Cymatic Revelations Thomas B

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Spring 2016 Cymatic Revelations Thomas B. Carraher

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CYMATIC REVELATIONS

A Thesis

Submitted to the Mary Pappert School of Music

Duquesne University

In partial fulfillment of the requirements for the degree of Master of Music in Music Technology

Thomas B. Carraher

May 2016

Thomas B. Carraher

2016

CYMATIC REVELATIONS

Thomas B. Carraher

Approved April 4th, 2016

______Lynn Emberg Purse, M.M. William Purse, M.M. Associate Professor of Music Technology, Professor of Music Technology & Guitar, Area Coordinator of Composition Chair of Contemporary Music Media and (Committee Chair) Jazz (Committee Member)

______Judith Bowman, Ph.D. Professor of Music Education & Music Technology (Committee Member)

______Seth Beckman, D.A. Stephen Benham, Ph.D. Dean, Mary Pappert School of Music Director of Graduate Studies Associate Dean, Mary Pappert School of Music

iii ABSTRACT

CYMATIC REVELATIONS

Thomas B. Carraher

May 2016

Thesis supervised by Lynn Emberg Purse, M.M.

Cymatic Revelations is a multi-media composition that aims to artistically reveal the power of vibration through the synchronous use of cymatic pattern imaging, real-time video projection, and live music. When musical vibrations are channeled through a malleable medium such as a liquid, the vibrations cause the medium to arrange itself into visible geometries known as cymatic patterns. Being that these patterns are created by the sounds themselves, the projected visual elements are used to visually connect the audience to what they hear. While incorporating archetypal elements of light, reflection, and symmetry, Cymatic Revelations utilizes cutting-edge music technologies to expose this common thread of vibration in the world around us. The piece combines the real- time generation of cymatic events, videos, and slideshows, with a live ensemble that features both electronic and acoustic instruments.

iv DEDICATION

This project is dedicated to my family. To my wife, Dina, who, while pregnant with twins, has supported my efforts, loved me, believed in me, and has tolerated my many late nights in preparing this thesis. Our daughter, Mia, who has been a continuous source of inspiration, and, with her smile and enthusiasm for life, has consistently reminded me to have fun and to find liberty in my exploration.

v ACKNOWLEDGEMENT

I would like to thank Prof. Lynn Emberg Purse for introducing me to the concept of cymatics, supporting and sharing my passion, and for being an exceptional mentor in music and beyond. I would also like to thank Prof. Bill Purse for sharing his unyielding knowledge of technology in music production and performance, Dr. Judy Bowman for imparting priceless pedagogical skill sets that have helped me tremendously in structuring this thesis, and Prof. Tom Kikta for sharing his intellect and insight in helping me investigate the many potential uses of cymatics in music as well as industry. Finally,

I would like to thank the ensemble members that agreed to perform the premiere of

Cymatic Revelations. There is no greater honor for a composer. Thank you, all.

vi TABLE OF CONTENTS

Page

Abstract ...... iv

Dedication ...... v

Acknowledgement ...... vi

List of Figures ...... viii

Appendix ...... 31

vii LIST OF FIGURES

Page

Figure 1 - Initial draft of the tonoscope setup and design………………………….……. 2

Figure 2 - Photograph of tonoscope hardware…………………………………...……… 3

Figure 3 - Emission and refraction: the basic physics of cymatics…………………...... 3

Figure 4 - Initial sketch of tone map…………………………………………...………... 4

Figure 5 - Screenshot of the sine wave generator in ProTools and resulting cymatic pattern……………………………………………………………………………………. 4

Figure 6 - Excerpt from the completed cymatic tone map displaying frequencies at various amplitudes while indicating resonance………………………………………….. 6

Figure 7 - Ableton control surface (APC-40) being used to trigger and balance waveforms stored in cells ……………………………………………………………….. 8

Figure 8 - The lower voice of this line contains the frequency primarily responsible for generating the cymatic visual while the upper notes disrupt the output creating visual disruptions as well…………………………………………………………….…………. 9

Figure 9 - Adding an interval of an octave doubles the geometric points……………… 10

Figure 10 - Comparison of cymatic images with those in nature and architecture…….. 12

Figure 11 - Displaying the translation of music from the mind, to paper, and finally to print……………………………………………………………………………………... 13

viii Figure 12 - Dorian phrase utilizing mirror inversion……………………………...…… 13

Figure 13 - Cellos reinforcing thematic material and demonstrating flexibility with converging pitch bends…………………………………………………………………. 14

Figure 14 - A volume pedal allows for sound to smoothly emerge from silence……… 14

Figure 15 - The Scrubbing Module extracted from the score…………………………... 15

Figure 16 - Scrubbing Module and corresponding visual……………………………… 16

Figure 17 - Opening measures of Cymatic Revelations in which bells are played in sync with the addition of 2 drops. On the third drop, a low C is played generating the first pattern…………………………………………………………………………….…….. 17

Figure 18 - Screenshot of patch layers used in the opening Omnisphere passag……… 17

Figure 19 - The moment of contact: Initializing the first cymatic pattern………..…..... 18

CYMATIC REVELATIONS

Merging Sight and Sound

At the core of Cymatic Revelations is a desire to visually connect the audience to what they hear. The intended goal is to artistically reveal the power of vibration in the form of a multimedia composition. The piece combines live cymatic projections with videos, slideshows, and a live ensemble that features both electronic and acoustic instruments. Incorporating archetypal elements of light, water, reflection, and symmetry,

Cymatic Revelations aims to expose the common thread of vibration in the world around us. The piece is also intended to display the capabilities of modern electronic and computer-based instruments and demonstrate how the use of these technologies in music composition can lead to unique and inspirational sonic experiences.

The visual elements of this multimedia composition spiraled outward from the production of cymatic images. Cymatics, a term coined by Dr. Hans Jenny (b.1904- d.1972), a brilliant physicist and medical doctor, is described throughout his research as a study of vibration and its effect on the organization of matter (Jenny, 2001, p. 20). Dr.

Jenny's studies in the 1960’s revealed that vibrations arrange matter into highly organized and often symmetrical or repeating patterns. His experiments included, but were not limited to, channeling vibration through dry mediums ranging from sand to fine powders, as well as a wide variety of liquids, gels, and magnetized fluids.

The term cymatics has its origins in the Greek word kymat, meaning waveform

(Jenny, 2001, p. 259). The discovery and observation of waveforms has inspired

1 mathematicians, astronomers, scientists, and artists for millennia. Pythagorean ratios and

Fibonacci numbers have governed and dictated everything from the elements of nature to the building blocks of sacred architecture (Doczi, 1981, p. 3-4).

Coming to Know the Cymatic Phenomenon

The concept of creating cymatics was first introduced to me by Professor Lynn

Emberg Purse. During a composition lesson, she presented a short educational video produced by musician and educator John Telfer in which he generated cymatic patterns in a vessel of water by placing it on a vibrating speaker (Telfer, 2010). While observing related video productions of other scientists and performers, conveniently suggested by

YouTube and Vimeo, I noticed more artistic uses of cymatic patterns. The work of two artists in particular, John Nigel Stanford and Sven Meyer, became a source of great inspiration (Meyer, 2013; Stanford 2014). Meyer included more of an organic connection with the patterns and even used them to visually supplement a kind of group meditation known as a sound bath (Meyer, 2014). In observing the productions of

Stanford and Meyer, along with the experiments described throughout Dr. Jenny's

Cymatics, I developed a fascination with the concepts and principles at the heart of the visualizations. It was this fascination that quickly inspired the framework for a multimedia composition.

Exploring the Science of Cymatics

I felt personally compelled to use cymatics as a visual instrument, as an element that was neither static, nor simply reactive, but interactive. To accomplish this I would

2 have to build my own visual instrument, a device Jenny refers to in Cymatics as the tonoscope (Jenny, 2001, p. 63). Simply, I needed a way to create and observe these vibrational effects. In all that I had systematically observed and researched there seemed to be three basic steps to this process of manifesting cymatic patterns (Fig. 1).

1) There had to be a device or mechanism for producing the vibration itself, most

often a powered speaker or vibrating plate with amplification controls.

2) Vibrations needed to be channeled through a malleable medium such as a liquid

or powder. Liquid mediums, given their fluid nature, are typically contained in

vessels. Each vessel has a symbiotic relationship with specific resonant

frequencies that affect the organization of the patterns. Changes in the size or

shape of the vessel were reflected

directly in the arrangement of patterns.

3) There had to be a method of lighting

and capturing the events occurring

within the medium. Altering lighting

techniques and intensities greatly

influenced the overall visibility and Figure 1 - Initial draft of the tonoscope setup & design. appearance of the cymatic images.

I began to assemble my own tonoscope starting with an amplified speaker laying level on its back (Fig. 2). I placed a metal plate of equal diameter on the woofer cone

(8") and upon it a vessel containing the liquid medium. Then using a combination of a ring light with a dimmer pack, and an HD camera I was able to evenly distribute light

3 upon the meniscus of the liquid and capture the resulting images on video. I could now directly observe the reactions occurring within the vessel when sound was produced by the speaker. To efficiently project these cymatic events I decided to make use of the HD camera in my iPhone 6, which is capable of wirelessly transmitting the image via Bluetooth to my computer screen. This made it possible for the cymatic events to be projected and observed in real Figure 2 - Photograph of tonoscope hardware. time. After some basic experimentation I was able to see, first hand, how the patterns were being created. Figure 3 illustrates the physics behind creating cymatic patterns.

Figure 3 – Emission and refraction: the basic physics of cymatics.

The vibrations being generated by the speaker causes waves to be emitted from the center of the vessel outward, evenly in all directions. When the waves hit the walls of the vessel the energy is refracted inward, in the opposite direction, back toward the center. This collision of directionally charged energies causes ripples and distortions in the surface of the liquid that is then revealed by the ring light and video lens.

4 Conducting Experiments

To compose music for an interactive cymatic experience I would have to know the answer to two questions:

1) Are the patterns consistent?

2) Can they be replicated live in a performance?

Even though I did not yet know if there were any consistencies, I was able to hypothesize that certain frequencies would be more resonant with the vessel and its contents than others. An idea emerged to create a map charting the interaction of various frequencies to display Figure 4 - Initial sketch of tone map. this resonance. Figure 4 displays my initial sketch of the concept. The project goal was to acquire a library of images that coincided with specific frequencies at various amplitudes within a constant medium. The hope was to uncover some pattern-generating frequencies that correlated to the piano keyboard’s equal – tempered scale and were "in tune" with other instruments. Using my established tonoscope setup, I created an audio session within ProTools software (Fig. 5) and used a sine-wave tone generator plug-in to

gradually shift frequencies and

amplitudes to locate pitches

according to a chart that

converted notes to frequency

(Suits, 1998).

