Marc Sabat
Lying in the grass, river and clouds
for 15 solo instruments
PLAINSOUND MUSIC EDITION
Lying in the grass, river and clouds (2012) for 15 solo instruments
Alto Flute in G(Piccolo), Oboe d’Amore, Clarinet in A, Bassoon, Double Horn in F, Tenorbass Trombone (with F Extension), F Tuba (5 Valves), Percussion (1 Player on Crotales, Vibraphone, Chimes, Low Tuned Gongs), Solo Piano, Digital Keyboard, Violin I, Violin II, Viola, Violoncello, Contrabass (5 Strings tuned G-D-A-E-C) commissioned by Alexander Moosbrugger and the Bludenzer Tage zeitmäßer Musik with assistance from the Ernst von Siemens Musikstiftung and the Canada Council for Daan Vandewalle and Ensemble Contrechamps
This work is the fourth piece of music belonging to Wave Piano Scenery Player, preceded by Part 1: WAKE for JIM; Part 2: to Damascus; Part 3: Wave Scenery. It may be performed as a concert work, either on its own, or taking place alongside a setting of the three earlier works in a scenery with Lorenzo Pompa’s paintings Mapping the Universe. The solo piano part is identical with to Damascus, but here is played on a normal concert piano rather than an acoustic computer piano, while the 14 additional solo instruments superimpose a free elaboration replacing the computer-generated harmonic cantus firmus.
Lying in the grass, river and clouds is a sound machine observed as landscape, a gradual coming into being and dissolving of sonorities: harmonic relationships, enharmonic variations, interferences. The equal-tempered points of the piano intonation are connected within a larger frame of 23-limit Just Intonation based on tuneable intervals.
Each player, including the conductor, are free soloists. Time is conducted very slowly, about 1– 3 seconds per beat, and flows in a continually changing rubato grouped in 2, 3 or 4 patterns without accented beats, allowing the various solo lines to remain harmonically co-ordinated. The individual lines are written in 4/4 subdivisions of the conducted pulse, but may be interpreted with considerable freedom, as precise intonation and phrasing might require.
Dynamically, the music is generally soft, taking place in the resonances and interferences between sounds produced by the sometimes complex Just Intonation intervals. Tone production should seek to emphasize the resultants between instruments (combination tones, shared partials, periodic beating patterns) and allow expressive phrases to arise of themselves as a result of listening precisely to these sound characteristics.
The solo piano part will often produce detunings and collisions with the microtonal instruments, which are asked to adjust to each other based on modulating, interlocking natural harmonic and subharmonic series. The piano is always related to these harmonies, even if distantly, a connection articulated by pitches doubled and echoed by the percussion, and by the sum and difference tone structures generated by the digital keyboard.
Several materials are provided to explain the extended Just Intonation notation and intervals based on whole-number ratios of frequencies: a legend defining the accidentals, a table of the harmonic series and a list of tuneable intervals, many of which occur in the music and which may be precisely determined by ear. Throughout the score, annotations cue the melodic and harmonic intervals (expressed as ratios and cents) and indicate instruments each player may be able to adjust to while playing. In addition, woodwind players are provided cents deviations from equal temperament to assist in finding alternate fingerings, and brass players have a table describing the microtonal valve-slide retunings, which allow all of the valve combinations to be used.
September 2012
remembering John Cage (1912-1992) THE HARMONIC SERIES 1 - 64 above “A0” (overtone row)
notated using the Extended Helmholtz-Ellis JI Pitch Notation microtonal accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004
+2 +2 w ? 0 D# -49 +2 +4 & w w nw 9 10 11 12 w 13 0vw 14 < 15 u 16 w w 4w n F +41 -31 -12 n -14u +28 +2 +5 +4 D# -49 w w w +30 +6 w w w w w +5 B# -49 A# -47 +4 w w w w :fw +29 +12 D# -49 +28 E -34 +2 w w w w w w w w -29< · 4 u 3v ¿v n {w} -10 & 41 42 43 44 45 46 47 48 +7 +6 +38 w Ow w :ow 0vw °uw vw 4uw -31< t F +41 -26 E +38 -27 & 49 50 51 52 53 54 55 56 +30 G# -41 +17 w w w -1/w 2ow øw uw »uw -5 -27< n -12 Ab +45 & 57 58 59 60 61 62 63 64 An informal introduction to the Helmholtz-Ellis Accidentals by Marc Sabat Berlin, April 2009 In learning to read HE accidentals, without having to rely on an electronic tuning device, it is important to be familiar with three things: First, to keep in mind the natural tuning of intervals in a harmonic series, which deviate from the tempered system. Second, to get to know how the accidentals refer to these overtone relationships. Third, to observe that each written pitch may be related to many other pitches by natural intervals, and to tune it accordingly. In most cases, this approach will allow the player to quickly and intuitively play just intonation (JI) pitches quite accurately. Any remaining adjustments can be made by ear, based on the specific sound of JI intervals. Just intervals are readily learned because they are built up from simple, tuneable harmonic relationships. These are generally based on eliminating beating between common partials, finding common fundamentals and audible combination tones, and establishing a resonant, stable sonority which maximizes clarity: both of consonance and of dissonance. A well-focussed JI sound is completely distinct from the irregular, fuzzy beating of tempered sounds. Just consonances, when marginally out of tune, beat slowly and sweetly and may be corrected with the most subtle adjustments of bowing or breath. Just dissonances produce a sharply pulsing regular rhythm and have very clear, distinct colors. To become familiar with the notation and sounds of JI, the fundamental building blocks are prime number overtones 3, 5, 7, 11 and 13, each of which is associated with a specific pair of accidentals and a basic musical interval. 3 is associated with the signs flat, natural, sharp and refers to the series of untempered perfect fifths (Pythagorean intonation). Generally, A is taken as the tuning reference, and the central pitches C-G-D-A-E can be imagined as the normal tuning of the orchestral string instruments. The just C is rather lower than tempered tuning because of the pure fifths. The further this series is extended, the greater the deviation from tempered tuning: the flats are lower, the sharps higher. 5 is associated with arrows attached to the flat, natural, sharp signs and refers to the pure major third. These arrows correct the Pythagorean intervals by a Syntonic Comma, which is approximately 1/9 of a wholetone or 22 cents. So, for example, the note E-flat arrow-up is a just major third below G, and the note F-sharp arrow-down is a major third above D. In most music, flats are often raised by a comma and sharps are lowered. Because of the open string tuning, it is common to sometimes raise F and C (to match A and E) and to sometimes lower A and E (to match F and C). Corrections by one Syntonic Comma have been used throughout Western music history and are relatively familiar to the ear. However, traditionally these corrections have been hidden by players, for example in Meantone Temperament where fifths are mistuned narrow by ! comma so that the third C-E ends up sounding pure. More recently, the currently prevailing Equal Temperament has made us accustomed to beating thirds, so at first the pure intervals may seem unfamiliar. To play the arrows accurately, one must carefully learn the sound of the consonant major and minor thirds and sixths, and learn to articulate comma differences clearly. 7 is associated with a Tartini sign resembling the numeral. It corrects the Pythagorean intervals by a Septimal Comma, which is approximately 1/7 of a wholetone or 27 cents. When the Pythagorean minor third is lowered by this amount, it becomes a noticeably low third often heard in Blues music. 11 is associated with the quartertone signs (cross and backwards flat). The accidental is used to raise the perfect fourth by 53 cents, producing the exact tuning of the 11th partial in a harmonic series. The sound is most easily learned by playing one octave plus one fourth and raising it by a quartertone. 13 is associated with the thirdtone signs (cross and backwards flat, each with 2 verticals). The accidental is used to lower the Pythagorean major sixth by 65 cents, producing the exact tuning of the 13th partial in a harmonic series. The sound is most easily learned as a neutral-sounding sixth, one-third of the way between the just minor and just major sixths (closer to minor than to major). The following table presents the accidentals together with their associated ratios and cents deviations. To calculate the cents deviation from Equal Temperament of a specific written pitch (if desired) the following shortcut may be used: 1.) Find the cents deviation of the Pythagorean pitch, by calculating how many fifths it is away from A, multiplying by 2, and using a plus sign if it is on the sharp side and a minus if it is on the flat side. 2.) For each microtonal accidental, add or subtract its approximate cents value (as given above), keeping in mind whether the accidental is raising or lowering the pitch. The resulting value should be a cents deviation within 1 or 2 cents accuracy, which is an acceptable starting point for fine-tuning by ear. ACCIDENTALS EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION for Just Intonation designed by Marc Sabat and Wolfgang von Schweinitz The exact intonation of each pitch may be written out by means of the following harmonically-defined signs: Pythagorean series of fifths – the open strings E e n v V ( … c g d a e … ) lowers / raises by a syntonic comma d m u U F f o w 81 : 80 = circa 21.5 cents lowers / raises by two syntonic commas c l t T G g p x circa 43 cents lowers / raises by a septimal comma < > 64 : 63 = circa 27.3 cents lowers / raises by two septimal commas • ¶ circa 54.5 cents raises / lowers by an 11-limit undecimal quarter-tone 4 5 33 : 32 = circa 53.3 cents lowers / raises by a 13-limit tridecimal third-tone 0 9 27 : 26 = circa 65.3 cents lowers / raises by a 17-limit schisma : ; 256 : 255 = circa 6.8 cents raises / lowerss by a 19-limit schisma / \ 513 : 512 = circa 3.4 cents raises / lowers by a 23-limit comma ∞ ±# 736 : 729 = circa 16.5 cents In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to indicate its absolute pitch-height as a cents-deviation from the respectively indicated chromatic pitch in the 12-tone system of Equal Temperament. The attached arrows for alteration by a syntonic comma are transcriptions of the notation that Hermann von Helmholtz used in his book “Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863). The annotated English translation “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) is by Alexander J. Ellis, who refined the definition of pitch within the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents. The sign for a septimal comma was devised by Giuseppe Tartini (1692-1770) – the composer, violinist and researcher who first studied the production of difference tones by means of double stops. VORZEICHEN EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION für die natürliche Stimmung konzipiert von Marc Sabat und Wolfgang von Schweinitz Die Stimmung jedes Tons ist mit folgenden harmonisch definierten Vorzeichen ausnotiert: Pythagoreische Quintenreihe der leeren Streicher-Saiten E e n v V ( … c g d a e … ) Erniedrigung / Erhöhung um ein Syntonisches Terzkomma d m u U F f o w 81 : 80 = circa 21.5 cents Erniedrigung / Erhöhung um zwei Syntonische Terzkommas c l t T G g p x circa 43 cents Erniedrigung / Erhöhung um ein Septimenkomma < > 64 : 63 = circa 27.3 cents Erniedrigung / Erhöhung um zwei Septimenkommas • ¶ circa 54.5 cents Erhöhung / Erniedrigung um den undezimalen Viertelton der 11er-Relation 33 : 4 5 32 = circa 53.3 cents Erniedrigung / Erhöhung um den tridezimalen Drittelton der 13er-Relation 27 : 0 9 26 = circa 65.3 cents Erniedrigung / Erhöhung um ein Siebzehner-Schisma : ; 256 : 255 = circa 6.8 cents Erhöhung / Erniedrigung um ein Neunzehner-Schisma / \ 513 : 512 = circa 3.4 cents Erhöhung / Erniedrigung um ein Dreiundzwanziger-Komma ∞ ±# 736 : 729 = circa 16.5 cents Zusätzlich zu der harmonischen Definition der Tonhöhe durch das Vorzeichen für jeden Ton ist auch der Cents-Wert der Abweichung der gewünschten Stimmung von der Tonhöhe des jeweils bezeichneten chromatischen Tons der gleichstufig temperierten Zwölfton-Skala angegeben. Die attachierten Pfeile für die Alteration um ein Syntonisches Terzkomma sind eine bloße Transkription der Notation, die Hermann von Helmholtz in seinem Buch “Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863) verwendet hat. Die kommentierte englische Übersetzung “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) stammt von Alexander J. Ellis, der auch eine enorme Verfeinerung der Tonhöhendefinition innerhalb des Zwölftonsystems der gleichstufig temperierten Stimmung durch die Unterteilung der Oktave in 1200 Cents eingeführt hat. – Das Vorzeichen für die Alteration um ein Septimenkomma wurde von Giuseppe Tartini (1692-1770) erfunden, der als Komponist, Geiger und Wissenschaftler die durch Doppelgriffe erzeugten Differenztöne untersucht hat. 23-LIMIT TUNEABLE INTERVALS below “A4” tested and notated in three gradations of difficulty (large open notehead = easiest ; small black notehead = most difficult) by Marc Sabat (violin) with assistance from Wolfgang von Schweinitz (cello), Beltane Ruiz (bass), Anaïs Chen (violin)—Berlin, 2005 1/8 3/23 2/15 3/22 1/7 4/27 3/20 2/13 3/19 4/25 0 +12 +31 +16 C# -41 +4 +27 ? w ge w 6e% f% -495% >w -6ne o% 9 *v% ‹ j -26 1/6 4/23 3/17 5/28 2/11 3/16 4/21 5/26 1/5 5/24 +14 +17 +2 +29 +46 ? w w ow u nw 6eE ;uw >uE 5 n >E 9mE E ‹ -2 -28 -3 Eb +49 -16 4/19 3/14 5/23 2/9 5/22 3/13 4/17 5/21 6/25 +29 +2 +33 G# -39 +16 w w g ? ? *vE >vw 6mE n 5uE 9 ;uE >ue E ‹ -42 -4 G +35 -5 1/4 7/27 6/23 5/19 4/15 3/11 5/18 2/7 7/24 +12 +31 ? w -37 17/5 27/8 10/3 13/4 16/5 19/6 22/7 25/8 28/9 +16 C# -41 +4 +27 +35 ? n ow 9w uw *v 5 +17 +2 +46 ? w w < nw 6eE 2/5 7/17 5/12 8/19 3/7 4/9 5/11 6/13 1/2 +14 +2 +33 G# -39 w nw ? ow ; +12 +28 +16 C# -41 +31 w w w ? 6ee fe 9 8/5 7/11 9/14 2/3 11/16 9/13 7/10 5/7 8/11 D# -49 D# -37 +17 +35 w 5 notated using the Extended Helmholtz-Ellis JI Pitch Notation with cents deviations from 12-tone equal temperament based on A = 0 cents microtonal accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004 1/1 8/7 7/6 6/5 11/9 5/4 9/7 13/10 4/3 +31 +16 +47 +35 & w -33 D# -49 +17 +2 F -18 +14 & w w -35< ow 4e -17 +33 +18 +49 +26 & w w 0v uw >v -31< o 4E 0>v-28 E ue 3ve F +41E -16 E -12 2/1 13/6 11/5 9/4 7/3 19/8 12/5 17/7 5/2 +16 +36 B -35 +4 w 18/7 13/5 8/3 11/4 14/5 17/6 20/7 23/8 3/1 +35 D# -49 +3 +17 +28 +2 w w w w w :g w w w w /f nw >ve < o 4 u E 3ve >ve & -31 -12 25/6 21/5 17/4 13/3 22/5 9/2 23/5 14/3 19/4 B -35 +5 +4 +42 w w +16 D# -49 +3 +28 +2 w w -17 15 16 17 18 19 20 21 nw nw w w w w w n w nw nw °& nw nw n w nw nw nn w Horn in F 2 _ ? ow nw ;uw nw w w Bk Bk Bh Bh Bk Bk\v Bh o Bh >w ¢ k h k h k h k h k k k k h h h h Bb-side tuning procedure: 1.) Tune main slide so that 5th partial matches sounding D 2.) Tune valve slide 2 so that partials 4, 8, 12 match sounding A and E 3.) Tune valve slide 3 to sounding G, D, and A (compare written E unison with valve slide 2) 4.) Tune valve slide 1 so that 1+2 = 3 (check on various partials) 5.) Verify that the combination 1+2+3 produces a sounding D as its 7th partial (compare to open horn and valve 3) 6.) Compare written E unison for the combination 1+3 against both 3 alone and 2 alone 15 16 17 18 19 20 21 nw w w w w w w n w nw nw °& nw nw nnn ww nw nw nw n w nw Horn (F) 2 ? _ ow nw ;uw nw w w w ¢ Fk Fk Fh Fh Fk Fk\v Fh o Fh>v k h k h k h k h k k k k h h h h F-side tuning procedure: 1.) Tune main slide so that 5th and 10th partials match sounding A 2.) Tune valve slide 2 so that partials 4, 8, 16 match sounding E (compare high written B to open horn) 3.) Tune valve slide 3 to sounding D, A and E (compare written B unisons with valve 2 and open horn) 4.) Tune valve slide 1 so that 1+2 = 3 (check on various partials) 5.) Verify that the combination 1+2+3 produces a sounding A as its 7th partial (compare to open horn and valve 3) 6.) Compare written B unisons for the combination 1+3 against both 3 alone and 2 alone F-Tuba with 5 Valves : Just Intonation Valve Tuning valves 1 and 2 will be pulled out more than usual and the main slide will be pushed in to tune the slightly higher F fundamental 30 32 34 35 36 37 38 39 nw w w w w w nw w nw nw °& some of the common tones shared between the valve combinations in this tuning nw nw >vw nn ww 5-Valve now o w n w F Tuba ? >vw required 4 adjustments: _ +3¢ -6¢ ? w w w o nw w w nw 0o 5 w w kk kk ;uhk >okh hk kk kh \vkk hh9 ¢ k h k k h k h h k k k k k k h k h k k k k k k k k k k 40 41 42 43 44 45 46 47 w w nw w nw w w w nw °& w nw >v nw nw Tuba o n w 5 w ? nw >vw onw required required required adjustment: adjustment: adjustment: -7¢ -8¢ -9¢ ? w w < w mw w w w w hko kk hh kh hk> kk kh hk5 hhf kh 6ehk kk hh> kh ¢ k k h k h h h k k k h k h h h k k h h k h k h k k h h k k h k k k h k h k h h h k h 48 49 50 51 52 53 55 57 nw w w w w w nw w °& w nw nw n nw >v w nw w Tuba ? n w w o 5 n w >v w o 5w required adjustment: -5¢ ? w nw w gw w w > w w ¢ kk .vhh hk ;uhh hk9 kh 5ohh \vhh h k k h h h k h h k h k h h h h h h h h h h h h Suggested tuning procedure: 1.) Tune main