Steve Sachse 2018

Root Motion: For Chamber Ensemble With Electronics

Stephen Michael Sachse

Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of

Doctor of Musical Arts

The University of Texas at Austin May 2018 Acknowledgments

I would like to express my most sincere appreciation to the entire composition faculty of the University of Texas at Austin: Russell Pinkston, Yevgeniy Sharlat, Bruce Pennycook, Donald Grantham, and Dan Welcher. I have needed every bit of help and knowledge you have provided along the way in staying on my feet and finding my path forward as an artist. You were there for me when I needed you the most, and I will forever be grateful to all of you for that. I would also like to thank my closest friends in the department who have also stuck by my side and encouraged me every step of the way: Eli, Jon, José, Kramer, Chris and Chris, Josh, Robert, Corey, Lauren, and Michael. I also want to extend my most heartfelt thanks to Dr. Russell Pinkston. With the utmost sincerity and respect I would like to congratulate you on your career as an educator, researcher, and leader within the fields of composition and electronic music. I can say beyond any shadow of doubt that you have been the most influential teacher in my life, and have been one of my most deeply respected friends and allies. Each one of us greatly appreciated the way that you organized the electronic music program and its concerts, cared for the studios, handled the electronic music forum, and the way that you have led by example. You have always respected and promoted your peers while exemplifying excellence, thoroughness, and true humility as a researcher and fellow human being. The education that I received from the UT electronic music studios cannot be replaced. Thank you for all that you have done, and I wish you all the best in the future.

iv Root Motion: For Chamber Ensemble With Electronics

by Stephen Michael Sachse, D.M.A. The University of Texas at Austin, 2018

Supervisor: Russell Pinkston

Electronics have shared a relationship with acoustic instruments for a number of years within the field of composition. They have provided composers a variety of opportunities for expression across a diverse array of mediums, and offered new ways to organize their creative ideas. With the continued development of the Virtual Studio Technology interface, resources such as modular-based softsynths have become increasingly accessible to composers, alongside a myriad of plugin-based tools that allow for the production of recorded and sequenced music at the highest levels of audio fidelity. This dissertation explores the ways in which these tools can be used creatively to offer composers an outlet for their ideas across stylistic genres, as well as promote self-reliance and sustainability in situations where performance opportunities might be limited, outlining my own experiences as a reference point.

v Table of Contents

List of Figures ...... viii!

Chapter 1: Background ...... 1!

1.1Where is Classical Music at, and What Does New Music Look Like? ...... 1!

1.2 Creating Opportunities ...... 2!

1.3 Motivaing Factors Behind Aesthetic Choices ...... 3!

Chapter 2: Synthesis Study ...... 9!

2.1 The Synthesizer in Orchestration and Arranging...... 9!

2.2 Synthesis Processing Techniques Used in Addressing Issues of Timbre ...... 12!

2.3 An Argument for the Legitimacy of Electronic Music as a Valid Form of Orchestral-Style Composition ...... 20!

Chapter 3: “New Music” in Jazz ...... 23!

3.1 A Fusion of Influences ...... 23!

3.2 Large-Scale Harmonic Shifts ...... 27!

Chapter 4: The “New Music” Band...... 32!

4.1 An Exploration in Chamber Music for a Typical “Band” Instrumentation ...... 32!

4.2 Previous Thematic Ideas Present Within Part 3 ...... 34!

Chapter 5: Crossing Over ...... 36!

5.1 A Transitional Movement Including a Further Exploration of Fusion ...... 36!

5.2 Chamber Music That Includes Groove-Oriented Elements ...... 37!

5.3 Polymodality, and More Expressive Qualities of the Synthesizer...... 38!

Chapter 6: The Guitar Source ...... 41!

6.1 The Fusion of Human and Computerized Elements ...... 41!

6.2 Music Production and the Ability to Manipulate Atmosphere ...... 41! vi 6.3 A Final Return of Thematic Ideas ...... 44!

Conclusions ...... 45!

Bibliography ...... 164!

vii List of Figures

Figure 1:! Example of Synthesis Using the Max Programming Language...... 10! Figure 2:! Example of Synthesis Using the SuperCollider Programming Language ...... 11! Figure 3:! Graphical Representation of Synthesis Parameters in the u-he Diva Synthesizer ...... 11! Figure 4:! Graphical Representation of Synthesis Parameters in the Serum Synthesizer ...... 12! Figure 5:! List of Processing Effects Used for the Melody 1 Instrument in Part 1 ...... 14! Figure 6:! Basic Sine Tone Patch for the Melody 1 Voice in Part 1 ...... 15! Figure 7:! Spectral Analysis of the First Melodic Pitch, Minus Processing ...... 16! Figure 8:! The Addition of Partials to Melody 1 by Way of Saturation Processing ...... 17! Figure 9:! Basic Spectral Analysis of the Timbre Produced by the Clarinet ...... 18! Figure 10:! Page 3 of Part 1, Demonstrating Sectional Arrangement and Orchestration ...... 19! Figure 11:! Melody 3 Starting Point and Processing ...... 20! Figure 12:! Opening Guitar Chord Sequence...... 25! Figure 13:! Polychords in m.154 Used as a Shift Toward Triadic Sonorities ...... 27! Figure 14:! Upper-Structure Triad in Measure 192 ...... 28! Figure 15:! Descending Chromatic Melody (m.190-192) Transferred to Part 4 ...... 29! Figure 16:! Piano Solo Excerpt (mm.275-278) Using Melodic Triads ...... 30! Figure 17:! Example of Instrumental Roles and Polytonality in Part 3 ...... 33! Figure 18:! Themes Returning in m.44 and m.48 ...... 35! Figure 19:! Orchestration in Part 4...... 38! Figure 20:! Synth Melody Patch From Part 4 ...... 40! Figure 21:! Automation Processing for the Synth Patch in Part 4 ...... 40! viii Figure 22:! Filter Processing Example for the Guitars in Part 5 ...... 42! Figure 23:! Overall Spectral Analysis of Part 5 ...... 43! Figure 24:! Reharmonization of Part 2 Introductory Chords ...... 44!

ix Chapter 1: Background

1.1WHERE IS CLASSICAL MUSIC AT, AND WHAT DOES NEW MUSIC LOOK LIKE?

One of the privileges of being a student within an academic composition program is that you are able to frequently attend presentations, and speak with both performers and composers alike who have found a way to make things work for themselves within the current social environment surrounding academic music and composition. A few of these presentations, and a number of the themes from these experiences have stuck with me over the years. I will do my best to summarize them briefly as an explanation for my current compositional process and musical decisions. When I attended the University of Colorado at Boulder, the course1 that had the most profound influence on my current ideas regarding the state of new music was one that discussed entrepreneurship in the arts. Nearly every week the course was taught by a visiting entrepreneur. What was significant was that these guests were not exclusively musicians, and that they offered an outsider’s insight into the universality of what it takes to succeed in any business-related pursuit. Two themes stood out to me over the duration of that course. The first was that where the average person might look at the environment surrounding their ambitions and see a deficiency of resources, ultimately resulting in a level of disappointment or frustration, an entrepreneur instead sees an opportunity for creativity. In short, the entrepreneur will look at the things they wish were already a part of that

1 Entrepreneurship Center for Music, https://www.colorado.edu/music/academics/centers-and- programs/entrepreneurship-center-music (accessed March 1st, 2018). 1 environment, and take it upon themselves to see that they do exist, and in doing so, create an opportunity for themselves. The second theme that remained with me was that artists are not always the most competent individuals when it comes to the delegation of non- creative responsibilities, be it the roles within their organizations, or something as simple as their ability to elaborate their purpose in seeking a grant proposal. Often times something will get lost in the translation from inspiration to a manifestation in the reality of society.

1.2 CREATING OPPORTUNITIES

As time has gone on, I have observed more and more composers stepping up to take ownership of the first theme. Each year, new music ensembles and concert series alike are started by students and composers who are already apart from the security of the academic environment. I find that the degree of their success is not nearly as important as the theme of their endeavors, which is to fight for the promotion of relevance and celebration of composition and new music within the present social construct. Looking back at the history of classical music and its function in society has revealed a few things that I find to be true in relation to this. First, it is no secret that classical music finds itself within a difficult situation2 at the present time, at the very least financially, but also in terms of contemporary relevance.

As the music became increasingly intellectualized during the 20th century, its relationship

2 Vanhoenacker, Mark ,“Is Classical On Death’s Door?” http://www.slate.com/articles/arts/culturebox/2014/01/classical_music_sales_decline_is_classical_on_deat h_s_door.html (accessed March 1, 2018). 2 to society and its audiences changed significantly. In recent decades this trend has relaxed, and even reversed3 to a large degree, but the damage has already been done. One only needs to ask the layperson what they think of when they hear the term “classical music” to understand that what we do has become increasingly dated. This leaves many musicians with a predicament: devote a considerable number of years and energy toward mastering the existing idea, or try to change the way it is perceived. More and more I see those with ambitions striving for the latter. What I have chosen to pursue in my music, and my thoughts about my own future, are closely aligned with this philosophy of changing the existing paradigm.

1.3 MOTIVAING FACTORS BEHIND AESTHETIC CHOICES

The absence of regular rhythm was significant in classical music’s decline from popular relevance during the middle of the 20th century, and as history has shown, minimalism arose as a direct response to this reality. One of the key features of the music and programming of many modern ensembles and concerts that have been commercially successful is that they have often continued along the path toward accessibility within their rhythmic and harmonic aesthetics. Alongside a trend toward further incorporation of crossover4, multimedia, and pop-infused elements, minimalist and post-minimalist aesthetics currently exist, at least in part, throughout many of these organizations, though certainly not all. A few of the more common examples include ensembles such as Alarm

3 Goldstein, Andrew, “The New Classical Music Experience”, https://www.huffingtonpost.com/andrew- goldstein/why-classical-music-is-ma_b_11060688.html (accessed March 2, 2018). 4 “Alarm Will Sound Performs Aphex Twin’s Cock/Ver 10, https://www.youtube.com/watch?v=j7yWCLTdaeA (accessed March 2, 2018). 3 Will Sound, the Metropole Orchestra, Third Coast Percussion, and Eighth Blackbird, as well as composers Missy Mazzoli, and Nico Muhly. What must also be mentioned is the dramatic shift from orchestral to more chamber ensemble-based performances of new music. This is in no small part due to the previously mentioned reality that orchestras were unable to organize their programming in a sustainable way after the intellectualization of music took its toll. The present reality is that the programming of many orchestras now exists as a reflection of the tastes of increasingly aging donors, having lost much of its relevance to younger audiences and patrons many years ago. Thus, performances of new orchestral music (particularly recurring performances) have become increasingly difficult to realize, leading composers and performers to take it upon themselves to see that their music exists through the means and resources currently available to them, most notably themselves and smaller ensembles that can operate on more realistic budgets. This brings me to the primary motivating factors behind the shift in the direction of my music, beyond the initial inspiration of the music itself: self-reliance and self- sustainability. The creative reality of a composer, specifically one whose music is centered around the use of acoustic instruments, carries with it a few inescapable difficulties and truths. The first is that the academic environment provides a safe haven for performances of their music, at least in terms of the physical realization of their musical ideas. Though they may not always have their first choice(s) available, composers within this environment very often have performers readily available to them. This is certainly not always the case in the outside world. The availability of performers outside of the security of this scenario, can itself completely alter the trajectory of a composer’s career and creative output if the only way that their music can exist requires a concert stage, performers, and a live audience. This is 4 where the entrepreneurial mindset can be of substantial benefit to the composer, and why many have taken it upon themselves to start concert series that seek to provide those performance opportunities for themselves and their colleagues. However, the difficulty in this is often tied to geographical and social factors, such as the location of their residence, the enthusiasm of the immediate surrounding culture, and both the population and availability of performers within their sphere of influence. Ultimately, even within an ideal scenario, composers will still have to face financial difficulties in putting all of the pieces of the puzzle together for themselves, as this often requires at least a small consortium of composers and staff on hand, who would ideally be willing to offer their contributions voluntarily. However, if such an endeavor were to continue to grow and spread its influence, bringing in higher profile artists and offering a realistic opportunity at a modest level of professional employment, financial resources would become an increasingly significant factor, as would the necessity for organizational ability and the competent delegation of responsibilities. Because this scenario requires such a high level of cooperation, and many things falling into place, it is still quite rare to see despite many composers having an ambitious mindset. This often leaves them isolated in a much less ideal situation facing the same difficult realities. What I have described is just one example of a more overarching situation that composers face, even in the most ideal situations, which is that they must continually come face to face with having a lack of control in how their artistic ambitions are realized. This is most obviously seen in the fact that despite what is written in the score, what is performed almost always carries with it some level of deviation from the original artistic intent. Traditionally, composers have relied on performers to see their music realized. Very often the success of their music is dependent upon a number of related factors, not the least of which are the competence of the performer (their work ethic and expressive ability). 5 It must also be mentioned that even when those pieces of the puzzle fall into place in an ideal manner, a crucial factor still remains, which is that the performance must be documented if the piece is to have a life beyond the initial performance. I speak of the situation in this way because the difficulty in achieving a premier performance very often does not subside for subsequent performances. As a result, one way that the success of a composer is commonly evaluated is by the number of repeat performances they have had of their music. Because it is quite difficult for a composition to have an active life beyond its premier performance, the recording of the piece becomes one of the most valuable assets to a composer. The recording itself is very often a key factor in securing future performances, for example. However, obtaining a quality recording can be no simple matter as well, as it requires a number of resources for it to come about. Very often what is required includes a few components: a microphone or recording device, someone with the training to operate those devices, a competent realization of the music by the performers, and of course, a space to record the performance. Very often composers lack the skills and resources required to document their performances in the most ideal manner. This is typically seen in their lack of knowledge concerning the operation of a DAW5, microphones and hardware, editing, or in the application of common recording techniques. In the most ideal circumstances they will possess these skills and assets, and apply them while documenting their music in a great sounding hall or room. The recording location however, is again, very often outside of the composer’s control. Even when all of the requirements are met to secure a quality recording, the end result can be at the mercy of the acoustic

5 digital audio workstation 6 characteristics of the recording space available, and very often it does not possess the most ideal properties. The result is that composers consistently spend months of their lives putting their heart and soul into the work required to write their music, only to be left with a less than ideal performance and recording, and very little opportunity to improve things within a repeat performance. My experiences with this situation have been a driving factor behind my desire to be able to compose music whose success does not hinge upon any one of these factors. One of the aspects of my personality as an artist has always been that my interests and inspirations are drawn from casting a wide net. This has affected how I would define composition itself, and at times put me at opposition with contrary beliefs held by others regarding the matter. While it has created a degree of difficulty along the way, and added a considerable workload to what I would like to achieve, I also feel that it has put me in a position that offers far more potential for both the fulfillment of my artistic ambitions, and opportunities for myself as a composer going forward. My experiences as a young listener, as an electric guitarist, and my exposure to electronic music (specifically, what is involved in composing acousmatic6 music), opened the door for many of the ideas that I am now applying in my work. In the remaining chapters I will outline a number of these areas, and how I have approached them within the different sections music written for this dissertation.

6 music designed specifically for playback on a loudspeaker system 7

8 Chapter 2: Synthesis Study

2.1 THE SYNTHESIZER IN ORCHESTRATION AND ARRANGING

The end result of what I have composed in my dissertation stems from a handful of areas that I felt I must explore as a composer before my time ran its course at the university. In recent years my interests in electronic music have grown beyond acousmatic and stochastic aesthetics. This has stemmed almost exclusively from my experiences teaching the MUS 319D course to beginning electronic musicians, with those experiences having exposed me to new forms of electronic music and examples of compositional techniques. Previously, my work and knowledge in electronic music was tied almost exclusively to synthesis using the SuperCollider and Max MSP programming languages, alongside common processing techniques available within the Logic Pro DAW. Nearly every aspect of those endeavors was centered around the creation of more abstract and avant-garde sound worlds. Immediately upon taking responsibility for the MUS 319D course and handling student questions, I realized that a gulf existed between my set of experiences, and the interests and ideas of the average student pursing electronic music. While nearly every aspect of modular-style synthesis can be realized within the programming languages that I had previous experiences with, the presentation of common synthesis techniques is not readily apparent within those programs the way that it is within hardware or GUI7-based synthesizers. Some of the more common areas of synthesis that I am describing include oscillator unison detuning, wavetable modulations, and even the

7 “graphical user interface” 9 simpler applications of filter and LFO8 modulations. This is most obviously due to the fact that these languages are both object-oriented and text-based, where the programmer must build their own synthesizer instruments from scratch, rather than having their possibilities for application represented more readily with visual aids.

Figure 1: Example of Synthesis Using the Max Programming Language

8 “low-frequency oscillator” 10

Figure 2: Example of Synthesis Using the SuperCollider Programming Language

Figure 3: Graphical Representation of Synthesis Parameters in the u-he Diva Synthesizer

Figure 4: Graphical Representation of Synthesis Parameters in the Serum Synthesizer

2.2 SYNTHESIS PROCESSING TECHNIQUES USED IN ADDRESSING ISSUES OF TIMBRE

Having devoted a significant amount of time and study over the past few years toward learning more traditional approaches to synthesis using modular-styled softsynths, I have eventually begun to develop a process for my work. This process is ultimately still highly experimental in nature, but over time a pattern has emerged in how I arrive upon synthesized sounds and instruments. What has also occurred to me is that working with 12 electronic music in this way is very much akin to more traditional forms of acoustic ensemble orchestration and composition. In the first section of the piece I feel that I have demonstrated this to some degree. The score for the first section of music includes staves for thirteen electronic voices or instruments, one of them using a grand staff. I feel that this is significant in representing the thought process that is involved in the composition of this kind of music. While each instrument within the DAW uses the same Serum synthesizer as its starting point, what ends up being produced by each voice are unique sounds, each capable of producing an autonomous melody, rhythm, or chord sequence. Furthermore, as the score demonstrates, a number of these instruments are bracketed together in sub-groups, very much akin to instrument families within the orchestra, as these voices can also complement each other whenever necessary. The chord layer section features two instruments using treble clef, and two that use bass clef, for example, all working together as a section of the traditional orchestra would. This is all ultimately based around the relationship of timbres within the ensemble, and falls closely in line with how an acoustic composer would handle these same matters. The following set of figures will demonstrate how I arrive at a chosen timbre for any one of these synthesized sounds.

Figure 5: List of Processing Effects Used for the Melody 1 Instrument in Part 1

The channel strip on the left of this image shows a common top-to-bottom ordering of processing that I might use before arriving at a final timbre for any given instrument. It begins with the Serum synthesizer as the source sound. This source sound will have timbral characteristics that serve as a starting point for the initial character of the sound. What follows for nearly every instrument that I use in my process, are two further forms of processing that significantly affect the resulting timbre of the sound within the larger ensemble: saturation (FabFilter Saturn), and equalization (FabFilter Pro-Q2). A spectrum analyzer can be used to examine the starting point for the instrument, and to compare it with the timbre that results from the processing. Looking at the initial synth patch, and its internal processing, we can see that this starts from a very pure standpoint in terms of timbre, being based around a single fundamental frequency by way of a sine wave. Behind the scenes there is also a Chaos 9oscillator is also being used to create very subtle random deviations in pitch as this instrument is sounding.

9 a low-frequency oscillator that produces random deviations at a specified rate 14

Figure 6: Basic Sine Tone Patch for the Melody 1 Voice in Part 1

If a spectrum analyzer is used to examine a single melodic note from this instrument, without any processing applied, a fairly pure spectrum can be observed. What is represented below is the spectrum that accompanies the opening pitch that this instrument plays in the dissertation, without any form of processing applied.

Figure 7: Spectral Analysis of the First Melodic Pitch, Minus Processing

The following figure reveals the additional partials that are added to the fundamental frequency of this instrument once the FabFilter Saturn plugin has been applied.

Figure 8: The Addition of Partials to Melody 1 by Way of Saturation Processing

This figure demonstrates the possible use of saturation in the alteration of timbre for any sound used in DSP10. Alongside the initial fundamental frequency, we can now see at least fifteen additional partials present within the spectrum, resulting in a much brighter and more present sound when compared to the initial sine wave. The reason for processing the sound in this way is entirely based upon orchestration and arrangement. My initial thinking was that I wanted to open with a melodic voice that was at least remotely

10 “digital signal processing” 17 related in timbre to a clarinet. Below is a figure that shows an analysis of the basic spectrum produced acoustically by a clarinet.

