Tsao ONE-WAY STREET

Contemporary

ISSUU Version For perusal only

TSAO One-Way Street for Ensemble

Score

EP 12737

ISSUU Version For perusal only

ISSUU Version TSAOonly For MING perusal

One-Way Street for Ensemble

Score

POD PETERS on demand ALLE RECHTE VORBEHALTEN

· ALL RIGHTS RESERVED

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

ISSUU Version For perusal only Performance Notes

Instrumentation: clarinet in b-flat, oboe, violin, viola, violoncello and percussion (1 vibraphone and 1 low timpani drum).

Seating arrangement:

c)

= Breathy, yet with pitch fully identifiable.

d)

The fingerings of the multiphonics are taken from Phillip Rehfeldt's 'New Directions for Clarinet', revised edition (University of California Press, Berkeley, 1994).

The multiphonics with squiggly lines indicates a high degree of noise content.

Oboe: a)

General Notes: a) Duration of the piece is approximately 13 minutes. b) Score is transposed. c) All of the instruments should be amplified slightly with microphones. This includes a separate microphone for the vibraphone and for the timpani drum. d) Quarter-tone notation: = one quarter-tone sharp

= Use fingerings that give a duller and more diffuse tone.

Fingerings for diffuse tones, double harmonics and multiphoics are taken from The Techniques of Oboe Playing by Peter Veale and Claus-Steffen Mahnkopf (Barenreiter: Kassel, Germany 1994). Each multiphonic is accompanied with its list number from this text.

b)

= Natural harmonic

c) In measures 70-77, the oboe is asked to make use of the 'special effect' cited in The Techniques of Oboe Playing (pg. 138), where the reed is removed and the lips of the performer cover the aperture as the performer gently inhales. Soft harmonic-like sounds should be produced.

= one quarter-tone flat d)

= Toneless breathing through the prescribed fingerings for the indicated pitch.

Winds (clarinet and oboe): a)

= the sound is forcibly cut off with the tongue (as if simulating a 'reverse' attack).

b)

= flutter-tongue

c)

= inhalation (a sound of sucking in air)

d)

= exhalation (a sound of blowing out air)

Strings: a) The strings make use of two clefs: a lower clef that indicates the position of the left hand on the instrument and an upper clef that indicates the general position of the bow or right hand fingers on the instrument. The upper (right hand) clef notates the following general positions on the instrument:

Clarinet (in b-flat): a)

= Toneless breathing through the prescribed fingerings for the indicated pitch.

b)

= Breathy, with only a hint of pitch.

b)

= dampen the strings with the left hand over the lower half of the neck (i.e., in either first or second position).

ISSUU Version For perusal only

= unmute the strings for the required rhythmic duration. c)

= slight overpressure bowing

This technique requires moving the bow both vertically along the trajectory of the notated line (or curve) and horizontally so that the bow hairs can set the muted string into vibration. It is best to perform this action using the upper quarter of the bow where the pressure of the bow against the strings is weakest. The sonic result of this action should not be that of a 'crunch' sound. Indeed, the pitch that the bow hairs make when gently scraping along the strings should be the audible result. It is to be played extremely delicately with quasi pitch glissandi being the most audible result. Occasionally, the unmuting symbol is notated in the lower stave while the overpressure bowing occurs in the upper stave. This effect slightly amplifies the overpressure bowing (note that the pitch of the open string(s) will not be audible in this context).

i) col legno tratto

= Bow the string(s) with the wood of the bow so that pitch is only slightly audible.

j) 1/2 col legno tratto = Angle the bow slightly so that the string(s) is bowed with part wood and part bow hair so that any pitch in the left hand is still clearly audible but perhaps with a bit of 'dirt'.

k) Ord. or arco indicates a return to standard playing technique with the bow.

l) d)

= Overpressure as above but with extremely slow bowing. This action should be performed toward the frog of the bow. The aural result is a very soft creaking sound. In mm. 106-117, the violin and viola are asked to alternate between the extremely slow bowing with overpressure to a flautato bowling with extremely light pressure and balancing the dynamics between them.

e) Some of the playing by the strings is toneless bowing, where the left hand dampens the strings and the right hand bows the strings both horizontally and vertically creating varying degrees of white noise. It is important to follow the notated gesture as faithfully as possible on the instrument, paying attention to ritardando and accelerando curves. There are occasional gestures in which the right hand moves the bow quickly from molto sul tasto to molto sul pont (or vice versa), creating a slightly dramatic effect (as in m. 38).

f)

g)

= the sound is forcibly 'cut off' by keeping the bow affixed to the string(s) to prevent them from vibrating any further (simulating a reverse bow stroke)

m)

= shaded harmonic on the open string. This requires muting the string slightly behind the notated fingering with another finger so that only a hint of the harmonic pitch is perceptible. Its sonic appearance should be that of a 'ghost' tone. In a rapid passage of shaded harmonics, the effect for each shaded harmonic can be produced by applying slightly more pressure than required for a natural harmonic coupled with a flautato bowing (i.e., fast bowing with light pressure).

n) Occasionally, only one pitch is notated on the lower stave but two separate strings are notated on the upper stave. This indicates that the string that has no corresponding left hand fingering is to be muted with the other fingers of the left hand, producing white noise on that string as it is bowed.

o)

Tailpiece clef. In measures 80-92, the strings are occasionally required to bow extremely slowly but with pressure on the upper part of the tailpiece. The aural result is to gently produce as low a tone as possible on the vibrating tailpiece.

p)

= Pizz strum. A pizz. downstroke with the right hand fingers, using

= let the vibration of the string die on its own accord.

h) Dynamics in quotations, such as 'f', refer to the amount of force required to produce a sound and not necessarily the sounding result.

= natural harmonic on the indicated open string(s) with the notated fingering.

ISSUU Version For perusal only

primarily the flesh of the fingers, across all four strings beginning with string IV.

A pizz. upstroke with the right hand fingers, using a backstroke with the nails of the fingers, across all four strings beginning with string I. The upper clef indicates generally where on the strings this action should be performed.

Often, these pizz. strums are coupled with a left hand fingering for a harmonic or an open string(s). When a left hand fingering is notated (or an open string), the right hand must still strum across all four strings, where the other strings are simply dampened with the remaining left hand fingers.

This strum on the violin and viola is also performed with a plectrum. In this case the plectrum simply acts as an amplifier for the fingernails where an upstroke or downstroke requires arpeggiating all four strings with the plectrum beginning with string IV or string I respectively.

q)

= bar across all four strings at the indicated position with a left hand finger.

r)

= left-hand finger percussion.

Violin: a) One steel practice mute (or tonwolf mute), one plectrum (medium thickness, approx.

1 mm.) and one glass (or plexiglass) guitar slide are required. b) The violin is detuned in the following manner. Note that the following pitches are always to be performed with the open strings. The lower stave for the left hand is transposed.

Violoncello: a) One rubber practice mute and one finely threaded thin metal rod (American size 6-32, 1 foot or longer) are required. b) The violoncello is detuned in the following manner. Note that the following pitches are always to be performed with the open strings. The lower stave for the left hand is transposed.

c) The upper stave for the right hand is not transposed. In mm. 109-16, the performer draws the finely threaded thin metal rod along the indicated string, bowing the string with the rod, while the left hand mutes the string. When the exact pitch is notated, it is the sounding pitch at the position where the rod is bowing the string. The aural result should be a more delicate version of the gently overpressure sound indicated above.

d)

Viola: a) One steel practice mute (or tonwolf mute), one plectrum (medium thickness, approx.

1 mm.) and one glass (or plexiglass) guitar slide are required. b) The viola is detuned in the following manner. Note that the following pitches are always to be performed with the open strings. The lower stave for the left hand is transposed.

= arco battutto with overpressure. This gesture is to be performed as an arco battutto followed by moving the bow vertically up or down the strings with some horizontal bowing to perpetuate the bouncing of the bow. The aural effect should sound like a quiet 'rattling' of the bow hairs against the string(s).

Percussion: One vibraphone with fully functional motor and one low timpani drum. a) The timpani drum should encompass the following pitch range:

ISSUU Version For perusal only

b) The following accessories are required:(i) two contrabass bows, (ii) one large, soft timpani mallet, (iii) two very hard, plastic mallets usually used for marimba (a pair of brass metal mallets would be preferable), (iv) four soft vibraphone mallets, (v) one heavy gauge metal wire brush, (vi) four separate metal snares approx. 10 cm. wide, (vii) two separate metal snares approx. 5 cm. wide, (viii) one glass, or plexiglass, guitar slide, (ix) one finely threaded thin metal rod (American size 6-32, 1 foot or longer), (x) one full metal wire coat hanger, (xi) one sheet of sand paper and (xii) a roll of masking tape.

Preparing the vibraphone.

In mm. 153-81, the four large metal snares (10 cm. wide) are to be placed under the bars indicated in parentheses in m.153. One end of the snare should be placed under an indicated bar and the other end taped down with masking tape on the top of the nearest bar where there is a gap to slip the snare under (i.e., either between B-flat and C-sharp or E-flat and F-sharp). The snares should be secured so that when the vibraphone motor is turned on, the loose end of the snare that lies under the vibraphone bar strikes the bar from underneath producing a 'clacking' sound. Note that this preparation is to take place during the first repetition of measures 153-81 and, when the preparation is complete, the motor is then turned on. c)

= muting the indicated vibraphone bar with the fingers.

d)

= keep the vibraphone pedal depressed until the sound dies out.

e)

= overpressure with bowing

f) Timpani pitches in parentheses indicate the pedal only. The head of the drum is not to be struck.