slide so that 5th partial matches Cello A 2.) Tune valve slide 2 so that 4th partial matches E (check as fourth/fifth to A) 3.) Tune valve slide 3 to D, A and E (compare E unison with valve slide 2 and A unison with open tuba) 4.) Tune valve slide 1 so that 1+2 = 3 (check on various partials) 5.) Tune valve slide 4 so that 5th and 10th partials match E (compare with each of valves 2 and 3) 6.) Verify that 1+3 = 4 (check on various partials, adjust 1 as needed, check 1+ 2 = 3) 7.) Tune valve slide 5 so that partials 5 and 10 of 4+5 match D (check against Cello or Violin D) 8.) Verify that the various combinations are well tuned by checking partial unisons (see table above for some possibilities) 9.) Smaller notes indicate enharmonic simplifications of high-prime partial relationships and in theory require slight adjustment when playing, although the errors are so small that one may make them without conscious effort Transposing Score Lying in the grass, river and clouds commissioned by Alexander Moosbrugger and the Bludenzer Tage zeitmäßer Musik with assistance from the Ernst von Siemens Musikstiftung and the Canada Council for Daan Vandewalle and Ensemble Contrechamps remembering John Cage (1912-1992) Sempre molto rubato : any of the suggested tempo changes may be altered as the musical flow and density suggests : rhythmic alignments are approximate : allow precise intonations and phrasings to freely emerge and dissolve : Marc Sabat non-tempered instruments to tune as justly to each other as possible, ignoring the piano temperament dynamics generally very soft, inside the piano resonance, but occasionally emerging as needed 4 w ca. 60 2 4 3 TIME / Pitches are notated with accidentals in untempered Just Intonation, based on interlocking, modulating overtone series. The players are invited to seek out any appropriate playing techniques—e.g. alternate fingerings, embouchure variations, instrument modifications, specific timbral qualities—which facilitate Alto Flute ° realization of these natural intervals; namely: to optimize the unique sound-combinations as precisely as their instruments and hearing experience may permit. in G & Absolute cents deviations are indicated above and below the accidentals to assist in finding possible fingerings with the aid of a tuning device, but may have to be compromised in the performance situation: it is the precise sonority of intervals between instruments that matters most, not absolute pitch-height. (A. Fl. written D=0¢, Picc. A=0¢) Oboe d’Amore in A & Clarinet in A & Bassoon ? ¢ Double-Horn Fingerings are indicated based on a Just Intonation valve tuning with the open Horn tuned to comma-raised Bb and F ° (respective 5th partials match open D and A of the strings). The 1st and 2nd valve slides on both sides of the Horn are pulled in F & out so that 2 produces a 16/15 diatonic semitone (A and E) and 1+2 = 3 produces a 6/5 just minor third (G and D). (See Table) Trombone positions are indicated approximately in 1/10s of the usual positions, based on A = 0 cents = pos. B 2 relative to equal temperament. Tenorbass It is assumed that the instrument is tuned to allow a comma raised Bb (+12¢) and a comma raised F (+14¢) to be played with the slide fully in, ? written as pos. B 0.9 and F 0.9 (respective 5th partials in these positions to match open D and A of the strings). Trombone The F-extension valve should be tuned to a 4/3 perfect fourth, perhaps somewhat narrower than usual, so that without adjusting the slide, 3/B 0.9 = 4/F 0.9 and similarly, 4/B 5.9 = 5/F 4.7 (the same comma-raised F, 5/4 below cello A string, to be played in each case). Fingerings are indicated (1-4 from top left, 5 on the right) based on a Just Intonation valve tuning with the open Tuba tuned to comma-raised F 1 (5th partials matches open A in the strings).The 1st and 2nd valve slides are pulled out so that 2 produces a 16/15 diatonic semitone (E) 5-Valve F Tuba ? and 1+2 = 3 produces a 6/5 just minor third (D), 4 produces a just fourth 4/3 (comma-raised C), and valve 5 is tuned so that 4+5 Ó Œ ‰ Œ Ó produces a just fifth 3/2 (comma-raised Bb, matching the Horn). Thus 5 alone produces the septimal minor third 7/6. (See Table) kk j ¢ k h nœ w w œ k ppp (all Percussion may be played by a single musician) sempre l.v. “o › nœ Crotales ° & nœ nw ppp sempre l.v. — come prima, sim. nw w n˙ Vibraphone – nw n˙ w & nw w w ppp nw nw w — sempre l.v. Chimes & nœ n˙ n˙ nœ ppp — required pitches : observe relative pitch-heights of gongs if available sempre l.v. come prima, sim. Tuned nœ nœ ? nœ nœ nœ – Low Gongs nœ Ó n˙ nw ppp ¢ throughout: as a kind of “cantus firmus” echoing, coloring and linking the piano pitches to the microtonal harmonies of other instruments: dynamics and exact rhythmic placement ad libitum, but generally soft, within the resonance of the piano 4 w ca. 60 2 4 3 TIME / overlap successive slurred notes commas indicate end of sustain, otherwise a piacere in each hand, ad lib. ‹ n˙ , & n˙ n˙ n˙ & n˙ n˙ Piano n˙ Solo overlap, as in right hand continue phrasing similarly ? n˙ n˙ n˙ n˙ ? ‹ , In the keyboard part written pitches function as a playing notation only: n˙ actual sounding pitches will be overtones, undertones, sum and difference tones of the equal tempered fundamentals, determined in part by the relative loudness of struck keys and modulated by the use of sustain pedal nœ w w Œ n˙™ w w w œ n˙ w & nw w œ J ‰ Œ Ó Œ n˙™ w Ó Œ Digital written rhythm J ‰ Œ Ó Ó Keyboard to be played freely ? n˙ w œ Ó Œ Ó J ‰ Œ Œ nœ w nœ w wœ w w w ˙ Ó use sustain pedal only when indicated, otherwise sustain with fingers, J ‰ n˙ œ ‰ Œ Ó vary dynamics ad libitum, following the piano line ™ J { Tune open strings in just, untempered fifths, { strive for pure, even bowing to maximize clarity con sord. of the harmonic series intervals between voices II IV (rubber) ≤o ≤o Violin I ° n‚ ‚ & Ó Œ ~ J ‰ Œ Ó Œ j‰ Œ Ó ppp nO™ ppp~ ~ ‚ con sord. (rubber) o o II III I ≤ ≤ ≤ Violin II j ‰ Œ Ó Ó Œ ‰ j j‰ Œ Ó Ó n˙ w & nw w œ nœ w w w œ o ppp o ppp o ppp con sord. ≤o nO™ ‚ I ≤o (rubber) I ~ ~ n‚ ~ ~ Viola B Œ J ‰ Œ Ó Ó Œ o ppp o ppp con sord. (rubber) I ≥ w≤ j Violoncello ? Ó n˙ w w nœ wœ ‰ Œ Ó w œ ‰ Œ Ó ppp Ó Œ ppp J (all contrabass pitches, including o o harmonics, are written one octave III Contrabass higher than they sound) o II (5 Strings) ? Ó Œ n‚ ~ ~ ‚ ‰ n˙ w w œ ‰ Œ Ó G-D-A-E-C J ™ ¢‹ o ppp o ppp J 2 A 14 4 3 allargando 3 w ca. 30 2 ritenuto Time / next melodic step — * 5 : 6 = 316¢ (just minor third) Alto Fl ° nw w œ (G) & Œ Ó o ppp Ob d’A (A) & nw w œ Œ Ó ppp tune as fundamental of Flute (written) C +14 (5/2)* and an octave above the Bassoon Cl (A) & j ‰ Œ Ó fpppw w œ +14 tune as fundamental under Oboe “A” (* 5/1) Bsn ? Œ Ó ¢ oppp˙™ w ˙ tune to Tbn. When adjusting pitch find centered natural tunings for the 6 overtones (unless alteration by lip or hand-stopping is indicated). 6 Hrn ° Alternate fingerings may be applied whenever the phrase benefits, (F) nw w œ ‰ Œ Ó as long as they represent the desired pitch accurately. For example, Ó o˙ & Bk 1+2 = 3 in this valve tuning, and may be interchanged as needed. Bk h ppp J k ppp k o Optimize blend and tuneability between the 3 brass instruments. k tune 7/1 above Bass 7 6 sempre con sord. match Tuba (Bucket/Velvetone) * ˙ w œ * Trombone muting: most important is that the overtone series within each slide position < ™ ™ nœ™ 1 Tbn remains as true as possible: if muting causes difficulty, play senza sordino with a soft, gentle tone. ? Œ Œ If another mute type is more consistently “in tune” it may be substituted. Œ pos. B 2 o ppp Optimize blend and tuneability between the 3 brass instruments. B 0.9 ˙ match Piano tune 5/2 fppp™ below Vlc. (lip up pitch)* 2+ * For pitches based on fundamentals altered from the tuned valve-combinations, a + or - sign is added after the partial number; in such cases the valve fingering includes an indication, in cents, showing the 1 Tba amount of this alteration: these markings may help estimate the embouchure adjustment required to ? Ó Œ realize the written microtonal pitches; of course, as always each harmonic partial will require careful Ó Œ hh kh ¢ k centering by ear to sound “in tune”, depending on the harmonic situation. k h k ˙ ˙ h nœ pppw Optimize blend and tuneability between the 3 brass instruments. h f ™ +32 o “ppp come prima, sim. › nw Crot ° nw & nw Vibr w & nw nw nw come prima, sim. Chimes & nw nnw Gongs ? Ó Ó n˙ ¢ n˙ A 4 3 allargando 3 w ca. 30 2 ritenuto Time / r (l.h.) n˙ nœ #n ˙˙ , ‹ n˙ & n˙ r n œ n˙ nœ # ˙ n œ rr n ˙ , n œ & n˙ , n˙ n œ Pf n˙ Solo ? n˙ n œr , n˙ nœ nn˙ b œ n œ sustain white noteheads as long as feasible else until a comma, n œ R bœ black noteheads freely as desired, flagged notes played short : R R dyads may always be slightly broken, within each pair a smaller notehead is to be played relatively softer than a larger one (r.h.) ? n˙ n˙ n˙ r ‹ bœ bœ nœ R R n“˙ ˙ nw w w œ nœ w œ n˙™ œ w J J ? n ˙ œ & Œ Ó Œ ‰ Œ Ó ‰ Œ Ó n˙™ Œ & Ó n ˙ œ Œ Œ in simultaneous structures smaller notehead n˙ Kbd to be played relatively softer than larger one, (break upward) nœ dyads may be played broken (in either order) nw w œ F ? Œ Œ nœ w n ˙™ ‰ Œ Œ n˙ ˙ Œ Ó n˙ Ó Œ Ó nn˙™ Œ n ˙™ ™ r ™ b ˙ bœ ™ nœ nœ w . “ “ - { I ≤ ≤ II o nO Vln { nO O n ˙ w~ o ° u~ ‚ I & Ó Ó Ó Œ Ó o ppp o pp ppp 5/4 * 4/3 * ratios written with a slash are Vln w w œ ≤ used to indicate simulataneously II & J ‰ Œ Ó Ó Œ j‰ Œ n˙ ˙ ˙ Œ sounding just intervals o ˙ ˙™ (see table of “tuneable intervals”) nœ w œ - o o ppp o sonore - ppp II I 5/4 * O™ ≤o ≤ ≥ Vla n‚ ‚ n˙ ˙ w ˙™ nœ w ˙ B ~ ~ ‰ Œ Ó o ™ Œ Ó Œ J Œ o ppp o ppp o I II nw≤ w w œ ≤ Vc ? J ‰ Œ Ó Œ n˙™ w ˙™ Œ B o ppp o ppp III I tune to Viola Cb ? j n˙™ w œ Œ n˙ w w œ ‰ J ‰ Œ Ó ¢ ™ ppp ppp w ‹ o o oppp 3 26 3 w ca. 40 4 3w ca. 20 Time UÓ Ó / +14 +18 tune to Clarinet ˙ +16 ˙ œ 8 : 9 = 204¢ (major wholetone) o ™ o ™ œ Alto Fl U f˙™ œ o ° oœ w œ (G) & Ó Ó Ó Œ Œ Ó Œ J ‰ Œ Ó ppp poco espr. poco espr. match Vlc. +2 match Clarinet 3 Ob d’A U nœ ˙ ˙ w (A) & Ó Ó nw ˙™ -2 Ó nœ œ Ó o ppp poco espr. ppp o -2 10 : 9 = -182¢ tune to Flute (minor wholetone) * 16 : 15 = 112¢ (diatonic semitone) tune to Bsn. +2 Cl U (A) Ó Ó Œ nœ & f˙ w œ n˙™ w poco tune to Cello o ppp espr. ppp o +16 match Tbn. +12 * 6 : 5 = -316¢ (just minor third) * ratios in italics, separated by a colon, U indicate just melodic intervals, and are ˙ w ˙ ˙ œ ˙™ w Bsn ? Ó Œ ‰ j Ó often also approximated in cents to help Ó f f o fœ n˙ estimate the size of the microtonal step ¢ poco -4 ppp poco espr. espr. 8 : 9 = 204¢ Hrn U ° ˙ ˙ œ ‰ Œ Ó (F) & J 2 3 Tbn U ? Ó Œ ˙ ˙ Ó fppp match Vl1 high “C” 2 U Tba ? Ó Ó Ó Œ kk ¢ k k œ w h oppp › n˙ ˙ Crot ° U & Ó Ó nw Vibr U & Ó Ó Chimes U & Ó n˙ U Gongs ? Ó Ó ¢ 3 w ca. 40 4 3w ca. 20 Time / UÓ Ó n˙ b œ ‹ nn ˙œ #n œœ n ˙ & -. bœ nœ n˙ (always overlap the slurred #n œœ #˙ U notes; white notes are to be nœ bœ , #œ , held as long as possible or b˙ nœ & b˙ until a comma is written) Pf Solo nœ ? b˙ nœ , nœ nœ bœ bnœ n˙ R R R #œ n˙ bœ n˙ R R R #œ ? nœ ‹ nœ R R - nœ. nœ™ #n“ww ˙˙ b˙ w œ #n ˙˙ ww #œ U J & Œ Ó ‰ Œ Ó Ó ‰ bœ press pedal after lift pedal before Kbd l.h. to “catch” the playing or else the combination tones notes won’t speak U r j ? Œ Ó Œ n˙™ Œ nœ ‰ Œ Ó œ b ˙™ œ #w “ { ° * ° * sonore { III 5/4 IV ≤o Vln U Œ ≤ ° nO n˙™ w˙™ œ o˙O o˙O ˙O I & Ó j ‰ o- Œ Ó o o Ó n˙ œ sonore — ppp o ppp o tune to V1 open E 5/4 Vln U ≤ ≥ Œ ≤ II & Ó Ó Ó Œ Ó nw ˙ w ˙™ nw w˙™ ˙ II o opoco espr. fsonore- — ppp 4/3 o o o o o ppp U ≤ Vla w ˙ w ≥ B w œ ‰ Œ Ó Ó o o w~ 3 J w ˙ oppp ppp o oppp 7/4 * = harmonic 7th I ≥ - nOo O œ- Vc B U ~ ~ ~ ~ ~ ~ ~ w~ ˙ œ™ 36 4 w ca. 34 3 accelerando 2 w ca. 60 ritenuto Time / +14 tune to Cl. +4 w œ +16 œ f Alto Fl ° n˙ ˙ o (G) & ™ J ‰ Œ Ó o˙ * 25 : 24 = -71¢ match Cl. +12 (chromatic semitone) +27 Ob d’A ˙ (A) & Ó Œ œ œ f Œ g o poco espr. tune to Bsn. +18 overtone melody above A 3 : +14 +27 f Cl +16 (A) & fw w ˙ Ó Ó Œ poco gw w ˙ ˙ espr. ppp œ ppp f fpoco espr. +14 match Trb. ˙ +27 +29 Bsn ? ˙ w Ó j œ ˙ ˙ o ¢ ˙ ˙ œ g ™ o g o poco espr. o simile o tune to Vl2 4 Hrn (F) ° Œ & Fk k ˙ w w w k oppp™ 9 : 10 = 182¢ tune to Horn 1 2 1 3 5 6 3 3 Tbn ? œ w gw Ó Ó Œ Ó ˙ ˙ Œ o w œ g g˙ f g˙ ˙ poco pos. F 4.7 “espr. F 2.9 F 4.7 match Bass 2 Tba ? Œ ‰ Œ Ó hk j ¢ k h h gppp˙™ œ › Crot ° & Vibr & Chimes & Gongs ? ¢ B 4 w ca. 34 3 accelerando 2 w ca. 60 ritenuto Time / nœ #œ n˙ , ‹ & nœ & nœ Pf nœ Solo bœ bœ #œ ? R bœ n˙ R nœ n œ b œ n˙ R b œ R ? nœ Œ ‹ nœ bœ nœ n œ #œ R b œ R #œ R R n“w w œ n˙-. nw œ ‰ Œ Ó Œ Œ J ‰ Œ Ó ? Ó n˙ & J n˙ ˙ Kbd F bw ? j ‰ Œ Ó j ‰ Œ Ó Ó ≈ r ‰ Œ Ó nw œ bw w œ #œ #˙ º ° * “ { 12/5 * “ 3≥ keep l.h. position for next entry { ≤ o o O o ˙ w~ w~ œ Vln w~ w~ o o o ° o J I & Ó Ó Ó n˙ ˙ ‰ Œ Ó 3 ppp 3 sonore ppp III o o 6/5 ppp 3 o Vln ∑ ˙ ˙ ˙ w œ ˙ ˙ œ w II & w o ˙ no˙ w o ™ ™ o ppp o gently press down 4th finger ≤ j Vla B O O O œ Ó w~ ˙ ˙ œ o ™ poco espr. o o≤ - w w 8/5 w ˙ Vc ? ≥ g Ó B w w Ó Ó o˙ w w w ˙ ˙ ppp 3 o ppp sonore ppp tune to Cello 10 : 9 * = 182¢ II fœ w ˙™ f˙ ˙ w ˙ Cb ? Ó Œ Œ g Ó ¢ ppp poco ppp ‹ o espr. 5 45 4 w ca. 40 accel. ( w ca. 60 ) 2w ca. 20 ritornando 4 w ca. 45 Time / 9 : 14 : : 5 : 13 : : 4 change fundamental: tune to Cl. overtone melody over B +18 f +14 over F 8 : : 7 tune to Cl. and Hrn. ˙ ˙ o +16 Bsn ? ¢ 4 6 5 6 7 Hrn ° (F) & ‰ œ match Vla. 1 Tba ? Ó kk ¢ k k ˙ h o “ppp › Crot ° & Vibr & nw nw Chimes & nw Gongs ? ¢ 4 w ca. 40 accel. ( w ca. 60 ) 2w ca. 20 ritornando 4 w ca. 45 Time / bœ nœ nœ ‹ nœ #œ & r nœ , n#œœ n˙ bœ & nœ #œ n˙ Pf n˙ nœ R. R Solo , - #œ ? R , n˙ #œ bnœ R ? r ‹ #œ #œ R -. “ nœ w n˙ w w n“˙™ w #w ˙™ ? ˙ ˙ Ó Œ ˙ & Kbd Ó #œr ? ? ? Ó Œ ‰™ Ó r‰™ Œ &n˙ w bœ˙™ Œ & n˙ w #œ Œ Œ #w n˙ w bnœw n˙ R { tune “Bb” as a 3/2 perfect fifth above previous “Eb” 7/1 { 7/4 = harmonic 7th 3 - - IV 7/6 = narrow septimal minor third o keep 1st finger position for next pitch ≥ Ó 55 3 accelerando 2 ( w ca. 68 ) 2molto rit. 2w ca. 22 Time / tune to Horn 16 : 15 = -112¢ (diatonic semitone) 9 : 8 Ob d’A (A) & Cl (A) & overtone melody above C 6 : 3 : : 7 o above D = 6 : : 10 : 15 +14 tune to Clarinet Tba ? ¢ › n˙ Crot ° & n˙ Vibr n˙ nw & Ó nw Ó n˙ n˙ nœ nœ Chimes & Gongs ? ¢ C 3 accelerando 2 ( w ca. 68 ) 2molto rit. 2w ca. 22 Time / n˙ ‹ nœ n˙ & Œ nœ n˙ #œ #œ , #œ nœ n˙ nœ & , #œ n˙ , Pf Solo n˙ , nœ #œ ? n˙ #˙ nœ n˙ #œ , , nœ n˙ ? ‹ #˙ n˙ ˙ ˙ w nw #˙™ #w n˙ w œ j & #w œ ‰ Ó Ó Ó Œ Ó Kbd nw nw n˙ {? nw #w w n˙ 7/III { - 7/4 Vln O ≥o ° œ ‚ O ≤ I & Œ Ó Ó Œ < ™ Œ Ó ˙ ppp o <‰ nœ sonore™ Vln ≥ ≤ II & Ó tune to Cello Vla B Ó Œ Ó ˙ œ 64 2w ca. 40 4 2 2 ritenuto Time / Alto Fl ° (G) & Ob d’A (A) & tune 3/2 above Horn Cl (A) & Œ n˙™ ˙™ Œ o o Bsn ? ¢ match Tba. match Tbn. 4 7 6 7 Hrn (F) ° Ó Œ n˙ w & Fh Bh œ h n˙ ˙ h >v h h tune above Horn “D” >vpoco˙ espr. tune 2/1 above Tuba 7 8/7 7/6 6 7/4 below Hrn. 7 6 4 3 6 1 œ œ <˙ > œ Vibr n˙ n˙ & Ó n ˙ n˙ Chimes Ó & nn˙ Gongs ? ¢ D 2w ca. 40 4 2 2 ritenuto Time / #œ ‹ & n˙ , r n˙ nœ nn œ nœ & nœ Pf Solo r ? nœ b ˙ r n˙ #œ nœ bœ Ó r nœ Œ n ˙ R nœ R nœ bœ #œ nœ #œ ? Ó , r n ˙ n ˙ n˙ nœ , nœ r ‹ b œ # œ n˙ nœ nœ R R R w œ n˙™ ˙™ nw ˙™ ? nœ r nw & Œ Œ R ‰™Ó Ó nœ ‰™ Œ Œ n˙™ & Kbd F ? Ó r ‰ Œ Œ Œ Œ Ó nw bœ ™ n˙ ˙ nw w œ b œ ™ ™ R ‰™ Œ Ó nw w w w œ “ “ 8/5 7/6 = narrow septimal minor third { - 3 5/III - ≤ Vln - 74 2w ca. 20 poco accel. 3w ca. 30 2 3 poco rit. Time / +2 match Bassoon pitch Alto Fl (G) ° nw œ Œ Ó & or, as individual melodic steps: ( 3 : 4 ) ( 7 : 6 ) ( 1 : 2 ) ( 48 : 49) o = 36¢ overtones of : G 7 : : 8 : 9 tune to Hrn. A 8 : 7 D 21 : 28 : 24 : : 48 : tune to Bsn. : 49 = harmonic seventh of C > > > match Cl. +29 +33 +2 3 ˙ ˙ Ob d’A >˙ œ Vibr nœ & n˙™ nw Ó n˙ nw nw nw Chimes & nw Gongs ? ¢ E 2w ca. 20 poco accel. 3w ca. 30 2 3 poco rit. Time / -. nœ nœ ‹ & -. j nœ nœfi n˙ n˙ r , nœ r & n˙ n˙ nœ n˙ #œ n˙ Pf n˙ Solo fij r , nœ ? bœ bœ nœ n˙ nœ , R #œ R n˙ b œ nœ nœ R R ? b œ nœ n˙ , ‹ #œ nœ #nœœ nœ nœ R R R R R -. nw w w nœ n˙™ Ó Œ nœ w w w ˙™ Œ & n˙™ nœ ‰™ Œ w w ˙™ Kbd Œ Œ R -. ? Ó ‰™ Œ b œ ‰™ Œ Ó ‰™ Œ Ó Œ nœ n˙™ w w w r #œ #œ nœ R b œ n˙™ “ R 21/8 8/3 11/4 45/16 23/8 3/1 15/4 tune 5/2 18/7 5/2 3 above Vl2 3 - { ------keep L.H. in position ! { - - ˙ 3 œ≤ ˙ œ Œ œ œ nœ ˙ œ œ nœ u Vln ° >v u < 4 u ^v I & ~ nw n˙ w Ó Œ nœ™ nœ œ nœ nœ n˙ nœ nœ nœ ˙ ˙ Ó nw w ˙ poco cantabile,J 3 3 libero quarter-tone above open D string, tune a 5/4 major third under Oboe 5/I 21/8 8/3 35 : 36 = 49¢ 3 3 3 O -‚ Vln oIII III ≥ nw≥ u II O ∑ ˙ w ˙ œ Œ J ‰ Œ Ó & w ˙ w~ n˙ w >o 3 > poco- espr. npppw >ow ˙ w - flautando 64 : 63 = 27¢- tempo ad libitum 16/9 I II“ o o o ‚o II - o o ‚n‚n‚ u ™ ≤o o Vla ‚n‚ < nO ‚ n˙O ˙ & u B Œ libero flautando sonore glide down to raised D, about one 7/2 I quarter-tone above open D string, I o o tune a 5/2 major tenth under Oboe o nO™ O O n~ Vc ? ‚ ˙ w ˙ ~ ‰ >v ˙ w ˙™ Œ J Ó >o ppp o ppp o ppp harm. gliss. keep this L.H. position for next pitch “o down II 8/II (adjust slightly as needed to obtain exact intonation) 5/II n o o Cb ? ~ ‚ >O™ Œ >œ ˙™ w ˙ Ó Ó Œ u ~ ¢‹ poco f o ppp o ppp 9 F 84 3w ca. 20 poco accel. 3w ca. 30 accel. 4 w ca. 48 rit. Time / 15 : 14 = -119¢ 9 : 5 7 : 6 35 : 36 90 : 91 match it ! tune to Cl. = -1018¢ = -267¢ tune intervals to Cl, = 49¢ = 19¢ +4 nœ™ œ match Cello: 5/4 * 9/7 13/10 septimal Clarinet ! Alto Fl ˙ Hrn ° (F) & Tbn ? tune 12/1 below Cl. 1 Tba ? Ó Ó kk ¢ h h h n˙ ˙ “ppp › Crot ° & nw w Vibr & nœ n˙ nœ nw 3 Chimes & Ó Ó n˙ 3 Gongs ? Ó Ó nw ¢ n˙ F 3w ca. 20 poco accel. 3w ca. 30 accel. 