Page 1

J ULIE B ARWICK

LET GO (2015)

for flute, clarinet, violin, cello, percussion, and piano 

SEA HARE MUSIC


I NSTRUMENTATION Flute Clarinet in B-flat Percussion (1 player): vibraphone ride cymbal: medium to large with a lot of sustain (ca. 20–22 in.) suspended cymbal: medium (ca. 16 in.)

Piano Violin Cello

P ROGRAM N OTES Let Go is a kind of theme and variations. In each variation, some element of the theme has been “let go,” or freed in some way. In some places, that means freed from the theme’s organizational structure and syntax. Instruments are also freed from meter, and then finally freed from traditional notation as elements of improvisation are progressively introduced. The title also reflects my own attitude towards composing the piece, as I used aleatoric techniques and improvisation as a way to “let go” of the traditional idea of composing. However, there are some things that can never be entirely freed and so they remain throughout. Commissioned by the Hot Air Music Festival and premiered March 10, 2015 by the Hot Air Music Ensemble, conducted by Tyler Catlin. Duration: ca. 7 minutes More about the composer: www.juliebarwick.com

i


N OTATION Accidentals hold through the measure and are octave specific. The exception is Variations 6 and 7 in which accidentals only apply to the notes they precede. Fermatas, breath marks, and caesuras are used to encourage rubato, and should be somewhat brief so as keep the forward momentum. Caesuras are longer pauses than the breath marks. Shows beginning, middle and end elapsed time respectively.

Feathered beams: play freely, matching the speed very approximately with beams

P ERCUSSION K EY Ride cymbal

Crash cymbal

ii


P ERFORMANCE N OTES V ARIATION 3 Cymbal part ad lib until measure 55, in a similar manner as before: alternating hits with bell and body and occasionally playing cymbal rolls and/or scrapes. Intensity and activity level should match the rest of the ensemble and dynamic level should always remain within a p to mp range. V ARIATION 5 Piano plays out of time with the rest of the ensemble, softly in the background, as if playing only to itself. The tempo of the chords should fluctuate freely. There may be rests between chords, varying use of the damper pedal, and octave transpositions of the chords, as desired. Chords should be occasionally arpeggiated. Piano should arrive to the last chord before the rest of the ensemble finishes (somewhere approximately in measures 90–94) and will hold this chord until Variation 6. V ARIATION 6 Total duration is approximately 30”. Conductor (or one player) will cue at 15”. Piano begins this variation and violin, and cello slowly enter about 3–7 seconds later. The tempo should be slow, and without a feeling of pulse: each “note head” equals somewhere between 30 to 60 bpm. The emphasis should be on the individual notes, and players should avoid creating any sense of melodic line. Rests between notes are encouraged. Dynamic level should be pp to p range, like a hazy cloud of sound. Strings: mix in harmonics with regular notes, alternate bow placement. Any neighboring notes may be played as double stops. Piano: Keep damper pedal pressed. Play all notes in octaves and widely vary the register. VARIATION 7 Total duration is approximately 1’30”. Conductor will cue at 30”, 1’ and 1’15”. This variation should grow organically from the previous variation and without an audible break in sound or mood. Each instrument has a different grouping of notes (from 1–6), and can play these notes as they wish. That is, the notes could be played in any octave, any articulation or technique, and in any rhythm. Each phrase grouping can and should be repeated, with a short pause between each. (The exception to this is the cello, which will play the notes in the written octave, always pizzicato, starting at about one note-head=30, gradually speeding up until the end of this variation.) Dotted lines show approximate places to be with regards to the timings. Once at their last group, players should repeat this until the time is up. The dynamic and tempo should build to great intensity (that is, loud and fast), and will be cut off abruptly at 1’30”. There should be a brief silence (all instruments damp) before continuing on to Variation 8.

iii


commissioned by Hot Air Music Festival

TRANSPOSED SCORE

LET GO

Freely q = 96

Flute

3 &4

THEME

B b Clarinet

& 43

Bb Clarinet

Percussion

3 ã 4

suspended cymbals

! !

!

44

!

4 4

!

& 43 ˙ p

4 4

poco rit.