ISSUU Version For perusal only

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38 6

b·

‚ n‚ 3

n·

7 16

38 n ‚ n‚ m‚ b‚ n‚ n·

· n·

7 16

7 16

3

b·

7 16

ISSUU Version For perusal only

8

»§º

q 39

7 & 16 rr ® Œ . n

5 4

r 7 ·r ® Œ . & 16

5 4

(Gliss, brush along pipes underneath vibe, from lowest to highest.)

45

7 ÷ 16 ..

bo p

accel.

o.

m

mo

∑ r

∑

∑

‰.

∑

f 39

? 16 7

45

∑

≥

≤

7 16 .. p 39 X 7 & 16 ‰ . ≤ 7 16 .. p 39 X 7 r B 16 Œ. n·

∑

Œ

7

≤

.

5 4

∑

7

≥

≥

≤

.

7

7

7 7 7 n · b · b· n· n·m· n· ·m· n· · n · ≈ n · 45 b · n · b · n · ·m · · n · n· n·b· n· n· n · m · n · b · · n · n ·m · · n · n · n · ·m · · n · n · m· n · n · b ·m · · n· n· b· · n· n· · · · · · · m· · n· n· n· n· b· n· b· n· · f p f p F ≥ ≥ ≥ ≤ ≤ 54

≥ ..

7 16 f 39 8:7 ?7 16 n · n · n · b · m · n · n·

7

5 4

7

7

7

6

n· · · · · n· b· n· n· b· b· b· n· n· b· n· n· n· n· n· b· b· n· n· · · · n · n · n · n · b · · b · b · n · n · b · n · b· n · m · n · n · · m· n· n· · n· n· n· n· m· n· n· m· n· n· m· 6 6 6 f f p p F 6

45 . p ‰.

54 m· nœ

6

6

6

6

6

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r ( n ·) m · o· · o· w œ w

(p)

33098

ISSUU Version For perusal only

»§¢

q 42

&

rr ‰ ..

o

‰ n· p

( )

( )

&

& 42

?

n·

m· n·

n· n·

n· n·

7

· n·

3 n· n· 4 m·

n· n·

n·

m· n· n·

n· m·

· b· n· n· m· · ·

7

7

∑

3 4

9

n· b· n·

7

n· n· m· n· · 3 11 n· m · n · 32 8 n· b· m· n· n · n·

7

∑

3 8

∑

43

∑

∑

43

∑

3 &8 n‚. π ° 38

arco

3 4 7

42

7

7

7

7

5

· b·

· n·

n ·@

·

·@

F

43 42

6

6

6

r

6

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ X

? o· ˙.

42

œ r

‰

5

·

· n· m·

5

·

·

b·

r ·. Œ

≈

38 r n ·@

11 32 X ≈

11 32

Œ

3 IV 8 n· @ π

11 32 III

n· @

I

n· @

n· @ II

· @ II

· @

III

p

38 .

43

.

11 32

∑

38 .

B n · · b · · n · n · n · m · m · · n · b · · · n · n · b · n · m · · b · · · b · · n · 43 n · n · n · n · n· n· · m · n· · n · m· · 6 P p p F 6

11 32

3 .

8

& m · n · n · n · b · n · n · m · n · n · b · n · n · n · n · n · n · b · n · n · m · n · n · n · b · n · m · m · n · n · b · n · n · n · b · 43 n · n · n · b · n · n · b · n · n· p P p 7

11 32

∑

IV

III

43 n · b · n · III

p

n· n· · II

6

33098

I (etc.)

n·

n·

· · · n· · 6

·

· · · · 6

38 n ·

11 32

11 32 n·

n· m· 7:6

n·

·

·

11 32

ISSUU Version For perusal only

10

1 3 n · m · (42 +163) n · 4 + 32) n · m· n· n· n· · m· n· n· ( n · ( 163 +41) n · n · 45 b · b · n · n · μ · m · n · m · μ· b· 1 n· m· m· n· 1 m· n· 7 m· n· n· m· n· n· n· 11 n · 5 11 m · n · n · n · n · n · n · m · & 32 4 16 4 16 16 n · m · · m · m · m · n · n· m· n· ! ! m· n· ! ! ! !

7 5:3 7 5:3 F r ·.

1 n· 11 · 1 B· 7 · ..

5 ·.

11 æ & 32 m · 4 16 4 @ 16 16 ær ·. p

r .

11 & 32 45

? 32 11

r .

IV III

p 11 32

1 4 II

11 16

41 r

≈. n·

K ·æ

æ

n·

? 11 n · n · 32 n ·

45

6

· ·

n· 1 b · 4 n·

m· m·

7 16

∑

5 16

∑

1 4

r 7 .

16

5 16

n· ‰

X n · 1 7 · m · · 4 n· · n · 16 ‰ n· · F

n· · n · 5 ® n· · · 16 n· ·

III

7

r .

11 16

I

11 32

5 16

.

I

11 æ 16

7 r 16 .

41

∑

11 .

16

n· X m · m · 1 ® ‰ n · n · 4 ! ! n!· II IV III F p r .

41

X r 11 B 32 n ·@ ‰ . π IV

F

∑

rr n · n · 1 · n· 4 · n ·æ. n· p F r .

41

X 11 & 32 ‰ ..

45

r .

11 16

41

∑

11 32

45

41

11 16 J ·æ

r 7 16 .

41

rr m· X m · 7 ‰ .. n · 16 n · n ·

m· X m · 1 n· n· · 4 ‰ ..

n · ..

r

11 16

4:3

.

5 16

F

F

5 n · 16 rr

4:3

r 7 16 .

41

7

5 16

n· · n· n· n ·I m · · n · · n · n · · n · · · · · n· m· · 5 11 n · b · · · · · 1 n· 7 n· · n· n· n· · · · · 16 4 16 16 n · n · b· · · 4:3

4:3

7

6

33098

7

50

5 & 16 n · n · 5 · & 16 r

m· n· m·

n· n·

≈

50

? 16 5

∑ r

5 16 5 & 16

X

r

n· · · n · · 5 n· n· · B 16

50

8:10

5 16

85

r

n·

n· n · n·

n·

n·

n·

b·

b·

m·

n· m· n·

n·

motor on medium speed

.

B‚ (gliss -- use mallot to shorten length of bar and gliss mallot ∏ outward until the full length of the bar is restored) ∑ 85

n·

X 5 n· n· ‰.

8

85 K· 85

K·

·

·

b·

·

b·

b·

n·

n· n· n·

n·

n·

n·

n·

m·

m·

m·

·

5 b· 4

3 4 ·.

5 4

43

45 45

∑

43

Œ

® n · m · 43 n·

.

43 ·

·

7:5

·

·

·

5 4

X · · n · 3 ‰ .. · 4 r · r

·

· · · · ·

.

7:5

· J· J·

n·

m· n· n·

3 4

· · · · ·

85

3 n· n· m· 4

43

.

5 8

9:10

m· · m · ? 5 n· · · J· 16 b · ·

n· m·

·

n· 85 n · n ·

∑

5 16

50

n·

5 8 æ· r

μ·

5 & 16

50

n · m · m · 85 m· ! ! ! !

n· m·

ISSUU Version For perusal only

11

·

33098

· n·

rr m · n· m·

‰ ..

n·

· · · 45 · · 45

n·

m· n·

· nIII· · ·

·

· · · ·

·

· · · · ·

·

· 5 4

45 7

43 k · k ·

·

· · n·

k· ·

·

·

7

·

· · ·

·

K·

·

· · ·

·

n·

7

·

· ·

45 ooo

ISSUU Version For perusal only

12

rit.

5 n· &4

53

n·

n·

n· n·

n· n·

n· n·

n·

n · ®‰

Œ

b n μ m μ n @r @ @ @ 5 π

Π5

5 μ n μ n 2 μ m n n μ 4 n 5

@ 3b n n b μ n n n n m n b @ n m n μ 4 @ n n n b m μ n μ m 5 5

5

5

5

1 , 2 = distinct fingerings

5 &4 · · 1

1

etc.

· ·

2

·

2

1

· · · · · · · · · · · · b · · · · · · 42 · · · · · · · ·

· ·

5

1

5

5

2

π

5

& 45

1

2

etc.

1

5

r ‰. b‚

53

? 45

∑

& 45

n·

m· m·

n >œ

· ·

·

· ·

·

n·

·

· · · ·n œ œ · · n ·n · · n œ n· > · > ·œ b·

·X · · m· ≈. >œ p

·m · ·

0

0

0

B 45 n · n >œ m · n·

53

n·

0

1

2

.

45 7

? 5 J· K· K· · · 4 J· ·

7

.

·

· B·

∑

43

∑

42

∑

∑

43

∑

42 Œ

·

1

2

3

·

· (motor off)

3 4 5

r m· n· b· n· n· m· 5

X . · ‰

(p)

1/2 cl. tratto

Œ

34 IV III n‚ n‚ π 43

(p)

3 4 n˙.

IV

n˙ π

42

43

42

43 b œ

7

·· · · · · · · · · ·· · ··· · · b ·m · n · n · œ . π 7

·

2

3

∑

X 5 ·> · · · X 5 · · · n œ œ · · · · · >· · · · · · · · b · ‰ .

2 Œ b· 4 n· n· b· n· œ · · · n >œ m· p

3

42

0

0

ooo

2

· μ · · · · · · · 43 · · ∏

42

45

53

1

2 4

5 4 53

2

( )

33098

5

5

5

q

ISSUU Version For perusal only

»∞¢

5 n n b n μ n n m n & @ @ @ n μ n m m n 5

57

5

r & · ‰.

