Interstices (2014) for Flute/Piccolo, Soprano/Tenor Saxophone, and Percussion

Joseph Klein

Interstices (2014) for flute/piccolo, soprano/tenor saxophone, and percussion

Commissioned by Tarrant County College for Gregory Dewhirst

duration: c. 20’

Instrumentation

• Flute/Piccolo • Soprano/Tenor Saxophone • Percussion (arranged in 3 stations; details are included in the performance notes below): Station 1 (stage right) Station 2 (center) Station 3 (stage left) 6 bell plates (indefinite pitch) 1. high splash cymbal (with sizzles) 1. hi-hat 2. low crash cymbal (with sizzles) 2. vibraslap (mounted) 3. small tam-tam 3. ratchet (mounted) 4. 3 opera gongs (on padded table) 4. tambourine (mounted) 5. 3 woodblocks 5. cowbell (or brake drum) 6. large log drum (at least 3 pitches) 6. temple block (or wood block) 7. 4 triangles (and/or finger cymbals) 7. metal coil (or ribbon crasher) 8. bongo drums

Striking implements: hard yarn (station 1); hard yarn, brushes with metal beaters (station 2); snare drum stick, metal beater (station 3).

Performance Notes

This is a transposed score. Accidentals apply only to pitches they immediately precede, with the exception of repeated pitches. The work consists of five tutti movements (the fifth being an abbreviated reprise of the first), connected by transitional solos for each of the wind instruments: A) trio: ref(ra/le)ction (piccolo, tenor saxophone, percussion: wood blocks, log drum, cymbals, tam-tam, opera gongs) B) phase transition: piccolo solo C) trio: strands and mutations (piccolo, soprano saxophone, percussion: bell plates) D) phase transition: soprano saxophone solo E) trio: quantum entanglement (flute, soprano saxophone, percussion: triangles/finger cymbals, bongos, opera gongs, tam-tam) F) phase transition: flute solo G) trio: redshift/blueshift (flute, tenor saxophone, percussion: tambourine, vibraslap, ratchet, cowbell, hi-hat, temple block, metal coil) H) phase transition: tenor saxophone solo Players may begin with any trio movement and proceed in either direction. Movements must be played without pause, so it is critical that performers arrange their music in such a way that this is possible. Each of the four trios includes indications for the abbreviated version that concludes the work: performers will begin playing at the sign ( ) and proceed to the coda ( ) where applicable, as indicated in the score. Below are the possible orderings of the movements listed above:% ﬁ A B C D E F G H A’ A H G F E D C B A’ C D E F G H A B C’ C B A H G F E D C’ E F G H A B C D E’ E D C B A H G F E’ G H A B C D E F G’ G F E D C B A H G’ In the printed program, the movements should be listed as follows: ref(ra/le)ction quantum entanglement redshift/blueshift phase transition 1 phase transition 1 phase transition 1 strands and mutations strands and mutations quantum entanglement phase transition 2 phase transition 2 phase transition 2 quantum entanglement ref(ra/le)ction strands and mutations phase transition 3 phase transition 3 phase transition 3 redshift/blueshift redshift/blueshift ref(ra/le)ction phase transition 4 phase transition 4 phase transition 4 ref(ra/le)ction (coda) quantum entanglement (coda) redshift/blueshift (coda)

- i - ref(ra/le)ction: The general state of this movement is one of contrasts, and it consists of four distinct and overlapping musical characters that must be clearly delineated by the flute and saxophone throughout. In the Antagonistic sections, the sharp attacks in the wind parts should penetrate and at times overtake the contrasting musics; nevertheless, it may be necessary for the piccolo to pull back somewhat from the fortissimo dynamic indication in order to balance with the low slap tongue of the tenor saxophone in that same section. Multiphonics in the Unsettled sections are left to the discretion of the performers, though they should be more complex sonorities that are rich in partials. Multiphonics are numbered from highest (1) to lowest; the piccolo uses four different multiphonics, and the tenor saxophone uses five throughout the movement. For the most part, these multiphonics should function as supporting parts, and should be played with some degree of finesse. Pitch bends in the Restless sections should be no more than a half step, and should extend for the duration of the altered pitch. The Delicate section should be the most pure and refined of the four musical identities that comprise this movement. The percussion serves to delineate each new musical section throughout the movement, and each section is associated with a distinct group of percussion instruments: wood blocks and log drums (Antagonistic), sizzle cymbals (Unsettled), opera gongs (Restless), and tam-tam (Delicate). Percussion instruments should be distributed as indicated on the set-up diagram below: instruments associated with the piccolo (high cymbal, woodblocks, high opera gong) are positioned on the player’s right and those associated with the tenor saxophone (low cymbal, log drum, low opera gong) are on the player’s left; the small tam-tam (suspended) and medium opera gong are positioned in the center of this set-up. The three opera gongs are to be placed adjacently on a centrally-positioned table, in such a manner that they are still able to resonate clearly. All percussion instruments in this movement should be separated as much as possible so that the performer must move noticeably and often dramatically from left to right when playing. strands and mutations: The general state of this movement is one of calm. Each of the descending patterns in the outer sections must flow smoothly, with dissipating energy, as an extended sigh; deviations in these gestures (longer note values, interrupted groupings, imitative entrances) should be somewhat exaggerated. The more angular passages in the middle section of the movement should be played with a more nervous energy than the relative calm of the outer sections. The six bell plates should be rich in overtones without a clear central pitch, and should span a range of at least two octaves. quantum entanglement: The general state of this movement is one of restlessness, and it consists of three distinct components: noise elements, rapidly ornamented pitched material, and silence. The relationship between these three states—in some cases sharply contrasted, in others subtly merged—is a critical structural aspect of the movement. The noise sections are indicated graphically, as a representation of relative densities and resulting dynamics for each instrument, which are in constant flux. The composite sounds in this section must be continuous, erratic, restless, and unpredictable. The sounds in the wind instruments consist of key clicks/rattles, tongue rams (flute), tongue clicks, and various unvoiced fricative and plosive bursts produced by the mouth and air stream over the mouthpiece/embouchure hole; fricative sounds should be generally sustained while plosive sounds should be sharply articulated, usually at the beginning or end of each sustained fricative. The following phonemic combinations may be used in these sections; fricative sounds should be generally sustained while plosive sounds should be sharply articulated, either at the beginning or end of each sustained fricative: Fricatives & Plosives (IPA): Diminuendo gestures: Crescendo gestures: as in Sit as in Pat as in SHut as in Top as in Fire as in Kick