Figure 9: Basic Spectral Analysis of the Timbre Produced by the Clarinet

As this figure demonstrates, the stronger partials are odd-ordered. The saturation applied to the first melodic instrument imitates this to come degree. My goal was not to mimic this spectrum with a great deal of precision, instead it was to ensure that the melody

18 would be heard against the rest of the ensemble once the piece had progressed. This is again akin to instrumental choices made when assigning a melodic voice within an acoustic ensemble setting. There is an advantage for the electronic musician in that rather than having to choose an instrument with a brighter character to take the melody (such as a flute or oboe, for example), saturation processing can be used to allow a single instrument to be much more flexible and universal within the arrangement. Another more obvious way to ensure that a melody is clearly audible within a dense texture is to duplicate it, either with similar sounding instrumental timbres, or contrasting ones. By the third page of the score, this melody is duplicated in octaves by the other melody voices. In composing this I was thinking of this section somewhat as a set of electronic woodwinds. As was shown in Melody 1, each of the subsequent melodic instruments begins from a different source waveform. Melody 3 for example, uses a sawtooth wave as its starting point. This allows for a richness and complexity within this section of the ensemble much in the way that doubling a clarinet melody with bassoons or oboes might.

Figure 10: Page 3 of Part 1, Demonstrating Sectional Arrangement and Orchestration

Figure 11: Melody 3 Starting Point and Processing

2.3 AN ARGUMENT FOR THE LEGITIMACY OF ELECTRONIC MUSIC AS A VALID FORM OF ORCHESTRAL-STYLE COMPOSITION

Studies have been made for many years investigating the spectral properties of acoustic instruments. This was initially manifested most significantly within the commercial market with the introduction of the Yamaha DX7 synthesizer, which used FM synthesis11 as its basis for the imitation of acoustic instrumental timbres. When looking at the sonic characteristics of acoustic instruments in a more generic way (or any sound for that matter), their qualities can be broken down into a few basic areas. These include the fundamental pitch and its accompanying arrangement of partials, the percussive qualities of the sound as they relate to its onset and duration (its envelope), and its possible range of frequencies. The replication of the finer complexities of any sound becomes much more problematic due to the fact that its sonic properties vary over the course of its duration.

11 “frequency modulation synthesis” 20 They also vary in degree according to one another. Striking a piano softly, for example (envelope), produces a warmer, more distant sound (less presence of upper partials), while striking it with force generates a much more piercing tone. Likewise, a tamtam will have many more partials present at its initial onset than it will have at the tail end of its decay. The register of an instrument in which a pitch is performed also affects these qualities in significant ways. While synthesized instruments have often been thought of as lacking these expressive qualities, I have found them to offer a much greater sense of control in many of these areas when compared to working with a performer and a physical instrument. Though it is true that synthesized instruments will always struggle to truly emulate the characteristics of their acoustic counterparts, I personally find their electronic-based qualities to be inspiring, and that they demand a great deal of study into the process of their orchestrational application, whether it is for clarity of sound, or to achieve a characteristic effect. Through the use of automation and modulation techniques, every aspect of an acoustic timbre can be applied to a synthesized sound over its duration. Nearly all synthesizers respond to note register and note velocity, for example. These controllers can be used to manipulate the spectrum of the sound in more familiar, intuitive ways, particularly when the pitches are generated using a MIDI-controlled keyboard or other device that responds to the expressive input of a performer. Furthermore, synthesizers can be used to expand the creative possibilities of familiar musical elements (such as rhythm, melody, and harmony), because they are not necessarily restricted by the physical limitations of acoustic instruments or human performance. For example, their notes can sustain indefinitely, and the range of possible notes that are performable becomes greatly expanded. White this might initially appear to be rather basic, it completely alters the possibilities for the type of compositions and sound 21 worlds that can be generated within this medium. Likewise, computers can perform rhythmic durations and divisions with an accuracy that reaches the level of the individual sample, an impossibility for a human performer. As I explain the remaining musical sections of the dissertation, I will discuss this same relationship as it applies to sampled and recorded instruments and performances, and how this method of working can greatly expand the potential for a composer’s output.

22 Chapter 3: “New Music” in Jazz

3.1 A FUSION OF INFLUENCES

As I mentioned previously in this document, something that was of significant importance to me in writing the music for this dissertation was that I explored the deepest roots of inspiration that have led to me being the musician that I am today. This would be impossible to accomplish without including music written for some form of jazz ensemble. My experiences in the past performing regularly with an organ quartet helped me to understand not only the essence of playing music, but also the potential that exists within any composition. The same must be said of my experiences playing in bands that explored music from other genres and styles. I learned what is involved within a group of artists who interact with one another to bring a composition of any style to life, and also what they can offer to expand the possibilities of what initially exists as simply notes on the page of a score. I believe that it is important to mention this because within each section of the dissertation, what has been written is merely a mockup, even within the purely electronic sections. A few of the sections are designed for performance by instrumentalists, while others can exist as standalone pieces, and are also flexible enough to allow for an instrumental-based performance if desired. What I find most desirable about developing the ability to create “productions” from my compositions is that I have much more control over the quality of my documented materials. If I am limited to recording a single performance, there is a necessity for many conditions to work out in a desirable way without much room for error. However, if I also have a more studio-style version of the

23 piece, that pressure is alleviated to a large degree. It also allows for flexibility if a commissioning party wants to use my existing music for reasons beyond the concert stage. A production-style composition, where each instrument is separated among individual tracks within a DAW, is much more desirable when working with music for film, for example. The second section of the dissertation represents the continuation of a series of contrasting pieces that are connected by a very simple musical element found in the C# drone produced by the electronics. In this part of the dissertation I have attempted to fuse the influences of modal and modern jazz, rock music, and also create some sense of potential for this ensemble to expand into more chamber-like expressions of musical ideas, heard within Part 3. The piece opens with a short guitar introduction accompanied by the thematic drone and processed piano. This introduction sets the tone for the style of harmony that is used in the piece, which evolves subtly as the piece progresses. While it most directly draws its character from the music of composers such as Wayne Shorter, McCoy Tyner, and Kurt Rosenwinkel, the aesthetic of their harmonic languages can be traced even further back to the music of Impressionist composers such as Debussy and Ravel. The opening guitar chords, for example, make use of a chord-planing style of harmonic progression. This progression outlines a melodic theme that is present within subsequent sections of the dissertation, and can be heard in the top voice of the guitar’s chord sequence.

24 Figure 12: Opening Guitar Chord Sequence

The chords played by the guitar represent one of the harmonic styles that I have been working on for some time. It is characterized by having tonal implications, while also maintaining a level of ambiguity and a “dark character”. This is achieved through the types of intervallic relationships that are present within the harmonies, namely the avoidance of

3rd-based relationships and the use of selected extended intervals. The notes that are chosen have more to do with the sound of the sonority itself, rather than placing importance upon the fulfillment of a specific, traditionally-named harmonic structure. For example, the first chord might easily be heard or thought of as a variety of an Ab major chord. If the third of the chord had been included, I would have no argument against hearing this as a stripped down version of an Ab major triad with an added 9th. However, the second sonority is much more ambiguous, and its function is far more sonically justified by the strength of the stepwise chromatic motion in the bass register, along with the melodic movement in the upper voice. This entire structure then moves in parallel, with the upper voice outlining the thematic melody for the next three chords.

The 5th chord is one that I again believe to demonstrate the philosophy of sound vs. functionality in this style of my harmonic language. While it could be seen as an incomplete version of a Db major triad that adds a G in a lower voice, I was not approaching the harmony thinking in this way. I was instead thinking that I wanted to hear the bass depart from its parallel relationship to the upper melody, and the Ab note in its middle voice has less to do with being part of a Db triad, and more to do with continuing the

25 emphasis on perfect intervals within the structures. The top two voices continue their perfect 4th relationship, despite the change in direction heard in the bass. The final chord of the opening is the one that I feel best represents the philosophy that I have outlined so for. The reason for this is because at the surface it would appear to be a D major triad in first inversion. Indeed, this is true. However, that is not how I thought of the chord. What is of primary importance is that it continues the upper structure perfect interval sequence. It is the one chord however in the entire introduction that does not use a perfect 4th interval between its top two voices. It instead uses a perfect 5th, which acts as a form of resolution and cadence. While the first inversion quality of the chord does borrow from past eras of classical music in that it implies incompletion and a repetition of the sequence, its function once again has less to do with its foreshadowing of a more stable cadence, and is again chosen more for its coloristic qualities. This is tied closely to the timbre of the guitar itself. Over a number of years in working out this language, I have developed my own internal system of hierarchy concerning voicings and their harmonic “function”, and this is one example. It’s spacing is based around the potential for clarity on the instrument, and also around the continuity of sound within the language more than anything else. Very often I will prefer to use triads in first inversion, for example, rather than root position, because they carry with them the same interval structures and sense of ambiguity. At the final cadence of the introduction there is a complete F# minor triad, but it has added to it a flattened 6th scale degree, implying perhaps an Aeolian or Phrygian character, continuing to maintain a lack of resolution, even during the most resolved moment in the progression.

26 3.2 LARGE-SCALE HARMONIC SHIFTS

I have spent the time to explain this simple progression in detail because it describes how the music that I have written functions sonically, specifically within the first half of Part 2. The melody dictates the forward direction of the music, while the harmonies imply the coloration and character of its sound. Using this method, I am able to write with nearly any amount of chromaticism as long as the melody holds the rest of the harmonies together, and provides an adequate description of their context. The harmonies more or less retain the opening style of intervallic structure until the completion of the second statement of the main melody, and the break begins at measure 154.

Figure 13: Polychords in m.154 Used as a Shift Toward Triadic Sonorities

At this break there is a more dramatic shift toward the use of 3rds in the chordal structures. This was done because I had realized where I wanted the music to move to in Part 3, namely into a more chamber-music-based sound world. Whether it was successfully implied or not, I associated the function of the jazz ensemble’s shift toward the chamber music setting by way of using more triad-based sonorities, specifically minor and major

27 triads. At measure 154 I have disguised and delayed this shift by using triads combined in the form of polychords, specifically simultaneously sounding major and augmented triads. When the guitar solo begins, the tonal shift continues gradually by way of a traditional method of using upper-structure triads within jazz voicings. Below is an example taken from the piano voicing in measure 192, which uses a Bm triad in the right hand played over the top of a minor 7th dyad in the left hand, implying an open-ended type of A7 chord (A13sus4).

Figure 14: Upper-Structure Triad in Measure 192

It is also important to point out that during the guitar solo, the piano plays block- style chords until just before this measure. As the guitar plays the descending chromatic line from measures 191-192, it is doubled in the piano. This is significant because this short melody makes its return in the synthesizer melody used during the buildup in Part 4.

28 Figure 15: Descending Chromatic Melody (m.190-192) Transferred to Part 4

After the guitar solo there is another short break before the piano solo enters to signal the transition to the end of the movement. Again, I must point out that both of the solo sections are presented more as a mockup. In a performance setting, each solo section could be extended to a large degree. However, with that said, one of the ideas that I have explored in this piece is to have solo sections that are less improvisatory, and more composed in structure. This is most clearly seen in the fact that though this part of the dissertation does imitate a more typical jazz-style composition, it deviates significantly from that model in the fact that it is more through-composed in nature. Traditionally, solos would be taken using the chord sequences that accompany the main melody of the piece, but in this case there is no repetition of those sequences during either of the solos. Each solo section has its own unique, non-repetitive cycle of harmonies over which the solo melodic ideas are performed. The idea of through-composed jazz music is one that I would like to explore to a greater degree in future works, even to the point of eliminating the improvisational sections altogether.

29 The piano solo continues the transition into a more triadic-based harmonic setting with some of the voicings that are used to accompany its melodies. More specifically, as the solo begins to reach its finality, several triads appear in the melodies themselves. Beginning at measure 274, there is a downward sequence of triads. The first half of the measure outlines an F# major triad, with the remaining part of the measure using a B major triad. The start of the next measure outlines a D major triad, and continues into a complete E major triad at the beginning of measure 276.

Figure 16: Piano Solo Excerpt (mm.275-278) Using Melodic Triads

After the piano solo there is a sudden shift toward a more rock-oriented aesthetic, characterized by a unison ostinato across the ensemble, and distorted guitar sounds. I decided to include this in the piece because incorporating the electric guitar within a new music ensemble brings with it a certain rock-oriented tradition that feel has been neglected by ensembles that I have seen using this instrument. While many of them have explored the use of distortion, in my opinion they often get it wrong because distorted electric guitar sounds have always been the result of driving an amplifier into louder volumes. Many times they will use distortion in combination with a volume pedal to maintain the overall dynamics of the ensemble, which in my opinion, produces a fairly weak and anemic tone from the instrument. To put it more frankly, I would like to hear new music ensembles 30 “rock out” much more than they currently do, specifically those that include the electric guitar and a drummer. If done right, I also feel that audiences would agree with me.

31 Chapter 4: The “New Music” Band

4.1 AN EXPLORATION IN CHAMBER MUSIC FOR A TYPICAL “BAND” INSTRUMENTATION

The previous section of the dissertation explored to some degree the idea of polytonality. The final piano chord, for instance, uses a B major triad in the right hand, set against a C major triad in the left hand. In a general sense, I view this way of working with harmonies as simply stacking musical colors against each other simultaneously to see what will come about. I enjoy working with harmony in this way because there are really no rules to follow, and it presents both a unique challenge for the composer, as well as an opportunity to test one’s intuition when there are fewer historical references to draw from. While the first two sections of the dissertation were more rigidly rhythmic in their arrangement, this movement explores a more rubato style of rhythmic progression that is dictated almost exclusively by the duration of the gestural movements that occur within the main melodies. There are several meter changes, contrasting tuplets, and a degree of rhythmic independence present between each of the instruments, though they all play fairly continuously. The guitar has more of a free role within this section, at times following the piano’s gestures, while at others working with the bass to create a specific coloration in the harmony. Measure 28 is an example of this.

32 Figure 17: Example of Instrumental Roles and Polytonality in Part 3

The guitar voicing itself in this measure is one that I would consider to be fairly common. I found the incorporation of the bass into this sonority to be refreshing, because an additional color could be added to what is a voicing that is typical to the guitar because it is limited by both the range of the instrument, and the physical ability to perform a more fleshed out version of this type of sonority. The upper structure of the guitar chord is again triadic, resulting in a D major triad played over the top of a G# bass note. This is a common chord because it combines the familiarity of the triadic sound with the uneasiness of the tritone relationship between the root of the triad and the added lower bass note. I found the addition of the C# in the bass to enhance this relationship even further, pitting the D major triad against a perfect 5th instead of a single pitch. What results is more of a combination of triads. The C# in the bass can be combined with the F# and the A in the guitar to form an F#m triad, for example, or it could be combined with the G# and the A to form an incomplete A major 7th type of chord. 33 This is often an approach you will see in contemporary presentation of new music that seeks to maintain some sense of harmonic familiarity, while bending the rules to some extent. This measure demonstrates the primary theme of this part of the dissertation, which is to explore polytonality and a rubato sound with this type of instrumental lineup. Over this complex harmony the piano plays a widely spread out G major 7 voicing. At its most basic level, this measure has the sound of G major, D major, and C#5 sounding simultaneously.

4.2 PREVIOUS THEMATIC IDEAS PRESENT WITHIN PART 3

Beginning at measure 44, there is a presentation of ideas heard previously within Part 2, beginning with the melodic unison line that completes several statements throughout the movement. This sets up measure 47, where the primary rhythmic motive of the main melody in Part 2 returns. The obvious idea here was to expand upon the notion of continuity between contrasting sections of the piece, and also to explore the potential of writing for this ensemble in a more pop-oriented, concept-album fashion. What I am implying by this is that a significant amount of time was put into the mockup of this dissertation to explore the potential for this style of composed music to exist as a standalone “production”, not requiring a live performance, but instead being sequenced using sampler- based instruments and plugins such as Guitar Rig 512. Again, I am seeking to be as self- reliant as I possibly can be as a composer. Being able to compose legitimate music entirely “in the box”, using a DAW and the resources I have mentioned gives me a significant advantage in being able to market myself with great sounding “recordings” of my music.

12 This plugin is a guitar amp simulator, allowing the user to record electric guitar directly into a computer without having to record an actual guitar amplifier with a microphone. 34 Figure 18: Themes Returning in m.44 and m.48

35 Chapter 5: Crossing Over

5.1 A TRANSITIONAL MOVEMENT INCLUDING A FURTHER EXPLORATION OF FUSION

The remaining sections of the dissertation represent my desire to explore music that is much more minimal and straightforward in nature. This is not a direction that I wish to continue into the future with exclusively, but the truth is that a significant portion of the music that has excited me most in my life has been much more accessible, even if I am also drawn seriously toward more intellectualized music. This is part of a greater philosophy that I hold in that it is not my desire to expend all of my energy creating music that can only be understood and enjoyed by other academics in the field. I no doubt have a passion for those areas of musical study which are given the term “academic", and that is why I chose to pursue them, however music is a unique language that speaks to both the trained and untrained ear, and it is my desire to take a more ethnomusicological approach in exploring its universal qualities across all cultures and aesthetics. While I believe that nearly all composers appreciate these same insights, I do not feel that I have witnessed many of those in academia pursuing music for the layperson as a serious endeavor under the misconception that it is not considered serious or academic music, or that it takes less research to learn to do well. As I mentioned previously, I find that the common practice of over-intellectualizing composition is a driving factor behind the fringe position that classical music resides in today. Very often when students and faculty gather to discuss works in progress, for example, the question of how an untrained, general audience will experience the music is very rarely asked, and is often neglected altogether. While I do believe authenticity resides

36 within the most captivating works of art, there must also exist a balance in considering one’s audience. I respect those artists who simply create what they will, and accept any and all consequences, and in truth my approach is really no different. I simply feel fortunate to have the interests that I do, and to have the conviction to include all of them within the umbrella of what I know to be a complete definition of the ideas that concern music composition. I feel that this section of the dissertation, though rather simplistic at a surface level, achieves an ideal balance of accessibility while also including more intellectualized aspects, as I hope to demonstrate.

5.2 CHAMBER MUSIC THAT INCLUDES GROOVE-ORIENTED ELEMENTS

I mentioned previously that I don’t feel that I see enough new music guitarists incorporating the rock associations of the instrument into their ensemble’s repertoire. Likewise, I also wish that I heard more of the ensembles that use drum set in their instrumentation incorporating what I would call “heavy-beat” rhythms. I use this description because in other styles of music that include this feature, the meter is typically dispersed into more distinct hierarchical divisions of the pulse. For example, throughout Part 4 the 9/4 meter has a very strong (heavy) sense of “one”, or the first beat in each measure. Additionally, every other beat is also given emphasis, producing a feeling which is at times more akin to 2/4, rather than 9/4. The last beat of each measure also carries with it a significant amount of weight, as it continually anticipates the recycling of the overall pattern, which gives the last three beats a sense of grouping. While the meter makes sense for the overall cyclic nature of the elements in this

37 section, this could also be divided into three measures of 2/4, plus a measure of 3/4, and achieve similar results.

5.3 POLYMODALITY, AND MORE EXPRESSIVE QUALITIES OF THE SYNTHESIZER

The aspect of Part 4 that I feel I explored most successfully was its orchestration, and particularly with the incorporation of the synthesized sounds.

Figure 19: Orchestration in Part 4

38 I found that the lowest octaves in the piano, doubled by the bass and kick drum, produced a desirable dramatic effect. I also found that the harmonies in the guitar continued the theme of polytonality in a successful way. While this is not truly polytonal, it is certainly polymodal. The pattern that the guitar plays in Figure 19 implies differing degrees of harmonic complexity against each chord in the sequence. The first Bb minor chord takes on more of a Dorian b5 character with the incorporation of the E and G notes in the guitar pattern. The second E major sonority becomes more of a mixed tonality, pitting its G# against the G natural in the ostinato pattern. The A major chord contains the most dissonance, as the pattern introduces mixed 7th and 5th intervals above its root, implying both A Lydian and A Lydian Dominant modes simultaneously. The final C major sonority contains both mixed thirds, as well as natural and raised 5th scale degrees. While these dissonances are perhaps startling at their initial examination, their effectiveness within the overall orchestration of the section is the result of their dynamic level related to that of the piano’s clearer representation of each of the triads. Along with the more production-style elements of this section, such as reverb and delay effects, I was most pleased with the expressive qualities that resulted from the synthesized sounds within the arrangement. As the figure below demonstrates, the patch is based around 32 voices of unison (two groups of 16, separated by octaves) that become detuned with automation. The sounds are then distorted and given a sense of space using delay-based effects. A look at the automation tracks within the DAW session reveals how I have used unison detuning to create a sense of build and tension during specific moments of the melodic cycle. While this may be possible with acoustic instrumentation, it would require many more physical instruments to achieve the same effect, however in a much less controlled way.

