Juliana Hodkinson ...CAN MODIFY COMPLETELY / IN THIS CASE / NOT THAT IT WILL MAKE ANY DIFFERENCE...

EDITION WILHELM HANSEN

181217

WH32759

Juliana Hodkinson ...CAN MODIFY COMPLETELY / IN THIS CASE / NOT THAT IT WILL MAKE ANY DIFFERENCE... for electric guitar and orchestra

Score

Juliana Hodkinson … CAN MODIFY COMPLETELY/ IN THIS CASE/ NOT THAT IT WILL MAKE ANY DIFFERENCE … for solo electric guitar and orchestra (2015/16)

… Can modify completely/ in this case/ not that it will make any difference … was initially first performed by Aart Strootman and the Danish National Chamber Orchestra with conductor Henrik Vagn Christensen, on the occasion of the Carl Nielsen and Anne Marie Carl-Nielsen Legat awards at Queen’s Hall, the Black Diamond, Copenhagen, 27th November 2015. Westdeutscher Rundfunk commissioned the completion of the work, for the world premiere at Wittener Tage für neue Kammermusik on 24 th April 2016, with Aart Stootman, WDR Sinfonieorchester and conductor Emilio Pomàrico.

SCORE Duration: c 11 min.

Juliana Hodkinson – … can modify completely / in this case / not that it will make any difference … Copyright © 2015 Edition Wilhelm Hansen AS, Copenhagen WH 32759 ISBN 978-87-598-3727-6 ISMN 979-0-66134-091-1 Publisher’s editor: Rasmus Koppelhus Music engraving: Peter West (Finale) Edition Wilhelm Hansen Bornholmsgade 1A 1266 København K Denmark www.musicsalesclassical.com/ewh ewh@ewh.dk

Get fit prison-style Data are or data is? Archaeology on steroids We can hear the universe Iran chooses moderate plan England have unfinished business Evidence of flowing water on Mars Tunisian national dialogue quartet wins Greece votes on further bailout reforms Poet is doubly honoured by Manchester South Carolina lowers Confederate flag Bears could lead way for healthier astronauts Support grows for Aboriginal player booed by racists Record El Nino set to cause hunger for 10 million poorest

PERFORMANCE NOTES All instruments Accidentals are valid for the notes they directly precede or for notes directly repeated in the same bar. ã

passages of text in a box within the staff indicate an improvisatory approach, calling on each instrumentalist’s own approach, sensitive to the context.

[Descriptive text]

“f ”

dynamic markings in quotation marks indicate intensity of action/expression, not the resulting absolute volume

á à B Bb

quarter tone accidentals (¼ sharp, ¾ sharp, ¼ flat, ¾ flat) Niente Transitions between performance techniques are indicated by an arrow Notes without noteheads in glissandi should always be slurred.

Brass Mutes:

Horn uses either hand-stopping (and pitch compensation) or stopping mute. Trumpets use straight and Harmon mutes Trombones use Harmon mutes Tuba uses whisper mute

ã

unpitched clef indicates relative “height” or lightness/darkness of air noise timbres: higher = lighter and brighter, lower = darker and thicker

1

O‚

diamond note-heads indicate (various) air sounds and noises, both on pitched and unpitched clefs air sounds (slightly pitched), produced by tiny distance between lips and mouthpiece

lips ¼ cm from m.p. et )

lips 1⁄2 cm from m.p.

≤ & 38 # ‚ (œ ) s.r. π≤ ã 38

2

1

flz > ‰ @œJ ∏

‰

finger the pitch notated with diamond notehead; resulting air sound will have faint pitch of notehead in brackets

>œ . æ

flutter tongue

half-valve high trill on all three valves

ã

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ >O

74

f

0

Œ

œ.

gives a diffuse, hollow sound - keep it in motion

h

sim.

stop (air-) sound by depressing all valves

123

stop sound very precisely with silent tongue-ram

P .

©

Œ ‚ >˜

allow pitch to dive without audibly fingered scale: explore combining this with releasing lips from the mouthpiece

≥ ‚Á

&

push pitch up (without audibly fingering a scale), creating a brighter timbre approaching a squeal

the instrument #œ) . (~~~~~~~~~~~~~~~~~~~~~~~ ˜shake . h J ˜≈ trembling, quivering sound on very high pitch (air for pitch indicated in

f

“ ”

high pitches as bi-tones very irregular

œ

(œ )

˙ . ≥≥≥≥≥≥≥≥≥

p

parenthesis), produced with maximum air-/lip- pressure

under extreme air-/lip- pressure, allow very high-pitched squeals to come through – aim for the range indicated in parenthesis

mp

¸

turn mouthpiece around

mp ord.

replace mouthpiece

> ˙ ≤ ˙. >

exhale inhale

âœ

7 ‚. ‚. ‚. ‰ ‚j ‰ 8 . pk t p d ‚

‚.

‚

f

khii - oow

-

with lips outside the mouthpiece, articulate the given consonants voicelessly .

P

lips on mouthpiece (‘normal’ embouchure) – shape air noise slides using vowels

ii

quasi “Vuvuzela” (ad lib)

áw f

3 44

?

freely imitate the sound quality, repeated patterns and breath-lengths of football-fan vuvuzelas, on approximately the pitch indicated

o

+ half-stopped lip trill sing and play

>‚ . æ á ¬ nw p

sing square-headed pitch and play round-headed pitch

Harp w ✠Preparation â œ ᜠ& I N w The scordatura is fixed from bar 1 to bar 187. Scordatura There is additional detuning in bars 188–191 ? ✠✠&

áœ

á œ â œ áœ

w & I N w

✠⠜ áœ

Preparation

âœ

Z

ƒ

half-pedal buzz make only a fleeting half-pedal buzz, pulling the pedal immediately back into the previous position after the tuning disc has been touched by the string

( Z) P r

ƒ

‰. P

dampen string with finger very precisely at rhythmic point indicated

œ.

œ >

Prepare by threading a light piece of cloth or felt through the strings in this range down at the soundboard. The difference between prepared and normal resonance should be very discreet.

P dampen all strings in the range of the resonating string r P ‰. Many swiping and swishing effects are used. Seek to vary the method and character of these gestures, and œ. generally damp the swiped string and other strings so that whistling sounds predominate. Lightness, speed

œ >

and variety of touch are important. Oa place palm of hand on lower strings, silently Ob ƒ ˙

Œ

in the lower register, swipe palm swiftly downwards over a cluster of strings to ˙ allow to resonate ff ƒ

˙ Œ ˙ 78 ∑ 43

as above, using a crumpled sheet of A4 paper instead of palm of hand (place the paper on the strings silently before the swiping effect)

7 43 ‚‚ .. P. 8 ‚‚ ‚‚

slide crumpled paper up and down along the length of the string (or cluster around the string indicated), according to the rhythm indicated

with paper ball

with paper ball

f

8

!

i

using metal tuning key pressed against the string indicated (lower pitch), make a

detune !

tune the string down,©using tuning key, plucking according to the rhythm indicated, and aiming for the notated pitches as closely as possible within the time available

(# œ ) ‰ #œ i slide which will sound as notated in parenthesis: accuracy of starting pitch is J important F

‰

∑

‰

i

(# œ ) ‰? π #œ i ∑ J . pedal slide (# œ ) ˙F

78

π

78 ∑ slides in section Y: bring pedal out the metallic noise as much as possible by pedal slide . moving the ˙pedal very (slowly as the tuning disc catches the string #œ)

près de la table p.d.l.t. ©

Percussion ‰

Ÿ~~~~~~ j r ‰. #œ P. > f ¿¿¿

dampen resonance (of kettle drum or cymbals) precisely; if there is a preceding glissando (on kettle drum), keep the pitch moving constantly right up to the act of dampening dead stroke

Radios (lightly amplified): The use of the radios is neither a random nor precisely controlled musical element, but an opportunity for different sounds and noise-timbres to appear, gradually or suddenly, and sometimes to evolve. This all happens in relation to other instrumental timbres, and imparts to all players an aspect of ‘tuning in’, parallel to the electric guitar and harp’s re-tuning in the latter half of the piece. – ã – – – Tuning knob (4 relative positions) FM LW Band MW SW

[ON]

Turn radio on

[OFF]

Turn radio off slide evenly between relative positions

[CH]

pause on a channel, if possible (this indication occurs mainly in FM mode)

[CH]

mix of channel and interference noise, if possible

[CH]

leave channel; return to interference noise only

Electric Guitar An 8-string guitar may be used, removing strings string – and . (ie . )

1  4 5 6 7 8

5 and 6 to ease problems of damping the two separate sets of

Rigging and tuning: Replace strings Replace with low E Scordatura 1 (bars 1 – 187)

5 4 3 2 6 (6) à(1œ ) á(1œ) (n1œ ) 1œ

? 8

œ

áœ

Scordatura 4 (bar 223–225)

?

œ

œ

5

top E 1 strings. 2 3 4 with 6 string. Scordatura 2 (bars 195 – 209)

? 8

âœ

áœ

nœ

nœ

œ

©

áœ

âœ

œ

œ

nœ

nœ

? 8

Scordatura 5 (bar 229–230 and 237–241)

?

áœ

Scordatura 3 (bar 221 )

œ

#œ

œ

œ

œ

áœ

âœ

Scordatura 6 (bar 232–235 and 242–end)

?

œ

œ

œ

áœ

nœ

nœ

#œ

œ

œ

During the piece, the scordatura changes a few times, through gradual and audible re-tunings at bars 188–94, 210–22 and 222. There will be an exponential decrease in accuracy of pitch as the piece progresses, especially where the detuning has to be fast, and also because the strings start to spring back up/down in pitch the more extremely they are detuned. Approximation, with a large margin for inaccuracies, is ok! Accessories: Glass bottleneck, metal bottleneck, e-bow, a piece of cloth (or use sleeve). Optionally also a manual or powered string winder. BN:

BN:

