Blue Skin of the Sea for marimba (2014)

Blue Skin of the Sea for marimba

Tonia Ko (2014)

Commissioned by Michael Compitello Gwendolyn Burgett Ji Hye Jung Ayano Kataoka Katelyn King Ian Rosenbaum Leah Scholes Jeff Stern Daniel Tones

Performance Notes Duration: about 21 minutes General - Dynamics for extended techniques are relative to the playing style, rather than absolute to the overall sound.

- Accidentals last within each measure but not across octaves (courtesy accidentals provided).

- For sections and movements of "free" rhythm/tempo, flexibility goes between, not during, gestures and phrases. Indicated rhythms should generally be played as such.

- Grace notes are of almost equal musical importance as the main notes, they are just rhythmically small.

- Diamond-shaped notes refer to some sort of sliding motion, either with mallets, hands, or back of mallets. In V they return to their standard function, indicating harmonics.

I. A fantasy-like exploration of the 5th partial above low C.

1) Feather-beaming goes from x to y alternations or vice versa. When immediately before or after a roll, they should transition smoothly into or out of it. (in V, they go between e and x)

II. Discovery of the intimate, horizontal world of marimba bars. The plastic mallets should be sanded down in order to create sufficient friction with the wood. Small pieces of moleskin can be affixed to the tops of the mallets to facilitate niente attacks and releases.

2a) At m.48, use same plastic mallet to strike the marimba bars. A dichotomy is set up between ord. playing 1a) Sliding between two bars. Grip the mallet very lightly to augment resonance. The resulting sound should be hollow and haunting. (up"bow") and (down"bow") are used to indicate movement away from and towards the body, respectively. This is so that the motions are always smooth. Let the length of the mallet do the work-- its angle relative to the marimba surface can change naturally, as pictured. The gesture has a built-in swell and decay of dynamics.

and deadstroke, indicated with an 'x' through the stems. The character of the right hand should be surprising and declamatory, while the left hand accompanies softly with continued sliding.

2b) As the section becomes more linear, the melodic fragments require a "sticky" articulation lying Louder dynamics are achieved by increasing the speed of movement (more friction).

Motions should be continuous and the articulations of the two hands should always slightly overlap. The focus of the opening section is on the rhythms changing speeds and alignment.

somewhere between ord. playing and deadstroke. Plastic mallets produce a special sound but are very hard; take care not to break your instrument.

1b) A release marked with l.v. and crescendo ("lift") inidcates a rapid increase of speed towards the

end of the duration.

3) Going into m.87 and afterwards, the horizontal sliding between bars changes to sliding directly on

1c) Sliding notes marked with an accent indicate an attack: the space between the two

top of them. The motion is simply a deadstroke with addition "drag" after it. When the plastic mallet goes over the center of the bar, it bends the pitch about a half-step downwards (indicated with falling tail from the notehead).

bars is struck from above, interrupting the generally continuous and sustained texture.

Transition back to sliding immediately afterwards.

Think of the section from m.87 to 121 as one strange long melody. Alternate hands except when necessary to double so the phrasing is interesting and organic; some suggested stickings are provided. In the example, the right hand slides down from black to white note (C#-D) in one fluid motion, then repeats the D on an "up".

4) The increasing heaviness of the passage (m.106 onwards) culminates this D becoming "stuck". Without lifting the mallet, slide it over the length of marimba bar continuously in a figure 8 (it will be a very skinny '8'). The pitch should still bend each time the mallet crosses the center of the bar. Accent the center of the figure 8-shape with pressure and speed to create the rhythmic profile of pulsing eighth notes.

Freely vary the pressure of the mallet on the surface over these four bars (122-126), indicated with wedges over the notes. The overtones of the D will change subtly, like in throat-singing.