Figure 20: Synth Melody Patch From Part 4

Figure 21: Automation Processing for the Synth Patch in Part 4

40 Chapter 6: The Guitar Source

6.1 THE FUSION OF HUMAN AND COMPUTERIZED ELEMENTS

In the final section of the piece I wanted to explore a particular aesthetic approach to electronic composition that involves minimalist rhythms presented in a very mechanized way, wherein I used audio clips of recorded guitar sounds as source material. With the exception of the bass, noise, drone, and low-register percussive sounds, every other sonic element within this section of the dissertation was derived from the electric guitar. Each chord was performed by myself and recorded into the DAW, where I then sliced each performance into short durations so that the rhythmic presentation of the recordings emphasized that they had been manipulated by a computer, or at least by some device with an unhumanly-precise potential for rhythmic accuracy. This mechanizing effect is also emphasized in the panning of the stereo field, and in the strict repetition of ideas at dynamic levels that are precisely the same.

6.2 MUSIC PRODUCTION AND THE ABILITY TO MANIPULATE ATMOSPHERE

Another feature of this final section of the piece is that it possesses what I consider to be a distinct sense of atmosphere. This is the result of not only the processes that I have mentioned above, but also due to the way in which the guitar sounds were processed using filters. The figures below show the basic approach that I took in limiting the timbral

41 expressivity of the guitar by using combinations of low, high, and band-pass filters, and how they resulted in a restricted overall timbre within the complete ensemble.

Figure 22: Filter Processing Example for the Guitars in Part 5

Figure 23: Overall Spectral Analysis of Part 5

I felt that this was a successful creative decision in that with this being the final movement in a piece of music largely centered around looking back at my past influences, the processing that was used gave the music what I felt to be a nostalgic, reflective, and distant quality. I also felt that this movement successfully demonstrated the advantages of music production as a valid form of compositional expression because it used those techniques to completely expand the creative possibilities of the electric guitar, techniques which could be applied to the recording of any other instrument, whether used as the focus of the composition, or as a more accompanimental device within a piece for instrument(s) and electronics. 43 6.3 A FINAL RETURN OF THEMATIC IDEAS

The guitar is presented twice in this movement in “unmechanized” form, both times performing the introductory chords from Part 2 with reharmonization. Whereas in the opening, the key center is largely based around F# minor, the last movement is in C# minor, however each resolution of the introductory section again leads to an F# chord. In Part 2, the introductory chords were harmonized to have an ambiguous character. In this movement they are much more triadic in nature, as the figure below demonstrates.

Figure 24: Reharmonization of Part 2 Introductory Chords

The piece closes with quartal and quintal guitar harmonies, irregular sequences of repetition, and a final presentation of the thematic drone set against a soft version of the dissonant guitar pattern. This time the drone slowly takes on a more band-pass-filtered form, creating a slightly clearer version of the C# as the piece fades to silence. The choice of C#m for the final key center acts as a type of resolution device for the drone itself, which has held C# notes throughout each of the previous sections of the dissertation that were centered around the key of F#m.

44 Conclusions

Root Motion represents an important moment in my academic career as a composer where I have sought to follow my instincts and inspirations, and attempt to defend my process and decisions against any and all perceptions of the piece itself. While I feel that the work ultimately lacks in a few levels of detail that I would like to have added with more available time, I believe that the musical ideas that constitute each section of the piece carry with them a significant showing of competence within a number of diverse areas of music, and that their potential for growth is self-evident. I also believe that what has been composed for this piece represents my strongest showing of individuality and personality as an artist, which I believe to be useful in establishing oneself outside of academia. I feel that it successfully explores contemporary avenues for composition, and displays a number of crossover styles that could attract more diverse audiences to my work than if I had instead chosen to write a piece that is more focused around the use of acoustic instruments. I have interests in composing music for dance, film, and video games, for example, and I believe that the representation of my understanding of diverse styles of music found within this piece can offer me a solid start as I go forward into my future career as a musician.

45 STEVE SACHSE [email protected] 417.860.4082

______

ROOT MOTION for a New Music Band and Electronics ~23 minutes

Part 1: Synthesis Study Part 2: New Music in Jazz Part 3: The New Music Band Part 4: Crossing Over Part 5: The Guitar Source

INSTRUMENTATION:

synthesizer and electronic sounds electric guitar (sounding 8va lower) piano acoustic bass (sounding 8va lower) drum set

46 Root Motion - Part 1 Score in C Introduction: Synthesis Study Steve Sachse 2018

q = 64 High Dronescape 4 #Y #Y #Y #Y † 4 " " " " " " " " " Y Y Y Y # #sim. # # p

Theme Drone & 4 #w w w w w w w w w w w w w #w w w w w w w w w w w w w # approximate rhythm Melody 1 4 ˙ ˙ #˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ Ó #˙ & 4 w w w ˙ #˙ ˙ #˙ w ˙ #˙ w p ˙ ˙ #˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ Ó #˙ Melody 2 4 w w w ˙ #˙ ˙ #˙ w ˙ #˙ w † 4 p

Melody 3 & 4 " " " " " " " " " " " " "

Melody 4 ? 4 4 " " " " " " " " " " " " "

& 4 " " " " " " " " " " " " " Rhythmic Chords p w #w ? 4 " " " " " " " " " " w w # w 4 #w #w

& 4 " " " " " " " " " " " " "

? 4 " " " " " " " " " " " " " Chord Layer

4 & 4 " " " " " " " " " " " " "

? 4 " " " " " " " " " " " " "

Noise 4 & 4 " " " " " " " " " " " " "

Main Bass t 4 #w w w w w w w w w w w w w #w w w w w w w w w w w w w $ P

Sub t 4 #w w w w w w w w w w w w w Ø p !

47 2 Introduction: Synthesis Study 14 q=60 H. Dr. #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y † #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y

Th. Dr. w w w w w w w w w w w w w w & w w w w w w w w w w w w w w

Mel. 1 ˙ j j #œ. w w ˙ & ˙ ˙ ˙ œ. #œ œ œ. w w ˙ ˙ w w w w w w w w $ ˙ ˙ ˙ . #œ. w w ˙ ˙ w w w w w w w w Mel. 2 ˙ œ #œ œ œ. w w ˙ w w w w w w w w † J J $

Mel. 3 & " " " " " " " " " " " " " "

Mel 4. ? " " " " " " " " " " " " " "

14 " " " " " " " " " " " " ? & w #w Rhy. Ch. w w ˙ b˙ ˙ b˙ ? ˙ ˙ w ˙ ˙ " " " " " " " " " t ˙ b˙ #w #w w

& " " " " " " " " " " " " " "

? " " " " " " " " " " " " " " ? C.L. 14 ? & " " " " " " " " " " " " " "

? " " " " " " " " " " " " " " t

14 Ns. Y Y & " " " " " " " " " " " " Ø

M.B. t w w w w w w w w w w w w w w w w w w w w w w w w w w w w # Sub t w w w w w w w w w w w w w w p (!)

48 Introduction: Synthesis Study 3 28 H. Dr. #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y † #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y

Th. Dr. w w w w w w w w w w w w & w w w w w w w w w w w w

Mel. 1 #œ ˙. œ ˙. œ & #˙. œ ˙. #œ ˙. œ ˙. #œ ˙. œ ˙. œ ˙. #˙ œ sim.œ w ˙. #˙. #œ œ F

Mel. 2 #œ ˙. œ ˙. œ † #˙. œ ˙. #œ ˙. œ ˙. #œ ˙. œ ˙. œ ˙. #˙ œ sim.œ w ˙. #˙. #œ œ F #œ ˙. Mel. 3 . #œ ˙. œ ˙. . #œ ˙. . #˙ œ #˙. #œ ˙ œ w ˙. #œ #˙. #œ ˙ œ ˙. #œ œ & sim. F #œ ˙. œ ˙. œ Mel 4. œ ˙ #œ ˙. œ ˙ #œ ˙. œ ˙ #˙ œ ? #˙. . œ w ˙. #˙. . œ ˙. #œ œ sim. F

28 w w w #w ˙ b˙ ? #ww # w ww ˙˙ ˙˙ #ww # w ww ˙˙ ˙˙ w w # w ˙ ˙ w # ww ˙ b ˙ w # ww ˙ b ˙ #w ˙ b˙ Rhy. Ch. sim. #w P t w #w #w ˙ #˙ w w w ˙ #˙ w w w ˙ #˙

28 ww ww w w #w ˙ b˙ #ww # w w ˙˙ ˙˙ #ww # w w ˙˙ ˙˙ w w # w ˙ ˙ & w # ww ˙ b ˙ w # ww ˙ b ˙ #w #w ˙ b˙ P sim. w ? #w #w ˙ #˙ w w w ˙ #˙ w w w ˙ #˙ C.L. 28 w w w #w ˙ b˙ ? #ww # w ww ˙˙ ˙˙ #ww # w ww ˙˙ ˙˙ w w # w ˙ ˙ w # ww ˙ b ˙ w # ww ˙ b ˙ #w #w ˙ b˙ P sim. t #w w #w ˙ #˙ w w w ˙ #˙ w w w ˙ #˙

28 Ns. Y Y Y Y & ! ! ! ! ! ! ! ! p

M.B. w w w w #w w t w w w w w ˙ ˙ #w w ˙ ˙ w w w w w ˙ ˙ #w #w ˙ ˙

Sub t w w w w w w w w ˙ ˙ #w #w ˙ ˙

49 4 Introduction: Synthesis Study 40 H. Dr. #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y † #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y

Th. Dr. w w w w w w w w w w w w & w w w w w w w w w w w w

Mel. 1 ˙. #œ ˙. œ ˙ #œ ˙. œ ˙. & ˙. œ ˙. #˙ ˙ œ ˙ #œ ˙. œ ˙. #œ ˙. œ ˙. #œ #œ ˙ ˙ sim.œ w ˙. #˙. 3 F

Mel. 2 ˙. #œ ˙. œ ˙ #œ ˙. œ ˙. † ˙. œ ˙. #˙ ˙ œ ˙ #œ ˙. œ ˙. #œ ˙. œ ˙. #œ #œ ˙ ˙ sim.œ w ˙. #˙. 3 F ˙. #œ ˙. œ ˙ #œ ˙. œ ˙. Mel. 3 ˙. œ ˙. #˙ #˙ œ ˙ . #œ ˙. #œ ˙. #œ ˙. #œ & #œ ˙ ˙ #œ ˙ œ w ˙. #˙. 3 sim. F ˙. #œ ˙. œ ˙ #œ ˙. œ ˙. Mel 4. ˙. #˙ ˙ œ ˙ œ ˙ #œ ˙. œ ˙ #œ ? œ ˙. #œ ˙ ˙ #œ ˙. . œ w ˙. #˙. 3 sim. F

40 w #w ˙ b˙ w w ? w ˙ ˙ #ww # w ww ˙˙ ˙˙ #ww # w ww ˙˙ ˙˙ #w #w w ˙ b˙ w # ww ˙ b ˙ w # ww ˙ b ˙ Rhy. Ch. # w t #w #w w ˙ #˙ w w w ˙ #˙ w w w ˙ #˙

40 #w w w w ˙ b˙ ww ww ˙ ˙ #ww # w w ˙˙ ˙˙ #ww # w w ˙˙ ˙˙ & ##w #w w ˙ b˙ w # ww ˙ b ˙ w # ww ˙ b ˙

? #w #w w ˙ #˙ w w w ˙ #˙ w w w ˙ #˙ C.L. 40 w #w ˙ b˙ w w ? w ˙ ˙ #ww # w ww ˙˙ ˙˙ #ww # w ww ˙˙ ˙˙ ##w #w w ˙ b˙ w # ww ˙ b ˙ w # ww ˙ b ˙

t #w #w w ˙ #˙ w w w ˙ #˙ w w w ˙ #˙

40 Ns. Y Y Y Y Y Y & ! ! ! ! ! ! Ø p

M.B. w w w w t #w #w w ˙ #˙ w w w w w ˙ ˙ #w #w w ˙ #˙ w w w w w ˙ ˙

Sub t w w #w #w w ˙ #˙ w w w w w ˙ ˙

50 Introduction: Synthesis Study 5 rit. 52 q=50 H. Dr. #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y † #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y #Y

Th. Dr. w w w w w w w w w w w w w & w w w w w w w w w w w w w

Mel. 1 ˙. . #˙ œ ˙. #œ ˙. œ ˙ #˙ . & œ ˙ œ ˙. #œ œ œ ˙. #œ ˙ ˙ œ ˙. w w w w w 3

Mel. 2 ˙. . #˙ œ ˙. #œ ˙. œ ˙ #˙ . † œ ˙ œ ˙. #œ œ œ ˙. #œ ˙ ˙ œ ˙. w w w w w 3

œ ˙. #œ ˙. œ ˙ Mel. 3 ˙. #œ ˙. œ ˙. #˙ œ ˙. œ ˙. #˙ #˙ œ ˙. & #œ œ #œ ˙ ˙. w w w w w 3

œ ˙. #œ ˙. œ ˙ Mel 4. ˙. œ ˙ #˙ œ ˙. #˙ ˙ œ ˙ ? . œ ˙. #œ œ œ ˙. #œ ˙ ˙. w w w w w 3

52 w #w ˙ b˙ w #w ˙ b˙ ? w w # w ˙ ˙ w w # w ˙ ˙ #ww ww ww ww ww #w ˙ b˙ #w ˙ b˙ w w w w w Rhy. Ch. #w #w

t w w ! ! ! ! ! #w #w ˙ #˙ #w #w ˙ #˙

52 w w #w ˙ b˙ w w #w ˙ b˙ w w # w ˙ ˙ w w # w ˙ ˙ & #w #w ˙ b˙ #w #w ˙ b˙ ! ! ! ! !

w w ? #w #w ˙ #˙ #w #w ˙ #˙ ! ! ! ! ! C.L. 52 w #w ˙ b˙ w #w ˙ b˙ ? w w # w ˙ ˙ w w # w ˙ ˙ ! ! ! ! ! #w #w ˙ b˙ #w #w ˙ b˙ &

t #w w #w w ? ! ! ! ! ! #w ˙ #˙ #w ˙ #˙

52 Ns. Y Y Y Y Y & ! ! ! ! ! ! ! ! Ø p w w M.B. #w ˙ w w #w t #w #w w ˙ w w #w w w w w w #w ˙ ˙ w w w w w w F Sub t #w w w w #w w w w w w #w ˙ ˙ w F

51 6 Introduction: Synthesis Study 65 H. Dr. #Y #Y #Y #Y #Y #Y #Y #Y #Y † #Y #Y #Y #Y #Y #Y #Y #Y #Y

Th. Dr. w w w w w w w w w & w w w w w w w w w

Mel. 1 & w w w w w w w w w

Mel. 2 † w w w w w w w w w

Mel. 3 & w w w w w w w w w

Mel 4. ? w w w w w w w w w

65 ? ww w w w w w ! ! ! ! ! ! Rhy. Ch.

t ! ! ! ! ! ! ! ! !

& ! ! ! ! ! ! ! ! !

? ! ! ! ! ! ! ! ! ! C.L. 65

& ! ! ! ! ! ! ! ! !

? ! ! ! ! ! ! ! ! !

65 Ns. Y & ! ! ! ! ! ! ! !

M.B. t w w w w w w w w w w w w w w w w w w Ø Sub t w w w w w w w w w Ø

52 Part 2 "New Music" in Jazz

Freely (ca.) q=60

Theme Drone U 4 #Y Y Y Y Y & 4 Y Y Y Y Y # continued... p #˙. Nœ #œ 4 œ ˙ #œ #œ † 4 ! Ó ! with reversed delay effect Piano " #˙. Nœ #œ #˙ w 4 œ ˙ #œ #œ & 4 ! #˙. œ ˙ #œ bœ n œ #œ ˙ w

with pick noise

Electric Guitar 4 ! #˙. œ ˙ œ bœ & 4 # ˙. #œ ˙ ##œ ##œ #œ b œ nn˙ w #˙. œ ˙ #œ #œ œ nœ #˙ w p Acoustic Bass & 4 ! ! ! ! !

Drum Set ã 4 ! ! ! ! !

Synth Bass t 4 U 4 #˙. œ ˙ #œ nœ #w #œ œ #˙ w " 6 T.D. Y Y Y Y Y 5 & Y Y Y Y Y 8

6 œ #˙ #œ œ #˙ w w . #œ ˙ #œ † 85 Pno. œ #˙ w w #˙. #œ #œ œ œ . #œ ˙ #œ œ #˙ w w & #˙ #œ ˙ #œ 85

E.G. . ##˙. œ ˙ #œ œ bbœ nn˙ w w 5 & #œ ˙ ##œ # œ #œ #˙ w w 8 #˙. œ ˙ #œ #œ œ nœ # ˙ w w

A.B. & ! ! ! ! ! 85

6 D. S. 5 ã ! ! ! ! ! 8

S.B. t #˙. 5 œ ˙ #œ #œ œ nœ #˙ w w 8

53 "New Music" in Jazz 8

11 q=200 T.D. 5 y. y y. y y. y y. y y. y & 8 y. y y. y y. y y. y y. y

11 œ. œ 5 ? #œ. œ œ. œ œ. œ œ. œ † 8 #œ. œ œ. œ Pno. œ. œ 5 œ. œ t & 8 œ. œ œ. œ #œ. œ œ. œ

E.G. 5 œ. œ & 8 œ. œ œ. œ #œ. œ œ. œ œ. œ œ. œ œ. œ f A.B. 5 ? & 8 ! #œ. œ œ. œ œ. œ œ. œ f in time... 11 w/side of tom y y y y x>x x x xx x x x x xx x x x x x x x x x x D. S. 5 f f f f f ã 8 J œ ‰ œ œ œ œ œ f J basic pattern example - ad lib. 11 F S.B. t 5 ! ! ! ! 8 œ. œ

16 T.D. y. y y. y y. y y. y y. y y. y & y. y y. y y. y y. y y. y y. y

16 . #œ. œ œ. œ . . #œ ? ##œ. œ # œ. œ œ. œ œ. œ ##œ. œ œ. Pno. t #œ #œ. œ #œ. œ œ. œ nœ. œ #œ. œ œ.

E.G. & B #œ. œ #œ. œ œ. œ nœ. œ #œ. œ œ. #œ A.B. ? B #œ. œ #œ. œ œ. œ nœ. œ #œ. œ œ. #œ

16 x x x x x D. S. x> x x x x x ã ‘ ‘ ‘ ‘ œ ‰ œ œ J

54 "New Music" in Jazz 9

22 T.D. y. y y. y y. y y. y y. y & y. y y. y y. y y. y y. y

22 œ #œ #œ ? œ #œ œ. ‹ œ #œ. œ œ. œ œ. œ #œ. œ œ. œ Pno. #œ t œ œ #œ œ. Œ œ. œ #œ. œ œ. œ

E.G. & #œ #œ. œ œ. œ œ œ #œ œ. #œ œ. œ

A.B. ? #œ #œ. œ œ. œ œ œ #œ œ. #œ œ. œ

original pattern(s) 22 xx xx x x>x x>x x x xx x x x x xx x x x x x D. S. f f f f ã œ ‰ œ ! œ ‰ œ œ œ J J

27 T.D. y. y y. y y. y y. y y. y & y. y y. y y. y y. y y. y

27 œ. œ . #œ. œ œ. œ ? œ. œ ##œ. œ # œ. œ œ. œ œ. œ Pno. t œ. œ #œ. œ #œ. œ œ. œ nœ. œ

E.G. & B œ. œ #œ. œ #œ. œ œ. œ nœ. œ A.B. ? B œ. œ #œ. œ #œ. œ œ. œ nœ. œ

27 x x x x x D. S. f ã œ œ ‘ ‘ ‘ ‘

55 "New Music" in Jazz 10

32 T.D. y. y y. y y. y y. y & y. y y. y y. y y. y

32 œ #œ œ œ #œ ? ##œ. œ œ #œ œ. œ Pno. J #œ t #œ œ œ #œ œ. œ ? #œ. œ œ.