!

44 œ ˙ b˙ F

Piano

ª 10 Fl.

Cl.

4 &4

Perc.

Vln.

4 &4 w

Pno.

!

44

!

!

?3 4

!

4 4

!

!

!

x

?4 4

˙ ˙ ˙ !

p

5 4

! ˙

œ ˙

3 4 ˙ F

bœ ˙

5 œ 4 b˙

œ ˙

œ 45 b ˙

3 4 ˙ F ˙. ˙. 3 ˙. 4 3 4

˙ œ 45 !

œ ˙ œ ˙ œ ˙

!

!

5 4

5 4

> ˙ ˙ ˙ > F

œ œ ˙ dim.

œ œ ˙ dim.

&

!

U

!

!

œ

U

˙O ..

Ó

con pedale

4 4

ñ

U

œ bœ ˙

4 4 ˙.

!

˙ P

ã

œ œ. J

P

j œ ˙ œ ˙ œ ˙ Œ ‰J

œ ˙. J‰ p œ‰ . J ˙ p

Uœ , U,

œ ˙. > f sub.

2 4 !

4 4

!

42 Œ œ 44

!

2 4 !

4 4

b œ Œ 42 Œ œ 44 bœ b˙

˙.

œ

˙ b œ Œ 42 Œ b œ 44

œ œ ˙. œ œ ˙. œ œ ˙.

w w w

!

! 5 4

j 5 œ‰4

! ˙ p-

˙- .

j œ . œ œ œj ‰ 45 œ > ˙ pf sub.

˙- .

!

U,

vibes

5 ˙ ˙ & 4 b ˙˙ b ˙˙ ... p

U,

j 5 j b œ ‰ 4 b ˙- b ˙ . œ . œ > œ œ p U , f sub. œ œ œ 5 ! ! 4

> œ œ œ > F U Ó Œ Œ

!

˙.

!

U, Ó x Œ P

© 2015 by Sea Hare Music (ASCAP)

l.v. sempre

‰ xJ Œ Ó p

!

j œ ‰ ˙. p j œœ œ‰ Ó J !

w P

j œ œ.

ord.

j‰ œ ˙. p

˙˙ .. 4 ˙. 4 4 4

œ œ œ

U

4 ˙. 4

dim.

!

Œ Œ

b˙.

œ bœ ˙

sus. cyms.

U ord. Œ ˙

˙. ˙. ˙. bell-like

Œ

ñ

˙o .

4 4 N˙.

p !

a tempo

Œ Œ

"

!

dim.

Œ

ñ

˙˙ ..

4 4

j œœ œ . b ˙ . bœ. . 5 œ œ . b ˙˙ . 4 J

U

vibraphone, with ped.

Œ Ó

Ó

F ˙ 3 4 F

‰ xJ 43 ‰ xJ Œ Œ p "

? 4 bw 4 4 &4 Ó

3 4

œ ˙ bœ

˙

x

"

& 43

4 &4 w 4 ã 4 Ó

Vc.

p

Ó

j ‰ œ œ b b wO " sul tasto o œ bœ J ‰ w

œ 44 ˙ ˙ F

? 43 ˙

!

sul tasto

˙

legato, bowing ad lib.

Cello

˙o .

scrape

!

legato, bowing ad lib.

Violin

"

!

!

b wo

JULIE BARWICK (2015)

!

5 4

!

42 !

44

2 4 !

4 4

3 4

poco rit.

3 4

4 4

4 4

!

˙- .

3 4 gggg ˙˙˙ ...

4 4

3 4 ˙. -

4 4

3 œ4 ˙

4 4

œœ œ 4 3 4 Œ Œ 4 3 4

!

p

4 4


2

œ œœ œ œ œœ

19 Fl.

Cl.

Perc.

Vln.

Vc.

U

œœœ & 44 œ œ œ P very freely, not in time U & 44 w 4 &4

U

ww w

Cl.

Perc.

Vln.

Vc.

Pno.

xxx 3

U

U

?4 U 4 w

U

˙˙ .. ˙.

!

& ã

˙.

p

˙. x x x 3

"

Œ Œ

Ó Œ

?

