ECHOING SPIRITS: A COMPOSITION FOR SHAKUHACHI, 21-STRING KOTO, AND ORCHESTRA
A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY IN MUSIC
IN
COMPOSITION
MAY 2021
By
William Watson
Dissertation Committee:
Chairperson, Donald Womack Thomas Osborne Takuma Itoh Kate McQuiston Mark Merlin TABLE OF CONTENTS
• List of Tables……….…………………………………………………………………………iii
• List of Examples.……….……….……….……….……….……….……….….….….….……iv
• Note on Japanese Names and Terms…….……….……………………………………………vi
• Introduction…………………………………………………………………………………….1
• Motivation Behind the Instrumentation………………………………………………………..2
• Precedents………….……….…………….……………………………………………………4
• Cross-cultural Compositional Strategies…………….…………………………………………7
• Extramusical Ideas………………………………………………………………………….12
• Formal Application of Jo Ha Kyū……………………………………………………….…15
• Analysis of Echoing Spirits………………….………………………………………………..16
• Form………………………………………………………………………………………..16
• Harmonic Language………………………………………………………………………..29
• Orchestration……………………………………………………………………………….40
• Conclusion…………………………………………………………………………………….45
• Bibliography…………………………………………………………………………………..46
"ii LIST OF TABLES
Table 1. Dominant Jo Ha Kyū in Kodama……………………………………………………….18
Table 2. Subordinate Jo Ha Kyū within the Jo Phase of Kodama……………………………….18
Table 3: Subordinate Jo Ha Kyū within the Ha Phase of Kodama………………………………19
Table 4: Dominant Jo Ha Kyū in Kappa…………………………………………………………20
Table 5. Cyclic Structure of Kappa………………………………………………………………23
Table 6. Golden Ratio of Kappa…………………………………………………………………24
Table 7. Jo Ha Kyū in Usutsuki Warashi….……..………………………………………………24
Table 8. Ternary Form in Yamabiko…….….…….………………………………………………29
"iii LIST OF EXAMPLES
Example 1. Child Theme……………………………………………………………………….21
Example 2. Water Theme……………………………………………………………………….21
Example 3. Kappa Theme………………………………………………………………………22
Example 4. Kappa Theme Reiterations…………………………………………………………22
Example 5. Kyū in the Shakuhachi…….………………………………………………………..25
Example 6. Kyū in the Koto and Strings…….…….….…………………………………………25
Example 7. Kyū in the Bassoons…….……….…….……………………………………………26
Example 8. Kyū in the Flutes….….………..…….………….……….…….……………………26
Example 9. Kyū in the Temple Block……….……………..……………..……………..………26
Example 10. Koto Theme in Usutsuki Warashi……………..………………..…………………27
Example 11. Variations on String Gestures in Usutsuki Warashi………………………..………27
Example 12. Koto Theme Development in Usutsuki Warashi………….……………………….27
Example 13. Shakuhachi Theme Development in Usutsuki Warashi……………………………27
Example 14. Initial Koto Tuning…….…………………………………………………………..30
Example 15. Nijūkumoijōshi Tuning ..….……………………………………………………….31
Example 16. Nijūkumoijōshi Melody in the Koto……………………………………………….31
Example 17. Shakuhachi Phrase in Kodama…………………………………………………….31
Example 18. Child Theme……………………………………………………………………….33
Example 19. Akatonbo Melody………………………………………………………………….33
Example 20. Kappa Theme in the Cellos………………………………………………………..34
Example 21. Intervalic Pattern in Shakuhachi Melody………………………………………….35
iv" LIST OF EXAMPLES
Example 22. (026) Trichord in Koto Melody……………………………………………………35
Example 23. Moving Quarter-tone Drone……………………………………………………….36
Example 24. Rapid Bowing Behind the Bridge…………………………………………………36
Example 25. Microtonal Cluster and Glissandi………………………………………………….37
Example 26. Overlapping Nijūkumoijōshi Subsets………………………………………………37
Example 27. Meter and Quartal Harmony in Usutsuki Warashi…………………………………38
"v NOTE ON JAPANESE NAMES AND TERMS
Throughout this dissertation, Japanese proper names are ordered given name first and family name second (i.e., Minoru Miki). Japanese words and place names that appear in standard English-language dictionaries are written in Roman script without macrons (e.g.,
Kyoto). Other Japanese words are written with macrons to denote long vowels (e.g., ryūkaku).
vi" INTRODUCTION
Echoing Spirits is a composition for shakuhachi, 21-string koto, and Western orchestra.
The purpose of this paper is to offer a detailed view of the musical work. The paper is comprised of two parts. The first part addresses the reasons for my choice of instrumentation, compositions that influenced my piece, and my compositional strategies for integrating Japanese and Western musical resources. These strategies include integration of the following: the extramusical idea of yōkai, the Japanese and Western instruments, Japanese aesthetic and formal system jo ha kyū.
The second part of the paper is an analysis of the composition, consisting of the formal structures
I used to lay the foundations of the piece, the melodic and harmonic language, and orchestration choices.
"1 MOTIVATION BEHIND THE SOLO INSTRUMENTS
The choice to highlight the traditional Japanese instruments, shakuhachi and koto, stems from living in Hawai‘i and studying at the University of Hawai‘i at Mānoa from 2011 to 2021.
The University has exposed me to the music and culture of several countries, and provided an extraordinary opportunity of hands-on learning with ensembles, as well as guidance from professors and guest performers. The composition area in the Music Department frequently arranges masterclasses and residency programs with musicians and ensembles from Japan, Korea and China. I have had my compositions for traditional East Asian instruments workshopped by ensembles such as Pro Musica Nipponia, Kyo Shin An, members of the National Gugak Center
Orchestra, and Chinese Music Virtuosi. I have studied the fundamentals of how to play and compose for a number of East Asian instruments, and have focused on shakuhachi as my primary instrument. I was able to test my ideas, receive feedback and solutions for the problems I encountered in the music, and establish connections with professional collaborators of intercultural music.
For the past six years I have studied shakuhachi under Reverend Thomas Okano of the
Honpa Hongwanji Mission of Hawai‘i. The majority of my studies are dedicated to works from the Tozan Ryū, the shakuhachi school founded by Nakao Tozan. During my studies with Okano- sensei I participated in masterclasses and private tutoring with his own sensei, shakuhachi master, Miyoshi Genzan, as well as one of Okano’s early pupils, John Neptune.
I frequently perform traditional and contemporary works with the University of Hawai‘i’s koto instructor, Darin Miyashiro of the Sawai Koto Academy, and the Hawai‘i Koto Academy, and I perform student compositions on the University’s Composer Symposiums and recitals.
"2 In May of 2019 I was invited to Chiba, Japan for a modest premiere of one of my works,
(Forest of Echoes), for shakuhachi, 13-string koto, and 17-string koto. During my visit
I participated in rehearsals with the performers from the Dolce Hogaku Ensemble, under the leadership of shakuhachi master, Seizan Sakata, who also played the shakuhachi part in the piece. This opportunity provided me with further exposure to Japanese music traditions and cultural exchange essential to my research for this dissertation.
"3 Precedents
Because one of my primary objectives for Echoing Spirits was to integrate traditional
Japanese instruments and aesthetics with the Western orchestra, I looked to several works that have contributed to the expansion of such intercultural exchange for inspiration.
One of the first compositions for shakuhachi by a Western composer is Henry Cowell’s
Universal Flute. In this work Cowell imitates traditional shakuhachi pieces (honkyoku) by exploring traditional techniques such as yuri (ornamental vibrato achieved by shaking the head) meri-kari (lowering and raising pitches by altering the embouchure and head position), and the finger articulations yuru and utsu. The pitch material focuses on the five basic pitches of the 1.8 shakuhachi (D F G A C), as well as Bb that is produced by half-hole technique. Cowell also wrote two concertos for koto and Western orchestra, Concerto No. 1 for Koto and Orchestra
(1962), and Concerto No. 2 for Koto and Orchestra (1965). Cowell’s syncretic approach in these concertos includes a melodic-harmonic language that often employs hemitonic-pentatonic collections used in traditional koto tunings and cluster chords that imitate the shō in gagaku.1
John Cage, a student of Cowell, was inspired by Zen Buddhist philosophy which led to his use of indeterminacy and chance procedures. Although there are no specific works of Cage that inspired Echoing Spirits, I mention the composer here because he is a link to the inspiration of pieces by Toru Takemitsu that include Japanese and Western instruments, such as the landmark composition, November Steps (1967).
November Steps for shakuhachi, biwa, and Western orchestra, was the first piece I encountered and was affected by that incorporates Japanese and Western instruments.
1. Peter John Schimpf, “A Transcultural Student, Teacher, and Composer: Henry Cowell and the Music of the World's Peoples.” (PhD diss., Indiana University, 2006), 268-275.
"4 In November Steps, Takemitsu juxtaposes the sound worlds of these cultures to emphasize the differences between the two traditions. Takemitsu reflects these differences by writing the orchestra parts in metrical Western notation, while the Japanese instruments are in proportional notation. While there are a few instances where the two sound worlds overlap, the orchestra is largely absent from the musical dialogue between the soloists.
Minoru Miki’s Eurasion Trilogy (Ho-o sanren) consists of three pieces, Jo no Kyoku
(1969), Ha no Kyoku (1974) and Kyū no Kyoku (1981), and uses the combination of Japanese and Western instruments. Jō no Kyoku is a prelude for Shakuhachi, Koto, and Strings, and is one of the first pieces to incorporate the 20-string koto. Ha no Kyoku, also referred to as Koto
Concerto No. 1, features the 21-string koto as the solo instrument. Kyū no Kyoku, subtitled
Symphony for Two Worlds, expands the instrumentation for Japanese instruments considerably to include shinobue (horizontal flute), 4-6 shakuhachi, 2 shamisen (3-stringed lute), biwa, 2-3 21- string koto, and 2-3 bass koto (17-string koto) with Western orchestra. In contrast to Takemitsu’s methods, Miki’s approach emphasizes commonalities in both traditional Japanese music and
Western atonal traditions, such as motivic cell variation, nuclear tones, modulation, and cluster tones. Miki also blends Western formal structures (prelude, concerto, symphony) with the
Japanese performing arts structure of jo ha kyū.2
Miki’s compositions were introduced to me by composers Donald Womack and Marty
Regan. Their works stimulated my interest in learning to compose for Japanese instruments, and my decision to further my academic studies at the University of Hawai'i. Perhaps the most
2. Serena Yang, “Mode and Atonality in Japanese Music: Pitch Structure in Minoru Miki’s Jo No Kyoku,” Music Research Forum 30 (2015): 23-44.
"5 influential pieces for Echoing Spirits, are Womack’s After, for shakuhachi, 21-string koto, and orchestra, and Regan’s Concerto for Shakuhachi, 21-String Koto and Orchestra.
Similar to Miki’s approach, Womack and Regan integrate Japanese and Western instruments within their compositions. Both composers create a balance between multiple cadenzas for the Japanese solo instruments and their interaction with the orchestra. The melodic and harmonic language in both pieces incorporate Japanese pitch collections inherent to traditional koto tunings and Japanese modal theory, combined with postmodern Western musical resources.
The lack of interaction between the Japanese and Western instruments in November Steps allowed me to focus on the capabilities of the solo instruments outside of their traditional context. This separation also enabled observe the commonalities and dissimilarities between the two, and to freely imagine how I might integrate the two in my own compositions. In Echoing
Spirits, I attempted to obscure the boundaries of these two sound worlds and traditions and to present them as one cohesive entity. Stirred by Miki’s usage of jo ha kyū, I applied the concept to the overarching structure, sections and subsections within movements, and smaller components, such as themes and phrases. Echoing Spirits emphasizes pitch collections comparable to
Womack’s and Regan’s.
"6 Cross-cultural Compositional Strategies
During the pre-compositional phase of Echoing Spirits I decided on the compositional strategies I would use to merge Japanese and Western music cultures. Once the piece was completed, I chose to see how my strategies fit into the taxonomic categories of compositional strategies for integrating East Asian and Western musical resources proposed by music theorist
Yayoi Uno Everett. In the first chapter of the collection of essays Locating East Asia in Western
Art Music, Everett conceives a taxonomy that elaborates upon seven common strategies suggested by Frederic Leiberman’s study of contemporary Japanese music, and classifies cross- cultural tactics composers use into three main criteria; transference, syncretism, and synthesis.3
Transference includes compositional strategies that borrow cultural resources, such as text, music, and philosophy. One such strategy is to reference extramusical ideas associated with an Asian culture. For example, the first act of Harry Partch’s Delusioin of the Fury is based of the a nō drama, Atsumori, about an encounter between the ghost of a slain warrior, his slayer, and the warrior’s son. I used this strategy by referencing the extramusical concept of yōkai, supernatural creatures in Japanese folklore. Each movement of my composition references a particular characteristic, setting, or atmosphere associated with four yōkai, kodama, kappa, usutsuki warashi, and yamabiko.
A second strategy in this category is adopting aesthetic approaches or formal systems from Asian cultures, without the resulting music sounding Asian. For example, John Cage’s use of the I Ching in his Music of Changes (1951) borrows a formal system and employs it as a means of producing his musical material using chance procedures.
3. Yayoi Uno Everett and Frederick Lau, Locating East Asia in Western Art Music (Middletown, CT: Wesleyan University Press, 2004), 15.
"7 A third transference strategy is to evoke Asian aesthetics without the use of preexisting musical materials. An example of this strategy is Isang Yun’s Concerto for Flute and Orchestra. In this piece Yun uses aesthetics of Korean rhythms and gestures, yet the overall style of the work remains Western.
I chose to borrow the Japanese concept of jo ha kyū as an organization tool to establish the formal structures within Echoing Spirits. This compositional method is a combination of the second and third transference strategies suggested by Everett. In addition to being an overarching formal structure, jo ha kyū has specific rhythmic and gestural features associated with the concept. However, while jo ha kyū is a formal structuring device used in Japanese genres, particularly nō theatre, its application alone does not necessarily result in a Japanese sound. I also integrated heterophony into my composition, a texture typically used in Japanese music genres, such as Gagaku (court music) and Sankyoku (chamber music).
Another transference strategy supplied by Everett involves quoting or paraphrasing preexistent music in the form of a collage. While I used this quoting device in Echoing Sprits, I did not use quotation as a part of a collage. Instead, in the second movement (Kappa) of my piece, I use fragments of the famous Japanese children’s song, Akatonbo (Red Dragonfly), by
Kosaku Yamada. Throughout this movement, I present melodic fragments of Akatonbo in a cumulative-like manner while transforming the melody with modal alterations and interchanges.
While the material quoted is Japanese, the techniques I use to manipulate it are decidedly
Western.
In addition, part of my reason for quoting Akatonbo stems from the intercultural nature of the piece. The composer and song are Japanese, and the text and poet (Rofū Miki) are Japanese.
"8 Although the melody is comprised of an anhemitonic pentatonic scale, there are multiple
Western concepts integrated into the piece. The formal structure is a parallel period, the harmony is tertian and adheres to Western common practice era functionality, and the texture is homophonic.
The second criterion in Everett’s taxonomy, syncretism, includes strategies such as using an ensemble that combines Asian and Western instruments. A few examples of such ensembles include Lou Harrison’s Double Concerto for Violin and Cello with Javanese Gamelan, Minoru
Miki’s An Actor’s Revenge, and Autumn by Toru Takemitsu. The latter two ensembles feature
Japanese instruments along with the Western Orchestra, such as Takemitsu’s use of shakuhachi and biwa, and Miki’s use of shamisen, koto, and ko-tsuzumi. More recent examples include
Bright Sheng’s tone poem The Song and Dance of Tears (2003) for pipa, sheng, cello, piano and orchestra; and Jean Ahn’s The Woven Silk (2017) for haegeum and orchestra.
Besides the incorporation of the traditional instruments themselves, another strategy I used involves the syncretism of Japanese scales derived from traditional koto tunings (such as nijūkumoijōshi and hirajoshi). These scales are often highlighted in the melodic and harmonic language of my piece. This method falls under Everett’s syncretic category of transplanting East
Asian scale systems or pitch collections onto Western instruments. In relation to this syncretic approach and the transference approach of quoting existing material, specific portions of my melodic material are derived from the traditional Japanese folk melody Edo no komoriuta
(Lullaby of Edo). However, this strategy does not fit neatly into any category suggested by
Everett.
"9 Everett’s categories are not fully inclusive. For example, the extramusical idea in
Womack’s After is not solely an element of Japanese culture, but a recent historical intercultural event. Womack’s compositional strategy concerning the event does not neatly fit into any of
Everett’s categories. Another example of a strategy not included Everett’s taxonomy is deriving new musical material from existing material, such the aforementioned use of Edo no komoriuta in Echoing Spirits.
The third criterion is synthesis, and is implied to be the ultimate cross-cultural goal in
Everett’s hierarchy. However, Everett does not give clear reasoning as to why synthesis is the highest achievement, or what, exactly, constitutes a successful synthesis. Everett suggests that,
“Lastly, the term synthesis is reserved for those works that effectively transform the cultural idioms and resources into a hybrid entity (so that they are no longer discernible as separate elements).”4 I regard synthesis as a balance between resources of different cultures that obscures their boundaries while maintaining their cultural identities.
Through the integration of the extramusical idea of yōkai, an instrumentation combining
Japanese and Western instruments, the Japanese aesthetic and formal system jo ha kyū, and the syncretic pitch collections based on Japanese scales, I hope to achieve a synthesis of Japanese and Western music cultures. Throughout the piece I attempted to create a balance between passages that draw upon traditional techniques and aesthetics and the employment of methods that lay outside the bounds of the instruments’ tradition. More importantly for this piece, those passages display what is idiomatic for the instruments.
4. Everett and Lau, 19
"10 It is not my intention to imitate or recreate Japanese music, but to blur the margins of Japanese and Western music traditions by highlighting their commonalities.
11" EXTRAMUSICAL IDEAS
Echoing Spirits draws inspiration from four yōkai, supernatural creatures in Japanese folklore. Each movement of the work (Kodama, Kappa, Usutsuki Warashi, and Yamabiko) attempts to evoke a particular characteristic, setting, and/or mood associated with the individual creature. This section will give a brief overview of the nature of each yōkai and thus the basic character of each movement in the composition. Further details on how my compositional choices pertain to the yōkai will be discussed in the analysis portion of the paper.
The first movement, kodama (tree spirit), depicts the creature by imitating the echoing sounds it makes throughout the forest. Accounts of kodama in Japanese folklore describe it as the spirit of a tree of extreme age, and to cut down one of these sacred trees is to endure a terrible curse. The word kodama has a double meaning depending on the characters or script used in
Japanese. refers to the tree spirit itself, whereas (more commonly written as ) typically refers to an echo in general. Kodama are more often heard rather than seen, and their elusive nature has led to diverse interpretations of how the creature looks. For example, in his supernatural bestiary, Gazu Hyakkiyagyō (The Illustrated Night Parade of a Hundred Demons),
Toriyama Sekein portrays the kodama as an old woman magically emanating from a tree.5 Hayao
Miyazaki’s animated film, Mononoke-hime (Princess Mononoke), features small, vaguely humanoid shaped creatures with an unearthly glow and unnaturally bobbling heads that create an echoing rattle-like sound.
5. Michael Dylan Foster, and Shinonome Kijin, The Book of Yokai: Mysterious Creatures of Japanese Folklore (Oakland, CA: University of California Press, 2015), 141-143.
"12 The second movement concerns the kappa, which translates to river-child. The kappa bears a far more nefarious history than the previous yōkai. Dwelling in rivers and deep ponds, the creature is known to drag its victims, typically children or livestock, beneath the water and drown them. Images of kappa commonly present it as an aquatic humanoid approximately the size of a child with scaly or slimy skin of a greenish hue, webbed hands and feet, and a turtle-like shell. Among the numerous details associated with this water spirit, such as its appetite for cucumbers, sumo wrestling, and the unsavory mythical organ, shirikodama; this movement depicts a gruesome encounter between the kappa and an unsuspecting child.6
The third movement conjures the unsettling essence of the usutsuki warashi. Usutsuki warashi translates to mortar-pounding child, and is characterized as a prankish house spirit in the form of a child that wanders about a residence at night making eerie sounds and knocking over household objects. Although those who encounter the spirit are not subject to any corporal danger, the anxiety produced by these creatures can be quite maddening. To add to its creepy aura, one theory for the origins of this creature relates it to the practice of mabiki (infanticide).7
The final movement represents yamabiko. Toriyama Sekein illustrates the spirit as an amalgamation of a dog and a monkey with floppy ears, sitting atop a mountain. Yamabiko is also associated with echoing qualities similar to the kodama. In contrast to kodama, yamabiko resides in the mountains rather than the forest, and its name translates to mountain echo.8
6. Foster and Kijin, 189 - 197
7. Ibid. 284 - 286
8. Ibid. 154 - 155
"13 I chose to begin and end the composition with kodama and yamabiko, respectively, due to how their shared echoing trait coincides with the formal structural concept to be discussed in the following section.
"14 FORMAL APPLICATION OF JO HA KYŪ
The formal structures I used to organize the movements within Echoing Spirits combine
Western forms, such as ternary (ABA’) and cumulative form (the theme(s) are presented in fragments throughout the piece and are not fully stated until the end), with structures derived from the Japanese concept of jo ha kyū. Jo ha kyū is an aesthetic of movement employed in an array Japanese art forms, from tea ceremony to martial arts, and is most extensively applied by the famous playwright, Zeami Motokiyo, in Japanese musical drama, Nō. Zeami’s treatise, Sandō
(Three Ways), reveals the concept of jo ha kyū as the over-arcing structure that organizes the five smaller sections, or dan, of a play. The first section correlates to jo, the second, third and fourth sections are contained within ha, and the fifth section is the climax, kyū.
Alison McQueen Tokita and David Hughes describe this cyclic tripartite structural concept as, “a structural concept that indicates a progression from beginning to middle to end in a musical or dramatic performance. Jo means prelude or beginning; ha means scattering or breaking apart, that is, developing in complexity; kyū means fast but here indicates a finale
[emphasis added] that speeds up before coming to a final slow cadence.”9
The idea to use jo ha kyū as a formal structure was inspired by Minoru Miki’s Eurasian
Trilogy and Concerto for Shakuhachi and 21-String Koto and Orchestra. Miki pronouncedly applies jo ha kyū to the titles of his Eurasian Trilogy: Jo no Kyoku, Ha no Kyoku, and Kyū no
Kyoku, and each piece incorporates the concept as a pitch organization device for large formal structures. Regan employs the jo ha kyū structures for the main theme in his concerto.
9. Alison McQueen Tokita and David W. Hughes, The Ashgate Research Companion to Japanese Music (Milton Park, Oxfordshire, England: Taylor and Francis, 2017), 26-27
"15 ANALYSIS OF ECHOING SPIRITS
This analysis is an attempt to revisit the logic behind some of the decisions I made during the compositional process. The analysis for each movement covers the following: formal structures and laying the foundations using jo ha kyū, melodic and harmonic language, and orchestration choices.
FORM
In contrast to Zeami’s format and closer to alignment with Miki’s application in his
Eurasian Trilogy, I employed the concept of jo ha kyū as a guide for building the largest formal structure to the four movements of my composition; the first movement as jo, the second as ha, the third as kyū, and the final movement as a return to jo. With the exception of the final movement, I also used the concept to shape the formal structures and pacing within each of the movements, as well as develop smaller structures, such as thematic and motivic material. My interpretation of what sounds might evoke characteristics of the yōkai combined with the general guidelines for each phase of jo ha kyū prescribed by Zeami, assisted in my ordering of the spirits.
Out of the four spirits, the qualities of kodama and yamabiko seemed milder than that of their counterparts. For this reason, and the with addition of their shared aural phenomenon, I chose them to represent jo. Both entities reside in more or less peaceful locations. The serenity of the forest and mountains became the ideal setting for the tranquility of the opening and closing movements. Zeami suggests that jo should also be simple and void of elaboration, and while there is plenty of expansion and embellishment of the musical ideas over the course of the first movement, the beginning and ending of Kodama serve to set this tone of simplicity. Zeami’s model includes the return of jo as apart of the kyū phase.
"16 I chose to dedicate an entire movement to the return of jo at the end of the composition in order to further emphasize the cyclical nature of jo ha kyū, and it is this final movement that comes closest to embodying the crux of jo.
The sections that follow provide and explanation of the formal structures I used to lay the foundations of the piece.
Formal Structures in Kodama
Tables 1 and 2 offer an overview of the formal structures in Kodama I derived from jo ha kyū. These structures consist larger scale, dominant jo ha kyū phases that are further subdivided into smaller, subordinate jo ha kyū sections.
Table 1: Dominant Jo Ha Kyū in Kodama
Jo Ha Kyū Jo mm. 1 - 61 mm. 61 - 124 mm. 124 - 139 mm. 140 - 149
Table: 2 Subordinate Jo Ha Kyū within the Jo Phase of Kodama
jo ha kyū jo mm. 1 - 20 mm. 20 - 54 mm. 55 - 58 mm. 59 - 61
The first twenty measures of Kodama represent subordinate jo part of the larger jo phase that is this movement. The music here is calm, with slow harmonic movement, and minimal
"17 melodic development. At m. 20 the break to ha focuses on the solo Japanese instruments, introduces a new tonal center of D, and proceeds to develop a new musical idea as the orchestra gradually enters to play its role in accentuating the budding drama. The eliding phrases of the shakuhachi and koto form a melodic dialogue in mm. 20 - 40, and then switch to a contrapuntal texture with increased rhythmic activity that culminates at the arrival of kyū at m. 55. The full orchestra joins the soloist in a four-measure rush to the cadence and return to jo at m. 59.
Table 3: Subordinate Jo Ha Kyū within the Ha Phase of Kodama
jo ha kyū mm. 62 - 84 mm. 85 - 112 mm. 112 - 124
Kodama’s ha phase begins with the koto introducing a second musical idea with an A tonal center in m. 62 - 73. Although the second theme is modestly developed and eventually joined by a canonic echoing of strings in mm. 73 - 84, this subordinate jo section (mm. 62 - 84) still preserves its function as an introduction for the new material. It is within this double ha (the subordinate ha of the larger ha phase, mm. 85 - 112) that the drama between separate musical ideas truly begins to unfold. Beginning with m. 91, a third theme is layered with the second theme, and both are joined by fragments of the piece’s opening melodic idea at m. 98. The remainder of the sub ha section focuses on developing the second theme. The koto combines the second and third themes in the subordinate kyū section (mm. 112 - 124), and they are repeated with subtle variations, truncations, and echoing in the strings.
"18 As the music increases momentum, the rest of the orchestra quickly merges to usher in the larger kyū phase of the movement.
Venturing to break down the kyū phase of Kodama into smaller jo ha kyū structures runs the risk of stretching the fundamental meaning of these concepts beyond recognition, as there is no unadorned introduction material or genuine development of musical ideas. The kyū phase of this movement, as well as the movements that follow, consists of repetitions of a musical idea(s) that are truncated upon repetition, fostering the illusion of an increase in tempo.
I used a similar application of ja ha kyū to the larger formal structures in the second movement, Kappa.
Formal Structures in Kappa
Table 4: Dominant Jo Ha Kyū in Kappa
Jo Ha Kyū Jo mm. 1 - 28 mm. 29 - 84 mm. 85 - 106 mm. 107 - 121
I chose the kappa to represent ha due to the more dramatic, if not grisly, accounts associated with the monster. The development of the two main themes in this movement progresses in accordance with depicting an encounter between the kappa and its unknowing victim. The solo Japanese instruments play the child theme, and the low end of the orchestra plays the kappa theme.
"19 Acting as a breaking off point from the slow serene ending of Kodama, the jo phase of this movement introduces a playful theme personifying the child. The child theme consists of the soloist’s melodic dialogue in a call and response manner in mm. 1 - 6.
Example 1: Child Theme
In reaction to the movement of the child theme, an undulating water theme is set into motion by the strings, and continues as waves that diminish over the course of the opening six measures.
Example 2: Water Theme
Just as the ripples fade away, the bass clarinet and double basses present the kappa theme in mm. 7 - 10, supported by ominous, low sustained pitches in the brass.
"20 Example 3: Kappa Theme
The last three measures of the theme are reiterated by staggered entrances of pizzicato cellos and violas, and staccato clarinets. Each rendition is composed with varied rhythmic durations that get shorter as the instruments move higher in range. Some iterations are a slight variation on the pattern, such as the first clarinet in example 4. This combination of orchestration and motion is meant to suggest bubbles raising up from the depths where the kappa is stirring, and further details will be discussed in the orchestration portion of the analysis.
Example 4: Kappa Theme Reiterations
"21 As the child theme is developed throughout the ha phase of Kappa, the once happy theme takes on a more sinister tone with each recurrence. I achieve this by transforming the Lydian theme to harmonic major, and then to Phrygian via modal modulation and interchange, along with increased rhythmic tension. This evolution signifies the child’s growing fear as it senses the danger drawing ever closer. Fear turns to terror as the kappa seizes the child in measure 84, signaling the end of ha and the beginning of the kyū. A violent struggle between the child and kappa themes ensues in mm. 85 - 94, and the water theme reacts accordingly to the commotion.
In mm. 95 - 106 the vitality of the child wanes until it finally succumbs to the monster and is pulled beneath the surface. The jo phase returns in the following measure, echoing faint fragments of the child theme heard at the beginning of the movement.
Although I did not apply subsections of jo ha kyū to this movement, there is another cyclic formal system simultaneously at work. In addition to the overarching jo ha kyū phases, I have further divided the movement into seven cycles, the first five containing their own rendering of the two main themes. Cycles six and seven only include fragments of the child theme. The duration of each cycle is governed by an approximate Fibonacci sequence, i.e., one cycle being roughly the length in seconds as the sum of the two cycles preceding it. Once the fifth cycle is reached, the cycle length reverses direction, diminishing until reaches the first length of 15 seconds.
