guilty pleasure (excerpt)

Tobias Fandel guilty pleasure (2018-2019) for Chamber Ensemble

score

dedicated to Moon Young Ha and ensemble mise-en

Instrumentation Flute, also Piccolo Clarinet in B-flat, also Clarinet in E-flat (Boehm system) Violin Violoncello Piano Percussion (Triangle, Tam-tam, Crotales, Glockenspiel, Tubular Bells, Vibraphone, Suspended Cymbal) 6-channel click track, or 7-channel click track (conducted version) Conductor (optional)

Transposed Score

Duration: 11.5 minutes

First Performance: guilty pleasure was premiered by ensemble mise-en as part of the 2019 Mise-En Music Festival in the City of New York.

Performance Directions guilty pleasure utilises a poly-tempo architecture based on a click track, which encompasses several ensemble configurations within a network of diverging tempi. The piece can be performed in two different versions: The conducted version includes various subgroupings of synchronised tempo layers which are directed by the conductor or the indicated players. The precise linkage and superimposition of these situations are embedded into the specific 7-channel click track version. For each group configuration the leading performers are indicated in the score and parts, and only they receive the tempo for the corresponding section.

The autonomous version is free of subgroupings, with all players following their own click track channel, which contains all tempo processes and changes, without leading, following, or connecting to any other performer. For this version in particular, a well defined consistency alongside a common approach towards dynamics, precision in articulation, and sound duration is essential.

The conducted version is intended to be staged in a regular concert setup, whereas the autonomous version allows for a range of spatial arrangements. For recordings, the successively playing of all instruments, or the subgroupings respectively, is suitable.

Technical Requirements and Setup For the technical setup of the click track, all players must be provided with headphones, earphones or in-ear monitors. Both wired and wireless synchronisation methods are feasible and equally suitable. The best possible setup ensures that: all performers are able to follow the click track effortlessly without the clicks being perceived by any other player or the audience, while still being able to hear all the instrumental sounds. The concrete click samples have a major influence on the aforementioned considerations. Dry and gentle resonating samples carry the clicks effectively without interfering. In case a player follows the click track with one ear only, the audio playback shall be allocated to this particular output channel, with the other side being muted. The click track audio and midi files are available upon request and can be modified and adjusted to meet the players’ needs.

Universal Tempo markings, changes and processes (accel. - accelerando, rit. - ritardando) should be followed as precisely as possible, additional tools might complement and aid rehearsals, performances, and recordings.

For prolonged sections subjected to a single tempo process, the targeted tempo is given alongside the starting tempo.

The process should be as continuous and steady as possible, until the tempo marking for the aimed tempo is indicated.

The concert pitch (A4) with a tuning in 443 Hz or 444 Hz is preferred.

The score is transposed. All instruments are displayed in the commonly used transpositions, equivalent to how they are depicted in the parts.

Each accidental affects only the subsequent note and each note always has one accidental attached to it, with the exception of pitchless, tied, or successively repeated notes.

All durations should be realised as precisely as possible, without added processes of timbres or dynamics unless indicated. Grace notes should always be played before the beat, curtailing the previous sound if necessary.

Vibrato of any intensity should only be applied if explicitly stated. (vibrato, poco vibrato, molto vibrato, exaggerated vibrato) For all trills (harmonics, timbres, bisbigliando, tremolo, multiphonics), the auxiliary notes are always indicated, except for certain timbre and multiphonic trills specified by fingerings.

Noteheads which differentiate specific playing techniques are only applied as crotchets or smaller note values. Minims or semibreves are not used for these noteheads.

Single diamond-shaped noteheads representing harmonics and air-sounds are applied to all note values, except for minims. For harmonics depicted with the fundamental tone or air-sounds with the transposition, the small sized regular notehead differentiates between crotchets and minims, so that all values can be distinguished without exception.

Triangular noteheads far above the staves and without ledger lines represent very high but undetermined pitches.

Noteheads in reduced size either indicate fingerings or resulting pitches of certain transposing techniques, or signify the volume differences in multiphonics and chords.

Additionally, very subtle and nearly silent tones or passages might be visually aided by small noteheads, such as the ending of diminuendo al niente.

Quarter-tone accidentals, denoting tempered quarter-tone steps implemented into the twelve-tone equal temperament.

Eighth-tone accidentals, either indicating contextual micro alterations relative to the tempered quarter-tone grid, or applied to approximate representations of partials and multiphonics.

All glissandos (tones, harmonics, teeth-on-reed, embouchure, fingering) should begin immediately and connect from start to finish as evenly as possible with constant speed. The distance is either indicated by a targeted notehead, or by a relative distance, as stated by the added accidentals.

Slurred glissandos in a single motion and articulated glissandos with intermediate attacks.

Even and seamless transitions of articulations or playing techniques, also in combination with glissandos. msfz - mezzo-sforzato, sfz - sforzato, sffz - sforzatissimo: subtle, strong, or very strong accents with emphasis, independent of the surrounding dynamics.

Targeted dynamic marks on a rest sign, suggesting the loudness of an imagined sound and implying its virtual physicality.

Accented rests imply an active and metrical interruption of the previous sound, or a metrical "weight" as a physical impulse for the following playing action.

Rests in parentheses hint at possible positions for unobtrusive breathing gaps.

Muting sign, used for metrically damping of the prior produced sound, or for muting of specified strings for particular techniques.

Smaller sized dynamic markings in parentheses attached to regular dynamic markings indicate the effective loudness of certain techniques that require distinctly more physical energy for the production of this sound than the result would imply. The ordinary dynamic marking hints at the player’s effort.

Crescendo dal niente. Diminuendo al niente.

Dashed hairpins indicate a sounding process in contradiction to the physical effort required.

Hairpins in parentheses hint at a musical connection, although the implied process is not audible.

Dashed slurs denote a best possible legato, differing from the technical execution.

Flz. - flutter tongue, production with tongue or glottis ad libitum unless specified: Flz. (t.) - with tongue, Flz. (gl.) - with glottis

All phonemes refer to the International Phonetic Alphabet. All graphemes are explicitly specified with corresponding language and examples. Both types are displayed in square brackets.

Flute (1/2)

multiphonics are labelled with their corresponding module number1, notation partially simplified

pizz. - pizzicato, production with lip or tongue ad libitum unless specified: pizz. (l.) - lip pizzicato, pizz. (t.) - tongue pizzicato

Flz. - flutter tongue, production with tongue or glottis ad libitum unless specified: Flz. (t.) - with tongue, Flz. (gl.) - with glottis

t.r. - tongue ram: fingering indicated by diamond-shaped notehead, resulting pitch displayed as wedge-shaped notehead

aeolian sound/aoel. - blowing over the embouchure hole without lip tension and without phonetic colouration

air - air sound, embouchure open or fully enclosed as indicated, blowing of phonetically coloured air noise over the embouchure hole or inside the embouchure hole (phoneme denoted in brackets), seamless transitions with normal tones regulated by the lip tension

1 Levine, Carin, and Christina Mitropoulos-Bott. Die Spieltechnik der Flöte. Kassel: Bärenreiter, 2002.

Levine, Carin, and Christina Mitropoulos-Bott. Die Spieltechnik der Flöte II: Piccolo, Alt- und Bassflöte. Kassel: Bärenreiter, 2004.

Flute (2/2) w.t. - whistle tone, emulating the shape pictured by the lines above the staves

t.wh. - tongue whistle: embouchure plate fully enclosed, half embouchure hole filled with tongue, blowing over the tongue into the open section of the embouchure hole

key clicks/k.c. - closing the indicated key with a percussive attack, embouchure hole open or fully enclosed as stated, always without air

jet - jet whistle, emulating the shape pictured by the arrow with the phonemes in brackets attached, or with a single timbre produced by the constituting phoneme

tpt.e. - trumpet embouchure, square-shaped notehead indicating approximated pitch

Clarinet (1/2)

multiphonics, identified by corresponding module number2, notation partially simplified to enhance legibility

slap - slap tonguing followed by the normal produced tone, indicated by the added small-sized notehead, also combined with multiphonics

secco slap - slap tonguing of indicated pitch, without opening the embouchure or tieing a further tone

open slap - opening the embouchure right at the instant of the slap tonguing to enable the full resonance

air - air sound: exhaling phonetically coloured air noise with indicated tones and phonemes displayed in brackets

2 Rehfeldt, Phillip. New Directions for Clarinet. Berkeley: University of California Press, 1977.

Richards, Edwin Michael. The Clarinet of the Twenty-first Century. S.l.: S.n., 1992.

