Page 1

Toru Takemitsu

GÎTIMÂLYA For Marimba and Orchestra

(piano reduction: Mateo Servián Sforza)


GENERAL NOTES •

The notation of accidentals is the one adopted by Takemitsu itself in the manuscript orchestral score and marimba part.

The metronome markings are those indicated by Takemitsu in the original score; however, slightly slower tempos might be advisable.

In the piano reduction, pedal marks were indicated only where certain specific sonorities were desired; nonetheless, the sustain pedal must be used (carefully) throughout the piece.


OBSERVATIONS

Two rhythmical imprecisions were found in the manuscript of the marimba part: ▪ In the first measure of section “F”, the first beat reads as follows (both in the manuscript orchestral score and marimba part): and was corrected as:

▪ In the sixth measure of section “K”, the second beat reads as follows (in the manuscript marimba part): and was corrected as (accordingly to the manuscript orchestral score):


Toru Takemitsu

GÎTIMÂLYA

(piano reduction: Mateo Servián Sforza)

A  = 48

 48

Marimba

 3

5

  48  Piano

 





           3 

4  8

 



 



   



4

Mrm.

                      5 3                       3  

    



Piano

    

   

    

6

Mrm.

  

  

    

 

 cantabile

Piano

   

  

("free" tremolo, alternating the notes of the chord as fast as possible)

accel.

 = 60

8

rall.

 = 72

Mrm.

 = 60

 

   

       6

 Piano

  

6

Mrm.

6

  

()

10

 



    

  5



       6

 = 72

 = 60

 = 72

85

   

  

 

Piano

     

     5

 6

()

6



   

   85   5



   

85 


 = 48 12

 85

Mrm.

87

 6

3

5  8             Piano

3

       

 

      

  

   

   

5

   

 

87





 5    8 

  

87 

13

 87

Mrm.

    7     8       7   8  

Piano

85

86

 

        

3

    85   

      

3

          86 



5

    85  

    

    

( )

86

15

 86

Mrm.

48

   

  

6   8 

48 

 

Piano





 

   

 6   8 

  

48  

(ordinary tremolo)

 = 68 17

Mrm.

 

 



 

  86

               

Piano

            3

3

            



86                                  6

2

6

6



  

83

3

3



86

6

83

   

83


B

19

 83

retenu

6

       

              

3

   



    

6

 rall.

               

     

Mrm.





82 5

 82     

 83 6

  

5

 



   

48   

  

6 3        48                

3

3

            4       8     3 3 

  

23

        

 3             sub 

    



 5

83

 

 3 8

Mrm.

                 

Piano

    5

6

  

3     

3 8



3

 

3  8

83



 

poco

5

        

 82   

3

 = 48 ~ 52 21

 

3



 3 8

83

5

 Piano



82   





      

      

 

   

    

3 8 

Mrm.

83

()

          



 

    



 



 



   

 

85

85



 

  Piano



     ()



    

     

85

3


C

Più mosso  = 63 5

5

5    

25

 85

      

 

 



Mrm.



48





  5 8 

   

3

6   5                 

 

48



   

 

  

5

3

 

48

5

6

Nuclear tone, which has long tail, should be continued. And improvise ornamentaly with the given notes in the brackets independently.



4  8 



  

 

 

 ~ 

3

4   8    Piano

48



  5       

5

 

 85 

Mrm.

 



5





        

 

 



26

        

     85 

Piano

5

       

3

  

   

3

 

 

 

    

 48        6

  

 

     

6

6

6

27

Mrm.

83

  

3

  

  

3

  

83

  

 

  

Piano

   6   

    6   

a tempo  = 48 ~ 52 3 28

3  8

      

   



    

Mrm.

6

                 

5     

6

  

85 5

 

3

 3



 

      

      

85

5

82   





 

   

   83

4

82

 82     

 Piano

rall.





 83

3 8 

83

6

             

   6   

6      



 



   



82   

5

85

85


D

 85

Mrm.

 = 48

30

83

86

5 3

         5  8 

Piano



     

    









          

5  8     

      

         

83   

5               

86



83

86 

3



32

6  8

Mrm.