5) From m.126 until the end of II, ord. vs. deadstroke playing is recontextualized in the hands. After striking the three-note clusters with open palms, use the fingers to strike the y notes, sliding down from black to white note in a single motion (slurred downbow). Then, immediately begin sliding back and forth on the indicated marimba bar (open diamonds). Use fingernails to increase friction over the open diamond notes. The sounds will be very soft, but the drama is visual as well: adhere strictly to the rhythms and let the hands finally align directions at the end.

performance notes continued

III. A brief interlude, combining the barely-there sounds of the end of II with the playful character of IV.

3) In m.11 and 30, the sweeping motion goes briefly out of control. Sweep the mallet

in

1) Holding the head of a rubber mallet in the right hand (one of the four used in IV), sweep the wooden shaft back and forth over the indicated marimba bars, as pictured. The stick should be held as flat as possible and parallel to the surface of the instrument so that much of the stick is contact with the marimba. Aim for a speed of y notes.

stick freely and unevenly, zigzagging up and down the white notes. Keep the stick angled inwards at a 45 degrees, but as horizontal/ flat as possible. The resulting sound should be sliding clusters, rather than running scales.

The resulting sound should be like slightly pitched rustling.

4) In m.18 and 26, play "rimshot" over the indicated clusters, matching the gesture done simultaneously with the palms of the left hand. Strike all the notes at once by slapping the stick down parallel to the surface. This "snap" will have a strange resonance due to the fact that adjacent chromatic notes are played with the hands.

2) While continuing the tremolo sweeping at an angle, exaggerate motion to the right so that the stick knocks the corner of the next black-note bar, either Gb or Db (you might have done this unintentionally anyway...). The rhythm should be highly controlled and the sound is a light, stacatto tapping.

5) The left hand has three kinds of playing, all borrowed from II. They are: deadstroke with the fingers, open striking with the fingers, and clusters struck with open palms.

IV. A mash-up of three things: the Hawaiian lullaby "Pupu Hinuhinu" (Shiny Shells), ragtime xylophone, and ukulele tuning. "My dog has fleas" is a ditty that children learn in elementary school to remember the instrument's open strings. Imagine a classroom of full of fourth graders strumming tiny toy ukuleles in not-quite unison. Piercing runs of the harmonic series refer explicitly to concepts from the first and last movements.

V. The "real", "acoustic" version of the first movement. The atmosphere is generally expansive and tranquil.

1) When struck with harder mallets (here held in the right hand), the overtones of a marimba's lowest notes eclipse the fundamental. The 5th partial is particularly prominent when the bar is struck between the node and the resonator (either side). They are shown with diamond notes to emphasize the sonic concept of the movement. This happens naturally, so no special action needs to be taken.

2) Between m.6 and 13, notes played by the left hand are indicated by an asterisk, as they require the resonant sound of the low fundamental that is only available to an extremely soft mallet.

4) At the end of the piece, the position markers on the bottom staff become open instead of solid, indicating a release 3) Starting in m.16, the right hand mallets (top staff) continue to strike the indicated bars normally between the node and the resonator while the left hand (bottom staff) bends the pitch with a plastic mallet. The pitch that is being bent is indicated in bold.

of downward pressure on the plastic mallet. Hold the mallet lightly and continue to let it travel over the surface while playing the inidcated right hand notes. This causes it to bounce on the marimba bar as a result of the vibrations caused by the right hand. The sound ranges from a bright buzz at the edge to a loud ricochet at the center of the bar.

The position of the plastic mallet relative to the marimba bar is indicated on the three-line staff whose clef is a graphic depiction of the bar itself. As you go over the center, where the resonator is, the pitch is at its most "bent". The resultant bending contour is also shown in the 5th partial harmonics written above the struck notes.

In the example, the first half of the measure features the bouncing plastic mallet (harmonic E followed by dots), while the second half returns to pitch bending of the low C (same diamond note with dip).

More so than in II, the plastic mallet needs to be pressed downward on the marimba surface with considerable pressure while simultaneously moving horizontally across the bar-- otherwise extraneous noise will result, and the pitch will not bend properly. Because the right hand mallet is playing on same surface, the plastic mallet should begin or end this sliding motion about an inch away, as pictured.