During these noise-based sections, the percussionist rubs and strikes the bongos, opera gongs, and tam-tam with brushes, simulating the sounds made by the woodwind instruments; he/she should also produce unvoiced fricative and plosive sounds with the mouth, in imitation of the woodwinds. In the pitched passages, the rapid, ornamental gestures should flow continuously between the three players, in an attempt to merge into a single sonic entity: players should carefully cue off of one another in order to maintain this continuous flow. The percussionist plays the triangles with metal beaters (attached to the handles of the brushes) in these sections. Where the noise elements are juxtaposed with the pitched material, the wind players in particular must take care to blend these elements in as seamless a manner as possible; the goal should be to create a single line out of the two elements rather than to consider them as separate and contrasting entities. During the silent sections, all players must remain absolutely frozen in place until the music resumes. redshift/blueshift: The flute and saxophone play in heterophony, a single line that undergoes continuous oscillations in register, rhythm, duration, and dynamics. As a result of these fluctuations, there are times when one of the instruments will be clearly in the foreground, and the other will act as a shadow or echo of the more prominent line; at other times, the instruments will be more balanced, whether on the high or low end of the dynamic spectrum. These roles are in constant flux throughout the movement. Because the dynamic contrasts often contradict the natural tendencies of the instruments, it will be necessary for the performers to exaggerate the less idiomatic dynamic markings in their respective low registers. Absolute dynamic levels are less

- ii - important than contrasting energy levels: e.g., the flute should play forte passages more aggressively and energetically in the low register to compensate for the inherent dynamic limitations of the instrument, while the saxophone should play piano passages more delicately and restrained to compensate for its inherently loud low register. The percussionist plays independently of the flute and saxophone, as if futilely trying to find a groove among the constantly shifting rhythms; these percussion interjections temporarily disrupt the trajectories of the flute and saxophone lines throughout. Each of the brief solo sections acts as a bridge between the flanking tutti sections; players should attempt to transform the character of the music accordingly in order to elucidate those transitions. The solo movements are arranged in such a way that they may be played either before or after each adjacent tutti section (depending on which direction the ensemble proceeds through the movements); arrows with movement letters indicate where the players should begin and end each of these solo sections.

Stage Set-up

Each instrument is to be set up in a different location on stage so that spatial relationships between the three performers are continuously changing (indicated by the colored triangles on the set-up diagram below). The entire stage area should be utilized, if possible.

Program Note

As the title suggests, the work Interstices explores the idea of “between-ness” in its various manifestations: intervallic relationships, the percussion instruments’ intermediary function between the two wind instruments, the changing relationship between the flute/piccolo and soprano/tenor saxophones, the continuously changing physical space between the three performers, and the function of the solos between the tutti sections. These various “spaces” are in flux throughout the entire work, as the elements that define them are constantly transformed. The work consists of four trios, each connected by a brief transitional solo section: performers may begin on any of the trio movements and proceed in either direction through the sequence, ending with a truncated reprise of the opening movement. In ref(ra/le)ction, the piccolo and tenor saxophone follow independent trajectories through a palindromic arrangement of four distinct musical identities, resulting in continuously changing relationships between the two parts. In strands and mutations, a series of descending and expanding arpeggio figures in the piccolo and soprano saxophone is gradually transformed, and ultimately fragmented and recombined before resuming their initial state. In quantum entanglement, the relationship between noise elements, dense figuration, and silence is explored, resulting in a kind of micro-level interference between the three instruments. In redshift/blueshift, a repeating melodic fragment undergoes transformations based on oscillations of several musical parameters— intervals, registers, durations, attack points, and dynamics—generating a series of phasing cycles within and between the flute and tenor saxophone parts. Interstices was composed between October 2013 and March 2014 for saxophonist Gregory Dewhirst on a commission from Tarrant County College, and was first performed by Gregory Dewhirst, Kristan Dewhirst, and Peter Ferry on 21 March 2014 for the North American Saxophone Alliance Conference at The University of Illinois.

- iii -

Notation

U U U durational continuum within senza misura section: values arranged from e e e œ œ ˙ ˙ shortest to longest (precise durations ad libitum).

fermata continuum: arranged from shortest to longest. U

accelerando/ritardando

→ → → gradual change from one mode of play to another

X 16 measured notation with changing beat units

multiphonics (number and staff placement indicate relative register) | |

, , pause/rest (short/long)OL play within dynamic range indicated OL grace note accelerando + slap tongue (saxophone); closed position (hi-hat) pitch bend open position (hi-hat) q C strike at center (of tam-tam) Ø senza misura R strike at rim (of tam-tam) [FREEZE] freeze in place until next event C

œ let ring/blend into next section

fluttertongue @ bisb bisbigliando (timbral trill) ~~~~

- iv - Intersces A Joseph Klein (2013-14) trio: ref(ra/le)con Mercurial / Delicate q q. = 72 j Piccolo 3 œ 4 ˙ œ œ œ œ œ ˙. † #œ œ œ #œ œ F F Restless P j œ 9 # œ #œ nœ. # œ # œ œ Tenor Saxophone n œ j j #œ 8 Œ. ‰ nœ ‰ ‰ j#œ Œbœ J Œ Œ bœ Œ j œ. Œ bœœ œ J V œ J œ. bœ OPERA GONGS f f f f f f f TAM TAM w/ hard yarn (sempre) R 3 Percussion ˙ ã 4 œ œ . f Fsub.

5 4 j 2 , 3 PC @ œ 4 #˙. bœ 4 œ œ 4 † nœ ˙ œ œ b˙. œ ã P F P Delicate F Antagonisc #œ œ bœ j 12 + 6 #œ. œ 9 T SX J V J Œ nœ. Œ 8 ≈ Œ j Œ ≈ r≈ r Œ ‰ ≈ Œ j Œ ≈ r‰ 8 8 œ #œ œ bœ œ nœ bœ nœ f v œ v #œ v œ v v v œ v v P v v v v TAM TAM LOG DRUM ƒ C PRC 4 2 3 4 œ j ‰ Œ Ó 4 ˙ 4 ã œ œ v f F Unseled Restless 1 9 3 j 3 4 , %3 œ , PC @ ·. · bœ nœ 4 ·. 4 · · 4 œ ã Ó · † œ#œ J ‰ P P f Unseled 1 œ. j #˙. ˙. œ j #œ œ 9 œ 12 œ. bœ œ œ œ œ œ œ. , 9 T SX J J J J ·. V 8 8 8 Œ. ·.

HI CYMB (sizzles)F P F LO CYMB (sizzles) P . OPERA GONGS PRC 3 ˙ 4 3 ˙. ã 4 4 4 œ œ P f Psub.