E.G. & j #œ #œ. œ œ œ #œ œ œ #œ œ. œ

A.B. ? j #œ #œ. œ œ œ #œ œ œ #œ œ. #œ

32 w/side of tom x x x x x x x x x œ D. S. x> x x x x x x x x> œ œ œ ã œ ‰ œ œ œ ‰ œ J J J f

36 T.D. y. y y. y y. y y. y y. y & y. y y. y y. y y. y y. y

36 œ. œ # œ. œ œ. œ ? ! ! # œ . œ Pno. ##œœ. œœ œ. œ œ œ ? . œ. œ œœ. œœ #œ. œ œœ. œœ œ œ œ. œ œ. œ œ . œ

E.G. œ. œ & # #œœ. œœ œœ. œœ bœ. œ #œ. œ œœ. œœ # œ . œ œ . œ . œ. œ œ . œ

A.B. ? . œ. œ œ œ œ. œ œ. œ œ. œ

36 ad lib.

D. S. ã ‘ ‘ ‘ ‘ ‘

56 "New Music" in Jazz 11

41 T.D. y. y y. y y. y y. y y. y & y. y y. y y. y y. y y. y

41 œ œ œ. œ #œ. œ œ. œ œ. œ œ. œ ? œ . œ œ . œ bbœœ. œœ œœ. œœ Pno.

? œœ. œœ . . œ . œ bœ. œ œ œ b œ œ bœ. œ œ. œ

E.G. œ . œ #œ. œ bœ. œ bœ. œ œ. œ & œœ. œœ œ. œ b œ. œ b œ. œ œ. œ

A.B. ? bœ. œ bœ. œ j œ. œ #œ. œ œ bœ bœ

D. S. ã ‘ ‘ ‘ ‘ ‘

46 T.D. y. y y. y y. y y. y & y. y y. y y. y y. y

46 œ. œ œ. œ ? œœ. œœ œœ. œœ ! ! Pno.

? ##œœ. œœ œ. œ œ. œ œ. œ œ. œ œ. œ

E.G. œ. œ œ. œ # œ œ œœ. œœ & œ. œ œ. œ ## œ . œ œ . œ

A.B. ? œ #œ #œ #œ œ. nœ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘

57 "New Music" in Jazz 12

50 T.D. y. y y. y y. y y. y & y. y y. y y. y y. y

50 œ. œ œ. œ ? ##œœ. œœ œ. œ œœ. œœ Pno. œ œ ? œœ. œœ #œ. œ œœ. œœ œ. œ œ . œ œ. œ

E.G. œ. œ œ œ & bœ. œ #œ. œ œœ. œœ œœ. œœ œ. œ œ œ

A.B. ? œ. œ bœ. œ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘

54 T.D. y. y y. y y. y y. y y. y & y. y y. y y. y y. y y. y

54 œ œ #œ. œ œ. œ œ. œ œ. œ œ. œ ? œ . œ bbœœ. œœ œœ. œœ œœ. œœ Pno.

? œœ. œœ . œ . œ bœ. œ b œ œ bœ. œ œ. œ œ. œ

b œ. œ œ. œ œ. œ E.G. #œ. œ bœ. œ b œœ. œœ œœ. œœ œœ. œœ & œ. œ b œ. œ b œ. œ œ. œ œ. œ

A.B. ? bœ. œ j bœ œ j bœ œ. œ #œ. œ œ bœ bœ

D. S. ã ‘ ‘ ‘ ‘ ‘

58 "New Music" in Jazz 13

59 T.D. y. y y. y y. y y. y & y. y y. y y. y y. y

59 œ. œ ? œœ. œœ bœ œ œ . & bœ œ œ œ #œ œ œ #œ nœ nœ Pno. f œ œ œ. œ ? ##œœ. œœ œ. œ œœ. œœ œ. œ œ. œ œ. œ œ. œ

œ E.G. œ. œ #œ bœ œ nœ œœ. œœ bœ œ œ œ #œ œ œ nœ & œ. œ f A.B. ? j bœ bœ bœ œ. œ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘

63 œ œ œ œ bœ œ œ bœ & #œ œ #œ œ œ. œ nœ œ nœ œ œ œ œ Pno. #œ œ . . b bœœ. œœ œ. œ œ. œ # œ œ œ. œ ? b œ. œ œœ. œœ bœ. œ œœ. œœ bœ . œ œ. œ b œ . œ

bœ œ œ œ œ œ œ œ #œ œ bœ E.G. #œ œ #œ #œ œ œ. œ œ nœ œ nœ œ &

A.B. ? bœ. œ bœ. œ œ. œ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘ ‘

59 "New Music" in Jazz 14

68 ? bœ & œ. œ bœ œ & J #œ #œ #œ œ. œ œ. œ bœ œ œ œ Pno. > œ. œ . ? b œ. œ œ bœ ##œœ. œœ bb œœ. œœ œ #œ #œ #œ. œ œ. œ œ. œ J #œ œ. œ œ. œ ! œ. œ œ. œ œ. œ œ. œ E.G. bœ œ œ œ &

A.B. bœ ? j bœ œ œ. œ bœ. œ #œ #œ #œ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘ ‘

73 bœ œ œ & #œ œ œ #œ nœ nœ #œ œ #œ œ œ. œ Pno. #œ œ œ. œ œ. œ b œ. œ . ? œ. œ œœ. œœ bb œœ. œœ œœ. œœ œ. œ œ. œ œ. œ

bœ œ œ E.G. #œ œ œ #œ nœ nœ #œ œ #œ œ œ. œ & #œ œ

A.B. ? œ. œ œ. œ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘

60 "New Music" in Jazz 15

77 bœ œ œ & nœ œ nœ œ œ œ œ œ œ œ œ bœ œ. œ Pno. J bœ œ. œ # œ. œ œ. œ ? bœ. œ œ œ œœ. œœ b œ œ . œ . œ bœ . œ bb œœ. œœ bœ b œ . œ J

œ œ œ bœ œ #œ œ bœ œ œ E.G. nœ œ nœ œ œ œ œ . &

A.B. ? bœ. œ bœ. œ j œ. œ bœ. œ bœ

D. S. ã ‘ ‘ ‘ ‘

& b œ œœ. œœ œœ. œœ #œ . œ Pno. bœ œ bœ . œ œ . œ ## œœ. œœ bœ œ . œ. œ œ. œ ? b œ bœ bœ. œ œ. œ œ. œ bœ œ œ œ. œ

E.G. œ. œ œ. œ œ. œ bœ. œ & œ. œ œ. œ bœ. œ

A.B. ? b œ bœ #œ. œ œ. œ bœ œ œ œ. œ

D. S. ã ‘ ‘ ‘ ‘

61 "New Music" in Jazz 16

85 . œ . œ . bœ . œ & œœ. œœ œ . œ nœ . œ b œ . œ Pno. œ . œ bœœ. œœ b œœ. œœ nœœ. œœ

? œ. œ œœ. œœ #œ. œ œ. œ #œ. œ #œ . œ œ. œ

œ. œ E.G. œ. œ œ. œ bœ. œ & œ. œ œ. œ œ. œ bœ. œ

A.B. ? œ. œ #œ. œ #œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘

89 œœ. œœ . . . & # œ. œ ##œ. œ œ. œ œ. œ œ. œ Pno. # 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

bœ. œ E.G. bœ. œ œ. œ œ. œ œ. œ & bœ. œ bœ. œ œ. œ œ. œ œ. œ

A.B. ? j #œ œ. œ #œ. œ œ œ #œ œ œ #œ œ. œ

D. S. ã ‘ ‘ ‘ ‘ ‘

62 "New Music" in Jazz 17

94 ! ! & œ. œ Pno. ##œœ. œœ œ. œ ##œœ. œœ œ. œ œ. œ ? œ. œ œ. œ œœ. œœ #œ. œ œœ. œœ œ. œ œ. œ œ . œ

E.G. œ. œ & # #œœ. œœ œœ. œœ bœ. œ #œ. œ œœ. œœ # œ . œ œ . œ . œ. œ œ . œ

A.B. ? œ. œ œ. œ œ. œ œ. œ œ. œ

D. S. ã ‘ ‘ ‘ ‘ ‘

& . . œ . œ . Pno. œœ œœ #œ œ œ œ œ œ œ . œ œ . œ bbœœ. œœ ? œœ. œœ . œ. œ œ . œ bbœ. œ bœ. œ

E.G. œ . œ #œ. œ bœ. œ bœ. œ & œœ. œœ œ. œ b œ. œ b œ. œ

A.B. ? bœ. œ bœ. œ œ. œ #œ. œ

D. S. ã ‘ ‘ ‘ ‘

63 "New Music" in Jazz 18

103

& ! Pno. œ . œ œ . œ œ . œ œœ. œœ œœ. œœ œœ. œœ ##œœ. œœ ? œ. œ œ. œ œ. œ œ. œ

E.G. œ. œ œ. œ œ. œ # œ œ & œ. œ œ. œ œ. œ ## œ . œ

A.B. ? j bœ œ bœ œ #œ #œ #œ œ. nœ œ. œ

103

D. S. ã ‘ ‘ ‘ ‘

107 ! & œ. œ Pno. ##œœ. œœ œ. œ œ. œ œ. œ ? œ. œ œœ. œœ #œ. œ œœ. œœ œ. œ œ. œ œ . œ

E.G. œ. œ & œœ. œœ bœ. œ #œ. œ œœ. œœ œ œ œ. œ œ œ

A.B. ? œ. œ œ. œ œ. œ œ. œ

107

D. S. ã ‘ ‘ ‘ ‘

64 "New Music" in Jazz 19

111

& . . œ . œ . Pno. œœ. œœ #œ œ œ. œ œ œ œ . œ œ . œ bbœœ. œœ ? œœ. œœ . . œ . œ bœ. œ œ œ b œ œ bœ. œ

b œ. œ E.G. œ . œ #œ. œ bœ. œ b œœ. œœ & œœ. œœ œ. œ b œ. œ b œ. œ

A.B. ? bœ. œ bœ. œ œ. œ #œ. œ

111

D. S. ã ‘ ‘ ‘ ‘

115

& bœ œ œ œ Pno. œ . œ œ . œ œ . œ œœ. œœ œœ. œœ œœ. œœ f ? ##œœ. œœ œ. œ œ. œ œ. œ œ. œ

œ. œ œ. œ œ. œ E.G. œœ. œœ œœ. œœ œœ. œœ bœ œ œ œ & œ. œ œ. œ œ. œ f A.B. ? j bœ œ j bœ j bœ œ bœ bœ bœ bœ œ. œ

115

D. S. ã ‘ ‘ ‘ ‘

65 "New Music" in Jazz 20

119 bœ œ & #œ œ œ #œ œ nœ nœ #œ œ #œ œ œ. œ nœ œ nœ œ œ Pno. #œ œ œ. œ œ. œ b œ. œ . œ. œ ? œ. œ œœ. œœ bb œœ. œœ œœ. œœ bœ. œ œ. œ œ. œ œ. œ

bœ œ œ œ E.G. #œ œ œ #œ nœ nœ #œ œ #œ œ œ. œ nœ œ nœ œ & #œ œ

A.B. ? œ. œ bœ. œ œ. œ œ. œ œ. œ

119

D. S. ã ‘ ‘ ‘ ‘ ‘

124 œ œ bœ œ . ? bœ bœ & œ œ œ œ œ bœ œ œ œ #œ #œ Pno. J #œ # œ. œ œ. œ ? œ œ œœ. œœ b œ œ œ bœ œ . œ bœ . œ bb œœ. œœ œ #œ b œ . œ J #œ #œ ! œ bœ #œ E.G. œ œ œ œ œ œ bœ œ. œ œ. œ &

A.B. ? bœ. œ j bœ bœ œ. œ bœ. œ œ #œ #œ #œ

124

D. S. ã ‘ ‘ ‘ ‘

66 "New Music" in Jazz 21

128 ? & #œ bœ œ œ nœ œ. œ œ. œ bœ œ œ œ #œ œ œ nœ Pno. > œ. œ ##œœ. œœ œ. œ œ. œ ? œ. œ œ. œ œœ. œœ #œ. œ œ. œ œ. œ (!) œ. œ bœ. œ bœ œ œ E.G. bœ œ œ œ #œ œ œ #œ nœ nœ &

A.B. ? œ. œ œ. œ œ. œ œ. œ œ. œ

128

D. S. ã ‘ ‘ ‘ ‘ ‘

133 œ œ œ bœ & #œ œ #œ œ œ. œ nœ œ nœ œ œ œ Pno. #œ œ b œ. œ . œ. œ # œ. œ ? bb œœ. œœ œœ. œœ bœ. œ œœ. œœ œ. œ .

bœ œ œ œ œ œ œ E.G. #œ œ #œ #œ œ œ. œ œ nœ œ nœ &

A.B. ? bœ. œ œ. œ œ. œ œ. œ

133

D. S. ã ‘ ‘ ‘ ‘

67 "New Music" in Jazz 22

137 œ & œ œ œ bœ œ. œ œ. œ J bœ bœ bœ . œ Pno. bœ bœ œ œ œ. œ œ. œ ? œœ. œœ b œ œ bœ œ. œ bœ . œ bb œœ. œœ bœ bœ bœ œ bœ. œ b œ . œ J œ

#œ E.G. œ œ œ bœ œ. œ œ. œ œ. œ & œ. œ

A.B. ? bœ. œ j bœ bœ bœ œ #œ. œ bœ. œ bœ œ

137

D. S. ã ‘ ‘ ‘ ‘

141 . . . œ . œ & œœ. œœ # #œœ. œœ œœ. œœ œ . œ Pno. # œ . œ œ . œ bœœ. œœ œ. œ ? œ. œ œ. œ œ. œ œ. œ œ. œ #œ. œ

œ. œ E.G. œ. œ bœ. œ œ. œ & œ. œ bœ. œ œ. œ œ. œ

A.B. ? œ. œ œ. œ œ. œ #œ. œ

141

D. S. ã ‘ ‘ ‘ ‘

68 "New Music" in Jazz 23

145 T.D. y y y y y y & ! # . . . #y. y y. y y. y

145 bœ œ œœ. œœ & nœ . œ b œ . œ # œ. œ ##œ. œ Pno. b œœ. œœ nœœ. œœ # œ . œ œ. œ . . ? œœ. œœ #œ. œ #œ œ œ œ #œ . œ œ. œ œ. œ #œ. œ

bœ. œ E.G. œ. œ bœ. œ bœ. œ & œ. œ bœ. œ bœ. œ bœ. œ

A.B. ? #œ. œ œ. œ œ. œ #œ. œ

145

D. S. ã ‘ ‘ ‘ ‘

149 T.D. y. y y. y y. y y. y & y. y y. y y. y y. y > > > #œ. œ œ. œ 149 j b˙ œ. œ œ. œ Œ. bœ œ #œ. œ œ. œ bœ œ b˙ œ. œ œ. œ & œ. œ œ. œ œ. œ œ. œ Pno. œ. œ œ. œ œ. œ œ. œ ? œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ

E.G. œ. œ œ. œ œ. œ œ. œ & œ. œ œ. œ œ. œ œ. œ

A.B. ? j #œ œ œ #œ œ œ #œ œ. œ #œ. œ

149 x œ œx œ x œx œ x D. S. f œ ã ‘ ‘ œ x œ œ œ œ

69 "New Music" in Jazz 24

153 T.D. y. y 6 Y. Y. & y. y 4 Y. Y. p œ. œ 153 œ. œ œ. œ nœ œ. œ nn œ n nœ bœ nœ ˙ . 6 Œ # œ Œ bb œ Œ ‰ nn œ ˙ n n˙. & œ. œ 4 J # ˙. Pno. œ. œ P # #œ ‹œ nœ ? œ. œ 6 n œ Œ ## œ Œ nb œ Œ ‰#n#œ ˙ #‹˙. œ. œ 4 J ˙.

. œ E.G. œ œ œ bœ œ ˙ . & œ. œ 46 Œ Œ Œ ‰ J ˙ !

A.B. ? 46 Œ Œ Œ Œ Œ œ. œ œ #œ œ œ #œ œ œ

153 x œx œ x œx x œ œ œ œj œ œ œ œ œj œ D. S. œ œ œ 6 f j f f j f ã œ 4 xœ x œx ‰ x œx ‰ xœ œx x œx ‰ x œx ‰ xœ basic pattern example - ad lib.

156 T.D. Y. Y. Y. & Y. Y. Y.

156 n˙ nœ nœ n˙ nœ œ n ˙ b b˙ nn œ n œ b b˙ nn ˙ n œ œ b b˙ œ nœ œ nœ & # ˙ b ˙ # œ Œ b ˙ # œ œ b ˙ œ nn œ œ n# œ Pno. #œ #˙ # ‹˙ n n˙ #n œ # ‹œ n n˙ #n ˙ # ‹œ œ n n˙ œ #œ œ ? # ˙ b ˙ # œ Œ b ˙ # œ œ b ˙ œ#n œ œ #‹œ

˙ œ œ œ ˙ œ œ E.G. b˙ b˙ b˙ œ œ œ œ &

A.B. ? Œ Œ Œ Œ Œ Œ Œ #œ œ œ œ #œ œ œ #œ œ œ œ

156

D. S. ã ‘ ‘ ‘

70 "New Music" in Jazz 25

159 T.D. Y. Y. Y. & Y. Y. Y.

159 n˙ n˙ œ n˙ nœ nœ ˙ n# ˙ nn ˙ œ n# ˙ b bœ nn œ n# œ b bœ n nœ. & ˙ b œ Œ Œ b œ Œ ‰ n œ. Pno. #˙ œ #œ ? ˙ ##‹˙ #n ˙ œ ##‹˙ n nœ #n œ ##‹œ n nœ # #œ. ˙ b œ Œ Œ b œ Œ ‰ n œ.

˙ œ œ E.G. ˙ ˙ bœ œ bœ œ. & ˙ Œ Œ Œ ‰

A.B. ? Œ Œ Œ Œ Œ Œ Œ œ œ #œ œ œ #œ œ œ #œ œ œ

159

D. S. ã ‘ ‘ ‘

162 T.D. Y. Y. Y. & Y. Y. Y.

162 n˙ b˙ n nœ nœ bœ œ n n˙ n˙ bœ œ n˙. n# ˙ b ˙ n œ n# œ b œ œ n ˙ n# ˙ b œ & œ n# ˙. b ˙ Œ b œ œ b œ Pno. #œ #˙ ? œ ‹˙. ##‹˙ n n˙ # œ ##‹œ n nœ nnœ #n ˙ ##‹˙ n nœ œ # ˙. b ˙ Œ b œ œ b œ

œ ˙ E.G. œ . ˙ b˙ ˙ œ œ ˙ bœ & ˙

A.B. ? Œ Œ Œ Œ Œ Œ Œ Œ #œ œ œ #œ œ œ œ œ œ #œ

162

D. S. ã ‘ ‘ ‘

71 "New Music" in Jazz 26

165 T.D. Y. Y. 2 Y 3 & Y. Y. 4 Y 4

165 . œ. n˙ n n˙. nœ œ bœ œ. n nœ œ n˙. n# ˙ n ˙. n# œ 2 œ bb œ 3 & n œ œ n# poco˙. a poco 4 4 Pno. J . œ. ‹˙ # #˙. ‹œ œ nœ ? œ. #n#œ œ #‹˙. ## ˙ n ˙ ## œ 2 œ nb œ 3 J ˙. 4 & 4

˙ ˙. œ œ E.G. œ. œ œ ˙. 2 bœ 3 & J poco a poco 4 4

A.B. ? Œ Œ Œ Œ 42 Œ 43 œ œ #pocoœ a poco œ œ #œ œ œ #œ

165 D. S. 2 3 ã ‘ ‘ 4 ‘ 4

168 T.D. 3 Y. Y. Y. Y. & 4 Y. Y. Y. Y.

168 œ œ œ 3 bœ Œ Œ Œ Œ . Œ & 4 # #˙˙. ˙ Pno. # ˙ . bb˙ f ƒ ? & 43 œ Œ Œ bœ Œ Œ Œ ‰ bœ œ Œ Œ #œ bœ J bœ bœ bœ

œ >œ >œ œ œ E.G. 3 #œ œ & 4 Œ Œ Œ Œ #œ light overdrive f A.B. ? 3 > 4 bœ. ‰ Œ b˙. > ˙. #˙. f 168 x œ œ x x D. S. 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ ã 4 xœ x x x x x œ œ xæ xæ œ x > >

72 "New Music" in Jazz 27

172 T.D. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y.

172

& #˙. œ #˙˙ œ #œ bœ œ ˙ b˙˙. Pno. ˙ œ œ # œ F ? ˙. œ ˙ bœ œ œ ˙ bb˙˙. ˙. œ ˙ #œœ ˙ ˙.

espr. ad lib. slides, etc. for style optional bends are indicated œ E.G. ˙. ˙. ˙. ˙. & Œ ‰ J Œ solo ƒ

A.B. ? ˙. ˙ bœ. œ #œ œ nœ œ b˙ driving œ. F

172 x œ x x x x x x œ x x x œ x x œ œ œ œ D. S. œœ œ œ œ œ œ œ œ fœ œ f f j ã œ x x x x x œx x x x œx x œx x x x x x œx œx x œx x œx ‰ basic pattern example - ad lib.

