LEVEL INFLATION
A COMPOSITION FOR CHAMBER ORCHESTRA
______
A University Thesis Presented to the Faculty
of
California State University, East Bay
______
In Partial Fulfillment
of the Requirements for the Degree
Master of Arts in Music Composition
______
By
Ryan Rey
March 2015
Copyright © 2015 by Ryan Rey
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Table of Contents List%of%Figures%...... %vi!
Preface.%...... %ix!
Chapter%One.%Introduction.%...... %1!
Chapter%Two.%Compositional%Techniques%...... %4!
Pitch%...... %4!
Hexachord!...... !4!
Tonality!...... !5!
Melodic!Motives!...... !7!
Intervallic!Development!of!Melodic!Motive!...... !8!
Rhythm%...... %9!
Rhythmic!Motive!...... !9!
Augmentation!...... !10!
ShortFLong!Relationships!...... !10!
StrongFWeak!Relationships!...... !11!
Phase!...... !12!
ChasingFPhase!...... !13!
Additive!and!Subtractive!Rhythm!...... !13!
Composite!Rhythm!...... !14!
Free!Transformation!...... !15!
Meter!and!Tempo!...... !16!
Structure%and%Form%...... %17!
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Part!Form!...... !17!
Proportions!...... !18!
Orchestration,%Texture,%and%Timbre%...... %19!
Instrumentation!...... !19!
Sound!Spectrum!...... !20!
Density!...... !21!
Rhythmic!Texture!...... !22!
Chapter%Three.%Section%One:%Rusty&hinges.%...... %23!
Chapter%Four.%Section%Two:%Focused,&drifting.%...... %26!
Chapter%Five.%Section%Three:%Fluid,&dark.%...... %28!
Chapter%Six.%Section%Four:%Focused,&floating;&Murky;&Converging.%...... %31!
Chapter%Seven.%Section%Five:%Epic!;%Calming,&echoed;%Shifting.%...... %36!
Chapter%Eight.%Section%Six:%Bursting.%...... %40!
Appendix%1:%Metrical%Analysis%of%Pitches%...... %43!
Appendix%2:%Full%Score%of%Level&Inflation%...... %49!
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List of Figures
Figure 1: Hexachord...... 4!
Figure 2: Intervallic formation of hexachord...... 5!
Figure 3: Chart of tonal centers for Level Inflation...... 6!
Figure 4: Tonal centers for Level Inflation...... 6!
Figure 5: Melodic motive in primary form...... 7!
Figure 6: Harmonic motive resulting from combined C and D-flat motives...... 8!
Figure 7: Short-long-short (SLS) motive fragment from
Rusty hinges, mm. 11...... 9!
Figure 8: Composite brass texture resulting in strong-weak-weak-weak-
strong-strong-strong from Focused, floating, mm. 103...... 10!
Figure 9: Augented rhythmic motive from Epic!, mm.175...... 10!
Figure 10: Long-long-short-short rhythmic motive from
Fluid, dark, mm. 73...... 11!
Figure 11: Rhythmic motive in bass line of Converging, mm. 168...... 11!
Figure 12: Strong-weak-weak-weak motive from
Focused, drifting, mm. 31...... 12!
Figure 13: Phasing rhythms from Rusty hinges, mm. 21...... 12!
Figure 14: Chasing rhythm from Fluid, dark, mm. 84...... 13!
Figure 15: Subtractive, altered, and phasing rhythms from
Converging, mm. 155...... 14!
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Figure 16: Individual lines that form the composite rhythm in
Focused, floating, mm. 102...... 15!
Figure 17: Composite rhythm from Focused, floating, mm. 108...... 15!
Figure 18: Portion of melodic line from Focused, floating, mm. 124...... 16!
Figure 19: Outline of sections and form ...... 18!
Figure 20: Instrumentation throughout piece ...... 19!
Figure 21: Chart showing number of instruments present
throughout the piece...... 21!
Figure 22: Tonal outline for Rusty, hinges...... 23!
Figure 23: Chart showing out-of-phase asymmetrical phrases from
opening of Rusty hinges...... 24!
Figure 24: Tonal outline for Focused, drifting...... 26!
Figure 25: Tonal outline for Fluid, dark...... 28!
Figure 26: Entrances following melodic motive in Fluid, dark, mm. 62...... 29!
Figure 27: Melodic motive played by strings in Fluid, dark, mm. 81...... 29!
Figure 28: Chasing-phasing oboes from Fluid, dark, mm. 67...... 30!
Figure 29: Tonal outline for Focused, floating...... 31!
Figure 30: Tonal outline for Murky...... 33!
Figure 31: Tonal outline for Converging...... 34!
Figure 32: Continuous E's and cut-time groove in
Convergence, mm. 168...... 35!
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Figure 33: Tonal outline for Epic! ...... 36!
Figure 34: Augmented chasing phrase from oboes in Epic!, mm. 187...... 37!
Figure 35: Tonal outline for Calming, echoed and Shifting...... 38!
Figure 36: Brass section out of phase in Shifting, mm. 206...... 38!
Figure 37: Tonal outline for Bursting...... 40!
Figure 38: Sixteenth-note line from strings in Bursting, mm. 228...... 41!
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Preface.
This piece almost didn’t exist. The roots of this piece go as far back as the fall of 2010. It was the second year of my graduate studies at California State
University, East Bay under the tutelage of Dr. Rafael Hernandez. I initially brought ideas to my private lesson as a proposal for the Orchestre dB New Music
Ensemble. At the time, the ensemble provided an outlet for composition students to workshop their works in progress; as a guitarist in the group, I played on numerous of my classmates’ pieces.
After initial support from Dr. Hernandez, I developed the piece for a few weeks, but eventually discarded the drafts. It wasn’t until I attended the 2011
CSU Summer Arts Festival in Fresno, California the following summer that I finally revisited those ideas. At the festival, I adapted the music for string quartet, since the Alexander String Quartet was doing readings as part of their residency.1 Again, I abandoned the piece as the Fall 2011 quarter approached.
1 The adaptation was actually read by students attending the festival. The Alexander String Quartet read a different excerpt during a separate reading, which allocated just five minutes of workshop time.
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In the Winter 2012 quarter, the CSUEB Music Department arranged a residency with REDSHIFT Ensemble. I took my initial musical ideas, reworked them for the ensemble, and submitted them for the open reading sessions during their residency; Fuschian Haze (2012) was the result of this workshop. The piece was selected and performed at the Glenn Glasow Memorial Concert in the May
2012. While this process occurred, I was also working on another piece meant to be the focus of my thesis. However, due to shifts in focus to work on Fuschian
Haze and massive edits required for the thesis piece, I never completed more than 50% of a first draft.
When the spring quarter came around, certain circumstances required me to switch private instruction from Dr. Hernandez to Dr. Nick Vasallo.2 Since I would be working with a new instructor, I decided to discard what I had worked on and begin a new piece. In the first weeks of study with Dr. Vasallo, I composed a number of piano etudes utilizing various twentieth century techniques, including: pitch-class sets, serial processes, neotonality, polytonality, pandiatonicism, polymeter, added values, and isorhythm. I also examined and studied some of the music of György Ligeti. It was from these exercises that the
2 Nick and I met during undergraduate study at CSUEB. We also played in an extreme metal band together called Antagony.
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resulting piece of music emerged. While these new techniques and ideas began influencing my writing, I also drew inspiration from previous pieces I worked on, especially Fuschian Haze.
By the fall of 2012, I had completed all my coursework for my degree. All that was left was to compose my piece and complete my thesis. Knowing I did not need to be on campus any longer, I was inspired to move away to San
Francisco and begin pursuing a career in music. In the back of my mind, I also knew I would need to finish the thesis eventually. The first few months were consumed with job searching, city exploring, networking, and procrastination. The latter was the most crippling on thesis progress.
Months went by. I composed a variety of pieces, received a handful of commissions, and acquired a music teacher position. A whole year had gone by and I finally got back to composing the piece. I worked with Dr. Vasallo again in the spring, and the piece came together rather quickly compared to my previous attempts. I was 95% done when I took yet another break from working on the thesis. This time it wasn’t due to procrastination, but writer’s block.
This block lasted through the summer of 2013 until I received a few more commissions. Each piece had a short deadline attached, and even though I felt I couldn’t produce much work, I agreed to do them. This forced me back into composing. My hope was that it would push me out of my writer’s block, which it
xi
did. I was able to complete the commissions and boost my overall level of creativity and productivity.
This switch in productivity was just in time, since the deadline to complete my thesis was creeping up in a matter of months. I was able to get focused and complete the thesis.
xii 1
Chapter One. Introduction.
Level Inflation is a 10-minute-long single movement chamber orchestra piece. Instrumentation is for a standard size chamber orchestra consisting of 2 flutes, 2 oboes, 2 B-flat clarinets, 2 bassoons, 2 horns in F, 2 C Trumpets, 2 trombones, 1 tuba, 1 percussionist, 6 first violins, 6 second violins, 5 violas, 4 cellos, and 3 double basses (2.2.2.2, 2.2.2.1, perc., 6.6.5.4.3). It was written during the winter and spring of 2013, and part of winter 2014. The piece is inspired by the idea of expansion and retraction. A variety of twentieth century compositional techniques in the western classical tradition are utilized throughout the piece, prominently including: phasing rhythms; rhythmic augmentation and diminution; and additive and subtractive rhythms.
Expansion and retraction influences the development of this piece. These two complimentary effects of ebb and flow occur throughout nature. Cacti, succulents, and other plants expand to retain water, and retract as they dehydrate. Various creatures contract when cold and spread out when overheated. Expansive mathematical fractals can be reduced and identified as a small repeating pattern. This concept of expansion and retraction is compelling because it is exhibited throughout nature.
These two ideas became the primary inspiration during the development of this piece. The sonic language is created through methods of expanding and
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retracting intervals to create a pitch collection. This method is used to create a palindrome, which also exhibits expanding and retracting behavior. Rhythmic augmentation and diminution affect perception of tempo and time. Additive and subtractive rhythmic devices similar to methods used by György Ligeti are also
used to produce shifting effects.3 Expansion and retraction are also exhibited
throughout the orchestration and form of the piece. The instrumentation spreads
out to all the instruments and thins out to one and two players. Section durations gradually lengthen and then shorten to the end.
The title, Level Inflation, also suggests an importance of expansion and retraction. Inflation is a term used to describe a process of getting larger and symbolizes the presence of the contrasting idea. The word level is a palindrome, which hints at the use of palindromes within the piece. The meaning of the words is more important than the full title. Putting emphasis on either of the words can imply other meanings; however, the individual words are the meaningful elements.
This analysis will examine the aspects of expansion and retraction as prominent features of the composition. Figures and examples from this piece will be provided to help illustrate points. The following chapter will describe the
3 These techniques can be seen in Ligeti’s Continuum (1968) for harpsichord.
3
melodic, rhythmic, and technical elements used throughout the piece followed by the analyses of each section.
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Chapter Two. Compositional Techniques
This chapter looks at the how the pitch material, rhythm, form, and
instrumentation is developed using the concept of expansion and contraction.
Through these examples, it becomes clear how they reinforce the analysis that follows.
Pitch
Hexachord
An intervallic relationship is important in the identity and development of the pitch material. The primary scale of the piece stems from this 6-note pitch collection (C, D-flat, E-flat, E, F, A-flat shown in fig. 1).
Figure 1: Hexachord.
bœ & œ bœ bœ nœ œ This scale was originally formed from an exercise meant to help generate
pitch material for a piano etude. The process was to begin from a starting pitch, b œ choose an interval, and move up or down to establishb theœ next note of the & œ œ bœ œ bœ collection, and so on. The formation of pitches is symmetrical, or palindromic.
Starting from C, the intervals are: perfect forth, major third, minor third, major third&, and perfect fifth (perfect forth). The! semitone relationship is: 5, 4, 3, 4, 7 (5). The result is a 6-note hexachord (see fig. 2).
5 & bœ œ bœ bœ nœ œ Figure 2: Intervallic formation of hexachord.
b œ bœ & œ œ bœ œ bœ This process also reflects the expansion and retraction theme of the piece;
the perfect forth interval contracts to a minor third, and then expands back to a p&erfect fourth. !
Tonality
Since the pitch material is derived through modern techniques, it becomes
necessary to analyze the tonality through different methods. Rather than identify triadic or tertian harmonic relationships, it becomes more apt to consider the language as neotonal. Music theorist Stefan Kostka explains neotonality as,
“music that is tonal but in which the tonal center is established through nontraditional means.”4 This approach becomes effective when examining and
describing the piece.
Although triadic and tertian relationships are not prominent in this piece, a
tonal center is asserted through other techniques and devices. Reiteration of melodic fragments and ostinato figures are used most frequently throughout the
4 Kostka, Stefan M. Materials and Techniques of Twentieth-century Music. Englewood Cliffs, N.J.: Prentice Hall, 1990. 109.
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piece. Pedal points, accents, and register are also used to establish tonality, although, not as often. Additive and subtractive processes also highlight tonal
centers by accenting important pitches and revealing other important notes of the
collection through the process. A metrical calculation of pitch throughout the piece helps reveal established or implied tonal centers (see fig. 3 and fig. 4). A
full chart of pitches showing the metric calculation of each measure can be found
in Appendix 1.
Figure 3: Chart of tonal centers for Level Inflation.
Section Name Measures Tonal Centers Metrical Frequency 1 Rusty hinges 1-30 A , D♭, E♭ 19% 2 Focused, drifting 31-61 D♭ 26% 3 Fluid, dark 62-94 D♭ 20% 4 Focused, floating 95-129 D♭, E♭ 19% Murky 130-149 E♭ 18% Converging 150-174 E 22% 5 Epic! 175-191 E♭ 20% Calming, echoed 192-205 A♭, E♭ 22% Shifting 206-225 C, E♭ 31% 6 Bursting 226-260 E 26%
Figure 4: Tonal centers for Level Inflation.
b bœœ bœ bœ bbœœ bœ nœ bœ bœ bœ nœ & b œ b œ
The sensation of a tonal center becomes apparent through the mentioned
techniques. The frequency of the techniques and devices also solidifies the
neotonal and pandiatonic nature of the piece. The result is a pitch language that
is unique and identifiable to the piece as a whole.
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Melodic Motives
From the hexachord, a melodic motive is formed and is used throughout the entirety6 of the piece almost completely unaltered. The prevalence of this & 4 œ bœ motive strengthensœ the boverallœ continuitybœ of then œpiece. From its first note, it leaps a minor third, followed by a minor second. It then reverses back to its original starting pitch resulting in a palindromic melody (see fig. 5). Theb œmelody spans an & bœ 43 intervalœ of a majorœ third. Theb presenceœ ofœ both intervals of a thirdbœ not only highlights the original relationship to the hexachord, but also continues the theme of expansion and retraction. Notes (C, E-flat,b E,œ nEœ-flat) create thebœ 4n-noteœ œ melodic 3 bœ bœ œ bœ bœ œ bœ 4 motive& 4. œ bœ bœ nœ œ œ 4 Figure 5: Melodic motive in primary form.
4 ˙ b˙ w ˙ nœ bœ w & 4
This motive is featured throughout the piece in various instruments and registers. Rhythmic permutations are also in effect and are examined in parts of the& other chapters. ! The use of this motive reinforces the establishment of a tonal center.
Fragments of the motive are repeated (reiteration). The motive also repeats in sections as an ostinato. It is also used as a pedal point to help establish a tonal center, especially towards the end of the piece. 6 & 4 œ bœ œ bœ bœ nœ 8
Intervallic Development of Melodic Motive b œ 3 & œ bœ 4 œThe (C, E-flat, E) motivebœ stays in thisœ formation for a majoritybœ of its treatment, however, there are some developments. The same intervallic relationship occurs naturally within the hexachordbœbœ nœ exactly twobœ times:bœ nœ theœ main & 43 bœ bœ œ bœ œ 4 motive (C,œ Eb-flatœ b, œE)n asœ wellœ as (Dœ-flat, E, F). There is also a retrograde version of (C, D-flat, obs.,E). The tpts., m &inor vlas. second becomes more prominent when examining the 175 two parallel motives. This relationship is explored through harmonization at its 4 ˙ b˙ w ˙ nœ bœ w com&plimentary4 interval of the major seventh (see fig. 6). bwbsns., tbns., tba., vcs.,w & dbs. w bw Figure 6: Harmonic motive resulting from combined C and D-flat motives.
œ bœ ˙ nœ bœ ˙ ! &b˙ œ œ ˙ b˙ This harmonic pairing first emerges in an altered form. The (D-flat, E, F)
motive harmonizes with (C, E-flat, E) out-of-phase. In general, the phasing effect reduces& the impact of the intervallic harmony.! It seemingly appears to be just a transposition of the initial motive. The harmony is accentuated during the climax
section.
While this ubiquitous motive seems to be lacking in melodic development,
its rhythmic permutations and treatment as texture within instrumentation help
establish its importance within the piece. Most statements of the motive are
buried within the overall texture throughout the piece. When the motive finally
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occurs as a dominant figure at the climax of the piece, its importance and impact
is unveiled.
Rhythm
Rhythmic Motive
The initial development of rhythm for this piece stemmed from the pitch
material. The palindromic process of developing the hexachord was the influence
for the rhythmic motive: sixteenth-note, eighth-note, sixteenth-note (see fig. 7).
The short-long-short (SLS) relationship is a palindrome. This motive also
represents the primary thematic element of expansion and contraction. The first
sixteenth note expands to an eighth-note, and then contracts back to the
sixteenth-note.
Figure 7: Short-long-short (SLS) motive fragment from Rusty hinges, mm. 11.
11 tbns. . œ. ˘œ ? 4 œœ œ œ Œ Ó ! ! f This rhythmic motive is developed into a longer rhythmic phrase. Instead of? elaborating the short!-long relationship, focus is put on the! strong-weak portions of the beat. Palindromic treatment is applied to produce: strong-weak-
weak-weak-strong accents. For aesthetic balance and composional preference, ? ! ! ! !
? !
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the phrase is elongated and results in: strong-weak-weak-weak-strong-strong-
strong accents (see fig. 8).
Figure 8: Composite brass texture resulting in strong-weak-weak-weak-strong- strong-strong from Focused, floating, mm. 103.
103 tpt. 1 hrns. 4 j Œ & 4 Œ . œ bœ œ œ œ tpt.b 2 w nœ #˙ Ó Œ. J 6 Augmentation bœ & 4 œ bœ bœ nœ œ & Another representation! of the expansion and contraction! theme can be seen in the augmentation of rhythmic proportions. The developed motive is b œ expanded by doubling its rhythmic value (sixteenthb becomesœ eighth, eighth 3 & œ œ bœ œ bœ 4 becomes& quarter,! etc.). This can! also be seen in Figure! 8. These augmentations! also give rise to other rhythmic fragments. By extracting a portion of the œ expanded3 rhythm, a new motivebœ isb establishedœ œ bœbœ (seenœ fig.bœ 9)œ. bœbœ nœ 4 & 4 œ bœ bœ nœ œ œ 4 Figure 9: Augented rhythmic motive from! Epic!, mm.175. & obs., tpts., & vlas. 175 b˙ w ˙ nœ bœ & 4 ˙ w bwbsns., tbns., tba., vcs.,w & dbs. w bw
Short-Long Relationships
The brhythmicœ ˙ motive shownnœ in Figurebœ 9 is the primary rhythmic treatment & œ œ ˙ ˙ ! of theb ˙main melodicœ motive discussed in the Pitchb˙ section of this chapter (see fig.
& !
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9). Augmentation gave rise to this rhythm; however, development of the motive focuses around the short-long relationship. The resulting relationship is: long-
long-short-short (LLSS) or long-long-short-long (LLSL). The final note length can 103 tpt. 1 hrns. vary because the initial three articulations establish a perceivable rhythmic 4 Œ j Œ motive& 4 (see fig. 10). bœ œ œ. b w nœ Ó œ Œ. œ tpt. 2 #˙ Figure 10: Long-long-short-short rhythmicJ motive from Fluid, dark, mm. 73.