Table 5: Cyclic Structure of Kappa
Cycle 1 2 3 4 5 6 7
Measure 1 - 10 10 - 28 28 - 50 50 - 84 84 - 106 106 - 114 114 - 121 Duration 15" 30" 45" 1'15" 45" 30" 15"
"22 Within each of the first four cycles the duration of each theme was predetermined by the golden ratio, as explained in Table 6. These ratios are approximate; as I chose to add and subtract measures as needed while composing the actual music. The arrival of the kyū phase, the peak of the movement, occurs at roughly two thirds of the movement’s duration.
Table 6: Golden Ratio of Kappa
Cycle 1 2 3 4 Measure 1 - 10 10 - 28 28 - 50 50 - 84
Kappa Signal 9" 18" 28" 46"
In contrast to the complexity of dividing, subdividing, and combining of formal structures laid out in the first two movements, I decided on a simpler foundation for the latter two. The third movement, Usutsuki Warashi, is comprised of a jo, ha, and kyū phase without a return to jo.
Formal Structures in Usutsuki Warashi
Table 7: Jo Ha Kyū in Usutsuki Warashi
Jo Ha Kyū mm. 1 - 5 mm. 5 - 14 mm. 15
"23 This movement is rendered mostly in spatial notation and is comprised of musical ideas that focus on expressing the concept of kyū, a motion that speeds up as it reaches its destination.
The melodic material introduced by the shakuhachi demonstrates one idea.
Example 5: Kyū in the Shakuhachi
Examples 6 and 7 demonstrate a series of kyū-like ideas. The koto gradually gets faster as it climbs towards the E with a tsuki-iro, and then the strings rapidly descend to the low woodwinds.
Example 6: Kyū in the Koto and Strings
"24 The low woodwinds continue the plummeting gesture to a low F, and then start the process over with longer notes that gradually advance to a rapid pulse while crescendoing to the final note.
Example 7: Kyū in the Bassoons
A similar figure is presented in the flutes and clarinets in m. 4, with the flurry of descending notes at the end of the idea.
Example 8: Kyū in the Flutes
The persistent temple block figure provides a similar kyū motion along with its mirrored image.
Example 9: Kyū and its Mirror in the Temple Block
"25 The predominant pattern of gestures in this movement is as follows: a jarring assault of strings, often involving extended techniques, followed by a long sustained note, and then a primary theme presented in the shakuhachi (example 5 on page 25) or the koto (example 10).
Finally, a kyū gesture rushes to another string figure to start the process anew. Each of these ideas emerges from the tail of the gesture preceding it, frequently via a shared pitch.
Once these gestures have been introduced in the jo phase, a volatile entrance of ha in measure 5 signals the beginning of their development.
Example 10: Koto Theme in Usutsuki Warashi
Mm. 5 - 14, serve to transform the gestures and themes, such as the reversal of the previous woodwind figure that gradually speeds to a rapid pulse (examples 7 and 8) played by the brass in m. 5, the string variations in m. 9 and m. 12, the truncated koto theme in m. 12, and the interval relationship of the shakuhachi theme in mm. 10 and 14.
Example 11: Variations of String Gestures in Usutsuki Warashi
"26 Example 12: Koto Theme Development in Usutsuki
Example 13: Shakuhachi Theme Development in Usutsuki
"27 The last page of Usutsuki Warashi contains the kyū phase. Here each family of the orchestra combines individual kyū figures to take the concept of kyū to its zenith in the composition, an unbridled charge to the final movement, yamabiko.
Formal Structure in Yamabiko
Table 8: Ternary Form in Yamabiko
A B A' mm. 1 - 29 mm. 30 - 48 mm. 48 - 70
I chose to dedicate the entirety of the final movement to the return of jo at the end of the composition in order to further emphasize the cyclical nature of jo ha kyū, and it is the final movement that comes closest to embodying the crux of jo. Yamabiko serves as a release from all the turmoil created in the first three movements. In stark contrast to Usutsuki Warashi, the musical ideas here are simple, the rhythmic tension has melted into passive sustains, and the humble development of themes remains unobtrusive without giving up a sense of direction. The two unelaborated themes consist of long, sedated legato lines, and the straightforward ternary form contains no development section, creating an atmosphere where the the advent of ha or kyū would quickly spoil the tranquility. Admittedly, there is a healthy hint of kyū that hurriedly heralds the grand return of the A material in measure 48.
The climax begins to subside at measure 57, and clears the way for echoes of thematic fragments by the shakuhachi and koto as the piece comes to gentle close.
"28 Harmonic Language
The harmonic language in Echoing Spirits is comprised of pitch collections derived from traditional pentatonic tunings for koto, Western modes, synthetic and symmetrical scales, chromatic collections, microtonal constructs, an intervallic patterns. The vertical sonorities include tertian, quartal, added-note, and secundal chords, as well as microtonal clusters.
The first movement, Kodama, begins with the three-note collection (D G C) that grows in density to five notes (E A D G C) in measure 10. The chord structures played by the pizzicato cellos and violas in mm. 1, 5, and 10 are quartal. In measure 13, F# is added to the collection, and
Bb completes the collection at measure 15. This pitch collection consists of all seven notes for the initial koto tuning.
Example 14: Initial Koto Tuning
The initial koto tuning is derived from a modal transpositions of the melodic minor scale
(A Phrygian scale with a raised sixth scale degree, or A Dorian flat 2). However, the piece frequently emphasizes a traditional pentatonic tuning for the koto, nihūkumoijōshi without the B natural.
"29 Example 15: Nijūkumoijōshi Tuning
The melodic material in the koto reflects this emphasis in mm. 73 - 80.
Example 16: Nijūkumoijōshi Melody in the Koto
The same pentatonic scale is used with a D tonal center for the shakuhachi melody in mm. 43 - 47. The Ab in the last measure of this phrase introduces a variant of the scale used to develop the melody in the phrases that follow.
Example 17: Shakuhachi Phrase in Kodama
"30 The koto and the shakuhachi themes are accompanied by quartal chords in the strings in mm. 28 - 58, mm. 72 - 75, and mm. 81 - 83. In mm. 85, the harmony shifts to tertian, such as the
C dominant seventh chord and F# half diminished chords outlined in the strings, double reeds, and koto. This shift in chord structure signifies the beginning of the development phase of this section of the movement, and also provides a break from the predominant quartal harmony.
The remainder of the movement is almost exclusively built around the nijūkumoijōshi scale. Mm. 105 - 115 present the scale as A Bb D E G, as D Eb G A C in mm. 116 - 119, and then returns to former in measure 120. These modal modulations help propel the harmonic motion towards the final climax of the movement. Mm. 124 - 135 alternate between the nijūkumoijōshi
(G Ab C D F) and hirajōshi (C D Eb G Ab ) scales, only differing by one pitch. Alternating modes here not only drive the harmonic motion, but also provides a brief and subtle sense of tension and release between the darker hirajōshi scale and the brighter nijūkumoijōshi. Similar to mm. 13 and 14, the last four measures of the climax (mm. 136 - 139) culminates in the highest point of tension by deploying a frenzy of all of the pitch resources from the initial koto tuning, before the release of the final eight bars of the movement. The tranquil ending of Kodama returns to opening three-note pitch collection, accompanied by a C major triad with an added F# in the violin harmonics.
The approach I employ to melodic and harmonic elements in Kappa are similar to the approaches I use in Kodama. This movement focuses on two themes, the child and the kappa.
The child theme begins with melodic material in the shakuhachi based on the F Lydian mode, and consists of a call and response with the koto. The koto part is derived from Kosoku
Yamada’s famous Japanese children’s song (dōyō), Akatonbo (Red Dragonfly).
"31 Example 18: Child Theme
Example 19: Akatonbo Melody
The opening child theme in the koto includes a fragment of the first phrase of the
Akatonbo melody, from the pickup to the second measure to the C on beat three of the second measure. The child theme has a faster tempo than the original tune, and the last two notes of the fragment have a longer duration to give the impression of a subtle written ritardando. More of the Akatonbo melody is added each time the child theme enters throughout the movement. For example, mm. 16 - 19 of Kappa adds the remaining two measures of the first phrase of
Akatonbo.
The kappa theme introduces a pentatonic melodic idea based on the intervallic pattern of semitone, tritone, wholetone, and then semitone. The last note of the sequence frequently doubles
"32 as the first note of the same pattern transposed a tritone higher, as the example from the cellos in mm. 19 - 23 demonstrates. The theme is then:
Example 20: Kappa Theme in the Cellos
The two-part child theme becomes darker in tone as it develops. In mm. 28 - 38, the themes are transposed up to a G tonal center and adds a lowered sixth scale degree. The accompanying strings and woodwinds also add an F# to the pitch collection, giving the impression of a harmonic major scale (a hybrid of the major and harmonic minor scales, borrowing the flat sixth scale degree from the parallel minor). The second phrase of the
Akatonbo melody is stated in mm. 35 - 38, beginning with the soloists in unison, and then finishing the phrase canonically. The phrase is interrupted by the kappa theme just before the last note, making it seem as if the tonal center shifts up a semitone.
The next rendition of the child theme changes to A Phrygian with a raised 6th scale degree (or Dorian with a lowered second) in mm. 50 - 66. The majority of the pitches focus on the pentatonic nijūkumoijōshi scale imbedded within the Western altered mode in mm. 54 - 66.
In mm. 69 - 83 the child theme is transformed by the hirajōshi.
There are two melodic ideas I used create the uneasy atmosphere for Usutsuki Warashi.
The first idea is based on an intervallic pattern alternating between a semitone and a leap of a fourth or third. I used this pattern in the shakuhachi part almost exclusively throughout the
"33 movement. For instance, the first full measure contains the opening melodic phrase provided by example X. Here the phrase descends a semitone, perfect fourth, semitone, perfect fourth, up a semitone, down a minor third, and down a semitone. This pattern and its variations help to create a sense of unease, as the pitch collections do not fall within any Western scale or mode, and any feeling of tonality is lost.
Example 21: Intervallic Pattern in Shakuhachi Melody
The second melodic idea is rooted in the an intervallic relationship of the second, third and fourth notes of the nijūkumoijōshi scale. As an example, the pitches A Bb D E G contain the
(026) trichord Bb D E. Predominating the koto theme throughout Usutsuki Warashi, the (026) trichords used in mm. 2 and 3 are Db G B, Eb F B, C D Ab, and C E F#. The idea is revisited in measure 12, and measure 5 layers two differing (026) trichords, one in each hand of the koto.
Example 22: (026) Trichord in Koto Melody
"34 Perhaps the most unsettling feature the piece uses is the drone that gradually slides a quarter-tone above and below the drone pitch, as seen in example 22.
Example 23: Moving Quarter-tone Drone
Frequently occurring in the movement, the drone is played by the high woodwinds in m. 1, the second violins and violas in m. 2, the brass in m. 12, and the violins in m. 13. A variation of the drone is played the English horn and bassoons in m. 11.
Microtones permeate the musical ideas for the strings in this movement. Extended techniques, such as the rapid bowing behind the bridge of the violins at the opening of the movement (example 23), along with approximate pitch values and indeterminate features are key elements.
Example 24: Rapid Bowing Behind the Bridge
"35 In measure 10, I employed a series of microtonal stabs that glissando to a unison. Similar microtonal glissandi that occur in mm. 13, 14, and 15.
Example 25: Microtonal Cluster and Glissandi
Another element to the harmonic language I used in Usutsuki Warashi is layering two nijūkumoijōshi scales with different pitch centers. For example, the glockenspiel superimposes a four-note subset of the scale (C Db F G) overtop the vibraphone’s (B C E F#) in mm. 9. This idea is repeated and transposed a semitone higher in measure 13.
Example 26: Overlapping Nijūkumoijōshi Subsets
"36 The chromatic collection plays a key role in this movement as well, such as the chromatic ascent in the cellos and basses at measure 4, and the final tremolo gesture in the strings in measure 15. The rapid falls of the woodwinds in mm. 3 and 4 incorporate all twelve pitches by overlapping two differing octatonic scales, and I applied the same concept to the flurry of rising gestures in the woodwinds during the final moments of the movement.
Although sparingly, I used quartal harmony in this movement as well, such as the pivotal moment where the koto and strings are highlighted in the only metered portion of the movement, mm. 6 - 9.
Example 27: Meter and Quartal Harmony in Usutsuki Warashi
In a drastic contrast to Usutsuki Warashi, the harmonic language of Yamabiko switches to tertian constructs and simple added note chords, as well as altered Western modes with clear tonal centers for the melodies. The chord progressions are governed by a prevailing root movement by third. Example X presents the harmonic progressions I used in the three main sections of this final movement. The A section begins with an F major triad that moves to its chromatic submediant Db major in measure 18, and then back to F in measure 20.
"37 The A featured in the sporadic mordent-like figure played by the woodwinds in mm. 18 and 19 is an added lowered sixth scale degree (enharmonically spelled), serving to create a little more tension in the harmony. After returning to Db major in measure 20, the harmony then moves by third enharmonically to an E half diminished seventh chord. Bearing implications of functional tonality, this chord acts as a dominant function that resolves in measure 30 to the A, a mediant relationship to the opening F tonal center.
The B section moves from A minor to F minor, and then to A major, followed by another dominant function E half diminished that resolves back to A minor. The last progression of follows the same pattern until taking a darker turn from the E half diminished to Ab minor in measure 47, and then the return of the A material in F major at measure 48. Instead of moving to the anticipated chromatic submediant, I chose to move to the chromatic mediant Ab in measure
53. Measure 55 returns to F major triad as the final chord, accompanied by a fading echo of added Db.
The melodic material I created for Yamabiko is strongly influenced by the harmony. The
A section implies an F harmonic major mode, i.e., F Ionian mode with a lowered sixth scale degree. The pervasive Db in the melodic lines emphasizes the mediant relationships I used in the harmony, and assists in setting up the brief modal modulation to Db Lydian in measure 18. In mm. 26 - 30 I applied an E Locrian mode without a sixth scale degree.
"38 Although the A tonal center is clear in the B section, the overall harmonic minor melody undergoes subtle modal interchanges, such as the Phrygian characteristic of the lowered second
(Bb) in measure 39, and the harmonic major quality of the raised third (C#) in measure 43. A' returns to harmonic major in mm. 48 - 52, followed by two measures of Ab Lydian, and back to F harmonic major.
"39 Orchestration
As the name suggests, Kodama is meant to imitate an echo in a large space. One way I achieved this effect is in the introduction, where short musical gestures gradually occur farther and farther apart with a diminishing dynamic, such as the triplet figure in the flutes, the eighth- note figure in the first clarinet and oboe, and the pizzicato in the violas and cellos. The two remaining clarinets play individual written out ritardandi to enhance the illusion of dying echoes.
Another way I created the echoing effect is through the use of canon. For example, each entrance of the violins and viola in the mm. 75 - 79 is staggered against the koto melody. A series of echoing occurs in mm. 86 - 104. The bassoons echo the koto in mm. 86 and 87, and the flute and clarinet echo the shakuhachi in mm. 87 - 89, the strings echo the bassoons in mm. 89 - 91, the tsuki-iro technique in the koto echoes the second violins in measure 93, the flutes and piccolo echo the shakuhachi, and clarinets engage in a canonic passage with the violins and koto in mm.
101 -104. The random col legno hits in the basses and cellos in mm. 68 - 72, and in the violas and second violins in mm.72 - 76, are meant to suggest the sound emitted by a horde of kodama echoing throughout the forest.
To evoke the encounter between the child and the kappa in the second movement, I chose a specific instrumentation for each character. The carefree musical thoughts of the child are played by the soloist, while the kappa is played by all the instruments in the lower range of the orchestra. Part of this decision was based on creating a sense of vulnerability in the child theme, i.e., the two soloists versus all the instruments in the kappa theme, and eventually the entire orchestra.
"40 Kappa begins with an attempt to orchestrate the child frolicking in the water. To create a splashing gesture I used a combination of a short roll on the small suspended cymbal, the ascending koto glissando, string pizzicato that glissando upwards, accents of the toms, and the pickup of the shakuhachi melody (mm 1 - 2). In mm. 2 - 6, the violins and clarinets make up a theme that depicts the water reacting to this initial gesture and its reiterations. As the kappa stirs in the low brass and woodwinds, low pizzicato string and staccato clarinet figures represent bubbles rising towards the surface (mm. 7 - 10). I orchestrate this movement so that the child theme floats just above the water level, while the kappa theme lurks below, coming closer to the surface as the movement progresses.
I used flutter tongue for the trombones to provide a growling effect emitted by the monster as it draws nearer in mm. 40 - 49, and the bubble effect is enhanced by the quick, randomized pizzicato box notation in mm. 41 - 50. At the peak of the movement, I orchestrated the moment the child discovers its fate with a low D muraiki to a shrill Eb in the lone shakuhachi, with the orchestra bursting through the water as the kappa, and the raucous tutti chord seizing its victim in measure 84. Variations on the screaming figure in the shakuhachi continues in mm. 87 -
95, frequently interrupted by a corrupted variation on the once lighthearted child theme.
Variations on the scream gesture include the combination of trill and glissandi in mm. 90, and the a combination of the kara kara ( ) technique with glissando in mm. 93 and 94.
In mm. 85 - 94, the orchestra and koto take over the role of the water theme, depicting the turbulence of the struggle with a succession of wave-like gestures. The peak of each wave is punctuated by stabs in the brass that represent attack of the kappa. After the final strike in measure 95, the waves gradually begin to subside, and the shakuhachi’s koro koro ( )
"41 technique and flutter tongue emulate the gurgling child being pulled beneath the water. I chose to close the movement with the flute and mallet percussion echoing an elongated version of the child theme accompanied by an uncomfortable tritone in the violin harmonics.
I wanted the orchestration for Usutsuki Warashi to induce the anxiety a person might feel while experiencing an encounter with the yōkai. The movement begins with a startling collection of harsh sonorities that hurls the listener into an atmosphere of perpetual discomfort and dread.
The key element in this jarring effect is the violin’s feverish bowing behind the bridge and back and forth across all four strings. The shrieking strings surge out of bongos and a rim shot from the snare drum that are accented by a cymbal scrape. I used a similar startling effect in measure
5, where the shakuhachi’s low D muraiki erupts from a bass drum and tam tam hit, along with a blast of rapid muted brass attacks.
Almost all of the musical ideas for the strings are bowed near the bridge (sul ponticello), imparting a harsh metallic sound to their timbre. I frequently chose the strings to play at the extremes of their range. For example, the cellos and basses in measure 4 go from their lowest note to the highest note, and this idea is repeated by all the strings (excluding the basses) in the final gesture of the movement. The highest note in these figures is determined by each individual performer, and the resulting microtonal cluster enhances the intensity of the gesture.
Since the human ear is more adversely affected by higher frequencies, I frequently utilized instruments with a higher range, such as string harmonics that accompany most of the melodic phrases for the soloists. This also influenced my decision to use harsh multiphonics in the high woodwinds and rips to the highest notes of the brass in measure 15.
"42 Some of the other sounds I used to effectively cause distress include: the combination of muraiki and piercing string glissando to the highest pitch at the end of measure 10, the queasy quarter-tone movement in the violins overlapping the shakuhachi phrase to bring the uneasiness into the foreground in measure 13, and the koto’s exaggerated surizume (string scrapes) in measure 14.
The creature itself is represented by the unvaried gesture played on a single temple block.
This sound often occurs after the commotion of a harsh musical idea fades away, and is meant to be a persistent reminder that the yōkai is skulking in the shadows.
I chose spatial, or proportional, notation for this movement to eliminate any sense of meter and pulse. I also used box notation to further remove any sense of rhythmic stability, allowing for individual performers to execute separate interpretations of the parameters given within the box. By omitting any sort of rhythmic pattern to ground the listener, or any sense of tonal center, I strived to create a disorienting psychological impact of one disquieting moment leeching into the next.
The orchestration for Yamabiko is much simpler than prior movements. The strings are instructed to play flautando, a delicate bowing near or over the fingerboard of the instrument, for the entire A section. I chose this timbre to promote a soothing atmosphere that is the opposite of the biting sul ponticello that dominates Usutsuki Warashi. I used ordinary tremolos in the strings to add a hint of tension for the B section, and normal bowing for the return of A material. For the majority of this movement I avoided high registers in the strings and woodwinds that might harken back to the prevalent discomfort of the previous movement.
"43 With the exception of mm. 22 - 24 and the A' section, I chose not to have any instruments play above the melodic line in order to provide a sense of space for both the soloists and the ethereal echoing in the mallet percussion that represent yamabiko. I used little to no rhythmic motion in the accompanying string harmony to support a calm mood, and more importantly, make the peak in measure 48 more effective.
The peak of Yamabiko revisits the cross rhythmic echoing and canonic ideas I used in the opening and closing of Kodama. For example, the eighth-notes in the mallet precision against the triplet figure in the oboes and clarinets is similar to the two against three rhythmic figure from the clarinets in Kodama. There is also a similar written out ritardando in mm. 57 - 59 in the clarinets and oboes. These ideas are set in a grander and more conventional orchestration, and support a sense of closure for the piece.
"44 Conclusion
Through the educators and performers I have had the honor working with, I have gained in-depth knowledge of the idiomatic capabilities and limitations of the Japanese instruments. I am indebted to Japanese culture, from which I have borrowed the extramusical idea of yōkai, formal aesthetic of jo ha kyū, and traditional performance techniques for the soloist, whose sonorities I imitated with Western instruments. I hope that these approaches allowed me to successfully merge these instruments with the Western orchestra and instill my music cross- cultural integrity.
While the achieving a synthesis of two music cultures may always be laden with subjectivity, I value the approaches I used as ways to create a hybrid musical entity that upholds the communication and participation between cultures already established by the composers’ works that preceded my own.
"45 Bibliography
Casal, U. A. “The Goblin Fox and Badger and Other Witch Animals of Japan” Folklore Studies, Vol. 18 (1959): 1-93.
Everett, Yayoi Uno and Lau, Frederick. Locating East Asia in Western Art Music. CA, Middletown: Wesleyan University Press, 2004.
Quinn, Shelley Fenno. "How to Write a Noh Play Zeami's Sando." Monumenta Nipponica, 48 no. 1 (1993): 53-88. Accessed February 15, 2021. doi:10.2307/2385466.
——. “Unity And The Three Principles Of Composition in a No Play (Zeami Motokiyo, Drama, Japan)”. ProQuest Dissertations Publishing, 1986.
Foster, Michael Dylan and Shinonome Kijin. The Book of Yokai: Mysterious Creatures of Japanese Folklore. 1st ed., University of California Press, 2015. JSTOR, stable/10.1525/j.ctt14btg72. Accessed 15 Feb. 2021.
Foster, Michael Dylan “The Metamorphosis of the Kappa: Transformation of Folklore to Folklorism in Japan.” Asian folklore studies 57, no. 1 (1998): 1–24.
——.“The Question of the Slit‐Mouthed Woman: Contemporary Legend, the Beauty Industry, and Women’s Weekly Magazines in Japan.” Signs: Journal of Women in Culture and Society 32, no. 3 (2007): 699–726.
Kishimoto, Masashi. “Tracing the Development of Japanese Choral Tradition, and the Influence of Buddhism and Western Music”. ProQuest Dissertations Publishing, 2012.
Konishi, Jin'ichi, Robert H. Brower, and Earl Miner. "Association and Progression: Principles of Integration in Anthologies and Sequences of Japanese Court Poetry, A. D. 900-1350.” Harvard Journal of Asiatic Studies 21 (1958): 67-127.
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"46 Tsuchiya, Kiyoshi. "Nô and Purification: The Art of Ritual and Vocational Performance." Studies In The Literary Imagination 34, no. 2 (Fall2002 2001): 93.