177 ˙. ˙. & ˙˙. œœ ˙ b˙ ˙. b˙. ˙. ˙. Pno. P ˙˙. œœ b˙ ˙ b˙. ˙. ##˙. ˙. ? ˙. œ ˙. ˙.

bœ-. bœ œ . > bœ - - bœ-. . E.G. J œ œ œ œ > œ- œ œ #œ & bœ ˙. Œ J ‰ J

A.B. ? bœ. bœ. bœ œ. ˙ bœ ˙ œ. œ. œ.

177 œ j œ D. S. fœ ã x œx ‰ xœ ‘ ‘ ‘ ‘

73 "New Music" in Jazz 28

182

& œ ##˙ ˙. ##˙˙. ˙˙. ˙. ˙. Pno. ˙ . ˙ . b˙. ˙. œ #˙ ˙. b˙. ˙. ˙. ˙. ? œ n ˙ ˙. b ˙. ˙. ˙. ˙.

ä b˙ ˙. bœ œ bœ œ. . > œ ä. E.G. œ bœ œ œ œ ˙ & Œ. J ‰ J

A.B. ? bœ #œ. #œ œ j œ. ˙ œ œ #œ #œ. #˙ œ œ. œ.

182

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

188 > œ #œ- j nœ- ˙. œ. & #œ. #˙˙ œœ œ œ #˙. œ. #œ. Pno. n#˙. ˙. # œ. # ˙ œ J > ˙. œ. b˙ ˙ b b˙˙. ˙˙. ? ˙. ˙. b b ˙. ˙. ˙. œ. œ. ˙. œ. œ.

w.s. bend > bäœ. äœ. ä E.G. bœ. œ. bœ œ bœ ä bœ bœ ˙. œ . J b˙ œ #œ œ & Œ 3 J 3

A.B. ? œ œ #œ œ j œ. ˙ J œ. œ #œ #œ. #œ. nœ. œ œ œ.

188

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

74 "New Music" in Jazz 29

194 . . b˙. . #œ . ##œœ. ˙˙. & ˙. bb ˙. ˙. #˙. # œœ. œœ. ˙˙. # #œœ. Pno. b˙. ˙. #œ . Œ. # œ. b˙. b˙. . ? . b˙ ˙. #œœ. #œ. ˙. ˙. b˙ b˙. ˙. #œ . œ. ˙.

w.s. bend w.s. bend - #˙-. ˙. E.G. > #œ. #œ ˙. œ. #œ & ˙. œ J J Œ

A.B. ? œ. bœ. bœ bœ bœ œ bœ œ œ. #œ. œ. œ. œ #œ #œ

194

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

200

& œ. bœ . #œ. ˙. ˙. ˙. ##˙. œ. b œœ. # œ. #œ. ˙. Pno. ˙. b˙. œ. bœ . #œ. #œ. #˙. #˙ ? #˙˙. b˙. # ˙. . b ˙ ˙. . Nœ œ. œ. œ. bbœ. œ. Nœ. #œ. œ. œ. w.s. bend release bend h.s. - - œ. ˙. b˙. b˙- œ. œ- œ. œ E.G. ˙. œ œ &

A.B. ? #œ. bœ. œ. œ. œ. #œ. nœ. ˙ œ #œ ‹œ #œ œ.

200

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

75 "New Music" in Jazz 30

206 T.D. y y y y y & " " 85 # . 78 . 85 #y y. y y. y

206 #˙. œ ? & ## ˙. œ #œ #œ œ 85 78 85 ˙. œ #œ #œ #œ œ. œ œ. œ Pno. > ƒ ? . #œ #œ 5 7 5 ˙ œ œ #œ 8 #œ #œ œ. 8 œ œ. œ 8 ˙. œ ! > >˙. ˙. œ. œ œ œ. œ E.G. ˙. ˙. 5 œ. œ 7 œ œ. œ 5 & lower E is open 8 8 8

A.B. ? #œ #œ 5 7 5 ˙. œ œ #œ 8 #œ #œ œ. 8 œ œ. œ 8

206 x x œ œ D. S. 5 œ f f 7 œæ œ 5 ã ‘ ‘ 8 xœ xœ xœ 8 ‰ œx x œx œ 8

210 T.D. 5 y y. y y. y y. y y. y y. & 8 y y. y y. y y. y y. y y. p 210

? 85 j j j j j Pno. ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ

? 85 j j j j j ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ (!) palm muted

E.G. j j j j j 5 œ ‰ ‰ œ ‰ j j ‰ œ ‰ ‰ j j ‰ œ ‰ ‰ œ & 8 #œ #œ œ #œ œ #œ. #œ P

A.B. ? 5 j ‰ ‰ j ‰ j j ‰ j ‰ ‰ j j ‰ j ‰ ‰ j 8 œ œ #œ œ œ œ #œ œ œ. #œ œ œ

original pattern(s) 210 x>x x x xx x x x x xx x x x x x x x x x x D. S. f f f f f ã 85 œ ‰ œ œ œ œ œ ‘ J

76 "New Music" in Jazz 31

215 T.D. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y.

215 ˙ œ œ. bœ œ œ ? ˙ . œ œ. œ ˙ † Œ œ œ. bœ œ. œ œ. œ Pno. œ. J œ ˙ J let ring F ? Œ " " " " " œ. (!)

E.G. j j j j ‰ j j ‰ œ Œ j j ‰ œ ‰ ‰ œ ‰ j j ‰ œ Œ & #œ #œ œ #œ œ #œ. #œ #œ #œ #œ

A.B. ? ‰ j j ‰ j Œ j j ‰ j ‰ ‰ j ‰ j j ‰ j Œ #œ œ œ œ #œ œ œ. #œ œ œ #œ œ #œ œ

215

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

221 T.D. y y. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y. y y.

221 œ. bœ œ œ œ œ. bœ œ œ. œ œ œ. b˙ œ . œ œ. œ œ œ † œ. bœ œ œ œ. bœ œ J œ œ. b˙ œ œ. Pno. J J J œ

? " " " " " " "

E.G. j j j j j j j ‰ œ ‰ ‰ œ ‰ j j j j ‰ œ ‰ ‰ j j ‰ œ ‰ ‰ œ ‰ j & #œ. #œ œ #œ #œ #œ œ #œ #œ. #œ œ #œ #œ

A.B. ? j j ‰ j ‰ ‰ j ‰ j j j j ‰ j ‰ ‰ j j ‰ j ‰ ‰ j ‰ j #œ. œ œ #œ œ œ #œ œ œ #œ œ #œ. œ œ #œ œ œ #œ

221

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘ ‘

77 "New Music" in Jazz 32

228 T.D. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y.

228 œ œ. œ ˙ œ œ. bœ ˙ œ œ. bœ † ˙ œ œ. œ ˙ œ œ. bœ ˙ œ œ. bœ Pno. ˙ J J J

? ! ! ! ! ! !

E.G. j j j j j ‰ œ Œ j ‰ œ ‰ ‰ œ ‰ j j ‰ œ ‰ ‰ & #œ #œ #œ. #œ. #œ #œ #œ œ #œ

A.B. ? j ‰ j Œ j ‰ j ‰ ‰ j ‰ j j ‰ j ‰ ‰ œ #œ œ #œ. œ. #œ œ œ #œ œ œ œ #œ

228

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

234 T.D. y y. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y. y y.

234 œ œ œ. bœ œ œ œ œ. bœ œ œ. . œ œ. œ ˙ œ œ † œ. œ œ. œ œ. bœ œ œ œ. bœ œ . Pno. œ ˙ J J

? ! ! ! ! ! ! !

E.G. j j j j j j j ‰ œ ‰ ‰ œ ‰ j j ‰ œ ‰ ‰ j j ‰ œ ‰ ‰ œ ‰ j & œ #œ. #œ #œ #œ œ #œ œ #œ. #œ #œ #œ

A.B. ? j j ‰ j ‰ ‰ j ‰ j j ‰ j ‰ ‰ j j ‰ j ‰ ‰ j ‰ j œ œ. #œ œ œ #œ œ œ œ #œ œ œ. #œ œ œ #œ œ

234

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘ ‘

78 "New Music" in Jazz 33

241 T.D. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y.

241 œ œ œ. b˙ œ œ œ. œ ˙ œ œ œ. œ ˙ œ ˙ † J œ œ. b˙ œ œ. œ œ. œ Pno. J J œ ˙ J J

? ! ! ! ! ! !

E.G. j j j j j ‰ œ Œ j j ‰ œ ‰ ‰ œ ‰ j j j j ‰ œ ‰ ‰ j & #œ #œ. #œ œ #œ #œ #œ œ #œ #œ. #œ

A.B. ? j ‰ j Œ j j ‰ j ‰ ‰ j ‰ j j j j ‰ j ‰ ‰ j #œ œ #œ. œ œ #œ œ œ #œ œ œ #œ œ #œ. œ

241

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

247 T.D. y y. y y. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y. y y. y y.

247 œ. b>œ † œ. bœ ! ! ! ! ! ! ! Pno.

? ! ! ! ! ! ! ! !

E.G. j Œ ! ! ! ! ! ! ! & œ #œ

A.B. ? j Œ ! ! ! ! ! ! ! œ #œ

247 x>x x œ œ D. S. œ œ >œ ã œ ‰ ! ! ! ! ! ! ! J

79 "New Music" in Jazz 34

255 T.D. y y. 7 y y. y 5 y y. y y. y y. & y y. 8 y y. y 8 y y. y y. y y. "

255 > œ. œ œ > œ 7 5 #œ >œ #œ bœ. œ #œ. œ † ! 8 ! & 8 #œ œ œ. Pno. > solo ƒ ##œ. œ œ. œ ? 7 5 #œ. œ œ. œ œ. œ ! 8 ! 8 # œ. œ

E.G. 7 5 & ! 8 ! 8 ! ! !

A.B. #œ ? ! 7 Œ. œ œ 5 œ œ. 8 œ 8 œ. œ #œ. œ ƒ 255 x œ x>x x x xx x x x x xx x x x x x D. S. œ œ f f f f ã ! 78 Œ. œ œ œ 85 œ ‰ œ œ œ f J F

260 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

260 > > bœ > #œ œ œ #œ œ n>œ. bœ #>œ. #œ œ. œ œ œ œ #œ & b œ. œ. œ. œ J Pno. . bbœ. œ œ. œ ? . œœ #œœ. œœ ##œœ. œœ bœ œ. œ œ. œ & œœ. œœ #œ. œ bœ . œ ## œ. œ

E.G. & ! ! ! ! !

A.B. ? bœ œ. œ œ #œ œ. #œ. œ. œ œ. #œ

260 x x x x x D. S. f ã œ œ ‘ ‘ ‘ ‘

80 "New Music" in Jazz 35

265 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

265 œ bœ . > >œ > œ bœ œ œ œ bœ œ œ œ œ bœ. œ œ bb˙ bœ & J #œ œ J J Pno. 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 b œ œ

E.G. & ! ! ! ! !

A.B. ? œ. j œ œ. œ #œ. #œ œ. nœ nœ #œ ˙

265

D. S. ã ‘ ‘ ‘ ‘ ‘

270 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

270 " #œ œ #œ #œ #œ #œ œ œ œ bœ œ #œ & #œ œ bœ œ #œ œ œ bœ œ bœ b œ Pno. bœ œ . . œ. œ #œ. œ # œ. œ bbœ. œ #œ. œ bœœ. œœ # œ. œ # œœ. #œ ? œ. œ œ. œ # œ.

E.G. & ! ! ! ! !

A.B. ? œ j #œ #œ j œ j bœ œ œ. œ J #œ œ #œ œ bœ œ

270

D. S. ã ‘ ‘ ‘ ‘ ‘

81 "New Music" in Jazz 36

275 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

275 #œ œ nœ bœ œ #œ œ œ & œ œ œ œ #œ #œ #œ nœ œ #œ nœ Pno. œ. œ. b bœ œœ. bœœ ? #œ. n œ œ. œ & œœ. #œ #œœ. nœ œ . # œœ # œ . œ

E.G. & ! ! ! !

A.B. ? œ œ bœ j œ œ œ. œ. œ œ œ œ

275

D. S. ã ‘ ‘ ‘ ‘

279 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

œ 279 Nœ #œ #œ #œ N œ œ bœ œ #œ œ bœ œ bœ bœ œ œ œ œ ##œ œ # œ #œ n œ bœ b œ œ Nœ œ #œ œ œ & #œ œ N œ Pno.

œ . œ bœœ. & #œ ##œœ. #œ. bnœ ##œœ. bbœ bœ œ . œ . #œ. b nœ # #œ . n bœ b œ œ .

E.G. & ! ! ! !

A.B. ? œ j œ j œ œ œ œ bœ. œ œ œ.

279

D. S. ã ‘ ‘ ‘ ‘

82 "New Music" in Jazz 37

283 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

nœ 283 #œ œ œ bœ œ #œ œ # œ œ bœ œ bœ œ œ œ œ œ #œ #œ nœ œ #œ œ & Pno.

#œ œ. bœ & œ #œ. œ ##œ. b œ #œ. œ. œ œ œ. # œ. œ. œ

E.G. & ! ! ! !

A.B. ? bœ œ. œ. bœ œ œ œ œ œ. œ

283

D. S. ã ‘ ‘ ‘ ‘

287 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

" 287 bœ œ. bœ bœ œ bœ bœ œ œ bœ bœ bœ œ ! ! & poco Pno.

? bœ. œ œ. œ œ. œ œ. œ œ. œ & b œ. œ œ. œ œ. œ œ. œ œ. œ

E.G. & ! ! ! ! !

A.B. ? j œ œ œ œ œ œ œ œ œ œ œ #œ #œ > . > . > .

287 x x xj x x x x@j D. S. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ@ œ@ œ@ œ@ ã ‘ x œx J œx x x œ x œx J œx x œ x F p

83 "New Music" in Jazz 38

292 T.D. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y. F

292

& ! ! ! ! ! ! Pno. ? j j œ œ bœ. œ #œ œ œ bœ. œ #œ œ œ. œ œ. > ord.

E.G. & j j œ œ bœ. œ #œ œ œ bœ. œ #œ distorted,œ aggressive. œ œ. œ f > A.B. j ? œ œ. œ bœ. œ #œ œ œ. œ bœ. œ #œ j œ œ f > 292 x>x x x xx x x x x xx x x x x x x x x x x D. S. f f f f f ã œ ‰ œ œ œ œ œ ‘ ‘ J more active f

298 T.D. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y.

298 œ. ? œ #œ. œ œ. & ! ! ! ! & Pno.

? œ j œ #œ. œ œ. & œ œ œ bœ. œ #œ œ œ œ # œ. œ . œ . >

E.G. & j j œ œ œ bœ. œ #œ œ œ œ bœ. œ #œ . œ . œ > A.B. j ? œ . œ bœ. œ #œ œ . œ bœ. œ #œ j œ œ œ œ >

298

D. S. ã ‘ ‘ ‘ ‘ ‘ ‘

84 "New Music" in Jazz 39

304 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

304 bœ œ œ bœ & bœ œ œ œ bœ œ œ bœ œ œ œ #œ œ œ bœ Pno. > œ #œ œ ƒ & œ. œ œ. bœ œ #œ. nœ œ. œ. bœ

E.G. & j œ œ bœ. œ #œ œ œ bœ. œ. œ œ. P > A.B. j ? œ œ. œ bœ. œ #œ œ œ. œ bœ. œ P >

304

D. S. ã ‘ ‘ ‘ ‘ ‘

309 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

309 bœ nœ ‰ bœ #œ nœ bœ œ Œ ‰ & œ bœ bœ œ œ bœ #œ œ œ Pno.

& j œ bœ œ œ #œ. œ bœ. œ bœ œ œ

E.G. & j j œ #œ œ œ œ bœ. œ #œ œ . œ > A.B. j ? œ #œ j œ . œ bœ. œ #œ œ œ œ >

309

D. S. ã ‘ ‘ ‘ ‘

85 "New Music" in Jazz 40

313 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

313 œ bœ nœ #œ bœ nœ œ nœ œ bbœ bœ œ & bœ œ œ #œ œ #œ œ nœ œ b œ bœ œ Pno. œ poco a poco Î ? bœ œ bœ bœ nœ œ & œ bœ œ bœ nœ œ œ œ œ bœ œ. â â

E.G. & . j œ œ poco a poco bœ œ #œ #œ œ. œ œ œ œ œ A.B. ? œ bœ. œ œ œ. #œ j œ œ œ #œ poco a poco œ œ

313

D. S. ã ‘ ‘ ‘ ‘

317 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

317 j bœ. #œ œ & bœœ bœ. #œ b œ. # œ œ œ bœœ bœ. Pno. > > b œ # œ bnœ ƒ f ? >œ #>œ. bœ. œ j œ #œ. œ œ. œ b œ. œ #œ œ œ œ.

E.G. & j œ œ œ bœ. œ #œ œ œ . œ . F > A.B. j ? œ . œ bœ. œ #œ œ . œ œ œ F >

317

D. S. ã ‘ ‘ ‘ ‘

86 "New Music" in Jazz 41

321 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

321 bœ #œ œ j bœ & #œ b œ. # œ œ œ bœœ bœ. #œ b œ. Pno. b œ # œ bnœ b œ ? bœ. œ j œ #œ. bœ. œ b œ. œ #œ œ œ œ. œ b œ.

E.G. & j œ bœ. œ #œ œ œ bœ. œ œ.

A.B. ? œ bœ. œ #œ j œ œ. œ bœ. œ

321

D. S. ã ‘ ‘ ‘ ‘

325 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

325 j #œ œ bœ #œ œ. & # œ œ œ bœœ bœ. #œ b œ. # œ œ. Pno. # œ bnœ b œ # œ ? œ j œ #œ. bœ. œ œ #œ œ œ œ. œ b œ. œ #œ.

E.G. & j j œ #œ œ œ œ bœ. œ #œ œ . œ > A.B. j ? œ #œ œ . œ bœ. œ #œ j œ œ œ >

325

D. S. ã ‘ ‘ ‘ ‘

87 "New Music" in Jazz 42 329 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

329 ! . œ . bœ bœ. b œ bbœœ. ##œ bnœ œ bœ bœ. b œ bbœœ. & b œ b œ. œ J œ b œ b œ. œ Pno.

? j œ œ. œ bœ. œ #œ œ œ. œ bœ. 329 œ harm. gtr. j > & œ bœ bœ œ œ œ. bœ . œ œ œ. bœ . f E.G. bœ bœ œ bœ & bœ œ. bœ . J œ bœ œ. bœ . f

A.B. j ? œ . œ bœ. œ #œ œ . œ bœ. œ œ œ >

329

D. S. ã ‘ ‘ ‘ ‘ ‘

334 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

334 (!) œ. . œ ##œ bnœ. bœ bœ. b œ bbœœ. ##œ bnœ œ bœ bœ. & b œ b œ. œ J œ b œ b œ. Pno. ? j j œ #œ œ œ œ bœ. œ #œ œ œ. œ œ. > 334 harm. gtr. j & bœ bœ j bœ bœ œ œ œ. bœ œ. œ œ œ.

E.G. bœ œ j bœ bœ œ & œ bœ œ. bœ . J œ bœ œ.

A.B. j ? œ #œ j œ . œ bœ. œ #œ œ . œ œ œ œ >

334

D. S. ã ‘ ‘ ‘ ‘ ‘

88 "New Music" in Jazz 43 339 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

339 œ. b œ bbœœ. ##œ bnœ. j œœ . œ . bœ #œ œ & bœœ bœ. #œ b œ. # œ œ œ Pno. b œ # œ bnœ ? œ #œ. bœ. œ j œ œ. œ b œ. œ #œ œ œ bœ. œ #œ.

339 harm. gtr. & bœ bœ j ! ! ! bœ œ. œ

E.G. & bœ bœ. bœ œ j j œ œ œ bœ. œ #œ œ. œ > A.B. j ? œ bœ. œ #œ j œ œ. œ bœ. œ #œ œ œ >

339

D. S. ã ‘ ‘ ‘ ‘ ‘

344 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

344 bœ #œ œ j bœ & bœœ bœ. #œ b œ. # œ œ œ bœœ bœ. #œ b œ. Pno. b œ # œ bnœ b œ ? œ #œ. bœ. œ j œ #œ. bœ. œ œ. œ b œ. œ #œ œ œ œ. œ b œ.