12 34 >¬ J

~~~~~~~~~~~

h

©

bottleneck slide placed (silently) across the indicated strings (stop/dampen other strings) hit the indicated strings with the bottleneck at notated fret/pitch, with a rattling sound keep the pitch and timbre moving by small and irregular vertical, horizontal and diagonal movements with the bottleneck

BP-up

at the bridge pickup

MP-up

at the middle pickup

NP-up

at the neck pick-up

BP-up BP-up k NP-up i

move from bridge pickup to the neck pickup and back

V ped.

volume footpedal Dynamics are variously produced using a combination of instrumental articulation (different kinds of attack and natural decay), and by use of the volume foot-pedal (V ped.). Where not specifically marked, balance the two systems – articulation and foot-pedal – in relation to context.

>e ff

pluck string aggressively (for maximum ‘twang’), relatively less foot pedal volume

e ff V ped.

œb Í

pluck string comparatively slightly more gently than above, with more volume from the foot-pedal

f

o

fortepiano effects always involve the volume foot-pedal, likewise al niente effects marked “V ped.” (sudden damping or sudden niente may optionally be produced with a kill switch).

V ped.

Manually produced buzz noise effect, resulting either from the combination of dynamics and playing techniques on severely detuned lowest strings producing a floppy twanging sound, or from the twanging of higher strings against a loosely held bottleneck slide.

Z

Samples: Samples are triggered by the guitarist using a separate foot-pedal, audio interface and computer. trigger sample this part of the sample is silent this part of the sample sounds sample ends without trigger at approximately this point trigger blank sample to cut off the sample currently running

Bar No. Cue No. 13 16 20 32 35 65 67 72 85 89 107 118 120 127 128 129 132 135 137 142 144 195 208 260

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Type start stop start start stop start stop start start start start start stop start stop start start start stop start stop start start start

Runs until: stop cue bar 16 fade mid bar 21 stop cue bar 35 stop cue bar 67 end of bar 76 intercepted by cue 10 bar 89 slow fade bar 101–2 fade during bar 110 stop cue bar 120 stop cue bar 128 end bar 129 end beat 2 bar 132 stop cue bar 137 stop cue bar 144 end bar 197 end bar 209 end bar 260

Strings – ã – – – I III II IV

œ œ œ œ

LH fi I III II IV

LH

74

ord.

fi bridge

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ O. w> (B O)

ƒ

bœ.

standard treble, alto, tenor and bass clefs are used, plus: undefined pitches, staff lines indicate relative height on the string undefined pitches, each staff line indicates a string grip the neck of the instrument and all four strings with the whole hand such that all strings are damped but not pressed down at a particular pitch. This hinders all secondary resonances and produces a gruff friction sound. Played with a slow, heavy bow, a distortion will occur. Played flautando a diffuse swishing sound will occur. muffle strings as above, with left hand so close to the bridge that there is only just enough room for the bow to play increasingly favour the half-depressed upper note of the trill (a complex ‘noisemultiphonic), so that the lower note eventually disappears. slow heavy bow with exaggerated pressure slap pizz.

. ‰.

œœ ..

P

ã

III IV

‚‚

h

completely choke the sound and its resonance by gripping into the string with the bow and keeping it there Play as high as possible, with the finger-nail positioned on the outside of the fingerboard, resting against the string. Right hand jété, bouncing the bow on the strings ½ col legno. Pursue a glassy splintered sound, with just enough bow-hair to help the sound project. Irrespective of the resulting volume, the gesture should be executed as f/ff. as high as possible, on strings III and IV. multiphonic, close to pure harmonic – explore bow speed/pressure, and position/pressure of left hand finger, such that two or more clear pitches result; allow the quality of sound to fluctuate between timbral noise and clearer multiphonic pitches. The arrow, when present, indicates slight microtonal movements of the left hand finger. glissandi - distinguish between steady, constant straight lines and curved gestures

‚ � � � � � J J

col leg. batt.

alternate bow control, as notated, between tapered ricochet gesture and strictly rhythmic bouncing.

INSTRUMENTATION

- 2 horns in F (when notated in bass clef, transposition is as treble clef, i.e. a fifth below) - 2 trumpets in C with straight and harmon mutes - 2 trombones with harmon mute - 1 tuba with whisper mute - 1 harp with crumped ball of A4 paper, cloth/felt preparation and superball mallet - 2 percussion (may be divided between 3 or 4 players) Player 1: portable shortwave radio (with SW, LW, MW, FM), mounted ride cymbal with rivets (the ride cymbal should be particularly rough in timbre, but not dull. For example, place a small cymbal over the top of a larger one), glockenspiel, crotales, snare drum, high triangle, objects for making storm sounds (smashing/ falling/ breaking debris) Player 2: portable shortwave radio (with SW, LW, MW, FM), sizzle cymbal, timpani with lots of metal cans/other metal objects (approx. 15) to place on drum skin, prayer bell, metal chimes, flexatone or saw (bowed), objects for making storm sounds (smashing/ falling/ breaking debris) - Solo electric guitar (see specifications and accessories) - Samples (triggered by electric guitar player)* - Computer, audio interface, footpedal* - 8 violas - 6 violoncelli - 3 double basses each with a crumpled ball of A4 paper - PA system, stereo*

*See Technical Rider

In case the venue has no radio signal, the percussionists should play differentiated white noise as notated, doubled by a foot pedal (and computer, and audio interface) with pre-recorded radio samples.

ACKNOWLEDGEMENTS … Can modify completely/ in this case/ not that it will make any difference … was written for, and developed together with Aart Strootman. Thanks are due to him and to the following for their advice: Alexandre Babel, Patrick Crossland, Gunnhildur Einarsdóttir, Nathan Plante, Peter West and the musicians of the Danish National Chamber Orchestra. The title is an extract from the end of Cynthia Troup’s libretto Turbulence, where it is spoken by the Pilot. The texts appearing in the preface to the score and in the instrumental writing are print-news headlines.

… can modify completely/ in this case/ not that it will make any difference … for electric guitar and orchestra

Transposed score mp e =

1 Horn (in F) 2

? 38 ¸ ‚j > “brrr” mp f ? 38 ¸ ‚j á > “brrr” f

1

& 38

2

3 & 8

Trumpet (in C)

152–160

Oæ

43

p



p



Oæ ∑

Trombone 2

Tuba

Harp

j ‚ > “brrr” mp f ¸ ? 38 j à >‚ mp “brrr” f ? 38¸ j #‚ > “brrr” f 3 & 8 Ï ? 38 E F# G Ab œ B n C n D # # œœ Z

‚æ p



‚æ

p



p



‚æ

∑

(right foot) F n (left foot) E n

# #

38 h – . l Í Radio

ã Percussion 1

[ON] Tuning

38

ã

MW

8 Electric Guitar

14

V 38

56

V 38

–

–

I III II IV

Viola

2

1

I III II IV

I III II IV

Violoncello

2

1

I II III IV

∑



p crini tratt. al pont.

P 38 .– . . . . . . . . . .. –≤ R J p ƒ

– R

P 38 .– . . . . . . . . . .. –≤ R J p ƒ

– R

molto sul tasto col leg. L.H.

crini tratt. al pont.

molto sul tasto col leg. L.H.

crini tratt. al pont.

P 3 .– . . . . . . . . . .. –≤ 8 J R p ƒ j œ ƒ

? 38

pizz.

j œ ƒ

≈

ƒ ƒ

crini tratt. al pont.

molto sul tasto col leg. L.H.

pizz.

3 4

j œ@ . f

œ R

œ.

ã

5 8

ã

85

ã

85

3 4

Z with 1 2 # – – ... fuzz 3 4 – –. J 43 ≈ f 43

arco ruvido 3

– R

ƒ ƒ

≈ ≈ ≈

&

B

&

43 ≈

&

¿ ¿ œ& œ ¿ ¿ ¿ Ï

arco ruvido

áœ

¿

¿ ¿ áœ Ï 3

&

ord.

≥ B B Oœ ƒ

≥ 3 ≈ ord. b b >Oœ .. 4 J ƒ ≥ O>. IV hJ 43 ≈ ƒ ≥ O> . IV hJ 43 ≈ ƒ

f f

f

O

O.

bO O bO O

O

bO O

O.

O

O.

khii - o - ii - ii

O

bO

khii - o - ii - ii

O

bO O

Oœ-≤

3

≥O œ

Oœ-≤ ..

3

Oϲ

≥O á O≤ œ Bœ

O>

3

h

O> O>.

h h

O>

h

≥ Oœ J

O>

h

->O

h

3

≤ Oœ-

3

>-O hJ

ii

-

ii

-

O -

ii

-

O -

ii

-

O -

ii

-

O -

ii

-

43

ii

O.

O -

O.

& &

on all three valves Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 34 # ˙ . 38 ƒ

[ON]

5 8

–

–

–

scrub strings with R.H. sleeve

¿

¿ ¿

–.

unstable valve trill

on all three valves Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 á˙. 3 4 8 ƒ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ˙. 3 4 ã 8 ƒ irregular Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ á˙. 3 43 ã 8 ƒ unstable valve trill on all three valves Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ . 3 43 ã 8 ƒ

& & B

ii

3 4

3 8

∑

43

38

∑ Glockenspiel metal mallets

&

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ . (œ) 38 43 F 43

85

ƒ

ii

O.

38

irregular

ii

O.

ã

ƒ unstable valve trill on all three valves b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙.

ii

O.

38

unstable valve trill

ii

O.

ã

–

43

–

38

R4 [OFF]

∑

38

–.

3 4

∑

3 8

∑

3 4

∑

3 8

¿.

¿

¿

BN between BN-up and BP-up

¬. b ¬¬ .. 43 b ¬ . h ß 43

∑

˜

with fuzz and distortion

38 38

∑

≥Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ (œ) >œ >œ >œ >œ >œ >œ >œ >œ (œ)

A

43

∑

ƒ ≥ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ (œ) >œ (œ) >œ >œ >œ >œ >œ >œ >œ 3

38

8

3

≤ Oœ

-

&

ii

R3

85

Oœ á á ≤Oœ-

Oœ

O

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙.

8

3

Oœ á á Oœ # Oœ

-

∑

85

Oœ n n Oœ

ii

∑

5 8

Oœ Oœ Oœ Oœ

-

&

43

∑

85

∑

O.

khii - o - ii - ii

85

85

O.

O.

O

O.

khii - o - ii - ii

mp ord.

f

O O

khii - o - ii - ii

mp ord.

5 8

∑

n n Oœ

O

mp ord.

f

O.

khii - o - ii - ii

senza sord.

Á

≥ á >O . ord. á œ . J 43 ≈ ƒ

O

senza sord.

¬¬ ≥≥≥≥≥≥≥≥≥≥≥ BN ¬¬ rock across strings r œ æ 85

BN

≥ O. II > 34 ≈ ord. œJ . ƒ

f

O O

khii - o - ii - ii

mp ord.

5 8

˙æ p

àœ œáœ œ

f

85

ã

∑

High Triangle

O

mp ord.

85

∑

8

– R

Double Bass

2

&

P. . . . . . . . . .. ≤ – –. R J p ƒ

? 38

∑

3 4

e = 152–160 molto sul tasto col leg. L.H.

38

43

85

ã

[OFF]

S.P. at BP-up strings crossed

¿ œœ .. > ƒ

‰

∑

43 œ R

ᜠ.

V ped.

Samples

1

65

‰

R2

R1

? 3 8

˘œ # ˘œ ˘œ ˘œ # >œ >œ œ . æ ƒ ˘œ ˘œ ˘œ ˘œ >œ œ . æ 5:3 ƒ

43

43

–.

ã

∑

[OFF]

ã 38 hl – . Radio Í LW 3 & 8 –. s.r.

3 4

43

[ON] Tuning

Percussion 2

43 ≈

con sord.

43

j # # œœœ

ã

∑

3 4 ≈

mp

1

43

con sord.

∑

? 3¸ 8

∑

Juliana Hodkinson

unstable valve trill on all three valves

A

I III II IV

85

∑

85

∑

43

5 8

∑

3 4

S.P. P ≥> ≤ ≥ O O O

O≤ .

≥ O

O≤.

P >≥ ≤ ≥ O O O 85

O≤ .

≥ O

O≤.

85

L.H.

ƒ

S.P.

I III II IV

&

L.H.

ƒ

© Copyright 2015 Edition Wilhelm Hansen, Copenhagen

43

ƒ 8 ≥ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ (œ) >œ >œ (œ) >œ >œ >œ >œ 5

3

3 3 ƒ 8 ≥Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ (œ) >œ (œ) >œ >œ >œ >œ >œ >œ >œ

38 38 3 8

43

∑

&

38

43

∑

&

38

2

3 ã 8 ‰.

r ‚

5 1 Hn. 2

1 Trp. 2

1 Trb. 2

Tuba

Hp.

Perc. 1

f

kkoow

3 ã 8 ‰.

r ‚

3 &8 ‰

f

s.r.

& 38 ‰

f

f

f

-

‚. J

-

3 &8

8

ã 38

‚‚ J

R5

f ∑

-

‚‚ . .

∑

≈

4 4

∑

‰

≈

44

∑

‰

≈

44

∑

&

‰

≈

44

∑

&

‰

‚. 4 4

∑

&

‰

44

∑

ii

ii

4 R 4 ã

∑

R6

–.

–

3 &8 ‰

‰

.

[ON]

3 ã 8 ‰

&

oow

r ‚

f

∑

oow

with paper ball

? 38 ‰

‚. 4 4

ii

oow

kkoow

& 38

–

with sleeve BP-up

ã

44

V 38

‚>

NP-up

BP-up

‚

h f

∑

V ped.

Triangle partly damped

4 œ œ œ œ ≈ 4 P 44 Ó

4 4

∑

œ œ œ œ œ œ ‰

Ó

8

4 321

432 32 1

j –. F j ≈ –. ≈

‰

[ON]

Radio

R7

j –. F ≈ –J .

Œ œ ᜠnœ á œ nœ œ

ˆ œˆ ˆ œ ˆ bœ 44 œ ≈ F 44

Œ Œ

à œ á œ nœ œ

15

∑

≈

[ON]

Œ

[OFF]

R8

‰ ‰

[OFF]

‰

œœ≤ .. J p

1

3 & 8 ‰.

Vla.

2

& 38 ‰ . (8)

1

3 &8 ‰ (8)

Vlc.

2

1

œ≤ .. œ J p

( 8)

& 38 ‰ & 38

>œ≤ œ J f >œ≤ œ J f

gliss.

gliss.

gliss.

œ

(œ )

gliss.

œ

‰

(œ )

∑

‰

œ (œ )

col leg. batt. poco sul pont.

4 ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ≈ 4 ƒ F 5 œ

(œ )

44 ‚‚ ‚‚ ‚‚ ‚‚ ≈ ƒ F col leg. batt. poco sul pont.

col leg. batt. poco sul pont.

4 ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ≈ 4 F 5 44 ‚‚ ‚‚ ‚‚ ‚‚ ≈ F col leg. batt. poco sul pont.

44 Œ

ˆœ ˆ ˆœ ˆœ ˆ ˆœ œ œ

∑

44 Œ

¬

R9

–

¬

j –

j – [ON]

– J

[ON]

–

¬

‰

8

> ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ J f 5 II III

crini tratt. 8 II III

> ‚ ‚ ‚ ‚ ‚ ‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ J f

crini tratt. 8 I II

> ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ J f 5

crini tratt. 8 I II

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ >‚‚ J f b >‚ J f

15

‰ ‰

f –

f

–

–

( )

Á

fuzz

b >‚ J f 15

& 38

–

œ J

Ó

∑

D.B.

2

j –

[ON]

∑

∑

crini tratt.

(8)

Ÿ~~~~~~~~~~~~~~~~~ >œ œ ˜Ó J ƒ Ÿ~~~~~~~~~~~~~~~~~ á >œ œ ˜Ó J ƒ Ÿ~~~~~~~~~~~~~~~~ >œ œ ˜Ó J ƒ Ÿ~~~~~~~~~~~~~~~~~ >œ œ ˜Ó J ƒ Ÿ~~~~~~~~~~~~~~~~~ œ á >œ ˜Ó J ƒ Ÿ~~~~~~~~~~~~~~~~~ >œ œ ˜Ó J ƒ Ÿ~~~~~~~~~~~~~~~~ # >œ œ ˜Ó J ƒ

∑

4 – 4 Ó

∑

56 –

‚. J

‰

oow

-

khii

ã 38 ‰ .

V 38 ≈

–

‚. J

&

-

-

khii

ã 38 ‰

& 38

f

khii

ã 38 ‰

14

E. Guit.

‚. J

∑

.

kkoow

khii

(Radio)

Perc. 2

-

‚. 4 . 4

‚‚ . . J ‚‚ .. J

≈ ≈

≈

>‚ . ‚. J

‰

≈

>‚ . ‚. J

‰ ‰ ‰

‚. ‚. J

≈

≈

>‚ . ‚. J

‚‚ .. J

≈

≈

>‚ . ‚. J

‚. J

≈

‚. J

≈

≈ ≈

>‚ . J >‚ . J

Ó

Ÿ~~~~~~~~~~~~~~~~ >œ (œ ) œ ˜ J Ó

f Ÿ~~~~~~~~~~~~~~~~ >œ (œ) œ ˜ J Ó

f Ÿ~~~~~~~~~~~~~~~~ >œ (œ) œ ˜ J Ó f Ÿ~~~~~~~~~~~~~~~~ >œ (œ) œ ˜ J Ó f 15 b >œ . f

b >œ .

15

Ó

f

f

≤ nœ J

Á

≤ nœ J

Á

&

3 8

q=

B

84–88

&

∑

2

&

∑

∑

1

&

∑

∑

2

&

∑

∑

1

&

∑

∑

2

&

∑

∑

Tuba

&

∑

∑

1 Hn.

Trp.

Trb.

Hp.

bœ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& ≈

p

?

3

3

3

3

3

3

3

Crotales arco

b œœ

& Œ

3

3

3

3

∑ ∑

˙˙ a b

Perc. 1

ã

3

‰

∑

[OFF]

ã

3

∑

R10

POET

f

Radio

pizz.

14

E. Guit. –

56 –

V ≈

ˆm

ˆi

ˆm

3

2

2

b œ œ2 # œ1 œ b œ œ œ œ œ p

3

3

3

& ‰

Vla. 2

1 Vlc.

sim.

3

2

2

œ #œ œ œ œ nœ bœ œ œ œ œ 3

3

3

& ≈ &

œ œ œ œ

1œ œ 2

3

2

œ œ œ œ nœ bœ œ œ œ œ

3

3

3

3

3

b œœ. œœ. œœ.

œœ. œœ. œœ.

# œœ. œœ. œœ.

col leg. batt. poco sul tasto

F

3

F ≈

3

≈

œœ. œœ. œœ. 3

3

≈

œœ. œœ. œœ.

≈ œœ. œœ. œœ. 3

3

≈

œœ. œœ. œœ. 3

‰

j

3

≈

≈ œœ. œœ. œœ. 3

3

≈

œœ. œœ. œœ.

≈

œœ. œœ. œœ. 3

3

∑

&

∑

6

≈

œœ. œœ. œœ. 3

‰ ‰

q=

5

bœ fl

œ. >

84–88

œœ≤ œœ .. ‰ J p 8 non div. ≤ œœ .. ord. œœ ‰ J p

> P

8 non div. POET ord.

POET

POET

&

at NP-up

B

≈

Ÿ~~~~~~~~~~~~~ r œ œ >

‰.

r œ œ áœ

‰.

6

∑

ƒ >œ >œ . Z œœ. œœ. œœ.

áœ

ᜠ.

fuzz off

∑

1

œ œ.

8ba

˜

POET

∑

Ÿ~~~~~~~~~~~~~~~~ ‰. œ . P. œ > f

?

POET

œœ. œœ. œœ.

≈

Timpani soft sticks

* with metal cans and other objects on the skin

∑

&

2

1œ œ 2 3

2

D.B.

?

3

V

col leg. batt. poco sul tasto

1

ˆi

b1œ

∑

*

b œ œ # œ B œ á œ á œ b œ œ # œ nœ # œ ‹œ b œ nœ # œ B œ á œ á œ b œ œ # œ nœ # œ ‹œ b œ nœ # œ nœ # œ ‹œ b œ nœ # œ B œ ᜠᜠb œ œ # œ

&

ƒ ¬

FM

POET

∑

ã

¬

[ON]

R11

∑

[OFF]

ã

Perc. 2

s.r.

∑

? ?

b œO .. > Í

œO .. > Í POET Q ? œ >f POET Q ?

œ > f

r œ œ >

( )

f > P

Œ

‰.

Œ

‰.

( )

‰ ‰

f

‰. ‰.

Œ

‰.

Œ

‰.

r œO > Í r œO > Í Q r œ > Q r œ >

œO œO Œ Œ

5 œ >

œœ≤ R p œœ≤ R p

4 10 1

& Ó

Œ

flz

‰

?

j á œ@ . π 5

Hn. 2

1 Trp.

& Ó

Œ

&

∑

2

&

∑

1

& Ó

Œ

?

‰

j n œ@ . π 5

Tuba

j # œ@ . π

Hp.

j à œ@ . 8 π 5

? Ó

Œ

Perc. 1

j á œ@ . π

Perc. 2

s.r.

14

E. Guit. –

‰

56 –

¬

? ?

(Timp.)

&

(8ba)

6

œ œ. >

2

1 Vlc. 2

1 D.B. 2

œœ ..

( 8)

Vla.

&

‰.

ᜠœ.

V

œœ ..

? Œ ? Œ ? Œ ? Œ

˙.

‰.

œ œ œ 8 Z n #

E /E D n/D #

˙.

> P

Ÿ~~~~~~~~~~~~~~~~~~~~~ r ≈ œ œ œ P. >

r ‰. áœ

f > P

# œœ≤ ‰ J p œœ≤

Œ

( )

f

Œ ‰. ‰. ‰. ‰.

∑

r ‰. bœ fl

( )

r # œO > Í r b œO > Í Q r #œ >

‰ J p

‰

r j œ œ

œ

œ

5

œ œ

œ

5

œ œ

œ

˙

∑

œ œ

‰

r j œ œ >

( )

œœ

( )

œO œO

Œ

Œ

‰

pizz. ord.

‰

pizz. ord.

r‰ œ ƒ 5

r‰ œ ƒ 5

Œ

≈ 8

œ

5

œ œ

œ œœ œœ ..

5

˙

ᜠπ

≈

IS

#œ œ

≈

≈

pluck at BP-up

6

#œ œ ƒ fl fl

≈

∑ ∑ Ó

Œ

Ó

Œ

≈ œ ‰. R 5

‰.

r r‰ œ œ

5

5

œ

f

∑ œ œ œ

œ

5

œ

œ

5

œ œ œ

œ

œ

∑

Ÿ~~~~~~ remove more objects j r ‰. Ó #œ P > . f r ‰. # œ ᜠœ

‰

656

r ‰. b œ #œ > œ > fl

‰

œœ ‰ J p 8 œœ ‰ J p ‰ Oj œ > Í ‰ n Oj #œ > Í Q j ‰ œ >

. P R ‰. f . P R ‰. f r Oœ ‰ .

‰

8

j œR ‰ . œ

˙

∑

8ba

Œ

5

f

5

≈ œ œ

œœ

‰

∑

r‰ œ

àœ π

f

∑

Œ

Ó

f

˙

5

5

∑

f > P f

8

∑

> P

œœ

≈

#œ π

R12

Ó

&

˙

5

o

remove some objects

f

5

Nœ π

≈

Œ

¬

at BP-up

Œ

Q r Œ œ >

ᜠπ

∑

∑

5

≈

5

8

r ‰. œ

¬

~~~~~~~~~~~~ ‰. œ. P.