Although these two kinds of music are very different rhetorically (one anticipates, the other responds and cadences), the only physical change is the amount of pressure on the plastic mallet. It continues to travel across the length of the single marimba bar; the right hand still plays normally.

Blue Skin of the Sea for Michael Compitello

Tonia Ko

I q ≈ 96 Freely, flowing, and calm 4 medium mallets

U j & ‰ 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 Ó <≈> ppp < ®> RÔ emerge out of low C n p ? Uj œ mf -

œ œ œ œ œ # œ œœ œœ œœ œ # œ œ ˙ ≈ < >

ppp p ppp p

pp mp

∑

{

Ó

5 5

< ®> j j j j œ œ œ œ #œ œ

˙

œ œ œ œ œœ œ œ œ œ œ œ œ

Œ

j ‰ Ó œ

pp 5

4

U & ‰ #œj œ œ ˙

>r ˙ œœœ œ œ œ œ Œ ≈œœœŒ ≈œœœÓ <≈>

ææ ™ œ ™ >œ œ ™ œ ™ œj -œ ™ -œ ™ -œ ™ œ. œj œ œ œ. œ œ œ. œj œ. œ œ œ nœj b œ Œ Ó . . . . . . . . mf

≈ œ œ œ œææ ‰ ™ r œ œ ≈ ≈ œ n œ #œ œ œ œ ≈ ppp mp

ppp p

>j bœ

mp

>j œ

? Uj œ mf -

>j bœ

>j œ

∑

{

on beat

-œ

8 5 5

5

3

& œ ™ œ ™#œœœ ™™ -œ ™ œœœ ™™ œ œ j j ‰ Œ - mf . . œ. œ b œ. j œ ?

‰ œœœœœ #˙ ™ ppp

Ó ˙™

˙™

œ œ œ œ œ #˙ ™

p

n

n

mf

> sub.f j œ

pp

Œ ‰™ r œ mf

∑

{

œ œ œ œ œ #˙ ˙ #< ®œ>œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œj œ œj œ œj mf J J J

Ó

j œ p

mf

12 3

3

3

3

5

5

3

& # œ œœ ‰ ≈<#> œœœ œœœ œœœn œœœ œœ œœ œ œ œ. b œ. œ œj œ. œ nœ. œ œj œ œ œ. œ œ œ ™ ™ œ ™ œ ™™ œ œ œ . . . . . . #œ > . sub.p > f p >j >j #œœ œœ#œœœ œœ œ nœj bœ nœ. nœ ? nœ >

∑ œ œ n mf sub.f

3

-j nœ ‰ Œ ≈ œ

{

(on beat)

œ œ ˙ ˙ œ œ ‰ œœœœ œ œ œ œ œ œ pp - mp

3 3

16 f 5

5 before beat

∑ & œœ

?

{

#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > pp >j nœ

œœ

>™ j # j œ œ

b œœ ™™ #œ > #œ

3 5

5 5 5

œ œ

œnœ

j œ

j œ

j #œ

j ‰ ‰ #œnœ œ ™ œj nœ #-œ œ œ ‰ #œ œj nœ #œ œ œ nœj œ j-œ œ œ j n œ n œ œ > œ œ œ œ bœ

5

sub.p mf f

˙˙ ˙ ˙˙ ™™ ˙˙ ™™ j‰ Œ -œ j œ

mf

5

?