344 harm. gtr. & ! ! ! ! !

E.G. & j œ œ bœ. œ #œ œ œ bœ. œ. œ œ.

A.B. ? œ . œ bœ. œ #œ j œ . œ bœ. œ œ œ

344

D. S. ã ‘ ‘ ‘ ‘ ‘

89 "New Music" in Jazz 44

349 T.D. y y. y y. y y. y y. & y y. y y. y y. y y.

349 j #œ œ bœ #œ œ j & # œ œ œ bœœ bœ. #œ b œ. # œ œ œ Pno. # œ bnœ b œ # œ bnœ ? œ j œ #œ. bœ. œ j œ #œ œ œ œ. œ b œ. œ #œ œ

E.G. & j j œ #œ œ œ bœ. œ #œ œ œ. œ > A.B. j ? œ #œ œ œ. œ bœ. œ #œ j œ œ >

349

D. S. ã ‘ ‘ ‘ ‘

353 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

353 j bœ. #œ œ bœ. & bœœ bœ. #œ b œ. # œ œ œ bœœ bœ. #œ b œ. Pno. b œ # œ bnœ b œ ? œ #œ. bœ. œ j œ #œ. bœ. œ œ. œ b œ. œ #œ œ œ œ. œ b œ.

E.G. j & œ œ bœ. œ #œ œ œ bœ. œ. œ œ. > A.B. j ? œ œ. œ bœ. œ #œ œ œ. œ bœ. œ >

353

D. S. ã ‘ ‘ ‘ ‘ ‘

90 "New Music" in Jazz 45

358 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

358 j #œ œ j bœ. #œ œ & # œ œ œ bœœ bœ. #œ b œ. # œ œ œ bœœ bœ. Pno. # œ bnœ b œ # œ bnœ ? œ j œ #œ. bœ. œ j œ #œ. œ #œ œ œ œ. œ b œ. œ #œ œ œ œ.

E.G. & j j œ #œ œ œ bœ. œ #œ œ œ œ. œ œ. > A.B. j ? œ #œ j œ œ. œ bœ. œ #œ œ œ. œ œ >

358

D. S. ã ‘ ‘ ‘ ‘ ‘

363 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. !

363

bœ. #œ œ. œ œ. " " & #œ b œ. ## œ œ. ##œ œ. Pno. b œ > let ring Ï ? bœ. œ œ œ. " " œ b œ. œ #œ. œ œ. >

let ring

E.G. & œ œ. " " œ bœ. œ #œ j œ œ. œ >

A.B. ? œ bœ. œ #œ j œ œ. œ œ. œ œ. œ let> ring

363

D. S. ã ‘ ‘ ‘ ‘ ‘

91 "New Music" in Jazz 46

368 T.D. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y.

368

& ! ! ! ! ! Pno.

? ! ! ! ! !

E.G. & ! ! ! ! !

A.B. ? œ œ. œ œ. œ œ. œ œ. œ œ.

368

D. S. ã ‘ ‘ ‘ ‘ ‘

373 T.D. y y. y y. y y. y y. y y. y y. & y y. y y. y y. y y. y y. y y.

373

& ! ! ! ! ! ! Pno.

? ! ! ! ! ! !

E.G. & ! ! ! ! ! !

A.B. U ? j œ œ. œ œ. œ œ. œ œ. #œ ˙ œ œ. > > â

373 x x x x œx >x >X x Ux. D. S. œ ã ‘ ‘ ‘ œ œ œ ˙ œ œ. J last note(s) rings out next mvt. "attacca" after ca. 10-12"

92 Part 3 The "New Music" Band

Freely, Flexible (ca.) q=100 Theme Drone UY Y Y Y Y & 4 # #Y Y Y Y Y continued... gradual decrescendo to at end of piece ! pppp bœ bœ œ 4 bœ - œ j † 4 œ J bœ. w w & œ œ œ œ œœ. ww Piano - F p 4 bœ j † 4 bœ bœ & " " œ bœ-. w w œ bœ bœ bœ Electric Guitar bœ - bœ œ œ j 4 J bœ. w w œ œ. ˙.. bbœœ & 4 œ œ J P p F œ Acoustic Bass ? 4 #œ #œ œ #œ j ä j#äœ. j 4 #œ #œ œ œ. œ œ œ œ J œ. w w œ œ 3 F P Y Y Y Y Y Drum Set 4 ã 4 unless speciﬁed, freely improvise creating backdrop for ensemble gestures, primarily using cymbals & toms p (don't overpower ensemble)

6 T.D. Y Y 2 Y 4 Y Y Y & Y Y 4 Y 4 Y Y Y

# 6 - #œ #œ œ ˙ ˙ w œ > œ œ ˙ w œ œ œ œ œ #œ 2 4 Ó #˙ w œ œ & bœ 5 4 4 ww 5 Pno. p F $ P #œ œ œ- #œ œ ˙ " œ #œ 2 4 ww " " & bœ 5 4 4

E.G. œ w ww ˙˙ Ó 2 Œ. j 4 Ó Œ. bœ w & 4 #œœ 4 ww J 3 5 A.B. ? œ œ œ œ 2 œ. j 4 j œ œ #œ w #œ bœ nœ 4 œ 4 œ. œ ˙ œ œ ˙ œ œ œ œ 5 #œ œ nœ ˙ œ

6 Y Y ! Y Y Y D. S. ã 42 4

93 The "New Music" 48

12 T.D. Y Y Y Y Y & Y Y Y Y Y

(!) 12 > - - œ œ œ œ- - - #œ #œ œ œ œ #œ bœ Ó † & œ- 3 Pno. w w w P 3 p ? & Ó œ bœ #w w w † #œ- Ó bœ w w w œ-

w b˙˙. #œ E.G. b ˙. œ & w Ó ˙ w w bœ ˙ w w lazily b˙ w w p 3 " A.B. bœ œ ? œ œ #œ w w w œ œ ˙ ˙ p 12 Y Y Y X Y D. S. w ã Ó w "

17 T.D. Y Y Y Y 2 Y 4 & Y Y Y Y 4 Y 4

17 w œ äœ b>œ bœ bœ œ- - - w œ œ œ œ- # 2 # ? 4 † 3 œ- œ 4 4 Pno. - bœ œ F P † # # # j 42 4 bœ bœ-. ˙ ˙

w #w E.G. w # w ˙ 2 ˙ 4 & w # w # Ó bb˙ 4 ˙ 4

A.B. ? #œ œ œ 42 4 ˙ #˙ w œ bœ nœ œ w ˙

as before 17 Y Y Y Y X D. S. w 2 4 ã w 4 4 p

94 The "New Music" 49

22 e=e T.D. 4 Y Y 1 y 4 Y 6 Y. 4 & 4 Y Y 4 y 4 Y 8 Y. 4

poco rit. 22 - œ- œ œ œ- œ ? 4 #œ bœ " 1 " 4 " & 6 œ- 4 4 bœ œ #œ 4 4 8 bœ œ- 4 Pno. - #œ - P - 3 4 ? 1 4 #œ 6 4 † 4 " œ 4 4 j œ- - 8 " 4 œ œ #œ. bœ ˙ œ œ bœ- - ! let ring E.G. w 4 w Ó 1 4 6 " 4 & 4 w #˙ 4 œ 4 w 8 4 # ˙ œ w let ring

A.B. ? 4 41 4 86 " 4 w ˙ #˙ œ w

22 Y X X>˙ x Y X D. S. . ã 4 41 4 86 4

27 T.D. 4 Y Y Y Y Y & 4 Y Y Y Y Y

(a tempo) - 27 b˙ œ ˙ ˙ œ- œ 4 & 4 † Ó œ œ- " " & Pno. p F bœ- p #œ œ ? 4 " - bœ 4 & œ- † œ & œ- w w

b ˙ w w E.G. 4 w ˙ b˙˙ ww ww & 4 " #w ˙ #w ˙ p P A.B. ? 4 " 4 #w ˙ b˙- b˙- ˙- bw F P 27 Y Y Y Y Y D. S. 4 ã 4 #

95 (a tempo)

The "New Music" 50

32 T.D. Y 1 y 4 Y Y Y & Y 4 y 4 Y Y Y

32 ˙. œ œ bœ œ œ. œ œ. #œ#œ #œ bœ œ œ. œ ˙ & 41 4 J J J Pno. P 5 & œ 41 ! 4 œ ! ! bœ bœ ° * ° let ring E.G. 1 4 & 4 4 ! ! w œ w P let ring A.B. ? 1 4 w 4 œ 4 w ! !

32 Y x Y D. S. ã 41 4 ! !

37 T.D. Y 7 Y.. 4 Y Y & Y 8 Y.. 4 Y Y

(a tempo) freely poco rit. 37 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 bœ. bœ œ bœ 7 4 ‰ Ó Œ œ bœ & 3 8 3 4 œ œ 5 Pno. " F f 7 4 #œ. ? #œ & ! 8 ! 4 # œ. ‰ Ó nœ Œ Ó œ. #œ * bœ ° > w w bw w E.G. ! 7 ! 4 & 8 4 controlled P

A.B. ? ! 7 ! 4 8 4 w w > 37 Y D. S. 7 4 w ã ! 8 ! 4 w ! P

96 The "New Music" 51

41 T.D. Y Y Y Y 5 Y Y. 4 & Y Y Y Y 4 Y Y. 4

41 #œ #œ œ - #œ- #œ #œ ˙- 5 ˙. ˙ 4 & ! ! ! 6 4 4 Pno. P p 6 ? œ œ œ 5 4 œ & œ œ œ œ 4 4 œ ˙ w w œ- - b˙- ˙. ˙ * w E.G. w Ó Œ bœœ ww ww 5 Ó Ó œ 4 & b œ w w 4 œ 4 p 3 A.B. j ? . 5 4 ˙. #œ œ n˙ bœ œ bœ œ ˙ ˙ bœ œ 4 œ bœ œ ˙ œ 4 F

41 X X. >x x D. S. 5 4 ã Ó ! ! 4 Ó Ó œ 4 " #

rubato 46 T.D. 4 Y 6 Y. 4 Y Y Y 5 & 4 Y 4 Y. 4 Y Y Y 4

46 3 3 3 3 4 w 6 w. 4 5 & 4 4 4 bœ œ œ œ œ œ nœ œ #w œ nœ œ œ œ œ œ 4 Pno. delicate # & 4 46 4 ! ! ! 45 bw w. °

E.G. 4 6 4 œ. 5 & 4 w 4 w. 4 #w w ˙ ‰ bœ. 4 w w. w w ˙ # A.B. ? 4 46 4 #˙ œ n˙ bœ œ 45 w œ œ w #w ˙ 3 p toms only 46 Y Y Y D. S. X X. ã 4 ! 46 Œ ˙ 4 45 #

97 The "New Music" 52

51 T.D. 5 Y Y. 4 Y Y Y & 4 Y Y. 4 Y Y Y

51 3 ä 5 b˙ 4 œ œ- œ œ œ ˙ #œ œ œ & 4 ˙ bœ 4 œ œ œ œ œ w 3 3 Pno. â 3 - - P p F & 45 ! 4 ! ! !

bw E.G. 5 ˙. ˙ 4 w w b w & 4 ˙. ˙ 4 bbw w bw p A.B. ? 5 4 4 œ bœ ˙ œ 4 w ˙. œ- w- Pâ F sim. 51 Y Y Y D. S. ã 45 ! 4 "

55 T.D. Y Y Y 3 Y. 4 & Y Y Y 4 Y. 4

55 œ œ œ œ bœ œ ˙ œ œ 3 - - 4 & œ œ œ œ ˙ œ œ œ œ 4 bœ œ bœ œ bœ- œ- 4 Pno. - -

& ! ! ! 43 ! 4

˙.. j E.G. ˙.. bœ w w 3 ˙ œ 4 & ˙.. bbœœ ww ww 4 ˙˙ bœ 4 " A.B. j ? ˙.. 3 4 œ w ˙. œ 4 ˙ œ 4 P 55 X D. S. x ã Œ œ ! ! 43 ! 4 "

98 The "New Music" 53

59 T.D. 4 Y Y Y Y 6 & 4 Y Y Y Y 4

59 3 3 4 6 & 4 œ œ ˙. ˙. ˙. 4 Pno. - - œ œ œ œ œ œ ˙. œ

& 4 ! ! ! ! 46

let ring

E.G. 4 w w ! ! 6 & 4 w w 4

A.B. ? 4 j j 46 w ˙.. #œ w œ ˙.. p

D. S. ã 4 ! ! ! ! 46

63 T.D. 6 Y. 4 Y Y Y & 4 Y. 4 Y Y Y Ø poco a poco

63 rit.

& 46 4 Pno. bœ œ ˙ ˙. n˙. œ- w letw ring ? & 46 ! 4 ! ! bw

E.G. 6 4 & 4 Ó. 4 b˙. w w w ˙. w w wlet ring p A.B. ? 6 4 4 b˙. 4 w w w ˙. > let ring

63 D. S. 6 4 ã 4 ! 4 ! ! !

attacca

99 Part 4 Crossing Over

In Time, Heavily q=100

Theme Drone U 4 #Y Y Y Y Y Y 9 & 4 Y Y Y Y Y Y 4 # continued... "

& 4 ! ! ! ! ! ! 49 Synth Lead

? 4 9 4 ! ! ! ! ! ! 4

& 4 j 49 #w ˙ œ #œ. œ #˙. ˙. #œ w w Piano F t ? 4 ! ! ! ! ! ! 49

Electric Guitar 4 9 & 4 ! ! ! ! ! ! 4

Acoustic Bass ? 4 j j j j j j 9 4 #˙.. œ #˙.. œ #˙.. œ #˙.. œ #˙.. œ #˙.. œ 4

>x Drum Set ˙.. œ ˙.. œ ˙.. œ ˙.. œ ˙.. œ ˙.. œ ã 4 J J J J J œ 49 J F

Reversed Guitar 4 9 & 4 | | | | | | 4

Background Synths 4 9 & 4 | | | | | | 4

100 Crossing Over 55

7 T.D. Y Y Y Y Y Y & 49 # ...... #Y. Y. Y. Y. Y. Y.

7 œ ˙. ˙. œ. œ ˙. ˙. œ. 9 Œ ‰bœ bœ bœ bœ œ œ ˙. ˙. & 4 J J J #œ S.L. dal niente cresc. poco a poco bœ ˙ ˙ œ bœ ˙ ˙ œ nœ ˙ ˙ ? 9 œ . . . œ . . . œ . . 4 Œ ‰ J bœ J bœ J #œ

7 9 bw. ˙. w. ˙. w. ˙. & 4 b w. ˙. bw. ˙. #w. ˙. Pno. # w. ˙. f t 49 bw. ˙. bw. ˙. w. ˙. bw. ˙. bw. ˙. w. ˙.

E.G. 9 & 4 #œ œ œ œ œ œœ œ #œ œ œ œ œ œœ œ #œ œ œ œ œ œœ œ œ bœopen stringsœ œ indicatedœ 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 all notes ring constantly played freely, ad lib. throughout p ﬁnger-style picking

A.B. ? 49 bw. ˙. bw. ˙. w. ˙. f

7 >xœ œ œ œ œ œ œ œ >xœ œ œ œ D. S. 9 œ œ fœ œ œ f œ œ œ fœ œ œ f œ œ œ fœ œ œ f œ ã 4 œ x x x œ œ x x x œ x x x œ œ x x x œ x x x œ œ x x x deep sound, ad lib. f

7 R.G. 9 & 4 |. |. |. |. |. |.

B.S. & 49 |. |. |. |. |. |.

101 Crossing Over 56

10 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

10 œ. œ œ ˙. œ b˙ bw. ˙. w. ˙. & J #œ S.L. œ. œ ˙. œ b˙ . ? œ #œ w œ b˙ w. ˙. J

10 . . #w. ˙. w. ˙. & w. ˙. w. ˙. w. . ˙. . Pno. #w. ˙. #w. ˙. b w. ˙. t w ˙ w. ˙. w. ˙. w. ˙. w. ˙. w. ˙.

E.G. & #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 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 œ œ œ œ

A.B. ? w. ˙. w. ˙. w. ˙.

10 œ œ œ >x œ œ œ >x œ œ œ D. S. œ f œ œ f œ œ f œ œ f œ œ f œ œ f œ ã œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ

R.G. & |. |. |. |. |. |.

B.S. & |. |. |. |. |. |.

102 Crossing Over 57

13 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

13 œ ˙. ˙. œ. œ ˙. ˙. œ. Œ ‰bœ bœ bœ bœ œ œ ˙. ˙. & J J J #œ S.L. bœ ˙. ˙. œ. bœ ˙. ˙. œ. nœ ˙. ˙. ? Œ ‰ œ bœ œ bœ œ #œ J J J

13 ...... & bw. ˙. w. ˙. #w. ˙. Pno. b w. ˙. bw. ˙. # w. ˙. f t bw. ˙. bw. ˙. w. ˙. bw. ˙. bw. ˙. w ˙

E.G. & œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ 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 bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

A.B. ? . . . . bw ˙ bw ˙ w. ˙.

13 >x œ œ œ œ œ œ >x œ œ œ D. S. œ fœ œ f œ œ fœ œ f œ œ fœ œ f œ ã œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ

R.G. & |. |. |. |. |. |.

B.S. & |. |. |. |. |. |.

103 (a tempo)

Crossing Over 58

16 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

16 œ. œ œ ˙. œ b˙ bw. ˙. w. ˙. & J #œ S.L. œ. œ ˙. œ b˙ . ? œ #œ w œ b˙ w. ˙. J

16 w. ˙. #w. ˙. w. ˙. & w. ˙. w. ˙. w. . ˙. . Pno. #w. ˙. #w. ˙. b w. ˙. t w ˙ w. ˙. w. ˙. w. ˙. w. ˙. w. ˙.

E.G. & œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ 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 bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

A.B. ? w. ˙. w. ˙. w. ˙.

16 œ œ œ œ >xœ œ œ œ >xœ œ œ œ D. S. œ œ f œ œ œ f œ œ œ f œ œ œ f œ œ œ f œ œ œ f œ ã œ x x x œ œ x x x œ x x x œ œ x x x œ x x x œ œ x x x

R.G. & |. |. |. |. |. |.

B.S. & |. |. |. |. |. |.

104 Crossing Over 59

19 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

19 œ ˙. ˙. œ. œ ˙. ˙. œ. Œ ‰bœ bœ bœ bœ œ œ ˙. ˙. & J J J #œ S.L. bœ ˙. ˙. œ. bœ ˙. ˙. œ. nœ ˙. ˙. ? Œ ‰ œ bœ œ bœ œ #œ J J J

19 ...... & bw. ˙. w. ˙. #w. ˙. Pno. b w. ˙. bw. ˙. # w. ˙. f t bw. ˙. bw. ˙. w. ˙. bw. ˙. bw. ˙. w ˙

E.G. & œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ 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 bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

A.B. ? . . . . bw ˙ bw ˙ w. ˙.

19 >xœ œ œ œ œ œ œ œ >xœ œ œ œ D. S. œ œ fœ œ œ f œ œ œ fœ œ œ f œ œ œ fœ œ œ f œ ã œ x x x œ œ x x x œ x x x œ œ x x x œ x x x œ œ x x x

R.G. & |. |. |. |. |. |.

B.S. & |. |. |. |. |. |.

105 Crossing Over 60

22 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

22 œ. œ œ ˙. œ b˙ bw. ˙. w. ˙. & J #œ S.L. œ. œ ˙. œ b˙ . ? œ #œ w œ b˙ w. ˙. J

22 w. ˙. #w. ˙. w. ˙. & w. ˙. w. ˙. w. . ˙. . Pno. #w. ˙. #w. ˙. b w. ˙. t w. ˙. w. ˙. w. ˙. w. ˙. w. ˙. w. ˙.

E.G. & œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ 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 bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

A.B. ? w. ˙. w. ˙. w. ˙.

22 œ œ œ >x œ œ œ >x œ œ œ D. S. œ f œ œ f œ œ f œ œ f œ œ f œ œ f œ ã œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ

R.G. & |. |. |. |. |. |.

B.S. & |. |. |. |. |. |.