4 w ca. 48 rit. Time / rr r nn œœ ‹ nœ & nœ , r R #œ & nœ nœ Pf nœ Solo nœ ##œ nœ ? r r nœ r fij nœ , , #œ #œ nœ n˙ #˙ ? nœ n˙ nœ nœ nœ ‹ nœ bœ nœ nœ n œ nœ R ÆJ n˙ R #œ , n˙ R R w w 3 ? #˙ Œ Œ & n˙™ Œ Ó & nœ nw ˙ Kbd -. ™ ? ˙ ™ Œ nœ nw Œ Ó Œ Œ nœ n˙ n w ˙™ nœ ˙™ nw -. “ { “ ° * ° { 7/5 = consonant septimal diminished fifth II 15 : 14 * n˙≤ w = 119¢ ˙ ˙ Vln ° nw n 94 3w ca. 30 2 2 2 Time / Ó UÓ 7 : 4 (harmonic seventh) Alto Fl U ° Hrn ° U (F) & Ó Ó U Tbn ? Ó Ó U Tba ? Ó Ó ¢ › Crot ° U & Ó Ó Vibr U & Ó Ó Ó n˙ n˙ n˙ Chimes U & Ó Ó Ó n˙ nUw Gongs ? ¢ G 3w ca. 30 2 2 2 Time U / Ó Ó microtonal accidentals in the piano part indicate pitches which are within a 9¢ tolerance of Equal Temperament — in such cases, play the tempered pitch implied by the conventional sharp, natural or flat, unless otherwise directed r ‹ #œ & nœ r nnœœ n ˙ #œ n ˙ r & n˙ , n˙ #œ Pf n˙ #œ Solo R r , , œ U J ? & ‰ Œ Ó n˙ Ó & Kbd U ? j ‰ Œ Ó Œ Ó Œ Œ n# w œ b˙™ ˙™ œ * “ 63 : 64 (septimal comma) “ 20 : 21 = 27¢ 7/4 = 84¢ match Vl2 { III 3 Vln U ≤ ° ˙ ˙ w ˙ w w I & < < < Œ ˙ 3 n˙ tune to Cello III 3 Vln Uw ˙™ œ w ˙ ≤ ≤ II & < Ó œ ˙ Œ Ó Œ ppp n˙ 103 3 4 w ca. 32 3 Time / UÓ Ó +2 Alto Fl ° U (G) & nw w œ Œ n˙ ˙ Œ nw w ™ -4 ppp bend slightly down tune 7/4 (harmonic seventh) from large third to above Fl. 91 : 90 small fourth, tune to Brass 28 : 27 = -63¢ support 11th partial played by Cl. 9 : 10 = 182¢ = -19¢ +46 +2 Ob d’A U 3 (A) & w w Ó ˙ ˙ œ nw -2 Ó -35 match Fl tune to Fl., Trb. ˙ Uw 10 : 9 = -182¢ n˙ w w Bsn B m ? Ó mw ˙ Ó Ó ¢ 3 3 -18 o Hrn ° U (F) & Ó Ó 26 : 27 = +65¢ tune to Tuba 7 : 8 = 231¢ match A. Fl. 7 7 7 7 7 14 : 13 6 tune to Tuba, stay “low” ! 5 6 4 5 take note of position for next entry U = -128¢ œ w œ œ nw Vibr U n˙ & Ó Ó n˙ nw Chimes U & Ó Ó U nw Gongs ? Ó Ó ¢ H 3 4 w ca. 32 3 Time U / Ó Ó I nœ ‹ nœ nœ & break dyads in direction of arrows when indicated r n˙ , #œ nœ & r b œ n˙ # œ Pf #œ # œ R Solo , nœ n˙ , n˙ r F ? bœ n˙ nœ n˙ R n˙ nœ U ? n˙ , nœ ‹ n˙ R bœ nw w U n˙ ˙ & Ó Ó Œ b ˙™ Ó # ˙ ˙ Ó Kbd # ˙™ ? U Ó Ó r bœ™™ w nw w n˙ nœ ° * 8/5 { ≤ 3 - ˙- ˙ Vln { U f ° Ó Ó n˙ w ˙ ˙ I & nw ˙ w nw o ppp 3 3 11/III harm. gl. III harm. gl. III IV o IV III - “-o o o stay in position for upcoming solo Oo nO O nO ≥o u o 4 o Vln nO U n‚™ mO n‚ II & Ó Ó Ó j Ó Œ Ó ˙ nœ 3 libero, poco f 11/3 15/4 18/5 III 7/2 o o o o U ≤o o j Vla B Ó Ó Œ nO™ n~ nO ™ n‚ O n‚ ™ n‚ w ˙ œ ˙ œ œ II >sonore- 5 ™ f 5 ™ mJ 15/2 o III - - - - o o o o III II U ‚ “I o o u o ‚o o o o ‚o ‚ o ‚ n‚ n‚ n‚ o < o o ‚n‚n‚ u 4 ‚ 4~ Vc ? nO m B <‚ n‚< 4 ~ ? ? ™ & u‚ Ó nœ nœ 6 II n˙ nœ ÆJ libero,J poco f U Cb ? nnw œ Œ Ó Ó Ó ¢‹ 12 I w ca. 60 molto rit. ( w ca. 30 ) 113 2 2 4 U Time Œ Œ / Ó 5 : 6 (just minor third) tune to Vlc. tune to Cl. +16 (Cl., Hrn. play 11th partials) +14 Alto Fl 3 U ° ˙ Œ (G) & w w ˙ -2 nw f ™ oppp Ob d’A U (A) & Ó Œ Œ D -34 tune to Fl ˙ 11 : 10 = -165¢ Cl 4f ˙ œ U (A) 4f n˙™ w œ Œ Œ Œ & poco espr. ppp U Bsn ? Ó Œ Œ ¢ 9 11 9 11 tune to Vl2 6 5 Hrn ˙ 4f˙ ˙™ œ 4f˙™ œ U ° o o o (F) Ó Œ nœ ˙ Œ Œ oœ Œ Œ Ó Œ Œ & Bk ™ 3 3 k un poco espr. k o ppp U Tbn ? Ó Œ Œ match Vlc. 2 U Tba ? Œ ¢ kh k ˙ œ k f ppp h o › Crot ° U & Ó Œ Œ Vibr U & Ó Œ Œ Chimes U & Ó Œ Œ U Gongs ? Ó Œ Œ ¢ I w ca. 60 molto rit. ( w ca. 30 ) 2 2 4 U Time / Ó Œ Œ nœ ‹ & , #œ n˙ b˙ n˙ & R n˙ Pf Solo nœ n˙ U ? n˙ , bœ n˙ n˙ b˙ bœ nœ n œ nœnœ n˙ R ? , nœ b˙ nœ ‹ R nœ nœ R R n“˙™ Uw #œ b˙ ˙ & Œ R ‰™ Ó Ó Kbd 3 U n˙ ? n˙ ˙ Œ n˙ ˙ Ó b˙ w ˙ Œ Œ b˙™ n˙ n˙ n˙ 32 : 33 Œ n˙ 3 32/15 = 53¢ 11/5 tune to 3 { Horn 5/IV { - - 4f~ Vln fw f˙ 4f˙ w 4fw 4f w U ° Ó ‰ nœ ˙ Ó Œ Œ I & ˙ O™ nœ Ó n˙ ˙ Œ n˙™ m nœ ppp sonore sonore ppp 11/5 11/5 11/8 - match Horn ˙- Vln ≤ ≥ - - œ w w œ 4f ™ U II & Ó Œ Œ ‰ j 4f n˙™ Ó Œ Œ fœ 4f˙ nœ ppp sonore nœ ˙ nœ œ fœ f ˙ ppp 11/4 o sonore ˙-≤ 4 U Vla B ‚ Œ Ó Ó n˙ Ó Œ Œ œ sonore harm. gl. 3 4/3 o o 4/3 Vc ? ≤ nO ‚ U ‰ f˙ fœ mw ˙ mO J f œ w w w w w ow w w ˙ ˙ Ó pp poco f, libero sonore ppp 3 II o 4 : 11 3 tune 3 successive just major thirds U pizz. Œ 4fœ fœ Cb m‚ O™™ ? Ó Œ uO ‚ nœ Œ J III f˙ ˙ j fœ ¢‹ ppp J g tune to Cello: œ bend down to >o4 : 7 4/3 above Vlc 13 121 2 2 accel. 3 ( w ca. 52 ) 2 w ca. 26 Time / 4 : 5 (just major third) 24 : 25 = 71¢ tune 5/2 below Cl, tune to Cl. 25 : 26 (chromatic semitone from minor to major third) = 68¢ 3/2 below Hrn. Alto Fl ° j w (G) & Ó Œ ‰ nœ mw w 0o -2 -14 -47 Ob d’A (A) & 8 : 9 : 10 3 : 13 match Violin 2 +18 +14 3 ˙ w Cl 0 (A) & Œ n˙ w w œ Db +39 œ f˙™ fun poco espr. ppp o Bsn ? ¢ 14 12 13 tune to Fl., Cl. - Hrn œ Tbn ? lip slightly down, 7 9 32 : 33 5 tune 11/4 = 53¢ ord. w œ below Vlc. 1- 1 ˙™ o Tba ? nœ Vibr nw & nw nw Chimes & Gongs ? ¢ 2 2 accel. 3 ( w ca. 52 ) 2 w ca. 26 Time / n˙ nœ , nœ nœ nœ ‹ nœ n˙ nœ & , , nœ nœ & n˙ nœ n œ Pf R n œ nœ #œ Solo R n˙ nœ ? nœ nœ n˙ R , #œ ? ‹ bœ R “ n“w w nw & Kbd nœ w n˙™ ˙™ ? Ó Œ ‰ J Œ Œ match { 12/5 9/4 bend down by Vl2 pitch 27 : 26 = 63¢ ≥ 3 ≤ - j ‰ ≤ port. ≥ - 0 O { 4fO œ™ œ œ™ ˙ 0 O Vln o o oO oO O 0oO 0 ~ ° 4o œ j ™ 0v œ w I ‰ ‰ ‰ ‰ Ó Ó Œ ‰ o œ o œ ˙ 0o ˙ Œ & 4fœO nœ œ™ ‰ ™ J 4f poco- f , flautando sonore - 11/5 9/4 32/5 8/3 13/5 13/4 ≥ 3 - - ≥3 - - stay in position - 5 : 4 - 4o˙ oœ n˙ 0oœ ˙™ ˙ w ˙ ˙ Vln ˙ ˙ Œ 0 II & 4f 4f Ó n˙™ nœ w œ Œ Ó Ó n˙ un poco sonore — ppp - n˙ ˙ w ˙ ˙ espr. sonore — ppp o 13/5 9/4 13/6 bend II - -≥ down -≤ 0oO O ≥o ˙ œ nO 0O nO O 0on O nn ˙O ˙O Vla B Ó Œ Ó 0 o ppp 3 o - 3 maintain l.h. position for next entry ≥ ˙ ˙ - Ó Vc ? f f˙ nw w w w n˙ œ o o f sonore Œ ppp Cb ? ¢‹ 14 J 130 3 w ca. 52 molto rit. ( w ca. 21 ) 3 w ca. 42 2 2w ca. 24 Time / 2 : 3 Alto Fl ˙ ° 0o (G) ˙ 0o˙ œ-46 Œ & un poco espr. tune 9 : 14 5 : 6 = 316¢ above Bsn. (narrow septimal minor sixth) (minor third) 5/3 7/3 Ob d’A ˙ Hrn ° w ˙ (F) & Ó Tbn ? tune below lip Bsn. 2 2 2 4 4 4 35 : 36 = 49¢ up (septimal quartertone) 3 3 3 Tba ? Œ Œ œ œ nœ œ Œ ¢ > 9 kkº hhº hk solo, poco f œ œ nœ fœ h k h ghk 5hk kk kh k k k k k hº kº h k k h h h k h h h h +18 › Crot ° & Vibr & nw Chimes & nw nw nw nw Gongs ? Ó n˙ ¢ J 3 w ca. 52 molto rit. ( w ca. 21 ) 3 w ca. 42 2 2w ca. 24 Time / #˙ , nœ r b œ nœ ‹ n œ & , r n˙ , n œ , nœ nœ ˙ r , n˙ n œ & ? ˙ #œ nœ #“˙ n˙ nœ-. n˙ nn ˙˙ ˙w & Œ Ó Œ Œ Œ Ó Ó nw n˙ œ Kbd Œ ™ n œ #œ ? Œ Ó Œ Œ ‰™ ‰™ r‰™ Ó Œ n œ Ó ≈ R ‰ Œ #œ n˙ #œ r r nœ -. bw #œ bœ nn w { “ “ 14/3 7/4 - { 7/III - O ≤ tune to Vlc 7/6 o tune to Vl2 Vla ≤ B Ó Ó ˙ 140 3 2w ca. 42 3w ca. 84 3 molto rit. ( w ca. 21 ) Time / tune to Brass (Trb., Tba.) — everyone match is raised by a septimal comma ! 36 : 35 +31 = -49¢ Tuba, Vl1 +14 +17 tune to Ob. +47 7/4 under Ob. ˙™ w ˙ Alto Fl > w ˙ ˙ ˙ nœ ° >u >o ™ (G) f˙™ Œ Œ Œ & >o˙™ 3 -2 5 : 8 ppp 7 : 6 un poco espr. >˙ w ˙ (normal just minor sixth) = -267¢ +12 3 +16 tune to Fl Ob d’A ˙ w ˙ ˙ w œ (A) & Ó Œ nœ f f Œ Ó -2 un poco espr. Cl (A) & +25 tune 5/1 below Ob Bsn ? Ó Œ œ ¢ g- Hrn ° (F) & tune to 6 note position 5 Tba 2 Tbn ? >o˙ w œ Ó Œ Ó Ó Ó >˙ w Ó F 5.6 ppp 3 15 : 16 = 112¢ >o˙ (diatonic semitone) 8 : 7 (septimal wholetone) 4 : 5 7/2 under Ob. match 10 12- = 231¢ 10 match Fl. Tbn 8- 8 4 4 : 5 ˙ w w >uw > n˙ Tba w >w w ? w ˙™ Œ >o kh >o hk hk 3 3 ¢ k h h hh hh k ppp h h un poco h k k h k espr. h h -17 k k -9 › Crot ° & Vibr & Chimes & Gongs ? ¢ 3 2w ca. 42 3w ca. 84 3 molto rit. ( w ca. 21 ) Time / ‹ & #œ (end G) nœ #nœ nœ R nœ , & bœ n˙ Pf n˙ Solo r ? nœ n œ #œ , R n˙ R nœ bœ nœ n˙ R R ? , #œ nœ n˙ nœ ‹ R R n˙ n˙ R #œ w œ #n w˙™ w w n˙™ w w w w w w & Kbd ? Ó Œ nœ nw w w w ˙™ nœ w œ n˙™ { -. “ “ 4/3 ° { 7/6 o 7/4 Vln ° ≤ Ó Ó Œ I & Ó Œ œ w w nœ w˙ w w w w > w nO™ >sonore — ppp sonore — ppp Œ o 7/6 - ≤3 Vln 0˙ II & Ó Ó n˙ ˙ ˙ >˙O w~ w~ w~ w~ w~ w~ >v sonore — ppp >v 32/5 ≤ f O ‰ ˙O™™ œ nn˙O ™ Vla B nwf ™ sonore — ppp 8/5 - ˙ œ Vc B nO≤ fO ‚ ? II Œ Ó sonore 3 - ˙ 0oœ Cb ? ˙ Ó ¢‹ 16 K 151 3 w ca. 42 2 2 molto rit. ( w ca. 21 ) 4 w ca. 36 Time / UÓ Ó U take Piccolo Alto Fl ° w U (G) & Œ Œ Ó Ob d’A U U (A) & Ó Ó Œ Œ Ó Cl U U (A) & Ó Ó Œ Œ Ó tune to Trb, play simple melodic intervals shifted down by a quartertone 9 : 4 5 : 3 n˙ ˙™™ 11 : 6 3 U U -2 nœ w œ Bsn ? B J ? 5 Ó Ó Œ Œ Ó Ó Ó Ó -49 œ ¢ 3 solo, espr. Ab +475 œ 6 -385o 8 7 48 : 49 15 : 16 : 18 : 20 = 36¢ 6 6+ U3 8 7 3 6 8 Hrn ° n˙ ˙ ˙ nœ U (F) & n˙ n˙ >˙ < nœ f˙ o Œ Œ Ó 3 * for pitches based on fundamentals altered from the tuned valve-combinations, a + or - sign is added 6 : 7 Bh un poco Bh Bh 14 : 15 h espr., libero h h after the partial number; the valve fingering includes an indication, in cents, showing the amount of = 267¢ 36 : 35 k h k Bh Bk Bh = 119¢ = -49¢ 55 : 54 k k h this alteration:, to help estimate the adjustment required to realize the written microtonal pitches 7 k k k 7 6 5 7 5 = -32¢ 5 +13 tune to Bsn. U U œ œ œ › Crot ° U U & nw Œ Œ Ó nw 3 Vibr U U nw & Ó Ó Œ Œ nœ ˙ nw #œ #œ 3 U U Chimes Ó Ó Ó Œ Œ Ó & n˙ nw U U Gongs ? Ó Ó Ó n˙ Œ Œ Ó ¢ K 3 w ca. 42 2 2 molto rit. ( w ca. 21 ) 4 w ca. 36 Time U / Ó Ó rr b œ n œ nœ ‹ R & U rr n˙ #œ nbœœ , n˙ n˙ rr n œ & , n˙ n˙ n˙ r n œ Pf (end C) n˙ nœ Solo nœ , n˙ n˙ ? n˙ bœ n˙ bœ nœ R nœ #œ #œ nœ R R R bœ R nœ b˙ nœ , R R ? U , ˙ n ˙ ‹ nœ ;u nœ n˙ R R nœ ˙ n“œ U U R j ‰ Œ nw w Œ ‰ nn œœ & Ó Ó Œ Œ Ó Ó ™ J Kbd nw ˙ ? U U Ó Ó #w Ó Ó Œ nœ™ nw w w b˙ œ b˙ nœ * Œ ™ Œ Ó “ { III 6/5 11/6 IV IV 3 33 : 32 { 5/3 7/5 = -53¢ Vln ≤o o - ° U Œ - - U n port. I & Œ Œ Ó Œ Œ Ó w ~ n~ w‚ œ <œ œ n n >u n w no˙ Œ Ó n˙ mœ ~ sonore~ ~ 5un poco espr. III sonore tune small semitone steps 5/3 20/3 12/7 as overtones of the Bass o 11/4 - - 22 : 23 : 24 III≤ Vln U ≤ - ≤ o ≥ o mO > O II Ó Ó Œ Œ œ œ œ Œ Œ nO nO O Œ & m m > nO ˙ ˙™ n˙™ n œ œ ˙ ˙ w n˙w Ó w Ó 5 ™ sonore > 4> - 3>v- >- u fsonore sonore- o un poco espr. o 8/5 11/8 III U 7/5 = consonant septimal diminished fifth III 10/3 3 ≥ ≤o o Ó Vla n~ ~ ~ ≥ U ˙ nw nw 5˙O B nœ w w nw w w nw~ n~ nO uO u 5 5 Ó Œ Ó III ˙ w w ˙ ppp II >u Œ o ™ sonore o IV ppp sonore pizz. II 28/5 III 3 3 tune an octave below Vla U o -o U o Vc ? Ó Ó Ó n~ n‚ n‚ ~ Ó ˙ #w Œ Œ Ó Ó nO– >u poco marc. ppp u ˙ o - o poco— f tune to Vla 27 : 26 (D-G) bend match Piano = -65¢ down Cb ? U U Ó Ó Ó Ó œ œ nœ ¢ nœ œ nœ œ w w ˙ > ;u˙ ‹ solo,- 9 poco- marcato- f- n˙- >- ppp 13 : 12 16 : 15 = -112¢ o o = -139¢ (diatonic semitone) 17 162 3 2 3 2w ca. 18 w ca. 72 Time / tune to Cl., Ob. tune 9/8 major second tune 7/5 81 : 77 55 : 54 +18 (consonant diminished fifth) +19 above Cl. = -88¢ = -32¢ +17 +35 below Cl. +47 +16 ‹ ˙ w ˙ - œ-. -. Picc ° o ˙ w w œ œ:g œ & Ó >v 4 ™ o :g ppp un poco J o espr. 12 : 17 3 : 2 = 603¢ +18 coordinate +16 with Clarinet œ-. Ob d’A f œ w (A) & Ó f poco espr. +18 match Picc 7 : 4 tune to Bsn, Trb +49 tune below Picc: 5/4 9/7 +14 +14 ˙ w w w +12 f f - -. Cl œ >o˙ n˙ ˙ œ f f œ w (A) & Œ f ppp 36 : 35 5 : 4 poco espr. = -49¢ 8 : 15 3 3 Bsn n˙™ ? w w ˙ w Œ ¢ ˙ 5 5 Hrn ° (F) & 7 7 5 5 œ- match Bsn. 21 : 22 = 81¢ ˙ <5o œ w ˙ ˙ o ™ Tbn ? Œ Œ 5 Ó > Œ B 3.6 = 3 = F 2.9 note position Tba ? ¢ › Crot ° bw & Vibr n˙ & Ó nw ˙ Ó n˙ n˙ Chimes & Ó #˙ Gongs ? ¢ 3 2 3 2w ca. 18 w ca. 72 Time / #˙ , bœ U˙ ‹ ÆJ :f & r nœ r nœ nœ #œr n˙ & , n n œœ #œ n˙ n œ Pf n˙ Solo ? nœ ˙ nœ nœ bœ nœ ;u R R ? , , ˙ ‹ n˙ nœ \v n˙ nœ w w j #œ™ w ˙ nœ w & w w nn ww #w n˙ nœ˙ Ó Kbd F F F ? Ó Œ Œ bœ nw nœ nœ . nœ nw w -. -. - “ 34/5 8/3 o ‰ Œ tune as minor ninth over { 64 : 63 33 : 32 11/4 22/9 j - { = -27¢ = -53¢ F nO ‚ :gO Vln o o o ˙ o ° :g I & nO n n n˙ n˙ 5oœ <5oœ n ˙ w~ 5v w~ Ó tune to- - 5 -8 : 9 = 204¢ - 3 Bassoon, sonore- poco marc. 56 : 55 11/6 Trombone = 31¢ o o 5/2 II o - 3≥ Œ nO ~ ˙ Vln ≥ nO™ O n O O j u II & 5˙ w ˙ n˙ œ ‰ Œ Ó Ó n˙ ˙ 5˙ sonore ppp ppp 243 : 245 o = 14¢ 7/1 32 : 33 = 53¢ 35 : 36 = 49¢ tune to Picc/Cl ≤ - ≤ ≥ 172 3 2 molto rit. 2 ( w ca. 36 ) 4 w ca. 72 molto rit. Time / 17 : 10 : 16 : 15 25 : 24 = -71¢ (chromatic semitone) +12 D# -49 3 : 5 ‹ ˙ œ nœ- nœ- Picc ° t ™ œ œ 4˙ œ ‰ Œ Ó œ -29 Œ Ó Œ Ó & f nœ u J u nœ -14 -14 poco -2 8 : 10 : 11 marc. 24 : 25 = 71¢ Ob d’A j œ nœ m˙™ œ (A) & -14 J ‰ Œ Ó ppp 16 : 15 = -112¢ 5 : 8 Cl 3 (A) & nw œ ‰ Œ Ó Ó Ó ppp J -2n˙ w pppw match Vla., Tba. Bsn ? uw w nw ¢ -16 ppp Hrn ° (F) & Tbn ? tune to Bsn. 6- 2- Tba ? œ u j ‰ Œ Ó kh ¢ h h ˙ œ k m ™ -8 › Crot ° & Vibr & Chimes & Gongs ? ¢ L 3 2 molto rit. 2 ( w ca. 36 ) 4 w ca. 72 molto rit. Time / nœ ‹ & r nœ n œ , # œ #œ r & nœ n˙ n œ r Pf # œ Solo , ? n˙ nœ nœ R nœ nœ ? ‹ nœ nœ n“w ˙ nw #nœwF & . Œ Ó Ó nw Kbd - F-. ? nœ Œ Ó Œ n˙™ nw Œ n˙ nw 81 : 80 : : 80 : 77 ™ “ { = -22¢ = -66¢ 5/4 9/7 20/7 11/4 { 35 : 36 = 49¢ 11 : 10 next melodic step is a slightly small wholetone 25 : 28 = 196¢ - - Vln Ó≤ - - = -165¢ I ° ˙ w ˙ ˙ ˙ ˙ w w- w & IInw u w nuw >v >u 4 m nw w nw o ppp preciso sonore ppp, preciso II 5/III Vln w w ≤o o n~ ~ ~ II & w w m~ ~ preciso o o ppp 5/2 3≥ u˙ w w Vla B Ó n˙ ˙ w w o ppp preciso o harmonic glide down 7/5 gradually press l.h. to sound stopped pitches 3 II ~ ≤ o Vc n˙ ˙ ˙ o B ≥ ? u uw >u˙ ˙ ˙ Ó Ó ÓIII ~ ~ Ó Œ 3 mO ~ ~ m w nœ solo, libero sonore ppp, preciso o - 16/3 11/2 o nO w- I 4 tune to Bsn D Cb ? B Ó ? ‹ Œ nœ nw ‹ n˙ ˙ ¢‹ sonore >u 19 181 3w ca. 40 2 w ca. 72 3 molto ritenuto Time / +47 +16 F# -33 +12 ˙- œ ‹ j nœ4 nœ fij ˙- œ Picc ° œfi œ œ 4o & f -4 Œ f o Œ Ó un poco poco marcato espr. 27 : 22 = -355¢ 9 : 10 = 182¢ (minor wholetone) : 12 (Arabic neutral third: ‘finger of Zalzal’) 8 : 11 8 : 11 +16 C -39 D -35 Ob d’A 3 3 (A) & Ó Ó Ó Ó fpocow ˙ - 4f˙ 4f- marcato tune- to Bsn. as 11. partials +12 Cl +10 (A) & fw w w w 8 : 15 fw : 11 8 : : 9 : A -39 E -37 +10 +14 3 3 Bsn ? w ˙ Ó Ó Ó Ó ¢ w w 4fpoco- marcato ˙ f o 4fsim.- Hrn ° (F) & 7 6 œ œ œ Tba ? ¢ › Crot ° & nw nw Vibr & Ó n˙ Chimes & nw Gongs ? ¢ 3w ca. 40 2 w ca. 72 3 molto ritenuto Time / , ‹ n˙ n˙ n˙ & nœ , F & n˙ R n˙ Pf Solo ? n˙ , # œ n b˙œ R bœ R bœ bœ bœ R R R , ? r n˙ ‹ #œ n˙ n˙ ;u˙ & Ó n˙ w w w Kbd nw w w ? Ó Ó Ó nb˙ #˙ r & b˙ ˙ bœ “ n w { 56 : 55 55 : 54 14/5 { 7/5 = -31¢ 11/8 = -32¢ 6/5 III III Vln -≤ - - o ° 191 3w ca. 36 4 w ca. 48 4 Time UÓ Ó / B 5 : 7 : 8 : 9 : 11 : 12 : 17 : 10 D f +17 12 : n 17 : 16 +14 E -37 +3 +12 +16 12 : 13 = 139¢ 3 j - ‹ œfi :gœ U o j U Picc ° œ4fœ™ nœ :f˙™™ nœ ˙ & Ó Ó œ fœ o ‰ Œ Ó Ó Œ ‰ nœ Ó Ó Ó nœ Cl U U (A) & Ó Ó Ó Ó U U Bsn ? Ó Ó Ó Ó ¢ match C’s 11+ 10 12 5 8 9+ Hrn 3 U oœ w U ° 4fœ nœ (F) Ó Œ Œ o˙ oœ Ó Ó & nœ 3 Fk 3 ppp k un poco Fh k k espr. k Fk +13 k k 6 match Tuba U ˙ w U Tbn ? Œ f ™ Ó Ó poco F 2.9 marc. ppp 2 U tune to Bass U Tba ? Ó Ó ¢ kh ˙ ˙ w k fppp k h 3 › bw U U Crot ° nw Ó Ó Ó Ó & b˙ bw b˙ U U Vibr Ó bw Ó Ó Ó & n˙ nw Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó nw Ó Ó ¢ M 3w ca. 36 4 w ca. 48 4 Time / UÓ Ó r ˙ ˙ r :f ‹ / bbœ nœ & r r bœfij ˙ U bœ ˙ bbœ /f r ÆJ :f , ˙ bœ & /f Pf n˙ Solo #˙ n˙ ? nœ nœ nœ U ? n˙ nœ nœ nœ n˙ ‹ nœ R nœ nœ n ˙ R r bœ - b œ r bœ-. bœ w w U˙ bœ. œ œ R bbœ U & Œ ‰™ R ‰™ J J Ó Ó Œ Ó Ó Ó Kbd U nw U nw w ˙ Ó Ó Ó ? œ Œ Ó Ó Ó & nw w ˙ ° * { 19/5 - 10/3 { 3 ˙ III /f ≤ Vln ° ‚ U n o O nO ˙ w nU I & nœ ˙ Ó Ó ~ ~ m ~ sonore ppp Ó nsonorew w nœ Œ Ó 9/5 o 3 I - ≤o I nOo 20/3 Vln nO O ≤ o˙ U n˙ w ≥ U II n˙ ˙ Ó Ó Ó Ó Ó Ó mO O Ó Ó & 3 3 ˙ ˙ sonore o ppp n˙ m ˙ Ó o ppp o - Œ ˙ IV o ™ ≥ n ~ U o U Vla B Ó Ó nO O ~ ~ o ppp I II III o 7/4 9/7 ≥ II w ˙ ≥ Vc f˙ ˙ fw nw U ≥ 202 3 ( w ca. 48 ) 4 w ca. 60 ritardando 2w ca. 30 2 Time / Ó UÓ 2 : 5 13 : 14 4 : 7 : : 8 = 128¢ œ 7 : 2 œ match Vlns Ob d’A U (A) & Ó Ó Cl U (A) & Ó Ó U Bsn ? Ó Ó ¢ Hrn ° U (F) & Ó Ó U Tbn ? Ó Ó match 8 Picc. - 13 : 4 U n˙ Tba ? Ó Ó Ó Ó 3 ¢ hk h ppp k k › Crot ° U & Ó Ó Vibr U & Ó Ó Ó nw n˙ Chimes U & Ó #˙ U Gongs ? Ó Ó ¢ 3 ( w ca. 48 ) 4 w ca. 60 ritardando 2w ca. 30 2 Time / Ó UÓ nœ nœ ‹ & R n œ n˙ bœ #œ RR n ˙ & #˙ n˙ Pf n˙ n˙ n˙ Solo n˙ , ? n˙ b œ U n œ nœ n˙ ˙ R \v n˙ f˙ ? ‹ \˙ n˙™ w U & Œ Ó Ó Kbd -. nw w ? b ˙ U Ó n ˙ Ó Ó -. { 13/10 13/6 7/3 { - ≤ Vln Œ ˙ w- U I ° Œ ˙™ w 0 ™ 0 Ó Œ œ w w w Ó Ó & m m nw U Cb ? Ó Ó ¢‹ 22 N 213 3w ca. 36 3 2 Time / ‹ +2 Picc ° & Ó nppp˙ Ob d’A (A) & tune tune tune to Vl2 15 : 14 : 13 : to Vla. to Vl2 : 10 : 15 Cl 3 3 3 Ó (A) & nw ˙ œ ˙ w nw w -2 ™ -21 Bsn ? ¢ Hrn ° (F) & Tbn ? tune 5/2 tenth below Viola “A” 8 6 5+ 3+ w - 2+ 1+ Tba 9 ˙ nœ. ? 9 Œ Ó Ó Ó Ó hk hh 3 hk ¢ k w k k ˙ ˙ ˙ k 9ppp k k poco marcato f f h k k - +5 +13 “o › Crot ° & Vibr nw nw & nw Chimes & Gongs ? ¢ N 3w ca. 36 3 2 Time / ‹ nœ & n˙ ## œœ n˙ n˙ n˙ & R #œ Pf Solo # œ #œ ? nnœ n ˙R nœ #n œ˙ nœ R R R R ? #œ ‹ bœ bœ R R Œ n˙™ w ## ww ww ww œœ nw w & Œ Ó Kbd - -. . ? # œ j j Œ n œ Œ j j nœ Ó #nœ nœ º . -. -. bœ bœ - ° tune to fundamental in Cello * º -. B 13/1 “ { f 7/1 I II { 0oO ≥ - ≤ Vln ~ 0O o ≤ 0o ˙ w ™ ° n˙ œ 0 ˙™ Œ O I & Ó Ó J ‰ Œ Œ 221 4 2 2 2 w ca. 60 Time / Ó UÓ Ó UÓ Ó UÓ ‹ U U U Picc ° Ó Ó Ó Ó Ó Ó & w w ˙™ nœ w w -2 Ob d’A U U U (A) & Ó Ó Ó Ó Ó Ó match Picc. 4 : 5 15 : 16 = 112¢ Cl œ Uw ˙ n˙™ m ™ U U (A) & -2 -16 Œ Ó Ó Ó Ó o ppp o U U U Bsn ? Ó Ó Ó Ó Ó Ó ¢ 8 Hrn ° U U U (F) & Ó Ó Ó Ó Ó Ó n˙ 3 Bk un poco k h espr. U U Tbn ? Ó Ó Ó Ó 3 U U U Tba ? Ó Ó Ó Ó Ó Ó Ó ¢ f˙ ˙ “o › n˙ U U Crot ° U b˙ n˙ & Ó n˙ Ó Vibr U U U & Ó Ó Ó Ó Ó Ó Chimes U U U & Ó Ó Ó Ó Ó Ó U U U Gongs ? Ó Ó Ó Ó Ó Ó ¢ 4 2 2 2 w ca. 60 Time / Ó UÓ Ó UÓ Ó UÓ U U nœ ˙ U nœ / ˙ n˙ ‹ n˙ bœ /f & U , ˙ / n œ r n œ n œ & n Rœ bœ b œ Pf R Solo nœ nœ nœ ? nœ n˙ , ? r , ‹ nœ n˙ nœ R n“˙™ j U U n w U & Œ Ó Œ n n œœ œœ‰ Œ Ó Ó Ó Ó Ó b w Ó Ó Kbd J n˙™ U U U ? Œ Ó Ó Ó Ó Ó Ó 23/3 { 5/3 -≤ { I - U 3vO Vln II ˙ œ ≥ U ≤ ≥ U ° oO 3v I & Ó Ó Œ nœ Ó Ó sonoreo n˙ ˙ w w nw o fsonore m sonore- o 5/III 5/II 25/12 3 ≤ Vln ≤ tw U - U U t nO II Ó Ó uO Ó Ó ~ ~ Ó Ó & n w t w w n ˙ uO f 3 sonore — ppp - 3 w~ solo, poco f f o 5/II 7/3 s.p. 13/4 oord. Ó≤ ≤ - U w 0vO O w ˙ ˙ Vla o n˙ ˙˙ m U U 5/II pizz. arco 3 o U o I U Cb ? n‚ O O U w nw Œ Ó Ó Ó Ó u Ó n˙ m ˙ ¢‹ n w 231 3w ca. 30 poco rit. 2w ca. 20 accel. 4 w ca. 40 Time / UÓ Ó tune to 16 : 15 = 112¢ (diatonic semitone) ‹ 3 Strings Picc ° U & Ó Ó n˙ w w w ˙ Ó Ó -4 u˙ o ppp o -16 o G 2 : 4 : 7 : 5 7 : 5 : : 8 : f : 6 tune tune to Picc. +27 tune 5/4 C under Cl. to Tbn. +10 > +14 +29 U Bsn ? Ó Ó ¢ 25 : 26 13 : 12 = 68¢ = -139¢ tune both notes 9/4 to Tbn. 5/3 13+ 10 12+ 8 9 8 Hrn œ œ U ° uœ 0o ™ oœ oœ o ™ (F) & œ J nœ™ Œ Ó Ó 3 27 : 20 (perfect fourth + one comma) Fh Bk k k Bk k k k +13 h 6 next melodic step: 24 : 25 = 71¢ (chromatic semitone between minor and major third) ˙ w U Tbn ? Ó f Ó Ó F 2.9 ppp U Tba ? Œ Ó Ó ¢ fœ™ œ™ “o › Crot ° U & bw Ó Ó Vibr bw U & Ó Ó Chimes U & Ó Ó U Gongs ? Ó Ó ¢ O 3w ca. 30 poco rit. 2w ca. 20 accel. 