‰™

Π&

∑ rœ œ mp

Copyright © 2014 by Tonia Ko. All rights reserved

f

II "I said nothing, stunned by her closeness." e = 96 Freely, still flowing- but with agitation

≤ (e=e) 3 >3 j j ‰lift j j 3 ‰ ‚‚‚‚ ‚‚ ‚‚ 4 ‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚ ‚‚ ‚≥‚ 3 n‚‚ bb ‚‚ < n>‚‚ ‚‚‚‚ ‚‚ ‚‚ ‚‚‚‚ ‚‚ ‚‚ 4 4 J J J J 3 3 ≤ 3 p legato, but rhythmically articulate mp ≤ ≤3 p >r lift 3 ≤‰ ‰ ≈ j ‰ ‰ j‰ 8 ™™ ‚‚ ™™ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚j ‚‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ b ‚ ‚ ‚ ‚ ‚ b ‚ ‚ ‚ ‚ ‚ b ‚ 3 ‚™ ‚ ‚ ‚ ? 4 b ‚‚‚< n>‚‚ ‚‚‚‚‚ ‚‚‚‚‚ ‚‚‚ ‚‚ ‚‚‚ ‚‚‚ ‚‚‚ ‚‚‚ ‚‚‚ ‚‚‚ 12 b ‚‚‚ ™™ < n>‚‚ ™™ ‚‚ ™™ ‚‚ ™™ ‚‚ ‚‚ ™™ 5 ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ 4 J 8 4‚ ™ ‚ ‚ ‚ 4 J J J J 2 hard plastic mallets

≤j j slide mallet between bars Œ ≥ ? 9 ‚‚≤ ™™ ‚‚ ™™ ‚‚ ™™ ‚‚ ™™ ‚‚ ™™ ‚‚ ™™ ‚‚ ‚‚‚‚ ™™‚‚ 8 ≤ n

j ‚‚‚‚ ™™‚‚

j j j ‚‚‚‚ ‚‚ ‚‚ ‚‚‚‚ ‚‚ ‚‚ ‚‚‚‚ ‚‚ ‚‚ J J J

4 4

p

etc. throughout

3

3

3

2 4

3

pp mp

≥3 3 ≥ > j j 3 j 13 ™ nr p ‰ ‰ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ‚ ‚ ‚ ‚ ‚ O ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ 9 ‚‚‚ ™™ ‚‚‚ ™™ ‚‚‚ ™™ ‚‚‚ ™™ ‚‚‚ ™™ ‚‚‚ ™™ 12 ‚‚‚ ™ ‚ ™ ‚ ™ ‚ ™ 3 ##‚‚ ‚ ‚‚ ‚‚‚ ‚‚ ‚ ‚‚‚ ‚ ‚‚ ‚‚‚ ‚ ##‚‚‚ ‚‚‚ ##‚‚‚ ‰ ‚‚ ‚‚ bb ‚‚ 3 ‚‚ ™™ 12 ? 2 ‚‚‚ ‚‚‚ 9 ‚‚‚ ™™™ ‚‚‚ ™ ‚ ™ 2 O J J J 4 8 4 16 16 R ‰ 4 8 8 J‰‰ > 3 3 pp mf pp ≤3 ≤3 ≤ ≤ j j j > j 23 ‰ ? 12 bb ‚‚ ™™ ‚‚ ‚‚‚‚ ‚‚ ‚‚ ‚‚‚‚ ‚‚ ‚‚ ‚‚‚‚ ‚‚ ‚‚ 5 ‚‚ n‚‚ ‚‚ ‚‚‚‚ ™™ ‚‚ ‚‚ ™™ ‚‚‚‚ ™™‚‚ ‚‚ ™™ ‚‚‚‚ ‚‚ ™™ 3 ‚‚‚‚ ‚‚ ™™ ‚‚‚‚ ‚‚ ™™ ‚‚‚‚ ™™‚‚ ™™##‚‚ 9n ‚‚‚‚™™ ##‚‚< n>‚‚ ™™‚‚ ‚‚‚‚™™ ‚‚ ‚‚ ™™‚‚ ‚‚‚‚™™ ‚‚ ‚‚ ™™ ‚‚ 4 8 Œ J J 8 4 8 4 J J J J sub.mp > ≤ 3 ≤ 3 ≤ 3 3 3 > > 3 3 ≤ > > j ‰Œ j j j j 28 ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ? 4 ##‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ 7 ‚‚ ##‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ 3 ‚‚‚n‚‚ ‚ ‚‚‚ ‚ ‚‚J ‚‚‚J ‚‚ ‚ ‚‚‚ ‚‚‚ ‚‚‚ 5 ##‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚‚ 5 ‰‚ n‚‚ ‚‚‚J ‚‚ ‚ 6 4 8 4 J 4 8 8 > > > 3 3 3 3 mf 3 mf n