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"47 Echoing Spirits shakuhachi, 21-string koto, and orchestra
William Watson 2021 Echoing Spirits shakuhachi, 21-string koto, and orchestra William Watson 2021 Duration ca. 19 minutes Transposing Score Instrumentation
Piccolo 2 Flutes 2 Oboes English Horn in F 3 Clarinets in Bb (3rd doubling Bass Clarinet Bb) 2 Bassoons
4 Horns in F 2 Trumpets in Bb 2 Trombones Tuba
Timpani
3 Percussionists
1 - glockenspiel, 4 toms, bongos, temple blocks
2 - vibraphone, tam-tam, small and large suspended cymbal
3 - bell tree, snare drum, bass drum, and large suspended cymbal
Shakuhachi solo (1.8 pitched in D)
21-string Koto solo
Strings
Initial木霊 koto tuning: Kodama œ bœ #œ œ œ 21-String Koto ? œ #œ œ œ œ œ œ œ & œ œ bœ 二十絃箏 œ œ œ œ #œ 0 1 2 3 4 5 6 7 一 二 三 四 五 六 七 八 九 十 斗 為 巾
臼搗童子 Kappa Usutsuki Warashi 河童 Echoing Spirits duration: ca. 19' shakuhachi, 21-string koto, and orchestra William Watson Transposing score ⽊霊 Kodama
Tranquil q = 76 ° 4 ˙ œ œœœœ œœœ œ œ ˙ œ œœœœ Piccolo & 4 Œ ‰ Œ Œ Ó ∑ ∑
3 p 3 p pp 4 œœœœ œ ‰ œœœœ œ ‰ ‰ œ œœ Œ Œ œ œ Œ Ó ∑ ∑ œœœ œ ‰ œœœ œ ‰ Flute 1 & 4 J J œ J œ J 3 3 3 3 p pp p 4 œ œœœœ œ ‰ œœœœ œ ‰ Œ œœ œ ‰ Ó Œ œ œ ∑ ∑ œ œœœ œ ‰ œœœ Flute 2 & 4 J J œ J œ p 3 3 3 3 pp p 4 1œ. œ 2œ. œ 1œ. œ œ 2œ. ˙ 1œ. ™ œ ˙ œ ‰ Œ Ó ∑ 1. œ œ œ 2. œœ 1. œ œ Oboe 1,2 & 4 J J J J œ œ œ f n. f 4 English Horn & 4 ∑ ∑ ∑ ∑ ∑ ∑
4 œ œ œ œ œ œ œ œ ˙ œ w ˙ œ œ œ œ œ œ œ Clarinet in Bb 1 & 4 J ‰ Œ ∑ œ œ f n. f 4 3 3 3 3 ∑ ∑ œ œ œ œ œ Clarinet in Bb 2 & 4 œ œ œœœ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ p p ppp 3 3 3 3 4 3 3 3 3 3 3 ∑ ∑ œ œ œ œ Clarinet in Bb 3 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p ppp p ? 4 ∑ ∑ ∑ ∑ ∑ ∑ Bassoon 1,2 ¢ 4
° 4 Horn 1, 2 in F & 4 ∑ ∑ ∑ ∑ ∑ ∑
4 Horn 3, 4 in F & 4 ∑ ∑ ∑ ∑ ∑ ∑
4 Trumpet 1, 2 in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑
? 4 Trombone 1, 2 4 ∑ ∑ ∑ ∑ ∑ ∑
? 4 ∑ ∑ ∑ ∑ ∑ ∑ Tuba ¢ 4
°? 4 Timpani 4 ∑ ∑ ∑ ∑ ∑ ∑
Glock. 4ww ∑ ∑ ∑ ∑ ww Percussion 1 {& 4 f Vibraphone 4ww ww Percussion 2 & 4 ∑ ∑ ∑ ∑ w f Bell Tree 4 – – ∏ ¿ ∑ ∑ ∑ ∑ ∏ ¿ Percussion 3 & 4 ∏ ∏ ¢ ∏ ∏ f 4 Shakuhachi & 4 ∑ ∑ ∑ ∑ ∑ ∑
° 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑
Koto ? 4 ¢ 4 ∑ ∑ ∑ ∑ ∑ ∑
d~iv. ~ ~ ~ ~ ~ ° 4 ww~ ww~ ww~ ww~ ww~ ww~ Violin I & 4 p n. p n. p n. j d~iv~. ~~ ~~ ~~ OO ~~ 4 ww ww ww ww œœ‰ Œ Ó ww Violin II & 4 J n. p n. p n. p pizz. 4 œ œ œ œ Viola B 4 œ Œ Œ œ Ó Œ œ ∑ œ Œ Ó ∑ œ Œ Œ œ f mf mp p f mf œpizz. œ œ œ œ œ ? 4 Violoncello 4 œ Œ Œ œ Ó Œ ∑ Œ Ó ∑ œ Œ Œ œ f mf mp p f mf ? 4 ∑ ∑ ∑ ∑ ∑ ∑ Contrabass ¢ 4
Copyright © Spring 2021 3 7 œ œ . œ œ ° œ œ œ œ œ œœ œ œœ œ œ œ œ Picc. & Œ ‰ Œ Œ Ó ∑ Œ ‰ J ‰ Œ ‰ Œ Œ Ó 3 3 pp p pp œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ Fl. 1 & ‰ œ Œ Œ Œ Ó ∑ J ‰ J ‰ ‰ œ Œ Œ Œ Ó 3 3 pp p pp œœ œ œœ œ œ œ œ œ œ ‰ Œ œ œ ‰ Ó Œ œ œ ∑ œ œœ J ‰ œœ J ‰ Œ œ ‰ Ó Œ Fl. 2 & J œ 3 3 pp p pp ™ œ ™ œ œ œ œ ˙ œ™ œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ ˙™ Ob. 1, 2 & œ J J ‰ Œ Ó œ ‰ J 3 pp n. f p ∑ ∑ ∑ w ˙™ œ ‰ ∑ Eng. Hn. & J p 1. 1. œ™ œ 2. œ™ œ œ ™ 2. œ ˙ œ œ w ˙ œ 1. œ œ #œ œ œ #˙ ˙ J #œ Cl. 1 & œ J ‰ Œ Œ œ n. 3 p f 3 3 3 3 3 3 3 3 ∑ œ œ œ œ œ œ œ œ œ œ œ Œ Cl. 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ ppp p ppp
3 3 3 3 3 3 ∑ œ œ œ œ œ œ œ œ 3 Ó Cl. 3 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ ppp p ppp w ˙™ œ ? ∑ ∑ ∑ w ˙™ œ ‰ ∑ Bsn. 1, 2 ¢ J p °7 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ w ∑ ∑ Perc. 1 {&
ww Perc. 2 & ∑ ∑ ∑ w ∑ ∑
– ∑ ∑ ∑ ∏ ¿ ∑ ∑ Perc. 3 & ∏ ¢ ∏
7
Shak. & ∑ ∑ ∑ ∑ ∑ ∑
° & ∑ ∑ ∑ ∑ ∑ ∑
Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑
7 ~ d~iv. ~ ~ ~ ~ ° ww~ ww~ ww~ ww~ ww~ ww~ Vln. I & p n. p n. p n. j ~~ d~iv~. OO ~~ ~~ ~~ ww ww œœ‰ Œ Ó ww ww ww Vln. II & J n. p n. p n. p
œ œ Vla. B Ó Œ œ ∑ œ Œ Ó œ Œ Œ œ Ó Œ œ ∑ mp p f ? œ œ œ œ œ Vc. Ó Œ ∑ Œ Ó œ Œ Œ œ Ó Œ ∑
mp p f pœizz. ? ∑ ∑ ∑ Œ Ó ∑ ∑ Cb. ¢ f 4 accel. 13 œ œ . œ œb˙ œ œ œ œ ° œœ #œ œœ œ œ #œ œ#œ œœ J œœ #˙ Picc. & Œ ‰ J ‰ Œ ‰ Œ ‰ ‰ 3 3 3 3 3 p p œ œ œ bœ œ œ œ œ bœ œ. œ œœ #œ œ œœ #œ œ œ #œ œœ J œœ œœ J œœ Fl. 1 & J ‰ J ‰ ‰ Œ Œ ‰ ‰ Œ Œ ‰ 3 3 3 3 3 3 p p œ œ œ œ œ œœ #œ œ œœ œ œ œ #œ œœ #œ œ œœ #œ œ Fl. 2 & Œ J ‰ J ‰ Œ ‰ Ó J ‰ Ó J ‰
p 3 3 p 3 3 œ œ ™ œ ™ bœ œ œ œ œ bœ œ. œ œ œ œ #œ œ œ #œ œ œ J #œ œœ J œœ œœ J œœ Ob. 1 & ‰ J J ‰ ‰ Œ Œ ‰ 3 3 3 3 3 f p œ œ j œœ #œ œ œœ #œ œ Ob. 2 & #w w œ ‰ Œ J ‰ Ó J ‰ p p 3 3 j j Eng. Hn. & w w œ ‰ Œ ‰ œ œ œ J œ œ œ œ J œ p p œ œ œ œ œ œ œ œ œ. œ œ œ œ #œ™ œ œ #˙™ œ#œ J œœ œ#œ J œœ Cl. 1 & ‰ J J ‰ ‰ Œ Œ ‰ 3 3 3 3 3 f p 3 3 3 3 œ#œ œ œ#œ œ œ œ œ œ œ œ œ œ œ Ó œœ J ‰ Ó œœ J ‰ Cl. 2 & #œ œ œ œ œ œ œ œ œ œ œ #œ#œ œ œ œ œ œ œ p p 3 3
3 3 3 3 œ œ ˙ œ œ ˙ œ . œ œ œ œ œ œ œ #œ #œ œ #œ Cl. 3 & #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ Œ p p
w ˙™ œ 1. bœ œ ? #w ˙™ œ ‰ œ œ #œ J œ œ œ Bsn. 1, 2 ¢ J œ œ bœ œ bœ J bœ 2. p pp 13 ° 2. Hn. 1, 2 & ∑ ∑ ∑ w p 3. Hn. 3, 4 & ∑ ∑ w ˙ ˙ p ˙ Ó 4. p j 2. mute œ ˙™ Tpt. 1, 2 & w w ‰ Œ Ó Œ #w w œ. p > p f b˙ w ? ∑ ∑ Ó œ Tbn. 1, 2 Ó Œ fp fp ? ∑ ∑ Tba. ¢ w ˙ œ bœ œ fp °? Timp. ∑ ∑ ∑ ∑
#ww ∑ #w ∑ Perc. 1 {& w bw w ww Perc. 2 & #w ∑ w ∑
– ∏ ¿ ∑ ∑ ∑ Perc. 3 & ∏ ¢ ∏
13 œ œ œ ∑ ∑ bœ œ bœ œ œ bœ œ œ Shak. & œ œ œ œ œ œ œ 3 mp f 3
° 3 3 ∑ ∑ bœ & œ œ#œ œ b+œ + + Koto mp f + + + bœ + + + bœ œ œ ? œ #œ œ œ œ œ ¢ ∑ ∑ œ œ Ó
13 accel. ° n#w~~ #n#w~~ #œ œ w w æ Œ œ œ Vln. I & wæ œ œ p f fp ~~ #n#w~~ ww w ‰ œ bœ Vln. II & æ j œ œ #œ œ œ œ œ ˙æ œ bœ n. f fp arco œ œ œ #œ œ Vla. B œ Œ Œ œ ∑ Ó œ bœ œ œ œ œ #œ œ œ p œ œ arco bœ œ ? œ œ #œ œ œ œ œ Vc. œ Œ Œ œ ∑ bœ œ bœ œ œ œ œ pp arco bœ œ ? #œ Œ Œ ∑ w ˙ œ Cb. ¢ œ fp q = 112 5 17 œ . œbœ. œ œ œ œbœ œ ° œœ #œ œ#œ J #œ œ œ#œ œ œ œ j U 3 Picc. & J Œ ‰ bœ œœœ #œ ‰ Œ Ó ∑ ∑ ∑ ∑ 4 3 3 3 3 3 f p . œ#œ œ œ œ#œ œ œ. œ œbœ bœ œ œ bœ œ œ œ œ U J ‰ ‰ #œ J ‰ #œ œœœ œœbœ j ‰ Œ ∑ ∑ ∑ ∑ 3 Fl. 1 & œ#œœœ œœ 4 3 5 3 3 f p . œ #œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ U Œ J œ œ #œ #œ œœœ œœbœ j ‰ Œ ∑ ∑ ∑ ∑ 3 Fl. 2 & œ#œœœ œœ 4 3 3 3 f p . œ œ. œbœ œbœ œ œ œ bœ œ 3 J #œœ J œ œ #œ œ œ œ œ œ œ j U 3 Ob. 1 & ‰ ‰ ‰ bœ œ œ#œ ‰ ‰ ‰ Œ Ó ∑ ∑ ∑ 4 3 5 f p œ . œ œ œ bœ œ œ œ bœ œ 3 œ J œ œ#œ œ #œ œ œ œ œ œ œ j U 3 Ob. 2 & Œ œ bœ bœ œ œ#œ ‰ ‰ ‰ Œ Ó ∑ ∑ ∑ 4 3 f p œ > œ #œ œ œ J œ U 3 Eng. Hn. & œ J J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 4 f . œ œ. nœ œ œ œ #œœ œ œ œ œ #œ œ 3 U J J #œ #œ œ œ œ 3 3 Cl. 1 ‰ ‰ ‰ œ œ ‰ Œ Ó ∑ ∑ ∑ 4 & #œ #œ œ œ œ œ œ j 3 5 3 œ œ 3 #œ f p œ œ. œ œ œ #œ œ œ œ #œ œ 3 U J œ œ #œ #œ œ œ œ 3 3 Cl. 2 & Œ #œ œ œ œ #œ œ j ‰ Œ Ó ∑ ∑ ∑ 4 #œ œ œ œ œ œ 3 3 œ œ 3 #œ . f p œ œ œ 3 To Bass Cl. U œ J œ œ #œ œ œ œ œ œ 3 3 3 Cl. 3 & ‰ ‰ #œ#œ œ œ œ œ#œ #œ j ‰ Œ Ó ∑ ∑ ∑ 4 œ œ œ œ œ œ œ œ 3 œ#œ#œ œ f p œ > œ bœ œ œ #œ œ œ U ? œ #œ J J J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 3 Bsn. 1, 2 ¢ 4 f 17 ° 1. >. U w #œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 3 Hn. 1, 2 & J 4 f j U w œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 3 Hn. 3, 4 & w œ 4 >. f 1. > #ww #œœ. U 3 Tpt. 1, 2 & J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 4 p f >. ? w bœ U 3 Tbn. 1, 2 J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 4 f > U ? œ œ œ œ œ. Œ Ó ∑ ∑ ∑ ∑ ∑ 3 Tba. ¢ œ 4 f °? U 3 Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 b w– To Tom-t. U ∑ #w ∑ ∑ ∑ ∑ ∑ 3 Perc. 1 {& 4 f w– #ww U 3 Perc. 2 & ∑ b w ∑ ∑ ∑ ∑ ∑ 4 f U ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 Perc. 3 ¢& 4 3¿ã¿ a piacere w ˙ œ カ™ ラカラ 3¿ã¿ 17 œ œ bœ ÍÍÍÍÍÍÍ ¯¯¯¯¯¯¯¯¯¯ ÍÍÍÍÍÍ œ ˙ û U w ù ˙™ ùœ bœ œ œ ‰ j J ‰ Œ ∑ 3 Shak. & œ œç >œ 4 3 3 > ç sfz ff sfz fp ° 3 œ œ w U 3 & œ œbœ #œ bœ ∑ ∑ ∑ ∑ 4 +œ + + + 3 ff Koto ¿ j…(damp) 無調音 3 ? ∑ #œœ‰ Œ Ó ∑ ∑ 4 ¢ >œ sfz p (gliss. left side of bridges) 17 œ œ #œ œ œ œ œ œ bœ œ œ 3 U ° œ œ #œ #œ œ œ œ œ 3 3 3 Vln. I & bœ œ bœ œ œ #œ j ‰ ∑ ∑ ∑ ∑ 4 œ œ œ œbœ 3 3 3 3 3 œ f p œ œ œ œ œ bœ œ œ œ 3 U œ œ œ #œ #œ œ œ œ œ 3 3 3 Vln. II & œ œ bœ œ bœ œ œ#œ j ‰ Œ Ó ∑ ∑ ∑ 4 œ œ œ œbœ 3 3 3 3 3 œ f p œ œ ˙ ˙ œ bœ œ æ œ ˙ U B œ #œ œ æ J ‰ œ ‰ ∑ ∑ ∑ ∑ 3 Vla. J 4 f p ™ #œ œ œ b˙ œ œ œ bœ œ œ æ ˙ U ? æ œ ‰ œ ‰ Œ Ó ∑ ∑ ∑ 3 Vc. J J 4 f p > œ œ œ œ œ œ. U ? Œ Ó ∑ ∑ ∑ ∑ ∑ 3 Cb. ¢ 4 f 6 24 ° 3 4 Picc. & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 Fl. 1, 2 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 Ob. 1, 2 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 Eng. Hn. & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 Cl. 1, 2 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 B. Cl. & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 3 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ 4 4
24 ° 3 4 Hn. 1, 2 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 Hn. 3, 4 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 4 Tpt. 1, 2 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 3 4 Tbn. 1, 2 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 3 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢ 4 4
°? 3 4 Timp. 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. 1 {& 4 4
3 4 Perc. 2 & 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. 3 ¢& 4 4
ã ã ã ã ÍÍÍÍÍ ÍÍÍÍÍÍÍÍͯ¯¯ 24 œ œ œ 3¿¿ 3¿¿ 3¿¿ 3¿¿ ã 3¿ã¿ œù œ œ ™ j 3¿¿ ™ ™ ™ 3 4bœ ùœ œùœ w œ œ w œ œœbœ ˙ ùœ œ ˙ œ ˙ û bœ ˙ ù œ Shak. & 4 4 J J ‰ Œ Ó ∑ J ‰ Œ Ó Œ Ó ‰ f 3 p subito n. p mf p p f n. p
1 1 (無調音) µ¶ µ¶ ° 3 4 ¿ ツø 3 bœ ˙ ツ 3 j bœ™ & 4 ∑ 4 ∑ ∑ ∑ Œ Ó œ œ Ó ∑ Ó Œ œ œ ∑ ¿ œ œ ø œ p mf œ œ mf Koto p mf 3 4 ¿ (無調音) ? 4 ∑ 4 ∑ ∑ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ¢ ¿ p mf
°24 div. æ 3 ∑ 4 ∑ ∑ ∑ æ æ æ æ j‰ Œ Ó ∑ ∑ æ Vln. I & 4 4 bw bw bw bw bœ bw n. p n. n.
div. 3 4 æ æ æ æ æ Vln. II & 4 ∑ 4 ∑ ∑ ∑ æ æ æ æ j‰ Œ Ó ∑ ∑ æ w w w w œ ww n. p n. n.
3 4 Vla. B 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 3 4 Vc. 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 3 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cb. ¢ 4 4 7 °36 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ w #w w ww n. p Bass Clarinet in Bb B. Cl. & ∑ ∑ ∑ ∑ ∑ j ‰ Œ Ó w w w œ pp f pp ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ w w pp f °36 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ 3. Hn. 3, 4 & œ ˙ œ œ Ó ‰ J pp 4.
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w
pp f ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. 1 {&
Perc. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ /
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. 3 ¢&
カラカラ ã ÍÍÍÍÍÍ ÍÍÍÍÍÍÍ 36 3¿¿ ÍÍÍÍÍÍÍÍÍÍ œ bœ ˙™ ˙s™low to fast œ œ œ œ œ œ bœù ˙ w j ™ bœù ˙ j bœ œ û bœ œ œ bœ œ œ œ ∑ œ ˙ œ œ Œ œ ‰ œ Shak. & >œ J f ç 3 sfz ツ 1 ツ µ¶ ˙ ø ツ ツ ° œ ø œ 3 bœ + œ œ œ ø œ & ∑ œ œ œ œ ˙ ∑ ∑ Œ ‰ j œ œ œ œ Ó J œ ø j œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 + 3 p Koto f +f > … ? ∑ ∑ ∑ ∑ ∑ œ ‰ Œ Ó ∑ ∑ ∑ ¢ J
°36 æ æ æ æ æ æ æ æ j ‰ Œ Ó æ æ æ æ Vln. I & bw bw bw bw bœ bw bw bw bw p n. fpp p
æ æ æ æ æ æ æ æ Vln. II & æ æ æ æ j ‰ Œ Ó æ æ æ æ ww ww ww ww œœ w w w w p n. fpp p
div. j j Vla. B ∑ ∑ ∑ ∑ ∑ œ ‰ Œ Ó ∑ ∑ œ ‰ Œ Ó b>œ > f ? j j Vc. ∑ ∑ ∑ ∑ ∑ ‰ Œ Ó ∑ ∑ œ ‰ Œ Ó >œ > f ? j j Cb. ∑ ∑ ∑ ∑ ∑ ‰ Œ Ó ∑ ∑ œ ‰ Œ Ó ¢ >œ > f 8 °45 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
j Ó 1. Cl. 1, 2 & ‰ Œ Ó ∑ ∑ w w bœ w b˙ ww ww w >. 2. mf n. mf j B. Cl. & ∑ ∑ ∑ ∑ j ‰ Œ ˙ œ œ œ œ œ ‰ Ó ˙ b˙ ˙ œ pp pp f pp f
1. ? j ‰ Œ Ó ∑ ∑ ∑ ∑ ˙ œbœ™ ˙ œ ‰ Œ Bsn. 1, 2 ¢ œ b˙ œ œ œ J J pp pp f pp f pp
45 ° j 1. Hn. 1, 2 & œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ Œ ˙™ bw œ. pp mf pp
j ‰ Œ Ó Ó 3. Hn. 3, 4 & w œ ∑ ∑ ∑ ∑ ∑ ˙ w bJœ ‰ Œ Ó bw . 4. mf pp
j j Tpt. 1, 2 & ‰ œ ˙™ bœ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ Ó Œ œ œ ˙™ œ. pp mf pp
? j b1w. Tbn. 1, 2 œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ pp pp
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Perc. 1 {& /
To Tam-tam
Perc. 2 / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Snare Dræujm æ ‰ æ æ™ j ‰ Œ S. D. ¢& œ ˙ œ Ó ∑ ∑ ∑ ∑ ∑ ∑ pp mf
45 3¿ã¿ 3¿ã¿ œ œ œ œ œ™ œ™ œb˙ ˙ œ bœ œ J J J œbœ œ œ ˙ j œ œ w œ Shak. & ‰ Œ œ bœ ‰ œ ∑ Ó Œ œ 3 3 1 1 1 1 µ¶ ° œ œ µ¶ µ¶ µ¶ 3 œ bœ Œ œ œ Œ œ œ œ Ó ∑ ‰ œ œ Œ ‰ œ œ & bœ œ œ œ œ ˙ J œ œ J œ œ œ œ œ œ bœ œ 3 3 bœ bœ œbœ Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°45 æ æ æ æ j ‰ Œ Ó æ æ æ æ æ æ æ Vln. I & bœ bw bw bw bw w w w w> w w w w w w n. fpp mp n. mp æ æ æ æ j ‰ Œ Ó æ æ æ æ æ æ æ Vln. II & œ w w w w æ æ æ œ w> w w w bw bw bw n. fpp mp n. mp j æ æ æ j æ æ B ‰ œ Œ Ó æ æ æ j ‰ Œ j ‰ Œ Ó ‰ j Œ œ ‰ Œ ‰ æ™ æ Vla. œ bww bww bww œ bbœ bœœ œ bbœ™ w > > > > >œ > > > > fpp f fp ? b>œ > j j j >œ b>œ Vc. ‰ Œ Ó œ ‰ Œ Ó ∑ ∑ ‰ Œ bœ ‰ Œ Ó ‰ œ Œ J ‰ Œ ‰ Œ ∑ J J >œ > > J
? b>œ > j j j >œ b>œ Cb. ‰ Œ Ó œ ‰ Œ Ó ∑ ∑ ‰ Œ bœ ‰ Œ Ó ‰ œ Œ J ‰ Œ ‰ Œ ∑ ¢ J J >œ > > J 9 53 œ œ. rit. q = 56 ° œbœ R Picc. & ∑ ∑ ∑ ∑ ∑ Ó ‰ ≈‰ ∑ ∑ ∑ f 3 Ÿb~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿb~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ œ. w w œ J J Fl. 1 & ∑ ‰ Œ Ó ∑ ‰ ∑ ∑ ∑ pp mp pp p f Ÿb~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ ˙™ œ. #w w œ J J Fl. 2 & ∑ J ‰ Œ Ó Œ ‰ ‰ ∑ ∑ ∑ pp mp pp pp f . ∑ ∑ b w b˙™ œ ‰ ∑ ∑ ∑ Ob. 1, 2 & bw bw w Jœ pp mp f ∑ ∑ j ‰ ∑ ∑ ∑ Eng. Hn. & bw w w ˙™ œ. pp mp f . j ‰ Œ Ó ∑ 3 bœ œ œ ‰ ∑ ∑ ∑ Cl. 1 & w œ œœ œœ J w bw œ œbœ pp f > j ‰ Œ Ó ‰ nœ. ‰ ∑ ∑ ∑ Cl. 2 & w œ j œ œ œ œ œ J w w ˙ œ œ bœ pp mp f j B. Cl. & ∑ ∑ ∑ ∑ Œ ‰ ∑ ∑ ∑ œ œ ˙™ œ. œ œ œbœ > f mp > .j œ œ nœ bœ œ œbœ ? ∑ ∑ ∑ ∑ Œ Ó œ œ b˙™ œ ‰ ∑ ∑ ∑ Bsn. 1, 2 ¢ Œ bœ œ bœ J ‰ œ >. mp f 53 ° ™ >. j ‰ Œ Ó ∑ ∑ Œ ‰ œ ˙ ˙™ œ ‰ ∑ ∑ ∑ Hn. 1, 2 & bw œ J J 2. . mf f j ‰ Œ Ó ˙™ >œ. Hn. 3, 4 & w œ ∑ ∑ ∑ ™ œ ‰ ∑ ∑ ∑ w bJœ ‰ Œ Ó b˙ J . p f mf >. j ˙™ œ Tpt. 1, 2 & w bœ ‰ Œ Ó ∑ ∑ ∑ b˙ œ ‰ ∑ ∑ ∑ w œ. J mf p f > j . . >. ? w bœ. ‰ Œ Ó j‰ Œ Ó Ó œ ‰ Œ Œ ‰ bœ. Ó bœ ‰ ‰ œ Œ nœ ‰ ∑ ∑ ∑ Tbn. 1, 2 J œ bœ œ J J >. . J J mf mf p f ? ∑ ∑ ‰ Œ Ó Ó ‰ Œ Œ ‰ Ó j‰ ‰ j ‰ ‰ ‰ ∑ ∑ ∑ Tba. ¢ j j j bœ œ j œ bœ œ. . . œ. >. . > mf p f ° ? ∑ ∑ ∑ ∑ ∑ æ œ. ‰ ∑ ∑ ∑ Timp. b˙™ J n. f Tom-toms > j j > æ j ‰ Œ Ó Œ Ó Ó Œ Œ ‰ j Ó œ ‰ ‰ œ ‰ œ œ œ œ ‰ ∑ ∑ ∑ Tom-t. { / w œ œ œ œ œ œ œ œ J n. mf 3 f Tam-tam æ . … To Vib. æ™ j ‰ T.-t. / ∑ ∑ ∑ ∑ ∑ ˙ œ ∑ ∑ ∑ pp f
S. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b slow to fast 53 3¿ã¿ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ >. ã bœ œ œ œ œ ù bカwラカラ b˙ ù œ œbœ œ ˙ œ 3¿¿ bœ œ bœ œ œ œ œbœ j ™ œ Œ œ ‰ œ œ œ J ‰ œ ˙ œ w œ ‰ Œ Œ Shak. & œbœ J bœ œ >œ J œ 3 3 f 3 5 ç p pp sfz p 1 1 , 1 1 b˙µ¶ µ¶ œ ° µ¶ µ¶ œ 3 œ j œ œ bœ œ û œ bœ œ œ œ ˙ œ ˙ ∏ ww & œbœ œ œ Œ Œ Œ œbœ œ Œ œ œ J ‰ Œ ‰œ Ó ‰ œ™ ∏ œ œ œ J 3 3 f mf Koto 5 ff ? ¢ ∑ ∑ ∑ ∑ ∑ ˙ ∑ ∑ ∑
53 j j rit. q = 56 ° æ j j j j œ œ >œ Vln. I & w bœ ‰ Œ Ó œ ‰ Œ Ó ‰ ‰ Œ œ ‰ Œ Œ ‰ œ Ó ‰ ‰ Œ œ ‰ ∑ ∑ ∑ w b >œ œ œ œ bœ œ J f mp f j j j æ j ‰ Œ Ó j‰ Œ Ó ‰ ‰ Œ j‰ Œ Œ ‰ j Ó ‰ ‰ Œ nœ ‰ ∑ ∑ ∑ Vln. II & æ œ œ œ œ œ bw >œ bœ bœ œ œ œ > f mp j j f j æ j j j j Vla. B bw bœ ‰ Œ Ó œ ‰ Œ Ó ‰ ‰ Œ œ ‰ Œ Œ ‰ bœ Ó œ ‰ ‰ œ Œ œ ‰ ∑ ∑ ∑ b w b >œ œ bœ b œ > f mp f > ? ∑ bœ ‰ Œ Ó j‰ Œ Ó Ó j‰ Œ Œ ‰ j Ó bœ ‰ ‰ œ Œ >œ ‰ ∑ ∑ ∑ Vc. J œ bœ œ J J J mp f > j ? ∑ bœ ‰ Œ Ó j‰ Œ Ó Ó j‰ Œ Œ ‰ œ Ó bœ ‰ ‰ œ Œ >œ ‰ ∑ ∑ ∑ Cb. ¢ J œ bœ J J J mp f 10 62 accel. q = 112Driving pulse ° Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Flutter B. Cl. & ∑ ∑ ∑ ∑ ∑ Ó æ æ j‰ Œ ∑ ∑ ∑ ˙æ ˙æ œ pp f pp
Flutter ? ∑ ∑ ∑ ∑ ∑ æ æ j‰ Œ Ó ∑ ∑ ∑ Bsn. 1, 2 ¢ ˙ ˙ œ pp f pp °62 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { /
T.-t. / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Drum S. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
62 ÍÍÍͯ¯¯ÍÍÍÍ j Shak. & w w œ ‰Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑
f n. , Off R. , , N.R. Ord. ° ツ ツ œ œ œ œ œ œ œ œ œ1 œ œ œ œ œ œ1 œ ∏ œœ œ œ œ œ œ œ œ œ1 œ œ øœ œ œ ø œ œ œ œ œ bœ œ œ œ bœ œ œ bœ œ & û ∏ > œ û œ œ > œ œ > œ œ > œ > œ p f Koto + + + j ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ Ó ˙ Œ ‰ œ ∑ ¢ >˙ >˙ >œ
accel. q = 112 Driving pulse °62 Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
col legno hits col legno at random ? Œ Œ Œ Œ j‰ Œ Ó Ó j ‰ Œ Vc. œ œ œ œ œ œ œ œ >œ œ œ p mf pp f pp f pp f
col legno hits col legno at random ? Œ Œ Œ Œ j‰ Œ Ó j‰ Œ Ó Cb. ¢ œ œ œ œ œ œ œ œ >œ œ œ p mf pp f pp f pp f 11 °72 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Flutter B. Cl. & Ó æ æ j ‰ Œ ∑ ∑ ∑ ∑ ∑ ˙æ ˙æ œ pp f pp
Flutter ? æ æ j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ ˙ ˙ œ pp f pp °72 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { /
T.-t. / ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑
72
Shak. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
1 ° >œ >œ µ¶ ツ ツ œ œ œ >œ >œ œ œ œ >œ & œbœ œ œ bœ œ œ œ œ œ œ œ ø œ œ œ œ ø œ > œ œ œ bœ œ > œ œ œ bœ > œ œ œ bœ œ œ > œ œ œ bœ œ œ
Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑
72 > ° . >œ >œ œ >œ >œ œ œ œ œ Vln. I & ∑ œ œ œ œ œbœ œ œ œ œ œ œ Œ œ œ œ œbœ œ œ œ bœ > œ bœ œ œ > œ œ œ bœ œ œ . . . . œ. . . œ. œ pp mp f
col legno hits at random ord. > > ∑ j ‰ Œ Ó œ œ œ bœ œ œ œ bœ œ œ œ œ œ Vln. II & œ > œ > œ œ pp f pp f p
col legno hits at random ord. > > B j ‰ Œ Ó ∑ Œ bœ œ œ œ Vla. œ œ œ mp pp f pp f pp
orjd. j j j ? j ‰ Œ Ó œ ‰ Œ Ó Œ œ ‰ Ó œ ‰ Œ Œ ‰ œ ∑ ∑ ∑ Vc. œ >œ >œ >œ >œ pp mf
o>œrd. >œ >œ >œ ? j ‰ Œ Ó ‰ Œ Ó Œ ‰ Ó ‰ Œ Œ ‰ Œ Œ Ó ∑ ∑ Cb. ¢ œ J J J J pp mf 12 79 ° 3 4 Picc. & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 Fl. 1, 2 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 Ob. 1, 2 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 Eng. Hn. & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 Cl. 1, 2 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 B. Cl. & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
™ . . œ™ bœ œ œ œ. bœ ? ∑ ∑ 3 ∑ ∑ 4 Ó œ Œ œ œ œ Œ œ ‰ Œ Ó Bsn. 1, 2 ¢ 4 4 J J J J mf 79 ° 3 4 Hn. 1, 2 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 Hn. 3, 4 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
3 4 Tpt. 1, 2 & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
? 3 4 Tbn. 1, 2 ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
? ∑ ∑ 3 ∑ ∑ 4 ∑ ∑ ∑ Tba. ¢ 4 4
°? 3 4 Timp. ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
Glockenspiel bœ™ ˙™ ∑ ∑ 3 ∑ ∑ 4 ∑ ∑ bœ Tom-t. { / 4 4 mp
Vibraphone bœ w 3 4 j œ œ T.-t. / ∑ ∑ 4 ∑ ∑ 4 ∑ & Ó ‰ œ mp 3
3 4 B. D. ¢& ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
79 3 4 Shak. & ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
> ° > >œ œ œ, ツ j j (gliss.œ) j œ œ œ >œù >ツ ツ œ bœ œ œ œ œ œ œ bœ œ œ ø 3 ‰ œ bœ œ œ ‰ œ bœ œ œ 4 ‰ J œ œ œ œ ø bœ œ œù œ œ ø œ & J œ 4 4 > œ > œ œ #œ œ œ œ p Koto ? 3 4 ¢ ∑ ∑ 4 ∑ ∑ 4 ∑ ∑ ∑
°79 > > œœ œœ >œ œ > > œ bœ œ œ œ œ œ œ œ œ œbœ œ œœœ 3 ‰ œœbœœœœœœ ‰ œœbœœœœœœ 4 ‰ œ œœœœœœœœœœœ bœœ œœœœœœ œœ œ Vln. I & œ 4 4 > œœ> œœœ œ #œ. œ. œ. œ. . p f p f p > > >œ œ œ œœ œœ œ œœœ >œœ > œ bœ œ œ œ œ œ œ bœ œ œœœ 3 ‰ œœbœœœœœœ ‰ œœbœœœœœœ 4 Œ œœ œœœœ œœbœœœœœœœœ œœ Œ Ó Vln. II & œ 4 4 > œœ> œ œ œ œ#œ. f p f p f p
j j j pizz. œ >œ œ œ œ œ 3 œ œ 4 œ œ j j Vla. B œ bœ œ œ œ bœ œ œœœ 4 ‰ Œ Œ ‰ Œ Œ 4 ‰ Œ ‰ bœ Œ œ ‰ Œ Œ Ó > œ œ œ œ œ œ f > > > > > bœ œ œ œ œ œ œ œ œbœ œ œ > > > pizz. ? œ œ œ œ œ 3 œ ‰ Œ Œ œ ‰ Œ Œ 4 œ ‰ Œ œ œ Œ œ ‰ j Œ Œ Ó Vc. 4 œ œ 4 œ J œ #œ f J J J
>œ >œ >œ ? ∑ ∑ 3 ‰ Œ Œ ‰ Œ Œ 4 ‰ Œ Ó ∑ ∑ Cb. ¢ 4 J J 4 J f 13 °86 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1. œ j œ ˙ œ#œ œ œ œ œ w œ Fl. 1, 2 & ∑ œ œ œ ˙ œ ‰ œ J ‰ J ‰ Œ Ó ∑ ∑ p mf pp mf pp mf pp mf pp
1. œ œ. œ œ#œœ ˙ Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ œ . ∑ . œ.#œ. œ. œ. œ. p f p mf
œ Eng. Hn. & ∑ ∑ ∑ ∑ ∑ œ œ œ. œ . œ ∑ ∑ . œ. . œ. . . p f
#œ ˙ œ ™ ∑ 1˙. œ œ œœ œ œ ‰ œ œ œ œ ‰ œ J ‰ ‰ œ#˙ ˙ œ ‰ ∑ ∑ Cl. 1, 2 & J J J J n. p n. p n. mp n. mf n.
j w B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ #œ™ #œ œ œ p f ...... œ. . . œ . . œ . œ. . œ #œ nœ œ bœ. . œ . œ . ? #œ œ œ Œ œ œ #œ Œ œ œ œ œ #œ Œ Ó #œ œ œ œ œ #œ œ#œ œ œ #œ œ œ œ œ œ. œ#œ œ. œ œ ∑ Bsn. 1, 2 ¢ . . . œ œ p ...... p f p f °86 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
™ ™ ∑ ∑ ∑ ∑ ∑ ∑ #œ ˙ ∑ Glock. { / œ mp w œ w To T.-t. j œœ Vib. & ∑ ∑ ∑ ∑ Ó ‰#œ ∑ mp 3
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
86 ¿ã¿ ÍÍÍÍÍÍÍÍͯ¯¯¯ ¿ã¿ ÍÍÍͯ¯¯ÍÍÍÍÍ 3¿ã¿ ÍÍÍÍÍÍÍÍÍͯ¯¯¯¯¯ 3 œ ˙ œ#œ ˙ œ œ œ ˙™ 3 j w Shak. & ∑ w œ œ w œ ‰ Œ Ó fp f fp f p fp
° ツ ツ œ ツ ツø ツø & œ œ œ ∑ ∑ œ Œ œ #œ œ ø œ œ #œ œ œ œ #œ œ ø œ œ #œ œ œ œ #w ø bœ f f Koto ? œ #œ œ ¢ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ ∑
°86 Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ Vln. I & #œ. pp
pizz. œœœ œœœ Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ p
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? œ #œ œ œ #œ œ œ Vc. ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ p mf p
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cb. ¢ 14 94 œ œbœ œbœ ° œœœ ˙ œœ b˙ œœ Picc. & ∑ ∑ ∑ ∑ Ó Œ Œ Œ
f f f ™ œ œ™bœ œ bœ œ œ œ œ œ œ bœ œ œ bœ Fl. 1, 2 & ∑ ∑ ∑ ∑ Œ œ Œ Œ ‰ J 3 3 f œ ˙ œ œ#œœ œ œ œ œ œ œ œ J Ob. 1, 2 & Œ bœ œ J ‰ ‰ Œ ∑ ∑ ∑ ∑ mf pp mf pp
Ó œ œ w w œ ‰ Œ Ó ∑ ∑ Eng. Hn. & ˙ œ œ œ œ œ J pp mf pp
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ 3 B. Cl. & ‰ Œ Ó ∑ ∑ ∑ J ˙ œ ˙™ œ ˙ œ œ pp mf #œ #œ
(a 2) ...... 3 ? ∑ ∑ œ #œ œ œ œ ‰#œ ‰ œ ‰ œ #œ #œ œ œ #œ Œ Ó ∑ Bsn. 1, 2 ¢ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ J J J . #œ. œ. . p mf 94 ° a 2 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ w p
a 2 ∑ ∑ ∑ ∑ ∑ Hn. 3, 4 & w w p
Ó Œ 1. ∑ ∑ ∑ ∑ ∑ œœ œœ œ ˙ Tpt. 1, 2 & #œ™ Jœ œ #œ p 2.