85

 5

6  8 

5

 

5

   

 

 

5

   

5

   

    

 

Piano



85



6 8

85 





 

accel. 6 5 5

33

5  8   

 

   

  

      

              

5

    





83

   



 



Mrm.

5

     cresc.

    

 85

83

 85  Piano

83



 85

83 



 = 85

34

6     

5

rit.





    3  8



48   

 

5

Mrm.

-end o



  83      

48

5 

5

 38   Piano

 

 





 83 

 48    

 

 

5

5

 

 

 

   

         48       





  



5 5


rit.

36

Mrm.

85

85

    

   

Piano



  

 

 

   

   

 





  







85



E a tempo  = 48

rall.

37

 85

Mrm.

48

 5

5

5 8  





 4 8 

     



83

          83     

     



cantabile

Piano







 85                   



48  

  

  

        

soft mallets

 83  

   

  

85    



Mrm.

 83

   

   

 3

3

3

3

83

   



85

 3  8  

  

 

5

5

39

 







 5    8 



 

  

 

 

Piano

    

 83   

    

58   

3

  

41

 

 

 

 

3

   

 

48



48



Mrm.

  

  



5





5



5

 







    



   

48

   

48



    

 5

6





 Piano

  

  

    5

 5


42

  

 48   

     

 

85

      

 

poco

più 



più 

Mrm.

 5

 48 



 5      

 



  4  8 

  



5

    



     

5

58        85     

     5

5

F  = 63

    

Mrm.

 = 48

hard mallet 6 44



 Piano

85

  



4  8   

           

                 

    83               







rall.

   6     48                

6

6 6

3

   3 



3

più dolce

 

3

 

     

83



 = 63

6

47

 

  3  8      

 

 

   

5

      



 

più

 83



         

      



3

    



  

 



  

3

48

          

3 50

 48

48



3



Mrm.

 = 48 3

 



     

Mrm.

83 

 molto

 

 48

 

83

 

  

G  = 63

 52

Mrm.

 38  

 

 

 

 86

h owever, sh ould be balance against orch estra

 

3

6

6

Piano

 

6

3 8     83 



 



3



 

 86



 

 

86

3 7


rit.

 = 48

 53

 86

Mrm.

       

     

      

 



 

 

 

  

 

      48

6 6

   6 8

6

3

  

 



  

  

3





  6  8 

 

 

        

 

 

   48



3

3

     5

 

 

Piano



6

6

6

 

48

rit. molto

54

              48

                  85

6

6

6

H

48

6

Mrm.

 ~ 

 48

85

  48  

  85   

 

    

  

    

 

48

48

l.v.

Piano



 48   

85    

48



56

4  8

85

Mrm.

 

 48 5

 

   3    



 

 

      3 

 

3   

4 8

85 espr.

 espr.

Piano

 48

85



     

poco





    

85

 sempre



58

Mrm.

 

5  8

     

  

3 3

5 8

 

 

 

Piano

 85      8

 

    

3

    48 

     

         86 

48 6 3     

3

  86

48     



86


60

 86 Mrm.

grad ually cresc.

     

 86



3



3

3

3

3

    

6 8

 



  

Piano

 



 6     8

    



3 6

  

61

 



       



          



 

48

3

3

3

3

Mrm.

 



48

 3

9

                         Piano

9

3

         

     

   

48



48     

62

 

  



   



 7 16

9

 48





Imp rovise with cow-b ells (frog mouthed ) the intervals are, if p ossib le, as follow ap p roximately



85

3

3



Mrm.

     



4  8

7 16 

85

 







4  8    48  

Piano

3

7  16  

   

 



5  8

7 16

85      

64

Mrm.

5  8

7 16

 5  8     

3



 

Piano

        

 3    

83

5      

7  16   





 85

3

3

    

7 16   

83 83

 

      

      9


I Meno mosso  = 38 ~ 45 8 6

6

6

66



 



 83





 







 

86

86

 Mrm.

grad ually cresc. 6



 



 83







  6

6

3 8

  

 



 

 86

3

3



Piano



 83      

86

8 6

6

6

6

67

6

6  8

      

Mrm.

        

6

          

       

   6 6

6

6

6

 86

      



3

  

 

       

3

 

6 8

 

3

 

     





 

  48

         

   

 

  



  6  8

6          48

  

         



Piano

       

  

   

         48

 48

3

3

rall.