f

j j j3 ? 6 ‚‚‚‚ ™™ ‚‚ ‚‚‚‚ ™™ ‚‚ 3 ‚‚‚‚‚‚ 8 4 > p

34

j3 ‚‚‚‚‚‚

≤j > 3 j j j (3+4+3) j3 j ‰ Œ ‚ ‚ ‚‚ ™™ ‚‚ ™™ ‚‚ ™™ ‚‚ ™™ 10 ‚‚ ™™##‚‚‚‚ ‚‚ n‚‚‚‚ ™™™ 3 ‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚ ‚‚ ##‚‚‚‚‚‚ ‚‚ ‚‚‚‚‚‚ ‚‚‚‚ ‚‚ ‚‚‚ ‚Œ 12 J ‰ J 4 J 16 J 16 J > 3 ≤ 3 mp

42 (3+3+4)

5 & 8

∑

? 5 ##‚‚ ‚‚ ™™ 8

{

∑

5 4

∑

∑

10 16

∑

> 3 j 3 j ® j ‰ bb ‚‚ ™™ n‚‚ ‚‚ ‚‚ bb ‚‚ ™™ n‚‚ ‚‚ ‚‚ ‚‚ 5 bb ‚‚ ™™b ‚‚ ™™™™ ‚‚ ‚‚‚‚ ™™‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚ ‚‚‚‚ ‚‚ ‚‚ ‚‚ ‚‚ 10 bb ‚‚ ™™ ‚‚ ™™ ‚‚ J ‰ ‰‰ ≈ ≈ ‰ ‰ ‰‰ 4 J J ‰ 16 > 3 mf pp 3 3 3 (mf)

4

j3 ‚‚‚‚‚‚ ‚‚ J 3

(same bar)

3

‚‚‚‚‚‚ ##OO‚‚ ##‚‚ ‚‚ ‚‚ 5 J J‰ 8 Œ 3 3

pp

≤3 ≥ ≤3 ≤ 9 ‰ ≈ ≈‰ ‰ ‰ ≈ ‰ 8 ‚‚ ‚‚ bb ‚‚ ‚‚ ‚‚ ≥≤ 9 bb ‚‚J ‚‚ ‚‚J ‚‚ ‚‚J ‚‚ 8

5 8

(mf)

p

5 8

III q = 84 Curiouser, sotto voce R: back of 1 hard rubber mallet L: hand

knock corner of bar by tilting shaft slightly downwards

holding mallet head, keep wooden shaft flat and parallel to marimba surface. sweep back and forth over indicated marimba bars at comfortable 45-degree angle. aim for a speed at around 32nd notes.

... . . ‰ Œ ≈ ‚b œ‚ œ OO b œ œ œ‚‚ ææ ææ ææJ

. . ‰ Œ Ob œO œ ææ

mp abruptly stopped

? 4 bb OO 4 æ æ

‚‚ ‰ ™™ Œ Œ bb ‚‚ æ RÔ pæ

OO ææ

‚‚ ‰ ™™ ‰ ™ bb ‚‚ ææ RÔ R

OO ææ

OO ™™ ææ

Strike with fingers, deadstroke

nœ Œ ‰ ™ œ Œ R z f mp

∑

{

Ó

nœ ‰ œ J z mp

∑

.. .. ‰ Œ ‰ Œ OO b œ œ OO œ œ ææ ææ

U ‚‚ ≈ ™ Œ ‰bb ‚‚ ‚‚ ææJ ææ RÔ sempre p U ‰ nœ Œ ≈ œ ™ Œ ‰ nœ œJ ‰ Œ J J Jç

pp

?4 4

short

nœ Œ

bœ Œ

.. ‰ Œ OO b œ œ ææ

OO ææ

œnœ œ Ó

f œnnœ>œœ J

bœ

simile l.v.