4 w ca. 40 Time / UÓ Ó ‹ & :f˙ b œ U nœ n œ nœ ˙ #œ :f nœ & n˙ b˙ Pf n˙ ## œ Solo ? bœ , bœ nœ b˙ R ##œœ R nœ R ? nœ ‹ nœ nœ U & Ó Ó Ó n˙ Kbd cut off on a Piano attack U ? Ó b˙ Ó Ó { ° * { IV ≥ Vln ° o U I & n~ ~ Ó Ó o ppp o III IV 3 ≤ 3 Vln o o ≥ U II & Ó Ó nO O n˙ ˙ Ó Ó o ppp n~ o o ppp o 15 : 17 : 16 (large diminished third) 6 3≥ ≤ j U Vla B œ Ó Ó Ó ˙ ˙ œ nœ nœ :g fœ ˙ ˙ n˙ ˙ w ˙ un poco espr. o o ppp o U Vc ? n˙ ˙ o (pizz.) 3 ˙ U Cb ? Ó Œ ‰ nœ > Ó Ó Ó J >uw ¢‹ poco f >u˙ 25 240 4 poco rit. 3w ca. 30 accel. 3w ca. 50 poco rit. Time / +19 9/4 tune to above Cl. Hrn. take Alto Flute ‹ w w ˙ w ˙ œ- ˙ Picc ° m m ™ >u m n˙ Ó t˙ Ó & w w ˙ -2 -18 -31 ppp 3 28 : 27 = -63¢ Ob d’A (A) & 4 : 7 : 4 48 : 49 tune to Hrn. = 36¢ 7 : 4 +16 match Picc. ˙ 7 : 8 = 231¢ 8 : 9 = 204¢ tune to 7/4 (the following melodies are tune to Tbn. +14 made up of simple intervals Tbn. C 22 : 21 = -81¢ shifted down a quarter-tone) 5u ˙ j Bsn ? m Ó Œ ‰ >u˙ w 5uœ ¢ -18 ppp C +33 match Bass harmonics 10 10 10 Hrn ˙ ° w u ™ œ w (F) & u u Fk Bk Fk ppp k o k k match Picc., Cb. match Bsn. h h h 7 4 33 : 32 64 : 63 = -27¢ 4 = -53¢ w w Tbn ? m Œ Ó >u˙™ u˙ F 4.9 o ppp o o F 5.1 Tba ? ¢ › Crot ° & Vibr nw & Chimes & nw Gongs ? ¢ 4 poco rit. 3w ca. 30 accel. 3w ca. 50 poco rit. Time / nœ b œ ‹ nœ n œ #œ & nœ #œ nnœ n œ n˙ n˙ , bœnœ n œn˙ & n˙ nœ Pf b œ Solo ? nœ nœ nœ nœ R nbœ -. ? ‹ n˙ n˙ #˙ #œ ˙ n“w nn˙ w œ r.h. ? n˙ n˙ & Ó Ó & Œ Œ Ó ™ n˙ ‰ l.h. ‰ Kbd n˙ - nœ ˙ ? nw Ó Œ . Ó Ó Œ Ó bœ #˙ n œ { ° * Vln ° I & Vln II & Vla B Vc ? w ˙ ˙ œ Œ Ó o 5/II 5/I arco ppp ppp ppp o o o Cb ? O m~ ~ ~ ~ Ó u ~ ~˙ w w~ ~ u~ ~ ~ ¢ ppp IIIm ‹ o 3 o o o 26 250 2w ca. 40 3 accel. 2w ca. 60 2 poco rit. 3w ca. 50 Time / Alto Fl ° (G) & nw ˙ ˙ -2 ppp o match Hrn. Ob d’A +2 (A) & nw w w tune 7/3 below Vl2 ppp +19 33 : 32 = -53¢ tune 3/1 above Tbn. - - Cl œ >u˙ œ™ œ œ w m mJ m 5m (A) & Œ -16 Ó Ó -12 Bb +35 poco marc. 7 : 9 tune 5/2 above Tbn. m˙ ˙™ like a high “E” -14 o 4 : 7 : 4 : 15 : 14 : 5 5 : 6 (just minor third) tune = -119¢ = 316¢ to Tbn <5m˙ Bsn ? 5uœ 5<œ Œ 5tw w Ó G +35 Bb +2 5u˙ ˙™ Gb +16 ¢ E +19 ppp solo, un poco espr. simple overtone melody, 3 6 9 a quartertone lower ! match Vlc. 4 3 Hrn ° - #w w œ (F) & ˙™ Œ Ó n˙ ˙ Œ Ó n˙ nw poco marc. 3 ppp ppp Bk - h o Fk k k h 8 5 2 4 keep position 2 ˙ ˙™ Tbn ? w 5u 5u 5u 3 œ 5pp o 5uw w F 5.7 ppp B 2.5 55 : 54 = -32¢ tune 5/2 1 3- tune 11/4 under Hrn. 3- 2- 2 under Tbn. Tba ? j Ó Œ Ó ˙ Ó ¢ œ kh 5ppp- nœ u- h ™ œ ˙ œ k kk kh m 5 ™ k k h hk -6 h“ h k k k k -8 h › Crot ° & 3 Vibr & n˙ nw nw Chimes & nw nw Gongs ? ¢ 2w ca. 40 3 accel. 2w ca. 60 2 poco rit. 3w ca. 50 Time / nœ nb˙˙ ‹ & , r r #œ nœ , nœ r n˙ & nn œœ n˙ n˙ nœ r Pf n˙ nœ nœ Solo nœ ? nœ nœ R n˙ n˙ , #œ nœ n˙ nœ n˙ #œ nœ nœ n˙ nœ R n˙ R ? r ‹ nœ R nœ nœ nœ & Œ Ó n˙ ˙ Ó Kbd œ l.h. ? Ó nw nw ˙ { “ Vln ° I & 5/II Vln ≤o - uO ~ ‚ II & Ó Œ Ó o ppp Vla B 3 Vc ? n˙ ˙ Œ Œ Ó Ó n˙ œ˙ œ un poco espr. < ppp ppp Cb ? ~ ~ ~ ~ ~ ~ ~ u~ ~ ~ ~ ¢‹ ppp o o 27 P poco a poco più mosso 262 2 3 molto ritenuto 3 w ca. 20 3 ( w ca. 26 ) Time / 3 22 : 21 tune 3/2 above Bsn. Alto Fl ° = -81¢ (G) & w n˙ w w w Œ ˙ Œ poco marc. Gb +185 Ob d’A (A) & (tune to Tbn.) 5 : 4 Cl 5mœ 5˙ ™ (A) Ó Gb +49 ‰ & 3 7 : 8 : 10 : : 7 - œ 5uœ™ - Bsn ? œ 5 5<œ w w œ 5<˙™ J Ab‰ +47 C +33 J Œ Ó Œ ¢ poco marc. Hrn ° (F) & Tbn ? w w w œ Œ Ó ˙ Œ 5poco-™ marc. match tune 3/1 under Tbn. Vl1 32 : 33 = 53¢ 2- 1- 1 3 Tba ? Œ Ó Ó ¢ hk w w œ h n˙ w ˙ 5 k < ppp k hh “ h “ k k -6 › Crot ° & bw Vibr n˙ n˙ & Chimes & Gongs ? Ó nw ¢ 3 P 2 3 molto ritenuto 3 w ca. 20 poco a poco più mosso 3 ( w ca. 26 ) Time / I , I I bœ nœ #œ #œ nœ nœ nœ ‹ #nœœ #œ #œ #œ #œ & b œ ˙ n ˙ /e , r n œ n œ n˙ r n˙ n œ r nœ n ˙ n˙ & n œ nœ n œ nœ nrœ Pf # œ Solo ? nœ nœ - R b˙ nœ. nœ R n˙ n˙ F F F F F F F ? nœ nœ nœ nœ bœ #œ bœ#œ nœ Ω , #œ #œ #œ #œ nœ ‹ R R nœ nœ n˙ R #“˙ w w nœ nœfij ™ n ˙ œ n˙ ˙ nœ ˙ œnœ œ n˙ w œ & Ó n ˙ œ ™ ™ R ™™ J ‰ Kbd ? Ó bœ Œ Œ Œ nw -. n˙™ n˙™ w w { “ “ I { III IV IV ≥ - - >u Vln ≥o III > - w~ ≤ Ó - w~ >v O >u ° Œ ‰ j >v w~ ˙ I & n >v œ ~ 3 nw w w > n w poco sim. o ppp o marc. 12/7 7/4 Vln -≥ 3 >O II Ó Œ œ Ó Œ œ nw ˙ w w w & > nw > ~o > sf III o sonore ppp III Ó≤ - ‰ Vla œ B n~ 5 ™ O nO ~ ~ ~ IIIo sonore ppp o Vc ? Cb ? ¢‹ 28 273 2 2 4 w ca. 35 2 Time / Alto Fl ° (G) & Ob d’A (A) & Cl (A) & Bsn ? ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › bw Crot ° & nw n˙ n˙ b˙ Vibr nw Ó n˙ Ó & nw Chimes & nw nw Gongs ? ¢ 2 2 4 w ca. 35 2 Time / ˙ ‹ :f & rr nn œœ n˙ , I j nœ ˙ n˙ r r nœfi n˙ /e & #nœœ n˙ nœ n# œœ bœ n˙ n˙ Pf n˙ R R Solo ? nœ I nœ n˙ n˙ nœ #œ ˙ n œ nœ , ;u n ˙ ? nœ ‹ nœ n R œ #œ nn ˙˙ œœ & Ó Œ n˙ ˙ Ó Kbd I ? Œ nw n œ ˙™ n œ ˙™ “ tune 11/4 { under Vl2 tune 5/4 { 23/4 13/8 retake 9 : 5 above Vla. III 13/10 ≤ 3 ≥ ˙ bow w≥ w (large minor seventh) Vln o o - o 5 -≥ w ° Ó œ 50vw I & nO Œ n‚ O ˙ nœ Œ Ó Œ 5u w 60˙ un poco espr. poco sonore 6e- o marc. nw o I III o - 3 Vln n~ n~ o II & w w Ó nO O n poco marc. poco~- ppp~ ~ ~ o o marc. 11/2 7/4 n O II ≤o - n w~ w~ w~ œ ≤ ≥ Vla nO™ 5 ˙™ 5 w w B Œ Ó Œ ˙ <˙ Œ Ó Œ œ 283 2 3 4 Time / Alto Fl ° (G) & Ob d’A (A) & Cl (A) & Bsn ? ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° & Vibr n˙ & nw nw #w 3 Chimes & Gongs ? nw ¢ 2 3 4 Time / nœ ‹ & r nœ nœ #œ , r n˙ r n˙ #œr bœ n˙ #œ R & n˙ # œ nœ Pf Solo n˙ r r ? #œ bœ ;u˙ nœ #œ #œ nœ nœ R R ? , nœ n˙ n˙ n˙ ‹ #œ nœ nœ nœ R R R n“˙™ & Œ Kbd ? Œ b˙™ ° * 32 : 33 { 22 : 21 = 53¢ { like a keep l.h. - 6 : 23 tune to Cb low “A#” position = 81¢ I ‰ œ Vln ˙-≤ nœj nœ nœj œ <œ ≤j ° 4> 3vO I 4>O Œ Ó Œ Œ Œ ‰ I Œ Ó Ó Œ ‰ nœ Œ Ó & œ ‰ J ‰ 3v œ 4> - ppp flaut. II II poco poco- œ >œ 4>˙ poco marc. marc. 7 : 8 marc. = 231¢ I 3 : 5 II 6 : 11 (neutral seventh) port. 32 : 33 IV II 25 : 24 = 53¢ 3 9/7 = -71¢ o 7 : 4 Vln ≤o o ≤ ˙- n-‚ O j ˙- œ ˙ Ó ‰ œ t Œ ‰ œ 4> II & n˙™ u > n wO <˙ œ™ ‰ Œ J n œ nO 4 O ~ ~ > ∑ sonore ppp flaut. 3 4 ˙ w 8/7 13/8 II II o ≤ 3 Œ ‚ >˙‚ Vla ≤ nO - w≤ ˙ œ ˙ B nw n˙ n˙ ˙ ˙ Œ u Ó u > ˙™ u ™ ˙ o ppp 3 Œ 9m o port. III II match Cb. III 13/5 tune 11/4 II 8/7 below Vla. port. IV o ˙- o o o Vc ? ww n m nO™ n‚ m~ > w~ n˙ ˙ o 9m sonore 5u- libero, un poco espr. 44 : 45 = 39¢ II o - - harm. 8/II n-O ˙ ˙ II glide o < 4 o n‚ ~ ~ Cb ? Ó n˙ n˙ & O ¢ u ™ ‹ w o o sonore ‹ libero, poco f o 30 Q 292 3 rit. 3w ca. 30 4 w ca. 43 Time / +2 Alto Fl ° j (G) & nw œ ‰ Œ Ó nw -2 o ppp o 16 : 17 = 105¢ +1 Ob d’A ˙ (A) & Ó ;u solo, cantando tune 9/2 above Piano Cl (A) & Bsn ? ¢ Hrn ° (F) & Tbn ? 10 : 13 2 2 5 6 3 3 n˙ Tba ? Ó w ¢ 9m hk 9hhœ hk h ˙ k h h 9un ™poco k k h espr. k k › Crot ° & Vibr b˙ & n˙ nw 3 Chimes Ó & #w Gongs ? ¢ Q 3 rit. 3w ca. 30 4 w ca. 43 Time / nœ ‹ & nœ , n œ #œ n˙ :f˙ b œ & #œ n˙ nœ # œ n˙ Pf n˙ n œ nœ Solo ? nœ # œ bœ R ˙ n œ nœ nœ nœ #œ ;u ? ‹ & Kbd ? o { o II s.p. II I - - { o - ,eO o ,eO Ó tune to Vl2 II I port. o w n-‚ nOo ~ ~ >˙ >v ™ ~ ~ ~ n˙ w w œ Vc ? J ‰ Œ Ó 3 3 ppp 26 : 27 = 65¢ III poco s.p. ord. match o o o ‚o Tuba n‚ n‚ u‚ 4 ~ Cb Ó ? Ó Œ nœnœ Œ Ó & ‹ nœ ¢ come prima n˙bend up9˙ w œ ‹ o 3 31 302 3 2w ca. 36 2 4 w ca. 32 Time / Ó UÓ Ó UÓ Alto Fl ° U j U (G) & w w œ ‰ Œ Ó Ó Ó ppp tune slightly ‘high’ to Strings, +4 +14 +19 then match Vl1 +6 match Vl1 nœ œ Ob d’A nw œ™ :Gœ œ w U f J f U m (A) & Ó Ó Ó Œ Ó Ó n˙ -16 16 : 17 3 = 105¢ Cl U U (A) & Ó Ó Ó Ó U U Bsn ? Ó Ó Ó Ó ¢ Hrn ° U U (F) & Ó Ó Ó Ó 4 U nœ ˙ U Tbn ? Ó Ó Ó Œ ‰ J Ó Ó Ó B 2 ppp 8 : 7 : 11 6 3- 4- 1 4 3- 2 4+ - 11 : 3 3 Tba ? U nœ - j U j Ó Ó Ó Œ ‰ J ‰ nœ Œ ‰ j œ Ó Ó Ó j œ ¢ poco marc. J 7 : 4 œ > œ nœ 4> hk hk œ hk kh> º kh> hk hkº h k 5 h h º h h h k k k k k k k k h “ k h h k h -9 -9 +7 › Crot ° U U & Ó Ó bw Ó Ó U n˙ U Vibr Ó Ó & nw n˙ bw Chimes U U & Ó Ó nw U U Gongs ? Ó Ó nw Ó Ó ¢ 3 2w ca. 36 2 4 w ca. 32 Time / Ó UÓ Ó UÓ I I nœ nœ n˙ n˙ ‹ :f˙ & n˙ #œ nb ˙œ n ˙ ˙ & n˙ :f Pf Solo , # œ n ˙ n˙ ? n˙ U n œ n œ U , nœ # œ n˙ ˙ , nœ ;u R #œ F ? nœ nœ n˙ nœ nœ bœ #œ ‹ R bœ “- nœ œ n“˙ nœ œ U U ? Ó Œ J ‰ Œ Ó Ó Œ j ‰ ‰ Œ Œ Ó & nœ n˙™™ Kbd - U nœ- U ? Ó Œ j ‰ Œ Ó Ó Œ J ‰ nw Œ Œ Ó n-œ œ nœ ‰™ uÓ nœ bœ Œ R bœ œ “ { I ≥ 3 ° * { o II III - - Vln nO U nw o U Œ ° o˙ œ j u˙™ ˙ I & Ó n w nœ Œ Ó Ó nw Ó w 3 nw ˙ nœ™ n‚ O™ sonore ppp poco f ppp solo, espr. o - 3 U 4O Vln ˙ U Ó 4 ∑ Ó II & n˙ w w n˙ n˙ w poco f Ó n˙ ˙ dissonant - o with Vl1 ! o n‚ ~ Vla w ˙™ U Œ ˙™ ˙ nw œ U B Œ nw m Ó J ‰ Œ Ó Ó Œ sonore o o ppp I II o I n-‚ U˙ ˙ o 4 ™ O nw Uw w œ Vc ? Œ Œ J ‰ Œ Ó 3 poco marcato ppp come prima tune to 8 : 7 ppp 3 Vl2 o U = 231¢ U Cb ? Ó Ó Œ nœ j j ‰ nw w w n˙™™ nœ nœ œ œ œ Œ Ó ˙™™ ‰ ¢‹ 5 5< keep l.h. pos. nœ o III 22 : 21 IV + = -81¢ 32 R 311 4 accel. 3 ( w ca. 60 ) Time / Alto Fl ° j ‰ Œ Ó (G) & nw w œ nw w w w o ppp o ppp +1 +2 tune to Cello +16 3 56 : 57 +33 = 31¢ w Ob d’A nœ \œ ˙ œ >˙™ ˙ >m nw œ (A) Ó -2 \œ Œ Ó Œ Œ Ó & 3 3 come prima 9 : 10 = 182¢ match Piano solo, Cello (minor wholetone) (A slightly higher than before) Cl (A) & n˙ w Bsn ? Ó -2 ¢ ppp 32 : 33 o = 53¢ lower pitch 4 13 5 7 by hand 8 7 5 195 : 196 3 8 11 5 = 9¢ Hrn j ª j ˙ ° Ó Œ ‰ Œ Œ œ- ˙ œ Ó 0>v (F) & nœ nœ > 4> > nœ nœ™ Bk poco -Bh Fh Bh œ k h un poco h h œ >u w k marc. h œ k h > F>uh >v espr. Fh h h h tune 56 : 57 h 39 : 35 7 8 = 31¢ = -187¢ to Vlc. 7 7 7 6 4 7 5 95 : 96 2 œ nœ 7 < n˙ = 18¢ - Tbn nœ mw œ \˙ >œ ˙ œ j >w ˙ ? J J Ó J ‰ Œ Ó Ó Ó .v œ 9m = F 1.7 3 3 J .v 3 un poco espr. pp poco 6 : 5 F 4.9 F 4.7 F 4.4 3 .v˙ marc. = -316¢ - poco marc. = B 5.4 9- 10- 8 8 - -. 13 : 4 3+ œ œ- ˙. n˙ Tba ? > ™ >J Ó Ó >u Ó Ó Ó Œ kk kh 3 hk hk ¢ h pp h h k pppœ k k k k 9 h h k h -9 +5 › Crot ° & Vibr & nw Chimes & n˙ Gongs ? Ó nw ¢ R 4 accel. 3 ( w ca. 60 ) Time / , ‹ & r r , nœ n ˙ # œ r & n œ r #œ Pf n ˙ nœ nnœ˙ #œ Solo ? n˙ , nœ nœ n˙ n˙ , \˙ #œ ? #œ ‹ #œ , nœ , R bœ R ? nœ- ˙ w Œ ‰ J & Ó n˙ w Kbd nw ? Œ Œ Ó #˙ 3 “ tune to Cello/Tbn. and Piano 56 : 57 20/7 { III 3 = 31¢ - ˙ ˙ { >u Vln o ˙ ° \vœ w >v˙™™ >u I & Œ nO™ ~ j Ó nunœ poco nœ œ espr. o one 5 : 6 19 : 16 (equal-tempered minor third) III finger = 316¢ = -298¢ 13 : 12 = -139¢ Vln n o II & ~ ‚ Œ Ó nœ nœ™ ppp nw ˙™ mœ \œ™ o ppp solo, poco f support Vlc. ~ ~ - Vla B Ó n˙ Ó Ó n˙ w w w poco marc. 3 o ppp tune 19/16 (“tempered” 56 : 57 minor third) below Vla. = 31¢ w- ˙ ˙- w w w ˙ Vc ? Ó m \ > Ó w n˙ ˙ Ó > o sonore ppp 32 : 33 7/1 under Vlc., = 53¢ (pizz.) 21 : 20 fundamental of Tbn. line pizz. 3 IV = -84¢ arco Cb ? <5œ <œ n˙ nœ j <5œ nœ nœ nœ 5œ 5 œ ¢‹ 3 < 5uœ™ f tune 11/2 .vw under Vlc. o 33 320 3 2w ca. 32 3w ca. 60 3 ritenuto w ca. 42 Time / Ó UÓ Alto Fl ° j j U (G) & Ó n˙ œ ‰ Œ Ó nw œ ‰ Œ Ó Ó Ó -2 o ppp o ppp 10 : 7 : 8 13 : 15 = 248¢ +46 +28 E -41 Ob d’A 9 ˙ U nw œ nœ œ m ™ 9 w (A) -2 Œ Ó Ó Œ 9 +46 5 : 4 (just major third) C# -41 = -386¢ - 8 : 13 = 841¢ nœ œ 9mœ w w œ ˙ Bsn 9 9 U 9 ? Ó -2 Ó Ó Ó Œ Ó 3 ¢ un poco espr. tune to Cl., Tba. ppp 13 : 12 : 15 = 139¢ match Tbn.; 5+ 7/4 above Tuba Hrn ° U (F) & Œ Ó Ó Ó 9Fh pppw w w œ h U Gongs ? Ó Ó ¢ 3 2w ca. 32 3w ca. 60 3 ritenuto w ca. 42 Time U / Ó Ó U /e˙ ‹ & - .r U nœ n˙ r , nœ n˙ nœ n˙ nœ nœ & n˙ bœ n˙ nœ Pf #œ Solo co-ordinate with Conductor ? nœ ˙ , nœ nœ n œ n œ # œ \v nœ nnœœ #œ #œ #œ R n œ R R nœ R R R ? , # œ #˙ R #œ ‹ #œ nœ nœ n œ nœ bœ R R R R Œ r U ? j n˙™ nœ nœ™™ ww ww & Ó Œ ‰nœ w & Œ Kbd -. -. U ? Ó Œ Œ Ó # œ Œ # œ Œ Œ n˙™ Ó r‰™ Œ n œ n œ n#œ #œ œ . R match Vl2 -. - one finger glide “ “ { III 13 : 12 = 139¢ tune 4/3 below Vl2 Vln o ˙ ˙ U ° n~ ‚ ˙ 9m I & Œ Ó 9 9m˙ ˙ Ó Ó Ó ppp solo, o poco espr. 10 : 9 27 : 26 = -182¢ tune to Winds 3 : 4 = -65¢ Vln w ˙ - - U 9m 9˙ n˙ 9m˙ 9m˙ w ˙ II Ó Œ 9œ 9˙ ™ Œ Ó Ó & 3 3 solo, o poco espr. match 11/2 Piano II ≤o Vla B w w œ Œ Ó n~ O™ n‚ ~ Œ 5˙ u o sf ppp U Vc ? Ó Ó U Cb ? Ó Ó ¢‹ 34 S 331 3 ritenuto 2 3 accel. ( w ca. 60 ) 3w ca. 36 Time / Alto Fl ° (G) & Ó n˙ w o ppp Ob d’A (A) & +2 - match Vlns n˙™ tune to Vlc. w w w Cl m (A) Œ -14 & mw w w -16 ppp ppp 6 : 7 +26 +10 tune to Tbn., Cl. C# -41 6 : 5 nœ nœ œ œ ˙ œ w w œ œ 9 Hrn ° (F) & 96 : 95 tune to Bsn. 8 = -18¢ 8 8 8 - B \vw uw œ n˙ ? Tbn ? t Œ B 5.2 B 6.3 B 7 3+ tune to Bsn. Tba ? ‰ Ó ¢ hk œ k 9ppp-™ k h +5 › Crot ° & nw Vibr Ó nw nw & n˙ w nw Chimes & Ó nw #˙ w Gongs ? ¢ S 3 ritenuto 2 3 accel. ( w ca. 60 ) 3w ca. 36 Time / # œ ‹ nœ /˙ n œ & #˙ nœ nœ \˙ n˙ & n˙ bœ n˙ Pf Solo b˙b˙ n˙ r # œr , ? b˙ n˙ n#œ œ n˙ \v˙ n œ b˙ nœ \v˙ ? ‹ nœ bœ cut off with a Piano attack #˙ w “ # œ ww ww nœ n˙ n œ Œ Œ Ó nœ n˙ & b˙ . ™ Kbd -. - ? Œ b˙ Œ Ó nœ w -. #œ #˙ ˙ n˙ -. ™ ™ 7/4 { 3 5/II { 4/II Vln - -o -o o ° ∑ nO uO u~ ~ ‚ I m˙ Œ Ó Ó Œ Ó & < 3 mw sonore œ poco marc. ppp 7/4 95 : 96 = 18¢ match Piano match 3 Cl., Vl.1 - II match Piano, Tbn. 20 : 19 = -89¢ Vln o - uw O uO \v u uO /O 3 Vc ? nw œ J ‰ Œ Ó w w Ó o mppp nw pizz. arco Cb ? nœ Œ Ó Ó Ó ˙ ¢‹ poco marc. n-˙ m- 35 342 3 3 2 3w ca. 50 2w ca. 36 Time / tune large septimal tenth 18/7 below Vl2, tune consonant tenth perfect fourth 4/3 above Cb., Vl1 10 : 9 5/2 below Vl2 13 : 10 Alto Fl = -182¢ = -454¢ (G) ° Œ & 0w w w 0 w ˙™ Ab +37 o poco espr. -46o o Ob d’A (A) & 5 : 3 8 : 5 15 : 13 = -248¢ tune to Vl1, Cb. 13 : 12 = -139¢ Cl ˙ 3 3 m n˙ (A) &-16 nw w Œ Ó un poco espr. -2 w m 0˙ w w 0w w n˙ œ Gb +37 Bsn ? ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° #w & Vibr bw & bw Chimes Ó & n˙ Gongs ? nw ¢ 3 3 2 3w ca. 50 2w ca. 36 Time / #˙ , ‹ nœ & n˙ # ˙ n˙ bœ r n˙ n ˙ , nœ ˙ nœ & b˙ n œ /e Pf b˙ /f˙ Solo , #œ ? #œ , n˙ #œ # œ R n˙ #œ . n˙ b˙ , - ? ‹ nœ bœ n˙ , R R Œ #œ w ˙ w & Ó Kbd #w ? #˙™ { Œ -. 5/3 13/8 (neutral sixth) 12/7 2 : 1 match Cb. Vln { - - ° I & >w w mœ 0˙™ Œ Ó nw w n ˙ Ó w w w w w w w œ o sonore 0 o ppp o “high” septimal 105 : 104 = -17¢ 8 : 7 major third above Cl. tune 3/1 above Vl1, Cb. ˙™ bend slightly downward 2 : 3 keep hand position for next note (l.h. octave) Vln 0 ˙ 0 w ˙ >v ™ >v 0v˙ w ˙™ II & 0>v˙O Œ Œ œ w ˙ 0>v - un poco espr. u 0>v o o o 8 : 11 O 4m˙O nœ Vla B œ 4m Œ Ó Œ match Cl. 13/8 (neutral sixth) tune 7/2 under Cb., Vl1 tune Bb as pure third (ignore Vl1 !) 3 5 : 3 III IV 7 : 5 pizz. 5/4 Vc ? Ó - Ó 0w Ó 0˙ Ó Ó n˙ n˙ Ó f ˙ f ˙ ˙ w n˙ ˙ Ó 0o˙ poco f > poco 0 ˙ ˙ espr. o o >v o 5/2 13/5 13/4 o ˙ w w ˙ ˙ w w w w œ ˙ ˙ n˙ 0 0 0 0 Œ Cb ? B u 0o Ó ? ‹ n w w n˙ Ó Ó n˙ n˙ ‹ ¢‹ solo, sonore + + + 36 T 355 2w ca. 50 2w ca. 26 2w ca. 50 3w ca. 60 3w ca. 26 Time / +4 +11 nœ- œ n-œ w n-˙ /f˙™ Alto Fl ° œ nœ (G) & nw Œ Ó Ó Œ Œ Œ Ó nw ppp 10 : 19 o = 1111¢ Ob d’A (A) & match 55 : 54 11/4 9 : 11 (neutral third) Vla. = -32¢ below Fl. = 347¢ 24 : 25 = 71¢ (chromatic semitone) Cl j (A) ‰ Œ Ó ˙ ˙ Œ Ó Œ Ó Œ nœ w œ Œ Ó & mw œ mw œ m ™ mœ 5œ w -16 o ppp -12 -47 o Bsn ? ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° & Vibr & nw ##ww nw Chimes & Ó nn˙ Gongs ? ¢ T 2w ca. 50 2w ca. 26 2w ca. 50 3w ca. 60 3w ca. 26 Time / ‹ & rr rr n œ , b# œœ # œ n˙ , -. nnœœ nœ r r & #œ nœ n˙ #bœœ Pf #œ nœ Solo #œ ˙ ? ÆJ ;u #œ r nœ #œ n˙ n˙ #œ n˙ n rœ , n˙ b˙ R nœ , n ˙ R #œ nœ R r ? # œ r r R , r r n#œ ##œ n œ nœ , nœ nœ ‹ #œ ;u˙ n ˙ R R n˙ R R nœ #n œœ n n œœ nœ w & Ó Œ #œ j ‰ Ó Œ Ó Œ Ó Œ #œ #w œ #œ Kbd -. #œ 3 -. r nœ w ? #œ ‰™Ó #˙ Ó Œ #w ˙ Ó #œ #˙ n w w n˙ # œ #˙™ w { -. ° * “ “ 7/6 8/5 5/3 Vln { ° - I & nw wœ . - >v 243 : 245 poco œ ˙ pppw w marc.>u >o = 14¢ o 81 : 80 = -22¢ bend down ˙ ˙ ˙ Vln o II & Ó o 11/9 (neutral third) 6/5 o o o u‚ Vla w w w w w œ nw B u 5vœ Ó Œ Œ Ó Ó Œ w ppp poco- o o marc. o o I arco III o ord. --> s.p. ord. or.d --> s.p. II II n~ ‚ o Vc ? oO ™™ nO ™™ Œ Ó Œ nO™ Œ Œ o ˙™™ ‰ n ˙™™ ‰ o ˙™ o ˙™ o o u o o o 33 : 32 3 : 5 16 : 15 = -53¢ 15 : 16 = -112¢ = 112¢ Cb - ? Œ Œ 5uœ Ó nw ˙ œ 5˙™ w œ ¢‹ o upoco- marc. 5u- o ppp 37 367 3w ca. 36 3w ca. 60 2w ca. 36 2w ca. 26 Time / Alto Fl ° (G) & Ob d’A (A) & Cl (A) & Bsn ? ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° & Vibr & nw Chimes & Gongs ? ¢ 3w ca. 36 3w ca. 60 2w ca. 36 2w ca. 26 Time / r I I bœ nœ r nœ nœ ‹ nœ & b˙ , #œ r nœ b˙ , #œ r n˙ & nœ Pf Solo , n˙ , ? n˙ , n˙ nœ nœ F ? nœ , ‹ nœ #˙ nœ nœ n˙ I I n“œ n“œ nœ nw b˙ & nw Ó Ó Kbd w ? Ó Œ nœ ˙™ nœ ˙™ nœ Ó nw fij nœ nœ { n˙™ #œ “ 9/7 6/5 12 : 13 = 139¢ 26 : 25 = -68¢ II Vln { ° I & Œ nw nw w nw w w w unw poco espr. w ˙ 377 4 4 accel. ( w ca. 60 ) 4 w ca. 26 accel. ( w ca. 50 ) Time / 4 : 7 21 : 20 = -84¢ +16 19 : 16 = 298¢ ˙ n˙ 12 : 5 match Cb., Hrn. (“equal-tempered” minor third) match Hrn. Alto Fl -16 Ob d’A (A) & tune to Vl2 6/5 Cl tw w w (A) & Ó t 3 un poco espr. -29 o Bsn ? ¢ 8 95 : 96 14 : 15 18 : 19 10 8 10 10 8 3 match Cb., Fl. = 18¢ 8 7 = 119¢ 10 = 94¢ Hrn w ° u (F) Ó Œ oœ ˙ nw œ uœ ˙ Ó uw œ *v˙™ ˙™™ ‰ ˙™ Œ Ó u˙ & Fk Fk Fnh˙ *< F*uk Bk ™ J Bk match Fh k un poco espr. h J h h h h k k k h h k h Pf. k Tbn ? tune below Horn 5/3 19/6 4/3 tune 10/3 8 5 10 7 8 4 below Vl1 8 : 13 (neutral sixth) 3 3 n˙ ˙ ˙ ˙ w nw Tba ? Ó Œ œ w Ó *u *< hh9 ˙ w kk kk ¢ k ppp un poco*u espr. 20 : 21 h 21 : 19 h k kk hh = 84¢ h = -173¢ h k h h k h h h h h 19 : 10 = -1111¢ › Crot ° & Vibr & #w Chimes & Gongs ? ¢ 4 4 accel. ( w ca. 60 ) 4 w ca. 26 accel. ( w ca. 50 ) Time / , ‹ #˙ n˙ & r r #œ #œ bœ #œ #œ r , & R bœ n˙ Pf \v˙ Solo #˙ , #nœœ #˙ ? #œ nœ nœ nn˙œ n˙ # œ #˙ R R R nœ n œ #œ #˙ #œ ? , ‹ nœ n#œœ ˙ -. nœ R \v #˙ bœ & Ó Ó Œ Kbd -. 3 n œ ? Ó # œ Œ Ó Ó Œ #œ Ó Ó Ó n˙ # œ #œ n˙ n œ nœ n œ tune 13/10 { 39 : 40 below Vla. = 44¢ tune 4/3 “ { 3 II below Vla. II s.t. Vln nw ˙ I ° Œ Ó Ó & w 9m˙ ˙™ nœ ˙™ n˙ un poco espr. - o o ppp tune to flaut. IV Vlc. 3 6 : 7 s.t 3 3 œ Vln ‚ o nw w nœ ˙ œ s.t. Vla J o ™™ J B Ó ‰ Œ Ó Ó t˙ w 3 ppp o flaut.o 5/III o Vc ? Œ mO™ O m˙ œ Œ Ó o poco marc. 6/III 5/II 5/III 5/II Cb o j o o o ? ‰ Œ uO ~ ~ ‚ Œ Ó Œ Ó u~ o~ œ u~ ‚ ¢‹ o o ppp o ppp o 39 U 389 3 2 4 w ca. 50 2 Time / Alto Fl ° U U (G) & mw w w Ó Ó Ó o ppp 3 Ob d’A U U (A) & Ó Ó Ó Ó Vla. joins, slightly lower in pitch 15 : 16 = 112¢ 13 : 14 = 128¢ (slow beating) 10 : 9 = -182¢ (minor wholetone) ˙™ œ w Uw nw w Cl t U mw w w (A) Ó Ó Ó -12 & 3 poco ppp marc. ppp U U Bsn ? Ó Ó Ó Ó ¢ 10 tune neutral third (11/9) above Tba. Hrn ° U U (F) Ó Ó Ó Ó uw & Fh h ppp k match Tuba, 13/4 below Cl. 6 1 U U w w 3 Tbn ? Ó Ó Ó Ó 9m Ó Ó B 6.5 ppp 9m˙ un poco 11 10 “ 10 espr. j tune neutral third match Tbn. nœfi (11/9) below Hrn. 13 : 11 = 289¢ -. 