Figure 5 - Screenshot of the sine wave generator in ProTools and resulting cymatic pattern.

5 The results of these experiments were more than satisfactory. In the process of cataloging more than 500 images I answered the questions of consistency and replication.

By keeping the volume and viscosity of the liquid as well as the dimensions of the vessel identical, I could generate predictable and consistent results in the cymatic patterns. I was able to proceed with the construction of a map that I could then visually reference and use to reliably incorporate the cymatic images into the composition process.

At this point all of the dimensions of manifesting these patterns could be controlled and or manipulated. In my observations, I concluded that the frequency generated by the speaker, when resonant with the dimensions and shape of the vessel and medium, would create visually stable patterns. The amplitude of the waveforms being created by the speaker determined the level of complexity in the patterns themselves, due to the fact that increased amplitudes result in higher levels of emission, refraction, and collision. Figure 6 illustrates these results.

6 Figure 6 - Excerpt from the completed cymatic tone map displaying frequencies at various amplitudes while indicating resonance.

7 Incorporating Cymatic Patterns Into Live Performance

In order to transfer the same research methods and techniques of creating the patterns into a live performance setting, I had to have the tones organized in a kind of matrix where they could be easily accessed. I needed a software program that could not only organize files (sounds), but also play them back at the touch of a button. In working with digital audio programs for nearly two decades, I have come to know the strengths and limitations of most mainstream audio programs. Many are built upon a common interface that allows you to record and view waveforms, make edits, as well as perform a final mix-down on a virtual console that mimics the analog predecessors. However,

Ableton Live, a music performance and recording software, has a rare set of additional advantages that lend itself to a project such as this.

Ableton is arranged in two layers that can operate independently or synchronously with one another. One layer contains the standard views and functionality mentioned above (mixing controls, faders, waveforms, editing capabilities etc.) and can be used to record/playback audio and MIDI information. In addition, channels for electronic and virtual instruments, as well as microphone channels for vocals can be added to function as in a live mix situation. This functionality, which is standard in most programs, allows for pre-recorded sequences and audio to be played while simultaneously performing live instrumentation and or vocals.

The second layer is unique in that it functions as a playlist for each channel in the session. A channel’s playlist is made up of empty cells that can be filled with audio or

MIDI information. So, if I have 8 channels within my Ableton session, I then have 8 individual playlists with cells that can interact with those in other channels (Fig. 7).

Figure 7 - Ableton control surface (APC-40) being used to trigger and balance waveforms stored in cells.

Cells can store anything from a sound effect or someone speaking, to a 12-bar blues pattern, or even an entire MIDI sequence. These cells can then be coded to play once through and stop, or loop at designated points. For this phase of development I needed to store and recall specific frequencies in the cells. I went back to my ProTools session and, using the sine-wave generator, I created audio files of each frequency in the first 2 octaves of the chromatic scale. These frequencies were then consecutively imported into an Ableton channel as a playlist. Once imported, a file can be moved freely from one cell to another, color coded, or renamed to suit its use in the session.

Once the files were arranged in a playlist I duplicated the channel so that I could begin to experiment with intervals and observe the cymatic reactions between two pitches (Fig.7).

9 Another benefit to using Ableton Live as the performance platform is the

integration of a control surface. Ableton can communicate easily with a variety of MIDI-

based controllers, but the software functions at its fullest when used with a designated

hardware controller such as the APC-40 in figure 7. The control surface is designed to

allow the user to trigger the start and stop commands for each cell in a playlist while

simultaneously accessing other parameters, such as effect values or volumes, through the

use of knobs and faders. On a performance level I could now access any 2 pitches

(within a range of 2 octaves) and manipulate the volume of each note with a fader

creating aural effects that had corresponding visual changes.

Constructing a Library of Cymatic Techniques

A dramatic visual effect can be achieved when one wave is out of phase with, or

disrupted by another. I was able to merge waveforms of different frequencies using the

continuous control of the APC-40's faders. I began to catalog the interactions between

multiple waveforms and note the visual representation of pulsating waves and beat

frequencies. Figure 8, below, is an excerpt of the score from the opening of Cymatic

Revelations in which a pattern-generating frequency is disrupted by higher pitches.

Figure 8 - The lower voice of this line contains the frequency primarily responsible for generating the cymatic visual while the upper notes disrupt the output creating visual disruptions as well.

Intervals, when played simultaneously, can add or take away from a pattern’s

stability. In my experiments, I could generate cymatic patterns with intervals by

combining two cells (one from each channel), or by playing a virtual instrument against a

10 cell, or singing against a cell, or any combination thereof. Intervals such as the octave

and perfect fifth were consonant in that they added to the resonance of the stable pattern

(Fig. 9). However, as the intervals got closer together the visualizations became less

stable and, especially in the lower frequency range (25-100Hz), would either pulsate or

become distorted. The resonance of intervals depreciated concordantly in succession of

the overtone series developed by Pythagoras (octave, 5th, 4th, 3rd, and so on). Combining

waves gives motion to the cymatic patterns and makes for exciting visual changes.

Utilizing intervals, consonant and dissonant, makes the patterns come to life and take on

a variety of forms as well as behaviors. It

is within that motion and reflection that

cymatics becomes its own instrument,

emitting visible waveforms that are

synchronous with the projected sound.

Figure 9 - Adding an interval of an octave doubles the geometric points.

Layers That Do Not Generate Cymatic Patterns

Equally, just as it was desirable to create cymatic patterns in the liquid, it was

desirable to have sonic layers that had little or no visible effect on the contents of the

vessel. Consider any number of orchestral pieces of the common practice period that

have multiple layers of sound occurring simultaneously. Each instrument has its place in

the frequency spectrum in that some create high and mid-range pitches while others

rumble away in the lower register. In the case of generating cymatic patterns within the

vessel, some frequencies make patterns while others do not. In developing the cymatic

11 map I noticed that lower frequencies formed visible patterns at softer amplitudes than higher frequencies. Lower frequencies move larger quantities of matter than do higher ones because of the wavelength being physically larger. In short, there was a cut off point, a perceptive frequency range to the visibility of the cymatic patterns. There was a point where the tone being played was of a high enough frequency that it did not carry enough energy in its shorter wavelength to continue to generate visible disturbances in the medium.

Compositionally, this translates as the ability to play pedal tones, drones, and intervals (mostly 5ths and octaves) to sustain patterns and visual effects while higher frequencies (C6 roughly 1khz and up) and even mid range tones (C4-5 roughly 260-

520hz) can occur simultaneously without altering the visualization. To only use tones that generate cymatic patterns would be sonically restrictive, much like an ensemble of tubas that are only allowed to play one or two pitches. Compositionally, it is beneficial that the cymatic elements are contained in this way because it allows for additional sound and music to occur simultaneously without affecting the patterns. The cymatic dimension can have its own soundtrack and accompanying ensemble that operate independently of the visualizations while maintaining the ability to support them.

Revealing the Common Thread

In observing the cymatic events I began to see other images within the patterns.

Like watching clouds take on animal forms, or gazing into the shape-shifting dance of a fire, these patterns effortlessly suggested a near infinite variety of lines, curves, shapes, and images. The images I saw within the patterns ranged from flowers and lotuses, to

12 chapel ceilings and stained-glass rosettes (Fig. 10). I wanted to create a movie that would play as part of the larger work in order to effectively share this insight and inspire my audience to make similar connections. I began to take notes on the images I saw in my cymatic gazing and compile them into a list so that I could efficiently photograph the actual subjects that were being suggested in the patterns. My goal was to gather enough material to be able to cross-fade short videos and slides with the cymatic images that I had already catalogued.

Figure 10 - Comparison of cymatic images with those in nature and architecture.

I had set aside days for filming and photographing throughout the city of

Pittsburgh. I captured roughly 50 GB of video and still images over the course of a few weeks. This process of gathering imagery that resembled cymatic patterns inspired me in ways that brought much of the composition to life. The similarities I witnessed (Fig. 10) built up a charge that left my mind dancing. Being a composer, this inspired energy naturally took on the form of music in my mind. Eventually, I found myself singing a theme that would become the backbone of the piece. Figure 11 displays the transformation from my initial sketch of that theme to its final realization.

13 Figure 11 - Displaying the translation of music from the mind, to paper, and finally to print.

In analyzing this theme I noticed the rise and fall of the line itself created a kind of reflection. Given the importance of reflection as a theme in this project I began to think of other ways in which I could translate the concept into music notation. There was also a strong thread of sacred inspiration that came from not only observing the patterns themselves, but in photographing the rosettes and architectural elements of churches and cathedrals. These sacred threads led me to make strong use of modes throughout the

piece, in particular Dorian. Figure 12 is an

excerpt from Cymatic Revelations that

clearly demonstrates these elements

coming together.

Figure 12 - Dorian phrase utilizing mirror inversion.

14 In addition, the weaving together of all this content and material inspired me to compose lines the converged toward a focal pitch. To accomplish this effect I chose to make use of the cello due to its range and flexibility. I wanted converging lines to bend with a fluidity that reflected the malleable nature of the liquid in the cymatic vessel. The cellos in figure 13 contain a variation of the main theme previously displayed in figure 11

as well as the aforementioned

convergence.

Figure 13 - Cellos reinforcing thematic material and demonstrating flexibility with converging pitch bends.

Another important concept I wanted to translate compositionally was that of emergence. In my experiments I often adjusted the volume output of the speaker in the tonoscope setup, raising and lowering amplitudes to find the points in which patterns first formed, stabilized, and inevitably distorted. The desired effect inspired the use of a synthesizer with volume pedal control to create the effect of a sound emerging from the depths of the unknown (Fig. 14). It was in finding ways to implement these kinds of effects and techniques that prescribed the specific instrumentation of the ensemble itself.

Figure 14 - A volume pedal allows for sound to smoothly emerge from silence.

15 Visuals That Inspire Sounds

The strongest examples of emergence and fluid-like pitch bends occur within the

Scrubbing Module of the piece at letter E (Fig. 15). Take special notice of the following:

• There is only one measure for

each instrument. That measure is

separated from the rest of the score.

• The measure contains no

meter of any kind, but rather a

suggested length of time (5-6

seconds).

• Most of the instruments are

instructed to perform a specific kind

of pitch bend.

• Half of those instruments

bend pitch in opposing directions

reinforcing the idea of fluidity and

reflection.

The most unique element is that this

one measure is cued to start and stop

visually.

Figure 15 - The Scrubbing Module extracted from the score.

16 On the projected visual I am tracing the rim of the cymatic vessel and gently touching the meniscus of the liquid causing the pattern to physically spin (Fig. 16). In observing this effect and considering what to call it, I was reminded of experiences in analog tape editing in which the reels of the tape machine would be turned by hand, or "scrubbed" to find a sufficient edit point.

The action was reminiscent of how DJs spin vinyl in a similar fashion, as well as the historically popular playing of wine glasses or a glass harp. It was the look of the effect itself and the images it conjured that inspired me to create a sound effect that could be Figure 16 - Scrubbing Module and corresponding visual. triggered in Ableton to play while I “scrubbed" the vessel. I used the sonic properties of tape, vinyl, and glass to build an aural effect that had elements of sound going backwards at high speeds, and had a bending glass-like resonance. To me it sounded like rewinding or spinning time, so I appropriately titled the cell in Ableton as "Prehistoric". The cell to be triggered is indicated in the score (Fig.

15). It was the functionality of Ableton cells and how they are triggered that sparked the idea of simultaneously triggering the live players with the “scrubbing” visualization.

Assembling the module led to the realization of a technique in which an image or pattern within the cymatic vessel can have additional layers of corresponding sounds triggered simultaneously. I considered this technique in thinking about how to begin the piece. In my experiments, I regularly had to add or take away a few drops of liquid from the contents of the vessel to attain optimal surface tension on the meniscus. I utilized an

17 eyedropper to facilitate this precise action. In adding single drops to the lit surface, which illuminated a simple ripple effect, the creation of the opening measures was stimulated. The idea came crashing in like the crest of an ocean wave. All at once I could imagine adding two drops with an accompanying bell sound, and on the third playing a note that would initialize the first emergence of a cymatic pattern (Fig. 17).

Figure 17 - Opening measures of Cymatic Revelations in which bells are played in sync with the addition of 2 drops. On the third drop, a low C is played generating the first pattern.

Figure 18 displays the division of patch layers used to play these opening measures without changing patches on the keyboard. The first four layers contain the sounds

Figure 18 - Screenshot of patch layers used in the opening Omnisphere passage.

18 responsible for generating the cymatic pattern that is initialized in measure 5 (Fig. 17).

The fifth layer plays only in the higher register allowing me to transition between two sets of sounds seamlessly. Figure 19 captures the exact moment in which the third drop is added and the low C is played initializing the cymatic pattern. The most difficult performance element is in timing the notes with the moment each drop hits the surface of

the liquid. The effect creates a unique shift

in perception suggesting that the liquid

itself is responsible for creating the sound

and the drops within the eyedropper contain

the source of the vibration. I found it to be

a natural fit for the opening of the piece

being that it played on the elements of

reflection, both literally, in the drops

creating the first reflected ripples, as well as

the metaphorical reflection of those drops

Figure 19 - The moment of contact: Initializing the first being the source of sound. cymatic pattern.

19 Conclusion

Composing Cymatic Revelations called for a combination of science, patience, insight, artistry, reverence, and creativity. What began as a fascination led me to discover ways in which sight and sound could genuinely be merged. In the process, I cultivated a new appreciation for the power of sound and established an organic connection to sacred geometric principles and the many who have come before me and have demonstrated this understanding of vibration in mathematics, architecture, and music.

For me personally, cymatics has become a bonding agent capable of demonstrating the connective fiber of sight and sound in a way that organically connects the audience to the experience. This project has provided me with an evolving set of tools that will allow me to continue to develop new performance techniques and compositional methods that utilize cymatics to reveal the common thread of vibration in the world around us. In the future I can see myself using these tools to perform lectures, demonstrations, and performances that help bring an empowering and therapeutic awareness of sound to both musicians and audience members alike.

20 References

Doczi, G. (1981). The Power of Limits. Boston, MA: Shambhala Publications.

Jenny, H. (2001). Cymatics. Newmarket, NH: MACROmedia.

Meyer, S. (2013, June 20). Sonic Water [Video file]. Retrieved from

https://vimeo.com/68768890

Meyer, S. (2014, March 2). Kymat Showcase [Video file]. Retrieved from

https://vimeo.com/88003533

Stanford, J. N. (2014, November 12). Cymatics: Science vs. Music [Video file]. Retrieved

from https://youtu.be/Q3oItpVa9fs

Suits, B. H. (1998). Physics of Music – Notes.. Retrieved from the Department of

Physics, Michigan Technological University website:

http://www.phy.mtu.edu/~suits/notefreqs.html

Telfer, J. (2010, November 12). Cymatic Music [Video file]. Retrieved from

https://youtu.be/sThS9OfnM1s

21 APPENDIX

Musical Score of Cymatic Revelations

Composed by Thomas B. Carraher

22 CYMATIC REVELATIONS Full Score Thomas B. Carraher Freely 4 Allegro 7 w = q = 120 Trumpet in B # b & # 4 ! ! ! ! ! ! ! ! 4 7 Clarinet in B # b & # 4 ! ! ! ! ! ! ! ! 4 7 Horn in F # & 4 ! ! ! ! ! ! ! !

4 7 Voice ? 4 4 ! ! ! ! ! ! ! ! Cymatic Soloist ˙ TC 4ch Matrix Bass ˙ 4 7 Omnisphere 4 ? & 4 *eye dropperÓ visual sync ! Ó ! *initializew Cymaticw pattern w w p 4 f 7 4 & 4 ! ! ! ! ! ! ! ! Synth Choir ? 4 4 ! ! ! ! ! ! ! !

4 7 & 4 ! ! ! ! ! ! ! ! Synth 1

? 4 ! ! ! ! ! ! ! !

4 7 & 4 ! ! ! ! ! ! ! ! Synth 2

? 4 ! ! ! ! ! ! ! !

4 7 Cello 1 & 2 ? 4 ! ! ! ! ! ! ! !

Cello 3 & 4 ? 4 ! ! ! ! ! ! ! !

4 7 Electric Bass ? 4 4 ! ! ! ! ! ! ! ! 4 Large Gong 7 Percussion w ã 4 ! ! ! ! ! ! ! p Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 2 9 10 13 16 B Tpt. # b & # ! ! ! ! ! ! ! !

9 10 13 16 B Cl. # b & # ! ! ! ! ! ! ! !

9 10 13 16 Hn. # & ! ! ! ! ! ! ! !

9 10 13 16 Vx ? ! ! ! ! ! ! ! ! Soloist 9 10 16 > . . . . 13 - . > j j j . . . j j Omni bœ œ Œ ‰ bœ œ Œ ‰ ‰ Œ Ó bœ Œ Œ œ bœ Œ ‰ ‰ œ Œ Ó ? w œ w w œ w œ w œ w wœ œ w

9 10 13 16 & ! ! ! ! ! ! ! ! SyCh

? ! ! ! ! ! ! ! !

9 10 13 16 ! ! ! ! ! ! ! ! Sy 1 &

? ! ! ! ! ! ! ! !

9 10 13 16 ! ! ! ! ! ! ! ! Sy 2 &

? ! ! ! ! ! ! ! !

9 10 13 16 C 1,2 ? ! ! ! ! ! ! ! !

C 3,4 ? ! ! ! ! ! ! ! !

9 10 13 16 E.B. ? ! ! ! ! ! ! ! !

9 10 13 16 Perc. ã ! ! ! ! ! ! ! !

Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS A Maestoso Allegro 3 q = 60 q = 120 19 3 22 {q = e} {e = q} B Tpt. # b # ! ! ! Ó Œ ‰ j nœ œ ˙ w w w & œ œ 17 19 P f 22 B Cl. # ˙ w b # ! ! ! ! ! ! Ó & niente

17 3 " 19 22 Hn. œ œ w w w # Ó Œ ‰ j œ œ. bœ œ œ ˙. ‰ œ nœ œ œ ‰ j nœ œ œ & œ œ J J œ œ œ 17 F f 19 P F f 22 Vx ? ! ! ! ! ! *set tempo! ! ! Soloist 17 - > 19 22 . . . j Omni œ Œ Œ œ bœ ! œ Œ Œ ‰ œ ? w w w w w w w w Dark Cathedral Choir 17 pitch bend +/- 5th 19 22

& ! ! ! bww ww ! ! ! SyCh niente niente *volume pedal required P ? Ó ˙ w w w w w w ! ˙ w w w w w w 17 19 22 ! ! ! ! ! ! ! ! Sy 1 &

? ! ! ! ! ! ! ! ! Fat Bass Poly Synth 17 pitch bend +/- octave 19 22 & ! ! ! ! ! ! ! ! Sy 2 niente niente *volume pedal required P ? Ó ˙ w w w w w w ! ˙ w w w w w w 17 19 22 C 1,2 ? ! ! ! ! ! ! ! !

C 3,4 ? ! ! ! ! ! ! ! !

17 19 22 E.B. ? ! ! ! ! ! ! ! ! Sus. Cymbal 17 19 Large Gong ˙ w 22 Bass Drum Perc. ˙ ã Ó Ó æ ! ! w ! ! F p f P

25 p 28 31 B Cl. # . nœ. . b # Ó Œ œ 9 ‰ œ ‰ œ. 2 ˙ 4 w ! ! ! & 8 4 4 niente

25 F 28 31 Hn. # w & 89 ! 42 ˙ 4 w ! ! ! niente niente 25 P 28 31 P F Vx œ œ. œ ? ! 89 ! 42 ! 4 ! ! Ó Œ ‰ j œ bœ œ Soloist œI see these forms beJ -fore my 25 . 28 31 . . Omni Ó Œ bœ œ bœ > >˙ ? w 89 ‰ ‰bœ. 42 4 w w w w > 25 28 31 9 2 4 & Ó Œ 8 œ ‰ ‰ 4 4 ! ! SyCh œ. . œ. œ. ˙˙ ww ww F p ˙ w w w w ? ! 89 Œ. Œ. bœ. 42 4 w w w w

25 Marimba 28 31 9 . . 2 œ 4 w> w & ! 8 Œ Œ œ œbœ 4 œbœ 4 ! ! Sy 1 > >œ F f ? œ. 9 œ. œ. 2 4 Ó Œ 8 ‰ ‰bœ. 4 ˙ 4 w w ! ! bœ. ˙ w w 25 > > 28 > 31 ! 9 ! 2 ! 4 ! ! ! ! Sy 2 & 8 4 4 f P ˙ ? ! 89 Œ. Œ. bœ. 42 4 w w w w bœ. ˙ w w w w 25 28 31 œ. bœ. œ. >. >˙ w C 1,2 œ w w ? Ó Œ 89 ‰ ‰ 42 4 ! P f p C 3,4 ? œ. 9 œ. œ. 2 > 4 Ó Œ 8 ‰ ‰bœ. 4 ˙ 4 w ! > > w w 25 P f 28 p 31 E.B. ? Ó Œ bœ 89 œ ‰bœ ‰ 42 4 ! . . . bœ. ˙ P > > w w w 25 Bassf Drum 28 > P 31 Perc. ! 9 Œ. Œ. œ ‰ 2 œ Œ 4 w w ! ! ã 8 . 4 . 4 p F Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 5 Allegro 32 a tempo 34 q = 120 37 B Tpt. # b & # ! ! ! ! ! !

32 34 37 B Cl. # b & # ! ! ! ! ! !

32 34 37 Hn. # ! ! ! ! ! ! & reverb cast-off 32 34 3 f 37 P F œ w Vx œ bœ œ j bœ œ œ ? ˙. ‰ J œ œ œ ‰ œ œ ! ! Soloist eyes tak - ing shape a dream come to life 32 - > 34 . . 37 . j Omni œ Œ Œ œ bœ ! œ Œ Œ ‰ œ ? w w w w w w

32 34 37 w w & ! ˙˙. Œ ww ww ! ! SyCh ˙ . F P p w w w w w ? w ww w w w w

32 34 37 j & ! ! ! œ Œ Œ œ bœ ! œ Œ Œ ‰ œ Sy 1 œ œ œ œ . - bœ. . > F j ? ! ! ! œ Œ Œ œ bœ ! œ Œ Œ ‰ œ œ œ bœ œ œ 32 34 *set. tempo for ensemble- . entrances 37 . > ! ! ! Sy 2 & œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ P ? w w w w w w w w w w w w 32 34 37 C 1,2 ˙. œ w œ. œ- . œ. >œ ? ! ‰ J Œ Œ œ ! Œ Œ ‰ J P F . - . > C 3,4 œ œ bœ. œ œ ? ! ‰ j w Œ Œ ! Œ Œ ‰ J ˙. œ 32 P 34F 37 E.B. ? j ! ! ! œ. Œ Œ œ- bœ ! œ. Œ Œ ‰ œ Sus. Cymbal . > 32 ˙ w 34 Bass Drum 37 Perc. ã Ó æ ! w ! ! p f f

Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 6 2 bars - Conducted as large 4 38 > > 40 B Tpt. # œ nœ œ > œ œ. > b & # Ó Œ œ nœ œ 89 œnœ œ œ œ œ œ 42 nœ œ œ 4 w ! > 38 P f 40 B Cl. # b & # ! 89 ! 42 ! 4 ! ! 38 40 Hn. # & ! 89 ! 42 Œ œ 4 w ! > 38 40 f Vx ? ! 9 ! 2 ! 4 ! ! Soloist 8 4 4 38 . . . 40 > Omni Ó Œ bœ œ ‰ bœ ‰ >˙ ? w 9 ˙. bœ. 2 4 w w 8 Œ. 4 4 38 40 > 9 2 4 bww ww & ! 8 ! 4 ! 4 SyCh w F f ? w 9 2 ˙ 4 w w w 8 ! 4 ˙ 4 w w 38 40 9 œ 2 4 & Ó Œ bœ 8 ‰ bœ ‰ bœ. 4 ˙ 4 Sy 1 bœ œ. bœ ˙ w w . . bœ. > w w >f > ? 9 2 4 Ó Œ bœ 8 œ ‰ bœ ‰ 4 ˙ 4 bœ œ bœ bœ. w w . . . bœ. ˙ 38 > w w > 40 > >. > . > > bœ œ œ 9 bœ ‰ ‰ œ œ 2 œ 4 w ! & œ œ œ œ œ œ œ 8 œ œ 4 bœ œ 4 *consider as Sy 2 >. 3, 4 pickup f ? 9 2 4 w 8 œ ‰ bœ ‰ 4 ˙ 4 ˙ b˙ w œ bœ. w ˙ . bœ. ˙ *considerb as˙ 38 bœ. > w 3+4+ pickup > 40 > C 1,2 ? œ. 9 œ. œ. 2 > 4 œ œ Ó Œ 8 ‰ ‰ bœ. 4 ˙ 4 w œ œ > > f P*consider as 3+4+ pickup œ. bœ. œ. >. >˙ w C 3,4 œ œ œ ? Ó Œ 89 ‰ ‰ 42 4 bœ œ

f P*consider as 38 40 3, 4 pickup E.B. ? 9 2 4 Ó Œ bœ 8 œ. ‰ bœ ‰ 4 ˙ 4 ˙ b˙ . . bœ. > w > Sus. Cymbal 38 Bass Drum 40 > f ˙ Perc. Ó Œ ‰ œ œ 9 œ ‰ œ ‰ œ ‰ 2 œ Œ 4 w Ó æ ã 8 . . . 4 . 4 p f > p Copyright © 2016 Thomas B. Carraher. All Rights Reserved. C CYMATIC REVELATIONS Maestoso 7 q = 60 {q = e} B Tpt. # - œ n˙ ˙ ˙. b & # Œ œ 42 4 Œ 43 F f P B Cl. ˙. b ## 2 œ nœ 4 & b˙ œ œ œ nœ 4 œ 4 Œ 43 p f P Hn. # Œ œ b˙ 2 ˙ 4 ˙ Œ & œ- 4 4 . 43 F f P Vx ? ! 2 ! 4 ! Soloist *Cymatic pattern shifts 4 4 43 Omni ? bw 2 4 w 4 b˙ 4

43 f b w bw 2 ˙ 4 w & bw 4 ˙ 4 b w SyCh p F w ww ? ! 42 ! 4 43 > bœ >œ œ >œ >œ œ >œ bœ œ œ œ & ‰ bœ œ ‰ œ œ ‰ œ 42 ‰ œ œ ‰ 4 ‰ bœ ‰ œ ‰ œ ‰ Sy 1 J œ P bœ. œ. œ j œ ? 42 bœ. œ 4 œ bœ bœ. œ. œ bœ. œ œ œ œ 43 œ bœ > 2 4 bœ œ œ & ! 4 œ 4 b˙ œ œ œ œ œ œ œ Sy 2 bœ œ Nœ œ œ ƒ F ? 2 4 bw 4 b˙ 4 w bw b˙ w 43 bœ. œ. œ. œ. œ . > bœ œ œ œ œ œ œ bœ œ œ C 1,2 b>œ >œ >œ > bœ œ œ bœ > ? 2 bœ 4 œ œ bœ œ 4 4 œ œ bœ œ œ f œ - C 3,4 bœ- œ œ. - b˙ œ œ ? œ bœ- œ œ. 2 œ bœ 4 œ œ œ œ œ - bœ. . 4 4 œ 43 F f E.B. ? 2 4 bw 4 b˙ 4 w 43 ƒ w Large Gong Perc. 2 4 w ã 4 ! 4 f f

46 F f P 3 49 n˙ ˙ f B Cl. œ b # nœ 2 4 œ œ. œ œ œ & # 4 4 ˙. œ nœ J nœ 46 F p 49 f Hn. # j & œ. œ b˙ 42 œ. œ œ 4 w Œ œ bœ ˙ P 46 F f 49 f Vx ? ! 2 ! 4 ! ! Soloist 4 4 46 49 Omni bw w bw ? 42 b˙ 4

46 49 bw ˙ bww b w & bw 42 ˙ 4 b w ww SyCh P f Œ. w j œ bœ w bw œ ? ! 42 ! 4

46 3 49 > > > > b>œ bœ œ œ œ œ 2 œ œ 4 œ œ œ œ œ œ bœ œ œ œ & ‰ bœ œ ‰ œ œ ‰ œ 4 ‰ œ œ ‰ 4 ‰ bœ ‰ œ œ œ œ œ œ œ bœ œ œ Sy 1 J œ bœ œ œ œ > œ 3 . . j bœ ? bœ œ œ 2 bœ. œ 4 œ bœ. œ. œ 4 4 œ bœ œ œ œ œ b˙. œ bœ. œ œ bœ b˙. œ 46 œ œ 49 > Œ 2 4 j œ bœ œ œ bœ w & bœ 4 bœ 4 œ 3 Sy 2 œ œ œ œ œ œ bœ œ. f ? 2 4 bw 4 b˙ 4 w bw bw b˙ w bw 46 bœ. œ. œ. œ. œ œ. œ 49 >bœ > œ > œ œ œ bœ œ œ œ œ bœ œ. bœ œ œ œ C 1,2 ? bœ œ œ 2 b>œ bœ 4 œ bœ œ œ J 4 4 œ 3 ƒ œ œ œ bœ œ œ œ bœ ˙ œ œ œ bœ C 3,4 ? > bœ 2 œ bœ 4 bw bœ 4 4 3 46 ƒ 49 E.B. ? 2 4 bw 4 4 w bw b˙ Sus. Cymbal Sus. Cymbal Bass Drum 46 ˙ ˙ 49 ˙ Perc. Ó æ ã Ó æ 42 4 ! w p f p Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 9 50 D - B Tpt. # ˙ b & # n˙ w w ! w

50 52 P p B Cl. # nœ œ b # nœ œ œ œ w w œ w & œ œ œ œnœ œ œ 50 P œ 52 F Hn. # ˙- ! nw & n˙ w w p 50 52 P Vx ? ! ! ! ! ! Soloist 50 52 Omni ? bw w w w w

50 ° 52 w bbww w w ww ww & w w SyCh p P3 ˙ w w ? ˙œbœ œ w ! !

50 52 œ bœ œ & œ bœ œ œ œ œ w ! ! ! Sy 1 bœ œ bœ œ œ œ w > œ w p " ? b˙ w ! ! ! b˙ ˙ w 50 > ˙ 52 ˙ & b˙ w w ! ! Sy 2 w w

? w w ! ! bw w w bw 50 52 > œ w œ- œ bœ œ œ C 1,2 ? œ œ bœ œ bœ œ œ œ bœ œ œ J œ. w F C 3,4 ? b˙ bœ j œ >œ bœ œ œ œ œ bœ œ œ. w œ bœ œ w œ- 50 52F E.B. ? w w ! ! bw 50 w Bass Drum 52 Large Gong Perc. w ã w w ! f F> Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 10 B.D. cues cutoff 55 58 61 B Tpt. # b # w ! Œ œ œ œnœ œ ˙ w w ! & niente œ œ œ niente 55 F 58 f 61 B Cl. # b # w ! Ó ˙ œnœ œ ˙ w w ! & niente œ niente

55 p 58 F 61 Hn. # w ! w w ! & niente w w niente 55 P 58 F 61 Vx ? ! ! ! ! ! ! ! Soloist 55 58 61 Omni ? w w w w w w w cont. through next module 55 58 61 ww ww ww ww ww ww ww ww ww ww ww ww ! & niente SyCh ww ww ww ww ww ww ? w w w w w ! Grand Piano 55 # 58 61 œ >œ œ ! œ bœ J œ. w ! ! ! ! Sy 1 & P $ ? ! ! w ! ! ! ! w 55 58 61 & ! ! ! ! ! ! ! Sy 2 niente niente F ? ! w w ! ! ! ! w w 55 58 61 C 1,2 bœ œ w w w w ? ˙ œ œ ! w w ! niente niente f p C 3,4 ˙. w ? w œ ! w w ! niente w w niente 55 f 58 p 61 E.B. ? ! ! ! ! ! ! ! Sus. Cymbal Bass Drum 55 Bass Drum 58 ˙ ˙ 61 Perc. j j ã ! Ó Œ ‰ œ w w æ Ó Œ ‰ œ w F > p f f >

Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS F E Scrubbing Module (played 3x) 5-6 seconds each Cymatic Solo & Movie 11 Start cued by pattern spin : Stop cued by finger lift Tacet Ensemble B Tmpt # b & # w niente niente p # B Clari # b & bw niente niente p # Horn in F & #w niente niente p Voice ?

Spin 3x while triggering

Omnisphere ? w w w °

& ww ww ww Synth Choir *slow pitch bends 2-3 semitones

? Grand Piano œ #œ œ œ bœ nœ bœ œ œ œ œ bœ & *partial row from F to C improvised in random order pace Synth 1 ; ?

& Synth 2 p *slow pitch bends - octave range ? ww ww w *slowly melt using a grindingw bow pressure

Cello 1,2 w w ? w w w F *slowly melt using a grindingw bow pressure w Cello 3,4 ? w w w w w F*essence of a sinking ship Elec. Bass ? wæ ~~~~~ æ ~~~~~~~~~ w~~~~~~~~ æ P ~~~~~~~w Bowed Crotales *freely select from notes f w Perc w w & cast off each

Andante = 72 73 76 q 43 ! ! ! 4 ! ! 73 76 3 œ- 4 4 œ œ œ œ œ ˙. ! 4 ! ! F 73 76 3 4 4 ! 4 !

73 76 43 ! ! ! 4 ! !

73 76 3 4 4 ! ! ! 4 ! !

73 76 3 4 4 ! ! ! 4 Ó ˙ w P ˙ w 43 ! ! ! 4 Ó

73 76 3 4 4 ! ! ! 4 ! !

43 ! ! ! 4 ! !

73 76 3 ! ! ! 4 ! ! 4 niente 4 ƒ 3 4 4 ! 4 ! ! ˙. ˙. arco ˙. ˙. solo 73 76 3 #@. #@. #@. ? 4 4 . . . 4 œ œ œ œ œ œ w arco œ- " P F ˙˙. ˙˙. 43 ! 4 ! !

73" F 76 3 4 4 ! ! ! 4 ! !

Bass Drum 73 76 3 4 4 ˙. ! ! 4 ! ! F>

77 79 82 B Cl. # b & # ! ! 43 ! ! 4 ! Ó. "Œ 43

82 77 79 > Hn. œ œ # ! ! 3 ‰ œ œ œ œ œ ‰ œ œ œ œ œ 4 ‰- œ œ œ œ œ œ œ œ œ œ "Œ 3 & 4 J J 4 J 4 77 79 P 82 f Vx ? 3 4 " 3 ! ! 4 ! ! 4 ! Ó. Œ 4 Soloist 77 79 82 Omni ? ! ! 43 ! ! 4 ! Ó. "Œ 43

77 79 82 3 4 " 3 & w w 4 ! ! 4 ! Ó. Œ 4 SyCh " w w ? 43 ! ! 4 ! Ó. "Œ 43 Grand Piano 77 79 ˙ ˙ ˙ 82 ! ! 3 Œ Œ 4 Ó Ó. "Œ 3 Sy 1 & 4 4 4 " ? ! ! 43 ! ! 4 ! Ó. "Œ 43

77 79 82 & ! ! 43 ! ! 4 ! Ó. "Œ 43 Sy 2 niente P " ? ! ! 43 4 Ó. "Œ 43 ˙. ˙. w

77 79 pizz.˙. ˙. w 82 C 1,2 ? w ! 43 Œ Œ 4 Ó Ó. "Œ 43 psolo ˙ ˙ ˙ fpizz. C 3,4 ? 3 4 " 3 œ œ œ œ œ œ w 4 Œ Œ 4 Ó Ó. Œ 4 œ- ˙ ˙ ˙ 77 F 79 f 82 E.B. ? 43 ! ! 4 ! Ó. "Œ 43 w w 77 Largep Gong 79 Bass Drum 82 Perc. w 3 4 " 3 ã ! 4 ˙. ! 4 ! Ó. Œ 4 > P f Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 14 H Moderato accel. a tempo q = 80 85 > 88 B Tpt. # 3 j j 4 j œ œ " 3 8 b & # 4 ‰ œ œ œ œ œ ‰ œ œ œ œ œ 4 ‰- œ œ œ œ œ œ œ œ œ œ Œ 4 ! ˙. 8 f 83 P 85 f 88 " B Cl. # b & # 43 ! ! 4 ! Ó. "Œ 43 ! ˙. 8 83 85 88 " f > Hn. # 3 ‰- j ‰- j 4 ‰- œ œ œ "Œ 3 ! ˙. 8 & 4 œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ 4 8 83 p " f 85 f 88 Vx ? 43 ! ! 4 ! Ó. "Œ 43 ! ! 8 Soloist 83 85 88 Omni ? 43 ! ! 4 ! Ó. "Œ 43 ! ! 8 88 83 85 3 4 " 3 ˙˙ ˙˙. 8 & 4 ! ! 4 ! Ó. Œ 4 Œ . 8 SyCh niente F ? 43 ! ! 4 ! Ó. "Œ 43 ! ! 8 83 ˙ ˙ 85 ˙ 88 . . & 43 ˙ Œ ˙ Œ 4 ˙ Ó Ó. " Œ 43 ˙ œ ˙ 8 Sy 1 ‰ œ œ œ œ ˙. P J F j $ ‰ œ œ œ œ œ ˙. ? 43 ˙ Œ ˙ Œ 4 ˙ Ó Ó. " Œ 43 ˙. ˙. 8 ˙ ˙ ˙ 83 85 88 & 43 ! ! 4 ! Ó. " Œ 43 ! ! 8 Sy 2 niente (Binaural Beat D/Eb) ? 3 4 " 3 8 4 ! ! 4 ! Ó. Œ 4 8

83 pizz. 85 b˙˙. 88 ˙˙. C 1,2 ? 43 ˙ Œ ˙ Œ 4 ˙ Ó Ó. " Œ 43 ! ! 8 ƒpizz. C 3,4 ? 43 Œ Œ 4 Ó Ó. " Œ 43 ! ! 8 ˙ ˙ ˙ 85 83 palmƒ mute 88 E.B. ? 43 Œ Œ 4 Ó Ó. " Œ 43 ! ! 8 ˙ ˙ ˙ 83 LargeF Gong 85 Bass Drum 88 Perc. 3 ˙ 4 " 3 8 ã 4 . ! 4 ! Ó. Œ 4 ˙. ! 8 f F Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 15 89 91 accel. > > > B Tpt. # . œ. œ. œ œ œ œ œ ˙-. œ. b & # 8 Ó ˙ 78 Ó œ 86 œ 8 78

89 p F 91 f B Cl. # b # 8 ˙ 7 6 8 ˙-. 7 & 8 Ó 8 ! 8 œ. œ. 8 Œ 8 89 p 91F f Hn. # ˙-. >. & 8 Ó ˙ 78 ! 86 œ. œ. 8 œ 78

89 p 91F f Vx ? 8 7 6 8 7 8 ! 8 ! 8 ! 8 ! 8 Soloist 89 91 Omni ? 8 ! 78 ! 86 ! 8 ! 78

89 91 .. 8 w 7 ˙˙.. 6 œ. œœ. 8 ˙˙. 7 & 8 8 8 . 8 . Œ 8 SyCh p f w ˙.. œ. œ. ˙. ? 8 7 6 œ. œ. 8 ˙. 7 8 w 8 ˙.. 8 8 Œ 8

89 91 8 ! 7 ! 6 ! 8 ! 7 Sy 1 & 8 8 8 8 8

? 8 ! 78 ! 86 ! 8 ! 78

89 91 & 8 ! 78 ! 86 ! 8 Ó. œ 78 Sy 2 >. f F > ? 8 7 6 8 œ. 7 8 8 ! 8 ! 8 Ó. œ 8 89 w arco 91 w œ œ œ œ. - C 1,2 - œ œ œ œ. ˙ ? 8 ! 7 œ 6 œ. œ. 8 . Œ 7 8 8 8 8 - 8 F f farco - C 3,4 ? 8 7 œ 6 œ. œ. 8 7 8 ! 8 œ œ œ œ œ 8 œ. 8 ˙. Œ 8 œ œ. - - f 89 f 91F > E.B. -. œ. ? 8 œ œ œ œ 78 ˙ Œ. 86 8 ˙ 78 œ œ œ œ. œ. - Sus. Cymbal f 89 p F 91F œ ˙ Perc. . . ã 8 ! 78 Ó æ 86 8 ! 78 p f Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 16 I Allegro q = 120 [e = 240]94 97 .. B Tpt. # ˙ ˙. œ b & # 78 ! 8 ! 78 ! 108 ! 78 8 78

93 F 94 - 97 B Cl. # - œ - - œ œ œ œ- >. - ˙. ˙. b # 7 œ œœ œ œ 8 œ œ œ œ œ œ 7 œ œ œ œ œ 10 œ œ œ œ œ- œ- œ 7 ‰ 8 œ 7 & 8 œ 8 œ œ 8 œ 8 J 8 8 8 > > > 93 P 94 97F Hn. # ˙.. ˙. œ & 78 ! 8 ! 78 ! 108 ! 78 8 78

93 94 97F Vx ? 78 ! 8 ! 78 ! 108 ! 78 ! 8 ! 78 Soloist 93 94 97 Omni ? 78 ! 8 ! 78 ! 108 ! 78 ! 8 ! 78

93 94 97 & 78 ! 8 ! 78 ! 108 ! 78 ! 8 ! 78 SyCh ? 7 8 7 10 7 8 7 8 ! 8 ! 8 ! 8 ! 8 ! 8 ! 8

93 Marimba 94 97 7 ! 8 ! 7 ! 10 ! 7 ! 8 ! 7 Sy 1 & 8 8 8 8 8 8 8 f - - >. ? 78 œ œ- œœ 8 œ œ œ 78 œ œ- œœ 108 œ œ œ œ œ œ œ œ œ 78 œ œ- œ œ 8 œ œ œ 78 œ œ œ œ œ œ - œ œ œ œ œ J œ- - - œ œ œ œ œ œ - œ œ 93 > 94 > > 97 > > j - - & 78 ! 8 ! 78 ! 108 Œ. Œ. œ œ- œ œ 78 ! 8 ! 78 Sy 2 œ. P > f j ? 7 ˙ Œ. 8 ˙ Ó 7 ˙ Œ. 10 Œ. Œ. œ œ 7 ˙ Œ. 8 ˙ Ó 7 8 8 8 8 œ- œ- - 8 8 8 ˙ ˙ ˙ œ. pizz.˙ ˙ pizz. >reg pizz. 93 94 œ 97 œ œ œ œ œ œ œ. . >. œ œ œ œ C 1,2 ? 7 Œ. 8 Œ Œ 7 Œ. 10 œ œ œ œ œ 7 œ œ Œ. 8 œ Œ Œ 7 8 8 8 8 subitoJ 8 8 8

ƒ p ƒpizz. pizz. reg pizz. C 3,4 ? 7 8 œ 7 10 >. 7 8 œ 7 8 œ œ Œ. 8 œ Œ Œ 8 œ œ Œ. 8 œ. œ. œ œ œ œ 8 œ œ Œ. 8 œ Œ Œ 8 subitoJ œ œ œ œ ƒ p 93 94 97ƒ E.B. ? 78 ˙ Œ. 8 ˙ Ó 78 ˙ Œ. 108 j œ œ 78 œ œ œ œ 8 œ œ œ 78 œ. œ. œ œ œ œ œ œ P >. F 93 Large Gong 94 97 Large Gong Perc. ˙ ˙ ã 78 .. 8 ! 78 ! 108 ! 78 .. 8 ! 78 Copyright © 2016 Thomas B. Carraher. All Rights Reserved. F f CYMATIC REVELATIONS 17 J 99 100 103 B Tpt. # ˙. .. b & # 78 ‰ 89 œ. ˙. 42 œ œ œ œ 78 ˙ 8 w 78 > > > > subito 99 p 100F p 103 B Cl. # ˙. . œ. œ > > > > ˙ œ b & # 78 ‰ 89 œ œ œ 42 œ œ œ œ 78 ! 8 œ 78 103 99 p 100F F Hn. # ˙ > > >œ >œ ˙.. w 7 . ‰ 9 œ œ œ œ œ œ 2 œ 7 8 7 & 8 8 œ œ œ 4 œ subito8 8 8 99 p p 100F 103 Vx ? 78 ! 89 ! 42 ! 78 ! 8 ! 78 Soloist 99 100 103 Omni ? 78 ! 89 ! 42 ! 78 ! 8 ! 78

99 100 103 > >œ & 78 ! 89 ! 42 œ œ 78 ! 8 ! 78 SyCh f >œ >œ ? 78 ! 89 ! 42 œ 78 ! 8 ! 78

99 100 103 7 ! 9 ! 2 ! 7 ! 8 ! 7 Sy 1 & 8 8 4 8 8 8 f ? 7 - œ 9 œ- œ œ- 2 7 - œ 8 7 8 œ œ œ œ œ 8 œ œ œ œ- œ œ 4 œ œ œ œ 8 œ œ œ œ œ 8 œ œ œ œ- œ œ œ 8 œ > > > > œ œ 99 > 100 > 103 > 7 ! 9 ! 2 ! 7 ! 8 ! 7 Sy 2 & 8 8 4 8 8 8 R.H. ƒ F > > . >˙. œ œ >œ >œ ? 78 ˙ Œ. 89 œ 42 œ œ 78 ˙ Œ. 8 ˙ Ó 78 ˙ œ. ˙. œ œ ˙ ˙ arco >pizz. 99 100 > 103 œ œ . j œ œ œ œ C 1,2 œ œ œ œ. œ. œ ? 78 Œ. 89 œ. œ. 42 J ‰ Œ 78 Œ. 8 Œ Œ 78

Parco Z ƒ > pizz. C 3,4 ? 7 9 œ. œ 2 j 7 8 œ 7 8 œ œ Œ. 8 œ.. œ. 4 œ ‰ Œ 8 œ œ Œ. 8 œ Œ Œ 8 œ œ œ. J

99 100P Z ƒ 103 E.B. ? 7 9 œ. 2 7 . 8 . 7 8 œ œ œ œ œ œ 8 ˙ 4 œ 8 œ Œ ‰ 8 œ Ó 8 œ >. œ œ œ œ œ f 99 100 Bass Drum 103 Perc. 7 9 2 7 8 7 ã 8 ! 8 ! 4 ! 8 ˙.. 8 ! 8 Copyright © 2016 Thomas B. Carraher. All Rights Reserved.f CYMATIC REVELATIONS 18 104 106 .. B Tpt. # j œ œ œ ˙ œ ˙. b # 7 ˙. 10 . 7 8 ˙. 7 9 & 8 ‰ 8 œ œ. œ. 8 8 8 ‰ 8 > 104 106 p F- . B Cl. # œ. œ œ œ œ œ- . >. œ œ ˙.. ˙. b # 7 œ 10 J œ œ œ 7 8 œ 7 ˙. 9 & 8 ‰ 8 J J 8 8 8 ‰ 8 104 106 p ˙.. œ Hn. # 7 10 œ. œ . j œ œ œ 7 8 ˙. 7 ˙. 9 & 8 ˙. ‰ 8 J œ œ œ 8 8 8 ‰ 8 J >. 104 F 106 p Vx ? 7 ! 10 ! 7 ! 8 ! 7 ! 9 Soloist 8 8 8 8 8 8 104 106 Omni ? 78 ! 108 ! 78 ! 8 ! 78 ! 89

104 106 .. w & 78 ! 108 ! 78 ˙.. 8 w 78 ˙˙.. 89 SyCh p f ˙.. w .. ? 78 ! 108 ! 78 ˙.. 8 w 78 ˙ 89

104 106 7 ! 10 ! 7 ! 8 ! 7 ! 9 Sy 1 & 8 8 8 8 8 8

- - >. ? 78 œ œ- œ œ 108 œ œ œ œ œ œ œ œ œ 78 œ œ- œ œ 8 œ œ œ 78 œ œ- œ œ 89 œ œ œ J œ- - - œ œ œ œ œ œ - œ œ œ œ œ 104 > 106 > > > j - - & 78 ! 108 Œ. Œ. œ œ- œ œ 78 ! 8 ! 78 ! 89 Sy 2 œ >. f j ? 7 ˙ Œ. 10 Œ. Œ. œ œ 7 ˙ Œ. 8 ˙ Ó 7 ˙ Œ. 9 8 8 œ- œ- - 8 8 8 8 ˙ œ. ˙pizz. ˙ ˙ pizz. > reg pizz. 104 106 œ œ œ œ. . >. œ œ œ œ œ œ C 1,2 ? 7 Œ. 10 œ œ œ œ œ 7 œ œ Œ. 8 œ Œ Œ 7 œ œ Œ. 9 8 8 subitoJ J J J 8 8 8 8 p ƒ pizz. reg pizz. pizz. C 3,4 >. ? 78 œ œ Œ. 108 œ. œ œ œ œ 78 œ œ Œ. 8 œ œ Œ Œ 78 œ œ Œ. 89 œ. subitoJ J J J œ p œ œ œ œ œ 104 106ƒ E.B. ? 78 ˙ Œ. 108 j œ œ 78 œ œ œ œ 8 œ œ œ 78 œ œ œ œ 89 œ. œ. œ œ œ œ œ œ œ œ œ >. ƒ 104 106 Bass Drum Perc. 7 10 7 8 7 9 ã 8 ! 8 ! 8 ˙.. 8 ! 8 ! 8 Copyright © 2016 Thomas B. Carraherf . All Rights Reserved. CYMATIC REVELATIONS 19 K 109 112 B Tpt. # 9 2 7 8 7 b & # 8 œ. ˙. 4 œ œ œ œ 8 ˙ 8 ! 8 > > > > >.. 109 F f 112 B Cl. # . œ. œ > > > > b & # 89 œ œ œ 42 œ œ œ œ 78 #˙.. 8 ! 78 > 109 F f 112 Hn. # & 89 œ œ œ œ œ œ œ œ 42 œ 78 8 ! 78 œ > œ œ œ ˙ 109 > > > .. F f> 112 Vx ? 9 ! 2 ! 7 ! 8 ! 7 Soloist 8 4 8 8 8 109 112 Omni ? 89 ! 42 ! 78 ! 8 ! 78 109 112 9 2 7 8 7 & 8 œœ. ˙. 4 œ 8 ! 8 ! 8 . > SyCh P S œ. > ? 89 œ. ˙. 42 œ Œ 78 ! 8 ! 78 112 109 Solo Synth 9 ! 2 ! 7 ! 8 ! 7 Sy 1 & 8 4 8 8 8 * E Dorian (F#,C#) - ? 9 œ œ œ- 2 7 . 8 7 8 œ œ œ œ- œ œ 4 œ œ œ œ 8 Œ 8 ! 8 > > > > ˙ 109 > 112 9 ! 2 ! 7 ! 8 ! 7 Sy 2 & 8 4 8 8 8 Í > > . ˙. œ œ >œ >œ - ? 89 œ 42 œ œ 78 œ œ œ œ œ œ #œ 8 œ œ œ œ #œ œ 78 œ. ˙. œ œ œ œ - œ arco > > 109 > 112 . j . . . . C 1,2 œ œ. œ. œ œ œ ? 89 œ. œ. 42 J ‰ Œ 78 #œ œ Œ. 8 #œ œ Ó 78 P Z . . . . arco F > . . C 3,4 j . . ? 9 œ. œ. œ. 2 œ ‰ Œ 7 œ Œ. 8 œ Ó 7 8 œ. œ. 4 J 8 œ œ 8 œ œ 8 Z . . . . 109 P F 112 E.B. ? 9 œ. 2 œ 7 œ œ œ #œ 8 Ó 7 8 ˙. 4 œ œ œ 8 œ œ 8 ˙ 8 > > > > > 109 Bass Drum F 112 Perc. 9 2 7 8 7 ã 8 ! 4 ! 8 ˙.. 8 ! 8 Copyright © 2016 Thomas B. Carraherf . All Rights Reserved. CYMATIC REVELATIONS 20 113 115 B Tpt. ## 7 10 7 8 7 b & 8 ! 8 œ. #œ. ˙ 8 ˙.. 8 ! 8 113 P 115 F B Cl. # b & # 78 ! 108 ! 78 ! 8 ! 78 113 115 Hn. # 7 ! 10 ˙ 7 ˙ 8 ! 7 & 8 8 œ. œ. 8 .. 8 8 113 P 115 F Vx ? 7 ! 10 ! 7 ! 8 ! 7 Soloist 8 8 8 8 8 113 115 Omni ? 7 10 7 8 7 8 ! 8 ! 8 ! 8 ! 8

113 115 & 78 ! 108 ! 78 ! 8 ! 78 SyCh niente F ? 7 ! 10 ! 7 ˙.. 8 w 7 8 8 8 ˙.. 8 w 8 113 *solo cont. 115 7 10 7 8 7 Sy 1 & 8 ! 8 ! 8 ! 8 ! 8

? 78 ! 108 ! 78 ! 8 ! 78 113 115 & 78 ! 108 Œ. Œ. ‰ 78 Œ ‰ 8 ! 78 Sy 2 œ ˙ œ- #œ- - > F - - > ? 7 œ œ- œ #œ 10 œ #œ œ œ œ œ œ. #œ œ 7 œ œ œ- œ #œ 8 œ œ #œ 7 8 œ œ œ 8 J œ- - - 8 œ œ œ 8 œ œ œ - œ œ 8 > > > 113 115 . . œ. . >. . . . C 1,2 œ #œ ˙˙ œ œ ? 78 #œ œ Œ. 108 œ. # œ. 78 #œ œ Œ. 8 #œ œ Ó 78 ...... f ƒ f> . . >. . . . C 3,4 ? 7 œ Œ. 10 œ. #œ. ˙˙ 7 œ Œ. 8 œ Ó 7 8 œ œ 8 œ. œ. 8 œ œ 8 œ œ 8 . . . . f ƒ >. . 113 115 f E.B. ? 78 ˙ Œ. 108 œ. j œ #œ œ 78 œ œ œ œ #œ 8 Ó 78 œ-. - œ œ ˙ >. > 113 115 Large Gong Perc. ˙ ã 78 ! 108 ! 78 .. 8 ! 78

Copyright © 2016 Thomas B. Carraher. All Rightsf Reserved. CYMATIC REVELATIONS 21 117 118 . B Tpt. # #œ œ. b # 7 ! 10 Œ. Œ. ‰ œ 7 œ. Œ. 8 œ. Ó 7 & 8 8 œ- #œ- - 8 8 8 *small breaths on staccato if needed 117 118 F f . B Cl. # œ - œ #œ œ - b # 7 ! 10 Œ. Œ. ‰ 7 œ œ œ 8 œ œ œ #œ œ œ 7 & 8 8 œ #œ œ 8 œ 8 œ 8 117 - - - > > 118 F ƒ Hn. # 7 ! 10 ˙ 7 œ. œ Œ. 8 œ. œ Ó 7 & 8 8 œ. œ. 8 . 8 . 8 117 118 F ƒ Vx ? 7 ! 10 ! 7 ! 8 ! 7 Soloist 8 8 8 8 8 117 118 Omni ? 78 ! 108 ! 78 ! 8 ! 78

117 118 7 10 7 ˙.. 8 #ww 7 & 8 ! 8 ! 8 ˙.. 8 w 8 SyCh P F ? 78 ! 108 ! 78 ! 8 ! 78

117 *solo cont. 118 7 10 7 8 7 Sy 1 & 8 ! 8 ! 8 ! 8 ! 8

? 78 ! 108 ! 78 ! 8 ! 78 117 118 7 10 7 8 7 & 8 ! 8 Œ. Œ. ‰ 8 #œ 8 8 Sy 2 #œ œ œ œ œ œ œ #œ œ- - - œ œ œ - œ œ œ - œ œ f> > - œ- - > - ? 7 œ œ œ #œ 10 #œ œ œ œ œ œ. #œ œ 7 œ œ œ #œ 8 œ œ #œ 7 8 œ œ œ 8 J œ- - - 8 œ œ œ 8 œ œ œ - œ œ 8 > > > 117 . 118 . œ. #œ. ˙ æ C 1,2 ? 7 #œ œ . 10 # œ. ˙ 7 ˙.. 8 wwæ 7 8 œ œ Œ 8 œ. & 8 8 æ 8 . æ . f ƒ p . C 3,4 . œ...... ? 78 œ œ Œ. 108 #œ ˙˙ 78 œ Œ. 8 œ œ Œ 78 œ œ œ. . œ œ œ œ œ . . . . 117 118f ƒ . . E.B. ? 7 10 7 > #œ 8 > 7 8 ˙ Œ. 8 œ. j œ #œ œ 8 œ œ œ 8 œ œ #œ œ 8 œ-. - œ œ œ œ >. f > > 117 118 Bass Drum Perc. 7 10 7 8 7 ã 8 ! 8 ! 8 ˙.. 8 ! 8 f Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 22 121 124 . ˙.. B Tpt. # #œ > œ #œ œ ˙. #œ b # 7 œ. Œ. 10 œ. œ. 7 8 7 & 8 8 œ. J 8 8 8 121 F 124 . - œ. - > .. B Cl. # œ - œ #œ œ #œ . œ. œ œ œ ˙ #˙. b # 7 œ œ œ 10 J œ 7 8 œ 7 & 8 œ 8 J J 8 8 8 > 121 124 ˙.. œ Hn. # œ. #œ . > œ œ œ #˙. 7 œ. Œ ‰ 10 œ #œ œ. 7 8 7 & 8 œ. 8 J J J 8 8 8 121 F 124 Vx ? 7 ! 10 ! 7 ! 8 ! 7 Soloist 8 8 8 8 8 121 124 Omni ? 7 10 7 8 7 8 ! 8 ! 8 ! 8 ! 8 121 124 7 ˙˙.. 10 7 ˙.. 8 #w 7 & 8 ˙ .. 8 ! 8 ˙ 8 w 8 SyCh niente p ˙.. #w ? 78 ! 108 ! 78 ˙.. 8 w 78

121 *solo cont. 124 7 ! 10 ! 7 ! 8 ! 7 Sy 1 & 8 8 8 8 8

? 78 ! 108 ! 78 ! 8 ! 78 121 j 124 7 10 œ - - œ- 7 8 7 & 8 #œ 8 œ #œ œ œ #œ 8 #œ 8 8 Sy 2 œ œ œ - œ - œ œ œ. œ œ œ œ œ œ #œ œ œ œ - > œ œ œ - œ œ œ - œ œ > ƒ > > - œ- - j - ? 7 œ œ œ #œ 10 #œ œ œ œ œ œ #œ œ 7 œ œ œ œ #œ 8 œ œ #œ 7 8 œ œ œ 8 œ œ- - - 8 œ œ œ 8 œ œ œ - œ œ 8 > >. > > 121 124 œ. > . . . . C 1,2 ˙æ. ? œ. œ. œ. œ. œ. œ œ & 78 ˙. ‰ 108 J 78 #œ œ Œ. 8 #œ œ Ó 78 æ subito . . . . F p F . . . . . C 3,4 ? 7 . 10 >. . . . 7 8 7 8 œ œ Œ. 8 œ. œ. œ œ œ œ 8 œ œ Œ. 8 œ œ Ó 8 œ œ subitoJ œ œ œ œ p . . 121 . . . . F 124 E.B. ? 7 œ œ #œ 10 7 œ œ #œ 8 >œ 7 8 œ œ œ 8 œ. œ. j œ #œ œ 8 œ œ 8 œ #œ œ œ 8 œ œ. œ œ > Sus. Cymbal > > 121 ƒ 124 œ ˙ Perc. 7 10 . 7 .. 8 7 ã 8 ! 8 Œ. Œ. ‰ æ 8 8 ! 8 p f Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 23 125 L . . B Tpt. # ˙.. . œ . œ b # 7 10 Œ. Œ. ‰ œ 7 œ Œ. 8 œ Ó 7 & 8 8 #œ- #œ- - 8 8 8 125 p F 127 f - œ - B Cl. # 7 ˙.. 10 7 > œ œ œ nœ œ 8 > œ œ œ nœ œ œ 7 b & # 8 8 Œ. Œ. ‰ 8 œ 8 œ nœ 8 œ #œ œ- p - - 125 F 127 f Hn. # ˙. 7 ‰ 10 ˙ 7 œ. bœ. Œ. 8 œ. bœ. Ó 7 & 8 8 œ. œ. 8 8 8 125 p F 127 f Vx ? 7 ! 10 ! 7 ! 8 ! 7 Soloist 8 8 8 8 8 125 127 Omni ? 78 ! 108 ! 78 ! 8 ! 78 125 127 7 #˙˙.. 10 7 b˙.. 8 ww 7 & 8 .. 8 ! 8 ˙.. 8 w 8 SyCh f P ˙.. ? 78 108 ! 78 ! 8 ! 78

125 *solo cont. 127

& 78 ! 108 ! 78 ! 8 ! 78 Sy 1 F Dorian (Ab,Bb,Eb)

? 78 ! 108 ! 78 ! 8 ! 78 125 127 & 78 108 œ j 78 œ 8 78 Sy 2 œ œ œ #œ - #œ œ œ- œ œ œ. #œ œ œ œ œ bœ- œ œ œ œ bœ- œ œ œ œ œ - > œ- - - œ œ bœ > > > - - > ƒ ? 7 œ œ- œ #œ 10 œ #œ œ œ œ œ œ. #œ œ 7 œ œ œ bœ- œ œ 8 œ œ œ bœ- œ œ 7 8 œ œ œ 8 J œ- - - 8 œ 8 œ bœ 8 > > > 125 . 127 . œ. #œ. ˙ æ æ C 1,2 ? 7 #œ œ . 10 # œ. ˙ 7 ˙.. 8 bww 7 8 œ œ Œ 8 œ. & 8 æ 8 æ 8 . . f ƒ p ...... C 3,4 ? 7 œ Œ. 10 œ. #œ. ˙˙ 7 œ Œ. 8 œ bœ Œ 7 8 œ œ 8 œ. œ. 8 œ bbœ 8 œ bbœ b œ 8 . . . 125 . f ƒ 127 . . E.B. ? 7 #œ 10 7 >œ œ œ 8 >œ 7 8 œ œ œ œ œ 8 œ. j œ #œ œ 8 bœ 8 bœ œ œ bœ 8 œ œ-. - œ œ œ >. > > 125 127 Bass Drum Perc. 7 10 7 8 7 ã 8 ! 8 ! 8 ˙.. 8 ! 8 ƒ Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 24 129 130 . bœ. B Tpt. # . œ . b & # 78 œ Œ. 89 bœ nœ œ œ 42 œ œ bœ nœ 4 J J > > > > 129 130 bœ- - - B Cl. # , > œ nœ- œ œ œ œ œ œ nœ œ œ œ > > >œ n>œ b & # 78 œ œ œ 89 42 nœ œ 4

129 130 Hn. # . . bœ. . & 78 œ bœ Œ ‰ 89 œ œ. 42 ˙ 4 129 130 ƒ Vx ? 7 ! 9 ! 2 ! 4 Soloist 8 8 4 4 129 130 Omni ? 7 9 2 4 8 ! 8 ! 4 ! 4 129 130 7 ˙˙.. 9 œ. ˙. 2 œ 4 & 8 ˙.. 8 œ. 4 Œ 4 SyCh f b˙. œ ? 7 9 ˙ 2 œ 4 8 ! 8 Œ. 4 Œ 4

129 *solo cont. 130 ° 7 ! 9 ! 2 ! 4 Sy 1 & 8 8 4 4

? 78 ! 89 ! 42 ! 4

129 130 & 78 œ 89 bœ œ œ 42 4 Sy 2 œ œ œ bœ œ - œ - œ bœ œ- œ œ œ œ bœ œ - bœ > > > > > - - - ? 7 œ bœ- œ œ 9 bœ œ œ œ œ bœ œ œ œ 2 œ bœ 4 8 œ œ œ 8 4 bœ œ 4 > > > > > 129 130 bœ. œ. C 1,2 ˙æ. ? œ. bœ. œ & 78 b˙. ‰ 89 bœ. 42 Œ 4 æ F f ƒ . C 3,4 . bœ. œ ? 7 œ Œ. 9 œ.. bœ. 2 œ Œ 4 8 œ bbœ 8 bœ. 4 4

129 . . 130 f ƒ . E.B. ? 7 œ bœ œ œ 9 bœ 2 bœ œ 4 8 œ œ œ 8 ˙. 4 œ bœ 4 >Sus. Cymbal> > > 129 130 ˙ Perc. ã 78 ! 89 ! 42 æ 4

132 133 B Tpt. # nœ œ œ b # 4 w ! ! Ó Œ œ 11 & 4 niente 8 132 ƒ 133 P œ B Cl. # 4 ˙. nœ ˙. ˙. œ ˙ œ œ 11 b & # 4 Œ nœ Œ œ nœ 8 ƒ 132 133 P Hn. # & 4 w ! ! ! 118 niente

132 133 Vx ? 4 ! ! ! ! 11 Soloist 4 8 132 133 Omni ? 4 11 4 ! ! ! ! 8 132 133 w w w w & 4 ww ww ww ww 118 SyCh p w w w w ? 4 w w w w 118 132 133 - 4 œ. œ bœ. œ. >œ bœ 11 & 4 œ Œ Œ œ ! œ Œ Œ ‰ œ Ó Œ 8 Sy 1 bœ J bœ. F j ? 4 œ Œ Œ œ bœ ! œ Œ Œ ‰ œ Ó Œ bœ 11 4 œ œ bœ œ œ bœ 8 132 . - . 133 . > . bœ œ œ & 4 œ œ œ œ œ œ œ bœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ nœ œ œ œ œ œ œ œ 118 Sy 2 P f ? 4 w w w w 11 4 w w w w 8

132 - > . . 133 . j . C 1,2 œ œ bœ œ œ bœ ? 4 œ Œ Œ œ bœ ! œ Œ Œ ‰ œ Ó Œ bœ 118 . . J F - . > . . - . . >j . C 3,4 ? 4 œ Œ Œ œ bœ ! œ Œ Œ ‰ œ Ó Œ œ 11 4 œ œ œ œ 8 bœ J bœ 132 . . F - . 133 > . E.B. ? 4 11 4 bœ œ. 8 œ. œ. œ. œ. œ. œ. œ- bœ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ- bœ. - 132 > > > Bass Drum Fw 133 Perc. 4 11 ã 4 ! ! Ó Œ ‰ œ œ 8 p f Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 26 136 > , > > , b>œ œ nœ œ. >. œ bœ œ nœ œ. >. > œ B Tpt. # 11 œ nœ >œ œ œ . œ œ œ œ nœ >œ œ œ . œ œ œ 9 b & # 8 nœ nœ 8 136 f > , > > , B Cl. # n>œ œ > œ œ. >. œ nœ œ > œ œ. >. > œ b & # 118 œ nœ œ œ œ œ. œ œ œ œ nœ œ œ œ œ. œ œ œ 89 f 136 > >. > . > >. > >. > Hn. # 11 bœ nœ œ. œ œ œ œ œ. bœ nœ œ. œ œ œ œ œ. 9 & 8 J J J J J J 8 136 f Vx ? 11 ! ! 9 Soloist 8 8 136 Omni ? 118 ! ! 89 136 b œ w œ. 11 œ. bœœ. œœ. œœ ww œœ. 9 & 8 . . 8 SyCh F f bœ. œœ. œœ . . . b œ ? 118 ! œ œ œ œ 89

136 bœ. > . > œ. bœ bœ >œ œ. bœ œ bœ >œ & 118 ‰ ‰ bœ ‰ bœ œ ‰ ‰ œ ‰ bœ œ 89 Sy 1 œ bœ. œ bœ. ? 11 œ œ 9 8 ‰ bœ ‰ bœ ‰ œ œ ‰ bœ ‰ bœ ‰ œ œ 8 œ. bœ œ œ œ. bœ œ œ . bœ. > > . bœ. > > 136 > > b>œ œ > bœ œ. >. œ b>œ œ > bœ œ. >. œ 11 œ bœ œ œ œ bœ. œ œ œ œ bœ œ œ œ bœ. œ œ œ 9 Sy 2 & 8 8

? 11 ‰ ‰ ‰ œ bœ ‰ ‰ ‰ œ bœ 9 8 œ bœ bœ œ œ bœ bœ œ 8 bœ œ > bœ œ > œ. bœ . > œ. bœ . > . > > . > > 136 >. >. . j > >. >. . j > j j œ j j œ C 1,2 ? 11 bœ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ 9 8 J bœ œ œ J œ bœ J bœ œ œ J œ bœ 8 . . J . . . J . > > > > > > > > > > f > > > > ...... C 3,4 bœ bœ œ bœ bœ œ ? 11 œ ‰ bœ ‰ ‰ œ œ ‰ bœ ‰ ‰ œ 9 8 œ bœ bœ bœ œ bœ bœ bœ 8 . . . > > . . . > > 136 f E.B. ? 11 9 8 ‰ ‰ bœ ‰ bœ œ ‰ ‰ bœ ‰ bœ œ 8 œ. bœ. . > > œ. bœ. . > > 136 f Perc. 11 œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ œ 9 ã 8 ...... 8 f > > > > Copyright © 2016 Thomas B. Carraher. All Rights Reserved. CYMATIC REVELATIONS 27 138 > 139 142 b>œ nœ œ. > . B Tpt. # œ œ nœ > œ œ nœ œ > b & # 89 œ nœ œ 42 œ 4 w w w

138 139 142 > > . B Cl. # 9 nœ œ œ > œ œ œ 2 > œ. 4 b & # 8 nœ œ œ œ œ 4 nœ œ 4 w w w > 138 f > 139 142 >. > . œ > Hn. # 9 bœ nœ œ. œ œ 2 nœ œ. >œ 4 w w w & 8 J J J 4 4 138 139 142 Vx ? 9 ! 2 ! 4 ! ! ! Soloist 8 4 4 138 139 142 Omni ? 89 ! 42 ! 4 ! ! !

138 139 142 ˙ ˙˙. ˙ w w w & 89 ˙. Œ. 42 ˙ 4 w w w SyCh ˙˙. ˙. ˙ w w w ? 89 ˙ Œ. 42 ˙ 4 w w w 138 139 142 . 9 œ bœ 2 ˙ 4 & 8 œ ‰ ‰ bœ. 4 4 w w w Sy 1 bœ. bœ. ˙ > > w w w f > ? 9 œ bœ 2 4 8 ‰ ‰ bœ. 4 ˙ 4 œ. bœ ˙ w w w . bœ. > w w w 138 > 142 > > 139 > bœ. > bœ œ. > >œ w w w 9 ‰ œ. ‰ œ 2 bœ œ 4 Sy 2 & 8 4 4

? 9 œ ‰ bœ ‰ 2 4 8 œ bœ. 4 ˙ 4 w w w . bœ. . ˙ b>œ > w w w 138 . . 139 > 142 > C 1,2 œ bœ >˙ ? 89 œ ‰ bœ ‰ bœ. 42 4 w w w . > . ƒ . . C 3,4 ? 9 bœ > 2 4 8 ‰ bœ ‰ 4 ˙ 4 œ œ bœ. > w w w . . ƒ 138 139 142 E.B. ? 9 œ. bœ. 2 4 8 ‰ ‰ bœ. 4 ˙ 4 > > w w w > Sus. Cymbal 142 138 139 ƒ Ó ˙æ w Perc. 9 2 4 ã 8 œ ‰ œ ‰ œ ‰ 4 œ Œ 4 w w w . . . . > Copyright © 2016 Thomas B. Carraher. All Rights Reserved.