Never was a knight... for tenor & ensemble (2017) by Kurt Rohde

Never was a knight...

a singspiel told in vignettes detailing journeys, reveries, ramblings and transformations from Cervantes's Don Quixote, for tenor and ensemble

-for Joe Dan Harper-

kurt rohde

3 PERFORMANCE NOTES

Percussion 2 bass bows (for use by percussionist & tenor) Large rubber superball mallet Bass drum Marimba (with low C – if unavailable, use marimba that is available and transpose accordingly) Glockenspiel Crotales (2 octaves) - if two octaves are not available, please use the lower octave and transpose accordingly Large bell plate 3 temple blocks 1 Tibetan prayer bowl (Eb) 2 tuned gongs (B, C#) Whip or slap-stick (for use by percussionist & tenor) Sandblocks

ABBREVIATIONS (noteheads will be used for some of the techniques) HS = hard stick SS = soft stick deadstroke = stopping the vibration of the instrument with the mallet ord. - in the ordinary manner con sord. = with mute senza sord. = remove mute slap tongue = the appropriate and typical usage of this technique for each woodwind/brass instrument air = in many cases, the passage marked "air" for each woodwind/brass instrument is simply blowing throw the instrument; however, in some cases, there are instances where pitches are written. In these instances, the most breathy, airy possible sound with pitch is asked for; if the pitched sound goes "in and out" during these passages, that is acceptable. NV = non vibrato HPN = highest possible note MST = molto sul tasto MSP = molto sul ponticello CLT = col legno tratto (playing with the wood of the bow) CLB = col legno battuto (tapping with the wood of the bow) molto flaut. = molto flautato crunch tone or crunch bow = extreme pressure with bow on string, without concern for pitch swipe bow = vertical movement of the bow along string, creating a rubbing timbre with pitch harm. gliss. = harmonic glissando snap. pizz. = typical Bartok pizzicato pizz. = pluck the string in the typical manner; for the piano, use fingernail or a plastic guitar pick arco = using the bow in the typical manner; for piano, strings will be prepared ahead of time with horsehair "bows," which are called filaments in the score

Arrows indicated a gradual transition from one timbre or technique to another.

The instrumentalists will each play a ukulele. The tuning for each ukulele is indicated in the respective parts. The part part is notated in the typical manner. Each instrumentalist will need a bass drum mallet to play the uke at the end of the piece.

I = viola A string/double bass G string II = viola D string/double bass D string III = viola G string/double bass A string IV = viola C string/double bass E string

Dampening sign indicates an abrupt, suddenly "choked" end to the music when indicated.

All glissandi begin immediately where notated and should take place over the written duration for the note they occur on.

Feathered beaming, either "slow to fast" or "fast to slow" is notated in the usual manner, and should be executed as such.

Quarter-tones are notated in the typical manner.

Pitch-bends are notated in the typical manner, with the direction of the bend indicated by the direction of the peak of the bracket (pointing up for bending UP, pointing down for bending DOWN). Pitch-bends should be microtonal, but the exact size of the pitch alteration is left to the discretion of the performer. The duration of the pitch-bend is indicated by the two points/notes that are attached to either end of the pitch-bend bracket.

Filaments: Piano will be fitted with horsehair or rosined fishing line on specific strings inside the piano for section that used piano "arco"

For "chorus" singing by ensemble, players should sing with a pure, simple singing voice, unforced and clear. Sing in the octave that is most comfortable for the written pitches.

Never was a knight... a singspiel of journeys, reveries, ramblings and transformations from Cervantes's Don Quixote, for tenor and ensemble

SCORE IN C

<qK Untethered, wandering q = 48 - 50

= q> q = 72 - 75

Death Mask: Pavane and Recitative - Blessed be Almighty God

q = 48 - 50

Stage is dark: Tenor is onstage center wearing a death mask with his back to the audience the instrumental players are oﬀstage in designated positions; their playing and singing begins from oﬀstage.

4 /4 ∑ player situated oﬀstage RIGHT Cl. in Bb/ ° 4 ∑ Bass Clarinet & 4 in Bb 4 Harmonica/ ∑ Percussion & 4 4 Ukulele/ ∑ Voice ¢& 4

3 4 3 4 3 4 3 4

Stage Directions

RIGHT ° 4 player situated offstage ∑ &4 4 Harmonica/ ∑ Percussion & 4 4 Ukulele/ ∑ Voice ¢& 4 RIGHT ° 4 player situated offstage ∑ Trumpet in C & 4 4 Ukulele ∑ Voice ¢& 4 player situated offstage LEFT ° 4 ∑ Percussion / 4 4 Ukulele/ ∑ &4

SopranoSaxophone/ Tenor Saxophone

∑ ∑ ∑ ∑

3 4 3 4 3 4

∑

3 4 3 4

∑

3 4 3 4

∑

3 4 3 4 3 4

∑

3 4 3 4

∑

∑ ∑

∑

4 4 4 4 4 4 4 4

3 4 3 4 3 4 3 4

∑ ∑ ∑ ∑

4 4 4 4 4 4

∑

4 4 4 4

∑

4 4 4 4

∑

4 4 4 4 4 4

∑

4 4 4 4

∑

∑ ∑

∑

4 4 4 4 4 4 4 4

∑ ∑ ∑ ∑

3 4 3 4 3 4

∑

3 4 3 4

∑

3 4 3 4

∑

3 4 3 4 3 4

∑

3 4 3 4

∑

∑ ∑

∑

5 8 5 8 5 8 5 8

∑ ∑ ∑ ∑

4 4 4 4 4 4

∑

4 4 4 4

∑

4 4 4 4

∑

∑ ∑

∑

7 8 7 8 7 8 7 8

∑ ∑ ∑ ∑

5 8 5 8 5 8

∑

5 8 5 8

∑

5 8 5 8

∑

∑ ∑

∑

3 4 3 4 3 4 3 4

∑ ∑ ∑ ∑

7 8 7 8 7 8

∑

7 8 7 8

∑

7 8 7 8

∑

7 8 #œœœœ ™™™™ 7 8 7 8

˙˙˙ ˙ ∑

7 8 7 8

∑

∑ ∑

∑

4 4 4 4 4 4 4 4

∑ ∑ ∑ ∑

3 4 3 4 3 4

∑

3 4 3 4

∑

3 4 3 4

∑

∑ ∑

∑

2 4 2 4 2 4 2 4

∑ ∑ ∑ ∑

4 4 4 4 4 4

∑

4 4 4 4

∑

4 4 4 4

∑

2 4 2 4 2 4

∑ ∑

2 4 2 4

∑

2 4 2 4

∑

Voice Glockenspiel/ Crotales/Etc.