mf 3

f (f) f mp

3

Strike, open with palm

<broaden in time> sweep freely and unevenly, zigzagging up and down white notes

&

.... Œ ? OO b œ œœœOO ææ ææ 9

œœœ

4 4

...... Œ ‰ 3 OO ™™ b œ œ œ œ œ œ 4 ≈nn‚>‚‚ 4æ 4 æ f

a tempo

nOO OO ææ ææ ff

3 4 œnœ œ Œ

? ∑

{

4 nnœ>œœ 4

Œ

Œ

pp

Ó

∑

3 ‚‚‰ ™™ Œ ‰ ™ n‚æ‚ 5 OæO ™™ 4 RÔ æR 4 æ n p > b œ 3 œ Œ ‰b œJ 5 Ó 4 nz 4

OO OO 4 OæO ææ ææ 4æ .. .. bŒ b œœb œ œ œœ œ œ 4 ‰bb œœ ≈ œ ™ Ó 4 J J

OO ææ

OO ææ

5 4

b œ bœ œ > œ œ ‰ b œJ ‰ J Œ 45

mf playful 3

f mp ff mf 3

"rimshot" on cluster, moving into sweep, as before

.. .. ‰ bœ œ Œ Œ ‰ œ œ O ‚‚‚ OOO 4 æOO ™™ ææ ææ 4æ mp

17

? 5 OæO 4æ

‚‚ ‰ ™™ Ó RÔ

bbb œ>œœ ‚‚‚ ™™™™ ææ

‚‚‚ ææ

OOO ™™ ææ

OOO ææ

O‰OO ææ

œ j œ œ ‰ œJ Ó 3

Œ

.. .. b œ œ ≈ œ œ OOO ææ

.. ‰ OOO b œ œ Œ ææ

OOO ææ

3 OOO ™™ 4 ææ

4 4

p ff

? 5 Œ ≈nœ>œ ™™ œ>-œ ‰ Ó 4 J Jç

> œœ

{

nnœœ Ó

4Π4

Œ Ó™

bœ Ó

Œ

œ œœ œŒ

4 4

OOO ææ œœ. œœ. ‰Œ

3 8

‰ Œ 83

mp 3

f

> b œnœœœ 43 ∑ J

OOO ææ bb œœ. œœ.

3

mf ff dead f to top of keyboard slow down slightly only towards end of gesture

25 ("rimshot") ‚‚‚ ≈ ™ ‰ ‰ 4 æ æ RÔ & 4 bb œœ ‚æ‚ ™™™™ OæO > f pp bb œœ nœ>œœ ? 3 Jç ‰ ‰ 4 Œ Ó 8 4

?3 8

{

. . ‰ ‚‚ b œ œ ææ

ææ OO

. . . Œ OO b œ œ œ ææ

œœœ œ JŒ Ó

. . . . . . . . . . . . . . > 5 Œ Œ ‰ Œ ‰ ‰ ‰ ‰ ≈ b œ œ œ œ b œ œ œ œ œ œ œ œ œ œ 4 OO OO OO ™™ OO nn‚‚‚ ææ ææ ææ ææ f mp œœ œœ œœ œœ ™™ bbœ>œ œœœ -œ œœœ œ œ œ œ 5 Ó ‰ J Œ ≈J 4

à Πmf ff

Œ

Ó

√ Œ

p ff

3

mp (pick up rest of rubber mallets)

8

IV e ≈ 108 4 hard rubber mallets "my dog has fleas..."

q = 152 Happy and bright

œ œ 5 & 4

œ œ U2" Œ

p

mp?