? #aœ 2 œ œ œ œ bœ #œ Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ #œ œ p
? ∑ ∑ ∑ w œ œ 3 Tba. ¢ œ #œ œ œ œ œ œ œ œ œ pp p œ
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑
3¿ã¿ 3¿ã¿ ¯¯¯¯¯¯ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ 94 3¿ã¿ œ œ œ™ œ œ ˙ œ œ ˙™ œ™ œ œ™ bœ œ bœ œ œ™ bœ œ œ Œ œœ œ ‰ j œ œ #˙ œ ‰ œbœ Shak. & J œ J œ œ J 3 fp f p 3 f ° œù œù #œ œ œ œ bœ ‰bœ Ó ∑ ∑ ∑ ‰ j œ œ œ ‰ j œ œ æ æ ‰ œ œ & J#œ œ œ œ æ æ J p f Koto ? œ ツø œ #œ œ œbœ ¢ Ó œ œ œ œ œ Œ Ó ∑ ∑ ∑ ∑
°94 pizz. ∑ ∑ œ œ ‰ œ ‰ œ ‰ œ Œ #œ Œ œ œ Œ Ó œ ‰ œ Œ œ Œ #œ œ Œ Vln. I & J J J J f j j j j Vln. II & #œ œ œ #œœœ œ œ œ œ œ ‰ œ ‰ œ ‰ œ Œ bœ Œ œ œ Œ Ó #œ ‰ œ Œ œ Œ bœ œ Œ bœ œ œ œ œ f
B ∑ ∑ ‰ j‰ j‰ j Œ Ó ‰ j Œ Œ Œ Vla. œ œ #œ œ œ œ #œ œ œ #œ #œ œ #œ œ œ f
? œ œ œœœ œ ‰ j‰ j‰ j 3 œ œ #œ Vc. œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ #œ œ œ p f
pizz. ? ∑ ∑ ∑ ∑ œ œ 3 œ Cb. ¢ œ #œ œ œ œ œ œ œ œ œ f 101 15 ˙ bœ ˙ œ ° œ J Picc. & Œ ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ ù bœ œ œ œ J Fl. 1, 2 & ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
. œ. Œ . œ œ. Œ œ œ Œ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ Cl. 1, 2 & #œ œ . .#œ. œ œ. . . œ. œ. f p . œ. Ó . œ œ. Œ œ œ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ Cl. 2 & #œ œ . .#œ. œ #œ. . . œ. œ. f p
j ‰ Œ ‰ j j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B. Cl. & œ œ >. œ >.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢
101 ° j Hn. 1, 2 & œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ >. mf j Hn. 3, 4 & ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. mf > .j œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tpt. 1, 2 & J ‰ Œ Ó >. mf >. >. ? œ ‰ Œ ‰ #œ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tbn. 1, 2 J J J mf ? Tba. j ‰ Œ ‰ j j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ œ œ >. œ >. mf
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
T.-t. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 101 ÍÍÍÍ œ ù œbœ ˙ ˙ œ 3¿ã¿ 3¿ã¿ J ‰ Œ ∑ ∑ Ó j‰ bœ ˙ Shak. & ˙ œbœ œ œ ˙ b˙ ˙ œ œ œ p f pp f p f p , bœ œ j ° œ#œ œ œ œ œ œ œ & bœ œ ∑ bœ œ œ bœ Ó ∑ ∑ ∑ Ó ‰ J #œ #œ œ #œ œ œ œ bœ ˙ œ p Koto , œ™ bœ œ œ œ , , j ? ∑ J œ ∑ ∑ œ#œ œ œ œ Œ #œ Œ œ Ó ‰ œ œ œ œ œ œ œ œ œœŒ ∑ ¢ J J p p f
101 œ ° œ Vln. I & #œ bœ œ œ bœ#œ œ œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œbœ œ
œ œ Vln. II & #œ bœ œ œ bœ#œ œ œ Ó Œ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œbœ œ
pizz. j œ j j j Vla. B ‰ œ œ bœ ‰bœ œ œ j Œ Œ ∑ ∑ ∑ Ó Œ ‰ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ J œ œ p p mf œ pizjz. j ? œ œ bœ bœ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œœœœœœ Vc. nœ ‰ J ‰ J œ J Œ Œ ∑ ∑ ∑ Ó ‰ J J‰ nœ J p p mf p > j > ? œ. ‰ Œ ‰ œ œ. ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cb. ¢ J >. J 16 110 ° 3 4 3 Picc. & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ ∑ ∑ Œ #˙™ œ œ ‰ Ó Ó Œ #œ 3 ˙™ 4 œ ‰ Œ Ó Ó Œ #œ ˙™ œ ‰ 3 Fl. 1, 2 & J 4 4 J J 4 pp mp pp pp mp pp pp mp pp Ÿ~b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~b~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∑ ∑ w œ œ ‰ Ó Ó ˙ 3 ˙™ 4 œ ‰ Œ Ó Ó ˙ ˙™ œ ‰ 3 Fl. 2 & J 4 4 J J 4 pp mp pp pp mp pp pp mp mp pp 3 4 3 Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
3 4 3 Eng. Hn. & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
∑ ∑ ∑ 1. 3 j‰ Œ Œ 4 j‰ Œ Ó 3 Cl. 1, 2 & w w 4 œ 4 w w œ 4 pp mp pp pp mp pp 3 4 3 B. Cl. & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
? ∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ ∑ 3 Bsn. 1, 2 ¢ 4 4 4
110 ° 3 4 3 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
3 4 3 Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
3 4 3 Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
? 3 4 3 Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
? ∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ ∑ 3 Tba. ¢ 4 4 4
°? 3 4 3 Timp. ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ ∑ 3 Glock. { / 4 4 4
3 4 3 T.-t. & ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ / ∑ 4
3 4 3 B. D. ¢& ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4
ÍÍÍÍÍÍÍÍ 110 3¿ã¿ コロコロ ÍÍÍÍÍÍÍ コロコロ ã コロコロ ã ˙™ œ ˙ ˙ ˙ œ ˙™ œ 3 3¿¿ 4 ˙ ˙ œ 3¿¿ 3 Shak. & æ æ ‰ j‰ æ ‰ 4 Ó 4 æ æ ‰ Œ 4 æ æ J œ ˙™ œ æ J œ w < æ æ J ˙ mp pp p mf p f p fp f p mf p fp 1, ° œ œ œ œ œ œ 3 4 µ¶ j 3 & œŒ ∑ ∑ ∑ ∑ 4 ∑ 4 ∑ Ó œ œ œ ‰ Œ Ó 4 b>œ >œ b>œ f p f mp f Koto > > > mp 1 1 œ œ œ œ œ µ¶ œ bœµ¶ œ œ ? œ œ œbœ œ œ œbœ œ bœ 3 4 œbœ œ œ œ œ œ 3 ¢ ∑ ∑ bœ œ œ œ J ‰ Œ Ó 4 ∑ 4 Ó ∑ 4
110 pizjz. j ° œ œ œ œ œ œ œ œœœœœœ 3 4 3 Vln. I & Ó ‰ J J ‰ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4 p mf p pizjz. j œ œ œ œ œ œ œ œœœœœœ 3 4 3 Vln. II & Œ ‰ J J‰ Œ ∑ ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ 4 p mf p spiccato arco > >. > > >. >œ. j >œ 3 œ œ œ 4#œ. œ. . . œ . œ. . 3 Vla. B œ ‰ Œ Ó ∑ ∑ ∑ Ó Œ œ 4bœ œ 4 Œ Ó ∑ œ œ œ œ 4 Jœ p p mf p
> spiccato >. >. arco > b>œ œ b>œ. >. >. . œ . .bœ . ? >œ œ œ 3 œ œ œ 4 œ œbœ. œ œ œ œ 3 Vc. ∑ ∑ ∑ ∑ bœ œ œ œ 4 4 Œ Ó ∑ 4 p mf p
? ∑ ∑ ∑ ∑ ∑ 3 ∑ 4 ∑ ∑ ∑ 3 Cb. ¢ 4 4 4 17 119 bœ. ° 3 5 4 5 4 œ œbœ œ 7 J œ œ œ œ Picc. & 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Ó Œ œ 8 ‰ ‰ Œ bœ
mf 5 f mf 5 . œ œ œœ b œ œ 3 5 4 5 4 œœbœœbœœ 7 J œœ œœœ œ Fl. 1, 2 & 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Ó Œ 8 ‰ ‰ Œ mf 5 f mf 5
1. œ bœ™ œ 3 ∑ 5 ∑ 4 ∑ 5 ∑ 4 Ó Œ œ œ bœ 7 œ™ œ œ œ Ob. 1, 2 & 4 4 4 4 4 Ó bœ œ œ 8 bœ 2. f 3 3 5 4 5 4 7 bœ™ œ œ Eng. Hn. & 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 8 œ f n˙ ˙ 1. œ œ bœ™ œ œ 3 ∑ 5 4 5 œ™ ™ ˙ 4 ˙ Œ œ œ œ 7 œ™ œ œ bœ Cl. 1, 2 & 4 4#˙™ ˙ 4 w 4 œ™ œ™ 4 œ œ 8 # ˙ ˙ w 2. p 3 f
3 ∑ 5 ∑ 4 ∑ 5 ∑ 4 >œ 7 ‰ j B. Cl. & 4 4 4 4 4 œ œ œ œ œ œ 8 j œ œ œ œ œ >œ mp > f >œ. >œ. . œ. . œ. œ 1œ.. . . œ. . œ. bœ œ. œ. œ. œ >œ œ œ œ œ ? 3 5 4 5 œ œ œ 4bœ œ œ œ 7 œ œ œ Bsn. 1, 2 4 ∑ 4 ∑ 4 ∑ 4 4 œ œ œ 8 ‰ œ œ ¢ Jœ J p f 119 a 2 > ° 3 5 4 5 sen™za sord. œ œ ˙ 4 ˙ 7 j œ. Hn. 1, 2 & 4 ∑ 4 ∑ 4 ∑ 4 œ 4 ˙ 8 œ ‰ ‰ Œ ‰ J >. J pp f senza sord. 3 5 4 3. j #œ 5 ˙™ ˙ 4 7 a 2j j Hn. 3, 4 & 4 ∑ 4 ∑ 4 œ œ 4 ˙ ˙ 4bw 8 œ ‰ ‰ Œ œ ‰ w ™ . >. 4. > pp f
senza sord. 3 ∑ 5 ∑ 4 ∑ 5 ∑ 4 Ó 7 j ‰ ‰ b œ œ œ Tpt. 1, 2 & 4 4 4 4 4 w ˙ 8 œ œœœœœœ œ. œ. œ. >. >. . . > pp f 2. j ? 3 5 4 5 4 1. 7 j œ Tbn. 1, 2 4 ∑ 4 ∑ 4 ∑ 4 ˙™ ˙ 4 ww 8 œ ‰ ‰ Œ bœ ‰ >œ pp f ? 3 5 4 5 4 7 j j Tba. 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 8 ‰ ‰ Œ bœ ‰ ¢ >œ f
°? 3 5 4 5 4 æ 7 j Timp. 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Ó æ 8 ‰ ‰ Œ Œ ˙ >œ pp f Tom-toms 3 > 3 ∑ 5 ∑ 4 ∑ 5 ∑ 4 Ó Œ œ œ 7 j ‰ ‰ Œ œ Glock. { / 4 4 4 4 4 œ œ œ 8 œ œ p f Tamæ-tam … 3 5 4 5 4 æ 7 j ‰ ‰ T.-t. / 4 ∑ 4 ∑ 4 ∑ 4 ∑ /4 ~ 8 O Ó pp f
Bassæ Drum 3 5 4 5 4 æ 7 j ‰ ‰ B. D. ¢& 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 w 8 œ Ó
119 3¿ã¿ 3¿ã¿ 3¿ã¿ œù ™ j bœ œ™ œ œ œ œ bœ œ œ 3 5 ˙ – œ 4 œ™ œ œ™ ‰ 5 œ œ œ œ œ œ œ 4 œ œ œ œ 7 œ Shak. & 4 ˙™ – 4 ˙ 4 4 4 8 1 f fp f 1 1 µ¶ 1 µ¶ µ¶ >œ b>œ µ¶ ° 3 5 4 j 5 œ b>œ >œ 4 œ œ œ œ œ 7 J œ œ œ œ œ & 4 ∑ 4 nœ œ œbœ œ 4bœ ‰ Œ Ó 4 œ bœ œ œ œ 4 œ 8 ‰ J bœ œ œ >œ >œ >œ mp f mp f mp f Koto ? 3 5 4 5 4 7 ¢ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 8 ∑
119 spiccato >. j ° >. >. . œ. . œ bœ œ œ 3 ∑ 5 ∑ 4 ∑ 5 œ bœ œ 4 œ . œ. œ. œ 7 œ ‰ J œ œ œ Vln. I & 4 4 4 4nœ. bœ œ . œ œ. 4 œ 8 . . . œ mp f > spiccato j >. b>œ. œ 3 ∑ 5 ∑ 4 œ bœ 5 œ œ 4 œ œ. œ 7 œ ‰ œ œ bœ œ Vln. II & 4 4 4 œ œ . œ œ 4bœ œ œ. œ œ . . 4 . bœ œ. œ. . 8 œ J œ .bœ. . . . . œ. . . . > > . œ mp > >. > f œ . >œ. bœ. >. >. >. . >œ. > 3 œ. bœ. œ 5 4 œ #œ 5 œ œ œ 4bœ. . œ. œ œ. œ. 7 œ œ œ œ œ Vla. B 4 4 Œ Ó Œ 4bœ œ . œ œ 4 œ œ . œ œ 4 œ 8 ‰ œ . #œ. . . . . œ. . . . Jœ J mf mp f > >œ. >. >. . >. >œ. >œ. . œ. . œ. > . œ. œ. bœ nœ . . œ . .#œ œ. . œ. . œ. bœ œ. œ. œ. œ œ ? 3 œ 5 4bœ#œ. œ œ œ 5 œ. œ œ 4 7 bœ j œ œ œ Vc. 4 4 Œ Ó Œ 4 4 4 8 ‰ œ œ Jœ mf mp f arco œ œ >œ >œ arcjo ? 3 ∑ 5 ∑ 4 ‰ œ Œ #œ 5 œ ‰ œ Œ 4bœ ‰ Œ J ‰ 7 œ ‰ ‰ Œ j ‰ Cb. ¢ 4 4 4bœ J 4 J 4 J 8 œ bœ mp > f 18 125 . . bœ. bœ. bœ. œ. œ. œ œ bœ œ bœ ° J œ œ œ œ J œ œ œ œ 4 J œ œœ J œ œœ J œ œ 7 J œ œ bœ J œ œbœ œ 3 Picc. & ‰ ‰ Œ bœ ‰ ‰ Œ bœ 4 ‰ ‰ 8 ‰ ‰ Œ nœ ‰ ‰ Œ 4 3 3 3 5 f mf 5 f mf 5 f mf 5 f mf ...... œœ b œ œ œœ b œ œ œœ b œœ œœ œœ œœ œœ œœ b œ œ œœ b œ œ J œœ œœœ œ J œœ œœœ œ 4 J œœ œ J œœœ J œœœ 7 J œœbœœbœ œ J œœbœœbœœ 3 Fl. 1, 2 & ‰ ‰ Œ ‰ ‰ Œ 4 ‰ ‰ 8 ‰ ‰ Œ ‰ ‰ Œ 4 3 3 3 f mf 5 f mf 5 f mf 5 f mf 5 ™ ™ bœ™ œ bœ™ œ b>œ >œ >œ >œ œ bœœ œ œ bœœ œ œ™ œ œ œ œ™ œ œ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ 7 bœ™ bœ œœ bœ™ bœ œœ 3 Ob. 1, 2 & bœ bœ 4 J J J J 8 4
™ ™ bœ™ œ œ bœ™ œ œ 4 b>œ >œ >œ >œ 7 œ bœ œ œ bœ œ 3 Eng. Hn. & œ œ 4 J ‰ J ‰ J ‰ J ‰ 8 bœ bœ 4
bœ™ bœ™ b>œ >œ >œ >œ œ™ b œ œ™ b œ œ™ œ œ œ œ™ œ œ œ 4 œ œ œ œ 7 œ™ œ nœ œœ œ™ œ nœ œœ 3 Cl. 1, 2 & bœ bœ 4 J ‰ J ‰ J ‰ J ‰ 8 4
‰ j ‰ j 4 ‰ ‰ ‰ ‰ 7 ‰ j bœ ‰ j bœ 3 B. Cl. & j œ œ œ œ œ j œ œ œ œ œ 4 j j j j 8 j œ œ œ œ j œ œ œ œ 4 >œ >œ >œ >œ >œ >œ >œ >œ > œ œ œ > œ œ œ œ œ œ œ œ œ > > > > a 2 ? œ œ œ œ œ œ 4 bœ œ œ œ 7 j bœ œbœ œ j bœ œbœ œ 3 Bsn. 1, 2 ‰ œ œ ‰ œ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ 8 ‰ œ ‰ œ 4 ¢ Jœ J Jœ J J J J J >œ J >œ J 125 >. > > ° j >œ. j >œ. 4 >œ >œ >œ >œ 7 bœ œ. >. œ. 3 Hn. 1, 2 & œ ‰ ‰ Œ ‰ œ ‰ ‰ Œ ‰ 4 ‰ ‰ ‰ ‰ 8 J ‰ ‰ Œ ‰ bœ ‰ ‰ Œ ‰ 4 >. J >. J J J J J J J J
j j j j 4 >œ >œ >œ >œ 7 j >. j >. 3 Hn. 3, 4 & œ ‰ ‰ Œ œ. ‰ œ ‰ ‰ Œ œ. ‰ 4 ‰ ‰ ‰ ‰ 8 œ. ‰ ‰ Œ bœ ‰ œ. ‰ ‰ Œ bœ ‰ 4 >. > >. > J J J J > J > J
> > > > >. . . >. . . j ‰ ‰ b œ œ œ j ‰ ‰ b œ œ œ 4 bœ ‰ œ ‰ œ ‰ œ ‰ 7 j ‰ ‰ b œ œ œœ œ œ j ‰ ‰ b œ œ œœ œ œ 3 Tpt. 1, 2 & œ œœœœœœ œ. œ. œ. œ œœœœœœ œ. œ. œ. 4 8 œ œ. œ. œ. œ œ. œ. œ. 4 >. >. . . > >. >. . . > J J J J >. > >. > j j > > >œ >œ ? j œ j œ 4 >œ >œ bœ œ 7 bœ bœ bœ bœ 3 Tbn. 1, 2 œ ‰ ‰ Œ bœ ‰ œ ‰ ‰ Œ bœ ‰ 4 œ ‰ œ ‰ œ ‰ œ ‰ 8 ‰ ‰ Œ œ ‰ ‰ ‰ Œ œ ‰ 4 >œ >œ J J J J J J J J
? j j j j 4 j j > > 7 b>œ j b>œ j 3 Tba. ‰ ‰ Œ bœ ‰ ‰ ‰ Œ bœ ‰ 4 œ ‰ œ ‰ œ ‰ œ ‰ 8 ‰ ‰ Œ ‰ ‰ ‰ Œ ‰ 4 ¢ >œ >œ > > J J J œ J œ
°? 4 7 3 Timp. ∑ ∑ 4 ∑ 8 ∑ ∑ 4
j j 3 j j 3 ‰ ‰ Œ œ ‰ ‰ Œ œ 4 7 ‰ ‰ Œ œ j ‰ ‰ Œ æ 3 Tom-t. { / œ œ œ œ œ 4 œ œ œ œ 8 œ œ œ œ œ œ 4
æ … Œ™ 4 æ 7 j ‰ ‰ 3 T.-t. / Ó ∑ 4 ~ 8 O Ó ∑ 4 pp f
Basæs Drum 4 æ 7 j ‰ ‰ 3 B. D. ¢& ∑ ∑ 4 w 8 œ Ó ∑ 4 pp f
125 カラカラ ™ ™ bœ™ œ bœ™ œ b˙™ œ bœ œ œ bœ œ œ œ œ œ 4 ‰ j 7 bœ bœ 3 Shak. & 4 ç 8 4 >œ sfz > > > ° bœ œ œ bœ œ œ 4 > > > > 7 > > > œ 3 J ‰ J œ œ œ J ‰ J œ œ œ 4 œœ ‰ œœ ‰ œœ ‰ œœ ‰ 8 œ ‰ ‰ ‰ œ ‰ œ Œ™ ‰ œ Œ 4 & J J J J Jœ Jœ Jœ J Koto > > > > > > > > > > ? ∑ ∑ 4 œ ‰ œ ‰ œ ‰ œ ‰ 7 œ ‰ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ 3 ¢ 4 J J J J 8 J J J J J J 4
125 j j j j j j œj œj ° bœ œ œ bœ œ œ bœ œ œ œ bœ œ bœ œ œ ‰ J œ œ œ œ ‰ J œ œ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ 7 bœ ‰ J bœ œ œ bœ ‰ J bœ œ œ 3 Vln. I & œ œ 4 œ œ œ œ 8 œ œ 4 >œ >œ >œ >œ >œ >œ >œ >œ j j œj œj œj œj œj œj bœ bœ œ ‰ œ œ œ ‰ œ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ 7 œ ‰ bœ œ œ œ œ ‰ bœ œ œ œ 3 Vln. II & œ J bœ œ œ œ J bœ œ œ 4 œ œ œ œ 8 œ J bœ œ J bœ 4 >œ >œ >œ >œ >œ >œ >œ >œ > > > > > > > > œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ 7 œ œ bœ œ œ œ œ bœ œ œ 3 Vla. B ‰ œ ‰ œ 4 ‰ ‰ ‰ ‰ 8 ‰ ‰ 4 Jœ J Jœ J Jœ Jœ Jœ Jœ Jœ J Jœ J
>œ >œ >œ >œ >œ >œ >œ >œ ? bœ j œ œ œ bœ j œ œ œ 4bœ œ œ œ 7 bœ bœ œ œ œ bœ bœ œ œ œ 3 Vc. ‰ œ œ ‰ œ œ 4 ‰ ‰ ‰ ‰ 8 ‰ œ ‰ œ 4 Jœ Jœ Jœ Jœ Jœ Jœ Jœ J Jœ J
j j ? j j 4 j j > > 7 b>œ j b>œ j 3 Cb. œ ‰ ‰ Œ bœ ‰ œ ‰ ‰ Œ bœ ‰ 4 œ ‰ œ ‰ œ ‰ œ ‰ 8 ‰ ‰ Œ ‰ ‰ ‰ Œ ‰ 4 ¢ >œ >œ > > J J J œ J œ 130 . 19 œ. œ. œ. œ œ. œ œ. œ œ. œ. œ œbœ ° 3 J bœ œbœ J bœ œbœ 5 J œ œ œbœ J œ œ œbœ J œ œ œbœ 2 J bœ œbœ J bœ J 4 Picc. & 4 ‰ ‰ 8 ‰ ‰ ‰ ‰ ‰ ‰ 4 ‰ Œ 4 f 3 3 f 5 5 5 ff 3 3 . œœ. œ œœ. œ œœ. œ œ. œ œ. œ œ. œ. œ œbœ 3 J bœbœœ œ J œœœ œ 5 J œ œ œbœ J œ œ œbœ J œ œ œbœ 2 J bœ œbœ J bœ J 4 Fl. 1, 2 & 4 ‰ ‰ 8 ‰ ‰ ‰ ‰ ‰ ‰ 4 ‰ Œ 4 f 3 3 f 5 5 5 ff 3 3 . . . . . bœ œ bœ œ bœ œ bœ œ bœ œ œbœ 3 5 œ œ œ œ J œ œ œ œ J œ œ œ œ 2 J bœ œ J J 4 Fl. 2 & 4 ∑ 8 ‰ ‰ ‰ ‰ ‰ ‰ ‰ 4 ‰ Œ 4 3 3 f 5 5 5 ff . . >œ >œ >œ œ œ bœ œ œ bœ œ œ bœ >œ b œ œ b œ œbœbœ 3 bœ œ œ 5 œ œ œ œ œ œ œ œ œ œ œ œ 2 œ bœœœ œ J bœ œ J 4 Ob. 1, 2 & 4 J ‰ J ‰ J ‰ 8 J J J 4 J ‰ ‰ ‰ 4 3 3 > > > œ œ œ >œ >œ œ œ œ 3 œ œ œ 5 œ bœ œ œ bœ œ œ bœ œ 2 J J 4 Eng. Hn. & 4 J ‰ J ‰ J ‰ 8 J J J 4 ‰ ‰ 4 3 > > > œ œ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ a>œ 2 >œ bœ œ œ 3 œ œ œ 5 œ J œ œ œ J œ œ œ J œ œ 2 J J 4 Cl. 1, 2 & 4 J ‰ J ‰ J ‰ 8 4 ‰ ‰ 4 3 3 j j 5 2 >œ >œ œ œ œ 4 B. Cl. & 4 œ ‰ ‰ j ‰ 8 œ œ bœ œ œ bœ œ œ 4 J ‰ J ‰ 4 > >œ bœ œ œ œ œ œ œ œ > > > > > 3 bœ bœ bœ œ > > > œ œ œ œ œ œ œ œ œ œ ? 3bbœ œ œ 5 >œ œ œ bœ >œ œ œ bœ >œ >œ œ œ 2bœ œ bœ œ 4 Bsn. 1, 2 4 ‰ œ ‰ ‰ 8 œ œ œ 4 J ‰ J ‰ œ 4 ¢ J J bJœ œ œ œ œ bœ œ 3 130 > > > ° 3 b>œ >œ >œ 5 >œ b>œ >œ b>œ >œ b>œ 2 b>œ >œ bœ. œ. œ. 4 Hn. 1, 2 & 4 J ‰ J ‰ J ‰ 8 J ‰ ‰ J ‰ J ‰ ‰ J ‰ J ‰ J Œ 4 J ‰ J ‰ 4 3
3 >œ >œ >œ 5 >œ >œ >œ >œ >œ >œ 2 j j 3 4 Hn. 3, 4 & 4 ‰ ‰ ‰ 8 ‰ ‰ ‰ ‰ ‰ ‰ ‰ Œ 4 œ ‰ œ ‰ œ œ œ 4 J J J J J J J J J > > >. >. >. > > >. . . >. >. . . >œ >œ >œ. >œ. >œ. 3 œ>œ œ>œ #œ 5 j œ. œ œ œ œ œ œ œ 2 œ œ œ œ œ 4 Tpt. 1, 2 & 4 ‰ ‰ ‰ 8 œœ ‰ ‰ bœœ œœ œœ œ ‰ ‰ bœ œ œ ‰ ‰ 4 ‰ ‰ 4 J J J . >. . . J J J J J > 3 >. > > >. >œ > j j > j >œ > œ >. œ > bœ > œ œ >. ? 3 bœ ‰ bœ ‰ œ ‰ 5 œ ‰ ‰ bœ ‰ œ ‰ ‰ ‰ œ œ œ ‰ œ 2 œ bœ œ œ œ bœ œ 4 Tbn. 1, 2 4 J bœ 8 œ bœ œ œ œ œ 4 œ œ bœ œ 4 J > > J > J J >. 3 > > 3 ? 3 bœ ‰ >œ ‰ j ‰ 5 j ‰ ‰ j ‰ j ‰ ‰ j ‰ œ j ‰ œ 2 bœ œ œ. 4 Tba. ¢ 4 J bœ 8 œ bœ œ œ œ œ 4 œ > œ > bœ œ 4 J > > > > > > > J > > >. >.