Marimba

Piano

4 ¢& 4 4 &4 ? 44

{ {

∑ ∑ ∑

∑ ∑

‹ glock.: w/HS 4 w & 4 #w w w

4 pp 4 4 4

∑ ∑

∑

? 44

∑

° 4 ¢& 4

3 4

∑

NV innocent, almost naive & pure, never forced molto p Tenor Solo

Crystal Glasses

Ukulele

∑ ∑

œœœœ ™™™™ ∑ ∑

3 4 #˙˙˙˙ ™™™™ 3 4 3 4

∑

4 ww 4 #w w 4 4 4 4

∑ ∑

2 4 2 4 2 4

∑ ∑

player situated oﬀstage LEFT

? 44

∑

4 4 4 4

∑

° 4 œ™™ &4 ‹ Bless 4 &4

4 &4

> 3 œ œ ™™ 4

œ. œ™™ R

œ. R

Al - migh - ty

4 4

∑

3 4

#œ

> 3 œ œ™ 4

#œ

great

good

5 8 5 8

∑ ∑

3 4 3 4

∑

4 4 4 4

∑ ∑

2 4 2 4

∑ ∑

ukulele: strum w/ﬁngernails alla pavane

F#, A, D, B Ukulele/ Voice

5 œœ 8 #œœ 5 8 5 8

4œ 4 #œœ œ

∑

j œœ œœ

œœ ™™ œœ ™™ -

œœ œœ -

5œ 8 #œœ œ

j œœ œœ

œœ œœ

7 8 #œœœ œ-

j œœ œœ

poco f

œœ œœ

3 j 4 #œœœ œ-

œœ œœ

j œœ œœ -

œœ œœ

j œœ œœ

4œ 4 #œœ œp

œœ œœ

2 4

œœ ™™ œœ ™™

molto p

#˙ God

4œ 4 who

#œ has

done

œ such

œ for

4w 4

5˙ 8

‰

7 8

∑

3 4

∑

4‰ 4

me[eee...]

œ His

>œ RÔ

œ ™™™

mer - cies

have

2 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

5 8

∑

7 8

∑

3 4

∑

4 4

∑

2 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

5 8

∑

7 8

∑

3 4

∑

4 4

∑

2 4

3 4

∑

4 4

∑

3 4

∑

4 4

∑

5 8

∑

7 8

∑

3 4

∑

4 4

∑

2 4

3 4 3 4

∑

4 4 4 4

∑

3 4 3 4

∑

4 4 4 4

∑

5 8 5 8

∑

7 8 7 8

∑

3 4 3 4

∑

4 4 4 4

∑

2 4 2 4

tenor holds kkwaenggwari w/S.S.

Percussion

Viola

Percussion

4 ¢/ 4

∑

LEFT °B 4 player situated oﬀstage ∑ 4

4 /4

∑

ukulele: strum w/ﬁngernails

alla pavane

F#, A, D, B Ukulele/ Voice

4 ¢& 4

∑

3 4

∑

4 4

∑

4 4 4 4

∑

3 4

∑

3 4 3 4

∑

4œ 4 #œœ œ

∑

4 4 4 4

j œœœ œ

œœœ ™™™ œ- ™

œœœ œ-

5œ 8 #œœ œ

j œœ œœ

œœ œœ

poco f player situated oﬀstage LEFT

Double Bass

Percussion

°? 4 ‹ 4 4 /4

∑ ∑

3 4 3 4

∑

∑ F#, A, D, B

Ukulele/ Voice

4 ¢& 4

∑

3 4

∑

4 4

∑

3 4

∑

5 8 5 8

∑ ∑ ukulele: strum w/ﬁngernails

4œ 4 #œœ œ poco f

œœ ™™ œœ ™™ -

∑ ∑

7 8 #œœœ œ7 8 7 8

j œœœ œ

7 8 #œœœ œ-

j œœ œœ

œœœ œ

∑ ∑

3 j 4 #œœœ œ3 4 3 4

œœ œœ

j œœ œœ -

œœ œœ

∑ ∑

4œ 4 #œœ œp 4 4 4 4

j œœœ œ

4œ 4 #œœ œp

j œœ œœ

œœœ œ

œœœ ™™™ œ™

2 4 2 4 2 4

∑ ∑

alla pavane

j œœ œœ

œœ œœ -

5œ 8 #œœ œ

œœ œœ

j œœ œœ

œœ œœ mf

œœ œœ

3 j 4 #œœœ œ-

œœ œœ

j œœ œœ -

œœ œœ

œœ ™™ œœ ™™

2 4

A 7

= q>

<qK

q = 72 - 75

Uke./ Voc. (Cl.)

° 2 ¢& 4

q = 48 - 50

5 4

∑

ukulele: strum w/ﬁngernails

<q = qK > E, G, C#, F#

4 4

∑

alla pavane

∑

j œœœœ

‰ ##œœœœ

œœœœ ™™™™ -

œœœœ -

3 4 #œœ # œœ -

œœœœ

œœœœ -

œœœœ

j ##œœœœ -

œœœœ

poco f

j œœœœ

##œœœœ -

œœœœ -

œœœœ

4 4 #œœ # œœ

œœœœ -

œœœœ

œœœœ p

œœœœ

j œœœœ

##œœœœ -

œœœœ -

œœœœ

4 4 #œœ # œœ

œœœœ -

œœœœ

œœœœ p

œœœœ

j œœœœ

##œœœœ -

œœœ œ-

œœœ œ

4 4 #œœ # œœ

œœœ œ-

œœœ œ

œœœ œp

œœœ œ

3 4

ukulele: strum w/ﬁngernails

E, G, C#, F# Uke./ Voc. (Sax.)

° 2 ¢& 4

5 4

∑

4 4

∑

alla pavane

∑

j œœœœ

‰ ##œœœœ

œœœœ ™™™™ -

œœœœ -

3 4 #œœ # œœ -

œœœœ

œœœœ -

œœœœ

j ##œœœœ -

œœœœ

poco f

3 4

ukulele: strum w/ﬁngernails

E, G, C#, F# Uke./ Voc. (Tpt.)

° 2 ¢& 4

Glock./ Cro./ Etc.

°‹2 ¢& 4

5 4

∑

4 4

∑

alla pavane

∑

j œœœœ

‰ ##œœœœ

œœœœ ™™™ - ™

œœœœ -

poco f

T. Solo

œœœ œ

œœœ œ-

œœœ œ

j ##œœœœ -

œœœœ

œœœœ mf

3 4

glock.: w/HS

5 4

∑

° 2 >œ #œ ™™ ¢& 4 R ‹ li - mit,

4 4

∑

5œ 4

#œ

and

the

#œ sins

œ of

∑ sub. piu p

4 #>œ #œ ™ 4

œ men

‰

œ™

not

cur - tail

œ ™ ##œœœ ™™™

fpp > n˙ ™

hin - der

3 /4

4 4

∑

˙ ™ ##˙˙˙ ™™™ ∑

U™ Œ ∑

3 &4

4 4

∑

3 4

∑

them[mmm.].

Players slowly process from their respective sides in tandem as they begin to play; they should try to begin playing each phrase together within their group, but not worry about staying together; stop moving abruptly when they are ﬁnished playing.

Tenor stops once he begins to sing; he is faced toward offstage; offstage choir fades out; no need to coordinate cut-off.

∑

4 w 4 #ww #w

™ ##˙˙˙˙ ™™™

3 4 b˙ ™

Tenor slowly turns to the side and begins to walk oﬀstage; exiting to the right or left is at the discretion of the performers.

3 4 #˙˙˙ ™™™ #˙ ™

˙˙˙ ˙

= Direct.

3 4 #œœ # œœ -

∑

‰ Ó

3 4

∑

3 4

∑

Œ™

‰

2 4

3 4

∑

voice

a tempo NV p Uke./ Voc. (Cl.)

° 3 ¢& 4 ##œœœ œœœ ™™™ œ- œ ™

j 44 Œ œœœœ

poco rit. ukulele

bœ

What

, œ œ™

j bœ

say- ing? Which mer-cies

are

these,

b œ œ™

U j œ

##œœœœ œœœœ œœœœ -

bœ œ b w

and which sins of

2 4Œ

‰

men[nng...]?