5

5

r

b n n n n m m n m b n n n b n

n

( )

( )

5

Ó

5

Œ

13

q

»∞§ 5

Ó

∑

∑

∑

arco

&

‰.

n n ‚‚ ∏

? °

57

57

∑

∑

5

&

5

5

∑

arco ord.

cl. tratto 5

5

5

≥

nœ nœ œ

n œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ n IIIœ II I IV F 0

0

≥

IV

≤

≥

0

nœ

0

9

≤

9

≥

œ œœ

œœœ

≥9

nœ

9

≤

≥

9

≤

≥

9

5

œ

III

p

≤

œ

œ rbœ œ nœ nœ œ 5

π

nœ

0

≥ ?

≤ œ

9

œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ

9 0

n ˙˙ ..

57

≥

∑

œ nœ nœnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ III II IV F p

III

B n˙. b ˙.

≤

9

0

57

5

n b n n b m μ n n n μ n n n@ @ m p 5

6

œ nœ

nœ

œ œ œ

5

5

œ œ œ œ œ œ

n· b· π

≤

œ œ œ nœ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ B˙ œ n œ œ œ œ œ I n œ III II œ œ IV IV π F 0

(m œ)

0

33098

0

0

œ.

μœ

ISSUU Version For perusal only

14

61

@ & @ n@ n@ n@ B n m b n n m ∑

&

‰.

&

Ó

61

?

n

4 4m n

61

& n˙. n ˙.

n n π

4 4

∑

44

∑

44

∑

b b n n b m

‰.

5

.

∑

m ∑

∑

arco

r ‰.

n‚ ∏ °

∑

4 4

.

44 ˙ ˙

r X‰ . œ œ p

∑

∑

≈ n· n· III

π

n·

II

n·

·

·

·

·

·

·

·

·

·

·

·

·

·

·

·

44 X r ‰.

B m· n· n· n· n· n· ‰ nœ ˙ 5

61

..

61

?

5

5 5 5 5 5 5 5 5 5 5 r m · b · · · · · 44 m · b · · · · · · · · · · · · · · · · · · · m · b · · · · · · · · · · · · · · · · · · · m · b · · · · n · w w œ III IV

5

5

n·

44 6

œ

5

≈ m · n · · · · · · 44 n · m · · · · · · · · · · · · · · · · · n˙ w

33098

6

6

6

6

6

· m · · · · · · · · · · · · · · · · · · · · · · · n ·m · · · · w w

n·.

ISSUU Version For perusal only 65

&

.

n

b.

n π

Ó.

‰.

m.

15

q

≤

≥

p

m π

n

p

»∞º

rall.

&

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

∑ Place one end of snare on head of timp.

Bend snare so that it is finely pressed against head of timp. Arpeggiate snare with one stroke of the finger near top of snare.

65

?

∑

∑

∑

∑

(?n œ) ÷ ‰ .

Ó

Timp. pitch

65

n·

III

&

n·

(n · .)

m ·.

IV

65

5

5

5

B b· · · · · · · · r · · · · · · · · ·

III

r n ·r III

b ·. n( · .)

(n · )

n·

n·

IV

r

7

m·

r (m ·) ·.

n·

r .

( n ·)

r n·

n· n·

.

IV

b· .

5

r 5 n· n( · ) IV

III

n· (n · ) r n ·

5

5

5

IV

n · b ·ær

n·.

III

( b ·)

n·n· IV

n·

b·

b· (n · ) .

65

w

n·

( n ·)

n·

n· IV

.

.

.

n·.

III

( n ·)

(Bring the bow past the body to the neck while bowing string IV)

?

r n ·III ( n ·) r

π

w

n·

n·.

w

r

n·.

r ‰. ( n ·) w

n·

n· (approx. bow position)

(?n · )

(3rd harmonic before the octave)

w (Slowly detune string IV while bowing it)

33098

ISSUU Version For perusal only

16

70

& rr ‰ ..

Ó.

∑

3 4

∑

∑

accel.

∑

4 4

∑

∑

p ≤

(remove reed and inhale)

&

b (soft harmonic-like sounds should be produced) ∏ o

o

o

o

o

o

o

o

o

o

o

≈ o

o

o

o

o

o

o

∑

&

o

o

o

o

o

o

o

o

o

≤

3 4

b.

o

∑

o

o

o

o

o

o

o

o

o

o

. o

o

o

o

o

o

43

∑

o

o

o

o

o

÷

.

≈Œ

‰.

r

‰.

o

o

43

b

o o o o o o o o o o o o o o o o

n·

n·

n·

n·

n·

44

B n·

n·

n·

n·

n·

n·

4 4

43

44

n·

n·

·

n·

. n·

44

3 4 n·

n·

.

n ·@

.

n·

n·

.

70

?

nœ nw

œ ‰

.

(sounding pitch)

Ó

33098

o

o

o

o

o

Œ.

o

o

o

o

o

÷

?

o

o

o

o

o

o

o

o

o

o

o

o

o

o

.

n·

˙.

≤ ≥ ≤ 7:6≥ ≤ ≥ > > > > > > X r Œ. n·

n·.

n· r

4 4 n· n·

w

Timp. pedal

( nœ.

.

44 ˙.

o

‰

‰.

44

43 ˙.

o

(arpeggiate snare on timp. head as before)

IV (Slowly bring the bow back past the body to the 3rd harmonic after the octave while bowing string IV)

43

o

π

43 70

b.

p

3 4

n·

≤

44 Ó

∑

(Drag heavy brush up head of timp.)

∑

4 ≈ 4

Ø

70

n·

o

‰.

∑

Ø

&

o

∑

(Drag heavy brush slowly down head of timp.)

70

o

‰.

≈ Œ

≤

n·.

7:6

≤

≥

>

>

n·

ISSUU Version »∞™ For perusal only

»∞§

q

q

m b m n n n n n &

77

b n n m

&

÷

r

77

? r nœ ≤

o

o

o

o

o

o

o

o

o

o

o

o

o

o

o

o

≈ o

o

o

o

o

o

o

≤

‰

Ó

>. (Drag heavy brush up π and down head of timp.)

o

Ó

≥ >.

≤

Œ

>.

≥ 3

≤

∑

12 4

∑

46

÷ 12 4

≤.

II

≤ ≥≤≥≤ ≥ > >>>> p

≤ >.

≤ >

r

o o

o o o o

o o

o

o o

o o

o

o o

(Note: allow strings II, III to vibrate sympathetically)

? w

(nn œœ )

>≤. .

o

o o o o

6 4 46

>≥III . . .

≤

≤ r ‰ . 46

≥. .

6 4

∑

12 4 .

arco ord.

.

o o o o

œ.

33098

>≥ >≤ >≥ 3

.

.

12 4 w

.

≤ . ≥ . >≤ .

∑

12 4

o o

≥

III

IV

IV 77

46

IV

flautato (Bring out as much of the harmonics on the open string IV as possible) o o o o

12 4

12 4

∑

o o o o

..

12 4

≥ >.

Ó.

o o o o

(Place one end of snare against head of timp.

Gliss the bottom end of a glass guitar slide up and down the snare.)

III

∑

≥ X ‰.

6 4

5:6

∑

r B n·

∑

>≤ >≥ >≤ >≥ .

>

>

&

77

12 (Oboeist walks quietly with instrument over to vibraphone.)

4

π

≤ ≥

III

≤r

∑

∑

77

6 4

∑

o

‰. ) ≥

12 ‰. ∑.

4 æ n. n p

≈ æ n. π

>p > > > >

. o

r ‰.

5

π

o

17

n· .

IV

III

.

.

.

.

.

b · ..

.

.

≤ .

III

IV

III bow across

onto string III

IV

(fingered position transposed to open 'C' string)

. n·.

.

.

X r‰. Œ ·

46 46

ISSUU Version For perusal only »∞º

18

rall.

80

q

∑

∑

5 4

∑

∑

∑

5 4

∑

∑

∑

45

6 &4

∑

∑

6 &4

∑

÷ 46

∑

(Clarinetist walks quietly with instrument over to timpani.)

≥ Produce a quiet white noise by applying no pressure.

Bow metal wire coat-hanger on timp.

80

÷ 46

‰.

Ó.

‰.

Ó

≈ .

6 4 80

& 46

X

46 Ó 80

B 46

46 80

?6 4

æ III ∏

II

II

≥IV

..

III IV

3

r ‰.

Œ

≤

ord. bowing

∑ >≤II ∏

>≥

>≥

II

II

>≤II III

>≥

>III≤

III

IV 3

4:3

∑

≥ .

≤

.

>≥ .IV

r ‰.

≈ . ∏

p 45

∑

45

.

π

p ∑

i

≥.. on bridge ® arco

Ó.

5 4

slow bowing with pressure

∑

>≤I

Produce the lowest possible tone on the tailpiece by applying with slow bow movement.

arco

∑

Ø

the low tone should sound as continuous as possible) π (Note:

∏

....

∑

.

....

∑

∑

45

π (Bow on tailpiece)

Produce the lowest possible tone on the tailpiece by applying with slow bow movement.

(Bow on tailpiece) arco

III

X

≤II ..

III

≥

I

∑

X

.

≤

.

≥

∏

∏ ≥II

.

≤

i. i i i i ≤ .

≥

5 4

∑

i ≤

i ‰.

Œ

∑

(Bow on tailpiece)

....

Slow bow movement with pressure.

Produce a slightly higher 'low tone' and gliss down to the lowest possible tone that can be produced on the tailpiece.

≈ .

45

π

∏ ∑

∑

33098

∑

45

»¢•

q

rall.

84

5 &4

∑

5 &4

∑

÷ 45

∑ ≤

84

÷ 45

ISSUU Version For perusal only ∑

5 4

84

& 45

....

∑

∑

7 4

∑

∑

74

∑ ≥

∑

Produce a quiet low tone by applying some pressure with slow bow movement.

Change bow direction when needed.

....