5 : 2 3 2 U U 5uw œ Tba ? 9m Ó Ó Ó Ó hk Œ Ó j k hk œ ¢ k poco marc. h hh9 h h k w w h k 9 ppp k › U Crot ° U n˙ & Ó Ó n˙ n˙ Vibr U U & Ó n˙ w Ó Ó Ó Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó Ó Ó ¢ U 3 2 4 w ca. 50 2 Time / U ˙ nœ ‹ ˙ >T #œ nœ & >T U , nœ >t˙ # ˙ #œ #œ #œ & >t˙ n˙ #œ Pf Solo , ? #œ nœ #œ #œ ? nœ ‹ #œ -. U -. nœ n˙ # w U #˙ nœ n˙ w ? n˙ & Œ Œ n w Ó Ó Ó #˙ w Ó Œ #œ & Kbd U U 3 ? w w w œ Œ Ó Ó Ó Ó Ó #˙ Ó #˙ w #˙ n˙ { ° * “ 21 : 20 tune 7/4 48 : 49 tune 7/6 = -84¢ = 36¢ II note l.h. position below Vlc. above Vl2 for next pitch Vln { U - - w w œ ° nw w w u I & Ó Ó >u U Cb ? ~ ~ ~ ~ ~ ~ ~ ‚ Œ Ó ¢‹ ppp w w 9 o ppp 40 400 3 3 rit. 3 w ca. 32 3 Time / match Cl. +4 match Vl1 tune to Tbn. 3 3 œ nœ w ˙ nw Alto Fl ˙ ˙ u (G) ° Ó Ó ˙ w w œ u -12 Ó & -16m ˙ œ -14 3 ppp m un poco espr. o -18 o Ob d’A (A) & +28 match Fl. w w œ Cl 9 Bsn ? ¢ tune to Tbn. 10 5 Hrn w (F) ° Ó u & Bh ˙ Bk h uppp h 136 : 135 k k = -13¢ tune to: 8 15 : 16 27 : 26 Bass A. Fl. 2 : 17 match Fl. shorten B slide position by 35 : 36 = 49¢ (septimal quartertone) = 112¢ tune 3/2 below Tuba = -65¢ uw w Tbn ? Œ œ w ˙ n˙ B 5.2 ˙™ 9 ™ ™ ;tœ ppp “ B 5.4 B 6.1 B 6.2 40 : 39 2 = -44¢ Tba ? ¢ w w ˙™ œ ohk- un poco k h espr. k › Crot ° & Vibr & Chimes & nw Gongs ? ¢ 3 3 rit. 3 w ca. 32 3 Time / nœ nœ nœ ‹ R & nœ r , #œ , #œ #œ n˙ #œ , r & #œ # ˙ #œ nœ Pf n ˙ R Solo (end C#) #œ n ˙ ? #œ R n˙ nœ , #œ , #˙ #˙ n˙ #˙ ? , r ‹ #œ r #œ ‰ Œ Ó Œ ‰ ™ Œ Œ Ó Ó Ó ‰ Ó & #œ œ #˙ w # ˙™ ˙™ j ™ n ˙ ˙ #˙ œ™ nœ nœ™ ˙ Kbd ™ ™ n˙ w ? Ó Œ Œ Ó n˙ Ó #œ #œ nw Œ ™ #˙ & #˙™ ˙™ { I - nOo Vln { u ° œO ~ I & Ó u Œ Ó poco ppp marc. o I 23/4 I 5/1 Vln II o O II o O ~ w~ ˙ II & 6ew ˙ Ó o Ó sonore tune 7/2 I -≤o below Vl1 - n‚ ˙ Vla 9m~ mO >v ™ B 9m w m œ Œ Ó poco marc. poco flaut. o marc. w œ take note of l.h. position for next entry 9m˙™™ ˙™™ Vc B J ‰ ppp 80 : 81 = 22¢ (syntonic comma) Cb ? Œ ¢‹ w w w n˙™ 41 V 412 2 w ca. 50 3 rit. 2 w ca. 37 2 Time / w w w ˙ +2 tune to Bsn. Alto Fl ° (G) & Ó nw w w ppp o ppp Ob d’A (A) & Cl (A) & 26 : 25 = -68¢ match Tba. match Vlc., +31 +2 +33 F# -35 +16 +18 +4 tune to Fl. 5/4 above Tbn. 3 nw ˙ ˙ w n˙ >v 9>t Bsn ? o˙ œ ™ Œ Œ gœ gœ ˙ oœ oœ ¢ 3 7 : 8 solo, poco f = 231¢ Hrn ° (F) & tune below Bsn. 6 39 : 40 6 7/6 4/3 = 44¢ 5/4 w w Tbn >v 9>u ? B 4.7 B 4.2 12 11 10 8 11/8 (narrow augmented fifth) 7 match 11 : 10 below Bsn. 7 : 11 5 6 6 = -165¢ 9 match Bsn. œ 6 Tbn. g 4gœ œ œ ˙ j o o › Crot ° & Vibr & nw Chimes & Gongs ? ¢ V 2 w ca. 50 3 rit. 2 w ca. 37 2 Time / r #œ #˙ , ‹ #˙ & r , #œ #˙ #œ & nœ #˙ , Pf n˙ #˙ Solo (end A) , nœ ? nœ #œ #œ nœ R R ? nœ r r R #œ ‹ nœ nœ R nœ r.h. #“˙ #w w Ó nw w Ó & 3 #w w Kbd #w #“w l.h. l.h. ? r & Œ r‰™ Ó Œ nœ ‰™ Ó Ó #˙ nœ #w { “ 39 : 10 tune 7/1 above Cb. Vln { ~ ~ ~ ~ ~ ~ ~ O™ ° I & Œ (sempre ppp) 9mw 13/7 (small major seventh) o I 11 : 12 7/4 (small minor seventh) nOo ‚ = 151¢ Vln nw w ~ j ˙ w w w J >u II & <9 Ó Ó ‰ Œ Ó 5O nO 3 5v œ n œ™ sonore 9w ppp poco ™ ppp o o marc. o glide to harm. I ≤ ≤ 91 : 90 -o -o ˙ -o -o -o = -19¢ n‚ n‚ o ™ n‚ n‚ n‚™ nœ™ ˙ ˙™ ˙ 9>u Vla o ™ 5vO ~ O B Ó 5v œ w œ Ó come prima o 7/5 w 9m ˙ Vc B 9>t ™™ ‰ o 39 : 40 14 : 15 = 119¢ (tune as fundamental = 44¢ of ensemble harmony) Cb ? j ‰ Œ Ó Ó ¢‹ w w œ ˙ w o o ppp >v 9>u 42 421 3 2 2 4 rit. Time / match Tbn. Alto Fl ° (G) & nw ˙™ Œ -2 o ppp Ob d’A (A) & Cl (A) & septimal against Brass! 2/1 below previous “F#” 10 : 11 36 : 35 = 165¢ 11 : 9 25 : 13 +33 match Vlc. tune to Bass “C” 3 = -49¢ +45 = 347¢ Bsn ? ˙ +29 >v j‰ Œ Ó Ó Ó ¢ w œ ˙ ˙ w w w ˙ ˙ ˙ >- >- >- -20 m 4 n˙ poco marc. ppp -2 10 Hrn œ w (F) ° Ó Œ u & Bh h ppp tune 2/1 above Tba. k and co-ordinate tune 7/4 5 lengthen B slide position by above Vla. - 36 : 35 = -49¢ (septimal quartertone) 4 n˙™ w œ Tbn ? Œ › Crot ° & Vibr & nw #w Chimes & nw nw Gongs ? ¢ 3 2 2 4 rit. Time / r , #œ ‹ #˙ & , nœ n˙ , r #œ #œ & #œ nœ r n œ #˙ r #œ Pf n˙ nœ #œ Solo nœ nœ nœnœ # œ , ? R R n˙ nœ n˙ nœ R n˙ nœ #œ R n˙ tie from r.h. to l.h. ? b˙ n˙˙ nœ , r r ‹ R nœ #œ #˙ r ? & Ó ‰™nœ ‰™ r Ó nœ Kbd #˙ nw ? Ó nœ n˙ ˙ Ó Ó Œ Œ -. #œ 13/8 “ { (neutral sixth) 36 : 35 artificial harmonic ≤ 3 senza diminuendo = -49¢ 5th partial Vln { ° Ó Ó œ w w ˙™ I & ˙ w w Œ t Œ 27 : 26 0>v t O pppw ˙ ˙ ˙ w w w ˙ poco˙™ = -65¢ m 35 : 36 > sonore ppp m ™ m -™ ppp = 49¢ o marc. tune 3/2 5 : 2 above Vl1 Vln w œ o II & Œ Ó Ó j‰Œ Ó >v˙ w w œ o m~ nw w mw o ppp 13/8 7/2 28/9 11/3 15/4 5/2 25/8 (neutral sixth) 3 3 3 o senza dim. - 3 n‚ <œ œ 4œ œ uœ w w ˙ t˙™ 432 3 w ca. 60 rit. 3 w ca. 30 2 3 Time / UÓ Ó tune to Bsn. Alto Fl U ° mw w mœ w w œ (G) & Ó Ó -18 Ó Œ ‰ J J ‰ Œ Ó ppp tune 5/1 , 10/1 above Bsn. (two major thirds above “C”) match Vlc. (harm.) tune with Tbn. Ob d’A œ ˙ œ U l ™™ m ™™ ™™ j (A) Ó Ó ‰ ˙™™ œ™™ ‰ ‰ ≈ Ó Ó Œ ‰ ‰ Ó ≈ œ & l -16 œ œ™™ œ Cl U (A) & Ó Ó U Bsn ? Ó Ó ‰ ‰ ¢ w w ˙ ˙ -20 mppp m ™™ ™™ 19 : 18 = -94¢ 10 10 10 Hrn U ° w ˙ œ uœ w w ˙ (F) *u Œ Ó Ó Ó Ó Œ ‰ J >u Ó & 3 Bh Bh Bk h h un poco espr. h k h h 6 5 <œ U 1- U Tba ? Ó Ó Ó Œ kh ¢ h h k mœ -8 “ ppp › Crot ° U & Ó Ó n˙ Ó U n˙ Vibr Ó Ó Ó Ó & n˙ Chimes U & Ó Ó U Gongs ? Ó Ó ¢ W 3 w ca. 60 rit. 3 w ca. 30 2 3 Time / UÓ Ó I I I nœ nœ nœ #œ ‹ >t˙ & r nœ r nœ n ˙ U , ˙ nœ n ˙ nœ >T & nn œœ Pf >t˙ Solo , nœ n˙ #˙ ? nœ nœ F n bœœ ? R r r n bœœ R nœ bœ nœ nœ ‹ nœ nœ R R nœ j U nœ™ n œ ˙ ˙ ? & n œ ˙ ˙ Ó #w ‰ nœ J u Kbd - nœ- 3 ? nœ bœ U ‰ ‰ ‰ bœ ‰ Ó Ó w nœ 3 “ “ 48 : 49 { match Vla. = 36¢ II 21 : 20 = -84¢ - Vln { n ,eO ™ 19 : 18 = -94¢ Vln 3 U II & Œ Ó Ó w ˙ ˙™ *upoco- marc. 7/II o U w ˙™ <~ ~ Vla B Œ o ppp 5/II 7/III 5/II o U o Vc m~ ~ O - m~ ~ ~ ~ ~ ~ ~ ? w 443 2 4 3 accel. Time / 8 : 7 = -231¢ Alto Fl ° (G) & nw w w w o ppp -33< o Ob d’A - (A) ≈ Ó n˙ Ó Œ nœ ˙ & nœ™™ 48 : 49 = 36¢ match Vla. Cl n˙ œ (A) & Œ Ó Œ C +36,e bw w œ -4 o ppp slight upward bend by 98 : 99 = 18¢ Bsn ? - Œ ‰ mœ œ ‰ ‰ j j ‰ Œ Ó -20 pocoJ marc.J œ ¢ -39 6 8 Hrn ° - (F) & nœ Œ Ó Ó n˙ Ó Bk k poco- marc. 3 h Fk h k w w w Tbn ? 8 tune 7/6 below Tbn. 3 n˙- Tba ? Ó Ó Ó Ó hk 3 ¢ h k poco marc. ˙ k “ › Crot ° & Vibr & nnw Chimes & nw Gongs ? ¢ 2 4 3 accel. Time / I I bœ bœ r ‹ nœ bœ & nœ b œ , n œ r nœ b n œœ n œ nb œ , b œ n œ & œ n˙ nœ # œ Pf n ˙ R Solo n œ n œ , nœ rr b œ nœ ? # œ nœ # œ #œ #œ #nœœ #œ nœ # œ n˙ nœ F F ? #˙ bœ , , ‹ #œ n˙ R n˙b˙ nœ bœ n˙ R R b“˙ nw nœ Ó Ó Ó Œ & 3 Kbd n˙™ ˙™ ? Ó n ˙ ˙ Œ nw œ Œ # ˙ ˙ #œ { “ 8/7 7/6 { 3 Vln ° I & n˙ ˙˙ ,e˙ Óo 452 2w ca. 50 2poco ritenuto a tempo 3 3w ca. 50 Time / Ó UÓ take Piccolo Alto Fl ° U (G) & w w w w œ Œ Ó Ó Ó ppp < remember pitch! Ob d’A U (A) & Ó Ó Cl U (A) & œ Œ Ó Ó Ó U Bsn ? Ó Ó ¢ 17 : 6 (“equal-tempered” tune wholesteps to Tuba 14 14 7 12 13 12 13 diminished fifth plus an octave) 9/8 8/7 6 7 3 ª 4- 4 Hrn - œ- - œ #œ 0vœ < U ° œ œ U b˙ Vibr & b˙ Chimes U & Ó Ó U Gongs ? Ó Ó ¢ X 2w ca. 50 2poco ritenuto a tempo 3 3w ca. 50 Time / Ó UÓ I r I I I r nœ nœ nœ ##œœ ‹ nœ & U #œ #œ bœ r 5 ? , nœ , nn˙ R ‹ nœ , nœ R #˙ n˙ R U & Ó n# ˙˙ ww Ó Ó Kbd U ? Ó Ó Ó nn˙ # w w w “ n w w w 3 tune to Vlc. { 5 : 4 (just major third) - U (like a high “Gb”) { ,f Vln - ˙O ˙ œ w w w ,eO ,f < 5< ° ,fO I & ,e ˙ Ó Ó ˙ Ó Œ ,f - 3 o 33 : 32 = -53¢ tune each note to Vlc. 5/4 45/32 (just tritone) 3 64/33 (octave less a quarter-tone) 7/4 - Vln U w w w - ˙ w w 5< II 462 3w ca. 40 3 w ca. 40 2 4 Time / UÓ Ó Ó UÓ ‹ Picc ° U U & Ó Ó Ó Ó Ob d’A U U (A) & Ó Ó Ó Ó Cl U U (A) & Ó Ó Ó Ó U U Bsn ? Ó Ó Ó Ó ¢ Hrn ° U U (F) & Ó Ó Ó Ó U U Tbn ? Ó Ó Ó Ó U U Tba ? Ó Ó Ó Ó ¢ › U Crot ° U n˙ & Ó n˙ w ˙ nw Vibr U & Ó Ó Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó Ó Ó ¢ 3w ca. 40 3 w ca. 40 2 4 Time U U / Ó Ó Ó Ó U ˙ nœ , ‹ 5 nœ nœ ? #˙ R , nœ nœ nnœœ n œ ‹ R nœ R R #˙™ U U #˙ ˙ & #nw w w w w w ‰ ‰ Ó Ó Kbd bw U U ‰™ ? Œ Ó Ó Ó Ó # ˙ bœ r‰™ Ó ‰ Ó r Œ Ó Ó Œ œ n ˙ nœ nœ™ bnœ nw nœ œ n# w “ “ “ { 10 : 11 = 165¢ match Vla. match Vl2 5/3 Vln U U w w ° w w w w w 15 : 16 match Cb. match Kbd. = 112¢ 5/3 pizz. U U - Vc ? Œ Œ ‰ ‰ Ó 5<˙ 5<œ ˙ w w ˙ sonore 64 : 63 poco f 5 474 2w ca. 25 3 4 accel. 2 ( w ca. 50 ) Time / match Vl1 tune 2/11 harmonic above Ob. match Ob., Vlns +30 +33 22 : 21 = -81¢ Bsn ? ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° & Vibr & Chimes & Gongs ? ¢ Y 2w ca. 25 3 4 accel. 2 ( w ca. 50 ) Time / r bœ ‹ & b œ r n˙ , r #œ n˙ #œ nœ r , r n˙ bœ nœ #œ nœ & n ˙ , #œ Pf #n œœ# ˙ nœ Solo , ? , #˙ n˙ #œ bRœ , nœ #œ bœ n˙ R nœ ? n˙ ‹ #œ #œ #œ R R n˙ bœ #œ b“œ Ó Œ nœ ? Œ Ó Ó Œ Ó Œ & nœ & Kbd #œ n˙ ˙ ? Œ Ó Ó Ó Ó Œ #œ 11 : 9 (neutral third) = -347¢ “ port. { 3 3 œ w w œ Vln j< 8/5 7/4 I one-finger glide poco s.p. --> ord. (ord.) o port. - - n-O Vln nO nO n O >O >O ~ 5O ‰ œ ˙ w w w w n œ n œ n w œ ™ II & < ™ < Ó Œ Œ > œ > ˙ 5 ˙™ ˙ nœ ‰ 3 match Vl1 poco ™ ppp 3 marc. solo, poco f match Vl2 19 : 18 poco s.p. ord. = -94¢ nw~ Vla ˙ - ˙ w n B Œ < ™ *<œ Œ < poco ppp poco marc. o marc. 7/II 19/2 poco s.p. ord. o o Vc o - nœ ? <~ <‚ œ œ <‚ w Œ Œ *< œ Ó Ó Œ ‰ J * 485 4 rall. 3( w ca. 25 ) 2 Time / Ó UÓ 9 : 7 5/4 11 : 10 = -435¢ = -165¢ above Vl1 21 : 22 = 81¢ ‹ ˙ ˙ U Picc ° 5< w w w nœ ˙ & Gb +16 Db5< +18 Ó Œ -2 5u Ó ppp C +33 tune to Picc., Bsn. ignore Cl. Ob d’A 5˙™ U 5œ œ 5˙ w w œ 5˙ (A) & Gb +49 Œ Ó Ó Ó Œ Œ Ó Œ Ó ppp 3 3 33 : 32 come prima = -53¢ unison with Bsn. Cl U (A) & Ó Ó Ó Œ ‰ j w nœ poco˙ marc. 5˙ pppw Cb +47 tune 3/1 below Ob. beating against Cl. tune below Ob. ˙-™ U w- œ Bsn ? Œ 5 Ó Ó 5 Œ Ó Ó Œ Ab +47 œ poco marc. poco 5 ¢ marc. ppp Hrn ° U (F) & Ó Ó U Tbn ? Ó Ó U Tba ? Ó Ó ¢ › Crot ° U & Ó b˙ Vibr n˙ U & Ó Ó Ó Ó b˙ Chimes U & Ó Ó U Gongs ? Ó Ó ¢ 4 rall. 3( w ca. 25 ) 2 Time U / Ó Ó nœ ‹ & U bœ n˙ 5 ? , bœ R nœ ‹ #œ n œœ #œ nœ RR nœ nœ nœ nœ 3 #˙ U #œ ™ ? n w n w ? nœ ˙™ & Œ Ó n w n w & Ó nœ ˙™ Œ Œ # œ j ‰ J & # ˙™ nœ n œ nœ ‰ Kbd n w -. 3 U ? Ó b˙ w Œ Œ Ó Ó Ó nœ Œ Œ Œ Ó n˙™ œ n ˙™ œ nœ nœ ˙™ n˙™ œ 5/4 “ “ “ below Picc. { 11/2 20 : 21 match Vl2 pizz. II = 84¢ 7 : 20 (just tritone plus oct.) 1 : 5 - 15 : 1 match Vlc. III U 5uO Vln O II 17/4 keep l.h. position ! ˙ U o Vla B Ó Ó Ó n~ ˙ ‰ ;u ‰ Œ - 36 : 35 = 49¢ one-finger glide pizz. match Vl1, Bsn. keep l.h. position 6 : 5 I 5/3 bend down U - Ó Vc w 5˙ 5œ œ n˙5œ 5w w 5œ 5œ ? ™ Ó Ó Ó Œ ‰ ‰ Œ ‰ u5œ™ u5œ Ó Œ o < J J o5œ Œ sf- solo, poco marcato 3 Œ 2 : 3 Ó 3 - poco f tune below Vlc. 15 : 14 (pizz.) 4 : 5 = -119¢ U Cb ? Ó Ó Œ Œ Œ Œ 5>uœ 5œ ¢‹ 5>vpocoœ f 5>vœ 49 494 3 3 Time / 9 : 14 ‹ ˙ Picc ° nœ 17 : 18 (“equal-tempered” semitone) 6 : 7 tune 11/4 above Bsn. = 99¢ match tune 3/2 above Bsn. 4 : 11 Hrn. œ™ œ Cl - nœ 11 12 13 14 14 all 3 Brass unison entry 10 18 : 17 9 (same pitch!) 4 - = -99¢ - œ 0;uœ ;uœ ˙™ Hrn œ ;uœ ;u < < œ ;T 4 (F) ° ;u Ó Œ & Bk Bh w w libero k k;u h k ppp match Hrn., Ob. 8 16 6 7 11 12 13 15 17 12 13 13 13 7 8 9 10 14 œ j ;u <;mœ ˙ œ - - œ - ˙ Tbn ? ;uœ œ œ œ nœ nœ 0 nœ < Œ Ó Œ ≈ ;uœ <;m ;t ;u ‰ & ;uœ ;uœ 0 3 œ ;tœ 4 ;mœ ;uœ ;u B4 B 5.4 B 2.8 F 5.1 solo, un poco espr. libero< 7- 9 8 18 : 17 13 : 15 8 = -99¢ = 248¢ Tba w ˙ œ ˙ nœ- ? ;u Œ ;u ;u Ó Œ Ó hh poco kh ¢ h ppp h k marc. k h h -9 › bw Crot ° & Vibr & nw Chimes Ó & n˙ Gongs ? ¢ 3 3 Time / ˙ bœ ‹ 0< & n˙ #˙ , r n˙ n˙ #˙ ## ˙˙ #œ #˙ n˙ , & #œ nœ Pf R #˙#˙ #˙ Solo n˙ ? n˙ , #œ #˙ #˙ nn˙ n˙ #˙ #˙ nœ #nœ˙ R ? ‹ #˙ #œ #w˙ ˙™ & Ó Œ Ó Œ Kbd ? Ó Œ nœ w #˙ Œ ™ 8 : 13 (neutral sixth) 8 : 13 { 3 3 Vln ° I Œ Ó 05vœ Œ & 5vœ 0 5œ 5œ 5œ 5ringingœ but gentle 8 : 13 8 : 13 (neutral sixth) Vln 05vœ II Œ Œ 05vœ & 5vœ œ œ œ 0 5 5 5ringing but gentle I II 17/4 nœ- n o Vla B Ó Œ ~ ˙ ‰ ;u ™™ sf sonore- over E arco 14 5 : 13 : 12 7/II ˙ o Vc ? <5œ 5vœ 5 <5œ 5v˙ ‚ 0 5œ 0 5œ Œ Ó Œ < ~ 3 3 o ppp œ œ Cb ? 5 Œ Ó 5 Œ Ó ¢‹ 50 500 4 w ca. 50 2 w ca. 32 3 3 w ca. 22 Time / 40 : 39 = -44¢ tune under Vlc. harm., Cl. match Tbn. breathe as needed (smoothly rearticulate) 3/2 10/7 tune to Hrn. ‹ +26 Picc ° & œ ˙ Œ ˙ ˙ w w w w w ˙ ˙ w w œ™ -35<œ™ ,f -17 œ w 9 7+ 20 : 21 7 = 84¢ 4 : 1 match Hrn., Tbn. ˙- œ ˙ 2+ Tba ? Ó 9m Ó Œ 9 Vibr & Ó #˙ w Chimes & Gongs ? ¢ 4 w ca. 50 2 w ca. 32 3 3 w ca. 22 Time / I I ‹ nœ #œ & , n˙ , #œ n˙ nœ n˙ nœ & n˙ ? n˙ ‹ nœ bœ n˙ n˙ w ˙™ #w w w ˙ w ˙™ n“˙ #˙ œ Ó Ó n˙ n˙ w Œ Œ Ó & 3 nw ˙ 3 Kbd #˙ ˙ n˙ nn˙œ ˙ ? Œ nœ ˙ j nw œ ‰ Œ Ó Œ ‰ Ó Œ ™™ Œ Ó J . bœ j nœ nœ™ n˙ ˙™ nœ œ - bœ bœ - nœ nw œ -. ™ ° { “ “ “ Vln ° I & Vln II & Vla B 7/II Vc o ? ~ ~ ~ ~ ~ ~ ~ ‚ Œ Ó <‚ O™ ~ ~ o ppp Cb ? ¢‹ 51 Z 512 2 3 2 w ca. 30 2 3 Time / tune to Ob., Vlc. 19 : 20 = 89¢ 18 : 19 = 94¢ ‹ 3 Picc ° Œ ‰ & w w w w ˙ w ˙ œ ˙ w œ <˙™ w w ppp 7 Hrn - - ° w w Tbn ? 8 tune 23/3 below Vlc. 1 3 ˙- Tba ? Ó Œ ‰ ‰ 6e Ó kk j ¢ k h œ œ h 6e ™ “ › Crot ° & Ó #˙ n˙ Vibr #w & nw w ˙ nnw Chimes & Ó #˙ Gongs ? nw ¢ Z 2 3 2 w ca. 30 2 3 Time / I nœ nœ nœ ˙ bœ ‹ b˙ ˙ ˙ Vln II & Vla B o 7/II n~ Vc o nw ˙ ? ~ ~ <‚ O™ ~ ~ O™ Œ 3 arco ppp 7/I o 7/I o 7/II 3/II -o -o 7/III 7/IV 524 2 2 4 2 3 w ca. 60 Time / UÓ Ó 39 : 40 tune 8/3 5 : 8 = 44¢ ‹ 2 : 1 +26 above Tbn. Picc ° ˙- - U ‰ Ó Ó Ob d’A w w U (A) & tune to Ob., Bsn. match Vla. Cl U (A) & Ó ˙ w w w -21 Hrn ° U (F) & Ó Ó tune above Bsn.: 5/3 5/4 8 6 œ œ 9 22 : 23 = 77¢ U Tba ? Ó Ó ¢ › Crot ° U & Ó Ó U Vibr Ó Ó Ó Ó & n˙ n˙ #˙ ˙ #˙ n˙ U Chimes Ó Ó Ó & #˙ Gongs ? U ¢ nw A1 2 2 4 2 3 w ca. 60 Time / UÓ Ó ‹ & , #˙ , r n˙ b œ , n˙ r , & ;u˙ n˙ nœ Pf Solo n˙ , n˙ n œ nœ , ? nœ # ˙ #˙ ˙ #œ , ;u #œ #˙ n˙ nnœ˙ n˙ nœ R ? U r r ˙ ‹ bœ nœ arco 7/III Vln o O U II & Ó < ~ ~ ~ ~ ~ ~ Ó ˙ w o ppp pizz. ∏∏∏∏∏ Cb nœ U ? n œ Œ Œ œ ¢ nœ 537 4 w ca. 50 2w ca. 40 3 Time / 4 : 13 +15 16 : 15 = -112¢ (diatonic semitone) take Alto Flute ‹ 3 ˙ Picc ° Ob d’A (A) & Cl (A) & Bsn ? ¢ Hrn ° (F) & Tbn ? note position Tba ? ¢ › n˙ Crot ° & Ó bw Vibr Ó & b˙ bw Chimes Ó & b˙ Gongs ? ¢ 4 w ca. 50 2w ca. 40 3 Time / nœ 5 ? bœ bœ ‹ nœ bœ R ? & #w w w & Kbd ? Ó b˙ w w * “ 80 : 81 dissonant to { tune 5/2 tune 3/2 = 22¢ Vla. (33/8) { above Vl2 above Vla. 5 : 6 (minor third) = 316¢ w w w Cb ? ¢‹ 54 546 3w ca. 30 3 accel. 4 w ca. 50 Time / Alto Fl ° (G) & Ob d’A (A) & match Vl2 11 : 9 4 : 7 Cl = -347¢ ˙ (A) & <5 -2nw -49 ˙ Cb +19 o 5un poco espr. Bsn ? ¢ Hrn ° (F) & Tbn ? match Vl2 4 Tba ? Ó hk5˙ w ¢ k ppp k h › b˙ Crot ° & Ó Vibr & Ó Œ Ó Œ nœ Ó n˙ nœ 3 Chimes & Ó Œ Ó nœ bw Gongs ? ¢ 3w ca. 30 3 accel. 4 w ca. 50 Time / bœ nœ 5 n˙ nœ #œ n˙ , R nœ & #œ #˙ ˙ nœ nœ Pf bœ 5v u o 384 : 385 13/9 35 : 36 = 49¢ = 5¢ Vc ? ˙ Ó Ó n˙ nœ ˙w Ó ˙ Ó Œ ‰ J 9 Cb ? ¢‹ 55 556 3 4 2 rit. Time / Alto Fl ° (G) & +2 match Vl1 Ob d’A nw w œ nw ˙ nw nœ ˙™ (A) & Œ Ó Ó Ó Œ ‰ J Œ ppp tune to Ob. 21 : 10 3 : 7 4 : 11 ˙ 10 : 7 49 : 48 = 36¢ 7 : 3 +33 C -36 -29< ˙ n˙- Cl w œ ,e (A) œ Œ m œ Ó Œ & J Hrn ° (F) & Tbn ? Tba ? Œ Ó ¢ œ › Crot ° & Vibr #˙ & Ó Chimes & Gongs ? ¢ 3 4 2 rit. Time / I r #œ ‹ & r bœ r r n˙ nn œœ #œ r nœ ˙ r n œ r & ;u n œ r n œ Pf # œ Solo bœ nœ R ? # œ n ˙ , nœ #˙ nœ nœ R nœ nœ R R R R ? nœ ‹ nœ R #œ R R nw & Ó nœ nœ ‰ ‰ Kbd ‰ ‰ ? Œ nœ ‰ Ó #œ ‰ n˙™ ° * ord. I { 48 : 49 = 36¢ s.p. I I - Vln ,eO ° w w œ , œ nw ˙ nw nœ ˙ I & Œ Œ Œ Ó Ó Œ ™ Œ ppp 3 poco ppp ppp marc. o o o 11/4 II s.p.- pizz. o I I I Vln Ó ,eœ n‚ 4nœO nœ nœ nœ nœ II Œ ™ <œ Œ Ó Œ Ó Œ Ó Œ Ó Œ Œ Œ Œ & 4 ˙™ œ œ œ œ poco marc. nœ < o o >v poco f, ringing but gentle I 17 : 16 (almost imperceptibly higher, quasi “enharmonic”) pizz. = 105¢ 55 : 51 = -131¢ 4 : 7 n‚o Vla B Œ Ó Œ Œ <5oœ Œ uœ nœ ;uœ 5oœ poco f, ringing but gentle 11 : 7 (augmented fifth) I I II = 782¢ pizz. 4 : 11 like a high “Eb” 11 : 9 (neutral third) = 347¢ n‚o 4œ™ n˙ n˙ Vc 11 : 12 nœ n˙ ? Ó ˙ Ó 5v˙ Ó Œ = 151¢ n˙ J 5< 4˙ poco f, ringing but gentle 4 : 7 11 : 9 (neutral third) = 347¢ 5 : 4 3 3 Cb ? n˙ ˙ n˙ ˙ Ó 5v Ó Ó Ó ˙ < n˙ 3 5o ¢‹ n˙ n˙ 3 poco f, ringing but gentle 56 565 3 ( w ca. 35 ) accel. 3 w ca. 54 2 ritenuto Time / Alto Fl ° (G) & tune to Bsn., Cl. 2/1 3/2 Ob d’A n˙ uœ œ (A) & Œ -10 Œ Ó tune to Ob. +18 match Strings 32 : 35 = 155¢ 25 : 24 = -71¢ (chromatic semitone) Cl mw fw (A) œ ˙ & >œ™ m -12 J ppp 8 : 7 +2 17 : 16 = -231¢ nœ w ˙™ = -105¢ ˙ w w Bsn ;u ? Ó Œ Œ Ó -3 ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° & #w Ó Œ nœ Vibr & Chimes & Gongs ? ¢ 3 ( w ca. 35 ) accel. 3 w ca. 54 2 ritenuto Time / #œ #œ ‹ #œ & r nœfij ˙ nœ #˙ , n˙ , r #œ 5o 5< Œ nœ Vc ? Œ n˙ Œ 7 : 4 3 3 5 : 12 Cb ? ˙ Ó Ó o ˙ Ó ¢‹ n˙ >o 57 B1 573 4 w ca. 24 3 4 accel. ( w ca. 60 ) Time / +4 Alto Fl ° nœ w w (G) & Ó Œ o ppp tune to +16 Strings 25 : 24 = -71¢ (chromatic semitone) Ob d’A m˙ w w w fw (A) & Ó -14 o ppp tune to Hrn. match Cb. Cl (A) & mw pppw w -12 o +2 15 : 16 = 112¢ (diatonic semitone) Bsn ? Ó Ó n˙ w ¢ 3 o ppp tune to Bsn. 7 8 10 9 6 Hrn ° n˙ ˙ œ w (F) Œ ˙ nœ œ ‰ Œ ™ o & Fk < Fk ow w h ppp, un poco espr. J k k k Tbn ? tune below Hrn. 1 Tba ? Ó ¢ o˙ w w kk k “ppp k k › Crot ° & bw Vibr & Chimes & Gongs ? ¢ B1 4 w ca. 24 3 4 accel. ( w ca. 60 ) Time / nœ nœ ‹ & ˙ #˙ #˙ nœ n#œœ r :f n˙ nœ & nn œœ #œ nœ Pf Solo r ? nœ #œr #œ nœ # œ nœ R R n˙ #˙ R ? #œ ‹ nœ nœ nœ bœ n œ #œ nœ n“œ Ó Œ #˙#œ œ ? Ó ‰ & J ‰ Ó #-œ™ Ó Ó Kbd 3 ? ‰ Œ Ó #œ œ Œ Ó & nœ-™ n˙ n œ œ * “ “ { ° 45 : 46 { 7/4 12/7 = 38¢ s.t. flaut. ord. j Vln œ n˙ n˙™ 3oœ œ ° Œ u˙™ œ u˙ w ˙™ < >vœ™ ˙ I & Œ Œ Ó n˙ ˙™ Œ Ó w ppp poco marc., Œ o cantando 23 : 12 23 : 12 = 1126¢ = 1126¢ Vln <œ™ j u˙ n˙ œ nœ 4o˙ nœœ II Œ Ó u ˙ 6 584 2 w ca. 30 4 3 Time / ˙ w Alto Fl u w ° -12 n˙™ u (G) & Ó Œ -14 o ppppp o o +2 match Vlc. Ob d’A (A) & Œ n˙™ w œ Œ Ó ppppp Cl (A) & Ó Œ Œ Ó npppœ œ +40 +14 œ Bsn 3o ? Ó ‰ oœ™ J ‰ Œ Ó ¢ poco marc. 12 : 23 = 1126¢ Hrn ° (F) & ˙™ Œ Tbn ? 3 2 4 8 : 9 3 Tba ? Ó Ó Ó Œ ‰ Ó ˙ fœ™ ¢ o kk oœ kh - poco-. marc. k . k kk k - k k k h k h › Crot ° & Vibr & bw Chimes & nw Gongs ? ¢ 2 w ca. 30 4 3 Time / ‹ & r nœ nœ nœr nœ nœ , r n œ nœ nœ n˙ ## œ & n#˙˙ , Pf n˙ Solo ˙ , ? # ˙ :f n˙ #œ #œ n ˙ bœ n ˙ ? #œ nœ ‹ R - n˙ -. ‰ nœ nœ. nœ ˙ nœ nœ ‰ J Œ Ó & ‰ ‰ Ó Kbd n˙™ Œ ? Ó & n ˙ * bw n ˙ { I s.p. 36 : 35 28 : 27 36 : 35 176 : 175 33 : 32 { o = -49¢ = -63¢ = -49¢ = -10¢ = -53¢ nO w w nw w w w w Vln ° ™™ o < 593 2 accel. 3 w ca. 60 3 Time / Alto Fl ° (G) & Ob d’A (A) & Cl (A) & -33 match Vlc. Bsn ? Ó n˙ w œ Œ Ó ¢ ppppp 5 4 Hrn ° Œ Ó (F) & Ó n˙ œ nw Fk ppppp Bk k h k k Tbn ? 1 Tba ? Ó ¢ kk h n˙ w w h h “ppppp › Crot ° & nw Vibr & Chimes & Gongs ? ¢ 2 accel. 