13 # œ# œ œ œ œ œ 4 j œ 3 , bœ œ 2 PC @ œ j j nœ bœ bœ j#œ bœœ œ bœ œ#œ#œ nœ 4 4 œ J J j j 4 † ‰ bœ ‰ ‰bœ œ J J ‰ ‰ ‰ ‰ nœ ‰ nœ f f f f f f 4 f f 12 , 9 6 T SX ·. ‚. ·. œ. ·. ‚. 8 ·. œ. Œ. 8 ·. ‚. ·. ‚. 8 V ·. ‚. ·. ‚. P

PRC 4 3 2 ã 4 4 4

17 ^ ^ ^ ^ ^ j œ œ œ^ bœ #œ^ œ œ^ bœ #œ^ 2 # œ , 4 PC ≈ ≈ ≈ ≈ † 4 j ‰ œ ≈ R ‰ 4 ‰ R ≈ Œ Œ ‰ R ≈ ≈ R ‰ ‰ R ≈ Œ f ƒ Delicate 2 #œ. œ œ. j œ #œ. œ 6 , 12 œ # œ œ œ. œ œ. T SX ·. ·. V 8 ·. ·. 8 J J J P F P TAM TAM WOOD BLOCKS C 2 œ 4 PRC œ œ^ w ã 4 J ‰ Œ 4 f F

^ ^ ^ ^ ^ @21 œ œ^ bœ #œ^ œ œ^ bœ #œ^ œ^ nœ^ bœ œ^ PC ≈ ≈ † ≈ R ‰ ‰. R Œ ‰ R ≈ ‰. R ‰ R ≈ R ‰. ≈ R ‰ R ‰. ‰. R ≈ R ‰

j Antagonisc # œ ˙. #œ. #œ + T SX #œ r V J j Œ ≈ Œ ≈ ≈ Œ. ≈ ≈ Œ j j Œ ≈ bœ œ #œ nœ œ #œ #œ œ nœ bœ #œ ‰ nœ F P v v v v v v v v v v v v LOG DRUMƒ PRC œ j ‰ Œ Ó ã œ œ v f

Restless 24 œ^ œ^ bœ^ ^ œ^ ^ ^ j @ œ #œ œ #œ # œ PC ≈ ≈ bœœ œ nœ. ‰ R ≈ Œ ‰ R ≈ R ‰. R ‰. ≈ R ‰ Œ ‰ œ bœbœ † J f J Restless f f œ # œ # œ œ œ bœ . # œ œ nœ T SX j j j œ œ. j j nœ bœ œ Œ bœ ‰bœ J Œ nœ Œ j#œ. Œ bœ bœ ‰ nœ Œ nœ. bœ V œ J J bœ bœ ‰ f f f f f f f f OPERA GONGS PRC j j œ œ ˙. Œ ã ˙. Œ f f

27 j nœ bœbœ œ # œ# œ œ nœ œ @ jbœ œ nœ 3 œ bœ PC #œ bœ œ bœ ‰ œ J J ‰ nœ Œ j#œ Œ bœ 4 ‰ nœ J ‰ bœ. ‰ † nœ œ bœ J f f f f f f f f f j Antagonisc œ j #œ. #œ # œ 9 + T SX bœ. œ œ œ œ œ V J Œ J Œ œ ‰ ‰ Œ 8 ≈ Œ jŒ ≈ r ≈ rŒ ‰ ≈ Œ j ‰ J œ œ œ bœ nœ œ #œ bœ nœ f f f f v v v v v v v v v LOG DRUM ƒ PRC 3 ã 4 œ j ‰ Œ Œ œ œv f - 2 - Intersces

Unseled 3 31 2 4 , , , 4 PC · · ·. ‚ ·˜ ·. · 4 † ·. ‚ . ·. P P Delicate P #œ. œ j#œ ˙. #˙. œ 12 T SX Œ ≈ r ‰ ‰. r‰ Œ j ‰. r‰ ‰ J 8 V œ #œ nœ œ œ bœ v #œ v v v #œ v v P HI CYMB (sizzles) v v TAM TAM F . C 4 PRC ˙ . ã ˙ 4 P F

35 Delicate @ 4 j j œ PC 4 ˙ œ ˙ œ ˙ #˙ œ bœ † #œ œ #œ n˙ œ œ F P F P F P Unseled œ ˙. . j #œ œ. 2 12 œ. œ bœ œ œ œ œ. œ ˙. œ , T SX œ ‚. ·. V 8 J J J J Œ. ‚. ·. P F P P LO CYMB (sizzles) 4 R PRC w œ. ã 4 Œ. Ó. F P

Unseled Restless 3 1 39 2 j , # œ œ PC @ œ ·. œ j œ œ bœ Œ · ‰ ‚. ·. Œ bœ J † b˙. v · ‚. nœ ‰ nœ F P P f f f 4 1 3 , 5 , T SX ‚. ·. ‚. ‚ · · Œ. ·. ·. V ‚. ·. ·. ‚. ·. ·. ‚. ·. P P HI CYMB (sizzles) P OPERA GONGS

PRC w j ã œ ˙. Œ P f

Antagonisc 43 j ^ ^ ^ ^ # œ œ^ #œ œ œ #œ œ œ 2 3 ≈ ≈ PC@ #œ ‰ œ nœ j œ œ œ œ œ bœ 4 R . . R 4 R † ‰ ‰ #œ ‰ œ # œ J ‰ ‰ ‰ Œ ≈ ‰ f f f f ƒ Delicate #œ œ. 6 , 9 #œ. œ T SX ·. ·. ·. J V ·. ·. 8 ·. 8 P WOOD BLOCKS TAM TAM C 2 œ 3 PRC œ œ^ ˙. ã 4 J ‰ Œ 4 f F - 3 - Intersces

^ ^ ^ ^ ^ ^ ^ ^ 47 #œ^ œ^ œ #œ^ #œ^ œ^ œ bœ œ^ œ bœ bœ nœ œ^ nœ ﬁ4 PC ≈ ≈ ≈ ≈ † Œ ≈ R ‰ ‰ R ≈ R ‰. ‰. R ‰ R ≈ ‰. R ≈ R ‰ R ‰. ≈ R ‰ Œ R ≈ ‰ R ≈ ‰ 4

j#˙. ˙. œ j #œ œ. œ œ œ. bœ œ. œ œ œ œ. œ T SX œ ˙. œ. 12 V J J J J 8 F P F P

PRC 4 ã 4

Restless 52 j j @ œ œ bœ œ œ œ # œ j nœ nœ 4 bœ bœbœ bœ nœ 3 nœ œ 2 4 PC 4 ‰ bœ ‰ ‰ bœ œ J ‰ bœ ‰ bœ 4 bœbœ ‰ œ#œ J 4 J ‰ œ 4 † J nœ J J ‰ f f f f f f f Antagonisc f f Restless + T SX 12 9 6 # œ œ 12 V 8 j Œ ≈ rŒ ≈ ≈ Œ. ≈ ≈ Œ j jŒ ≈ ‰ 8 ‰ ≈ ≈ ‰ j ‰ ≈ r Œ 8 j Œ 8 œ œ #œ #œ nœ œ #œ œ nœ nœ #œ œ œ bœ #œ nœ œ. v v v v v v v v v v v v v v v v f ƒ OPERA GONGS 4 f ^ 3 2 4 PRC j ‰ j 4 œ œ œ Œ Ó 4 4 œ 4 ã œ œ ˙ OPERA GONGS LOG DRUM f