10373 vln. 2 solo tpt. 1 hrns. pont. 4 Œ j Œ œ #˙ bœ œœ œ.œ #œœ b w #˙nœ. vla.Ó solo# ˙ œ Œ. œ œ tpt. 2 # ˙. #˙ # œ cantabile œ J 73 p vln. 2 solo pont. Development of this rhythm is explored through various alterations of 4 ! rhythmic& 4 proportion#˙ and length throughoutœ the pieceœ (see fig. 11). #œvla. solo# ˙ œ œ # œ ##˙˙. Figure #11œ: Rhythmiccantabile motive in bassœ line of Converging, mm. 168. 168 ptbns., tba., vcs., & dbs. ?& 4 ! ! 4 b˙ œ œ j . bheavy˙ œ bœ œ f Strong-Weak Relationships ? ! & The strong-weak development shown! in Figure 8 is elaborated further in
another example. The strong-weak-weak-weak (SWWW) segment is expanded
and developed through added extensions of articulation. The resulting rhythmic
figure? becomes a prominent ostinato in the! A sections (see fig. 12). 103 tpt. 1 hrns. 4 j Œ & 4 Œ . œ bœ œ œ œ tpt.b 2 w nœ #˙ Ó Œ. J 73 vln. 2 solo pont. 4 & 4 #˙ œ œ #œvla. solo# ˙ œ œ # œ ##˙˙. # œ cantabile œ 168 ptbns., tba., vcs., & dbs. ? 4 4 b˙ œ œ j . bheavy˙ œ bœ œ f
12 ? 4 4 4 ! ! & 4 Figure 12: Strong-weak-weak-weak motive from Focused, drifting, mm. 31. vln. 1 31 spiccato 103 tpt. 1 hrns. & 4 Ó ‰ ‰ Œ ‰ ‰ Œ 4 Œ bœ œ j œ œ Œ bœ œ œ œ & 4 ...... œ fbœ œ œ œ tpt.b 2 w nœ #˙ Ó Œ. J Phase
4Phasing rhythms, characteristic of! minimalist music, are used throughout && 4 ! ! the piece. Overlapping patterns of irregular phrase lengths create the effect of rhythm getting in and out of phase. This results in the perception of blurred bar 4 linesB and4 vacillating note articulations! (see fig. 13). ! Figure 13: Phasing rhythms from Rusty hinges, mm. 21.
21 vln. 1 4 j & 4 bœ bœ œ. œ ˙ b˙ œ bœ ˙ bœ Í (5 beats) vln. 2 4 & 4 b˙ œ. j b˙. b˙ (7 beats)bœ ˙ œ Ívla. B 4 j 4 bw œ b˙. ˙ œ bœ. Í (11 beats)
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Chasing-Phase
Another compositional device used to explore expansion and contraction is the technique of chasing-phasing rhythms. While one rhythm occurs, a complimenting pattern emulates or repeats that rhythm “in error.” The effect is similar to heterophony or phasing, but more like a duet or unison gone wrong.
The leading phrase is played and the second attempts to catch up; the second phrase is diminished rhythmicallybœ in an attempt to get back in unison. The two 4 œbœ J œ#œ œ #œ 2 œ #œ momentarilyÓ meet, but the second3 ends up getting. ahead of the leading phrase. & 4 J J J 3#œ œ J 4 The resulting harmony produces an effect of contraction and expansion (see fig.
14). bœ bœ 4 J ‰ Œ Œ œ bœ œ #œ #œ 2 #œ. ‰ Figure& 4 14: Chasing rhythm from Fluid, dark, mm.#œ 84. 4
bsn. 1 84 bœ œ bœ bœ nœ ˙ ? 4 . J 2 4 Œ sonorous 4 p bsn. 2 bœ bœ bœ nœ œ bœ ? 4 2 Ó 3 4 sonorous 4 p Additive and Subtractive Rhythm ? 4Some rhythmic phrases are altered! through addition and subtraction of pitches or rhythmic values. These processes are common in the music of
Messiaen andœ Ligeti. Messiaen used additive rhythms in the sixth movement of ? 4 Œ Ó
103 tpt. 1 hrns. 4 j Œ & 4 Œ . 14 œ bœ œ œ œ tpt.b 2 w nœ #˙ Ó Œ. J Quartet for the End of Time (1941). Ligeti’s method of Pattern-Meccanico would
add and4 subtract pitches from repeating patterns to affect perception of time and & 4 ! ! tempo.5 In Level Inflation, both techniques are used simultaneously. The effect
also occurs with other phasing layers of the same technique (see fig. 15 and mm. 4 165B-1684 of the score). ! ! Figure 15: Subtractive, altered, and phasing rhythms from Converging, mm. 155.
155 vln. 1 4 j j & 4 œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. (5 eighth-notes)œ (5œ eighth-notes; altered) œ œ
vln. 2 4 j j j j œ bœ œ & 4 j bœ œ œ œ bœ œ œ œ œ œ J œ (7 eighth-notes) œ œ vla. B 4 œ #œ. œ œ. ˙ œ œ œ œ #œ œ œ œ. 4 (12J eighth-notes)J J(6 eighth-notes;J subtraction) J
Composite Rhythm
The violin and viola sections play the ostinato rhythm from Figure 12 while
the cello and bass sections play another rhythm out-of-phase. This layering
5 Clendinning, Jane Piper. “The Pattern-Meccanico Compositions of György Ligeti.” Perspectives of New Music, 31.1 (1993): 192-234.
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creates a composite rhythm that is extracted and developed in later sections (see fig. 16 and fig. 17).
Figure 16: Individual lines that form the composite rhythm in Focused, floating, mm. 102.
102 vln. 1 (1) 4 & 4 ‰ j ‰ bœ œ œ ˙ œ. œ. ˙ œ œ œ œ vln.. . 1 (2) . . . . 4 Œ ‰ ‰ œ œ ˙. & 4 œ œ ˙ vla. (1) . . 4 & 4 œ œ œ ˙ vla.. . (2) œ. œ. œ ˙ . pont. bœ. œ. œ 124 4 vln. 1 & 44 œ tense#œœœ.œ œœœ œ œœœœœ œ œnœ#œœ#œ œœœ œ œœ bœ œ & 4 pœ. . œ ‰ œ . œ. œ bœ œ œœ œ. œ ‰ œ. . energized . . Figure 17f : Composite rhythm from Focused, floating, mm. 108. vln. 1, vln. 2, vla. 108 ord. & 4 ! ! ‰ &bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 Free& T4ransformation ! !
Some of the rhythmic motives discussed have been treated with a freer & 4 ! ! ! ! developmental& 4 approach.! For example, the ending section of! the piece has a much more relaxed approach to process. Using the composite rhythms developed& 4 from phased rhythm! s, an extremely long phrase !is created. The & !
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melodic elements influence the development as well. The result is a long,
noodling, and rhythmically disjunct melodic line (see fig. 18).
Figure 18: Portion of melodic line from Focused, floating, mm. 124.
124 vln. 1 #œ œ œœ œ œ œœ œ nœ#œœ#œ œœœ œ œœ œ & 4 œ œ ‰ œ œ œ œ œ ‰ œ energized f There are other occurrences of rhythm that appear to be independent of
the motives and techniques described so far. At first glance, they do in fact seem & ! ! to be happenstance. However, since this piece is not completely developed by a
process, it is appropriate that there are moments free from these devices. They
might also be seen as non-processed counterpoints to the processes that have ! ! ! ! occurred.&
Meter and Tempo
Many of the rhythmic techniques used in this piece are meant to obscure & ! the sense of evenly distributed phrasing. Even at the climax section, where
phrasing is straight-forward, there are augmentations that disrupt normalcy. In general, meter and tempo are used to keep the orchestra together. A majority of the piece stays in 4/4 meter and a tempo of 120 bpm (and 60 bpm). There is no need for compound or complex meters because even those attempts wouldn't reflect the essence of the piece. The exceptions that do occur in the score are motivated by clarity in reading and performance.
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Structure and Form
Part Form
The framework of the piece revolves around a loose rondo form with extensions. There are seven sections:
Section One (introduction): Rusty hinges incorporates a variety of
techniques that will explored in the other sections. It juxtaposes
quick, sporadic staccatos with calm sustained chords, then
crescendos into the next section.
Section Two (A): Focused, drifting is rhythmically driven and features
phasing patterns. The section starts with one pitch and eventually
expands to include the full hexachord.
Section Three (B): Fluid, dark focuses on color and texture in contrast to
rhythm. The full hexachord is used and developed beyond the
original six pitches. Chasing duets emerge in the texture as melodic
fragments.
Section Four (A’): Focused, floating is a return to A section treatment.
Similarly, It starts with one pitch of the hexachord, but quickly
expands to include all six pitches before a development area.
Murky shifts to a low-register, slow-moving segment. Converging
increases activity as it crescendos into the next section.
18
Section Five (C): Epic! is the climax, and brings a full ensemble moment
to the piece. Calming, echoed reiterates the melodic motive as an
echo. Shifting states the melodic motive out of phase, and settles
on a calm segment before the ending section.
Section Six (coda): Bursting is rhythmically energized. Similar to the
introduction, this section incorporates many of the elements that
were featured throughout the piece as it crescendos to an abrupt
end.
Figure 19: Outline of sections and form
Section Name Measure Form Minutes Golden Mean 1 Rusty hinges 1-30 Introduction 1 2 Focused, drifting 31-61 A 1 3 Fluid, dark 62-94 B 2 4 Focused, floating 95-129 A’ 3 Murky 130-149 Converging 150-174 5 Epic! 175-191 C 2 * Calming 192-205 Shifting 206-225 6 Bursting 226-260 Coda 1
Proportions
Just like the formation of the hexachord, expansion and retraction inform the design of each section. When observed as a whole, the larger proportions of the piece form a palindrome. With the exception of the introduction, units of time form this symmetry (see fig. 19).
19
When factoring in the introduction section within the proportions of the piece, the influence of the Fibonacci series emerges (1, 1, 2, 3, 5, etc.). The climax of the piece occurs just slightly after the 2/3rds mark (also known as the
Golden Mean). This would be the actual Golden Mean if the series were not cut short (see fig. 19).
Orchestration, Texture, and Timbre
Instrumentation
Instrumentation varies throughout the piece. Many of the choices are influenced by instrumental idioms and tone qualities. Sectional characteristics also shape the orchestration (see fig. 20).
Figure 20: Instrumentation throughout piece
Section Name Measures Instrumentation 1 Rusty hinges 1-25 Strings, brass, percussion, & various solos 26-30 Full orchestra 2 Focused, drifting 31-38 Strings, brass, & perc. 39-50 Strings, brass, perc., & woodwind solos 51-61 Full orchestra 3 Fluid, dark 62-94 Various small groupings
20
4 Focused, floating 95-100 Strings & perc. 101-113 Strings, perc., brass, & ww. solos 114-123 Full orchestra 124-129 Strings + horn & perc. Murky 130-143 Low brass & strings 144-149 Strings Converging 150-167 High strings 168-173 High & low strings, low brass, & perc. 174 High & low strings, low brass, perc., & flutes 5 Epic! 175-191 Full orchestra Calming 192-198 Ww., high brass, & violins 199-205 Strings Shifting 206-209 Brass, perc., & low strings 210-214 Brass, perc., & strings 215-225 Strings 6 Bursting 226-250 Various combinations 251-260 Full orchestra
Sound Spectrum
The piece spans high and low portions of the sound spectrum. Some
sections are focused around a small range of pitches and eventually expand into
a full range. In general, each section focuses on a particular range. The intervallic
range used in the introduction starts small, about one octave, and expands outward just before the transition to the next section. The A sections focus
around a few mid-range pitches and gradually expand outward. The B section
freely moves in and out of high and low registers with varying ranges of pitch.
Instrumental voicings vary during this section and include close and wide interval
spacings. The C section (climax section) starts with the full sound spectrum and
21
gradually contracts to a small range before the next section. The coda section
jumps around the spectrum with almost pointalistic qualities. As it reaches the
final measures, the orchestra covers a full range of the sound spectrum.
Density
The thickness of texture ebbs and flows throughout the piece to reflect the
expansion-contraction theme (see fig. 21). Much of the perceivable thickness
relates to the treatment of the instrumentation and use of range. Typically, if the
intervallic range and number of instruments are small, the perceived density is
thin. However, in areas where range is small and instrumentation doesn't fill the
entire orchestra, like the A sections, the texture is still thick due to the weight and emphasis on the small range of pitches.
Figure 21: Chart showing number of instruments present throughout the piece.
Number of Instruments (21 total)!
20"
15"
10"
5" Bursting ! Focused, drifting ! Fluid, dark ! Murky ! Rusty hinges ! Focused, floating ! Converging ! Shifting ! Epic ! 0" Calming, echoed !
22
Rhythmic Texture
Most of the rhythmic texture is polyphonic due to the extensive use of
asymmetrical and phasing patterns. There are moments when homophonic
texture is clear, but these are mainly used in contrast to the pervasive polyphonic
textures. The climax section is polyphonic, but can be perceived as homophonic
because of the emphasis on the melodic motive across many of the instruments.
Since the statement of the motive is most prevalent, one could argue in favor of homophony as the dominant texture.
The coda section combines monophony and polyphony. The section starts in unison and spreads to octaves before other independent elements emerge. By the end, most rhythmic elements from the piece are present in a final polyphonic moment.
23
Chapter Three. Section One: Rusty hinges.
Rusty hinges (mm. 1-mm. 30) is a short opening to the piece. The important elements of the piece are introduced in this section: phasing rhythms, chasing-phasing rhythms, the melodic motive, unveiling harmony, and ensemble crescendo. While this section builds up in chromaticism, the tonal center revolves around A-flat. The other significant pitch material outlines the main melodic motive (see fig. 22).
Figure 22: Tonal outline for Rusty, hinges.
? b œ bœ nœ bœ bb œ œ The section starts with a forte staccato blast of a dissonant cluster from the brass and percussion. The resulting effect is a sudden, loud articulation of sound.? As the reverberationsœ dissipate quickly, violins andœ violasbœ are heard bœ bœ œ bœ nœ bbœœ œ sustaining open 4ths and 5ths. The layering of these two perfect intervalsœ creates an ambiguous harmony, which resembles an A-flatœ sus4 chord (A-flatn , œD-flat, and œ #œ bbœœ n œœ E?-flat). The strings alternateœ betweenœ the pitches of this harmony using bbbœœ nœ asymmetrical phrases: first violins have a 5-beat phrase, second violins have a 7- beat phrase, and violas have an 11-beat phrase. These rhythms overlap each #œœ other? andœ get out-of-phase. The phrase lengths are prime numbers, which bœœ #œœ bbbœœ bœ bœ nœ b œ
? b œ # œ b b œ b œœ bœ # œœ bnœœ b œ œœ #œœ œœ œ œ
?bbœœ nœ nœ
24
causes the lines to stay out-of-phase longer. The result is a wavelike effect that
blurs the barlines and any sense of tempo or beat.
Forte staccato blasts occur at sporadic time intervals, generally getting
closer together as it reaches the end of the section, which results in contracting
time intervals. The strings continue sustaining the ambiguous perfect 4th/perfect
5th harmony with phasing rhythms. The phrase lengths get redistributed each time a staccato blast occurs. These irregularities and inconsistencies of phasing
patterns are meant to obscure a sense of process or structure. See Figure 23 for
examples.
Figure 23: Chart showing out-of-phase asymmetrical phrases from opening of Rusty hinges.
mm. 1 5 5 5 5 7 7 11 11
mm. 6 11 11 11 7 7 7 7 5 5 5 5 5 5
forte staccato
bar line
Fragments of the main melodic motive enter in various instrument
pairings. Muted trumpets are the first to enter with two notes of the motive and
are doubled by the violas and cellos (mm. 8). After each staccato blast, new
pairings emerge over the phasing string patterns. These entrances serve as
introductions to the motive material.
25
A single forte staccato blast from the brass and percussion at mm. 25 marks a change in the section. The strings stop playing the phasing patterns.
The second and first violins state part of the melodic motive followed by the clarinets and oboes a measure later. Another staccato blast happens in the brass in mm. 26 and is followed by entrances of the cellos, violas, and then double basses. More forte blasts come from the brass section, but they are starting to get out of phase with each other. At mm. 28, the bassoons enter with part of the
melodic motive followed by the flutes a measure later. By the next measure, all
the instruments of the orchestra are present and out-of-phase resulting in a
dense polyphonic and cacophonous texture (mm. 29). Many of the notes have
started to depart from the original hexachord to form chromatic passages. The
orchestra makes a quick crescendo from and becomes fully chromatic just as it
reaches the end of the section (mm. 30).
26
Chapter Four. Section Two: Focused, drifting.
Focused, drifting (mm. 31-mm. 61) contrasts the convoluted, chromatic
introduction by focusing on just a few techniques and a simplified harmonic
language. Driving rhythms and phasing rhythmic patterns characterize this
section. The section starts with a single pitch and gradually expands to include all the notes from the full hexachord as described in the Pitch section of Chapter ?b bœœ bœ nœ bœ Two. Figureb œ 24 shows the orderœ in which the pitches unfold. Figure 24: Tonal outline for Focused, drifting.
? œ œ bœ bœ bœ œ nœ bbœœ œ bœ œ The section starts with a D-flat in the brass and strings. A few measures later at mm. 35, E-flat is introduced. Then C (mm. 38),œ F (mm. 40), An-flatœ (mm. œ #œ bbœœ n œœ 43),? andb E (mm. 47). Measureœ spacingœ for each entering pitch is a palindrome as bb œœ nœ well (4 measures, 3 measures, 2 measures, 3 measures, and then 4 measures).
Once all the pitches have entered, a transition develops, and restarts this #œœ process.?bœœ The second#œœ occurrenceb bœœ starts off with two pitches, but continues adding œ b œ bœ nœ b œ the other, one at a time, in the sameb order.œ
Throughout the section, rhythmic patterns are played out-of-phase. b œ Various?bbœ offsetœ pairings create##œœ each pattern layer. Atb btheœ startœ of the section, the bœœ bnœœ œ trumpets play 5-beat patterns offset #byœœ 2 beats, trombones play a 6-beatœ pattern
?bbœœ nœ nœ
27
offset by 2 beats, and horns play a 7-beat pattern offset by 2 beats. As new pitches are added into the texture, the patterns change. For example, when the second pitch of the hexachord enters in mm. 35, the trumpets play a 10-beat pattern, horns play a 13 eighth-note pattern (6 ½-beat), and trombones play a 5-
beat pattern.
The strings also have phasing patterns. First and second violins have a 7-
beat pattern, and the cellos and basses have a 3-beat pattern. The string
patterns stay consistent throughout the section, and have no variation in length
like the brass. The strings form a composite rhythm, which is developed further in
the second A section, Focused, floating. An example of the composite rhythm
can be seen in Figure 17 from the Rhythm section of Chapter Two.
Another feature of this section is the use of the melodic motive. During the first cycle of the unfolding hexachord at mm. 39, the first oboe plays a rhythmically augmented version of the motive. This augmentation stretches the melodic motive over the texture, and blends it in as a layer of the phasing patterns. At mm. 43, the oboe plays another iteration of the melody followed by
the first bassoon a major 7th lower. This occurrence introduces an out-of-phase
harmonized motive. Although the treatment of the phrase is meant to disguise the
motive, the double reed timbres help to distinguish it as an individual element.
28
Chapter Five. Section Three: Fluid, dark.
Fluid, dark (mm. 62-mm. 95) is the B section and focuses on color and
texture in contrast to the rhythmic A sections that surround it. The sustaining
harmonies create a dense atmosphere. Brief duets come into focus as they
emerge in the texture as melodic fragments that push and pull the music. The
sustaining? b œharmonies mainly revolve around the pitches of the hexachord with a bb œ œ bœ nœ bœ strong tonal center around D-flat. Towards the end of this section, pitches outside
the hexachord are introduced to add tension and change in harmony before
returning? to the pitches of theœ hexachord (see fig. 25). œ bœ bœ bœ œ bœ nœ bbœœ œ Figure 25: Tonal outline for Fluid, dark. œ
œ #œ bbœœ nnœœ ?b b œ œ œ œ b œ nœ The section begins with sustained dyads in the cellos, violas, and clarinets, followed by flutes doubled with violin harmonics. The entrance#œœ s of each group?b followœœ the# œcontourœ b ofb theœœ melodic motive, but are disguised by the thick œ b œ bœ nœ b œ harmony (see fig. 26). bœ
? b œ # œ b b œ b œœ bœ # œœ bnœœ b œ œœ #œœ œœ œ œ
?bbœœ nœ nœ 102 vln. 1 (1) 4 & 4 ‰ j ‰ bœ œœ ˙ œ. œ. ˙ œ œ œ œ vln.. . 1 (2) . . 4 œ. œ. ˙. & 4 Œ ‰ ‰ œ. œ. ˙ vla. (1) 29 4 & 4 œ œœ ˙ . . œ. œ. œ ˙ . Figure 26: Entrances following melodic motive in Fluid, bdarkœ. œ., mm.œ 62. 62 fl. œ #˙ 4 ! 3 #œ # ˙ & 4 4 sonorous cl. p 3 & 4 Ó Œ #œ 4 ˙. œ sonorous ˙. vla. div. p ˙ 3 ˙. B 4 Ó #˙ 4 ˙. p Many of the entrances after this initial statement also follow the contour of
the motive; however, they appear in altered forms, as fragments or
developments. While these variations take precedence, two brief areas in the
strings state an unobscured form of the melodic motive. First, in mm. 73, second
violins and viola soloists play a fragment of the motive (see fig. 10 from the Pitch
section of Chapter Two). Second, in mm. 81, first violins state the motive in its
original form with accompaniment from the second violins and violas (fig. 27).