“” > > œ nœ œ œ œ œ œ œ œ b œ œ œ œ œ œnœ œ œ > 3 5 œœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœ 4 œ œ ‰ 4 4 #œ #œ œ #œ #œ œ #œ 4 >f pp pp! mf

:“”; > > 3 œb œ > œ œ nœ œ œ œ œ œ r 5 ‰ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œb œ œ œ n>œ œ œ œ œ œ œ 3 4 ææ ææ & 4 #œ œ œ œ œ 4 4 4 œ #œ ™ ˙ ™ œ # œ œ œ # œ œ œ œ R b œ œ œ œ b œ œ œ œ œ #>œ > sub.pp p mf f

6

nœ nœ œ œ bœ 5 4 #œ ‰ œ œnœ œ œ œ œ œ œ œ œ nœ > sub.f

poco accel. (qq = 168)

a tempo q = 152 : ”; .

12 “ 1" b œ œb œ œ œ œ œ œ œb œ œb œ œb œ nœ œ œ b œnœb œ n œ b>œ b œ œ >œ œnœb œ n œ œ œb œ n œ œ œb œ n œ 3 J U 5 œ œ œ œ œ œ œ œ œ œnœ œ œ œœ 3 œ œ œœœœœ 5 œ œ ‰ Œ Œ b œ b œ & # œ œ < # > œ œ n œ 4 4 4 8 #œ œœ #œ nœ > p ppp mf

:“”; a tempo

rit.

17

5 œ œ œ œ œ & 8 #œ œ œ œ œ

Freely, as before j j #œ œ j #œj œ

œ œ œ

2"

œ UŒ œ nœ œ

(rit.) >j #œ j nœ >

œ

mp?

p

p mf

>j #œ

œ– œ

> - j 5 #œ#œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ b œ ™ œR nœb œ œ œ œ œ œ œ œ œ 3 œ œ œ #œ 4 4 #œ 4 > molto f mp pp pp

f f!

>j :“”; 23 3 sf r‰ œ 3 œb œ œ œ œnœ nœb œnœ 4 5 ‰ j Œ ‰ 3 nœnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ#œ ‰ #œ ‰ œ nœ œ œ œ œ œ b œ œ œ œ #œ œ 3 & 4 #œ #œ #œ 4 # œ #œ œ œ œ #œ œ œœ #œ# œ ≈ œ œ œ œ œ 4 # œœ #œ œ œ œ œ4 p 3 # œ > 3 3 3 3 3 3 > p legato mp mf ff > :“”; sf 3 3 3 3 3 3 #œ #œ n œ œ j3 b œ œ b œ œ œ 3œ 5 4 j n œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ & 4 œ œ œ œ œ œ œœ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ 4 # œœ œœ bœ bœ œ b œ œ b œ œ œ ‰# n œœj ≈ œœj ™™ 4 œ œ > # >œ ‹ œ 3 3 3 œ # >œ œ ™ 3 mp pp legato mp f ff

28

mf

3 :“”; œ œ œ #œ œ œ œ œ œ j œ œ œ œ æ æ œ œ œ 3 #œ œj œ œ ææ 5 œ œ œ3 bœ 4 ≈ bœ œ 3 bœ 4 bœ ?5 & 4 nœœ œ #œ œ nœ œ ‰# n œœj 8 ‰ ‰ œ 4 b œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œnœ œ œ œ œ œ œ œ œ 4 œ & ‰ œæ œæ æœ ™ œ 4 4 æ fff piercing n -œ # >œ pp f n ff > sf f accel. as fast as possible “” . bœ œ œ œ œ 40 # œ 1" 3 b œ. œ œ œ œ œ b œ œ n œ œ b œ n œ b œ n œ b œ n œ > > œ œ œ œ œ b œ n œ b œ n œ b œ b œ œ œ U n œ œ œ œ œ # œ œ œ œ œ œ œ b œ œ æ 5 5 bœ œ œ œ J‰Œ Œ 4 œ ‰ ™nœr œæ œ œ œ œ 43 œ œ œ œ œ 43 b œ œ & 4 4 ææ b œ œb œ 4 æ p fff nœ f æ mf -

