Page 1

all over the place for ensemble and video

f u l l s c o r e Xavier Bonfill Š 2017


E A

V

E R Y T H I N O T H I N G L L O V E R

N

G

F L O W S R E M A I N S T H E P L A C E

Alto Flute Bb Clarinet Tenor Trombone Percussion: Snare Drum and Crotales Piano Viola Contrabass


Performance Guidelines 1. About this score: This score should be printed in colour, two-sided and on B4 paper. This is a transposing score. All notations, including, possible different clefs, possible use of harmonics, note names on the graphical part of the scores, notes sung into the wind instruments etc. are shown in the transposition for each instrument. This is a time-proportional score where time = space. Even though tempo changes all the time, the notation has been kept as proportional as possible to the passing of time. Each page consists of ca. 12’’ of music. Please read these guidelines carefully in order to understand the notations used on the score. In case of doubt please contact the composer: xavierbonfill@xavierbonfill.com

2. Technical setup: A projector is required for the video. The screen should be, if possible, as long as the stage. (Ratio 16:9) The audio track of the video is the clicktrack for the conductor. Proper cabling and/or a wireless system are needed. If the conductor/ensemble finds it necessary, the clicktrack could be played back for all musicians, which would require a headphone amplifier /distributer and cabling for all of them. In the piece, the instruments “transcribe” what happens on screen, therefore their seating must be, from left to right: piano

alto flute

clarinet

trombone

viola

contrabass

percussion

The stage is approximately divided into 8 equally long parts and the piano takes twice as much space than the others. A sostenuto pedal is required for the piano part. There is also occasional inside playing (with a guitar pick). Besides that, there’s no preparation and/or other techniques that might harm the instrument. The contrabass should have 5 strings: standard tuning with the low C.

3. Tempo: The tempo fluctuates constantly in the piece. Several indications (besides the clicktrack) are used on the score to be able to follow it. • At every rehearsal mark, a broad metronome indication is given. This indication shows the slowest and fastest tempi that will be found in that section. That means on A we see the highest and lowest tempi we will see between A and B and so forth (the tempo at the beginning of the score applies to “from the top until A”). This metronome marks are meant to be only a vague reference, since in some occasions the tempo variations within a section can be dramatic. • All the way through the piece, the top staff shows a more precise indication of the current tempo, showing the BPM on each bar on a graphical representation.


• Some indications have been added to make the task easier for the conductor and “predict” the clicktrack better. These indications are valid until the next one appears.

-

Keep: straight tempo from here Poco rubato: Almost no deviation, but not exactly still. Rubato: Slight deviation, up and/or down, usually no more than 1 or 2 BPM per bar. Poco accel / poco rit: Usually no more than 1 BPM deviation per beat (i.e. 3 BPM on a 3/4 bar) Rit/accel: Between 1 and 3 BPM deviation per beat. Molto accel / rit: Higher / faster deviations than 3 BPM per beat.

2 4

B

4 4

2 4

29 q 49-64

100

°

90 80

accel.

70 60 50

T.

rubato

poco rit.

54

poco accel.

61

60

64

61

57

In this example, we see rehearsal mark B and a broad tempo indication 49 to 64. That’s the tempo range we will encounter until C appears. On the tempo staff we see how the tempo develops, 54 to 60 to 61 etc, while we can keep an overlook at the tempo movements (accel. then rubato, then poco rit, poco accel). Vid.

¢

°

D Eb3

G3

Eb

Bb3

D

Bb3

D3

C3

3

A. Fl.

5 3 3

3

&

3

≈œœ‰

≈ ≈ b œœ

4. Video score:

Œ

Œ

‰ ‰ bœ œ

≈b œ œ

‰ ‰ bf Œ . o

o p

pp

mp

p

≈b œ œ ‰ --

Œ

pp

mf G2

G3

B

E2

E3

Bb

Eb

F

A2

E3

D3

D

Underneath the tempo staff, there’s a “score” for the video part. This is not necessarily important for the performance Cl. 5 5 5

3

but it was used ™ final≈score. Œ in the composition ‰ ‰ process‰ and that’s why it’s ≈ ≈on≈the

¢&

j

œœ

Œ

It is a transcription of how œ color evolves, œ frameœœ by frame, fromœan RGB analysis of the œvideo file.

œ

f

œœ

3. 4

.

p pp mf pp mf p mf The red, green and blue lines define how much more of that mp color is there on the screen, compared to the others.