Figure 27: Melodic motive played by strings in Fluid, dark, mm. 81.
81 vln. 1 #˙. œ œ #œ & 4 œ ˙ vln. 2 ˙ b˙ #˙ warm n˙ vla. ppizz. arco ? 4 œ 4 #œ Œ Ó Œ #˙ warm p p bsn. 1 84 bœ bœ œ bœ nœ ˙ ? 4 J 2 4 Œ ‰ sonorous 4 p bsn. 2 bœ bœ bœ nœ œ bœ ? 4 2 Ó 3 4 sonorous 4 p
? 4 !
œ ? 4 Œ Ó
30
The amoebic atmosphere of the orchestra accompanies short duet melodies that occur at varying intervals of time. These duets use the chasing- phasing technique. The first entrance is in the oboes (mm. 69). The first oboe starts the phrase, then the second follows and attempts to catch up rhythmically by diminution. Each occurrence sounds like they are never in phase. The resulting effect is of stretching and releasing, expanding and retracting (fig. 28).
Figure 28: Chasing-phasing oboes from Fluid, dark, mm. 67.
67 ob. 1 4 bœ œ bœ œ bœ bœ ˙ & 4 Ó Œ. J œ Ó p ob. 2 bœ œ w 4 œ ‰ Œ Ó bœ bœ. œ œ & 4 J J 3 p Sometimes the duets serve as a melody over the accompaniment. Other times, they are endings to the accompaniment phrases or transitions between ! phrases.& Most of the time, oboes are the featured duet, but there are some variations. At mm. 84, there is a duet in the bassoons. Immediately following this, œ oboes& returnJ along‰ with the firstŒ clarinet to form aÓ trio (mm. 89). The instrumentation of this section constantly shifts around and wide ranges of pitches are utilized. Most of the time, small combinations of instruments are heard. During few moments, the instrumentation becomes full; however, the & ! whole orchestra is not heard in its entirety during this section. bœ ? Œ Ó
31
Chapter Six. Section Four: Focused, floating; Murky;
Converging.
This section is the longest area and marks the return to A material (mm.
95-mm. 174). It begins similar to Focused, drifting (mm. 31), but moves away into sections of development before leading to the climax of the piece. This section is divided into three segments:
Focused, floating (mm. 95-mm. 129) returns to A material with rhythmic
variation and different instrumentation with emphasis on strings.
Murky (mm. 130-mm. 149) focuses on the lower register of the orchestra ?b bœœ bœ nœ bœ b œ and suspendsœ rhythmic momentum. Converging (mm. 150-mm. 174) increases rhythmic activity and builds
momentum leading to the climax. ? œ œ bœ bœFocused,bœ floatingœ begins with thenœ stringsb andbœœ percussionœ portion of the A bœ œ section. Instead of unveiling the hexachord, the strings introduce pitches from the melodic motiveœ . Figure 29 shows these motives as#œ cluster, asbb wellœœ nasnœ theœ ? b œ œ œ movementbb œœ of bass towards the end nofœ the section. Figure 29: Tonal outline for Focused, floating. #œœ ?bœœ #œœ b bœœ œ b œ b œ bœ bœ nœ
? # œ b b œ bbœœ bœ # œœ bnœœ b œ œœ #œœ œœ œ œ
?bbœœ nœ nœ
32
The trumpets and horns also enter over the texture playing a version of the melodic motive (mm. 101, see fig. 8 from the Rhythm section of Chapter
Two). After the brass states the motive, the oboe enters with the rhythmically augmented version played in the previous A section (mm. 103), followed by the bassoon (mm. 108). At this point, the phasing patterns in the strings get back in alignment. For a brief segment, the texture is homophonic, and utilizes rhythms developed out of the composite string rhythms (see fig.17 from the Rhythm section of Chapter Two).
After this short moment of unification, the strings switch back into their phasing patterns (mm. 114). More phasing patterns emerge as the brass and woodwinds enter. The staggered entrances create an ensemble crescendo that eventually expands to the entire orchestra (mm. 119-mm. 123). The strings depart into a rhythmically energized passage that ends in their highest register.
Just as they finish, a horn call from the first horn dissipates the energy into the next segment. The similar rhythmic treatment of the material in the section helps establish a clear sense of form in the piece, while the variations drive it towards development.
Murky immediately juxtaposes the high register of the previous segment with low guttural notes of the double basses. Trombones and cellos enter a few measures later (mm. 133 and mm. 134), followed by the violas (mm. 141). The double basses drop out in mm. 143 and violins enter in the next two measures to ? b œ bb œ œ bœ nœ bœ
bœ ?bœ bœ œ œ nœ bbœœ œ bœ œ
#œ n œ œ œ bbœœ n œœ ?b bœœ œ œ 33 b œ nœ
shift away from the low register. Each instrument plays a fragment or variation of the melodic motive (see note groupings in fig. 30); however, the low#œœ register and ?bœœ #œœ b bœœ blurry rhythms makeœ these statementsœ more indistinguishable. b œ b œ bœ bœ nœ Figure 30: Tonal outline for Murky. b œ ?bbœœ ##œœ bb œœ bœ bnœœ œœ #œœ œ œ œ The tempo of this segment is significantly slower than all the previous sections. Up to this point, rhythm was a prominent driving force or lead ? bœœ nœ nœ componentb œœ within the texture. For this segment, rhythm is intentionally obscured to reinforce the “murky” feeling and act as a palette cleanser.
Mid-range violins and violas gradually increase rhythmic activity at the start of Converging. Each string group plays a pattern containing two notes of the hexachord. Each group shares one note with another. For example, first violins
have C and F, while second violins have C and D-flat. As the patterns go out of
phase, sometimes the shared note overlaps, or converges. Gradually, the
rhythmic durations within each pattern starts to diminish by subtraction. Starting
with whole, half, and quarter note values, the patterns diminish to eighth and
sixteenth note values. As this develops, each group splits into two sections (mm.
159, mm. 160, and mm. 164). Each voice also leads towards the note E. Figure
31 shows the initial cluster of pitches before reaching note E. ? bbbœœ œ bœ nœ bœ
bœ ?bœ bœ œ œ nœ bbœœ œ bœ œ
œ #œ bbœœ nnœœ ? œ œ œ œ œ bbbœœ nœ
#œœ ?bœœ #œœ b bœœ b œ bœ bœ nœ b œ
b œ ?bbœœ ##œœ bb œœ 34 œ bœœ bnœœ œ #œœ œœ œ œ Figure 31: Tonal outline for Converging.
?bbœœ nœ nœ The result is a dense composite of rhythms that sounds like a continuous stream of eighth-note E’s. Just as this convergence of E’s occurs, low strings and brass enter with a strong forte bass line accompanied by percussion (mm. 168).
The entrance produces a cut-time groove leading up to the next section (see fig.
32).
35
Figure 32: Continuous E's and cut-time groove in Convergence, mm. 168.
168 vln. 1 (1) 4 œ œœ œœ œ œ œœ œ œœ. œ œ œ œœ œ œ & 4 tense vln.f 1 (2) 4 œœ œ œœœ œ œœ œœ œ œ œœ œ œœ. œ œœ & 4 tense vln.f 2 (1) 4 œ. œ œ œ œ & 4 tense J œ œ œ œ œ. œ vln.f 2 (2) 4 œ œ œ. œ œ œ & 4 œ tense œ J œ ˙ vla.f (1) B 4 œ œœ œ œ œœ œœ. œœ œ œ œ œ œœ. œœ œ 4 tense fvla. (2) B 4 œ œœ œ œ œœ œ œ œœ œœ. œœ œ œ œœ 4 tense tbn.,f tba., vc., & db. j ? 4 œ œ bœ œ. 4 b˙ œ œ . b˙ b˙ œ œ bœ œ b ˙heavy f
36
Chapter Seven. Section Five: Epic!; Calming, echoed; Shifting.
The next section begins with Epic! (mm. 175). This along with two other
segments form the C section and climax of the piece:
Epic! (mm. 175-mm. 192) is energized and loud. During this passage, the
full orchestra states the melodic motive.
Calming, echoed (mm. 193-mm. 205) states variations of the motive with
lighter instrumentation and lower intensity. The second half has a
statement in the strings with chorale style treatment.
Shifting (mm. 206-mm. 225) states the melodic motive as in Epic!, but
quickly gets out of phase and looses [spelling] momentum.
A quick ascending glissando in the flutes, cellos, and double basses leads into Epic!. At this moment, the full orchestra is finally present for a significant portion of the piece. Many of the upper register instruments state the melodic motive, while lower register instruments play the motivic harmony (see fig. 33 for bass line harmony). Flutes and clarinets play energized arpeggiated passages at sporadic intervals of time. The violins play the active composite rhythmic figure along with the percussion, followed by the violas and cellos.
Figure 33: Tonal outline for Epic!
#œœ ? œ œ bœ nœ bœ b œ bœ œ bœ bœ nœ bœ œ
bœ #œœ ? œ œ bœ œ œ b œ œ bœ œ bœ
#œœ #œœ œ œ œœ ? b œ bbœ nœ #œ #œ
? œ b œ bœ nœ bœ bœ bœ nœ bbbœ bœ bœ b œ b œ œ
37
While the melodic motive is the most prominent element of the climax, other techniques featured in the piece are mixed into the texture. The composite rhythm in the strings mentioned above is one of them. The bassoons and oboes play rhythmically augmented forms of their chasing phrases from the B section
(mm. 186 for bassoons, and see fig. 34 for oboes, mm. 187). As well, the melodic motive gets out of phase by the end of the segment.
Figure 34: Augmented chasing phrase from oboes in Epic!, mm. 187.
187 ob. 1 b˙ œ œ ˙ œ œ 4 & 4 Ó Œ œ 4 w f ob. 2 b˙. 4 ! œ œ œ œ ˙ 4 w & 4 3 4 f p The last few measures of Epic! diminuendo into Calming, echoed (mm.
192). As the name suggests, this segment acts as an echo with softer dynamics. ! Woodwinds& play a variation of the melodic motive in a polyphonic texture. Horns
support the woodwinds, while trumpets play an asymmetrical phrase that goes out& of phase with the rest. First and second! violin soloists continue playing their composite rhythm pattern. The solo instrumentation keeps it light in the texture to
create an echo effect. As the solo violins finish their sixteenth-note line, the rhythm& is disrupted. This diffuses the energy! and transitions into brief chorale
& !
38
moment in the strings (mm. 198 and mm. 199). The chorale introduces the note #œœ G,? which pulls theœ tonal center towards A-flat (see fig. 35). b œ œ bœ œ bœ bœ bœ nœ nœ bœ bœ œ Figure 35: Tonal outline for Calming, echoed and Shifting.
bœ #œœ ? œ œ bœ œ œ b œ œ bœ œ bœ Rhythmic energy returns at the start of Shifting (mm. 206). This time the
composite rhythm is in the percussion. The brass repeats the harmonized #œœ #œœ œ œ œœ melodic? motiveb œwith bsupportbœ from the double basses (seenœ fig. 35). Through #œ #œ rhythmic diminution and augmentation, the brass gets out of phase immediately
(see fig 36). Figure?b b36œœ: Brassbœ sectionbœ outb bofœ œphasebœ in Shiftingnœ , bmm.œ 206.bœ bœ nœ 206 b œhrns. b œ 4 œ œ. bœ ˙ ˙ œ. nœ œ bœ œœ. œ ˙ & 4 epic, held back tpt.f 1 4 ˙ b˙ w ˙ nœ bœ & 4 epic, held back tpt.f 2 4 ˙ œ bœ. w w & 4 epic, held backJ ftbn., tba., & db. 4 & 4 bw w w bw epic, held back w w f ˙ œ bœ. 4 & J 4
& w 4
nœ. bœ œ & J œ 4
4 & 4 bw
39
Four measures later, the strings enter with the same treatment to create
an even more out of phase texture (mm. 210). Another four measure pass, and the percussion line diminuendos and brass drop out leaving only the strings (mm.
213 and mm. 214). This amoebic texture has a similar affect as in the
introduction when the strings played asymmetrical phrases out-of-phase. This is
meant to signal a return to the beginning and produce a sense of resolution.
40
Chapter Eight. Section Six: Bursting.
The coda section of the piece is Bursting (mm. 226-mm. 260). Rhythmic energy drives this section to the end. Similar to the introduction, various elements and techniques from throughout the piece are featured in the texture.
This section starts with alternating groups of notes from the hexachord. They# eventuallyœœ land on the note E, similarly as in Converging. The melodic ? œ motiveb returnsœ œ and an alternatingbœ œ b bassœ drivesbœ b toœ thenœ end (sn eeœ fig.bœ 37b )œ. Whileœ E has the highest metrical frequency during this section, C and E-flat are next in importance.œ bœ Since these are the main notes#œœ of the melodic motive, they help bring? the piece to anœ endbœ harmonically. œ b œ œ bœ œ bœ Figure 37: Tonal outline for Bursting.
#œœ #œœ œ œ #œœ ? b œ bbœ nœ #œ #œ The strings from the end of Shifting start this section with the composite rhythm. The rhythm begins as in previous sections, but develops into longer ? b œ b œ bœ nœ bœ bœ bœ nœ phrasesbb œand bmoreœ complexbœ bvariations.œ The rhythm is alsob playedœ œin unison, rather than in imitation. This puts focus on the energy and complexity of the line, which is relentlessly propelled to the end (see fig. 38).
41
Figure 38: Sixteenth-note line from strings in Bursting, mm. 228. vln. 1, vln. 2, vla. 228 4 œ#œœœ œœœœœœœœ œ#œœœœœœ œ‰œœœ œœœ & 4 œ heavy#œ œœ f The primary role of the strings is to play this rhythm; however, there are a few moments when the pattern shifts to other instrument combinations or is ! ! augmented& . The first shift is with tutti woodwinds playing one short measure
(mm. 230). The second is with clarinets, bassoons, violas, and cellos for two measures (mm. 236-mm. 237). A third is with brass and violins for two measures
(mm&. 248-mm. 249). !
After the first deviation of the rhythm with the woodwinds, various instruments play their entrance of the melodic fragment as they did in the introduction. Each entrance is almost verbatim. The main difference is that some of the spacing of their entrances is condensed over just a few measures (mm.
231-mm. 233).
It is after the third shift in instrumentation that rhythmic augmentation occurs to the composite rhythm (mm. 251). The strings continue playing in unison, but the pattern stretches. The rhythmic values are changed from sixteenth-notes to dotted-eighth-notes. Since the rhythm is augmented with an
odd-numbered duration, the sixteenth-note subdivision is still felt. This maintains
the driving momentum of the section.
42
Starting with the brass, the rest of the orchestra enters the textures one at a time, and then in various pairings (mm. 251). The instruments play their phasing patterns from the A sections. The last group to enter is the tuba and basses playing a rhythmically augmented fragment of the melodic motive. This marks the final moment of full ensemble texture, which brings the piece to a sudden, powerful end.