(8)

1

5

¬

ã

V

ƒ

GET

(Radio)

ã

Œ

Œ

r ‰. œ f

5

maximum pedal buzz

ã

˙.

flz

?‰

Fn Dn

r ‰. œ f

flz

8

∑

≈

∑

5

?‰

Œ

&

∑

flz

?‰

Œ

& Ó

˙.

r ‰. œ f

Œ

∑

8

& Ó

˙.

flz

Trb.

2

r ‰. œ f

r‰ œ œ

≈ Oj #œ > Í IS ≈ b Oj œ > Í IS Q ≈ j #œ . > f IS Q ≈ j œ >. f IS

5

j œ

5

j œ

≈ ≈

Q j œ >

Ó

&

œ

Z

with distortion 15> + fuzz j

–

∑ Ó

p

no V-ped.

Ó Ó Ó

&

r Oœ ‰ .

Ó

&

Œ

Ó

Œ

Ó

5 C

q=

?

13 1 Hn. 2

76

78

∑

78

∑

&

∑

42

∑

44

42

∑

44

∑

SUPPORT

mp

1

Trp.

2

1 Trb. 2

Tuba

Hp.

¸ flzrK j ≈ & . #œ œ frr ‚ ‚ f SUPPORT mp

¸ flzKr j ≈ & . #œ œ ‚ ‚ frr f ?

≈ . œrK œj ‚ ‚

‰.

r r œ œ ≈ ‰ ‚ ‚

7 ® r Kr ® ≈ ‰ 8 #œ . œ ‚. ‚

® œr . œKr ® ≈ ≈ œr œr ≈ ‚. ‚ ‚ ‚

2 4

∑

4 4

≈ . œKr œj ‚ ‚

‰.

r r œ œ ≈ ‰ ‚ ‚

7 ® r Kr ® ≈ ‰ 8 #œ . œ ‚. ‚ 7 8

® œr . œKr ® ≈ ≈ œr œr ≈ ‚. ‚ ‚ ‚

2 4

∑

4 4

?

∑

78

∑

?

78

∑

7 8

∑

&

?

2 4

∑

4 4

∑

42

∑

44

42

∑

4 4

∑

2 4

∑

44

∑

2 4

∑

7 8

wb l.v.

∑

4 4

∑

(8)

SUPPORT

ã

Ride with rivets hard brushes

Perc. 1

ã

Perc. 2

f

ã

7 8

∑

>œ œ œ P ≈ >œ œ œ . P ≈ >œ œ œ œ œ œ P >œ œ œ œ ® ≈.

Sizzle

?

œ œa œ œa RÔ R ≈ ≈ . RÔ R ≈ ‰ . F ∑

œ R

scrape with rough metal stick ( ) ( )

( )

œa R ≈ ‰

áœ àœ # œ œ

SUPPORT s.r.

&

# # ––– –

(15)

E. Guit. –

V

56

V

–

>– –– ≈ –

glass BN

Áƒ

14

7 œ P . >œ . 8

œ œ œ œ P . >œ œ .

. a 7 ® (œR ) œRÔ ® ≈ ‰ 8 78 7 8

Z ) 123 4

(

∑

–– ––

>– –– ≈ –

–– –– J

‰

®

>– . –– .. –.

–– ––

∑

œ P >œ .

œa ( œ .) (œ) œa ® R RÔ ® ≈ ≈ R R ≈ ∑ ∑

7 ‰ 8 7 8

> # # ––– – J Í

–– ––

–– .. –– ..

∑

4 4

œ 2 4

∑

4 4

2 4

∑

4 4

2 4

∑

42

2 4

44

∑

–– .. –– ..

?

4 4 4 4

‰

2 4

∑

. . . . . .. >œ . R ® 2 4

∑

4 4

2 4

∑

4 4

∑

V ped.

2 4

4 4

1 (begin silent)

Samp. SUPPORT

C

1

&

Vla. 2

q= 8

>œ. . . . . . . .. J ‰

f

& ‰. 8

1 Vlc. 2

1 D.B. 2

76

&

f

>œ. . . . . . . .. J ‰

& ‰ ? Œ ? Ó

>œ. . . .œ. .. R R ‰.

‰.

. . . . . .. >œ œ R R ≈ f

8

‰

‰.

>œ. . . . . . .œ.. J R ≈ f 8 b˙ .

8

&

Œ

. . . . . .. >œ œ R R ‰.

‰

Œ

Œ

>œ. .. . . .œ.. ® R RÔ ≈ . Œ

>œ. .. . . . œ.. ® R RÔ ≈ .

7 ‰ 8 7 Œ 8 7 ‰ 8 78 Œ 7 8

o

à˙ 8

&

o

˙

7 ˙ 8

. . . . . . . .. >œ œ J R ‰. Œ

>œ. . . . . . . ..œ J R ‰. Œ

‰

‰

>œ. . . . . . . . .. J ≈ ‰ ‰

‰

>.œ .. . . . .. R ® 2 4

. . . . . . . .. >œ . J ≈ ‰ œ.

F

œ.

F

42 2 4

œ.

2 œ. 4

∑

?

4 4

∑

?

44

‰

?

4 4

‰

?

4 4

6 16 q = 84–88

? 44

42

∑

∑

∑

∑

∑

4 &4

∑

∑

∑

2 4

∑

4 4

2

& 44

∑

∑

∑

42

∑

44

1

? 44

∑

∑

∑

42

∑

ã

∑

∑

∑

∑

ã

? 44

∑

∑

∑

42

∑

44

& 44

∑

∑

∑

42

∑

44

Hn. 2

1

Trp.

Trb. 2

Tuba

Hp.

Perc. 1

Perc. 2

s.r.

1E. Guit. 4 –

56 –

4 &4

? 44

ƒ

B b, C b

?4 4

r

P ‰.

œ >

ã 44

.œ

ã 44 DOUBLY

ã 44

Ÿ~~~~~~~~ ?4 r‰ . 4 œ P . > ?4 4 V 44

Timpani

∑

j bœ

œ. >

r

P≈‰ ‰ .œ

bœ .œ > ∑

∑

œ

42

bœ

44 44

4 4

P≈ .œ

44

∑ ∑

44

∑

∑

∑

42

∑

44

Ÿ~~~~~~~~~~~~~~~~ r‰ . gliss. (b œ ) P ˙ . >

Ÿ~~~~~~~~ r . œ P. ‰ >

5r

2

.œ

2 4

4 4

42

6 56

‰. œ b œr > fl

≈ j bœ . >

ã

∑

r ‰. Bœ ᜠBœ bœ

V 44 ƒ >œ . Z

bœ . >

bœ .œ

r

P ‰.

∑

∑

r ‰. œ . ᜠbœ nœ . ᜠœ bœ

at BP-up

œ >

r

P‰ ≈ j r

42

ã

∑

DOUBLY

8ba

r

P≈ ‰ j

2 4

∑

44

∑

1

∑

6 5 . >œ

6

œ œ bœ > >

bœ fl

œœ≤

> P R f > P R f

‰.

565 œ bœ > b >œ >

∑

Ÿ~~~~~~~ ‰ œ gliss. b œ P . >

‰ r ‰. œ nœ . á œ bœ B œ

Ÿ~~~~~~~~~ r‰. ≈ n œj . P . > ≈

j bœ Bœ nœ œ ∑

r ‰. œ

6 5 6 5

> P R ‰. F > P R ‰. F

œœ≤ ‰ J p œœ≤ ‰ J p

œœ P>

œO > Í Q bœ >

Œ

j ≈b b œO .. >

Œ

Œ

Q ≈ n œj. >

Œ

Q nœ >

Œ

. >œ

bœ œ > b >œ fl

‰

‰

≈

656

con vibr.

j b œ b >œ n œ œ > >

‰

wide fretted vibrato

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ≈ b œj . gliss. 42 n œ gliss. œ P. ≈ > ≈ j Bœ.

2 4

5

42

≈ j bœ . >

42

nœ á œ .

65

n œ n >œ . >

j œ.

j œ. fl

4 4

≈ & 44

∑

6

ã

≈

44 44

Samp. q = 84–88 non div. I II

1

Vla. 2

b œœ≤ P> & 44 ‰ J R ‰ . p F non div. ≤ P> I œ œ II 4 & 4 ‰ J R ‰. p F DOUBLY

1

Vlc. 2

1

D.B. 2

? 44 b b œO > Í ? 44 O œ > Í DOUBLY Q ? 44 b œ > ƒ DOUBLY ?4 Q 4 œ > ƒ DOUBLY

Œ Œ Œ Œ

Œ Œ œO > Í œO > Í Q œ > Q œ >

p œœ≤ p

r œœ ‰ .

Œ

r œœ ‰ .

Œ

Œ

Œ

Œ

Œ

‰. ‰.

b œœ≤ ‰ J p œœ≤ ‰ J p

B B œO > Í

Œ

œO > Í Q Bœ >

Œ

Q ᜠ>

Œ

Œ

b b œO > Í

F œœ P> Œ

F

‰ ‰

b œœ≤ J ‰ p œœ≤ J ‰ p j ≈ œO .. >

Q ≈ b œj. >

> P R F > P R F Œ

Œ

‰.

Œ

42

‰.

Œ

42

j ≈ œO .. > j ≈B B œO .. > Qj ᜠ. >

Qj Bœ . >

42

b œœ≤ p œœ≤ p

j œO ‰

> P R ≈ ‰ f > P R ≈ ‰ f

ã 44 ã 44

Œ

ã 44

Œ

ã 44

42

∑

44

2 4

∑

4 4

42

j Oœ ‰

7 q=

D 1 Hn. 2

76–80

. œ P≈ œ @J

4 ã 4 ≈ @œJ . GROWS F come prima 4 ã 4 ≈ @œJ . F

20

come prima

. œ P≈ œ @J

& 44 Ó

GROWS

mp ord.

1 Trp. 2

1 Trb. 2

Tuba

Hp.

4 &4 Œ

mp ord. GROWS

>‚ . 4 ≈ ã 4 J f >‚ . ã 44 ≈ J f GROWS

œ. œ. œ.

f ‰

>‚ J

‰

>‚ J

. œ P≈ œ @J . œ P≈ œ @J

œ

. œ P≈

œ

à œ. œ. œ. œ. œ- œ. œ.

≈

f . . . - . . . œ œ œ œ œ œ œ ≈ ≈ ‚ ≈ >‚ R J

‚ ‰. R

>‚ ‚ R ≈ J

‚ . R ‰

> 54 ‚J .

≈

>. ≈ ‚J

?‰.

>‚ . 45 J

≈

>‚ . ≈ J

?‰.

?4 4

∑

5 4 Œ

& 44

∑

45

? 44

∑

45 Œ

∑

‰.

Œ

‰.

Œ

4 ≈ >œ œ œ . œ P≈ >œ œ . œ P ≈ >œ . œ œ œ œ P≈ 5 >œ œ . œ . P ≈ >œ œ œ P ≈ Œ ã 4 4 f 4 5 ∑ ∑ ã 4 4

Perc. 2

4 ã 4

∑

4 ã 4 Œ

Sizzle

4 á œ àœ #œ œ &4 15 fuzz # # ––– ... 4 –. V4 ≈ J f 4 V4

œ . P. œ. ®R R ≈ ®R F

5 4

. œ œ œ P. R 45 PR ≈ ≈ . RÔ ‰

. P RÔ ≈ . ‰ .

8

14

E. Guit. –

56 –

‰

–– –– J

–– –– –– –– ≈ R J

∑

–– –– . R ‰

j œ ˙ > fÍ

5 4 5 4

j bœ ˙ > fÍ

5

j œ ˙ > fÍ

5

5

ƒ

œ œ œ Zn #

A /A C n/C #

œ

5

œ œ

œ

5

œ

œ

œ œ

4 j 4 œ@ f flz 44 j œ@ f 44

‰

Œ

Ó

‰

Œ

Ó

44 flzj œ@ f flz 44 j œ@ f 4 flzj 4 @ œ f 44

‰

Œ

Ó

‰

Œ

Ó

‰

Ó.

flz

44

q=

‚>. 4 h ã 4 ≈ J “f ” ã 44 Œ

1 Vla. 2

1 Vlc. 2

1 D.B. 2

‚>. ã 44 ≈ hJ “f ”

ΠGROWS

‰

GROWS

Œ

4 ã 4 Œ

GROWS

? 44 ?4 4

œ

˙b ∑

∑

4 4

∑

Œ

4 4

∑

remove more objects

?

4 ‰ 4

∑

?

4 ‰ 4

Ó

Timpani

4 4

4 ‰ 4

∑

l.v.

Ÿ~~~~~~~~ ‰ j œ gliss. P. > f

HONOURED

HONOURED

œ á œ œ áœ

‰

8ba

656 5 ‰

∑

≈

Ÿ~~~~~~~~~~~~~~~ j œ. œ >

≈

j nœ . ᜠ.

nœ

6 5

6

con vibr.

≈

œ œ œ bœ ƒ

j œ . bœ .

?

#œ

V ped.

76–80

GROWS

∑

œ œ œ.

3

D

∑

5

≈

Samp.

∑

4 4

Ó

∑

5 4

88–92

4 4

5

An FIT B n, C n

GROWS Ride with rivets

Perc. 1

q=

5 . . œ. P ≈ œ œ P≈ ?‰. j #œ ˙ @ > fÍ 54 œ œ . P. ≈ œ œ P. ≈ ? ‰ . 5 j á >œ ˙ @ @ fÍ . œ. œ. œ. œ. œ ‰ Ó. 45 ≈ . . . 5 œ œ œ ≈ Œ Ó. 4

. œ P ≈ 45 œ @

‰

‚> hJ

f

“ ”

‚> hJ

f

“ ”

‚>

hJ

‰

‚

hR

‰.

‰ ‚ hR ‰ . ∑ ∑

‚> hJ

‚

hR Œ

‰.

‚ hR ‰ . Œ

45 Œ ‚>. 45 hJ

‚>.

≈

45 Œ

‚>. 5 J 4 h 45 5 4

≈

≈ hJ

Ó.

q=

Œ

Ó.

44

‚>. ≈ hJ Œ

44

88–92

∑ ∑

Ó.

?

44 ‰

HONOURED

r Oœ ‰ .

Ó.

?

4 ‰ 4

r ‰. œO

∑ ∑

j b œO > Í j œO > Í

HONOURED

HONOURED

44 ‰

Q j œ ƒ>

HONOURED

4 ‰ 4

Q j œ > ƒ

Œ Œ

≈ n Oj . Oj . #œ. œ. > Í ≈ b Oj . Oj . œ œ. >. Í ≈

Q j #œ . >

Œ

≈

Q j œ. >

Œ

≈ ≈

8

?

∑

∑

∑

?

∑

∑

∑

&

∑

∑

∑

&

∑

∑

?

∑

? ?

23 1

Hn. 2

1

Trp. 2

1

Trb. 2

Tuba

& Hp.

Perc. 1

Perc. 2

s.r.

–

56 –

1

Vla. 2

1

Vlc. 2

1

D.B. 2

43 # ˙æ. π 3 4 n ˙æ. π

∑

∑

3 4

∑

∑

∑

3 4

∑

∑

∑

43

∑

∑

∑

43

∑

∑

∑

43

∑

∑

n

42

ã

2 4

f

42 2 4

æ á ˙. π

2 4

f

n ˙æ. π

42

f

b ˙æ. 8 π An C n PRISON

ƒ 3 4

ã

f

43

?

œ

5

œ œ œ Zn #

f

∑ œœ

5

œ

A /A C n/C #

œ

42

œ

œœ

5

œ

œ

œœba

42

P

2 4 n

ã

∑

∑

∑

43

ã

∑

∑

∑

3 4

∑

2 4

ã

∑

∑

∑

43

∑

42

∑

42

Ÿ~~ 3 œ P≈ 4 > .

Ÿ~~~~~~~~ ~~~~~ Ÿ~~~~~~~~~ ~~~~~~~~~~ Ÿ~~~ ? r‰ . r‰ . gliss. ‰ ≈ j r‰. gliss. bœ œ #œ P P œ P #œ . P > . . . . > >

Ÿ~~~~~~~ r‰ . b œr ‰ . nœ P . > fl

? j ‰ ≈ j œ àœ .

r r j n œ á œ . n œ ‰ . ᜠ‰ . n œ .