84

45

?5 4

∑ lowest possible tone on tailpiece

f

7 ‰.

4r 'f ' 74

∑. ∑

7 4

46

Ó

U

46

U ∑

6 4

ca. 60"

∑

∑

U ∑.

ca. 60"

‰. f

74

U ∑

ca. 60"

r ‰.

46 U ∑

ca. 60"

∑

∑

33098

Îf 6 4

ca. 60"

∑

46

U

ca. 60"

' '

∑

46

It is important not to have any break in the continuity of the sound occur.

74

. p

U ∑ ca. 60" U

' ' (match volume of sound with that of viola and cello)

f

B 45

6 4

Create as much variation in the sound as possible by applying different degrees of pressure on the wire hanger by the hand holding it. Bow towards the center of the wire hanger with extreme pressure while maintaining a continuous bowing. Gradually produce a very loud, screeching sound.

' ' 84

U ∑

ca. 60"

74

45

6 4

ca. 60"

(p) ....

U ∑

ca. 60"

7 4

74

19

46

ISSUU Version »∞™ For perusal only

20

q

»∞§

88

6 &4

6 &4

Ó

U Œ

Œ &m œ ≈

r

( mœ )

÷ 46

∑

Ó

arco with no pressure.

Produce a white noise sound.

45

U

≈

i.

5 4

π X

∑

U Œ

ca. 17"

. Ø

≈Œ

i i i i

i

p Œ

2 4

∑

nœ n b œœ

‰ ..

∑

œœ 3 gœ gg 4 g b gœ gœ rr p 3 4

forcibly cut sound off with tongue

‰ ..

Œ

rr( )

allow sound to resonate in timp.

∑

42

43

42 P

43

Turn the vibraphone motor off.

∑

(Note: oboeist turns motor on.)

(fffff) arco on bridge

2 4Œ

∑

Ó

(Clarinetist positions instrument on timpani head.)

Place bottom of clarinet against the head of the timp. and play into timp.

ca. 17"

45

.

6 4∑

Ó

ca. 17"

Place a folded piece of paper of rough texture under the indicated keys.

Turn the motor on the slowest possible speed (i.e., barely moving).

Vibe.

88

& 46

∑

5 4

∑

U Œ

ca. 17"

5 4

∑

÷ 46 ∑

88

»∞•

q

q

Ó

. ∏

p

ir ‰ . Œ Ø

45

Œ

∑

U Œ

Ó

U Œ

Ó

ca. 17"

ca. 17"

Ó

∑

Ó f

≥flaut.

2 4Œ

≈ II π

3 4 F

42 Œ

≈ m n ‚‚ ..

‚ 43 ‚

I

≤flaut. rr ‰ .. Œ bow off strings to allow π Lift left hand glissando to sound. r ‚ . (B œ)≈ Œ ‚.

(B œ)

(ord. left hand pressure)

....

46 ∑

(Tailpiece)

Œ

‰

≥ π

88

B 46 ∑

(unmute strings)

Œ

‰

o

45

≤.

5 o 4

or X‰ .

o o

U ≈Œ

‰.

≥

Ó

π X

ca. 17"

.

o. o. ≈ UŒ

ca. 17"

Œ

≈

U Œ

.

Ó

∑

?6 4

∑

45

U Œ

ca. 17"

∑

Ó

Ó

33098

42

43

Œ

≈

.

III ∏ X

..

III II

∑

‰.

(I) close to tailpiece

Ø 2 4

3 4

∑ Bring out as much pitch from the bow glissando as possible.

Use point of bow.

flaut.

Ó

arco on wrapping

p

1st. harm.

88

≥) ≈ . (

≈Œ

ca. 17"

45

46

≥ .

42 P 42 Π.

(unmute strings)

o X≈

∑

..

43

®Ó

43 ‰

o X≈ Ó

.

≈

(Note: a high frequency should be produced with occasional overpressure.)

ISSUU Version »§£ For perusal only

21

q

n >˙˙ b 2n ˙ ∑ 4 ggg b g˙ p Place bottom of oboe against the head of the timp. and play into timp.

J >œ 2 ∑ 4 k n œœ (k œ ) p ∑ 42

94

(Play into timp.)

&

&

>œ œœ gg gœ

Oboist positions instrument on timpani head.)

& 94

>œ œœ œ

( )

∑

42

‰.

÷ Œ

3

(Play into timp.)

œœ 3œ 4 ggg œ r

‰.

Ó

( ) forcibly cut sound off with tongue

œ 3 œœ 4 œ r 43

‰.

Ó

....

. ≈ II . p n‚. ≈ n‚.

B

‰. ? ‰.

∑

42

∑ ‰.

Œ

.

2 4 42

F ‚ ‚

3 4

‚ œ 34 ‚ œ

42

‰.

..

flaut.

III

(B œ) Ó (B œ )

42

≈.

‰.

π b m ‚‚ ‚‚

F ‚‚

rr Œ 43 ‰ ..

Lift bow off strings to allow π left hand glissando to sound. œ. (n œ) ≈ Ó 43 œ . (m œ) r (ord. left hand pressure)

42

‚‚

r 3 4 p

(

III IV

?≈

(n œ )

∑

(n œ)

≈.

43 ≈

o X≈ o X≈ o X≈ o XŒ

rr 3 4

..

π X

∑

)

( ) = Timp. pedal only.

r . ‰

(unmute strings)

‰ ..

)

42

slow bow

∑

∑

≈ 42

I II

42 Π2 4

∑

42

(n œ ) .

(n œ )

2 4 42

®‰

∑

∑

42

3 4‰

o X≈ o X≈ o X≈ Œ

2 4

∑

43

Œ

42 Œ

‰.

Use point of bow. Gentle arco bowing of bow.

Prolong the bouncing as long as possible.

Bring out as much pitch with the bow glissando as possible with slight overpressure.

flaut.

42

(

∑

43

.

2 4 Œ

‰

3 4

∑

≈ 42

F

ƒ

Ó

43

2 4

∑

II

≈ B Kk œœœ .. .

(Play into timp.)

43

∑

42

® ..

≤

flaut.

œ. œ. œ.

P . . . .

p

F (ppp)

X

94

94

.

‰

3 4Œ

π I

&Ó

2 4

allow sound to

43

flaut.

94

˙ 3˙ 4 ˙

( ) resonate in timp.

f Ó

b˙ 2 n˙ 4 b˙ π

42

‰. π X

33098

42

∑

43

∑

II 2nd harmonic (octave)

p 42

∑

r

flaut.

∏ X

22

»§ª

q

accel.

100

∑

∑

&

∑

&

∑

>œ n 5 n ggœ 4 mggœ

> m m œœ g nggœ

(Play into timp.)

P > 5 K œ 4 B k œœ

(Play into timp.)

Multiphonic #56

P ∑

& 100

? r ‰.

Œ

∑

45

∑

45

(n œ )

>œ œ gg mggœ

> J œ k n œœ (k œ )

ISSUU Version For perusal only

4:5 Multiphonic #23

> m m œœ g nggœ

œœ .. gg gœ .

> œ œœ

n wo

≈ ∑ (

) (Continue to play into timp.)

harm.

œ r ‰.

Multiphonic #23

(

Ø

)

3:5

∑ (n œ )

(n œ )

œ

œ

( )

œ

( )

( n œ) .

œ .)

.

(n œ )

(

œ .)

(

m œœ .. m 2 4 mgggœ . p J œ 2 k n œœ 4 ( k œ) 42

∑

( )

q

(

œ)

(

œ)

(

œ) ‰.

»§º

(Continue to play into timp.)

®

nœ.

3 4

˙.

2 4

∏ ≈. (

π

P

42 ‰

(n œ )

Œ

3 4

∑

2 4

43

∑

42

43

∑

42

)

∑

(n œ )

Œ

(Timp. pedal only.)

Use point of bow.

II Bring out as much pitch from the bow glissando as possible.

Œ

≈ . π X

5 4

2nd harmonic (octave)

100

∑

&

Use point of bow.

Bring out as much pitch from the bow glissando as possible.

II π 100 X B

∑

r

45

flaut.

..II III

∑

∑

∑

..

≈Œ

Ó.

Use point of bow.

Bring out as much pitch from the bow glissando as possible.

45

II III

∑

flaut.

.

∑ ≤

III

.

.

π 100

?

∑

‰

'P'

5 4

ord.

IV

45

..

2 4 24 or

≈.

X ‰.

∑

Œ

π X

..

Œ

f Œ

42 2 4 ≈

≈.

o

Let a "buzzing" sound occur while bowing at the 3rd harmonic (above the octave).

.

3rd. harm.

∑

≈ II ..

III π X

(Bring out as much pitch from III the bow glissando as possible.)

3 4≈ . ∏ X 34

flaut.

flaut.

2nd harmonic (octave)

∑

Ó.

Ó

'P'

45

.

r ‰.

flaut.

‰.

≥

p r n ‚ o‚ .

42 X 24 r ‰ . ‚

(Note: fingerings for string IV are transposed according to normal tuning of 'C'.

With string IV tuned down now to 'F', all pitches should sound a perfect 5th lower than written.)

33098

f X ‰

Œ Œ

(Bring out as much pitch from the bow glissando as possible.)

.

42

∑

(Bring out as much pitch from III the bow glissando as possible.)

43 ∏ X 3≈ o ‰ Ó 4

43

≤ .

2 4

r ‰.

42 2 4

42

∏ Œ

IV

43 ≈ n · .

(ppp)

o·

42

106

2 &4

˙

3 4

ISSUU Version For perusal only

˙.

2 4

œ

œ

œ. æ

4 4

23

w

3 4

˙.

8 4

(ppp)

2 &4

Oboist walks quietly with instrument back to seat.)