8 6

6

6

6

68

  48





 





85

 

 





 

6

6

6



 4  8

 

 6



  



Mrm.

4  8



 

 











   

85



 

 

 

 

 

 

 

 

85

Piano

  48     10

85


8

loco 6

6

6

     

 85 Mrm.



    

  

   

6

3

6

69

 

       

48

    

6

6 3

     

5  8



    

  

48

    

 

48





  

   

       

6

 85        85  

Piano

48

70

a tempo

J

 4  8  

Mrm.

  

82

48

G.P.



4 8 





 sempre

 2  4   8 8  

 





3

Piano

G.P.

    

3

  4     2  4  8 8 8 ()

              

3

       

 

     

 

accel. 75

Mrm.

 

      

Piano

   

   

 

   

   

3

    

 

   

 



 

 

 



()

 = 72

77

Mrm.

rall.

 = 48

85

 

          

3

     

         

 

Piano

       



   85 

5

5

     



 

       85  

 

   11


79

48

Mrm.

 3

                     

3

                

Piano

  sempre

 

48  

 

     

   

48  

3

83

3

3

   

    



83



3

K

82

3  8

Mrm.

83

48

 83  



 83





48  

85

5 3              

48        



Piano

85

              5  3

      

5

            

85

5

Più mosso  = 63 ~ 72 5 5

 85

 85        

Mrm.

5



 

 



5

5

 



 



   















 

 



basically played in

p

exept for accent (sfz)

 5

  58               5  

Piano

  

 85

      5

     

    

5

5





 poco

 rall. poco

5

86

Mrm.

5    

  



  

5

     

  

  

83



5

      5



   

     

 

 5   3 8

 

12

 



Piano

  

  



5

5

  



      

5

5

 

83


5 5

5

87

   

  

  

 

 



48

   

 3    8



 86



 





3

5

   3  8                   

48    

3 8

48    

5

 

Piano

       

 

 

 

3

        





 83

Mrm.

  

83  

  



83  

86 86



 = 72 ~ 85 6

 = 63

6



90





6

 

 

6

 



 86

Mrm.

 



 







48

 





 





 



6 8       Piano

     

3

3

  

  

  

  

48

48

6





 3

 86

   

    3

        

 6

SENZA MISURA freely as cadenza

L

91

Mrm.

4  8 

 

 





                 



  



   



3

3 m.d.

Piano

 48 

    m.s.

(tap the piano with flat hands on its wooden frame, underneath the keyboard)

  

 



 Mrm.

           









 

               

    



 

1

Piano

  





sub.





poco

     3 

 



Mrm.

    b ack ofthe mallets  ord inary                                                                             



 2

 Piano

 



   

   





      

  

    3  

   13


  

 

( = 60)

             



 5                   

Mrm.







3

  







grad ually

4

   3  

 Mrm.

  

 



6

      



 

     3

        

 



 Piano



sub.





 

 

 



  

molto

6

               

                 

                

 





  

            





Mrm.

 d olciss.

 



molto

 

5

 Piano

    3   



long

     3

Mrm.



  

 6

Piano

  

rapid

 

 

 

  

         

 



   

   



       l.v.

48

 

Mrm.

3

  

14

   



very long

3

       



      





   48


M

92

Meno mosso  = 38 ~ 45

 48

 



Mrm.



  48 

   

7

4   8     Piano

   

5

 

l.v.

4 8 

 

  

  







  

  

 

 



molto rit. 94

Mrm.

 

  5

  



 

 





    

l.v.

Piano



molto

               

    

    



molto

     

5

   molto rit.

96

  

 

Mrm.

 

  

  

  



cresc. gradually



   

  

  

3

più

    

    

 

3

  

   

 5



 

 

 

 



molto







    



 

   

3

molto

                     

    

5

 very long

99

  

  

  

  

Piano

   



Piano

Mrm.

5

     

                  

  

  

         

15

Toru Takemitsu: "Gitimalya" for Marimba and Orchestra  
Toru Takemitsu: "Gitimalya" for Marimba and Orchestra  

Piano Reduction by Mateo Servián Sforza

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