(Timp.)

?

(8ba)

1E. Guit. 4

E

5

∑

r ‰. œ

V j ‰ ≈ j nœ . #œ ã ã ? Œ ? Œ ? Œ ? Œ

≈ b Oj . œ >. Í ≈ á Oj . àœ . > Í Q ≈ á œj. > Q ≈ j à >œ .

r ‰. œ

œ . àœ

6 5 œ . #œ

r . r . œ œ œ ‰ ᜠnœ œ œ ‰

6

r ‰. œ œ œ

∑

565

r ‰. œ œ œ œ

∑

6 5 6 ‰ . 5r ‰ . 6 œ œ.

r œ

œ

∑

∑

∑

∑

∑

∑

Œ Œ Œ Œ

# n œO > Í œO > Í Q #œ > Q œ >

Ó Ó Ó Ó

œO > œO > Q œ > Q œ >

r Oœ ‰ . Œ Œ Œ

á á œO > œO >

Q á >œ Q œ >

r Oœ ‰ . Œ

j œ.

j j Oœ ‰ œO ‰ > > ord.

j j œO ‰ œO ‰ > >

col leg.

Œ

Ó

Œ

Ó

ord.

remove some objects

≈ 43

42

42

∑

43

&

∑

&

3 4

∑

43

∑

ã 42

43

∑

ã 42

≈ 43 E

col leg.

∑

∑

43

34 ≈ œ5 ≈ œ ‰ ƒ pizz. ord. 3 r Œ 4 œœ ‰ . ƒ

5

œœ 5

42 2 4 42

∑

pizz. ord.

42

‰ r œŒ

œ≈œ

42

r œ

2 4

5

5

9 27

q = 76–80 mp

¸> ã 42 œ æ f FOR

1

Hn. 2

1

Trp. 2

1

Trb. 2

Tuba

Hp.

FOR mp

2¸ > ã 4 œ æ f FOR mp ¸ come prima 2 & 4 # œ@. ‚. f FOR mp ¸ come prima 2 & 4 # œ@. ‚. f ? 42

s.r.

14 –

56 –

2

1

Vlc. 2

1

D.B. 2

‚ J

3 8

‰

mp ord.

j œ ‚

38

j œ ‚

38 38

œ P.

Sizzle

F

?2 4

∑

œ.

œ 3 8

38

≈ ‰

1 21 3 b2œœ 3 œ b4œ œ 4 œ

8 BN

2 V4

≈

bœ

P

∑

ã 42 Œ

® œ@r . ‚.

œ #P ‚ .

∑

œ

5

P .

œ ‚

P .

P

œ œ P

≈

œ P. . ∑

3 8

∑ b œœ

3 8

b b œœ

œœ 5

flz

Ͼ

F

flz

Ͼ

?

‰. F

≈ Œ

‚>. ® hR

FOR

f

“ ”

≈ Œ

‚>. ® hR

FOR

f

“ ”

‚. hR

‚.

hR

38

‰

® 38 38

‰

® 38

∑

?2 4

∑

3 8

∑

? 42

∑

38

∑

‚.

hR

flz

# Ͼ

78

43

∑

∑

43

∑

∑

78

∑

∑

∑

∑

STYLE

ƒ

Db

œ Z n #

œ

C /C

bœ

bœ

œ ‰.

C# Dn

r #œ

∑

œ nœ œ œ

∑

78 78 œ Zn

BY Ÿ~~~~~~~~~~~~~~~~~~ 3 œ œ. 4 P. ‰ . > f 3 œ ᜠ# œ àœ ‰ . 4 œ

q=

∑

565

‰. œ œ #œ #œ

43

®

?

84–88

78

r ‰. œ

78 78

∑

∑

con vibr. sim.

78

7 8

E , E#

∑

∑

3 6 4 œ f

?

7 8

∑

43

®

78

∑

8

∑

‚>. ® hR

œ

gliss.

r # P. ‰ . f r . P. ‰ f

Ͼ

flz

43

V ped. 75%

‚. hR

r œ p

œ

gliss.

78

∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ . r gliss. œ gliss. P ‰ . œ œ R >

r nœ

œ àœ œ œ à œ

BY

∑ ‚>. ® hR

r œ p

∑

43

‰

‰.

43

43

œœ ‰

œœ

BY

43

∑ œ

3 4 œ π

43

∑ ® >œ œ

43 # œ π

43

∑

œ

84–88

BY

3 4

∑

3 8

38

œ ‚

∑

76–80

FOR ‚>. ã 42 J “f ”

‚ J

?

® œ@r . ‚.

œ #P ‚ .

38

b b œœ á Bœœ

2 &4

ã 42 Œ

® ‚. @R

38

(Timp.)

‚>. ã 42 J “f ”

?

38

>œ œ œ œ œ P >œ . ® ã 42 f 2 ∑ ã 4

& 42 Œ

‚ J

38

Ride with rivets

ã 42 Œ

® ‚. @R

3 8

∑

l.v.

FOR

Vla.

‰

mp ord.

∑

q=

1

∑

® œ@r . ‚.

‚ J

38

∑

FOR

E. Guit.

P .

& 42 ? 42

® œ@r . ‚.

P .

? 42

FOR

Perc. 2

® ‚. @R

?2 4

FOR

Perc. 1

® ‚. @R

q=

6

r nœ

56

∑

5

œ #œ œ œ #œ

œ ‰. R

7 8 &

7 8 78

r œ ‰.

7 8

∑

∑

&

78

43

∑

∑

&

78

43 # O . # œ. > BY Í 43 O . œ. > Í BY Q 3 4 #œ f> BY Q 43 œ f>

‰

BY

‰ Œ Œ

r Oœ > Í ‰. r # # œO > Í Q > ‰. œ R ‰.

‰.

Qr #œ >

œO .. œO ..

‰

Œ

&

78

‰

Œ

&

78

∑

7 8

∑

78

10 q=

?7 8

76–80

31 (2.2.3) 1

Hn. 2

4 4

∑

?7 8

4 4

∑

ABORIGINAL

7 & 8 ® # œ@. ‚.

Trp.

2

1

Trb. 2

Tuba

Hp.

ABORIGINAL

? 78

9 ≈ œ! ≈ ® œ@ . 16 œ œP P . . ‚ ‚ ‚ ‚.

≈ ® œ! œ ®≈ œ #P P ‚ . ‚ ‚.

‰.

3 4

œP . ‚. f

œ@. ‚.

® œ@ . œ P . ‚. ‚

4 ® @ ® œ@ ≈ œ@ 4 œP #œ . œ P P . . . ‚ ‚. ‚ ‚ ‚

9 ≈ œ! ≈ ® œ@ . 16 œ œP P ‚ ‚ . ‚ . ‚.

≈ ® œ! œ ®≈ œ #P P . ‚ ‚ ‚.

‰.

3 4

? 78 & 78 ?7 8

s.r.

E. Guit.

14 –

56 –

f

7 &8

∑

bœ áœ á œ n œ # œ à œ á œ n œ

12Z 34 > –– ..

BN

7 & 8 ® b b –– .. p

œœœP

. P R ‰

œ. ®R F

–– .. –– ..

œ œ P. R ≈ ‰.

∑

f

∑

œ 4 œ P. œ œ P. œ œ P. œ . P. œ . œ P. 9 R 4 ≈≈ R ‰ ®R ≈ 16

–– .. –– .. ® ‰

“ ”

V

44

∑

9 16

4 4

∑

9 16

# >– . 4 ® # ––– ... 4 44

∑

4

Samp. q=

‚>.

& 78 ®

2

& 78 Œ

f

“ ”

‚>. ‚ .

Vlc. 2

1

D.B. 2

& 78 ® 7 &8 Œ

‚>.

col leg. batt.

‚.

h h

f

“ ”

ABORIGINAL

?7 8 ?7 8

® Œ

‚>. hJ

col leg. batt.

ABORIGINAL

ABORIGINAL

1

‚.

h h

(2.2.3)

Vla.

–– –– ‰ J

>– –– – R

Œ

‚˘ hR

3 4

∑

œ P ≈ >œ œ œ P ≈ >œ œ . œ œ P 3 4 3 4

∑

œ . P. œ. ® R RÔ ® ≈ ∑

. P

3 4

‰.

43 3 4

∑

>– . > –– .. 9 # # ––– ... ≈ ® – . 16 – . R p 9 16 (clean

–– .. –– .. J f

3 4

‰.

43

overdrive)

∑

43

(begin silent)

76–80

ABORIGINAL col leg. batt.

1

–– ––

>– >– –– – ≈ ® – ® ≈ –– R R

43

∑

9 16

9 16

43

∑

9 16

œ œ . œ P >œ P >œ . 9 ≈ ≈ ® R 16

43

∑

9 16

∑

43

∑

9 16

∑

4 4

>– . –. ≈ ® –– ..

8

V ped.

∑

>œ . œ . œ œ P 4 >œ œ œ œ P >œ œ P ≈ >œ ® 4 ®

®

#œ œ à œ á œ

> # # ––– ... ® –. J fÍ

44

9 16

∑

4 4

∑ Sizzle

? 78

V 78

>œ .

≈

∑

44

∑ >œ œ œ P

44 44

∑

Ride with rivets

Perc. 2

∑

∑

7 ã 8 ‰

3 4

4 ® @ ® œ@ ≈ 4 œP #œ . œ P P œ@ . ‚ ‚. ‚ . ‚ . ‚

∑

7 ã 8

&

® œ@ . œ ‚. ‚

ABORIGINAL

Perc. 1

∑

3 4

P .

? 78

ã 78 ®

&

œ@. ‚.

come prima

7 & 8 ® # œ@. ‚.

9 16

∑

∑

œP . ‚. f

come prima

1

9 16

∑

h

®‰

f

‚>. ‚ .

® Œ

col leg. batt.

®h ≈ Œ.

∑ ∑

h

44 Œ 44 ®

≈ Œ.

“ ”

‚>. hJ “f ”

®h

®‰

44 Œ 4 ® 4 4 4 4 4

‚>. ‚

h h

‚>. ‚

h h

‚˘ ® hR ® ‰ ≈ ‰.

‚> ‚ hR hJ ‰

‚˘ ® hR ® ‰ ≈ ‰

Œ

‚> ‚ ≈ hR hJ ‰ ∑ ∑

‰ ‚˘ hR ‰

‰.

‚˘. ® hR

≈‰

‚˘. ® hR

9 16

‰

9 16

‰.

9 16

‰

9 16

‰.

9 16 9 16

‚˘ hR

‰. ‰

‚˘ hR

‰. ‰ ∑ ∑

‚> ‚ hR hJ ≈ ‰.

‚> ‚ hR hJ ≈

43 ã

43

ã

3 4 3 4 3 4

11 F

3 &4

34 1 Hn. 2

3 &4

q = 92–96 shake the instrument (# œ )

˜. h o ˜. h o

˜. h

. ~~~~~~~~~~~~~~~~~~~~~~~ J ˜≈ Œ p “f ” shake the instrument ˜ . (# œ ) ~~~~~~~~~~~~~~~~~~~~~~~ . h J ˜≈ Œ p “f ”

Trp.

3à ˙. &4

o

1 Trb. 2

Tuba

Hp.

o

Perc. 2

s.r.

14 –

56 –

∑

∑ ∑

∑

3 &4

∑

∑

∑

∑

?3 4

∑

3 ã 4

∑

hl –J – . P Tuning

∑

ã 43

Radio

4 4

∑

Œ

¸ >O

Í ¸ >O

áœ à œ # œ œ

> # # ––– #– J F

o ‰ J

–.

“ƒ ” an ¸ like explosion (air only) 3 Œ Œ ã 4 ‚

∑

¬

4 4

3 4

∑

∑

∑

∑

3 4

∑

∑

3 P. 4

∑

∑

∑

∑

∑

# ––– Œ –

Œ

Œ ∑

5

≤ (inhale) O. > F ≤ (inhale) >O . F ≤ (inhale) O. > F

Ó

Œ

Ó

∑ ∑

silent tongue ram

‚.

silent tongue ram

‚.

3 P. 4

silent tongue ram

‚.

F R14

∑

An Cn

3 4 Œ

∑ [OFF]

like an explosion (air only)

3 P. 4 Π3 4

∑

∑

43 Œ

∑

3 4 ΠRadio

∑

∑

∑

∑

44

∑

∑

44

∑

∑

44

∑

4 4

Œ ‚ choww˜ “ƒ ” ∑ ƒ ˙

ã

∑ ∑

•

∑

˙

>–

3 4 Œ

∑

44 4 4

àœ áœ nœ œ

h

o

ƒ”

∑

44 ¬

MW

∑

–.

o

∑

choww ˜

∑

4 ¬ 4

∑

b– b b –––

h

4 4

¬

–

œ àœ bœ nœ

4 O 4

¸ solo Œ ã ‰ ‚ 44 O . J f 4 ∑ 4

–

–

∑

mp

∑

¬.

8

∑

Í

∑

∑

Œ

4 O 4

∑

choww ˜

“

mp away from lips

Œ

R13

∑

V 43

ã

[ON] LW

remove all remaining objects from Timpani

3 &4

V 43

ã

∑

?3 4

bottleneck slide

E. Guit.

Œ

mp

?3 4

? 43

∑

mp

œ* œ à œ . ~~~~~~ b œ ~~~~~~~ . (‚) 4 æ J Œ Œ 4 p * take instrument “f ”

∑

3 ã 4 Perc. 1

∑

away from lips

½ valve very tight lips

3 #˙ . &4 ?3 4

4 4

œ . ~~~~~~ œ ~~~~~~~á œ . * (‚) 4 æ Œ Œ 4 p * take instrument

œ J “f ”

mp ord.

2

Œ

an ¸ like explosion (air only) 3 Œ ‚ ã 4 Œ

½ valve very tight lips

mp ord.

1

mp

∑

–

f

[OFF]

[ON] MW

¬

R15

>–

–

f

[ON] FM

¬

43 Œ

∑

¬. ¬.

3 4

∑

∑

43

∑

∑

43

∑

∑

∑

43

∑

∑

∑

∑

3 4

∑

∑

∑

∑

Samp.

F

1

& 43

∑

q=

92–96

∑

I II III IV

Vla. 2

1 Vlc. 2

1 D.B. 2

3 &4 3 ã 4 3 ã 4

∑

∑

∑ ∑

˜≤ . ?3 h 4 o molto sul pont. ˜≤ . ? 43 h o molto sul pont.

I II III IV

∑

˜ hJ

f

˜ hJ

f

∑ ‰ Œ ‰ Œ

P sul pont. >O≥ O

L.H. III IV

Œ

Í P sul pont. >O≥ O

L.H. III IV

Œ

Í ∑ ∑

Œ Œ

∑ ∑

4 4 4 4 4 4 44

∑ ∑ ∑

I II III IV

∑

I II III IV

≤ I II O . III IV F>

‚.

I III II IV

‚.

≤ O. > F

P

≥ 3 OO> .. 4 f II L.H. P III ≥ 3 >O . 4 O. f II L.H. III

II III

L.H.

II III

L.H.

P. 43 Œ P. 43 Œ

S.P.

S.P.

P S.P. ≥> OO

f P S.P. ≥ OO> f

OO .. OO .. OO .. OO ..

12

1

Hn. 2

41

∑

ã

∑

ã

G

3 8 3 8

e=

&

2

&

∑

1

ã

∑

38 ‰

2

ã

Tuba

ã

∑

&

∑

Trb.

Hp.

?

Perc. 1

Perc. 2

s.r.

ã

∑

∑

∑

∑

∑

∑

∑

∑

a œœb

38 &

(–)

38 œ . a

p

38

[OFF]

14

V

∑

56

V

∑

–

–

1

∑

I II III IV

G

38

e=

1

I II III IV

Vlc. 2

I II III IV

38

∑

I II III IV

slow bow (grind to a halt)

OO ..

p

slow bow (grind to a halt)

OO ..

&

p

slow bow (grind to a halt)

1

I II III IV

D.B. 2

I II III IV

OO ..

&

p

slow bow (grind to a halt)

OO ..

&

p

38 38 ‰ 38 ‰ 3 ‰ 8

œ ≈ ‰ R

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

#œ œ bœ ≈ R R ≈ R ≈

‰

œœ ≈ R ‰

‰

metal mallets dead strokes

‰œ # ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ .. b œb F

œb.