Œ

& ?

˙. ˙˙ .. ˙.

Π!

VAR. 2

! ! !

& ˙.

3 4

! [B] a tempo

˙ b˙ P

˙ ˙ P

˙.

f sub.

3 4

˙ P

44 ˙. œ !

4 x 4 p

!

(

4 4

F)

!

!

j‰ ˙ j b œ œ. > œ œ p f sub.

!

!

!

!

!

"5 4

!

œœ œ 4 43 Œ Œ 4

5 4

!

3 4

3 œ4 ˙

˙

œ œ. J

˙

!

Œ

œ P

Œ œ P

!

w w

U

4 Ó 4 ˙

Ó

œ

4 4

œ- ˙-

f - œ 4 œ ˙ 4 f

trem.

Y x x Œ Œ ‰ J 43 Œ Œ 44 æ P œ- ˙bœ ˙ 44 w 43 x

43 ˙

Œ bœ bw P œœ ˙˙ œ ˙

˙˙ .. ˙.

U w

P 3 ˙ 4

w

ã

4U 4 w

3 4

!

x J‰Œ Ó

j œ œ.

j œœ ˙˙ œ ˙ Œ ‰J "

˙- .

44 U w

Ó

x Œ ‰J Ó

˙.

43 ˙ . -

œ ‰" 5 J 4 b ˙- b ˙ . p

!

!

œœ œœ œœœ U œ 44 œ œ œ œ œP very freely, as before 44 U w 4 w 4 ww

!

!

œ . œj œ œj ‰ ˙ f sub. p

43

poco rit.

3 4 ggg ˙˙˙ ...

j‰" 45 bœ ˙ p-

! œ ‰ J p

43

!

" j‰ 45 œ ˙ ˙. p- vibes "5 Œ Ó & 4 b ˙˙˙ b ˙˙˙ ... p

. Œ 43 ˙ œ 44 ˙ p P œœ œ ˙ . œ ˙. œ 3 4 Œ 4 ! 4 œ ˙.

U

?4 4

Π43

"5 4

!

4 Œ 43 ˙ œ 4 ˙. p P

˙.

w w 4 &4

&

p

Ó "

˙.

ª Fl.

˙. ã

& 44 w

26

p

sus. cyms.

U w

Pno.

˙.

[A] a tempo VAR. 1 Π43 ! 44

˙˙ ˙ !

˙˙ . . 3 ˙. 4 43 ˙ ˙

poco

f

4 œ 4 b œ- b ˙ f 4 4

f

4 b˙ œ 4 bœ b˙ b œ- œ

œ > ! œ œœ >


U

œ œ , œœ œ œ œ œ œ œ œ œ œ & J ‰

34 Fl.

Cl.

&

w

(l.v.)

Perc.

Vln.

Vc.

Pno.

x ã æ F &

U w

˙. ˙˙ . .

U w

b >˙ .

œ J‰3 & 4 p f sub. > j 3 & œ . b œJ œ œ ‰ 4 f sub. p 43

Vln.

?

p

!

Œ

p

Œ

p to P

˙ P ˙

Œ

P

j œœ Œ ‰ œJ

Œ

F

U

Œ

œ‰4 J 4 ˙. p sub.

!

3 4

!

43

44

!

F

˙˙ .. ˙. !

F

˙

˙ b˙ ˙

3 4

! ˙

˙

3 4

2 4

˙

j œ œ

!

2 4 !

b wo

˙o .

" ‰ w

!

!

!

˙˙ ˙ !

Π43

4 4

42 Œ œ 44 w p

44 Ó 4 4

!

œ. œ.

2 4 4 Œ bœ 4 bw p 42 !

44 Ó

2 4 !

4 4

2 4

œ œ

4 4

˙˙ ˙

" !

b˙.

Œ

f ˙. Œ 3 œ. œ. 2 œ bœ 4 ˙. 4 4 4 ñ f

"

43

j ‰ œ œ b b wO " s.t. j ‰ wo œ bœ "

!

2 4

4 bw 4

ñ

44

42 Œ œ 44 w p

2 4 w œ 4Œ œ 4

s.t.