3 4

∑

2 4

∑

4 4

∑

3 4

∑

8 4

∑ With one single bow stroke, slowly draw a finely threaded metal rod on the indicated key.

& 42

43

∑

106

? 42

43(n œ)

(n œ )

42

∑

r (n œ )

42 .

(n œ )

(Timp. pedal only.)

2 4

3 4

III

.

(ppp)

or X‰ .

2 &4

106

flaut.

43

Œ

.

.

44

∑

≤flaut.

2r 4

‰.

42 Œ

∑

44

(n œ )

≥

® II .

III π

r .

∑

43 Ó

≈ Ó

43

(n œ)

(Note: motor off)

‰

∑

42 Π.

106

B 42 Π.

(with extreme tension)

II III

43

flaut.

..

42

(with extreme tension)

P π*

flaut.

4 4

flaut.

..

flaut.

..

3 4 ..

flaut.

flaut.

..

..

π nœ 3 2 nœ 4 4 r (The left hand glissando should be clearly heard during the flautando bowings.)

..

≥ P π*

≈

8 4

≈

48

* Note: Balance the dynamics between the flautando bowing and the slow bow overpressure so that the aural result is consistently 'pp'.

44

≤flaut.

....

48

extremely slow bow overpressure

®n n œœ .. ..

extremely slow bow overpressure

48

°

nœ. n œ.

43

(The left hand glissando should be clearly heard during the flautando bowings.)

≥r

n‚ r ∏

44

flaut.

flaut.

. .

flaut.

..

. . r

( n œ) (n œ)

..

..

flaut.

43 ..

flaut.

..

..

® 48

* Note: Balance the dynamics between the flautando bowing and the slow bow overpressure so that the aural result is consistently 'pp'.

4 4

bœ n œ

.. .. r

3 4

® 48

(n œ) (n œ)

Arco with threaded metal rod.

Draw the threaded metal rod slowly.

43

42 106

? 2 ·.

4 (ppp)

r · p

43 o·

42 · ·. π

42 ·

.

.

nœ.

0

44 Œ

® ‰

44

® ‰

. f

33098

‰ ..

III

rr

π X

43 ∑

34 o

.

X ‰

o

≈

48

2nd harmonic (octave)

X Œ.

48

ISSUU Version For perusal only

24

q

»∞§

œ 8 rr ‰ .. &4

111

(

rall.

3 4

∑.

Œ

(Clarinetist walks quietly with instrument back to seat.)

∑

4 4

q

»∞™

6 4

∑

)

8 &4

3 4

∑

Keep pedal depressed until sound dies of its own accord.

43

& 48

4 4

∑

(arco with intermittent breaks)

‰ ..

Ó

44

(Remove reed and blow through the indicated fingerings.)

∑

6 ≤ 4 b π

∑

46 ∑

r

≥

≤

111

? 48

43

∑ ≥

≤

flaut.

extremely slow bow overpressure

‰.

∏ X

111

& 48 ∑

‰.

≥

111

B 48 Œ

‰ ..

®@ III

flaut.

48 Œ

‰.

.. ®‰

III IV

Ø ‰ .. n μ œœ

≤

‰ ..

≤ ® ‰

≥

3 .. 4 ∏ Ø X · · ≈ . 43 · ·

III IV π r n · o· n · o·

≤

(overpressure at ordinary speed)

≈.

®Ó

≥

44 Ó

∑

slow bow overpressure

Draw the threaded metal rod slowly on rim of timp.

(arco with threaded metal rod) (motor off)

≈ b‚. π Vibraphone pedal ‰ o

. ∏

‰.

≥ ® .... III IV ∏ flaut.

4Ó 4

Ó

44 Ó

® n · .. n · ..

® ‰.

Ó

. .

œ . œ‰

( )

r

Ó

....

X 46 · ‰ .. ·

· ·

44 Ó

≤

® II . ‰

® ®‰

4Ó 4

Ø B œ .. ®n œ ..

o¿

‰.

Ó.

3 4

( )

o

¿

44

= undampen = dampen

∑ .

.

.

≥

‰.

4 4

II 1st. harm.

πIII

Ó.

Œ

‰.

o 4 4

extremely slow bow overpressure

46 ∑

Œ

≥

‰ ..

II

44

1st. harm.

III

1st. harm.

Bœ nœ

Ó.

6 4

≤

flaut.

π X

‰ ..

44

extremely slow bow overpressure

∑

43

46

÷≈

≈ 44

..

.

(Note: performed as one continous bow stroke.)

8 4Œ

4 4

∑

6 μœ 4 n œ ‰ ..

Ó.

Ó

πIII X

4 4

Note: extremely slow bowing with metal rod. Place much of the bowing on the bridge itself.

48 Ó

metal rod

II

Bridge

43

(slightly before the bridge)

p

1st. harm.

111

?8 4

∏ X

∑

43

(slightly past the bridge)

44 44

∑

33098

r

46 r

∏ extremely slow bowing

∑

46

44

≈ ∑ minimal bow movement

∑

44

ISSUU Version »∞§ For perusal only

25

q

115

4 &4

3 4

∑

4 &4 Œ

næ

n ∏

r 4 &4 .

r . ‰

3

3

m

n n‚

‰.

o

¿ ÷ 44 r

115

o

o

¿

Motor off.

Vibraphone pedal only.

Loudly strike vibraphone pedal followed by a normal release of the pedal to allow the keys to ring.

43 Ó

÷‰

The pedal should rest over a hard wood surface in order to make a loud sound when struck.

≤

4 4 115

& 44

X

.. p

Œ

..

≈

∏ X

∏ ∑

≥

3 4

o B4

115

4

44 Π115

?4 Ó 4

X ‰

o

X ‰

≈

..

43 Ó

Draw threaded metal rod at indicated pitch.

&‰ .

n ¿≥

≥ b ¿.

π (Note: written pitch is sounding pitch.)

X o X‰ o X‰ ≈

43

o

X 34 ‰ .

≈

'f '

4 4

U ‰

44

U ‰

44

U ‰

4 4

U ‰

44

U ‰

44

U ‰

4 4

U ‰

44

U ‰

44

ca. 3"

πIII X

‰ ..

o ‰ ..

X Œ

33098

‰

ca. 3" 5

o ® ≥ .

o

‰

(left hand fingers only)

II

≤ b ¿ ..

‰

Ó

Ó

≥

3 4Ó ≤ b¿

U ‰

ca. 3"

Œ ‰

43 ‰ .

Ó

4 4

ca. 3"

extremely slow bow overpressure

Ó

‰

Ó

(Note: refinger each finger with each ascending pattern.)

44

>

∑

flaut. flaut.

‰

Ó

∑

43

r

Ó

ca. 3"

3 4

r ≈

∏ ¿

∑

(Replace reed)

motor on medium speed

U ‰

ca. 3"

n¿ b¿ ∏ flaut. ≤ ..

X ≈.

n¿

n¿ b¿ n¿ ≥ ..

5

¿

¿ ¿

‰.

5

¿ b¿

¿

ca. 3"

≈

Œ

‰

ca. 3"

Ó

(Exchange metal rod for bow.)

Ó

‰

ca. 3"

‰

ca. 3"

Ó

‰

ISSUU Version »∞• For perusal only

26

»∞§

q

q 118

4 &4

U ∑

11 16

∑

17 ‰ 16

Ó

®

accel.

b œ ..

œ. r

11 ˙ 16 subito ∏ f

œ. r

7 16

œ œ œ. r

11 B ˙ 16 subito ∏ f

œ. r

7 16

∏ 4 &4

U ∑

11 16

∑

nœ

17 ≈ 16 3

÷ 44 118

? 44

‰ >

'f '

5

11 ≈ 16

≈ Ó. >

>

& 44 ≈

'f '

11 16

∑

6 6

5

5

n¿ b¿ n¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

U Œ

U ∑

Strike with soft mallets.

Make the attack as imperceptible as possible.

n b bb bœœœœ r & 17 ≈ 16 > 3 π 'f ' motor off

17 16

Above the line = ordinario position Below the line = sul tasto

11 16 ¿

17 ≈ 16

b¿ n ¿ 17 16 m ¿ n ¿ p

U ∑

11 16

44

Œ

ca. 5"

Above the line = ordinario position Below the line = sul tasto

œ.

Ø œœœœ ... .

œœœœ

œœœ¿ œœœ ¿œœ œ¿

‰.

∑

≤ ≈ ‰ Ó

≤

‰.

≈

118

B 44 Œ

Œ.

7

(Note: refinger each finger with each ascending pattern.)

r B¿ n¿ ¿ ¿ ¿ ¿ ∏ 7

7 16

11 16

∑

7 16

¿œ ¿ ¿ p

17 16 ‰ .

r

Ó

‰.

audible release of left hand fingers Strum across all four strings with nails of right hand.

Ó

11 ® 16

7 16

* Hold left hand fingers against fingerboard while right hand strums.

‰ ‰

f U 5 5 5 n ¿¿ œœ* n 7 5 5 11 17 ≈ n¿ œ 16 m ¿ ≈ . ≈ m ¿ B ¿ n ¿ ¿ ‰ . 16¿ b ¿ μ¿ μ¿ m¿ ¿ m ¿ B ¿ n ¿ n ¿ n ¿ ¿ bB ¿ ¿ ¿ ¿ ¿ ¿ n ¿ ¿ B ¿ œ π p Strum across all four strings with nails of right hand. >r 11 17 ‰. Ó.

16 16

¿ ¿ ¿ >¿

‰

11 16

≈. **

7 16

7 16

** audible release of left hand fingers

ca. 5"

(left hand fingers only)

∑

>* ¿ œ b¿ ¿ œ ¿ n 11 ®¿ œ 16 ≈ m ¿ ¿ œ ¿ > p f p π

Hammer fingers back onto strings II-IV after open strings have been strummed by right hand.