° 3 ? 3 ∑ 5 ∑ ∑ ∑ 2 æ 4 Timp. 4 8 4 ˙æ œ œ œ 4 >. >. >. pp f
> 3 > 3 3 > > 3 5 j ‰ ‰ œ j ‰ ‰ œ j ‰ œ ‰ œ 2 œ œ 4 Tom-t. { / 4 œ œ œ 8 œ œ œ œ œ œ J œ œ 4 œ œ œ œ œ 4 mf f
æ … æ æ 3 æ 3 æ™ 5 j ‰ ‰ Œ j …‰ ‰ Œ Œ j …‰ ‰ 2 æ æ æ 4 T.-t. / 4 O 8 O O O 4 O O O 4 pp f p f æ > æ æ 3 æ 3 æ™ 5 j ‰ ‰ j ‰ j ‰ ‰ j ‰ j ‰ j ‰ ‰ 2 æ æ æ 4 B. D. ¢& 4 ˙ 8 œ œ œ œ œ œ 4 ˙ ˙ œ 4 pp f fp f カラカラ b˙ 130 ˙ œ œ bœ œ œ œ bœ œ œ œ œ œ bœ bœ œ 3 ‰ j 5 J J 2 ‰ j 4 Shak. & 4 ç 8 4 ç 4 >œ >œ sfz sfz > > > > > > > > > > ° 3 œ œ œ 5 œ œ œ œ œ 2 œ œ 4 & 4 J ‰ J ‰ J ‰ 8 ‰ J ‰ ‰ J ‰ J ‰ ‰ J ‰ ‰ J Œ 4 J ‰ J ‰ 4 Koto > > > > > > > > > > > ? 3 œ ‰ œ ‰ œ ‰ 5 œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ 2 œ ‰ œ ‰ 4 ¢ 4 J J J 8 J J J J J J 4 J J œ 4
j j j j 3 130 œj œj œj >œ œ >œ œ œ œ œ œ œ œ œ œ ° 3 bœ œ œ 5 œ bœ œ œ œ bœ œ œ œ œ bœ 2 œ œ œ œ œ 4 Vln. I & 4 ‰ ‰ ‰ 8 ‰ 4 ‰ ‰ 4 œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > >. >. >. j j j 3 bœ œ œ œ œ œj œj œj œj œ œ œ 3 œ ‰ œ ‰ œ ‰ 5 œ œ œ œ œ œ œ œ œ ‰ œ œ œ 2 œ ‰ œ ‰ œ œ œ 4 Vln. II & 4 œ œ œ 8 œ bœ œ bœ œ œ 4 œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > >. >. >. >. >. >. >œ >œ >œ >œ bœ >œ bœ >œ >œ >œ >œ œ œ œ 3 œ œ œ 5 œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ 4 Vla. B 4 ‰ ‰ ‰ 8 ‰ 4 ‰ ‰ 4 Jœ Jœ Jœ œ œ Jœ Jœ Jœ Jœ œ œ œ 3 > > > b>œ b>œ b>œ >œ b>œ >œ b>œ. >œ. >œ. œ œ œ œ œ œ œ œ œ œ œ œ ? 3 bœ œ œ 5 œ œ bœ œ œ bœ œ 2 4 Vc. 4 ‰ ‰ ‰ 8 œ œ ‰ œ 4 ‰ ‰ & 4 Jœ Jœ Jœ œ œ Jœ Jœ Jœ Jœ œ œ œ 3 > j > 3 ? 3 bœ ‰ >œ ‰ j ‰ 5 j ‰ ‰ j ‰ j ‰ ‰ ‰ œ j ‰ œ 2 bœ œ œ. 4 Cb. ¢ 4 J bœ 8 œ bœ œ œ œ œ 4 œ > œ > bœ œ 4 J > > > > > J > > >. >. > > 20 >. >. >. >. . >. . >. 136 œ œ bœ nœ bœ œ œ œ#œ œ œ bœ œ#œ œ œ bœ œ œ ° 4 œ nœ œ œ œ œ œ J œ J Picc. & 4 Œ Œ ‰ ‰ ‰ fff > > > 3 >. >. >. . œ œ. œ œ. œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ#œ œ œ œ œ#œ bœ œ œ œ#œ bœ œ œ œ œ 4 nœ#œ œnœ J œ œ œ œ J #œ œ œ J œ œ J J J œ œ#œ œ œ Fl. 1 & 4 ‰ ‰ fff 6 6 6 6 6 6 6 6 >. >. >. >. >. >. bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ 4 nœ#œ œnœ J œ œ œ œ J #œ œ œ J #œ œ œ J #œ œ œ J #œ œ œ J œ œ Fl. 2 & 4 Œ ‰ ‰ fff 6 6 6 6 6 6 6
a 2 bœ œ œ 4 œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ob. 1, 2 & 4 Œ Œ ‰ J ‰ ‰ fff 3 3 3 3 3 3 3 3 3 œ œ #œ 4#œ œ #œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ #œ #œ œ œ œ œ Eng. Hn. & 4 Œ Œ ‰ J ‰ ‰ fff 3 3 3 3 3 3 3 3 3 nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ #œ #œ #œ œ J #œ œ Cl. 1, 2 & 4 Œ Œ ‰ ‰ ‰ fff 3 3 3 3 3 3 3 3 3 4 j j j j j j j j B. Cl. & 4 œ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ Œ ‰ œ ‰ ‰ œ ‰ >. >. >. >. >. >. >. >. fff ? 4 j j j j #œj >œ. #œj œj Bsn. 1, 2 4 œ ‰ œ ‰ Œ œ ‰ œ ‰ Œ ‰ ‰ œ Œ ‰ ‰ ‰ ‰ ¢ œ œ œ œ. œ. J œ. œ. >. >. >. > > > > fff > 136 >. >. >. >. >. rip >. >. œ. ° 4 >. nœœ >. œœ >. œœ >. œœ >. œœ œ œ J Hn. 1, 2 & 4 œ nœ Œ nœ nœ Œ nœ Œ J ‰ ‰ J ‰ ‰ ‰
fff rip 4 >œ. >œ. >œ. Hn. 3, 4 & 4 œ œ Œ œ œ Œ œ Œ ‰ J ‰ ‰ J ‰ ‰ J œ œ. œ œ. œ œ. œ œ. œ œ. >. > >. > >. > >. > >. > fff >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. >. œœ œœ 4 œ œ œ œ #œ œ #œ œ #œœ œœ #œœ œœ #œœ œœ Tpt. 1, 2 & 4 ‰ ‰ Œ ‰ ‰ Œ ‰ Œ ‰ Œ ‰ ‰ ff > > > > >. >. > > bœ. > œ. > œ. > bœ. > œ j œ j bœ. œ ? 4 œ œ œ œ #œ. #œ œ #œ œ œ Tbn. 1, 2 4 œ œ Œ œ œ Œ ‰ ‰ ‰ œ ‰ œ œ œ œ œ œ. J œ J œ œ. > > > > fff > j ? 4 Œ Œ œ ‰ j œ. ‰ ‰ j ‰ Tba. ¢ 4 bœ. œ. œ. bœ. . J bœ. œ. >œ > >œ > >œ > >œ > >œ > >œ >œ > >œ > fff
°? 4 œ œ œ œ œ œ Timp. 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ æ ff 3 3 ffp 4 œ œ Œ œ œ Œ œ ‰ œ ‰ œ œ œ Tom-t. { / 4 œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ ff
shimedaiko 4 Œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ Perc. / 4 J fff 3 3 3 3 >. >. >. >. >. >. >. >. 4 j ‰ j ‰ Œ j ‰ j ‰ Œ j ‰ ‰ j Œ ‰ j Œ j ‰ B. D. ¢& 4 œ œ œ œ œ œ œ œ ff > > ™ > > > 136 œ œ bœ œ nœ bœ œ œ œ œ œ bœ œ 4 œ œ œ œ J œ œ J œ œ œ œ J œ Shak. & 4 ‰ ‰ ‰ ‰ 3 ° 4 w & 4 ∑ ∑
Koto ? 4 ¢ 4 ∑ ∑ ∑ > > > >œ. œ. >œ. œ. >œ. œ. œ 136 œ œ œ œ œ œ ° 4 J J J Vln. I & 4 Œ Œ Œ Œ ‰ ‰ ‰ fff >. >œ. >. >œ. >. >œ. œ œ œ œ œ œ œ œ œ œ 4 J J J J J J Vln. II & 4 ‰ J ‰ Œ ‰ ‰ Œ ‰ ‰ ‰ fff >. >. >. >. >. >. bœ œ bœ œ œ œ œ œ bœ œ œ œ œ 4 J J J Vla. B 4 Œ Ó Œ ‰ ‰ ‰ fff
> > 4 œ j œ. j œ. Vc. & 4 œ œ Œ Œ bœ . Œ Œ bœ œ ‰ œ ‰ bœ œ ‰ œ œ >. > >. J >. fff > ? 4 Œ Œ œ ‰ j œ. ‰ ‰ j j ‰ Cb. ¢ 4 bœ. œ. bœ. bœ. . J bœ. œ. >œ > >œ > >œ > >œ > >œ > >œ >œ > >œ > fff > œ. >œ. q = 76 Tranquil 21 °139 Picc. & Œ Ó ∑ ∑ ∑ ∑ bœ >œ. œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 & Œ Ó ∑ ∑ J ‰ J ‰ ‰ Œ Œ 3 3 p #œ >œ. Œ Ó ∑ ∑ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ Œ œ œ œ ‰ Fl. 2 & J J p 3 3 œ >œ.
Ob. 1, 2 & Œ Ó ∑ ∑ ∑ ∑ œ >œ.
Eng. Hn. & Œ Ó ∑ ∑ ∑ ∑ #œ >œ. Œ Ó 3 3 3 3 Cl. 1, 2 & ww ww œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n. p ∑ ∑ ∑ 3 3 3 3 Cl. 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p
B. Cl. & #œ œ Œ Ó ∑ ∑ ∑ ∑ >. >.
? #œ œ Œ Ó ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ œ œ >. >. 139 >. >. ° œ œ Hn. 1, 2 & Œ Ó ∑ ∑ ∑ ∑
>œ. >œ. Hn. 3, 4 & Œ Ó ∑ ∑ ∑ ∑
> > œœ. œœ. Tpt. 1, 2 & Œ Ó ∑ ∑ ∑ ∑
? #œ œ Œ Ó ∑ ∑ ∑ ∑ Tbn. 1, 2 œ œ >. >.
? Œ Ó ∑ ∑ ∑ ∑ Tba. ¢ œ œ >. >.
°? Timp. Œ Ó ∑ ∑ ∑ ∑ >œ >œ ff > > œ œ Œ Ó ∑ ∑ ∑ ∑ Tom-t. { /
> > Perc. / œ œ Œ Ó ∑ ∑ ∑ ∑
> > Œ B. D. ¢& œ œ Ó ∑ ∑ ∑ ∑
139 w œ û œ œ œ œ œ œ œ œ œ œ œ œ Shak. & Œ Ó ∑ œ œ
mf ° w w + & æ Ó Ó ∑ p ff f Koto p ˙+ ™ œ+ ? ˙˙™ œœ ¢ ∑ ∑ ∑ w
>œ. >œ. 139 div. ° w~ w~ w~ w~ Vln. I & Œ Ó # w~ w~ w~ w~ >œ. >œ. n. p n. div. Œ Ó ~ ~ ~ ~ Vln. II & ww~ ww~ ww~ ww~ >. >. n. p œ œ col legno hits at random j Vla. B Œ Ó ∑ œ ‰ Œ Ó pp f pp col legno >. >. hits at random œ œ ? Vc. & Ó ∑ pp f pp col legno hits at random ? Ó ∑ Cb. ¢ œ. œ. > > pp f pp 22 144 ° 3 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ 4
œ œ 3 Fl. 1 & Œ Ó ∑ ∑ ∑ ∑ ∑ 4 pp
œ œ 3 Fl. 2 & Ó Œ ∑ ∑ ∑ ∑ ∑ 4 pp 3 Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4
3 Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ 4
3 3 j ‰ Œ Ó ∑ 3 Cl. 1 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ 4
n. 3 3 j ‰ Œ Ó ∑ ∑ 3 Cl. 2 & œ œ œ œ œ œ œ œ œ œ w œ 4 n. 3 B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ 4
? ∑ ∑ ∑ ∑ ∑ ∑ 3 Bsn. 1, 2 ¢ 4
144 ° 3 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4
3 Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ 4
3 Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4
? 3 Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ 4
? ∑ ∑ ∑ ∑ ∑ ∑ 3 Tba. ¢ 4
°? 3 Timp. ∑ ∑ ∑ ∑ ∑ ∑ 4
∑ ∑ ∑ ∑ ∑ ∑ 3 Tom-t. { / 4
3 Perc. / ∑ ∑ ∑ ∑ ∑ ∑ 4
3 B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ 4
144 3¿ã¿ 3¿ã¿ œ™ œ ˙ ˙ ˙ œ 3 Shak. & J J ‰ Œ Ó ∑ ∑ ∑ 4 n.
Tuning Change ° #œ nœ> 3 & ∑ ∑ ∑ ∑ ∑ <#œ nœ bœ nœ 4
Koto + ˙™ + ? ˙˙™ œ w w w 3 ¢ ∑ ∑ 4
144 j ° w~ w~ w~ w~ œO ‰ Œ Ó 3 Vln. I & ~ ~ ~ ~ O ∑ 4 w w w w Jœ ‰ Œ Ó p n. j ~ ~ O ‰ Œ Ó 3 Vln. II & w~ w~ œO ∑ ∑ ∑ 4 w w Jœ ‰ Œ Ó n.
3 Vla. B ∑ ∑ ∑ ∑ ∑ ∑ 4
? 3 Vc. ∑ ∑ ∑ ∑ ∑ ∑ 4
? ∑ ∑ ∑ ∑ ∑ ∑ 3 Cb. ¢ 4 河童 23 Kappa q = 112 Playful ° 3 Picc. & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 Fl. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 Ob. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 Eng. Hn. & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 3 3 3 3 Cl. 1 & 4 ∑ j‰ Œ Œ #œ œ œ œ œœ œ œ œ œ œ œ œœœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœœ ˙ œ œ œ#œ .#œ. œ. #œ. . . . p pp n. p p
3 3 Cl. 2 4 ∑ j‰ ∑ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ nœ. #œ. . . . p pp n. p p 3 nœ œ B. Cl. 4 ∑ ∑ ∑ ∑ ∑ ∑ & #œ œ nœ œ #œ #œ œ œ #œ 3 n. p ? 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ ™ Bsn. 1, 2 ¢ 4 œ ˙™ n. p
a 2 ° 3 con sord. Hn. 1, 2 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ˙™ n.
a 2 3 con sord. Hn. 3, 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙™ n. 3 Tpt. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 3 cŒon sord. Tbn. 1, 2 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ b˙ ˙™ ˙™ ˙™ n. p con sord. ? 3 ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢ 4 ˙™ ˙™ ˙™ n. p °? 3 Timp. 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 ∑ œ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { / 4 œ smæall sus. cymbal 3 æ™ ™ Cym. / 4 O O— ∑ ∑ ∑ ∑ ∑ ∑ ∑ pp mp 3 B. D. ¢& 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3¿ã¿ 3¿ã¿ 3 Œ ‰ j 3 œ. ™ œœ. ™ œœ j ‰ Œ Œ ∑ ∑ ∑ ∑ Shak. & 4 œ œ œ œ ˙ œ œ œ œ œ œ p f + ° ツø 3 ∑ ˙™ ∑ Ó ‰ j œ œ œ œ ˙ ∑ ∑ ∑ & 4 ˙™ œ œ f Koto f ? 3 ¢ 4 Ó œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° 3 3 3 3 Vln. I & 4 ∑ œ j ‰ Œ Œ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ pp mp n. 3 Vln. II & 4 ∑ œ j ‰ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ pp mp n. pizz. pizz. B 3 ∑ œ œ Œ ∑ ∑ ∑ ∑ ∑ ∑ Œ bœ œ nœ Vla. 4 œ œ p p pizz. pizz. bœ œ ? 3 œ œ œ Vc. 4 ∑ Œ ∑ ∑ ∑ ∑ ∑ bœ œ nœ œ p p 3 pizz. ? 3 j j j Cb. 4 ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ Œ ‰bœ Œ œ ‰nœ Œ ¢ œ œ p 24 °10 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
j 3 3 3 3 3 3 Cl. 1 & n˙ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n. p ppp p
‰ ‰ Cl. 2 & j œ œ œ œ œ j œ œ œ œ œ œ œ œ n˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n. p ppp p
#˙ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ B. Cl. & J n.
? j ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ œ n. °10 Hn. 1, 2 & j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ p n.
Hn. 3, 4 & j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ p n.
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? j ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tbn. 1, 2 œ n.
? ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢ j œ n. °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ œ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { / œ
æ æ™ ™ Cym. / O O— ∑ ∑ ∑ ∑ ∑ ∑ pp mp
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
10 3¿ã¿ j 5 . . Ó œ. ™ œ œ. ™ œ œ ™ ‰ Œ œ œ™ œ œ™ œ œ ˙ œ ˙™ œ ‰ Œ Œ Shak. & œ œ œ œ ˙ œ œ œ œ œ J p + p f + ° œ ™ ツ ∑ ˙™ ‰ j œ œ ˙™ ˙ ™ ∑ œ ™ ø & ˙™ œ œ ˙˙™ œ ˙ ˙ f Koto ? ¢ Œ Œ œ ∑ ∑ Œ Œ œ ∑ ∑ ∑ ∑
10 arco ° 3 3 3 3 Vln. I & œ œ œ œ œ œ œ œ œ œ œ n˙™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n. p mf p pp arco Vln. II & œ œ œ œ œ œ œ œ b˙™ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n. p mf p mf pp ˙ pizz. pizz. Vla. B Œ œ œ œ Œ ∑ ∑ œ œ œ Œ ∑ ∑ ∑ p p pizz. pizz. ? n˙ œ œ œ œ Vc. Œ Œ ∑ ∑ Œ ∑ ∑ ∑ p p
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cb. ¢ 25 °18 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 j 3 3 Cl. 1 & j ‰ Œ Œ ∑ Œ #œ n˙ œ ‰ Œ Œ ∑ Œ ‰ j œ œbœnœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ#œ œ .#œ. œ œ. bœ. nœ. œ. . . . . œ.bœ. #œ...... pp n. p mf n. p mf
3 3 j 3 Cl. 2 & j ‰ ∑ ∑ Œ #œ#œnœ œ œ ‰ Œ ∑ Œ œ œ œ œbœnœ œ œ œ œ œ ˙ œ œ œ #œ œ . . œ . bœ.nœ...... bœ. nœ. œ œ #œ...... pp n. p mf n. p mf
3 . 3 3 œ. . . ∑ ∑ ‰ Œ œ œ. #œ. Œ Œ œ. bœ. nœ. bœ nœ œ. B. Cl. & j #œ #œ nœ #œ #œ #œ nœ œ bœ nœ œ œ. œ. œ. œ. #œ. œ...... œ. #œ. 3 p f p mf ? ∑ ∑ Œ Œ ™ ™ ™ j ‰ Œ Œ Œ Œ œ ˙™ ˙™ Bsn. 1, 2 ¢ Œ ˙ œ ˙™ ˙™ ˙™ œ Œ b˙ b˙™ ˙™ n. p n. n. mp °18 ∑ ∑ ∑ Œ j ‰ ∑ ∑ Ó Hn. 1, 2 & #˙ #˙™ ˙ œ & bœ ˙ œ n. p n. p n.
∑ ∑ ∑ j ‰ Œ ∑ ∑ Œ Hn. 3, 4 & n˙™ ˙™ œ œ & n˙ œ ˙ n. p n. n. p
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
j ? ∑ Œ ‰ j ˙™ ˙™ ˙™ œ ‰ Œ Œ Œ ‰ j b˙™ ˙™ ˙™ Tbn. 1, 2 #œ œ ˙™ ˙™ ˙™ œ œ œ ˙™ ˙™ ˙™ n. p n. n. mp ? Tba. ∑ j ‰ Œ Œ ¢ b˙ bœ œ n˙ ˙™ #˙™ ˙ bœ œ n˙ œ b˙™ n˙™ n. p n. pp mp °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { /
Cym. / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
18
Shak. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
, ° & œ œ œ œ ˙™ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°18 Vln. I & j ‰ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ ˙ œ n.
Vln. II & j ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ n . pizz. 3 3 œ œ bœ œ B ∑ ∑ ∑ Œ œ œ#œ œnœ œ œ ∑ ∑ Œ bœ bœ nœ bœ Vla. #œ bœ nœ bœ nœ nœ œ p f p 3 f pizz. œbœnœ bœ bœ nœ ? ∑ ‰ j Œ #œ œnœ#œ #œ œ nœ ‰ j Œ ‰ j Œ bœ bœ nœ bœ œ œ bœ nœ œ œ Vc. œ #œ œ bœ nœ œ nœ bœ nœ 3 3 3 3 p f p p f
pizz. ? ∑ Œ Œ Œ Œ œ Œ Œ Œ ∑ Œ Œ Œ Œ bœ Œ bœ Œ nœ Œ Cb. ¢ œ #œ bœ nœ bœ nœ p 26 28 ° 4 Picc. & ∑ 4 ∑ ∑ ∑ ∑ ∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 4 j 3 3 3 3 j j Fl. 1 & ∑ 4#w #œ œ ‰ œ œ œ œ œ œ #œœ œœœ œ œ œ ‰ w w œ œ ‰ œ œ œ œ œ œ
pp mp pp mp pp pp mp pp 4 j Fl. 2 & ∑ 4 Ó Œ #œœœœ #œœœœœœœœœœœœœœœœ œ œ ‰ Ó Ó Œ œœœœ œœœœœœœœœœœœœœœœ pp mp pp mp pp ∑ 4 1. j ‰ Œ Ó Ob. 1, 2 & 4bw w œ ##w w ppp p ppp ppp mp ∑ 4 j ‰ Œ Ó Eng. Hn. & 4 w w œ w w ppp mp ppp ppp mp
j 4 3 3 3 3 #œ Cl. 1 & ‰ 4 œ#œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ#œ œ œ n˙ œ œœ œœœ œ œ œ œ œ œ œ œœ œœ œ œœœ œ œ#œ œ œ œ œ#œ œ œ œ œ œ œ p n. pp mp n. mf 4 #œ Cl. 2 & j ‰ 4 œ #œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ #œ œ ˙ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p n. pp mp n. mf . 4 B. Cl. & bœ Œ ‰ ‰ 4 ∑ ∑ ∑ ∑ ∑ p j 1. ? ˙™ 4 œ ‰ Œ Ó ∑ ∑ w w Bsn. 1, 2 ¢ ˙™ 4 œ n. ppp mp °28 j‰Œ 4 ∑ ∑ ∑ ∑ ∑ Hn. 1, 2 & œ œ 4 n.
j‰Œ Œ 4 ∑ ∑ ∑ ∑ ∑ Hn. 3, 4 & œ 4 n.
4 Tpt. 1, 2 & ∑ 4 ∑ ∑ ∑ ∑ ∑
j ? œ 4 Tbn. 1, 2 œ ‰Œ Œ 4 ∑ ∑ ∑ ∑ ∑ n. ? 4 Tba. j‰Œ Œ 4 ∑ ∑ ∑ ∑ ∑ ¢ œ pp °? 4 Timp. ∑ 4 ∑ ∑ ∑ ∑ ∑
Glockenspiel ™ Glockenspiel ™ ∑ 4 Œ œ#œ ˙ ∑ ∑ Œ œ#œ ˙ ∑ Tom-t. { / 4 p p Vibraphon˙e ™ Vibraphone˙™ 4 œbœ œbœ Cym. / ∑ & 4 œ ∑ ∑ œ ∑
p 3 p 3 4 B. D. ¢& ∑ 4 ∑ ∑ ∑ ∑ ∑
28 . . œ œ . œ . Ó œ 4 œ™ bœœ™ œœ œ ˙ œ ‰ Œ Ó Œ œ œ bœ™ J œ™ œœ bœ™ J œ™ œœ œ Shak. & œ œ œ 4 J œ œ f pp 1 f 5 µ + ° 4 j œ bœ¶ œ œ œ ˙ b˙ & ∑ 4˙˙ Œ ‰ œ œ œ ˙ ˙˙ Ó ∑
Koto ? 4 ¢ Œ Œ œ 4 ∑ ∑ Ó Œ œ ∑ ∑
28 arco ° 3 3 3 3 4 œœ Vln. I & 4 bœ#œ œ œ œ œ bœ#œ œ œ œ œ bœœ œœ bœ#œ œ œ œ œ bœ#œ œ œ œ œ b˙™ œœ œœœ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ n. pp mp n. mf arco 4 œ Vln. II & 4 œ bœ #œ œ œ œ œ œ bœ #œ œ œ œ œ bœ œ œ œ œ œ bœ #œ œ œ œ bœ œ œ œ #œ œ œ ˙™ œ œ œ œ œ œ œ n. pp mp n. mf œ 4 Vla. B Œ Œ 4 ∑ ∑ ∑ ∑ ∑ p
? bœ 4 Vc. Œ Œ 4 ∑ ∑ ∑ ∑ ∑ p
? ∑ 4 ∑ ∑ ∑ ∑ ∑ Cb. ¢ 4 27 °34 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 3 j Fl. 1 & œœ œœœ œœ œ ‰ ∑ ∑ ∑ ∑ ∑ ∑ ∑
mp pp œ œ ‰ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ Fl. 2 & J pp j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ob. 1, 2 & œ ppp j Eng. Hn. & œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ppp
3 3 ‰ Œ Ó ∑ ∑ Ó ‰ œ bœnœ Cl. 1 & œ œœ œœœ œœœ œ œ œ œ œ œ j j œ bœ nœ œ . œ. . . œbœnœ œ œ œ #œ œ œ œ œ œ #w œ œ...... pp n. p f j‰ Ó ∑ ∑ Ó 3 3 nœ bœ Cl. 2 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œbœnœ œ . œ. . nœbœ œ œ œ. œbœ. nœ...... pp n. œ. . p f
.3 . . 3 B. Cl. & ∑ ∑ ∑ ∑ ∑ ‰ jŒ nœ œ bœ nœ œ. bœ. nœ. œ. . œ. bœ. nœ. bœ. nœ. nœ. œ. p f ? œ b˙ ™ j bœ Bsn. 1, 2 J ‰ Œ Ó ∑ ∑ ∑ ∑ Œ ™ bœ™ nœ œ ¢ b˙™ bn˙ ˙ œ # œ œ œ ppp p °34 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Hn. 1, 2 & bw n. p ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ Hn. 3, 4 & nœ nw n. p
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
fltg ? ∑ ∑ ∑ ∑ ∑ ∑ Ó bœ œ bœ ‰ Œ Ó Tbn. 1, 2 æ J pp p pp fltg ? ∑ ∑ ∑ ∑ ∑ ∑ æ j ‰ Œ Œ bœ Tbn. 2 ˙™ œ œ æ pp p pp ? ∑ ∑ ∑ ∑ ∑ Tba. ¢ b˙™ nœ ˙ b˙ b˙ n˙ pp p °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
34 w œbœ ˙ œ bœ œ œ œ œ œ™ bœ œ œ œ œ œ œ Shak. & J ‰ Œ ‰ J J œ œ œ œ œ œ ∑ ∑ ∑ 1 1 1 1 1 ° bœµ¶ bœµ¶ ˙ œ œbœµ¶ œ œ œ œ œ œbœµ¶ œ œ œ œ µ¶ & Œ œ œ œ œ ‰ J œ œ œ œ œ œbœ œ œ œ ∑ ∑ ∑
Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
random 34 rhythms ° pizz. (bubbles) j‰ Œ ∑ ∑ ∑ ∑ Ó œ Vln. I & œbœœ œœœ œœœ bœœœœœœœœœœœœ b˙ œ œbœ œ#œ œ œ œ pp n. p
pizz. random rhythms (bubbles) j‰ ∑ ∑ ∑ ∑ Vln. II & œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ ˙™ œ œ œ œ œbœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍ pp n. p pizz. B ∑ ∑ ∑ ∑ ∑ ∑ Œ 3 bœ bœ œ 3 Vla. œbœ œ œ bœ nœ œ bœ p f pizz. nœ bœ nœ 3 ? ∑ ∑ ∑ ∑ ∑ ‰ jŒ bœ bœ nœ bœ œ bœ bœ nœ Vc. bœ nœ nœ œ p 3 f pizz. ? ∑ ∑ ∑ ∑ ∑ Œ Œ Œ Œ bœ Œ bœ Œ nœ Œ Cb. ¢ bœ nœ p mp 28 °42 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 j 3 Œ bœ bœnœ ˙™ œ ‰ Œ Ó ∑ #œ œ nw œ ‰ Œ Ó Eng. Hn. & œ #œ œ #œ œ œ #œ J pp mp pp pp mp pp
j œ. œ. #œ. 3 Cl. 1 & ‰ Ó ∑ ∑ ‰ j #œ #œ nœ #œ #œ#œnœ j ‰ ∑ Ó ‰ j œ œ œ œ...... œ œ œ œ . bœ. n. 3 . p f p n. p 3 . j ‰ Œ ∑ ∑ 3 . œ nœ #œ j ‰ Œ Ó Ó 3 Cl. 2 & n˙ œ œ œ#œ.#œnœ.#œ . . #œ. #œn˙ œ #œ œ #œ . . œ. œbœ. p n. œ. œ. . p f p n. p
3 . 3 ‰ Œ Œ ∑ . œ nœ. #œ. ‰ Œ Œ ∑ œ. 3 bœ. B. Cl. & j #œ #œ nœ #œ #œ #œ nœ j nœ œ œ. bœ #œ. œ...... #œ. œ . . . nœ. . p p bœ p f p œ nœ bœ nœ œbœ bnw œ œ bœ nœ j nœ ? bœ b œn œ œ J ‰ œ œ #œ œ œ nœ #œ #œ œ n œ#œnœ ˙ œ ‰ Œ œ™ bœ œ b œ Bsn. 1, 2 ¢ ˙ #œ œ bœ n œ œ ˙ Jœ bœ™ n œ œ 3 3 mf p mf pp °42 j ‰ Ó ∑ ∑ ∑ j ‰ Ó ∑ Hn. 1, 2 & œ œ w œ œ n. n. mp n.
j ‰ Œ Ó ∑ ∑ Ó Œ j ‰ Œ Ó ∑ Hn. 3, 4 & œ #œ #w œ n. n. mp n.