œœœœ œœœœ œœœœ -

‰ #œœ 43 #œœ œœ œœ # œœ # œœ œœ œœ -

œœœœ

œœœœ -

œœœœ

voice

a tempo poco rit.

NV p Uke./ Voc. (Sax.)

° 3 ¢& 4 ##œœœ œœœ ™™™ œ- œ ™

j 44 Œ œœœœ

ukulele

bœ

What

, œ œ™

j bœ

say- ing? Which mer-cies

are

these,

b œ œ™

U j œ

3 4 œ

∑

##œœœœ œœœœ œœœœ -

bœ œ b w

and which sins of

2 4Œ

‰

men[nng...]?

œœœœ œœœœ œœœœ -

‰ #œœ 43 #œœ œœ œœ # œœ # œœ œœ œœ -

œœœœ

œœœœ -

œœœœ

voice

a tempo poco rit.

NV p Uke./ Voc. (Tpt.)

° 3 ¢& 4 ##œœœ œœœ ™™™ œ- œ ™

j 4 œœœ 4 Œ œ

ukulele

bœ

What

, œ œ™

j bœ

say- ing? Which mer-cies

are

these,

b œ œ™

U j œ

3 4 œ

∑

##œœœœ œœœœ œœœœ -

bœ œ b w

and which sins of

2 4Œ

‰

men[nng...]?

œœœ œœœ œœœœ œ- œ

‰ #œœ 43 #œœ œœ œœ # œœ # œœ œœ œœ -

œœœœ

œœœ œ-

œœœ œ

Tibetan Prayer

a tempo Glock./ Cro./ Etc.

° 3 Œ bowl w/ wooden beater/LV 4 4 ¢& 4 b˙

∑

glock.: w/HS

U ‰ b˙ ™™

∑

3 4

∑

‹ &

‰

##œœœœ

œœœœ œœœœ #œœœœ

œœœ œ

2 4 #œœœœ

œœœ# nœœœ 43 #œœœ œ #œ # œ

œœœ œ

#œœœœ

œœœœ

œœœ œ

œœœ nœœœ œ œ

mp pp voice

a tempo poco rit.

NV p Uke./ Voc. (Pn.)

° 3 Ó ¢& 4

4 4 b˙ ™

bœ What

, œ

your grace

œ œ™

j œ

Which mer-cies

are

bœ bœ ™ œ say ing?

j œ

bœ these,

ukulele

U b œ œ w

and which sins of

3 4

∑

#œœœ œ-

œœ œœ

œœ 42 #œœ œœ œœ -

œœ œœ

œœ #œœ œœ œœ

a tempo meno p

° 3 &4 ‹

4 4

∑

U™ Œ

∑

Perc. (Ten.)

3 ¢/ 4

4Œ 4

∑

sim.

>œ+ œ œ œ neccessarily > > in tempo> û û û û œû œû œû œû œû œû œû œû Ó o pppp

‰

œœ ™™ œœ ™™ -

œœ œœ

halting and tumbling

halting and tumbling fpp

3 3 Kr œ >œ œ ™™ >œ œ ™ #œ 3 œ #œ #œ œ 3œ œ bœ œ œ œ ™™™ 4 J n œ . . >

The mer-cies kkwaenggwari even scintillations, not w/S.S.

œœ œœ

men[nng...]?

T. Solo

œœ 43 #œœ ™™ œœ œœ ™™ -

are those that

God has shown to me at this ve - ry

œ ‰

in- stant,

> 2 œ ™™ 4 œ

The

3 œ #œ 43 œ #œ

mer cies,

and

œ œ3

#œ

said, my sins

œ bœ bœ . do

nœ.

not hin - der

poco rit.

>œ+ œ œ œ >œ œ œ œ >œ œ û û û û û û û û û ûÓ o pppp

U ∑

3 4

∑

2 4

∑

3 4

∑

voice

a tempo poco rit.

NV p Uke./ ° 3 Voc. & 4 Ó ¢

bœ

4 4 b˙ ™

, œ

(Vla.) What

your grace

œ œ™

j œ

Which mer-cies

are

bœ bœ ™ œ say ing?

, œ

j œ

bœ these,

ukulele

U b œ œ w

and which sins of

3 4

∑

#œœœ œ-

œœ œœ

œœ 42 #œœ œœ œœ -

œœ œœ

œœ #œœ œœ œœ

œœ 43 #œœ ™™ œœ œœ ™™ -

œœ œœ

œœ ™™ œœ ™™ -

œœ œœ

œœ ™™ œœ ™™ -

œœ œœ

men[nng...]?

voice

a tempo poco rit.

NV p Uke./ Voc. (Db.)

° 3 Ó ¢& 4

bœ What

4 4 b˙ ™ is

, œ

your grace

bœ bœ ™ œ say ing?

œ œ™

j œ

Which mer-cies

are

bœ these,

j œ

ukulele

U œ œ bw

and which sins of

3 4

∑

#œœœ œ-

œœ œœ

œœ 42 #œœ œœ œœ -

œœ œœ

œœ #œœ œœ œœ

œœ 43 #œœ ™™ œœ œœ ™™ -

men[nng...]?

8 Players begin processing again once tenor sings sustained note using overtone singing; they stop in place abruptly as soon as he completes singing note.

B 27

Direct.

∑

5 4

∑

4 4

∑

√ ∑

Players do the same as with previous sustained overtone note.

‰

√™ Œ

voice

NV p Uke./ Voc. (Cl.)

° Œ ¢&

pppp p

U Œ ##˙˙˙˙

5 4‰

##˙˙˙˙

bœ bœ

your

grace

bœ bœ ™ >

pp What

say - ing?

4 4 bœ

What

mer

b˙ -

√™ Ó

√ ∑

√™ Ó

√ ∑

√™ Ó

√ ∑

√ b˙ ™

√ ∑

√™ Ó

√ ∑

cies?

[sss...]

voice

NV p Uke./ Voc. (Sax.)

° Œ ¢&

pppp p

U Œ ##˙˙˙˙

5 4‰

##˙˙˙˙

bœ bœ

your

grace

bœ bœ ™ >

pp What

say - ing?

4 4 bœ

What

mer

b˙ -

cies?

[sss...]

voice

NV p Uke./ Voc. (Tpt.)

° Œ ¢&

pppp p

U Œ ##˙˙˙˙

5 4‰

##˙˙˙˙

bœ bœ

your

grace

bœ bœ ™ >

pp What

Glock./ Cro./ Etc.

°‹ ¢& ##œœœœ

say - ing?

4 4 bœ

What

mer

b˙ -

cies?

[sss...]

Tibetan Prayer bowl w/ wooden beater/LV

j nœœœœ

#œœœœ ™™™™

‰

∑

5 4

∑

bœ

4Œ 4

∑

voice

NV p Uke./ Voc. (Pn.)

° ˙ ¢& #˙˙˙

œœ œœ

#œœœ œ

#˙˙˙ ™™™™ ˙

pppp p

5 4‰

b˙

bœ

What

your

grace

˙ bœ bœ ™ > say - ing?

bœ

What

mer

U ˙ -

4 4œ

cies?