˙

42 !

4 4

œ œ. 3 ˙ œ 2 Œ bœ 4 4 J F ˙˙ œœ ˙ ˙ ˙ 34 œ ˙ 42 !

!

!

w 24 Œ œ 44

œ 42 Œ œ 44 w

3 j œ œ. 4 ˙ F

44

j œ ‰ 44 b ˙ . p sub. j œœ 4 ‰œ ! 4 J

j‰ 3 ˙ j b œ 4 œ. > œ œ f f sub. p

sempre

U

œ

Cymbal ad lib until measure 55 in a similar manner as before. *see perf. notes

U

p

43

˙

F 43 ˙

!

U

˙ b œ [D] J‰4 ! 4 f ˙ œ‰4 J 4 ˙. f p sub.

>œ . œ œ œ ˙ 3 J ‰ J & 4 f sub. p f

&

Œ

VAR. 3

U

F

U ? ww w

?

p

˙.

w w

&

U

[C] a tempo

x x x x x x yU Πp

Ó

ã

Pno.

F

freely

Perc.

Vc.

˙.

˙. F ˙˙ .. ˙.

42

Cl.

U

Œ

poco rit.

˙. F

? U w

ª Fl.

still freely, but quicker than before

3

˙O ..

ñ

˙o . ˙˙ ˙

Ó !

Π43

42

œ. œ. ord.

f

Œ

44

œ bœ 4 42 4

˙.

Œ

ord. bœ Œ 43 œ . œ . 42 b œ 44 ˙ . f ñ

˙˙ . . ˙. !

Œ

Π43

!

2 4

!

4 4

!

43

!

42

!

44

!


4 52 rit. Fl.

Cl.

Perc.

Vln.

Vc.

Pno.

&

!

&

!

Cl.

b˙. œ "

& ˙. p ? ˙. p

œœ

Vln.

Vc.

Pno.

Œ Œ

˙ p

U

Œ

˙˙ .. "

U

Œ Œ

?

!

Ó

Œ Œ

U

[E] A little slower q = 88 VAR. 4 b˙. . 3 4 ˙ Œ &4 4 sempre P 3 ˙. 4 ˙. Œ &4 4 sempre P

44 ˙˙ .. sempre P ˙. ˙. 44 & 43 sempre P ˙. ˙. ? 43 44 sempre P 3 &4

!

? 43

!

b˙ p

U

Ó

˙. & 43 b ˙ .

˙ p

Œ

!

45

!

U

&

vibes

Perc.

Ó

U

Œ Œ

ã

ª

Fl.

Ó

a tempo

œ œ

Π45 5 4

! ˙- .

˙-

Œ 45 œ œ ˙-

˙- .

b ˙- .

5 œ b œ Œ 4 b ˙!

45

!

!

5 4

!

3 ˙ 4

bœ 4 bw 4

44 44 4 4

b b œœ 4 b ww 4

˙. ˙.

Π43

Œ 43 ˙

# œœ g œ ˙ gg ˙˙ gg œ ˙ ggg ˙˙˙ œ 4 Ó g 3 œœ gggœœœ ˙˙˙ 4 4 p roll each chord gently 44 ! ! 43

44

w

44

ggg ˙˙ g ˙˙˙ Ó gg !

freely

xxxxx x x

U

w

˙.

w

˙.

U U w

˙˙ .. ˙.

w w

U

w w

˙. ˙.

!

Œ

43

Œ

43

Œ

&

3 4

Œ

43

Œ

3 4

Œ

43

Œ

3 4

˙

œ œ. J

œ

˙.

Œ

˙

j œ œ.

3 4

œ ˙.

3 4

œ ˙. Œ 43 Œ Œ b œ 44 ˙ .

Œ

b˙ ˙

œ bœ. œ œ. J

œ ˙˙ .. œ

43

Œ 43 Œ Œ

Œ

. 4 ˙ 4

Œ

Œ 43 Œ Œ œ 44 ˙.

œ

44

˙.

Œ 43 Œ Œ œ 44 ˙ .