3 w ca. 60 3 Time / r #œ #œ ‹ & nœ n˙ , nœ /˙ & Pf Solo ? , , #˙ n˙ #˙ n˙ ? nœ nœ b˙ , ‹ R bœ nœ bœ #œ #“œ nœ-. #˙ n˙ ? Œ ‰ ‰ Œ & Ó & bœ Kbd ? Œ Ó Ó ˙™ nœ #˙ ˙ -. nœ ™ “ { 64 : 63 21 : 20 63 : 64 48 : 49 { = -27¢ = -84¢ 20 : 19 19 : 18 = 27¢ = 36¢ = -89¢ = -94¢ nœ™ <œ ˙ ˙ ˙ w w w w ˙ u / n˙ >˙ < Vln ° I & J Ó 3 arco Vln œ œ < n˙ t o < œ œ nO ~ ~ ~ II & Ó ∏∏∏∏∏∏∏ Œ ˙ Ó Œ u œ Ó nœ ∏∏∏∏∏∏∏∏∏ n˙ u nuœ o ppp 64 : 63 = -27¢ 81 : 80 28 : 27 24 : 23 23 : 22 22 : 21 35 : 34 17 : 18 II III = -22¢ = -63¢ = -74¢ = -77¢ = -81¢ = -50¢ = 99¢ o pizz. nO (transposed partials of “A”) Cb ? Ó Ó n˙ Ó ˙ Ó ¢‹ < n˙ 33 : 32 = -53¢ u˙ 60 601 3 w ca. 40 2 3 2 w ca. 40 Time / UÓ Ó Alto Fl ° U (G) & Ó Ó Ob d’A U (A) & Ó Ó Cl U (A) & j ‰ Œ Ó Ó Ó U Bsn ? Ó Ó ¢ 7 Hrn ° U ˙ (F) & Ó < ppp Bk h k U Tbn ? Ó Ó 13 : 10 6 5 2 4 3 U Tba ? Ó n˙ Ó Ó nœ w w w 9mw ¢ kk hk keep fingering h h h n˙ ˙™ h h h › Crot ° U & Ó Ó Vibr U & n˙ Ó Ó bw n˙ Chimes U & Ó Ó nw U Gongs ? Ó Ó ¢ 3 w ca. 40 2 3 2 w ca. 40 Time / UÓ Ó , n˙ , ‹ nn ˙˙ & bœ nœ R r r U & nœ ˙ nœ Pf n˙ / Solo r nœ ? n#˙ #˙ :f˙ n˙ n˙ n˙ #œ nœ bœ nœ R nœ R nœ ? r nœ ‹ bœ R r U Œ Œ ‰ Ó Ó Œ nœ ‰™ & nœ™ ˙ nnw w Kbd #˙™ n˙ U ? Œ Ó r ‰™ Œ Ó Ó #œ nœ -. “ 3 N * { o 8 : 13 II I pizz. N N { ˙ nO 3 3 8 : 13 Vln ,f ˙ uœnœ w U ° ∏∏∏∏∏∏∏ ,e œ I Œ Ó Ó Œ 0œ t Œ Ó & ,f˙ u˙ ˙ œ œ 5 : 7 0˙ t œ n n˙ < n˙ 26 : 25 * (N = use l.h. nail instead u ™ 26 : 25 poco f, ringing but gentle = 68¢ of finger — twangy sound) = 68¢ pizz. pizz. pizz. arco I 3 4 : 7 Vln œ - U u tO n˙ n˙ j œ u œ II ~ u Œ t ˙ Ó Œ ‰ Ó Œ ‰ j Œ pizz. 104 : 105 = 17¢ tune 7/4 above Tuba I o nO U Vc ? j w nœ œ <9m˙ n˙ ˙ w ˙ Ó n˙ œ ‰Œ < o Ó Œ Ó Ó poco f, ringing but gentle 3 4/IV I 5/III 7/III Cb o n˙ U Oo ? Ó Ó Ó Ó Ó Œ Ó Ó Ó uO Ó < n˙ nO 3 nœ 3 ¢‹ 5˙ sf n œ sf sf 61 C1 611 3 4 w ca. 40 3 w ca. 30 Time / UÓ Ó Ó UÓ UÓ Ó Alto Fl ° U U U (G) & Ó Ó Ó Ó Ó Ó Ob d’A U U U (A) & Ó Ó Ó Ó Ó Ó Cl U U U (A) & Ó Ó Ó Ó Ó Ó U U U Bsn ? Ó Ó Ó Ó Ó Ó ¢ 17 16 18 14 5 12 12 Hrn U - - œ- ˙- U U ° w #˙ nœ >vœ >:o >v ™ (F) Ó Ó Ó >vw ˙™ Œ Ó Ó & 3 tune ppp, un poco espr. >uw 3/2 7/4 Fh come prima below Tba. Fk Fh h 3 3 h h h 3 k h 3 3 U U U Tbn ? Ó Ó Ó Ó Ó Ó Ó Ó <9ew w 9˙ 4˙ F 2.7 ppp 49 : 48 >F 3.1 >F 3.2 = -36¢ 144 : 143 = -12¢ tune above Tbn. 3/2 12/7 tune below Hrn. 5/1 4/1 7 8 3 5/1 3 3 1 Tba w U U U ? Ó <9˙ 9 Ó Ó Ó Œ Ó Ó Ó Ó Œ kk ¢ ppp okkw œ h k >vkk- k hk k h h œ h h k > h h h “ › Crot ° U U U & Ó Ó Ó Ó Ó Ó Vibr U U U & #w Ó Ó #w nw Chimes U U U & Ó Ó Ó Ó Ó n˙ #w U U U Gongs ? Ó Ó Ó Ó Ó Ó ¢ C1 3 4 w ca. 40 3 w ca. 30 Time U U U / Ó Ó Ó Ó Ó Ó r n œr ‹ n œ & U , bœ r r #˙ & b œ ˙ Pf R n œ *u Solo #˙ , U n˙ , U ? ;u˙ n˙ nœ ˙ #œ n˙ 94e˙ 4>o ? n˙ #œ #œ n˙ R #œ R nœ r ‹ n˙ #œ R ˙ #œ R nœ R 9> n“˙ w - ‰ j U . n ˙ w #U˙ ? U Œ bœ ˙ w Ó Ó Ó Ó Œ Œ Ó n˙ & #˙ w b ˙ Kbd ™ n ˙ . U U U - 3 3 ? nw Ó Ó Ó n˙ w #œ #˙™ nw w Œ ™ -. n˙ “ I “ { arco { o o n Vln ° U ~ ~ ~ ~ O U U I & Ó u˙O ˙O Ó Ó Ó 3 ppp u ppp III o arco U match Horn Vln n o U U II & ~ Ó Ó Ó Ó ppp œ >˙O™ >- > ™ un poco espr. I II arco o -o n‚ O O ~ nO n‚o U U U Vla B Ó Œ ~ Ó Œ Œ Œ Ó Ó Ó Ó ppp poco marc. 11/III 5/I arco o U Uo U 4~ ~ u~ ~ Vc ? & nœ Œ Ó solo,+ poco f II I U nOo U U Cb ? nœ Œ Ó Ó Ó Ó Ó Ó ¢‹ 62 621 2 accel. 3 4 w ca. 50 3 ritenuto Time / +4 +33 nw w w w Alto Fl ˙ ˙ œ <œ ° t ™ m > ™ (G) Ó uw œ -27 -16 Ó Œ -31 ‰ & 3 -12 o un poco espr. ppp Ob d’A (A) & Cl mœ w w (A) & Ó Œ -12 o ppp tune 6/1 below Fl. Bsn ? Ó ¢ u˙ pppw -14 o 19 : 20 20 : 21 12 16 14 12 = 84¢ 4 10 5 = 89¢ Hrn ˙ œ ˙- ° o *v * Tbn ? 3/1 6 13/2 below Picc. 2 Tba ? Œ 5vw w hk ¢ k ppp k œ h nkk˙ h h “ h › Crot ° & Vibr #w & #w Chimes & Gongs ? ¢ 2 accel. 3 4 w ca. 50 3 ritenuto Time / ‹ & r r nœ nœ #nœ -. n˙ , #˙ -. , ˙ #˙ nœ -. ##œ ˙ *u #˙ & nœ ;u Pf -. Solo n ˙ , ? n œr n ˙ , b˙ n ˙ n ˙ , #œ # œ n ˙ R nœ ? ‹ bœ R -. 3 #nœ -. nw ? n ˙ #œ #˙ Ó Ó & # œ Œ Kbd bœ w w ‰ Ó ? nœ™ ˙ n ˙™ j ‰ Œ Ó Ó Ó #˙ œ n ˙™ Œ œ b˙ w w n˙™ w { “ “ ° * { 63 : 64 = 27¢ Vln 3 I ° Ó & uw~ w~ >uw~ w~ u o ppp >u I Vln nw w w II & o ppp o n~ ~ ~ ~ Vla B o ppp o u‚ ~ ‚ Vc J ? & Ó Œ ‰ Œ Ó Cb ? ¢‹ 63 D1 633 4 w ca. 20 3 accel. 2 w ca. 34 3 Time / match Vl1, Ob. w w w Alto Fl ° u (G) & -12 o ppp match Horn 25 : 26 = 68¢ +4 15/8 Ob d’A nw ˙ (A) Œ ˙™ 0ow ™™ œ & -12m -44 m un poco espr. 13 : 15 = 248¢ J Cl (A) & n˙ Bsn ? Œ ™ ¢ o match 96 : 95 match 25 : 26 13 : 15 Bsn. = -18¢ = 68¢ 13 = 248¢ 12 Ob. 10 7 6 Hrn #w ° ˙™ 0ow (F) & Œ u ˙ Fk Fh Fk 3 Tbn ? Ó n˙ w F 4 ppp tune below Tbn. 3/1 1 Tba ? ¢ nw ppp “kk k h k › Crot ° & #w n˙ Vibr nw #˙ #˙ ˙ #˙ & n˙ Chimes & Gongs ? ¢ D1 4 w ca. 20 3 accel. 2 w ca. 34 3 Time / , ‹ bb ˙ ˙ #œ & r , #˙ nœ r #˙ , n ˙ , , nœ n˙ n˙ n˙ nœ ##˙ ˙ #˙ & n˙ *v Pf Solo , ? nœ bœ n˙ # ˙ , R n œ , n œ n˙ n Rœ nœ #˙ R ? nœ R , ‹ n˙ n˙ , n˙ , #œ œ - n˙ bb“˙˙ -. #œ n˙ n˙ nœ ? & Œ Œ Ó Œ Œ Ó Œ Œ Ó Ó n˙ ˙ Ó Kbd nœ 3 -. b˙ nœ- ? n˙™ Ó Œ n˙ œ Œ Ó ? Ó Œ Ó Œ # ˙™ w Ó Ó nn œ & n˙ #˙ n ˙™ w ° * ° * n˙ ˙ “ { hook l.h. over end of fingerboard o “- tune 2/1 above Ob. 24 : 25 (chromatic semitone) pizz. arco n‚ - = 71¢ Vln 645 4 3 w ca. 60 3 4 Time / w w Alto Fl ° u u (G) & o ppp o ppp 7/4 7 : 6 = -267¢ Ob d’A (A) & œ Œ Œ ‰ Cl (A) & 8 : 7 = -231¢ match Hrn. match Ob. 7 : 10 = 617¢ 10 : 9 = -182¢ beat against Vlc. +2 match Tuba Bsn w œ ˙ w ? < ™ Ó uw w w w Ó n˙ <˙ w w ¢ un poco espr. -31 -33 o ppp -16 ppp Hrn 4 ° j ‰ Œ Ó Ó (F) & w œ Fh co-ordinate with Vlc. h nppp˙ w w tune 3/1 above Tuba k 3 Tbn ? w w nw w œ Œ Ó F 4 5/2 match Bsn. 1 1 4 Tba ? Œ Ó n˙ ¢ o˙™ nw w w w w ppp kk kk kk “ k “k h k h k k k k › Crot ° & Vibr & Chimes & Gongs ? ¢ 4 3 w ca. 60 3 4 Time / n˙ b˙ ‹ & bœ nœ n œ nœ & # œ Pf #œ Solo , nœ n œ ? b˙ bœ bœ #œ #œ #œ #œ bœ nœ bœ n˙ R b˙ ? , nœ #œ n˙ #˙ #œ ‹ bœ nœ nœ -. b“˙™ ˙™ bœ n ˙ ? Œ Ó & Ó # ˙ ˙ Œ Œ Ó Œ Œ #˙™ bœ w œ 3 Kbd #˙ w n ˙ nœ ? Œ Ó Ó Ó b˙™ & Ó Œ #˙™ nœ w œ n˙ b w œ “ { ° * pizz. { n‚o Vln 0u˙O ™ ° 0u ™ I & Œ Ó Œ o poco f, ringing but gentle 11/6/4 7/4 pizz. 3 Vln - 4 ∏∏∏∏∏∏∏∏∏∏ nœ n˙ nœ poco f, ringing but gentle sonore pizz. Vla B Ó n˙ 24 : 25 (chromatic semitone) poco f, ringing but gentle beating pizz. = 71¢ against Bsn. match Bsn., 7/4 8/5 5/3 tune to Tba. Vc nœ t˙ ? Ó <˙ w w ˙ <˙ w Œ Ó oœ Ó n˙ ˙ w ˙ w 659 3 w ca. 40 4 rit. ( w ca. 20 ) 4 accel. ( w ca. 40 ) Time / +2 tune to Tbn. - 21 : 20 = -84¢ Alto Fl nœ- œ œ ° m ™ (G) & Ó Œ J ‰ Œ Ó Ó -16 ‰ poco marc. +2 match Bsn. 3 7 : 8 = 231¢ +33 tune to Cb. 8 : 9 = 204¢ Ob d’A (A) Ó Œ Ó Œ Ó Œ Ó & nœ nœ >œ poco- marc. - - Cl (A) & Bsn ? w œ Œ Ó n˙ Ó ¢ -2 Hrn ° (F) & 3 4 3 2 1 Tbn ? Œ Ó n˙- n˙- Œ Œ Œ n˙ nœ œ F 4 sotto-™ voce, B 4 - poco marc. nœ 15 : 8 match Bass 2 Tba ? w w w Œ Ó w œ ¢ okk k k k › Crot ° & Vibr Ó & nw ˙ n˙ ˙ n w n˙ n˙ Chimes & Ó b˙ nw nw Gongs ? ¢ 3 w ca. 40 4 rit. ( w ca. 20 ) 4 accel. ( w ca. 40 ) Time / bœ ‹ & , # ˙ , #˙ r n ˙ nœ n˙ r #œ nœ b œ nn˙œ b œ & #œ n ˙ r n˙ , Pf n œ #œ n˙ nœ Solo ? nœ bbœ˙ , n ˙ nœ n˙ ˙ n˙ n˙ , ? n˙ ‹ #˙ b“w #w n œ œ Ó Œ b œ œ Œ Ó Ó & 3 Kbd ? nw nw ? & Ó & 3 { ° * { N I œ o ˙ ˙ n˙ Vln ˙ 3v 0u ° >v n˙ n˙ n ˙ u ˙ I Œ Œ Ó o˙ Œ Ó Ó Ó Ó Ó Ó Œ ˙ nœ n ˙ ∏∏∏∏∏∏∏∏∏ n˙ & ˙ ∏∏∏∏∏∏∏∏∏ o /f ˙ n˙ ˙ u < nœ I N 10 : 4 : 11 Vln nOo ˙ n˙ ˙ nœ nœ nœ t ™ ™ ∏∏∏∏∏∏ II ‰ o œ™ Ó ‰ o œ™ Ó Ó Ó Ó Œ uœ Œ u ˙ Ó Œ <œ 4 f & œ ∏∏∏∏∏∏∏ œ o ™ o ™ 3 u ˙ nœ oœ ™ 8 : 13 : 14 3 3 ∏∏∏∏∏∏∏ nOo n˙ n˙ n˙ m˙ Vc ? 0>v˙ Ó Ó Ó Ó Ó n ˙ Ó Ó u ˙ 3 >˙ n˙ o˙ Cb ? Ó Ó Ó Ó n˙ n˙ >˙ ¢‹ o˙ 4 : 5 7 : 8 = 231¢ 9 : 14 = 765¢ 66 E1 670 2 2 3 w ca. 40 3 accel. Time U U / Ó Ó Ó Ó 20 : 21 = 84¢ +21 tune to Ob., Bsn. +2 - 15 : 14 = -119¢ Alto Fl U U œ œ nœ™ +16 tune to +2 Hrn., Ob. Cl U U j w (A) & Ó Ó Ó Ó Ó Œ ‰ nœ f un poco espr. +2 +4 7 : 8 = 231¢ +45 tune to Hrn. 4 : 7 +29 3 U +49 +33 n˙ Bsn U nw œ ? Ó Ó w ˙ ‰ ‰ >vœ ˙ w Ó Œ Ó > w ˙ œ J ¢ un poco espr. 5 : 3>o 8 : >o9 ™™ 3 : 5 ppp match Vla. match Bsn. 6 8 6 Hrn ° U U - - (F) & Ó Ó Œ Ó Ó Œ Œ Ó n˙ œ Œ Œ nœ ˙ Ó Fh sottoœ voce, poco marc. pppœ w ˙™ Fk come prima Bk >vh - >v h h h k k 8 7 1 7 35 : 36 tune 8 : 9 = 204¢ 1 3 3 = 49¢ to Bsn. Tbn U U ? Ó ‰ Ó Œ Ó Ó & ‰ ‰ Ó ˙ o˙™ >o ™ oœ ˙ ˙ ˙ >ow œ™ >o ™ >ocome- prima B 3.6 B 1.5 3 51 : 50 = -34¢ U U Tba ? Ó Ó Ó Ó Ó Œ Ó œ ˙ ¢ kh osotto voce, poco marc. k - k h › 3 Crot ° U & Ó Œ Œ bœ Ó Ó Vibr U U & n˙ bœ nœ #w Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó Ó Ó ¢ E1 2 2 3 w ca. 40 3 accel. Time U U / Ó Ó Ó Ó ‹ & U˙ bœ 0< , U #˙ #œ nœ bœ n˙ R n˙ & #œ n˙ Pf nœ 4>o˙ Solo U ˙ , n b œœ nœ ? /e , R n˙ n˙ nœ n˙ bœ ? r #œ nœ ‹ #œ 4>o˙ R U U Ó #˙ w ˙ & Ó Ó Ó Ó n˙ ˙ Ó Kbd -. U U nœ ? Ó Ó Ó Ó Œ Œ nœ -. “ { N { N 16 : 17 = 105¢ 2 Vln U U ° >v˙ I & Ó Œ j œ ‰ Ó Ó Ó Ó n ˙ > ∏∏∏∏∏∏∏∏∏ >œ : o n ˙ n ˙1 3 U 3 Vln U nœ II & Ó Ó Ó Ó Œ Ó Ó Ó <˙ n˙ Vla U U n˙ B Ó Œ nœ Œ Ó Ó Ó Œ Ó Ó Œ Ó Ó >u˙ Ó 3 >vœ >vœ >vœ 14 : 15 = 119¢ nOo Vc ? U U Ó n˙ Ó >u˙ Ó Ó Ó Ó 3 Cb ? U U n˙ Œ ‰ >œ Ó .u˙ Ó Ó ¢‹ 7 : 8 = 231¢ J 14 : 15 = 119¢ 67 680 3 w ca. 60 4 w ca. 60 w ca. 45 2 3 Time / Ó UÓ UÓ Ó - <œ Alto Fl ° U U (G) & -29 Œ Ó Ó Ó poco marc. 9/8 8/7 4/3 +33 9/5 Ob d’A œ ˙ n˙™ n˙ œ U w œ U (A) Œ -29< -2 Œ < Œ Ó m Œ Ó Ó Ó & >œ œ -14 un poco espr. ppp 12/7 9/7 8/7 7/6 4/3 8/7 +4 +31 nUw œ Cl U U U Bsn ? Ó Ó Ó Ó ¢ 17 : 16 4 6 5 = -105¢ 5 5 : 6 6 Hrn U U (F) ° Ó Œ ‰ nœ ˙ Ó Œ œ w w w ˙ Œ & nw u˙ œ w w ˙ ;u ™ Bk J Bh;T ™ ppp h k tune to Hrn. k 36 : 35 k = -49¢ 7 8 tune to 3 1 Hrn., Tba. 8 : 17 Tbn ? U U Ó nœ w Ó Œ Ó 153 : 160 Ó Œ & <˙™ B 2 = 77¢ nppp˙ œ B 1.2 ;tœ w tune 4/3 below Tbn., 3/1 below Hrn. 3+ U U Tba ? Ó Ó Ó Œ ¢ kk;tœ w w k ppp h h +4 › Crot ° U U & Ó Œ nœ Ó Ó Ó Ó nœ Vibr U U & Ó Œ Ó Ó Ó Ó 3 U Chimes U & #˙ #w Ó Ó #w U U Gongs ? Ó Ó nw ¢ 3 w ca. 60 4 w ca. 60 w ca. 45 2 3 Time / Ó UÓ UÓ Ó I I nœ nœ ‹ & r , n˙ nœ , n˙ r nœ #œ , n ˙ #œ & R Pf Solo r , nœ r n ˙ U nœ n œ , ? , *v˙ ˙ # ˙ b˙ n ˙ nœ ˙ *u , R ;u bœ n˙ U ? nœ #˙ , #œ nœ R , ‹ nœ #œ R ;˙ nœ R R b˙ n“˙ nw U˙ -. nœ #˙ nw #˙ U ? Œ Ó Ó Ó Ó Ó Œ Œ Œ Œ & Œ Œ & 3 Kbd n˙ nœ ˙™ #˙ U U ? ‰ nœ ‰ Ó Ó Ó Ó Œ #˙ w bw Ó Œ #œ n˙ n˙ #w ˙ b˙ ˙™ { “ “ 8/5 { keep l.h. position N note l.h. position Vln ˙ ˙ U Vln U U II Ó Ó Ó Ó Ó Ó & <˙ <˙ ∏∏∏∏ n˙ U U Vla B Ó Ó Ó Ó U U nœ Vc ? Ó Ó Ó Ó Œ Ó Œ n˙™ tune 7 : 9 to Vlc. U U œ Cb ? Ó Ó Ó Ó Ó Œ n˙™ Ó nœ™ >J ¢‹ n˙ 68 F1 692 4 molto ritenuto 3 w ca. 20 Time / UÓ Ó Ó UÓ Alto Fl ° U U (G) & Ó Ó Ó Ó Ob d’A U U (A) & Ó Ó Ó Ó Cl U U (A) & Ó Ó Ó Ó U U Bsn ? Ó Ó Ó Ó ¢ 84 : 85 = 20¢ 10 Hrn U j U (F) ° Ó Œ ‰ ‰ Ó Ó Ó & >uœ œ™ Fh - h come prima h match Vlc. 3 35 : 36 = 49¢ Tbn U U ? Ó Ó Ó Ó ˙ Ó mcome- prima F 2.2 U U Tba ? Ó Ó Ó Ó ¢ › Crot ° U U & Ó Ó Ó Ó Vibr U U & nw Ó Ó Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó Ó Ó ¢ F1 4 molto ritenuto 3 w ca. 20 Time / UÓ Ó Ó UÓ I I r nœ nœ nœ ‹ & , nbœœ n œ r U nnœœ r n ˙ nœ r & ˙ nœ nœ , nœ bœ Pf >T n˙ Solo I r ? U nœ nœ #œ n˙ R R ˙ bœ 5 n“œ™ U b˙˙ U nn ˙™ Ó Ó ‰ Ó Ó ‰ Ó Œ ™ nœ Œ Ó & nœ™ Kbd U nœ-. U ? r Ó Ó Œ R ≈nœ ≈#˙ Ó Ó Œ Ó ‰ nœ™ Ó -. nœ 17/8 (“equal-tempered” minor ninth) “ { 17 : 24 (“equal-tempered” tritone) 3 U 3 = 597¢ { 2 N Vln 699 3 accel. 3 w ca. 50 4 w ca. 30 Time / UÓ Ó UÓ Ó Alto Fl ° U U (G) & Ó Ó Ó Ó Ob d’A U U (A) & Ó Ó Ó Ó +4 n˙- Cl U U ™ (A) & Ó Ó Ó Ó Œ sotto voce, poco marc. U U Bsn ? Ó Ó Ó Ó ¢ 8 14 6 8 8 10 Hrn nœ ˙ U U (F) ° Ó w ˙™ Ó Ó Ó ‰ Ó & ˙ > >uœ ˙ œ >vFh Bh un poco espr. Fh >v h h h >vpppw œ™ >vw h h h Fh h h match Hrn. tune below Hrn. 3 3 4 3 3 (same slide pos.) Tbn 13 : 14 U U ? Ó Ó Ó Ó = 128¢ Ó Ó Ó Ó ˙ ˙ 9w >- >- ppp F 1.7 B 6.7 =F 5.4 note position U U Tba ? Ó Ó Ó Ó ¢ › Crot ° U U & Ó Ó Ó Ó Vibr U U & Ó Ó nw Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó Ó Ó ¢ 3 accel. 3 w ca. 50 4 w ca. 30 Time / UÓ Ó UÓ Ó ‹ & n˙ n ˙ , n˙ n ˙ #˙ #nœ˙ U & nœ Pf nœ 94e˙ Solo # ˙ , ? #œ n ˙ U , R #œ # œ ˙ #œ #˙ R 4>o ? ‹ nœ nœ bbœ R R R n˙ ˙ ‰ nœ ˙ nœ™ ˙ #˙ w #œ n˙ U U & ‰ Ó Ó Œ ‰ J Ó Ó Ó Ó Ó Kbd #œ n# ww œ n˙ U U ? Œ ‰ J Œ Œ Ó Ó n˙ w #˙™ w nw # ˙™ w “ pizz. { 13/10 22/14/8/5 3 IV 0 5/3 o { 3 arco 7/4 3 2 nO Vln o U U ˙ ° n˙ n˙ Œ 4˙ I & Œ >v nœ Ó n˙ w n˙ ˙ Œ Ó Ó Ó < Œ Œ ˙ w œ ™ ˙™ 9 ˙ 3 n ˙ nœ o nO >sonore~ ppp 9m ™ m ™ ∏∏∏∏∏∏∏∏ nœ 9œ 9 ˙™ poco f, ringing but gentle ˙ sonore u II IV 7/4 III 3 o o Vln o o U U o O nO II & Ó nO nO ~ ~ Ó Ó ~ nO >w w nw nw œ Œ n˙ ~ >˙ w ˙ >˙ sonore sf ppp sonore- arco 7/4 I 7/6 o nœ n˙ 7/4 7/6 Ó Œ œj ˙ n-‚ >vœ U n˙ n˙ ‰ < Vla œ ∏∏∏∏∏∏ ˙ œ ˙ œnœ œ nœ ˙ B nœ o > Ó >v >v ™ ™ Œ Ó > œ >˙ >˙ J J Œ sonore u 15 : 17 : 16 match Tbn. pizz. pizz. N 13 : 6 arco 168 : 169 = 10¢ N 3 Vc œ U U ? Ó n˙ :g˙ f Œ n˙ Œ Ó Ó Ó Ó 3 w ˙™ ˙ poco f, ringing but gentle 9ppp come prima0>v 5/4 7/6 64 : 63 7 : 9 = -27¢ 5 : 3 3 Cb ? n˙ n˙ U U Ó f ˙ Ó > ˙ Ó Ó Ó Ó Œ Œ Ó Ó Ó 7 : 4 >˙ >œ ¢ .v˙ >v˙ ˙ ‹ >oœ > 70 G1 709 2 w ca. 30 3 3 accel. 2 Time / UÓ Ó Alto Fl ° U (G) & Ó Ó Ob d’A U (A) & Ó Ó Cl U (A) & Ó Ó U Bsn ? Ó Ó ¢ 12 6 5 10 8 6 8 10 Hrn ° U nœ ˙ (F) u˙ ™ w >v˙ Œ & n˙ œ ™ > >uw w œ Bk u˙ Fk Bk >vBœh Fh w ˙ k ™ k k h h sotto voce, ma poco espr. h h h h h 3 Tbn U ? Ó Ó w >ppp =B 6.7 U Tba ? Ó Ó ¢ › Crot ° U & Ó Ó Vibr U & Ó Ó Chimes U & #w #w nw U Gongs ? Ó Ó ¢ G1 2 w ca. 30 3 3 accel. 2 Time U / Ó Ó n˙ , nœ nI˙ , nœ ‹ nœ & , #˙ , & n˙ Pf #˙ Solo , U n˙ n˙ F , F ? , nœ n ˙ #˙ /f˙ # ˙ ˙ bœ ˙ #œ # ˙ >t, n˙ n˙ 4>o R ? r bbœœ n˙ ‹ nœ R R n“œ ˙ n“œ ™ nœ n“˙ -. nœ U #œ ?nœ & Ó Ó Ó Œ Œ Œ Œ nœ ‰ Œ & ‰ ‰ nw Kbd #˙™ -. 3 U n˙ - ? Ó Ó Œ Œ Œ . Ó Ó # ˙ n˙ Ó Ó # ˙ b˙ n˙™ nœ w bbœ n˙ { -. ° { arco III 7 : 15 45 : 44 = -39¢ Vln U œ œ nœ nœ o - ° Œ Œ Œ Œ uœ oœ Œ Ó Œ Œ Œ Ó Ó >uO Ó Ó Œ I nœ nœ nœ ∏∏∏∏∏∏ m ∏∏∏∏∏∏ f œ nO ˙ & ∏∏∏∏ > >u >v œ ∏∏∏∏∏ >v œ ∏∏∏∏∏ >v œ œ œ >O - nœ >vœ œ œ œ pppw~ 3 solo, poco f .u > nœ nœ > o o IV o n 3 7/5 n~ O o Oo ~ Vln UO o m~ m Œ j nw II Ó nO Œ œ ˙ w Ó Œ ‰ œ w w & 3 3 nO > O >u 3 IV ppp~ sonore ppp solo, poco f espr. o 44/7 II III 7/5 5/4 7/6 -o U o o nw œ Vla n‚ nO ‚ O O Œ 4>O™ Œ B Œ Ó Ó m ™ ™ 4> ˙™ >u w ˙ >u˙ w nw nœ w >w > w ppp 44 : 45 = 39¢ sonore o like a low “D#” + o arco 7/5 nO o 3 Vc ? n˙ ˙ Ó nO >˙ >v Ó Ó Ó Ó >˙ Ó Ó Ó n˙ w .u˙ f˙ 3 3 ˙ ˙ ˙ w >u >u >u sonore ppp >v ˙ 3 4/I u 5/II arco o 14 : 3 U ‚o O n‚ ~ Cb ? Ó m ~ ™ ˙ Ó Œ ¢‹ .v ppp 71 719 4 w ca. 50 rit. 2w ca. 30 4 w ca. 40 Time / +2 match Vl1 nœ match Bsn. 5vœ œ +2 Alto Fl -45 (G) ° Œ Œ n˙ & 3 nun˙ poco espr. 11 : 9 = -347¢ Ob d’A (A) & Cl (A) & 20 : 21 5 : 4 = 84¢ +19 +33 +31 tune 3/2 below Tbn. +31 8 : 15 6 : 7 +16 +29 Bsn ? >uœ w ˙ w n˙ œ Ó ‰ Ó Ó Œ >v Ó Ó œ >w œ™ 3 3 >˙ o ¢ ppp˙ w w un poco 7 : 4 > espr. 3- tune 11/4 below Bsn. (rough!) 135 : 143 = 100¢ ª hand-stop / lip down by ca. 1/4-tone (tempered semitone) Hrn ° ? (F) & ˙ Ó 5>uBh k poco- h marc. match Bsn. -46 4 Tbn ? w œ w > Œ Ó Tba ? ¢ › Crot ° nw & Vibr & Chimes & Gongs ? ¢ 4 w ca. 50 rit. 2w ca. 30 4 w ca. 40 Time / , #˙ , ˙ #œ nœ ‹ #˙ >T & -. , , r nœ n˙ nœ & nœ Pf Solo , I I #œ nœ n ˙r ? , nbœ n œ , #œ nœ #˙ n˙ n˙ n Rœ nœ n œ , R R n˙ ? n˙ , , ‹ nœ n˙ R & œ Œ Ó Ó Kbd n˙ I I ? Œ Ó Œ nœ Œ Œ n˙ Œ œ #œ n œ nœ * 13 : 15 44/7 pizz. = 248¢ (pizz.) { “ 3 arco { o 10 : 19 = 1111¢ n‚ - Vln ˙ œ /fO Œ 0u˙ t t ™ ˙ ° 4>O™ O Ó Ó ˙ ˙ ‰ Ó Œ Ó Ó /f I & ˙ ˙ ∏∏∏∏∏∏∏ m m 4>like a ™low “A#” w come priman˙ ∏∏∏∏∏∏∏∏∏∏ n˙ sf poco f n ˙ pizz. 5/II 23/12/8 N Vln -o œ 729 2 3 2 w ca. 40 2 Time 1 : 2 : 5 UÓ Ó / tune to Tbn. - 14 : 13 = -128¢ 0>u˙ 13 : 4 Alto Fl -44 U ° 0>v˙ (G) & nw ˙ Ó Ó 0>v-30 3 Ob d’A U (A) & Ó Ó Cl U (A) & Ó Ó Bsn U ? ˙ Ó Ó Ó ¢ > tune 3/1 below Tbn. tune 6/1 below Tbn. tune 5/2 (ca. 1/6-tone) (ca. 1/5-tone) above Vlc. ª 8 3 ª Hrn 3 3 U ° ? ow ˙ (F) ? Ó Ó ˙ ˙ Ó & Œ Ó ‰ & Ó Ó Ó 0>v œ Bk B-k Bk ˙ 4gFh ™ w k h k o ™ -k Bok k h k tune to Hrn. h k -35 -39 k 6 11 168 : 169 5 10 11 8 7 8 8 6 8 = 10¢ 13 : 14 = 128¢ 4 4 - 4g˙ w w - >œ nœ nœ œ nœ nœ œ 9œ 0>v˙ w g U Tbn ? > J œ gœ œ ˙ B tune to Bass o Ó Œ o Ó Œ Œ w 3 as 13. partial ppp poco 5 solo, espr., libero F 4 F 4.7 =B 5.9 marc. F 2.5 B 6.7 =F 5.4 F 5.3 25 : 24 (chromatic semitone) = -71¢ U Tba ? Ó Ó ¢ › Crot ° U & Ó Ó Vibr U & Ó Ó Ó #˙ Chimes U & Ó Ó U n˙ Gongs ? Ó ¢ 2 3 2 w ca. 40 2 Time U / Ó Ó r ‹ nœ & r r nœ n r œ rr nœ nœI & nn œœ ˙ Pf *v Solo r U ? r n rœ , #œ n œ nœ nœ ˙ nœ R 94e ? ‹ U & Ó Ó Kbd U ? Ó Ó { & Vln ° U I & Ó Ó Vln U II & Ó Ó 8/5 7/6 5/3 (consonant major sixth !) o arco 6/5 11/9 - > n~ ~ ∏∏∏∏∏∏ j U fœ f˙™ Vla œ œ >o ˙ B nœ 4 Œ Ó Ó Œ 4fœ œ Œ Œ nœ œ ™ n œ gœ 4fœ™ 4f œ œ o œ o œ o œ solo, espr. ‰ J J ‰ (prepare for 7/4 double-stop) tune 5/2 pizz. o 1 --> above Tbn. o 25 : 6 arco n-‚ w 121 : 120 = -14¢ n‚ 4 œ 5u˙ Vc ? Œ Ó Œ Ó Œ Œ nœ nœ B Ó come prima ˙ 3 ‰ u‰ ‰ ‰ gpoco- f poco- f - 20 : 21 54 : 55 = 84¢ = 32¢ U Cb ? Œ Œ Œ Ó Ó Ó œ œ ¢‹ >w w œ o- 4- o poco f 73 H1 738 2 w ca. 40 2 2 w ca. 22 3 Time Œ U / Ó ‰ ‰ tune to Bsn. tune 6/5 to Tbn. 5 : 6 tune 7/4 33 : 32 +16 +31 +14 above Vl2 +31 +33 E# -16 = -53¢ Alto Fl U ° œ w ˙ >œ >œ œ 4>˙ w ˙™™ >œ (G) & Ó Œ ‰ >u ™™ J fw œ Œ Ó Œ ‰ J >˙ ˙ J comeJ prima, sempre un poco espr. 3 10 : 7 4 : 3 8 : 11 Ob d’A U (A) & Ó Œ ‰ ‰ Cl U (A) & Ó Œ Œ +45 match Fl. tune 2/1 match Vl2 2 : 5 3 : 5 +31 ˙ +33 below Fl. Bsn ? U ˙ œ B > Ó Œ Œ Œ œ >o Œ Ó Ó w Ó ˙ ¢ >come prima, >v >vpoco- sempre un poco espr. marc. 5 : 8 tune 7/4 above Bsn. 8 Hrn ° U - (F) & Ó Œ Œ Ó n˙™ Œ 3 Fk poco h k marc. 9 10 11 9 8 10 8 7 8 10 7 - U Uœ œ 4 œ œ5>uœ > > >oœ œ 5u œ œ 5>vœ5>v >o oœ™ ? Tbn B Œ 5 5 Ó Œ ‰ >oœ™ B 5.2 3 B 3.6 note position shorten B slide pos. by shorten B slide pos. by 77 : 80 = 66¢ 10 : 11 = 165¢ U Tba ? Ó Œ Œ ¢ › Crot ° U & Ó Œ Œ Vibr U & Ó Œ Œ Chimes U & Ó Œ Œ nw U Gongs ? Ó Œ Œ ¢ H1 2 w ca. 40 2 2 w ca. 22 3 Time U / Ó Œ ‰ ‰ #œ nœ #œ #œ ‹ #œ & , #œ , nœ n˙ nœ #œ #œ n˙ & n˙ b˙ Pf nœ nœ b ˙ Solo b ˙ , nœ U b˙ ? ˙ nœ nœ #˙ #nœ >t nœ R ? n˙ n˙ n˙ # œ ‹ nœ ˙ #œ n˙ nœ # œ 9> R R-. “ #œ #œ U #“˙ ˙ #œ w ˙ nœ™ œ n˙™ nw ˙ ‰ Œ Ó Ó Ó Ó Ó & 3 Kbd - b œ nœ. -. U b œ #œ ? -. ‰ & Œ Ó Œ Ó nœ nœ ‰ Ó n˙ œ nœ nœ nœ #œ #œ n˙™ -. ‰ { ° * “ “ “ ° * Vln - - ° U nO ™ nO ™ I & Ó Œ Œ ‰ n œ™ Ó ‰ n œ™ Ó poco f note finger position 24 : 25 tune 5/2 below Vla. 13/8 3/2 for next entry! = 71¢ Vln U - 0>oO II Ó Œ Œ >oœ Ó Ó 0> œ Œ & œ 0 œ o w 0>oœ poco f 7/4 >o poco marcato 20/7 O ‚j U‰ Œ - tune 7/2 tune 8/3 ˙ w w w œ œ below Bsn. below Bsn. Vla > >u B Œ Ó Œ nœ Ó Ó sf ppp >v˙ .vœ >vœ w 65 : 66 7/4 poco marcato-. ppp = 26¢ j j 8/III - ‰ <9eœ œ o œ 9œ U œ w w nO Vc B J J œ œ ? > ? 