[sss.]

ca. 9-12 sec.; tenor should slowly cycle through various vowels producing a range of overtones on "ooo" and "uuu", and closing the word with "-red,"

√ 4 w^ 4

ord.

sub. p

mf fpp T. Solo

ppp mf

° & n˙ ‹ >

Œ œ

nœ

œ >

Œ nœ

bœ

∑

¢/

bœ

U™ Œ

mmm...

them[mmm...]

Perc. (Ten.)

5 pppp 4˙

∑

rubato

j œ My

>œ+ œ œ œ >œ œ œ >œ œ œ >œ œ û û û û û û û û û û û û Œ o pppp

‰

¯ œû œû 5 >œû œû œû œû U œû 4

rubato

mp 3

‰

œ œ œ

judge-ment is

re - stored,

U Ó™

free and

√ ∑

4 4

œ œ > clear

ca. 10-14 sec.; closing the word with "-ows"

sub. p √ ^ œ œ œ œ œ™ of the dark sha - dows,

√ ∑

pppp

voice

NV p Uke./ Voc. (Vla.)

° ˙ ¢& #˙˙˙

œœœ œ

#œœœ œ

#˙˙˙ ™™™™ ˙

pppp p

b˙

bœ

What

your

grace

˙ bœ bœ ™ > say - ing?

5 4‰ bœ

bœ

What

mer

U ˙ -

cies?

4 4œ

√™ Ó

√ ∑

√™ Ó

√ ∑

[sss...]

voice

NV p Uke./ Voc. (Db.)

° ¢&

#˙˙˙ ˙ pp

œœ œœ

#œœœ œ

#˙˙˙ ™™™™ ˙

pppp p

Œ b˙

bœ

What

your

grace

˙ bœ bœ ™ > say - ing?

5 4‰ bœ

bœ

What

mer

U ˙ -

cies?

4 4œ [sss.]

Tenor begins calmly processing 9 once beginning to play kkwengari, and stops processing abruptly on beat 3.

Players begin quickly processing immediately as they play ukulele and stop abruptly when they dampen their ukuleles.

Players begin processional again after playing ukulele, this time slightly faster and with some anxiety; they stop abuptly in place when the tenor has ﬁnished speaking "has come too late." 35

Direct.

∑

‰

Œ™

∑

4 4

3 4Œ

4 4

ukulele: strum w/back of ﬁngernails; gently stop strings by dampening them with ﬁngers to make a percussive, deadened sound

Uke./ Voc. (Cl.)

° ¢&

∑

¿¿ ¿ >¿ f

¿¿ ¿ >¿

¿¿ Ó™ ¿ >¿

U Œ

‰

… ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 43 ¿¿¿¿¿¿¿¿¿¿¿¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ f

U Œ

‰

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ f

∑

4 4

U Œ

‰

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ f

∑

4 4

… 3 4

∑

4 4

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >f¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿

∑

4 4

∑

3 4

∑

4 4

∑

+ . . 3 œûœûœûœûœûœûœûœû≈ œû œûœû 4 4 4

ukulele: strum w/back of ﬁngernails; gently stop strings by dampening them with ﬁngers to make a percussive, deadened sound

Uke./ Voc. (Sax.)

° ¢&

∑

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ Ó™ >¿

ukulele: strum w/back of ﬁngernails; gently stop strings by dampening them with ﬁngers to make a percussive, deadened sound

Uke./ Voc. (Tpt.)

° ¢&

∑

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ Ó™ >¿

Percussionist enters as tenor begins to whisper, and keeps repeated notes even, and continue until tenor has completed spoken text before moving on to next measure; Percussionist should cue players at the beginning of next measure Tibetan Prayer bowl w/ wooden beater

Glock./ Cro./ Etc.

° ¢&

∑

+ bg g g

dampen w/mallet; make extra articulation in doing so

open

dead stroke

g g g g g g g g g g gg g

LV ¯ g g g g g g g g b >g g g g >g g g gœ> œ œ œ >œ œ œ œ >œ œ œ œ >œ ™

ppp f

ukulele: strum w/back of ﬁngernails; gently stop strings by dampening them with ﬁngers to make a percussive, deadened sound

Uke./ Voc. (Pn.)

° ¢&

∑

¿¿¿ >¿ f

¿¿¿ >¿

∑

‰

transition from sung to whisper to spoken voice whould be immediate and without preparation whisper spoken ord.

T. Solo

Perc. (Ten.)

quivering r r Bœ œ

f r œ

° ≈ œ œ œ œ œ™ œ œ œ & ‹ im-posed on it by my grievous, constant

¢/

∑

pp suddenly extremely halting and even

Bœ œ œ b œ b œ bœ ≈œ

œ bœ bœ bœ bœ Œ

b œ b œ bœ ‰™

read-ings of de-test-a-ble books of chi- val - ry.

œ bœ bœ bœ bœ ¿ ¿ ¿

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿

re-cog-nize their ab- sur- di-ties and de-cep- tions, and my sole re-gret is that this real - i-za-tion

>œ+ œ œ œ >œ¯ ûûûûû mf

U Œ has come - so - late.

∑

ppp

ﬀ

ukulele: strum w/back of ﬁngernails; gently stop strings by dampening them with ﬁngers to make a percussive, deadened sound

Uke./ Voc. (Vla.)

° ¢&

∑

¿¿ ¿ >¿ f

¿¿ ¿ >¿

¿¿ Ó™ ¿ >¿

U Œ

‰

… ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ 43 ¿¿¿¿¿¿¿¿¿¿¿¿ >f¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿

∑

4 4

‰

… ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ 43 >f¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿

∑

4 4

ukulele: strum w/back of ﬁngernails; gently stop strings by dampening them with ﬁngers to make a percussive, deadened sound

Uke./ Voc. (Db.)

° ¢&

∑

¿¿¿ >¿ f

¿¿¿ >¿

¿¿¿ Ó™ >¿

mp ppp

Suddenly a tempo q = 48 - 50 10

The tenor retuns to the "here & now" and proceeds to process further.

Tenor looks around, as if distracted or caught in a reverie.

Players begin processing once they begin singing and stop moving and freeze once they strike the ukulele that puncutaes the end of their passage; they should be at their stations by the end of the sung passage. Tenor also begins moving again, now nearly oﬀstage, but changes direction, and moves toward station inside the piano; tenor continues moving after players stop.

Direct.

4 /4

3 4

∑

4 4

∑

3 4

∑

4 4

U ∑

∑

3 4

∑

voice

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly

exacting Uke./ Voc. (Cl.)

° 4Ó ¢& 4

3 4

‰ ¿¿¿ Œ >¿ f

4 4

∑

≈ ¿¿¿ ™™™ ™ >¿

3 4Œ

∑

¿¿ ¿¿ >.

‰

¿¿ ¿¿ >.

‰

≈ ¿¿¿ ¿ >.

‰

NV suddenly reserved, cool, mourning p 3

¿¿ ¿¿ >.

¿¿ ≈ ¿¿ 44 ¿¿ ¿¿ bœ ™ >. >. to

3 4

¿¿¿ ¿¿¿ ‰ ™ ¿¿ >> f

4 4

∑

3 4Œ

∑

die,

bœ -

bœ-

bœ- bœ

die.

voice

NV suddenly reserved, cool, mourning p 3

exacting

° 4Ó ¢& 4

œ bœ œ ™

3 œ nœ 4 bœ 3

ﬀ

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly Uke./ Voc. (Sax.)

gliss. between notes at the last moment

¿¿¿ ¿¿¿ ‰ ™ ¿¿ >>

¿¿¿ ¿¿¿ ¿¿¿ ¿¿ ¿ >. >. >. ﬀ

‰

≈ ¿¿¿ ≈ ¿ >.