Unseled 1 Delicate 56 4 4 , , 3 j PC @ ·. j œ 4 · ‚ ·. 4 ‰ œ œ œ œ œ œ † · ‚ #œ œ #œ P P j F P F # œ T SX 12 nœ 9 œ œ nœ œ. bœ œ œ J #œ. # œ j j œ. 8 j#œ. Œ bœbœ œ Œ Œ J Œ œ Œ 8 Œ j œ œ. Œ bœ œ Œ bœ V œ J J œ J bœ. bœ bœ J J f f f f f f f f HI CYMB (sizzles) TAM TAM f 4 w 3 R PRC ˙. ã 4 4 P F

60 j U PC @ œ œ #˙ bœ b˙ œ œ ﬁØ † nœ œ œ P F P F œ œ œ œ U T SX ‰ ‰ # œ j Œ bœ #œ Œ nœ ‰ ‰ Œ j ˙. Ø V J bœ œ œ œ #œ bœ f J bœ f f f f PRC œ œ œ U Ø œ œ œ œ ã œ œ ƒ poco F - 4 - Interstices B

phase transition: piccolo solo 1

2 A

6 A

- 5 - Intersces C

trio: strands and mutaons Languorous = 110 e œ X bœ œ. œ . bœ. , Piccolo œ œ œ R R J J œ. R R J œ. bœ †16 J bœ. f P f P bœ bœ. , Soprano Saxophone X bœ œ. bœ œ. œ 16 R R J J nœ R R J œ. œ & œ. J bœ. f f BELL PLATES w/hard yarn P P Percussion X 16 œ œ ã . ˙. F

4 œ œ œ. œ , #œ. œ bœ œ. œ . , bœ. œ , PC @ #œ. #œ. œ bœ #œ. R R J J œ R J J œ R R J J bœ. R R J J œ † œ. J œ. f P f poco f P f P , œ. œ œ. , . , S SX bœ œ. œ œ j bœ bœ œ #œ #œ. R R J œ. œ R J œ. R R J . bœ R J J œ œ. & J bœ. J œ J œ. b˙ f P f poco f P f P

PRC ã

8 œ #œ œ. #œ œ. %@ œ. œ œ , #œ œ. , PC œ. #œ. R R J J bœ R R J J œ ‰. R R J J œ † bœ. œ. œ. f P f f P œ P œ. bœ œ. , œ œ. œ , S SX R R œ bœ. R #œ œ. R R J œ. & J J bœ R J J œ . J bœ bœ. bœ bœ. f P f P f P PRC œ œ. ã J œ J œ. F

12 œ . #œ. bœ œ. bœ œ , #œ bœ , bœ. œ œ. , PC @ œ. œ. œ. œ R R J J bœ R J J R R J J œ R J J œ. b˙ † œ. œ. f P f poco f f P . P bœ . , œ. œ. bœ , bœ bœ . , S SX œ œ bœ. œ œ. œ. bœ œ bœ & R R J J œ R J J R J J bœ. R J J bœ. œ. b˙ ˙ f P f poco f P f P PRC ã

- 6 - Intersces

16 œ bœ #œ. #œ #œ. , bœ.bœ , PC J œ J œ. bœ † R R J œ. R R J œ. f P f P œ #œ. , bœ œ. , S SX œ œ. bœ bœ. & R R J J bœ R R J J nœ bœ. œ. f P f P PRC œ œ œ. ã J ˙ J œ. F

19 #œ œ. bœ. œ œ œ. @ #œ œ. , œ. #œ œ. #œ , œ . , PC . R R J J bœ R R J J œ. ﬁ R R J œ † ‰ œ. J b˙ J bœ poco œ. f P f f P f P bœ. œ œ. œ , œ. bœ œ. , œ bœ. , S SX œ. œ J œ œ bœ. & R R J J bœ R J R J bœ. R R J J œ bœ. poco b˙ œ. f P f f P f P PRC ã

Anxious q = 72 23 - @ œ #œ.#œ . 5 œ. œ 4 PC œ bœ œ œ œ † R R J J bœ. 4 œ œ 4 f P F œ f P #œ. bœ. #œ- S SX œ 5 œ 4 R R J bœ. bœ 4 nœ œ 4 & J . œ œ f nœ P F f P œ 5 4 PRC œ J œ. 4 œ Œ Ó. 4 ã œ. ˙ J w F F

26 - bœ œ bœ- œ bœ- œ- œ œ @ 4 œ œ œ œ œ œ . . œ. PC 4 bœ œ œ œ #œ œ † bœ œ bœ œ nœ œ poco sub. œ. œ. œ. œ. f P F f F sub. sub.f P f P sub. - P f P F f 4 bœ œ nœ bœ- - - S SX bœ œ bœ œ œ œ bœ œ œ bœ œ œ œ. 4 bœ œ œ œ . œ œ œ. œ & œ œ œ. œ. bœ. œ. poco sub. fF sub. P F sub. f P f P P f f P sub.f 4 œ F PRC 4 Œ Ó ≈ œ. Œ Ó Œ Ó ≈ j Œ Ó ã J œ œ . P F

- 7 - Intersces

30 - œ- - #œ #œ . 5 . bœ 4 #œ œ œ œ. bœ PC #œ œ #œ œ #œ œ nœ œ. 4 #œ œ œ bœ œ. 4 œ œ. - † œ- œ bœ œ œ œ P f P F f P f P f F P F f - #œ # œ bœ œ œ bœ S SX #œ. 5 . œ- #œ- 4 bœ. œ œ 4 œ œ 4 nœ œ bœ œ. & nœ œ œ œ. bœ œ œ œ. #œ- œ f P œ œ P F f P f P f F P- F f

PRC 5 j 4 Œ ‰ j Ó 4 Œ ≈ œ Ó. 4 Œ Ó ‰ j Œ Ó ã œ . œ œ P P

Languorous = 110 34 - #œ- œ - e @ bœ bœ. œ œ. œ œ 5 œ X PC bœ œ #œ. œ œ J † œ œ œ œ bœ. œ 8 16 œ œ sub. sub. œ œ P F f poco f f f P f P P P œ bœ. œ- bœ- œ 5 bœ- X S SX bœ. œ. œ œ œ bœ J & nœ œ œ œ œ. œ 8 16 œ œ bœ œ sub. œ œ F fP poco f f P f P f P P œ 5 X PRC Œ ‰ J Ó Ó œ Œ Œ ‰ œ Ó 8 16 œ. ã J œ J ˙ F F

38b #œ @ œ #œ. œ . #œ. œ. bœ PC bœ œ œ. R R J J œ R J œ. œ R R J J bœ † œ. J œ. f P f poco f œ P bœ.bœ œ S SX R R nœ. œ. œ œ. #œ. #œ #œ. & J J œ R J J #œ R R J J œ œ. nœ. f P f poco f P

PRC œ. œ R w œ. œ œ. œ ã J œ. ˙ J œ. J F

42 œ . #œ . @ œ #œ œ. ﬁ, œ #œ œ. , PC J bœ J œ b˙ † Œ. R R J bœ. R R J bœ. ˙. f P f P œ bœ. œ , œ. œ , S SX œ. œ. R J J œ R R J J œ œ. & bœ. n˙ #˙ f f #˙. P P