43
Appendix 1: Metrical Analysis of Pitches
MeasureMeasureMeasure1 21 321 432 543 654 765 876 987 1098 11109 121110131211141312151413161514171615181716191817201918212019222120232221242322252423262524272625282726292827302928 3029 30 Freq.Freq.% Freq.%Rank%Rank Rank A♭ A♭ AX♭ XX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XX X 30 3019%3019%1 19%1 1 A A A X X X X X X X X X X XX XX X 5 5 3% 53%10 3%10 10 B♭ B♭ B♭ X X X 1 1 1% 11%11 1%11 11 B B BX X X X X X X X X X X X X XX XX X 6 6 4% 64%8 4%8 8 C C CX X X X X X X XX XX X X XX XXX XXX XXX XXX XXX XXX XXX XXX XX X X XX XXX XXX XXX XXX XX X 20 2012%2012%4 12%4 4 D♭ D♭ DX♭ XX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XX X 30 3019%3019%1 19%1 1 D D DX X X X X X X X X X X X X X X X XX XXX XXX XXX XXX XX X 11 117% 117%6 7%6 6 E♭ E♭ EX♭ XX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XX X 30 3019%3019%1 19%1 1 E E EX X X X X X X X X X XX XX X X X X X XX XXX XXX XXX XXX XX X 12 127% 127%5 7%5 5 F F FX X X X X X X X X X X X X XX XXX XXX XXX XXX XX X 10 106% 106%7 6%7 7 G♭ G♭ G♭ X X X 1 1 1% 11%11 1%11 11 G G GX X X X X X X X X X X X X X X X X X 6 6 4% 64%8 4%8 8
!!!!!! MeasureMeasureMeasure31 3231 333231343332353433363534373635383736393837403938414039424140434241444342454443464544474645484746494847504948515049525150535251545352555453565554575655585756595857605958616059 6160 61 Freq.Freq.% Freq.%Rank%Rank Rank A♭ A♭ A♭ X XX XXX XXX XXX XXX XXX XXX XXX XX X X XX XXX XXX XX XX XX XX X 15 1513%1513%5 13%5 5 A A A 0 0 0% 00%7 0%7 7 B♭ B♭ B♭ 0 0 0% 00%7 0%7 7 B B B 0 0 0% 00%7 0%7 7 C C C X XX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XX X X XX XXX XXX XXX XXX XX XX X X 20 2017%2017%3 17%3 3 D♭ D♭ DX♭ XX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XX X 31 3126%3126%1 26%1 1 D D D 0 0 0% 00%7 0%7 7 E♭ E♭ E♭ X XX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XXX XX X 27 2723%2723%2 23%2 2 E E E X XX XXX XXX XXX XXX XX X X XX XX X X XX XXX XX X 11 119% 119%6 9%6 6 F F F X XX XXX XXX XXX XXX XXX XXX XXX XX X X XX XXX XXX XXX XXX XX XX X X 16 1613%1613%4 13%4 4 G♭ G♭ G♭ 0 0 0% 00%7 0%7 7 G G G !!!0!!!! 0 0% 00%7 0%7 7! 44 MeasureMeasure62 6362 6463 6564 6665 6766 6867 6968 7069 7170 7271 7372 7473 7574 7675 7776 7877 7978 8079 8180 8281 8382 8483 8584 8685 8786 8887 8988 9089 9190 9291 9392 9493 94 Freq.Freq.% %RankRank A♭ A♭ X XX XX XX XX XX XX XX XX XX X X XX XX XX XX XX XX X X XX X X XX XX XX XX X X X 25 2516% 16%4 4 A A X XX XX X 3 3 2% 2%8 8 B♭ B♭ X X 1 1 1% 1%11 11 B B X XX X 2 2 1% 1%10 10 C C X X X XX XX XX XX XX XX X X XX X X XX XX XX X X X X X X XX XX X 19 1912% 12%5 5 D♭ D♭ X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X X X X XX XX XX XX XX XX X 31 3120% 20%1 1 D D X XX XX X 3 3 2% 2%8 8 E♭ E♭ X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X X XX XX XX XX XX XX X X XX XX X X XX X 30 3019% 19%2 2 E E X XX XX XX XX XX XX XX XX XX X X XX XX XX X X X X XX XX XX XX XX XX XX XX X X XX XX XX X 28 2818% 18%3 3 F F X XX XX XX X X X X X X XX XX XX X X X 11 117% 7%6 6 G♭ G♭ X XX XX XX X 4 4 3% 3%7 7 G G X X !!!!!!! 1 1 1% 1%11 11! ! ! ! ! Measure 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 Freq. % Rank A♭ X X X X X X X X X X X X X X X X X X X X X X X X X 25 15% 3 A X X X X X 5 3% 7 B♭ X X X 3 2% 9 B X X 2 1% 10 C X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X 32 19% 1 D♭ X X X X X X X X X X X X X X X X X X X X X X 22 13% 4 D X X 2 1% 10 E♭ X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X 32 19% 1 E X X X X X X X X X X X X X X X X X X X X X X 22 13% 4 F X X X X X X X X X X X X X X X X X X X X X 21 12% 6 G♭ X X 2 1% 10 G X X X X 4 2% 8 ! 45 Measure 130 131 132 133MeasureMeasure134 130135 130131136 131132137 132133138 133134139 134135140 135136141 136137142 137138143 138139144 139140145 140141146 141142147 142143148 143144149 144145 145146 146147 147148 148149 149 Freq. % Rank Freq.Freq.% %Rank Rank A♭ A♭ AX♭ X X XX XX X X XX XX XX XX X XX XX XX XX X 11 15% 2 11 1115% 15%2 2 A A A X X X XX X 2 3% 8 2 23% 3%8 8 B♭ B♭ B♭ 0 0% 10 0 00% 0%10 10 B B B X X X XX X 2 3% 8 2 23% 3%8 8 C X X CX C X X XX XX X X XX XX X X XX X X XX XX X 10 14% 6 10 1014% 14%6 6 D♭ X X X D♭ D♭ X XX XX XX X X X X X XX XX XX X XX XX XX X 11 15% 2 11 1115% 15%2 2 D D D 0 0% 10 0 00% 0%10 10 E♭ EX♭ EX♭ X X X XX XX XX X XX XX X X XX XX XX XX XX XX XX X 13 18% 1 13 1318% 18%1 1 E E EX X X X XX XX X XX XX X XX X X XX XX XX XX XX X 11 15% 2 11 1115% 15%2 2 F X X F F X XX X X X XX X X X XX X X XX XX X X XX XX X 11 15% 2 11 1115% 15%2 2 G♭ G♭ G♭ 0 0% 10 0 00% 0%10 10 G GX GX X XX XX X X 3 4% 7 3 34% 4%7 7
!!!!!!! Measure 150 151 152 153MeasureMeasure154 150155 150151156 151152157 152153158 153154159 154155160 155156161 156157162 157158163 158159164 159160165 160161166 161162167 162163168 163164169 164165170 165166171 166167172 167168173 168169174 169170 170171 171Freq.172 172173% 173174Rank174 Freq.Freq.% %Rank Rank A♭ A♭ A♭ X X X XX X 4X 4%X 6XX X 4 44% 4%6 6 A A A 0 0% 10 0 00% 0%10 10 B♭ B♭ B♭ X 1 1% 7X X 1 11% 1%7 7 B B B X X X 1 1% 7 1 11% 1%7 7 C X X X CX CX X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X X X XX 22XX 19%XX 2XX X 22 2219% 19%2 2 D♭ X X X DX♭ DX♭ X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX 20 18% 4X X 20 2018% 18%4 4 D D D 0 0% 10 0 00% 0%10 10 E♭ E♭ EX♭ X X X X X XX XX XX XX XX XX XX XX XX XX XX XX XX X X X 17XX 15%X 5X X 17 1715% 15%5 5 E X X X EX EX X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX 25XX 22%XX 1XX X 25 2522% 22%1 1 F X X X FX FX X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X XX X 22 19%X 2XX X 22 2219% 19%2 2 G♭ G♭ G♭ 0 0% 10 0 00% 0%10 10 G G G X 1 1% 7X X !!!!!!! 1 11% 1%7 7! 46 Measure 175 176MeasureMeasure177 175178 175176179 176177180 177178181 178179182 179180183 180181184 181182185 182183186 183184187 184185188 185186189 186187190 187188191 188189 189190 Freq.190191 191% RankFreq.Freq.% %Rank Rank A♭ X AX♭ AX♭ X XX XX XX XX XX XX X XX XX XX XX XX XX X X 14X 18% 3 14 1418% 18%3 3 A A A X X X XX X 2 3% 7 2 23% 3%7 7 B♭ B♭ B♭ 0 0% 8 0 00% 0%8 8 B B B 0 0% 8 0 00% 0%8 8 C X CX CX X XX XX XX XX XX XX XX XX XX X X XX XX XX XX 15XX 19%X 2 15 1519% 19%2 2 D♭ X D♭ D♭ X X X X X X XX XX X X XX XX XX XX XX XX 11X 14% 5 11 1114% 14%5 5 D D D 0 0% 8 0 00% 0%8 8 E♭ X EX♭ EX♭ X XX XX XX X XX XX XX XX XX XX XX XX XX XX XX 16XX 20%X 1 16 1620% 20%1 1 E X EX EX X XX XX XX X XX X XX XX XX XX XX XX XX XX XX 14X 18% 3 14 1418% 18%3 3 F X F FX X X X X X X XX X X X XX XX XX 7X 9% 6 7 79% 9%6 6 G♭ G♭ G♭ 0 0% 8 0 00% 0%8 8 G G G 0 0% 8 0 00% 0%8 8
!!!!!!! Measure 192 193MeasureMeasure194 192195 192193196 193194197 194195198 195196199 196197200 197198201 198199202 199200203 200201204 201202205 202203 203204 204205 205 Freq. % RankFreq.Freq.% %Rank Rank A♭ X A♭ AX♭ X XX X XX XX XX XX XX XX XX XX XX XX X 12 22% 1 12 1222% 22%1 1 A A A 0 0% 8 0 00% 0%8 8 B♭ B♭ B♭ 0 0% 8 0 00% 0%8 8 B B B 0 0% 8 0 00% 0%8 8 C X CX CX X XX XX XX X XX XX XX XX X X 8 15% 4 8 815% 15%4 4 D♭ DX♭ D♭ X XX X XX X X X X XX X 5 9% 5 5 59% 9%5 5 D D D 0 0% 8 0 00% 0%8 8 E♭ X EX♭ EX♭ X XX XX XX XX XX X X XX XX XX XX XX XX X 12 22% 1 12 1222% 22%1 1 E X E EX X XX X XX XX XX X X X XX XX X XX XX X 10 18% 3 10 1018% 18%3 3 F FX FX X X XX XX X X X X X X 5 9% 5 5 59% 9%5 5 G♭ G♭ G♭ 0 0% 8 0 00% 0%8 8 G G GX X X X X X X !!!!!!! 3 5% 7 3! 35% 5%7 7 47 Measure 206 207Measure208 209206 210207 211208 212209 213210 214211 215212 216213 217214 218215 219216 220217 221218 222219 223220 224221 225222 223 224 225 Freq. % Rank Freq. % Rank A♭ A♭ X XX X X XX XX XX XX X X X 8 13% 4 8 13% 4 A A 0 0% 7 0 0% 7 B♭ B♭ 0 0% 7 0 0% 7 B B 0 0% 7 0 0% 7 C X CX X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X X X X 20 31% 1 20 31% 1 D♭ X D♭ XX XX X 3 5% 5 3 5% 5 D D 0 0% 7 0 0% 7 E♭ X MeasureEX♭ X206 207XX 208XX209 X210X 211XX212 X213X 214XX 215 XX216 217XX 218XX219 220XX 221XX222 223XX 224XX 225 XX XX XX X X X X 20 31% 1 20 Freq.31%% 1Rank A♭ X X X X X X X X 8 13% 4 E AEX X X X XX XX X XX X X XX X XX X X X X X X 12 19% 3 12 0 19%0% 37 F BF♭ X X 1 2% 6 1 0 2%0% 67 B 0 0% 7 G♭ CG♭ X X X X X X X X X X X X X X X X X X X X 0 0% 7 0 20 0%31% 71 G DG♭ X X X 0 0% 7 0 3 0%5% 75 D !!!!!!! ! 0 0% 7 !E♭ X X X X X X X X X X X X X X X X X X X X 20 31% 1 E X X X X X X X X X X X X 12 19% 3 !F X 1 2% 6 Measure 226 227!GMeasure♭ 228 229226 230227 231228 232229 233230 234231 235232 236233 237234 238235 239236 240237 241238 242239 243240 244241 245242 243246 244247 245 246 Freq.247 % Rank Freq.0 % 0% Rank7 G 0 0% 7 A♭ !A♭ X X X XX X XX XX X X X X XX X X X 10X 12% 4 10 12% 4 A !A 0 0% 7 0 0% 7 B♭ MeasureB♭ 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 2560 257 2580%259 7260 0 Freq.0%% 7Rank A♭ X X X X X X X X X X X X X X X X X 17 13% 4 B AB 0 0% 7 0 0 0%0% 77 C X BCX♭ X XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX XX X XX XX X X 22X 27% 1 22 0 27%0% 17 B 0 0% 7 D♭ D♭ X X 1 1% 6 C X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X 1 32 1%24% 62 D D♭ X X X X X X X 0 0% X 7 X 0 9 0%7% 76 E♭ X DEX♭ X XX XX XX XX XX XX XX XX XX XX XX XX XX X XX X x XX X x X 20X 25% 3 20 0 25%0% 37 E♭ X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X 31 23% 3 E X EX X X XX XXX X XXX XXX X XXX XXX X XXX XX X XXX XX X XX X XX XXX X XXX XX XXX X XX XXX X XXX XX X X X 22XX X27%X 1 X 22 35 27%26% 11 F F X XX XX XXX X X X X X XX X X XX XX 6 X X7% 5 6 11 7%8% 55 G♭ 0 0% 7 G♭ G ♭ 0 0% 7 0 0 0%0% 77 ! G G 0 0% 7 0 0% 7 48
49
Appendix 2: Full Score of Level Inflation 50
Ryan Rey
Level Inflation (2014) for chamber orchestra (2.2.2.2, 2.2.2.1, 1 perc., & strings)
r2me2 publishing
51
C Score Level Inflation (2014) Rusty hinges Ryan Rey (b.1985) q = 120 2 Flutes 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑
2 Oboes 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑
2 Clarinets 4 in B ∑ ∑ ∑ ∑ ∑ ∑ b & 4
2 Bassoons ? 4 ∑ ∑ ∑ ∑ ∑ ∑
2 Horns 4 in F & 4 ∑ ∑ ∑ ∑ ∑ ∑
2 Trumpets 4 in C & 4 ‰ Œ Ó ∑ ∑ ∑ Œ ‰ ‰ j Œ ∑ œœ œœ œœ œœ œœ fl fl fl flf flf ˘ ˘ ˘ 2 Trombones ? 4 œ˘œ œœ œ œ j 4 ‰ Œ Ó ∑ ∑ ∑ Œ œ œ ‰ ‰ œ Œ ∑ fl f f Tuba ? 4 j 4 œ ‰ Œ Ó ∑ ∑ ∑ Œ j ‰ ‰ j Œ ∑ fl œ œ f fl fl glockenspiel f > >j > œ œ Percussion 4 œœ œ œ † 4 œœ Œ Ó ∑ ∑ ∑ Œ ‰ Œ ∑ ã œ kick drum œ J f f > Rusty hinges q = 120 Violin I 4 & 4 j j j bœ warm bœ œ. œ ˙ b˙ œ bœ ˙ bœ œ. bœ ˙ b˙ œ bœ. w p Í Violin II 4 & 4 j j j j bœ warm. bœ ˙ œ b˙.. b˙ œ. bœ ˙. bœ ˙ œ bœ. ˙ b˙ p Í Viola j j B 4 b˙ ˙ œ. b˙. ˙ œ . bœ œ. 4 b˙ warm bœ w œ J bœ œ bœ p Í Cello ? 4 ∑ ∑ ∑ ∑ ∑ ∑
Double Bass t 4 ∑ ∑ ∑ ∑ ∑ ∑
Copyright © 2014 by Ryan Rey (ASCAP) All Rights Reserved 52
8 12 7
Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑
7
Hn. & ∑ ∑ ∑ ∑ ∑ ∑
Harmon mute ord. Tpt. & ∑ Ó Œ ∑ Œ Ó w bœ ˙w Ó w œœ œœ œœ . . fl p f Tbn. . . ˘ ? ∑ ∑ ∑ ∑ ∑ œœ œœ œœ Œ Ó f Tba. r ? ∑ ∑ ∑ ∑ ∑ ‰. œ Œ Ó fl f wood slap 7 > Perc. r ã ∑ ∑ ∑ ∑ ∑ ‰. œ Œ Ó f
8 12 7 Vln. I j j & bw œ. bœ ˙ ˙. bœ w œ b˙.. œ. bœ ˙ bœ Í Vln. II j & . j . . j œ. œ bœ ˙ œ b˙ œ b˙.. b˙ œ bœ ˙. bœ bœ œ bœ œ Í Vla. > B b˙ œ œ ˙ bœ œ. j jbœ. œ bœ œ. j ˙ bœ ˙ b˙ œ bœ œ. J bœ œ bœ. œ p Í w> w w w Vc. ? ∑ warm ∑ p 7 Db. t ∑ ∑ ∑ ∑ ∑ ∑ 53
17 13
Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑
Bsn. Ó ? ∑ ˙. b˙ ˙w œ Œ Ó ∑ ∑ Œ warm Ó p
13
Hn. & ∑ ∑ ∑ ∑ ∑ ∑
ord. 1 mute Tpt. & ∑ ∑ ∑ ∑ Ó ‰ j ‰ Ó Œ. j œ œœ œœ bœ œ. . 1 mute p ord. fl mute f ˙ Tbn. . œ. ˘œ ? Ó ˙ bw w ∑ Ó œœ œ ‰ œ ‰ Ó J p f p Tba. ? ∑ ∑ ∑ ∑ Ó œ ‰ œ ‰ ∑ > fl f
glockenspiel 13 brake drum > > >œ Perc. œœ œœ œœ ã Ó œ Œ œ œ œ Œ ∑ ∑ Ó † œœ ‰ ∑ p f
17 13
Vln. I & œ b˙. b˙ b˙ œ b˙ bœ ˙ b˙ b˙. bœ ˙ b˙ Í Vln. II & j j j j j j j j ˙ œ bœ bœ ˙ œ bœ bœ ˙ bœ bœ œ bœ bœ. œ œ bœ bœ œ œ œ bœ bœ œ. œ Í Vla. B j j j j j Œ. bœ œ bœ. bœ œ œ bœ bœ œ œ bœ bœ œ œ œ ˙ bœ bœ œ b˙ bœ b˙ J Í div. tutti ˙ Vc. ? Ó ˙ bw w w ˙ Œ bœ ˙ warm 13 p Í Db. t ∑ ∑ ∑ ∑ ∑ ∑ 54
21 25 19
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1 & Ó j ‰ Œ Ó ∑ ∑ ∑ ∑ warm˙ #w œ p Ob. 2 & Ó Œ Œ ∑ ∑ ∑ ∑ warmœ ˙ #˙ ˙. p Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
19 Hn. ∑ ∑ ∑ & bw w w b w w w bbw ord. p Í Tpt. Ó j ‰ Œ Ó ∑ ∑ ∑ ‰ Œ Ó & w ˙ œœ œœœ fl œ ford. fl fl w f Tbn. ˘ ˘ ˘ ? œœ ‰ Œ Ó œ œ ∑ J ∑ ∑ ∑ œ ‰ Œ Ó f f Tba. j ˘ ? ∑ ∑ œ ‰ Œ Ó ∑ ∑ ∑ œ ‰ Œ Ó fl J f f
brake drum 19 (glock.) > Perc. œœ j ∑ ∑ œ Œ Ó ∑ ∑ ∑ ‰ Ó † ã œ œ œ p Jkick drum
21 25 19 Vln. I solo bœ w w w bœ. & ∑ ∑ Ó ‰ b˙. warm Í p Vln. I bœ. & j j ‰ b˙. bœ œ b˙. bœ bœ œ. œ ˙ b˙ œ bœ ˙ bœ œ. bœ ˙ b˙ warm Í p Vln. II solo ∑ ∑ Œ & n˙ w w w b˙ ˙warm. Í p Vln. II & j j j j j œ bœ. œ bœ œ œ bœ bœ œ b˙ b˙ œ. bœ ˙ œ b˙. œ b˙.. bœ ˙warm. Í p Vla. j B w w . bw œ b˙ ˙ œ bœ. w bw Í w w Vc. ? ∑ ∑ ∑ ∑ ∑
19 Db. t ∑ ∑ ∑ ∑ ∑ ∑ ∑ 55
26 #œ ˙ #œ œ œ Fl. #˙ œ bœ œ ∑ ∑ ∑ Œ œ ˙ & ˙warm p f a2 Ob. bœ ˙ n˙ #œ nœ œ & Ó Œ ˙ œ œ œ n warmœ w œ ˙ nœ ˙ b˙ bœ nœ œ œ f a2 p Cl. Œ. j œ œ œ & bœ ˙ w ˙ bb˙ œbbœœ ˙˙ nœ œ b˙ œ warm > œ p a2 bœ ˙ f ˙ œ > ˙ Bsn. ? œ ˙ nœ ˙ ˙ ∑ ∑ Ó warm œ ˙ p f
26
Hn. & . bœ w œ nn˙. w ˙ bb˙ ˙. b œ w œ f Í Tpt. & Ó œ œŒ ∑ œ œŒ Ó Œ œœ œ œ Ó Œ œ œ Ó œ.œœ. œ œ.œœ. œ . œ. œ œ.œœ. œ fl f fl fl fl . ˘ bœ. Tbn. œ œ œ œ . œ bœ œ œ œ bœ œ œ œ ? Œ ‰ œ œ . œ bœ ˙ œ b œ nœ œ bœ œ œ œ bœ J J ‰ Œ Ó # œ ˙ J Œ #œ œ # œ œ #œ œ p f Tba. ˘ ˘ ? Ó œ ‰ Œ ∑ ‰. œ Œ Ó Œ J R nœ #œ ˙ œ nœ #œ ˙ f p f
26 Perc. j j j ‰ œ œ œ Œ Œ œ ‰ œ Œ œ‰ ‰ œ Ó ‰ œ Œ œœ‰ ‰ œ Œ œ œ œ œ ã cresc. œ œ œ œ œ œ œ œ œ œ œ œ J J J f J
26 tutti Vln. I ˙. j œ œ œ œœ. œ œ œ œ œ œ œœœ œ œ & nœ w œ œ œ œ œ J
tutti f Vln. II j œ œ œœ ˙ œ #œ œ#œ. œ œ œ œ œœ & œ. bœ ˙ w œ œœ. œ. J f Vla. œœ. œ œ œ œ. B ∑ œ œ. bœ. j œ œ œ œ œ œ œ œ œ œ œ œœ œ J warm œ ˙ p f Vc. ? Ó. bœ ˙. bœ b˙ œ b˙. w warm œ ˙ 26 p f Db. t ∑ Ó. bœ warm w œ b˙. w p f 56
31 Focused, drifting ( ) q = 120 Fl. & ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑
31 Hn. 1 Ó Œ j Œ j Œ & bœ ˙ œ bœ. œ b˙ œ. bœ ˙ b˙ bœ p Hn. 2 ∑ Œ Œ Ó & b˙. ˙. b˙. œ ˙ p Tpt. 1 . . & bw œ b˙ ˙ b˙ ˙ bœ w p Tpt. 2 . . & Ó b˙ ˙ bœ w bw œ b˙ p b˙ w bw ˙ b˙ w Tbn. 1 ? Ó p bw ˙ b˙ w bw Tbn. 2 ? ∑ p Tba. ? ∑ ∑ ∑ ∑ ∑
31 j (glock.) bœ j Perc. b œ Œ Ó ∑ Ó † ‰ bœ Œ ∑ Ó Œ ‰ b œ ã œ (k.d.) œ œ f 31 Focused, drifting ( ) spiccato q = 120 Vln. I & Ó ‰ ‰ Œ ‰ ‰ Œ Œ ‰ ‰ Œ ‰ ‰ Ó ‰ ‰ Œ ‰ bœ. œ. œ. œ. bœ. œ. œ. œ. bœ. œ. œ. œ. bœ. œ. œ. œ. bœ. œ. bœ. œ. œ. œ. spiccatof Vln. II & Ó ‰ j j ‰ ‰ j j ‰ Œ ‰ j j ‰ ‰ j j ‰ Œ ‰ j j ‰ ‰ j bœ. œ. œ. bœ. œ. œ. œ. œ. bœ. œ. œ. œ. bœ. œ. œ. œ. bœ. œ. bœ. œ. œ. spiccato f Vla. B bœ. œ. ‰ Œ Ó ∑ Ó bœ. œ. ‰ Œ ∑ Ó Œ bœ. œ. ‰
f pizz. p p Vc. ? ‰ bœ Œ Ó ∑ Ó ‰ bœ Œ ∑ Ó Œ ‰ bœ J J J 31 pizz.f p p Db. t Œ Ó ∑ Ó Œ ∑ Ó Œ ‰ j bœ bœ bœ f p p 57
39 36
Fl. & ∑ ∑ ∑ ∑ ∑
1
Ob. & ∑ ∑ ∑ Ó ˙. ˙lush œ p Cl. & ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑
36
Hn. 1 & ‰ j Œ Œ ˙. bœ œ b˙. ˙ œ œ b˙. œ b˙
Hn. 2 & ‰ Œ ‰ ‰ Œ bœ. b˙ œ œ. bw ˙ œ. b˙.