Clarinet (2/2)

teeth on reed - embouchure with the teeth lightly touching the reed, very high, but undetermined pitches, unaffected by the fingering stated with diamond-shaped noteheads, embouchure diagram hinting at contact point and pressure

teeth on reed glissando - indicated by glissando direction and covered interval distance as stated with the accidentals

Violin and Violoncello (1/4)

open, muted, muted (string indicated), muted (all strings)

T-P brushing tremolo - fast alternating the contact position of the bow between fretboard and bridge, all strings muted

natural harmonics - specified with small numbers in brackets, always referring to the corresponding open string as fundamental:[2]=octave; [3]=octave+fifth; [4]=2 octaves; … ; [8]=3 octaves; [9]=3 octaves+second; … ; [x]=very high but undifined harmonics

harmonic trill (two variants): a - root of artificial harmonic is released slightly to create a natural harmonic in the same position; b - unlike ordinary trills, both fingers must touch and release the string, to enable two natural flageolets to occur

timbre harmonic trill - fast alternating of harmonic touch and slightly releasing touch (open string), so that both the harmonic and the open string gets hardly enough time to resonate, with the velocity depending on the specific resonances

Violin and Violoncello (2/4) M - multiphonic3: finger contact similar to natural harmonics, bowing slowly and with slightly more pressure, "deep" in the string with ord. or poco sul tasto contact point, using all hair (not the edge) and bowing strictly parallel to the bridge might enhance stability; present harmonics indicated similarly to natural harmonics

The following chart depicts the touching positions and resulting pitches of natural harmonics and multiphonics on the Violoncello C-string for the lower octave. For all the other strings and on all other string instruments, the positions and resulting pitches can be derived by transposition.

3 Maurer, Barbara. Saitenweise: Neue Klangphänomene auf Streichinstrumenten und ihre Notation - Eine Anleitung. Wiesbaden, Breitkopf und Härtel, 2014.

Fallowfield, Ellen. Cellomp. https://cellomap.com/ [accessed: Jun 29, 2021].

Violin and Violoncello (3/4) bridge, edge, scroll - pitchless bowing, notated over the 5th staff line and without accidentals, always as crotchets bridge (pitchless bowing directly on the bridge) edge (bowing on the edge of the instrument body) scroll (bowing on the scroll)

split tone - "carving out" high partials by subtle changes in the bowing position (poco, P)

crunch - crunching, cracking or squeaking sounds, slow bowing with severe overpressure, on indicated open or muted strings,

and on stopped tones, indicated by square noteheads, over the fretboard (T) dry and pitchless, near and over the bridge (poco, P) strident with spectral components

harmonic pizzicato - releasing the harmonic touch in the instant of plucking

pitchless Bartók pizzicato on indicated string, all strings muted while snapping

Violin and Violoncello (4/4) pizzicato behind the bridge on indicated string

pizzicato fluido - left handed pizzicato, the pitch is created by placing the tension screw of the bow right on the string before plucking with the left hand.

If the screw is right on the bridge, the pitch corresponds to the open string, if the screw is moved towards the top nut, the pitch rises, exactly opposite to the normal tone positions

vertical bowing - bow along the fretboard, with the position of the bow indicated by the circle-dot noteheads; no ordinary motion of the bow between frog and tip unless indicated differently

cutting air - holding bow upright, bowing stick rapidly cutting through the air - forwards, backwards, left, right, diagonal; tightening the bow hair with the index finger might sharpen the sound

Piano (1/2) P - pedal, mP - middle pedal (sostenuto pedal), u.c. - una corda

releasing the depressed key so quickly, that it pops up back into position, causing a subtle percussive noise, XXX for keys with dampers, XXX for keys without dampers

staccato simulated by pointed and noisy attack, XXX fingernail touching the key, XXX plectrum touching the key

half depressed sustain pedal, enabling filtered resonances

fast and percussive depressing of the sustain pedal without touching beforehand, rich resonances emerge, with the aimed dynamics hinting at the energy level

metrically muting the resonances with the pedal

silently depressed keys, denoted by diamond-shaped noteheads

Piano (2/2) i.a. - indirect attack, the key is pressed in advance silently half way until the pressure point is reached, then with a fast attack fully depressed until the bottom of the keyboard, resulting in a very soft tone

slightly muted attack: with the spare hand lightly muting of the relevant strings while pressing the notated keys

guero - steady scraping along the outer edges of the white or black keys, indicated by the added accidentals, with fingernails unless stated otherwise

keys percussion - playing on the surface of the keys with a pointed and percussive attack (keys entirely depressed throughout)

square noteheads - strike on the inner frame braces (black noteheads) or on the tuning pins (white noteheads) with a triangle beater or spoon, find three different timbres: high (over the staff), middle (on the staff), low (under the staff)

XXX - spoon , XXX - triangle beater

Percussion Crotales

triangle beater

Glockenspiel

drumstick

Vibraphone

jazzbrush

Tam-tam

soft mallet

Tubular bells

medium soft mallet

Triangle

hard mallet

Suspended Cymbal

soft hammer

Suspended Cymbal (on edge)

bow

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circular motion

arco (scraping) - hard mallet scraping back and forth on indicated key (placed silently on key beforehand)

harmonics (Vibraphone) - dampening the notated key (diamond-shaped notehead) with a finger right in the middle while hitting the key, the resulting pitch sounds two octaves higher

dedicated to Ensemble Mise-En

guilty pleasure

Tobias Fandel

K2 Conductor

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Ÿï ~~~~~~~~~~~~~ ñ _ïï ïó ñ # nœ B œ #œ #œ #œ §

D

Œ

p

pp

II

mp

Flz.

R

&

F

>

≈

ppp

…>

mf

&

nnœœ ®

#œ

≈

nnnnOeOe

n>e

pp

OeO e

Œ

Œ

Œ

Œ

. . . . . n O. . #O. #nOe nO. nnOe #O. nnOe #O. nnOe n O nnOe ne ‰ n e n e n e n e ne 11

#œ #œ

o

pp

» n O. ne

pizz.

>

‰

o

mf

?

>

slap

». n#Oe

arco ppp

. ™™ > nnO ™™ e ®

Œ

pppp

&

nœ #œ

ppp

‰ …

: œ

#œ

pp

ord. ppp

‰™

Œ

col legno (tratto)

o

≥

#µœœ nœ

Œ > n# œœ nn Oe Ÿo ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ ppp

o;

sfz

… ‰

O

sfz

≤

≤

≥

#e

o

ppp

mf

». nnOe

pp

pizz.

p

p

e

œ

+. #O nnœœ n e

Oe Oe nnOe Œ Ÿ~~~~~~~~~~~~~~~

o

ppp

pizz. mp

o

nO #nnOee

(pizz.)

#œ.

Œ

Œ

+ . nœ Oe

n nœ

Ÿo ~~~~~~~~~~~~~

Œ

>

arco pp

#œ nœ n œ.

sfz

… ‰™

sfz

… Œ

pp

nn œœ

(mP)

√ – &

arco

#œ

ppp

‰

#œ

arco

mp

A¡ nn œœ nœ

‰™

ppp

P

— 5 —

“ #œ

ppp

‰

…

√ nœ

mp

/ 358 365

~~~~~~~~~~~~~~ Œ nO Äolston poco vibrato

Œ

&

Œ

#œ.

pp

p

‰™

Ÿó ~~~~~~~~~ §óñ _ïï ïï # B œ : kl ee ; µœ : µK e..e ;

§

C

ppp

ïïï § ïïï § ïïï § ïïï § ïïï ï ï ï ó ï óï # ïï # óï ïï ïó

Äolstöne

D

Œ

595

_ _ _ _ _ D

C

C

510

nO #O µO µO˜O 5

Œ

‰™

C

Œ

#œ.

pp

pppp

§ Ÿï ~~~~~~~~~~ §ï _óó óó # µ œ #œ nœ B œ A

D

t. r.

nO b ã>¥

p

mp

Ÿ~~~~~~~~~~~~~~~~~~~~~~ ï ïï b _óï L # ïï # # œ œ L < e n e # .> l œ : lœ ; ææ (Flz.)

ï ïï _ïï # óï ˜œ Kœ 103

259

R

258

C

&

open slap

ΠIV

p

+ +

+ + +

pizz.

#œ. nœ nœ #œ nO nœ. #œ. nœ nO . . . .

Œ

13

ppppp (col legno tratto)

arco

?

nnOe

ppp

Œ

&

nO #O ™ nO M 3|4

O

ne ® ne ™ ne

e

>

nO

O n O n O: § ;

secco slap

>

. n >.

‰

#nnœœœ .

Œ

P

nœ nœ

pp

Œ

Œ

~~~~~~~~~~ 2|7 nŸO ¿ #O ne ne

pizz.

M

>

Œ

>

Œ

pp

sfz

… ‰

ppp

n#œœ . pp

o

…

»

nn Oe.

mp

sfz

‰™

. nnnOe O. n e

… ‰

p

#œ nœ

Œ

r n Ofi ne p

Œ #œ nœ

Œ

ppp

√¡ A — 6 —

nœ ## œœ

nO e

nnOe

ppp

U nnOe o

arco M 2|7

µO ne

O e

o

ni.œ.a. #œ #œ nœ ç

…™™ ‰ sfz

nn Oe

p

U nœ n# œœ

pp

ppppp

sfz

G

p

o

A ª

&

Œ

pp

mp

… ‰™

‰™

Ÿ~~~~~~~~~~~~~~~~~ #œ n#Oe Œ nn œœ .

pp

o

G

ppp

ord.

nœ

(mP)

mp

pizz.

mp ppp

Œ

#>e

slap

Œ

n >.

pp

&

A

“ ppp U nœ #œ #œ pppp

‰

nnOe

pp

U™ ‰

K4

/

óï óó óó # nœ #œ

784

&

q≈106 GP

Œ

Äolstöne

Œ

Œ

nO

B

7

l. p.