106 Crossing Over 61

25 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

25 œ ˙. ˙. œ. œ ˙. ˙. œ. Œ ‰bœ bœ bœ bœ œ œ ˙. ˙. & J J J #œ S.L. f bœ ˙ ˙ œ bœ ˙ ˙ œ nœ ˙ ˙ ? œ . . . œ . . . œ . . Œ ‰ J bœ J bœ J #œ

25 bw. ˙. w. ˙. w. ˙. & b w. ˙. bw. ˙. #w. ˙. Pno. # w. ˙. f t bw. ˙. bw. ˙. w. ˙. bw. ˙. bw. ˙. w. ˙.

E.G. & œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ 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 bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

A.B. ? . . . . bw ˙ bw ˙ w. ˙.

25 >x œ œ œ œ œ œ >x œ œ œ D. S. œ fœ œ f œ œ fœ œ f œ œ fœ œ f œ ã œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ œ x œ œ x œ œ x œ œ x œ x x œ

R.G. & |. |. |. |. |. |.

B.S. & |. |. |. |. |. |.

107 Crossing Over 62

28 T.D. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y.

28 œ. œ œ ˙. œ b˙ bw. ˙. w. ˙. & J #œ S.L. œ. œ ˙. œ b˙ . ? œ #œ w œ b˙ w. ˙. J

28 . . #w. ˙. w>. ˙. & w. ˙. w. ˙. w. . ˙. . Pno. #w. ˙. #w. ˙. b w. ˙.

t w ˙ w. ˙. w. ˙. w. ˙. w. ˙. w. ˙. >

E.G. ! & œ œ œ œ œ bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ let ring A.B. ? w. ˙. w. ˙. w. ˙. >

28 œ œ œ œ >xœ œ œ œ >wY. ˙X. D. S. œ œ f œ œ œ f œ œ œ f œ œ œ f œ . . ã œ x x x œ œ x x x œ x x x œ œ x x x w. ˙ .

R.G. & |. |. |. |. !

B.S. & |. |. |. |. |. |.

108 Crossing Over 63

31 T.D. Y. Y. Y. Y. Y. Y. Y. Y. Y. Y. Y. Y. & Y. Y. Y. Y. Y. Y. Y. Y. Y. Y. Y. Y. "

& w. ˙. w. ˙. w. ˙. ! ! ! S.L.

? w. ˙. w. ˙. w. ˙. ! ! !

31 w ˙ w ˙ w ˙ & w. . ˙. . w. . ˙. . w. . ˙. . ! ! ! Pno. bww. ˙˙. bww. ˙˙. bww. ˙˙.

t w. ˙. w. ˙. w. ˙. ! ! ! w. ˙. w. ˙. w. ˙.

E.G. & ! ! ! ! ! !

A.B. ? w. ˙. ! ! ! ! !

D. S. ã ! ! ! ! ! !

R.G. & ! ! Ó |. |. |. |. |. |. |. |. |. F

B.S. & |. |. |. |. |. |. |. |. |. |. |. |.

attacca

109 Part 5 The Guitar Source

Steadily, Reﬂecting q=120

Theme Drone U 4 #Y Y Y Y Y Y & 4 Y Y Y Y Y Y # continued... " Reversed Guitar 4 & 4 | | | | | | " Background Noise & 4 | | | | | | # Tremolo Tone & 4 #w w w w #w w p

Guitar 1 4 & 4 w w #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #w ##œœ œœ œœ œœ P Guitar 2 4 & 4 ! ! ! ! ! !

Guitar 3 4 & 4 ! ! ! ! ! !

Guitar 4 4 & 4 ! ! ! ! ! !

Guitar 5 & 4 ! ! ! ! ! !

Guitar 6 4 & 4 ! ! ! ! ! !

Electric Guitar 4 & 4 ! ! ! ! ! !

Sub Bass t 4 4 ! ! ! ! ! !

Synth Percussion t 4 4 Œ Ó j‰ Œ Ó Œ Œ j‰ ! Œ Ó j‰ Œ Ó #œ œ #œ #œ œ œ #œ œ #œ fl fl fl fl fl fl fl fl fl F Rhythmic Noise 1 & 4 ! ! ! ! ! !

Rhythmic Noise 2 4 & 4 ! ! ! ! ! !

110 65 The Guitar Source

7 T.D. Y Y Y Y Y Y & Y Y Y Y Y Y

R.G. & | | | | | |

B.N. & | | | | | |

T.T. & w w #w w w w

G. 1 & w ##œ œ œ œ ##œ œ œ œ #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ

G. 2 & ! ! ! ! ! !

G. 3 & ! ! ! ! ! !

G. 4 & ! ! ! ! ! !

G. 5 & ! ! ! ! ! !

G. 6 & ! ! ! ! ! !

E.G. & ! ! ! ! ! !

S.B. t ! ! ! ! ! !

S.P. t Œ Œ j ‰ ! Œ Ó j ‰ Œ Ó Œ Œ j ‰ ! #œ œ œ #œ œ #œ #œ œ œ fl fl fl fl fl fl fl fl fl

R.N. 1 & ! ! ! ! ! !

R.N. 2 & ! ! ! ! ! !

111 The Guitar Source 66

13 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & #w w w w

G. 1 & w #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & # œ œ œ œ # œ œ œ œ ! ! P G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ P> > > > > G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t j Œ Ó j ‰ Œ Ó #œ œ Œ Œ œ ‰ ! #œ œ #œ fl fl fl fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

112 67 The Guitar Source

17 T.D. Y Y Y Y Y & Y Y Y Y Y

R.G. & | | | | |

B.N. & | | | | |

T.T. & #w w w w #w

G. 1 & w w #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #w #œ œ œ œ #œ œ œ œ #œ œ œ œ G. 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

G. 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 œ œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > G. 4 & ! ! ! ! !

G. 5 & ! ! ! ! !

G. 6 & ! ! ! ! !

E.G. & ! ! ! ! !

S.B. t ! ! ! ! !

S.P. t Œ Ó ‰ Œ Ó Œ Œ j ‰ ! Œ Ó j #œ œ œ #œ œ #œ fl fl fl #œ œ fl fl fl fl fl R.N. 1 & ! ! ! ! !

R.N. 2 & ! ! ! ! !

113 The Guitar Source 68

22 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & w w w #w

G. 1 & w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #w #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & # œ œ œ œ ! ! # œ œ œ œ

G. 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 œ œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t j j ‰ Œ Ó #œ œ Œ Œ œ ‰ ! Œ Ó #œ fl fl fl #œ œ fl fl fl R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

114 69 The Guitar Source

26 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & w w w #w

G. 1 & w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #w #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & # œ œ œ œ ! ! # œ œ œ œ

G. 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 œ >œ œ G. 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 & ! ! P

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t j‰ Œ Ó Œ Œ j ‰ ! Œ Ó #œ #œ œ œ #œ œ fl fl fl fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

115 (a tempo)

The Guitar Source 70

30 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & w w w #w

G. 1 & # œ œ œ œ #œ œ œ œ #œ œ œ œ w # œ œ œ œ # œ œ œ œ # œ œ œ œ #w #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & # œ œ œ œ ! ! # œ œ œ œ

G. 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 œ œ œ ! >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ œ G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t j j ‰ Œ Ó #œ œ Œ Œ œ ‰ ! Œ Ó #œ fl fl fl #œ œ fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

116 71 The Guitar Source

34 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & w w w #w

G. 1 & # œ œ œ œ œ œ œ œ œ œ œ œ w # œ œ œ œ ##œ œ œ œ ##œ œ œ œ #w #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & # œ œ œ œ ! ! # œ œ œ œ

G. 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 œ œ œ ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t j j ‰ Œ Ó œ Œ Œ ‰ ! Œ Ó #œ #œ œ #œ œ fl fl fl fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

117 The Guitar Source 72

38 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & w w w #w

G. 1 & # # # ##œœ œœ œœ œœ # œ œ œ œ # œ œ œ œ # œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ & # œ œ œ œ ! ! !

G. 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 œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ G. 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 œ œ œ œ œ œ œ œ & !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t ‰ Œ Ó Œ Œ j ‰ ! ! j #œ œ œ #œ fl fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

118 73 The Guitar Source

42 T.D. Y Y Y & Y Y Y

R.G. & | | |

B.N. & | | |

T.T. & w w w

G. 1 & Ó ##œ œ œ œ ##œ œ œ œ ##œ œ

G. 2 & ! ! !

G. 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 œ >œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ G. 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 œ œ œ œ œ œ œ œ &

G. 5 & ! ! !

G. 6 & ! ! !

E.G. & ! ! !

S.B. t ! ! !

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

119 The Guitar Source 74

45 T.D. Y Y & Y Y !

R.G. & | | |

B.N. & | | |

T.T. & w w #w

G. 1 & ! ! !

G. 2 & ! ! !

G. 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 >œ œ œ G. 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 & !

G. 5 # #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ & ! ! # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p G. 6 & ! ! !

E.G. & ! ! !

S.B. t ! ! #w Ø cresc. poco a poco S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

120 75 The Guitar Source

T.D. & ! !

R.G. & | |

B.N. & | |

T.T. & w w

G. 1 & ! !

G. 2 & ! !

G. 3 & ! !

G. 4 & ! !

G. 5 # 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 & ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ #œ œ œ œ œ œ œ œ œ

G. 6 & ! !

E.G. & ! !

S.B. t w w

S.P. t ! !

R.N. 1 & ! !

R.N. 2 & ! !

121 The Guitar Source 76

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w #w w

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 & ! ! !

G. 4 & ! ! !

G. 5 #œ œ œ œ # #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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 œ œ œ œ œ œ œ œ œ œ œ œ ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

G. 6 & ! ! !

E.G. & ! ! !

S.B. t w w w

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

122 77 The Guitar Source

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w w #w

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 & ! ! !

G. 4 & ! ! !

G. 5 #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ # #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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 œ œ œ œ œ œ œ œ

G. 6 & ! ! !

E.G. ! ! & #w P S.B. t #w w w P

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

123 The Guitar Source 78

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w w w

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 & ! ! !

G. 4 & ! ! !

G. 5 # 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 & ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ #œ œ œ œ œ œ œ #œ œ œ œ

G. 6 & ! ! !

E.G. & # w #w w # w # w w S.B. t w #w w

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

124 79 The Guitar Source

T.D. & ! !

R.G. & | |

B.N. & | |

T.T. & #w w

G. 1 & ! !

G. 2 & ! !

G. 3 & ! !

G. 4 & ! !

G. 5 # #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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 œ œ œ œ œ œ œ œ ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

G. 6 & ! !

E.G. & #w ##ww

S.B. t #w w

S.P. t ! !

R.N. 1 & ! !

R.N. 2 & ! !

125 The Guitar Source 80

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w w #w

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 & ! ! !

G. 4 & ! ! !

G. 6 & ! ! !

E.G. & #w w w # w w #w S.B. t #w w #w

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

126 81 The Guitar Source

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w w w

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 & ! ! !

G. 4 & ! ! !

G. 6 & ! ! !

E.G. & # w #w w # w # w w S.B. t w #w w

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

127 The Guitar Source 82

T.D. & ! !

R.G. & | |

B.N. & | |

T.T. & #w w

G. 1 & ! !

G. 2 & ! !

G. 3 & ! !

G. 4 & ! !

G. 5 # #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 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 œœ œœ œœ œœ œœ œœ œœ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

G. 6 & ! !

E.G. & ˙ #˙˙ #˙ ˙˙ ##˙ ˙ ˙ ˙ S.B. t #˙ ˙ ˙ ˙

S.P. t ! !

R.N. 1 & ! !

R.N. 2 & ! !

128 83 The Guitar Source

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w w ! !

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 3 & ! ! ! !

G. 4 & ! ! ! !

G. 5 #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 J J J J

G. 6 & ! ! ! !

E.G. yj y yj y yj y yj y yj #w ˙.. #y y. #y y. y y. #y y. y & ##w ˙.. ##y y. ##y y. y y. ##y y. y # w ˙.. # y y. # y y. y y. # y y. y

S.B. t bw w w w

S.P. t ! ! ! !

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

129 The Guitar Source 84

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & ! ! !

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 & ! ! !

G. 4 & ! ! !

G. 5 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 R R R

G. 6 & ! ! !

E.G. y yj y yj y yj y yj y yj y yj y. #y y. y y. #y y. y y. #y y. y & y. ##y y. y y. ##y y. y y. ##y y. y y. # y y. y y. # y y. y y. # y y. y

S.B. t w w w

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

130 85 The Guitar Source

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & #w w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 3 & ! ! ! !

G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t Œ Ó j ‰ Œ Ó Œ Œ j ‰ ! #œ œ #œ #œ œ œ fl fl fl fl fl fl F R.N. 1 & ‰ r" " r‰ ‰ r" " r‰ ‰ r" " r‰ ‰ r" " r‰ ‰ r" " r‰ #œ ‰ œ œ œ œ " " œ #œ œ œ " " œ œ #œ œ " " œ œ œ #œ ‰ œ œ œ œ " " œ dal niente cresc. poco a poco

R.N. 2 & Œ Œ ‰ j j ‰ Œ Œ Œ ‰ j j ‰ Œ ! #œ œ œ #œ #œ œ #

131 The Guitar Source 86

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & #w w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 3 & ! ! ! !

G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t Œ Ó j ‰ Œ Ó Œ Œ j ‰ ! #œ œ #œ #œ œ œ fl fl fl fl fl fl

R.N. 1 & ‰ r" " r‰ ‰ r" " r ‰ ‰ r " " r ‰ ‰ r" " r‰ ‰ r" " r‰ ‰ r" #œ œ œ " " œ œ #œ œ " " œ œ œ #œ ‰ œ œ œ œ " " œ #œ œ œ " " œ œ

R.N. 2 & Œ Œ ‰ j j ‰ Œ Œ Œ ‰ j j ‰ Œ ! #œ œ œ #œ #œ œ

132 87 The Guitar Source

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & #w w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 3 & ! ! ! !

G. 4 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t Œ Ó ‰ Œ Ó Œ Œ j ‰ ! j #œ œ œ #œ œ #œ fl fl fl fl fl fl delay mix enters

R.N. 1 & " r‰ ‰ r" " r‰ ‰ r" " r‰ ‰ r" " r‰ ‰ r" " r ‰ ‰ r " " r ‰ #œ œ " " œ œ œ #œ ‰ œ œ œ œ " " œ #œ œ œ " " œ œ #œ œ " " œ œ œ

R.N. 2 & Œ Œ ‰ j j ‰ Œ Œ Œ ‰ j j ‰ Œ ! #œ œ œ #œ #œ œ

133 The Guitar Source 88

T.D. & ! ! ! 46 ! 4

R.G. & | | | 46 |. 4

B.N. 6 4 & | | | 4 |. 4

T.T. & w w w 46 w. 4

G. 1 6 4 & ! ! ! 4 ! 4

G. 2 & ! ! ! 46 ! 4

G. 3 & ! ! ! 46 ! 4

G. 4 & ! ! ! 46 ! 4

G. 5 6 4 & ! ! ! 4 ! 4

G. 6 & ! ! ! 46 ! 4

E.G. 6 4 & ! ! ! 4 ! 4

S.B. t 6 4 ! ! ! 4 ! 4

S.P. t 6 4 Œ Ó j ‰ Œ Ó ! 4 ! 4 #œ œ #œ fl fl fl rings out

R.N. 1 & ‰ r" " r‰ ‰ r" " r‰ ‰ r" " r ‰ ‰ r " " r ‰ 46 ! 4 #œ ‰ œ œ œ œ " " œ #œ œ œ " " œ œ #œ œ " " œ œ œ P

R.N. 2 & ! ! ! 46 ! 4

134 89 The Guitar Source

T.D. & 4 ! ! ! 47 ! 4

R.G. & 4 | | | 47 | |. 4

B.N. 4 7 4 & 4 | | | 4 | |. 4

T.T. & 4 #w w w 47 w ˙. 4

G. 1 4 7 4 & 4 w 4 4 #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & 4 # œ œ œ œ # œ œ œ œ ! 47 ! 4

G. 3 & 4 ! ! ! 47 ! 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 œ œ >œ œ G. 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 œ œ œ œ & 4 ! ! 47 4

G. 5 4 7 4 & 4 ! ! ! 4 ! 4

G. 6 & 4 ! ! ! 47 ! 4

E.G. 4 7 4 & 4 ! ! ! 4 ! 4

S.B. t 4 7 4 4 ! ! ! 4 ! 4

S.P. t 4 7 4 4 Œ Ó j‰Œ Ó Œ Œ j ‰ 4 ! 4 #œ œ #œ #œ œ œ fl fl fl fl fl fl

R.N. 1 & 4 ! ! ! 47 ! 4

R.N. 2 & 4 ! ! ! 47 ! 4

135 The Guitar Source 90

T.D. & 4 ! ! ! 47 ! 4

R.G. & 4 | | | 47 | |. 4

B.N. 4 7 4 & 4 | | | 4 | |. 4

T.T. & 4 #w w w 47 w ˙. 4

G. 1 4 7 4 & 4 w 4 Ó Œ 4 #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & 4 # œ œ œ œ # œ œ œ œ ! 47 ! 4

G. 3 #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 ! ! œ œ œ œ œ œ œ œ 47 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > G. 4 & 4 ! ! ! 47 ! 4

G. 5 4 7 4 & 4 ! ! ! 4 ! 4

G. 6 & 4 ! ! ! 47 ! 4

E.G. 4 7 4 & 4 ! ! ! 4 ! 4

S.B. t 4 7 4 4 ! ! ! 4 ! 4

S.P. t 4 7 4 4 Œ Ó j ‰ Œ Ó Œ Œ j ‰ 4 ! 4 #œ œ #œ #œ œ œ fl fl fl fl fl fl

R.N. 1 & 4 ! ! ! 47 ! 4

R.N. 2 & 4 ! ! ! 47 ! 4

136 91 The Guitar Source

100

T.D. & 4 ! ! ! ! ! !

R.G. & 4 | | | | | |

B.N. 4 & 4 | | | | | |

T.T. & 4 #w w w w #w w

G. 1 4 & 4 w w #w ##œœ œœ œœ œœ ##œ œ œ œ ##œ œ œ œ #w ##œœ œœ œœ œœ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ & 4 # œ œ œ œ # œ œ œ œ ! ! # œ œ œ œ # œ œ œ œ

G. 3 #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ & 4 ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > G. 4 & 4 ! ! ! ! ! !

G. 5 4 & 4 ! ! ! ! ! !

G. 6 & 4 ! ! ! ! ! !

E.G. 4 & 4 ! ! ! ! ! !

S.B. t 4 4 ! ! ! ! ! !

S.P. t 4 4 Œ Ó j‰ Œ Ó Œ Œ j‰ ! Œ Ó j‰ Œ Ó #œ œ #œ #œ œ œ #œ œ #œ fl fl fl fl fl fl fl fl fl

R.N. 1 & 4 ! ! ! ! ! !

R.N. 2 & 4 ! ! ! ! ! !

137 The Guitar Source 92

106

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w w #w w

G. 1 & w ##œ œ œ œ ##œ œ œ œ #w ##œœ œœ œœ œœ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & ! ! # œ œ œ œ # œ œ œ œ

G. 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 œ >œ œ G. 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 & ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t Œ Œ j ‰ ! Œ Ó j‰ Œ Ó #œ œ œ #œ œ #œ fl fl fl fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

138 93 The Guitar Source

110

T.D. & ! 47 ! 4 ! !

R.G. & | 47 | |. 4 | |

B.N. 7 4 & | 4 | |. 4 | |

T.T. & w 47 w ˙. 4 #w w

G. 1 7 4 & 4 Ó Œ 4 w ##œ œ œ œ ##œ œ œ œ #w ##œœ œœ œœ œœ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & ! 47 ! 4 # œ œ œ œ # œ œ œ œ

G. 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 œ 47 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > G. 4 & ! 47 ! 4 ! !

G. 5 7 4 & ! 4 ! 4 ! !

G. 6 & ! 47 ! 4 ! !

E.G. 7 4 & ! 4 ! 4 ! !

S.B. t 7 4 ! 4 ! 4 ! !

S.P. t 7 4 Œ Œ j ‰ 4 ! 4 Œ Ó j ‰ Œ Ó #œ œ œ #œ œ #œ fl fl fl fl fl fl

R.N. 1 & ! 47 ! 4 ! !

R.N. 2 & ! 47 ! 4 ! !

139 The Guitar Source 94

114

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w w #w w

G. 1 & w ##œ œ œ œ ##œ œ œ œ #w ##œœ œœ œœ œœ #œ œ œ œ #œ œ œ œ G. 2 # œ œ œ œ # œ œ œ œ & ! ! # œ œ œ œ # œ œ œ œ

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t Œ Œ j ‰ ! Œ Ó j‰ Œ Ó #œ œ œ #œ œ #œ fl fl fl fl fl fl

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

140 95 The Guitar Source

118

T.D. & ! 47 ! 4 ! !

