Œ

nbnn œœœœ

p

b ˙˙˙˙

sub. p

mf

j ‰ œœœœ

Œ

11 59

Cl.

3

Ó

&

‰ nœnœ. µœ œ . >

nœ µœB œnœ ™ p

fff

. nœ. nœ. B œ. . . n œ µœB œ ‰ ‰ nœ nœ n>œ > µ>œ µ œ ™ > 5:4

j ‰ ˜œ

Œ Ó

n

f

ff Bar.

?

molto fff

molto fff

ff

> > b3œ >œ œ nœ œ œ 7 7 777 7

œ 7J

> > b3œ >œ œ nœ nœ œ œ 7 7 777 7 7 7

‰

ding

f f f ( f

hbp

œ

/

œ 7J ‰ Œ

Ó

ding [TMP+CROT] arco

Perc.

p f

Œ Ó

[f]

ff

W

)mm

?

s o s t e n u t o

b >œ. bœ ‰ J ‰ Œ Œ

ff

& <b><#><b>w w w ww Pno.

3

sostenuto

?

≈ nb# œœ n# œœ n# ww

p

f 6

Ó

sostenuto

sffz p

≈ Ó

Œ

n œ. œ. œ. œ. œ. œ. b œ. œ. œ.

nbnn œœœœ

w w ww

=

62

Cl.

&

ÍÍ í ™™ b œ mf pulsare

Bar.

ÍÍ bœ

bis.

mp

nÍœ ÍÍ nœ ™™î f

W+ h (bis.

(

<b>œ

ÍÍ) <b> œ

mp

5

Œ

n-œ nœ. B œ. n œ. Bb œ . f

?

[MAR]

W Perc.

?

™™î í ™™ nœ b œ œ

(

∑ nœ b œ œ

p sempre

Π& n # ww <b> ww Pno.

>j f bœ bœ ‰

f

nb# ˙˙

b >œ fb> bœ œ J ‰ ‰ bœ ‰ J 3

p sostenuto

p sostenuto

bw n nb w ww nw

∏∏∏∏∏∏∏

?

Œ

‰

j Œ bœ b œ. mf >

bnœœ

>œ ™ b ≈ nœ ™ J n>œ f

ww

slow trem

æ æ œ œ œ p

/

12

2 4

65 5:4

Cl.

&

b -œ

-œ

f pulsare

Bar.

œ mp

mf

-œ

œ

ff

4 4

"siren"

n˙

U b˙

gliss.

˙

mp

p molto sos.

U ∑

?

∑

[TG] [CYM]

Perc.

Œ

/

Œ

[BD]

>¿ >j J œ ‰

U ∑

Œ

3

eœO e ≈ e ≈ e e e e E ææ [TS+SD] J 5

fff

f max trem.

& ææj ‰ Œ <n> œ Pno.

2 4

bœ b œ fnœ J ‰ J ‰ j nœ

4 4

U ∑

‰

5:4

(f)

fff

? Œ

Œ

3

fff

ff

fp

slow trem

æj nœ

max trem.

molto

sub. p

U ∑

j Ó

ææ æ̇

æ œæ

ff 5

j bœ b œ. ff >

nœ >

‰

Œ

Œ

j Œ bœ b ff œ

=

68

Cl.

n˙

œ

f

mf

M N M N M N M N M # œ œ -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. -œ. Nœ œ

gliss.

œ

& ff

7

n Bar.

?

∑

5

ppp

fppp

ffp

7j bœ >

‰

œ 7

gliss.

7

U¿ 7 7 7

sha

[TG]

Perc.

/ æe æ

> ‰ ‰ e e eJ 3

3

p

n

f

p

slow trem

& ‰ # œj Pno.

æ œ

f

max trem

æ œæ

p

? j ‰ nœ ff n œ. >

‰

> ≈ e e e

æ œæ

‰

ff

Œ

Œ

‰

6

slow trem 3

3

‰

j bœ ff b œ

(a)

≈ e e e e >e ‰ O œ e e e R 3 > pp ff

Œ

U Œ

fff

æ nœ

ææ œ

(ff)

ppp

Œ

U Œ

bœ nn œœ “‘

max trem.

ææ œ

œ œœœ

U Œ U œ œœœ

Intermezzo E senza tempo, (15'' - 25'') Cl.

& #œ

#œ

p molto sos.

13

Transition to Lens 2

bœ

bœ

bœ

œ

sv

Bar.

p molto sos.

Bœ

?

Bœ

nœ

sha

sha [CYM] arco hbp

Perc.

œ

œ

/

f

[BD] (sb)

œ

œ

sub. p molto sos.

œ

E senza tempo, (15'' - 25'') PEDAL DOWN

& Pno.

?

= senza tempo, (15'' - 25'') Cl.

& nœ

œ

bœ

(p molto sos.)

œ

sv

Bar.

?

(p molto sos.)

nœ

nœ

nœ sha

sha [TR]

Perc.

> ‚

/

>‚

ff molto sos.

senza tempo, (15'' - 25'') PEDAL DOWN

& Pno.

?

œ

‚

‚

[BD] (sb)

œ (p molto sos.)

œ

14

Cl.

senza tempo, (15'' - 25'')

&

nœ

√ Œ nœ

(p) molto sos. sv

Bar.

?

ppp

U O

(p molto sos.)

bœ

œ

sha

dows

[BD] (sb)

Perc.

/ œ (p molto sos.)

√ Œ

œ

Œ

√ Œ

n

senza tempo, (15'' - 25'') PEDAL DOWN

LIFT

&

√ Œ

?

√ Œ

Pno.