Tpt. 1 bœ œ bœ bœ ˙ ˙ bw ˙ & Ó Œ ‰ J J J ˙ Ó
Tpt. 2 bœ . bw œ ˙. & œ b˙ ˙ bœ Œ Œ bœ œ
bœ b˙. œ bœ b˙ ˙ ˙ b˙ w Tbn. 1 ? Ó
˙ bœ bœ ˙ œ. bœ œ bœ. ˙ ˙ b˙ Tbn. 2 ? ‰ J J J Ó Ó
Tba. ? ∑ ∑ ∑ ∑ ∑
36 (glock.) bœ bœ j œ Perc. Ó ‰ bœ Œ ∑ bœ bœ Œ Œ œ Œ ‰ bœœ Œ Œ ‰ bœ Ó † (k.d.) J œ œ œ J
39 36 Vln. I 1 ‰ Œ Œ ‰ ‰ Œ ‰ ‰ Ó ‰ ‰ Œ ‰ ‰ Œ Œ ‰ ‰ Œ & bœ œ bœ œ œ œ bœ œ bœ œ œ œ . . bœ. œ. . . bœ. œ. . . œ. œ. . . œ. œ. . . bœ. œ. . . (spiccato) Vln. I 2 ‰ j j j Œ ‰ j Œ j j & bœ œ Œ Œ j ‰ ‰ bœ Œ ‰ j ‰ œ Ó j ‰ ‰ bœ j ‰ bœ Œ ‰ ‰ œ Œ . . bœ. . bœ. . œ. . œ. . bœ. .
Vln. II 1 j ‰ Œ ‰ j j ‰ ‰ j j ‰ Œ ‰ j j ‰ ‰ j ‰ Œ ‰ j j ‰ & bœ œ bœ œ œ bœ œ bœ j œ œ œ œ bœ. . . œ. œ. . . bœ. œ. . . œ. œ. . . œ. œ. . . bœ. œ. . . (spiccato) Vln. II 2 j ‰ Œ ‰ j ‰ j Œ ‰ j Œ j ‰ Œ ‰ ‰ j Œ ‰ Œ j ‰ Œ ‰ j ‰ j Œ & bœ œ bœ bœ j œ j bœ œ bœ. . . œ. . bœ. . œ. . œ. . bœ. .
Vla...... B Ó bœ œ ‰ Œ Œ bœ. œ. ‰ Ó bœ œ ‰ Œ Œ bœ. œ. ‰ Ó bœ œ ‰ Œ Œ bœ. œ. ‰ Ó
Vc. ? Ó ‰ bœ Œ Œ bœ œ Ó ‰ bœ Œ Œ ‰ bœ Ó bœ œ Œ Œ ‰ bœ Ó J J J J 36
Db. t ∑ Œ Ó ∑ Ó ‰ j Œ Œ bœ Ó bœ bœ p p 58
41
Fl. & ∑ ∑ ∑ ∑ ∑
(1) Ob. œ. #œ ˙ ˙ Œ œ w œ #˙. & J #˙ ˙
Cl. & ∑ ∑ ∑ ∑ ∑ 1 #˙ w Bsn. ? ∑ ∑ ∑ Ó lush p
41
Hn. 1 Œ Œ bœ j bœ j & w b˙ œ ˙. . bœ ˙ ˙ . bœ
Hn. 2 j Œ ‰ j Ó ‰ Œ Œ bœ œ & bœ œ œ ˙ bœ. ˙ œ b˙.. bw Tpt. 1 b˙ ˙ w b˙ bœ & Ó b˙.
Tpt. 2 ˙. œ w œ bœ œ bœ & Œ Œ b˙ ‰ J J bœ. ˙ ‰ bœ J
œ b˙ ˙ w b˙ ˙. bœ Tbn. 1 ? Œ Ó œ bœ
w ˙. b˙ bœ ˙ Tbn. 2 ? b˙ œ œ œ bœ J Œ Ó ‰ J J
Tba. ? ∑ ∑ ∑ ∑ ∑
41 (glock.) j j Perc. œ œ œ bœ Ó Œ bœ œ Ó Œ ‰ bœ Œ ‰bbœœ Ó Ó Œ ‰ bœ Ó ‰ b œ Œ † (k.d.) œ œ J œ J
41
Vln. I 1 & ‰ ‰ Ó ‰ ‰ Œ ‰ ‰ Œ Œ ‰ ‰ Œ ‰ ‰ Ó ‰ ‰ bœ œ bœ œ œ. œ. bœ œ œ. œ. œ œ œ. œ. bœ. œ. œ. œ. bœ œ ...... bœ. œ. bœ. œ. . . Vln. I 2 j j & ‰ j ‰ j Ó j ‰ ‰ j Œ ‰ j ‰ Œ Œ j ‰ ‰ j Œ ‰ j ‰ j Ó j ‰ ‰ bœ bœ œ. bœ œ. œ œ. bœ. œ. bœ . . . . bœ. bœ. . Vln. II 1 j j j j j & ‰ j ‰ Œ ‰ ‰ ‰ j ‰ Œ ‰ j j ‰ ‰ j j ‰ Œ ‰ bœ bœ œ œ. œ. bœ œ œ. œ. œ bœ œ. œ. bœ. œ. œ. bœ. bœ œ ...... bœ. œ. bœ. œ. . . Vln. II 2 j ‰ j Œ j ‰ Œ ‰ j ‰ j Œ ‰ j Œ j ‰ Œ ‰ ‰ j Œ ‰ Œ j ‰ Œ ‰ j ‰ bœ & bœ œ. bœ œ. œ œ. j bœ j bœ bœ . . . . bœ. . bœ. . .
Vla...... bœ. œ. . . bœ. œ. B œ œ ‰ Œ Œ bœ. œ. ‰ Ó œ œ ‰ Œ Œ bœ œ ‰ Ó ‰ Œ Œ bœ œ ‰ Ó ‰ Œ
Vc. bœ œ bœ ? ‰ œ Œ Œ bœ Ó œ Œ bœ Ó bœ Ó Œ J œ ‰ J Œ ‰ J Œ Œ ‰ J ‰ J
41 Db. t ∑ ∑ Œ ‰ bœ Ó bœ bœ ∑ J Œ Œ ‰ J p 59
46
Fl. & ∑ ∑ ∑ ∑ ∑
(1)
Ob. œ ˙. ˙ Ó ∑ ∑ & #˙ ˙
Cl. & ∑ ∑ ∑ ∑ ∑ (1) œ. œ ˙ ˙. œ œ #œ. ˙ ˙ Bsn. ? J J Ó ∑
46
Hn. 1 b˙ œ Œ b˙ nw Œ œ œ ‰ nœ œ. œ & œ . b˙ J J
Hn. 2 j œ ˙ Ó ‰ b˙. Œ Œ ‰ bœ œ Ó ‰ j ˙. & bœ. bœ b˙ w Tpt. 1 bœ nw nœ œ œ. œ. & œ Ó b˙ bœ. Œ ‰
Tpt. 2 w bœ w œ . Œ b˙ Œ Œ œ œ nœ ‰ œ. œ. ‰ & bœ œ. J n˙ w bœ nœ œ . . . Tbn. 1 bw œ b˙ œ œ œ ? Œ Ó ‰ J bw ˙. œ b˙ œ ˙ . . . Tbn. 2 ? Œ Œ Ó bœ Œ bœ œ œ
Tba. ? ∑ ∑ ∑ ∑ ∑
46 j (glock.) œ bœ bœ œ bœ Perc. ∑ b œ œ Œ Œ ‰ œ Ó ‰ œ Œ ∑ œ œ Œ Œ œ † (k.d.) œ bœ œ J œ œ
46 pizz. Vln. I 1 œ. œ. œ. œ. œ. œ. œ. œ. œ œ & Œ ‰ ‰ bœ. œ. Œ Œ bœ. œ. ‰ ‰ Œ ‰ bœ. œ. ‰ Ó ‰ ‰ Œ ‰ ‰ Œ Œ bœ. œ. bœ. œ. œ. œ. pizz. Vln. I 2 . . j j œ j œ j œ. j œ. œ œ & Œ ‰ j ‰ bœ. Œ Œ bœ. ‰ ‰ J Œ ‰ bœ. ‰ J Ó ‰ ‰ Œ ‰ ‰ Œ Œ bœ. bœ. J œ. J pizz. Vln. II 1 . . . . j j œ œ j . œ œ œ. œ. j œ œ. & bœ. ‰ ‰ j œ. œ. ‰ Œ bœ. œ. ‰ J J ‰ ‰ bœ. œ J ‰ Œ ‰ ‰ ‰ . ‰ Œ bœ. œ. bœ. œ. J J œ. bœ. J bœ œ pizz. Vln. II 2 . . j j œ j œ j œ. j œ. & Œ ‰ j Œ bœ. ‰ Œ ‰ bœ. ‰ J Œ ‰ bœ. Œ J ‰ Œ ‰ ‰ Œ ‰ Œ ‰ Œ bœ. bœ. J œ. J bœ œ œ. œ. Vla. bœ. œ. bœ. œ. . . B Œ bœ. œ. ‰ Ó ‰ Œ Œ bœ. œ. ‰ Ó ‰ Œ Œ ‰ Ó bœ œ ‰ Œ Œ œ. œ. œ. arco œ . . . Vc. bœ bœ œ œ œ œ ? Œ bœ œ Ó ‰ J Œ Œ ‰ bœ Ó Œ Œ ‰ J Ó ‰ bœ. Œ Œ J J arco 46 œ œ. œ. œ. Db. t ∑ Ó bœ J bœ Œ Œ Œ bœ Ó Œ Œ ‰ Ó ‰ J p p 60
51
Fl. 1 . . bœ ˙ œ b˙ ˙ bœ bœ & ∑ b˙ œ œ J bœ ‰ J strong p bœ b˙. Fl. 2 b˙. ˙ œ bœ. w & ∑ Œ J strong p 1 Ob. & ∑ Ó Ó ˙ bstrong˙ w ˙ b˙ 1 p Cl. . b˙. & Ó b˙ ˙ Œ bœ ˙ Œ Ó. bœ œ strong p 1 bœ ˙ b˙ ˙ bœ œ n˙. Bsn. ? ∑ Ó Œ Œ. J strong p
51 Hn. 1 . bw ˙ & bw Œ b˙ œ Œ b˙ Ó strong p Hn. 2 œ & J ‰ Œ Ó ∑ ∑ ∑ ∑
Tpt. 1 . . ‰ bœ œ Œ ‰ ‰ w ˙ Ó & bœ. œ. bœ œ b˙ . . bw strong ˙ p Tpt. 2 & ‰ bœ. œ. Œ ‰ ‰ ∑ ∑ ∑ ∑ bœ. œ. bœ. œ. . . . bœ. œ. œ ˙ bœ. œ. ˙. b˙ ˙ ˙. œ Tbn. 1 ? Ó bœ œ œ Œ Œ ‰
Tbn. 2 ? Ó œ. œ. œ. Œ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑
51 (glock.) j bœ j j Perc. bœ † bbœ Œ Ó Œ ‰ bœ Ó ‰ bœ Œ Ó Ó ‰ œ Œ ∑ œ(k.d.) œ œ œ
51 (pizz.) arco spiccato Vln. I 1 ‰ bœ œ j j Œ ‰ Œ & J J ‰ ‰ bœ œ bœ bœ ‰ Œ ‰ ‰ œ œ ‰ bœ œ Œ ‰ ‰ bœ œ Œ ‰ ‰ Ó bœ. œ. . . bœ. œ. . . bœ. œ. . . bœ. œ. œ. œ. (pizz.) arco spiccato Vln. I 2 j j j j Œ ‰ j j Œ j j & ‰ bœ œ ‰ ‰ bœ œ j ‰ Œ j ‰ ‰ bœ ‰ bœ Œ ‰ ‰ bœ Œ ‰ j ‰ j Ó bœ bœ œ. . bœ. . bœ. . bœ. œ. (pizz.) arco spiccato Vln. II 1 ‰ j j ‰ ‰ j j ‰ Œ ‰ j j ‰ ‰ j j ‰ Œ ‰ j j ‰ ‰ j ‰ Œ & bœ bœ œ œ bœ œ j bœ œ œ œ œ bœ œ. œ. . . bœ. œ. . . bœ. œ. . . bœ. œ. œ. œ. (pizz.) arco spiccato Vln. II 2 j j Œ ‰ j j ‰ Œ ‰ j j Œ ‰ j & ‰ j j ‰ ‰ j ‰ Œ ‰ j ‰ bœ Œ bœ ‰ bœ Œ j ‰ Œ bœ œ œ œ œ bœ œ. . bœ. . bœ. . bœ. œ.
Vla. . . . . B Ó bœ. œ. œ. Œ Œ bœ. œ. ‰ Ó bœ. œ. ‰ Œ Œ bœ œ ‰ Ó bœ. œ. ‰ Œ Œ bœ œ ‰ Ó
pizz. Vc. ? Ó bœ. œ. œ. Œ Œ ‰ bœ Ó bœ œ Œ Œ ‰ bœ Ó ‰ bœ Œ Œ bœ œ Ó J J J 51 pizz.
Db. t Ó bœ. œ. œ. Œ Œ bœ Ó Ó Œ ‰ bœ ∑ Œ ‰ j Ó J bœ 61
56 w bœ ˙ ˙. b˙ œ bœ ˙ œ Fl. 1 œ bœ J J & Œ J 42 4 ‰ Œ Ó ˙ b˙. œ nœ œ Fl. 2 bœ œ ˙. bœ œ ˙.. 2 bœ 4 & ‰ J J bœ 4 4 J ‰ Œ Ó
(1) Ob. ∑ b˙ bœ bœ. j 2 j nœ 4 œ ‰ Œ Ó & w ˙ bœ œ 4 œ nœ J 4 J (1) Cl. . ˙. œ w ‰ œ 2 nœ 4 œ & Œ Œ b˙ b˙ 4 œ 4 J ‰ Œ Ó (1) ˙ w œ. ˙ œ Bsn. . bœ œ ? ‰ bœ J œ œ ˙ 2 4 J ‰ Œ Ó J œ. 4 4
56 (1) a2 Hn. ˙ ˙ w b˙ bw 2 ˙ 4 & Ó 4 4 #œ œ œ œ œ ˙ frenzied. . . . > (1) f Í Tpt. w œ bœ 2 œ 4 œ œ œ œ œ & Ó Œ Ó Ó . J 4 bœ 4 œ œ œ œ œ Ó (1) b˙ nœ frenzied. . . . . f œ ˙. ˙ b˙ w œ bœ ˙ Tbn. 2 . . . . . ? n˙ 4 4 œ œ œ œ œ Ó frenzied f Tba. 2 ? ∑ ∑ ∑ ‰ 4 4 ∑ #œ. ˙ ˙
56 (glock.) j j j Perc. œ bœ œ Ó Œ ‰ œ ∑ Œ ‰ Ó ‰ Œ Œ œ bœ 2 ∑ 4 Œ ‰ Ó ã † (k.d.) œ œ œ œ 4 4 œ J > f 56 (spiccato) - . . bœ Vln. I 1 . . . . bœ œ ...... - > > > > > bœ œ œ. œ. ‰ œ œ œ œ Ó bœ œ œ œ œ 2 bœ 4 œ œ œ œ œ & ‰ ‰ bœ œ Œ ‰ œ œ ‰ Œ Œ ‰ Œ ‰ ‰ ‰ 4 4 Ó bœ. œ. . . . . frenzied f (spiccato) . Vln. I 2 . œ. bœ œ. . . . . œ . . . > > > > > j j Œ ‰ j ‰ bœ œ. ‰ Œ ‰ J Ó bœ œ œ ‰ œ 2 œ œ œ 4 œ œ œ œ œ Ó & ‰ ‰ bœ œ J Œ Œ J ‰ J ‰ J 4 J ‰ ‰ 4 bœ. . . frenzied f (spiccato) . . bœ-. Vln. II 1 . . . . bœ œ . . . . . - ‰ j j ‰ ‰ j bœ œ ‰ Œ œ. œ. ‰ œ œ ‰ ‰ J œ œ ‰ Œ bœ œ œ ‰ bœ 2 œ 4 œ œ œ œ œ Ó & bœ œ œ œ. J J J J J 4 J 4 œ œ œ œ œ bœ. œ. . . . frenzied f > > > > > (spiccato) . Vln. II 2 . œ. bœ œ. . . . . œ . ‰ j ‰ j Œ ‰ j Œ bœ œ. ‰ Œ ‰ J Œ ‰ Œ bœ œ œ ‰ œ 2 œ 4 œ œ œ œ œ Ó & bœ œ J ‰ Œ ‰ J J J 4 J ‰ ‰ œ œ 4 œ œ œ œ œ bœ. . . . . frenzied f > > > > > bœ. œ. œ. œ. œ. Vla. . . bœ. œ. œ. œ. bœ. œ. œ. 2 4 B œ œ ‰ Œ Œ ‰ Ó ‰ Œ Œ ‰ Ó Œ Œ 4 ∑ 4 bœ œ œ œ œ Ó frenziedœ œ œ œ œ (pizz.) > > > > > arco div.f bœ œ. œ. œ. #w Vc. ? ‰ j bœ Ó œ œ J bœ. œ. œ. 2 4 # w œ Œ Œ ‰ J Œ Œ ‰ Ó Œ Œ 4 ∑ 4
56 (pizz.) arco Í Db. t . . . 2 Œ Œ Ó Œ Œ ‰ bœ Ó Œ Œ œ œ œ 4 ∑ 4 ∑ œ bœ œ J bœ. œ. œ. 62
62 Fluid, dark 66 q = 60 œ ˙ b˙ Fl. ##˙ ˙. ˙. ˙ & ∑ 43 #œ 4 ∑ ˙ sonorous p p Ob. 1 ∑ 3 ∑ bœ b˙ ˙. 4 ∑ Ó Œ. bœ & 4 sonorous 4 J p p Ob. 2 ∑ 3 ∑ Œ Œ ‰ bœ œ bœ œ 4 w œ ‰ Œ Ó & 4 sonorousJ 4 J p . Cl. j b˙ Ó Œ 3 . . . 4 ‰ Œ Ó Œ b ˙. & sonorous#œ 4 ˙. ˙. ˙. 4 œ p Bsn. 3 ? ∑ 4 ∑ ∑ ∑ 4 ∑ ∑
62 (a2) 1 Hn. 3 œ+ 4 œ+ & ˙ Ó 4 ∑ ∑ Ó 4 J ‰ Œ Ó ∑ P p Tpt. 3 4 & ∑ 4 ∑ ∑ ∑ 4 ∑ ∑
Tbn. 3 ? ∑ 4 ∑ ∑ ∑ 4 ∑ ∑
Tba. 3 ? ∑ 4 ∑ ∑ ∑ 4 ∑ ∑
62 Perc. 3 4 ã ∑ 4 ∑ ∑ ∑ 4 ∑ ∑
62 Fluid, dark 66 ord. pont. ord. q = 60 bO O Vln. I 3 O. 4 O b œ ˙ & ∑ 4 ‰ œ. ##œO ˙O. ˙O. 4 ∑ ‰ œ J strong p ord. pont. pord. Vln. II j ∑ 3 ‰ . . 4 ∑ ‰ O O & 4 #O. ##œO ˙O. ˙O. 4 O œ ˙ # strongœ œ div. p div. p Vla. #œ w B Ó #˙ 3 ˙. œ ‰ Œ Œ ∑ 4 Ó Œ œ w 4 J 4 (div.) p p w ˙. ˙. ˙. #w w Vc. w 3 ˙. ˙. ˙. ? 4 4 #w w
62 Db. 3 t ∑ 4 ∑ ∑ ∑ 4 ∑ ∑ 63
69 68 w a2 Fl. w b˙. b˙. w 2 œ 4 & Œ bœ 4 J ‰ Œ 4 p bœ ˙ bœ Ob. 1 œ bœ œ œ bœ œ bœ J œ #œ œ #œ 2 œ #œ 4 Ó Ó 3 . & J J J 3#œ œ J 4 4
bœ œ w œ bœ Ob. 2 bœ bœ. œ œ J ‰ Œ Œ œ bœ œ #œ #œ 2 #œ. ‰ 4 & J 3 #œ 4 4
w j Cl. w ˙ b˙˙ w w 2 œ 4 & b˙ w w 4 œ ‰ Œ 4 a2 w bw w œ Bsn. ? 2 J 4 ∑ sonorous 4 ‰ Œ 4 p
68 Hn. 2 4 & ∑ ∑ ∑ ∑ 4 ∑ 4
Tpt. 2 4 & ∑ ∑ ∑ ∑ 4 ∑ 4
Tbn. 2 ? ∑ ∑ ∑ ∑ 4 ∑ 4
Tba. 2 ? ∑ ∑ ∑ ∑ 4 ∑ 4
68 Perc. 2 4 ã ∑ ∑ ∑ ∑ 4 ∑ 4
pont. 69 68 O Vln. I w 2 4 & ∑ ∑ ∑ 4 ∑ 4
pont. Vln. II 2 4 & wO ∑ ∑ ∑ 4 ∑ 4 (div.) Vla. œ 2 4 B J ‰ Œ Ó ∑ ∑ ∑ 4 ∑ 4 (div.) w Vc. 2 ? w ∑ ∑ ∑ 4 ∑ 4
68 Db. 2 t ∑ ∑ ∑ ∑ 4 ∑ 4 64
73 78
Fl. 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑
(1) 1 Ob. 4 œ & 4 ˙ Ó ∑ ∑ ∑ ∑ Ó Œ. J sonorous p Cl. 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? 4 ∑ ∑ ∑ ∑ ∑ ∑
73 Hn. 4 & 4 Œ b˙. w Œ b˙. w bb˙ œ. ‰ ∑ bsonorous˙o . w b ˙. w bœ. 1 a2 + p Harmon mute ord. P p Tpt. 4 & 4 ∑ ‰ .. Ó b˙ w Œ Ó #œ œ. ˙. b˙ sonorous bœ # œ. œ. ˙. a2 P p p (a2) f Í Tbn. bw ˙ b˙ w ˙. œ œ #œ. ? 4 œ œ ˙. # œ ‰ Œ Ó sonorous J p f Tba. ? 4 ∑ ∑ ∑ ∑ ∑ ∑
73 Perc. 4 ã 4 ∑ ∑ ∑ ∑ ∑ ∑
73 78