9 J ‰ & Ó sf sf ppp poco f U Cb ? Ó Œ Œ ¢‹ 74 747 3 accel. 2 w ca. 40 3 2 Time / UÓ Ó B -41 +19 +33 œ œ 3>v Alto Fl ° ˙ ˙ > U (G) & >u Ó Ó Ó 12 : 23 (large major seventh) Ob d’A U (A) & Ó Ó Cl U (A) & Ó Ó tune 4/3 tune 8/5 +16 above Vla. above Vla. 3 : 4 +29 beating against chord +17 5 : 2 +31 6 : 5 +14 >u˙™ - U Bsn œ >œ w w ? B >u w Ó Œ 5>vœ Ó Œ >uw > -18 ¢ 11 : 12 poco ppp = 151¢ marc. 12 9 match Bsn. 10 3 8 Hrn 6 U ° >v˙ (F) w Œ >v˙ w w w œ Œ Ó & >u Bh > Fh ppp w œ h ppp h >vFh h h h tune 9/2 h below Hrn. 105 : 104 6 2 2 3 = -17¢ 3 Tbn ? U œ- Ó Œ ‰ >oJ >oœ 9w >ow poco >˙™ B 3.6 B 6.7 =F 5.4 F 5.6 marc. 6 : 5 U Tba ? Ó Ó ¢ › Crot ° U & Ó Ó Vibr U & Ó b˙ nw Chimes U & Ó n˙ Ó Ó U Gongs ? Ó Ó ¢ 3 accel. 2 w ca. 40 3 2 Time U / Ó Ó I , nœ ‹ n˙ n˙ & , , n˙ bœ n ˙ n œ n ˙ R U & , ˙ Pf >t Solo b˙ r , ? , n ˙ nœ n˙ n ˙ nbœ #œ , n ˙ 9>˙ R ? , , n˙ n˙ #œ ‹ nœ nœ R “ b˙™ œ nœ n ˙™ w n ˙™ œ U ? Œ n ˙™ w Œ Œ Ó Ó Œ & nw & Kbd -. U ? Œ Ó Ó Œ Ó Œ ‰ j nbœ #œ n˙™ ˙ . { “ - “ Vln ° U I & Ó Ó tune to Vla., Bsn 3 : 4 105/104 as 13th partial - II (-17¢) (beating @ ca. 4Hz) Vln - 0>uO 0> 0>vw U uO 0>u œ II 0> œ Ó 8 : 15 Ó Ó & u nw 0>o˙™ ww Œ (just major seventh) ppp III 5/3 4/3 5/3 11 : 10 tune 8/5 = -165¢ under Bsn. 78 : 77 = -22¢ above Tbn. above Tbn. U Vla B ˙ Ó Ó Œ Œ Ó Ó >u˙ ˙ œ Œ Ó w w >v 5>uœ 9m˙ ppp poco- f 9œ >ow o o beating @ ca. 8Hz 105 : 104 C-string note is = -17¢ III 27/26 = 65¢ higher U Vc ? Ó n˙ ww Ó Ó n9 IV U Cb ? Ó Ó ¢‹ 75 757 4 w ca. 20 2 molto accel. 4 w ca. 50 Time / 19 : 20 6 : 7 : 8 +12 +16 +2 = 89¢ +14 16 : 15 = -112¢ (diatonic semitone) œ œ fw w * Ob d’A (A) & +14 Cl fw w (A) & ppp 14 : 15 nw = 119¢ +16 Bsn ? -2 -4nw w w w ˙™ >uœ ¢ ppp 7 5 7 8 3 8 6 Hrn - ° - Tba ? ¢ › Crot ° & Vibr & #˙ #˙ Chimes & Gongs ? ¢ 4 w ca. 20 2 molto accel. 4 w ca. 50 Time / I nœ , ‹ nœ nœ & r ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ I nœ r - ˙ #œ # ˙ bœ , . 4>o #nœ nœ & *v˙ n ˙ Pf R -. #œ nœ Solo R ? n˙ , bœ n˙ n˙ R n˙ n˙ r ? , b œr nœ #œ #œ nœ #œ nœ ‹ R R R n œ R 3 3 & Ó #nw w Ó Œ Ó Kbd #w nw w œ ? b ˙ nw Œ n˙ Ó r‰™ Œ ˙™ #œ Œ nnœ “ “ R ° { “ Vln ° I & 40 : 39 19/4 I II = -44¢ tune to Vlc. s.p. ord. 91 : 90 = -19¢ Ó nO 0oO Vln *u˙ ˙ Ó 3o O Œ ˙ ˙ w~ u~ ~ O™ ‚ nœ œ˙ n 0o II J 3o Ó Ó & J 3 pppo fingered- E is 46/45 = 38¢ 7/4 higher than open E IV II 11/7 3 III j 23 : 25 = 144¢ - 5/4 o - - œ ˙ 6mœ™ -o Œ j o nw fw fw nO nœ Vla o w o w w B >oœ œ œ Ó ‰ œ f nO n˙ 4>˙ ‰ ‰ œ o f œ nœ n ˙ n w >o ™ solo,J espr.J ‰ Œ œ Œ Ó Œ Ó Œ Ó I poco marc. osolo, molto sonore nœ n œ 9/4 16/7 7/3 3 5/2 8/5 13/8 - - - - - tune to Tbn. 3 8/5 œ ˙ ˙ w ˙ ˙ n˙ n˙ nœ >œ < u Vc ? ‰ Ó Ó 0o Ó 9fœ™ n f˙ f˙ ˙ n˙ nw œ Ó ~III n˙ 9 Œ ppp solo, sonore Cb ? ¢‹ 76 I1 767 2w ca. 20 4 poco accel. ( w ca. 36 ) 2 w ca. 27 2 Time / Ó UÓ 27 : 26 tune 13/4 above Tbn., = -65¢ 2/1 above Vla. nœ w w w Alto Fl ° 0 U (G) & Ó Œ Db +35 Ó Ó ppp Ob d’A U (A) & Ó Ó Cl U (A) & Ó Ó Ó n˙ œ Œ Ó -2 poco- marc. U Bsn ? w w ˙ Ó Ó Ó ¢ 6 64 : 63 4+ = -27¢ 6 Hrn ° U (F) & Ó Ó Œ Ó Ó w ˙ #œ >vppppp >vFh Bk Bh h h poco- h h h marc. h +3 tune tune to Bsn. tune to Vlc. 6 6 24 : 25 6 225 : 224 to Vla. 1 w = 71¢ ˙ = -8¢ nw U Tbn ? > >t Ó Ó Œ B 6.7 B 6 B 6.1 extend B slide pos. by 28 : 27 = -63¢ B 6.7 >œ w w w “ppp ppppp U Tba ? Ó Ó ¢ › Crot ° U & Ó Ó U Vibr Ó Ó & nw Chimes U & Ó Œ Œ nœ n˙™ U Gongs ? Ó Ó ¢ I1 2w ca. 20 4 poco accel. ( w ca. 36 ) 2 w ca. 27 2 Time U / Ó Ó I I #œ nœ ‹ nœ & n œ n œ n˙ , U , ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ n˙ & nœ n˙ #˙ Pf n˙ Solo , n œ , n˙ n˙ ? , n œ n˙ #˙ #˙ nœ nœ * ˙ #œ u ? , ‹ nœ n˙ R 3 3 nœ Uw w œ Œ n˙ œ Œ Œ n˙ & n˙ n˙ œ Ó Ó Œ Ó Œ J ‰#˙™ Œ nœ Kbd -. U ? Ó ‰nœ™ w œ Œ Ó #˙ Ó nw w w { * Vln ° U I & Ó Ó 24 : 23 = -74¢ pizz. glide down and back twice s.p. tune 7/6 below Vla., 7/3 below Fl. N 207 : 208 = 8¢ 3 >O > Vln ˙ 3 vO ™ U g˙ >v 3>v ˙™ œ œ II Ó Ó o ˙ œ > œ > > œ > ‰ Œ ∏∏∏∏∏∏∏ > 3 v 3 v & œ > w w w w J 3 3>v . 0 v ppp n˙ 24 : 23 un poco espr. - o poco f = -74¢ pizz. II I glide down and back twice 13/4 o N o ∏∏∏∏∏ o n‚ n n‚ œ œ ˙~ nœ w w U œ 3>v œ > 3>v œ > Vla B Ó nnœ 0 Ó Ó Ó Œ Œ > J ‰ Ó 24 : 23 ppp 3 nœ w poco f ppp = -74¢ w + IV 7/3 Vc ? nœ Ó U Ó Œ Œ œ w w w w ppp n~o > ~ ppp III II I IV o n‚o + Cb o o n‚ U ? Ó n‚ n‚ Œ Ó Ó Ó ¢ poco f nœ 77 777 3 2w ca. 60 3 ritenuto 2w ca. 40 2w ca. 60 Time / tune 5/4 +30 above Cl. 13 : 15 15 : 13 +46 tune 2/1 above Tbn. tune 4/3 below Cl. match Bsn. = 248¢ 3 : 5 - = -248¢ 9t˙ Alto Fl n˙ w 9mw w w w w (G) ° Ó Ó & -2 9mœ nœ ˙ nw o ppp un poco marc. ppp Ob d’A (A) & match Vl2 13/8 tune 4/3 above Fl. 13 : 12 below Bsn. +44 25 : 6 +33 = -139¢ A -42 mœ ˙ (chromatic semitone - 2 oct) Cl 9mw w w w ˙™ -16 (A) b˙- Œ Ó Ó & >œ -4 9e˙ w w w poco. marc. ppp 8 : 13 - 8 : 13 (neutral sixth) (neutral sixth) tune to Hrn. F# -42 match Cl., Tbn. B -44 co-ordinate with Tbn. Bsn ? nw w w ˙ ? & ˙ w Œ Œ Œ ¢ -2 ppp 9 ˙ ˙ 9-™ 9epoco- marc. 4 Hrn ° (F) & ˙ nœ ˙ Ó ™ ppp 13 : 14 fast harm. Bk h = 128¢ match Cl. glide ad lib. k 105 : 104 = -17¢ 8 8 6 6 7 13 : 15 5 11 co-ordinate with Bsn. 7 = 248¢ w ˙ ˙ w - (keep position) œ n˙™™ 9m > 9 ˙ 49e >œ 9 B 9 ˙™ Tbn ? J Œ Œ Ó < e 3 ppp =F 5.4 =B 6.7 B 5.4 poco marc. un poco espr. Tba ? ¢ › n˙ Crot ° & Ó Ó n˙ Vibr & nw Chimes & Ó n˙ Gongs ? ¢ 3 2w ca. 60 3 ritenuto 2w ca. 40 2w ca. 60 Time / , #˙ >t˙ ‹ & I -. I-. I-. I-. bœ , #œ #œ #œ n˙ nœ ˙ , *u & nœ #œ n˙ , nœ nœ bœ Pf #˙ Solo , , n˙ , , ? n˙ , b˙ n˙ n˙ #˙ n˙ , #œ R F ? r nœ ‹ nœ nœ n˙ , -. -. b˙ œ #œ™ #˙™ J & Œ n˙™ nœ ˙ Ó Kbd n˙ #˙ b˙ ? Œ Œ ‰ ‰ Ó Œ ™ Œ 3 n˙ nœ ™ 16 : 17 -. = 105¢ “ { 3 Vln :fO œ ° nO œ™ :f ™ j I n œ :f ™ & J :f˙ nœ solo, libero -. III arco 5/II III Vln o m~ o o n‚ u w n II & nœ Œ Ó Œ Ó u~ ~ ppp o II 26 : 27 (ord. pizz.) n‚ arco s.p. nOo ˙ = 65¢ nœ ~ ~ ~ ~ Œ Œ mœ œ u ™ Vla >vœ w B nœ Ó Œ n˙™ w ppp o sonore ppp o II pizz. n‚o arco 5/3 o Vc ? nœ ˙ w w ˙™ Ó Œ Œ 9 Œ œ w Œ poco f ppp Ó 9f 4 : 9 13 : 8 (neutral sixth) (very high Ab, closer to A !) Cb ? ¢‹ 78 789 3 3w ca. 24 3w ca. 60 4 Time / 14 : 15 D -39 12 : 13 = 119¢ +12 tune 5/4 95 : 96 5 : 8 (just minor sixth) above Cl. co-ordinate with Bsn. = 18¢ +18 = 139¢ +19 4f˙™ Alto Fl ° œ nw (G) & f Œ Ó Œ Ó Œ nœ œ oœ™ nœ œ ˙ - *o ™ *0 >u ™ 6 : 11 poco marc. espr. -43 (neutral seventh) Ob d’A (A) & 5 : 6 G -37 (just minor third) 4 : 5 tune 5/4 +14 +14 below Fl. (just major third) Cl 3 4f˙™ ˙ ˙ (A) Ó Ó n˙ œ m & f˙ ˙ fœ w n˙ fw w 3 -2 un poco espr. 3 6 : 11 -14 (neutral seventh) 95 : 96 G# -39 B -23 +18 9 : 10 = 182¢ (minor wholetone) co-ordinate with Fl. = 18¢ +18 9 : 10 Bsn ? Ó Œ Œ Ó Œ nœ Ó Œ ˙ Œ Ó Œ nœ ¢ tune to 9œ œ oœ poco- marc. *otune- 5/3 - Vla., Vlc. 9f˙™ 8 : 13 under Hrn. (neutral sixth) match Vlc. co-ordinate with Tuba 4 6 19 : 12 4 Hrn ° (F) & Œ Œ n˙™ w ˙ w B>h ™ Bk *vBk h k h h h h 16 12 match Hrn. 15 match Cl. 12 : 13 = 139¢ n˙ œ - ˙ 9œ™ u˙ Tbn B ‰ Ó Œ Ó Ó F 4 poco marc. tune, co-ordinate with Horn 10 5 5 1- 3- 8 : 15 - œ- Tba ? Œ ‰ ‰ Ó ˙. .u >u ˙™ kh kk .u ¢ h œ 3 >poco marc. h un poco espr. k ˙ - k h > ™ h hh -9 k k “ h › Crot ° & Ó n˙ Vibr & Ó Ó b˙ n˙ Chimes & Ó #˙ Ó nw n˙ Gongs ? ¢ 3 3w ca. 24 3w ca. 60 4 Time / ‹ & , , I I n˙ b ˙ nœ #œ #œ , & # ˙ n˙ Pf Solo F nœ , b œ , #œ , , bœ -. ? n ˙ ˙ nœ /f˙ n ˙ #˙ 4>o #œ n˙ , n˙ -. #œ nœ >t˙ ? nœ , ‹ nœ nœ n˙ #œ . nœ n˙ -. -. - -. I n˙ bw n˙™ - ? . & # w Œ Ó Œ Ó n˙ Ó & Ó Ó #œ 3 3 Kbd F b˙ ? Œ Ó Ó Œ ™ nœ n˙ w -. Œ n˙™ { “ 5/III 2 : 5 - { t t Vln ˙O ˙O ° - t t I & Ó Œ m‚ ‚ Œ Ó Ó Ó Ó poco 3 marc. I 13/4 3/2 o above Vlc. 15/8 n-‚ 7/5 11/6 5/3 5/III Vln ˙ œ o ˙ Ó Œ Ó o Œ Ó Ó Œ O œ uœ Œ II & ˙ m ™ u poco nœ ˙ 4>u nœ œ Œ marc. ˙ 4> œ >u ™ 8/5 8/5 II sonore III II I 7/6 3 o Œ - Œ Ó u~ 9 n˙ Vla ~ ~ ™ >v˙ ˙ Ó B 9 w w ™™ Ó Ó nœ˙ w *ow *on˙ ˙ Ó 3 3 ‰ sonore uw w 95 : 96 *vmatchw Hrn. Ó o o 3 = 18¢ 3/2 19/8 (very high Bb, closer to B !) - 8/5 ‰ - 7/5 25 : 6 (chromatic semitone plus 2 oct.) Ó *u˙ Vc 9fw fœ™ ? Ó Œ œ œ Ó Ó Œ Œ Ó u~ Œ fnœ ™ ‰ nœ œ sonore o ˙ >uw *o-™ Cb ? ¢‹ 79 J1 800 3w ca. 40 3 2 Time / tune to Hrn. 5 : 8 : : 9 : 10 27 : 28 +12 +16 = 63¢ match Cl. 5 : 6 (just minor third) Alto Fl ˙ ˙ nw w (G) ° Ó Ó f o & w ˙ n3˙ 3 -18mppp -2 sostenuto tune to Hrn. match Fl. tune to Cl. 3/2 8/5 +16 +10 4/3 +12 Ob d’A w ˙ ˙ n˙ f (A) & n˙ f f -2 sostenuto 15 : 13 8 : 15 : 13 25 : 24 = -71¢ match +30 = -248¢ +42 = -248¢ +12 Ob. Cl œ 9l˙™ w w 9l˙ œ w œ ˙ w w (A) & -18m w œ m Œ Ó Ó f 39 : 40 ppp 13 : 8 (neutral sixth) 9m ppp = 44¢ tune 4/1 17 : 16 = -105¢ below Cl. 325 : 324 = -5¢ Bsn ? Œ Ó Ó Œ Ó Ó mœ œ œ mœ m˙ ¢ -18 - -23;t come- prima 6 Hrn (F) ° Ó Œ Ó & Bk nœ w ˙ k ppp h match Cl. match Cl., Tba. 39 : 40 15 15 13 match Tuba match Tuba 8 7 7 = 44¢ - 4 3 5 : 4 2 9t˙ œ 9tœ ˙ = -386¢ Tbn m œ œ ? B Ó Œ Ó 9m <9m˙ Œ Ó <9m˙ ˙ Ó 9m ˙ F 3.6 un poco espr. 9m ppp˙ 9 note position B 5.4 51 : 49 10 18 : 17 8- 13 : 8 5+ tune 7/2 = -69¢ = -99¢ below Tbn. match Tbn. 3+ ˙ œ œ Tba ? ;t m Ó 9m˙ w w ˙ Ó Ó hh kh hk ˙ ¢ h h k ppp 9 k h k h k h -8 +5 › Crot ° & Vibr & Chimes & Ó n˙ Gongs ? ¢ J1 3w ca. 40 3 2 Time / nœ ‹ & n ˙ , nœ # ˙ #œ & bœ n˙ n˙ Pf -. Solo , r r n˙ r #œ ? bœ #œ #œ , n˙ n˙ n œ nœ b œ nœ R R -. ? ‹ , #œ #œ bœ nœ bœ R R n ˙ # ˙™ & Œ Kbd ? ‰ j j Œ nœ ˙ œ ‰ Œ Ó Ó nœ #œ b˙ Œ -. -. “ 15 : 17 (diminished third) = 217¢ { - 17 : 16 = 105¢ { - :gO ~ nO ˙ Vln ° w n œ :g I & Œ Ó Ó poco marc. 14/5 5/III - 5/IV Vln o 4mœ ~ f˙ w Vla B Ó n ˙ ˙™ n˙ Œ f sonore 5/III 4/II o o Vc ? nO™ & m~ ~ ~ ~ ~ ~ O™ Œ Œ ~ o sempre ppppp o ppp Cb ? ¢‹ 80 K1 810 3 w ca. 30 3 2w ca. 40 2 Time / UÓ Ó +29 tune 4/3 above Cl., note pitch for next entry +33 tune 3/2 above Cl. 8 : 9 - - Alto Fl œ- ˙ ˙- (major wholetone) ˙ ˙ ° œ > U > > > (G) & J ‰ ‰ J Ó Ó Ó Ó Ó poco marc. come prima +16 13th partial above Tbn. 5 : 9 +27 +31 (large just minor seventh) w ˙™ Ob d’A nw U f œ œ œ (A) & Ó Ó g g Ó 15 : 8 : 9 +31 tune to Hrn. remember pitch for next entry 4 : 9 Cl œ œ- ˙ U œ- œ (A) & J ‰ ‰ >J Ó Ó Ó Œ > Œ Ó 14 : 15 poco marc. come prima = 119¢ match Brass 8 : 13 (neutral sixth) Bsn U ? Ó Ó Ó ˙ w œ Œ Ó ¢ B -239fppp 6 6 3 Hrn U 3 (F) ° Ó Ó Ó Ó Ó Ó & ˙ Bh ˙ >vpoco- marc. h >vcome- prima Bh h h tune to Tuba 40 : 39 h match “B” 7 11 = -44¢ 8 in Piano 9 10 12 6 5 8 7 4 3 7 4 keep position 49eœ 9fœ œ ˙ U 9œ 9œ ∏∏∏∏∏∏ U Vibr nw & nnw nw nw U Chimes Ó Ó ‰ & n˙™™ U Gongs ? Ó Ó ¢ K1 3 w ca. 30 3 2w ca. 40 2 Time / UÓ Ó nœ I #œ n œ ‹ n œ #œ & nœ ∏∏∏∏∏∏∏ U r ˙ nœ nœ nœ nœ n˙ & n˙ 94e R #˙ nœ Pf nn˙ n˙ Solo ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ , n˙ ? nœ bœ n ˙ bœ , nœ R nœ R nœ nœ nœ R#œ nœ R R n˙ R ? ‹ #œ nœ R R “ n ˙ #“˙ n˙ U n ˙ ™ & Ó Ó Ó Ó Œ Kbd 3 U n# ww œœ n˙™ ? Ó Ó Ó Ó Ó Œ Ó Œ n˙ Œ Œ n˙ ˙ n˙ ° 13 : 8 II { 13/4 tune to Brass 3 - 7/5 (neutral sixth) III { f O + Vln œ o - + ° f Ó nœ U n~ 9˙O nœ I & ‰ ‰ ˙ Œ Ó Ó w ˙ Ó 9 Ó Œ Ó n >uO ~ 9ppp poco n˙ III marc. IV sonoreo tune 7/4 II above Piano o n o Vln nO <˙ U ~ II & ‰ Ó Ó Ó ‚™ o ppp o 35 : 16 44 : 45 = -155¢ -1 oct tune 5/2 below Cl. œ™ 5/3 + = 39¢ Vla - nœ U B ‰ Ó ˙ Œ Ó Ó ˙ Ó nm˙ 6 : 7 : 8 : 9 : 10 : 11 >opoco- marc. II o 4/IV o o o œo œ ˙ o œ nœnœu 4 Vc o nœ < U ? & ~ Ó nO 3 3 libero,- poco f U Cb ? Ó Ó ¢‹ 81 L1 820 2 3 2w ca. 60 rit. 2 3w ca. 40 Time / +29 match Vl1, Cl. +31 +33 +37 Alto Fl >˙ ° >w ˙ œ (G) & Ó >˙ >v Œ Ó o ppp +33 Ob d’A 3 (A) & Ó Ó gun˙ poco eapr. +35 8 : 7 8 : 9 - +31 match Hrn. = -231¢ = 204¢ +4 >˙™ Cl ˙ w ˙ n˙ (A) & Œ Ó > Ó n˙ Ó o ppp 3 +18 Bsn w ? Ó o ¢ 3 o 6 12 64 : 63 9 3 = -27¢ Hrn ° (F) Ó Ó Ó Œ >vœ ˙ Œ #œ ˙ Ó & ˙ Fh Fk >v- h ppp h Bh h k h h 4 7 œ Tbn B › nw Crot ° & #˙ n˙ Vibr #w n˙ & 3 n3˙ bw Chimes & Gongs ? ¢ L1 2 3 2w ca. 60 rit. 2 3w ca. 40 Time / -. #œ bœ ‹ nœ & , r , nœ ˙ n˙ n˙ nœ , I ;u , n˙ , nœ R & , n ˙ , n˙ , ˙ r Pf n ˙ nœ /f nœ Solo # œ b œ n˙ n˙ ? n œ nœ n œ nœ R -. ? n˙ nœ ‹ n˙ R ° * “‰ b“œ n˙ #œ™ w nœ™ ˙ & Ó n˙ Œ Ó ‰ Ó Kbd nw b˙ ˙ nœ - 3 - ? # œ . ? n˙. n˙ Ó n œ Œ & Ó Ó Œ n œ Ó Ó Œ n˙ ˙ Ó Ó n œ 3 nœ n˙ ˙™ nœ œ 539 * : 540 = 3¢ -. -. “ (practically the same!) 7/6 8/5 { 5/2 above Vla. 7/3 7/4 5/3 { above Vla. 11/6 23/12 7/3 3/2 3 7/6 Vln j ° ˙ ˙ ˙ Ó - j nœ I < 5>u˙ Ó Ó 5˙ ˙O o nO 6e˙ nwO œ Œ Ó >œ >˙ Ó Œ ‰n œ w & œ œ .v ˙ w >v˙ #w ˙ Ó 3 Ó Ó Ó nO > ™ J sonore ™™ J .uw 3 15 : 14 o un poco espr. = -119¢ I o II II 7/6 4/3 o n O ≥ 7/4 pizz. arco 3 Vln ~ ‚ n n ~ Ó ‚ Œ ≤ 64 : 63 225 : 224 ~ ~ ~ ˙ w ˙ j = -27¢ = -8¢ II & Œ Ó < < Ó fœ Œ Ó Ó Œ ‰ nœ ˙ >v˙ w #w n˙ Œ n˙ ∏∏∏∏∏∏∏ n œ w ppp ppp sonore™ ™ nœ un poco espr. >v poco f tune 11/2 below Cl. 9 : 7 23/12 5/1 and 5/2 below Vl1 = 435¢ 3 3 -o o Vla Ó -o B Ó ˙ Ó Ó ˙ Œ Ó n‚ Œ Ó Ó O n~ 5>v- 5>v- œ œ ˙ Ó (like a low “G#”) 5- 6e nw f Vc ? pizz. Cb ? Ó >˙ ¢‹ poco f 82 832 3 2 2 3 molto accel. Time / +2 take Picc. Alto Fl ° n-˙ n˙™ œ (G) & Ó Œ Œ Ó poco marc. ppp tune above Bsn. tune below Hrn. 6/5 4/3 4/3 3 +4 9 : 7 (large septimal major third) Ob d’A +16 +35 (A) & nw w w f˙ >w ppppp +14 tune to Tbn. Cl (A) & fw ppp 24 : 25 = 71¢ ˙™ w ˙ Bsn ? w B u Ó ? uœ ¢ ppp -12 un poco espr. ppppp 12 Hrn ° (F) >vw & Fh h h 2 3 1 ˙ Tbn B ? œ œ Œ g g ppppp F 4.7 gw ˙™ =B 5.9 (F-comma-up fundamental) from B 2.7, lower equivalent F slide“ position (2.2) by for next entry raise slide by 11 : 12 = 151¢ on Bb-side 15 : 13 = -248¢ tune below Bsn. match Vl1 15/8 5/2 10 4 3 6 3 : 5 (just major sixth) ˙- Tba ? - o gœ Œ Ó Ó hk œ hk ¢ k g ˙ (same fingering) k h g ™ poco marc. h h h › Crot ° n˙ & Ó Vibr #˙ #w & Ó Chimes & #w Gongs ? ¢ 3 2 2 3 molto accel. Time / -. #˙ nœ ˙ , ‹ :o & r , - #˙ #˙ r nœ & . nœ Pf nœ Solo F , ? n˙, , n ˙ b˙ , #œnœ bœ #œ ˙ b ˙ , #˙ R R R R *v º º º º ? , b ˙ , ‹ b ˙ nœ nœ nœ R R R º º º #“˙ ? Ó Œ Œ Œ & & n˙™ nœ bœ Kbd º º ? Ó b˙ ˙ n˙ ˙ Ó Ó Œ bœ j ‰ Œ Ó Œ Œ bJœ œ ‰ nœ nœ poco port. “ º º II on II “ 3 { 9/8 { 3 n˙ Vln ° nw˙ #˙ ˙ n w I >v~ Ó Ó I ow & >v˙ w 3 flaut. flaut., espr. pizz. bend down come prima tune to Tbn., Tuba N ord. N very slightly ord. N Vln œ œ <œ œ II & w g 4g Œ Œ Ó Ó nœ Œ Ó nœ < Œ 842 4 w ca. 75 4 3 rit. Time / 8 : 7 19 : 16 (“equal-tempered” minor third) = -231¢ = 297¢ ‹ n˙ Picc ° uw w & 3 -45 Hrn ° (F) & Tbn ? 8 10 23 : 12 (large major seventh) ˙- Tba ? Œ nœ u kk ¢ h h h › Crot ° & ∏∏∏∏∏ Vibr #w nw & ##w ##w Chimes Ó & #˙ Gongs ? ¢ M1 4 w ca. 75 4 3 rit. Time / ‹ & , n˙ n˙ (end both) n˙ , , & ˙ #œ #nœ n˙ b˙ Pf 4>o #œ Solo (end both) n ˙ ? #œ , , n˙ n˙ nœ , ? #œ ‹ nœ #œ nœ Œ ? & Ó #˙ nœ œ Œ Ó Ó n˙ œ Œ Ó Kbd ? Ó Œ Ó poco port. #œ ˙ II on II 39 : 40 11/7 6/5 “ = 44¢ tune with Vlc. { like a low “B#” 3 { 4/3 13/10 10/7 4/3 9/5 Vln 4>˙ j ° n w ˙ œ w ˙ œ w w I & I u ™™ u ˙ w ˙™ uœ uw uw w ˙ ˙ œ Œ Ó flaut., espr. u 9t ™ u < u u 3 ˙ Ó 385 : 384 sonore 15 : 14 t ppp = -5¢ = -119¢ III - arco Vln Œ II & nw n˙ ˙ w ˙ Ó IV <9m ™ 3 - poco marc. 104 : 105 ppp 6/1 = 17¢ 6/1 I 12 : 11 tune 7/2 above Piano - 104 : 105 - = -151¢ II= 17¢ match Vl2 -o Œ 4>O O Œ <9m O nO ˙™ ˙ ™ ™ uO 4uO u ~ - 4> ™ <9m ˙ ˙ w~ w~ w~ Vla w 4o˙ w ˙ ™ u 4u ˙ u B Ó 4> Ó n˙ <9m˙ w Œ ppp flaut. like a low “E#” poco marc. ppp tune 5/4 above Vibes 5/I tune with Vl1 ord. 13/10 385 : 384 o ˙- = -5¢ Vc ? nw u~ ~ u 9m˙ w w Ó Ó tune poco- marc. ppp poco marc. 8/3 below Vl1 11/4 39 : 40 5/4 2/II 8/3 13/5 o 44 : 45 = 44¢ o o = 39¢ nO n‚ 4˙™ uw u˙ 9tw 9tw Cb ? 9m Ó nw ¢‹ sonore 3 5 : 4 sonore 84 853 4 ( w ca. 30 ) 2 w ca. 30 4 Time U / 56 : 57 Ó Ó tune above Ob. 7/2 3/1 12 : 13 13/4 = 31¢ 11 : 8 tune 5/2 10 : 11 +4 +32 = 139¢ (fourth plus quartertone) above Tbn. D# -37 = 165¢ +2 13 : 14 ˙ ‹ œ œ - U n˙™™ <9 ™ Picc ° *u ™ & nœ œbend™ down*<œ™ nœ un poco > poco- marc. - marc. poco espr. 4 : 5 -29 D# -16 13 : 12 14 : 13 tune 4/3 7 : 11 = -139¢ = -128¢ above Ob. +2 = 782¢ U˙ Cl - nœ- 4> m˙™ (A) & ‰-14 ‰ Œ poco marc. match Hrn. +33 tune 8/3 below Vlc. 3 : 10 (just major sixth plus an octave) 3 œ ˙ U 5>u >v Bsn ? Ó Ó Ó Ó Œ ˙ -32 ¢ 5>vpoco- marc. poco espr. -16 10 : 11 14 : 19 = 529¢ (slightly large fourth) = 165¢ tune to Tuba tune 5/2 tune 7/4 12 8 8 7 8 12 above Tba. 12 above Tba. Hrn ° ˙ U˙ œ ˙ w (F) & Œ nœ œ Œ ‰ nœ™ >v Ó Ó >v Œ Ó Ó Ó >v *v <*v˙ Fk poco- marc. F-k Fk Fh Fh ppp 3 Fh h Fk h h h h h k h h k h h h h 35 : 11 (“equal-tempered” minor sixth and an octave) 10 tune as 7/4 above Vlc. w œ 4 match Tba. 5 U Tbn ? B Œ Œ œ B 4.4 ppp =F 3.5 >opoco- marc. tune 5/2 95 : 92 below Hrn. = -56¢ 35 : 38 4 tune 7/4 below Hrn. 5 4 = 142¢ 7 : 10 8 Tba - U ˙- ? Ó œ Œ w Ó ˙ Ó Ó .v 6m *v >o 3 ¢ kk come ppp kh hh k kk k k h prima h k k h h k h k › Crot ° U & nw U Vibr #˙ & Ó Chimes U & Ó Ó U Gongs ? Ó Ó ¢ 4 ( w ca. 30 ) 2 w ca. 30 4 Time U / Ó Ó I I , #œ #œ ‹ bn ˙˙ & U nœ nœ nœ nœ 05v˙ U nœ nœ ˙ #œ & 4>o Pf nœ #œ Solo ? bœ # œ nnœ nœ #œ #œ , R #œ #œ nbœ n ˙ nœ nœ nœ bœ R #œ nœ F F F ? #œ ‹ #œ n˙ , #œ nœ #“œ Uw nœ nœ ˙ ? ‰ nœ ‰ Ó & Œ Ó Ó Œ Ó Œ Ó Kbd U 3 ? Œ Ó ‰ #œ ‰ Ó Ó ‰ ‰ Ó Ó Œ Ó nœ #œ #œ bœ #˙ #˙ nœ ˙ œ “ “ { tune with Vlc. note finger position same finger position, on III { 3 o Vln U n~ ‚ ° Ó J I & Ó Ó Ó ‰ Œ Ó Œ ˙ Œ (slightly lower than ˙ ppp 5>upoco- marc. previous A#) 5>upoco- marc. o ∏∏∏∏∏ Vln U nœ II Ó Ó Œ Ó 16 : 15 (diatonic semitone) & n ˙œ = -112¢ >vpoco marc. 57 : 56 = -31¢ - w~ * (slightly lower than tune with Vl1 previous C#) 32 : 33 = 53¢ w w U Vc ? Ó 5>v Ó Ó Ó 3 ppp 3 4/IV 225 : 224 o 14 : 3 = -8¢ Cb ? œ U Œ Ó Ó Ó Œ n‚ Œ ¢‹ -. œ poco>v marc. 85 N1 862 2 w ca. 30 3 2 w ca. 30 Time / Ó UÓ UÓ Ó tune 4/3 below Cl. ‹ +6 Picc ° U U & Ó Ó #œ Œ Ó Ó Ó 33 : 32 poco- marc. = -53¢ +2 bend down +2 +14 Ob d’A U U (A) w Ó Ó Œ Ó Œ œ Œ Ó Ó Ó & nœ ˙ Gb 5+49w nœ f +4 tune 4/3 above Picc. nœ œ Cl U U (A) & Ó Ó Ó Œ Œ Ó Ó Ó tune to Hrn. +2 23 : 12 (large major seventh) 45 : 46 = 38¢ match Ob., U = -1126¢ +14 tune 3/2 under Tba. œ >vœ w ˙ nœ Bsn - U ? Œ Œ 6nœ ‰ Œ o˙ Œ Ó Ó -24 J ¢ poco marc. 33 : 32 stop down = -53¢ to match Tbn. 8 10 12 8 ª 12 Hrn ° U U (F) w >vw n˙ ˙ Ó Ó >vw Ó Ó & >u w 5 Fh un poco espr. >v 3 3 h ppp tune below Fk Fk h h h 10 12 16 14 8 Tuba 4 k k 8 8 -53 10 14 7 1/1 7 match Vla. 10 7/4 9 œ œ U œΩ Ω ?o U Tbn B Ω 5v 5<œ œΩ Ó Ó & œΩ 5vœ o Œ Œ Œ Œ Œ œ œ ‰ Ó 5 œ 5uœ >o ™ 5o 5vœ œ œ >vœ libero, pocoº dolceº º B 6.5 >o >oF 3.5 º =B 4.4 B 5.5 35 : 33 from B 6.5, raise