Œ

nO #O #O #O nO #O

Œ

n>

p

ppppp

7

Œ

~~~~~~~~~ Œ #œ

D

poco vibrato

Œ

pp

ï ïï _ïï # ï #ï Lnœe nœ

nœ

Œ

ppp

Œ

p

óï ïï óï

Äolstöne

§

_

nO

Œ

§

_ D#

9

#O #O nO nO #O nO #O

#O

pppp

&

Œ

Œ

Œ

œe œ

pp

Ÿ~~~~~

q≈69

‰ ##œœ n#Oe ##Oe

Œ

&

pp

Œ

Œ

Œ

Piccolo

Œ

Œ

ï ïï _óó óó nœ ke µœ

Œ

3

F

Œ

D

387

C

q≈61 GP

óï ïó óï #

_

Œ

Œ

>

Œ

‰

Œ

Œ

Œ

Œ

pp

Œ

fij nœ

nœ # œœ

…> ‰

‰ ™™

Œ

molto sul tasto

#nœ. œ Œ nœ >

mp

(III)

mp

Œ

…

Œ

Œ

Pn. + Perc.

nœ

? Œ

q≈90

&

&

molto

ppp

q≈69

Œ

q≈69

Œ

pp

vibrato ~~~~~~~~~~~~ œ > Œ

Π#O

Œ

ΠO

Œ

#œ

Œ

mp

nœ ## œ œ O

Œ

o Œ

# œœ

Œ

œ

Ÿ~~~~~~~~~~~~ n œœ n O ne p

ppp

Œ

Œ

poco vibrato ~~~~~~~~~~~~ #œ Œ & nœ

sfz

… Œ O

Œ

‰ … sfz

Œ

Œ

Œ

Œ

#œ

pppp

ppp

sfz

… ‰

Œ

Œ

Œ

Œ

Œ

Œ

√ ppp

nœ nœ œ # # œ

pp

— 7 —

ç #nnœœœ

i. a.

pp

…Œ œ

>

‰

sfz

… ‰

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

/

&

Œ

Œ

Œ

Œ

ï § ï _ïó ïï µœ

Œ

ïó _ïï ïï µœ #

Œ

mp

ï ïó _ïó ï #ï ˜œ

Œ

Œ

D

Œ

ï óï _ïó óó µœ ˜e Lœ

&

‰™

p

Œ

Œ

Œ

mp

Œ

Œ

Œ

Lœ

Œ

Œ

Œ

ï óï _ïó ï # ï ˜œ

Flz.

F

Œ

Œ

Œ

Œ

ppp

n#Oe

III

nO Œ #nnOee ¿ Ÿ~~~~~~~~~~~~~ o

Œ

Lœ ææ

Œ

mp

ppp

Œ

Œ

277 R

ord.

&

Œ

3

F

#œ.

Œ

400

R

Œ

Œ

p

277

ïï ïï ïï o Le KO _

§

Œ

Œ

Œ

Œ

Œ

Œ

Œ

>

Œ

‰

pppp

p

& Œ

&

Œ

Œ

Æ ##œœ

Œ

mp

ppp

&

n##œœ n œœ

pppp

‰ …

œ

Œ

…™™ ‰ sfz

Œ

Œ

nnOe

(3+)

Œ

Œ

pppp

Œ

Œ

“”

Œ

nn œœ pppp

Œ

#nOe

pppp

Œ

Œ

Œ

Œ

Œ

©pppp A ¡ Œ

Œ

Œ

Œ

Œ

Œ

n#nœœœ

ppp

A ) — 8 —

sul pont.

(3-)

nnOe p

Œ

… Œ

Œ

‰

Œ

nnOe ™™ ord.

(3+)

Œ

≈>

mp

Œ

Œ

>

≈

# >œ ™

œ

pppp

Œ

Œ

… ‰™ sfz

Œ

ç A ) #œ p

/ n œ.

w. t.

&

Œ

nœ

Œ

Œ

nO

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

pppp

Œ

"upbeat"

p

ï ïï _ïï ï # ï µk œe ™™ ˜œ ™

t Ÿ~~~~~~~ ï § ïï _ó # óó # # #œ ™ P#œ ≈ G

‰

D

Œ

D

pppp

n Ϯ

‰™

Œ

n eo nO

Œ

p

mp

A3-3 RA

˜1

G

&

&

Œ

Clarinet in E- at

Œ

Œ

Œ

Œ

Œ

Œ

Œ

>

Œ

≈

& Œ

Œ

Œ “”

&

Œ

Œ

Œ

Œ

Œ

i. a. nn œœ

ç pppp

Œ

Œ

Œ

7

7

mp

‰™

n#

n#

pppp

mp

poco sul pont.

## Oe IV

≈

Œ

M 3|4

n#Oe

Œ

Oe

pppp

‰™

nnOe

sul pont.

p

Oe

>

‰

Œ

Œ

Œ

mp

Kn œ¯

n#Oe

‰ o

Œ

p

≈ nnOe ™™

Oe

ord.

mp

#n œœ

Œ

© #œ

Oe

Œ

ç pppp

‰

Œ

n Ϯ

Ϫ

p

Œ

º

i. a.

Œ

Œ

7

p

pppp

&

n#

≈

˜.

1

˜ 1

Œ

Œ

P

Œ

Œ

— 9 —

Œ

‰™ >

>

®

##Oe (5)

Œ

≈>

n Ϯ p P

ç A > ) nœ. ‰ ™ mp

‰>

mp

º

sfz

…sfz

Œ

Œ

‰™ >

sfz

Œ

nnOe ™™ o

Œ

Oe

p

nnOe

Π>

mp

Œ

… sfz

Œ

– nœ

arco

mp

‰

…

/

ïï _ïó # ïï µœ Lœ

ï § ïï _ó ïï µœ gliss.

229

&

&

Œ

#œ.

Œ

p

p

&

Oe nO ne

‰

Œ “”

&

&

Œ

Œ

‰

Œ

‰

pppp

n œ.

Œ

n#n œœœ

mp

Œ

Kn œ¯

‰

mp

o

(3-)

#n Oe o

Œ

A¡ nœ p

n# Oe

(3+)

Oe

nb Oe

® nO ™ #n Oe # e™ mp

#œ p

Œ

Oe

mp

Ÿ~~~~~~~~~~~~~~~~~

i. a.

ç pppp

Œ

(3-)

o

p

Œ

Œ

KO

‰

#œ

Œ

mp

p

_

D

Œ

nœ

‰™

p

# OÆ

>

Œ

ne

≈

n>œ

Œ

mp

Œ

‰

mp

ppppp

air

b e ne b œ b œ

b ‚ nO

# ~~~~~~~~~~~~~ œ poco vibrato

®

mp

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ Oe nn Oe bnOe e

nnOe

Œ

b‚

Œ

mp

11

nO nO b ‚

n eo nO

Œ

‰

tone

air

p

Œ

C

Œ

#œ

Œ

mp

Œ

_

p

mp

sfz

>

≈ ##Oe

mp

Œ

© A ) #œ p

ïó ïï ïó ˜œ b

ord.

e

>

ïï ïó óï # ##œœ 219

§

_

D

# œ.

Œ

ïï ïó óï # L l#œœœ 220

§

pppp

‰™

Ÿ~~~~~~~~~~~~ ##Oe n#Oe n#Oe

>

##Oe

Œ

Œ

poco sul pont.

Ÿ~~~~~~~~~~~

pppp

mp

Œ

mp

nb Oe

nnOe

Œ

n eo nO

G

mp

nœ

nœ

ord.

&

‰™

§

≈ Œ

Œ

Œ

nO ™ ≥

# e™

pppp

. #n#œœœ p

>

sfz

®

‰™ …

≈ # #Oe ™™

(3+)

p

Œ

o

>

Œ …

mp

ΠP

pppp

nœ ¿

pppp

A ¡ Ù — 10 —

≈ nµ eO 8va

Œ

…

#nœœ ç

pppp

Œ

Œ

:

n#Oe ™™ (3+)

p

"espressivo"

i. a.

sfz

Œ

(2+|3-) nœ

œœ

ç nœ mp

#œ

; p

Œ

pppp

Oe nnOe Œ

mp

>

##Oe mp

Œ

Œ

© #œ

… Œ

p

Œ

/

ïï ïó óï # Ll#œœœ 220 §

_

&

&

D

#œÆ ‰ ™

Œ

Œ

mp

p

˜1

µ

7

p

pppp

#œ p

&

&

#Oe

(4>)

(3+)

o

p

/Oe 0

“” &

Œ

ºÆ

nœ ™ #œ

mp

P

&

##™

≈

7

Oe

pppp

nnOe

Œ

##Oe

>

mp

>

Œ …

A ª

Œ

7

7

7

#

>

‰

#

nO #O #O #O nO #O nO

Œ

p

‰

Œ

p

sfz

… ‰

## œœ

Œ

mp

œ ‰

>

3

#nOe

Œ

o

(3+)

#Oe

p

Œ

Œ

˜1.

Œ

Oe

nOe

mp

>

nb Oe

p

Œ

Œ

Œ

sfz

P

n#œœ

#œ

mp

A )

‰

Œ

ç A 6 #œ mp

‰™

>

œ

≈

… …

sfz

>

sfz

Œ

ne

mp

Œ

n# œœ

A• ˇ — 11 —

mp

p

Œ

P

Œ

## æ

7

pppp

o

> #O ® ne ‰

##Oe

mp

p

ç pppp

Œ

p

Œ

˜1

Œ

i. a.

A ¡

nœ Œ ¿ fifififififififi fifififi pppp

#œ

(3+)

pppp

Œ

#œ

#O

Oe

o

Œ

M 3|4

mp

##Oe ™™

Œ

o

p

mp

pp >r fi nœ

‰™

7

(3+)

Œ

Flz.

n#

Œ

Œ

p

ppppp

Œ

sfz

‰

Œ

pppp

Œ

n eo nO

7

#œ

> ≈ n#Oe

#Oe

(3+)

A 6

® nœ ™™

˜1

##

Oe

… sfz

>

˜1

(3+)

sfz

œ

mp

˜1

mp

ord.

P

p

≈

Œ

Äolstöne

#œÆ ‰ ™

poco vibrato

p

T

>

#

pppp

#nOe

Œ

nO #O nO #O #O #O nO

Œ

˜1 ™

>

mp

Œ

Œ