A 5

2 4

The black 12 line is how much “colourful” the picture is, as opposed to greyish/black&white tones.

° 4 q The ° line is the overall light/brightness in the picture. Tbn. yellow 51-62 T. ¢ 100 90 80 70 60 50

rubato

60

57

57

o

60

57

Ó o

o

pp

ppp

Vid. sfz mp

p mf

¢ °/ ° Prc. & A. Fl.¢

mp mf

mp

mf

mp

mf sfz

˙‰ œ ‰ œ ‰ ‰ œ ˙™ .7 . 7 .

mp mf

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w‰- g g g œ - - - . 3

mp

G

>. œG

>. œ

p p

p

mp

mf

mp

f

mp

mf

mp

C#4

5. Graphic ‰notation: ¿. ‰ Œ

µ œ. ™

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Ó

Œ

‰ #œ

Œ

˜œ.

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œ ‰ top All instruments, except have∑ an extra ‰staff ∑ for piano and percussion, ∑ Œ of their Ó standard notation. On∑ these staves, & # œ- on some parameters are displayed. pp P. p These lines are colour-coded. mp

pp

3

Cl.

œ ? Œ bœ ≈ ¿ # œ œ ‰ ¿ 5.1 Pitch-lines: ¢& P.III

µ œ.

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‰™

2 4 5.1.1 Red: Pitch line 1 °°

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¿ Ó

3

pp

mf

pp

mf

2 4

Œ

®˜œ ™ mp

Alto flute, clarinet and trombone: playing on the instrument pitch. Bb3

A

D3

C#

Viola or the only note, if not. Vla. Tbn.and contrabass: it affects the top ™ b œnote, if playing double stops, BŒ

n B ¢

o

Bœ ∑ o

pp pp p

p

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Cb. p

5 ™CLB 3 ≈ Ó # œ n œ œ. # œ. . # œ. . œ. n œ. œ. pppmp

Œ

∑Œ

ppp

p mp

. œ

Eb

D2

Œ

ΠŠϪ .

. ≈™ œ ™ ‰ ‰ œ . 7

. ‰ œ™ 5

D1

Œ

7

. ‰ ‰ œ™ ‰ ‰ mf

mp

5

œ œ™ .

œ œ ‰ ≈œœ™ ‰ ‰ ‰ œ .. . p


5.1.2 Brown: Pitch line 2 Alto flute, clarinet and trombone: singing into the instrument pitch. Viola and contrabass: it affects the bottom note, if playing double stops.

5.1.3 How pitch-lines work: When pitch notation is used, there’s always a colour notehead on the traditional score. From that point, one must look at the upper score and follow the pitch line starting from the pitch on the traditional score. Some clues are shown on the graphic staff: • At the beginning of the line, the note name is shown, with it’s octave number (f.ex. middle C -> C3)

- Only chromatic notes are given as clue. When a pitch line begins with a quarter tone the first clue will appear on the first time that a chromatic pitch is hit.

• The first time that a chromatic pitch is reached, there’s a reminder: note name, without octave (ex: C#) • Pitches are not referred again when a line goes back and forth the same notes, since it is taken for granted the player knows it already. Please mind that when two pitch lines are shown simultaneously they don’t necessarily are in the same register, since each line is independent from one another. When it happens that they are in the same register and hit exactly the same pitch, then the circled-note cue will not be red or brown, but black. When two pitch lines start from the same staff line but are in different registers, two circles, one with each colour (red and brown) appear on the left side.

3 4

For the pitch lines, the staff-lines are always a quarter-tone apart, so that the whole staff encompasses one whole tone. When more significant deviations occur, extra staff-lines are used (usually to fit a minor third range instead of a

45 100 90

°

whole-tone). 80

T.

rubato

keep

70 60

56 part 59 The trombone features some wider57glissandi, that go way out of the range. For that, the indications “ped” (go all

57

50

the way down to a pedal note) or “prt” (use portamento to the next note on the conventional score) are used. Vid.

¢ Vibrato only occurs when it is notated as such on the pitch lines. All straight lines are by default non vibrato.

°

Example 1: The alto flute plays an Eb5. Goes up around a quarter tone, slightly down, up to E natural, and sliding up to F where is stays while œ falling slightlyJdown.