equivalent 16 : 15 = -102¢ = -112¢ F slide position by ca. 170¢ tune 7/1 below Hrn. 5 6 2 3 U n˙Ω ow œ™ U Tba ? Ó Ó Ó ‰ Ó kk ¢ k hh k k ˙ k k .vpoco marc. h º › Crot ° U U & Ó Ó Ó Ó nw Vibr U U & Ó Ó #˙ n˙ Chimes U U & Ó Ó Ó Ó U U Gongs ? Ó Ó Ó Ó ¢ N1 2 w ca. 30 3 2 w ca. 30 Time / Ó UÓ UÓ Ó ‹ & U r r ˙ n œ nœ nœ , n œ >T nœ r n œ n œ & nœ #œ nœ nœ Pf nœ #œ ˙ Solo , ? n œ n n ˙˙ n œ #˙ nœ nœ n˙ R R ? , U nœ #˙ ‹ R nœ n˙ nœ ˙ #œ R R nœ 4>o -. Œ nœ nœ U Œ nœ U n˙ ? n˙ ˙ nœ œ ? Ó Ó Ó Œ Ó & Œ Ó & n˙ n˙ 3 Kbd U 3 #˙™ #œ œ U ? Ó Œ n œ ˙ Ó ‰ Œ Ó Œ Ó n œ w w œ™ n˙ w n˙ “ 10/3 45 : 46 11/4 { = 38¢ 5/2 { bend 23 : 24 12/5 -o = 74¢ - - o - œ Vln nO n‚ n˙ ˙ n˙ ˙ o˙ uœ 4 ° U œ- ˙ n ˙ .v˙ n ˙ 3o U I & Ó Ó Ó Ó Ó Œ o o ™ Œ Ó .v Ó n ˙ Ó nœ nœ 3 ppp poco marc. preciso 3 3 o solo, poco f sonore match Vibr. tune 8/5 21 : 22 G# below Bsn. 7/6 = 81¢ Vln j U U j Œ Œ nœ œ œ œ II & Ó Ó Ó Œ ‰nœ œ o ™ oœ ˙ ˙ n˙ ˙ >v˙™ J Œ ‰ o 4>o nœ >u ˙ sonore 20 : 21 ‰ J 33 : 35 Œ >u = 84¢ = 102¢ un poco espr. I match 7/4 Vl1 match o Tbn. I n~ O™ œ- ˙ Vla U o Ó nw U B Ó Ó >o˙ ˙ Ó Ó o ppp sonore ppp U U >v˙ w ˙ 15 : 14 oœ w ˙™ Vc ? Ó Ó Ó = -119¢ Ó Œ Œ 3 o ppp o ppp o U U Cb ? Ó Ó Ó Ó ¢‹ 86 870 3 2 2 2 accel. Time / 15 : 14 64 : 65 +35 = -119¢ tune 3/2 above Ob. = 27¢ ‹ +4 +16 Picc ° w w ˙ ˙ ˙ & nw >v o Ó o ppp o o o +14 match Cl. Ob d’A f˙ w w œ (A) & Ó Œ Ó ppp +31 +14 match Ob. Cl f˙ ˙ ˙ w f˙ ˙ ˙ ˙ (A) & Ó g Ó ppp 3 o +27 5 : 4 tune 5/1 below Ob., Cl. Bsn ? gw w ¢ ppp 8 10 Hrn (F) ° ‰ j & œ >u˙™ Fh >v h come h prima 8 w keep position Tbn ? >o ppp 8 tune 3/2 above Bsn. 24 : 25 = 71¢ (chromatic semitone) 7 1 Tba ? gw w nœ hk ¢ k ppp kk h h ˙ h k > ™ h “ › Crot ° nw nw & ∏∏∏∏∏∏∏∏ nw Vibr nw & n w nw Chimes & Gongs ? ¢ 3 2 2 2 accel. Time / , #œ ˙ nœ n n ˙˙ ˙ ‹ 05v / & R ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ n˙ & , n ˙ , n ˙ Pf n ˙ Solo n˙ n˙ ? b˙ , nœ n ˙ n œ n ˙ #n ˙˙ , R ? n˙ ‹ #œ #œ (l.h. cross) R “-. n“w ˙ #œ n w ˙™ ? b˙™ Œ & Œ Ó Ó Œ nœ w Œ Kbd (r.h.) - nœ w ˙™ nœ. ? Œ Œ Ó Œ nœ w œ Œ Ó Ó Ó n œ w œ n# ˙ ˙ { #œ 18/7 II II { 3 - o ˙ ˙ ˙™ ‰ Ó - Vln ° >v nO n nO ‚ I & n˙ œ Œ nœ™ ~ Œ Ó Ó Œ Œ III o III o 7/6 6/5 Vln nw II œ Œ nœ Œ Œ Œ w & œ ˙ œ œ >o˙ Ó >v >v o 23/12 tune to Vlc., Vl2 III n˙ w o ‰ - ‰ o Vla > ˙ B Ó Ó Œ n‚ ~ O™ 6e n‚ O O o ppp poco marc. II o match Tbn. I I o ˙ w II 4/II o nO o ˙ >ow n o >o nw nw˙ ˙ o ~ Vc ? Ó Ó 5 n~ o poco- marc. ppp II o 8/IV o ‚o nO ~ o o ‚o n‚ < o o Cb ? n‚ u n‚™ ‚ Œ Ó & n~ Ó 879 3w ca. 50 2w ca. 30 3 2 Time / 39 : 40 match = 44¢ 8 : 15 3 Vlc. ˙ ‹ t ™ ˙ Picc ° w w ˙ w u & Ó 0v u Œ Ó C +42 3 -25 -16 o -14 tune below Picc.. 6/1 Ob d’A (A) Ó Œ & t˙ ˙™ -27 Cl (A) & n˙ ˙ w o ppp Bsn ? ¢ 20 : 27 = 520¢ (fourth plus comma) 12 5 9 Hrn ° œ œ (F) & ˙™ ˙™ >v Œ Ó w œ >vFh B>uh un poco espr. sostenuto h h h tune 5/4 h tune 5/4 above Tuba 9 10 11 below Tuba 8 7 - œ œ >vœ Tbn B œ >oœ >v ? ‰ oœ ‰ >o F 3.5 espr, sostenuto. 3 F 3.1 raise slide by 44 : 45 = 39¢ 12 9 8 9 3 4 - œ nœ œ >oœ Tba ? ‰ .v Œ >o kk >œ™ kk kh ¢ h - h k k espr., sostenutoœ k k h .vhh k k k k h › Crot ° & 3 ∏∏∏∏∏∏∏ Vibr nw & b˙ Ó Œ n w n˙ n˙ nœ nw nw Chimes & nw Gongs ? ¢ O1 3w ca. 50 2w ca. 30 3 2 Time / I I nœ ‹ n˙ n˙ & r r nœ #œ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ˙ r n˙ & :f nœ n ˙ nœ Pf Solo r nœ ? n˙ n˙ ˙ bœ nœ nœ nœ >T n˙ nœ nœ R ? , n˙ , ‹ nœ n˙ nœ nœ #œ #œ n˙ nœ #œ b˙ R R “ nœ nœ œ ? & Œ Œ Ó Œ ‰ J Œ Œ nœ Kbd nœ ? Ó Ó Œ Ó Œ ‰ n˙ ˙ ˙ j Ó n˙ ˙ #œ #œ w { “ “ “ o tune 5/1 above Bass { match Cb. n-O (like a high “G”) Vln n O I ° Ó Ó & uw w 3 ppp poco marc. o o 5uw I ppp II Vln nw˙ ˙ w II & < Ó n˙ w sonore ppp o 23/12 o match Vlc. I o slowly stop nw w nO IV and bend down Vla œ o B O™ Œ ‰ 6n ‰ n‚ ppp ‰ poco- ‰ ppp o o o marc. 5/I I -O O -‚ o ~ O u ~ ™ u ~ ~ nO™ ~ Vc ? Œ poco marc. sim. o o ppp tune 11/1 o o o o o below Vl2 Cb n‚ #‚ u‚ O u~ O uO ~ ? & Ó ¢ 3 ‹ ˙ w ‹ o 5ppp 88 ca. 30 889 3 3 3 U3 w Time Ó Ó Ó / 25 : 24 (chromatic semitone) = -71¢ +16 ‹ U3 Picc ° œ œ w w œ œ & Ó Œ u Œ Ó u Ó Ó Ó ‰ o ™ ™ ‰ -14 ppp 19 : 16 (“equal-tempered” minor third) o o = -297¢ 20 : 19 = -89¢ Ob d’A U mw w ˙ (A) & -14 *u Ó ppp -11 52 : 55 6 : 5 = 97¢ C# -3 U3 œ Cl nœ™ 11 tune to Tuba, Tbn. 9 10 8 match Tbn. U3 Hrn w w ° ˙ ˙ n˙ 4o (F) & o o Ó Ó Ó 3 Fk k k tune to Tuba, Hrn. 10 11 8 9 match Horn œ ˙ w w U3 œ œ nœ œ 4f Tbn B o o ? Ó Ó Ó B 5.9 3 F-comma-up fundamental: note position for b. 928 tune to Hrn., Tbn. 8 3 ow U Tba ? Ó Ó Ó kk ¢ k k k › U3 Crot ° & Ó Ó Ó n˙ #˙ U #˙ Vibr Ó Ó & 3 U3 Chimes & Ó Ó Ó nw #w U3 nw Gongs ? Ó Ó Ó ¢ ca. 30 3 3 3 U3 w Time / Ó Ó Ó ‹ bœI & R ˙ nœ U˙ 5 #œ *u R ? , ‹ 95m˙ bw ˙ U3 ? & Ó Ó Ó Ó Ó Ó Ó ‰ 3 3 Kbd nœ™ ‰ j #˙ w U3 b˙ nœ ˙ ˙ ? Œ ™ Ó Ó Ó Ó ‰ #œ™ { match Piano “C” 7/4 7/4 { keep hand position (like a high “D”) 3 o Vln U œ œ n‚ ° Ó w n >v ‚ ™ I & <5u Ó Œ II ‰ Œ w w sonoreo 5u sonore o o I o U Vln n‚ ~ ~ II & œ Œ Ó Ó Œ o ppp 2/1 below Tbn. U3 Vla B Ó Ó Ó 4f˙ w w 11 : 10 5/1 52 : 55 tune as “F#” = -165¢ = 97¢ 5/2 above Cb. U3 Vc ? w~ œ w ˙ o Œ Ó 94 9mw Ó Ó Ó sonore 3 ppp 65 : 66 = 26¢ tune 13/4 below Vla. U3 Cb ? n˙™ 94fœ w Ó Ó Ó ¢‹ o ppp 89 P1 ca. 20 ca. 30 898 3 U3 2w 4 w 2 Time / Ó Ó Ó +6 tune 4/3 below Cl. ‹ +18 Picc ° #˙™ U & Œ Ó ˙ ˙ Ó ˙ ˙ ppp o o ppp o o o o Ob d’A U (A) & Ó Ó n˙ w w œ Œ Ó nw w ˙™ Œ 3 ppp o ppp o +16 tune 4/3 above Picc. n˙ f˙ ˙ f˙ ˙ Cl tune to Vlc. 6 6 6 U3 5 4 Hrn ? (F) ° Ó Ó Ó j Ó Œ Ó & œ œ w w Fh o >vFh ™ ˙ >v k ppp h >u ™ ˙ h h >v U3 Tbn ? Ó Ó Ó U3 Tba ? Ó Ó Ó ¢ › U3 Crot ° & Ó Ó Ó Vibr U & #w U3 Chimes & Ó Ó Ó U3 Gongs ? Ó Ó Ó ¢ P1 ca. 20 ca. 30 3 U3 2w 4 w 2 Time / Ó Ó Ó -. #œ ‹ & n ˙ , #n ˙˙ n˙ & n˙ n˙ Pf n˙ Solo U #œ # ˙ ? 4>o˙ nœ b ˙ n ˙ n œ #˙ n˙ b˙ nbœœ -. , n ˙ R R bœ n œ ˙ R -. ;u I ? n œ ‹ #œ #œ n œ R -. -. U3 n˙ & Ó Ó Ó Œ nœ Kbd 3 U3 3 - -. -. ? . n˙ b# ˙˙ ww œœ Ó Œ n œ Ó Ó Ó Ó Œ bœ ˙ Ó Ó Œ n œ Ó Ó Ó Œ Ó n œ # œ ˙ #˙. n œ - ° I -. raise F# by “ -. { II 7/6 160 : 161 { = 11¢ 11/4 II - o Vln ~ ˙ œ U 3oœO ° Ó n>vO ‚ Œ Ó 3w Œ Œ Œ Œ Œ Ó I & 4 nœO O n˙ w w w ˙ ~ >vw™ œ ppp pocoo marc. 4 œ w œ ppp o bend open D and A pizz. 3 II arco by 35 : 36 = 49¢ N N o I 5 : 6 N I Vln nœ œ™ ˙ Ó nO U œ ≤ Ó J 9 < n˙ Ó Ó o Œ Œ nœ n˙ ˙ Ó II n˙ nœ n œ ˙ ˙ >o & 3 n œ 3 ∏∏∏∏∏∏∏ nœ >o ™ O ~ come œ >o ˙ ˙™ >o œ w prima 26 : 27 nœord. arco u o o = 65¢ o pizz. I 7 : 8 I N Uo = 231¢ match Vl2 nœ œ œ n~ ‚ Vla B Ó Œ 909 2 2 accel. 4 w ca. 40 3 Time / ‹ Picc ° & Ob d’A (A) & +18 match Vl2 Cl (A) & f˙ ˙ o ppp tune 3/2 above Vlc. +49 ˙ Bsn ? Ó >o ¢ o 3 3 Hrn (F) °? Ó Ó & >v˙ poco- marc. Tbn ? tune 5/1 below Vla. 1 Tba ? Œ hh ¢ k k ˙ w k 9 ™ “ppp › Crot ° & Vibr & nw Chimes & Gongs ? ¢ 2 2 accel. 4 w ca. 40 3 Time / ‹ nœ & r , nœ n˙ # œ n ˙ , n˙ n œ & n˙n ˙ bn œœ Pf Solo r , (sustain G and Ab) r n ˙ n˙ r ? bœ, r #œ , n ˙ bbœ˙ nn˙ bœ #œ n˙ , ? n˙ bœ ‹ ˙ #œ , R 9> nœ nœ R R n˙ # w ? n ˙ ˙ n w & Ó b˙ ˙ Ó & Ó n ˙ ˙ Kbd 3 n ˙ ™ œ n˙ nœ b w œ b ˙™ œ ? Ó Ó Œn ˙ b w œ Œ Ó Œ Œ Ó * n˙ ° * ° “ { 26 : 27 { tune 5/2 above Vlc. II = 65¢ Vln o I ° Ó n~ Œ 9O ™ ~ O Œ Ó & ˙ 9 ˙™ w œ >v o o o ppp 13/10 20 : 21 above Vla. = 84¢ 4 : 5 Vln j II Œ Ó gO Œ Ó Ó Œ ‰ & O œ œ ow œ g poco- marc. gun poco espr. 96 : 95 II 26 : 25 = -18¢ III 5/3 tune 5/1 above Cb. tune 5/1 above Tba. 9/5 j III = -68¢ Vla ˙ ˙ ˙- nœ ‰ Œ nwœ n˙ ˙ Ó œ ˙ B >o /> œ œ Ó 3v˙ Œ Œ 9 Ó > 3>v ‰ J ™™ Ó ˙ w w ˙ ˙ œ 3 J osonore oppp 9m ™ ™ o un poco espr. 24 : 23 24 : 23 o o = -74¢ = -74¢ 35 : 36 = 49¢ tune 5/2 below Vl1 8 : 15 nw Vc ? n w w Ó ˙ w w w poco >o marc. o 15 : 14 10 : 9 9 : 4 tune 3/1 below Vlc. = -119¢ = -182¢ tune 5/1 below Vla. Cb ? Ó >v˙ ˙ Œ Ó Œ Œ Œ Ó ¢‹ 3 w œ ˙™ ˙ w œ o >ppp f g ™ gppp 91 Q1 920 2 3w ca. 12 3w ca. 20 4 w ca. 30 Time / +22 œ. +4 6 : 13 ‹ o nœ. ˙ n˙ œ Picc ° J ‰ Œ Ó J ‰ Œ Ó Ó 0u Œ j ‰Œ Ó Ó Ó J ‰ Œ Ó & u˙ œA +27 uœ 3 poco marc. -12 º o +4 Ob d’A (A) & Œ n˙™ w ppp +20 +16 Cl w (A) & w w ˙™™ ‰ o Ó Œ f˙ ˙™ +33 tune to Hrn., Tbn. F -49 tune 7/3 below Cl. +14 +2 nœ w œ n˙ ˙ >vw Bsn ? œ Ó >o˙ w œ o Ó Ó Œ Œ Ó ¢ ppp ppp 27 : 28 o o = 63¢ 6 7 13 13 5 8 7 3 9 Hrn 0o˙ ° 0o˙™ (F) Ó Ó › Crot ° & Vibr nw & Chimes & Gongs ? nw ¢ Q1 2 3w ca. 12 3w ca. 20 4 w ca. 30 Time / nœ bœ #œ ‹ nœ #œ & -. , #˙ nœ #œ nœ bœ 05v˙ & R Pf Solo , , nbœ b œ , #œ ? n˙ nœ nœ nœ n˙ n˙ nœ n˙ , nœ #œ F ? bœ nœbœ nœ ‹ R R #œ R -. #“œ ˙ #œ-. #˙ ˙ ? nœ w & Ó Œ & Œ Ó Ó Ó Ó Œ Ó Kbd ? #˙ Ó Œ ‰ j j j Ó Ó Ó Ó bœ nœ n˙ œ #œ ˙ w n˙ ˙ 3 * “ ™™ ™ “ (like a 5/II 40 : 39 15 : 14 91 : 90 10 : 11 { = -44¢ = -119¢ high “Cb”) = -19¢ = 165¢ Vln o - - - + 0vO O 0 Vla Œ :gœ œ B Œ Ó Œ oœ ˙ Ó œ œ >:gœ o o poco marc.- o ppp 36 : 35 14 : 15 tune 5/1 35 : 36 tune 9/4 below Vl2 above Cb. - = -49¢ = 119¢ = 49¢ >vœ uœ ˙ nœ ˙ œ ˙ œ Vc ? Ó Œ Ó Œ Ó Ó Œ Ó >u .v poco marc. o ppp o tune 5/1 14 : 15 tune 5/1 4/III 5 : 1 below Vlc. = 119¢ below Vlc. o Cb ? Œ nO™ Ó Œ Ó Œ ¢ œ ˙ œ ˙ ‹ o o ppp >v o 92 930 2 3w ca. 20 3 Time / 6 : 13 +49 +2 ‹ 0œ œ - - Picc ° j j 4 n˙ nœ & ‰nœ ‰nœ nw Œ Œ ‰ J ppp 3 poco marc. Bb +39 6 : 11 match Cl. 3 8 : 11 +36 +14 Ob d’A œ (A) n˙ w ‰ 4m ™ œ bœ œ Œ Ó & -16m m -4 f un poco espr. 5 : 4 5 : 6 +14 5 : 4 Cl j (A) Ó Œ nœ w ˙™ ‰ ‰ j Œ & mœ ˙™ nœ f˙™ o un poco espr. -16 -2 24 : 25 +12 match Vla. = 71¢ n˙- ˙- œ- œ Bsn B ™ t f ? Œ -29 Œ Œ Ó ¢ un poco marc. 125 : 128 = 41¢ (minor diesis) Hrn ° (F) & œ Œ Ó tune to 33 : 32 7/6 below Vlc. 12 12 99 : 98 8 Tuba = -53¢ = -18¢ 14 : 9 5 slide position difference of 384 : 385 = 5¢ 4 4 œ ˙™ (narrow œ w œ n˙ Tbn ? 5 minor œΩ B 5 Œ Ó Œ sixth) 5>vJ ‰ Œ Ó Œ Œ nœ 5œ F 2.5 F 2 ppp F 2 11 : 10 F 2 F 2.5 = -165¢ tune 13/4 4 4 5 6 3 2 below Tbn. Tba ? j ‰ ‰ Œ ‰ Ó œ ‰ Œ Ó Ó Ó nœΩ Œ Ó 9˙ j j j o 5˙ w ¢ kk 3 kh hk ppp œ œ œ kº hk k h .vhh >okh >o k ko h k k k º º º h k h h k k h h k › Crot ° & Vibr & Ó n˙ Chimes & Gongs ? ¢ 2 3w ca. 20 3 Time / ‹ & nœ , #œ I b˙ b˙ Rr r , & #œ n œ nœ nœ , n˙ Pf b˙ ,n˙ Solo , n œ n˙ , #œ nœ nœ n˙ ? b œ nœ R R R #˙ bœ nœ n œ n œ ? #œ ‹ nœ nœ nœ nœ R nœ nœ -. R nœ w - ? n˙ nœ. Ó Ó b˙ œ Œ Ó Ó Œ ‰ Œ Ó & & bœ n˙™™ nœ Kbd 3 -. -. 3 n˙ ? bn œ Œ Ó Ó Œ Œ Ó Ó j ‰ Œ #œ œ n˙ œ n˙ n˙ #˙ ˙™ -. ™ n˙ nœ œ ° * “ 8/5 “ tune to Tba.,Tbn. 11/4 { 121 : 120 3 { = -14¢ j o œ ‰ œ œ n Vln ˙ Ó ˙ 4fœ 4f ~ ° 4o˙ œ 5vœ/5 ™ 4 I & Ó Œ Ó Ó Œ Ó Ó Œ ‰ J Œ Ó 18 : 19 n˙ ˙ ppp o = 94¢ sonore o I 13/2 8/5 nOo ‚ 3 Vln ™ 0 œ™ nw œ Œ Ó Œ ˙O Œ Ó Œ Œ œ oœ j Ó II & 0 f œ nw sonore nœ œ J o- o 3 ‰ ‰ 5/4 8/5 6/5 27/22 5/4 6/5 26 : 25 tune 7/2 above Cb. - = -68¢ o˙ Ó œ œ oœ Vla Ó n˙ ˙ 5u˙ t˙ nœ n fœ fœ œ B Ó Œ œ w nœ Œ n˙™ u ™ u u o o Ó o Œ Œ nœ nœ o solo, espr. sonore (come prima) o match 32 : 33 99 : 98 Tuba I (like a = 53¢ = -18¢ o high “G”) - - œ œ œ nO™ + œ. nœ. Vc ? Œ Ó Ó Œ 5 ‰ ‰ 5 Œ Œ nœ 5u˙ poco marc. tune 7/2 5 : 8 below Vla. pizz. 8 : 11 match Vl1 Cb ? 4˙ Ó Œ >oœ œ Œ Ó Ó n˙ Ó ¢‹ o poco f 93 R1 940 4 w ca. 30 4 4 Time / tune 2/1 above Vlc. œ u uœ ˙™ ‹ œ nw œ n˙™™ Picc ° Œ Ó Ó Œ nœ u J ‰ Œ Œ Œ nœ Œ & 3 ™ ppp un poco espr. -16 -12 tune below Bsn. 4/3 11/8 4/3 2 : 5 Ob d’A +16 +31 (A) & ˙ f ™ >œ w 48 : 49 224 : 225 = 36¢ tune below Bsn. = 8¢ 7/6 8/7 9 : 8 +27 5/4 11/9 3 = -204¢ Cl +35 F -38 (A) & Œ ˙ ˙ nw g ™ ™ >œ .˙ 63 : 64 -2 = 27¢ +14 tune above Cl. 11/9 7/6 tune 11/2 11 : 12 5/4 F -18 +29 below Picc. 8 : 11 ˙ ˙ = 151¢ Bsn B o ™ ™ 4>œ >˙™™ nœ œ 5˙ ˙ Œ J Œ Ó ÓEb +49 Ó ¢ 56 : 55 33 : 32 ppp un poco espr. = -31¢ = -53¢ -2 6 Hrn ° (F) & w Fk o k ppp k œ 4 Tbn B Œ Ó ? Ó Œ nœ ˙ Ó 14 : 13 tune below F 2 = -128¢ Vlc., Picc 8 6 Tba ? œ w w œ ˙ ˙™ 9 >v ™ hk ¢ h h k › Crot ° & Vibr & n˙ n˙ Chimes & Gongs ? Ó n˙ Ó ¢ 3 R1 4 w ca. 30 4 4 Time / , -. #œ n˙ nœ ‹ & n˙ , nœ n˙ , #œ , ˙ R , #œ n b˙˙ & n˙ / nœ nœ Pf Solo ? n œ , n œ ##˙˙ , , nœ nœ nœ ˙ #œ -. 9> ? b˙ , ‹ n˙ nœ n˙ , nœ R -. - n œ Œ n“œ. “- n˙ w w w n ˙ œ - œ. #œ. -. J #œ j & Ó Ó Œ Ó Ó Œ Œ ‰ J ‰nœ ‰ Ó Œ -. Kbd ˙™ 3 3 3 ? Œ Ó Œ n œ w ˙ Œ #œ ˙ Ó Ó n œ # œ b˙ w -. nw n˙ n˙ w tune 8/3 n˙ { above Vla. 5/I “ 39 : 40 7/II ‚ = 44¢ ˙ o { 9m Vln u~ œ- ° < I & Œ Ó Ó Œ Ó ppp o poco marc. tune 11/7 II ˙ ˙ 3 : 1 above Vlc. Vln ˙ o >u j g˙ n‚ ‚ II & Ó Œ ‰ œ o œ Ó Ó Œ Œ n˙ Ó Ó ˙ w o ∏∏∏∏∏∏∏∏∏ oœ Œ ppp sonore ppp >u ppp g sonore o o 11/5 tune 3/1 tune 2/1 above Vlc. 5/II o above Vlc. n‚ O o Œ 5uw 9m˙™ m‚ O ˙ Vla B 5u ™ Œ Ó Œ Ó Œ ppp o ppp sonore o tune 2/1 tune 3/2 39 : 40 below Vla. I I I below Vla. = 44¢ o o o fingered step is 11 : 10 = 165¢ œ-. n~ nO nO ~ œ w w Vc ? Œ9m Ó Ó Ó Ó Œ 5u poco marc. ppp ppp o o o o tune 7/2 match Vl2 belowVlc. (pizz.) arco Cb ? >uœ Œ Ó Ó Ó 5>u˙ w ¢‹ 33 : 32 3 = -53¢ o ppp 94 952 3 2 2 2 Time / 14 : 15 13 : 14 = 119¢ = 128¢ 3 take Alto Flute ‹ +19 +48 Picc ° ˙ Ó & >uw w 9m >u˙ ppp +17 tune to Picc. Ob d’A ˙ w (A) & Ó >u Ó Œ œ 224 : 225 ppp >upoco-. marc. = 8¢ tune above Vlc. 15 : 16 (diatonic semitone) 7/3 5/2 = 112¢ 3 +14 Cl +2 Œ Ó (A) & Ó b˙ œ -6 >tœ w >mpoco. marc. un poco espr. - Bsn B ¢ Hrn ° (F) & Tbn ? Tba ? ¢ › Crot ° & #w nw Vibr Ó & b˙ Chimes & Ó b˙ n˙ Gongs ? Ó ¢ 3 2 2 2 Time / - -. r . nœ nn œœ ‹ bœ & nœ #œfij #œ -. 94m˙ -. ˙ n œ nœ & >t b˙ n œ b œ Pf n˙ Ω Solo r -. -. bœ ˙ j ? :f nœ bœfi ˙ n#œœ nœ :f -. (long sustain of G# and C#) , ? ˙ , nœ >t #n ˙œ ‹ bœ R #˙ -. R “≈ r “ n“œ nœ ˙ bw w w nw œ nœ J J & Ó Œ ‰ ‰ Œ Ó Ó Œ ‰ J Ó Kbd -. # ˙ ≈ j ≈ ? nœ bœ œ n ˙ bœ nœ ? nœ Œ Ó Ó Œ ‰ ‰ ™ Ó & Ó Œ J -. #œ J ‰ { “ { IV 5/3 Vln o I ° Ó Ó ˙ & n˙ ˙ ˙ nO ~ ˙ m˙ n ˙ ˙ ˙ nm˙ ppp ppp sonore o o o 13 : 12 5/2 tune 5/2 tune 3/1 above Vlc. above Cb. 24 : 25 = -139¢ 3 3 Vln = 71¢ II Ó Œ Ó Ó Œ Œ Œ Œ Ó w & ˙ ˙ ˙ œ w œ ˙ œ œ œ m œ >o˙ ˙ ˙ >u ppp 9>u >upoco- marc. >u- n˙ sonore >u- >o o ™ Œ poco 25 : 24 o ppp o marc. = -71¢ 15 : 16 ˙ - 7/5 5/3 ˙ = 112¢ 5 uœO Vla u ˙ B Ó Ó Ó ‰ j n˙ m˙ ppp > œ ˙ 5/I pcoo marc.u sonore II I bend very slightly down tune 7/4 tune 3/1 below Vl2 5/III o 3 by 81 : 80 = 21¢ below Vl1 -o 2/III - 3 ‚ o n‚ nw ˙ w ˙ u ™ o ‚ Vc ? >o > nO™ m Ó Œ Ó ˙ w Ó ‰ poco marc. Ó II- > >u˙ pppw poco marc. f, libero 10 : 11 = 165¢ tune 7/2 below Vl1 F# minor seventh match Vlc. septimally raised Cb ? > ˙ Ó Œ >œ ˙™ Œ u Œ w >uœ ¢‹ > 95 961 4 poco a poco accel. 3 3w ca. 40 ritenuto Time / Alto Fl ° (G) & 20 : 21 = 84¢ +2 tune to Bsn. Ob d’A (A) & Ó Œ nœ ppp 20 : 21 = 84¢ Cl (A) & n˙ Bsn B Ó ¢ ppp 5 10 6 8 Hrn ° j œ nœ (F) & ‰ œ u Œ nœ J u BJk un poco espr. h Bk Fh k h h k k Tbn ? Tba ? ¢ › Crot ° & #w Vibr & Chimes & Gongs ? ¢ 4 poco a poco accel. 3 3w ca. 40 ritenuto Time / - - - . . j . #œ #œ -. -. #œfi ˙ #œ ‹ nœ nœ #œ 94m & -. -. j #œfi ˙ #œ nœ nœ -. - 4>o - -. -. , - . . nœ n œ #˙ . nœ & #œ nœ b œ #œ Pf Solo -. - -. nœ n˙ ? . n ˙ n œ nœ nœ n œ #œ F F ? , n˙ , , #œ ‹ nœ nœ n˙ #œ nœ , . . -. - -. -. - “ 3 “-. -. #œ ‰ nœ w w #œ #œ - -. nœ™ nw w n˙ ˙ nœ. #œ™ ˙ w Ó J n œ J nœ & Ó Œ b œ Œ Ó Œ ≈ Œ ‰ ‰ Œ Kbd 3 -. -. ? n œ nœ Œ Ó Œ Ó Ó Ó n œ Œ Œ Ó Ó nœ #œ nw œ #œ. -. nœ. n˙ ˙ - “ - { arco 7/4 13/8 pizz. I III II { 3 o - - n‚ o Vln ° n˙ ~ nOo œ Ó ∏∏∏∏∏∏∏∏ nœ ∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏ nœ ˙ Œ Œ Œ n œ Œ Ó poco f 9 sonore n˙ n œ nœ œ 9˙ poco port. poco port. 6/5 6/5 3/2 5/3 3 3 - pizz. - - 9/8 5/4 4/3 œ - - Œ m˙ œ 4 n˙ w ˙ 9mw ˙ Vla ˙ 9 9w 9 w ˙ ˙ œ n œ nœ u u ˙ w w t˙™ u B Œ Œ Œ Ó 9 9 Œ 9œ 9 w uw u w ˙ nœ ∏∏∏∏∏∏ n œ nœ sonore 26 : 27 26 : 27 poco f = 65¢ = 65¢ 64 : 65 harm. glide 11/III 5/I ad lib. 6/III = 27¢ 5/II 6/III o o n o ‚ œ ‚™ ‚ O ~ u ™ nœ™ O o ‚o ‚ o 4 u ~ Vc ? n‚ u n‚™ ? & J ‰ Œ 13/4 2/II 5/II - III o o n‚ u‚™ Œ 0v˙™ o Cb ? J n~ Ó nw ¢‹ poco f sonore ppp 96 S1 971 2w ca. 15 4 w ca. 30 2w ca. 18 Time / +11 tune 7/2 above Hrn. tune to Cl., Ob. -. œ œ œ- +16 /fœ 5 28 : 27 +37 9 : 10 = 182¢ ˙ - = -63¢ - Bsn B ?nœ ˙ œ. Œ ‰ J Ó ‰ >vJ Œ Ó ¢ poco marc. 352 : 351 = 5¢ 11 11 11 10 9 10 9 4 tune as 11th partial of Tuba 10 Hrn œ 4˙ 4œ nœ - ° œ#œ u 4oœ #œ™ 49w (F) ‰ j J ‰ Ó Ó J u˙™ Œ & 3 nœ Bh Bk Bk Fk poco marc. k k h h h k k k 13 tune to Tuba bend down 5 2 2 nœ œ 5 slightly 2 Tbn ? nœ œ B J ? Ó Œ ‰ J Ó Ó 9m˙™ Œ ‰ j Ó œ 39 : 40 œ œ B 5.9 poco marc. o B 5.4 9poco™ espr. <9poco marc. -. = 44¢ -. 64 : 63 B 5.7 = -27¢ tune to Tbn. 3 3 Tba ? kh w ˙ ˙ w ¢ k oppp 9 k hk h k k h +5 › #w 3 Crot ° & Ó nw nw Vibr Ó & 3 nw Chimes Ó & n˙ nw Gongs ? nw ¢ nw S1 2w ca. 15 4 w ca. 30 2w ca. 18 Time / -. bœ ‹ & -. #œ n˙ n˙ n˙ #˙ nœ -. -. & nœ Pf nœ Solo , j , ? nœfi ˙ nœ , , #œ 5 ˙ o o Vln nO O™ n‚ O™ 4˙ œ Œ Ó Ó II & œ Œ Œ o ppp o ppp II o o nO nO™ ~ O Vla B Œ Ó bend up o ppp slightly tune 9/5 below Hrn. bend up slightly II œ™ œ™ I Œ Vc ? 4m nœ œ n˙ ‰ J nœ 3oœ n˙ ˙ Ó Ó 54 : 55 = 32¢ 45 : 46 ppp o = 38¢ 5/IV 4/III tune 7/2 11 : 2 below Vlc. o -o Cb ? Ó Ó Œ Ó n‚. >œ ¢ u‚ . ‹ -. œ 15 : 16 5œ - poco marc.5u-. = 112¢ -. 97 979 3w ca. 24 3 1 Time √ / Alto Fl ° √ (G) & Ob d’A √ (A) & bend slightly down and back tune to Bsn., Tuba 15 : 8 (just major seventh) +2 +20 +32 Cl 3 nœ ˙ √ (A) & nœ n˙ :> Ó 4>u˙ un poco espr. :>fœ ˙ 56 : 55 84 : 85 = -31¢ = 20¢ +19 tune to Tuba, Vlc. ˙™ √ Bsn ? >u Œ ¢ ppp tune 7/1 above Tba. 9 11 5 Hrn ° -. œ w √ (F) & Œ Ó Ó nœ 4 œ Fk u . k - h Tbn ? √ tune 7/1 below Hrn. 135 : 128 = -92¢ 1- 1+ 3 √ Tba ? Ó Ó Ó kh kh ¢ k h k w ˙ k ˙ w w h >u h > +8 -9 “ “o ppp › nw Crot ° nw √ & Ó 3 o #√w Vibr & o Chimes √ & Ó n˙ o nw nw √ Gongs ? nw nw nw ¢ o 3w ca. 24 3 1 Time √ / -. -. -. bœ nœ nœ ‹ & - √ . #œfij #œ -. #œ 4>o˙ & nœ Pf pppp Solo -. ? nœ ? nœ bœ , nœ n˙ n˙ ‹ -. nœ nœ n˙ nœ nœ #˙ n˙ -. . bœ o -. - -. very delicately ! -. n“œ™ nœ #œ #√˙™ ? -. & ‰ Ó Œ n˙ & pppp Kbd hold until all else fades, then cut 3 √ ? Ó Ó nw œ Œ Ó Ó n˙ ˙ b˙ n˙ n˙ #˙ w w Ó Ó . bœ Ó { 3 - -. “ “ “ 84 : 85 like a { = 20¢ bend down low “A#”, match Vla. -. nO :>O nO 4>O √~ Vln n œ :> ˙ n œ 4> ˙ w I ° Œ Ó Ó & 3 3 poco marc. o ppp o 17/4 (“equal-tempered minor ninth) - 2/3/5 (just major chord) tune 5/2 above Vla. Vln ˙ œ w :f ™ :f ˙ ™ √w II Ó Œ Œ 4>u like a & 4> ˙ low “D#” Ó ∏∏∏∏∏∏ œ nœ ˙ 4> nœ11/7 sonore ppp like a sonore o low “D#” 6/1 o 7/6 11/7 4>˙O Vla B Œ Ó Œ ˙ 4> ˙ √w œ n˙ nœ 4>˙ >poco- f > sonore ppp o tune 9/4 III 14 : 15 = 119¢ above Cb. ˙™ ˙™ o √ Vc ? >u Œ >u Œ Ó Ó nO ~ ppp o 3 o ppp o tune 9/4 tune 7/2 3 : 5 below Vlc. below Vlc. 3 Cb ? >u˙™ √ Ó œ Œ Œ Ó Ó ˙ w w ¢‹ >-. o > o poco f ppp o Berlin, 30 August 2012 /corrected 26 November 2012