¿¿¿ ¿ >.

¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿ >. >. >.

¿¿¿ ‰ ¿ >.

¿¿¿ ¿¿¿ ≈ ¿¿ >. >.

4 4 bœ ™ to

gliss. between notes at the last moment

, 3

œ bœ œ ™

3 œ nœ 4 bœ

die,

bœ -

bœ-

bœ- bœ

die.

voice strum w/ﬁngertips

strum freely (slow or fast) before the downbeat

strum freely (slow or fast) before the downbeat Uke./ Voc. (Tpt.)

° 4 ¢& 4

3 4 #˙˙ ™™™ #n ˙˙ ™

∑

#œ œ œ nœ

4 4 #w #n w w w

3 4Œ

Œ #œ œ

#œ

nœ mp

poco f

NV suddenly reserved, cool, mourning p 3

Play even repeated notes: need not be an exact 3/4 measure, and need not exactly line-up with choir.

##nœœœœ >

>œ

4 4 bœ ™ to

gliss. between notes at the last moment

, 3

œ bœ œ ™

3 œ nœ 4 bœ

die,

bœ -

bœ-

bœ- bœ

die.

ﬀ Percussionist keeps repeated notes even: need not be an exact 3/4 measure, and need note exactly line-up with choir. Tibetan Prayer dead stroke bowl w/ wooden beater

Glock./ Cro./ Etc.

° 4 ¢& 4

3 4

∑

4 4

∑

3 4

∑

Play even repeated notes: need not be an exact 3/4 measure, and need not exactly line-up with choir. strum freely (slow or fast) before the downbeat

strum w/ﬁngertips

strum freely (slow or fast) before the downbeat Uke./ Voc. (Pn.)

° 4 ¢& 4

3 4 #˙˙˙ ™™™ ˙™

∑

poco f

œ œ œ œ mp

open

¯ + ≈ b g gg g g gg gg g g g g g g g g g g g g g 44 bœ œœœœœœœœœœ œœ œœœœœœœœœœœœœœœœ œœœ 43 bœ œœœœœœœœœœœœœœœœœœœœœœœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ o mp f p

4 w 4 #w w w

3 4Œ

œ #œ

œ œ mp

voice

NV suddenly reserved, cool, mourning p 3

gliss. between notes at the last moment

, 3

4 4

#œœœ >œ

b >œ

>œ

3 4 bœ ™

>œ

ﬀ

b œ œ œ™

œ œ

die,

b œ-

bœ-

n˙

die.

Pitches here are not exact; more important are the interval relationships moving from the highest note to the lowest; tenor will move through the various registers from a tight, high pitchless falsetto to a low, raspy, pitchless gutteral sound by the end that cuts oﬀ immediately, thereby cueing the entrance of the choir; need not be an exact 3/4 measure. rubato a tempo pp

f meno f

T. Solo

° 4Ó &4 ‹

#œ r3 #œ. 4 v

µœ ™™

∑

4 ‰ 4

Perc. (Ten.)

4 ¢/ 4

3 4

∑

rubato, tumbling

ﬀ

œ#œ œ. œ. œ. ¿ # ¿ #¿#¿ ¿ ¿ #¿ 4 ‰™ ≈ ≈ ¿n¿ 4 . . . . . . . . . n¿. n¿. b¿. ¿. n ¿. # ¿ # ¿ . . # ¿. n ¿. ¿. ¿. ¿. ¿. ¿. # ¿ n ¿ . .

feel

+ . . o 4 ≈ œûœûœûœûœûœûœû≈ œûœûœûŒ 4 f

sub. p

œ #œ 3 #œ. œ™ 4≈ ‰ I,

3 4

am a -bout[tt]

U ∑

∑

4 4

≈ ¿¿¿ ‰ >¿

3 4

∑

4 4

∑

3 4 ‰ ¿¿¿ Œ >¿ f

≈ ¿¿¿ ‰ >¿

‰

¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿ ¿ ¿¿ ¿ ¿ >. >. >. >. >. >. ﬀ

¿¿¿ ¿¿¿ ≈ ¿¿ >. >.

NV suddenly reserved, cool, mourning p 3

¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ ¿¿¿ ¿¿¿ ≈ 44 ¿¿ ¿ ¿ ¿¿ ¿ ¿ bœ ™ >. >. >. >. >. >. >. >.

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly exacting

° 4 Œ ¿¿ ‰ Œ ¢& 4 ¿¿ > f

‰™

¿¿¿ 43 >¿

∑

4 4

∑

3 4

∑

voice

Uke./ Voc. (Db.)

3 4

mp ppp

exacting

° 4 Œ ≈ ¿¿ ‰ Œ ¿¿ ¢& 4 > f

[ttt!]

need not be an exact 3/4 measure; notated rhythms are a guide, and not exact randomly Uke./ Voc. (Vla.)

∑

3 4 ¿¿¿ ‰ Œ >¿ f

‰™

¿¿¿ >¿

‰

gliss. between notes at the last moment

, 3

3 4 b œ œ œ™

œ œ

die,

b œ-

bœ-

n˙

bœ-

n˙

die.

voice

NV suddenly reserved, cool, mourning p 3

≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ ≈ ¿¿¿ 44 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ bœ ™ >. >. >. >. >. >. >. >. ﬀ to

gliss. between notes at the last moment 3

3 4 b œ œ œ™ die,

œ œ to

b œdie.

b œ-

11 Players put down ukulele and get their instruments ready to play in a stealthy manner

D 48

Direct.

∑

4 4

∑

√ ∑

∑

√ ∑

∑

√ ∑

ukulele

strike ukulele on vocal cut-oﬀ on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern mf Uke./ Voc. (Cl.)

ukulele (ﬀ) and voice (ppp)

° ¢& nœj œ

j œ

‰ œ

4 4 ™™ ˙

√ ∑ w > mmm...

p Don't die,

ñor,

your

grace...

ukulele

√ »

ﬀ

¿¿j … ¿ >¿

##nœœœœ >.

w >

… √ ¿¿¿ Œ ™ ¿ >.

√ Ó

√ ∑

… √ ¿¿¿ Œ ™ ¿ >.

√ Ó

√ ∑

… √ ¿¿¿ Œ ™ ¿ >.

√ Ó

√ ∑

… ¿¿ √ Œ™ ¿¿ >.

√ Ó

√ ∑

sﬀfz ppp ukulele

strike ukulele on vocal cut-oﬀ on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

mf Uke./ Voc. (Sax.)

ukulele (ﬀ) and voice (ppp)

° ¢& nœj œ

j œ

‰ œ

4 4 ™™ ˙

√ ∑ w > mmm...

p Don't die,

ñor,

your

grace...

ukulele

√ »

ﬀ

¿¿j … ¿ >¿

##nœœœœ >. sﬀfz

w >

ppp

ukulele

strike ukulele on vocal cut-oﬀ on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

mf Uke./ Voc. (Tpt.)

ukulele (ﬀ) and voice (ppp)

° ¢& nœj œ

j œ

‰ œ

4 4 ™™ ˙

√ ∑ w > mmm...

p Don't die,

ñor,

your

grace...

ukulele

√ »

ﬀ

¿¿j … ¿ >¿

##nœœœœ >. sﬀfz

w >

ppp

ukulele

strike ukulele on vocal cut-oﬀ on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

» ﬀ

° ¢& b œj œ

j œ

Se -

ñor,

4 4

‰ ˙

j… ¿¿¿ >¿

bœ

˙™™

your

grace...

ukulele

√ »

mf Uke./ Voc. (Pn.)

ukulele (ﬀ) and voice (ppp)

√ ∑ w >

#œ ### œœœ >.

w >

p Don't die,

mmm... ppp

sﬀfz

molto rubato and legato - text sung freely on written pitch, alla Gregorian chant, but NOT liturgical in aﬀect a tempo poco f molto p T. Solo

° & ‹

∑

4 4

∑

√ w

∑

Forgive me my friends, making you fall into the error into which I fell, thinking that there were and are knights errant in the world.

