ii. the wind

h = 42

[8va always]

˙≤

&

˙≥

˙≤

˙≥

h = 60

˙≤

˙≥

˙≤

˙≥

h = 80

˙≤

h = 104 sub.

˙≥

. . . . . . . . . . . .

˙≤

p

˙≥

˙≤

poco cresc.

* through much of this movement, the playing is connected with your breathing. Upbow = inhale; downbow = exhale. The dramatic arch of this movement is partly visual, although this should be subtle; that is, the connection between breathing and playing should be detectable, but not exaggerated. All tempos are somewhat flexible.

[8va]

&

h = 120 sub.

˙≥

˙≤

h = 60 . [8va]

&

˙≤

˙≥

˙≤

˙≥

˙≤

˙≥

h = 132

˙≤

. . . . . . . . . . . . . . . . . .

˙≤

˙≥

˙≤

˙≥

. . . . . . . . . . . .

h = 80

˙≤

™™

˙≥

mf

h = 104 sub.

˙≥

™™

6x

˙≤

˙≥

˙≤

˙≥

>œ≤ ˙

h = 42

U Ó

Œ

n

f

h = 120 sub.

˙≤

˙≥

˙≤

˙≥

˙≥

˙≤

˙≥

p

˙≤

˙≥

n ˙≤ ™

˙≤

˙≥

˙≤

˙≥

poco cresc.

& ™™

[8va]

h = 148

˙≤

˙≥

™™

8x

poco f

≤ #œ ™ œ œ ˙ ™

[8va]

&

˙≥

˙≤

˙

n

e

sighing—expressively

˙

mp

˙≤ ™

U ≥ Ó

#˙≤ ™

˙≥

n˙ #˙≥ #˙ ™

U ≤ Ó

n˙≤

œ ™™

≥ , n˙

loco

˙™

#˙≥ #œ ™ n˙ #˙≤

œ# ˙ ™™ J

≤ œ≥ # œ ™ # œ J

œ≤

œ # œ ™ œ≥ J

mp poco cresc.

h = 42

& œœ nœœœœœœœœ≈ œœ#œœ#œœœœ >> >>>>>>>> >> >> >>>>

U ≥ Ó

mp

˙≤

[8va always] not connected to breathing

˙

mp

p

ff sub.

U ≥ Ó

mp

U ≥ Ó

&

q = 88

U Ó

mp

[8va]

˙≤ ™

h = 42

U Ó

long

p

˙≥

˙≤

˙≥

U Ó

no breath

q = 88

2 [8va]

&

˙≤ ™

≥ ˙ b˙ b˙™

mp

mp

b œ≥ b œ ˙ loco

&

˙≤ ™

sighing, heavily—expressively

U ≥ Ó

#˙≤

mp

≤ #œ

mp

˙™

#œ≥ ™ œ œ™ ˙™

˙™

b˙≤ ™

≥ ˙

U ≤ Ó

˙

mp sim. rising and falling liberally

œ #œ ™ œ ™ œ œ #œ≥ ˙

≥ ≤ #œ≤ ™ nœ œ œ ™

œ≥

œ#œ≥ ™

#œ≤ nœ≥ nœ≤

poco a poco cresc.

œ ™ œ≥ œ

# œ≤ II.

as before

U Ó

short

≈ ≈ & nœ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ > > # œ œ > >> > >> œ œ > œ > > > > > > >> >> > ff sub.

p

# œ≤

œ≥

≤ œ J

œ # œ≥ ™

n œ≤

poco a poco cresc.

connected to breathing œ≤ n œ≥ nœ≤ ™ nœ≥ œ ≤ #œ≥ #œ≤ ™ nœ≥ œ œ≤ ≥ ≥j not > >bœ >œ >œ > > > > > >b>œbœ >bœ > ≤ > > œ b œ œ n œ œœ œbœ œ œnœbœ œ œ # œ ™ n œ œ œœ b œ œ nœbœ œ & IV.

3

5

5

ff sub.

U Ó

#O &# O

O

#OO # r & #>œ p po.

##OO

calm and distant—ethereal

OO

#O nO & r# O n O #>œ p

psp.

#O nO r# O nO #>œ p

ff

18" sustain high tension

po.

6"

po.

becoming tense—desparate; explore other nearby partials psp.

9"

OO

25"

ff

ff

disjointed—tremolos may be uncoordinated

p

psp.

U Ó

œœ #>œ >œ >œ >œ>œ>œ >œ >œ >œ >œ >œ>œ>># œ#>œ>œn>œ >

14"

ppp

3

long (ca. 18")

long

® & œ> >œ œ œ œ œ >œ œ >œ #>œ >œ >œ >œ > > > > > #>œ >œ >œ >œ not connected to breathing psp.

5

po. as before

no pause (attacca)

n>œ >œ>œ>œ>œ>œ>œ>œ# œ#>œ>œ>œ œ œ >œ# œ >œ œ # œ œ œ œ > >> > > >>>> ff sub.

h = 42

˙≤ ™

[8va always]

&

˙≥

˙≤

pp

q = 66

˙≥

˙≤

˙≥

˙≤

˙≥

˙≤

˙≥

U Ó

quasi n

dim.

nœ bœ bœ œ nœ #œ #œ ™ n˙

singing and sighing—expressively

[8va] œ b œ n œ ˙ &

3 long—separate from breathing

bœ bœ œ nœ #˙

œ œ bœ b˙

mp

nœ ˙

[8va]

&

œ b œ b œ ™ œ™ nœ #˙

œ™ œ #œ b œ ˙

loco

#œ nœ nœ #˙ n˙ ™ ˙

poco dim.

mp dynamics always rising and falling liberally

b œ b œ #œ œ ™ n ˙ œ™ ˙ & ˙™

œ b œ bœ ˙ ˙™ ˙

nœ™ œ™

#œœ™™ #œ˙ #œ #˙˙

nœ nœ #œ #˙ & #nœw ˙

IV.

IV. always

˙ & œ˙™ œ #œ #œ™ œ™ ˙ III.

(IV.)

& #œw nœ

nœ #œ œ œ n˙ w ˙

#œ nœ™ œ™ n˙˙ b œw bœ # œ

nœ #œ #œ ™ œ™

bœ ˙ ˙™

nœw #œ bœ nœ #˙˙

#œ #˙ ˙™

n˙™ œ #œ œ #˙˙

œ ™ nœ ™ #˙ ™

nœ bœ ˙ ˙ ˙

#œ˙ #œ ˙˙

œ™ œ™

#œ ™ œ™

#˙ ˙

#˙ Ó

#w

pp

p (dim.)

#˙ ™ (IV.)

&

#w

#w

#w

U Ó

long

#w w II.

III. pp

˙ ˙

nœ œ œ b˙ ˙™ ˙

poco a poco dim.

allarg. . . . . until the end

˙ ˙

#˙œ #œ n˙˙

#w w

j œ œ J

Where I'm likely to find it: II. the wind
Where I'm likely to find it: II. the wind

"Where I'm likely to find it" (2012) for solo violin.Movement II. the windperformed live by Gabriela Diaz 11.8.2012