˙.

ww 4 www 4

U

Œ 43 Œ Œ

˙.

œ 44 w

˙.

!

˙.

˙˙ Œ 43

w

˙

˙.

very freely, not in time

U

ggg ˙˙ 44 Ó ggg ˙ p 4 Ó 4 ˙ ˙

˙.

œ œ œ œ œ Uœ œ œ œ œœœ

P

w-

4 ˙4

w œ 44

˙

!

44 w-

3 4 ˙

no ped. for rests

poco rit.

Œ

3 4

!

ggg ˙˙ 4 Ó ggg ˙˙˙ 4

43

!

44

(loco)

!

œ bœ. J j œ bœ.

œ ˙.

œ

43

b˙.

43

!

!

3 4

!

!

43


5

œ ˙ & 43

68 Fl.

Cl.

& 43 œ ˙

Perc.

bœ & 43 œ ˙˙

Vln.

Vc.

Pno.

3 &4

œŒ Œ 5 4 ˙ ˙. - P " œ Œ Œ 45 ˙- ˙- . " P

44 w "44 w "-

œ

œ œ œ œ œ œ U" O . O O O O O . 4 Œ œ 4 œœ œ œ ˙. œ œ ˙ œ œ. œ œ J sempre p glassy p very freely, not in time Rapidly alternate between normale,

œ Œ Œ 45 b ˙˙˙ ˙˙ .. Nœ b˙. " P

bœ ˙

"

? 3 bœ ˙ 4 & 43

!

ª 78

!

45

!

!

5 4

!

˙o .

&

!

&

!

Perc.

&

!

Vln.

&

Œ O˙ ..

?

bO . Œ ˙.

Fl.

Cl.

Vc.

Pno.

& ?

˙ b b ˙˙ b b ˙˙ b˙

!

5 N œ Œ Œ 4 b ˙- b ˙ . " P

!

?3 4

ΠΠ45

˙˙ ˙

"

44 g ww gg w "

!

" ˙ b ˙˙ ˙˙ b ˙

!

p gg ww 4ggg w 4 w w

˙˙sempre˙p ˙ ˙˙

œo ˙o . ‰J

˙o

œ ˙. ‰J

˙

Œ

!

œ ˙. ‰J

˙

Ó

!

Ó

!

b ˙˙ ˙

˙˙ ˙

˙˙ ˙

!

œo œo

˙o œo œo . ˙o ˙o J

œ œ

˙ œ œ. ˙ ˙ J

p glassy ˙. œ #œ ˙ œ #œ. ˙ ˙ J sempre p glassy sempre

˙.

sempre

p glassy

O ˙O ˙

Ó Œ ‰ Oœ J

O˙ Ó

!

O˙ b O˙

bO Ó Œ ‰ œJ

O˙ Ó

!

˙˙ ˙ ˙ ˙

˙ b ˙˙ ˙ ˙

Piano plays out of time with ensemble, in the background, as if playing only to itself. Chords should be occasionally arpeggiated in a rubato style. Vary the register of the chords as desired. *see perf. notes

U

44

˙˙ ˙

!

Oœ Oœ O˙ b Oœ Oœ . J . sempre p glassy

!

˙˙ ˙

!

sul ponticello, and sul tasto

Œ

˙˙ ˙

!

" b O˙ ..

4 4 w "-

˙˙˙ b ˙˙ b˙

!

Rapidly alternate between normale, sul ponticello, and sul tasto

!

˙.

b˙ ˙

"

Œ

˙.

˙o .

[F] Slower still q = 76 VAR. 5 " ! ! !

˙˙ b b ˙˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙

˙ ˙ b b ˙˙ b b ˙˙

˙˙ b b ˙˙ ˙ ˙

˙˙ ˙ ˙ ˙˙

b ˙˙ bb ˙˙˙ b˙

b ˙˙ ˙˙ b˙ ˙

œo b ˙o b œo

˙o

˙o

˙˙ b ˙ ˙ b ˙˙

Ó

!

Ó

!

œ ˙

œ

˙

˙

Ó

!

œ ˙ bœ

˙

˙

b ˙O b b œO

O ˙O N ˙

!