F

C#

E

C5

Eb5

A. Fl.

bœ ‰ ‰

Œ

Œ

Œ

Œ

Œ

& o

3

o

3

o

p

C3 D5 B2

D4

C B

Cl.Example 2: The clarinet plays C3 while singing B2 into the instrument. µ˙ ™

While the two pitch lines happen to be in the same register, they only meet Œ position,œ while they swap notes back ‰ and Œ forth. Œ & tone at quarter

¢

o p

pp

o

p

3

≈≈ œœ

o

pp

p

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F4

mf

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B

Eb D

Bb

œ ™ Tbn.

œ B

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Œ

¢ o

o

o

p

mp

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o mf

p

7

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≈ œ ‰™ . 5 ∑

˙‰

Œ .. œ ™™ œœ ‰ œ œ ‰ ‰ œ ™ ≈ ™ œ œ . 7 . .. 7 .. ∑

. ŠϪ

. ™ ‰œ œ ‰ mp

mf


5.1.4 Special considerations for the flute, clarinet and trombone: 5.1.4.1 Red line (playing on the instrument): Alto Flute: Most of these pitch deviations can be done without switching fingering, by altering the inclination of the instrument between the lips and the embouchure. When wider lines appear, it is up to the performer to decide when to switch using microtonal fingerings to make the curve as smooth as possible, but humanly possible. Regarding the inclination of the instrument: consideration on the other parameters (especially: both dynamics and breathiness/sharpness of the sound should be considered as well in order to get as close as possible to what’s written). Clarinet: These lines are done by pitch bending the instrument. Please note that all the notes only descend from the original tone, and only go up to half-tone lower than the start.

5.1.4.2 Brown line (singing into the instrument): Singing the written pitches is of course encouraged. If the performer cannot reach that note, he or she can replace it by either: • Switching the playing and singing lines (recommended when the two voices are close) • Changing octave of the sung part (recommended when the voices are far apart from each other). In most cases, trying to understand what’s happening in the score can help finding the least compromising choice. In any case, the performers are very much welcome to contact the composer.

5.2 Cyan: Breathiness / sharpness (flute and clarinet only) It applies to the breathiness / sharpness of the sound. Where the 5 lines on the staff would be, from top to bottom: 1. extremely sharp/bright/nasal sound 2. sharp/bright/nasal sound 3. normal, well-balanced sound 4. breathy sound, still with recognisable pitch 5. breathy sound, where it’s hard to recognise any pitch. In both instruments, it is up to the performer to make choices to make the sound quality match the dynamics and other parameters such as pitch bending etc. It is understood that under some circumstances some compromises must be made to perform as much of what’s written as humanly possible. Regarding breathiness of the clarinet and higher dynamics than p: this can be “faked” by blowing air out of the corners of his or her mouth, achieving a louder breathy sound.

5.3 Green: Vowel filter or bow position The green lines are used in two different contexts.

5.3.1 Flute, clarinet and trombone: vowel filter. When air sounds (that is, without any pitch) are notated (this occurs when a white-noise notehead shape is used, see below for more information), a green line is used on the wind instruments instead of the cyan line. That line represents the vowel the performer must do with their mouth while blowing air into the instrument, resulting into a vowel-formantfilter effect. The 5 lines in the staff go from a closed to an open vowel sound. It is up to the performer’s comfort to use front or back vowels. The five lines on the staff would be, from top to bottom: 1. close (i, y, ɨ, ʉ, ɯ, u) 2. mid (e, ø, ə, ə, ɤ̞, o̞) 3. open-mid (ɛ, œ, 3, ɞ, ʌ, ɔ) 4. near-open (æ, ɐ, ɐ̹)


5. open (a, œ, ä, ɒ̈, ɑ, ɒ) For more information visit wikipedia: https://en.wikipedia.org/wiki/Near-close_central_unrounded_vowel

5.3.2 Viola and contrabass: bow position. The position on the staff determines the bow position. The 5 lines would be, from top to bottom: 1. Molto Sul Ponticello 2. Sul Ponticello 3. Ordinario

3 4

4. Sul Tasto 5. Molto Sul Tasto

1 q 57-63

80

T.

70 60

3 4

2 5 ( 4+16)

2 5 ( 4+16)

3 4

1

100

°

90

13 13 16 16

3 4

q 57-63 63

100 90

°

50

rubato

T.

62

rubato

80 70 60 50

60

63

62

60

Vid. 6. Specific guidelines for each ¢instrument: Vid.

¢ 6.1 Alto Flute and Bb Clarinet:

° For interpreting the graphic notation, please refer to chapter 5 in these guidelines.