PRC w. œ. J œ œ. ã ˙ ˙ ˙. w F poco P - 8 - Interstices D

phase transition: soprano saxophone solo 1a

1b E

3b E

- 9 - Intersces E trio: quantum entanglement Frenec, yet contained

Flute Ø & F p Soprano Saxophone Ø & BONGOS w/brushes p F (grinding perpendicular to drum heads) Percussion Ø ã F p 0:00 0:05 0:10

bœ œ bœ#œnœ nœ œ bœ œ œ j #œ œ œ œ#œ#œ FL nœ nœ #œ # œ #œ nœ # œ @& P j j # œ œ œ bœ œ œ œ œ #œ nœ œ #œ bœ œ bœ œ # œ œ œ bœ œ nœ S SX œ œ bœ bœ nœ & P TRIANGLES, FINGER CYMBALS w/ metal beaters PRC j j œ j œ ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P 0:15 0:20 0:25

j j œ bœ œ bœ œ j œ # œ nœ # œ œ # œ œ œ œ bœ bœ nœ bœ œ bœ nœ # œ œ # œ œ # œ œ œ # œ œ bœ nœ nœ bœ œ œ bœ FL @&

j bœ bœ j nœ j œ œ œ œ œ #œ nœ nœ #œ bœ œnœ nœ #œ œ œ œ #œ œ œ œ # œ œ œ S SX nœ œ œ nœ œ bœ &

j j PRC œ j œ œ œ œ œ œ ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0:30 0:35 0:40

bœ j j œ bœ j œ œ # œ œ bœ œ nœ œ œ bœ œ nœ œ œ bœ nœ œ bœ nœ FL œ # œ @&

j bœ œ œ j bœ œbœ nœ œ bœ# œ # œ # œ nœ #œ #œ bœ nœ œ #œ # œ #œ nœ œ nœ #œ # œ S SX œ œ &

j PRC œ œ œ œ œ ã œ œ œ œ œ œ œ œ œ œ œ œ œ

0:45 0:50 0:55 - 10 - Intersces

j œ # œ œ œ œ œ # œ j œ #œ œ œ bœ œ nœ œ œ bœ nœ# œbœ nœ bœ bœ bœ # œ œ œ œ nœ FL œ #œ # œ #œ #œ #œ œ œ nœ # œ œ œ œ œ œ#œ nœ #œ &

œ j nœ nœ j #œ # œ œ œ #œ œ œ nœ bœ# œ bœ œ # œ# œ nœ œ S SX # œ #œ # œ #œ # œ #œ # œ nœ # œ #œ nœ nœ #œ nœ # œ #œ j#œ œ nœ nœ #œ & œ bœ œ œ

j j j PRC œ œ œ œ œ œ œ j œ œ œ œ j œ œ œ ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

1:00 1:05 1:10

with sudden exuberance... , œ bœ bœ œ bœ œ œ , œ bœ nœ #œ œ j œ nœ # œ œ nœ #œ # œ nœ œ # œ œ #œ nœ j œ # œ bœ œ FL @ #œ # œ #œ # œ FREEZE (4") #œ # œ bœ & sub. poco f poco

, bœ bœ œ œ œ nœ œ bœ œ œ , œ œ œ œ œ bœ œ œ nœ bœ nœ #œ #œ bœ nœ nœ S SX #œ #œ #œ FREEZE (4") #œ #œ j#œ œ bœ bœ œ & sub. poco f poco j , j , œ œ œ œ œ œ œ PRC œ œ œ œ FREEZE (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 ã œ sub.œ poco f poco 1:15 1:20 1:25

more aggressive than before... , FL FREEZE (2.5") FREEZE (6") % @& + F F p , S SX FREEZE (2.5") FREEZE (6") & + F F p , PRC FREEZE (2.5") FREEZE (6") ã + 1:30 F 1:35 1:40 F p

j j œ bœ j œ œ œ œ# œ FL @& π P

bœ œ œbœ S SX # œ bœ # œ & œ π P j PRC œ œ œ ã œ œ œ œ P P 1:45 1:50 1:55

- 11 - Intersces

œ#œ bœ nœ bœ#œ œ , FL œ FREEZE (10") & p π j j # œ œ j bœ nœ , S SX nœ # œ bœ FREEZE (10") & P π j , PRC œ œ œ œ FREEZE (10") ã œ œ œ 2:00 P π 2:05 2:10

with sudden exuberance...

œ œ œ # œ œ œ# œ œ bœ bœ nœ #œ nœ # œ œ nœ œ œ bœ bœ #œ œ FL @& f bœ œ œ œ bœ # œ œ œ nœ œ nœ nœ bœ nœ bœ bœ œnœ S SX œ bœ bœ & f j PRC œ œ œ œ œ œ œ œ œ œ œ œ œ ã œ œ œ œ œ œ œ œ 2:15 2:20 f 2:25

becoming more restrained (as at the beginning)... j # œ œ j œ , , , œ , @ œ bœ bœ œ nœ # œ #œ nœ nœ œ bœbœ œ nœ bœ nœ nœ bœ bœ bœ nœ œ bœ #œ œ nœ bœ œ bœ nœ nœ bœ nœ œ bœ FL & œ nœ F P P

j , , j , œ # œ nœ œ bœnœ œ nœ # œ œ nœ œ # œnœ œ œ œ #œ œ #œ œ j œ œ bœ # œ œ #œ S SX #œ œ œ #œ bœ & bœ F P

, j , , j j , PRC œ œ œ j œ œ œ œ œ œ œ œ ã œ œ œ œ œ œ œ œ œ œ œ œ œ P P p 2:30 2:35 2:40

, # œ œ nœ FL FREEZE (al ﬁne) @& p , #œ œ nœ œ S SX œ FREEZE (al ﬁne) & P

j , PRC œ FREEZE (al ﬁne) ã œ aacca p 2:45 2:50 2:55 3:00

- 12 - Interstices F

phase transition: flute solo

1 G

2a E

5” 4 [FREEZE] E

- 13 - Intersces G trio: redshi/blueshi Fluctuang 3 3q = 90 5 3 3 Flute %5 j j 4 j 3 5 4 Œ bœ bœ #œnœ bœ 4 bœ #œ œ ‰ j bœ 4 œ ‰ 4 & œ œ œ œ œ bœ œ bœ œ œ œ œ ‰ bœ œ œ f poco p - . . œ¯ ¯ #œ #œ- Tenor Saxophone 5 œ bœ 4 œ #œ¯ 3 5 V 4 ‰ J Ó Œ ‰ J 4 Ó ‰ J Œ Œ ‰ J Œ 4 ‰ J ‰ J Œ 4 p P F f HI-HAT + | Percussion 5 4 3 œœœ œ 5 4 4 4 Œ Œ ‰ J 4 ã LH: triangle beater (metal coil) RH: snare drum sck (tambourine, temple block, cowbell, hi-hat) f