~~~~~~~~~ nœ Œ

7

ppppp

‰

M 3|4

Œ

Œ

#œ

#œ

>

‰

n#

Œ

Äolstöne

Œ

– #œ

arco

mp

Oe

>

‰

K5

/

57,8''

∑

ïó _óï óï #œ# nœ

ïï _óó óó # ˜ œ n œ æ

&

&

&

&

&

(q≈106) GP

Œ

Œ

Œ

##n œœœç 6

≈

n#Oe

pppp

mp

q≈69 accel. 73 GP

Œ

p

>

(3+)

> ##Oe ≈##Oe

“”

#œ

D

mp

# >œ

ppppp

Œ

mp

ï ïï _ïï # ï #ï n# ee Lœ

#œ

Œ

‰

mp

‰ Œ

≈ Œ

pp

Œ

‰

mp

Oe

tasto

n O ≈>##Oe ne

mf

#œ

Œ

#œ

Œ

≈

pppp

‰

mp

Oe

Oe

œ

A )

#œ mf

Œ

#œ mf

‰ Œ

>

Œ

‰™

>

mp

>

Œ

Œ

Œ æ )æ

Œ

Œ

>

‰

˜1

Œ

#n#f Oe

#nn œœœ

ç pppp

n#Oe

7

q≈69

Œ

Œ

© A ) #e #O

mp

Œ

mp

Ù A )

ç A )

pppp

Œ

¿ nœ

pppp

©

Œ

mp

n#œœ

mf

©

q≈65

ç

pppp

Œ

#œ ¿

pppp

A 6 Û — 12 —

© A 6 #œ mf

Œ

Œ

7

A) nœ

mf

bO bbnOee

>

Œ

o

sfz

(3-)

col legno

ord.

## Oe ™ ‰

Ÿ~~~~~~~~~~~~~ n f nnOe n O . æ ne … mp ppppp

n>œ ™™

# >œ

(con crini)

‰> . …

®

≈>

mp

mf

vertical bowing

ç ##œœ mp

Œ

rhythmical

mf

>

Œ

tratto

(bridge)

mf

‰

‰

n#

mp

Œ

nœ nœ 6 p

nœ mp

nn# œœœ

i. a.

Œ

ç

pppp

A )

…

ç – arco #œ ‰

Œ

˜ 1

Œ

n# ææ

‰™

(3+)

Œ

pppp

n#nfOe

Œ

mf

pppp

+vertical bowing

Œ

Œ

Flz.

i. a.

sfz

mf

Œ

nœ

"folkloristic"

pppp

n Ϯ

Œ

R

˜œ

‰

nnOe

º

mp

mf

‰ Œ

G

tratto

Œ

Œ

#œ

mp

Œ

mp

nœ

D

bridge

mp

Œ

mp

ï ïï _ïï # ï #ï e n#e Lœ

mf

Ÿ~~~~~ > ‰™ nnOe ¿

>n O ® #e ‰ ™

pont.

Œ

mf

(3-)

≈ nnOe

Œ

#œ

‰™

>

mf

(3-)

pppp

Œ

#œ

_

C

col legno pont.

#œ

B1-4

C

pp

mp

Œ

nœ

R

˜œ

##Oe

Œ

ïó ïó óï # #œ nœ æ

Flz.

235 b

D

G

Ÿ~~~~~~~~~~~~~ Oe nO Oe nnOe ne

pppp

i. a.

nœ

Œ

mf

mf

sul tasto

Œ

Œ

p

Œ

q≈45 accel. 97 GP

D

≈ Œ

p

q≈49 accel. 97 GP

G

Ÿï ~~~~~ óï óïó ó # #œ :jœ ; n œ : µ .œ ;

235 b _ 237

§

B1-4

#Ϫ

Œ

(P)

&

Œ

pppp

(q≈61) GP

233 §

D

nœ

óï _ïó # óó µœ # ‰

Flz.

235 b

œœ

mp

nnœœ Œ

…

…

Œ

Œ

Œ

– #œ

arco

mf

/

&

&

n œ ™™ mf :

1̃.

>

;

®

nœ

Zw.

‰ Œ

Œ

ppp

mf

ne

pppp

Œ

‚

Œ

Œ

Œ

Œ

7

.

7

# #™

≈

Œ

˜ 1.

Œ

n#

7

≈>

Œ

mf

Œ

pppp

Œ

nœ

Œ

mp

‰

Œ

Œ

‰™

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

mp

mf

Ÿ~~~~~~~~~~~~~ # bO # Oe n#Oe ≈ ne

Œ

n‚

ppp

˜ 1™

Œ

n# ææ

mf

Œ

#e #‚

Zw.

nœ

Zw.

pppp

pppp

Œ

‰

ne

(as stable as possible)

˜ 1

mf

nO ≈> nnnOee ¿ Ÿ~~~~~~~~~~~~

ne n‚

Zw.

mf

7

b OÆ

#œ #e

o

Œ

n# ææ

mp

&

#œ

#œ #œ

Flz.

˜ 1

Œ

≈ #œ

n‚ n‚ #‚

mp

‰™

.

7

##

ne ne

Œ

Œ

Œ

Œ

mp

f

(3-)

bnOe

&

mp

‰

Œ “”

&

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nnOe nO Oe #Oe Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nnOe ®nnOe ™™ n#Oe Oe Œ

ord.

(3+)

mp o

n Ϯ

A )

mf

mf

nœ A )

6

p

i. a. n# œœ

ç

pppp

nœ

o

mf

n# œœ mp

Ü

Œ

Œ

nn œœÆ

mp

okeys percussion

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ OO n ¿ n¿¿ OO ¿ OO ¿ OO ¿ P

P

&

o

pppp

Aª OO

Œ

sfz

… Œ

Œ

Ü

mf

n œ.

guero

¿

ppppp

gliss

# .

P mf

14,1''

∑

— 13 —

® ‰™ >

sfz

n# œœ pppp

/

&

&

Œ

#œ

Œ

Œ

mp

Œ

Œ

Œ

Œ

n Ϯ mf

Œ

Œ

Œ

‰™

nœ

Œ

Œ

pp

Œ

Œ

Œ

˜1

Œ

Œ

Œ

Œ

Œ

µ

Œ

##

7

Œ

&

&

Œ

Œ

con sord. (wood)

Œ

Œ

≈>##OeÆ ®##Oe ææ (3+)

mf o

pppp

III

senza sord.

Œ

Œ

Ÿ~~~~~~~~~~~~ (3-) #nOe nO Œ ne pppp

Œ

Œ

Œ

Œ

Œ

Œ

Œ

mp

Œ

Œ

Œ

#

>

‰

> nn Oe

mf

ppp

o

Œ

ŸŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ OO O Oj > n On O ¿¿ ‰ ee ee n en e J

Œ

o

Œ

Œ

˜1

Œ

Œ

Œ

## ææ

7

Œ

mp

≈ nnOe

‰ ™™

Œ

ppp

Œ

nnOe

nO ne

n‚ n‚

Œ

pppp

poco sul pont.

"emotional"

nœ

Flz.

˜1 . n# 7

pppp

“” ~~~~~~~~~ #œ

Œ

ne ne

Zw.

Œ

Œ

Œ

mf

o

nn Oe

Oe ™™

o

mf

nO >ne ® æ I

ppp

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nn Oe ¿ Oe Oe

Oe ææ

Ÿ~~~~~~~~~~~~~ Oe nb Oe nnOe (q≈97)

Œ

o

Œ

pppp

Œ

Œ

o

pppp

15,8''

∑

& (P)

q≈53

&

Π
q≈53

Π
Π
Π
ç – arco nœ mp

arco

Œ

Œ

nœ

ç A ¡ … ‰

mp

Œ

Œ

Œ

ppp

nœ

pppp

A) © — 14 —

A ¡

pppp

Œ

Œ

nn œœ ¿

pppp

A 6 Û

o

/ ïó ïó ïó # µ# œœ 276 §

&

&

Œ

Œ

Œ

Œ

nO

Œ

pppp

1̃.