°

˜ œ-

A. Fl.

pitched key clicks

6.1.1 Pitched Keyclicks (flute only) ‰ 2+ 5 16)mouth on the&embouchure. Click the keys while keeping( 4the A. Fl.

3 4 1

13 16

3 4&

mf These are indicated with crossed note-heads on the score.

3

3

3 pitched key clicks ˜3œ≈ ≈ ¿ ‰ ‰ 3≈ ≈µ¿ ‰ ‰ b ¿. 3 ‰ ‰ B3¿. ‰ ™ 3 ≈ n ¿. Œ . ‰ ≈ ≈ ¿ ‰. ‰ ≈ ≈µ¿ ‰ ‰ b ¿ ‰ ‰ B¿ ‰ ™ . . . . pp

p

pp

b ¿ B¿ ≈ n ¿. . Œ .

p

mf 100

°

90 80 70 60 50

rubato

6.1.2 Unpitched Keyclicks (clarinet only) 62

60

Click on the keys. When two fast notes are required, the first Cl. can be key down, and the second key up, and so forth. # œ- When ‰ & only one click is required, the performer may perform the down & and up clicks as quickly as possible. The notation mfused is crossed note-heads on a one-line staff. Cl.

°

&

62

59

58

unpitched key clicks 3

Œ

¢

¢

3 4

C

63

# œ-

¢

. . . . 3 . . unpitched key clicks 3 42 ™ . . . . 3 ¿ ¿ ¿ ¿ q‰ ‰ ‰ ¿ ‰ ¿ .≈ Œ ° ‰ Œ ¿ ¿ ¿ ¿ ‰ ‰ ‰ ¿ rit.‰ ™ 52-63 100 90 80

f

T.

p

70 60 50

mf

. Œ ¿ ≈ Œ

f

63

p

° 6.1.3 Unpitched air

Vid.

°

¢

Tbn. 3 instrument. Graphic notation (green line) indicates vowel. For this, a pitched the key clicks ˜Blow œ- air into 3 3 unpitched air 7 5 3 ? Tbn. 3 3 ∑ ∑ ‰ Bb œ ‰ Œ white-noise shaped notehead on a 1 line staff ™ . ‰ ≈ ≈ ¿ ‰ ‰ ≈ ≈µ¿ ‰ ‰ b ¿. ‰ ‰ B¿. ¢is‰ ™ used.≈ n ¿. ?Œ b ¿. B¿. ≈∑n ¿. ‰ ™ Œ ° ‰ ∑ ‰ Bb œ. ¢3 . . 3 snares: on >. 6.1.4 Singing into the instrument 3. - A. Fl. - .j snares: j on >. 3 3 ™ °/ when in‰longer œ ‰œ notes œ œ (withœ. glissandi). œ œ ˙. - ˙-œ This is usually indicated with a brown notehead j œj œ Œ Œœ ™ Œ ‰ ‰ Ó ° ‰ œ œ œ ˙ œ œ ‰ is the case, & However, it appears sometime without any graphical counterpart. When this / f Œ scraping unpitched key clicks 3 reverse . unpitched air . . . . 3 . . Prc. p mp. p a- “ping” notehead is used. 3 Œ #œ ‰ Œ ≈ ¿ ‰Ó Œ ‰™ ≈ j ¿ ¿ ¿ ¿ ‰ ‰ ‰ ¿ ‰ ™ Prc.¿ #≈œœ Œ 3 Œ Œ ∑ œœœ™ & j ¢ # œ o o œ Œ Œ Ó ≈œœœ™ ¢& 6.2 Trombone: mp pp Cl. ## œœ ™™ ˙˙ ™™ # œœ- ™™ For interpreting the graphic notation, please refer to chapter ˙˙ ™™ Ó ## œœ ™™ # œ ™ 5 in these # œœ- ™™ ‰ guidelines. & ¢ Œ Ó ‰ & # œ™ ‰ Œ Ó ‰ & 3 P. 6.2.1 Unpitched air ™™™™ ∑ ∑ ‰ ‰ mpŒ ≈ ˜œœ ™™ Œ ppp µœ. Œ P. ™ Bb œ. ° # œ ? Œ See 6.1.3 ‰ Œ ∑ Œ 3 & œ- ™ ™ # œ ? ‰ Œ ∑ Œ & œ- ™ Tbn. P.I snares: on >. 3 . - -3 . . 7 3 13 ˙- ¢ ™ ‰ œ ‰œj œj œ œ ˙ œ œ4 œ ˙ œ ™ P.I . ‰ ‰ 16 4 g œ œ 13 o 3 Œ 3 Œ Æ 4 16 4 reverse scraping o ° 3 .. ° . . >. ∑ # œœ Œ Œ Ó ≈ œ œ œj™ ∑ Vla. ° œ ®œœ ‰ ≈ œCLB‰ ≈ œ ‰ pp