5 bisb 3 3 5 ~~~ 3 5 3 FL j @ 4 bœ. ‰ bœ ‰ 4 Œ #œ. ‰ œ ‰ 4 bœ. œœ œbœ ‰ Œ bœ Œ 4 & œ. ˙. œ. ------œ - f p f p - ^ - - œ œ - œ bœ bœ œ œ - #œ #œ œ bœ bœ. nœ #œ #œ nœ bœ- T SX 5 œ œ 3 œ #œ- œ œ œ#œ 5 ‰ œ œ 3 4 Œ ‰ J Œ 4 ‰ J J ‰ Œ ‰ ≈ ≈ ≈ 4 Œ J ‰ nœ 4 V 3 3 @ @3 sub. 5 3 3 S F p poco TEMPLE BLOCK COIL TAMBOURINE COWBELL VIBRASLAP 5 3 5 3 j 3 PRC œ œ Œ – ã 4 Œ Ó. 4 Œ œ Œ Œ ‰ J Œ 4 ‰ œœ œ œ œ Œ ‰ – Œ 4 f f

5 10 3 3 5 3 - 4 ^ FL @ œ j #œ œ œ¯ . œ. #œ. œ j œ. . j . œ. . . j j 4 ‰ ‰ j ‰ - ‰ < ‰ ‰ 4 bœ‰. ≈bœ ≈ ≈ ≈ ‰ œ ≈ bœœ bœ≈ ≈≈ ≈ #œ≈nœ ≈ ≈bœ ‰ bœ ‰ ‰ bœ bœ ‰ ‰ & J œ œ J . œ œ 3 œ œ . œ œ œ . . œ 3 . œ . < < < < - < f . . p 3 bisb 3 #œ œ 4 - œ œ bœ œ œ œ T SX 4 ‰ #œ œ ‰ ‰ J Œ 4 #œ œ ‰ j œ œ ‰ œ œ œ ‰ æ ‰ J V J J œ œ œ sub. œ bœ J poco f poco > p f COWBELL TAMBOURINE COWBELL HI-HAT o + VIBRASLAP 3 3 4 œ PRC 4 4 œ œ j ã ‰ J Œ Œ œ ‰ Œ Ó Œ ‰ J Œ Œ œ œv

15 3 ^ 3 œ 3 5 4 3 FL - - œ- œ- #œ œ @& #œ ‰ œ œ ‰ ‰ œ 4 ‰ bœ œ ‰bœ œ Œ 4 œ Œ bœ ‰ Œ 4 œ Œ Ó Œ 4 J J ------Jsub. - æ F p F p fbisb p f ~~~ # œ œ - - - œ ˙ œ œ 3 ˙ œ 5 ˙ #œ œ 4 œ œ œ œ bœ œ œ œ œ 3 T SX 4 #œ 4 œ J 4 @ @J æ @J J #œ 4 V ‰ ‰ J ‰ ‰ ‰ 3 f TEMPLE BLOCK HI-HAT + | VIBRASLAP RATCHET 3 5 œœœ œ 4 , 3 PRC 4 Œ Œ 4 4 œ œ œ 4 ã œ œœ œ œ ‰ J Œ Œ Ó Œ ‰ @J @J ‰ f f - 14 - Intersces

3 20 bisb * 3 3 4x 3 #>œ ~~ 5 3 FL j j j j 4 œ ‰ œ œ bœ œ ‰ bœ #œ œ 4 . bœ bœ ‰#œnœ bœ bœ . 4 & J ˙3 bœ . bœ œ bœ œ bœ . œ œ 3 œ œ J5 œ ( ) œ œ œ bisb f poco f P f p 5 f ~~~~ 3 #œ- #œ œ œ 5 bœ œ #œ #œ 3 T SX j #˙ œ ^ #œ #œ œ œ #œ œ 4 ‰ J ‰ 3 œ œ ≈ ≈ Œ 4 . ‰ æ 3 æ . 4 V œ œ œ J 3 œ œ. œ 3 J 3 . J . œ sub. sub. œ sub. p S p F p f VIBRASLAP HI-HAT o + COWBELL TAMBOURINE COIL 3 5 3 PRC œ j – œ ã 4 Œ ‰ Œ Œ Œ ‰ œ ‰ œ Œ – ‰ 4 . Ó Œ Œ . 4 œv 3 J

25 œ- œ bisb. # œ œ - œ- @ 3 bœ 4 #œ #œ- #œ- 3 #œ- 5 - œ 4 FL 4 œ 4 œ #œ œ 4 - 4 œ J 4 & ≈ bœ nœ ‰ ‰ œ #œ œ Œ 3 ‰ œ ‰ 3 Œ Œ ‰ Œ œ œ 3 5 J p f bisb - - - ~~~~~ 3 œ.œ œ œ œ 4 œ bœ œ œ bœ œ œ 3 -œ œ 5 #œ- 4 T SX 4 ‰ Œ 4 ‰ J Œ ‰ J J ‰ 4 ‰ J Œ 4 ‰ j ‰ J 4 V Œ œ œ Ó f p v f Í | TEMPLE BLOCK TAMBOURINE COWBELL HI-HAT + 3 4 3 5 œ œ œ 4 PRC Œ Œ œ j œ ã 4 œœ œ œ œ 4 4 Œ ‰ œ 4 Œ ‰ J Œ Ó 4 f f f

#>œ 30 -. œ- œ-. ¯ ¯ ¯ 4 œ 5 œ- #œ- œ- œ- 3 œ- œ 5 œ #œ #œ 4 FL @ 4 4 4 @J J J 4 J nœ J 4 & ‰ Ó Œ 3 Œ ≈ Œ 3 ‰ Œ 3 Œ ‰ ‰ J ‰ poco p F p F f bisb ¯ ~~~~~ ¯ 4 œ - 5 ¯ ¯ 3 œ. bœ¯ 5 œ œ #œ 4 T SX 4 J #œ 4 j œ œ œ. 4 J 4 J #œ J 4 V ‰ Œ ‰ @J Œ œ ‰ Œ ‰ Œ ‰ ‰ Œ Œ ‰ Œ 3 ‰ < J F f f VIBRASLAP TEMPLE BLOCK HI-HAT o + RATCHET , TAMBOURINE PRC 4 œ 5 3 5 œ 4 4 Œ Ó 4 Œ ‰ j Œ Œ œ 4 4 ‰ Œ œ Ó 4 ã œœ œ œ œ æ œ f v f