‰™ >

##

7

Œ

w. t.

nœ

w. t. (let fall)

nœ

Œ

‰

Œ

Œ

nœ

Œ

Œ

Œ

Œ

Œ

B

D

nO

Œ

pppp

mf

Œ

Œ

Œ

mp

˜1

Œ

Œ

Œ

7

Œ

U Œ

Œ

##

mf

mp

Œ

4,8''

∑

&

_

Œ

¿

Œ

¿

Œ

¿

¿

q≈40

Oe ŸO ~~~nnOe

nneO

(3+)

&

Œ

n e ne

& (P)

&

¿

q≈97

Œ

3

3

mf

Œ

Oe nnOe J

(3-)

pp

Œ

Œ

¿

¿

“” Œ

Oe

Oe

mp

3

pp

Ÿ~~~ nO nnOe n e ne J

¿

ppp

>

Œ

Œ

Œ

Oe > JŒ

3

nœ pppp

Œ

3

mp

pp

q≈97

nœ

Oe nnOe J (4)

Œ

Œ

Œ

Œ

nœ

Œ

pppp

Œ

Œ

Œ

Œ

nœ pppp

Œ

Œ

Œ

u. c.

Œ

Œ

Œ

ç – arco nn œœ

Œ

mf arco

– ç — 15 —

Œ

Œ

A ¡ nœ pppp

‰™

K6 q≈106 rit. 51

œ

/

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Fl. + Clar. + Vlc. + Pn. + Perc. w. t.

w. t.

#œ

(as stable as possible)

Œ

&

Œ

&

#œ

Œ ˜1

##

7

#O

pppp

‰

Œ

Œ

mf

Œ

Œ

Œ

Œ ˜1

Œ

n#

7

&

#e

n OÆ

Œ

‰™

Ÿ~~~~~~ # n Oe nO µ˜Oe

Œ

Œ

Œ

#œ mf

A£ ©

Œ

Œ

mp

#nOe

#œ mp

Œ

P

ne

o

Œ

1̃

Œ

. n# 7

Œ

Œ

pppp

‰

#œ mp P

…

ç A ¡ ##œœ

Æ n#Oe

≈>

Œ

Œ

Œ

1̃

Œ

##

7

>## O e

≈

#œ

mp (drumstick on edge of the cymbal)

‰

Œ

Œ

#œ 6 mf

nn Oe

Œ

A

o

ricochet

o

Œ n)œ ) ) ) ) ) ) O nœ O

pppp

#œ œ™ pi - ng pppp

voice

— 16 —

Œ

1̃ . n# 7

Œ

Œ

© A ) ne nO

mf

‰

Œ

mp

Oe

Oe > ≈

pp

mp

Œ

e

mf

“” mp nœ 6

pp 0 l

Œ

≈ ne

> nO

Œ

A

mP

###œœœ

Œ

mp

‰

e

nO e

mf

ppppp

0 l

Œ

Oe

Appppp

Œ

‰

o

mp

A ¡ Œ

mf

nœ

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ nn Oe nnOe nnOe nnOe nnOe

0 l

mf

…

arco

.

Œ

mp

‰

mp

A 6 Œ

‰

mf

mf

Œ

Œ

nO

pppp

mp

## Oe

Œ

mf

M 3|4

n#Oe

nœ

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~ molto sul pont

≈ ? nn Oe n ¿ o

mf

glis s.

Œ

)

o

nœ

mp

ÆR mf

Oe

pppp

>

sfz

nœ ® ) ‰™

Œ

Œ

Œ

ss.

Œ

Œ

Œ

nœ

(as stable as possible)

gli

Œ

Π##OO #O

“”

mP

&

‰

mf

mp

&

pppp

Œ

(3+)

&

#O

w. t.

#œ

mf

mp

q≈40 accel. 167 GP

#œ

o

œ

/

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

óó óï óó

œ

Äolston

Œ

&

1̃

.

7

≈

&

“”

o

#œ

‰

‰

7

n n Oe

nn œœ glis s.

n

mf

3

n O n n Oe

ne

3

ppppp

nnOe mf

Œ

O

ne

>

Œ

bnOe. mp

nn œœ pppp

‰™

Œ

mf

˜1.

® . ‰™ n# 7

‰

Œ

‰

o

Œ 1̃.

Œ

#œ ¿

pppp Ü guero

mf

Πglis

n s.

≈>

o

mf

Œ

‰

≈ ## 7

µ

‰

nn Oe

Oe

nn Oe ææ o

Oe ææ

n#Oe

>

≈

mp

>

®

mp

Œ

nœ mp

Œ

#nœœ pp

‰

Œ

#Oe

3

o

≈

#O

ne

O

e

#œ

Œ

P

‰

nnœœ

‰

A™ ©

Œ

pppp

#œ ¿

pppp

A 6 Û — 17 —

Œ

#6 æ

mf arco (scraping)

A™ ©

mp

n œq ™ mf

(I)

≤

nO ne

nO ne

## Oe

O

e

mp

pppp

mf

p

. ‰™ 7

##

ppp

mf

Œ

Œ 1̃.

Œ “”

n Oe

#œ gliss.

gliss.

mf

Œ

pppp

ç mf

∫ >

ppp

Œ

#œ

gliss.

gliss.

gliss.

™™

pppp

Œ

1̃

o

‰

M 3|4

# #O e ™™

Πo

pppp

#O

mp

##Oe

#œ

_

Œ

. n# 7

Œ

mf

nn œœ

Πgliss.

‰™

A

mf

nO /n e 0

##Oe

n œ. mf

Œ

Ÿ~~~~~~~~~~~~~~~ nn Oe n O nnOe ne

>

b

(slow, single clicks intended, change in direction metrical)

dead stroke with the tip of the beater (subtle resonances remain)

pppp

nœ

mp

mp

Œ

‰™

Œ

Œ

º

nn œœ¿¿

mp

Œ

n#

.

# œ.

>

ç A ) &

‰™

Œ

µ

guero (accel.)

(mP)

˜1.

1.

mp

&

Œ

n œ.

Œ

mf

ord.

nœ ¿

mf

mp

Œ

Œ

mf

mf

?

Œ

‰

##

“” nœ

>

‰

mp

Œ

&

&

nœ

nœ

#œ ¿

o

nœ gliss

# .

Ü guero (accel.)

mf

ç A ) Œ

Œ

mp

nœ

Œ

œ

/

œ

œ

œ

œ

w. t.

#œ

(as stable as possible)

&

nœ

Œ

nO

Œ

Œ

Œ

Œ

1̃

Œ

1̃.

>

®

n#

7

##

7

pppp

“”mp ≥

&

# œq

ppp

&

&

Oe

‰ ™™

mf

#O nO ne

n œ.

pppp

ne ™

Ÿ~~~~~~~~~~~~~~~~ b O ne n#Oe nO

≈ o “”

ne

# œ.

>

Œ ‰

‰

>

…

ç mf

o

arco (scraping)

A£ ©

>

‰

Œ

Œ

Œ

Œ

Œ

Œ

#O

ppp

o

ne

Œ

nO e

KO e

5

nO

Œ

Œ

A )

e

f

nœ ¿

‰

Œ

Œ

. n¿ n¿ b ¿ n¿ n¿ n # b ¿ 7 7

n#

f

Œ

o

ppp

o

mp

#O # e

nœ 6

mp

Œ

≈>

ne

b#

7

Œ

n¿ b ¿

# >œ

œ

e

#O

Œ

Œ

ppppp

>

‰

œ

mp

M 3|4

O

#œ

Œ

nœ

pppp

M 3|4

#O

w. t.

11

# Ϯ

e

1̃

1̃

key clicks

œ

(as stable as possible)

mp

µœ

3

#O

‰

ne

o

O

e

#

# Oe

Œ

mp

mp

mp

Œ

Œ

#œ ‰

6

Œ

Œ

pppp

mp

Œ

Œ 1̃

œ

#œ

nœ

mp

pp

œ

#O

mp

bœ )

œ

ppp

mp

sfz

(mP)

&

nO ne

‰™

œ

mp

mf

(P)

##nœ6œ æ

# œq ™

≤

# œq

e

mp

nO ™

≥

≤

œ

Œ

mp

pppp

&

œ

Œ

pp arco

ç – arco #œ mp

— 18 —

ÆRÔ p

#œ 6

©) A Œ

Œ

nnœ6 æ o

pppp

arco (scraping)

A £

A) ˇ

6

… Œ f

œ

/

œ

Œ

&

1̃ .

&

&

pp

Œ

&

Œ

&

.

.

Œ

nœ 3

nnOe

n#Oe

o

Œ

≈> n e

nOÆ

‰

Œ

Œ

œ

œ

#œ

œ

p

œ

t. r.

Œ

‰

#œ

o

mp

“”

ne

Œ

pp

œ

‰™

Œ

pppp

#œ

…™ ‰ sfz

‰

»

# œ.

mp

≈

Œ

arco

# Ϯ

≈>

≈ Œ

…

o

mp

Ü

Œ

. # >.

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~ Oe n¿ Œ

>

open slap

…™ ‰

Œ

Œ

Œ

# Ϯ

µœ.

‰

&

. nnOe pp

µ œ.