!

Oœ Oœ Oœ ˙O

œO O˙

Œ

b Oœ

O˙ b O˙

!

!

b Oœ Oœ O O œ ˙

Oœ b O˙

Œ

˙ b b ˙˙

˙ b b ˙˙

˙ b b ˙˙

˙˙ ˙

b ˙˙ b˙

b b ˙˙ b˙

˙ ˙ ˙ n˙ ˙˙ ˙

˙˙ ˙

b ˙˙ ˙ ˙˙ ˙

˙˙ ˙ ˙˙ ˙

˙˙ b ˙ ˙ b ˙˙

b ˙˙ b˙

b ˙˙ b˙

˙˙ ˙

b ˙˙ b˙ ˙˙ ˙

! ! !

b ˙˙ b˙

˙˙ ˙ ˙˙ ˙


6 87 Fl.

!

& &

!

Perc.

&

!

Vln.

&

Œ Oœ Oœ ˙O

?

bO Œ œ Oœ O˙

Cl.

Vc.

Pno.

b˙ & b ˙˙ ?

ª

˙˙ ˙

b˙ b ˙˙ ˙˙ ˙

œo œo œo ˙o

œo ˙o

œ œ #œ ˙

œ ˙

œ œ œ ˙

œ ˙

Œ

Œ

œo œo ˙o

˙o .

œ #œ ˙

#˙.

œ œ ˙

˙.

Cl.

Perc.

Vln.

Vc.

˙

˙

˙ bœ

˙

˙

Œ

Œ

Œ ˙

Œ

Œ

Uo

w

"

œ #œ J‰Ó

#U w

"

œ œ J‰Ó

U w

"

Œ

Œ

wO

Œ b ˙O b O bœ

˙O

n O˙

Oœ Œ Ó

!

!

Ó

˙O

U

wO

"

Ow

Œ O˙

b O˙

Oœ Œ Ó

!

!

Ó

U O

"

b˙ b b ˙˙ b bb ˙˙˙

b N ˙˙ b˙ b ˙˙ b˙

b ˙˙ b˙ b bb ˙˙˙

Oœ ˙˙˙ ˙˙ ˙

w

l.v. until Variation 6

b ˙˙ b˙

U

"

*see perf. notes

˙ ˙

˙˙ ˙

˙˙ ˙

˙ N˙ ˙˙ ˙

˙ ˙ ˙˙ ˙

˙ ˙

˙˙

˙˙

˙˙

U ˙

b bb ˙˙˙

˙˙ b b ˙˙ ˙ b˙

˙˙

15"

30"

2

VAR. 6 *see perf. notes

& &

Begin about 3–7s after Pno. Play each note as a single note, or as a double-stop with neighboring notes, but don't try to make "melodies" out of the line. Vary register and bow placement as desired.

&

œ sempre pp

œ

?

sempre

bœ & bœ ?

Begin about 3–7s after Pno. Play each note as a single note, or as a double-stop with neighboring notes, but don't try to make "melodies" out of the line. Vary register and bow placement as desired.

pp

Play notes as octaves, widely varying the register. Don't make "melodies" out of the line. Keep damper pedal pressed throughout.

Pno.

œ

Œ

œo œo J‰Ó

Œ

1 Slow, hazy, spacious (œ = c. 30–60)

&

˙o

Œ

0"

Fl.

˙o

b ˙o b œo

bœ bœ sempre pp

œ œ

bœ bœ

œ

bœ bœ

bœ bœ

œ bœ bœ

œ

œ

œ œ

œ œ

œ

bœ bœ

bœ bœ

œ œ bœ bœ

œ

œ œ œ

œ

œ

œ

bœ bœ

bœ bœ


7 0"

3 As before, but quickly accelerate until playing as fast as possible VAR. 7 *see perf. notes

Enter slowly and not all at once. Phrase in groups of 5, repeat each phrase as desired. Vary register, rhythms, and articulations.

Fl.

&

œ

p

œ

œ

œ bœ

œ

Phrase in groups of 3, repeat each phrase as desired. Vary register, rhythms, and articulations.

Cl.