34 5x j ¯ ¯ ¯ . ^ œ . j . œ œ ¯ œ¯ - - - œ- - @ 4 œ #œ¯ ¯ ﬁœ #œ . #œ. bœ œ . . #œ. œ #œ. œ œ #œ œ œ 3 FL ¯ ¯ ¯ #œ ≈ ≈ œ . . œ . œ ≈ ≈ J 4 . œ ‰ ‰ J ‰ nœ ‰ . ≈ œ ‰ . œ #œ ≈ ≈ 3 ‰ ‰ 5 ‰ 4 & #œ 3 #œ 3 5 3 sub. ( ) S - - - - f p p f ¯ œ œ œ œ 3 4 #œ nœ bœ¯ . œ. bœ. œ bœ nœ. #œ #œ œ nœ -œ 3 T SX J œ œ ≈ œ œ#œ ‰ œ J #œ œ 4 . ‰ J ‰ Œ . 3 ‰ @ 5 @ @ 3 ‰ 3 Œ J ‰ œ ‰ ‰ 4 V . 3 . sub. j j #œ sub.œ #œ P p F p f p f COWBELL VIBRASLAP COIL TEMPLE BLOCK 4 j 3 3 PRC . . œ – Œ ã 4 . . œ Œ Œ ‰ – ‰ œ œ œ œ œ Œ 4

* Do not play repeats during reprise (coda). f - 15 - Intersces

bisb 38 - - ~~~~~ œ œ - œ- ˙. #œ. 3 #œ- œ œ œ 5 œ #œ. 4 5 œ #˙ 3 FL 4 ‰ J Œ ‰ J ‰ J ‰ 4 Œ ‰ 4 Œ 4 æ ‰ 4 & 3 3 P f p F f bisb 3 5 3 4 ~~~~~ 5 3 T SX 4 ‰ œ œ Œ ‰ œ œ œ 4 œ ‰ Œ 4 j ‰ ‰ j 4 ‰ ‰ 4 V J œ J œ œ #œ œ œ @ æ @j j poco #œœœ œ sub. poco #œ ˙ œ nœ œ f p F p | VIBRASLAP HI-HAT + TAMBOURINE COWBELL 3 5 œ œ œ œ 4 5 3 PRC 4 4 œ 4 œ 4 4 ã Œ Œ 3 Ó Œ œ Œ f

bisb 43 - - - - œ œ - œ œ ~~~~~~~œ~~~~~~ œ œ nœ œ œ œ œ ^ j œ @ 3 #œ œ 4 #˙ œ œ œ œ ‰ #œ 5 œ #œ œ 3 #œ œ# œ FL 4 J 4 poco J 4 J J 4 ‰ & 3 œ œ 5 3 3 3 f p 3 S p 3 4 5 3 3 T SX j œ 4 ‰ œ œ 4 ˙æ ‰ j 4 #œ œ > 4 œ V œ #œ œ œ #œ œ #œ œ œ œ #œ œ #œ poco f f poco RATCHET TEMPLE BLOCK TAMBOURINE HI-HAT o + COWBELL 3 4 5 œ 3 PRC 4 Œ Œ œ 4 ‰ j Œ Œ œ 4 Ó ‰ Ó 4 Œ Œ ã æ œ œ œ œ œ œ œv f f

- - - - bisb 47 œ j œ œ œ œœ œ œ œ #œ œ œ #œ œ œ #œ œ œ 4 #œ œ 3 #œ œ 5 œ #œ FL @ ≈ 4 4 J 4 œ œ œ œ & 3 3 ‰ 5 ‰ ‰ Œ 3 ‰ 3 J ‰ poco sub. poco f f 5 p 3 3 4 3 3 5 3 T SX œ j œ œ j V ‰ j œ 4 ‰ #œ @ @ nœ 4 ≈ œ ‰ 4 ‰ j ‰ ‰ œ #œ #œ#œæ #œ #œ œ #œ #œ œ #œ œ œ #œ #œ nœ #œ sub.œ - #œ VIBRASLAP p p 3 f TEMPLE BLOCK COIL f 4 f j 3 5 PRC j Œ œ – ã 4 ‰ œ œ œ œ Ó 4 ‰ – Œ Œ 4 œ J f

51 4 5 3 4 FL @ œ- - j ¯ j j . . & Œ ‰ bœ ‰ Œ 4 œ œ œ Œ Ó 4 bœ ‰ Œ bœ ‰ ‰ Œ 4 ≈ Œ #œ ‰ œ 4 œ- J J - - - < J œ œ. 3 J J f < < 3 4 5 5 3 4 T SX ‰ j Œ 4 ‰ j 4 ‰ j Œ ‰ ‰ 4 ‰ ‰ œ 4 V œ œ #œ œ œ œ œ. œ œ #œ œ j j @J #œ - - - #œ œ #œ- #œ@ œæ. P p f | F VIBRASLAP HI-HAT + COWBELL TAMBOURINE RATCHET œœœ œ 4 5 , 3 4 PRC 4 4 œ œ œ 4 œ 4 ã Ó Œ ‰ J Œ Œ œ Ó Œ Œ ‰ @J @J ‰ Œ Œ

- 16 - Intersces

3 3 55 3 j 3 4 ¯ ¯ - - 5 œ - FL jŒ j j j œ #œ ‰ œ œ œ j #œ œ œ #œ 4 Œ œ œ œ œ œ ‰ bœ ‰ bœ ‰ bœ ‰ ¯ ‰ j ‰ 3 bœ bœ ‰ v œ 4 ≈ bœ bœ ‰ J ‰ & œ . . œ. œ œ œ- œ œ œ œ œ œ . . . . . p 5 < S f poco bisb 4 ~~~~ 5 T SX 4 œ Œ ‰ œ œ Ó ‰ ‰ ‰ ‰ j j ‰ 4 ‰ j ‰ j Œ Œ V æ J J ‰ j j #œ-. #œ œ œ #œ #œ sub.œ #œ- - - p f TEMPLE BLOCK TAMBOURINE COWBELL HI-HAT o + 4 5 PRC j Œ œ 4 ‰ œ œ œ œ Ó Œ ‰ œ Œ œ 4 Ó Ó ‰ ã œ 3 œv f f

59 >œ 3 3 @ 3 4 3 FL œ- j j & ‰ bœ bœ ‰ bœ ‰ œ bœ ‰ bœ 4 œ Œ 4 j#œ œ œ. ‰ 4 bœ. ‰ 5 - œ œ œ œ œ poco p 5 3 3 3 3 4 3 3 3 T SX j j j @ œ@œ@ @ V ‰ j Œ j ‰ œ ‰ ‰ œ œ œ ‰ j 4 ‰ j ‰ ‰ j ‰ 4 ‰ @ œ ≈ #œ ≈ 4 ‰ œ. ‰ Œ #œ nœ #œ #œ œ #œ œ#œ #œ nœ #œ œ œ #œ #œ. #œ < < < < < < sub. . . < p< F < poco p P p F HI-HAT | TEMPLE BLOCK VIBRASLAP 3 + 3 4 3 œœœ œ PRC j Œ 4 4 œ 4 ã Ó Œ œœ œ œ œ Œ Œ 3 J Œ Ó Œ Œ ‰ J f f