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ œ bœ ? æ œ ‰ Ó ∑ ∑ #œ œ nœ ‰ Œ Œ æ J ‰ ∑ Ó Œ #œ Tbn. 1, 2 æ J æ J æ æ p pp pp p pp pp p pp pp ? œ æ æ j #˙ œ nœ b˙ Tbn. 2 bœ Ó ∑ Ó Œ œ œ œ bœ ‰ Œ ‰ ∑ Ó æ J æ p pp pp p pp pp p pp pp ? ‰ Œ Ó ∑ j ‰ Œ ∑ Tba. ¢ j ™ ™ j œ œ ˙ ˙ #œ œ nœ ˙ œ œ™ bœ œ pp °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑
42
Shak. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
° & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°42 Ó ∑ Ó œ Œ Œ Ó Ó Vln. I & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ f p p f p
Vln. II & ∑ ∑ ∑ ∑ Ó ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ œ #œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ œ#œ f p p f p p
3 3 3 Vla. B Œ Ó ∑ Œ œ bœ nœ œ Œ Ó ∑ Œ œ œ bœ nœ nœ œ #œ œ nœ #œ #œ œ nœ bœ p f p œ ? #œ œ nœ #œ bœ nœ #œ œ nœ bœ œ œ bœ Vc. bœ ‰ j Ó ∑ œ œ œ ‰ j Ó ∑ nœ nœ œ 3 3 3 p f p œ ? œ Œ Ó ∑ Œ Œ #œ ‰ œ Œ nœ ∑ ∑ œ ‰ bœ Œ Cb. ¢ œ œ J J pp 29 °49 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 & ∑ ∑ J ‰ J ‰ ∑ 3 3 3 3 pp mp pp mp pp œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ Fl. 2 & ∑ ∑ Ó Œ J ‰ Ó ∑ pp mp pp j Ob. 1, 2 & ∑ ∑ bww ww œœ ‰ Œ Ó ∑ ppp mp ppp Œ bœ3 j ‰ Œ Ó ∑ Eng. Hn. & bœ nœ bœ nw w w œ pp mp ppp mp ppp
3 . . . œbœnœ . œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Cl. 1 & œ œbœnœ œ œ bœ ‰ Œ Ó nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ...... J œ œ œ œ œ œ œ f 3 pp pp mp 3 œ bœ j ‰ Œ Ó œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Cl. 2 & œbœnœ nœ . œ. . œ. œ œ œ œ œ œ nœ...... f pp pp mp . . . . œ bœ nœ . 3 . j B. Cl. & nœ œ œ bœ ‰ Œ Ó ∑ ∑ ∑ ∑ . nœ. f p bœ nœ bœ bœbnœ bœ j ? bœ n œ b œ œ œ ‰ Œ Ó w œ ‰ Œ Ó ∑ ∑ Bsn. 1, 2 ¢ J nw œ 3 ppp mp n. °49 > Œ ˙™ bw w œ ‰ Œ Ó ∑ ∑ Hn. 1, 2 & J n. mf pp fp n. j w w œ ‰ Œ Ó ∑ ∑ Hn. 3, 4 & #w > n. mf pp fp n. c>on sord. ∑ ∑ ww œœ ‰ Œ Ó ∑ ∑ Tpt. 1, 2 & J fp n. b˙ bw> œ ? œ nœ ‰ ‰ Œ Ó ∑ ∑ ∑ Tbn. 1, 2 J J p pp fp pp > ? œ bœ ‰ ˙ w œ ‰ Œ Ó ∑ ∑ ∑ Tbn. 2 J J p pp fp pp > ? w œ ‰ Œ Ó ∑ ∑ ∑ Tba. ¢ œ b˙™ J fp pp
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑
49 . . œ ˙™ œ œ bœ œ œ œ 3 œœ bœ œ ù ˙™ ∑ Ó Œ œœ J ≈ R J ≈ R #œ œ œ ‰ œœ Shak. & œœ J œ œ œ 5 5 ° & ∑ ∑ ∑ ∑ ∑ ∑ ,1 Koto f ツ µ¶ ? œ œ ˙ ø œbœœ ˙ ¢ ∑ ∑ ∑ Œ Œ ∑
49 ° arco œ œ Œ Œ œ bœ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ Vln. I & œ bœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ œ œ œ œ œ œ pp mp p f p arco œ œ œ œ Vln. II & Ó Œ Œ œ bœ œ œ œ bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ œ œ œ œ pp mp f p bœ bœ nœ œ j j j j Vla. B œ œ bœ Œ Ó nœ ‰ Œ Ó œ ‰ Œ Ó Œ œ ‰ Ó œ ‰ Œ Ó >œ >œ >œ >œ f 3 p p bœ nœ bœ nœ œ bœ j j j j ? œ nœ Œ Ó œ ‰ Œ Ó œ ‰ Œ Ó Œ œ ‰ Ó œ ‰ Œ Ó Vc. >œ >œ >œ >œ f 3 p p bœ >œ >œ >œ >œ ? œ Ó b>œ Œ Ó ‰ Œ Ó ‰ Œ Ó Œ ‰ Ó ‰ Œ Ó Cb. ¢ J J J J p 30 °55 Picc. & ∑ ∑ ∑ ∑ ∑ ∑
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 3 3 3 3 j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 3 3 3 3 j Fl. 1 & w œ œ ‰ œbœ œ œ œ œ œbœ œ œ œ œ œ œ ‰ w œ œ ‰ œbœ œ œ œ œ œbœ œ œ œ œ œ œ ‰
pp mp pp mp pp pp mp pp mp pp
Ó Œ bœ œ bœ œ œ œ œ œ œ œ œ œ ‰ Ó Ó Œ bœ œ bœ œ œ œ œ œ œ œ œ œ ‰ Ó Fl. 2 & œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ J pp mp pp pp mp pp j j Ob. 1, 2 & bww ww œœ ‰ Œ Ó bww ww œœ ‰ Œ Ó ppp mp ppp ppp mp ppp j j Eng. Hn. & w w œ ‰ Œ Ó w w œ ‰ Œ Ó ppp mp ppp ppp mp ppp
˙™ œ ‰ œ œ œ#œ œ œ œ Œ Ó œ œ œnœ œ œ œ œ œ Œ Œ œnœ œ œ œ Œ œ œ œ Ó Œ Cl. 1 & J œ œ œ œ#œ œ œnœ œ pp n. pp mp pp pp mp pp pp mp p pp pp
˙™ œ ‰ œ j ‰ Ó œ œ œ œ œ nœ œ ‰ Œ j ‰ j ‰ Œ Œ Cl. 2 & J œ œ œ œ nœ œ J œ #œ œ #œ œ œ œ œ œ œ œ #œ pp n. pp mp pp pp mp pp pp mp pp pp mp pp pp
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢
°55 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑
55 œ œ œ œ œ œ J ‰ Œ Ó Ó ‰ j bœ œ œ b˙ ù Œ ‰ j bœ œ nœ œ ‰ j bœ œ bœ œ œ bœ Shak. & œ œ nœ œ œ œ œ pp ° & ∑ ∑ ∑ ∑ ∑ ∑ 1 1 Koto 1 œ œ µ œ œ œ µ ツø bœµ¶ bœ œ œ b˙¶ bœ œnœ bœ œ bœ œ œ bœ¶ ? œ œ ˙ œ ˙ ‰ œ œ ‰ nœ œ Œ ‰ œ œ ‰ œ œ ¢ J J J J
55 ° œ bœ b˙ œ ‰ Œ œbœ œ œ œ œ Œ Ó œbœ œ œ œ œbœ œ Œ Œ œbœ œ bœ œ Œ œ œ œ Ó Œ Vln. I & J œ œ œ œ œ œ œbœ œ pp n. pp p pp pp p pp pp p p pp pp j bœ ˙ œ ‰ Œ œ Ó œ bœ œ œ bœ œ Œ Œ Œ Vln. II & œ bœ œ œ bœ œ œ nœ œ œ œ œ œ œ œ œ œ œ pp n. pp p pp pp p pp pp p pp pp p pp pp j j arcjo j j j Vla. B œ ‰ Œ Œ œ ‰ Ó œ ‰ Œ ∑ œ ‰ Œ Ó œ ‰ Œ Œ œ ‰ ∑ >œ >œ >œ >œ >œ >œ mf mf j j arcjo j j j ? œ ‰ Œ Œ œ ‰ Ó œ ‰ Œ ∑ œ ‰ Œ Ó œ ‰ Œ Œ œ ‰ Œ Œ Ó Vc. >œ >œ >œ >œ >œ >œ mf mf >œ >œ a>œrco >œ >œ >œ ? ‰ Œ Œ ‰ Ó ‰ Œ ∑ ‰ Œ Ó ‰ Œ Œ ‰ ∑ Cb. ¢ J J J J J J mf mf 31 °61 Ÿw~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Picc. & ∑ ∑ ∑ ∑ ∑ ∑ pp f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ w
Fl. 1 & ∑ ∑ ∑ ∑ Ó Œ ∑ pp~b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~f~ œŸ w Fl. 2 & ∑ ∑ ∑ ∑ Ó Œ ∑ pp f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ œ ˙ w Ob. 1, 2 & ∑ ∑ ∑ ∑ Œ J ∑ pp f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w Ob. 2 & ∑ ∑ ∑ ∑ ∑ pp f Ÿb~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ w Eng. Hn. & ∑ ∑ ∑ ∑ Ó ∑ pp f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ j ‰ j ‰ Œ ∑ Ó ∑ Cl. 1 & œ œ œ œ œ#œ œ #œ œ œ œ œ ˙ w w mp pp p n. pp f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ‰ ∑ ∑ Ó ∑ Cl. 2 & œ #œ ˙ œ ˙ w w
mp n. pp f
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ j bœ™ nœ œ œ p ? Bsn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ Œ ™ ¢ b˙™ p °61 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢ b˙™ nœ p °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑
61 œ œbœ œ œ bœ œ œ œ œ œ œ œ Œ Ó ∑ Œ nœ bœ œ œ œ ∑ Shak. & œ bœ œ œ œ œ bœ œ œ œ ° œ œ œ Tuning Change ∑ ∑ nœ bœ œ œ bœ œ œ œ bœ œ œ œ œ & œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ <œ bœ nœ bœ> Koto nœ œ œ ? œ œ bœ œ œ œ bœ ¢ Œ Œ ∑ ∑ ∑ ∑ ∑
61 ° p>œizz. >œ >œ œ Œ Œ Œ Ó ∑ ∑ Ó Œ œ œ bœ œ œ œ œ ∑ Vln. I & œbœ œnœ œ œ œ œ p pp pp p pp p pizz. j Ó ∑ ∑ Ó œ ‰ œ j ‰ œ œ œ Ó Ó Vln. II & œ œ œ > œ œbœ > œ œ bœ > œ œ bœ > œ œ > œ œ p pp pizz. random rhythms pizz. (bubbles) >œ j >œ >œ œ >œ j >œ >œ œ œ œ#œ Vla. B Ó Œ œ œ bœ ‰ Œ œ œbœ Œ Œ œ œ bœ Œ > œ œ œ ‰ J œ œ bœ ‰ œ œ bœ œ œ > œ œ Ó œbœ pizz. p pizz. ? œ j œ œ œ >œ j random rhythms (bubbles) Vc. Ó Œ bœ ‰ Œ bœ Œ Œ bœ Œ œ ‰ bœ ‰ > œ œ > œ œ > œ œ > œ œ J œ œ >œ œ œ bœ >œ œ œ >œ œ œ œbœ œ œ #œ ÍÍÍÍÍÍÍÍÍÍÍÍ
p f ? ∑ ∑ ∑ ∑ ∑ ∑ arco Cb. ¢ b˙™ nœ p 32 °68 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 ∑ ∑ Œ j‰ ∑ ∑ ∑ Ob. 1, 2 & bœ œ œbœnœœ ˙™ œ
pp mp pp
∑ ∑ bœ 3 œ œ bw œ ‰ Œ Ó ∑ ∑ Eng. Hn. & œ bœ nœ J pp mp pp
3 3 j œ œ#œ 3 Cl. 1 & Œ ‰ j œœbœ ‰ Œ Ó ∑ ∑ Ó ‰ j #œ nœ #œ #œ nœ œ œ bœ nœ œ œbœnœ ˙ œ œ #œ #œ #œ 3 p f p p f p n. Œ 3 3 nœ bœ ‰ Œ ∑ ∑ Ó 3 3 œ nœ #œ Cl. 2 & œbœnœ œ œ nœbœnœ œ j œ œ #œ#œnœ#œ #œ œ œ œ œbœnœ n˙ œ #œ œ#œ p f p f p pp
n3œ bœ nœ 3 ‰ Œ Ó ∑ 3 œ nœ #œ 3 B. Cl. & bœ nœ œ œ œ bœ nœ j j #œ #œ nœ #œ #œ #œ nœ nœ œ bœ™ #œ œ f p nœ ˙ pp œ p f j nœ bœ nœ bœ j ? b˙ bœ™ nœ œ bœ b œ bœn œ b œ œ œ w œ ‰ Œ Ó Œ œ œ #œ œ œ nœ Bsn. 1, 2 ¢ bn˙ ˙ œ™ b œ œ n œ œ bw œ ˙ #œ œ bœ n œ 3 mf p pp 68 ° j ∑ bœ œ ™ ‰ Œ ∑ ∑ Hn. 1, 2 & b˙ nœ œ Jbœ nœ ˙ œ #˙ œ œ pp mp pp pp
j j j Hn. 3, 4 & Œ ‰ Œ Ó ∑ Œ œ œ œ™ ˙ bœ œ œ œ œ™ bw œ ˙ bœ œ pp mp pp pp
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
fltg ? bœ œ œ œ œ #œ œ nœ Tbn. 1 Ó bœ ‰ Œ Œ æ J ‰ Ó ∑ ∑ ∑ ‰ Œ æ J æ æ J pp p pp pp p pp pp p pp fltg ? æ j b˙ œ æ æ j Tbn. 2 æ ‰ Œ bœ ‰ Ó ∑ ∑ Ó Œ œ œ œ bœ ‰ Œ ˙™ œ œ æ J pp p pp p pp pp p pp ? ‰ Œ Ó ∑ ∑ Tba. ¢ j #œ™ j nœ ˙ b˙ b˙ n˙ œ ˙ ˙ œ œ p mf mf p °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑
. . 68 œ œ™ œ œ™ œ œ œ bw bœ œœœœ j œ œ œ œ œ œ œ Shak. & ∑ ∑ Ó œ œ Ó ‰ œ bœ ‰ J 6 3 ° ∑ ∑ ∑ ∑ bœ bœ œ bœ œ œ & œ œ œ œ bœ œ œ ˙ œ Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑
68 pizz. ° random rhythms (bubbles) Ó œ Ó ∑ ∑ ∑ Ó œ Vln. I & œ bœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ bœ œ#œ
pizz. p f p random rhythms (bubbles) ∑ ∑ ∑ ∑ Vln. II & œ œ œbœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍ p f p
œ œ#œ Vla. B ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó ∑ ∑ ∑ Ó œbœ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ f p arco œ bœ nœ ? ∑ ∑ ∑ ∑ #œ œ nœ #œ #œ œ nœ Vc. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ œ 3 mf 3 p ™ ? b˙ b˙ n˙ œ ‰ Œ Ó ∑ ∑ ˙ #œ œ œ nœ Cb. ¢ ˙ J ˙ J mf p p mf 33 °75 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 j 3 3 ∑ ∑ Ó Œ bœ bœ œ ‰ Œ Œ bœ bœ nœ Eng. Hn. & œ œ bœ nœ œ #œ œ œ #œ œ bœ nœ
p f p f p 1. 3 3 #œnœ 3 Cl. 1 & j‰ Ó ∑ ∑ Ó ∑ Œ œb œ œ#œ Œ Ó nbœnœ œ œ bœ œ#œœ b#œ œ œ bœ nœ œb#œ n. œ n œ mf f j Cl. 2 & n˙ œ ‰ Œ Ó Ó ∑ ∑ ∑ ∑ ∑ p n.
‰ Œ Ó œ 3 bœ nœ œ bœ nœ œ 3 bœ œ ‰ Œ 3 Œ 3 B. Cl. & ™ j j nœ œ œ œ #œ #œ nœ œ nœ bœ nœ #œ œ ˙ œ J #œ œ #œ œ p p f p f p f p œ bœ nœ j nœ bœ nœ bœ bœ œ œ bœ nœ œ œ bœ ? #œ#œ œ n œ#œnœ ˙ œ‰Œ œ™ bœ œ b œ bœ n œ b œ œ œ ‰ Œ œ #œ #œ œ n œ œ Œ œ bœ bœ bnœ n œ Bsn. 1, 2 ¢ œ ˙ Jœ bœ™ n œ œ J œ #œ œ 3 3 3 3 mf pp p f p f p 75 ° j 3 3 #œ œ œ™ nœ w œ ‰ j bœ bœ n˙ œ ‰ Œ Œ bœ bœ nœ Hn. 1, 2 & J J bœ™ nœ œ œ #œ œ œ #œ œ bœ nœ
mp pp mf pp p f p f p
j ‰ Œ Ó j‰ Œ 3 Œ 3 Hn. 3, 4 & #w œ j œ œ b˙™ œ œ œ bœ œ™ bœ œ #œ œ #œ œ nœ œ œ bœ mp pp mf pp p f p f p 1. œ œ Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ Ó œ œ bœ p f 3 œ œ bœ œ œ bœ bœ œ bœ ? æ œ œ œ œ œ œ æ æ J Tbn. 1 Œ æ J ‰ Ó Ó Ó æ J ‰ Œ æ J ‰ Œ Œ æ J ‰ Ó Œ ‰ pp p pp pp p pp pp p pp pp mf pp pp f pp ? #˙ œ nœ b˙ œ b˙ œ #˙ œ nœ ˙ œ nœ Tbn. 2 ‰ Ó Ó Œ bœ ‰ bœ ‰ Œ ‰ Ó æ J ‰ æ J æ J æ J æ J æ pp p pp pp p pp pp p pp pp p pp pp p pp ? j 3 b3œ Tba. j‰ Ó ∑ j ‰ Ó œ bœ nœ œ Œ bœ nœ ¢ œ œ œ™ bœ œ œ œ b˙ œ œ #œ #œ œ
p p mf p p f p f p °? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. { /
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑
. ™ . ™ bœ. ™ nœ bœ. ™ œ œ bœ. ™ nœbœ. ™ bœ œ. œ. 75 3¿ã¿ œ œ œ œ œ œ œ œ bw œbœ œ œ œ œ œ œbœ œ œbœ œ œnœ œœ œ œ ˙ ‰ J œ ‰ œ œbœ œbœ œ ‰ Shak. & J 3 3 3 3 3 1 ° , µ¶ ∑ ∑ bœ bœ œbœ œ œ bœ œ œ bœ œ œ bœ œ œ & œ œ œ œ bœ œ œ ˙ œ bœ œ œ œ œ Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°75 Ó ∑ Ó Œ Vln. I & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍ œ bœ œnœ #œ ÍÍÍÍÍÍÍÍ
∑ ∑ Ó ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ Ó Vln. II & œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ#œ œbœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍ œbœ œ#œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
arco j 3 bœbœ nœ œ æ æ æ æ œ nœ œ æ æ æ æ æ æ Vla. B ÍÍÍÍÍÍÍÍÍÍ Ó ∑ Œ œ œ bœ nœ œ œ Ó œ œ œ œ ‰ Œ æ œ bœ œæ æ æj ‰ bœ œ #œ æ æ æ æ #œ œ œ œæ 3 p mf p p p f p bœbœ nœ æ æ ? j bœ œ œ bœ nœ œ œ bœ æ æ æ æ œ nœ œ æj æ æ æ bœæ æ æ j Vc. ˙ œ ‰ Œ ∑ nœ Ó œ œ œ œ ‰ Œ œ œ æ ‰ œ #œ æ æ æ æ #œ œ œ œ 3 3 p mf p p p f p
œ b˙ œ œ bœ nœ œ 3 ? ˙ œ ‰ Œ ∑ œ™ bœ œ œ ‰ Ó œ #œ J ‰ Œ bœ bœ nœ Cb. ¢ J J J #œ œ 3 p p f p f p 34 82 ˙ œ #œ œ#œ ° œbœ œ#œ œ J #œœ œ#œ Picc. & ∑ Ó Œ ‰ ‰ J Œ Ó ∑ mf 5 ff 3 3 bœ nw bœ #œ œ œ œnœ œ #œ œbœ œ ∑ Ó œ#œ bœ œ#˙ œ ‰ Œ Ó Fl. 1 & J mf ff p bœ #œ œ œ œnœ bw nœ ∑ nœbœ œ œ Ó #œnœ bœ œ#œ j ‰ Œ Ó Fl. 2 & œ#œ#œ œ œ œ œbœ œ p ff p #œ 3 #œ nœ w œ bœ œ Œ Ó #œ œ œ œ bœ œ#œ j ‰ Œ Ó Ob. 1 & œ bœ œ œ bœ œ#œ nœb˙ œ f p ff p œ ∑ Ó #œ #œ bœ #w Ó œ#œ j ‰ Œ Ó Ob. 2 & bœ œ œ œ #œ œ œbœnœbœ œ p ff p #œ bœ nw Œ 3 bœ 3 #œ nœ œ œ ∑ Ó Œ 3 Eng. Hn. & bœ nœ bœ nœ #œ œ œ #œ nœ #œ bœ nœ #œ 3 f 3 3 ff p w 3 3 3 bœ nœ nw #œnœ œ nœ œ œ œ œ Cl. 1, 2 & Ó œb œ œ#œ nœbœnnœ bœ n œbœ nœ bœnœ ∑ ∑ b#œ nœ œ #œ œ œ œ 3 3 ff
3 Œ œ œ #œ #œ œ bœ ∑ 3 3 B. Cl. & œ #œ œ œ nœ #œ ˙ nœ bœ w œ œ œ#œ œ f ff #œ nœ p f œ œ nœ bœ œ bœ œ#œ ? Œ œ bœ œ ∑ Ó œbœ œ#œ Bsn. 1 nœ bœ w 3 3 f ff p 3
œ bœ nœ 3 ? Œ œ #œ œ bœ œ ∑ 3 ˙ Bsn. 2 ¢ #œ œ bœ œ#œ bœ œ #w œbœ œ#œ 3 p f f ff 82 ° œ ##œ œn#œ ™ bw b>œ >œ Hn. 1, 2 & Œ #nœ œ œ Œ b˙˙™ b w b œ œ ‰ Œ Ó ∑ 3 f pp ff
3 3 Hn. 3, 4 & Œ œ œ #œ Œ ™ w œ œ ‰ Œ Ó Ó Œ #œ œ #œ ˙˙™ w >œ >œ bœ nœ f pp ff mp œ#œ n ˙™ w >œ >œ Ó #œ œ œnœ Œ b ˙ ™ #w œ œ ‰ Œ Ó ∑ Tpt. 1, 2 & œb œ œ pp p f 3 ff wfltg >œ >œ ? ∑ Œ b˙ œ w œ œ ‰ Œ Ó ∑ Tbn. 1, 2 æ pp ff ? 3 #œ nœ nœ fltg b>œ >œ Tba. Œ œ œ Œ b˙™ bw ‰ Œ Ó ∑ ¢ æ f pp ff °? æ #œ Timp. ∑ ∑ wæ œ œ œ Ó ∑
p ff 3 p Tom-toms > > 3 ∑ ∑ æ ‰ œ Œ ∑ Glock. { / / w œ œ œ œ œ p ff p Cymbals æ Vib. & ∑ / ∑ ~ ~ ∑ æ pp ff B. D. ¢& ∑ w w ∑ ∑ pp f 82 bœ. ™ nœbœ. ™ œ œ bœ ˙™ œ bœ™ œ œ û œ œ œ œ œ muraiki ∑ Œ Œ Œ œ Shak. & >œ œ ¿ 5 > ff ° nœ œ sfz sfz œ œ bœ œ œ ∑ Œ ∑ & w Koto ? ¢ ∑ ∑ ∑ Œ Œ Ó
82 nœ #œ ##dwiv. bœ œ #œ ° arco #œ œ #œ œ œ bœ œbœ j Œ œ œ œ #œ æ æ æ æ œ #œnœ œ ‰ Œ Ó Vln. I & æ æ æ æ æ æ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 3 3 p ff 3 p ndwiv. #œ arco arco #œ œ n w œ bœ œ 3 æ æ æ æ œ #œ nœ #œ bœ œ#œ 3 Vln. II & Œ æ æ æ æ æ æ #œ œ nœ bœ œ j ‰ Ó æ nœæ œ œ #œ æ æ æ æ æ æ æ æ bœ œ œ œ œ œ æ æ 3 3 p ff p #dwiv. aœrco œ œ #œ w æ æ æ æ nœ #œ bœ œ #œ æ æ æ æ æ Vla. B œ nœ œ œ æ #œ æ æ æ æ ∑ Ó æ æ æ æ œ#œ æ æ æ æ æ æ æ æ œ bœ œ #œ f ff p œ æ æ æ ? æ æ æ æ nœ #œ bœ œ æ æ æ æ ∑ æ æ æ æ æ æ œæ bœ Vc. œ œ œ œ æ æ æ #œ œ bœ æ æ æ æ œ #œ œ#œ æ æ æ æ æ æ æ æ bœ œ #w œ bœ œ #œ p f ff ? 3 #œ nœ nœ œ bœ œ bœ œ bœ œ #œ ˙ Cb. Œ œ œ œ #œ æ œ #w ∑ œ ¢ æ æ æ æ æ æ æ æ f p ff p 87 #œ œ œ 35 ° #œ œ œ œ bœ œ#œ œ œ nœbœ bœ œ#œ œ œnœ œ Picc. & Ó ‰ ∑ Œ ‰ Œ Ó ‰ 3 3 3 3 3 3 bœ œ#œ œ bœ œ #œ nœ bœ œ nœ bœ œ Ó Œ bœ œ#˙ œ ‰ Ó bœ œ#œ j ‰ Œ bœ Fl. 1 & J nœ bœ œ f p f p f œ#œ œ bœ œ œ #œ œ œ bœ œ#œ J #œbœbœ œ#œ J #œ œbœnœ #œ J Fl. 2 & Œ ‰ Œ Ó ‰ Œ œ ‰ 3 3 3 3 3 p f p f p p 3 f nœ bœ œ œ Ó Œ bœ œ#œ j ‰ Œ Ó bœ œ#œ j ‰ Œ bœ œ #œ Ob. 1 & nœbœ œ œ nœbœ œbœ œ œ nœ f p f p f
3 œ bœ 3 nœ œ 3 Œ #œ œ bœ Ó Œ Œ #œ œ bœ J ‰ Œ #œ œ bœ Ob. 2 & bœnœ œ#œ œ bœnœ#œ œ 3 3 p f p f p p 3 f
3 3 bœ œb˙ œ ‰ Ó 3 bœ n˙ œ ‰ Œ b˙ œ ‰ Eng. Hn. & œ J œ#œ nœ #œ œ J œ#œ œ J 3 f p p f p p f p
3 3 3 œ bœ œ j œ bœ œ j œ bœ œ Cl. 1, 2 & Ó œ œ œ œ bœ œ ‰ Ó Œ nœ œ œ œ bœ œ ‰ Œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œ œ 3 3 3 j 3 3 j 3 j 3 B. Cl. & ‰ Œ Ó œn˙ œ ‰ Œ œ œ œ ‰ Œ œ œ #œ œ#œ œ œ #œ œ #œ œ #œ p p f p p f p p ˙ œ #œ œ œ ? J bœ œ#œ œ J bœ nœ #œ ˙ œ Bsn. 1 ‰ Œ Œ #œ œ ‰ Œ J ‰ Œ 3 3 f p p 3 f p p f p
3 ? œ ‰ Œ Ó 3 œbœn˙ œ ‰ Œ œ bœ œ œ ‰ Œ 3 Bsn. 2 ¢ J œ #œ œ#œ J œ #œ J #œ œ #œ p p 3 f p p f p p 87 ° > > 3 > > 3 bœ œb˙ œ œ ‰ Ó Œ bœ ˙ œ œ ‰ Œ b˙ >œ >œ ‰ Hn. 1, 2 & œ #œ œ œ#œ œ 3 mp f mp f mp f ™ ‰ Œ Œ 3 ‰ 3 ‰ Hn. 3, 4 & ˙ œ œ œ#œ œ #œ ˙ ##œ œ nœ #œ ˙™ œ œ > > > > bœ b˙™ >œ >œ f mp f mp f > > œ œ bœ>œbœ>œ n>œ >œ Tpt. 1, 2 & Ó Œ ‰ ∑ Ó ‰ Œ Ó Œ œ œ ‰ >œ >œ b>œ >œ ? œ œ b œ œ nœ>œ œ>œ Tbn. 1, 2 Ó Œ ‰ ∑ Ó ‰ Œ Ó Œ ‰
> > ? Ó Œ bœ œ ‰ ∑ Ó >œ >œ ‰ Œ Ó Œ #œ œ ‰ Tba. ¢ > >
°? #œ œ #œ œ #œ œ Timp. Ó œ œ œ œ ∑ Œ œ œ œ œ Œ Ó œ œ œ œ
p 3 f 3 p p 3 f 3 p p 3 f 3 p > > 3 > > 3 > > Ó Œ ‰ œ Œ Ó Ó ‰ œ Ó Œ ‰ Tom-t. { / œ œ œ œ œ œ œ œ œ œ f p f p f æ æ æ æ™ æ Œ æ™ Cym. / O O ∑ O O O O pp f pp f pp f
B. D. ¢& ∑ ∑ ∑ ∑