∑

∑

ϲ b ϲ

∑

∑

∑

∑

nœ àœ

ᜠœ

b n œœ

œ Bœ

3

2ˆœ 3ˆ 2ˆœ 3ˆ 2 3ˆ 1ˆœ œ #œ ˆ œ

24 ˆœ

p

L

&

&

‰

àœ

‰ ‰

∑ œ≤

∑

# ˆœ R ≈ ‰

‰

∑

∑

œ

œ J p

nœ œ

∑

R L

R

b œO π>

œ J

L

∑

r Oœ ≈ ‰

œO > π

‰

R L R L

r Oœ ≈ ‰

∑

œ J p œ J p

áœ

‰ ‰

‰

‰

‰

‰

œ.

‰

‰

nœ .

3

3

‰

‰

‰

‰

œ J p

‰

‰

∑

∑

∑

# ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ # ¿¿¿ ¿¿¿ ... 3

3

3

œ.

œ

∑

∑

1 3ˆ 4ˆ 3ˆ #1ˆ>œ 2ˆ> 4ˆ 3ˆ ˆ>œ 2ˆ> œ œ. > > >

L

L R R L R L

B

f

‰

>œ

5

∑

col leg. batt. stacc. 5

#œ

R

3

œ àœ áœ

>œ œ

3

>œ œ

L R

L

R L R

∑

Crotales

n œa J P

∑

3ˆ 1>ˆœ 4ˆ>œ 3ˆ 1>ˆœ

áœ

‰

‰

13 # ˆœ

B

œ J p

∑

áœ àœ áœ # œ

B

∑

3

ᜠœ à œ ᜠœ

B

∑

œ J p

Ø

3œ >œ # œ ≈ R ≈ R

∑

∑ œ.

∑

œ

∑

ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœ œœœ ...

∑

(Glock.)

∑

œb

‰.

Metal Wind Chimes

Vla.

2

‰

∑

∑

152

∑

∑

>œ ˆœ . 38 38

∑

∑

∑

2ˆ 3

p

∑

∑

remove items from timp. head

L R

∑

‰

∑

38 œ á œ

∑

∑

œ ‰ œ p F

œ ≈ ‰ R

∑

œ ≈ R

medium hard rubber mallet

b 3 œœ ..a 8 pR16

∑

‰

p.d.l.t. ˆ ˆ ˆ ˆ #œ œ # œœœ œœœ œœœ œœœ R R ≈ ‰ F ∑ ∑

ENGLAND

p

œ œ ‰ p F

∑

œ ≈ bœ R ≈ ‰ R

∑

ENGLAND

E. Guit.

œ œ ≈ R R ≈ ‰

Triangle

¬.

&

∑

38

38

Glockenspiel

ã

∑

38

3 8

∑

¬.

∑

‰ œR ≈ p ∑

3 8

∑

∑

∑

straight mute

E n, F n, G b, (A n) (B n), (C n), D #

ã

∑

straight mute

∑

ã

∑

œ ‰ R ≈ p ENGLAND

∑

Trp.

∑

ENGLAND

3 ‰ 8

1

152

3

œ nœ

12 34 –

bottleneck

L

–– – J

gliss.

∑

V ped.

bO bO á á >œO >œ n n >œO á á >œO >œ f

á B œœ œO áá œO # # œO à à œO œO á á œO > > > > > > >

b œO à O . > à >œ .

‰

bO bO á á >œO >œ n n >œO á á >œO >œ f ≥ ‰ á á œOOœ p ≥ ‰ à # OOœ à # œ p

á B œœ œO áá œO # # œO à à œO œO á á œO > > > > > > >

b œO à O . > à >œ .

‰

∑

∑

∑

∑

∑

∑

‰

col leg. batt. stacc. 5

3

3

3

3

œOOœ ....

3

3

j OœOœ j OœOœ

O. œOœ ...

n # œ>œ ‰ J Í

sul pont.

> ‰ # œœJ Í

sul pont.

13 49

ã

∑

∑

∑

∑

&

2

ã

∑

∑

∑

∑

&

1

&

∑

2

&

∑

‰ ‰ bœ p

1

ã

∑

2

ã

∑

Tuba

ã

1

Hn.

Trp.

∑

∑

∑

∑

&

∑

?

∑

b œœ ‰. R ≈ F

Perc. 1

s.r.

14

E. Guit. –

56 –

œ. æ f

V

œ ‰ ‰ @J

∑

‰

‰.

∑

∑

∑

∑

∑ HAVE

43ˆ

–– .. –– .. ˜ (loco) œ J ‰. # œJ o L p ∑ œ≤ .

B

∑

2

1

Vlc. 2

1

D.B. 2

ϲ .

ord.

Vla.

B B B & &

∑

n # œœ .. f # œœ .. f

∑ ∑

œœ .. ˜ J ˜ ‰.

p p

œ.

‰

‰

‰

p p

mp ord.

∑

∑

B b, (C n), D b

3

œ. ∑

1ˆ 2ˆ

3ˆ 1ˆ 2>ˆœ 4 3ˆ ˆ > > >œ

1ˆ

f

L

œ

>œ œ œ

3

R

L R

L R

>œ

3

≈ Or œ > f col leg. ≈ Or œ > f

3 3 r b O O n O áá œ œ à œO n œ áá œO ≈ b œO > > >à > > >

F

bœ .

(B b œ )

∑

∑

‰ bœ P

∑

bœ . F

?

∑

gliss.

œ. F bœ . F

∑

gliss.

gliss.

∑

∑

∑

∑

∑

‰

∑

‰

‰ bœ ≈ R p ‰ b œr ≈ p

Bbœ .

r≈ ‰ áœ

‰

Bbœ .

r≈ ‰ œ

‰

r≈ ‰ áœ

Bb œ .

‰

r ‰ ‰ ≈ œR ≈ œR ≈ b œ ≈ ( œ ) i R bœ i p

∑ ∑

∑

∑

Crotales arco

œœ ..

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

s.r.

œ R ‰.

‰

L

∑

(n œ)

∑

∑

3

áœ.

mp ord.

j ≈ b œR ‰ œ œ p F

# ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿

œ

HAVE col leg.

‰

?

ᜠœ n œ àœ á œ

R

∑

∑

3

F

∑

∑

nœ

œ >œ ≈ R ≈ R

Bœ

b5œ

≈ R P

Œ

b B œœ

Bœ ∑

56 bœ .

b5œ

œ R≈ J ‰

&

B b b œœ ∑

b œ.

bend

F

. B bB b œœ .

œáœ ∑

&

∑ œœ R≈‰

‰

o

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

?

HAVE

∑

œœ .. ˜ ‰. J˜ bœ .

œ

ᜠáœ

œ R Ø

∑

mp ord.

3

3

œ J bœ

?

∑ f

œ

∑

∑

# ¿¿¿ R

œ J

‰

mp ord.

‰ bœ ≈ ‰ R p

ˆ ˆ ˆ ˆ ˆ ˆ ˆ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ p.d.l.t.

∑

∑

–– .. –– ..

V

∑

‰.

∑

f

∑

‰

ã

J p

HAVE

∑

(Wind Ch.)

&

F #, G n, A b

‰

! (## œœ) ii

∑

&

(Glock.)

ã

‰

ord. 1

∑

∑

High Triangle

∑

∑

∑

ã

Perc. 2

‰ ‰ bœ œ p

œ ≈ œR R ≈ ‰ P ≈ # œr œR ≈ ‰ P ∑

Trb.

Hp.

œ

ᜠJ p mp ord. ‰ ‰ â œJ p ‰ œR ≈ ‰ p ‰

3 r áá œO b œO à œO n n œO áá œO ≈ b œO > > >à > > > 3

œ.

gliss.

bœ .

gliss.

o

o

Bœ F

Bb œ F

r œ≈ r œ≈

∑ ∑

14 58 1

Hn. 2

1

Trp. 2

1

Trb. 2

Tuba

& ‰

œ R ≈ ‰ p

bœ ≈ ‰ R p flz œ œ >œ ‰ J @ & ∏ flz >œ œ á & b œ ‰ @J ∏ & ‰

∑

∑

∑

∑

∑

∑

∑

4 4

∑

∑

∑

4 4

∑

∑

∑

44

>œ æ

œ @J

á >œ . æ

>œ . æ

á >œ æ

œ @J

straight mute off

á >œ . æ

straight mute off

∑

∑

∑

∑

44

?

∑

∑

∑

∑

∑

∑

∑

?

44

∑

∑

∑

∑

∑

∑

∑

44

∑

∑

44 4 4

& ‰

‰

?

ˆ ˆ ˆ ˆ ˆ ˆ ˆ > # œœœ œœœ # œ>œœ œœœ œœœ œœœ œœœ p.d.l.t.

‰ metal mallets

> # ¿¿¿ ¿¿¿ p

∑

f

∑

∑

∑

∑

∑

∑

∑

∑

> # ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿

∑

∑

∑

> # ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ œ.

œ àœ

UNFINISHED

∑

p

œ àœ œ á œ œ

2ˆ

2ˆ

L R

L

>œ 4ˆ œ

2

>œ 4ˆ ˆœ 3ˆœ 4ˆ œ œ R

L

∑

R

L

7:6

Radio

∑

Vla. 2

1

B ‰

‰

sempre col legno

UNFINISHED

B ‰ B

ᜠœ nœ àœ á œ œ

n œ àœ á œ œ n œ œ á œ

3ˆ 1ˆœ 2ˆ>œ 4ˆœ 3ˆ 1ˆœ œ

œ

L

R

∑

L

R

L

2ˆ 4ˆ 3 4ˆ 2 4ˆ 3 >œ œ ˆ œ ˆœ œ ˆ œ

R

L

R

œ

7:6

L

∑

‰

O O áO nO à à>œO œ à à >œO œ á œ à à œO n œ p

sempre col legno

∑

O O áO nO à à>œO œ à à >œO œ á œ à à œO n œ p ∑

á á œO b œO à àœO n n œO á á œO b œO > á á œO b œO à àœO n n œO á á œO b œO > ∑

R

L

R

1

D.B. 2

o

[ON] LW

4 4

∑

≤ ≈ Or ‰ œ >

O áO b O B O n O áO à à>œO œ á œ œ á œ # œ à œ 7:6

O áO b O B O n O áO à à>œO œ á œ œ á œ # œ à œ &

≤ ≈ Or ‰ œ > molto sul pont. œ≤ . p

ϲ .

molto sul pont.

B

∑

∑

∑

∑

?

∑

∑

∑

∑

?

∑

∑

∑

∑

&

p

‰ [OFF]

j – ‰

∑ œ. ∑

ã

R18

– J f

–.

∑

7:6

∑

–.

áœ àœ 3>- 1 œœ 4ˆ œ ≈ R ≈ œJ . fL π

Vlc.

2

∑

–.

UNFINISHED

1

∑

–.

∑

R

R17

œ.

∑

& ‰

> # ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ œ.

∑

V

>œ œ ® œ >œa

∑

Ø

Perc. 2

V ‰

ˆ ˆ ˆ ˆ ˆ ˆ ˆ # œ>œœ œœœ œœœ œœœ œœœ œœœ œœœ

UNFINISHED

Glockenspiel medium hard rubber mallets

ã

ˆ ˆ ˆ ˆ ˆ ˆ # œœœ œœœ œ>œœ œœœ œœœ œœœ

7:6

∑ D#

b œœa & J ‰ F

ã

14

∑

∑

(Wind Ch.)

E. Guit. –

∑

∑

j & ≈ œb. p

s.r.

∑

∑

(Crot.)

Perc. 1

∑

?

UNFINISHED

Hp.

>œ . æ

44

∑

‰

44

‰

44 4 4

∑ œ J

‰

4 4

4 4

‰

4 4

∑

‰

∑

∑

ã

44

‰

∑

∑

ã

4 4

œ.

œ J

œ.

œ J

∑

∑

∑

∑

f f

‰

‰

ã

44

‰

‰

ã

4 4

∑

44

∑

4 4

15 H

1

Hn. 2

q=

& 44

65

76–80

4 &4

PLAYER

4 & 4 #œ ‚ > f

come prima

1

Trp.

2

1

Trb. 2

Tuba

Hp.

Perc. 2

s.r.

14

E. Guit. –

–

∑

5 8

∑

P. . œ œ ‚ ‚ > P. . œ œ ‚ ‚ >

≈ œj P . œ œ œ P ‚ . ‚ . ‚ ‚ > > ∑

85 œ ‚

?4 4

∑

5 8 5 8

152

3 8

∑

& 44

∑

85

∑

5 8

ã 44 Œ

Sizzle

œ . P.

F

& 44

‰

. œ. . œ. P P ®R R ≈ ‰

∑

38

∑

85

∑

85

œ œ

38

œ . P. œ . P. ®R ‰ ∑ BUSINESS

∑

‰ #œ œ π

r œ ‰ bœ ≈ bœ p

‰

‰

‰ #œ

∑

∑

∑

∑

∑

∑

∑

∑

6

∑ ∑

∑

Glockenspiel

≈ œj π

≈ ‰

∑ ∑

38 à œ á œ

n œB b œ B œ

áœ

œ ˆ ˆ 38 œ ≈ ® b œ b œ ‰ pLR R L L ∑

œ

1ˆ

àœ

œ R ≈ R

4ˆ 2ˆœ

R

R

3ˆœ

‰.

∑

∑ ∑

2ˆ 4 3

ˆœ ˆœ ˆ bœ ≈ ≈ R ‰ ∏ ∑ ∑

∑

38

∑

‰

∑

&

b ˆœ R ≈

38

V. ped. 100%

∑ ‰

∑

4ˆ 3ˆœ

∑

‰

medium hard rubber mallets

38

∑

œ R ≈ ‰ p bœ ≈ ‰ R p ‰

bœ ≈ R p

ˆœ ˆœ ˆœ b ˆœ 3 ≈ R ≈ ≈ R ‰ 8 π 3 ∑ 8

∑

85

∑

V 44

85 ‰

‰

3 8

4 >œ œ . œ . œ P . >œ œ . œ œ P ≈ >œ œ . P . >œ œ œ œ 5 P œ œ P ≈ >œ P ≈ >œ œ . œ P ≈ 3 ã 4 8 8 f PLAYER

‰

3 8

∑

5 8

85

‰

≈ œ P≈ œ œ #P . ‚ ‚ . ‚ > > ∑

∑

∑

∑

straight mute

4 &4

ã 44

‰

≈ 38 ‰ œP . ‚

∑

Ride with rivets

∑

straight mute

85

∑

38

≈ 38 ‰ œP ‚ .

∑

?4 4

e=

≈ œ P≈ œ œ #P . ‚ ‚ . ‚ > >

? 44

V 44

56

∑

5 8 œ ‚

PLAYER

Perc. 1

∑

≈ œj œ P P. œ œ ‚ . ‚ . ‚ ‚ > >

PLAYER

come prima 4 & 4 #œ ‚ > f ?4 4

85

(2.3)

∑

L

nœ

œ ≈ R ≈‰ R L

∑

7

Samp.

H

q=

76–80

PLAYER

1

Vla. 2

>‚ . 4 h ã 4 J “f ” ã 44 Œ

≈ Œ

>‚ ‚ ≈ . hRÔ hJ “f ”

PLAYER

PLAYER

1

Vlc. 2

1

D.B. 2

>‚ . 4 ã 4 hJ “f ” ã 44 Œ ? 44 ? 44

ŠΠPLAYER

>‚ ‚ ≈ . hRÔ hJ “f ”

‰

>‚ hJ

‚ hR ‰ . ≈.

Œ ‰

>‚ hJ

∑ ∑

h h

‚ hR ‰ . ≈.

Œ

>‚ ‚

>‚ ‚

h h

85 Œ

(2.3)

‚ 58 hRÔ ≈ . ‰ 5 8 Œ

‚ 58 hRÔ ≈ . ‰ 85 85

˘‚ hR

≈‰

‰

>‚ hJ

˘‚ hR

≈‰

>‚ hJ

‰ ∑ ∑

e=

38

‰ ‰

152

∑

38

∑

b Oœ Oœ ≈ R π

½ col legno

&

b Oœ Oœ ≈ R π

½ col legno

&

∑ ∑

‰

&

3 8

∑

∑

∑

‰

&

38

∑

∑

∑

∑

∑

∑

∑

∑

∑

38 38

œ π

16

&

∑

‰.

œ œ R ≈ R

2

&

∑

‰.

#œ œ R ≈ R

1

& ‰

œ J

≈ œR ≈ œR

70 1

Hn.

Trp. 2

1

Trb. 2

Tuba

Hp.

Perc. 1

Perc. 2

s.r.

14 –

E. Guit.

–

∑

3 8

∑

∑

∑

3 8

∑

?