33

9

V "A great peace rose from the depths." q ≈ 76 Simply, as from 4th movement R: 2 medium-hard mallets strike between resonator and node to bring out 5th partial on beat R.H. etc.

j œ

j œœ

j œ

>O

œ œ œœ

>O

3

5

j œ œ

œ>œ

5

>O

j nO nO

>O

3

j nO O

5

? Œ

Œ Ó œ œ œ b œ œ -œ œ œ œ œ œ œ œ pp

œ œ œ œ -œ œ œ p

j œ

(pp)

j œ b œ b œ b œ œ œ œ œ œ œ œ œ œ œ œ œ > œ œ œ œ b>œ œ œ œ b>œ œ œ œ œ œ

œ œ œ™

3

p 3

3

3 L: softest mallet (generally on low C; otherwise noted with *) mf

3 5 5

mf

p

rit. a tempo 5

j nO O

j nO

>O

Oj

O

like low bells * 3 * 3

*j

?

>O

h

3 3 3 5

*

*

*

*

*

*

*

*

*

*

*

‰ j j œ Œ œ œ#œ #œj œj œ j œ nœ œ œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ > > p mp pp mf J J J

j #œ

#œ

œ b œ œ œ b œ œ œ œ # œj œ œ < œ‰> œ œ œ œ œ œ œ œ ™ œ nœ œ œ #œ œ œ œ œ œ™ >

œ ™ œœ ™™ n œ ™

mp p 3

mf

sub.f

5

mf

sub.p

>O

a tempo

>O

rit.

9 3

*

*

3 3 3

3

* *

*

*

*

*

* * * * * * * * j j ‰ ‰ # œ œ j n œ j j b œ b œ œ œ œ œ œ œ#œ œ œ#œ œ œ œ œ œ œ b œ œ #œ œ œ œ n œ œ œ#œ n œ œ œ b œ mf mp p

*

? bœ œ

j ‰ Œ j œœœœ œœœœ œœœ œœœ œœœ œœ œœœ œœœ œ

p pp

p sub.f

accel. before R.H. only beat (put away L.H. soft mallet, take hard plastic mallet)

12 h

* becoming distant

* *

*

*

*

5

q = 116

*

? < ≈>

˙ œœ œ œœ œ œœ œ œœ œ b œ nœ œ

##>˙˙

œœ

œœœœ

œœ

œœœ œ œœœ

œœ

œ œœœ œœœ œœœ œœœ œœœ

œ

œœ

œœ

œ

œœ

œ

œœ

œ

œœ

pp

(p)

3

j‰ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ mf

p

3

p n

mp L.H. fade

Supple, solemn (qq ≈ 116) sounding "harmonics"/ pitch bend

(R.H.)

16

strike between resonator and node

¿

gliss.

O

O

¿ O

O

#O

¿

O

O

#O

#O 3

? ‰ j { œœœœœ œ (L.H.)

‰ j œœœœœ œœœœœ

j‰ ∑ œ œ œ

evenly

bœ ‰ ‰ j œ œœœœœ œ

pp pp mf p n 3 mp

top

3

3

pp

s

s

s

s

center

s

s

s

s

position of plastic mallet relative to marimba bar

O

19

O O

? { ˙ b˙

s

Place silently Release carefully press down mallet at 45-degree angle while dragging continuously across bar, avoiding buzz. sliding mallet should come within an inch of striking mallet but not go past.

bottom

j‰ Ó œ œ œ œ œ œ

œ œ œ

#O > j j j j bœ œ œ œ nœ œ e e

nO

#O n¿ O

O #O

3

j œ

j œ

e

j œ

e

j œ

e

j œ

e

3

œ b œj œ œj œ œj œ œ œ

œœ œ œ œ œ

3 3 3

mp

pp

mp

mf

p 3

3

mp p D§

Db

C

s

s s

s s

s

s

s

11