#œ œ™

molto rubato and legato - text sung freely on written pitch, alla Gregorian chant, but NOT liturgical in aﬀect sub. f

œ œ œ #œ

j √ œ ˙ ™™

Se - ñores, let us go slow - ly

enter immediately, very slow at ﬁrst and then pressing forward

> ® œ™™

May

I was mad, and now I am sane; I was Don Quioxte of La Mancha, and now I am, as I have said, Alonso Quixano the Good.

-œ

re - pen-tance and sin - cer

i - ty

œ œ œ œ œ œ œ

5 œ œ œ œ

re-turn me to the e-steem your gra-ces once

need not be exactly w/voice - can be free and increasingly chaotic Perc. (Ten.)

∑

¢/

4 4

∑

√ ∑

∑

√ ∑

∑

>œo œ+ œo œ+ œo œ+ œo û û û û û û û

‰ ™™

+ œ+ ™û >œû œo û œ+ û œo û œ+ û œo û œ+ û œo û œ+ û œ¯ û œ+ û œ¯ û œ+ û œ¯ û 5

ukulele

strike ukulele on vocal cut-oﬀ on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

° ¢& b œj œ

mf Uke./ Voc. (Vla.)

ukulele (ﬀ) and voice (ppp)

j œ

Se -

ñor,

4 4

‰ ˙

ﬀ

bœ

˙™™

your

grace...

j… ¿¿¿ >¿

√ ∑ w >

√ » w >

p Don't die,

mmm... ppp

ukulele

#œ ### œœœ >.

… ¿¿ √ Œ™ ¿¿ >.

√ Ó

√ ∑

… ¿¿ √ Œ™ ¿¿ >.

√ Ó

√ ∑

sﬀfz

ukulele

strike ukulele on vocal cut-oﬀ on "-ce" exacting freeze!

relaxed, suddenly warmer, with concern

° ¢& b œj œ

mf Uke./ Voc. (Db.)

ukulele (ﬀ) and voice (ppp)

j œ

Se -

ñor,

4 4

‰ ˙

ﬀ

bœ

˙™™

your

grace...

j… ¿¿¿ >¿

√ ∑ w >

p Don't die,

mmm... ppp

√ » w >

ukulele

#œ ### œœœ >. sﬀfz

E 12 56

Direct.

Cl (Bb)/ B. Cl.

° ¢&

∑

Players begin playing without any movement whatsoever; after ﬁnishing playing gesture, they should freeze in place as if stuck in the moment that they were in while playing prior to stopping.

3 4

∑

U 3 4Œ Œ

4 4

… U nœ 43 Œ Œ

4 4

…U 3 4Œ Œ

4 4

…U 3Œ Œ b6. 4

4 4

… U 3 4Œ Œ

4 4

3U 4Œ Œ

… U 3 4Œ Œ

4 4

Tenor begins to remove death mask.

4 Œ 4

∑

Ó™

∑

Cl. in Bb

∑

3 4 œ bœ bœ

∑

… œ ‰ Œ

… ‰ Œ

nœ bœ bœ

… œ ‰ Œ

4 bœ bœ nœ œ bœ 4 œ

… ‰ Œ

4 4

… œ Œ

‰ œ bœ bœ

… Œ

‰

Ten. Sax.

Sop. Sax./ Ten. Sax.

° ¢&

∑

3 4

∑

œ œ bœ bœ œ nœ

œ nœ bœ bœ œ nœ

œ œ bœ bœ nœ œ œ œ bœ œ œ nœ

œ œ bœ bœ nœ œ

tongue stop w/air

C Tpt.

° ¢&

∑

3 4 œ™

∑

… ‰ Œ

tongue stop w/air

ord.

œ™

b6.

… ‰ Œ

tongue stop w/air

ord.

4 œ™ 4

tongue stop w/air

ord.

… Œ

œ™

b6.

tongue stop w/air

ord.

‰ œ™

b6.

temple blocks w/HS deadstroke

Perc.

° ¢/

∑

… ggg ‰ Œ

3 4 g

∑

… g gg ‰ Œ

4 4 g gg g

… ggg Œ

‰ œ

œ œœ

ord. w/HS

#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 Mar.

∑

3 4

∑

4 4

∑

‰ Œ

#>œ ™ ?

∑

… ‰ Œ

3 # œ #œ œ #œ &4

∑

… ‰ Œ

# œ #œ œ #œ Œ

4 # œ #œ œ #œ 4

… Œ

œ œ œ œ

# œ #œ œ #œ Ó

‰

ﬀ

Pno.

… ‰ Œ

{

∑

3 &4 œ °

∑

… ‰ Œ

œ œ °

4 œ œ 4 °

… Œ

…

‰ œ œ °

?3U Œ

spoken

a tempo molto f T. Solo

Perc. (Ten.)

° #˙ ™™™ & ‹ had

¢/

sub. pp

sub. molto f

œ. #˙ ™™™ R

œ. #>œ ™ œ. R

for me

∑

sub. p

>œ ™ œ. ¿ ¿ Œ

3 4

∑

4 4

∑

3U 4Œ Œ

3 4

∑

4 4

∑

¯ 3 U œ+ û œû œûœûœûœûœûœû 4 4Œ 4

and let the scribe con - tin- ue.

∑

MST ord. MST

Vla.

°B ¢

∑

o… 3 #œ œo bœ œ œ #œ œ ‰ Œ 4

o œo … #œ œ bœ œ nœ #œ ‰ Œ

o#œ nœ #œ nœ œ #œ #œ … 4 #œ œo bœ œ nœ #œ œ Œ 4

bb Oœ Ó

Oœ

Oœ ‰™

‰

# œ n œ# œ n œ œ # œ … #œ 3 U ‰ 4Œ Œ

4 4

7 7

Db.

°? ¢‹

∑

3 ≤ 4 #Oœ pp

… ‰ Œ

#Oœ≤ pp

… ‰ Œ

4 #Oœ≥ 4 pp

œO≤

… Œ

≤ ‰ #Oœ pp

… U 3 4Œ Œ

F 13

Driving, relentless q = 88 - 92/ h = 44 - 46 With death mask removed, Tenor takes notice of the players; beginning at arrow, he conducts them in tempo with his beating the kkwengari; he is proud & invigorated.

Direct.

4 /4

Cl (Bb)/ B. Cl.

° 4 ¢& 4

2 4

∑ slap tongue

∑

4Ä 4

∑

4 4

∑

ord.

…  ≈

6 >.

≈

≈ 6 >.