∑

∑

28

∑

38

p (b œ¬) ((n)) R ≈ 28 F

∑

∑

2 8 28

& ‰.

#œ œ R ≈ R

?

∑

&

∑

∑

& ‰.

r r #œ ≈ œ ∏

∑

2 ‰ 8

ã

∑

∑

28

ã

∑

œ & áœ

13 ˆœ .

œ. V J V

n

∑ à œ B b n œœ

≈ ‰

‰

L

56

2 8

∑

(Glock.)

∑

2 4ˆ 4ˆœ

œ ≈ bœ ≈ R R L L ∏ ∑

≈ # œJ

2 8

2 8

F b, B n

≈ œJ

∑

∑

Œ

2 8

∑

∑

¬

≈

∑

?

bœ

2 8

≈ œJ

3 4

3 8

∑

?

‰ bœ ≈ bœ R J

≈

∑

∑

& ‰

≈ b œR ≈ œR

œ ≈ J

2 8

2 ≈ œ œR ≈ 3 œR ≈ ‰ 8 R 8 ∏ ∏ 2 ≈ b œr œR ≈ 3 r ≈ ‰ 8 8 #œ ∏ ∏ 2 3 ∑ ∑ 8 8

œ ≈ R

‰

‰

∑

≈ œ œ ≈ ‰ Ø ≈ œ nœ ≈ ‰ Ø

2 8

&

∑

B

‰.

2

π

b œ≥œ .. J

sul pont.

Vla.

&

∑

B

‰.

π

# œ≥œ .. J π

28

sul pont.

1

&

∑

&

∑

?

Vlc. 2

1

D.B. 2

?

B

‰.

2 8

ã

4 4

≈

3 4

straight mute off

∑

4 4

≈

3 4

straight mute off

∑

4 4

3 > 4 O. f 3 > 4 O.

∑

∑

38

∑

∑

∑

3 8

∑

∑

ˆ r ≈ 28 œ. Ø 2 ∑ 8

∑

38

∑

∑

∑

3 8

∑

∑

∑

2 8

∑

3 4

38

∑

∑

∑

28

∑

3 8

∑

2 8

∑

¬. 43 f LW 3 4 ¬.

ᜠ2 8

∑

3 4

∑

4 4

œ 3ˆ œ #œ R ≈ ≈ R ≈ R 28

∑

43

∑

44

j nœ Ø

œ

B œ 38

2ˆ

3ˆ

L

L

2ˆœ

∑

F

4ˆ 2ˆœ œ

∑

œ

œ

1ˆ

3ˆ L

∑

R

∑

2 8

∑

ã

28

∑

43

∑

43

∑

44

∑

3 4

∑

4 4

∑

43

∑

44

.

.

≤

.

.

.

≤

.

.

.

≤

.

sul tasto

3 8

sul tasto

gliss.

gliss.

38

sul tasto

3 8

sul pont.

Radio

with fuzz

∑

sul pont.

sul pont.

28

∑

38

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 8

∑

∑

2 8

∑

∑

∑

∑

3 8

b œœ .. 2 J 8 p œ. 28 # œJ . p œ. 2 # œJ . 8 p

∑

2 8

∑

2 8

∑

∑

ã

56

BP-up with cloth/sleeve (+ dist.)

43

44 4 4

>O

h

o

f

q=

≈

3 4

≈

43 I II III IV

I II III IV

92–96

4 4

∑

44

3 4 ˙˙ .. > f

4 4

L.H.fi

3 4

44

∑

L.H. fi

43 ˙˙ .. > f 3 4

44

4 4

∑

V ped.

≈

28

4 4

[ON]

L

28

f

R19

kill switch

gliss.

4 4

ã

28

∑ áœ

L R Ø

R

38

∑ àœ œ

œ

Œ

∑

2 8

∑

∑

28 b œR ≈ ≈ œ 38 ≈ R R

2 8

3 4

∑

8

1

4 4

∑

∑

Samp.

b œ≥œ .. J

ã

∑

2 bœ 8

sul pont.

∑

2 8

∑

28

∑

92–96

∑

∑

2 8

‰

q=

44 ∑ ∑

4 4 4 4

I

mp

4¸ ≤ 4 O. > t Í

78 1

ã

Hn.

2

1

‚. P Œ f

mp

4¸ ≤ 4 O. > t Í

ã

mp

∑

ã

1

Trb. 2

Tuba

Hp.

4 & 4

∑

44 ≤ O >. t Í ≤ 4 ã 4 O. > t Í ≤ 4 ã 4 O. > t Í & 44

Perc. 2

s.r.

˜

ã

Œ

ã

Œ

Radio

∑

44 ¬ p 4 ¬ 4

(Radio)

∑

Ó

∑

Ó

>¬

[ON]

∑

B 44

2

B 44

1

I II III IV

Vla.

Vlc. 2

1

D.B. 2

&

(b œ)

&

≤ 4 Œ ˙˙ * 4 p III ≤ IV I II 4 Œ ˙˙ * III IV 4 p III ≥ ≤ IV ? 44 OO .. * > Í III ≥ ≤ IV ? 4 O .. * 4 O > Í III IV

Z

* LH gliss (5cm) while bow crosses strings

b ‚‚ ..

f . P

f b ‚‚ .. P. f

˙ . ≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥ . .

f

“ ”

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Crotales arco

˙˙ ..

R23

˙˙ .. ∑

.. ˙˙a b ∑

f

∑

look for high-pitched noise

¬ . ≥≥≥≥≥≥≥≥≥ ¬ . ≥≥≥≥≥≥≥≥≥ ¬ . ≥≥≥≥≥≥≥≥≥≥

SW

¬.

¬.

àœ á œ n œ b œ

¬. ∑

∑

contact across strings increase BN rattle 12 BN >¬ . ≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥ . . noise against strings 34 ¬¬ .. (irregular) 3 ¬. wobble pitch and

(with distortion)

¬

h

4

∑

. P

43

43

∑

œœ ..

43

∑

∑

f

f

‚ P≈ 43 f 43

ᜠᜠnœ # œ

∑

I II

˙ . ≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥ . .

‚ P≈ 43 f

3 4

∑

. P

‚ P≈ 43 f

∑

∑

œœ ..

&

∑

∑

I II

f

“ ”

(b œ)

3œ 4

mp ord.

43

> Œ b ¬¬¬ b¬ Í

˙ . ≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥ . .

“ ” high pitches as bi-tones very high pressure and irregular

œ 43

∑

V ped.

1

3 4

∑

R22

14

œ

( œ)

43

metal RH bottleneck slide 8 non dist.

f

“ ” high pitches as bi-tones very high pressure and irregular

∑

R20 R21

∑

∑

∑

–

f ¬

f

fuzz off grip loose BN in RH

∑

FM

[OFF]

& 44

Ó

∑

∑

& 44

∑

∑

¸ ≤ ‚ > Í mp ¸ ≤ ‚ > Í mp ¸ ≤ ‚ > Í mp

∑

∑

˙ . ≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥≥ . .

high pitches as bi-tones very high pressure and irregular

¸ > ‚ Ó ˜ f

Œ

‚. P f

∑

V 44

–

mp ord.

‚. P f

? 44

ã

∑

f

‚. P f

E. Guit.

14

ã

ã

ã

Ó

&

œ

(œ)

3 4

mp

& 44 Perc. 1

∑

¸ >‚

Œ

Trp.

2

‚ Ó >˜ f

mp ord.

‚ Ó >˜ f

‚. P Œ f

& 44

∑

mp ord.

17

high pitches as bi-tones very high pressure and irregular

I

3 4

Íp

∑

∑

∑

43

∑

∑

∑

∑

3 4

∑

∑

∑

∑

∑

43

∑

∑

∑

∑

∑

43

∑

∑

∑

∑

∑

3 4

∑

∑

∑

18 84 1

&

Hn.

2

1

& &

Trp. 2

&

1

ã

‚Á ‚Á ‚Á ‚Á

a >‚ .

‰

a >‚ .

J

45

‰

Œ

45

q=

96

∑

ƒ

mp ad lib.

Tuba

Hp.

Perc. 1

≈

œ. œ.

≈

œ. œ. œ. œ.

Œ

5 4 Œ

Œ

‰

Perc. 2

?

s.r.

14 E. Guit. –

56 –

∑

∑

&

∑

5 4

ã

∑

& V V

– –Á

h

j‰ Œ P

Œ

B

∑

Œ

‰

j œ

q=

Ï ˙

a storm of air noise

Ï

j œ

˙

‰

Ï

ã

Œ

‰

‰

j œ

a storm of any noise

CAUSE HUNGER

‰

∑

ƒ

œ

˙ a l.v. make contact with e-bow before switching on

a storm breaks ad lib.

Ó

j œ

2

1

B I III II IV

∑

Œ

∑

5 4

∑

?

CAUSE HUNGER

1

I III II IV

?

∑ ∑

5 4 5 4

∑ ∑

?

Ó

SET TO CAUSE HUNGER

Œ

D.B.

2

?

∑

45

∑

SET TO CAUSE

Œ

œ Ï

œ

arco, tratto a storm of noise

˙

f

arco, tratto a storm of noise

ƒ

˙

‰

45

‰

45

Ï

ƒ

œ.

arco, tratto a storm of noise

Ï

œ

‰

tiny sounds at the eye of the storm

j œ

œ

∏

j œ j œ

tiny sounds at the eye of the storm

‰

5 4

‰

5 4

‰

5 4 5 4

‰

∏

5 4 5 4

3 4

∑

5 4

3 4 3 4

5 4

∑

5 4

∑

5 4

¬.

5 4

˙.

rall.

calm eye of the storm

p ˙. p

3 4 ‰ 3 4 ‰

Œ

∏

j œ

∑

FOR 10 MILLION

Œ

∏

∑

FOR 10 MILLION

ƒ

arco, tratto a storm of noise

œ

j œ

rall.

3 4

3 4

j œ

˙. ˙

œ

3 4

3 4

arco, tratto a storm of noise

œ

j œ

3 4

arco, tratto a storm of noise

CAUSE HUNGER

‰

2¬ 3 h gliss.

‰

CAUSE HUNGER

Ó.

3 4 ‰

3 4 ‰

or

π

Œ

Vlc.

2

œ

HUNGER FOR 10 MILLION POOREST

Ó.

∑

‰

eye of the storm

3 4

Vla.

5 4

j œ

Ï

start up e-bow BN pre-empting siren

9

∑

Ó

a storm of any noise

∑ NIÑO SET TO

∏

j œ

œ. œ. ≈ œ. œ. ≈ œ. œ. œ. œ. 45 j j œ œ œ 5 ‰ tiny sounds at the 4

j œ

3 4 ‰

˙

∑ Ó

œ

tiny sounds at the eye of the storm

FOR 10 MILLION

Ó

l.v.

ad lib.

TO CAUSE HUNGER

j œ

tiny sounds at the eye of the storm

3 4 ‰

Œ j œ

∑

Ó 96

‰

∑

Ó

Ó

5 4

‰

Ó

5 4 Ó J

j œ

∑

5 4 Ó

∑

a storm of air noise

∑

5 4

Œ

‰

œ

a storm breaks

∑

5 4

∑

‰

Ó

5 4

[OFF]

?

mp ad lib.

NIÑO SET TO CAUSE

Ó

5 4 Œ

?

mp ad lib.

TO CAUSE HUNGER

5 4 Ó

Samp.

1

∑

5 4 Ó

Œ

j œ

SET TO CAUSE

œ

∏ œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ. œ. 3 à œ. œ. œ. œ. œ. œ. œ. œ. œ. 5 ≈ ≈ ≈ 4 ≈ 4

Ï œ.

air noise

5 4

∑

&

ã

≈

43 ‰

œ. œ. œ. œ. œ. œ. ≈ œ. œ. ≈ œ. œ. œ. œ. ≈ œ. œ. œ. ≈ œ. œ. ≈ œ. œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ. œ. 43 ≈ œ. ƒ j SET TO CAUSE œ œ œ. FOR 10 MILLION mp ad lib. ? 3 ∑ ‰ ‰ Œ a storm of 4 ‰

5 4

∑

ã

–

ƒ .œ œ.

FOR 10 MILLION

Ó

j œ

tiny sounds at the eye of the storm

con sord.

5 4

∑

ã

ã

≈

à œ. œ. œ.

43 ‰

RECORD EL NIÑO

∑

(Radio)

˙.

FOR 10 MILLION

Ó

ƒ

a storm of air noise

Trb.

2

˙.

a storm of air noise

SET TO CAUSE

à œ. œ. œ. œ. œ. œ.

con sord.

‰

mp ad lib.

∑

RECORD EL NIÑO

45 Œ

Œ

SET TO CAUSE

3 4 ‰

FOR 10 MILLION

43 ‰

FOR 10 MILLION

calm eye of the storm

j œ

œ

π

tiny sounds at the eye of the storm

j œ

œ

∏

tiny sounds at the eye of the storm

j œ

œ

∏

tiny sounds at the eye of the storm

j œ

p

π

œ

∏

tiny sounds at the eye of the storm

∏

j œ j œ j œ j œ

‰

p

5 4 5 4 5 4

‰

5 4

‰

5 4

‰

45

(rall.)

5 &4 Œ

POOREST

& 45 Œ

POOREST

88 1

‰

2

1

j œ

œ.

j œ

f œ.

K

the other side of the storm

Hn.

‰

ƒ

the other side of the storm

f ƒ . . . . . . . . . . à œ œ œ œ œ œ œ œ œ œ 5 ≈ ≈ Ó &4

2

. . . . . . . . . . & 45 œ œ œ ≈ œ œ œ œ œ œ œ ≈ Ó POOREST

1

? 45 Ó ? 45 Ó

POOREST

Trp.

œ

f œ

Trb. 2

Tuba

? 45 Ó . POOREST

Hp.

Perc. 1

Perc. 2

& 45 ‰

f

œ

14

E. Guit. –

56 –

[CH]

Radio

Vla. 2

p ¬a .

ƒ

¬a.

ˆ œ

œ œ ‰

Œ.

≈ #œ

œ

œ œ ‰

Œ.

≈ œ #œ

Œ

Œ.

‰

78

Œ

Œ.

p ¬a .

Œ

Œ.

Œ

B 45

the other side of the storm

w

B 45

the other side of the storm

˙

ƒ

?5 Ó 4

j œ

j œ

ƒ



œ

percussive noise

Œ

Ï

Œ

* including metal objects that were used on timpani – knock them all to the ground

gliss.

(œ) P gliss.

œ ∏

(œ) P

p

# b œœœœ

P

∑ ‰

Œ

ᜠœ œ

# b œœœœ

(á œ )

(œ )

(œ )

P P P

P

Œ.

ˆ ≈ # œJ .

Œ

Œ.

9 8

œ ‰. R

Œ.

ˆ ≈ œJ .

Œ

Œ.

98

Œ

Œ.

Œ

Œ.

9 8

Œ

Œ.

98

Œ

Œ.

98

Œ

Œ.

98

œ ‰. R

Œ.

œ ‰. R

Œ.

Œ

Œ.

Œ

Œ.

Œ

Œ. ∑

‰

Œ

≈ œJ . ≈ #œ . J ᜠœ œ

# b œœœœ

(á œ )

P

(œ ) P

(œ ) P

P

‰

Ï

78 Π7 8

j œ@ œ œ œ œ œ@ π

Snare Drum

‰

≈ œ@j.

Œ

œ œ œ œ œ@

Œ

98

Œ

98

œ@ œ œ œ œ œ œ œ@

(Radio remains on decresc al L )

?

Ï

78

(œ )

78 78

ˆ j ᜠπ

Timpani

‰

Œ.

Œ

ˆ j áœ

‰

Œ.

Œ

ˆ j áœ

‰

Œ.

Œ

bs.r. œ

∑

.

∑

.

‚ J &‰ ∏

Œ

. ≈ J

&‰

Œ

. ≈ J

Œ

≈ J .

Œ

≈ J .

Œ

Œ.

Œ

Œ.

˙ 2e-bow

98

∑

(Radio remains on decresc al L )

‰ ‰

j œ œ

84–88

(4.3)

‰

78 Œ

‰

7 Π8

percussive noise

7 8 #œ ∏

percussive noise

7 8 ᜠ∏

Ï j œ œ Ï

arco

arco

col leg. batt.

#‚ J ∏

col leg. batt.

7 Π8

Œ

j œ

q=

7 Π8

Œ

j œ

œ

D.B.

?5 Ó 4

‰

percussive noise

j Ïj œ œ

P

œ ‰. R

∑

98 98 9 8 98 9 8

.