Vln. I 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ord. pont. bœ Vln. II solo 4 b˙ œ n˙ œ n˙. & 4 b˙ œ bœ œ ∑ bœ cantabile œ nœ b˙. bœ p Vln. II 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ord. solo pont. . Vla. j bœ b˙ B 4 b˙ œ bœ b˙. bœ. n˙ & œ b˙ œ B ∑ 4 bœ cantabile œ bœ œ p
Vc. ? 4 ∑ ∑ ∑ ∑ ∑ ∑
73
Db. t 4 ∑ ∑ ∑ ∑ ∑ ∑ 65
81 79
Fl. & ∑ 42 ∑ 4 ∑ ∑ ∑
Ob. 1 œ bœ œ œ nœ œ 2 ˙ 4 œ ‰ Œ Ó ∑ ∑ & 4 4 J
bœ. Ob. 2 œ nœ œ bœ œ 2 ˙ 4 œ & J 3 4 4 J ‰ Œ Ó ∑ ∑ sonorous p Cl. 2 & ∑ 4 ∑ 4 ∑ ∑ ∑
Bsn. ? 2 ∑ 4 ∑ 4 ∑ ∑ ∑
79
Hn. 1 + + Ó Œ bœ œ 2 ∑ 4 ∑ ∑ ∑ & 3 J 4 4 P p Hn. 2 + + . œ 2 œ 4 & Ó Œ J 4 Œ 4 ∑ ∑ ∑ P p Tpt. 2 ∑ 4 ∑ ∑ ∑ & w 4 4
Tbn. ? 2 ∑ 4 ∑ 4 ∑ ∑ ∑
Tba. ? 2 ∑ 4 ∑ 4 ∑ ∑ ∑
79 Perc. 2 4 ã ∑ 4 ∑ 4 ∑ ∑ ∑
81 79 Vln. I 2 . œ & ∑ 4 ∑ 4 œ #˙ œ #œ ˙ warm bœ b˙. p Vln. II 2 & ∑ 4 ∑ 4 Ó #˙ warm ˙ n˙ b˙ ˙ tutti ppizz. arco div. Vla. B 2 4 Œ Ó ∑ 4 ∑ 4 œ Œ #w #œ #˙ warm w p p Vc. ? 2 ∑ 4 ∑ 4 ∑ ∑ ∑
79 Db. t 2 ∑ 4 ∑ 4 ∑ ∑ ∑ 66
84 88
Fl. & ∑ 42 ∑ 43 ∑ 42 ∑ 4 ∑
1 Ob. 2 3 2 4 bœ & ∑ 4 ∑ 4 ∑ 4 ∑ 4 Ó Œ. J p Cl. 2 3 2 & ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ bœ bœ œ bœ nœ ˙ bœ. œ œ œ œ bœ œ Bsn. 1 ? Œ. J 2 3 ‰ 2 4 Œ Ó sonorous 4 4 4 4 p bœ bœ bœ nœ œ bœ œ bœnœ. œ œ bœ œ œ Bsn. 2 ? 2 3 J 2 4 J Ó 3 3 ‰ Œ Ó sonorous 4 4 4 4 p
84 Hn. 2 3 2 4 & ∑ 4 ∑ 4 ∑ 4 ∑ 4 Ó ˙ o sonorous p Tpt. 2 3 2 4 & ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑
Tbn. ? ∑ 2 ∑ 3 ∑ 2 ∑ 4 #˙. œ 4 4 4 4 sonorous œ p Tba. 2 3 2 ? ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑
84 Perc. 2 3 2 4 ã ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑
84 88
Vln. I 2 3 2 4 & Ó 4 ∑ 4 ∑ 4 ∑ 4 ∑ n˙
Vln. II 2 3 2 4 & ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑
div. Vla. 2 3 2 4 B œ œ œ. ‰ 4 ∑ 4 ∑ 4 ∑ 4 Ó ˙ œ œ œ. warm˙ div. div. p Vc. ? #˙ œ. ‰ 2 ∑ 3 ∑ 2 ∑ 4 #w # ˙ œ. 4 4 4 4 warm warm p 84 p pizz. pizz. Db. 2 3 2 t Ó Œ #œ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó œ p p 67
90 89 accel. Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1 bœ ˙ œ œ bœ œ œ bœ bœ. œ & J J ‰ Œ Ó ∑ ∑ ∑
Ob. 2 œ œ bœ bœ. œ œ œ b˙. ∑ ∑ ∑ ∑ & J 3
p 1 3 Cl. & ‰ j j bœ œ Œ Ó ∑ ∑ ∑ bœ œ bœ œ œ œ œ b˙ œ sonorous p Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑
89 Hn. ∑ j ∑ & #˙. œ ˙ Œ #œ œ ‰ Œ Ó œ b . + + œ b ˙. p P p Tpt. ∑ Ó. ˙. ˙ Ó ∑ & #œ w ˙œ. sonorous #œ w p Tbn. ? #˙. w œ # ˙. ∑ ∑ ∑ ∑
Tba. ? Ó ∑ ∑ ∑ ∑
sonorousw ˙ p glockenspiel 89 Perc. ∑ œ bœ œ Œ ∑ ∑ ∑ ∑ ã † bœ bœ p
90 89 accel. Vln. I 1 ∑ ∑ bœ bœ. ˙ œ. bœ œ bœ œ bœ œ. bœ œ bœ ˙ bœ œ & J J J J 3 p Vln. I 2 bœ. bœ b˙. œ bœ b˙ bœ bœ œ œ œ œ bœ. bœ. œ & ∑ Ó ‰ J J J J p Vln. II 1 ˙ b˙ b˙ n˙ & ∑ ∑ ∑ Œ . ˙ p Vln. II 2 œ ∑ ∑ ∑ Ó Œ œ œ bœ ˙ bœ nœ œ j & J 3 J œ œ œ (div.) p Vla. #w bœ bœ B œ w ∑ ∑ bœ ˙ œ bœ. œ œ œ ##˙. 3 J J p Vla. 2 b˙. B ∑ ∑ ∑ ∑ Œ bœ œ ˙ bœ 3 J (div.) p Vc. ? w œ #˙. w œ # ˙. ∑ ∑ ∑ ∑
89 arco Db. t Ó ∑ ∑ ∑ ∑
wwarm ˙ p 68
95 Focused, floating q = 120 Fl. & ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑
95
Hn. & ∑ ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑
95 j (glock.) œ j Perc. œ bœ † Œ Ó ∑ Ó ‰ Œ ∑ Ó Œ ‰ œ œ kick drum œ œ
95 Focused, floating qpont. = 120 Vln. I 1 ‰ j ‰ & œ œ œ œ ‰ ‰ bœ œ œ b tenseœ. œ. ˙.. . . œ. œ. œ ˙. bœ. œ. b˙ œ. œ. œ. ˙ . . p pont. Vln. I 2 & Œ ‰ . Œ ‰ . Œ ‰ tenseœ. œ. ˙ ˙ bœ. œ. ˙ ˙ bœ. œ. bw pont. p Vln. II 1 j j j j j & ‰ ‰ ‰ œ œ œ. ‰ ‰ ‰ ‰ j j ‰ ‰ b œtenseœ œ. œ. . . œ œ œ œ bœ. œ. nœ. œ. œ œ bœ œ œ œ bœ œ ˙ . . . . bœ. œ. . . . . ppont. Vln. II 2 & ‰ j j ‰ Œ ‰ j j ‰ Œ ‰ j j ‰ Œ ‰ j j ‰ Œ ‰ j j ‰ Œ ‰ j j ‰ b tenseœ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ ...... bœ. œ. . . . . p pont. Vla. . . B bœ. œ. œ ˙ œ w œ Œ bœ œ œ. w ˙ Œ œ. œ. œ tense p pizz. p p Vc. ? ‰ bœ Œ Ó ∑ Ó ‰ œ Œ ∑ Ó Œ ‰ œ J J J 95 pizz.p p p Db. t Œ Ó ∑ Ó Œ ∑ Ó Œ ‰ j bœ œ œ p p p 69
102 100
Fl. & ∑ 42 ∑ 4 ∑ ∑ ∑
1 Ob. 2 & ∑ 4 ∑ 4 ∑ Ó ˙. ˙ œ p Cl. 2 & ∑ 4 ∑ 4 ∑ ∑ ∑
Bsn. 2 ? ∑ 4 ∑ 4 ∑ ∑ ∑
100 1 Hn. ∑ 2 ∑ 4 Œ & 4 4 b˙. ˙ Ó œ œ delicate #˙ p Tpt. 1 2 j 4 j & ∑ 4 j 4 Ó Œ . . Œ œ delicateœ bœ ˙ œ bœ œ œ ˙ p Tpt. 2 4 & ∑ 42 ∑ 4 Ó Œ. j bw delicate œ bw p Tbn. ? 2 ∑ 4 ∑ 4 ∑ ∑ ∑
Tba. ? 2 ∑ 4 ∑ 4 ∑ ∑ ∑
100 (glock.) œ j j Perc. œ œ Ó Œ œ 2 Œ 4 ‰ bœ Œ Ó ∑ Ó ‰ œ Œ † (k.d.) œ 4 œ 4 œ œ
102 100 (pont.) Vln. I 1 j ‰ ‰ j ‰ 2 ‰ 4 ‰ j ‰ ‰ & œ nœ œ œ 4 œ œ œ œ œ 4 œ œ ˙ œ œ œ œ bœ. œ. œ ...... bœ. œ. œ ˙ . . œ. œ. œ ˙ . . (pont.) Vln. I 2 . . . . j j 2 4 œ œ ˙. bœ œ & ‰ ‰ ‰ 4 ‰ œ œ œ 4 Œ ‰ ‰ ‰ ‰ œ bœ. œ. œ nœ. œ. œ . . œ. œ. œ. œ. ˙ bœ. œ. ˙ (pont.) Vln. II 1 j ‰ ‰ j ‰ 2 ‰ 4 ‰ ‰ œ. œ. œ ˙ ‰ & bœ œ œ 4 bœ œ œ œ œ 4 bœ. œ. œ œ. œ œ œ œ. œ. œ ...... bœ. œ. œ. œ. œ ˙ . . (pont.) Vln. II 2 Œ ‰ j 2 ‰ 4 Œ ‰ ‰ ‰ & bœ œ œ ‰ 4 bœ œ œ œ œ 4 œ. œ. ˙ œ bœ. œ. ˙ œ. œ. œ ...... bœ. œ. œ œ œ œ (pont.) . . Vla. 1 . . œ. œ. œ ˙ . . . . B ˙ bœ œ ‰ 2 ‰ œ. œ. œ ‰ 4 œ œ œ ˙ . bœ œ œ ˙ bœ. œ. œ 4 J 4 bœ. œ. œ œ pont.
Vla. 2 ...... B ∑ 2 ∑ 4 œ œ œ. œ œ œ œ œ bœ œ b˙ bœ. œ. œ. 4 4 tense bœ œ œ œ. p . . arco pizz. Vc. . . bœ. œ. œ ? Ó Œ œ œ œ 2 ‰ J ‰ 4 ‰ bœ Œ Ó ∑ Ó ‰ œ Œ 4 4 J J 100 (pizz.) p Db. t 2 bœ Ó Œ œ ‰ 4 Œ J ‰ 4 Œ Ó ∑ Ó Œ J bœ œ p 70
108 105
Fl. & ∑ ∑ ∑ ∑
(1) Ob. œ. #œ ˙ ˙ Œ œ w & J #˙ ˙
Cl. & ∑ ∑ ∑ ∑ 1 #˙ Bsn. ? ∑ ∑ ∑ Ó p
105 Hn. Ó ∑ ∑ ∑ & ˙
Tpt. & ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑
j 105 (glock.) bœ Perc. ∑ Ó Œ ‰ bœ Ó Œ. bœ ∑ † (k.d.) œ J
108 105 (pont.) ord. Vln. I 1 ‰ ‰ j ‰ ‰ j ‰ ‰ & œ. œ œ ˙ œ œ œ œ bœ œ œ Nœ œ œ œ œ œ œ œ œ œ. œ. œ. œ ...... bœ œ œ (pont.) pord. Vln. I 2 b˙. j & ‰ ‰ ‰ ‰ j ‰ ‰ œ œ œ œ œ œ Nœ. œ. ˙ œ. œ. œ œ bœ. œ. œ œ œ œ bœ œ œ œ œ œ . . p (pont.) ord. Vln. II 1 j & ˙ œ ‰ œ œ œ ˙ ‰ bœ. œ. œ œ. ‰ ‰ ‰ . . bœ. œ. œ œ. œ. œ œ œ bœ œ œ œ œ œ œ œ œ (pont.) pord. Vln. II 2 & ‰ ‰ bœ œ ˙ ‰ ‰ ‰ ‰ . . bœ œ œ œ. œ. œ œ œ bœ œ œ œ œ œ œ œ œ bœ. œ. ˙. bœ. œ. bœ. . . (pont.) pord. Vla. 1 . . B bœ. œ. œ ˙ œ. œ. œ ˙ Œ œ œ œ ‰ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ. œ. œ. œ . . (pont.) pord. Vla. 2 . . B œ œ. œ. ˙ Œ œ œ œ Œ ‰ bœ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ bœ œ œ œ. œ. œ œ. . . . . arco p (pizz.) Vc. ? œ œ. œ. œ œ œ œ bœ œ œ ∑ Ó Œ ‰ J Ó Œ ‰ œ œ œ œ œ œ
105 (pizz.) p Db. t ∑ Ó Œ ‰ j Ó Œ œ ‰ ∑ œ J p 71
109
Fl. & ∑ ∑ ∑ ∑
(1) Ob. œ #˙. œ ˙. ˙ Ó & #˙ ˙
Cl. & ∑ ∑ ∑ ∑ (1) w œ. œ ˙ ˙. œ œ #œ. ˙ Bsn. ? J J
109
Hn. & ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑
109
Perc. † ∑ ∑ ∑ ∑
109 tutti Vln. I j bœ œ œ œ bœ & bœ œ bœ œ œ œ œ ‰ œ œ œ ‰ ‰ bœ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ J J tutti Vln. II j j & j ‰ œ œ œ œ œ œ œ œ ‰ ‰ ‰ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ tutti Vla. B bœ œ œ œ œ œ œ œ œ j ‰ bœ œ œ bœ œ œ œ bœ ‰ ‰ j ‰ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J bœ œ œ œ œ œ œ tutti Vc. bœ œ œ ? j ‰ œ œ œ œ œ ‰ ‰ bœ œ œ œ œ œ œ ‰ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J 109 Db. t ∑ ∑ ∑ ∑ 72
114 113 œ œ. Fl. 1 b˙. bœ ˙ & ∑ ∑ J p . Fl. 2 b˙ ˙ bœ. & ∑ ∑ Œ ‰
p 1 Ob. ∑ ∑ Ó & b˙ w 1 p Cl. b˙ ˙ & ∑ Ó Œ œ ˙. Œ
p 1 ˙ Bsn. ? b˙ Ó ∑ Ó Œ bœ ˙ p
113 1 Hn. bw & ∑ Œ b˙. œ Œ b˙ p1 Tpt. ∑ b˙ & Ó bw ˙ b˙
p p 1 Tbn. ? ∑ ∑ Œ j œ ˙ ˙. œ . p Tba. ? ∑ ∑ ∑ ∑
113 (glock.) j bœ bœ Perc. bœ b œ bœ (k.d.) ∑ Ó ‰ b œ Œ Œ ‰ Ó Ó Œ œ † œ J œ
114 113 Vln. I 1 œ œ œ bœ œ œ j & ‰ œ œ œ ‰ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ ‰ Œ ‰ ‰ bœ. œ. bœ. œ. œ. œ. œ. œ. bœ. œ. bœ. œ. œ. œ. bœ. œ. œ. œ. bœ. œ.
Vln. I 2 œ œ œ bœ œ œ j & ‰ œ œ œ ‰ ‰ Œ ‰ ‰ Œ ‰ j Œ j ‰ Œ j ‰ j ‰ Œ bœ. œ. œ. œ. œ. œ. bœ. bœ. bœ. bœ.
Vln. II 1 & œ œ œ bœ œ œ ‰ j ‰ Œ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ ‰ Œ bœ œ œ bœ. œ. bœ. œ. œ. œ. bœ. œ. bœ. œ. œ. œ. bœ. œ. bœ. œ. œ. œ.
Vln. II 2 & œ œ œ bœ œ œ ‰ j ‰ Œ Ó j ‰ j ‰ Œ j ‰ ‰ j Œ bœ œ œ bœ. œ. œ. œ. œ. œ. bœ. bœ. bœ. bœ.
Vla. . . B bœ œ œ œ œ œ ‰ œ œ œ ‰ Ó bœ. œ. œ. Œ bœ. œ. ‰ Ó bœ. œ. ‰ Œ Œ bœ œ ‰ J Œ pizz. Vc. ? ‰ œ œ œ ‰ Ó bœ. œ. œ. Œ Œ ‰ bœ. Ó bœ. œ. Œ Œ ‰ bœ. œ œ œ œ œ œ J J J 113 pizz. Db. t Ó . œ. œ. . bœ. ∑ bœ Œ Œ bœ Ó Ó Œ ‰ J p 73
117 bœ w œ Fl. 1 œ bœ b˙ ˙ bœ b˙ & ‰ J Œ b˙. ˙ Fl. 2 w bœ bœ œ ˙. bœ & ‰ J
(1) Ob. ∑ & ˙ Ó b˙ ˙ w (1) Cl. Ó. œ œ b˙. ˙. Œ Œ œ & b˙ (1) b˙. ˙ Bsn. ? ˙ . bœ œ bœ. w Œ J ‰
117 (1) Hn. ˙ & bw ˙ Ó ˙ w (1)
Tpt. bw ˙ bw & Ó Ó b˙
(1) ˙ ˙. Tbn. ? ˙ œ œ ˙ ˙. ˙
Tba. ? ∑ ∑ Ó b˙ w p
117 (glock.) j bœ bœ bœ Perc. Ó bœ Œ Œ ‰ œ Ó ‰ bœ Œ Ó Ó œ b œ Œ † (k.d.) b œ œ œ J œ
117 . . Vln. I 1 bœ œ œ. œ. & ‰ bœ œ ‰ ‰ œ œ ‰ ‰ ‰ Œ ‰ Œ bœ œ ‰ Œ œ œ ‰ ‰ Œ ‰ Œ bœ. œ. . . . . œ. œ. bœ. œ. œ. œ. œ. œ. . . . .
Vln. I 2 . Œ j ‰ Œ ‰ Œ j ‰ Œ j bœ œ. Œ & ‰ j bœ j j ‰ Œ ‰ j bœ œ ‰ J ‰ Œ ‰ J bœ. . bœ. œ. œ. . .
Vln. II 1 . . ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ bœ œ Œ ‰ œ. œ. ‰ & bœ œ œ œ bœ œ œ œ J J . . bœ. œ. œ. œ. . . . . bœ. œ. œ. œ. œ. œ. bœ. œ. . .
Vln. II 2 . Œ j ‰ j ‰ Œ j ‰ ‰ ‰ j ‰ Œ j ‰ bœ Œ Œ œ. ‰ & bœ j Ó j bœ œ ‰ J J bœ. . bœ. œ. bœ. . .