3

n n œœ n n œœ f

11 16

(Note: 'x' indicates to mute the indicated vibraphone bar with the fingers.)

°

Strum across all four strings with nails of right hand.

3

11 16

4 4 118

3

Turn motor on fast speed.

˙

n >¿¿ n 11 16 B n ¿¿ π

>¿ ¿ ¿ ¿

>¿ ¿ ¿ ¿

7 16

* Hold left hand fingers against fingerboard while right hand strums.

44 118

?4 4

Above the line = ordinario position Below the line = sul tasto

∑

>¿ . μ 11 n ¿ .

16 n¿. p

‰

U Œ

audible release of left hand fingers

n ·· n ≈ 17 16 n n ·· r f

‰.

33098

Ó.

≈ III

11 16

7 16 5

5

11 7 m ¿ B ¿ 16 b B ¿ B ¿ m ¿ ¿ n ¿ b ¿ ¿ μ ¿ b ¿ B ¿ ¿ ¿ ≈ 16 ∏ 5

ISSUU Version For perusal only »∞§

»§ª

q

q

..

7 œ & 16

4 œ ‰ 4

122

μœ

œ

˙

∏ 7 œ œ & 16 r 7 & 16 122

? 16 7

μœ r

3

4 ‰ 4

7 16 r ¿ ¿ ¿ >¿

b¿ n 7 & 16 ≈ m ¿¿ >p¿

122

122 n >¿¿ n 7 n¿ B 16 B¿ p

>¿ ¿ ¿ ¿

5 16

Stop sound abruptly by keeping bowhairs on vibraphone bar.

®Œ

44

n >¿¿ n œ n 4 n¿ n œ 4 B ¿ nœ nœ

‰. >¿ ¿ ¿ ¿

5 16

∑

Ó.

U Œ

1 œ 4

5 œ 4

‰.

Ó.

U Œ

41

> arco 45 b œ (mn œœ) n ¿¿ m ¿¿ n n ¿¿ m ¿ m ¿ n ‚ nœ ( ) ¿ π Ï ° ∑ 45

∑

41

∑

∑

pizz. roll (quasi guitar)

gg n n ·· gg n · gg n · g

‰

Ó

5 ‰ 16

.

Stop sound abruptly with bow but keep pedal depressed until sound dies out.

r f

‰

gg n n ·· gg n · gg n · g

41 ‰ .

r

n· . nœ.

III

45 ≈

?7 16

pizz.

r II n n ·· Ó III p

5

Œ

pizz. roll (quasi guitar)

5 ≈ gggg n n ·· ‰ .

16 gg n n ·· g

Œ

Ó

0

π

1 4 ‰

gg n n ·· gg n · gn ·

≈

gg

5 4 ≈

f

n n ·· ..

III π II

44 Œ

pizz.

41

‰.

n· n· Ó III II

p

gg n n ·· 5 16 gggg n · gg n œ g f

·. ·· .. n·.

pizz. roll (quasi guitar)

33098

U Œ

ca. 3"

pizz.

Œ

Ó

U

ca. 3"

5 16

44 ∑

U Œ

ca. 3"

pizz.

II

45 Œ

1/2 c.l. tratto

‰. (slow gliss)

122

U ≈ Œ

ca. 3"

Ó.

f 5p

7 16

‰.

Ó.

nn œœ n b ¿¿ m¿ n n œœ >¿ f (pp) 5

5 4 œ

f

3

44 ≈

7 16

‰

œ

1 4 œ œ. æ

Use wooden handles of vibraphone mallets.

44 ‰ b m mn œœœœ œœ¿œ ¿œœ ‚ . π6 ° 44

∑

5 16 œr œ subito f ∏ 5 nœ 16 r

4 w 4 arco

∑

27

n ·.

14 gggg n n ·· .. gg gg n œ . g

· ·· n·

45 Œ

‰.

II

nœ

Ø

˙

U

ca. 3"

ISSUU Version For perusal only

28

&

U ∑

5 4

&

U ∑

5 4

127

Tempo Rubato (percussionist freely moves through the passage at a variable slow pace)

b œ (n œ)

(Keep pedal depressed until sound dies out.)

b¿ b¿ n n ¿¿ n b ¿¿ b¿ ¿ n b ¿ n ¿ b¿ n n ¿¿ ¿ b & n ¿ n ¿ ¿ n ¿ (b œ) n¿ n ¿ nœ n¿ n¿ 127

> Î ! (as loud as possible)

?°

U Ó

ca. 3"

nœ mœ n bb ¿¿¿ n nn ¿¿¿ n m ¿¿ ( ) n ¿ m¿ n ¿ n œ bœ ( ) m ¿ m¿ nœ > >

U ∑

U Ó

ca. 7"

> b¿ n¿ m œ (n œ) n ¿ n ¿ m ¿ b ¿ b¿ ¿ n œ (m œ) n ¿ n ¿ n ¿ n ¿

U Ó

ca. 5"

U Œ

ca. 1" (slow gliss)

nœ p

nœ n¿

> b œ (n œ) n œ (m œ) Î!

45 45

Note: When the vibraphone motor is off (as it is for this page), make sure that the rotating plates are horizontal to increase the duration of the sustain.

127

&

127

B

‰.

U ∑

? μœ ‰.

U ∑

127

U ∑

45

U ∑

5 4

45

33098

q

ISSUU Version For perusal only

»∞•

128

5 &4 Œ

≈

nœ.

˙.

(m w)

. μœ

œ

‰.

‰.

Ó

o n w 5 &4 Ø

128

? 45

n¿ m¿ n¿ n¿ n¿ m¿

nœ œ

w

4 4

∏ œo

(harm.)

°

»§ª

q

accel.

Ø

& 45

29

wo

œo

wo

œo

n wo

‰.

œo

4 4

∏ motor on fast b ¿ n ¿ n ¿ ≈ ‰ Œ n¿ b¿ n¿ b¿

∑

3

∑ ∑

5

16 n œ ( œ ) 16 3 m œ (n œ ) m ¿ n ¿ n ¿ 3 n¿ b¿ n¿ n¿ n ¿¿ n n ¿¿ n r¿ Œ n ¿ ‰. r ‰ n n¿ b¿ n¿ n¿ m¿ n¿ nn n ¿¿¿ n >œ (m œ) 3 n >œ ( œ ) π °p ∑ ‰. ≈ Œ motor off

3

(keep pedal depressed)

3 16

5 16

3 16

1 4

5 16

‰.

Œ

ŠΠpedal off

‰.

Œ

≈ Œ

3 16

1 4

5 16

Gently and very slowly strum across all four strings from lowest to highest with plectrum. con sord.

128

& 45

∑

∑

∑

(use metal practice mute)

>

pizz. (I-IV)

>

gg n œ . gg gg . g

r F

(extremely slow gliss.)

3 16

>

gg m œ . gg gg . g

r

gg n œ gg gg g

r

r

5 16

3 16

1 4

>

. . r

gg n œ gg gg

5 16

Gently and very slowly strum across all four strings from lowest to highest with plectrum. con sord.

128

B 45

∑

∑

? 45 Ó .

‰.

pizz. (I-IV)

gg n œ gg gg

r F

arco 128

∑

(use metal practice mute)

con sord. (practice mute)

nœ

(I)

& (Note: notated pitch is at sounding pitch.)

Group string between thumb and index finger at indicated pitch.

(b w)

Ø

(extremely slow gliss.)

> r

44 * vln. & vla: Hold instruments in the manner of a guitar and place glass guitar slide onto a left hand finger. Press slide firmly across all four strings (but not so firmly that the strings touch the fingerboard) so that all four strings are 'barred' across with the slide. Use a guitar pick of medium thickness (approx. 1 mm.) in the right hand and strum down across all four strings gently, arpeggiating the four strings slightly each time. The notated pitch indicates the sounding pitch on string I, the highest pitch of the chord.

33098

30

(m ˙).

132

4 &4

(n ˙)

3 4

o w 4 &4

3 4

ISSUU Version For perusal only ( n œ)

2 4

ȯ .

2 4

3 4

ȯ

3 4

nœ 4 4

(m ˙)

ȯ .

4 4

r ȯ ..

( n œ)

7 8

≈ 3

œo

p ‰

7 8

3

3 16

‰.

&

1 4

3 16

3 16

5 16

1 4

3 16

1 4

5 16

5 16

Œ

‰.

‰.

≈ Œ

Œ

‰.

Œ

≈ Œ

‰

‰.

1 4

3 16

1 4

3 16

5 16

Œ

‰.

Œ

‰.

≈

1 4

Œ

Œ

1 8 Belly of timp.

¿

÷≈

78

π

?

‰.

3 16

. . r

132

& 3 16

> gg b œ .

B gggg . r

132

132

& 44

(n w)

Œ

‰.

‰.

≈ Œ

Œ

‰.

Œ

≈ Œ

‰

1 4

3 16

3 16

5 16

1 4

3 16

1 4

5 16

5 16

gg m œ gg gg g

. . r

ggn œ . gg gg . g

>

r

r

gg n œ gg gg g

. . r

ggm œ gg gg g

1 4

3 16

3 16

5 16

1 4

3 16

1 4

>

. . r

gg b œ gg gg

>

ggn œ . gg . gg

r

>

>

>

>

r 5 16

gg b œ gg gg

r

r

43

(m w)

r

5 16

42

. . r

r

( ˙ .)

(m w)

43

(pppp)

33098

Œ

‰.

Œ

‰.

≈

1 4

3 16

1 4

3 16

5 16

>.

. . r

gg n œ gg gg g

>

>

gg n œ . gg gg .

r

‰.