p

pp

mp

p

mf

pp

p

mp

p

ppp

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F

E2

f

p

p

mf

mp

Eb

pp

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D2

D2

C#

p ppp

mp

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¢

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p

mp

ppp

p

ppp

pp

p

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p

m

E

p

mf

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D#

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D3

p sempre

D#

¢&

pp

D3

mf


D2

E - V’RY

6.2.2 Speaking into the instrument: The white letters on grey background on top of the graphic notation staff is text that should

7

be spoken into the trombone. This is combined with the pitch graphical notation described

®œ ™ R

VER FLOWS . p mp pp

in chapter 5.

ped

6.2.2.1 Speaking into the instrument, no pitch: This is indicated by having text on the upper staff while having a crossed note-head on a

™Œ .

-¿ . ™

one-line staff lower staff.

-

pp

6.2.2.2 Speaking into the instrument, instrument with pitch: Speak into the instrument (unpitched) while playing (with pitch). The red line indicates, as usual, the pitch movement within the playing part. N.B. Remember the use of ped and prt described on 5.1.3

6.2.2.3 Singing into the instrument, with text, while playing

D2

A

L

L

If also a brown notehead appears, that calls for not saying the text but singing it. The brown line then applies to the singing part.

. ‰ œœ pp

‰ mp

Œ

pp

6.3 Percussion:

The percussion set consists on a Snare Drum and a set of Crotales. The upper staff is used for the Snare Drum and the lower for the Crotales. The Crotales set should be on the left hand side of the performer. The Snare Drum should be prepared slightly by covering the whole surface with sandpaper. Use a rough kind of sandpaper and double-sided tape to it sticks to the drum surface. The snare is played with brushes/whiskers throughout. Stacatto notes: hit the snare drum Tenuto notes: brush the snare drum, in the same direction as the brushes /sandpaper Tenuto with slashed note-heads: brush the snare drum in the opposite direction, making a rougher sound. Crossed notehead: Play on the rim.

6.4 Piano:

As mentioned before, a piano with the modern 3 pedal system is required. Most of the piano part is normal playing but at some point the performer is required to “strum” a chord inside the piano with a guitar-pick.

6.4.1 Pedals: P.I: sustain

P.II: una corda P.III: sostenuto (middle pedal)

6.4.2 Silent keys:

Press the keys silently (this is done to activate the sostenuto pedal for later use). It is notated with diamond shaped notes.

6.4.2 Strum strings:

Strum the strings inside the piano with a guitar-pick. This is indicated with crossed note-heads. The arrow indicates if the chord should be strummed upwards or downwards. Some pianos might have some sort of metal structure


unpitched key clicks 3

2 5 ( 4+16)

4

16

4

# œ-

80 70 60 50

f

100 90

°

T.

Œ

. ¿

¢&

1

q 63

. . . ¿ ¿ ¿

mf

rubato

separation in between this register. If this occurs, find a workaround to make the result59as close to what’s written as 63 62 62 60 58

possible.

°

Vid. Tbn.

¢ ## OOO #O

## ¿¿¿ #¿

Œ

Ó

## ¿¿¿ ™™™ ? # ¿ ™¢

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∑ 3

mf

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Ó

≈ ≈ ¿ ‰ ‰ 4 ≈ ≈µ¿ ‰ ‰ b ¿. ‰ ‰ B¿. ‰ ™ . 4 . Viola and contrabass: mf

¿¿¿ ™™™ ¿

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3

3 ≈ n ¿. 4

3

3

3

pp

p

¿¿¿ ™™™ >. .3 ¿ .j j ‰ œ ‰œ œ œ unpitched air 7 mp Œ p ‰ 5™

snares: on

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pitched key clicks

P.III

&

¿¿¿ ¿

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Œ

b ¿. B¿.

≈ ‰™ Prc. n ¿. pp

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mp

# œœ- ™™ # œ™

. . . 6.4.1 Bow pressure: unpitched key clicks 3

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4 Œ

˙ p

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# œœ

For interpreting the graphic notation, please refer to chapter 5 in these guidelines. Cl.