Vla...... B Ó bœ. œ. ‰ Œ Œ bœ œ ‰ Ó œ. œ. ‰ Œ Œ bœ œ ‰ Ó œ œ ‰ Œ
Vc. j . . ? Ó ‰ bœ. Œ Œ bœ. œ. Ó ‰ œ Œ Œ ‰ bœ. Ó œ œ Œ J . J
(pizz.) Db. t ∑ Œ ‰ j Ó Œ Œ Ó Œ bœ . œ. bœ. bœ. 117 p arco Db. 2 ? ∑ ∑ Ó weightedb˙ w p 74
124 121 to piccolo ˙. bw bœ Fl. 1 bœ bœ J & 42 ‰ 4 ∑ ∑ bœ œ œ œ. ˙ ˙ Fl. 2 bœ 2 J & J 4 ‰ Œ 4 ∑ ∑
(1) Ob. 2 ∑ 4 ∑ ∑ & b˙ b˙ w 4 4 (1) Cl. 2 bœ & w œ Œ Œ œ 4 œ 4 ∑ ∑
(1) œ. Bsn. ? œ. j 2 4 bœ œ œ w 4 ‰ 4 ∑ ∑
121 (1) Hn. Ó bw 2 ˙ 4 ∑ ∑ & b˙ 4 4 (1) Tpt. œ Ó 2 4 ∑ ∑ & Œ Ó b˙ 4 b˙ 4 (1) w œ œ ˙ Tbn. ˙ 2 ? 4 4 ∑ ∑
Tba. ? 2 4 bœ ˙ bw ˙ n˙ 4 ˙ 4 œ. J ∑
j 121 (glock.) j bœ Perc. bœ œ Ó ‰ b œ Œ ‰ bœ Œ Œ œ 2 ∑ 4 ∑ ∑ † (k.d.) œ œ œ 4 4
124 121 . . bœ. œ. . . Vln. I 1 œ œ œ œ bœ. œ. œ. œ. œ. 2 bœ. œ. œ. 4 #œ œ œ œ œ œ œ œ œ nœ#œ œ#œ œ œ œ œ œ œ œ & ‰ Œ ‰ ‰ Ó ‰ 4 J ‰ ‰ 4 œ œ ‰ œ œ œ œ œ ‰ œ energized f . bœ. . Vln. I 2 œ œ bœ. œ. œ. œ. œ 2 bœ. œ. œ. 4 œ œ nœ#œ œ œ œ œ œ & J ‰ Œ J ‰ J ‰ Ó ‰ 4 J ‰ ‰ 4 œ #œ œ œ ‰ œ œ œ œ œ œ œ œ #œ œ œ œ œ ‰ œ œ energized f . . bœ. œ. . . Vln. II 1 œ œ œ œ bœ. œ. œ. œ. œ. 2 bœ. œ. œ. 4 & Œ Ó ‰ 4 J ‰ ‰ 4 Œ ‰ #œ œ œ œ energized#œ œ œ œ œ œ œ œ œ œ#œ œ œnœ œ œ œ œ œ œ œ œ f . bœ. . Vln. II 2 œ œ bœ. œ. œ. œ. œ 2 bœ. œ. œ. 4 & J ‰ Œ J ‰ ‰ J Ó ‰ 4 J ‰ ‰ 4 Œ ‰ #œ œ œ œ energized#œ œ œ œ œ œ œ œ œ œ#œ œ œnœ œ œ œ œ œ œ œ œ f Vla...... 2 B Œ bœ œ ‰ Ó bœ œ œ Œ Œ œ œ œ 4 ∑ 4 ∑ ∑
arco bœ. Vc. . . . œ. œ. œ. 2 ? Œ ‰ J Ó bœ œ œ Œ Œ 4 ∑ 4 ∑ ∑
(pizz.) arco Db. t . 2 4 Œ ‰ bœ Ó Œ Œ bœ. œ. œ. 4 ∑ 4 ∑ ∑ J bœ. œ. œ. 121 Db. 2 bœ ˙ ? 2 4 ∑ bw ˙ n˙ 4 ˙ 4 œ. J 75
126
Fl. & ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑
126 1 3 Hn. >œ & ∑ ∑ ∑ Ó œ œ > > f Tpt. & ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑
126 (glock.) œ #œ œ #œ œ œ Perc. † ∑ ∑ ∑ Ó ‰ ã f
126 tutti œ #œ œ œ #œ œ #œ Vln. I œ œ œ œ œ#œ œœ œ œ œ œ#œœ œœ & #œœ œ œ œ œœœ œ œ œ œ œ#œ #œ ‰ nœœ œ œ œ œ #œ œ œ ‰ œ œ œ œ œ œ œ œ #œ œ œ ‰ œ #œ tutti œ #œ œ #œ Vln. II œ œ œ#œœ œœ & ‰ œ œ #œ œ œ ‰ œ œ œ œ œ œ œ œ #œ œ œ ‰ œ #œœœ œ œœœ œ œ œ œ œ œ œ#œœ œ œ œœ#œ#œ œœ œœnœ œ œ œ œ œ œ œ Vla. B ∑ ∑ œ #œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ#œœ#œ œ œœœ ‰ energized f Vc. ? œ œ œ œ ? ∑ ∑ & ‰ œ œ œ#œœ œœ Œ œ energized#œ œ œ œ œ œ œ œ œ œ œ #œ œ œ 126 f Db. t ∑ ∑ ∑ ∑ 76
130 Murky 134 q = 60 Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
130
Hn. & w w ∑ ∑ ∑ ∑ ∑ p Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
mute (to ord.) Tbn. 1 ? ∑ ∑ ∑ ∑ bw w ∑
mute p ord. Tbn. 2 ? ∑ ∑ ∑ Ó Ó ˙ ˙ w w p Tba. ? ∑ ∑ ∑ ∑ ∑ ∑ w p
130
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
130 Murky 134 q = 60 Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla. B ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc. 1 bœ œ ? ∑ ∑ ∑ ∑ œ J #œ œ œ œ œ. strong J j p œ w Vc. 2 ? ∑ ∑ ∑ ∑ ‰ œ. b˙ œ#œ. œ œ œ Œ strong œ ˙ œ p Db. 1 t bw w w bw w ˙ Ó ∑ strong f p 130 Db. 2 ? ∑ Ó w w ∑ ˙ strong w w p 77
142 137
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
137
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
137
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
142 137
Vln. I & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vln. II & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla. B ∑ ∑ ∑ ∑ Ó b˙ strong ˙. bœ ˙ b˙ p Vc. 1 ? œ œ b˙. œ Œ œ ˙ ˙. Œ œ b˙. b˙ ˙ ˙. ˙.
Vc. 2 ? ∑ Ó b˙ ˙ Œ œ bw b˙ œ œ nœ b˙. ˙ ˙ 137 p tutti Db. t ∑ ∑ ∑ ∑ Ó Ó œ strongbœ w ˙ p 78
144
Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑
144
Hn. & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑ ∑
144
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑
144
Vln. I & ∑ Œ bœ ˙ ˙ œ ˙. ˙ b˙ bw strong ˙ p Vln. II & Ó Œ b˙ œ ˙. b˙. œ œ b˙ œ b˙ strong w bœ p Vla. ˙ B bw œ Œ b˙ bw œ b˙. ˙ b˙ ˙
Vc. 1 ? j j ˙. bœ ˙ n˙ œ b˙.. n˙.. bœ ˙. nœ ˙. œ
Vc. 2 ? œ ˙. w w w œ ˙. ˙ ˙ 144 Db. t ∑ ∑ ∑ ∑ ∑ ∑ 79
150 Converging q = 120 Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑
150
Hn. & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑ ∑
150
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑
150 Converging q = 120 Vln. I j j j j & œ œ œ ˙ œ ˙ œ œ .. œ œ œ heavy ˙ œ ˙ œ. œ œ ˙ œ œ œ p Vln. II bœ ˙ & . b heavy˙ ˙ bœ ˙ œ ˙ bœ bœ œ bœ ˙ œ bœ œ œ œ p Vla. B œ ˙ œ ˙ œ œ œ ˙. œ ˙ œ ˙ œ #œ. œ ˙. heavy J p Vc. 1 ? Œ ∑ ∑ ∑ ∑ ∑ ˙.
Vc. 2 ? ∑ ∑ ∑ ∑ ∑ w
150 Db. t ∑ ∑ ∑ ∑ ∑ ∑ 80
159 156
Fl. & ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑
156
Hn. & ∑ ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑
156
Perc. ã ∑ ∑ ∑ ∑ ∑
159 156
Vln. I 1 & j j j œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ
Vln. I 2 & j j j œ Ó œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
Vln. II 1 œ œ & j j j j j œ bœ œ œ bœ œ œ j j œ bœ œ bœ œ œ œ œ bœ œ œ œ œ œ œ J J œ bœ œ.
Vln. II 2 œ . & j j j j j œ bœ Œ Ó œ œ bœ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ J J œ bœ œ
Vla. B œ #œ. œ œ. ˙ œ œ œ œ #œ œ œ œ. œ œ #œ œ œ œ œ œ. #œ œ œ J J J J J J J J J J
Vc. ? ∑ ∑ ∑ ∑ ∑
156 Db. t ∑ ∑ ∑ ∑ ∑ 81
164 161
Fl. & ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑
161
Hn. & ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑
161
Perc. ã ∑ ∑ ∑ ∑
164 161 Vln. I 1 . œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ & J œ œ œ œ œ œ J œ œ. œ
Vln. I 2 . œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ & œ œ œ œ J œ œ œ œ œ œ J œ
Vln. II 1 œ. œ . & œ œ j œ œ bœ œ J œ bœ œ œ bœ œ œ œ œ œ œ œ bœ œ. J J J
Vln. II 2 œ œ œ œ & œ bœ J œ j j j j j œ œ œ bœ œ. bœ œ œ œ. œ œ bœ œ œ
Vla. 1 B œ #œ œ ˙ œ œ ˙ œ œ ˙ #œ œ œ œ œ #œ. ˙
Vla. 2 B œ #œ œ ˙ œ œ ˙ œ œ ˙ #œ œ œ œ Œ Œ œ #œ.
Vc. ? ∑ ∑ ∑ ∑
161 Db. t ∑ ∑ ∑ ∑ 82
168 165
Fl. & ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑
165
Hn. & ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ b˙ bheavy˙ f
165 bass drum Perc. ã ∑ ∑ ∑ œ Œ Ó f
168 165 Vln. I 1 œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ tense f Vln. I 2 œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ. œ tense f Vln. II 1 œ œ œ œ œ œ œ œ. œ œ & bœ œ j J œ bœ œ. œ œ œ ˙ tenseœ œ œ f Vln. II 2 œ œ œ. œ œ œ œ œ. & œ bœ œ œ bœ J J J œ bœ œ œ. œ bœ œ œ tense œ f Vla. 1 B œ œ. ˙ #œ œ. ˙ œ #œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. tense f Vla. 2 B ˙ œ œ. œ œ #œ œ. ˙ œ #œ. ˙ œ œ œ œ œ œ œ œ œ œ œ tense f tutti Vc. ? ∑ ∑ ∑ b˙ b ˙heavy 165 ftutti Db. t ∑ ∑ ∑ b˙ b ˙heavy f 83
169
Fl. & ∑ ∑ ∑
Ob. & ∑ ∑ ∑
Cl. & ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑
169
Hn. & ∑ ∑ ∑
Tpt. & ∑ ∑ ∑
(ord.) a2 Tbn. ? Œ ∑ Œ j bœ. œ bœ heavy œ bœ œ œ #heavyœ œ f f Tba. ? Ó Ó ˙ ˙ ˙ ˙
169 (b.d.) Perc. ã ∑ Ó œ Œ ∑ f
169 Vln. I 1 œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ &
Vln. I 2 œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &
Vln. II 1 œ œ œ œ œ œ ˙ œ œ œ œ. œ œ œ & œ œ œ. œ œ
Vln. II 2 œ œ œ œ œ œ œ œ œ ˙ œ œ & œ ˙ œ œ. œ. J
Vla. 1 B œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ.
Vla. 2 B œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ
Vc. j ? œ œ bœ œ. ˙ œ j bœ. œ ˙ #œ œ bœ 169 Db. j t œ œ bœ œ. ˙ œ j bœ. œ ˙ #œ œ bœ 84
piccolo 172 3 Fl. 1 ∑ ∑ 2 Œ † bœ 4 & 4 œ eruptingbœ 4 p bœ bœ Fl. 2 2 bœ bœ œ œ 4 ∑ ∑ bœ œ 5 & 4 3 4 erupting p Ob. 2 & ∑ ∑ 4 ∑ 4
Cl. 2 & ∑ ∑ 4 ∑ 4
Bsn. 2 ? ∑ ∑ 4 ∑ 4
172 Hn. 2 & ∑ ∑ 4 ∑ 4
Tpt. 2 & ∑ ∑ 4 ∑ 4
(a2) Tbn. 2 ? œ Œ Ó Ó j j 4 4 œ œ bœ ˙ > > > Tba. 2 ? Œ Œ 4 ∑ 4 b˙ œ ˙.
172 (b.d.) Perc. 2 4 ã Œ œ Ó ∑ 4 ˙ 4 erupting@ f p
172 Vln. I 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ. œ œ œ & 4 4
Vln. I 2 œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ & 4 4
Vln. II 1 œ œ œ ˙ œ œ œ œ. œ œ œ œ œ œ 2 ˙ & 4 4
Vln. II 2 œ œ. œ œ œ œ œ œ ˙ œ œ œ œ. 2 œ. œ 4 & 4 J 4
Vla. 1 . . 2 . B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ 4
Vla. 2 . . . 2 B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4
3 5 Vc. ? œ j 2 4 j bœ 4 bœ bœ œ 4 b˙ œ œ > bœ bœ œ œ œ ˙ > > œ erupting 172 p Glissandoà Db. t j 2 œ 4 œ j bœ 4 œ 4 b˙ œ œ > erupting œ ˙ > > p 85
175 Epic! ( ) q = 120 bœ bœ œ bœ bœ œ #œ œ œ Fl. 1 4 bœbœœœ J œ #œ œœ#œ œ#œ J bœ œ bœ œ 5 ‰ Œ Œ œ #œ 5 ‰ Œ Œ † 4 3 3 f 9 5 œ Fl. 2 4 J ‰ Œ bœ bœ œ bœ bœ bœ bœ œ ‰ Ó Ó nœbœbœœbœbœ & 4 3 œ œ bœœœ J œœnœ
a2f Ob. 4 b˙ w ˙ nœ- bœ- & 4 ˙ epic sweetness f 7 Cl. 1 bœ bœ œ œ 4 Ó bœœbœbœ œœœœ ‰ Œ ‰ bœ bœ œ bœ J ‰ Œ Ó & 4 œœ œbœ J œ œ 5 7 bœ erupting f 3 Cl. 2 bœ bœ 4 Ó Œ ‰ bœ nœbœnœœbœnœ ‰ Œ bœœbœbœ j ‰ Ó & 4 œ bœ nœ 5 J œœ b eruptingœnœ 7 bœ
a2 f bœ- - Bsn. ? 4 w bœ œ- ˙ 4 bw 3 epic sweetness f
175 Hn. 4 & 4 bw bw w w epic sweetness w w f a2 Tpt. 4 b˙ w ˙ nœ- bœ- & 4 ˙ epic sweetness
f(a2) Tbn. ? 4 bw w w epic sweetness f Tba. ? 4 b wepic sweetness w w f
175 (b.d.) Perc. 4 œ Œ Œ œ ˙ Ó ã 4 @ @ ∑ f p 175 Epic! ( ) q tutti = 120 Vln. I 4 œ œ nœ#œ œ œ œ œ œ œ œ œ œ & 4 œ#œ œœ‰ œ œ œ œ œ œ œ œ #œ œ œ œ œ ‰ œ œ #œ œ œ œ œ œœ œ œ œ œ œ explosive
f tutti Vln. II 4 & 4 Œ ‰ #œ œ œ ‰ œ explosive#œ œ œ œ œ œ œ œ œ œ#œ œ œnœ œ œ œ œœ œ œ œ œ #œ œœ œ œœ œ œ œ œ œ œ œ tutti f Vla. 4 #˙ w@ ˙ œ #œ B 4 ˙ @ @ frenzied @ @ @ f(tutti) Vc. ? 4 b˙ epic sweetness b˙ w w 175 f(tutti) Db. t 4 bw epic sweetness w w f 86
179 178 ˙ bœ ˙ Fl. 1 † œ œ bœ Œ Ó 43 42 4
3 ˙ bœ ˙ Fl. 2 bœ 3 2 4 & j ‰ œ bœ bœ œ œ j ‰ 4 4 4 bœ 5 œ bœ œ (a2) Ob. 3 2 & w 4 ˙. 4 ˙ 4
7 7 Cl. 1 3 2 & bœ œ œ bœ œ bœ j ‰ Œ 4 4 4 œ bœ œ œ bœ œ #œ œ œ ˙ bœ ˙
5 Cl. 2 3 2 & Ó 4 j ‰ Œ 4 4 œ œ #œ œ œ nœ œ #œ nœ #œ bœ ˙
(a2) 3 Bsn. ? 3 2 bw 4 4 4 b˙. bœ - bœ- œ-
178 a2 Hn. 3 2 & bw 4 4 b˙ 4 b w b˙. (a2) Tpt. 3 bœ 2 ˙ & w 4 ˙ 4 4
˙ bœ ˙ Tbn. 1 ? 3 2 bw 4 4 4
3 Tbn. 2 ? 3 2 bw 4 4 4 b˙. bœ - bœ- œ- 3 Tba. ? 3 2 ∑ 4 4 4 b˙. bœ - bœ- œ-
brake drum 178 Perc. œ 3 œ 2 œ œ 4 ã Ó ‰ œ œ œ œ œ 4 œ œ œ œ ‰ œ œ œ œ œ 4 œ œ œ œ œ œ 4
179 178 Vln. I œ #œ œ œ œ 3 œ 2 œ œ & œ #œ œ œ ‰ œ œ œ œ œ 4 œ #œ œ œ ‰ œ œ œ œ œ 4 #œ œ œ œ œ œ 4
Vln. II 3 2 4 & #œ œ 4 ‰ 4 4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ
Vla. B ˙ ‰ 3 ‰ 2 4 @ œ 4 œ 4 œ œ 4 explosiveœ #œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ f Vc. ? 3 2 4 ‰ 4 4 œ œ œ bw explosiveœ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ 178 f 3 Db. t 3 2 4 4 4 b˙. bœ bw - bœ- œ- 87
183
181 ˙. nœ- bœ- 3 bœ œ bœ bœ œ bœ Fl. 1 4 bœ bœ œ œ J Œ bœ bœ œ 5 ‰ Œ † 4 œerupting p - - f ˙. nœ bœ œ œ Fl. 2 œ bœ bœ 4 œ bœ bœ œ J bœ bœ œ bœ 5 ‰ Œ bœ bœ & 4 3 3 œ œ erupting (a2) p f Ob. 4 & 4 ˙. Œ b˙ w ˙ 7
Cl. 1 4 Ó bœbœ œbœ œ œ œ & 4 ˙. nœ bœ bœ œ œbœ œbœ œ ˙. 7 - - erupting f 3 Cl. 2 4 & 4 . Ó Œ ‰ œ ˙ nœ- bœ- ˙. b œeruptingnœ (a2) f Bsn. ? 4 4 bw bw ˙ b˙
181 (a2) Hn. 4 & 4 bw ˙ b˙ bw b w (a2) Tpt. 4 ˙. nœ- bœ- & 4 ˙ b˙ œ ˙ ˙. nœ- bœ- Tbn. 1 ˙. ? 4 bw
Tbn. 2 ? 4 bw 4 bw ˙ b˙
Tba. ? 4 bw ˙ b˙ bw
181 (brake) Perc. 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã 4 œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ
183 181 Vln. I 4 nœ #œ œ œ œ œ œ œ œ œ œ œ #œ œ & 4 #œ œ œ œ œ ‰ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ ‰ œ œ œ ‰ œ œ œ œ
Vln. II 4 & 4 ‰ bœ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ nœ #œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ
Vla. B 4 ‰ œ œ œ œ @ 4 #œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ ˙@ b˙ nœ œ #œ œ œ œ œ œ œ frenzied f Vc. ? 4 œ bœ œ œ œ œ œ œ œ œ œ œ œ b˙ 4 #œ œ œ ‰ bœ bœ œ œ œ nœ œ #œ œ œ œ œ œ œ epic sweetness b˙ 181 f Db. t 4 4 bw ˙ b˙ bw 88
184 œ #œ œ œ Fl. 1 œ #œ œœ#œ œ#œ J bœ œ bœ Œ œ #œ 5 ‰ Œ Œ œ œ bœ Œ Ó † 3 3 9 5 3 Fl. 2 nœbœbœ bœ & œœbœ bœ œ ‰ Ó Ó œbœbœœœ j ‰ œ bœbœ œ œ j ‰ bœ J nœ bœ 5 œ bœ œ (a2) Ob. œ- bœ- & w ˙ bw
7 7 Cl. 1 bœ bœ œ œ bœ & J ‰ Œ ‰ œ œbœ bœ œ J ‰ Œ Ó œœbœœbœœbœœ j ‰ Œ 5 œbœœ#œ œœ
5 Cl. 2 bœ nœbœnœœbœnœbœ ‰ Œ bœbœœbœbœ j ‰ Ó Ó & bœ nœ 5 J œœ œ#œœœnœ 7 bœ œ œ#œnœ bœ Bsn. 1 ? bœ bw œ n˙ ˙.
bœ Bsn. 2 ? bœ bw œ n˙ ˙.