# 6. >

n 6. >

6 >.

n 6. >

≈

‰

# 6. >

bœ

2 4 Œ™

nœ

bœ

n 6. >

ﬀf

slap tongue

Sop. Sax./ Ten. Sax.

ord.

° 4 ¢& 4

…



≈ 6 >.

6 6 >. >.

‰ 6 >.

2 4 Œ™

‰ œ œ bœ bœ

6 >.

# 6. >

≈ n 6. >

6 >.

n 6. >

nœ nœ

4Ó 4 œ œ bœ bœ

‰

œ nœ #œ ™

ﬀf pp

tongue stop w/air

ord.

C Tpt.

° 4 #œ^ ¢& 4

œ. œ. œ. œ.

œ.

‰ 3

2 4 Œ™

œ™

deadstroke

‰

midrange cluster

{

˙ f

2 4 Œ™

g g g

 4 4

g g g

∑

#>œ >œ œ œ œ œ œ œ œ œ œ œ >œ

ord.

#œ Mar.

œ™ > fp

…

p lowest possible notes

 4 4‰ 6.

œ™

b6.

° 4Ó ¢/ 4

ord.

œ. >œ™

Perc.

tongue stop w/air

ord.

… œ. œ. #œ. œ. >œ™

? 44

œ œ



œ œ œ œ œ

2 4

Œ & ¿¿¿

¿¿ >¿ ﬀ

4œ 4 >

∑

œ œ >

œ >

œ œ œ >

œ >

œ œ >

œ >

œ œ œ >

>œ û

œû

>œ œ œ œ >œ û û û û û

ﬀp

ﬀ ﬀ

ord. fully chromatic cluster w/ﬁst

“” > > > > 66 66 66 66 66 66 6666

4 &4 Œ

ord.

use both hands

66>666

‰™

… # œ #œ ‰

#œ

2 4 Œ™

‰

#œ

#œ œ



#œ

4 nœ 4 >

3 5

ﬀ

5 3

pp random very low note stopped w/LH

> 666 666

{

? 44

≈

‰

‰™

‰ &

>6 °

>6 >6 >6™



… œ

2 4 Œ™

4 4

∑

4 4

∑

>6 >6

ﬀ

T. Solo

ﬀ

ord. fully chromatic cluster w/ﬁst

Pno.



° 4 &4 ‹

2 4

∑

Tenor may simply conduct, OR play straight 16th. notes, OR improvise on the kkwaenggwari up through the end of m. 69 instead of playing the notated part. Perc. (Ten.)

4 œû œû œû œû œû ¢/ 4

œû œû œû

2 4

 4 >œ >œ œ œ û û û 4

∑

œû

>œ û

œû

ﬀ

œû œû œû œû >œû mf

œû

œû œû

ﬀ

arco MSP

#>6 6 6 6 6 6

pizz.

Vla.

°B 4 ≈ ¢ 4

» #>œ ™

MST

‰™ 3

ﬀ arco MSP pizz.

Db.

°? 4 » ¢‹ 4 nœ > ﬀ

» œ >

#œ >œ ﬀp

‰

o #œ œ bœ nœ

o… nœ #œ nœ 2 Œ ™ 4

# œ n œ # œ n œ œ # œ  ord. # œ 4 >œo 4

>œo >œo

>œo >œo >œo >œo >œo >œo >œo >œo >œo >œo œo œo œo œo œo œo œo œo sim. œ œ œ œ œ œ œ œ

>œo

ﬀ

pizz.

n>6 6 6

III

» #>œ ‰™

arco

‰

#Oœ≤

… 2 4 Œ™

œO≤ J



o 4> 4œ

>œo

>œo ™

#>œ

>œ

ﬀ

‰

fp pp

ﬀ

>œ

Direct.

∑

∑ #œ

Cl (Bb)/ B. Cl.

° ¢& Ó

∑

˙™

Œ #œ pp

Sop. Sax./ Ten. Sax.

° ¢&

˙™

<#> w

pp f

C Tpt.

° ¢& œ

#œ

œ œ œ œ >œ >œ >œ >œ œ

#>œ >œ >œ >œ œ

#>œ >œ >œ >œ Mar.

#>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 >œ >œ >œ

≈

nœ œ œ > > >

> > > > œ œ œ œ œ

#>œ >œ œ

n>œ

>œ >œ

‰

>œ

œ œ

>œ >œ >œ >œ >œ > > > œ œ œ œ

n>œ œ

œ œ

>œ

> > œ œ

Pno.

{

∑

T. Solo

° & ‹

∑

Perc. (Ten.)

¢/

œû œû >œû

¯ œû œû œû œû >œû mf

Vla.

œ+ û

¯ œû œû >œû

œû œû ≈

œû œû >œû

œû œû >œû œû œû œû œû œû œû œû >œ ™û

ﬀ

>œ >œ >œ >œ œ œ œ œ o o o o n>œ >œ >œ >œ œo œo œo œo °B ¢ #>œ >œ >œ >œ œ œ œ œ œ œ œ œ œ œ œ œ

>œo °? ¢‹ #>œ

‰ >œ

>œo

>œo.

I o n>œ

>œo

œ¯ û

œû œû ‰

œ >.

œû

‰

>œo >œo œo œo œo œo œo œo >o >o o o o o o o œ œ >œo >œo >œo œ œ œ œ œ œ œ œ

o n>œ

o œ>

‰

>o œ

‰

>o œ

>œo ‰

œ œ œ œ œ œ œ œ œ œ

ﬀ

>œ

≈

>œo ≈

œ+ û

œû

œ¯ û

‰

œû

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 >o œ

> #œ

‰™ >œ pp

sﬀz

>œ

>œo. ‰

#>œ

∑

Db.

œ+ û

Direct.

∑

5 4

∑

Gently lean on tied notes to create throbbing or pulsating articulation inside texture.

˙™

#œ Cl (Bb)/ B. Cl.

° ¢&

-˙

>œ

-œ

-˙

5 4

#œ

Œ #˙ f pp

Gently lean on tied notes to create throbbing or pulsating articulation inside texture. Sop. Sax./ Ten. Sax.

° ¢& #w

5 4

˙™

œ >

˙-

œ-

˙™ -

-œ

-˙

Gently lean on tied notes to create throbbing or pulsating articulation inside texture.

C Tpt.

>œ

° ˙™ ¢&

bœ

° ¢/

∑

∑ #>œ >œ >œ >œ œ

>œ Mar.

#>œ

#œ œ œ

nœ œ œ œ ‰

œ™

T. Solo

Perc. (Ten.)

œ >

n>œ

>œ

œ >

>œ

ﬀ

> > œ œ >œ œ >œ œ œ œ

n>œ

>œ

° & ‹

œœ

œ œ ‰

>œ œ œ œ œ œ œ œ >œ ™û ûûûûûûûû ¢/

<#> w °? ¢‹ f

œ œ œœ œœ

>œo >œo >œo >œo >œo

œûœû‰

œ œ œ œ >œ

œœœœœ

œ œ

#>œ #>œ >œ >œ œ

œ œ

œ œ œ #œ œ œ

œ œ œ

œ œ

>œ

‰

œ¯ û

œû

‰

œœœœœ

‰

¯ œûœû>œû œûœûœûœû>œû

>œo # œ œ œ œ œ œ œ &

œ œ

>œ sub. ﬀ

>œ

‰

œ >

nœ

œ œ

¯ œ+ û œûœû>œû

œ ‰ > >œ

‰

œ œ

>œ

>œ ™ nœ œ ‰ ™ >

≈

œ œ ‰

œœ‰

#>œ >œ

#>œ

>œ

> ≈ œ™

‰

nœ œ ≈ >

5 4

œ+ û œûœû≈

œûœû>œû œûœû >œ

>œ œ œ œ >œ ûûû û û

‰

œ œ

œ œ œ œ

œ œ

sub. pp

œ #œ œ œ

>œ

5 4

∑

¯ œû œûœûœûœû>œû œû >œû œû >œûœûœûœû>œû œûœû œû œû>œû œûœûœûœû>œû mf

5 4

#>œ ™

ﬀ

œ œ œ œ œ

>œ

∑

ﬀ

>œ

‰

? &

n>œ >œ

œœ œœœ

ﬀ

sub. pp

>œ

∑

sub. pp

Db.