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unpitched air . 3 . . . ‰ Œ have Ó Œ # œ- no ‰ the ‰ ¿score, ‰ ™ but¿ this ≈ Œshould beŒ linked to≈ the ‰ ™ dynamics ‰ indication Œ ¿for¿ bow ¿ pressure ¿ ‰ on ¿&‰ dynamics. There’s Lower less bow pressure, while higher dynamics go into overpressure. The correlation is as follows: o o P. ppp molto flautando #œ ™ ‰ Œ & œ- ™ pp f

p

p

mp

mf

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{

p

flautando

mp

poco flautando

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bn.

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≈ ˜œœ ™™

‰ Bb œ ‰ Œ . ordinario

mf

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13 16

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ppp

p

ppp

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f

>. .3 .j j ‰ œ ‰œ œ œ

slight overpressure (25% noise, 75% pitch) pp Vla. -p overpressure œ ˙ (50% noise, 50% pitch) ˙ µ>œ ™™

snares: on

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ff

œ

˙

œ

Ϫ

Πp

mp

Œ

p

6.4.2 Col Legno Battuto:

Prc.

Is referred toŒas CLB # œœ

Œ

D3

reverse scraping

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. . œ œ Æ

‰ Œœ ‰ ™

® ˜ œ ™™

gB o-

p

mf

o mf

pp mf

3

≈ œ œ œj™

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¢& 6.4.3 Natural harmonics:

mp

pp

Cb. III (7th)

™ the˙ ™ partial number are # œœ- ™™ appear written in sounding pitch. The string## œœand They ™ ˙™ ¢& # œ ™ as well.‰ Please indicated remember that the contrabass transposes all the time, also Œ Ó ‰ &

® œo ™™

œo ‰

in treble clef, also when notating harmonics.

o

mf

mp

Œ

all over t

ppp

P.

6.4.3 # œ ™ Pizzicato arpeggiando:

{

Œ

3 13 46.4.3 Pizzicato guitar-like: 16 direction to pluck them.

F3

°

pizz

?

≈ ™ b œœ œœ ˙˙ ™™ ™ Theœ- note duration is how long it should take to strum all strings. The arrow indicates œ œ the ˙™ ‰

&

Œ

P.I

Fœ ≈ #œœœ

Œ

3 4

≈ Œ

P.III mf

Strum back and forth, like a guitar. This is indicated with a tremolo sign. E

D#

D3

6.4.3 Bow on wood:

Vla.

CLB

µœœ ™™™™ body of theŒ instrument. This is notated >œ ‰ aŒ Bow® ˜the on a 3-line ∑ ‰ staff, special clef, that indicates that the upper line means the upper part of 3whitethe mf instrument bodyo that must be bowed, and so forth, and mp pp noise shaped note-heads. >

B

≈ o5

pp p

6.4.4 Bow on bridge:

Cb.

¢&

bow on the bridge

œ ™™ top œof the bridge. This is notated on the top line of a 2-line staff, with a Bow® on ‰ Œ ∑ ∑ special clef, also with white-noise shaped note-heads.

III (7th)

mf

o

o

Œ

> ≈≈

mf

o

pp

7

o

o p

all over the place - Xavier Bonfill © 2017


3 4

13 16

3 4

2 5 ( 4+16)

1 q 57-63

100 90 80 70 60 50

°

T.

rubato 63

62

60

62

59

58

Vid.

¢ ° ˜ œ-

A. Fl.

pitched key clicks

3

unpitched air

3

7

‰ &

5

3

3

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≈ ≈µ¿ ‰ ‰ b ¿. ‰ ‰ B¿. ‰ ™ .

pp

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mf

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unpitched air

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3

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o

p

p

mf

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°

D2 C#

Tbn. 3

? ∑

≈ ˜œœ ™™

‰ Bb œ ‰ Œ .

¢

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ppp

p

µœ. Œ

Œ

ppp

3

>. .3 .j j ‰ œ ‰œ œ œ

snares: on

°/

p

pp p

œ

˙

mp

œ

œ Œ

Ϫ

˙ Œ

˙

p

reverse scraping

7

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‰ œ ‰™

g o-

p

mf

mf

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# œœ

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≈ œ œ œj™

Ó

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mp pp

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# œœ- ™™ # œ™ ‰

Œ

Ó

˙˙ ™™

& mp

ppp

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&

3 4

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F3

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Œ

3 4

˙˙ ™™ ˙™ P.III

E

°

D# D3

Vla. CLB

> ® ˜µœœ ™™™™

B

Œ

‰ >œ ‰ Œ

3

o5

o pp

mp

pp p

mf

Cb. III (7th)

® œo ™™

œo ‰

Œ

Œ

≈≈

¢& mf

o 7

o p

all over the place - Xavier Bonfill © 2017


4 4

2 4

5 100 90 80 70 60 50

° T.

rubato 58

61

58

57

Vid.