98 98

10



ƒ

œ ∏

(á œ )

78

K

f

the other side of the storm

78

Œ

œ

œ.

f

78

E n, F n, G b D#

p

ƒ

subito

˙

78

7 8

a

ᜠ∏

mp ord.

Ï

ƒ

l.v.

7 ≈ ˆœ . 8 J π

mp ord.

more storm noise, including objects falling and crashing*

ad lib.

ƒ POOREST ˙ ? 5 the other side 2 4 of the storm

2

ˆ ≈ œ

j œ œ

[ON]

∑

p

Vlc.

1

Œ.

more storm noise, including objects falling and crashing

the other side of the storm

w

POOREST

1

ˆ ˆ œ œ ‰

‰

ˆ 78 ≈ œ . J π 7 ≈ #œ . 8 J π 78 ≈ œ . J π mp ord. gliss. 78

∑

V 45

? 45

ˆ ˆ ≈ œ #œ

POOREST

(rall.)

1

Œ.

Ï j œ œ

R25

ã 45 Ó

Samp.

‰

¬a.

5 ã 4 Ó

V 45

Ï

‰

84–88

ˆ ˆ œ œ ‰

mp ord.

the other side of the storm

[CH] [ON]

5 &4

s.r.

f

q=

mp ord. (4.3)

Ï

˙

f

ã 45 Ó

Œ

the other side of the storm

œ.

Radio

‰

œ.

ad lib.

ã 45 Ó

Œ

œ.

the other side of the storm

? 45 ‰

‰

the other side of the storm

POOREST

j œ

19

DATA

col leg. batt.

‰ & ‚J ∏ col leg. batt.

gliss. (# œ ) P

gliss. (á œ ) P

‰ & # ‚J ∏ Œ

Œ.

Œ

Œ.

#œ

(# œ ) P

áœ

(á œ ) P

Œ

98

Œ

9 8

Œ Œ

#œ

(# œ )P

áœ

(á œ ) P

9 8 9 8

Œ

Œ.

9 8

Œ

Œ.

9 8

20

ˆ # ˆœ 9 # &8 ≈ œ

92 (3.3.3) 1

Hn. 2

1

Trp.

ˆ 9 œ &8 ≈

ˆ œ

9 œ &8 ≈

œ

œ R ≈ Œ.

œ

2

9 & 8 ≈ #œ

1

? 98

Trb. 2

Tuba

Hp.

ˆ œ R ≈ Œ.

?9 8

áœ

( ᜠ)

P

œ

(œ)

P

œ

(œ)

P

?9 8 & 98

Œ.

ˆ œ ≈ Œ. R

P

ã 98

9 ã 8

œ ≈ Œ. R

Œ.

7 ≈ #œ 8

‰

Œ.

Œ.

‰

Œ.

Œ.

‰

Œ.

Œ.

‰

Œ.

Œ.

(Radio)

Perc. 2

s.r.

14

E. Guit. –

(Timp.) ˆ ? 98 j áœ

–

‰

Œ.

9 ᜠ&8 V 98 V 98

56

‰

ARE

7 ≈ œ #œ 8

≈ œ@r œ œ œ œ œ œ œ œ œ œ œ@

ã 98 Œ

(S.D.)

ˆ œ

Œ.

(Radio)

Perc. 1

ˆ 7 ≈ œ 8 ARE

Œ.

∑

?9 8 # b œœœœ

78 ≈ # ˆœ n ˆœ ARE

Œ.

áœ.

.

p

B

œ

78 ≈ # œ . J Ø 7 8 7 8

œ

(œ) P

œ

(œ) P

78 7 8 78

.

# b œœœœ

P

ˆ 78 j áœ

‰

Œ.

9 8

œ ‰. R

Œ.

≈ œ #œ

œ œ ‰

Œ.

9 8

Œ.

≈ #œ

œ œ ‰

Œ.

9 8

œ

àœ .

Œ

Œ.

Œ

Œ.

‰

B

œ

.

π

≈ # œJ . Ø œ

(œ) P

œ œ œ œ œ@

Œ.

Œ

# b œœœœ

#œ #œ .

P

àœ .

9 8

Œ

Œ.

9 8

‰

98 9 8

Œ

j œ@ œ œ œ œ œ@

Œ.

ˆ j áœ

‰

Œ.

Œ

∑

98

œ

∑

Œ

∑

98

ˆ ˆ ≈ œ œ

œ ‰. R

ˆ ˆ œ œ ‰

Œ.

Œ.

≈ œ@j.

7 8

78

ˆ ˆ œ œ ‰

∑

78 Œ

78

ˆ ˆ ≈ #œ nœ

Œ.

ˆ œ ‰. R

7 8

∑

8

ARE

ˆ œ ‰. R

98 98 9 8 98 9 8

.

98 98

Samp. poco a poco

& 98 Π. (3.3.3)

1

Vla.

poco a poco

. ≈ J

. ≈ J

2

9 & 8 Œ.

1

9 & 8 Œ.

≈ J .

2

9 & 8 Œ.

≈ J .

1

? 98 #œ

poco a poco

Vlc.

poco a poco

D.B. 2

?9 8 áœ

(# œ)

P

(á œ ) P

78 Œ

#‚ . ≈ J

7 Π8

n‚ . ≈ J

S.T.

S.T.

Œ Œ

7 Π8

S.T.

≈ # ‚J .

7 Π8

≈ n ‚J .

Œ

78 #œ

Œ

Œ.

Œ

Œ.

‰

Œ.

Œ.

‰

Œ.

Œ.

7 8 áœ

S.T.

( # œ)

P

(á œ ) P

#œ

(# œ )

áœ

(á œ ) P

P

‰

J

‰

J

‰

9 8

‰

J

9 8

Œ

Œ.

98

Œ

Œ.

9 8

98 9 8

21

9 & 8 ≈ œR ‰ ‰

Œ.

Œ.

9 & 8 ≈ # œR ‰ ‰

Œ.

Œ.

Œ.

Œ.

Œ.

Œ.

95 (3.3.3) 1

Hn. 2

1

Trp. 2

1

Trb. 2

Tuba

Hp.

9 & 8 ≈ œR ‰ ‰ 9 & 8 ≈ œR ‰ ‰ B 98 . p B 98 . π ?9 8

œ

9 &8 ? 98 9 ã 8

P .

(œ) P

‰

78

p

7 8

Œ.

# b œœœœ

P

Œ.

s.r.

1E. Guit. 4 –

56 –

ã 98 ‰

œ@ œ œ œ œ œ œ œ œ œ œ œ œ œ@

9 ã 8

œ. œ œ ‰ ‰ J

9 ≈#œ #œ . 8

œ . Œ

≈ œJ .

œ. œ œ ‰ ‰ J

9 ≈ œ œ. 8

œ . Œ

∑

œ. œ œ ‰ ‰ J

≈ # œJ .

œ. œ œ ‰ ‰ J

œ

.

.

Œ

Œ.

p (œ) P

∑

78

9 8

# b œœœœ

∑

P

Œ.

Œ

ˆ ? 98 j œ

‰ ‰

Œ.

œ & 98 ( 8)

.

œ.

78

P

.

78

Œ.

Œ.

Œ.

.

.

Œ.

Œ.

o

(P )œ

‰

98 ‰ # b œœœœ P

Œ.

Œ

‰

œ@ œ@

98 Π.

œ@

œ

P

œ

∑ .

( œ)

Œ.

Œ

98

Œ.

œ œ œ œ œ œ œ œ œ@

(œ )

P

‰

Œ.

9 Œ. 8

98

Œ. œ

.

.

.

7 8 7 8 78 78 7 8

78

78 7 8

∑

7 8

7 8

98

∑

#œ

98 œ

7 8

7 8

∑

9 8

Œ

∑

78

∑

Œ.

9 8

78

Œ.

Œ.

œ Œ.

98 œ .

œ

Œ.

œ Œ.

9 ≈#œ œ . 8

9 8

∑

∑

9 ≈ œ œ. 8

98. π

7 8

(Timp.)

V 98

œ .

7 8

(S.D.)

V 98

.

78

Œ.

(Radio)

Perc. 2

∑

P

≈ #œ . J ≈ œJ .

∑

7 8

(Radio)

Perc. 1

∑

78 p

∑ ‰

7 8 7 8

.

Œ.

∑

7 8

.

œ.

7 8

(2.2.3)

F

œ.

≈78 78 78 78

Samp. ord.

n‚

9 &8 ‰ (3.3.3)

1

Vla. 2

1

Vlc.

‚

& 98 ‰

ord.

& 98 ‰ 9 &8 ‰

1

? 98 #œ

2

∑

Œ

Œ

‚ ‰ ‚

78

∑

Œ

Œ

b‚ ‰b‚

98 Π.

78

∑

Œ

Œ

‰ ‚‚

98 Π.

78

7 8

∑

Œ

Œ

‰ b b ‚‚

9 Œ. 8

7 8

Œ

Œ.

‰

Œ.

Œ.

78

Œ

Œ.

98 #œ

‰

Œ.

Œ.

7 8

ord.

2

D.B.

7 8

(2.2.3)

?9 8 áœ

n‚ ord.

‚

(# œ ) (á œ )

P P

‰

Œ.

Œ.

78

∑

‰

Œ.

Œ.

7 8

∑

#œ

(# œ )

áœ

(á œ )

P P

9 8 áœ

(# œ )

P

(á œ )

P

7 8 78

22

7 #œ . &8 ≈ J

99 (2.2.3) 1

Hn. 2

1

Trp. 2

1

Trb. 2

Tuba

Hp.

œ. 7 &8 ≈ J œ. 7 &8 ≈ J . & 78 ≈ œJ

#œ œ ‰ Œ .

≈ œ

œ œ ‰ Œ.

≈ œ

œ œ ‰ Œ.

≈ #œ

#œ œ ‰ Œ .

≈ œ

B7 8

∑

B 7 œ. 8

‰ Œ.

?7 8

œ

& 78 ?7 8 ã 78

(œ)P

# b œœœœ

P

Œ

o

?

Œ.

∑ Œ.

Œ

(Radio)

Perc. 1

ã 78 Œ

‰

(S.D.)

j œ@ œ œ œ œ œ@

7 ã 8

?

ᜠ∏

≈ #œ . J

Œ

Œ.

Œ

Œ.

9 ≈ œ 8

œ œ ‰. Œ R

≈ œJ .

Œ

Œ.

9 ≈ #œ 8

Œ

Œ.

98 ≈ œ

Œ

Œ.

9 8

Œ

Œ.

9 8

Œ

Œ.

9 8

œ œ ‰. Œ R

œ œ ‰. Œ R

(á œ )

P

œ ∏

(œ) P

œ

(œ) P

# b œœœœ

P

Œ

Œ.

Œ

Œ.

Œ

Œ. ∑ Œ.

Œ

≈ @j . œ œ œ œ œ œ@

Œ

≈ œJ .

≈ #œ . J áœ

( á œ)

P

œ

(œ) P

œ

(œ)P

# b œœœœ

P

∑ Œ.

Œ

s.r.

1E. Guit. 4 –

? 78 œ (Timp.)

–

P

7 &8 7 V8 7 V8

56

(œ)

Œ.

Œ

‰

.

Œ.

Œ

∑

œ

.

Samp. S.T.

& 78 Π(2.2.3)

1

Vla. 2

1

& 78 Œ

S.T.

S.T.

2

7 &8 Œ

1

? 78 #œ

D.B. 2

J

‰

J

S.T.

& 78 Œ

Vlc.

‰

?7 8 áœ

(# œ )P (á œ )P

‰

j

‰

j

Œ

Œ.

Œ

Œ.

ˆ j áœ

Œ

b‚ . ≈ b ‚J .

Œ

‚‚ . ≈ J.

Œ

j ≈ b ‚ .. b‚

Œ

j ≈ ‚ .. ‚

#œ

(# œ )P

áœ

(á œ )P

Œ

Œ.

Œ

Œ.

9 8

áœ

Œ.

œ œ ≈ Œ. R

Œ.

7 8

œ œ ≈ Œ. R

Œ.

7 8

Œ.

78

‰

Œ.

Œ.

7 8

‰

Œ.

Œ.

7 8

‰

Œ.

Œ.

7 8

#œ œ ≈ Œ . R

(á œ )

P

œ

(œ) P

œ

(œ) P

# b œœœœ

Œ.

‰ Œ

P

∑ ‰

∑

.

ord.

Πord.

Œ

9 8 9 8

Œ.

7 8

7 œ@ œ œ œ œ œ œ œ œ œ@ 8

‰

‰

Œ.

9 8

œ

P

Œ.

78

78

9 8

ˆ 98 j áœ

7 8

#œ œ ≈ Œ . R

9 Œ. œ@ œ œ œ œ œ œ œ@ 8

Œ

œ

œ

∑

(8)

ˆ j áœ

98

98

(Radio)

Perc. 2

9 ≈ œ 8

œ œ ‰. Œ R

.

.

Œ.

∑

98 Π.

78 7 8

98 Π.

7 8

7 8 7 8

78 78

ord.

Œ

98 Π.

78

ord.

9 Œ. 8

7 8

Œ

Œ.

‰

Œ.

Œ.

78

Œ

Œ.

98 #œ

‰

Œ.

Œ.

7 8

Œ

#œ

( # œ )P

áœ

(á œ )P

9 8 áœ

(# œ ) P (á œ ) P

23

#œ œ 7 ≈ Œ &8 ≈

Œ.

(3.3.3.2)

œ œ ≈ Œ 7 &8 ≈

Œ.

11 ‰ 8

œœœ

œ œ 7 ≈ Œ &8 ≈

Œ.

11 ‰ 8

œœœ

œ œ ≈ Œ 7 &8 ≈

Œ.

11 ‰ 8

?7 8

Œ

Œ.

11 8

Œ

Œ.

118

Œ.

118

103 1

Hn. 2

1

Trp. 2

1

Trb. 2

Tuba

Hp.

? 78 ? 78 & 78 ? 78 ã 78

(Radio)

Perc. 1

áœ

(ᜠ)

P

œ

(œ) P

œ

(œ)

# b œœœœ

P

P

ã 78 Œ

Œ ∑

Œ.

Œ

ã 78

(Radio)

Perc. 2

s.r.

1E. Guit. 4 –

56 –

ˆ ? 78 j áœ

‰

(Timp.)

Œ.

Œ

7 &8 V 78

7 V8

118

áœ

#œ œ œ

3 8

Œ

4 4

∑

3 8

Œ.

Œ

4 4

∑

3 8

Œ.

Œ.

Œ

4 4

∑

3 8

Œ.

Œ.

Œ

44

∑

38

Œ

44 á æ¬ nw p 44

‰

Œ.

Œ.

Œ

‰

Œ.

Œ.

œœœ‰

Œ.

‰ ‰

3

3

P

œ

(œ) P

œ

(œ) P

# b œœœœ

∑

Œ

3

(á œ )

4 4

Œ.

3

P

‰

Œ.

Œ.

Œ.

Œ.

118

.

Œ

44 >œ . œ œ œ P ® >œ . œ . œ œ P ® >œ . œ . œ œ P 38 π 44 38 ∑ R26

[OFF]

‰

38

∑

Ride with rivets

≈ r œ œ œ œ œ œ œ œ œ œ œ œ@

ˆ 118 j áœ

38

∑

44

Π[OFF]

118 Œ

38

sing and play

∑ ‰

76–80

3 8

Œ.

4 4

q=

∑

‰

‰

Œ.

Œ.

11 8

∑

( 8)

118

118 œ@ œ œ œ œ œ œ œ@

(S.D.)

11 ‰ 8

L

118

∑

11 8

#œ

44 ‰ .

Sizzle

Œ

44

Œ

4 4

Œ

4 4

œ œ P. . ‰ R π

. œ œP ≈ ≈ ‰.

œ 3 R 8

∑

38

∑

3 8

∑

3 8

∑

3 8

44

∑

38

44

∑

38

4 4

∑

3 8

44

∑

38

44

∑ e-bow off

38

Samp.

molto S.T.

1

Vla. 2

7 &8 Œ

molto S.T.

& 78 Œ

molto S.T.

1

Vlc.

& 78 Œ

molto S.T.

2

7 &8 Œ

1

? 78 #œ

D.B. 2

?7 8 áœ

(# œ )

P

(á œ ) P

Œ

Œ.

Œ

Œ.

Œ

118 Œ

Œ

118 Œ

Œ

(3.3.3.2)

11 Π8

11 Œ 8 118 #œ 11 8 áœ

(# œ )

P

( á œ )P

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Œ

‰

Œ.

Œ.

Œ

‰

Œ.

Œ.