gliss. trill 87 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bw bœ œ nœbœ œ. カラカラ b˙™ muraiki œ œ ˙™ û J ‰ j ‰ j Shak. & œ œ¿ œ¿ > 3 > > sfz sfz ff sfz ° & ∑
Koto ? ¢ ∑
°87 œ œ œ œ œ œ Ó #œ œ ∑ Œ #œ œ Œ Ó #œ œ Vln. I & œ œ œ œ œ œ
ff 3 3 3 3 3 3 3 bœ œ 3 3 bœ œ 3 3 bœ œ 3 Vln. II & Ó œ œ ∑ Œ œ œ Œ Ó œ œ œ œ œ œ œ œ ff œ œ œ bœ nœ #œ æ æ æ æ æ œ bœ nœ #œ æ æ æ æ æ œ bœ nœ Vla. B œ #œ æ æ æJ ‰ Œ æ æ nœ #œ œ #œ æ æ æ æ æJ ‰ æ æ nœ #œ œ #œ æ æ æJ ‰ æ æ æ æ œ bœ æ æ æ œ bœ æ æ ff p ff p f nœ nœ nœ #œ œ bœ #œ œ bœ #œ œ bœ ? nœ #œ œ æ æ æJ æ æ æ æ bœ nœ #œ œ æ æJ bœ œ #œ œ æ æ æJ Vc. æ æ æ æ ‰ æ æ #œ œ æ æ æ æ ‰ œ æ æ æ æ ‰ æ æ æ æ nœ #œ œ æ æ æ æ æ æ æ æ æ æ æ æ ff p ff p f ˙ > ? œ bœ nœ ‰ œ bœ nœ #œ nœ ‰ œ bœ œ bœ nœ ‰ Cb. ¢ nœ #œ œ #œ J nœ #œ œ #œ J œ #œ œ #œ J ff p ff p f 36 91 bœ ° œbœ œ œ œ œ #œ œbœ œ œ œ œ #œ œbœ œ œ bœ œ#œ j Picc. & Œ ‰ Œ Ó ‰ Ó ‰ œ œ œ Œ Ó 3 3 3 3 3 3 3 bœ œ œ œ œ œ#œ j ‰ bœ œ#œ j ‰ Œ bœ œ#œ j ‰ bœ œ #œ bœ œ#œ j ‰ Œ Fl. 1 & nœbœ œ nœbœnœ bœ œ œbœ œbœ œ œ nœbœ œbœ œ p f p f p f p
3 #œ œbœ nœ #œ œ 3 #œ œ bœ nœ 3 #œ œ bœ nœ œ œ Fl. 2 & #œ œ J ‰ Œ nœ#œ œ J ‰ Œ nœ#œ œ J ‰ Ó p 3 f p p 3 f p 3 f p j ‰ œ #œ j ‰ Œ Œ #œ Œ Œ Ó Ob. 1 & bœ œbœ œ œ œbœnœbœnœ œ nœ bœ œ bœ œ œ nœ bœ œ bœ nœ bœ œbœ œ p f p f p f p
3 œ ‰ #œ œ œ ‰ Œ Œ 3 #œ œ ‰ Œ 3 j ‰ Ó Ob. 2 & J #œ œ J nœ#œ œ J bœnœ #œ œ œ œ
p p f p p f p p f p
3 3 3 bœ œ#˙ #œ ‰ Œ bœn˙ œ ‰ bœ œ ‰ b˙ œ ‰ Eng. Hn. & œ J #œ œ J œ#œ œ J œ #œ œ J 3 f p f p f f pp
3 3 3 3 j œ bœ œ j œ bœ œ œ bœ œ œbœ œ Cl. 1, 2 & bœ ‰ nœ œ œ œ bœ œ ‰ Œ nœ œ œ œ bœ Œ nœ œ œ œ œ œ œ œ ˙ œ nœ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ ˙ 3 3 3 3 j ‰ 3 3 j ‰ 3 3 j ‰ 3 j ‰ Ó B. Cl. & ˙ œ #œ œ œnœ œ #œ œ œ œ œ œ œ œ nœ #œ œ œ nœ #œ œ œ f p p f p p f p f p #œ #œ œbœ œ #œ œb˙ œ ? bœ œ#˙ œ bœnœ#œ œ J bœ nœ #œ œ J œ J Bsn. 1 œ J ‰ #œ œ ‰ Œ ‰ ‰ 3 3 3 3 3 p f p p 3 f p f f p
3 nœ œ 3 3 3 ? ˙ œ ‰ #œ œbœ ‰ #œ œbœ œ ‰ œ œ b˙ œ ‰ Œ Bsn. 2 ¢ J nœ #œ œ J bœ nœ #œ œ J œ J f p p 3 f p p f p f p 91 ° 3 Hn. 1, 2 & ˙ œ œ ‰ Œ #˙ œ œ ‰ ™ ‰ ‰ Œ Ó > > œ#œ œ > > n˙ >œ >œ >œ >œ f mp
3 Hn. 3, 4 & ‰ ‰ ‰ ‰ Œ Ó b˙ bœ œ bœ ˙™ œ œ b˙™ bœ œ bœ œ ˙ >œ >œ #œ œ ˙ b>œ >œ ˙™ œ œ œ œ f mp > > > > b>œ >œ Tpt. 1, 2 & Ó b œ œ ‰ Œ Ó Œ nœœ œœ ‰ Ó Œ bœ œ ‰ bœ œ ‰ Œ Ó > > >œ >œ >œ >œ > > ? bbœ œ >œ >œ b >œ >œ b >œ >œ Tbn. 1, 2 Ó ‰ Œ Ó Œ œ œ ‰ Ó Œ b œ œ ‰ b œ œ ‰ Œ Ó
? Tba. Ó œ œ ‰ Œ Ó Œ bœ œ ‰ Ó Œ ‰ ‰ Œ Ó ¢ > > > > >œ >œ >œ >œ
°? #œ œ #œ œ #œ œ #œ Timp. Œ œ œ œ œ Œ Ó œ œ œ œ Ó œ œ œ œ œ œ Œ Ó
p 3 f 3 p p 3 f 3 p 3 f 3 p f 3 p 3 > > 3 > > 3 > > > > 3 œ Œ ‰ œ Ó Œ ‰ œ Œ Œ ‰ ‰ œ Ó Tom-t. { / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p f p f p f p æ æ æ > > æ Œ æ™ æ™ j ‰ j ‰ Œ Cym. / O O O O O O O Ó pp f pp f pp f
B. D. ¢& ∑ ∑ ∑ ∑
カラカラ カラカラ カラカラ カラカラ 91 ˙ muraiki ˙™ muraiki ˙ œ ™ û œ œ œ œ œ ˙ Shak. & ‰ ¿j >œ >œ >œ sfz sfz sfz ° &
Koto ? ¢
°91 œ œ œ œ œ œ œ œ Œ #œ œ Œ Ó #œ œ Ó #œ œ #œ œ Ó Vln. I & œ œ œ œ œ œ œ œ
3 3 3 3 f 3 3 3 3 3 bœ œ 3 3 bœ œ 3 3 bœ œ 3 3 bœ œ 3 Vln. II & Œ œ œ Œ Ó œ œ Ó œ œ œ œ Ó œ œ œ œ œ œ œ œ f œ œ bœ œ #œ æ æ æ æ æ œ bœ nœ æ æ æ æ œ bœ nœ œ œ œbœ Vla. B æ æ æJ ‰ æ æ œ #œ æ ‰ œ #œ æ æ J ‰ Œ æ æ æ æ œæ bœæ nœ #œ æ æ J nœ #œ æ æ nœ p f p f f 3 œ nœ nœ œ œ mf œ bœ œ bœ œ bœ 3 3 œ #œ æ œ #œ œ #œ æ æ æ nœ #œ œ #œ æ æ æ æ ? æ æ æ æ J ‰ œ bœ æ æ J ‰ æ æ æ æ J ‰ œbœ œ œ Vc. æ æ æ æ æ æ æ æ æ æ æ æ nœ œ p f p f f mf ? œ bœ œ ‰ œ œ œ bœ nœ ‰ œ bœ nœ ˙ œ ‰ Œ Cb. ¢ œ #œ J œ #œ œ #œ J nœ #œ œ #œ æ æ J p f p f f 37 °95 Picc. & ∑ ∑ ∑ ∑ ∑ ∑
3 ∑ bœ œ#œ Œ ∑ 3 #œ j ‰ Œ Ó ∑ Fl. 1 & œbœ œbœ œ œ œ#œ œ œbœ ˙ œ mf p mp pp #œ œ bœ œ Fl. 2 & Ó Œ œ J ‰ Ó ∑ ∑ ∑ ∑
3 mf p
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Œ ‰ j j ‰ Ó ∑ ∑ ∑ ∑ Eng. Hn. & œ #œ œ #œ œ œ
mf pp
3 3 3 3 j ‰ Œ Œ #œ bœ#œ j ‰ Ó Œ nœ #œ œ j ‰ ∑ Ó ‰ bœ Cl. 1, 2 & œ #œ œ œ œ œ b˙˙ œœ œn œ œ œ œ ˙ œ j œ œ œ nœ œ œb˙ œ bœ œ p mf pp mp pp p 3 3 j 3 nœ œ œ ‰ Ó j ‰ Ó Œ B. Cl. & #œ œ œ #œ œ nœ œ œ #œ ˙ œ œ œ#œ œ œ œ #œ œ œ œ œ #œ œ mf pp mp pp p #œ œ œ ? bœ œ #œ œ J bœ œ #œ œ œ œ bœ œ#˙ Bsn. 1 #œ œ ‰ Ó Œ œ J ‰ Ó ∑ œ mf pp mp pp 3 p nœ œ œ ? #œ œ bœ ‰ Ó #œ œ bœ œ œ ‰ Ó ∑ ∑ Bsn. 2 ¢ œ #œ œ J bœ œ #œ œ J mf pp mp pp
°95 ∑ Œ ™ j ‰ Œ Œ j ‰ ∑ ∑ Hn. 1, 2 & b˙™ b˙ œ ˙ œ pp mf pp pp mp pp
Hn. 3, 4 & ∑ Œ j ‰ Œ Œ j ‰ ∑ ∑ ™ b˙™ ˙ œ #˙ œ pp mf pp pp mp pp
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
? j j Tbn. 1, 2 ∑ w œ ‰ Œ Ó bb˙ œ ‰ Œ ∑ ∑ pp mf pp pp mp pp ? Ó ‰ Œ Ó Œ ‰ Ó ∑ Ó Œ Tba. ¢ j j b˙ ˙ bœ œ œ œ #œ pp mf pp pp mp pp pp °? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { /
Cym. / ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑
95 ˙ ˙ コロコロ fltg w œ œ ˙™ œ œ œ œ æ j æ Shak. & æ J ‰ Œ Œ æ æ æ æ œ æ b˙ œ ‰ Œ Œ œ æ æ æ æ æ æ æ æ p mf p p 3 3 ° 3 3 œ Ó œ Œ ∑ ∑ & œbœ œ œbœ œbœ œ œ œ mf Koto f œ œ ? œ œ œ œ ¢ Ó Ó Œ ∑ ∑ 3 3
95 ° 3 3 3 3 3 Ó Œ œ#œ #œ œ Œ Ó Ó Œ œ #œ #œ œ Œ Ó ∑ Ó Œ œ Vln. I & œ œ œ œ œbœ mp p mf Ó Œ 3 3 Œ Ó Ó Œ 3 3 Œ Ó ∑ Ó Œ 3 Vln. II & bœ œ œ bœ bœ œ œbœ œ œ œ œ œ œ œ mf mp p bœ œ œ œ œ œ j œbœ bœ œ œ œ œ œ j 3 3 3 3 Vla. B ‰ Œ ‰ Œ Œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ ˙ œ 3 3 3 3 3 3 3 pp mp pp p pp
3 3 3 3 3 3 ? bœ œ j bœ œ bœ œ j 3 3 3 3 Vc. œ œ ‰ Œ œ œ œ œ ‰ Œ Œ œ œ œ œ j ‰ Œ œ œ ˙ œ œ œ œ œ ˙ œ œ#œ #œ œ œ œ œ œ œ ˙ œ pp mp pp p pp pizz. ? œ Œ bœ Œ œ Œ Ó bœ Œ Œ œ Ó Œ œ Œ œ Ó Ó Œ Cb. ¢ #œ f 38 °101 Picc. & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑
3 1. 3 Cl. 1, 2 & nœbœ j ‰ Œ Ó ∑ Ó Œ j ‰ Œ Ó œ œ œ#˙™ œ œ œ œ bœ ˙ œ œ œ b˙ œ pp p n. j ‰ Œ Ó ∑ Œ 3 j ‰ Œ Ó ∑ B. Cl. & œ #œ ˙ œ œ œ #œ œ pp œ p n. ? œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ J pp °101 Hn. 1, 2 & Œ j ‰ ∑ ∑ ∑ ∑ ∑ b˙ œ pp p pp
Hn. 3, 4 & Œ j ‰ ∑ ∑ ∑ Œ j ‰ ∑ ˙ œ b˙ œ pp p pp pp p pp
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
? j ‰ Œ ∑ ∑ ∑ j ‰ Œ ∑ Tbn. 1, 2 ˙˙ œœ ˙ œ pp p pp pp p pp
? ‰ Ó ∑ ∑ Ó Œ ‰ Ó ∑ Tba. ¢ j j œ œ œ œ œ p pp pp p pp
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ Tom-t. { /
Cym. / ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑
trill fast to slow to fast 101 (fltg) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ æ j 3 j æ Ÿ æ Shak. & ˙ œ ‰ nœ œ #œ œ ‰ Œ Ó Ó æ æ Œ bœ ˙ œ ˙ w ˙™ û mf pp pp mp pp
° 3 Ó ∑ ∑ ∑ ∑ ∑ & œbœ œ mp Koto œ bœ ツø ? Œ œ œ œ ∑ ∑ ∑ Ó ‰ œ œ œ œ ˙ œ ¢ J 3 p
101 ° 3 œ Œ Ó w~ w~ w~ w~ w~ Vln. I & bœ œ n. pp
3 Œ Ó ∑ ∑ Ó 3 3 ‰ Œ Ó Vln. II & œ œ j œ œ œ œ bœ ˙ ˙ œ p n. pizz. 3 3 3 3 Vla. B ∑ Œ bœ œ bœ bœ j ‰ Œ Ó Œ œ Œ ∑ œ œ œ œ œ œ œ œ œ ˙ œ œ bœ p pp
pizz. ? 3 3 3 3 3 bœ œ Vc. ∑ bœ œ œ œ j ‰ Œ Œ Ó œ Œ ∑ œ œ œ œ œ œ œ œ œ ˙ œ œ p pp f œ bœ ? œ Ó ∑ ∑ Ó Œ œ Ó ∑ Cb. ¢ œ 39 107 q = 92 slower ° Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
1. ∑ j ‰ Œ Ó ∑ ∑ ∑ ∑ Fl. 1, 2 & ˙ œ œ œ #œ ˙ bw œ p
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢
°107 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Glockenspiel ∑ ∑ Ó b˙™ œ w w ∑ ∑ Ó Glock. {& ˙ ˙
Vibraphone ∑ j bœ œ ˙™ w w ∑ j bœ Vib. & w bœ™ œ œ w bœ™ œ œ mp mp Ped. Ped.
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
107 tril~l~ ~f~a~s~~t ~t~o~~ slow to fast æ Ÿ æ Shak. & ∑ ∑ ∑ ∑ ∑ ∑ Ó æ æ Œ ˙ w ˙™ û pp mp pp ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Koto 1 µ¶ bœ™ ツ ? œ ˙™ œ œ œ œ œ™ ø w ¢ ∑ ∑ ∑ Œ œ J J ∑ ∑ p
107 ° ~ ~ ~ ~ ~ ~ ~ ~ ~ Vln. I & w w w w w w w w w
Vln. II & bbw~ w~ w~ w~ w~ w~ w~ w~ w~ n. pp
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Vc. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Cb. ¢ 40 °116 Picc. & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ °116 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
b˙™ œ ˙ b˙ ∑ ∑ ∑ ∑ Glock. {& / œ ™ Vib. & ˙ bw ∑ ∑ ∑ ∑ /
B. D. ¢& ∑ ∑ ∑ ∑ ∑ ∑
116 tŸril~l~ ~f~a~s~~t ~t~o~~ ~s~l~o~w~~~ t~o~ fast ∑ Ó æ æ ∑ ∑ Shak. & ˙æ w wæ pp p û ° pp < œ #œ> & ∑ ∑ ∑ ∑ œ bœ ∑ Koto ? <#œ nœ > ¢ ∑ ∑ ∑ ∑ ∑
°116 w~ w~ w~ w~ œO ‰ Œ Ó ∑ Vln. I & J n. j ‰ Œ Ó ∑ Vln. II & w~ w~ w~ w~ œO n. Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ? Vc. ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Cb. ¢ ⾅搗童⼦ 41 Usutsuki Warashi q = 96 Frightening <µ> ° w w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Picc. & ∑ ∑ ∑
n. f n. <µ> w w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Fl. 1, 2 & ∑ ∑ ∑ n. f n. <µ> w w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ob. 1, 2 & ∑ ∑ ∑ n. f n.
Eng. Hn. & ∑ ∑
w <µ> w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Cl. 1, 2 & ∑ ∑ ∑ n. f n.
B. Cl. & ∑ ∑
? ∑ ∑ Bsn. 1, 2 ¢
° senza sord. Hn. 1, 2 & ∑ ∑
senza sord. Hn. 3, 4 & ∑ ∑
senza sord. Tpt. 1, 2 & ∑ ∑
senza sord. ? Tbn. 1, 2 ∑ ∑
senza sord. ? ∑ ∑ Tba. ¢
°? Timp. ∑ ∑
Temple Blocks Bongos >œ Bongos { / œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f pp mf pp Tam-tam scrape Vib. / ∑ ~— f
rim shot Snare Drum > S. D. ¢& ∑ h sfz
˙ bœ bœ ã œ nœ bœ ˙3¿¿ Shak. & ∑ ∑ û ˙ n. f ° & ∑ ∑
Koto ? ¢ ∑ ∑
behind the bridge, as fast as possible è ° ¿ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vln. I & ∑ ¿ ¿ Ó ¿¿ ¿ ff
è ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ ¿¿ ¿ Ó Vln. II & ¿ ¿ ¿ ff arco Vla. B ∑ ∑ &
? arco Vc. ∑ ∑
? arco ∑ ∑ Cb. ¢ 42 °2 Picc. & ∑
Fl. 1, 2 & ∑
Ob. 1, 2 & ∑
Eng. Hn. & ∑
Cl. 1, 2 & ∑
B. Cl. & ∑
? ∑ Bsn. 1, 2 ¢
°2 Hn. 1, 2 & ∑
Hn. 3, 4 & ∑
Tpt. 1, 2 & ∑
? Tbn. 1, 2 ∑
? ∑ Tba. ¢
°? Timp. ∑
Ó T. Bl. { / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p mf pp
T.-t. / ∑
S. D. ¢& ∑
2
Shak. & œ Ó n. (slow) ° ツø ツø , ツø , ツø n˙ Ó ˙ ∑ bœ ˙ œ œ œ ˙ œ œ œ ˙ j ˙ & ∏ ˙ œ œ œ ∏ ˙ œ œ ∏ b ˙ bœ nœ œ
∏
∏
∏ f
∏ f
Koto ∏
∏ +
∏ b˙
∏
? ∏ ˙ ¢ ∏ ∑
light, erratic sul pont. tremolo harmonics 2 ° æ Vln. I & bœO n œO ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ æ n. p
<µ> w w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vln. II & Ó n. p n.
<µ> w w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vla. & Ó B n. p n.
œ light, erratic sul pont. tremolo ? æ Vc. æ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ n. p
? ∑ Cb. ¢ 43 °3 Picc. & ∑
Fl. 1, 2 & ∑
Ob. 1, 2 & ∑
Eng. Hn. & ∑
Cl. 1, 2 & ∑
as fast as possible gradually to rapid pulse Ó B. Cl. & œ e#e e e ...... > # #enebe e ˙ f p
as fast as possible gradually to rapid pulse ? Ó bœ ebe e e Bsn. 1 > e ebene ˙ f p
as fast as possible gradually to rapid pulse ? Ó œ e e e e Bsn. 2 ¢ > # ebebe e ˙ f
°3 Hn. 1, 2 & ∑
Hn. 3, 4 & ∑
Tpt. 1, 2 & ∑
? Tbn. 1, 2 ∑
? ∑ Tba. ¢
°? Timp. ∑
Tom-toms ∑ æ > ∑ œ 3 Tom-t. { / ˙ œ œ œ œ œ pp f
scrape T.-t. / ∑ ~— f
S. D. ¢& ∑
3 3¿ã¿ ˙ ù#˙ n˙ Shak. & ∑ ∑ n. f n.
(slow) slow to fast + ツ ° + #œ ø bœ œ œ œ bœ œnœ œ œ œ ˙ Ó & bœ œ œ œ œ œ œ œ œ œ œ Koto ? ¢
sul pont., as fast as possible °3 ∑ œ e#enebe ∑ ∑ Vln. I & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ > be e e e n. f p sul pont., as fast as possible Ó œbebe ebe ∑ ∑ Vln. II & > e e#ene f p sul pont., as fast as possible B Ó œ e#e e e Ó Vla. > b be e e e f p s>ul pont., as fast as possible œbebe ebe ? e e#ene Vc. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó Ó mf f p
? ∑ Cb. ¢ 44 gradually to rapid pulse as fast as possible 4 ˙ >œ ebe ° be ebe e e Picc. & ∑ e Œ p f pp
gradually to rapid pulse > ˙ œbebe e œ e e#e e e e e Fl. 1, 2 & ∑ ebebe ene Œ
p f pp
˙gradually to rapid pulse >œ ebe œbe ebe e e e e Ob. 1, 2 & ∑ e ebe e e Œ
p f pp
Eng. Hn. & ∑ gradually to rapid pulse > #œ œnebe e e œ e e e#e#e e#e e Cl. 1, 2 & ∑ ebe e e Œ
p f pp
B. Cl. & j Ó >œ ? Bsn. 1 j Ó >œ f ? j Ó Bsn. 2 ¢ >œ f
°4 Hn. 1, 2 & ∑
Hn. 3, 4 & ∑
Tpt. 1, 2 & ∑
? Tbn. 1, 2 ∑
? ∑ Tba. ¢
°? Timp. ∑
> Ó Tom-t. { / œ f
T.-t. / ∑
S. D. ¢& ∑ /
4
Shak. & ∑
° 5 & ∑ bœbœ œbœ œ Koto ? ¢ ∑
ligh!t, erratic bowing 4 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ° æ Vln. I & ∑ pp f
Vln. II & ∑
Vla. B ∑
sul pont. ! ÍÍÍÍÍÍÍÍÍÍÍÍÍ ? œœnœœ#œœœœ ? Vc. œœ#œœnœœœœ#œœ œœ#œœ & ∑ œ œ#œ œ œ œœœ#œœœœ#œœ n˙ >œ œ#œ œ > f ! ÍÍÍÍÍÍÍÍÍÍÍÍÍ sul pont. œœ >˙ ? œœ#œœœœ œœ#œœ œœ#œœnœœ#œœ ∑ Cb. ¢ œ œ#œ œ œ œ#œ œœœ#œœœœ œœ#œœ >œ œ f 45 5 ° 4 Picc. & ∑ 4
4 Fl. 1, 2 & ∑ 4
4 Ob. 1, 2 & ∑ 4
4 Eng. Hn. & ∑ 4
4 Cl. 1, 2 & ∑ 4
4 B. Cl. & ∑ 4
? ∑ 4 Bsn. 1, 2 ¢ 4
5 a 2 ° rapid pulse, gradually to sustain 4 Hn. 1, 2 & ∑ 4 >˙ ˙ sfz n. a 2 rapid pulse, gradually to sustain 4 Hn. 3, 4 & ∑ 4 >˙ ˙ sfz n. 4 Tpt. 1, 2 & ∑ 4
? rapid pulse, gradually to sustain 4 Tbn. 1, 2 ∑ 4 >˙ ˙ sfz n.
rapid pulse, gradually to sustain ? ∑ 4 Tba. ¢ 4 >˙ ˙ sfz n.
°? 4 Timp. ∑ 4
Temple Blocks ∑ 4 Tom-t. { / œ œ œ œ œ œœœœ œ œ œ œ œ œ 4 p mf pp
hit 4 T.-t. / ~— 4 f
Bass Drum 4 B. D. ¢ / w— 4 f
5 muraiki 3¿ã¿ 3¿ã¿ 3¿ã¿ ˙ ùb˙ 3¿ã¿ 3¿ã¿ Œ 4 Shak. & n˙ œ b˙ û 4 >œ œ sfz ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & ∑ bœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ ∑ 4 3 3 3 pp f pp Koto + œ œ œ œ œ œ œ œ œ ? bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ 4 ¢ ˙ ∑ ∑ 4
5 ° 4 Vln. I & ∑ 4
4 Vln. II & ∑ 4
4 Vla. B ∑ 4
? 4 Vc. ∑ 4
? ∑ 4 Cb. ¢ 4 46 6 q = 96 accel. A tempo ° 4 3 Picc. & 4 ∑ 4 ∑ ∑ ∑
4 3 Fl. 1, 2 & 4 ∑ 4 ∑ ∑ ∑
4 3 Ob. 1, 2 & 4 ∑ 4 ∑ ∑ ∑
4 3 Eng. Hn. & 4 ∑ 4 ∑ ∑ ∑
4 3 Cl. 1, 2 & 4 ∑ 4 ∑ ∑ ∑
4 3 B. Cl. & 4 ∑ 4 ∑ ∑ ∑
? 4 ∑ 3 ∑ ∑ ∑ Bsn. 1, 2 ¢ 4 4
6 ° 4 3 Hn. 1, 2 & 4 ∑ 4 ∑ ∑ ∑
4 3 Hn. 3, 4 & 4 ∑ 4 ∑ ∑ ∑
4 3 Tpt. 1, 2 & 4 ∑ 4 ∑ ∑ ∑
? 4 3 Tbn. 1, 2 4 ∑ 4 ∑ ∑ ∑
? 4 ∑ 3 ∑ ∑ ∑ Tba. ¢ 4 4
°? 4 3 Timp. 4 ∑ 4 ∑ ∑ ∑
Glockenspiel 4 3 3 3 3 3 T. Bl. 4 Ó Ó 4 ∑ ∑ ∑ ‰ {& œbœnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ pp f Vibraphone œ œ œ œ œ 4 3 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vib. & 4 ∑ 4 ∑ ∑ Ó
pp f Ped. 4 3 B. D. ¢ / 4 ∑ 4 ∑ ∑ ∑
6 3¿ã¿ ˙ 4 3 ˙ ù #˙ n>˙ Shak. & 4 ∑ 4 ∑ ∑ ∑ n. f n. n. ° nw
4 3 ∏ bœ n˙ ∏
∏ ∏ n w ∑ b ˙™ ∏ b ˙ œ
∏ & 4 w 4 ˙ ∏ ∏ ∏ ™ ∏ w ∏ ∏ b w b ˙ ∏ bœ ∏
∏ n w ™ ˙ ∏ ∏
∏
∏
∏
∏ ∏
∏
∏
∏
∏ ∏
∏
∏
∏
∏ ∏
∏
∏
∏ f ∏ Koto ∏
∏
∏
∏
∏ ∏ ˙™ ∏ ∏
∏
∏ ∏ ™ ∏ ∏ b˙ œ b w
∏ bw b˙ ∏ bw ∏
∏
∏
∏
∏ ? 4 3 œ ∏ ∏ ˙ ∏
∏ w ∏ ∑ ∏
∏ 4 4 ∏ nw
¢ ∏
accel. A tempo 6 ˙ #œ ˙ ° owrd. b˙™ O light, erratic sul pont. tremolo harmonics 4 3 ∑ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Vln. I & 4 4 æ pp f n. mp
light, erratic sul pont. tremolo harmonics ord. b˙™ b˙ 4 bw 3 b˙™ œO Vln. II & 4 4 ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ æ pp f n. mp ord. 4 3 ˙™ Vla. B 4 bw 4 b˙™ b˙ ∑ pp f
pizz. ? 4 3 bœ œ œ Vc. 4 œ Œ Ó 4 Œ Œ Œ œ Ó p f
pizz. bœ ? 4 œ Œ Ó 3 Œ Œ œ Œ œ Ó Cb. ¢ 4 4 œ p f 47 °10 Picc. & ∑ ∑
Fl. 1, 2 & ∑ ∑
Ob. 1, 2 & ∑ ∑
∑ ∑ Eng. Hn. & ˙ œ œ #œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
p f
Cl. 1, 2 & ∑ ∑
#œ nœ B. Cl. & ∑ ˙ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ p f
? ∑ ˙ bœ œ nœ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ Bsn. 1, 2 ¢ p f
°10 Hn. 1, 2 & ∑ ∑
Hn. 3, 4 & ∑ ∑
Tpt. 1, 2 & ∑ ∑
? Tbn. 1, 2 ∑ ∑
? ∑ ∑ Tba. ¢
°? Timp. ∑ ∑
∑ ∑ Glock. {& bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ— pp œ œ– #œ œ œ œ œ œ œ œ œ œ Vib. & ∑ ∑ pp
B. D. ¢ / ∑ ∑
slow to fast カラカラ 10 b˙ ã ã ã ˙ b˙ œ ˙ œ 3¿¿ 3¿¿ 3¿¿ m. #œ nœ bœ ∑ Œ œ bœ #˙ Ó Shak. & nœ f n. p f n.