¢ °

F4

F#4

G4 E

Bb

F

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A3

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Eb

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Gb3

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˙™ & ˙™

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≈Bµœœ

Œ

3 5 p

ppp

p

pp

D4

mp C4

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mp

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p

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œ™ ¢& ≈ # œ ™

5

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ppp

p

pp

mp

p

mf

p

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Ó

¢

∑ o

o pp

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pp

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7

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.

.j . ≈ ®®œ œ Œ p

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p

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mp

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5

?

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Ó

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Œ

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3

o pp

2

p

all over the place - Xavier Bonfill © 2017


2 4

5 4

3 4

5 4

8

°

100 90 80 70 60 50

T.

rubato 61

60

58

57

57

Vid.

¢ °

G4 F#

G

Eb4

F4 G3

D

Gb3

G#

G3

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≈ µœ ™

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pp

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mp

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7

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p

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mf

pp

mf

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Tbn.

b œœ ™

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ppp

mp

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˙. ææ

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p

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mf

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mp

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CLB

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& pp

mp

p

all over the place - Xavier Bonfill © 2017

3


A 5

3 4

4

2 4

12 q 51-62

100 90 80 70 60 50

°

T.

rubato 60

57

57

60

57

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mp

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nœ b œ œnœ œ b œ n œ nœ

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mf

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all over the place - Xavier Bonfill © 2017

?


2 4

3 4

4 4

2 4

3 4

15 100 90 80 70 60 50

° T.

rubato 61

60

59

58

57

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Bb A3

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all over the place - Xavier Bonfill © 2017

‰™

b œ- Œ p

7

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3 4

2 4

17 16

2 4

3 5 ( 4+16 )

19 100 90 80 70 60 50

° T.

rubato

accel.

57

59

57

57

62

57

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¢ ° E4

Db4 Eb4

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mp

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all over the place - Xavier Bonfill © 2017

p


2 4

3 4

2 4

24 100 90 80 70 60 50

° T.

rit.

poco accel.

62

rit. 56

53

accel.

58

57

54

53

51

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¢ °

A

Bb3

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. 7 . . 7 . 7 ™ ™ ™ œ‰ ‰ g œ ‰ ‰ œ ‰ ‰ œ ‰ -

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all over the place - Xavier Bonfill © 2017

mp

7


2 4

B

4 4

2 4

29 q 49-64

100 90 80 70 60 50

°

T.

accel.

rubato

poco rit.

60

54

poco accel.

61

64

61

57

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¢ °

D Eb3

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mp

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p

all over the place - Xavier Bonfill © 2017

mp


3 4

2 4

4 4

34

°

100 90 80 70 60 50

T.

keep

poco rubato

64

molto rit.

64

63

accel.

64

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49

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all over the place - Xavier Bonfill © 2017

p

9


4 4 39

°

100 90 80 70 60 50

T.

rit.

keep

accel.

60

63

52

63

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F

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all over the place - Xavier Bonfill © 2017


3 4

C

5 4

3 4

42 q 52-63

100 90 80 70 60 50

°

T.

rit.

accel.

63

poco rit. 59

52

56

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all over the place - Xavier Bonfill © 2017

11


3 4 45 100 90 80 70 60 50

° T.

rubato

keep 59

56

57

57

Vid.

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B

Eb D

Bb

œ ™ Tbn.

œ B

‰™

Œ

Œ

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o

o

p

o

o

mp

mf

p

7

˙‰ ™™ œ ‰ ‰ ‰ œ ‰ ‰ œ ™ . . . 7 5 7

°/ Prc.

˙‰ ™ ≈ ≈ œ Œ . 3

≈ œ ‰™ . 5

˙‰

Œ .. œ ™™ œœ ‰ œ œ ‰ ‰ œ ™ ≈ ™ œ œ . 7 . .. 7 .. ∑

. ŠϪ

. ™ ‰œ œ ‰ mp

mf

¢& bœ

Ϫ

œ œ™

œ œ œ bœ œ ™

bœ œ

œ ™ œ œ bœ

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œ œ œ œ ™ b œ.

& 3

3 7

5

mf

pp

5 5

P.