œ. gg b > gg gg . g

gg n œ gg gg . g

r

r

1 4

3 16

5 16

>

. . r

gg n œ gg gg

>

. . r

gg b œ gg gg

44

‰

1 4

1 8

gg n œ gg gg g

r

3 16

(m w)

Œ

>

1 4

gg n œ gg gg

Œ

Softly tap the side of the timp. drum with the 3 handle of the vibraphone mallet.

Tap down and up the belly of the timp.

Allow the timp. head to resonate while tapping.

> r

1 4

78

78

r

1 8

œ gg n > gg gg

7 8

3

78

q

»¶§

ISSUU Version »•º For perusal only q

accel.

˙ ..

m˙

137

7 &8

3 4 B ˙ ..

œ ær

5 8 ˙.

7 &8

31

3 4

nœ

5 8

r

p

2 4

œ m œ-

F œ n œ2 4æ F

œ-

œ-

œ-

œ-

7

œ-

œ-

œ-

œ@

3 4

œ-

˙.

œ.

œ.

3 4 æ ®‰

6

6 4

≈ Ó μœ.

œ œ

œ

π

f

p

Ó

6 4

arco

÷ 78 ‰

6:7

¿

‰

¿

137

? 78

¿

‰

(I only) with pick

b>œ

& 78

¿

B œ>

n œ> r

¿ ‰

‰.

43

∑

137

43 ¿

6:5

¿

43 r

¿

‰

n œ> B œ>.

85 r

¿ ¿

‰

42

∑

3

n‚

46

&4 motor on

medium speed π

85

∑

μ œ>

85 ‰

vibe.

42

∑

b œ>

μ œ>

r

œ> ær

42 r

∑

(B œ)

(set down slide) (senza sord.)

‰.

Œ

(Gradually increase the speed of the motor but make each change in speed imperceptible.)

34 °

∑

∑

46

43

∑

∑

46

3 4

∑

∑

6 4

6:5 6:7

.

B 78 .

(b œ)

137

7 &8

Ó

(set down slide)

(

nœ 137

(I only) with pick

nœ

(III)

≈?

p

)

3 4

Note: finger left hand pitch in normal manner. Written pitch is transposed to the scordatura of string III.

.

43

μ œ> p

n œ>

μ œ>

> n œ 5 8

.

2 r 4

(n œ)

≈

(senza sord.)

Œ

6:5

Use left hand nail to finger pitch against fingerboard.

Written pitch is transposed to the scordatura of string I.

(n œ). (m œ)

μ œ>.

n œ>

.

58(μ ˙)

24(B ˙)

6:7

33098

34(μ ˙).

(B ˙).

46

32

143

6 &4

6 &4

μœ

œ œ.

w

‰. Ó π w

f p μœ œ.

P

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n ˙ . (n œ) w ..

7 4 ƒ μœ nœ μœ bœ œ nœ μœ nœ μœ œ œ mœ œ œ nœ nœ bœ nœ mœ œ μœ nœ œ μœ nœ mœ œ Bœ nœ μœ nœ Bœ bœ μœ mœμœ nœ μœ nœ bœ nœ mœ bœ Bœ 7 n œ μ œ mœ ‰. Œ 4 @ 7 :3 7:5 7:4 7 :3 7 :3 7:6 ƒ f

(timbral)

œ Ï w Ï

rr r œ œ

p 143

? 46

143

& 46

143

B 46

? 46 (m w).

F

motor on fast

rr r œ œ

Keep pedal depressed until sound dies out.

74

& 46

143

ISSUU Version For perusal only

‰.

rr r œ œ

r œ

∑.

f

∑

∑

74

∑

∑

74

∑

∑

∑

7 4

∑

∑

74 n o· ..

(III)

33098

r œ

r œ

ISSUU Version For perusal only

33

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 146

w ..

1 8

&

œ.

® 49

F nœ μœ 9 μœ bœ mœ Bœ nœ nœ nœ μœ bœ 4 bœ n œ mœ @ nœ @ 7:11 7:12 P p 49

nœ nœ bœ mœ nœ μœ μœ μœ nœ nœ mœ mœ 1 nœ nœ bœ nœ μœ nœ μœ Bœ mœ μœ & @ nœ 8 Bœ r 7:8œ

r 7:10œ

r 7:9œ

r œ

Timp.

&

÷ 81

?

∑

(n œ) (Timp. pitch)

146

?

r

*

p

81

∑

* Tape bottom of snare to upper side of timp. head.

Hold snare upright and bow toward the top of the snare.

A high metallic pitch should be clearly audible.

Do not mut the timp. head.

49

∑

μœ

r œ

Ex.: snare

m œ-

3 16 n œ-

∑

bow

nœ nœ

nœ

F nœ œ 3 mœ 16 r

5 16

‰

5 16

‰

5 16

∑

5 16

r r 7œ :13œ

3 16

F

(Apply some pressure to the snare so that it is firmly against the timp. head.)

3 16

∑

5 16 146

Note: vln. still held in the manner of a guitar.

∑

&

>· n n · 81 ≈ n m ··

n >·œ n 3 ≈ n · ‰.

16 n ·

sul pont.

pizz. with plectrum

3

49

pizz. with plectrum

∑

sul pont.

5 16

f 5:3

f

5 16 n >· 1 m· 8 n n ··

n >· m· 3 16 ≈ n n ··

sul pont.

146

Note: vla. still held in the manner of a guitar.

∑

B

pizz. with plectrum

sul pont.

≈

9 4

pizz. with plectrum

∑

f

‰

5 16

f 4:3 5 16

? o· n o·

146

(IV)

(p)

· ‰. ·

· ‰ Ø

.

Œ

81 ≈

n ·≤ p

33098

.

9 o·

4

· F

Stop sound by keeping bow on string.

‰.

Ó

3 ‰.

16

5 16

34

»•¢ q»¶§ q»§ª

1x: q 2x: 3x:

5 .. μ œ- μ œ μœ & 16 æ

150

5 & 16 ..

F P p n œ- μ œ-

1x.

2x.

3x.

1x.

2x.

3x.

Place the end of a snare under each of the keys in parentheses and tape the other end on top of neighboring keys.

Complete this preparation during the 1st repeat.

When the preparation is complete, turn the motor on slow to medium speed.

The aural result should be a 'clacking' sound of the snare ends striking the vibraphone bars.

Very gradually, increase the speed of the motor to its fastest speed over the course of the repetitions.

3 16 m œn œ-

m¿

? 16 5 ..

3 16

41

(f) slow-medium speed

5 16 .. ≈ f 150 X 5 . . & 16

≥

≤ ≈ r ∑

f

≥

≤

IV III II I

I II III IV

≥ 3 16 r ‰

41

μ œ-

n œ-

μ œ-

3 16

≈

n n ·· ‰ 3 16 n m ·· r 3 ≈ 16

≤ ≥

41 ≈

41 ≈ 1 4 ‰

≥r 5 . Œ 16 .

≥r 3 ‰ 16

≥ 14 r

n· ? 5 .. n n ·· Œ 16 n · r f

n· n· ‰ 3 16 n n ·· r

n· 14 n n ·· n· r

X

(drag pick across strings)

∑

Above the line = ordinario position Below the line = sul tasto

n œ- B œ-

1 4

μ œ-

1 μœ 4 æ

3 16

5 16

∑ ≥

1 4 ≈

X n n ·· 3 16 ‰ n b ·· r

150

n œ-

5 16

≤

5

‰

Above the line = ordinario position Below the line = sul tasto

IV III II I

(drag pick across strings)

Above the line = ordinario position Below the line = sul tasto

5 ..

B 16

m œ-

3 μ œ16

41

3 16

μ œ-

n œ-

3 μœ 16

b œ-

m œn œ-

μ œ-

5 16 5 16 μ œ

3 16

1 4

n œn œ-

1 4

n œ-

5 16

41

(gradually to fast)

3 ≈ ≈ 16 n¿ P

∑ (Note: lay the attached snare flat on the upper part of the timpani head as a preparation.)

150

5 16 5 nœ 16

n œ-

1 4 n œ-

B œ-

b œ-

Timp.: 3rd repeat only! Each attack occurs in the center of the head ( ). The attack should produce more noise than pitch (akin to a giant snare drum).

150

5 ..

16

1 4

m œ-

F P p

5 .. vibe.m ¿ m ¿ ÷ 16 ( ) m¿

3 16

n œ-

μ œ-

ISSUU Version For perusal only

5

X

‰.

nœ 3

≤

≥

≈

X

≈

3

5 16

≥ ≈

∑

3 ≈ ≈ 16 n¿

≥4:5

≥

4:5

5 nœ ≈ ≈ 16 nœ 5 ≈ 16

≥

4:5

≈

4:5

3

œ

≈

≥

5 16 ≈ n œ ≈ n œ ≥

≤

‰.

5 16

‰.

5 nœ ≈ œ ‰ 16

≈

‰

3 16 ≈ 3 ≈ 16

≈ ≈

nœ ≥r

3 ‰ 16

nœ r

3 16 ‰

41

1 4 41

3 ≈ ≈ 16 n¿

≤

≤ r

≥ ≥r r ≈

X

n· n · ≈ n m ·· nœ

≥ X

41 ≈ 1 4

∑

∑ ≤5 ≥ X

∑

≥r 3 ‰ 16

≥ 14 r ‰ .

3 n ·œ ‰ 16 r

n· 41 n œ ‰ . r

III II

0

33098

3 16 ‰ 3 ‰.

16

3 ‰.

16

≈

n¿

≤ ≥

≈

≈

5 16

5 16

41

∑ ≤

X 5 ‰ 16

5 ≈ 16

3 16 ‰ .