œ œ œ > & #œ

∑

œ nœ œ ‰ ™ >

#>œ

>œ

#>œ

œ œ

ﬀ

Vla.

#>œ #>œ >œ >œ œ

5 4

œ œ >œ >œ œ >>

‰

°B ¢ #œ

‰

Pno.

{

œ œ

5 4

∑

œ œ

& nœ œ œ™ >>

∑

#œ œ œ œ œ œ

>œ

5 4

Perc.

-˙

ﬀ

¯ œ+ û œûœû>œû

œ+ û œûœû≈ œûœû>œû œûœû 5 4

ﬀ

#>œ

>œ

>œ >œ >œ >œ œ

>œ >œ >œ >œ œ œ

#œ

œ œ œ œ

œœœœœ

œ œ œ œ œ œ

œ-

œ œ œ

œ œ

5 4 œ

ﬀ

Gently lean on tied notes to create throbbing or pulsating articulation inside texture.

˙™

5 4 #œ

œ >

ﬀ

˙-

˙™ -

G 16

Untethered, wandering q = 48 - 50

Tenor immediately stops conducting once players freeze after playing ﬁnal phrase in measure. 74

5 /4

Direct.

∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

4 4

√ ∑

… Cl (Bb)/ B. Cl.

° 5 µ-˙ ™ ¢& 4

-˙

-˙™

poco f

bœ

nœ

sub. ppp

… Sop. Sax./ Ten. Sax.

° 5 ¢& 4

˜ ˙- ™

˙-

˙- ™

bœ bœ

nœ

pp poco f

sub. ppp

tongue stop w/air

C Tpt.

° 5 ¢& 4 ˜˙- ™

˙-

…

œ™

˜˙- ™

b6. poco f

sub. ppp

… Perc.

° 5 ¢/ 4

∑

#œ #œ

#>œ

5 Mar. & 4 {

#œ #œ

‰

‰™

≈

œ.

5 &4 ‰

‰

≈

‰

≈

… #œ ≈

#œ

#œ.

œ 5

mp ppp

Pno.

{

? 45 Œ

‰™

. #œ

‰

…

≈

# œ.

œ .

nœ

nœ °

spoken

Tenor puts down kkwaenggwari and mallet; turns and addresses the audience

T. Solo

° 5 &4 ‹

∑

4 4

∑

√ ∑ Item: I bequeth my entire estate to Antonia Quixana, my niece, and I want to pay the salary owed to my housekeeper for the time she has served me, plus another twenty ducados for a dress. As executors, I appoint the priest and Bachelor Sansón Carrasco.

Perc. (Ten.)

5 >œû œû œû œû œû œû œû œû >œ ™û ¢/ 4

œ¯ û

œû œû ‰

œû

‰

œû

‰

œ+ û œû œ¯ û

‰

œû

‰

4 4

√ ∑

… œo 4 4

√ ∑

œû

‰

MST

Vla.

° 5 #œ ¢& 4

œ o œ

#œ

o œ

œ o œ

o œ

‰

#œ

o œ

bœ

œ #œ

ppp

… Db.

°? 5 ¢‹ 4 µ˙ ™ pp

#Oœ≤ ˙-

˙-

˙ mf

sub. ppp

4 4

√ ∑

17 Tenor ﬂicks his hand to the ensemble, as if to shoe them away or to halt them from proceeding; they react by playing & stopping. 77

√ Ó™

/ Œ

Direct.

∑

sorrowful, weary Cl (Bb)/ B. Cl.

° ¢ & œ bœ bœ

… ‰™

3 3 3 3

nœ

‰

#œ œ

… 3 ° ‰™ & ¢ œ œ bœ

3 3 3

piu ppp

Sop. Sax./ Ten. Sax.

3 3

√™ Ó

‰

œ #œ ‰

œ œ

‰ #œ œ

œ œ nœ

bœ bœ œ

√™ Ó

∑

… ‰™

√™ Ó

∑

… œ œ ‰™

√™ Ó

∑

piu ppp

ord.

C Tpt.

° -œ ¢& piu ppp

Perc.

° œ ¢/ piu ppp

Perc. enters on the words "to forgive the occassion..."; player proceeds in tempo as tenor ﬁnishes. w/SS

dreamy

#œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ √ Ó

Mar. & Œ {

#œ œ œ œ œ œ œ

> 3 #>œ œ œ œ œ # œ œ œ œ œ œ œ œ œ > ≈ nœ œ œ œ œ œ

#>œ œ ≈

“” #œ

# œ. œ.

bb œœ ™™

œœ

œœ™™

n œœ œœ™™

nœœ^ œœ

≈

… œ ‰™

{

& œ

≈

“” . #œ œ. œœ # œ. œ. œ. œ. œ. œ. œ. n#œœ ®

nœ œ œ œ œ œ œ #œ œ œ œ œ >

nœ œ

dreamy

poco sfz

œœ

œœ J

œœ

> #œœ ™™

œœ ™™

# œ. œ. œ. œ. œ. n œ. bœ bb œœ ™™

nœœ #œœ

sub. mp

œœ n œœ ™™

poco sfz

sub. p

√™ Ó

∑

œœœœ

#œ

#˙

Ó ˙

œ pp

Tenor will continue talking after the marimba enters and instruments proceed to play; tenor will ﬁnish speaking as the instruments are playing.

T. Solo

Vla.

√™ Ó

° Œ ¢& ‹

∑

Item: I implore the aforementioned executors that if they are fortunate enough to meet the author who, they say, composed a history entitled "The Second Part of the Exploits of Don Quioxte of La Mancha," that they ask him or her for me, as courtiously as possible, to forgive the occassion I unwittingly gave him or her for writing so many great absurdities, because I depart this life with qualms that I have been the reason he or she wrote them.

#œ nœ #œ œ … √ °B ≈ ™ ‰ Ó™ ¢

ord. sighing

#œ ™

-œ

œ J

œ™

#˙

‰

‰ pppp

œ J

b œ- ™ mp

piu ppp III dreamy Db.

°? Oœ ¢‹ piu ppp

… ‰™

√™ Ó

≈ nœ œ

“” # œ.

poco sfz

pp 5

piu ppp

Pno.

#>œ œ œ œ #œ œ œ

> ® nœ œ œ œ œ œ œ

6 3

… œ ≈ ‰ √ Ó™

œ œ œ > 3 nœ œ œ œ ‰

# œ #œ

#œ œ

#>œ œ

∑ & ‹

o ˙™ v fpp

#˙o Œ

Œ pp

œœ