œœ œ œ œ

œ bœ ™

{

&

°

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nœ œ b œ œ ™

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3 7 7 3

P.I (niente to 1/2 ped.)

o

o

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Ϫ

µœ

B

Œ

‰ ‰ #œ

mp

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Œ

p

IV (5th)

o ˙™

∑ o

o #˙ ™ o

ppp

12

7

pp

¢&

œœ b œ.

o ˙™ pp

all over the place - Xavier Bonfill © 2017


5 4

2 4

49 100 90 80 70 60 50

° T.

poco rit.

accel.

57

poco accel. 64

61

53

Vid.

¢ ° A. Fl.

≈ ™ b œœ .

&

Œ

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≈ ™ b œœ .

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G#

D

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A

E

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¢ o p

mp

mf

p

f pp

3 . . . ‰˙ ‰ œ ‰ œ œ ‰ ™ ™ 3

°/

5

. œ

mp

˙˙ ™ ™ -

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™ ˙G -

p

˙ G™ -

f

mf

f

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œ

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7

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7

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p

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D

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B

#˙ ™ o

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pp

mp

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Cb.

o ¢& <#>œ p

Œ

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pp

mp

all over the place - Xavier Bonfill © 2017

13


D 2

3 4

4

2 4

52 q 57-66

100 90 80 70 60 50

°

T.

rit. 64

poco accel.

65

61

60

57

Vid.

¢ ° A. Fl. 3

j ∑

‰ ™™

Œ

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p

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mf

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p

mf

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E - V’RY

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p

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o pp

14

≈≈

p

mf

all over the place - Xavier Bonfill © 2017

2 4


2 4

3 4

2 4

3 4

56 100 90 80 70 60 50

° T.

rit.

poco accel.

62

60

accel.

poco rit. 66

61

58

63

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¢ Bb3

°

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E4

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mp

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mp

all over the place - Xavier Bonfill © 2017

15


3 4

4 4

3 4

61 100 90 80 70 60 50

° T.

rubato

keep 64

63

65

63

65

Vid.

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G3 F#

Eb4

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pp

mf

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3 C#

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p

all over the place - Xavier Bonfill © 2017

mp


3 4

E

4 4

2 4

3 4

65 q 62-75

100 90 80 70 60 50

°

T.

poco rit.

poco accel.

65

accel.

71

67

65

62

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Eb4

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&

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mp

f

B3

E3 C#3

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arco

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all over the place - Xavier Bonfill © 2017

∑ ˙™ pp

17


2 4

4 4

3 4

5 4

69 100 90 80 70 60 50

° T.

rubato

71

poco rit.

70

68

accel. 67

71

65

Vid.

¢ °

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F

E3

D3

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Œ

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mf

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D

C

Cl.

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° E2

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R E - MAINS B1

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Tbn.

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p

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mp

p

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o mf

18

mf

f

p

all over the place - Xavier Bonfill © 2017

Œ

Ó

œF œœœ ‰


74

5 4

100 90 80 70 60 50

2 4

4 4

2 4

° T.

keep

71

poco rubato

71

rit.

72

62

Vid.

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C4 D4

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3 3 7

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p

mp

all over the place - Xavier Bonfill © 2017

pp

19


2 4

F

4 4

2 4

5 4

78 q 62-104

100 90 80 70 60 50

°

T.

molto accel.

76

69

62

poco rubato

77

76

75

Vid.

¢ ° B3

D4 B3

C3

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p

pp

p

f

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20

Fœ ™ ™ œœ œ ™™ ®‰

p

all over the place - Xavier Bonfill © 2017

pp

mf

Œ


83

5 4

3 4

100 90 80 70 60 50

2 4

° T.

96

95

78

76

3 4 poco rubato

molto accel.

87

88

molto rit.

86

poco rubato

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¢ °

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G3

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7

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# œ.

all over the place - Xavier Bonfill © 2017

21


5 4

3 4

6 4

2 4

89 100 90 80 70 60 50

° T.

91

90

86

91

poco rubato

accel.

keep

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¢ °

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22

all over the place - Xavier Bonfill © 2017

œ œ.

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2 4

5 4

2 4

4 4

3 4

4 4

2 4

93 100 90 80 70 60 50

° T.

91

99

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104

102

98 poco rubato

accel.

poco accel.

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all over the place - Xavier Bonfill © 2017


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all over the place - Xavier Bonfill © 2017


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43

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Xavier Bonfill - All over the place (2017) - for ensemble and video  

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