R.G. 7 4 & | 4 | |. 4 | |

B.N. 7 4 & | 4 | |. 4 | |

T.T. 7 4 & w 4 w ˙. 4 #w w

G. 1 7 4 & 4 4 w ##œ œ œ œ ##œ œ œ œ œ œ œ #w ##œœ œœ œœ œœ #œ œ œ œ #œ œ œ œ G. 2 7 4 # œ œ œ œ # œ œ œ œ & ! 4 ! 4 # œ œ œ œ # œ œ œ œ

G. 3 #œ œ œ œ œ œ œ œ 7 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ! ! œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > G. 4 7 4 & ! 4 ! 4 ! !

G. 5 7 4 & ! 4 ! 4 ! !

G. 6 7 4 & ! 4 ! 4 ! !

E.G. 7 4 & ! 4 ! 4 ! !

S.B. t ! 47 ! 4 ! !

S.P. t Œ Œ j ‰ 47 ! 4 Œ Ó j ‰ Œ Ó #œ œ œ #œ œ #œ fl fl fl fl fl fl R.N. 1 7 4 & ! 4 ! 4 ! !

R.N. 2 7 4 & ! 4 ! 4 ! !

141 The Guitar Source 96

122

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w w #w

G. 1 & ! ##œ œ œ œ ##œ œ œ œ

G. 2 & ! ! !

G. 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 œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ G. 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 œ œ œ œ œ œ œ œ &

G. 5 & ! ! !

G. 6 & ! ! !

E.G. & ! ! !

S.B. t ! ! !

S.P. t Œ Œ j ‰ ! ! #œ œ œ fl fl fl

R.N. 1 & ! ! !

R.N. 2 & ! ! !

142 97 The Guitar Source

125

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & w w w

G. 1 & ! ! !

G. 2 & ! ! !

G. 3 ! ! ! & ﬁlters gradually alter tone >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 G. 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 œ œ œ œ œ œ œ œ & decresc. poco a poco

G. 5 & ! ! !

G. 6 & ! ! !

E.G. & ! ! !

S.B. t ! ! !

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

143 The Guitar Source 98

128

T.D. & ! ! !

R.G. & | | |

B.N. & | | |

T.T. & #w w w

G. 1 & ! ! !

G. 2 & ! ! !

G. 5 & ! ! !

G. 6 & ! ! !

E.G. & ! ! !

S.B. t ! ! !

S.P. t ! ! !

R.N. 1 & ! ! !

R.N. 2 & ! ! !

144 99 The Guitar Source

131

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w #w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 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 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 G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & "

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & #w ##ww #w w P # w w S.B. t ! ! ! !

S.P. t ! ! ! !

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

145 The Guitar Source 100

135

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w #w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 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 >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 G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & w # w #w w #w # w # w w S.B. t ! ! ! !

S.P. t ! ! ! !

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

146 101 The Guitar Source

139

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w #w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 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 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 G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. & w # w #w w #w # w # w w S.B. t ! ! ! !

S.P. t ! ! ! !

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

147 The Guitar Source 102

143

T.D. & ! ! ! !

R.G. & | | | |

B.N. & | | | |

T.T. & w #w w w

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 5 & ! ! ! !

G. 6 & ! ! ! !

E.G. #w w & #˙ #˙˙ #˙ ˙˙ # w w # ˙ ˙ ˙ ˙ #w w S.B. t ! ! ! !

S.P. t ! ! ! !

R.N. 1 & ! ! ! !

R.N. 2 & ! ! ! !

148 103 The Guitar Source

147

T.D. & ! ! 45 ! 4

R.G. & | | 45 |. | 4

B.N. 5 4 & | | 4 |. | 4

T.T. & w #w 45 ˙. ˙ 4

G. 1 5 4 & ! ! 4 ! 4

G. 2 & ! ! 45 ! 4

G. 3 & ! ! 45 ! 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 œ >œ œ œ >œ œ œ >œ œ œ >œ œ G. 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 œ œ œ œ œ œ œ œ œ œ œ œ & 45 4

G. 5 5 4 & ! ! 4 ! 4

G. 6 & ! ! 45 ! 4

E.G. g #w w 5 ˙. ˙ 4 &g##w w 4 ˙. ˙ 4 g# w w ˙. ˙ g > S.B. t 5 4 ! ! 4 ! 4

S.P. t 5 4 ! ! 4 ! 4

R.N. 1 & ! ! 45 ! 4

R.N. 2 & ! ! 45 ! 4

149 The Guitar Source 104

150 T.D. Y Y Y & 4 # 46 . 4 #Y Y. Y p

R.G. & 4 | 46 |. 4 |

B.N. 4 6 4 & 4 | 4 |. 4 |

T.T. & 4 ! 46 ! 4 !

G. 1 4 6 4 & 4 ! 4 ! 4 !

G. 2 & 4 ! 46 ! 4 !

G. 3 & 4 ! 46 ! 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 >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 46 4 slowly fade for remaining duration " G. 5 4 6 4 & 4 ! 4 ! 4 !

G. 6 4 #˙ œ œ œ. 6 #˙ œ œ œ. œ œ œ. 4 & 4 # ˙ œ œ œ. 4 # ˙ œ œ œ. œ œ œ. 4 #œ œ œ œ œ œ. œ #˙ overdriven œ œ œ. #˙ œ œ œ. œ œ œ. # œ œ œ œ œ œ. œ F

E.G. 4 6 4 & 4 ! 4 ! 4 !

S.B. t 4 6 4 4 ! 4 ! 4 !

S.P. t 4 6 4 4 Œ Ó 4 j ‰ Œ Œ Œ Œ Œ 4 Œ Œ j ‰ #œ œ #œ #œ œ œ fl fl fl fl fl fl F R.N. 1 & 4 Œ 46 Œ Œ 4 Œ #˙. #˙. œ œ #˙ p

R.N. 2 & 4 ! 46 ! 4 Œ Œ ‰ j #œ œ p

150 105 The Guitar Source

153 T.D. Y 6 Y. 4 Y & Y 4 Y. 4 Y

R.G. & | 46 |. 4 |

B.N. 6 4 & | 4 |. 4 |

T.T. & ! 46 ! 4 !

G. 1 6 4 & ! 4 ! 4 !

G. 2 & ! 46 ! 4 !

G. 3 & ! 46 ! 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 œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 46 4

G. 5 6 4 & ! 4 ! 4 !

j G. 6 j . . & œ œ œ œ œ œ 46 œ. œ œ. œ œ œ œ œ œ. œ 4 ##œ œ. œ œ œ. œ ##œ œ œ œ œ œ œ. ##œ œ. œ œ œ œ œ œ. œ #œ œ. œ œ œ. œ

E.G. 6 4 & ! 4 ! 4 !

S.B. t 6 4 ! 4 ! 4 !

S.P. t 6 4 ! 4 ! 4 Œ Ó #œ œ ﬂ ﬂ

R.N. 1 & 46 4 Œ w w. #˙.

R.N. 2 & j ‰ Œ Œ 46 Œ ‰ j j ‰ Œ Œ 4 ! œ #œ #œ œ œ

151 The Guitar Source 106

156 T.D. Y Y Y & Y Y Y

R.G. & | | |

B.N. & | | |

T.T. & ! ! !

G. 1 & ! ! !

G. 2 & ! ! !

G. 5 & ! ! !

j G. 6 ...... & 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.

E.G. & ! ! !

S.B. t ! ! !

S.P. t j ‰ Œ Ó ! ! #œ ﬂ

R.N. 1 & Œ Œ Œ #˙. #œ œ #w

R.N. 2 & ! ! !

152 107 The Guitar Source

159 T.D. Y Y 6 Y. 4 & Y Y 4 Y. 4

R.G. & | | 46 |. 4

B.N. 6 4 & | | 4 |. 4

T.T. & ! ! 46 ! 4

G. 1 6 4 & ! ! 4 ! 4

G. 2 & ! ! 46 ! 4

G. 3 & ! ! 46 ! 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 œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 46 4

G. 5 6 4 & ! ! 4 ! 4

G. 6 & œ œ œ œ œ œ œ œ œ œ œ œ œ. 46 œ. œ œ. œ œ œ œ œ œ œ œ 4 ##œ œ œ œ œ œ œ œ œ ##œ œ œ œ. œ. ##œ œ. œ œ œ œ œ œ œ œ

E.G. 6 4 & ! ! 4 ! 4

S.B. t 6 4 ! ! 4 ! 4

S.P. t Œ Œ j ‰ ! 6 ! 4 #œ œ œ 4 4 fl fl fl

R.N. 1 & 46 4 w w w.

R.N. 2 & Œ Œ ‰ j j ‰ Œ Œ 46 Œ ‰ j j ‰ Œ Œ 4 #œ œ œ #œ #œ œ œ

153 The Guitar Source 108

162 T.D. 4 Y 6 Y. 4 Y & 4 Y 4 Y. 4 Y

R.G. & 4 | 46 |. 4 |

B.N. 4 6 4 & 4 | 4 |. 4 |

T.T. & 4 ! 46 ! 4 !

G. 1 4 6 4 & 4 ! 4 ! 4 !

G. 2 & 4 ! 46 ! 4 !

G. 5 4 6 4 & 4 ! 4 ! 4 !

G. 6 . . . & 4 ##˙ œ œ œ. 46 ##˙ œ œ 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 œ œ œ œ œ decresc. poco a poco

E.G. 4 6 4 & 4 ! 4 ! 4 !

S.B. t 4 6 4 4 ! 4 ! 4 !

S.P. t 4 6 4 4 Œ Ó 4 j ‰ Œ ! 4 Œ Œ j ‰ #œ œ #œ #œ œ œ fl fl fl fl fl fl

R.N. 1 & 4 Œ 46 Œ Œ 4 Œ #˙. #˙. œ œ #˙

R.N. 2 & 4 ! 46 ! 4 Œ Œ ‰ j #œ œ

154 109 The Guitar Source

165 T.D. Y 6 Y. 4 Y 6 & Y 4 Y. 4 Y 4

R.G. & | 46 |. 4 | 46

B.N. 6 4 6 & | 4 |. 4 | 4

T.T. & ! 46 ! 4 ! 46

G. 1 6 4 6 & ! 4 ! 4 ! 4

G. 2 & ! 46 ! 4 ! 46

G. 3 & ! 46 ! 4 ! 46 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 G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 46 4 46

G. 5 6 4 6 & ! 4 ! 4 ! 4

G. 6 . & œ œ œ œ œ œ 46 œ. œ œ. œ œ œ œ œ œ œ œ 4 ##˙ œ œ œ. 46 œ ##œ œ œ œ œ œ. ##œ œ. œ œ œ œ œ œ œ œ #˙ œ œ œ.

E.G. 6 4 6 & ! 4 ! 4 ! 4

S.B. t 6 4 6 ! 4 ! 4 ! 4

S.P. t 6 4 6 ! 4 ! 4 Œ Ó 4 #œ œ ﬂ ﬂ

R.N. 1 & 46 4 Œ 46 w w. #˙.

R.N. 2 & j ‰ Œ Œ 46 Œ ‰ j j ‰ Œ Œ 4 ! 46 œ #œ #œ œ œ

155 The Guitar Source 110

168 T.D. 6 Y. 4 Y Y 6 & 4 Y. 4 Y Y 4

R.G. & 46 |. 4 | | 46

B.N. 6 4 6 & 4 |. 4 | | 4

T.T. & 46 ! 4 ! ! 46

G. 1 6 4 6 & 4 ! 4 ! ! 4

G. 2 & 46 ! 4 ! ! 46

G. 3 & 46 ! 4 ! ! 46 >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 G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 46 4 46

G. 5 6 4 6 & 4 ! 4 ! ! 4

G. 6 . . & 46 ##˙ œ œ œ. œ œ œ. 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46 #˙ œ œ œ. œ œ œ. ##œ œ œ œ œ œ œ œ œ ##œ œ œ œ œ

E.G. 6 4 6 & 4 ! 4 ! ! 4

S.B. t 6 4 6 4 ! 4 ! ! 4

S.P. t 6 4 6 4 j ‰ Œ ! 4 Œ Œ j ‰ ! 4 #œ #œ œ œ fl fl fl fl

R.N. 1 & 46 Œ Œ 4 Œ 46 #˙. œ œ #˙ w

R.N. 2 & 46 ! 4 Œ Œ ‰ j j ‰ Œ Œ 46 #œ œ œ #œ

156 111 The Guitar Source

171 T.D. 6 Y. 4 Y Y & 4 Y. 4 Y Y

R.G. & 46 |. 4 | |

B.N. 6 4 & 4 |. 4 | |

T.T. & 46 ! 4 ! !

G. 1 6 4 & 4 ! 4 ! !

G. 2 & 46 ! 4 ! !

G. 3 & 46 ! 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 >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 46 4

G. 5 6 4 & 4 ! 4 ! !

j j G. 6 . . . . & 46 œ. œ œ. œ œ œ œ œ œ œ œ 4 ##œ œ. œ œ œ. œ œ ##œ. œ œ œ. œ œ. ##œ œ. œ œ œ œ œ œ œ œ #œ œ. œ œ œ. œ œ #œ. œ œ œ. œ

E.G. 6 4 & 4 ! 4 ! !

S.B. t 6 4 4 ! 4 ! !

S.P. t 6 4 4 ! 4 Œ Ó j ‰ Œ Ó #œ œ #œ fl fl fl

R.N. 1 & 46 4 Œ Œ Œ w. #˙. #œ œ

R.N. 2 & 46 Œ ‰ j j ‰ Œ Œ 4 ! ! #œ œ œ

157 The Guitar Source 112

174 T.D. Y Y Y & Y Y Y

R.G. & | | |

B.N. & | | |

T.T. & ! ! !

G. 1 & ! ! !

G. 2 & ! ! !

G. 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 >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ G. 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 œ œ œ œ œ œ œ œ &

G. 5 & ! ! !

G. 6 . . . . & 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

E.G. & ! ! !

S.B. t ! ! !

S.P. t ! ! Œ Œ j ‰ #œ œ œ fl fl fl

R.N. 1 & #˙ ˙ ˙ ˙ w

R.N. 2 & ! ! Œ Œ ‰ j #œ œ

158 113 The Guitar Source

177 T.D. Y 6 Y. 4 Y 6 & Y 4 Y. 4 Y 4 decresc. poco a poco

R.G. 6 . 4 6 & | 4 | 4 decresc.| poco a poco 4

B.N. 6 . 4 6 & | 4 | 4 decresc.| poco a poco 4

T.T. & ! 46 ! 4 ! 46

G. 1 6 4 6 & ! 4 ! 4 ! 4

G. 2 & ! 46 ! 4 ! 46

G. 5 6 4 6 & ! 4 ! 4 ! 4

G. 6 . & œ œ œ œ œ. 46 œ. œ œ. œ œ œ œ œ œ œ œ 4 ##˙ œ œ œ. 46 œ ##œ œ œ œ. œ. ##œ œ. œ œ œ œ œ œ œ œ #˙ œ œ œ.

E.G. 6 4 6 & ! 4 ! 4 ! 4

S.B. t 6 4 6 ! 4 ! 4 ! 4

S.P. t 6 4 6 ! 4 ! 4 Œ Ó 4 #œ œ ﬂ ﬂ

R.N. 1 & 46 4 Œ 46 w w. decresc.#˙. poco a poco

R.N. 2 & j ‰ Œ Œ 46 Œ ‰ j j ‰ Œ Œ 4 Œ ‰ j j ‰ Œ 46 œ #œ #œ œ œ decresc.#œ pocoœ a poco

159 The Guitar Source 114

180 T.D. 6 Y. 4 Y Y & 4 Y. 4 Y Y

R.G. & 46 |. 4 | |

B.N. 6 4 & 4 |. 4 | |

T.T. & 46 ! 4 ! !

G. 1 6 4 & 4 ! 4 ! !

G. 2 & 46 ! 4 ! !

G. 3 & 46 ! 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 œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ G. 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 46 4

G. 5 6 4 & 4 ! 4 ! !

G. 6 . . & 46 ##˙ œ œ 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. ##œ œ œ œ œ œ œ œ œ ##œ œ œ œ œ

E.G. 6 4 & 4 ! 4 ! !

S.B. t 6 4 4 ! 4 ! !

S.P. t 6 4 4 j ‰ Œ ! 4 ! ! #œ ﬂ

R.N. 1 & 46 Œ Œ 4 Œ #˙. œ œ #˙ w

R.N. 2 & 46 Œ Œ ‰ j j ‰ Œ 4 Œ Œ ‰ j j ‰ Œ Œ #œ œ œ #œ œ œ #œ

160 115 The Guitar Source

183 T.D. Y Y Y Y & Y Y Y Y

R.G. & | | | |

B.N. & | | | |

T.T. & ! ! ! !

G. 1 & ! ! ! !

G. 2 & ! ! ! !

G. 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 œ œ >œ G. 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 & ! !

G. 5 & ! ! ! !

G. 6 & œ. œ œ. œ œ œ œ œ œ œ œ Ó ! ! œ. ##œ œ. œ œ œ œ œ ##œ œ œ

E.G. & ! ! ! !

S.B. t ! ! ! !

S.P. t ! ! ! !

R.N. 1 & Œ Œ w w #˙. #˙.

R.N. 2 & Œ ‰ j j ‰ Œ Œ Œ ‰ j j‰ Œ Œ Œ ‰ j j ‰ Œ #œ œ #œ œ œ #œ #œ œ

161 The Guitar Source 116

ﬁlters gradually alter tone 187 T.D. Y Y Y Y Y & Y Y Y Y Y

R.G. & | | | | |

B.N. & | | | | |

T.T. & ! ! ! ! !

G. 1 & ! ! ! ! !

G. 2 & ! ! ! ! !

G. 3 & ! ! ! ! !

G. 4 & ! ! ! ! !

G. 5 & ! ! ! ! !

G. 6 & ! ! ! ! !

E.G. & ! ! ! ! !

S.B. t ! ! ! ! !

S.P. t ! ! ! ! !

R.N. 1 Œ Œ Œ Œ Œ & #œ œ #˙ ˙ ˙ #œ ˙ #œ ˙ #œ

R.N. 2 Œ Œ ‰ j j ‰ Œ Œ Œ ‰ j j ‰ Œ Œ Œ ‰ j j ‰ Œ Œ & #œ œ œ #œ #œ œ #œ œ œ #œ

162 117 The Guitar Source

192 T.D. Y Y Y Y Y & Y Y Y Y Y

R.G. & | | | | |

B.N. & | | | | |

T.T. & ! ! ! ! !

G. 1 & ! ! ! ! !

G. 2 & ! ! ! ! !

G. 3 & ! ! ! ! !

G. 4 & ! ! ! ! !

G. 5 & ! ! ! ! !

G. 6 & ! ! ! ! !

E.G. & ! ! ! ! !

S.B. t ! ! ! ! !

S.P. t ! ! ! ! !

R.N. 1 Œ ! ! ! & œ #˙ w

R.N. 2 Œ ‰ j j ‰ Œ Œ Ó ! ! ! & #œ œ #œ

163 Bibliography

Texts Cope, David. Techniques of the Contemporary Composer. New York: Shirmer Books; London: Prentice Hall International, 1997.

Grantham, Donald; Kennan, Kent. The Technique of Orchestration. New Jersey: Prentice Hall, 2002.

Roads, Curtis. The Computer Music Tutorial. Cambridge: The MIT Press, 2000.

Compositions Eighth Blackbird. Meanwhile, Pierrot ensemble, Cedille Records, 2012. Hartke, Stephen. The Horse With the Lavender Eye, piano quartet. Alliance, 2009. James, Richard. Nannou, electronics, Chrysalis Music, 2002. Mackey, Steven. Depending, Psappha New Music Ensemble, Awal Digital, 2010. Mackey, Steven. Psychedelic Sketch, chamber ensemble, New World Records, 2004. Noto, Alva. Sakamoto, Ryuichi. Iano, piano and electronics, Raster-Norton, 2005. Rosenwinkel, Kurt. Turns, guitar and jazz big band. Wommusic, 2010. Rosenwinkel, Kurt. Zhivago, jazz quartet. Verve, 2001. Shorter, Wayne. JuJu, jazz quartet, Blue Note, 1965. Zimmerman, Joel. Coelacanth I, electronics, Astralwerks, 2014.

164