& œ p

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ bœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ bœ bœ nœ

œ

œ

œ bœ bœ

œ

œ

œ

œ

Enter slowly and not all at once. Phrase in groups of 2, repeat each phrase as desired. Vary register, rhythms, and articulations.

Perc.

& œ p

œ

œ

œ

œ

œ

Phrase in groups of 4, repeat each phrase as desired. Vary register, rhythms, and articulations.

Vln.

& bœ p

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ bœ

œ

œ

œ

œ bœ

œ

œ

œ

œ

œ

œ

œ

œ

œ Nœ

œ

œ

œ

œ

œ

œ

œ bœ bœ

œ

œ

œ

œ bœ bœ

œ

œ

Cello only: start at œ = c. 30 and gradually accelerate until as fast as possible

Vc.

?

œ

Play notes in written octave, repeat notes as desired

pizz. sempre

bœ p

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ bœ

œ bœ

œ

œ

œ

œ

œ

œ

œ

Phrase in groups of 6, repeat each phrase as desired. Start in the highest register and slowly move to the lowest register by the end of the variation. Vary rhythms and articulations.

& Pno.

?

bœ p

œ

œ

œ

œ

œ bœ

œ

œ

œ

œ

œ

œ

œ

œ


8

1'

30"

4 Fl.

Cl.

œ nœ bœ

bœ œ bœ

œ

œ bœ

œ nœ

œ

œ

œ

œ bœ

& bœ nœ œ Nœ bœ œ œ Nœ bœ bœ slowly cresc. to fff by end of Variation 7

œ

œ bœ nœ bœ

œ

œ

œ bœ bœ bœ bœ

œ

œ

bœ bœ bœ bœ œ Nœ

œ

&

œ

œ

œ

œ

slowly cresc. to

& bœ

slowly cresc. to

Perc.

Vln.

& bœ bœ nœ ?

Pno.

? ª

Fl.

Cl.

Perc.

Vln.

Vc.

Pno.

&

œ Nœ

œ

œ Nœ

fff by end of Variation 7 œ bœ œ œ œ œ

œ

bœ bœ nœ

fff by end of Variation 7 fff by end of Variation 7

slowly cresc. to

œ

& œ & œ &

fff by end of Variation 7

? bœ

œ

œ

slowly cresc. to

&

œ

slowly cresc. to

Vc.

fff by end of Variation 7

œ œ œ œ œ

œ œ bœ œ œ

bœ œ œ œ œ

bœ œ œ nœ nœ

œ

œ

œ

œ

œ bœ

bœ œ bœ bœ bœ

œ œ bœ œ œ

œ

œ

6

œ œ

œ œ

œ

œ

œ bœ

1'15"

& ?

œ

œ

œ Nœ

œ

5

œ Nœ bœ bœ

œ Aœ bœ

œ œ

œ #œ bœ

œ

œ

œ œ

œ

œ bœ bœ

œ

bœ bœ

œ

œ

œ

œ

bœ Nœ bœ

œ

bœ œ bœ œ

bœ œ bœ œ

Continue to repeat last phrase group until end of Variation 7

bœ œ œ

œ œ

bœ œ œ œ œ

œ œ œ bœ bœ

œ

œ œ

œ bœ

œ

œ bœ

œ

œ

œ

œ

œ œ

œ œ

œ

œ

œ

Continue to repeat last phrase group until end of Variation 7

Continue to repeat last phrase group until end of Variation 7

œ

œ

œ

œ

" Π44

œ

Continue to repeat last phrase group until end of Variation 7

œ

Œ "ã 44

damp

Π" 44

œ œ

œ

" Π44

Continue to repeat last phrase group until end of Variation 7

œ

œ

1'30"

œ

œ

œ

œ

Continue to repeat last note until end of Variation 7

œ

œ

œ

œ

Π" 44 Π" 44

œ

" Π44


9

Fl.

Cl.

[G] Tempo I (q = 96) U VAR. 8 4 &4 Œ Œ Ó 43

!

43

!

U & 44 Œ Œ

Ó

! ˙.

sus. cyms.

Perc.