184
Hn. bw w & b w w w (a2) Tpt. & w ˙ bw œ- bœ- a2 Tbn. ? bw œ bœ b˙ w
Tba. ? Ó bw n˙ w
184 (brake) Perc. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã œ œ œ œ œ ‰ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ
184 Vln. I nœ#œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ & #œ œ œ œ œ ‰ œ œ #œ œ œ œ œ œœ œ œ œ œ œ œ#œ œ œ ‰ œ œ œ œ œ
Vln. II & ‰ œ#œ œ œnœ #œ œ œ œ œœ œ œ œ œ œ œ #œ œœ œ œœ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ
Vla. b˙ B @ œ bœ @ ‰ w ˙ @ @ œ @ œ explosive#œ œ œ œ f Vc. ? Ó n˙ w bw 184 Db. t Ó w bw ˙ 89
187 - to flute ˙ b˙ w ˙ Fl. 1 † Ó & - - - ˙ b˙ w ˙ nœ bœ Fl. 2 &
Ob. 1 œ ˙ b˙ œ œ œ & Ó Œ œ
b˙. Ob. 2 œ œ œ œ ˙ & ∑ 3
Cl. 1 & ˙ b˙ w œ nœ- bœ- œ
Cl. 2 & j ‰ Œ #œ b˙ w nœ- bœ- ˙ bœ œ bœ nœ w b˙. Bsn. 1 ? Œ
œ bœ bœ n˙ ˙ b˙ ˙ bœ nœ Bsn. 2 ? 3
187 a2 Hn. & œ œ b˙ bœ œ b˙. ˙(a2). Tpt. b˙ w ˙-. nœ- & n˙ - - n˙ b˙ w œ bœ ˙ Tbn. 1 ?
Tbn. 2 ? w bw b˙ bœ œ f Tba. ? w bw b˙ bœ œ
187 (brake) Perc. œ œ œ œ œ œ œ œ œ œ œ œ ã œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
187 Vln. I œ œ œ nœ #œ œ œ œ œ œ œ œ & œ #œ œ œ ‰ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ ‰ œ #œ œ œ œ œ œ œ œ œ œ œ
Vln. II & ‰ ‰ bœ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ #œ œ #œ œ œ œ œ œ œ œ œ
Vla. B ‰ ‰ bœ œ bœ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc. ? œ bœ œ œ œ œ œ œ œ ‰ #œ œ œ ‰ bœ bœ œ œ œ œ explosive#œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ nœ œ #œ œ œ œ œ œ œ 187 f Db. t w bw b˙ bœ œ 90
192 Calming, echoed ( ) 190 q = 120 Fl. 1 & ∑ ∑ ∑
w w Fl. 2 & ∑ p Ob. 1 b˙.. & w ˙ Ó œ J lush p p Ob. 2 bœ & w ∑ Ó ‰ œ lushJ p p Cl. 1 j & bœ ˙ w w œ lush. p p Cl. 2 j & bœ ˙ w w œ lush. p p ˙. œ œ b˙. w Bsn. 1 ? lush p p ˙ œ œ bœ w w Bsn. 2 ? 3 lush p p
190 (a2) Hn. & bw w w w p p Tpt. 1 bœ- & ˙ w œ w p p Tpt. 2 bœ- & ˙ Ó œ w b˙ p p Tbn. 1 ? w w ∑ p Tbn. 2 ? ∑ w w p Tba. ? ∑ w w p
190 (brake) Perc. œ œ œ œ œ ã œ œ œ œ ‰ œ œ œ ‰ œ œ œ Œ Ó ∑
192 Calming, echoed ( ) 190 q = 120 Vln. I solo œ œ œ #œ œ & ∑ Ó Œ œ #œ œ œ ‰ œ #œ œ œ œ œ œ œ œ murmur p Vln. I œ œ œ #œ œ & #œ œ œ œ ‰ œ œ œ ‰ œ #œ œ œ Œ Ó
Vln. II solo œ œ & ∑ ∑ œ #œ œ œ ‰ œ œ œ œ œ œ œ œ murmur p Vln. II œ œ & œ œ #œ ‰ ‰ Œ Ó ∑ œ #œ œ œ œ œ œ œ œ œ œ
Vla. B œ œ œ œ #œ ‰ ‰ ∑ ∑ œ #œ œ œ œ œ œ
Vc. ? bœ œ œ œ #œ ‰ œ #œ œ w ∑ œ #œ œ 190 p Db. t ∑ w w p 91
flute 193 ˙ bœ ˙ Fl. 1 ˙ b˙. & Œ Œ lush p ˙ œ b˙. ˙ Fl. 2 & Ó Ó lush p Ob. 1 ˙ j & Ó œ. bœ ˙ w
Ob. 2 w & ∑ ∑
a2 Cl. b˙. j & œ œ b˙.. ˙ Ó a2 b˙. Bsn. ? Œ w œ #˙. ˙.
193
Hn. & w bw bbw w . Tpt. 1 b˙. ˙ b˙ ˙ bœ & œ
Tpt. 2 bœ w & ˙. bw
Tbn. ? ∑ ∑ ∑
Tba. ? ∑ ∑ ∑
193
Perc. ã ∑ ∑ ∑
193 Vln. I solo œ #œ œ œ œ œ œ œ œ #œ œ #œ œ & œ #œ œ œ ‰ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ ‰ œ œ œ œ œ œ œ œ œ
Vln. I &
Vln. II solo œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ & #œ œ œ œ œ ‰ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ
Vln. II & ∑ ∑ ∑
Vla. B ∑ ∑ ∑
Vc. ? ∑ ∑ ∑
193 Db. t ∑ ∑ ∑ 92
196 a2 Fl. ∑ w œ & J ‰ Œ Ó p Ob. 1 b˙ j & b˙ œ. bœ ˙ w
Ob. 2 bœ œ. bœ ˙ ˙ w & Œ J p Cl. 1 œ & ∑ J b˙.. ˙ Ó
Cl. 2 j & ∑ Ó ‰ œ bœ w lush p Bsn. ? w w w w w w
196
Hn. & bw w w w bw
Tpt. 1 w j & Ó Œ ‰ bœ w
Tpt. 2 . & œ b˙ œ bœ ˙ ˙ Ó
Tbn. ? ∑ ∑ ∑
Tba. ? ∑ ∑ ∑
196
Perc. ã ∑ ∑ ∑
196 œ #œ œ #œ Vln. I solo œ œ œ œ #œ œ œ œ & ‰ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ ‰ œ œ Œ œ #œ ‰ ‰ œ œ œ
Vln. I & Ó Œ Œ Ó ‰ œ #œ œ warm p Vln. II solo œ #œ & ‰ #œ œ œ #œ ‰ bœ œ Œ œ œ ‰ Ó œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
Vln. II & ∑ ∑ ∑
Vla. B ∑ ∑ ∑
Vc. ? ∑ ∑ ∑
196 Db. t ∑ ∑ ∑ 93
199
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
(2) Ob. œ ∑ ∑ ∑ ∑ ∑ ∑ & J ‰ Œ Ó
Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
199
Hn. & ∑ ∑ ∑ ∑ ∑ ∑ w
Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
199
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑
199 tutti Vln. I ˙ b˙ ˙ & œ bœ w w b˙ ˙ ˙ œ œ ˙. bœ
tutti Vln. II & ˙. bœ w warm ˙. bœ w ˙. ˙ b˙ p bœ w Vla. B bw w w w bw w w warm p Vc. ? bw warm bw p w bw bw w bw 199 Db. t ∑ ∑ ∑ ∑ ∑ ∑ ∑ 94
206 Shifting ( ) q = 120 Fl. & ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑
206 a2 Hn. bœ ˙ ˙ œ. nœ œ bœ œ bœ. & œ œ. œ. œ ˙ ˙ œ epic, held back J f Tpt. 1 b˙ w ˙ nœ bœ & ˙ w epic, held back f Tpt. 2 bœ. w w nœ. bœ œ & ˙ œ J œ epic, held back J f a2 Tbn. ? bw w w bw epic, held back f
Tba. ? ∑ b wepic, held back w w f
206 (brake) Perc. œ œ œ œ œ ã œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œheld œback œ œ œ œ œ œ œ œ œ œ œ œ œ œ f
206 Shifting ( ) q = 120 Vln. I & ˙ Ó ∑ ∑ ∑
Vln. II j ∑ ∑ ∑ & œ ‰ Œ Ó
Vla. œ B J ‰ Œ Ó ∑ ∑ ∑
Vc. ? bw ∑ ∑ ∑
206 f Db. t
b wepic, held back w w bw f 95
210
Fl. & ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑
210 Hn. 1 w w & j nœ. bœ œ œ w
Hn. 2 & bw w bw bw
Tpt. 1 b˙ w ˙ nœ bœ & ˙ ˙ ˙
Tpt. 2 & w ∑ ∑ ∑
˙ b˙ w ˙ nœ bœ w Tbn. 1 ?
Tbn. 2 ? bw w bw bw
Tba. ? ∑ ∑ ∑ ∑
210 (brake) Perc. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ
210 Vln. I 1 b˙ w ˙ nœ bœ & ˙ ˙ ˙ p Vln. I 2 w w nœ. bœ œ & J œ w p Vln. II 1 ˙ œ bœ. w w nœ. bœ œ œ & J J p Vln. II 2 bœ ˙ ˙ œ. nœ œ bœ œ b˙ & œ œ. œ. œ ˙ ˙ p Vla. B ˙ b˙ w ˙ nœ bœ w p Vc. ? bw bw w bw 210 p Db. t bw w bw bw p 96
214
Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑
(2) Hn. & Ó ∑ ∑ ∑ ∑ ∑ ˙ (1) Tpt. ∑ ∑ ∑ ∑ ∑ & w ˙ Tbn. 1 ? Ó ∑ ∑ ∑ ∑ ∑
Tbn. 2 ? ˙ Ó ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑ ∑
214
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑
214
Vln. I 1 & œ œ. bœ ˙ ˙ œ. nœ œ bœ œ œ. œ ˙ œ œ. bœ ˙ ˙ œ. nœ œ bœ œ œ. œ ˙
Vln. I 2 bœ. w w nœ. bœ œ & ˙ œ œ w j J J ˙ œ bœ.
Vln. II 1 bœ. w w & w ˙ œ j J nœ. bœ œ œ w
Vln. II 2 w ˙ nœ bœ & ˙ j ˙ ˙ œ bœ. w w
Vla. B ˙ b˙ w ˙ nœ bœ ˙ ˙ w w
Vc. ? bw w w w w w
214 Db. t bw w w ∑ ∑ ∑ 97
220
Fl. & ∑ ∑ ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑
220
Hn. & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. & ∑ ∑ ∑ ∑ ∑ ∑
Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑
Tba. ? ∑ ∑ ∑ ∑ ∑ ∑
220
Perc. ã ∑ ∑ ∑ ∑ ∑ ∑
220
Vln. I 1 & œ œ. bœ ˙ ˙ œ. œ œ bœ œ œ. œ ˙ bœ œ. œ ˙ ˙ œ. bœ œ nœ œ bœ. œ ˙
Vln. I 2 & j j w w nœ. bœ œ œ w ˙ œ bœ. w
Vln. II 1 & j j j ˙ œ bœ. w w œ. bœ œ œ w ˙ œ bœ.
Vln. II 2 & j j j nœ. bœ œ œ w ˙ œ bœ. w w œ. bœ œ œ
Vla. B bw ˙ œ bœ ˙ œ. bœ œ œ w ˙ w J
Vc. ? ∑ ∑ ∑ ∑ ∑ ∑
220 Db. t ∑ ∑ ∑ ∑ ∑ ∑ 98
226 Bursting ( ) q = 120 Fl. & ∑ ∑ ∑ ∑ 42
Ob. 2 & ∑ ∑ ∑ ∑ 4
Cl. 2 & ∑ ∑ ∑ ∑ 4
Bsn. ? ∑ ∑ ∑ ∑ 42
226 Hn. 2 & ∑ ∑ ∑ ∑ 4
Tpt. & ∑ ∑ ∑ ∑ 42
Tbn. ? ∑ ∑ ∑ ∑ 42
Tba. ? ∑ ∑ ∑ ∑ 42
226 Perc. 2 ã ∑ ∑ ∑ ∑ 4
226 Bursting ( ) tutti q = 120 Vln. I #œ œ œ œ œ œ œ œ œ #œœœ œ œœœœ œ #œ œ œ œ œ œ œ œ œ 2 & ‰ œ œ œ ‰ œ œ œ#œœ œ œœ œ œ œ œ ‰ œ œ 4 œ heavy#œ œ œœœ œ œ œ œœœ œ œ ftutti Vln. II œ#œœœ œ œ œœœœœœ 2 & ‰ ‰ œ#œ œ œ ‰ 4 œ heavy#œ œ œœœ œ œ œ œœœ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ ftutti Vla. B #œ œœœ œ œœœ œ #œœœ œ œœœœ œ 2 œ œ œ ‰ œ œ ‰ œ#œœ œ œœ œ ‰ 4 heavy œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ f (tutti) Vc. ? œœœ 2 ∑ ∑ Œ ‰ #œœ#œ œœœ ‰ j ‰ j 4 œ heavy œ #œ œ œ œ œ œ œ œ œ 226 f (tutti) > > Db. t 2 ∑ ∑ ∑ j ‰ j ‰ ‰ j ‰ j 4 œ œ œ #œ > heavy > > > f 99
230 a2 œ #œ œ œ Fl. œ #œ œ œ 2 4 ∑ ∑ ∑ 2 & 4 heavy 4 4
fa2
Ob. 2 œ #œ œ œ 4 ∑ ∑ ∑ 2 & 4 heavyœ #œ œ œ 4 4 f a2 Cl. 2 4 2 & 4 4 ∑ ∑ ∑ 4 œ #œ œ œ heavyœ #œ œ œ fa2 Bsn. 2 2 ? 4 œ #œ œ œ 4 ∑ Ó Œ œ bw 4 œheavy#œ œ œ f p
230 Hn. 2 4 2 & 4 ∑ 4 ∑ ∑ ∑ 4
Harmon mute Tpt. 2 4 & 4 ∑ 4 Ó Œ ∑ 42 w bœ ˙w Ó p mute Tbn. ? 2 4 4 ∑ 4 ∑ Ó ˙ bw 42 p Tba. ? 2 4 4 ∑ 4 ∑ ∑ ∑ 42
230 Perc. 2 4 2 ã 4 ∑ 4 ∑ ∑ ∑ 4
230
Vln. I 2 r 4 œ œ 2 & 4 ≈ ‰ Œ 4 ‰ œ #œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ ‰ 4 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
Vln. II 2 r 4 œ œ œ œ œ 2 & 4 ≈ ‰ Œ 4 ‰ ‰ œ #œ œ œ œ œ œ 4 œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ
Vla. 2 œ 4 2 B 4 R ≈ ‰ Œ 4 ∑ ∑ ∑ 4 1 w w Vc. ? 2 4 bw 2 4 ∑ 4 warm Ó 2 ˙ w 4 p 230 Db. 2 2 t 4 ∑ 4 ∑ ∑ ∑ 4 100
236 234 ˙ Fl. 2 ##˙. w & 4 #˙ 43 4 ∑ 43 warm p Ob. 1 2 3 4 3 & 4 ∑ 4 ∑ 4 ∑ Ó 4 warm˙ p Ob. 2 2 3 4 3 & 4 ∑ 4 ∑ 4 ∑ Ó Œ 4 warmœ a2 p Cl. 2 3 4 3 & 4 ∑ 4 ∑ 4 ‰ ‰ ‰ ‰ 4 œ#œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ a2f Bsn. 2 3 3 ? 4 ˙ 4 œ Œ Œ 4 œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ 4 f
234 Hn. 2 3 4 3 & 4 ∑ 4 ∑ 4 ∑ ∑ 4
Tpt. 2 3 4 3 & 4 ∑ 4 ∑ 4 ∑ ∑ 4
Tbn. 2 3 3 ? 4 œ Œ 4 ∑ 4 ∑ ∑ 4
Tba. 2 3 3 ? 4 ∑ 4 ∑ 4 ∑ ∑ 4
234 Perc. 2 3 4 3 ã 4 ∑ 4 ∑ 4 ∑ ∑ 4
236 234 Vln. I 2 œ 3 œ 4 3 & 4 œ #œ œ œ œ œ œ 4 ‰ œ #œ œ œ œ Œ 4 ∑ ∑ 4
Vln. II 2 œ 3 œ 4 3 & 4 œ #œ œ œ œ œ œ 4 ‰ œ #œ œ œ œ Œ 4 ∑ ∑ 4
Vla. 2 3 3 B 4 œ #œ œ œ œ œ œ œ 4 ‰ œ #œ œ œ œ œ Œ 4 œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ 4 tuttif œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ Vc. 2 3 3 ? 4 4 ‰ Œ 4 œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ 4
234 f Db. 2 3 3 t 4 ∑ 4 ∑ 4 ∑ ∑ 4 101
240 238 Fl. 3 & 4 ∑ 4 ∑ 43 ∑ 4 ∑
Ob. 1 3 4 3 ∑ 4 ∑ & 4 #˙. 4 œ 4 4
Ob. 2 3 4 3 ∑ 4 ∑ & 4 ˙ #œ 4 w 4 4
Cl. 3 4 3 4 & 4 ∑ 4 ∑ 4 ∑ 4 ∑
Bsn. 3 3 ? 4 ∑ 4 ∑ 4 ∑ 4 ∑
238 Hn. 3 4 3 4 & 4 ∑ 4 ∑ 4 ∑ 4 ∑
1 Harmon mute Tpt. 3 ∑ 4 Ó Œ. j 3 4 & 4 4 bœ 4 ˙. 4 ˙ Ó 1 mute ˙ ˙. Tbn. 3 3 ? 4 ∑ 4 Ó 4 4 ∑ p Tba. 3 3 ? 4 ∑ 4 ∑ 4 ∑ 4 ∑
238 Perc. 3 4 3 4 ã 4 ∑ 4 ∑ 4 ∑ 4 ∑
240 238 non div. Vln. I 3 #œ œ œ œ œ œ 4 #œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ#œ œ œ œ œ 4 œ œ œ ‰ œ œ 4 œ œ œ ≈ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ f non div. Vln. II 3 œ#œ œ œ œ œ œ œ 4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ 3 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ#œ œ œ 4 ‰ 4 ∑ 4 œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ f f Vla. B 3 #œ œ œ œ œ œ 4 #œ œ œ œ œ œ œ œ œ 3 4 4 œ#œ œ œ œ œ 4 œ œ œ ‰ œ œ 4 ∑ 4 ∑
œ #œ œ œ œ œ œ œ œ œ œ œ œ œ Vc. ? 3 #œ œ œ œ œ œ 4 ‰ 3 ∑ 4 ∑ 4 œ#œ œ œ œ œ 4 4 4 238 Db. 3 3 t 4 ∑ 4 ∑ 4 ∑ 4 ∑ 102
242
Fl. & ∑ 85 ∑ 4 ∑ ∑
Ob. 5 4 & ∑ 8 ∑ 4 ∑ ∑
Cl. 5 4 & ∑ 8 ∑ 4 ∑ ∑
Bsn. 5 ? ∑ 8 ∑ 4 ∑ ∑
242 Hn. 5 4 & ∑ 8 ∑ 4 ∑ ∑
Tpt. 4 & ∑ 85 ∑ 4 ∑ ∑
Tbn. ? 4 ∑ 85 ∑ 4 ∑ ∑
Tba. ? 4 ∑ 85 ∑ 4 ∑ ∑
242 Perc. 5 4 ã ∑ 8 ∑ 4 ∑ ∑
242 (non div.) non div. Vln. I œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ 5 œ #œ œ œ œ œ 4 œ œ œ œ œ œ œ œ Œ ‰. œ œ œ œ œ œ œ œ œ ‰ œ œ œ ≈ œ & 8 œ #œ œ œ 4 R (non div.) non div. r Vln. II œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 œ #œ œ œ œ œ 4 œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ 8 œ #œ œ œ 4 œ œ œ œ œ œ œ œ Œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ≈ œ non div. Vla. 5 œ œ 4 r B ∑ 8 œ #œ œ œ 4 Ó Œ ‰. bœ bœ œ œ œ œ œ œ œ ‰ œ œ œ ≈ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f non div. œ #œ œ œ œ œ #œ œ œ œ Vc. 5 #œ œ # œ œ œ œ ? ∑ 8 œ œ 4 ∑ Ó ‰ ≈
242 f tuttif Db. 5 #œ œ œ œ t ∑ 8 ∑ 4 ∑ Ó ