Modarresi Mohammadreza 201

“And Then There Was Light”: A G roup of Compositions Inspired b y the Universe’s Creation, Its Present State, and Its Possible F ates.

Mohammadreza Modarresi

A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS

GRADUATE PROGRAM IN MUSIC

YORK UNIVERSITY

TORONTO, ONTARIO

A pril 2015

ABSTRACT

The work herein contained strives to express (vocally and musically) the creation of the

cosmos; whilst adhering to the most pr evalent artistic (philosophical and scientific) notions of the past, present, and future. Due to the complexity of the integral concepts, and my efforts to

fashion the final product in a manner that would make it most relatable, the work has become a

hybrid of the old and the new, the simple and the complex, and furthermore, macrocosm and

microcosm.

iii

DEDICATION

I dedicate this work to my dear brother Behrooz, and my beloved Lisa for their continuous support and dedication.

ACKNOWLEDGEMENTS

As it is often the case, to recount the name of every contributor to th e final product of this effort would be impractical, if not impossible. The creation of “And Then There Was Light” was not only the culmination of my graduate education, but the fruit s of many a scientist, physicist, musician (composer, conductor, performer, etc.), and philosophers’ ef forts, were necessary to make it possible.

However, I wish to make note of those who have been influential and helpful. I had the privilege of instruction by, and the feedback of , Dr. Michael Coghlan and Dr. Lisette Canton throughout my graduate studies. Mr. Shahriar Haghighat - Jou was kind enough to contribute the lyrics (written by him and myself), used throughout the work. Last but not least, I wish to thank my dear parents and siblings for their continual support, and contributions of every kind, throu ghout my life.

T able of Contents

Abstract …………………………………………………………………….. ii

Dedication ………………………………………………………………….. i ii

Acknowledgements ………………………………………………………… i v

1. Scores

Section I: “Before” …………………………………………………………. 1

Section II: “And Then There Was Light” ………………………………….. 2

Section III: “Cosmic Rays” ………………………………………………… 4

Section IV: Tonbak Section No. 1 …………………………………………. 5

Section V: “State Of Confusion”:

a) “State Of Confusion Prelude” ………………………………………. 6

b) “State Of Confusion” ……………………………………………..… 8

Section VI: Tonbak Section No. 2 ………………………………………… 26

Section VII: “Deus Misereatur” …………………………………………... 27

Section VIII: Tonbak Section No. 3 ………………………………………. 38

Section IX: “Future Unknown” ……………………..…………………….. 39

Section X: Tonbak Section No. 4 …………………………………………. 49

Section XI: “Destiny” ……………………………………………………... 50

Section XII: Tonbak Section No. 5 ……………………………………….. 58

Section XIII: “Microwaves ’ Prelude” & “Microwaves” ……………………… ….. 59

2. Introduction …………………………………………………………….. 70

3. Thesis Statement………………………………………………………… 73

4. Compositions : the clarification of contents

Section I : “Before”………………………………………………………...... 75

Section II: “And Then There Was Light” …………………………………… 78

Section III: “Cosmic Rays” ………………………………………………….. 82

Section IV: Tonbak Section No. 1 …………………………………………... 85

Section V: “State Of Confusion” ……………………………………………. 88

Section VI: Tonbak Section No. 2 …………………………………………... 95

Section VII: “Deus Misereatur” ……………………………………………... 96

Section VIII: Tonbak Section No. 3 ………………………………………… 101

Section IX: “Future Unknown” ……………………………………………... 102

Section X: Tonbak Section No. 4 …………………………………………… 111

Section XI: “Destiny” ……………………………………………………….. 112

Section XII: Tonbak Section No. 5 …………………………………………. 116

Section XIII: “Microwaves” ………………………………………………… 117

5. Conclusion ……………………………………………………………… 120

Bibliography ………………………………………………………………. 122

Discography ……………………………………………………………….. 124

Appendi ces ………………………………………………………………….. 126 The Conductor should follow the orchestra until the gong is sounded (at the merging point) B§ 1

“Before” Mohammadreza Modarresi = 120 @ 1 2 3 4 5 6 N M W M M M M M Flute d W Od M W M M M M M N M W M M M M M Oboe d W Od M W M M M M M N M W M M M M M Clarinet d W Od M W M M M M M N ( M W M M M M M Bassoon ( W O M W M M M M M N M W M M M M M Horn d W Od M W M M M M M N M W M M M M M Trumpet d W Od M W M M M M M N ( M W M M M M M Trombone W O( M W M M M M M u ' N W R _ Timpani (Gong) O( M W M M M Q R _ fff j j j j j j j j j Percussion (Tonbak) j j W j j j j j j j Q M k R« R» R« R» R« R» R« R» R glissando

00:00:01:04 00:00:00:00 00:00:02:09 00:00:03:14 00:00:04:19 00:00:06:00 00:00:07:04 \ \ N W 8R >R >'R _ \ d 8R >R 8R >R R R R R 8R >R 8R >R 8R >R R R 8R >R 8R >R 8R >R 8R >R Harp >R R ' ' ' ' ff ' ' ( W O M W M M M M M N W d M W M M M M M Keyboard I W >R 'R _ ( Q W Q R Q R R \ O RW 8R 8R R >R pRpp R 8R N W d M W M M M M M Keyboard II >R 'R _ ( Q W Q R R Q R R \ O R 8R 8R R >R ppp RW R R 8R N 8R >R R _ Guitar I 8R 8R W R R R d R R W bR bR R R R R \ pp 8R >R R _ Guitar II 8R 8R W R R R R Od R bR W bR bR R R R \ pp N Violin I W 8R >R >'R _ \ d R R R R 8R >R 8R >R 8R >R R R 8R >R 8R >R 8R >R 8R >R >R R 8R >R 8'R >R ' ' ' ' f'f

Violin II W 8R >R >'R _ \ Od R R R R 8R >R 8R >R 8R >R R R 8R >R 8R >R 8R >R 8R >R >R R 8R >R 8'R >R ' ' ' ' f'f ' ' N ' R W ' R 8R >R 8'R >R 8R >R ' R 8R >R 8R >R 8R >R 8R >R 8R >R >R _ ) >'R R 8R >R 8R >R R W R R \ Viola ff ' ' ' ' R W ' R 8R >R 8'R >R 8R >R ' R 8R >R 8R >R 8R >R 8R >R 8R >R >R _ O) >R R 8R >R 8R >R R W R R \ ff N ' ' 8R >R ' ' 8R >R 8R >R 8R >R R _ ( R 8R >R 8'R >R R R W R R 8R >R 8R >R R R 8R >R 8R >R \ >'R Violoncello ff W ' 8R >R 8'R >R 8R >R ( R 8R >R 8'R >R R R W R R \ O >R R 8R >R 8R >R 8R >R 8R >R 8R >R R _ f'f 'R ' N ' ' ' ' 8R >R >R _ Contrabass ( ' R R W R R 8R >R 8R >R 8R >R R R 8R >R 8R >R 8R >R 8R >R O >R R 8R >R 8R >R Q \ f'f 2

“And Then There Was Light” Poem by: Shah H. Jou Mohammadreza Modarresi @ = 100-120 fff 4 4 fff N fff 'W ' 'R ' ' '_ _ W 'R SOPRANO 8! ' ' ' R ' ' R R R R _ 'R 'R R 'R R d8 ! D _ R R R D - - And Then There was Light, By Cha-os'-s own might, There was or-der born of

fff f4ff 4 fff ALTO 8! < ' ' 'W ' ' d8 ! 8D W R R >_ _ _ 8R R R R ' '_ 'R R 'R R D' 'R ' '>R R - 'R R And Then There was Light, By Cha - os -'s own might, There was or-der born of

fff f4ff fff ' ' ' W < ' 4 TENOR 8! D' _ R R R D' R R R R '_ '_ _ < ' d8 ! R RW R R R R R á ' ' ' ' And Then There was Light, By Cha -os-'s own might, There was or-der born of

fff f4ff fff BASS ( ! ' ' ' W < O 88! D _ R R R R R R>R R W < ' D' ' ' ' '_ '_ _ 'R 'R 'R R 'R R And Then There was Light, By Cha -os-'s own might, B There was or-der born of

D' 4 4 8!8D ' 'R ' D' < 'RW 'R 'R R 'R R d8 ! R R R D R R>R R _ _ _ 8R R R R R Piano _ P RW >_ _ _ - P ' G ' ' ' ' D W '< ' G ( 8! D RW R R R R W < 8 ! D' D R Z R>R R _ _ _ R R _ 'R R fff sf f'ff ' ' B ' ' B ' '_ ff 4mf ff dolce mf fff 3 8 fff 4 dolce ' ' ' 'j ' 4 N 8 D _ R R ' 'R 'R _ R R ' 'R R _ R >'R D d8 ! ! R R strife, Thus all creation, with life' Thus all crea tion-with life was rife. 4 fff 4 ff dolce dolce mf fff 4 8 ! ' ' 'j ' ' d8 8D ! _ ! R R >R R R _ R R >R R R _ R >R D ' ' ' ' mf ff ' ' strife, Thus all crea -tion, with life' Thus all crea tion- with life was rife.

ff dolce 4 ff fff mf dolce mf fff 8 ' 4 'R 'R ' ' 'R 'R ' 4 8 8D _ ! R >R >R _ R R R _ R d ! ! ' ' 'R D á strife Thus all creation, with life' Thus all crea tion-with life was rife.

ff dolce mf ff dolce mf fff fff ' ( 8 ! R R 'R 'R 'R _ R R 'R 'R R _ R >R D O 8 D' ! _ ! ' ' ' ' B strife, Thus all creation, with life' Thus all crea tion-with life was rife.. B B 4 ' ' ' 4 ' ' ' 888D' _ ! R R >R R R >R d8 ! ! R R _ R R R _ R RRR >R D R> _ dim.R dolce _ >'R D ' ( 8 ! ' ' Q 8 D ! _ ! R _ R _ R _ R _ R D' _B ' R Q _ Q R _ R B mf ' dolce ' >R D> fff ff mf ff cresc...... fff' 4 “Cosmic Rays”

Mohammadreza Modarresi q=121 W bRR RW R R bRR R R R 88! R RRR RR R _ R RRR RR R __ d ! R R RR R R RR ( 8! \ R \ \ R \ \ R \ \ R \ 8 ! R R R R _ R R _ _ R R _ mf sf f sf 5 W < 88 R R R R R R R R R R R R R R R R R R R R R d Q \ R Q \ R Rb R R R Rb R R R ( 8 \ \ \ R QW Q \ 8 R R _ R R P Rb _ R 2 _ R mf sf f 8 ' _ ' 8 _ ' R R R RW ' ' R R R RW R R d8 R R R R R R Rb R R R R R R R 'R ' ' - ' (88 \ \ \ \ \ \ W R W R R R R R R R R R R R R R R RW R R R R R cresc...... ' 11 ' ' ' ' ' ' ' ' ' ' ' 8 R W 'R R 8 'RR RR R RR R 'RRRR RRR R R 'RR RR R RR R d R 'R Rb 'R R 'R Rb (88 \ \ \ \ \ \ W R R W R R R R R R R R RW R R R R R R R R R R 14 ' ' ' ' ' ' ' ' ' ' ' ' _ _ _ 88 _ _ _ d R R R R R R R R R D D 'R' 'R' 'R' D' D ( \ \ \ \ \ \ 88 R RW R R R R R RW R R R R R RW R R R R R R R D' D f' ' ' ' mf' ' ' ' mf' ' ' ' fff Tonbak Section Number 1 5 (Section 4) (After “Cosmic Rays”and before “State Of Confusion Prelude”) Allegro Mohammadreza Modarresi q = 121

< â< < â< â< Tonbak ! R R R R R R R R R R R R R R R R R k ! R Z R R R Z Z R R R Z Z R R

4 â â< â â< â< â< k R R Z Z R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R

7 j j j â< â< j j j k R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R

10 j j j R R R R R â< R â< R R R R R R R R k R R R R R R R R R R R R

12 j j j j W j j k R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R

“State Of Confusion Prelude” begins (following the conductor's cue) shortly after the above Tonbak section is performed. 6 “State Of Confusion” (Introduction/String Orchestra Prelude) Mohammadreza Modarresi @= 100 N Violin I bb! R R R R R R R R R R R R R R R R R R R R R R R R (At least2 1stViolins) d ! R R R R R R R R

Violin II bb! R R R R R R R R R R R R R R R R R R R R R R R R (At least2 2nd Violins) d ! R R R R R R R R

Viola b ! R R R R R R R R R R R R R R R R R R R R R R R R (minimum2 violas) ) b! R R R R R R R R D' D' Violoncello (b ! (Minimum 2 Cellos) b!

Contrabass (b ! O b! D D (Minimum 2 basses) ' '

3 N W bb RRR RRR RRR RRR R RR R R W d RRRRR RRRRR RRRRR RRRRR Z - - Z Q b W b R RRR R RRR R RRR R RRR R RR Z R R Z Q W d RR RR RR RR RR RR RR RR - - b R R R R R RR R R W ) b RRRRRR RRRRRRR R RRRRRR RRRRRRR R Z - - Z Q W ' ' ' ' W (b b D _ R R'R '_ '_ (b W O b D D' '_ 'R'R'R'R'R'R'R'R ' 7 6 R R N b R R R R RRR R R R R RRR ' ' '' ' b '_ _ R RR RR D '_ _ d _ RRR R D ' 'R R R R R R R R R R R R R ' ' ' bb R R R R _ '_ 'R R'R_ RR D '_ d RRRR R _ ' '_ b ' 'R''_ D ) b R R R R R RRR R R R R R RRR _ R R RRRRRR D _ '_ ' ' '_ ' ' ' (b _ < ' _ b _ _ R R ZQZ P R D _ _ D' ' ' ' 2 ' ' (b < A O b _ _ R R ZQZ P R D _ _ D' ' ' ' ' ' ' ' '

11 ' 4 N ' ' ' R D bb 'R R'R R 'R R'R W < R d _ R R RR D RR R _ R P2 ' R R R'R''R R' ' ' ' ' ' ' 4 b ' 'R''_ ' D ' ''R'R'R' ''R ' 'R' W < ' D d b R R_ RRRP R R R R R R R _ R PR R 2 'R ' 2 4 b ' 'R''_ A D ''R'R' 'R ' 'R' W < A D ) b R R RRRPR D 'R 'RR R 'R R R _ R PR D R ' 'R ' ' 'W 4 (b < 'R _ R 'R b R R ZQZ P R D - PR D ' ' 2 ' D' 2 ' A A (b b < R ZQZ P R W

Mohammadreza Modarresi & Shah H. Jou Mohammadreza Modarresi

q = 100 N W Lead Vocals( Baritone) (b ! W b! M M

Lead Vocal (Soprano) b ! W Od b! M M

N W Lead Guitar b ! A A W d b! P R R R R R R P R R R R R R R R ' R R R R ' R R 'j 'j ' 'j 'j 'j ' 'j W Rhythm Guitar b ! A A W Od b! P P R R 'R R R R R R R R R R 'R R R R R R R R 'j 'j ' 'j 'j 'j ' 'j W Synth Pad 4 (Choir) b ! W d b! _ _ _ R R

W Pad 3 (Polysynth) b ! W d b! _ _ _ R R

W FX 4 (Atmosphere) b ! W d b! _ _ _ R R

W Bass Guitar (b b! R R R R R R R R R R ! fR fR fR f f f fR fR fR f f fR R fR fR fR f f f fR fR fR f f fR R

W Drum Set ! R R W k ! R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R 9 3 ' W ' j ' W N ''R R R R 'R 'R R R R ' R R R 'R 'R 'R 'R 'j Bar. (b b R P2 R - Z R P2 R _ In a state of con fu sion, The world livesin il lu-- sion, Time... Ld. Vox.

Lead Vocal (Soprano) b ' W j W A Od b RPR R R R R R R R Z R R R R R PR R R ' 2 ' R ' ' - R ' ' ' ' ' Rj _ In' a state of con fu sion, The' world livesin il lu-- sion,' Time...

N W Lead b D R _W D d b D R _W D D R _ D

R R R R R Rhythm b R R R R R R R R R R R R R R R R R _ Od b R RP2 R R R R R R R R R RR R R _ R R R R R R R R R R _

Pad 4 bb j A d P A W R Z R 'R R R R R RPR R R _ R R R R R R R R - ' ' ' ' ' 'j 'R ' ' ' R ' '

Pad 3 bb j A d P A W R Z R 'R R R R R RPR R R _ R R R R R R R R - ' ' ' ' ' 'j 'R ' ' ' R ' '

b FX 4 b P Rj Z R R R P A d A W R ' R R R R R R _ R R R R R R R R - ' ' ' ' ' 'j 'R ' ' ' R ' '

R R R R R R R R R R RR R R Bass (b b R RRR R R - Z R R RRR RRRR

W W Dr. A RR A R R RR R R R k R RPR R RR R R RRPR R RR RRRR 10 6 W j W N < ' 'R 'R R R 'R 'R R 'R R ' 'R R R 'R 'R 'R Bar. (b b Z R R R R _ R P2 R - Z R P2 will bring a day, In a state of con fu sion, The world livesin il-

Ld. Vox.

b ' W j W A Od b Z < RPR R R R R R R R Z R R R R R PR R R R R _ 'R ' 2 ' R ' ' - 'R ' ' ' ' will bring a day, In a state of con fu sion, The world livesin il-

N W Lead bb R R R R R _ D R _W d R R R _ D R _W R R _ D R _

R R b R R R R R R R R R R R R R R R R R R Rhythm Od b R R R R _ R RPR R R R R R R R R R R R RR R R _ R R 2 R R R R R R R R

Pad 4 bb j A d \ R RR P A W R Z R 'R R R R R RPR R RR R R R R R R R R R R - ' ' ' ' 'R ' ' ' R ' '

Pad 3 bb j A d Z < P A W R Z R 'R R R R R RPR R R R R _ R R R R R R R R - ' ' ' ' 'R ' ' ' R ' '

FX 4 bb j A d Z < P A W R Z R 'R R R R R RPR R R R R _ R R R R R R R R - ' ' ' ' 'R ' ' ' R ' '

R R R R R R R R R R R RR Bass (b b R R R R R R R R R RRR R R - Z R

W '''' W W Dr. RR R R RRR R RR A R R RR k RRRR R R R RR R R RRPR R RR 11 9 N ' ' Bar. R j < ' ' ' (b b R _ Z R R R R _ Z R R _ R R lu- sion, Time... will bring a day, When the world will

Ld. Vox.

bb Od R R _ Z < R Z R _ R ' 'j R R R _ 'R ' R lu- sion, Time... will bring a day, When the world will'

N W < Lead bb D R R R R _ R RW R d D R R _ R R RW R D R R _ R R R R R R

Rhythm bb R R _ R R R R R _ Od R R _ R R R _ W < R _ R R _ R R R R R R R

b Pad 4 b Z Z d R R _ < R R R _ R ' 'j R R R _ ' ' 'R

b Pad 3 d b R Z < Z ' Rj _ R R R R _ ' R R _ R ' ' 'R b FX 4 d b R Z < Z ' Rj _ R R R R _ ' R R _ R ' ' 'R R R R R R Bass (b b R R R R R R R R R R R R R R R R R _ R

W W Dr. R R R R R R R R R R R R R R R k R R R R R R R R R R 12 12 N Bar. (b R W b ' R R _ M M turn to' ' clay,

Ld. Vox.

b Od b W M M 'R R R _ turn to' ' clay,

N ' ' ' ' ' 'R ' ' 'R Lead b ' ' ' ' R ' ' ' R R ' ' ' ' R ' R ' RbR d b W R R R R R R R R R R R R R R R R _ cresc...

b W ' ' ' ' ' ' ' ' 'R ' ' ' ' ' ' 'R 'R ' 'R Rhythm b R _W 'R R R R R R R R R 'R R R R R R R ' bR Od R R _W R R R _ cresc...

Pad 4 bb d R R W R R R R R R R R R _ R R R R Rb R ' ' 'R _ R R

Pad 3 bb d R R W R R R R R R R R R _ R R R R Rb R ' ' 'R _ R R

FX 4 bb d R R R R R R RbR R W R R R R R R R R R R R R R ' ' ' ' R R ' ' 'R _ ' W R 'R 'R _ ' ' Bass (b R R R < W b R R ' R _ R R R R R R R R R R ' ' ' ' ' ' ' ' ' ' ' ' 'R ' ' W W W R R R R R R R R R R R R R Dr. k R R R R R R R R R R R R R R R R R R R R 13 15 W N 'R ' ' ' 'R 'R R ' Bar. (b R R R 'R 'R 'R R 'R b M - Z - - Na- ture will claim its due, bythee vil, in

Ld. Vox.

b ' W ' O b M R R R Z R R R R R < d - ' ' ' R R R ' - ' R Na- ture will claim its' due, bythee' ' vil, in'

W N ' R'R Rb '_ W R Lead b R R R R R R R R RW R < d b R R>R R R R R R RW R R R R R R R R R >R R R -

'W ' R'R Rb _ < R Rhythm bb R R _ Z R R R R R < Od R >_ R R R R R R R R R R R \R Q R> R -

W Pad 4 b _ ' d b R R Rb _ _ R R R R < R 'R 'R ' - ' 'R

b W W Pad 3 b _ _ W d R R R Rb RR> R RR R D R D R W _ b W R > RW _ _ R R R R FX 4 b _ R R _ _ d R R R Rb -

' 'R W ' ' 'R R Bass (b ' R'' R R' R R b R R bR _ R R R R R R R R ' R R R'R ' R R R'R ' 'R'' '' '' ' ' ' ''

R R R R R R R R R R R R R R R R R R Dr. k R R R R R R R R - - R 14 18 N 'R ' 'R _ ' 'W 'R ''R R ' W 'W Bar. (b b R Q \ R R R R R 'R R R I and you , , We have to xi-fied- eve rey- thing Ld. Vox.

b W Od b R R _ Q \ R R R R R W W ' 'R ' 'R ' ' 'R' R R R R I and you, , We have to xi-fied- eve' ' ry- thing' ‘ N ' ' R _ 'W 'R ''R R ' W 'W Lead b R R R 'RRR 'R R R R R ' R d b R R R R

‘ R RR _ ' '' R R 'R ''R R ' 'W 'W Rhythm bb R R R R RRR R R R R R Od R

b Pad 4 d b R R _ R _ ' 'R ' R _ W W R R R 'R R'R R R W R ' ' ' ' 'R R '

Pad 3 bb W d _ _ W R RR R R W R _ _ _ R R ' '' ' R R ' _ 'R ' '

FX 4 b W d b _ R RR R W W _ _ _ W R R 'R R R R _ R 'R R ' ' ' W W ' 'R' ' 'R R W 'R 'W 'R 'R'R R 'R 'R R R R R R R Bass (b b R 'R R R 'R W W W R RR R RR R R RRR R RR R R R R R R Dr. k R RR R R RR R 15 21 N ' 'W W ' Bar. (b R R 'W R R ' R b - Z R R R D \ Q we have been given, and Ld. Vox.

b O b W W W R D \ Q d R R R R R R R ' R we' ' have 'been given, and'

N W 'W W R D _ ' 'R'R'R'R Lead b R ' ' R R R D _ ''RR'R d b R R R D _ R D _

'_ D _ ' W 'W W R ' 'RR'R'R Rhythm b R ' ' R R D ''RR'R Od b R R R R

W b R R _ Pad 4 b W W W W R R d R R R R _W RR ' 'R R ' 'R _ R

b R W Pad 3 b RRR R R R R R R W R R R _ d R 'R R R _W RR ''' '' 'R _ R R W R ' _W R R R R R R _ FX 4 b R R 'R' _ R d b RR R R R _ RR R '''R'R ''R

W R 'R ' 'R 'R 'R Bass (b R W ''R R ' b R R _ 'R R R R R RR R R ' 'R R ' ' ''

W R RRR RRR R R R R R R W R RRR RR R R R R R Dr. k R R R Z R R 16 24 N W Bar. j ' ' ' ' ' ' W (b b R R R R R R R R R _ M we shall not be for giv en,- ' Ld. Vox.

W W b R 'R ' Od b _ M Rj R 'R R R R R we' shall' not be' ' for giv en,-

N R 'R 'R ' ' ' W Lead b R R ' R 'R ' 'R R _ D d b R R R R R _W D '_ D

R 'R 'R ' ' 'W W Rhythm b R R ' R RW ' _W D Od b R R R R R R _W D '_ D

b Pad 4 d b M M M

Pad 3 bb R R R R R R d M M 'R R R R

FX 4 bb R R R R R R d M M 'R R R R

W R R 'R 'R 'R 'R R ' ' W ' ' W ' 'R R R R R R R R Bass (b b R R 'R R R R R ' 'R R ' R R 'R 'R R

W R jR jR R jR jR R Dr. k R R R R R R R R j j R R R j j R R 17 27 N Bar. (b b M M M

Ld. Vox.

b Od b M M M

N W ' ' ' ' ' ' Lead b ' ' ' ' 'R ' 'R R R R ' ' ' ' 'R ' 'R R R ' R R R 'R ' ' 'R R d b R R R R R R R R R R R R R R 'R R

' ' ' W ' ' ' ' ' ' ' ' ' ' Rhythm bb ' ' ' ' R R R R ' ' ' ' ' R R R R R ' R R R R ' ' R R Od R R R R R R R R R R R R R R 'R R

Pad 4 bb d W W R R R R R R R R R 'R R 'R R R R R R R R 'R R 'R R ' 'R ' ' 'R R R R 'R ' ' ' ' ' ' ' ' ' ' ' ' ' 'R '

Pad 3 bb d W W R R R R R R R R R R R R 'R R 'R R 'R R R R R R 'R R 'R R ' 'R ' ' 'R R R R 'R ' ' ' ' ' ' ' ' ' ' ' ' 'R '

FX 4 bb d W R R W R R R R R R R R R R R R 'R R 'R R ' R R R R 'R R 'R R ' R ' ' 'R R R R 'R ' ' ' ' ' ' ' ' ' ' ' ' 'R '

W ' W ' ' ' ' Bass (b R R R R R R R ' R b R R R R 'R R 'R R R R R R 'R R 'R R R 'R R R 'R ' ' ' ' ' ' ' ' ' ' ' 'R '

R jR jR R R jR jR R R R R R R R R R R R Dr. k j j R R j j R R R R 18 30 N Bar. (b b M M M

Ld. Vox.

b Od b M M M

W W ''R R R 'R N 'R 'R 'R R 'R ' ' ' ' ' 'R R '_ Lead b _ R R R 'R ' ' 'R R d b R R 'R R

' 'W W ' ''R R R 'R 'R R R R R ' ' ' ' ' ' ' 'R R '_ Rhythm bb _ R R R R ' ' R R Od R R 'R R

W W '' ' Pad 4 bb ' ' R R R R R d R 'R 'R R R _ R R R R R R _ ' ' 'R ' ' 'R R R R 'R ' ' ' 'R ' W W '' ' ' Pad 3 bb ' _ ' R R R R R _ d R 'R 'R R R _ R R R R R R R _ ' ' ' ' ' 'R R R R 'R ' ' 'R ' W W '' ' FX 4 bb ' ' R R R R R _ d R 'R 'R R R _ R R R R R R R _ ' _ ' ' ' 'R R R R 'R ' _ ' ' 'R ' ' W W ' ' ' 'R 'R R 'R ' ' ' ' ''R R R R R ' Bass (b R _ R R R ' R R _ b R 'R R R 'R ' 'R ' W W R R R R R R R R R R R R R R R R R R Dr. k R R R R R R R R R R R R R R 19 33 N Bar. (b b M M M

Ld. Vox.

b Od b M M M

‘ 'R ' 'R ' ' ' ' 'R R 'R ' ' UW W whammy bar N R R R R 'R R R R R 'R b'R R 'R _ ' ' ‘W Lead b ' R R R ' d b - R R

‘ 'R ' 'R ' ' ' ' 'R R 'R ' ' UW W whammy bar R R R R 'R R R R R 'R b'R R 'R 'R ' ' ' ‘W Rhythm b R R ' R R R ' Od b - R R

b ' ' ' ' ' ' ' 'R R ' ' ' W W Pad 4 b R R R R R R 'R R R R R R R bR R 'R R d ' ' - R R R R R R W ' ' ' ' 'R ' b ' ' ' ' 'R R ' ' 'R R ' ' ' W W R D Pad 3 b R R R R R R 'R R R R R R R bR R R D d ' ' -

' ' ' ' ' ' ' ' ' ' ' < FX 4 bb R R R R R R ' R R R R R R R W W R R R R R R R d R R R 'R RRb R R R R R R 'R R 'R 'R 'R 'R 'R ' ' ' ' W W R 'R R 'R 'R R 'R 'R 'R R R R 'R 'R 'R 'U 'R 'R 'R 'R 'R Bass bR R ' ' ' ' ' ' W (b b R R R R R R R 'R

é R R R R R R R R W W R Dr. k R R R R R R R R R R R R R R R R R R R appassionato 20 36 f 'W W ' N 'R 'R R R 'R R 'R R 'R 'R Rj ' 'R _j Bar. (b b \ - R We've put all life un der-the knife, To bombs

Ld. Vox. appassionato f bb j Od \ W < W R 'R _ R R 'R R R R R 'R R R R ' We've' put' all 'life un' der- the' ' knife, j To bombs

W W W N b R RW _ R R R R R R R R R Lead d b _ R R R R _ R R mp

W R Rhythm bb R R RW _ R R W W Od _ R R R _ R R R R R R R R R mp

b Pad 4 d b R R R W R R ' W W '_ 'R ' ' R R _ R ' ' R R R R R R ' ' ' ' ' ' ' 'R R _ '_ _ ' 'R Pad 3 b _ _ _ ' ' R W d b _ _ _ R R R R R R R R W ' ' ' ' 'R R

' FX 4 b _ _ _ R d b _ _ _ R R R 'W R W _ ' ' ' R R 'R 'R ' R R R ' '_ _ ' ' ' Bass (b R W R R W W b R R R R R R ' R R R R R R R R ' R R R R R R R W ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' 'R R 'R 'R

W W Dr. k R R R P R R R R R R R R R RéR R R R R R R R R R R R R R R R R R 21 39 W N ' 'R 'W ' ' ' ' Bar. (b R ' R _ ' R R _ _ ' R ' b R R R R 'R R R we('ll) give f- light, All' we've built we('ll)destroy-' in a night,

Ld. Vox.

b W W Od b R R R ' ' R R _ R R ' 'R _ R R '_ R 'R R we('ll) give' f - light, All' ' we've built we('ll)destroy-' ' in' a' night, ‘ N R W W W Lead b _W _W RW R R R R R R R R d b _W _W RW R R R R R R R R R _ _ R R

‘ W W W Rhythm bb _W _W RW R R R R R R R R R R Od R _ _ R R R R R R R _ _ R R

b R R R R R Pad 4 d b W R R R R R R R R W W RW R 'R _ _ R R R

Pad 3 b R R R R R R R d b W W W R R R R R R R R R _W _W RW R R 'R _ _ R

FX 4 b R R R R R R R d b W W R R R R R R R R D _W RW R R D' _ R ' ' ' ' ' ' 'R _ 'R 'R R R Bass (b R R R ' R b R R R R R _ R 'R R ' R R ' ' ' 'R ' ' ' é é é Dr. k R R R R R R R R R R R R R R R R R R R R R R R R R 22 42 sfW sf sf sf N W ' j ' Bar. ' ' R R j 'W ' ' (b b R _ Q R R R R R R R _ Why' can't we wake, and see the sight?

Ld. Vox.

sf sf sf sf bb W W Od W Q R Rj W _ R R 'R R ' Rj R 'R _ Why' can't' we wake, and' see' the sight?

W ' W W N b W ''R R ' 'R R 'RW R ''R R Lead b _ 'R R R RR R R 'R R R R ' 'R R d _ W R '' ' R R 'R R R ' ' 'R

' b W '' R ' 'W 'W '' Rhythm b _ 'R R R R RR R RRR RR 'R R R R R R R R Od _ W R ''' '' R R 'R R R ' ' 'R

W R 'W 'W ' Pad 4 b W R ' R R R R ' ' R R d b _ R R R RR R R R R R R ' 'R R R '' ''R 'R 'R '

W R 'W 'W R ' Pad 3 b _W R R ' R RRR RR RR R ' ' R R R d b _ R R R RR W R R R R ' ' R R '' ''R 'R R R ' 'R

b W R ' 'W 'W R '' FX 4 b _ R R R R RR R RRR RR RR R 'R R R R R R R R d _ W R ''' '' R R 'R R R ' ' 'R W W W ' 'R ' ' ' ' ' ' ' 'R R 'R 'R '' 'R R R 'R 'R R R R R R R 'R R ''R 'R R R 'R Bass (b b R R R R

é é é Dr. k R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R 23 cresc. 45 sf sf sf sf N 'W ' W Bar. (b R R R _ b R Q \ R 'R ' R _ R 'R No' more he - 'roes to stand and' fight.

Ld. Vox. cresc. sf sf sf sf W b ' ' 'R ' 'W 'R _ ' ' Od b Q \ R R R _ R R R R No more he - roes to stand and fight.

N R8 '' ' W ' ' ''R W Lead bb R 'R 'R'R R R 'R R R 'R 'R R R' ''R R 'R 'RW d R R8 R R R R R R R R R R R

R8 '' ' W ' ' ''R W Rhythm bb R 'R 'R'R R R 'R R R 'R 'R R R' ''R R 'R 'RW Od R R8 R R R R R R R R R R R

b R Pad 4 b R R R R R W d _ R8 R R R R R R R R W R R'R'' R ' R 'R ' ' R R R R '' R R ' ' ' ' ' '' ' 'R b R Pad 3 b R R R R R W W d R8 R R R R R R R R R R RW _ 'R 'R''''R ' 'R ' ' ' R R R'R '''R RW ' ' R b FX 4 b R R W d _ R R R8 R R R R R _ R R R R RW _ R R 'R 'R''''R ' ' ' R R R'R '''R RW ' ' R 'W '' ''R'R 'R R W R 'R 'R'R R R 'R ' ' ''''R R Bass ' R8 R >R _ ' ' R R R R R (b b R R R R R R

é é Dr. R R R R R R R R k R R R R R R R R R R R R R R R R R R R R R R R R 24 48 N Bar. (b b _ _ M M

Ld. Vox.

b Od b _ _ M M

N Lead b _ _ A A d b _ P P _ _ R R 'R R R RRRR R R R 'R R R RRRR R 'j 'j ' 'j 'j 'j ' 'j

b _ Rhythm Od b _ _ P A P A _ _ R R 'R R R RRRR R R R 'R R R RRRR R 'j 'j ' 'j 'j 'j ' 'j

Pad 4 bb d _ R R R _ _ _ _ R R R R R R

b W Pad 3 b _ _ _ W R d _ R R R R _ _ _ RW R R _ R R R R _ _ _ R _

FX 4 b W d b R ______RW RR _ R R R R _ _ _ R R _ _ 'R 'R Bass (b b R RR RR R RR RR fR fRfRf fffRfRfRfffR R fR fRfRf fffRfRfRfffR R

Dr. RR R R k R RRRR RRR R R RRR RRRRRRRR RRR R RRR RRRRRRRR RRR 25 51 W N ' 'R 'R R R 'R 'R R 'R R Bar. (b b R P 2 R Q \ M in a state of con f- u- sion.

Ld. Vox.

b ' W Od b R P R R R R R R R R Q \ M 'R ' 2 ' R ' ' in a state of con -f - u sion.

W N ' 'R 'R R R 'R 'R R 'R D D Lead b R 2 R D D d b P D D

' W ' b 'R 'R R R R 'R R 'R R R D D Rhythm Od b P 2 D D

Pad 4 b ' W d b R P R R R R R R R D D 'R ' 2 ' R ' ' D D W ' 'R 'R R R 'R 'R R 'R D' D Pad 3 b R 2 R D D d b P D D D D

FX 4 b ' W d b R P R R R R R R R D D 'R ' 2 ' R ' ' D D D D W W ' 'R 'R 'R ' 'R R 'R 'R 'R R 'R 'R R R 'R D Bass (b b R R R 'R 'R 'R '

Dr. A R R R RR RR RR RR RR é_ k R R P R R R R R R 26 Tonbak section No. 2 (Section 6) (After “State Of Confusion” and before “Deus Misereatur”)

q = 100 Mohammadreza Modarresi j j j j j j j j j j j j j j â< j j j j Tonbak ! R R R R R R R R â< â< R R R R â< â< R R R R R R k ! _ R _ R R R R R R R R R R R R 5 j j j j j j j j â< j j j j R R R R R R R R R R R R R R R k R R R R _ R _ R D

“Deus Misereatur” begins shortly after the above Tonbak section has been performed (following the conductor's cue). 27 “Deus Misereatur”

Lyrics: Shah H. Jou Mohammadreza Modarresi q= 100 N Baritone Solo (b ! b! M M M

_ Soprano b ! R R R d b! R R _ R RRR RRRRR Aaa ------b Alto b! R _ RR RR R d ! R R R R R R _ R Aaa ------

Tenor b ! d b! M M M á

Bass O(b b! M M M

‘ ‘ ‘ N R Lead Guitar b ! RRR R R R R RRR R R R _ d b! R R _ R R _ R R R ‘ ‘ Rhythm Guitar b ! R Od b! P A P A R R _ P A R R _ R R R R R R R Rj Rj Rj Rj Rj Rj R R _ Synth Pad (New Age) b ! R R _ R R R _ R d b! R R _ R RRR RRRRR R _ R

Bass Guitar (b ! R RR R R b! R R _ _ R R R

Drum Set k ! M M M 28 4 N W Bar. Solo (b b MW M M

b S. b R R W R R R R d R R R R R R R R R R Rb R R R R R - - - Aaa ------

b A. b W R R R R R d R R R R R R R R R R Rb R R R R R

- - - Aaa ------b W T. d b MW M M á

W B. O(b b MW M M

N R R R R R R R Lead b W R R Rb R R R R R d b M W R

b W R R R R R R R R R Rb R R R Rhythm Od b M W R R R

R R R b R R R R W R R R R R R R R R R _ Pad 1 b R R W R _ R R R d R R

R R R R Bass (b R R W _ R R R R R b R R R R _

W Dr. k M W R R R Q R R R Q R R R Q R R R Q mp ..... mp ..... 29 7 mf N ' 'R ' Bar. Solo (b M R R R R 'R R 'RW R b 'R ' ' ' ' 'R _ A mo -ment oflostfaith, a slip of judge - ment,

f b >'R 'R ' 'R R ' ' ' 'R R S. d b R RbR R D M

- - - - Aaa

f b A. b M d R R 'R R 'R R 'R R 'R 'R 'R ' ' 'R ' D - - - - - Aaa b T. d b M M M á

B. O(b b M M M

N b R D _W R Lead b R R D _W R d R R R R R R R R D _W R bR R R R pD pp_ ppR

b D _W R Rhythm b R R D _W R Od R R R R R R> D _W R R R R pD pp_ ppR

b R R R R D Pad 1 b R R R R R D _W R d R R D _W R mp mp_

R R R Bass (b R R R R ' R R b R R R bR R R R R R R 'R R 'R R R R R RW R R R ' ' ' ' ' ' ' ' 'R

Dr. k R R R R R R R R R R R R R R R R R R R R R R R R R R mp...... 30 10 4 mf N j W ' ' ' Bar. Solo (b _ R R R R W R R RW R R 'R \ b 'R ' ' ' ' 'R _ ' ' R _ a few drops of poison, lead me to a sea of 'pain, cresc......

b S. d b M M M M

b A. d b M M M M

b T. d b M M M M á

B. O(b b M M M M

N _W Lead b _W D _ d b _W R D D _ _ _W R D D _ _ ppD _ _ W b _W D _ Rhythm d b _W R D D _ _ O _W R D D _ _ ppD _ _

b W Pad 1 b _W R D D R R d _W R D D R _ R mpD R _ R

' ' 'R 'R R 'RW 'R'R' 'R'R Bass (b 'W R R R b R R R R R 'R R R R _W R RRR 'R 'R' ''R R ' ' ' ' ' ' ' ''

Dr. k R RR R R R R R R R R R R R RR R RRRW R R R R R R R R RR 31 14 f ' ' ' '' 'W ' 'W ' ' 'R ' ' N ' 'R R R R R R R R _ R R R R 'R _ Bar. Solo (b b R now am ong- so- rrows' f ri- gid- waves, lost andwithno aid Iburn,

b S. d b M M M

b A. d b M M M

f b ' ' ' ' ' ' ' ' T. b R R R R 'R R RW _ RW R R R R 'R '_ d R R ' ' ' á now' am' ong- so- rrows' f ri- gid- waves, lost andwithno aid Iburn,

f B. (b b R R RW _ RW R R R R _ O R R 'R 'R 'R R '' ' ' ' ' ' ' ' R ' now' am' ong- so- rrows' f ri-gid- waves lost andwithno aid' I burn,

N Lead bb d R R R R R _ R R R R R R R R _ R R R R _

Rhythm bb D Od D R R _ R R _ R R R R _

Pad 1 bb _W W R d R R _W R R R R R R R _W R R _ R R R R mf 'R 'R 'R ' 'R R ' ' ' ' ' ' 'W ' R 'R R 'R ' 'RW 'R 'R R Bass (b b R R R R R R R R R

Dr. k R R R R R R R R R R R RW R R R R R R R R R R R 32 17 dolce ' 'W ' ' ' ' ' ' W R W N _ 'R R R R R R R R R R R 'R R R R - R Bar. Solo (b b Q - - But to turn these a ccu- sing eyes inward , I have no choice

b S. d b M M M M

b A. d b M M M M

dolce b ' ' ' ' T. b _ Q R R RW R 'R R R 'R R R R R RW R RW d ' ' - ' R R - - á But to turn these a ccu- sing eyes inward' , I have no choice

dolce < < B. (b b _ Q R RW R R R R R R R R RW R RW O 'R ' ' ' ' ' ' ' 'R R R - But to turn these a ccu- sing eyes inward' , I have no choice

N R R R R R R R R Lead bb W R R R R R R R R R R R R R d _W RW R R R R R R R R R R R R R _W R R R -

R R R R R R R R Rhythm bb W R R R R R R R R R R R R R Od _W RW R R R R R R R R R R R R R _W R R R -

R R Pad 1 bb R R RRR R RW R R R R R R R d R R R R R RW - R R R R R R R R R RW R R R R R R RW R 'R R ' ' 'R 'R ' ' ' ''RW ' ' ' R R R R R R' ' ' 'R ' '' Bass (b b R R _ R - - RR R R R R R RR

Dr. k R R RRR R RR RW RRR R R R R R R R R R R R R R R 33 21 mf ' ' ' ' N RW R R R R R R _ 'R R R RW 'R R _ R Bar. Solo (b b Z Q - nowhere else to turn, for I am the ma ker- of

b S. d b M M MM

b A. d b M M MM

mf b ' ' ' T. b RW Z R R R R R R _ Q R '_ R R R _ R d ' R ' á nowhere else to turn, for I am the ma ker- of

mf B. (b W Z Q O b R R R R R R R _ R R _ R R R _ R nowhere else to turn, ' ' ' ' ' ' for I am the' ma -ker of

W R _ R N b _ R R R R R R _ R R _ R R R _ R Lead d b

R _ R b _ R R R R R R _W R R _ R R R _ R Rhythm Od b

R R R R R RR Pad 1 bb _ R R R d R R R R R R _W R R R R R' R R R R R R _W R R R ' ' ' ' ' ' ' ' '_ R ' ' ' ' ' '''R'R 'R 'R 'R 'R 'R R 'R ' ' ' R _ 'R R'R Bass (b b _ RW RR R _ R R

Dr. k R R RRR R R R R R R R R R R R R _ R R R _ R RR 34 25 ' R R ' f ' N R R _ 'R 'R 'R R 'R Bar. Solo (b b M M my own fate, and to the guil ty-

b S. d b M M M M

b A. d b M M M M

4 f b ' T. b R R 'R _ _ R R R R R d - - R R R R R _W 'R 'R R 'R R á my own fate, Ouu - - - - -and totheguil' ' ty- dim......

4 f < B. (b < O b R R R R R R R _W R R ' 'R _ _ R R R R R 'R 'R ' ' 'R my own fate, Ouu - - - - - and to the guil ty- dim...... R N R R R _ _ R R R R R R R _W R R R R R Lead b - R R _W R R R d b - _ R R

R R R _ _ R R R b R R R _ _ R R R R R R R R _W R R R R R Rhythm Od b - - _ R R

R W b R R R _ R R R R R R R R R R R R _W R R R R R R Pad 1 d b - - R _W R R

' 'R ' ' R R _ _ 'R ' 'R 'R R 'R ' ' ' 'R 'R 'R R 'R Bass (b b - - R R RW R _W

< Dr. k R R RW R R R R R R R R R R RW R R R R R R R R R 35 29 ' ' W N 'W 'R 'R R R 'R '_ Bar. Solo (b b R - M M M

no one wish(es) to relate;

b S. d b MM M M M

b A. d b MM M M M

' b 'R 'R R 'R '_W T. b W 'R b M M M d 'R - á no one wish(es) to relate;

< ' '_W B. O(b b W R R R bR M M M 'R ' ' 'R ' no one wish(es) to relate;

N b D R R _W R R R > Lead b D _W b R R R R R d b R >R R R RR Rb R _ mf R R R R R cresc...... b R fR D R _W R Rhythm bb D R _W bR R R>R R R Od bR R >R R R R mf R R R R R R cresc...... b R R R _ fR ' D 'R ' b_ Pad 1 bb D RbR d bR R Rb R >R RR Rb R _ ' mf R R RbR R cresc...... R>R R R R R R R RbR f ' ' ' ' R ' '_W R ' 'R ' 'W 'R R R bR bR 'R>R 'R 'R 'R ' ' ' ' '' Bass (b R b R >R R ' R RRbR R _ b - R ' R RbR R R' mf ' ' ' R '' cresc...... f' < Dr. k RW R R R R R _ R R R R R R R R R R R R R R R R R R R RRR R R _ 36 34 ' 'R 'R R ' 'R R ' ' ' ='_ ' N R R RW R R R b'R R Bar. Solo (b b M - thus my one recourse is to con - fess my sins,

b ' ' 'R R ' 'R R ' =' S. b M R R R 'RW 'R R _ R R d - ' b' R thus my one recourse is tocon- fess mysins,

b = A. d b M < R R 'R R R 'R R RW R R _ R ' ' ' ' ' ' ' 'b'R R thus my one recourse is tocon- fess mysins,

b T. d b M M MM á

B. O(b b M M MM

N Lead bb _ R d R RbR R _ >R R R R < bR R R R bR R R RW R R _ R >R mf

Rhythm bb _ R Od R R R R R < _ R bR R R R R R bR R R RW R R >R R _ mf

b R R R R W Pad 1 b R R R R R R _ R bR R d R R> R - >R R R R _ ' ' ' ' ' ' ' 'R R >R R 'R R R 'RW 'R 'R _ 'R 'R Bass (b >R R R R _ b R b R R ' b - >'R ' ' < Dr. k R R R R R R R _ R R R R R R R RW R R _ R R R 37 38 U 4 N ' ' ' ' '_ 'R '_ ' ' 'R ' ' Bar. Solo (b 'R R R R RW R 'R R _ R R R R D b - ' ' look hea -ven ward, though unsure, andpray De us- mise-re- a- tur.-

' ' ' ' 4 b ' R _ 'R R _ 'R 'R R 'R D' S. b R 'R R R W 'R '_ d b' - 'R 'R look hea ven- ward, though unsure, and pray De us- mi se- re- a-- tur. 4 b ' A. d b < R 'R _ R _ R _ R R 'R bD R R R R W ' 'R ' ' ' 'R ' ' ' b' ' ' 'R look hea ven- ward, though unsure, andpray De us- mise-re- a- tur.-

b T. d b M M M MM á

B. O(b b M M M MM

N R R D Lead bb < _ R _ R R d W _ R _ R _ bD bR R R R RW bR R R R R D Rhythm bb < R _ R _ R R Od R R W R _ R _ R _ bD bR R RW bR R 4 R _ R _ R bD Pad 1 bb R R W R R _ R R R d Rb R - R R

' ' ' ' '_ 'R '_ ' ' 'R ' 4' 'R R R R 'RW 'R 'R R _ R R R R D Bass (b b -

< Dr. k R R R R RW R R R R R RR R _ R R R R RR R R R R _W 38 Tonbak section No. 3 (Section 8) (After “Deus Misereatur”and before “Future Unknown”) q = 100 Mohammadreza Modarresi j j j j j â j Tonbak < W k ! R R RR RRR R R R RR RRR R R R R R _ RRR R R RRRRRRRRRR R 5 j j P P P Perc. k R R R R R R R R R R R R R R R R R R R R R

7 j < W j Perc. k R R R R R R R R R R Z R R R R R R R R R R R _

“Future Unknown” begins after the above Tonbak section has been performed, following the conductor's cue. 39 “Future Unknown”

Lyrics by: Mohammadreza Modarresi & Shah H. Jou Mohammadreza Modarresi q = 70-72 (Adagio) (b ! ! M M M Baritone

b R _ R ! RR R R __ RR R Electric Guitard ! R R R R R R R R>R >R >R>_ R R R R R R CleanR R Tone (No distortion)R R R R R R

Synthesizer b! d ! D D D D D D >D D ' ' Bass Guitar (b ! D ' D ! D

4 (b MW M M W Baritone

b _ W R _ W R __ W RR R R __ W Guitar d R R>R >R >R>_ R R R R R R R R>R >R >R>_ R R R R

Synth b W D D W d D D >D >D ' Bass (b D' W D W D' 40 7 4 R R R R RW R R RR R R 'R (b W R R R R R _W R R R R - - Haun ted-by the memo -ries of a life time, destined to a fu ture Un -

b W DDD DD DDD d D >D D D D

b W D D D d D >D D

(b W '_ D R R R R D ' ' ' 'R '

"}Ä $ You may omit the 'ottava bassa' (at the octave below) sign and sing this phrase where it is written if your voiceW W permits 10 4 W 'W ' ' W ' 'R 'R R 'R R ' 4 W 'R 'R 'R 'R 'R R R R 'R R R _ (b _ QW Z - R R Q known, I li -sten to your heart-- beats to the rhy thm- and tone, - cresc...... WW W RWW R R W b DD W _W _ RWW R R R _ W d >D _W _ RWW R R RRR ___ W D R _W _ R R R R R 2 R _ W

b D W W R _ R _W d D W RW R _ R R _W >D R R RW _ R RW _ R R _ 'R 'R 'R R 'R ' R _W 'R ' ' W ' 'W W 'R R (b D W R R R RW _ R W R R R R R ' _W ' ' ' ' ' ' 'R 41 14 4 4 ' ' ' ' 'R 'R R 'R 'RW 'R 'R RR R R R 'R '_W (b R R R R 'R _W R R R R Q Haun- ted-by the me mo- - ries of a life -time, destined to a fu ture un - known,

b DDD DD DDD DD d D >D D >D D D

b D D D D d D >D D >D

(b D' D '_ R RRR D ' ' 'R '

18 4 4 ' ' ' 'W ' 'R ' _W ' ' ' 'W '_W (b 'R 'R 'R 'R R R R R R R R 'R 'R 'R 'RRR R R R R Q Haun ted-by the memo - ries of a life -time, des tined to a fu ture so unknown,

b DDD DD DDD DD d D >D D >D D D

b D D D D d D >D D >D

(b D' D '_ R RRR D ' ' 'R ' "}Ä $ ...... Lamentoso (sing mournfully) 42 22 ' ' ' ' 4 ' 'R 'R 'RW 'R 'R R R R R 'R R Rf Rf ' W 'R '_ W 'R 'Rj 'R Rj R (b Z - R R R - R - I li -sten to your heart beats Ho-ping p re-- sent would last, though it's bi tter-swe -

_ W b _W >_ RW _ R W _ R< _W _ _ RW Z ___ RR W _ R d R _W _ _ RW _ R W _ R R _ _ _ R _ R W _ R < b _ W Z _ W _ R d W R>_ RW _ RW _ R R R R _ R R RW W _ R ' ' ' _ R _ R 'R < ' (b W _ R R R W W 'R ' 'R R R R R R R R R R - '_ W R R R ' ' ' ' 'R ' '

26 W â< ' R R R '_ R (b - Q \ M M et at best,

W 'R ' ' 'R' 'R' ' 'R' b RW R ______DDD R'RR R R'R R'RR R R'R d RW R _ _ _ D R - _ _ _ D

b RW RW < _ _ _ D R R R R d RW R _ _ _ D ' 'RR'R R''RR''RR'R R''RR R R _ _ _ D ' ' ' '

(b 'RW W < _ W RR R R RRR RR R RRRR R R R R RR _ 'R ' 'R '' ' ''' 'R 'R '' '''' ' ' ' '' 43 30 'â< W W W ' 'â< W ' R R 'R 'R 'R 'R 'R R R R 'R _ 'R R (b M W Caught at the va lley- of this time wave, while my

'R ' ' 'R' 'R' ' 'R' 'RW 'R 'R 'R 'RW R '_W 'R b R 'RR R R'R R'R R R R'R W RW R R R RW R b_W R d W RW R R R RW R _W R RW _W R Use Distortion Pedal here (for the chorus section)

b W R R R R W d ' R R R'R 'R R R' R W W W _W ''R' ''R ''R' ''R R R R R R R R b_W R ' ' ' ' ' ' _W R ' 'R (b W W R R R R R R _ R R R _ R R R _ ' ' ' ''' ' ' ' ' ' ''R

33 4 ' ' 'R 'R 'R 'R 'R R ' R R R R R (b R Q R \ Q Z Z -R Z R hopes lay at the crest, the past, and fu ture-they collide,

' ' W 'R 'R R 'RW R R _ R W b _W bR bR R RW R R _ R RW d _W R R R RW R R _ R W _W R R R RW R R _ R RW ' - 'R

b < W _ W d _W bR b_W R R R _ R RW _W R _W R R W _W R _ R ' R _ R RW ' ' ' ' ' 'R (b R W R R R R _ R R R R R R 'R ' R RW ' ' ''R R ' ' ' ' ' ' ' ' 44 36 W RRWR RW 'R R R 'RW Rj 'R 'R 'R R _ (b Z \ W with me caught in between at rest,

' ' W ' W R D b RW _ R R RW _ bR D W d W _ W _ R D RW _ -R R RW _ R D R ' R 'R

b W < W RbR R W d RW _ R R RW _ bR b_ bR R W _ W _ R _ R R RW _ R R RW _ R _ R 'R ' R 'R 'R ' W (b RW R W R W R R R W R R R R R R R R R 'R R R ' R R R ''R'' ' ' ' ' '' ' ''' '

39 4 4 ' ' ' ' 'R 'R R 'R 'RW 'R 'R W RR R R R 'R '_W (b R R R R 'R _ R R R R Q Haun ted-by the me mo- - ries of a life time, destined to a fu ture un - known,

b DDD DD DDD DD d D >D D >D D D Clean tone (No Distortion)

b D D D D d D >D D >D

(b '_ D' D R RRR D ' ' 'R ' 45 43 â< ' 4 ' ' 'R R 'R 'W 'R R R ' _ ' 'R'R R ' 'RW (b 'R 'R 'R R R R R Q 'R 'R 'R R R R Haun -ted by the me mo- - ries of a life time, destined to a fu tureso un - (Haun -ted by the night mares of the night time,)

D D D b DD DD DD d D >D D D D D D b D D D d D >D D

(b '_ D R R R R D ' ' 'R '

Lamentoso (sing mournfully) 46 4 ' ' ' ' 'W 'R 'R 'RW 'R 'R R R R R 'R R Rf Rf ' W 'R '_ (b _ Q Z - R R R - known, I li-sten to your he-art beats Ho-ping p re-- sent would last,

W b D _W >_ RW _ DD _W _ _ RW Z ___ d >D R _W _ _ RW _ R _ _ _ R _

b D W Z _ d >D W >_ RW _ R R RW _ R R R R ' ' ' _ RW _ 'R ' (b D R R R RW _ R R R R W W 'R _ ' ' ' ' R R R - ' 46 Lamentoso 50 4 j ' W â< ' R Rj 'R 'R 'R R R R R R '_ R (b - - - Q \ M though it's bi tter-swe - et at best,

W < W b R W _ R RW R ______DDD d RRR W R RW R _ _ _ D R _ R RW -R R W R R _ _ _ D < b W _ R RW d RW R RW < _ _ _ D R _ R RW R _ _ _ D RW _ R R R _ _ _ D

(b < ' ' 'R 'RW W W R R R R < _ W R R R R R R R R R R R R R R 'R ' ' 'R ' 'R '' ' ''' 'R 'R ' ' ' '''

54 4 'â 'â R< W ' ' ' 'W 'W 'R R< ' _ 'W 'R ' ' ' 'R ' ' 'R (b R R R R R R R R R R Q R R R \ Q Z R Caught at the va lley- of this time wave, while my hopes lay at the crest, the past,

W W W W ' 'RW 'R 'R 'R 'RW R '_W 'R W 'R 'R R 'RW R R b RW R R R RW R b_W R _W bR bR R RW R R d R R R R R R _W R _W R R R RW R R RW _W R _W R R R RW R R ' b W d W W W R b_W R _W bR b_W R R R R R R R R R ' _W R _W R _W R R ' ' ' ' ' _W R _W R _W R ' R ' ' ' ' ' ' (b W _ _ R R R R R RR _ R RR R R R R R R ' ' ' ' ' '' ' '''R R 'R ' ' ' ' ' ' 47 58 W R ' R R R R R R W W 'R R R 'W ' 'R 'RR (b Z -R Z R R R R Z R -R Z R and future they collide, with me caught in beween at rest, ' _ R 'R b _ R RW RW _ 'R R RW _ bR d _ R RW RW R R RW R _ R RW RW _ -R R RW _ R - 'R R ' R 'R b < _ W W < W d _ R RW RW _ R R RW _ bR W W W R _ R RW RW _ R R RW _ R ' 'R 'R ' R 'R 'R ' (b R W W R R'R'R RW R R RRR R R R RW R R R RR ' ' ' ''R'' ' ' ' ' ' ''

ritardando..... 61 W W _ 'R R R 'W ' 'R 'R R _ 'R 'R R (b Q R -R Z R with me caught in between at rest, with me

' ' D W 'R D b"b$D _W bR D d D _W R D D _W R D

b R R RbR W RbR d "b$_ bR R _W bR b_ bR R _ R rit.... W R _ R _ R R _W R _ R R ' ' (b RW R R R R _ R R R RW R R R R ' ' ' ' 'R 'R ' 'R ' '' ' ' ' ' 'R 'R 48 64 4 ' R 'Rj 'R 'R 'R R R R _ (b Z - \ caught in bet -ween at rest.

' W 'R D b _W bR D d _W R D _W R D

b R W R bR d _W bR b_ bR R _W R _ R _W R _ R ' 'R R (b W _ R R R R R R _ ' ' ' ' ' 'R ' ' 49 Tonbak section No. 4 (Section 10) (After “Future Unknown”, and before “Destiny”) Mohammadreza Modarresi q=85-88 ' ' ' ' ' ' ' '' ' ' j j '' ' â< W W 'â< j â< j Tonbak k ! R R R R R R R R R R R R R R R R R R R R R R R R R R R R RR R R R R RR R R

5 4j ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' j P A â< P A â< P A ! P A Perc. k R R R R R R R R R R R R R R R R R R ! R R R R _

“Destiny” begins right after the above rhythm section is performed (following the conductor's/artistic director's cue). 50 “Destiny” Lyrics by: Mohammadreza Modarresi & Shah H. Jou Mohammadreza Modarresi q = 115-140

Baritone W! (b W! MM M M ' ' ' Electric Guitar b W! R R 'RR'R'R W RRRW R ' 'R RbR d ! 'R' _W R' R _ RR''' R _ RRRR' RW R ' ' ' '' ' cresc...... '''' ' G Synthesizer b W! d W! D D RWW A D D RWW R _ D D D RWW R _ D sf' b W '''' W ' 'R ' W! RRR W RRRRR RW _ RRRRR RRR 'R R bR Piano d ''' _ ' ' ''''' R _ RR''' R ' WW cresc...... '' ' W! D' D RWW A (b W! D D R R _ D sf G R _ D sf' 5 f ' ' W ' 'R 'R R 'R R 'R 'R R R R _ (b M W R Q How canI - know my des ti- ny, ' 'Rb'R R> 'R 'R ' ' b" $ 'R R R R 'R R D b R W W W R D d _ R R D _W RW mp_ R p W b W W R _W R R R d R R _ _W R R _W ' R R __ _W R ' ' ' R sf' sf' _ R 4 f ' 'Rb'R R> 'R 'R ' 'R b" $ 'R R R W W R b R W _W R RR> _W R R R d _W R >R _W (b R R _ W R __ W W R sf' sf' _ R R D G 51 8 f ' ' W ' W ' ' 'R 'R R 'R R 'R 'R R R R _ 'R R 'R R ' 'R R 'R (b R Q >R R How can I live the way you live, How can I do what you want W _W R RR R b R D _W R _W RW R D _ R R d _W RW R D _W R >R _W RW mp p W G _W R R _W ' ' 'R 'WW ' b _W R R _ R'R R R _ 'R d R 2 f f sf sf b R _W R R R RWW _ _W R R _W R R d _W R R _W 2 (b W WW W R R R _ R R _WW R R R cresc...... R> RR G mf 11 sf W ' j ' 'R ' WW ' ' ' R R R ' ' R R R >'R _ R R Rb'R (b - R R R R 2 me to do, How can I feel, the way you feel _ ' 'RW RWW A W R b 'R R R RW >R R R R R bR " $_ Z 'R R RW R R R\ R R R Q R d > _ R RW R R R 'WW W R R b >RWW _ R R R R >_W R d P _ R R R R >R _ R '_ 'R R R R

R> R R b A R R R R R RW R R R R R R d RWW R R R QR> \ R R R> pp QWW ' (b A \< RR> W RR R R RW R> _> W RW R 2 G R _ P G 52 14 (b _ \ W M M , ' ' '_ – – b"b$RW bR R _ 'R R 'R '_ ' RW R R _ W 'R 'R 'R R R R R R R R R _ d ' ' ' ' D ' ' R ' 'R ' 'R _ b 'R R R R W ' ' ' 'R 'R 'R R '_ R 'R 'R ' _ d W R R R R R R ' R f cresc...... ' ' ' ' ' ' ' ' 'R R 'R 'R '_ R ' ' 'R ' R R R R b R R 'R 'R>R R W d R R R R _ 'R 'R ' ' ' ' W ZW P Z P P \ (b R R W ' R R R R D R R R R _ 'P ' ' RW cresc.' ' ' ' '

17 (b M M M –W ' ' ' ' >R R 'R R R R 'R R R R 'R ' R 'R R 'R ' ' 'R R b ' - _ R R 'R R d >'R 'R 'R W ' 'W ' ' ' >R 'R 'R 'R R R R 'R ' R 'R R 'R ' ' 'R R b ' - - _ R R 'R R d >'R 'R 'R ' ' 'W 'R b >R R R R R - ' ' R R R R R R R R R R R R d >'R 'R ' ' ' ' ' _ ' ' ' R R R ' ' ' ' 'R ' ' W PPPP W P P (b \ R\W ZR R Q ZZ RQ W R R \ >_ \_ R R R R _ ' ' ' ' ' ' ' ' ' 53

20 (b M M (Use Whammy bar & and let it fade away) ' R RW R 'R ‘ ' R 'R 'R 'R R R D b 'R 'R 'R R d ' W ' ' 'R R ' R R R R R ' 'R ' 'R 'R 'R ' ' 'R R b 'R 'R 'R R R R R R R R R d

W b R R R R R R d R R R R R R R R D \ Z Z Q ' R R R R RR R (b _ R R R R R R R \R R R R R ' ' R ' ' ' ' G

22 f cresc...... 'R 'RW R 'RW 'R 'RW 'R _ 'R 'R R 'R 'R R 'R ' 'R (b '_ 'R R Si -tting in the corner, looking for a change, my restless heart's, WW A R R R b R R R R R RW R R RWW R R R R R R R R R R R R R R R R R d R R R R R RW R R R RWW R R R R R R R R R R R R R f cresc...... 'R 'RW R 'RW ' 'RW 'R _ 'R ' 'R ' ' ' ' b R R R R R '_ 'R R R R d RW R RW R R R R R R R R R R R R R R RW R R R RWW R RW R RW R R R R R R R R R R b R R R R R RW R R R RWW R d P _ (b _ \ M M 25 54 R 'R 'R 'R 'R ' ' ' ' ' '_ (b - Z R R _ \ R R R RW R beating so s- trange, now I'm all a- lone, R R R R R R R R R RW R _ b R R R R R RW R R R R R R R RRRR RR R R R RW R _ d R R R R - R R R R R R R R R R R R R R R R _ RW R ' 'W ' ' ' ' RR RR _ b R R R R R 'R R _ R _W d

R R R R W R R R R R RW R R R R R R R RRRR RR RR W b R - _W d Q W (b M M R _

28 ' 'W ' ' ' ' ' 'W ' ' ' ' 'W (b R R R R R 'RW R ' R R R R R R R R _ R R 'R R looking in the mirror, and I see no- one's face, no- one's -

R RW R R R RW R R R _ R R RRR __ R RW b R RW R R R RW R R R _ R R R R _ R R d RW R R R _ R R R RW

_ ' 'W ' ' 'RW 'R R ' ' 'W b _ R RW R ' R R R R 'R _ R R d R W ' ' ' ' ' b _ RR RW R _ R RW R 'R _ 'R 'RW d \ R R '_ ' ' (b _ W R R W R 'RW R R R ' _ 55 31 ' ' ' ' 'R R 'R RW 'R 'R R 'RW (b RW R '_W W >'RW 'R 'R W - but my own, how can I spend a no-- ther night with you? W R R R R R R R RW R RW R R b RW R _W W R R R R R R R RW R RW R R RW _W W R R R R R R R RW R bRW bR bR d _W R R R R R R R RW R RW R R R - - R -R R ' ' 'W ' ' ' 'RW 'R ' R 'R ' R R 'W R R R 'RW ' ' b _W W >R R R R R d W ' 'W W W W 'R R R b'R R R >R R R R R R R RW R RW RW b W R R R R R R R RW R bRW bRW d - - R R W (b RW R R R R R W M M ' ' ' b'R ' 'R '

34 j ' ' 'R 'W ' ' 'R ' 'R 'R'R ' (b _ R R R R RW R D Z - R _ Oh no I can't get rid of pain, It's all _ _ RW _ RWW R _ R _W b"b$_ _ RW _ bRWW R _ bR _W d _ W Z RWW R _ R W _ _ RW _ RWW R _ R _W 2 'R 'R 'R 'RW ' ' 'R''R R b _ 'R 'RW 'R R ' ' 'R'R R'R'R R 'R R 'R d _ R ' 'RR P2 ' 'R R _ b" $_ W b _ R R R RW W R RRR d ' ' ' ' R R R 'R _ R RR'R'RR R R R ''' R ' ' ' ' ' '' '' ' 'R ' ' 'R 'R (b MM M M 56 38 RW ' ' 'R 'R ' W 'R 'R 'R 'R _ (b R R RW R _ Q Z - all so in vein, It's all W R D W b RW R _ R D _W RW R _ ZbR bD Q _W d RW R _ R D _W R R _ -R D _ ' ' 'W ' 'R 'R R ' b RW R R RW R ' 'R ' 'R R RW R d R _ 'R R RW H R ' R '' 'R ' 'R R

b ' W W W W R W R R R d R R R R 'R R ' R W R R ' ' ' 'R R 'R 'R ' ' 'R R ' R R R ' 'R 'R ' (b M M M

41 W ' ' ' 'R ' W (b R R R RW R R _ Q all so in vein, W R D b RW R _ R D RW R _ Z bR bD d RW R _ R D R R _ -R D W ' 'W 'W 'W b R R R R R 'R R b_ RW d 2 -

b W ' RW A d R R R 'R R R R R R R RW R R ' ' ' ' b'_ ' ' ' ' (b M M 57 43 'R 'R 'R 'R _ RW ' ' 'R 'R ' (b Z - R R RW R D M It's all all so in vein 4 W W R D D b _W RW R _ R D D Q _W RW R _ Z bR bD bD d _W RW R _ R D D _ R R _ -R D D ' 'R _ bD b 'RW R 'R _ _ D R R R RW R R RW W R R d R '

b R d R R R R R R R R W W R R R _ R R 'R ' ' ' _ D 'R R _ D (b \ M M \ _ D _ D B 58 Tonbak section No. 5 (Section 12) (The second last movement, before “Microwaves”)

q = 130-138 Mohammadreza Modarresi ' ' '' ' ' ' 'j ' ' ' ' ' '' ' ' ' ''' ' j W â< jW < W 'â< j Tonbak k ! R R R R R R R R R R R R R R R R R R R R R R R R R R ! R R R R R R R _

5 ' ' ' ' ' ' j ' ' ' ' ' ' ' ' ' ' ' ' ' 'â< jW 'â< k R R R R R R R R R R R R R R R R R R R R R R R R

7 ' ' j ' ' j ' ' ' ' ' ' j ' ' j ' ' ' ' ' j 'â< j 'â< j 'â< j 'â< j j k R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R

“Microwaves” begins after the above Tonbak section has been performed. Though this rhythm section suggests a range for the tempo of the next movement (“Microwaves”), the final decision for choosing a satisfactoty tempo is up to the conductor/performance director. 59 “Microwaves' Prelude” & “Microwaves” Allegro

q = 133- 138 Mohammadreza Modarresi

'R ' 'R ' 'W N 8 W! 'j 'j 'j 'j R R b'R _ W Piccolo d8 ! Q Q Q R R Q Q Q RR M MM M ' ' 'R ' W dolce WW 8 W! 'j 'j 'j 'j R R R b'R '_ W 'R'W < Flute 1.2.3 d8 ! Q Q Q R R Q Q Q RR M M \ R R R 2 R R 8 W! W Alto Flute d8 8 ! MMMM M MMM W W 88 ! MMMM M MMM Oboe 1.2.3.4 d 8 W! W d8 ! MMMM M MMM j j W W! R R R R W Cor Anglais 1.2 8 ! Q Q R R R R R R RR R Rb _ M MM M d j j j j j j W b W R R R R W Clarinet in E b ! Q Q R Rj Rj R R R Rj Rj R Rb _ M MM M d ! W W R R Rj Rj W Clarinet in D 8 8 W! j j R R R j j R R> _ W d8 8 ! Q Q R R R RR M MM M W! W Clarinet in B b 1.2.3 d ! MMMM M MMM 8 W! W Clarinet in A 1.2.3 d8 888 ! MMMM M MMM W W W ( 8 W! W 8 ! R R R R R R R R R R R RR R R R R R RR R R R _ M MM M Bassoon 1.2.3.4 W W ( 8 W! W W 8 ! R R R R R R R R R R R RR R R R R R RR R R R _ M MM M W W Contrabassoon 1.2 ( W! W W O 88 ! R R R R R R R R R RR R R R R RR R R M MM M N W R R R Rb _ W W! W W < d ! MMMM M D \ R R _ R R W! W W ! MMMM M \ R _ < Horn in F 1–8 d R R R W W D ! \ Q \ Q \ Q W M M d Rj Rj Rj R Rb R _ _ R R D W! j W d ! MMMM MM MM 8 W! W Trumpet in D d8 88 ! R R R W W Q < P A RR R R R RRR R _ _ _ R> R> _ _ 'R 'R D _ R R 8 W! W d8 ! MMMM M MMM Trumpet in C 1.2.3.4 8 W! W d8 ! MMMM M MMM W W Bass Trumpet in E b W! W b d ! MMMM M M \ RR R R R RRR W W R R Trombone 1.2.3 ( 8 W! < < < < < < < < < < < < < < W < < < < 8 ! Z R Z R Z R Z R Z R Z R Z R Z R Z R Z R Z R Z < Z < Z R Z R Z R Z R Z R Z R Z R D M M W Rb Rb W Tenor Tuba in B b 1.2 ( 8 W! W 8 Allegro! MMMM M MMM W! W W R A Bass Tuba Od ! R R R Rb R R R Rb R R R Rb R _ _ Q - PR D M M q = 133- 138 N W W Piccolo Timpani ( W! W O ! MMMM M MMM N W W Timpani 1.2 ( ! Z < Z < Z < Z < Z < Z < Z < Q \ M M O ! R R R R R R R R R RR R R R R RR R R R R R R R R R R R R N W W Timpani 3.4 ( W! < < < < W < O ! Z R R R R R R Z R R R RR R Z R R R RR R Z R R R R R R R R Z R R R Q \ M M N W! < < < < W < < < Drums k W! Z R R R R R R Z R R R RR R Z R R R RR R Z R R R R R R W Z R Z R Z R R _ \ M M Tam-tam ! _ \ kMMMMW! W M MM Triangle kMMMM! M MMM W! W Tambourine kMMMMW! W M MMM Guiro kMMMM! M MM M 8 W! W Antique Cymbals Od8 ! MMMM M MMM W 8 W! W _W W D D d8 ! D D _ bR bR _ D D M M Harp W W ( 8 W! W W W R R 8 ! _ D D M \ Rb RR RR R D D _ Rb R _ D D‘ ‘ ' ' ' ‘ R R R R R R R R R D _ W ' R ' R _ W 'RR R R R 'RR R R R Electric Guitar 88 ! Z R ' R _ Z R ' R R R \ M d ! - R R R R - R R R mf R mf 8 W! W d8 ! MMMM M MMM Electric Piano W W ( 8 ! MMMM M MMM 8 Allegro = 133- 138 @ ' ' ' ' 4 ' ' ' W R R R R R D _ N W R R R _ R R R _ R R R R R '_ W 'RR R R R R R 'RR R R R R R Violin I 8 W! - - - Rb R W ' d8 ! Z Z Z R RRR R R R RRR f f dim. 'mf ' ' f ' ' ' ' 4 W R R R D _ W 'R R R _ 'R R R _ 'R R R R R '_ W 'RR R R R R R R'RR R R R R R R Violin II 8 W! - - - Rb R W ' d8 ! Z Z Z R RRR R R R RRR f f dim. mf' ' ' f 4 W W ' ' Viola 8 W! < R R R W R R _ D _ )8 ! Z R R R R R Rb _ _ R R R R R R R bR R R R R R R RR R R R R R RR R R R R R R RRR R R R RRR f' ' ' ' ' 'f ' ' ' f dim. mf' ' ' W W 4 Violoncello ( 8 W! W D D 8 ! D D D _ D R _ Q f _b f f dim. ' 4 W! D D D _DW DD 'R _ Double Bass O(88 ! _b Q f f f dim. 60

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( O 888 M M M MMM M N W W W W W ' W W R8 R R R R R R _ R R R R R8R R R R R R8 R _ R8 R R R R d - - R ' ' _ - - W W W R R W R _ R _ R R d R8 - R R R W W _ R8 - R8 - R R - R R R W R R8R R R R R Hn. R ' ' ' W < W < W < W < d R R R R R R W W W W W W _ R R _ R R R R R R _ R R R R R R R R _ W < W R _ W < W < d R R _ R - W W W W W W _ R R _ R R R R R R R R R R R R R _ W W W W W D Tpt. 8 8 < < W W < < d8 8 8 R R _ W R _ W R R W R R _ _ R R _ R R R R R W R R W R R R 888 R R _ W < W W \ Q < R W < W < d - R R _ R R R R R R R Rj R - R R _ R R R R R W W C Tpt. 888 R R _ W < W W \ Q < R W < W < d - R R _ R R R R R R R Rj R - R R _ R R R R R W W W j < W W Bass Tpt. W < R R _ R R R W \ Q R R R R R R R _ R R R R R d R R _ - W R - R - - W W _ W R W R R R Rj R W R _ W R R R R _ R R R R R R R R R R Tbn. ( - - - - 888 - \ Q - W W W j W W Tba. ( 8 W < R _ R W R R R R R < R R _ R R R R 8 8 R R _ R - R R R \ Q - R - - R W < < < Bass 8 W < W < _ W R W \ Q R R R R R < W R _ W R R Od R R _ R R R R R j R R R R R N Timp. ( O M M M M R RRR RRR R R R D M ff ' ' ' N Timp. ( M M M M R RRR RRR R R R D M O ' ' ' ff N ' ''' ' Dr. 'R'R'RR'R R R 'R'R''R'R RR 'R'R'RR'R RR'R'R''R'R RR RR RR 'R'RRR 'R'R R R RRR 'R R 'R R RRR RRR 'R R 'R 'R'R'RR'R R R 'R'R''R'R RR 'R'R'RR'R R R 'R'R''R'R RR O k R R R R R R R ff N ' ' ' ' B. D. R R R R R R R RRR RRR R R R kM M M ff M M T.-t. kM M M MMM' ' M Tri. kM M M M R RRR RRR R R R M M ' ' ff ' ' Tamb. R R R R R R R RRR RRR R R R kM M M ff M M ' ' ' ' Gro. R R R R R R R R R R R R kM8 M M M M A. Cym. Od8 8 M M M MMM M 88 W < < W < W R _ W < W < d 8 RW R R R W R _ W R W R R R R - RW R _ RW R R R Hp. R R R R R R R R R R R R R _ R R R R R ( W R _ 888 M M M M Q R _ M M ‘ ‘ ‘ - ‘ ‘ ‘ ‘ W ‘ ‘ ‘ 'W 'R R ' ' W 'R _ 'W 'R ' ' W 'R R ' ' _ 'W 'R _ 'W 'R R ' ' E. Gtr. 888 R R R R R R - R R R R - R R R R _ R R R R R d - _ - - ff '‘ ff patetico ff W W W W W 'R _ W W 8 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R 'R _ 'R 'R R 'R ' d8 8 - R R - R R R R - R - - - R f E. Piano W ( W 'R R ' ' W < W 'W W R ' ' W < W R _ W 'R R ' ' 888 R R R R R R R _ R R R R R R R R _ R R _ R R R R R - ' 'R ' ' ' - - W W W W W 'R _ W W N 8 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R 'R _ 'R 'R R 'R ' Vln. I d8 8 - R R - R R R R - R - - - R f grazioso W 'W 'R R ' ' W 'W 'R ' 'W 'R _ 'W 'R R ' ' Vln. II 888 R - R R R 'R _ R W < W R _ R - R - R R d - R R R R R R - ' 'R R ' ' f grazioso W ' _ W 'W W W 'R _ W Vla. 8 'R 'R R W R 'R R 'R ' R R 'R 'R _ ' 'R - 'R 'R R )8 8 - R R R - R R - _ - R R ' ' f grazioso ' ' W W W ' Vc. ( ' ' ' ' ' < ' W W ' R _ ' ' ' ' ' 88 R R R R R R R R _ R R R R R < _ R - R R R R R R 8 ' ' ' ' R R R _ ' Sul tasto ' ' 'R ' ff 'W W ' W grazioso W ' W R 'R R 'R R W W ' Db. ( 8 'R R R 'R ' < 'R R ' 'R _ 'R < 'R R R 'R ' O 8 8 - R R R _ - R _ R _ - R ' ' ff ' patetico 64 W ' 44 W W 'j W ' R _ R R R R R R R R R N 'W W 'R R W ' R W 'R R R R R R R R R R R R R R R R R Picc. 8 R 'R 'R 'R 'R RR R 'R 'R R - 'R - R R R R R R R R d8 8 - - R W ' W W W 'j W ' R _ 'R ' R W ' ' R W 'R R R R R _ R R R R R R R R R R R R Fl. 8 'R 'R''RR R 'R 'R R - 'R - - R R R R R R R R R R R R R R R d8 8 R - - R R R R W W ' W W j 'W R 'W 'R''R'R 'R R 'R R ' 'R _ 'R _ Rj ' R R R R R R R R R R R R R A. Fl. 8 8 R R R - R - R _ R R R d8 8 - - R R R R R R R R R R R R R R R W ' ' ' ' ' 8 R R _ 'R 'R R R 'R 'R R 'R 'R R R _ W 'R _ R R R R R R R R R R R R R R R R R R R R R R R R R R R R d8 8 - \ R - R R R Ob. ' W 'W R ' ' 'R ' ' R ' ' 'R W ' R R R R R R R R R R R R 888 R 'R R R R R R R R R R R _ \ R _ R R R R R R R R R R R R R R R R R R R d - 'R - R R R R R R R R R R R R 8 R R R R R R R R R R R R R R R R R R R C. A. d8 M M MMM W ' ' ' ' ' ' ' Eb Cl. R _ R ' R ' R W < d R - R R R R R R R R _ \ R _ M M ' ' 'R ' 8 D Cl. d8 888 M M MMM M M Cl. d8M M MMM M M 8 Cl. d8 8888 M M MMM M M ( 888 M M MMM M M Bsn. ( 888 M M MMM M M Cbsn. ( O 888 M M MMM M M N W W W W ' R R _ R R R R R 8R R R R R W < M M d - R ' ' _ R 'R _ W R _ ' < M M d R - W W W _ W R _ Hn. R R R R R R 8R R 'R R R 'R ' ' ' < d W < W W _ W R _ M M R R _ R W R 8R R R _ R ' R R R 'R ' ' ' W < < M M d R W W W _ W R _ R _ R R R R R R 8R R 'R _ 'R ' W ' ' D Tpt. 88 8 W < W W R _ M M M d 8 8 R R _ R R R R R _ R R 'R ' ' 8 < W d8 8 W R _ W R W R R R R R R M M M R R R R 'R ' ' _ C Tpt. 8 W _ d8 8 W < _ W R W R R R M _ D R R R W R R R R R R ' _ W W W ' ' Bass Tpt. R R _ R R R M _ D d - W R R R R R _ W _ W R W R 'R R ' _ R R R R R ' ' _ _ Tbn. ( - R ' ' R R R 888 R R R _ M D W W W ' _ _ Tba. ( 8 R _ R W R ' 'R R R R R 8 8 R - R R R R _ M D Bass W < W W Od8 R _ R W R R R R R R M _ R R R R 'R ' ' _ _ D N Timp. O( M M MMM M M N Timp. ( O M M MMM M M N ' ''' ' Dr. 'R'R'RR'R RR'R'R''R'R RR 'R'R'RR'R RR'R'R''R'R RR RR RR 'R'RRR'R'R R R RRR'R R'R R RRRRRR'R R'R 'R 'R 'R 'R'R'R 'R'R 'R 'R 'R 'R 'R'R 'R 'R 'R 'R'R 'R 'R 'R 'R'R 'R 'R 'R 'R O k R R R R R N ff B. D. kM M MMM M M T.-t. kM M MMM M M Tri. kM M MMM M M Tamb. kM M MMM M M Gro. kM M MMM M M 8 A. Cym. Od8 8 M M MMM M M W 888 W < W W < W < W < M M d RW R _ R R R R _ R R R R R R _ Hp. R R R R W ( 8 M M M MQ R _ M M 8 8 - ‘ W ‘ ‘ W R _ W 'R W ' W ' ' W 'R _ E. Gtr. 8 R 'R 'R ' R _ ' R R 'R R R d8 8 R - R R - R - - M M 'f 'f 'Rf 'Rf ''f'Rf ' 'Rf 'Rf ''Rf' '' 'R 'R '' 'R 'R'R 'R W W W W 'R R W 'R _ R R Rf R Rf'f'f 'f Rf Rf R R R R 'R R 'R 'R 'R 8 'R _ ' 'R ' ' W R R ' 'R R 'R'R R R R R d8 8 R - R R R R - R - - E. Piano W W W W ' W < W ( 8 R < W 'R R R R 'R R R R _ R R _ M M 8 8 R _ R R - ' ' ' ' ' 'f 'f 'f 'f 'f 'f '' ' '' ' W ' ' 'Rf 'Rf R R 'f'Rf R 'f'' R R ''f R'f 'R 'R R R 'R'R R ' R R ' ' R ' N W 'R _ W 'R W ' W R R 'R' W R _ R R Rf Rf Rf R R R R R R R Vln. I 8 R 'R 'R ' R R 'R R R - R R - d8 8 - R R - W W W 'R 'R' W 'f 'f 'Rf 'Rf 'f'f'Rf 'f'''Rf 'Rf ''f 'Rf'f '' 'R 'R '' 'R 'R'R 'R Vln. II 8 ' ' ' R R ' R R R f f f R R R R ' ' ' ' d8 8 R R _ R W < W R R R _ R R R R R R R R R R R R - R R R R R R 'R R - - W ' ' ' 'R _ 'W 'R ' W ' ' W W 'f 'f 'Rf 'Rf ''f'Rf ' 'Rf 'Rf ''Rf' ' 'Rf ' ''Rf' ''Rf Vla. ) 8 W R R 'R R R R R R R 'R _ R 'R _ R R Rf R Rf'f'f 'f Rf Rf R R ' Rf Rf 'Rf Rf ' Rf 'f 8 8 R - - - - R R R R fR 'f 'f Rf Rf Rf R j 'f ' W W j Vc. < ' W W < < ' ' (88 R R _ R R R R R < W R R W R _ j_ _ Dj 8 ' ' ' R R R R ' R R R ' j j ' 'R ' '' 'W W ' W j W R 'R R 'R R W ' W j Db. ( 8 < 'R R ' 'R R < R'R R < j_ D'j O 8 8 R - R R R R _ j _ j 'R _ ' ' j j 65

51 R R R R R R R R R R N 8 R R R R R R R R R R R R R R R R W Picc. d8 8 R R R R R M M M 8 R R R R R R R R R R R R W Fl. d8 8 R R R R R R R R R R R R R R R R R R R M M M R R R R R R R R 8 R R R R R R R R R R R R R R R R R R R W A. Fl. d8 88 R R R R M M M 8 R R R R R R R R R R R R R R R R R R R R R R R R W d8 8 R R R R R R R M M M Ob. 8 R R R R R R R R R R R R W d8 8 R R R R R R R R R R R R R R R R R R R M M M R R R R R R R R R R R R R R R R R R R R R R R R R R R W W W R W W R C. A. 88 R R R R W < R R - R R R - M d 'R - W < R Eb Cl. M M M < W W R _ d R R R R R W D Cl. 8 8 W < W R d8 8 8 M M M R W R R _ R R W R - R Cl. W < W W R _ R d8M M M R R R - R W W W _ R Cl. 8888 8 M M M R R R R R d 8 - R - W _ R ( W < W R R R R 888 MM R R - M Bsn. ' R W < W W R _ R ( 8 MM R R R - M R 8 8 ' W Cbsn. ( W O 888 M M M M M N W < < R d M M < W W R < W W R _ R8 R R R8 R R R W 'R M M W W < < W < d < W R R R W R R _ R R R Hn. R R8 R8 W ' d M M M M M W d M M M M M D Tpt. 8 W d8 888 M M M M M 8 W d8 8 M M M M M W C Tpt. 8 W d8 8 D D M M M D W Bass Tpt. d D M M M Perform a slide whenever it is possible R W W R W R _ R R Tbn. ( 8 D W R R R - R R R R - 8 8 D R R R f W Tba. ( W W < W < 888 R R D D R R R R R R R R R _ R R R fR W Bass W Od8 D D M M M N W Timp. ( W O M M M M M N W Timp. O( M M M M M N ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' W ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' Dr. O k R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R N W B. D. kM MW M M M T.-t. W kM MW M M M Tri. kM MW M M M Tamb. W kM MW M M M Gro. kM M M M M 8 W A. Cym. Od8 8 M M M M M 8 W d8 8 M M M M M Hp. ( W 888 M M M M M ‘ ‘ W ' W ' ' E. Gtr. 8 W ' 'R R _ _ R R R 'R D d8 8 M M R f lacrimosa

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II 8 R R R R 'R R 'R 'R ' ' 'R 'R 'R 'R ' 'R 'R 'R 'R W d8 8 R R 'R 'R R 'R 'R ' ' ' ' ' ' ' ' ' ' ' ' 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R 'R 'R R 'R ' 'R R 'R 'R 'R R 'R ' 'R R 'R ' 'f ' ' 'R ' ' 'R ' W R R Vla. ) 8 R R R fR R ' Rf R Rf R R ' R R R R ' R R W 8 8 R R f f R f ' f R fR R R Rf R R ' ' R R R ' ' R 'f 'f ' ' 'f ' ' 'f ' 'f 'f ' ' ' ' j ‘ ‘ j ' W ' Vc. ( 8 Dj W ' ' 'R _ ' ' 'R ' 'R R R _ 'R R ' 8 8 D j R R R R R R D ' f ' ‘ ‘ Dj ' W ' Db. ( 8 j Dj W ' ' 'R _ ' ' 'R ' 'R R R _ 'R R ' D O 8 8 j R R R R R R f 66 56 'W'R _ 'W 'R R ' W ' W'W N 8 W R R R' R _ ' R '' W R R ' 'R Picc. d8 8 M M M - - R R - R R R R - R f grazioso W' W ' W ' W'W 8 W 'R R _ 'R R R 'R' R _ ' R '' W R R ' 'R Fl. d8 8 M M M - - R R - R R R R - R f grazioso W' W 'R R _ 'W 'R R ' W 'R _ W'R W ' 8 W R R'R R 'R 'R 'R R R R 'R R A. Fl. d8 88 M M M - - - - f grazioso W W W W W 8 W 'R 'R _ 'R 'R R 'R' 'R _ ' 'R '' W R R ' 'R d8 8 M M M - - R R - R R R R - R f grazioso Ob. W W W W W 8 W 'R 'R _ 'R 'R R 'R' 'R _ ' 'R '' W R R ' 'R d8 8 M M M - - R R - R R R R - R grazioso f W 'W'R _ 'W 'R R '' W 'R _ 'W'R ' W R R ' ' 8 W R R R R R R R 'R R R R C. A. d8 M M M - - - - f grazioso W 'W' 'W ' ' W ' W'W ' Eb Cl. W R R _ R R R R' R _ ' R W R R ' R d M M M - - R R - R 'R R R - R f grazioso ' W W' W ' W ' W'W W D Cl. 8 8 W 'R R _ 'R R R 'R' R _ ' R '' R R ' 'R d8 8 8 M M M - - R R - R R R R - R f grazioso W Cl. d8M M M MMMMM 8 W Cl. d8 8888 M M M MMMMM W ( 8 M M MW MMMMM Bsn. 8 8 ( W 888 M M M MMMM M W Cbsn. ( W O 888 M M M MMMMM N < < W d W R W R R8 R R R R R8 R R < Q M M M M M R R R R R R < W W W R8 R R8 < Q M M M M M d R R R R R R R R R R R < Hn. 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II 888 R - R - R R R - R W < d R R R R R f grazioso ''R R ' ' '' '' '''R ' '' 'R ' ''R ''R ''' ' 'R ' ' 'R' ''R' ' ' ' 'R'R ' R R R R R R R 'R'R R R 'R R 'R 'R'R R 'R 'R R R R R 'R ''R R R'R R R'R R R R 'R R R R W W'R _ W ' W ' W'W W Vla. R W ' ' R R '' R _ ' R '' R R ' ' )888 R - R - R R R - R R R R - R R ‘ f grazioso W W' W W Vc. ( ' ' ' W ' 'R ' W ' R _ ' '' '' < ' W W 88 R R R R _ _ R R D R - R RR R R R R R _ R R R R R < 8 ' ' ' '' R R R R ff grazioso ' ' ‘ ' Sul tasto 'W'W '' W ' W ' ' W 'W < 'W ' ' W R R R R R ' ' Db. ( 8 'R R R 'R _ _ R 'R R D R R _ R R R R'R R < R R 'R R O 8 8 ' ' - R _ - ff ' patetico 67 64 ' ' W ' W ' W ' ' N W R R 'R ' W R _ 'R R _ 'R R R 'R ' W 'R _ 'W 'R ' ' W R R ' ' W R R 'R ' W R _ Picc. 888 R - R R - - - R R - R R R R - R R R - R R - M d grazioso W ' W 'R _ fW ' W ' W ' W 'W W ' W 'R _ 8 R 'R R R 'R R 'R R _ 'R R R 'R ' R _ ' R ' ' W R R ' 'R R 'R R R 'R R Fl. d8 8 - - - - R R - R R R R - R - - M f grazioso ' W ' W ' 'R ' W R _ 'W 'R _ 'W 'R R ' W 'R _ W 'R W ' W ' 'R ' W R _ 8 R R R R R R R R 'R R 'R 'R 'R R R R 'R R R R R R R A. Fl. 8 88 ------M d grazioso f grazioso W W 'R _ W W W W W W W 'R _ 8 R 'R R 'R 'R R 'R 'R _ 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R R 'R 'R R d8 8 - - - - R R - R R R R - R - - M grazioso Ob. 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( O 888 MMMMMMM MM M N d MMMMMMM MM M d MMMMMMM MM M Hn. d MMMMMMM MM M d MMMMMMM MM M D Tpt. 8888 MMMMMMM MM M d 8 W W W W W W W W W 8 R 'R R 'R 'R R ' 'R 'R _ 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R R 'R 'R R ' 8 8 - R _ - - R R - R R R R - R - R _ M d - grazioso - f C Tpt. W W W W W W W W W 8 R 'R R 'R 'R R ' 'R 'R _ 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R R 'R 'R R ' 8 8 - R _ - - R R - R R R R - R - R _ M d - grazioso - f Bass Tpt. d MMMMMMM MM M Tbn. ( 888 MMMMMMM MM M Tba. ( 888 MMM MMMM MM R W R R R R RRR R RR Bass R Od8MMM MMM M MM RR W R N R R R R R R R Timp. ( O MMMMMMM MM M N Timp. O( MMMMMMM MM M N ' ' ' '' '' W ' ' ' '' W ' ' ' '' ' ' ' ' ' '' W ' '' '' W ' '' '' ' ' ' ' ' '' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' Dr. R R R R R R RR R R R R RR éR R R R R RR R R R R R R RR R R R R RR éR R R R R RR R R R R R R RR R R R R R R R R R R R R R R R R R R R O k - - é - - - - - é ------N B. D. k M M MMMMM MM M T.-t. kMMMMMMM MM M Tri. k M M M MMM M MM M Tamb. kMMMMMMM MM M Gro. kMMMMMMM MM M 8 A. Cym. Od8 8 MMMMMMM MM M 8 d8 8 MMMMMMM MM M Hp. ( 8 8 8 MMMMMMM MM M

Repeated Whammy bar dip ‘ ‘ ƒ ‘ ‘ ‘ ‘ ‘ W ‘ Ë ‘ 'W 'R R ' ' W 'R _ 'W 'R _ 'W 'R R ' ' W 'W 'R ' ' W ' R _ 'W 'R R ' ' 'W 'R' E. Gtr. 88 R R R R - R - R - R R R 'R _ R R R R R R R R D _ R R d 8 - - - W 'R R W 'R _ ff W ff W W W W W 'R R W 'R _ R W 8 R 'R 'R R 'R 'R _ 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R 'R R R RRR R RR d8 8 - - - - R R - R R R R - R - - R R R f E. Piano ( 888 MMMMMMM MM M W 'R R W 'R _ W W W W W W 'R R W 'R _ 'R W N 8 R 'R 'R R 'R 'R _ 'R 'R R 'R ' 'R _ ' 'R ' ' W R R ' 'R R 'R 'R R '''R ' 'R'R'R 'R 'R'R Vln. I d8 8 - - - - R R - R R R R - R - - R R R f grazioso W 'R ' 'R ' W ' 'W 'R _ 'W 'R R ' ' W 'R _ 'W 'R ' 'R ' W ' '''' ''R'R 'W 'R' Vln. II 88 W R R R R R _ R - R - R R R - R W < W R R R R R _ R R R R R R R d 8 R - - R R R R R R - - f grazioso ' 'R R ' ' ' W W W W R _ W ' W ' W ' W W W ' W ' Vla. 8 R ' R ' 'R - 'R R R 'R ' R _ ' R ' ' R R ' 'R R ' 'R ' '''R ' '''RR'R R'R )8 8 R _ R _ - R R - R R R R - R R _ R _ R R R RR - - f grazioso - - W ' W W W Vc. ( < < ' R _ ' '' ' ' < ' W W < < ' ' 'R' 888 W R R W R _ R - R R R R R R R R _ R R R R R < W R R W R _ _ R R R ' R R R ' grazioso ' ' ' ' R R R R ' R R R ' ' ' ff ' R ' ' ' Sul tasto 'W W ' W ' W ' W W W ' W R 'R R 'R R W ' W W Db. ( 8 R < R 'R R < 'R < 'R R R 'R ' < 'R R ' 'R R < R 'R R < '_ 'R 'R'R O 8 8 R R R _ R _ - R R R _ - R R R R _ ' ' ff ' ' ' ' patetico 68

74 N 8 Picc. d8 8 M M M M M 8 Fl. d8 8 M M M M M 8 A. Fl. d8 88 M M M M M 888 M M M M M Ob. d 8 d8 8 M M M M M 8 C. A. d8 M M M M M Eb Cl. d M M M M M 8 D Cl. d8 888 M M M M M Cl. d8M M M M M 8 Cl. d8 8888 M M M M M ( 888 M M M M M Bsn. ( 888 M M M M M Cbsn. ( 8 M M M M M O 8 8 dim..... N W W d R R R R R R R R8 R R R R R R R R R R R R8 R R R R R R R M R8 R R R R R R R R R R R R R8 R R R R R R R R R R R R R R R R R dim..... W R R R R R R d R R R R R R R R R8 R R R R R M R8 R R R R R R R R R R M R R8 R R R R R R R R R R R R Hn. R W W R R R R R8 R R R R R R R R R8 R R R R R R M R8 R R R R R R R R M d R R R R R R R R R R R R R dim..... W R W R d R R R R R R R R R8 R R R R R R R R R R R R R8 R R R R R R M R8 R R R R R R R R R R R R R R8 R R R R R R R R R R R R W R D Tpt. 8 R R W R R R R R R R R R R R d8 888 R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R M W dim..... 8 R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R d8 8 R R M R R R R R R R W W R R R R R R R R R C Tpt. 8 R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R d8 8 R R R R R R R R R R R R R R R R M Bass Tpt. d M M M M M Tbn. ( 888 M M M M M Tba. ( 888 W W < W < W W < R R R R R R R R R R R R R R R 'R _ R 'R _ R R R R R _ _ R R ' ' ' ' ' ' ' ' dim....' Bass 8 W W < W < W W < Od R R R R R R R R R R R R R R 'R _ R 'R _ R R R R R _ _ R R N R ' ' ' ' ' ' ' ' 'dim.... Timp. ( O M M M M M N Timp. O( M M M M M N ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '_ ' ' ' ' ' ' ' ' ' '_ Dr. < R R R R R < R R R R R R R R < R R R R R R R R O k R - - - R - - - - - R - - - - -

N B. D. kM M M M M

T.-t. kM M M M M Tri. kM M M M M Tamb. kM M M M M Gro. kM M M M M 8 A. Cym. Od8 8 M M M M M 8 d8 8 M M M M M Hp. ( 888 M M M M M ƒ Wahmmy bar dip & vibrato ‘ W ƒ ËË W W W ' ' ' ' ' W E. Gtr. 8 '_ R 'R 'R R _ _ _ R R R R R _ _ R 'R d8 8 - - dim..... W R R R W 8 R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R d8 8 R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R E. Piano ( 888 M M M M M dim.... W N 'W W ' 'W 'R ' ' ' 'R R R ' ' W ' Vln. I 88 _ R R R _ _ _ R R _ _ R R d 8 - - W dim... 'W W ' 'W ' ' ' ' ' ' ' W ' Vln. II 8 _ R R R R _ _ _ R R R R R _ _ R R d8 8 - - ' 'R ' dim..... ' ' ' ' ' ' ' ' W ' ' ' ' ' ' ' ' ' ' ' ' ' R R ' ' ' ' ' ' ' ' ' ' ' ' W ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' Vla. 8 R ' ' ' R ' R R R R R R R ' ' ' R ' R R R R R ' R R R R R R R R R R R R R R ' R R R R R R R R R ' ' ' R ' R R R R R R R R ' R R R R ' R )8 8 R R R R R R R R R R R R R R 'R R 'R ' R R ' ' dim..... W W ' ' ' ' ' ' ' ' ' ' 'R R 'R ' ' ' ' ' ' ' ' ' ' W ' ' ' ' ' ' ' ' Vc. ( 8 '_ R 'R R R R 'R 'R R R 'R ' 'R R 'R R R R R R R R R 'R R R ' 'R R R R R R R R R 'R ' 'R R 'R R R R R 'R ' 'R R R R ' 'R 8 8 R R R ' R R R R R R R ' R R ' ' ' ' ' ' ' dim.... W W W ' ' ' ' ' W ' W < Db. ( 8 '_ R R 'R R _ _ _ R R R R R '_ _ R R O 8 8 ' - ' 69

79 4 N 8 Picc. d8 8 M M M MMM D Fl. 8 d8 8 M M M MMM D A. Fl. 8 8 d8 8 M M M MMMM 888 M M M MMMM Ob. d 8 d8 8 M M M MMMM 8 C. A. d8 M M M MMMM Eb Cl. d M M M MMMM 8 D Cl. d8 888 M M M MMMM Cl. d8M M M MMMM 8 Cl. d8 8888 M M M MMMM (88 M M M MMMM Bsn. 8 ( 888 MMM _ M M _ _ _ _ Cbsn. ( O 888 MMM _ _ _ M M N R R R R R d R R8 R R R R R R R R8 R R R R R R R R R R R R R8 R R R R R R R _8 R R R R R R8 R R R R R _ _ _ D D R8 R R R R R R8 R R R R R R R R R R M _8 d R R R R R R R R R R R R D D Hn. R _ _ _ R R R R R d R R8 R R R R R R R R8 R R R R R R R R R R R R R8 R R R R R R R _8 D D R R R R R R8 R R R R R _ _ _ R8 R R R R R R8 R R R R R R R R R R M _8 d R R R R R R R R R R R R D D R _ _ _ D Tpt. R R R R R 8888 R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R _ _ _ _ D D d 8 R R R R R R R R R R R 8 R R R R R R R R R R R R R R R R R R R R R R _ 8 8 R R R R R R R R R R R R R _ _ _ d R R R R R R R R R R R D D R R R R R C Tpt. 888 R R R R R R R R M R R R R R R R R _ _ _ _ d R R R R R R R R R R R D D Bass Tpt. R R R R R R R R R R R R R R R R R R R R R M _ d R R R R R R R R R _ _ _ D D R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R R Tbn. ( R R R R R R R R 888 R R R _ _ _ _ D D Tba. ( 8 \ M M M 8 8 W R R _ _ 'R ' ' D D Bass Od8 W R R \ M M M R ' '_ _ D D N ' B Timp. O( M M M MMM M N Timp. ( O M M M MMMM N ' '_ ' 'R 'R ' ' ' ' ' ' ' ' ' ' ' ' Dr. 'R 'R R 'R 'R R R R R R R '_ 'R 'R 'R 'R 'R 'R R 'R R R _ ' ' ' ' ' D O k ------R R R R _ R R R R R D

N B. D. kM M M MMMM

T.-t. kM M M MMMM Tri. kM M M MMMM Tamb. kM M M MMMM Gro. kM M M MMMM 8 A. Cym. Od8 8 M M M MMMM 8 d8 8 M M M MMMM Hp. ( 8 8 8 M M M MMMM While dipping the Whammy bar, ‘ let it fade out...... W ƒ 8 R R _ D E. Gtr. d8 8 R M M M MM R R R R R R R R R 4 8 R R R R R R R R R R R R R R R R R R R R R R R R '_ d8 8 R R R R R R R R R R R R R _ D D D E. Piano ' ( 8 8 8 M M M MMMM 4 W D D N 8 ' 'R R '_ D D _ _ D Vln. I d8 8 R p 4 'W 'R R ' Vln. II 88 R _ D D _ d 8 _ _ p _ D D ' 'R 'R ' ' ' ' ' ' ' ' ' 'R R R R R 'R 'R ' 'R ' 4 Vla. 8 ' 'R ' 'R R R R R 'R 'R 'R 'R R 'R ' 'R 'R 'R ' 'R R 'R 'R ' 'R R R R '_ )8 8 R 'R R ' R R R R R R R R R ' ' ' ' 'R ' ' _ D D D ' 'R 'R ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' 'R R R R R 'R 'R ' 'R ' Vc. ( 8 R R R R R R R R R R R R R R R R R 'R R R R 'R R R R R 'R R R R R _ D D D 8 8 ' ' R ' R R R R B ' ' ' ' ' ' ' ' ' '_ ' W ' ' ' Db. ( 8 'R R R _ D D D D D D O 8 8 ' B 70

INTRODUCTION

Gravitation towards a specific subject for one’s thesis/compositions could be the result of

the composer’s natural fascination, and/or opposition towards a topic (i.e. socio - political, scientific, artistic, moral, etc. beliefs). This composit ion titled: “And Then There Was Light”, and the entire thesis, which is written as a complementary and explanatory part, are based on the idea of the birth of our universe, its present state, and its future (possible fates) , which reflect what is known thr ough modern scientific theories . Therefore for the most part, my interest in astronomy encouraged the idea of composing a piece inspired by the creation of the cosmos.

A necessary clarification concerns the existing relationship between this composition a s a whol e and the physical laws that govern the universe. Thus , out of necess ity, I have gone to some length in order to ensure the readability of this paper.

Upon first discussing my proposal (with Dr. Canton), I found out that there had been previous attempts made by other composers, such as Joseph Haydn , who composed a work called “ The Creat ion”, which uses text from the B ible (Genesis), and is an indication of his interest in composing a piece representing the creation of the universe. This of course is not very surprising, since it has always been said of claims to true originality, that there is nothing truly new under the sun.

This work as a whole consists of a variety of timbral e lements. For example the orchestra generates the sound medium for the pre - Big Bang occurrence (“Before”) , whilst the choir (“And

Then There Was L ight”: The first movement) produces the birth of the universe, through the employment of its more generic timbral effects ; i.e. using Man’s voice as an im itation of the sounds o f nature . 71

I have chose n to use the word “section” instead of using the term “movement”, for this

“brief” event within the piece (“Before”) , since this section endeavors to delve int o the implications of a period: timeless, mysterious, and undefined, preceding “Big Bang” (when and where time and space began); t herefore, the reason behind the employment of the term “ section ” in describing this pre - singularity /singularity event.

The following pieces, however , are re ferred to as movements , not including the Tonbak

(percussion) ‘intervals’, which connect certain progressive r ock movements (songs) within the whole work . Each “progressive r ock” movement consists of a specific lyrical or themat ic idea.

T he Tonbak (percussive) sections in between ( following “Cosmic Rays” which is composed for piano ), add to the continuity of the whole work, by displaying the ever - changing , yet continuous nature of creation . The theoretical fates of the known universe are embodied wi thin the whole composition.

Generally speaking, t he lyrics in the work (writ ten by myself and my friend Mr. Shah H.

Jou, who is an artist) , are meant to represent thoughts, feelings, and unique perceptions of a sentient being, living in any one of the three possible theoretical states of the universe (past, present, and future; each leading to its own particular fate, whether finite or infinite). These stages as they are, theoretical, can be equally possible as an outcome. Consequently I have composed t h e whole, wherein, the parts to be presented are dependent upon the choice of the conductor/performance director; thus, one or even two of the three universal fates represented can be omit ted all together . O f course, the omission should include the Tonbak section that follows . 72

Thinking as a human (sentient being), c ould there be any other sort of thought process es , when empat hic men and women witness the il l s of the world’s inhabitants? Yes, I suppose there could; however not if their experiences are simil ar to mine.

There are thematic reappearances of some of the more general concepts, throughout this work. The main example of this is how the composition culminates , in the last movement

(“Microwaves” written for orchestra and electric guitar) , through the revisitation of the major themes introduced throughout the production.

Aside from providing the score, in this work I have also presented most sections as an

‘audio playback’ using Sibelius program. Thereby, I have been obligated to use extr a layering

(for the playback purposes), which would have otherwise been unnecessary (with regards to performance of the given movement). This of course, does not apply to sections where this approach to instrum entation has been intentional.

THESIS STATEMENT

This piece was composed to include an expression of the continuous nature of creation.

Th e wide range of instrumentation and expressive methods emp loyed within this production, are

indicative of my conception of the all - inclusive wholeness in cre ation. I have tried to keep the movements in the same order, as in that in which the different methods of man kind ’s expression

have evolved . In other words man’s first mode of expression was vocal, followed by the use of

objects as instruments of sound pro duction .

This is the sequence in which the composition progresses: a brief section called “Before”

is followed by the sounding of the gong (when the note B natural is reached), which signifies

man’s first attempt at creating/imitating sounds that s/he hea rd in nature. The first movement,

“And Then There Was L ight” (a choral piece accompanied by a piano), follows the gong at the

conductor’s cue. Since voice has always been man’s first instrument, I found choir to be the right

choice for the first movement.

I have chosen “Cosmic Rays” (second movement) to follow the choir , since after the

“Big Bang” there was a period of intense radiation which permeated the expansio n of the matter,

that is theoriz ed to have been contained within the singularity . 1

------

1 J. P. McEVOY, A BRIEF HISTORY OF THE UNIVERSE (Philadelphia: Running Press, 2010),

284, 291. 74

The third movement “State O f Confusion ” is a progressive r ock song (with an orchestral

[String(s)] prelude). The movement is representative of the great chaotic confusion of the early

universe, where “Super Giant” stars were born and died in unimaginable conflagrations; the

remnants of which be came the building blocks for our present universe.

The above - said is continued by another three lyrical Progressive Rock songs (“Deus

Misereatur”, “Future Unknown”, and “Destiny”) , which concur with the three theorized fates of the universe (“The ‘Big Rip’ : infinite expansion of the universe , ‘Big Freeze’ : reaching a static state , and ‘Big Crunch’ : universe shrinking back into a singularity [ which with the repeating of the cycle, becomes the theoretical basis for a fourth de stiny of the univ erse known as ‘The Big

Bounce’ ] ). (Hawking 1988, 44)

Tonbak (a percussive Persian instrument), is utilized in between all the Prog ressive Rock songs, as a means of maintaining the continuity of the piece, which is a necessary outcome of the continuity of our universe. Also, these Tonbak segments represent the relatively empty expanses, as opposed to the stars and the galaxies which they are part of.

The final mov ement “Microwaves” (for orchestra and electric guitar) contains both new thematic materials, and also variations of some preceding themes . The composition’s general structure aims to revisit these themat ic ideas in a varie d manner. This is represented by t he employment and development of different preceding themes introduced within the piece (aside from the newly introduced ones ) . Therefore it could be said that “Microwaves” (as the final movement) endeavors to represent the idea of a recurring, but varied cycle of creational possibilities for the universe.

Clarification of the work’s contents :

I) “Before ”

The body - proper of the work itself begins in a manner to represent the physical reaction

that takes place before any forward progression; this is due to inertia: which stands for

‘resistance to movement’. This is embodied as a backward motion before taking off.

The following are some of the reasons behind, and, the methods of expression, I hav e

used throughout this section. The rhythmical divisions, lacking the equity that “bar - lines” represent, are synonymous with not having a time signature. Thus, “Before” displays the universe at a point, in which none of the physical rules of ‘space’ and ‘t ime’ applied, nor did reason or any logical facets . This is due to the section being a representation of a progressive phenomenon, which took place when time was not, and had no me aning, neither was there

‘space’ per - se. Therefore, this is a free passage w hich leads to the instant of the entire universe being born out of the singularity 2 (mi crocosm) that at the moment of ‘Big Bang’ begins birthing

the universe (Macrocosm).

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2 Singularity: “A point in space - time at which the space - time curv ature becomes infinite .” (Hawking 1988, 186) Models describing an ever expanding universe which is supposed to have begun from a singularity (Hawking and Penrose) were first proposed by Edwin Hubble and later confirmed through further research done by Alexander Friedmann.

When the instrumentalists of the orchestra begin to perform “Before”, the conductor is

only an observer, witnessing the event. The above mentioned ‘reaction before the action’ before

the Big Bang, is represented musically through disconnecting the conductor from his /her role, duri ng this section. This lack of the conductor’s touch (i.e. gestures, tempo, cueing, dynamics, etc.) is an indication of this chaotic state of affairs, before there was light, and the seeds of order were sown.

During this musical parody of pre - Big Bang secti on, each instrument (regardless of the

‘freely chosen’, starting note) works towards the common goal of achieving the note B (natural).

So the conductor is guide d by the orchestra instead; who as a whole, are reaching towards a unison (same note: these not es could have different frequencies/octaves) , representing the

‘singularity’, coinciding with the sounding of the gong ( fortissimo : very loud). The Tonbak (a type of percussion) accompanies the orchestra by p laying a continuous roll using the glissando tec hnique, leading to the sounding of the gong. This glissando (roll) does not follow a rhythmic structure; it is achieved by the T onbak player’s fingers mov ing from the middle of the instrument

(lower sounding section of the skin of the instrument ) , and shifting towards the edge (sharper sounding part of the instrument ) . The pla yer repeats the said process until the mentioned unison

is achieved . This creates a continuous and rotating effect, which replicates the rotation of the

singularity, and concl udes with the sounding of the gong.

This particular example of “Before” is o ne possible form of methodology (utilizing chromaticism : of the melody progressing s emi - tonally ) in composi tion, which ending in B natural (unison), displays the maturation of the singularity; after which the gong is sounded .

Therefore , this approximately seven seconds long example of this section gives the impression of 77 traversing a circular progression. The singularity’s spherical form (before it expanded in a bang) is implied th rough this progressive melodic passage.

II) First movement: “And Then There Was Light”

“And Then There Was Light ” Poem By: Shah H. Jou

And then there was light, b y chaos’s own might, t here was order, b orn of strife, t hus all creation, w ith life was rife.

It is through the infinite variety of possible combinations of matter, in every state, that the proper environ for life’s creation came into b e ing. The universe as we know it has result ed from billions of years ( theorized as being 13.7 - 13.8 billion years) of chan ge, evolutionary and otherwise. This began from a very dense and spherical entity called a ‘singularity’ ; the ex plosion of which, known as the ‘Big Bang’ , was the initial stage that has culminated into the present. The term ‘Big Bang’ is a model, or modern scientific belief system, describing th e birth of the cosmos. (Hawking 1988, 50)

What foll ows is an in - depth musical analysis of “And Then There Was Li ght”. The

‘SATB’ choir ( consistin g of soprano, alto, tenor, and b ass voices ), begins performing this movement by singing the following : “And Then There Was Light ” , “ By Chaos’s own might” .

Throughout this phrase, the term “Big Bang” is harmonically spelled, utilizing the following chord progression: Bb7 , which is called I7 [which stands for the letter B ]; Bb7 first inversion ( I

6 ) [which stands for the letter “i” 3 ] ; G minor (vi) [the letter “g”]; A dim ( vii o ) [stands for the 79

letter “a”]; B dim (I o ), which has the note B natural [stands for the letter “N” 4 in the word

“natural”], and finally another G minor (vi) chord [letter “g”].

The above is similar in terms of its methodology of spelling, to what Johann Sebastian

Bach did (in many of his choral composit ions), as a means to melodically spell and pronounce his own name.

In the first chord of the piece, one of the main notes of the Bb triad (it is really a Bb7 chord), the note F (natural) is written for the piano only; whilst the choir section’s harmony does not employ this note, which is one of the main notes of the Bb tr iad.

The twelve tones which exist naturally as the harmonic building blocks of Western music

(i.e. the ‘harmonic series’ and foundations for musical acoustics), are embedded within the

themes introduced throughout the music of the first movement (“And The n There Was Light”).

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3 To represent the “i”, I have used the first letter of an inverted chord (called an inversion), as opposed to the rest, which utilize the actual musical notes (SO L FA Syllables) to express the lette rs in the spelling of ‘Big Bang’ .

4 The letter “N” is represented b y the first l etter of the word ‘natural’ , which points to the fact that the note B - natural was used at this point within the harmonic progression. 80

The presence of the complete array of semi - tones (twe lve) displays the simultaneous

presence of all the fundamental particles, which were the building blocks of matter in the

universe.

The B natural note used in the fifth m easure to represent the “n” in ‘Big Bang’ is used

however unusually (in the key of Bb, which contains Bb instead of B natural in all its harmonic

uti lization) within this chord progression. This is a means to express the fact that at the beginning

stages o f the expansion of our universe all sub - atomic particles coexisted both equally and

instantaneously. The reason the Bb note alone was not suffi cient within the opening phrase was that the note Bb alone would not efficiently represent this duality and equal presence of the abovementioned ‘sub - atomic particles’ (i.e. ‘quarks’ 5 vs. ‘antiquarks’ 6 ) in the early universe.

(Hawking 1988, 76)

The reoccurrence of the phrase fragment: “Thus all creation, with life”, is expressing the idea that since life on Earth has evolved in this present manner (in creating ‘sentience’), it is an indication of the propensity for similar occurrences elsewhere.

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5 “Quark: A (charged) elementary particle that feels the strong force. Protons and neutrons are each composed of t hree quarks (page65).” (Hawking 1988, 186)

6 An a nti quark is the ‘ antiparticle ’ of a quark (of same characteristics, though with opposite charge). 81

I have taken the liberty (so far as the aesthetics were not compromised) to alter certain notes (such as: Eb and E natural, D natural - Db), so as to complete the array of the twelve semitones I wished the piece to contain.

III) Second Movement: “Cosmic Rays”

The second movement “Cosmic Rays” is a solo piano piece in the key of G minor. This

particular key signature is the relative minor key of Bb, which is the key signature belonging to the first movement “And Then There Was Light” ; thus, the relation between the first and the

second movements . The piece’s brief a nd abrupt nature points to the early stages in the creation

of the universe ; at which time the complete expanse of matter (what there was of it) was being

created out of the present ener gy and radiation. (Hawking 1988, 41)

This movement is composed in duple meter (4/4), which is in divisions of two. The

reason behind choosing this particular meter was that the nature of space at that point in time was

uniform, in the sense that there was an equal amount of opposite energies. These energies were

converted into the basic materials for creation of opposite sub - atomic particles ( quarks and

antiquarks, electrons and positro ns, etc.). (Hawking 1988, 76)

The chosen meter has a symmetry which accords with the abovementioned uniformi ty at

the period represented by this particular movement. Also, the mel ody is composed in the form of

‘ call and respon se’ , with each measure complimenting the one preceding it; which added onto its

lively beat, is again reflective of that period of extreme cosmic radiation. (Hawking 1988, 76)

Also, the ‘minimalistic’ nature of this compos ition (with regards to its themat ic content:

both melodically, and rhythmical ly ), points out to the simplistic nature of life and creation within

the cosmos, and the idea that e volution, and life in general, ‘ tak es the path of least resistance’ ,

and complex things in nature, are often the result of simple and most basic ingredients. One can

view this movement as a composition mainly influenced by the ‘ avant garde ’ era of mu sic, 83

during which minimalistic music was generated, and many pieces i n this style appeared, by

composers such as Terry Riley, S teve Reich, Philip Glass, etc.

Musically, “Cosmic Rays” 7 begins with a G minor triad, from which the top voice begins

its wavelike progression within the first measure ; reflective of the wave - like behaviour of

radiation which permeated the space at that point in time . (Sagan 1980, 246) This top melodic

line (pl ayed by the pianist’s right hand) is accompanied with a bass melody (played by the left

hand), which alternates between the main notes belonging to the key of G minor , and at some

instances, notes belonging to the key o f Eb (i.e. the second measure).

The note F#, which is considered the “leading tone” within the G minor scale, appears frequently within the composition. The appearance of this ‘leading tone’, assists the resolution of the melodic tension within the piece, and also aid s the progression of the melodic content , by c reating a cadence point towards the t onic (in this case the note G).

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7 For more information regarding ‘cosmic rays’ , please refer to the following book:

J. P. McEVOY, A BRIEF HISTORY OF THE UNIVERSE (Philadelphia: Running Press, 2010),

284, 291 . 84

Mid - point through the composition (measures 9 - 13), one can notice the development section of the subject matter (original motif), which at this point is looking for a resolution, back to the desired tonic. The reaffirmation of the tonic occurs during the ending line (measures 14 -

18), where the piece ends on a very loud incomplete G minor triad (three voices: G, D, and G; which together, make an incomplete G minor chord).

T he gravitation towards the tonic (in this case the note G), is concurrent with the seeming propensity of the universe to create evermore substantial phenomena; from the original building blocks. This embodies the law of ‘conservation of energy’ (stating that matter or energy is never destroyed; only interchanged) . (Hawking 1988, 184)

IV) Tonbak S ection No. 1

This composition employs rhythmical sections which act as connective tissues between

some of the movements. Tonba k is performed between all the progressive r ock movements

(songs), as a means of maintaining the continuity of the piece, which is a direct outcome of the

continuity of our universe. Also, these segments represent the relatively empty expanses, as

opposed to the stars and the galaxi es. The silences as they are opposed to the beats, could be

pointing to the ‘dark matter’ and ‘dark energy’ that fill the voids between visible light and

matter. (Baumann et al. 2005, 9, 71, 73, 178)

T he first two Tonbak sections of this work are written employing the format of ‘ three - line ’ staves, which have been used to notate rhythm tradition ally (within Persian schools of

music). However, there is a new approach to Tonbak notation (originated by Mr. Bahman Rajabi ,

from whom I had the honor of receivin g some instructions ), which only utilizes notation written

over one - line staff (instead of three - line staff/staves). Since, the Sibelius notation program

offered me only the three line format, I decided to notate the first two Tonbak sections in the tradit ional manner using three - lines , and in the latter segments, the more recent method by Mr.

Bahman Rajabi (utilizing the one - line format, similar to sections written for non - musical percussion instruments within the Western orchestra) .

In the three - line met hod, the n otes which are written on the first line indicate the sound which is created by the performer’s hand hitting close to the center of the skin of the instrument

(called ‘Tom’). Those notes written on the second line represent the middle section of the skin, and finally the ones on the last (third line of the staff), point to the sound created by the fingers of the hand hitting the extreme edge of the sound producing surface (which produces a much 86 sharper sound in comparison with the middle section o f the skin of Tonbak) . In all the Tonbak sections, details/signs regarding the Tonbak technique utilized by a Tonbak player have not been included in the score s, assuming the player is already familiar with his/her instrument, and will be able t o perform t he providing rhythm. However, t he rem aining Tonbak sections have been written based on the more recent met hod of notation (one - line staff) , while as previously mentioned the particular techniques /signs common in Tonbak notation have not been included within the scores. Thus the performer has been given the right to choose freely between the techniques available , in order to perfor m these rhythm section s efficiently and based on his/her musical taste and interpretation of the work.

The first Tonbak s e ction (with a 4/4 time signature) links the Second movement

(“Cosmic Rays”) and the third (“State of Confusion”). The temp o provided, ranging from 108 -

121 beats per minute (moderato - allegro ), is my personal choice, and thus can be altered according to t he artistic interpretation of the conductor. This percussive segment utilizes different rhythmic patterns within each of its measure s , with each measure having a value of four quarter notes length (4/4). Though the t ime signature remains constant, the majo rity of the given rhythmic patterns tend to differ , through the utilization of different note groupings and accents within each bar.

The employment of this particular percussive instrument, aside from its ‘ bridging ’ role, signifies the ev er dynamic nature of the cosmos; also, there a re vast expanses of empty space, between the galactic clusters.

The use of percussion embodies both of the preceding concepts, i.e. through the interplay

between ‘sound’ and ‘silence’ 8 (stars/galaxies vs. void). The nature of the sound produced by this

particular instrument is devoid of a specific pitch, which has been taken to coincide with the

‘sound’ representing a great variety of light sources (stars, galaxies, galaxy clusters, etc.). The

remaining sections which are comp osed for Tonbak are similarly composed, and follow the same

musical concepts.

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8 The musical essence of ‘sound’ and ‘silence’ can be further delved into by reading: Christoph

Cox and Daniel Warner, eds. AUDIO CULTURE: READINGS IN MODERN MUSIC (United

States of America: The Continuum International Publishing Group Inc, 2010), 5 - 16. 88

V) Third Movement: “State O f Confusion” a) “ State of Confusion ” Prelude b) “ State of Confusion ” (Rock Composition)

“State Of Confusion ” Poem by: Reza Modar r esi and Shah H. Jou In a state of confusion, t he world lives in illusion, t ime will bring a day, w hen the world turns to clay; the n ature will claim its due, b y the evil in I and You, w e’ve toxified everything we have been given, a nd we shall not be forgiven; w e’ve put all life under the knife, t o bombs we (will) give flight, a ll we’ve built we’ll destroy in a night , w hy can’t we wake, and see the sight? (Are there) no more heroes to stand (up) and fight?

The following is the intellect ual concepts upon which “State O f Confusion” was based:

Man kind exists in a world within which the most basic foundation s of his beliefs, both as

a creation and as an individual, are in constant strife. This arises, as mankind utilizes his /her

interest, to lay out a path for him/her - self, whilst journeying through an environment seemingly totally dominate d by chance, and happenstan ce. (Aurelius 1964, 9)

Religious, personal, and sci entific doctrines, directed at m an kind ’s psyche in a constant

strea m, are ever pulling each person in an effort to exert their own systemization; and final e nd

(regarding faith, and fate).

How could an average person defy all these forces brought to bear upon him? Each of the

above systems is represented by forces, which control many a destiny, for some time, before

losing their influenc e upon the affected population.

Most of the said popula tions have left their youth , and the majority of their adult lives,

before they realize either “the truth” or th eir potential. Thus, ends humankind , fashioned from

dust and ash of the stars, what he is born o f, mired in, and goes back to. (Aurelius 1964, 11)

We keep on hearing how the world itself is an organism. Are not all organisms’ most

basic trait expressed through self preservation? Thus, it is not a far cry to imagine Mother Earth

taking revenge on her errant child. A child that continues to take all her blessings for granted,

and worse yet, is des troying all her other children.

Man kind is destroying earthly creatures at an alarming rate; to the point that we are

losing species every day. This we accomplish by affecting the very geography, atm osphere 90

conditions, and health of our oceans; down to local environmental issues of concentrated

pollution; all this besides and beyond the wars and geno cide on an international scale.

How shortsighted are we to destroy our own environs [the only one that can su pport our

existence], and think that our actions will not come back to haunt us! (Aurelius 1964, 12)

Men communicate, communize, and enjoy the fruit of their co - operation. However, once

faced with difficulties, the remedy, more often than not, leads to war and strife. Only through

having a fundamental change of attitude towards other earthly cre atures, respecting their rights

and appreciating – most gratefully - every earthly blessing, can we begin to improv e our situation.

(Aurelius 1964, 12)

Of co urse, for people to move as one they need a uniting force, which many a time requires the existence of a leader willing to sacrifice his/her own hope, in giving o thers hope for a better future.

Description of the music, and its ‘physical relevance’

a) Prelude

“State of Confusion” begins with a s tring orchestra (quintet) prelude (in 4/4), in the key of B minor. It has a slightly rapid pulse, due to its utilization of consecutive combinations of sixteenth notes. The rapid rhythmic motif utilized, reflects the chaotic nature of this early epoch of the cosmic existence.

The s tring orchestra p relude acts as an int roductory vehicle, to the lyrical part, which is performed in the p rogressive r ock style. The fast pace of this orchestral prelude, defines the essential mood and rhythmic structure o f the whole song. Thus, the movement presents two different styles of music (being divided into two sections, influenced by bo th classical and r ock genres).

The dichotomy in my approach towards composition of this movement is a reflection of the duality of our universe; expressed thro ugh so many different phenomena of both animate and inanimate natures (i.e. day and night, cold and hot, monotheism and polyt heism, Ying and Yang, and also classical and r ock music ) .

As in all oppos ites, there is a point at which the distance from both extremes is the same; a middle ground, a compromise; that which we all strive for in terms of reaching equilibrium in our lives. I’ve tried to achieve a similar end, emotionally spea king, through the means of mixing, comparing, and superimposing different musical and creative ideas; not only within this particular movement, but also throughout the entire work. I t is clear that without its counterpart, each single unit of the abovement i oned pairs is not whole, with re gards to its comprehensiveness. 92

To consider the subject aesthetically, counterpoint is a p lay between two phenomena, be they material or intellectu al, that comple ment each other; in musical terms we can say that counterpoint is the science of controlling dissonance, between a ‘cantus firmus’ an d its melodic counterpart.

The melodic movement is formed around an arpeggiated theme , which is repeated once, and continues through the sixth measure and ending in the beg inning of the seventh. At the same time , the bass and cello parts perform elongated notes, which complement the arpeggiated string sections by adding a strong tonal direction to the harmonic structure of the melody .

One can feel a strong tendency towards the tonic within this orchestral section of the movement. This is achieve d through cadential points which occur within certain measures

( measures 8 and 9, 11 and 12, and the two concluding measures ). This gravitation towards the tonic B (minor) in this par ticular ‘Strings’ section, provides a good foundation for the following progressive rock composition (also in B minor).

b) “ State O f Confusion” (Rock Composition)

In this section, I decided to use commonly used musical instruments. The relatively extensive layering, with regards to instrumentation, aids in achieving an atmosphere of

‘fullness’; this along with the constantly changing rhythmic pattern of the lyrics, allows me to achieve a chaotic musical scene, reflecting ‘confusion’.

This seems like a suit able place to introduce the concept of ‘entropy’ 9 . Although entropy represents the ever degrading state of any system, it does not represent ‘chaos’. Entropy is a contributor to chaos, ever present and regardless of external influence; it is an integral an d eternal constituent of the creation. 93

The specific ‘post - Big Bang’ era under consideration at this juncture, and represented by this movement was a spasmic epoch of motion and explosion; a giant nursery of ‘supergiant’ stars (such as: ‘r ed giants’ , and ‘h ypergiants’ ); forming through the re - accumulation of infinitesimal fractions, of its initial dispersed mass (of ‘The Singularity’). (Baumann et al. 2005,

132 - 133, 168, 179)

The self - dynamism of the era helped guide me to a ‘through - composed’ format of comp osition. Within this particular format, the body of the composition, containing different music (melodically and rhythmically) within each stanza, runs right through to the end. However in this case, there is an exception, wherein part of the first phrase (“In a state of confusion”) is repeated in the coda (‘outro’: the closing section of a composition).

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9 “A precise statement of this idea is known as the second law of thermodynamics. It states that the entropy of an isolated system always increases, and that when two systems are joined together, the entropy of the combined system is greater than the sum of entropies of th e individual systems.” (Hawking 1988, 102) 94

There is a recurrence of a slightly altered motif , used previously in the second movement

(“Cosmic Rays” /first four measures), played by the lead and rhythm electric guitars (Measures

29 - 35) , whose role is to act as a bridge within the song by providing a forward - like movement within the pi ece. This slightly altered motiv ic r eemployment of an earlier theme provides a more thematic and connective constituent to the entire composition, with regards to its cohesion of main themes and their progression over the course of the composition (time). The theme/motif from “Cosmic Rays” also appears in other comp ositions within this work (i.e. returning , in their altered form/variation, withi n “Microwaves” and “Destiny”, and finally evolving into new melodic materials); once again, this embodies the continuity and the uniformity of creation, that exist along the short - lived and the multifaceted , as well as the ‘infinite’ and the ‘singular’.

VI ) Tonbak S ection No. 2

For discussions regarding this particular Tonbak section, please refer to the first Tonbak section for details involving the mu sic written for the instrument.

VII ) Fourth movement: “Deus Misereatur”

“Deus Misereatur ” Poem by: Shah H. Jou A moment of lost faith , a slip of judgment, a few drops of poison, lead me to a sea of pain; now among sorrows ’ frigid waves, lost and with no aid I burn, but to turn these accusing eyes inward, I have no choice, nowhere else to turn, f or I am the maker of my own fate, and to the guilty no one wishes to relate; thus my one recourse, is to confess my s ins, look heavenward, though unsure, and pray: Deus misereatur .

The following is the intellectual concepts upon which “Deus M isereatur” was based:

This movement endeavors to represent the ‘ever expanding universe’, which is

considered to be one of the three theoretical fates of the cosmos. (Hawking 1988, 44)

Man kind’s life as a specie s , whether ruled by chance or providence (environs created by a higher power), yet with the power to choose, is mostly spent in turmoil. Although the power of choi ce may seem like an agent of order in an individual’s life, in most cases it has exactly the opposite effect. In truth, power of choice has ever acted as an agent of chaos ; a s one’s living circumstances change, fall farther away from the norm (i.e. one’s comfort zone), through agitation caused by choices erroneously made . The cause of the said error, may it be misconception , or miscomprehension, aids you or does not , according to the beliefs upon which

the found ations of your character rest . To clarify, j ust as choices made to the best of our

knowledge, and thus correctly, can lead to disastrous outcomes, so can erroneously made choices

lead to beneficial ends. (Aurelius 1964, 24)

You can be absolutely certain of one fact: a s your circumstances change, so do es the

nature of your relations with everyone whom you have ever been, either intimate friends, or

barely a cquainted with.

It is the timbre of fear in the face of tremendous exasperation, whilst one is co nfronted

with an insurmountable and yet clear obstacle, the infernal nature of which makes on e’s hope

and resolve evaporate, that is the beginning of the end. For as f ear grows, hope ever diminishes

in men’s hearts; which is ever darkened as the positive aspects of one’s e xistence conti nue to

disappear. (Nietzsche 1967, 60) 98

The final loneliness, when all hope is expended, defeat is imminent, and one is at the acme o f despair, cannot be approached or even looked upon without external aid. And then G od enters t o soothe man faced with evi l.

The preceding brings us to the point of convergence between lyrics, philosophy, art, and music; this feeling of loneliness, which does not seem so unnatural, when man kind is faced with the idea of infinity. The infinity of an ever expanding environ, filled with unknown forces. The mys tery surrounding such phenomena allows great margin (actually nothing but, since there are no facts to go on, only theories) for flights of f ancy. Of course as ever, our fears can be much graver than reality.

In looking to G od for solace, one is looking to ‘the i nfinite’ force to sooth his /her feelings of inadequacy, in the face of infinite uncertainty, and thus the fear there from; which is another point of conjunction between this poem and this particular universal fate (the ever expanding universe).

Description of the music , and its material and intellectual relevance

“Deus M isereatur” ( “ May God have mercy”, in B minor) , as a “ r ock” piece employing

SATB choir, two electric guitars (lead and rhythm guitar s ), s ynthesizer/keyboards, bass guitar,

drums, and a baritone voice (u pon whose voice the melodic content of the song is based ) , has a

comparatively leisurely tempo. It is the second ‘through - composed’ movement within the whole wor k.

The text’s sacred - like nature led me to choose musical notation (with the aforesaid choir accompaniment), that expresses, in a proper mode, this concept as I perceive and wish it to be presented.

The two guitars , with which the intro opens, double a melodi c line which make s up the

thematic /motiv ic outline for this movement. This motif is for med in the manner of ‘call and

response’ in which one phrase responds to the previous one; with only one repetition (measures

1 - 4), and finally resolving within the last three bars (measures 5 - 7).

Since this piece was composed wi thin a range associated w ith my voice (baritone) , I decided to place this voice at the top of the score, followed with the back - up choir and the rest of the accompanying instruments.

The harmonic progression of this movement is based on the employment of these main chords: B mino r, A, F# minor, G, and D; with a movement from F# minor towards the tonic (such as in bar 7 and other cadentia l instances within the piece).

Some melodic lines (instrumental layers) are displace d, with regards to their vocal counterpart, in an eff ort to use the echo - like effect as a means to comple ment the main voice; 100

while philosophicall y it expresses an understanding of an ever present alternative side to almost

all (but the purest of) concepts/phenomena.

“Deus M isereatur” wa s composed in a manner to c omple ment and reflect the text (by

Shah H. Jou) musically. The ‘ through - composed ’ mannerism of the composition, and its dedication to enhance the text was in emulation of the Baroque period composers (a style of composition associated with Claudio Monteverdi , known as: ‘ stile moderno’ or ‘ seconda pra tica ’ ) . (Schulenberg 2008, 40, 44 - 45 ) The ecclesiastical nature of the pie ce reaches back to

The Middle Ages; although I have tried to modernize the instrumentation in th is movement in pursuit of a more progressive mode .

As mentioned above, in this composition the lyrics dictate t he compo sition, and the sacredness of the music is a reflection of a path to God and his mercy (both considered to be infinite; as is his vengeance) , do so concur with the idea of an infinite un iverse. (Clegg 2003, 46)

Ther e fore to achieve comprehension between the music and the particular fate which this movement strives to present (infinite expansion of the universe, known as the ‘Big Rip’), I h ave utilized the text (lyrics) as the driving force of this musical vehicle. (Hawking 1988, 44)

The top voice (baritone) is accompanied by two different voice groups during the composition. One more connection between the lyrics to this movement, and the infinity of the universe’s fate which it represents, can be shown through analyzing the choir’s ge nder grouping

(mentioned above) within the course of its performance. The male and female distinction is i n obvious reference to reproduction, and its inherent concept of continuity into an ongoing posthumous (therefore, eternal to one’s consciousness) cycle of re - creation.

101

VIII) Tonbak Section No. 3

Th is short percussive section (8 measures) uses the same rhythmic concepts as previously utilized within each Tonbak section. As mentioned before, the role of a percussive instrument is to represent the continuity of creation, by introduction of different rhythmic variables which

could be performed by the player, in an improvisa tory manner.

The utilization of different note groupings and accents aids in creat ing different rhythmic

patterns through the evolution of one format into the next . This is an indication to the ever -

changing behaviour of the cosmos, whether done by chance or by providence.

The example given can be enhanced and played for a longer period, if one wishes to do

so, but it should not be considered as a major section within the work and exaggerated; its role

only lies upon its imitation of a certain kind of per manence ‘ in variation ’ , within the universe.

102

IX) Fifth movement: “Future U n known”

(The Poem)

“ Future Unknown ” Poem: by Reza Modarresi and Shah H. Jou

Haunted by the memories of a life - time , destined to a future unknown, I listen to your heartbeats, to the rhythm, and tone; Haunted by the memories of a life - time, (Haunted by the nightmares in the night time), destined to a future so unknown, I listen to your heartbeats, hoping present would last, thou gh it’s bitter - sweet, at best; caught at the valley of this time wave, while my hopes, lay at the crest, the past, and future, they collide, with me caught, in between at rest.

103

“F uture Unknown ” By: M. Reza Modarresi, and Shah H. Jou Music by: M. Reza Modarresi

(Lyrics)

Chords: E minor (i) D min or Verse : Haunted by the memories of a life - time,

E m in D m in Destined to a future unknown,

E m in D min

Haunted by the memories of a life - time,

E min D min Destined to a future unknown,

A min

I listen to your heartbeats,

C (Major) E min (i) T o the rhythm, and tone;

E min D min Verse : Haunted by the memories of a life - time,

E min D min Destined to a future unknown, 104

E m in D min Haunted by the memories of a life - time,

E min D min Destined to a future so unknown,

A min I listen to your heartbeats,

D m in E m in Hoping present would last,

A min E min Though it’s bitter - sweet at best;

G (Maj ): arpeggiated (Bridge section)

G (Major) B (M aj)

Chorus : C aught at the valley of this time wave,

B (M aj ) A min B Maj W hile my hopes, lay at the crest,

105

C M aj A min T he past and future, they collide,

A min B Maj (V/Dominant Major chord)

W ith me caught, in between at rest;

E min D min Verse : Haunted by the memories of a life - time,

E min D min Destined to a future unknown,

E min D min Haunted by the memories of a life - time,

E min D min Destined to a future so unknown,

A min I listen to your heartbeats,

D min E min Hoping present would last,

A min E min Though it’s bitter - sweet at best;

106

G (Major) B (Maj)

Chorus : Caught at the valley of this time wave,

B (Maj) A min B Maj

While my hopes, lay at the crest,

C M aj A min The past and future, they collide,

A min B Maj (V/Dominant Major)

With me caught, in between at rest;

A min B Maj (V)

With me caught, in between at rest;

A min B Maj (V)

With me caught, in between at rest.

107

The following is the intellectual concepts upon which “ Future Unknown ” was based :

The lyrics to “Future Unknown” recount clearly identifiable parts of man kind ’s existence

that are shaped by natural forces. Once again we see that out of the fear and confusion caused by

the unknown is born organizational efforts; society unifying f or the sake of the security, gained

from the ‘feeling of community’, not to mention the increase in production and commerce that is

synonymous with and to a great extent one of the m ain forms of human interaction. (Aurelius

1964, 8)

So far as humankind is concerned, there are different kinds of memory. There are the

personal memories of individuals, the historical memories of a race, creed, or nation, and then an

evolutionary memory concerned with the universe at large. This of course is an embodiment of

the universal ide a of ‘macrocosm vs. microcosm’.

In strugg ling to understand the parts of creation, which have amazed and/or terrified

man kind , he has turned to forms of mysticism, from murderous cults to organized religion.

However, there have also been those proponents of reason, who have, through a logical ass essment of the facts, reached scien tifically approved conclusions.

Whatever ‘ the truth’ may be, it does not a ffect ‘the accepted truth’ of each person. It is

this perception of the facts, be it conscious or not, that drives our imagination, fancies, and

dreams (day dreams, dreams and nightmares).

Since what is known is supposed to be preferable to the un known (better the evil you

know than the one you don’t), the majority of people are seemingly happy to maintain the status -

quo. Of course t his means accepting the good parts as well as the bad, of the present ly accepted

system of beliefs. 108

As human beings we have to follow paths, which although open to choice, are shaped by phenomena such as social status, physical/intellectual/emotional characteristics, societal/ religious/racial taboos/prejudices/moral be liefs, and many other variants.

Having to contend with innumerable forces, many of which seem colossal, in comparison to man kind as an individual, it is not a wonder that human existence is ever likened to bein g afloat in a rowboat upon the waves of a stormy ocean. Thus hu man ity ever suffers through the miscomprehension of past lessons, which make facing an unpredictable future much more anxiety ridden and neces sarily more fraught with da nger than if lessons of the past were well learned.

The idea of eternal m otion (normalized, so far as mankind being accustomed to t he nature of the motion) of hi s enviro ns, which are so large as to be limitless and unchanging to our human sense s, for all intents and purposes is very similar to being motionless.

Regardless of the above, one can b e active within one’s community or fill a passiv e role; which is to stand still and watch life go by. On the other hand, one specie s as a whole can be a participating constituent of its natural surrounding; or it can just exploit i ts natural habitat ’s resources without considering the consequences of its action upon itself (personifi ed through future generations).

Having abandoned all but materialistic avenues of existence, and thus in favor of applying all his energies toward amassing material wealth, man kind has ever approached a state of stagnation; in so far as emotional interaction wit h his natural habitat is meant.

This ‘static n ature’ is the point of contact (attachment, interaction, etc.) between this particular movement and a static univ erse, frozen in time and space. (Hawking 1988, 44) 109

Description of the music, and its material and intellectual relevance

“Future Unknown” (in E minor), is a Progressive Rock song which was written to be sung by a baritone (as it is with the other three Rock songs). Musically it represents an A, bridge,

B, A’, B’ form (ABA’B’), which consists of a half - verse repeated througho ut the A section [ with a tonic of E ( minor) / i]; however, there are some slight variations.

Next, a short arpeggiated guitar bridge (in G major) is utilized to carry the harmonic structure (tonality) of the composition from E minor (i) in the first section to B major (V: which is the dominant major chord belonging to the key of E minor) , the major key in which B section is represented, with the melody having a tendency towards the Dominant major key (B major), with respect to its harmonic resolution. Thus t he verse (A section) is linked by this brief bridge, to the chorus section, through the utilizatio n of the abovementioned chords.

The bridge only occurs once through the composition. The single occurrence of the bridge section, along with repeated melodic content for consecutive stanzas, points to the

‘strophic’ form of this movement, unlike the two previous ‘through - composed ’ songs (“State of

Confusion ”, and “Deus misereatur”).

The har monic progressions in this song consist of the following simple chords: E minor

(i), D minor (vii), A minor (iv), B (V), C (VI), and G (III). The intentional use of simple chords reflect s the simplicit y that ever lies just beneath the grace with which creation achieves its ends.

The lyrics to this movement have been provided along with the chords mentioned above. This style of song - writing is popular within the modern song books, wh ere they do not neces sarily incl ude musical notation (a score). 110

To express the pessimistic mood of today’s world, with all its inherent suffering, in musical terms, I have chosen to use certain chords normally termed ‘joyous’ (i.e. B, C, or any major chord, erroneously consid ered ‘happy’ in general) , to produce a mournful and depressed effect. Here the confusion in man’s existence is pointed out by the opposition in the harmonic progression of the music, as opposed to the lyrical order, in terms of time. Thus, in the lyrics ( of the chorus) the order of the past, present and future are preserved, whilst musically the chord C accompanies the word “past”, and the chord A minor accompanies the word “Future”. It is obvious that the linguistic progression is the opposite of the musi cal direction. Thus, the idea of time, as perceived by man, based upon arbitrarily chosen concepts, of direction and measurement, are not necessarily parallel to that of an omnipotent intelligence’s comprehension.

A point of convergence existing between this movement and the specific fate (‘Big

Freeze’: destined to become static) that it represents, is the outro’s gradual ritardando/rallentando (the gradual decrease in tempo) accompanying the final phrase, “with me caught in between at rest” (sung three t imes), also pointing to the abovement ioned destiny for the universe. (Hawking 1988, 44)

A demo recording of this song (sung and performed by myself, and recorded by a friend at his home studio) , has been attached to this work as a means of representation regarding the performance and production of all th e rock compositions within this work .

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X) Tonbak S ection No. 4

For discussions regarding this particular Tonbak section, please re fer to the first Tonbak section

for details involving the music written for the instrument.

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XI) Sixth movement: “Destiny”

“Destiny ” Poem by: Reza Modarresi and Shah H. Jou

How can I know my destiny? How can I live the way you live? How can I do what you want me to do? How can I feel the way you feel?

Sitting in the corner looking for a change my restless heart’s beating so strange

Now I am all alone looking in the mirror and I see no one’s face N o one’s but my own

How can I spend another night with you? Oh no, I can’t get rid of pain It’s all so in vain.

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The following is the intellectual concepts upon which “Destiny” was based:

The lyrics to this movement once again reiterate the ever present confu sion and the suffering that man kind faces within his existence. Social life, calling upon us to be one of many, sounds like a call to uniformity, which is at odds with our drive towards ind ividuality; yet man kind has an integral characteristic, which necessitates him to seek and engage in social relationships of varying intimacies ; now I ask, should I be confused?

‘The confused’ lives the life of ‘the lost’; lonely and afraid, restless, ye t weary of change, and overwhelmed by all these opposing forces, how can one ever hope to maintain, not only his/her momentary composure, but an even keel throughout his/her life?

An honest reflection upon one’s personal experiences (actions, reactions, v ictories, losses, satisfactions, regrets, etc.) provides the only path to a sensible assessment of the self.

Knowing thyself is the only possible path to true salvation, in terms of freedom from imaginary b oundaries, and only through surpassing t hese restr ictions (inhibitions) we may be able to see our way clear of all the snags we create for ourselves.

Having said the preceding, man kind can yet not ever forget that his life is ever a part of much more complicated fabric; of which his life is only one thread. One note in a symphony.

The self searching of man, looking back, and going to the beginning, in an effort to see his/her path clea r to greater growth, provides the common denominator, necessary for true representation of the particular universal fate which this movement embodies . Regarding cosmic creation , this could be viewed as the universe g oing back into a ‘singularity’. (Clegg 2 003, 229)

114

Description of the music, and its material and intellectual relevance

The sixth movement “Destiny” (in E minor), is a thr ough - composed Rock composition

(with the exception of the outro section, which is a variation of the first), which is represented as having the form ABCA’ [first verse, first chorus, second chorus, and finally the second verse] .

The A’ or the outro, utilizes different lyrics and harmonic structure than the A section, but it still

mimics the A section’s personality and shape with regards to the vocal melody sung by the baritone. T hough, one may refer to it as a new section ( D ) , its briefness does n o t make it a good candidate to be considered a new section on its own. Thus , what we have here is really a thematic variatio n of the A section , which is unique in itself regarding its h armonic structure; and yet it employs a rhythmic structure similar to the A section.

As mentioned above, t his piece is composed for a male voice (baritone) , accompanied by e lectric guitar, pian o, and synthesizer. Howeve r a bass guitar and drums can always be added ; the reason for such instrumental consideration is to provide the performance director a choice, that although may not be necessary, could provide a certain amount of freedom and varie ty to the performance. When the piano as a more versatile instrument (having melodic, harmonic and rhythmic qualities), could repl ace the bass guitar and drums.

“Destiny” is the last movement within this work which employs lyrics . The tonal centre revolves around the key of E minor, while like the previous movement “Future Unknown”, the song resolves in its dominant major key (B major: V).

Part of an earlier theme (from “Cosmic Rays” movement: bar 19 - 21) reappears again as a short bridge section, wh ich also contains some new thematic material (measure 15 - 18) in its structure (beginning at bar 15 th and continuing till measure 21 st ). The presentation of an earlier 115

theme , combined with newly constructed material, is done in a manner that reflects the pa rticular

fate in which our known universe return s to a singularity ( “ big Crunch ” ) again , thus becoming very dense and small. 10 (Hawkin g 1988, 44)

------

10 “Some cosmological theories put forward an end of the universe in a Big Crunch, an inverse of the Big Bang where all matter is brought together and annihilated, a point at which it is possible that time might end, just as it might have begun with the Big Bang. ” (Clegg 2003, 229)

116

XII) Tonbak Section No. 5

For discussions regarding this particular Tonbak section, please ref er to the first Tonbak section for details involving the music written for the instrument.

117

XIII) “Microwaves”

Description of the music, and its material and intellectual relevance

There are various reasons for my choi ce of the title “Microwaves” for the final

movement. The first of these is the fact that the reverbera tions of the Big Bang explosion remain

to this day and are currently detectable as “ microwave background radiation ” . (Hawking 1988,

41 - 42, 48, 108, 140, 1 85)

My reasoning continued with the conside ration of ‘entropy’ (the thermo dynamical law of ever - increasing disorder), which directed me to choosing the key of Eb ( Eb, “Mic r owaves” section : measures 36 - 85/end), and in the beginning part of “ Microwaves’ Prelude ” in Bb : measures 1 - 35 ) , in composing this movement. (Halliday and Resnick 1970 , 409, 414 )

There may be some contention with the above said line of reasoning, since Eb is histor ically employed to signify ‘victory’ 11 , which in the case of creation would be the victory of

order over chaos .

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11 For example Beethoven’s Piano Concerto No. 5, Op. 73 ( Emperor Concerto ) , and the well - known Eroica Symphony (Symphony No. 3, known as the “Heroic Symphony”) have all been written in the key of Eb which represents music associated with terms such as “heroism” and

“victory”. (Burkholder et al. 2010, 584, 579) 118

However this is the very r eason, for this particular choice; for although order is pointed at, there is no denying ‘entropy’ as an always present phenomenon within the universe. Even in the most ordered of systems the degradation is ever present. No matter how perfect a given machine performs (even if we disregard the weathering process: rusting) as soon as we begin to utilize the machine, the components begin to deteriorate. Thus entropy is the final victor.

(Hawking 1988, 102)

The final movement “Microwaves” begins in Bb, progresses to Eb, and ends in Cm: the relative minor key of Eb . The piece is written for el ectric guitar and the orchestra, and could be perceived as a complete composition on its own. It embodies thematic characters from previous movements w ithin the work . These reoccurrences consist of the introductory them e from the first movement “And T hen There Was Light”, and the theme from “Cosmic Rays” . The composition, however d oes add to the preexisting motiv ic materials by the introduction of new thematic formation within its beginning section (Microwaves’ “P relude ” ); and in the closing section

(“Microwaves”) , within which “Microwaves” theme is introduced, by the electric guitar.

The reoccurrence of earlier themes (mentioned above), married to t he newly introduced melodic and harmonic contents, aim to represent the possi bility of the universal rebirth and the likelihood of the utilization of similar processes. Specially, since o ur universe’s present construct can be used as a clue to the propensi ty of the universe to act in a similar fashion, throughout its cycles of birth and death. This relates only to the one theoretical fate of the universe, in which the universe does repeat the cycle (or as previously mentioned, some variation of its mode of pro gression through time and space), which is itself a new and varied form of the ‘Big Crunch’ theory (‘Big Bounce’ theory). (Kragh 1999, 348) 119

Thus, this final movement aims to show our acknowledgement of the fact that whatever the end may or may not be, in human terms it will appear as an infinite cycle o r some variation of this cycle. (Clegg 2003, 229)

There may be many instances in t his work where examples are seen of connections between the lyrical, musical, philosophical, and astronomical ingredien ts of the final concoction that this work has developed into. However, I have seen it as unnecessary to point out concepts and other common repetitions as often as they appear. This may also explain the brevity of the conceptual analysis sections as the wo rk nears its conclusion.

120

Conclusion

To conclu de, this composition as a whole , aims to represent one’s perception of the

reality of existence (so far as creation of the universe is concerned) through a musical and lyrical

medium. As previously pointed out, the as trophysical phenomena discussed are based on

theoretical views held by the majority of the scientific society.

This work has been affected to a great extent by scientific and philosophical readings on

my part. Therefore, the composition coincides with, and was written to logically and musically

satisfy , the said theoretical views.

The concepts employed within the work are the most fundamental, so far as the scientific

theory of creation is concerned. T hese are exemplified by: ‘singularity’, ‘variety’,

‘duality / dichotomy ’ , ‘expansion’, ‘entropy’ (the universal rule of increase in disorder with

respect to time). H owever, there are many other possible interpretations that can be readily

deduced. These dedu ctions can be as varied as particular comprehensive sensibilities.

Much of the content in this creation is a reflection of my personal life experiences,

including my education, both academic and social. Therefore, my approach cannot be directly

referenced, but supported by both scholarly and non - scholarly writings, as cited within the

bibliography.

One of the main issues I had to deal with, in composing a work such as “And Then There

Was Light” (while also considering the use of text), w as the immensity of the subject and thus the difficulty in achieving cohesion in the represent ation of the many integral elements, which needed to be included in the work. Therefore, I approached the work, from both points of view, 121

as in imagining the whole (macrocosm), as well as considering the minor constituents

(microcosm), to achieve a comprehensive representation of the subject matter.

122

Bibliography

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Bach, Johann Sebastian, and Hans - Joachim Schulze. "Jesu, Meine Freude" Motette Für Fünfstimmigen Gemischten Chor BWV 227 . Breitkopf 7227 ed. WIESBADEN . LEIPZIG . PARIS: Breitkopf & Härtel. 1 - 14.

Baumann, Hopkins, Nolletti, and Soluri. WHAT'S OUT THERE: Images from Here to the Edge of the Universe. London: Duncan Baird Publishers, 2005.

Benacchio, L. The Great Atlas of the Universe. Newton Abbot: David and Charles, 2007.

Burkholder, J. Peter, Dona ld Jay Grout, and Claude V. Palisca. A History of Western Music . Eighth ed. W. W. Norton, 2010.

Clegg, Brian. A BRIEF HISTORY OF INFINITY: The Quest to Think the Unthinkable . First ed. Constable & Robinson, 2003.

Cox, Christoph, and Daniel Warner. Audio culture: readings in modern music . New York: Continuum, 2004.

Forsyth, Cecil. Orchestration . 1982. Reprint, New York: Dover Publications, 1982.

Halliday, David, and Robert Resnick . Fundamentals of Physics . 2nd ed. John Wiley & Sons, 1970.

Hawking, S. W.. A brief history of time: from the big bang to black holes . Toronto: Bantam Books, 1988.

Kennedy, Michael, and Joyce Kennedy. OXFORD CONCISE DICTIONARY OF MUSIC . Fifth ed. London: Oxford University Press, 2007.

Kragh, Helge. Cosmology and Controversy: The Historical Development of Two Theories of the Universe . Second ed. NJ, USA: Princeton University Press, 1999.

Lessing, Gotthold Ephraim . Laocoon: An Essay on the Limits of Painting and Poetry (Johns Hopkins Paperbacks) . Baltimore, Maryland: Johns Hopk ins University Press, 1984.

Malin, David. Heaven & Earth: Unseen by the Naked Eye. London : Phaidon, 2004.

McEVOY, J. P. A BRIEF HISTORY OF THE UNIVERSE: FROM ANCIENT BABYLON TO THE BIG BANG. Philadelphia: Running Press Book Publishers, 2010.

Nietzsche, F riedrich Wilhelm, and R. J. Hollingdale. Thus spoke Zarathustra: a book for everyone and no one . Harmondsworth, England: Penguin Books, 1961. 123

Nietzsche, Friedrich Wilhelm. The birth of tragedy, and the case of Wagner. . [1st Vintage ed. New York: Vintage B ooks, 1967.

Penrose, Roger. The road to reality: a complete guide to the laws of the universe . New York: A.A. Knopf, 2005.

Robinson, Ray, and Allen Winold. The Choral Experience: Literature, Materials, and Methods. Prospect Heights, Ill.: Waveland Press, 1992 .

Ross, Alex. The Rest Is Noise: Listening to the Twentieth Century. New York: Picador, 2008.

Schulenberg, David. MUSIC OF THE BAROQUE. Second ed. Oxford University Press, 2008.

Smith, Marcia S. Life beyond Earth. Toronto: COLES PUBLISHING COMPANY LIMITED, 1978.

Temperley, Nicholas. Haydn: The Creation. Cambridge [etc.: Cambridge University Press, 1991.

124

Discography

The Alan Parsons Project. The Collection . SONY MUSIC, CD. 88697808482.

Ars Nova. Lassus: Lagrime Di San Pietro (Spiritual Madrigals) . Conducted by Bo Holten. Naxos, 1995, CD. 8.553311.

Camel. Breathless . Decca Record Company Limited, CD. 820 726 - 2.

Camel. I Can See Your House From Here . Decca Record Company Ltd., 1979, CD. ECLEC 2158.

Camel. NUDE . Decca Record Company Limited, CD. 810 880 - 2.

Camel. RAIN DANCES . Decca Record Company Limited, CD. 820 725 - 2.

Camel. The Single Factor . Decca Record Company Ltd., CD. ECLEC 2156.

Camel. The Snow Goose . Universal Music, CD. 8829302.

Camel. Stationary Traveller . Decca Record Company Limited, CD. 820 020 - 2.

Deep Purple. Rapture of the Deep . Eagle Records, 2005, CD. ER 20083 - 2.

Genesis. Selling England by the Pound . Atlantic, CD. CD 82675.

Hayward, Justin. In Search of the Lost Chord . The Moody Blues. Decca Music Group Ltd., CD. B0011211 - 02.

Jimi Hendrix. The Ultimate Experience . MCA Records, Inc., CD. MCAD - 10829.

Latimer, Andrew, and Colin Bass. Harbour of Tears . Camel. Camel Productions, 1996, CD. Cp - 006cQ.

Latimer, Andrew, Peter Bardens, Andy Ward, and Doug Ferguson. Mirage . Camel. Universal Music, CD. 8829292. 125

Latimer, Andrew, Peter Bardens, Doug Ferguson, and Andy Ward. CAMEL . Camel. MCA Records, 1973, CD. 8829252.

Latimer, Andrew, Peter Bardens, Doug Ferguson, and Andy Ward. Moonmadness . Ca mel. Decca Record Company Ltd., CD. 8829312.

Ottawa Bach Choir. Jesu, Meine Freude . Conducted by Lisette Canton. 2008, CD. OBC2008CD.

Oxford Camerata. Giovanni Pierluigi Da Palestrina: Missa Papae Marcelli . Conducted by Jeremy Summerly. Naxos, 1992, CD. 8. 550573.

Oxford Camerata. Josquin: Missa L'homme Armé . Conducted by Jeremy Summerly. Naxos, 1998, CD. 8.553428.

Robin Trower. Bridge of Sighs . Chrysalis/Capitol, 1999, CD. 7243 5 20811 2 7.

Waters, Roger, and Rick Wright, writers. A Saucerful of Secrets . Pi nk Floyd. EMI, 1994, CD. E2 7243 8 29751 2 0.

Waters, Roger, David Gilmour, Nick Mason, and Richard Wright. Meddle . Pink Floyd. EMI, CD. E27243 8 29749 2 5.

Waters, Roger, David Gilmour, Nick Mason, and Richard Wright. Dark Side of the Moon . Pink Floyd. Capitol, 1994, CD.

Waters, Roger, David Gilmour, Richard Wright, and Nick Mason. ATOM HEART MOTHER . Orchestrated by Ron Geesin. Pink Floyd. EMI, CD. 7243 8 31246 2 6.

Waters, Roger, David Gilmour, Richard Wright, and Nick Mason. THE WALL . Orchestrated by M ichael Kamen. Pink Floyd. EMI, CD. 7243 8 31243 2 9.

Waters, Roger, Richard Wright, David Gilmour, and Nick Mason. ANIMALS . Pink Floyd. EMI, CD. 7243 8 29748 2 6.

Waters, Roger, Syd Barrett, Richard Wright, and Nick Mason. Relics . Pink Floyd. EMI, CD. 7243 8 35603 2 5. 126

A ppendices

Appendix I:

Section I: “Before”

Appendix II:

Section II: “And Then There Was Light”

Appendix III:

Section III: “Cosmic Rays”

Appendix IV:

Section IV: Tonbak Section No. 1

Appendix V:

Section V: “State Of Confusion”:

a) “State Of Confusion Prelude”

b)“State Of Confusion”

Appendix VI:

Section VI: Tonbak Section No. 2

Appendix VII:

Section VII: “Deus Misereatur”

Appendix VIII:

Section VIII: Tonbak Section No. 3

Appendix IX:

Section IX: “Future Unknown” 127

Appendix X:

Section X: Tonbak Section No. 4

Appendix XI:

Section XI: “Destiny”

Appendix XII:

Section XII: Tonbak Section No. 5

Appendix XIII

Section XIII: “Microwaves ’ Prelude” & “Microwaves”