4 U xxxxx x x3 x Œ Œ ã 4 Œ 4 sempre

Vln.

Vc.

Pno.

U

& 44 Œ Œ

Ó

? 4 UŒ Œ 4 U & 44 Œ Œ

? 4 UŒ Œ 4 ª 105

Fl.

&

Cl.

&

p

43

!

Ó

3 4

!

Ó

ggg ˙˙ .. g ˙. 43 g

˙

œ œ. J

˙

œ œ. J

Ó

x

Perc.

ã

Vln.

& b˙

j œ bœ.

?

j œ bœ.

Vc.

Pno.

˙ ˙ & ˙ ?

3 4

Ó

b œœ .. œ. !

P

˙. P

arco

˙ P ˙˙ .. ˙.

!

Ó

œ-

f

x

˙˙ ˙

œ œ ˙ f

œ œ ˙ f > j ˙˙ œœ ˙˙ ˙ œ ˙ J > f !

5 4

!

!

Œ

Ó

P

Œ

bœ ˙ P œ ˙ P

œ > F

˙.

x

Ó

>œ F

˙.

bœ F>

ww w

!

3 4

Œ

!

[I]

3 œ 4 Œ Œ bœ p P

!

3 bœ 4 Œ Œ bœ P p

˙. !

3 4

!

!

43

!

cresc.

Œ Ó

Ó

Œ

x

w

cresc.

w

cresc.

b b œœ Œ œ

Ó !

˙

43

x

!

3Œ Œ bœ œ 4 P p x

f p sub.

w f p sub. œœ . ww . w ‰ œ.

44 Ó

!

w

w f p sub.

j œ œ œ.

4 4

cresc.

w

x x ‰ J

4‰ j 4 bœ

b ˙p !

P

44 ‰ j œ œj œ . œ

˙ p-

Π45

w

!

44 ‰ j œ ˙.

˙ p-

Œ 45 b ˙- .

˙

P œ ˙ Œ

˙- .

Œ 45 ˙- .

˙

44

!

5 x Œ Œ x Œ 4Ó 4 4

!

œ ˙

f œ œ ˙ x ‰ J

x

!

œ bœ ˙

Π45

˙

Œ Œ

45

!

[H] bw

!

!

!

cresc.

4 4 4 4

œ

˙.

Œ

Œ

˙.

44

˙

b˙.

44

˙˙ ˙

œœ œœ œ œ 4 4

x

Œ

˙˙ .. ˙.

P

!

x ‰ J 44

Œ

!

44


10 112

& 44

!

Cl.

& 44

j Œ œ. œ œ

Perc.

4 ã 4

Fl.

!

b wo

"

" w

"

scrape

x

Œ Ó

"

& 44 œ . œj œ Œ b O bw " s.t. wo ? 4 œ. œ œ Œ 4 J " ˙˙ . . ˙. 4 Œ Ó &4 s.t.

Vln.

Vc.

Pno.

?4 4

!

"

" ˙˙ ˙ " !

"

! j œ. œ ˙ P

rit.

!

!

ord.

j œ. œ ˙ P

j bœ. bœ ˙ P

˙

˙

U U

!

Ó

˙

ord.

! !

˙

˙ ! !

œ œ œ œ œœ œ œ 45 ˙Ó Œ œœœ P p U U Ó 45 ˙ #˙ pU U

Ó

U U

˙

Ó

U U

˙

Ó

U U

Ó

Ó

U U

Ó

Ó

very freely, as before

˙- .

vibes

˙- .

5 ˙ ˙ & 4 b ˙˙ b ˙˙ ... p 45 ˙ p-

˙- .

5 4

U

w-

w

44

w

ñ

U

ñ

4 g w " UŒ x x x x x x x 4 gg ww ã sus. cyms.

l.v.

freely

U

44 w-

w

4 w4

U

!

ww 44 w

U w

!

4 4

5 4 b ˙- b ˙ . p 45

44 w-

p

w w w

!

U

w w "

ñ ñ

Barwick LET GO  
Barwick LET GO  

LET GO (2015) for flute, clarinet, violin, cello, percussion, and piano. Composed by Julie Barwick.

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