Œ

3

3

3

3

3

3

L

4 4

4 4

q=

76–80

∑

3 8

24

& 38

106 1 Hn. 2

1

¸ 9 ã 8

∑

& 38

¸ 9 ã 8

& 38

∑

Trp. 2

& 38

∑

1

?3 8

∑

Trb. 2

Tuba

Hp.

?3 8

& 38 ? 38

¸ 9 8 #œ . ‚.

Œ.

¸ 9 8 #œ . ‚. mp ¸ 9 ã 8 Œ.

Œ.

mp

¸ 9 ã 8

ã 38 Perc. 2

s.r.

1R.H.4

E. Guit. –

14 –

L.H.

?3 8

∑

. . œ P. œ œ P ∑

3 &8

∑

3 V8

∑

3 V8

∑

f

‰

98

glass RH: BN

12 34

&

9 8

F

11

3 &8

∑

9 8

1 Vlc. 2

1 D.B. 2

( –)

F

œ

œ

œ

(–)

‰

molto sul pont. harmonic trill (O )

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Á ˙..

F

∑

∑

∑

Œ

∑

∑

Œ

∑

∑

∑

∑

2 4

œ.

Crotales

&

∑ ∑ œ œ. œ

2 4

ˆ– ‰ J

84–88

∑

(œ )

∑

(B n), (C n), D n

∑

∑

43

∑

∑

3 4

∑

3 4

3 &8

∑

& 38

∑

& 38

∑

? 38 ?3 8

∑ ∑

9 8 98 98 98 9 8

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Á ˙ . . (O )

F

∑ ∑ ∑ ∑

2 4

∑

42

∑

42

∑

42 2 4

∑ ∑

3 4

∑

∑ ∑ ∑

43

∑

3 4

( œ)

( œ)

œ ‰ J p

œ

‰

(œ )

( œ)

‰ ‰ œ J

œ J

∑

∑

∑

∑

∑

œ . #œ œ . œ

œ œ

ˆ (–) >– J ‰ p ˆ– ‰. R p

>œ

ˆ >–

#œ œ

‰

œ œ

Œ

>œ œ ‰. R ( œ)‰ p col leg. batt. ( œ) >œ Œ Œ p ∑

∑

∑

∑

∑

˙

P

ˆ >–

–

ˆ– RJ

J ‰ ‰ (– )

(œ )

>œ J

ˆ–

‰

œ

œ

œ

()

J

>œ . ≈J

col leg. batt. (œ )

p

∑

(– )

(– ) J ‰.

‰

∑

∑

col leg. batt.

43

43

!

p

3 4

3 4

œ . P. f

An

43 . ˙ p 3 4

œ 43 ˙ . π

∑

2 4 Œ

2 4

43

∑

2 4

q=

43

∑

molto sul pont. harmonic trill

Vla.

2

1 234

Œ.

Flexatone arco

ˆ >– .

ˆ– .

∑

∑

nœ

metal LH: BN 8

∑

2 4

42

Œ.

∑

∑

∑

9 8

43

2 4

42

( –)

∑

Œ.

98

ˆ >– .

∑

3 4 O > f 3 4 O > f mp ¸ 3 ≤ ã 4 ˙ >

∑

œ #œ œ (á œ # œ ) (á œ )

∑

∑

42 ˙a p 2 4

9 8

∑

2 4

42

&

43

43

∑

Œ.

‰

∑

∑

Œ.

∑

f

98

9 8

∑

42

∑

9 8

∑

j œ ‰ ‰ ‚

∑

Samp.

1

f

98

∑

>œ P >œ . œ œ P 3 ® ®R ã 8 f 3 ∑ ã 8 (Sizzle)

Œ.

43

42

Œ.

f ‚.

9 8

(Crash)

Perc. 1

‚.

‰

j œ ‰ ‰ ‚

lips on lips ½ cm from mp mouthpiece stop air with tongue sim.

mp

∑

? 3 á æ. 8 – œ.

ß

lips on lips ½ cm from mp mouthpiece stop air with tongue sim.

mp

84–88

>. 42 ‚ f >. 42 ‚

ß > >≤ > >≤ ‰ ‚ ‚ ‰ ‰ ‚ ‚ ‰ Œ.

mp

∑

q=

> >≤ > >≤ ‰ ‚ ‚ ‰ ‰ ‚ ‚ ‰ Œ.

mp

ˆ >– . ( –)

‰ Œ

#œ œ ( ) J J ‰

Œ. œ

( ) J ‰ Œ

ΠS.T.

S.P.

> ‰ œ.

Œ > ‰ œ. p

S.T.

S.P.

Œ

∑ ∑

25 112 1

78 ≈

ã

∑

∑

ã

∑

∑

&

∑

∑

senza sord.

&

∑

∑

senza sord.

ã

∑

ã

∑

r ‚. ‰ g p 7 ≈ r ‰ 8 œ. pg 78 ‚. ‚. ‚.

(2.2.3)

Hn. 2

1 Trp. 2

1 Trb. 2

Tuba

Hp.

Perc. 1

Perc. 2

≤ ã ˙ > ?

∑

∑

ã

∑

∑

∑

&

14 –

&

56

V

–

stop precisely

Pœ

[ON]

p

j ‚.

d

b

∑

d

ß Œ p

k

‚. d p ‚. ‚. pd d ‰

∑ ‚.

ss

Œ.

‚.

≤ >. ‚

Œ

Œ.

≤ >. ‚

Œ

Œ.

≈ ‚ ‰ R

3 ≈ ‚ ‚ ‚j

t

t

k

‚. ‚. ‰ t

‚. J

t

‰ ‚. J d p

‰

k k g

‰.

‚. ‚. ‰ t

‰

‚ J f p ‚ ‚.

kho–i

j ‚.

∑

∑

∑

‚. ‚ . ‚.

b

‰

d

g

‰

p

j ‚.

‰

‰

œ. J

‰

j œ.

œ. J

‰

‰

b b

∑

78 ¬ . .

‚. ‚. j ‚.

t k b

g

b

3 ≈ ‚r ≈

¬.. ¬..

R27

7 8 Timpani

?

∑

∑

. . ‚. ‚ ‚

‰.

78 ¬ . .

∑

P–

ß > ‚ p

(preferably a talk channel) [CH]

Radio

∑

stop precisely

.

∑

.

‰

78

∑

ã

8 E. Guit.

∑

&

Œ.

j ‚. Œ pt 7 ≈ j ‚. ‰ . 8 ‚. R f pt π 7 8

∑

∑

& s.r.

. P f

∑

(Flex.)

Œ

> ‚

b

78 ‰

∑

∑

t

t

≈ ‚r Œ . .

78

O.

œ.

&

78

pk

‚. J

∑

wild, steep glissandi

7 r P‰ . 8 œ Ê p

P œ ‰.

Œ

P

≈ œÊ

ˆ

Œ

P r ≈ Œ ‚

‰

ˆ

7 8

∑

7 8

∑

∑

∑

∑

7 8

∑

∑

∑

GREECE

1 Vla. 2

1

& Œ

S.T.

>œ .

1

? >œ . f

> ‰ œ. F S.P.

2

Œ

‰

Œ

I III II IV

Œ

I III II IV

FURTHER

I III II IV

ΠL.H.

I III II IV

‰.

L.H. fi col leg. batt. sul pont.

fi

‰.

BAILOUT

œ. ‰ R p

col leg. batt. sul pont.

7 œ. 8 . p

œ. ‰

VOTES

7 Π8

‰.

L.H.

j œ.

œ. œ. œ. ‰ R p

œ. œ. œ. J

‰

‰

S.T.

fi

78

∑

S.P.

Œ

L.H. fi col leg. batt. (2.2.3) S.P.

Œ

S.P.

œ

. œ. œ ‰

col leg. batt. S.P.

œ. œ. œ. œ . R p ∑

œ. œ. S.P. œ.

S.T. 78 œ. J

‰

S.T. 7 œ. 8

≈ œ. ‰ .

œ. J

‰

‰

S.T.

‰

S.T.

j œ.

≈ œr ‰ .

Œ.

L.H.

ON

I III II IV

œ. J

‰

‰

œ. œ.

‰

S.T.

œ. œ. R J

‰

œ. œ.

‰

S.T.

‰

œ. J

. ≈ œR

‰

S.P.

S.P.

œ. J

S.P.

‰

S.P.

fi

‰

œ. œ. ‰ .

œ. J p

S.P.

S.T.

œ. ≈ R ‰

col leg. batt. S.P. S.T.

œ. J

œ. œ.

Œ œ. ‰ R

œ. J

S.P.

S.P.

œ. J

S.P.

. ≈ œR

REFORMS

L.H. fi col leg. batt. sul pont.

D.B.

? ‰

‰

‰

S.T.

S.T.

S.T.

S.P.

S.P.

F

Vlc.

œ J

‰ œJ P

Œ

& Œ & Œ

œ P

Œ

& Œ

2

S.T.

>œ .

S.T.

f

S.P.

Œ

I III II IV

. . ≈ œ œ p

. ≈ œR ‰

sul.tasto ≈ œR ‰

78 ≈

œ. œ. œ. ‰

S.P.

œ. J

S.T.

œ. J

Œ

œ. œ. ‰

S.T.

œ. J

26 116 1

Hn. 2

‚@ ‚ ‰ frr t f p ã Œ ã

M

11 16

Œ.

‚@ ‚ ‰ frr t f p Œ

q=

‚æ. frr p

76–80

(4.4.3)

∑

43

∑

∑

44

11 16

∑

3 4

∑

∑

4 4

43 P .

∑

∑

44

43 P .

∑

∑

44

43

∑

∑

?

44

43

∑

∑

?

44

?

&

∑

2

&

∑

1

ã

∑

11 ® 16 #œ . ‚. f BY 11 ® 16 #œ . ‚. f 11 16

2

ã

∑

11 16

Tuba

ã

1

BY

Trp.

Trb.

Hp.

Ó

‚æ.

p

frr

∑

&

?

Perc. 1

Perc. 2

s.r.

14

E. Guit. –

ã

¬..

[CH]

? ‰

(Timp.)

&

ˆ

–

∑

11 16

∑

3 4

∑

∑

∑

∑

BY

Crotales

(leave radio on until bar 122)

∑

11 ‰ 16

3 4

b ˙˙ ..

Sizzle

œ œ P. ≈ . RÔ ‰ F

Flexatone

&

3 4

43

∑ ∑

˙.

V

∑

3 4

œ

44

(slightly irregular)

*gliss without bow contact

œ

i

*

l.v.

4 4 44

∑

44

¬ . ≥≥≥≥≥≥≥≥≥≥≥ ¬ . ≥≥≥≥≥≥≥≥≥≥≥ 4 4 π p 4 ∑ ∑ 4

e-bow

3 4

4 4

M

∑

44

∑ ˙.

arco

44 4 4

l.v.

∑

43

‰.

a ˙˙ ..b

arco

>œ œ œ œ œ œ . P 3 œœœP ≈ 4

Ride with rivets

11 16

∑

43

∑

11 16

∑

V

56

∑

11 16

∑

&

43

BY

ã

∑

œ ‚

∑

11 16

P r≈ Œ œ

P r≈ ‰ œÊ

j P. ≈ œ . ‚.

œ ‚

∑

>œ . 11 ® 16 f

∑

j P. ≈ œ . ‚.

11 16

11 16

f

¬..

ã

œ. ‚.

11 16

∑

(Radio)

&

œ. ‚.

15

8

12

Samp.

M

1

I III II IV

. . ≈ œ œ

Vla. 2

1

I II III IV

I III II IV

Vlc.

2

I II III IV

1

I III II IV

D.B. 2

I II III IV

‰

j œ.

œ. J

‰

S.P.

œ. J

(4.4.3)

œ. œ. œ .

S.T.

. ≈ œR Œ .

S.T.

œ. œ. ‰

‰

Œ.

œ. J

Œ

Œ

≈ œ. ‰ R

11 16

S.P.

. . . ≈ œR ‰ ≈ œ œ œ. œ. S.T. œ. ‰ ≈ ‰ S.T.

. ≈ œR ‰

‰.

S.P.

76–80

>‚ . 11 ® h ã 16 “f ” BY > ‚. 11 ã 16 ® h “f ” BY

S.T.

‰

q=

‚.

h

‚.

h

>‚ . ® ≈ hJ >‚ . ® ≈ hJ ∑

≈ œ. 11 16

∑

œ. œ. œ. 11 16

∑

S.P.

œ. 11 ≈ R 16 S.P.

∑

‰.

3 4

∑

‰.

43

∑

&

&

3 4 3 4 43 3 4

≥ b >˙ .

i

O.

i

h h

˙.

slow bow down to a halt

f ≥> ˙. f

O.

4 4 44 4 4

˙.

slow bow down to a halt

∑

∑

?

∑

∑

?

4 4 44 4 4

27

4 ã 4

120 1 Hn. 2

1

Trp.

4 ã 4

RACISTS

& 44 ≈ . # œ ‚ f

œ ‚

1 Trb.

4 & 4 ≈ . #œ œ ‚ ‚ f mp ord. con sord. ? 4 ≈. K 4 r j œ œ > Í mp ord. Kr j #œ œ > Í mp ord. con sord. 4 ≈. K 4 r j ᜠœ > 8 Í 4 4 f Cn 4 ≈. 4 œœ œœ > Z 4 4

Tuba

Hp.

Perc. 1

Perc. 2

s.r.

14

E. Guit. –

56 –

? &

? &

4 4

∑

∑

P .

® œ ‚

9 ≈ 16 #œ P . ‚

≈ œ. ≈ œ œ P P . . ‚ ‚. ‚

4 œ P. 4 ‚

∑

≈ œj . œ œ . . P P . ‚ ‚. . ‚.

œ ‚

P .

® œ ‚

9 16 ≈ # œ P . ‚

≈ œ. ≈ œ œ P P . . ‚ ‚. ‚

4 œ P. 4 ‚

∑

4 4

∑

ã

44

∑

ã

4 4

∑

4 4

∑

9 16 9 16

˙.

9 16

˙.

œ

œ. œ.

œ

œ.

œ

9 16

∑

9 16

˙˙ ..

œ œ œ

∑ œœ

P ≈.

œœ

4 4

9 16

4 4

∑

Ride with rivets

4 &4

4 ã 4 Œ 4 &4

Sizzle

œ . P.

F

œ œ P. ≈ . RÔ ‰

(15)stop precisely

P h e-bow off 4 V 4 R ‰.

∑

Œ

V 44

≈

œ

œ P. œ

9 16 9 16

œ P.

œ. ®R

∑ . . P. œ œ P

9 16

∑

∑

9 16

Ó ∑

∑

?

MANCHESTER

4 4 44 44

1 Vlc. 2

1

>‚ 4 ã 4 ≈ . hRÔ “f ” RACISTS >‚ 4 ≈ . hRÔ ã 4 A P “f ” 4 R ‰. &4

D.B. 2

‚

hJ ‚ hJ

P 4 R ‰. &4 ? 4 ≈. 4 ? 44 ≈ .

∑ œ.

j œ œ á

6

5

8ba

at BP-up

j œ œ >

‰

≥K r j ᜠœ > Í sul pont. ≥K r j œ œ > Í

‚> ≈ . hRÔ ‰ ‚> h . ≈ RÔ ‰ Œ Œ

sul pont.

˙. ˙.

‚> . ≈ hJ ‚> . h ≈ J Ó Ó

‰ ‰

˘‚ . ® hR

˘‚ . ® hR

accel.

˘‚ (4.3.2) 9 16 ≈ hR ˘‚ 9 16 ≈ hR 9 16 9 16 9 16 œ 9 œ 16

‚>.

q=

>‚

≈ ∑

‰ bend on fret

V. ped. 50%

RACISTS

2

∑

œ. P> Z

13

Vla.

R28

4 4

≈

Samp.

1

∑

4 4

∑

9 16

∑

[Radio OFF]

4 ≈ . >œ œ . œ P . >œ œ . P ≈ >œ œ œ œ œ œ P ® >œ œ P 9 ≈ >œ œ œ P ≈ >œ . P ≈ >œ œ œ P 4 ã 4 16 4 f RACISTS

∑

œ ‚

˙.

? 44 ≈ .

4 4

80–84 accel.

≈ œj . œ œ . . P P . ‚ ‚. . ‚.

con sord.

2

q=

∑

9 16

∑

RACISTS

2

9 16

∑

accel.

(4.3.2)

œ J >

h

h

4 4

∑

‰

h

h

4 4

∑

>‚

∑

?

∑

?

œ.

œ œ

œ >œ

r ‰.

j ≈ œO .. > Í