Œ

> µ œ n O. n œ. . . ˜œ ne #œ ≈>

ppppp

pp

7

#O

≈ o

ne

O

p

p

e

mp

sfz

… ‰

Œ

nœ nœ

Œ

#œ

ppp

Œ

Œ

mp

√ Aœ n) #œ p

— 19 —

nœ ™

n#Oe

‰

Œ

e

3

##Oe

>

‰™

ΠO

Œ

mP

“ A % nœ mp

. nO #œ ne

≈>

p

O

‰

mp

M 3|4

mp

Œ

#œ

mp

o

mp

pp

nœ

‰™

Ÿ~~~~~~~~~~~ pizz. # œ. n+œ n O n¿ fi nO ne ‰™ nO n e

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oe n¿ B n nOe nnOe #Oe #¿ Oe Ÿo~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ mp n œ.

# œ.

mp

&

#œ.

Œ

nO #¥ >

(mP)

ç – arco #œ

œ

II

pp

o

mp

Œ

Œ

Œ

# 7

# 7

≈>

mp

Œ

G1

1

# 7

ne

œ

f

1 .

nO

œ

Œ

mp

as stable as possible

pppp

œ

nœ

Œ

n# 7

“” nœ

œ

Œ

mp

/

œ

œ

œ

œ

œ

œ

Ÿó~~~~~~~~~~~~~ ïó 33 § ïï _ó 37 ïï K œ : kœ ; B #œœ : K .œ ; Œ æ

œ

œ

œ

œ

Œ

Œ

Œ

Œ

Flz.

&

&

&

&

&

Œ

Œ

Œ

nnOe pp

pizz.

I

+ nœ. …‰ ™ mp

mp

Œ

. # œ. n œ n œ. µ œ. n œ nœ µœ Œ

mp

Œ

3

ppp

≈

nœ.

pizz.

‰

nnOe ‰ nœ. #œ nœ . nœ . . mf p

p

mp

Œ

»

nn Oe.

‰

pp

>

p

nœ nœ

nœ

‰

5

nnOe

# œ. b œ. p

‰™

#œ

Œ

. nœ Oe ™™ n

o

œ

Œ

(arco)

≈> sfz

bnOe

pp

mp

>

bœ Oe

‰ nœ

pp

≈

mp

n#œœÆ nnOeÆ # œ nnOeÆ ‰ Æ

3

(3+)

nœ.

f

o

Œ

Œ

Œ

mf

6

pp

Œ

nœ

Œ

Œ

Œ

Œ

√ pp nb œœ nœ

… Œ œ

Œ

ppp

Œ

A ™ ç — 20 —

mp

Œ

… ‰™ sfz

nOÆ

Œ

sfz

pp

mp

n œÆ bnnœœœ

be ‰ Œ (3+)

>

b œ.

Œ

>

≈

Œ

p

Ÿ~~~~~~~~~~~ > nO ¿ O nn Oe ™™ nœ ne e

mp

#n œœ

‰

(pizz.)

0 l

nO

>

pp

A

√) A ne

‰™

p

pizz. mp

+

Rc1-3

mp

‰™

ï ïó _ïï óï #n œe ™™ nœ ™

mp

arco

>

Œ

Œ

n>

Œ

(mP)

&

l. p.

Œ

Œ

‰™ >

(3+)

n#Oe

pp

Œ

Œ

©£ A arco (scraping) ææ #6 p

n#Oe nnOe # O ne nn Oe mf

o

K7 (q≈51)

/

œ

∑

q≈69 GP

Œ

&

&

60,9''

#œ

Œ

q≈78 GP

Œ

Œ

mp

Œ

# œ.

Œ

mp

q≈167 GP

Œ

&

3

n#Oe ™™

Œ

n#ee nn Oe

mp

Œ

‰™

Œ

nO nnOe ne

Œ

mp

Œ

Œ

p

# œ.

Œ

Œ

pp

nœ

Œ

‰™

Œ

Œ

Œ

mp

œ

≈

mp

o

Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~ Oe ¿ Oe Oe n#Oe ¿ o

(3+)

p

sfz

mp

Œ

nœ

‰

nœ

nnnnOOee

Œ

#œ

Œ

Œ

# œ.

Œ

Œ

‰

≈

nœ

pp

pp

16,4'' (5,3'')

∑

Œ

mp

arco

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oe nn Oe n O #n Oe (3+)

?

&

q≈73 GP

Œ

q≈90 GP

Œ

Œ

?

mp

ne

Œ

Œ

Œ

¿

glis s.

n

ppppp

Œ

o

‰

Œ

Œ

Œ

& ne I

nO

Œ “”

>

guero

nf

tratto

pp

mp

º

Œ

col legno

#œ

>

sfz

‰

pp

Ü pizz.

#¿

nœ

Œ

ppppp

nf

nO /n e 0

p

pizz.

I

vertical bowing

mp

.Œ …

Œ

#)+

ppppp

o

Œ

Œ

Œ

#œ.

‰™

Œ

p

(mP)

&

q≈65

Œ

A) nœ p

Œ

Œ

#œ

mp

Œ

‰

nœ

mp

ppp

nnœœ

pp

— 21 —

‰™

Œ

Œ #œ p

mp

#œœ

…™ ‰ sfz

≈

/ nœ

&

mp

#œ

‰

Œ

p

‰™

#œ mp

nœ

#œ

mp

p

‰

nœ

Œ

‰

mp

#œ

nœ

mp

mp

ï ïï _ïï # ïï

‰™

#œ

Œ

‰

p

B1-3

#œ™ ≈

Œ

&

p

R

#Ϫ

#œ

pp

mp

œ

>

‰

nœ

Œ

p

#œ

Œ

mp

‰

mp

#œ

‰™

mp

nn eœe n œ

C

‰

lœ o

‰

#œ

‰

Œ

mp

∑

ord. arco

nO ™ ≈ n e ™ nO ne e

Œ

&

o

pp

“”

#œ mp

Œ

M nnOe nO ‰ mp

Œ

3

Œ

ne

nœ

‰ nnOe

mp

#œ

>

sfz

‰

mp

mp

≈##Oe

‰ Œ

nœ #œ )

Œ

>

pp

gliss

.

ppppp

n#œœ

nœ

mp

mp

nnOe ™™

>

≈ ##Oe

mp

‰

≈ ‰™

pp

Œ

#œ

nœ

p

mp

>

##Oe

p

Œ

#œ

#œœ™ mp

‰™ …

…

≈

pp

nœ

p

##œœœ

mp

‰™ …

… Œ

œ

…Œ #6 ææ

mp arco (scraping)

A £

— 22 —

‰

Œ

Ü

Æ ≈ #œ >

‰

mp

A )

#n œœ

mp

nœ

‰ Œ

#œ

#œ

mp P

mp

#nœœ

#nOe

mp

pp

0 l

mp

nnOe ‰ ™

Oe

A

&

œ

(11,1'')

&

&

# œ.

‰

œ

…Œ #œ mp

‰™ …

poco vibrato ~~~~~~~~~~~~ #nœœ

mp

/

#œ

&

tones not connected

Äolstöne

#O nO #¿. nO n¿. n¿. n¿. n¿. b O #O #O

Œ

mp

ppp

nœ

#œ

nœ

p

mp

pp

(articulation, dynamics, timbre)

11

#œ

Œ

mp

nœ

Œ

nœ

mp

mp

key clicks (open)

Ÿ~~~~~~~~~~~~~~~~~~~~~ ï ï ï ïï ï _ïï # _ïï # ï ï L# #ï #ï L œ nœ n L ee Lœ ˜œ B1-4

&

˜ 1

µ̃

‰

7

mp

pp

Œ

¿

G

G

G

##

Œ

C

C

Œ

¿

q≈106 "statically"

nnnnOOe e

¿

&

mp

“” &

mp

nœ

##Oe ‰

Œ

p

nœ

>

Œ

∑

n>œ mp

(P)

(II)

nnOe

>

≈

Œ

mp

Œ

p

‰

#>œ mp

&

Œ

Œ

nœ pp

mp

nœ Œ

#œœ

ne

>

Œ

≈

Œ

‰

mp

… ‰

Œ …

mp

— 23 —

3

bnOe

‰

≈>

Œ

p

nœ II

nUœ

nnOe

mp

nœ nœ #œ #œ

>

‰

pp

nœ nœ

Œ

mp

pppp

nœ

nnOe ™™

mp

pp

mp

n Ϯ

> œ ≈ nnOe

nnæOe æ

P

…™ ‰

nO

. ®nnOe ‰ ™

#nOe

Œ

‰

#Ϫ

mp

Œ

Œ

mp

nnOe

#œ

mp

q≈106

nnOe ‰

Œ

‰

p

Œ

¿

10'' (5,4'')

∏∏∏∏∏∏∏∏∏∏∏∏∏∏

&

R

R

28,1'' (2,1'')

∑

U nœ mp

/ óó _óó óó

óï ïó óó # lœ #œ

sudden stop of air stream release keys with accent

&

n eo

key clicks air sounds

t. r.

A B

(embochure hole covered)

II

p :

mp

#œ

6

O n¿ b O¿ ≈ nœ n O¿ b O¿ n¥ > #e n e mp

> #¿

nO

199 §

.

nœ

. ne ne ; "sfz"

pp

mp

_ G# D

#œ

nœ

p

mf

mf

n Ϯ

nœ

mf

p

∑

&

Œ

Œ

¿

Œ

¿

#œ

Œ

¿

¿

&

>

≈

Œ

#Ϫ pp

q≈45

&

nb Oe

nœ nœ

>

‰

mp

‰

mp

‰™

nnOe

pp

q≈53

&

mp

nœ mp

‰™

mp

p

mp

‰

≈

#œ

≈

nœ

B

œ

+. ≈ nœ

pizz.

o mf

p

mf

nO. ≈ ne

‰™

mp

nœ

>

mf

nnOe.