X nœ ≈ ≈

5 16 ‰

≥r 3 ‰ 16

≥r ‰

≥r 5 16

3 16 nœ n· ≈

n n ·· n n ·· ‰ r

5 r 16 nœ

≥

3

≈

3

≤r

‰

X

nœ ‰.

≥3

1 4 41

≥

≈ ‰.

n· n n ·· n· r 4:3

41

4:3

X

‰.

‰ ‰

≈

≥3

3

1 4

≈ 41

≈ n œ n · 41

n œ-

1 m œ&4 æ

159

3 m œ m œ16

1 & 4 œ - μ œbœ

3 16

÷ 41

3 16

159

? 41

1 4 ≈ 159

& 41

X

41 ‰ 159

B 41

1 4

1 4

B œm œ-

≤

3 16

nœ

B œ-

≥r

1 4 ≈

5 16

≤ X ∑

m œ-

5 16

∑ ≥

≈

≥

5 16 ≈

41 ≈ n œ ≈

≥r 3 16 .

≤

41 ‰

nœ ≈

∑ ≥

‰.

≥ r

6:5

n n ·· n m ·· r

≥3

≈ ≈ ≈

nœ ≈

≥

≈

n· 5 ≈ n n œœ ≈ ≈ ≈ n · ≈ & n· 16 n œ n· nœ

≥r 3 ‰ 16

≤ 14 r ‰ .

≥r 5 16

? 1 nœ m· ‰ 4

n mn ··· ‰ 3 16 n · r

nœ 41 r ‰ .

5 nœ n· 16

‰

≥ m· ≈ m n ·· n ·

3

≈ ≈

≤ ≥

‰.

>

r X nœ nœ n n œœ

Œ

‰.

3

3

1 4 ‰

n œ-

1 nœ 4

∑

5 ≈ n n œœ ‰ .

16 n n œœ 5 ≈ 16

1 4

μ œ-

μ œ-

4:3

≥ ≈

≤

41

∑

1 4 ‰

≤5 r ‰ ‰

5

41 ‰

nœ

≥ 5 r . ‰ 41 ≈

4:3

nœ nœ ‰ . B n n œœ ≈ n n œœ nœ nœ ≥

≈

≥

‰

nœ b· œ · ≈

3 16

m œ-

1 4

3 16 n œ-

41

≥ 14 r ‰ .

159

n œ-

5 16

3 ‰.

16

3 16 ‰ .

B œ-

n œ-

m œ-

B œ-

6:5

∑

m œ-

b œ-

n œ-

5 16 b œ

41

3 ≈ ≈ 41 16 n¿

∑ ≥

n œ-

ISSUU Version For perusal only

35

œ-

41

3 ≈ ≈ 16 n¿

41

3 16 ‰

4:3

≈ 41

3 ‰ 16

4:3

≈ 41

nœ

B œ- m œ

1 4 ≈ nœ n· ‰.

∑ ≥ X

≤ 4:3 3 ≈ ‰ 16

41 ‰

3 16 ≈ n œ ‰

1 4

≤

∑ ≥3 ≤ X ∑

4:3

≥ 14 r m· 14 n n ·· n · r

33098

‰ ‰.

≤r

≥r 3 16

X

3 n œ nn ·· 16 nœ

3 μ œ- n œ- 5 16 16 b œ-

3 16

3 16

5

3

m œ-

æ

1 4

3 16

≥

n œ-

n œ-

n œ-

5 16

3 16

3 16

5 mœ 16

1 4

m œ-

μ œ-

∑ ≥ ≤2:3

3 ‰.

16

3 ≈ 16 3 16 ≈

41

5 16

nœ

41

∑

5 16 ≈ ≈ 5 ≈ ≈ 16

≥

1 4

5 ≈ 16

≥

≥

5

≈

≤

5

≈ nœ ≈

≤5

nœ ≈

≈ 41 ≈ 41 ≥

41

5 ≈ nœ ≈ nœ ≈ 1 16 nœ 4 5

‰.

≥r 3 ‰ 16

n· 14 n n ·· ‰ . n· r

n nn ··· ‰ 3 16 n · r

41

‰ ≈

≥

≥r 5 Œ 16 5 16

nœ n·

41 ‰.

41

ISSUU Version For perusal only

36

169

1 &4 bœ 1 &4

1 8 nœ

μ œ-

œ μœ

b œ-

1 4 μ œn œ-

1 8

nœ B œ-

1 4

81

169

? 41

1 4

≥

≈

41

∑

81 n ¿ ¿ 41 > >

≤

≥

≈

1 8 ≈

∑

1 4 ≈

≥

‰.

≤

6

6

nœ ≈ & 41 n œ ≈

169

41 ≈

≤

‰

nœ nœ 81 ≈ n n œœ 41 ≈ n n œœ Œ nœ nœ 81 ≈

≥3

≈ 41 ≈

3

169

B 41 ≈

41

≥

nœ ‰.

? 1 nœ ‰.

4 r

169

‰

≥

≈ 41

X

≤ ≤5 ≥ ≤ X

1 ≈n n œœ ≈ 1 8 nœ 4 nœ 81

3 16

m œ-

r ÷ 41

3 16 mœ

∑

m œ-

5 16 m œ-

3 16

5 16

3 ≈ ≈ 16 n¿

5 16

3 16 ‰

≥ r

3 ‰ 16

n nn ··· n· r

3 ≈ 16

≥

μ œ-

5 16n œ æ

m œ-

≈

n· 3 ≈ n n ·· ≈ 16 n ·

n œ-

μ œ 1 4

n œ- 1 4

n œ-

B œ-

m œ-

41

5 16 ≈

≥ X

5 16

5 ‰ 16

≤

6:5

∑ ≥ X ∑

5 16

∑

≈ 41 Œ

6

41 Œ

6

≤ 5

≈ 41 ‰ 1 4 ‰

≤ ≈

nœ nœ ‰

n· 18 n n œœ ≈ 41 m n ·· n· n n œœ

≥

‰.

3 16

‰.

n· m n ·· ‰ 3 16 n ·

‰

5 16

≤ ≥

‰

5 ≈ nœ n· ‰ 16

≤r ≥ 14 r ‰ . nœ 41 n œ ‰ . r

33098

1 4

B œ-

41 41

3 ≈ ≈ 16 n¿

5 16 ‰

≥ .

≤r

X ∑

5 ≈ 16 5 16

3 16 ‰

≤

≥6:5

5 16

≤ ≥

n œ-

‰

5 ≈ n· ‰ 16 nœ

≤r

‰

3 ≈ ≈ .. 78 16 n¿

∑ ≥

1 4

≈

41

n· ≈ n n ·· n·

6

‰.

6

≥ 4:3 ≤ r 3 ‰ 16 ≈

.. 78

4:3 X n œ 3 Œ 16 ≈ ‰

.. 78

.. 78 .. 78

41

≈

‰.

3 16 ≈ n n œœ ≈ nœ

1 4

n n ·· ≈ n n ·· ‰ .

3 ≈ nœ ‰.

16

≥r 3 ‰ 16

41

r 3 16 n n œœ ‰

n· n · 41 n b ··

≤

≈

≥

.. 78

.. 78

3 16

5

5

∑

3 16

≤ 5:3 3 ≈ ‰.

16

3 ≈ 16

.

X

r nœ

3 ‰ 16

μ œ-

m œ- .. 78

3 16 n œ-

‰

n œ-

1 4

3 16 ∑

5

≥

b œ-

5 16

5 ≈ n œ 16 n n œœ ‰

3 16

3 16 nœ

n œ-

5 16

41

∑

μ œ-

5 16

n œ-

B œ-

5 16 m œ æ

(repeat 3x)

5:3

≥r

‰.

≥r 3 16

‰

.. 78

‰.

n· 3 n m ·· 16 n·

‰

.. 78

7 œ nœ &8

179

7 & 8 nœ -

m œ-

n œ-

b œ-

μ œ-

n œ-

m œ-

m œ-

ISSUU Version For perusal only

m œ-

b œ-

m œμ œ-

n œ-

m œ-

m œ-

n œ@ b œ- œ n œ -

n œ-

n œ-

m œ-

n œ- œ @

n œμ œ-

μ œ-

7 4

37

U ∑

ca. 60"

U ∑

ca. 60"

n œ-

n œ-

7 4 U

ca. 60" Turn motor off

U ∑

74

÷ 78 °

(motor on fastest speed) 179

? 78

∑

n¿ ¿ r

(

U ∑

ca. 60"

74

≈ Ó.

P

7 ≈ 8

≥

Ó

≈

(f)

nœ & 78 ≈ n n œœ Ó . nœ 78 ≈ (f)

≈ Œ.

3

nœ B 78 ≈ n n œœ ≈ Ó . nœ

179

78

≥

≈ Ó

(f)

? 7n n œœ ≈ Ó .

8 nœ nœ

179

‰

≥3

‰

X

179

≥3

≤ ≥ ≤

≤ ≥ ≤ ≥

U ∑

ca. 60"

nœ r

≥

‰

X

≤ nœ r

‰

7 4

Ó

≈

74

0

‰

74

Ó

U ∑

ca. 60"

7 4

0

≤

≥

X

n n ·· ≈ Ó. n n ··

74

≈ Ó.

U ∑

ca. 60"

74

33098

) Keep pedal depressed until sound dies out.

ISSUU Version For perusal only

ISSUU Version For perusal only

ISSUU Version For perusal only 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, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage.

Today, with its offices in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music.

At the same time, the company’s historic and educational catalogues continue to be developed with award-winning critical and pedagogical editions.

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 Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu.

In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20.

Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage.

Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik.

Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.

Photo © Irène Zandel The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße

EDITION PETERS GROUP L E I P Z I G

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