bisb 63 bisb ~~~~~~~ ~~~~ 3 5 3 FL @ ˙ #œ œ - & bœ œ ˙. œ ˙ bœ ‰ 4 J ‰ ˙ ‰ j bœ bœ œ œ œ 4 œ œ œ œ 3 œ œ poco - - - - f F poco bisb f 3 ~~~~~ T SX ¯ #œ- 5 - 3 ‰ œ œ¯ ‰ j j‰ ‰ j j œ- ‰ ‰ j j 4 ‰ Œ #œ #œ 4 V j j Œ #œ- ‰#œ nœ œ ‰ Œ J œ œ ‰ #œ. ‰ J #œ #œ - - poco - - sub. < < p f TEMPLE BLOCK f COWBELL COIL TAMBOURINE 5 3 3 PRC j – Œ ã ‰ œ Œ Œ Œ Œ – ‰ Œ Œ œ 4 Ó Œ ‰ œ œ œ œ 4 J œ f

j 68 5 j œ ¯ ¯ ^ œ œ œ . . œ. œ œ #œ . . œ. 3 4 #œ œ #œ #œ œ œ 3 #œ œ œ œ#œ œ 5 œ. #œ. œ 3 #œ œ œ. #œ. FL @ œ œ ‰ œ #œ ‰ ≈ ≈ ≈ ‰ ‰ ‰ J ≈ ≈ ‰ 4 bœ ‰ 4 3 3 4 3 4 3 J ‰ 5 ‰ 4 3 J ‰ & œ bœ sub. sub. sub. f p S p f p f - 3 œ 4 ˙ œ œ 3 ˙ bœ 5 œ œ-. œ œ 3 bœ œ- T SX 4 œ œ ‰ ‰ @J 4 @J ‰ ‰ J 4 ‰ J 4 J ‰ æ ‰ ‰ 4 ‰ J Œ æ V J æ b>œ poco P f P f

VIBRASLAP COWBELL RATCHET HI-HATo + RATCHET , , PRC 3 œ 4 3 5 œ 3 4 Œ ‰ Œ 4 Ó Œ 4 4 ‰ œ œ ‰ Œ ‰ Œ 4 Œ ‰ œ œ ‰ ã J œ @J @J œ @J @J f v - 17 - Intersces

73 ¯ ¯ ¯ ¯ ¯ ¯ ¯ œ œ #œ œ œ¯ œ œ #œ œ œ¯ #œ œ œ #œ œ 4 #œ #œ. 3 œ 5 #œ œ¯ 3 œ 5 FL ‰ ‰ J J ‰ ‰ J J J J ‰ ‰ J 5 ‰ 4 ‰ Œ J ‰ 4 5 ‰ 4 ‰ Œ ‰ 3 ‰ ‰ 4 5 ‰ 4 & sub. F poco f #œ #œ œ œ 4 - 3 œ œ 5 3 - œ œ 5 T SX œ œ œ œ œ œ œ œ. œ V @J ‰ ‰ 4 ‰ J J ‰ æ 4 @J ‰ ‰ 4 ‰ J J ‰ ‰ 4 J ‰ ‰ 4 b>œ sub. b>œ sub. b>œ p f p f

HI-HAT o + RATCHET HI-HATo + HI-HATo + 4 , 3 5 3 5 PRC œ œ œ œ œ ã Œ ‰ Œ 4 Ó ‰ @J @J ‰ 4 Œ ‰ Œ 4 4 Œ ‰ Œ 4 œv œv œv

78 ¯ œ œ¯ #œ ¯ œ. œ. 5 #œ œ 3 #œ¯ 5 #œ. #œ. 4 FL @ 4 ‰ J Œ ‰ J ‰ ‰ J 4 ‰ J ‰ Œ J ‰ 4 Œ J ‰ œ. ‰ Œ J ‰ 4 Ó Œ J ‰ & 3 3 J F p #œ œ œ #œ 5 œ œ - 3 #œ œ 5 œ œ nœ 4 œ #œ nœ T SX 4 œ. 4 J #œ 4 J 4 œ #œ œ. nœ œ V ‰ J J ‰ ‰ ‰ 3 œ ‰ ‰ 3 J 3 œ œ bœ ≈ poco 5 p poco f

PRC 5 3 5 4 ã 4 4 4 4 attacca [F or H]

NOTE: This secon is only played as part of the reprise (coda). @35a j j j œ œ œ. . . j . œ. . œ ^ j œ. . œ. . œ . œ œ. . j . nœ . . œ. œ ﬁ #œ #œ. bœ œ #œ. œ. . #œ œ#œ. œ . bœ. bœ œ #œ . bœ bœ. #œ FL ≈ ≈ œ. . . œ. . œ. . #œ ≈ ≈ ≈ ≈ œ ≈ ‰ œ. œ ≈ ≈ ≈ ≈ ≈ œ ‰ . œ #œ ≈ ≈ œ ≈ ≈ ≈ œ ‰ 3 3 3 3 & #œ 3 . #œ 3 . p p f . . œ. bœ. œbœ nœ. #œ #œ œ nœ- œ bœ œ œ bœ œ #œ. #œ #œ #œ. œ. œ. œ T SX œ ≈ œ≈#œ ‰ œ ‰ J œ#œ ≈ ≈ œ ≈#œ œ #œ œ bœ œ œ œ#œ 3 ‰ 5 3 3 3 5 ‰ œ V 3 3 3 J p f p | COWBELL HI-HAT + œœœ PRC j œ ã Œ Œ ‰ œ Œ Ó Œ J ‰ f

>j 39a # œ . . j j j j . . , œ œ œ. . j . . œ œ. j œ œ œ. . # œ . . œ. œ œ œ. #œ. œ œœ bœ. bœ. . #œ œ. .bœ. bœ. œ nœ. # œ œ. œ . bœ. bœ. . nœ. . œ . #œ œ œ. #œ. œ. FL @ ≈ ‰ ≈ œ≈ œ. ≈ ≈ œ ≈ ‰ @ @ ≈ ≈ ≈ œ≈ ≈ œ œ. œ #œ ≈ ≈ ≈ ≈ ≈ & 3 3 3 3 ‰ 3 3 bisb f p f ~~~~ œ bœ œ #œ #œ œ nœ bœ œ œbœœ œ œ œ #œ #œ œ nœ. bœ , T SX œ. ≈ nœ ‰ #œ ‰ œ œ #œ œ#œ bœ. œ ≈ œ #œ #œ œ ‰ œ#œ @ ≈ ≈ #œ œ ≈ 3 3 3 J ≈ ‰ 3 5 @ 5 V 5 5 3 @ F poco p f p F p HI-HAT f COIL VIBRASLAP TEMPLE BLOCK RATCHET TAMBOURINE o + , PRC – œ j Œ œ œ ã Œ ‰ – Ó Ó Œ Ó ‰ œ œ œ œ Œ ‰ œ ‰ J œ æ J œ f v f - 18 - Interstices

phase transition: tenor saxophone solo

1 G

31 A

- 19 - Interstices H2

phase transition: tenor saxophone solo

1 A

10b G 04/06/16 (attacca)

- 20 -