Œ

mp

#œ

#œ™ nœ ™

Ÿ~~~~~~~n œ nO ¿ > ne ≈

3

‰ #nOe

‰

pp

p

‰™ …

‰

nœ p

…> ≈

n>œ mf

≈

Œ œ 6

#œ nœ

mf

>

® nO ‰ ™ n e.

p

pppp

A 0 l

(10,8'')

∑

— 24 —

nœ œ œ P

mf

e nnO e ™™ o

nO /n e 0 o

p

nœ Œ 4

p

>

≈ nœ

≈

≈

p

o

Ϫ # n Oe

(3+)

mf

≈ nO b Oe e

(3+) 20

o

≈ nnOe >

p

mf

≈> nnOe

‰™

p

mf

Ó

mf

nœ.

p

nœ nœ œ

‰

p

Ÿ~~~~~~~~ # œ nO nO ™ ne ™ ne

arco

pp

P

&

‰

mf

(q≈78)

# Ϯ

nœ

nœ

#Ϫ

(q≈78) (4,6'')

‰™

17,6'' (0,6'')

>

≈

mf

… ‰ >

p

n# œœ ™™ œ

sfz

… ≈

pp

nœ #n œœ œ

‰™

nO nÆe R

n O. ne mf

/

(10,6'')

∑

&

Ÿï ï ~~~~~~~~~~~~~~ ó _ïï L # ïó # #n œe ##œœ

Rc1-3 Rc1-4

G

q≈79

Œ

&

Œ

Œ

Œ

Œ

Œ

G

nœ

pp

µœ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

col legno

æ )æ

n œ. nœ

bridge

&

&

&

q≈105

Œ

pppp

Œ

Œ

Ÿ~~~~> nnOe nO ‰

Œ

pp

Œ œ

tratto

Œ

ne

Œ

Œ

Œ

Œ

Œ

Œ

‰™

…

pppp

Œ

Œ

Œ

Œ

Œ

pp

nœ

f

vertical bowing

nf

Πo

pp

¿

pp

nœ nœ

o

Œ

Œ

O

i. a. pp

Œ

Πnn OO

Œ

Œ

Œ

# œç nœ )

ppp

A ) (10,6'')

∑

— 25 —

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nO n¿ O nnOe ne e o pppp

nœ. ‰ ™

Œ

mP

&

I nf

pizz.

/ q≈63

(6,4'')

Œ

∑

&

Ÿ óï ï ïó ~~~~~~~~~~~~~ _ïï ïó #n œe # œ

Œ

¿

Œ

¿

Œ

¿

¿

Rc1-3 Rc1-6

&

Œ

nœ

pp

#œ #œ

Œ

slap

Œ

air

7

n ># ¿ nO n¿ #O n ¿ n ¿

Œ

Œ

Œ

Œ

Œ

Œ

Œ

(q≈79) GP

Œ

Œ

key clicks

pppp

col legno

. n œ. n œ. œ. e. e n œ . bœ tratto (ricochet)

n O. ne

pizz

&

&

&

Œ

Œ

Œ

Œ

Œ

Œ

pp

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

nn œœ bœ

Œ

Œ

pp

Œ

Œ

o

pp

Œ

® o

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Œ Oe n O ne

n#Oe

Œ

Œ

Œ

pppp

pp

Œ

(q≈105) GP

.

U Œ

Œ

Œ

Œ

Œ

(mP)

&

(4,6'')

∑

Π
q≈35

— 26 —

Π
Π
Π
K8

/

∑

56,2''

ó óóó óó # µO µ¥ >

t.r.

§

q≈63 GP

Œ

&

Œ

Œ

Œ

l. p.

≈ K> ‰

Œ

Œ

pp

ï ïï _ïó # óó

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

z. p.

Œ

b>

mf

Œ

slap

q≈40

Œ

&

Œ

34

˜>e

pp

Œ

Œ

Œ

secco slap

Œ

. # >.

Œ

Œ

# œ~~~~~~~~~~~~~~~ #œ

&

Œ

Œ

Œ

Œ

Œ

pppp

Ÿ~~~~~ > n O n¿ ‰ ne

6

rib

Œ

Œ

Œ

Œ

pppp

A pppp

“”

0 l

Π#O

Œ

6 O

ΠO

Œ

Œ

Œ

pp

&

Œ

Œ

Œ

6 ‰

Œ

Œ

Œ

~~~~~~~~~~~~~ nO Πnnn eOe

nO #¥ >¥

Œ

pp

Œ

Œ

Œ

Œ

D

Œ

II

Œ

Œ

pp

II

pp

C

pp

>

≈ Œ

™ . ‰ # >. secco slap

Œ

Œ

‰™

Œ

pppp

nO nnn eOe n#Oe Œ Ÿ~~~~~~~~

6

> nœ ppp

rib

Œ

Œ

Œ

Œ

n#Oe

Oe

Oe

Oe

nnbn œœœœç 6

Œ

Œ

Œ

pppp

bœ #nœœ

pppp

… ‰

~~~~~~~ bœ ‰

##n œœœç nœ 6

Œ

pp

Œ

M 2|7

?

o

Œ

n œ. nœ ‰ ™ nœ

Œ

Œ

Œ

pp

O e

p

Œ

o

p

“”

n#n œœœç

Œ

Œ

nnœ œ p

A% “

A™ © — 27 —

Œ

#¿

Œ

i. a.

pppp

A 0 l

(strings not open)

pp

Œ …

O e

pppp Ü pizz

ç A ¡ Œ œœ

#O ne

M 3|4

i. a.

i. a.

A )

√™ A q≈35

Œ

poco vibrato

pppp

P

Œ

Œ

Œ

ppp

pppp

&

pp

‰

t. r.

molto vibrato

poco vibrato

pppp

Œ

Œ

arco

pizz.

&

‰™

nœ

pppp

Vl. + Vlc. + Pn.

n œ. > ≈ nœ …‰ #œ

ï ïï _ïï # ïï nœ™ n. œ™ nœ ™ l >e™™

Œ

R

A4-2

E

µœ œ n.

Œ

slap

R

A4-2

Œ

_

Œ …

Ù A ¡ ¿ #œ pppp

Œ

Œ

Œ

Œ

Œ

Œ

Œ

/

Œ

¿

Œ

¿

Œ

¿

¿

q≈45

Œ

&

Äolston

Œ

nO

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

z. p.

Œ

mf

pppp C#

œ ‰™ >

œ

&

Œ

# >. ‰ ™

secco slap

Œ

Œ

pppp

Œ

Ÿ~~~~~~ ˜1

&

Œ

. b # n¿ 7

Œ

¿è

Œ

Œ

pppp i. a.

Œ

ppp

Œ

Œ

Œ

Ü pizz

Œ

#¿

Œ

ΠnO

Œ

pppp

Œ

Œ

Œ

air

Œ

Œ

Œ

tone

#O nO n‚ #‚

#e

pppp

>

Œ æ )æ ‰

pppp

pizz pppp

n¿O

Œ ï ïï _ïó óó > ™ ‰ #œ

Œ

Œ

œ

nl œe œ

Œ

Œ

Œ

Œ

Œ

11

n‚ #O n‚

rib

6

≈

air

tone

ne

air

n‚ nO

‰

Œ

Œ

ŠnϮ >

Œ

Œ

>

Œ

Œ

6 ‰™ >

6™

rib

≈

pppp

Œ …

Œ

ΠbO

‰

Œ

pppp

ppp

GM

n#Oe ™™ nnOe n#Oe

Œ

Ÿ~~~~~~~~~~~~~ Œ nnn¿Oe

ppp

Œ

Œ

Œ

ppp

n# œœç bœ

‰

ΠO

O

Œ

#œ bœ nœ ç

Œ

Œ

ppp i. a.

Œ

sfz

OP OF OI ‰

Œ

pppp

–3

sul pont.

Œ

p

>

–3

Œ

i. a. pppp

sfz

Œ

Oc OI OF ‰

Œ

pppp

A ª ô

ç #nb œœœ

Œ

pppp i. a.

mP

– ç &

Œ

Œ

Œ

Œ

arco

#œ

ppp

…™ ‰

√ A ™ Œ

Œ

A

bridge

pppp

“”

sfz

&

b

Œ

pizz.

ppp

… b œ # œ ‰™ nœ ç

Œ

Œ

pppp

Ÿ~~~~~~ ≈> nnOe ™™ n¿ Œ

?

è ¿

Œ

Œ

A2-7

arco scroll

pizz

Œ

œ

suona trill

pppp

Ÿ~~~~~~~~~~ # œ #œ nœ nnOe Œ ~~~~~~~~~ Ÿ pppp

Œ

b>

#œ

ppp

nœ

pp

Œ

nœ

#œ p

©) A — 28 —

√ ppp ppppp

bœ ¿

pppp

Û

Œ

Œ

Œ

Œ

bœ nnœœ

ppp

… Œ œœ

Œ …

K9 q≈45

/

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Clar. + Vl. + Pn. + Perc.