° #œ 3 & ∑ ∑ œ œbœ +bœ+ œ+ f 3 Koto bœ ? ∑ ∑ œ œ ¢ n˙+ 3 ord. s!ul pont. 10 )m>)icro cluster to unison > ° ) ˙ æ Vln. I & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ œ Ó ∑ n. f sfz ord. micro cluster to unison b)>) Vln. II & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ Œ ∑ G e œ b˙ n. f > ord. sfz micro cluster to unison )>) Vla. B ∑ œ ∑ f
micro cluster to unison ord. arco œ ? ∑ ∑ Vc. )) >) f
? ∑ ∑ Cb. ¢ 48 °12 Picc. & ∑
Fl. 1, 2 & ∑
Ob. 1, 2 & ∑
Eng. Hn. & ∑
Cl. 1, 2 & ∑
B. Cl. & ∑
? ∑ Bsn. 1, 2 ¢
a 2 °12 <µ> Hn. 1, 2 & ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w w w
pp mp a 2 <µ> Hn. 3, 4 & ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ w w w mp pp <µ> ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Tpt. 1, 2 & w w w
pp mp
? <µ> Tbn. 1, 2 ∑ bw w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
pp mp
<µ> ? ∑ Tba. ¢ bw w w ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
pp mp
°? Timp. ∑
∑ Glock. {&
Vib. & ∑
B. D. ¢ / ∑
12
Shak. & ∑
(¿gliss. left side of bridges) ˙ ° æ & Ó ˙ æ (slow) Koto œ ˙ ツø slow to fast bœ œ ? ˙ツø œ ˙ ツø b˙ bœ œ œ œbœ ¢ Ó ˙ œ œ 3 p f p f 3 3
heavy harmonics 12 sul pont. ° æ Oæ Vln. I & ∑ ˙ Ó œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó
n. pp f pp n. mf n.
sæul pont. heavy harmonics ∑ ˙æ Ó æ Ó Vln. II & œO ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ f pp pp n. mf n. s˙ul pont. æ Vla. B ∑ æ ∑ pp f pp
sul pont. ? ˙ Vc. ∑ æ ∑ pp f pp
? ∑ Cb. ¢ 49 °13 Picc. & ∑
Fl. 1, 2 & ∑
Ob. 1, 2 & ∑
Eng. Hn. & ∑
Cl. 1, 2 & ∑
B. Cl. & ∑
? ∑ Bsn. 1, 2 ¢
°13 Hn. 1, 2 & ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp
Hn. 3, 4 & ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp
Tpt. 1, 2 & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ pp
? Tbn. 1, 2 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ pp
? ∑ Tba. ¢ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp
°? Timp. ∑
∑ ‰ 3 3 3 3 Glock. {& #œ nœ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ—/ pp f pp nœ œ œ œ œ œ œ– bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vib. & ∑ /
Ped.
B. D. ¢ / ∑
>3¿ã¿ 13 ˙ ˙ œ ˙ b˙ 3¿ã¿ 3¿ã¿ 3¿ã¿ コロコロ œ œbœ œ w Shak. & ∑ æ f n. pp mf ° ˙ & æ ∑ n. Koto ? ¢ ∑
ord. shift to sul pont. sul pont. div. <µ> light, erratic sul pont. tremolo harmonics 13 w w w ÍÍÍÍÍ ˙ æ ° æ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ #Oæ Vln. I & æ Ó ## œœO ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ æ n. mp n. æ n. mp ord. shift to sul pont. sul pont. <µ> ! div. w w w ÍÍÍÍÍ ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ >˙ n. æ Œ æ 1 ∑ Vln. II & æ æ ∑ b˙ n. mp n. > sfz mp
sul pont. Vla. B æ ∑ ∑ ˙æ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ n. mp n. div. sul pont. ? æ Vc. b˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑
n. mp n.
arco sul pont. b˙ ? æ Ó Cb. ¢ æ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ n. mp n. 50 °14 Picc. & ∑
Fl. 1, 2 & ∑
Ob. 1, 2 & ∑
Eng. Hn. & ∑
Cl. 1, 2 & ∑
B. Cl. & ∑
? ∑ Bsn. 1, 2 ¢
°14 Hn. 1, 2 & ∑
Hn. 3, 4 & ∑
Tpt. 1, 2 & ∑
? Tbn. 1, 2 ∑
? ∑ Tba. ¢
°? Timp. ∑
Temple Blocks ∑ ∑ T. Bl. { / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p mf pp
Tam-tam scr–ape with stick T.-t. / ∑ ˙ ∑ f
B. D. ¢ / ∑
œ 14 コロコロ œ nœbœ #˙ w ∑ ˙ ˙ œbœ #˙ Ó nœ bœ Shak. & æ bœ œ bœ œ bœ bœ œ bœ æ œ œ >˙ pp mp f mp f n. sfz mp f ° & ∑
Koto long heavy scrape ? ∑ ˙ ∑ ˙ œ œ œ ∑ ¢ > o!>rd. °14 Vln. I & ∑ Ó sfz n. o!>rd.
Vln. II & ∑ Ó sfz n.
3 Vla. B ∑ Ó >œ sfz ? 3 Vc. ∑ Ó >œ sfz ? ∑ >œ Ó Cb. ¢ 3 sfz > 51 harsh multiphonic e#e#e 1 15 ∏ ebe ∏ e ne ∏ e ° #˙ ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Picc. & Ó n. ff sfz > harsh multiphonic #e e 1 ∏ e e#e ∏ e #˙ ∏ #e e ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Fl. 1, 2 & Ó sfz n. ff 1> ∏ harsh multiphonic e e ∏ bene#e #˙ ∏ nebe ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ be ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Fl. 2 & Ó n. ff sfz
∏ harsh multiphonic ∏ ne #˙ ∏ #e e ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ e e#e#e e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ob. 1 & Ó ∑ n. ff
∏ harsh multiphonic
∏ be #˙ ∏ ne e ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ e#e#e e e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ob. 2 & Ó ∑ n. ff
∏ e ne ∏ harsh multiphonic bene#e #˙ ∏ nebe ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Eng. Hn. & ∑ ∑
n. ff harsh
∏
∏ e#e#e #˙ ∏ multiphonic nebe ∏ ÍÍÍÍÍÍÍÍÍÍÍÍ e e e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Cl. 1 & Ó ∑ n. ff
∏ harsh multiphonic ∏ e #˙ ∏ ne e ∏ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ e#e#e e#e ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Cl. 2 & ∑ n. ff ∑ fl. ∑ B. Cl. & æ #˙ ˙ pp mf ff ? fl. Bsn. 1 ∑ æ ∑ ˙ ˙æ pp mf ff ? fl. Bsn. 2 ∑ æ ∑ ¢ ˙ ˙æ pp mf ff 15 random rips gradually wilder 1> ° ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍsÍhriek Hn. 1, 2 & ∑ Ó p sfz random rips gradually wilder 1> ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍshriek Hn. 3, 4 & ∑ Ó p sfz random rips gradually wilder 1> #˙ shriek Tpt. 1 & ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó p sfz > random rips gradually wilder 1 #˙ shriek Tpt. 2 & ∑ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó p sfz random rips gradually wilder > shriek 1 ? ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Tbn. 1, 2 ∑ Ó p sfz > random rips gradually wilder shriek1 ? ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Tbn. 2 ∑ Ó p sfz > random rips gradually wilder shriek1 ? Ó ˙ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó Tba. ¢ p sfz °? Timp. ∑ æ Ó ˙ >œ Tom-toms pp f ∑ Ó T. Bl. { / œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ p mf pp f An>vil T.-t. / ∑ œ Ó & f æ > B. D. ¢ / ∑ ˙ œ Ó pp f 15 ˙ Shak. & ∑ ° Tuning Change > ∑ œ bœ #œ nœ & <œ nœ bœ nœ bœ nœ Koto ? bœ nœ> ¢ ∑ <œ bœ 1 °15 sul pont. æ ˙ ∑ æ æ ˙ Ó Vln. I & æ ˙æ ˙ æ ˙æ 1 pp ff sul pont. ˙ æ ˙ ∑ æ ˙æ æ Ó Vln. II & æ ˙æ æ pp ˙ 1 f˙f sul pont. ˙ æ ˙ æ Vla. B ∑ æ ˙æ æ Ó ˙æ æ pp ff 1 ˙ sul pont. ˙ ? ∑ æ ˙ æ Ó Vc. æ ˙æ æ ˙æ æ pp ff heavy sul pont. bow freely ? Ó Cb. ¢ ˙ œ f > 52 ⼭彦 Yamabiko q = 76 Tranquil ° 4 Picc. & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Fl. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Ob. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Eng. Hn. & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Cl. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 B. Cl. & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢ 4
° 4 Hn. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Hn. 3, 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Tpt. 1, 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 4 Tbn. 1, 2 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢ 4
°? 4 Timp. 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Glockenspiel 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ j œbœ Glock. {& 4 œ œ w pp Vibraphone ™ 4 œbœ œ ˙ w Vib. & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ œ p 4 B. D. ¢ / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 w j œ bœ Shak. & 4 ∑ ∑ ∑ ∑ ∑ ∑ w ˙ œ ‰ Œ ∑ Ó p f n. p 1 ° 4 µ¶ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ j ˙ Ó ∑ bœ bœ œ œ ˙ mf Koto ? 4 ¢ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
flautando ° 4 w w w w ˙ j Vln. I & 4 ˙ w w œ ‰ Œ Ó ∑ ∑ ∑ n. p n.
flautando 4 Vln. II & 4 w w w w w w w w w w w n. p
flautando B 4 Vla. 4 w w w w w w w w w w w n. p
flautando ? 4 Vc. 4 w w w ˙ b˙ w w w w w w w n.
flautando arco ? 4 b˙ Cb. ¢ 4 w w w ˙ w w w w w w w n. p 53 °12 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
at random time intervals ∑ ∑ ∑ ∑ ∑ ∑ Œ™ Eng. Hn. & œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
pp p at random time intervals Cl. 1 & ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp p at random time intervals Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ‰ #œ œ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœœ ÍÍÍÍÍÍÍÍÍ p pp at random time intervals ∑ ∑ ∑ ∑ ∑ ∑ ‰™ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ B. Cl. & #œ œ œbœœ ÍÍÍÍÍÍÍÍÍ pp p
at random time intervals ? #œœœ Bsn. 1 ∑ ∑ ∑ ∑ ∑ ∑ Œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œbœœ ÍÍÍÍÍÍÍÍÍ
pp p
at random time intervals ? ∑ ∑ ∑ ∑ ∑ ∑ Œ™ œ œ œ Bsn. 2 ¢ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp p °12 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ Œ œbœ ∑ ∑ ∑ Glock. {& œ J œ™ w pp ™ œbœ œ ˙ w Vib. & ∑ ∑ ∑ Ó Œ œ ∑ ∑ ∑ p
B. D. ¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3¿ã¿ 3¿ã¿ 12 ™ ™ ™ ™ ˙ û bœ ˙ bœ ˙ j œ œ œ œ nœ b˙™ œ ˙ w Shak. & ˙ œ ‰ Œ Ó Ó Œ J Œ f n. f n. f 1 1 j ,µ¶ ° µ¶ ツ j bœ œ bœ ™ œ œ ツ ∑ ∑ Ó Œ ‰ j ‰ Ó ∑ ‰ Œ ∏ ™ & j ∏ œ œ œ bœ n˙
˙ ø œ œ ∏ œ ™ œ ˙ ø bœ bœ œ ˙ bœ ∏ œ p f mp Koto œ bœ œ œ bœ ˙ , + + œ+ ? œ œ œ œ œ ¢ Œ ∑ ∑ ∑ ∑ Ó Œ bœ ∑ ∑ 3
°12 Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vln. II & w w w w w w w w w
B Vla. w w w w w w bw w nw
? Vc. w w w w w w bw w w
? bw w Cb. ¢ w w w w w w w 54 °21 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ bœ œbœ œ œ œ œbœ œ œ œ ˙ œ Fl. 1, 2 & ∑ ∑ J ‰ Œ ‰ ‰ Œ Ó ∑ ∑ ∑ p 3 3 3 3 n œ bœ œbœ bœ œ œ œbœ œ œ œ ˙ œ Fl. 2 & ∑ ∑ Ó J ‰ Œ Ó ∑ ∑ ∑ p 3 3 3 3 n 1. w œ œ Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ bœ œ ˙ n. p ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ˙ œ œ Eng. Hn. & Œ Ó ∑ ∑ œ œ pp n. p
Cl. 1 & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó ∑ ∑ pp
Cl. 2 & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ Ó ∑ ∑ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ #œ œ pp
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ #œ œ œ ∑ ∑ ∑ B. Cl. & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp ? #œ œ œ Bsn. 1 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó ∑ ∑ ∑ pp
? Œ Ó ∑ ∑ ∑ Bsn. 2 ¢ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ pp
°21 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ ∑ ∑ ‰ bœ bœ œ œ bœ ∑ ∑ ∑ ∑ Glock. {& œ œ œ œ bœ œ ˙ 3 mp bœ œ ∏
∏ bœ œ ™
∏ œ œ ∏ bœ œ œ œ ∑ ∑ ∏ bœ b˙™ ∑ ∑ ∑ Vib. & ∏
∏ J mp
B. D. ¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
21 ™ 3¿ã¿ 3¿ã¿ j œbœ œ ˙ ˙ ˙ œ œ bœ ˙ ˙ ˙ w œ Shak. & w œ ‰ Œ J ‰ Œ Ó
n. p 3 f n. 1 1 ° ツ œ µ¶ µ¶ ツ ツ Œ Œ ∑ bœ œ bœ œ Ó ‰ j Œ Œ ø Œ Œ ø Œ ∑ & ˙ ø œ œ œ bœ œ œ œ œ bœ œ œ œ ˙ ˙ p mp f Koto œ bœ œ ? œ œ œ œ œ ¢ Ó Œ Ó ∑ Ó œbœ Œ Ó ∑ ∑ ∑
n˙at. 21 bœ œ bœ œ bœ œ ° œ œ bœ œ œ œ œ b˙™ œ Vln. I & ∑ ∑ bœ J ‰ Œ Ó ∑ ∑ pp p n.
Vln. II & w w w w w w w w
w w w Vla. B nw nw bw w w
? Vc. w w bw w w bw w w
? bw w w Cb. ¢ w w bw w w 55 °29 Picc. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
j Ob. 1, 2 & ˙ œ ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n.
j œ œ w ˙ œ ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Eng. Hn. & œ™ œ œ œ J n.
Cl. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó #˙ n.
Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Bsn. 1 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 2 ¢
°29 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. {&
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D. ¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3¿ã¿ 29 ˙ œ w ˙ b˙ ù w œ œ œ ˙ #w w œ œ œ Shak. & ∑ ∑ Œ J ‰ Œ Ó ∑ Œ œ
p f p p 3 f ,1 ° ツ ツ µ¶ & ∑ ∑ Ó ‰ j œ ˙ ø œ œù œ™ j œ œ ™ Ó ∑ Ó ‰ j œ ˙ ø ‰ œ œ œù Œ Œ œœ Œ œ œ œ œ ˙ ˙ œ J œ ∏ œ
œ œ œ ˙ ∏ p f p f mf Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
29 ° œ™ œ œ ∑ ∑ ∑ ∑ ∑ w w æ æ æ œ ˙ œ ‰ Œ ∑ ∑ ∑ Vln. I & æ æ æ æJ æ æ æ J n. mp n. æ æ æ æ j‰ Œ Ó ∑ ∑ æ æ æ æ æ æ æ æ æ æ Vln. II & œ w w w ˙ ˙ wæ wæ wæ w wæ n. n. p œ w w Vla. B ‰ Œ Ó w w w w #w æ æ w w w w J æ æ æ æ æ æ æ æ æ æ æ n. n. p æ æ ? æ æ æ æ æ æ æ æ æ æ æ Vc. w w w w wæ w bw bw w w bw nw fp w w w w bw bw w w bw nw ? æ æ æ w æ æ æ æ æ æ æ Cb. ¢ w æ æ æ æ æ æ æ æ æ æ æ fp 56 °41 œbœ œ Picc. & ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ f 3 bœnœ œ œbœbœ Fl. 1 & ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ f 6 œ bœnœ œbœ œ Fl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ f 6 bœ w w ˙ œ œ bœ Ob. 1, 2 & ∑ ∑ ∑ ∑ n. bœ bœ b˙ œ œ Ob. 2 & ∑ ∑ ∑ ∑ Ó Ó Ó b˙ n.
3 bœ ∑ ∑ ∑ ∑ ∑ bœ bœ œ bœ Eng. Hn. & ˙™ œ œ bœ bœ œ bœ bœ 3 pp œbœ bœ œ œ j bœ œbœnœ#œ Cl. 1 & œ™ œ #w w #w nœ#œ œ nœ#œ œ #œ œ#œ œ #w w p bœ bœ bœ œ#œ œ Cl. 2 & ∑ ∑ ∑ œbœ w w w ˙ n. Ó j 3 œ œ nœ bœ bœ 3 3 B. Cl. & #˙ œ™ œ œ #˙™ ™ œ #œ œ œ œ #œ nœ bœ #œ#œ œ œ b˙™ #œ n˙ œ œ œ bœ œ p n. p bœ œ bœ bœ 3 ? ∑ œ ˙™ 3 œ œ œ bœ œ œ nœ bœ bœ nœ Bsn. 1, 2 ¢ w b˙™ œ b˙™ œ œ bœ bœ b œ œ pp p p 3 41 ° a 2 bœ Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ bœ bœ nœ pp 3. Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ bw œ œ œ œ b w 4. pp 1. pp Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑ w #˙™ Œ 2. pp pp ? ∑ ∑ ∑ ∑ ∑ Ó Tbn. 1, 2 w bw ˙ n. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
° ? ∑ ∑ ∑ ∑ ∑ ∑ æ Timp. wæ pp ∑ ∑ ∑ ∑ ∑ ∑ ∑ Glock. {&
Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cymbals æ B. D. ¢ / ∑ ∑ ∑ ∑ ∑ ∑ w pp 41 œ w w œ ™ bœ œ #˙ nœ œ ˙ bœ œ J œ œ Shak. & ‰ Œ Ó ∑ J 3 p p f ff 1 1 1 œbœ œµ¶ ˙ w ° j µ¶ œ œ œ j bœ µ¶ œ œ æ æ & ˙ Ó ∑ ‰ œ bœ ‰ œ nœ œ œ œ œ œ œ bœ œ æ æ p f Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑ ∑
nœ 41 bœ œbœ œ œbœ œ œ œ ° #w w w bœ œ œ œ Vln. I & ∑ ∑ ∑ æ æ æ æ æ 3 3 bœ æ æ bœ œ œ œ œ bœ œ œ æ æ æ wæ bw b˙ œœœ bœœ bœ bœ œ Vln. II & w w w æ æ œ æ æ 3 3 3 3 3 3 bœ œ œ æ bœ bœ œbœ œ œ œ œ™ æ æ æ œœ œœœœœœ œœœ œœ bœ œ œ Vla. B œ œ œ #œ æ w w b˙™ œ J œ w æ 3 3 3 3 3 3 3 3 3 bœ bœ bœ œ œ œ bœ 3 ? æ œ™ j œ ˙™ œ œ œ œ œ œ œ œ œ bœ œ œ nœ bœ Vc. æ œ œ œ bœ œ bœ w œ œ œ b˙™ bœ œ 3 œ œ bœ bœ ? w œ™ j œ ˙™ œ œ œ œbœ œ œ œbœ œ œ œ bœ œ œ nœ bœ 3 Cb. æ œ œ œ bœ œ bœ ¢ æ œ œ œ b˙™ bœ œ 3 b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 57 48 w w œ œ œ bœ œ ° œ œbœ œ j œ Picc. & œ ‰ Œ ∑ Ó Œ ‰ ff 3 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ f nw w œ œ œ ˙ œ œ bœ œ œ œ bœ œ œbœ œ j Fl. 1, 2 & œ œ ‰ Œ Ó ff 3 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ nw w ˙ œ bœ œ œ ˙ œ œ œ œ œbœ œ ‰ Œ Ó Fl. 2 & J ff 3 3 bœnœnœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ bœ œ œ bœ œ œbœ œ œ œ œ œ œ œ œ œ œ ˙ œ Ob. 1, 2 & ‰ J ‰ Œ ff 3 3 3 3 p bœnœnœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œnœ œ œ œ œ ‰ œ œ bœ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ‰ Œ Ob. 2 & J ff 3 3 3 3 p nw w w w w Eng. Hn. & ff nœbœ œ œbœ œ œbœ œ œbœ œ œbœ œ œ bœ œ œbœ œ œbœ œ œbœ œ œbœ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Cl. 1, 2 & ‰ ff 3 3 3 3 bœnœ œbœ œ œ bœ œ œbœ œ œ bœ œ œ bœ œ œ bœ œ œbœ œ œ bœ œ œbœ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Cl. 2 & ‰ ff 3 3 3 3 3
B. Cl. & w w w w w ff ? w w w w w Bsn. 1, 2 ¢ w w w w w ff 48 ™ ™ ° n˙ nœ w w œ œ œ #œ œ œ Hn. 1, 2 & Ó J ff Ó œ œ™ œ œ Hn. 3, 4 & & bœ J bœ w w w ff a 2 3 œ™ œ nœ bœ œ ˙ ˙ œ ‰ Œ Ó ∑ Tpt. 1, 2 & ˙ #˙ J J ff ? œ œ bœ œ w Tbn. 1, 2 w w w œ œ œ w ff ? Tba. ¢ bœ w w w œ œ œ w ° ff æ ? ∑ ∑ ∑ æ Timp. w w ff pp œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ ∑ Glock. {& œ œ œ w ff bœ œ œ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w Vib. & ∑ ff Cymbals æ Cym. ¢ / w ∑ ∑ ∑ w ff pp 48
Shak. & ∑ ∑ ∑ ∑ ∑
° & ∑ ∑ ∑ ∑ ∑
Koto ? ¢ ∑ ∑ ∑ ∑ ∑
48 nw w w œ ˙™ ˙ œ œ bœ ° Vln. I & ff 3 nw w ˙™ œ w œ™ œ œ œ J Vln. II & ff w w w w œ™ œ œ œ J Vla. B & ff ? bœ Vc. w w w œ œ œ ˙ ˙ ff ? œ bœ œ Cb. ¢ w w w œ ˙ ˙ ff n 58 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b 53 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w œ œ œ ° œœbœœ j Picc. & œ ‰ Œ ∑ 3 Ÿ~b~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w œ œ œ bw w œbœ œ œ œœbœœ j Fl. 1, 2 & œ œ ‰ Œ Ó b 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bw bw w w ˙ œbœ œ œ œœbœ œ ‰ Œ Ó Fl. 2 & J 3 nœ œbœ œ œ œ bœ œ nœ bœ œ œ œ œ œ œ œ œ œbœ œbœ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œbœ œ œbœ œ œbœ œœ œ œ œ œ œ œ œ œ œbœœ ˙ œ Ob. 1, 2 & Œ J ‰ 3 3 3 3 ff n. nœ œbœ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œnœ œ œ œ œ œ bœ œnœ bœ œ œ œ œ œ œ œnœ œ œ œ œ œbœ œ œbœ œ œ œ œ œ œ œ œ ˙ œ ‰ Œ Ob. 2 & œ œ œ œ J ff 3 3 3 3 n. bw w w w œ ‰ Œ Ó ∑ Eng. Hn. & J œnœ œ œ œ œ œ œ œ œ œ œ œbœ œ œbœ œ œ œ œ œ œ œbœ œ œ œ œ œbœ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Cl. 1, 2 & ‰
nœ œbœ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ bœ œnœ œ œbœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ Cl. 2 & ‰ 3 3
B. Cl. & j ‰ Œ Ó w w w w w œ n.j ? bw w w w w œ ‰ Œ Ó Bsn. 1, 2 ¢ w w w w w œ n. °53 bw w w w œ ‰ Œ Ó ∑ Hn. 1, 2 & J p j Hn. 3, 4 & w w w w œ ‰ Œ Ó ∑ p œ nw œ j bœ œ œ œ J ‰ Œ Ó ∑ ∑ Tpt. 1, 2 & œ™ nœ œ œ 3 bw bw j ? w w œ ‰ Œ Ó ∑ Tbn. 1, 2 w w w w œ p ? ‰ Œ Ó ∑ Tba. ¢ j w w w w œ p ° æ j ? æ ‰ j ‰ Œ ‰ æj æ æ j ‰ Œ ∑ Timp. w w œ œ œ œ œ œ œ œæ œæ ˙æ œ ff pp ff pp mf pp ∑ ∑ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œbœ œ œ œ œ œ Glock. {& œ œ œ ff bœ œ œ œ bœ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Vib. & ∑ ∑ ff p Cymbals æ Cym. ¢ / w w w ∑ ∑ ∑ ff pp ff 53
Shak. & ∑ ∑ ∑ ∑ ∑ ∑
° & ∑ ∑ ∑ ∑ ∑ ∑
Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑
b˙ ˙™ bœ w w w w °53 ˙ Vln. I &
bw w w w w w Vln. II &
bw w nw w w w Vla. &
? Vc. w w w w w w
? w w Cb. ¢ w w w w 59 °59 Picc. & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑
˙ œ Cl. 1, 2 & J ‰ Œ ∑ ∑ ∑ ∑ ∑ n. w œ Cl. 2 & J ‰ Œ Ó ∑ ∑ ∑ ∑ n.
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢
°59 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ Glock. {& w p
Vib. & ∑ ∑ ∑ ∑ ∑ ∑
Cym. ¢ / ∑ ∑ ∑ ∑ ∑ ∑
3¿ã¿ 3¿ã¿ 59 w w œ ˙™ œ bœ ˙™ œ J J Shak. & ‰ Œ Ó ‰ Œ Ó f n. mf n. ° & ∑ ∑ ‰ j Œ ˙™ ∑ ∑ œ bœ œ œ œ Koto mf ? ¢ ∑ ∑ ∑ ∑ ∑ ∑
59 w w w w œ ° J ™ Vln. I & ‰ b˙O™ w~ p n. w w w œ J Vln. II & ‰ ˙O™ w~ w~ p n. p w œ J O™ O O ~ ~ O O Vla. & ‰ B˙™ ˙ ˙ w w ˙ ˙ n. p ? Vc. w w w w w w p ? Cb. ¢ w w w w w w p 60 °65 Picc. & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Eng. Hn. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Bsn. 1, 2 ¢
°65 Hn. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3, 4 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1, 2 & ∑ ∑ ∑ ∑ ∑ ∑
? Tbn. 1, 2 ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ Tba. ¢
°? Timp. ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ Glock. {& w pp
œ bœ w œ Vib. & ∑ ∑ ∑ ∑ Ó Œ pp 3
Cym. ¢ / ∑ ∑ ∑ ∑ ∑ ∑
65 ˙ ˙ b˙ ˙ w œ J Shak. & ∑ ‰ Œ Ó ∑ p mf n. ° & ‰ j Œ ˙™ ∑ ∑ ∑ œ bœ œ œ œ œ bœ ˙™ p Koto ? ¢ ∑ ∑ ∑ ∑ ∑ ∑
°65 j Vln. I & w~ w~ œO ‰ Œ Ó ∑ ∑ ∑ p n.
j ‰ Œ Ó Vln. II & ˙O bb˙O w~ w~ ˙O bb˙O w~ œO n. j ~ ~ O O O O O Vla. B w w ˙ ˙ ˙ ˙ œ ‰ Œ Ó ∑ n.
? j ‰ Œ Ó ∑ ∑ Vc. w w w œ n. ? j ‰ Œ Ó ∑ ∑ ∑ ∑ Cb. ¢ w œ n.