œ

ïï óï ïó K B œœ Kœ

12 §

&

Äolstöne

q≈53 GP

Œ

Œ

bO

nO

Œ

pppp

‰™

nœ.

Œ

Œ

Œ

Œ

t. r.

11

#¿ Œ nO n¿ n¿ n¿ #¿ n >¥ # e. # e # e ‹ e n¿ #¿ n ¿ n ¿ # ¿ # e. . . . n e. # e. # e. # e. ‹ e.

Œ

II

mf

ï ïï _ïó # óó ˜ Kœ 1 ˜e ne #œ œ # Œ 7

key clicks (embochure hole closed)

p

A2-8

ppp

:

œ

œ

œ

œ

œ

œ

_

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

œ

#œ

Œ

p

pp

;

A

œ

‰™

Œ

œ

Œ

C

&

Œ

Œ

o

æ 6æ

p

o

Œ

pppp

Œ

#œ

ppp

#œ

œ

œ

œ

ppppp

Œ

Ÿ~~~~ #œ # œ ™™ # œ nœ

p

o

Ÿ~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~ Œ nnœœ nnOe nO œœ Œ nnnOe Oe ne Ÿo ~~~~~~ ppp o

Πo

molto vibrato

Œ

Œ

Œ

#œ

ppp

œ œ

>

Œ

ppp

Ÿ~~~~~ #œ n O nœ Œ ne ppp

#œ Ÿ~~~~~~~~ Ÿ~~~~ ™ # œ # œ # œ # O # O n œ nœ nœ n e ™ nO nO e #œ ne e o

æ

ppp

œ

p

Œ

o

n œ. # œ. > nœ ® ‰ ® mf

ppp

˜ 1

Œ

Œ

˜ 1

.

7

##

Œ

p

Æ nn Oe > ‰ ≈

pppp

œ

œ

Œ

˜

.# 7

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

pppp

pizz.

fast

ppp

> ≈ nœ

mf

∑

Œ

A ª ô

ç Œ n#b œœœ

pppp i. a.

Œ

bœ nœ ‰ ™ p

Œ

Œ

#œ bœ nnœœ ç ppp

Œ

Œ

Œ

Œ

Œ

#œ nœ ppp

Œ

i. a.

Œ

Œ

¥ A brush (metal) √ • arco (slow) A ~~~~~~~~~~~~~~~~~~~~~~~~~~ ¡ slow fan ¿fifififififififi … #œ œ Œ Œ nnœœ œœ Œ pppp

p

…

ppp

nœ

Œ

ppp

#œ ppp

Œ

Œ

Œ

Œ

Œ

Œ

A£ #6 ææ

arco (scraping)

ppp

— 29 —

Œ

© A ) arco (scraping) > ææ ‰ #6

ppp

…

Œ

√ A ) nnœœ ‰

ppp …

“” mf > #œ ) p

nœ p

A )

P

(mP)

&

œ ‰> b>œ

œ ‰> #œ

#œ

œ

o

59'' (34,7'')

?

&

Œ

p

Œ

‰

close to the hearing treshhold

ord. rib

&

nœ

nFlz.œ

œ

Œ

ç A ) #œ mf

“” nn œœ 6

pppp

A ) √ ne nO

p

ne

nO pppp

œ

/

&

l. p.

œ

Œ

n>

ppp

œ

Œ

œ

nœÆ ‰ ™

Œ

q≈59

Œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

œ

Œ

Œ

œ

œ

Œ

œ

Œ

Œ

œ

Œ

œ

n#

7

ppp

## Oe ppp

k#

Flz.

7

air

ææ ææ ææ ææ ææ ææ ææ nO nO n O n O bO n O n O Flz.

Œ

pppp

œ

t. r.

Œ

œ

Œ

bO n¥ >

œ

Œ

Œ

Œ

Œ

7

˜ 1

1

. #æ# 7æ

.#

æ

7æ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oe nnOe nœ nO n#Oe nn Oe ne Oe Ÿo ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ppp

≈>

˜ >1

1

7

7

n#

#

pp

A1-3

‰™

Œ

Œ

Œ

ppp

ï ïï _óï ïï

nœ µœ

ppp

˜1

Œ

µ#

7

> ≈ nœ ≈

Œ

mf

˜.

1

. ‰™ 7

##

Œ

Œ

˜ 1

-̃ 1

-̃ 1 > nO #¿. n ¿ #.# nO n# n ¿. n ¿. n ¿ n .# . b ¿. . 7 7 7 key clicks

n#

7

ppp

p

-̃ 1

Œ

M 3|4

Œ

Œ

n#Oe

## Oe

Oe

ppp

Ÿ~~~~~~~~~ # n Oe #¿ nOe ‰>™ o

mf

nn Oe

Oe

p

11

nO

(5)

Œ

bnOe ™™ n Oe

q≈59

Œ

e

ppp

Œ

∑

&

ppp

Aª sfz ô

nœ …‰

ç pppp

ppp

Œ

nœ ppp

sfz

… Œ

Œ

“” pppp n n n eee nb œœ ppp

i. a.

mf

º sfz

>nœÆ … ® ‰™ Œ

Œ

ppp

0 l

p

Œ

Œ

#œ ppp

bbn œœœ 6

Œ

¿

– #e #O

ppp

Œ

A6 n¿ pppp pedal closed

glis s.

ç A ) #œ

©– ne

arco

‰

n ¿ ppp

Œ

nO

ppp

Œ

Œ

Ù A √ ¡ ppp … ppp nœ æ ¿™æ ≈ nœ ¿™ ¿ # œ

(unpitched)

nœ ™

[çi] [sch] pi - ng pppp voice

Œ

Œ

— 30 —

© A ) #e

ne

mf

p

#O

nO

… Œ

Œ

√ A 6 arco nœ ‰ ™

Œ

ppp

q≈30

ˇ ricochet A. 6 .¿ ¿. ¿. ¿. ¿. ppp

(drumstick on edge of the key)

¿. ¿.

¿. o

¿

q≈36

Œ

A ppp 0 l

Œ

¿

sfz

arco

(P)

A mf

# Ϯ

P

(mP)

&

#œ 6

Œ

Œ

¿

q≈89

nn# œœœ

Œ

teeth tones, air

(24,3'')

Œ

Œ

ppp

R

E

o

nn Oe

Œ

?

“”# œ

œ

II

biting pressure

&

Œ

œ

ppp

Ÿ~~~~~~~~~ ˜1 - ˜1

&

œ

Œ

K10 (q≈45)

œ

/

∑

55,7''

(q≈59)

Œ

&

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Vl.

ï ïï _ïï ïï nœ ˜e ˜œ

A3-2 RA

q≈89

Œ

&

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

>

‰

mf

(q≈59)

Œ

&

q≈89

Œ

&

Cl.

(q≈36)

Œ

&

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

&

Oe nnOe

Œ

Πo

pp

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

nO ne

Œ

ppp

“”

#œ #œ nnœœ ç

# œÆ #œ

Œ

…™ ‰ sfz

“‘

mf P

(mP)

q≈30

n#nOe Oe

Œ

ord.

ppp i. a.

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~ o

p

Œ

Œ

Œ

Π#O

Œ

mP

ˇ) A pppp n¿6 ææ √ ppp

arco (scraping)

A £

P

— 31 —

Œ

… Œ

n#Oe

(3+)

p

>

‰

/ #e #O

O

mf

pp

o

Äolst.

&

-

key cl.

Äolston

(o en)

nO¿¿.

nO¿.

5

n¿.

#œ ™

Œ

≈

Œ

ï ïï _ïï # ïï > kn œœ ne lœ

œœ ™™ e™ œ™

p

Œ

Œ

#œ

Œ

Ÿ~~~~~~~~~~~~~~~~~~~ D

Œ

p

nO

#

key clicks

ppp

n¿

Œ

Œ

B1-3 R

C

Œ

&

Œ

Œ

‰™

Œ

pp

µ˜Oe

(3+)

&

p

##Oe

e

pp

&

ppp

p

>

#œ

#œ #e

nœ

nœ

#œ

‰™ >

Œ

#œ #œ

® nœ >

ppp

Œ

## Oe

Œ

?

p

‰

Œ

~~~~~~~~~~ µB Oe

ppp

Œ

ppp

¿ Œ …

√ Appp ¡ bœ #œ

‰™

p

A ª

A ) ©

(P)

— 32 —

nO ne

## Oe

Œ

nO œ

nœ p

bœ

b œ bœ

nœ b œ

p

6

bœ

nœ

nϪ

≈

nœ

6

nœ

nnOe

: # +) ; .

# +) .

Œ

ppp

Œ

Œ

A 0 l

Œ …

ppp

© A ¡ ppp nnœœ p

A )

Œ

p

pizz.

I

‰

#œ

Œ

‰

p

(3+)

Œ

>

œ

o

13

®

Œ

µ ˜œ

n>œ

ppp

(4)

Œ

‰™

Π# Ϫ

Œ

“”

p

ppp

Œ

exagerated vibrato

bœ bœ

Œ

Œ

O e

ppp

dead stroke with the tip of the beater (mute while beating)

…™ ‰

>

#O ne

¥

“ A ) nœ

‰™

M 2|7

Œ

‰

œ

(3-)

(mP)

&

‰

p 13

#œ ®

Oe

(5)

O

ne

#œ

Œ

b>œ

3

#O

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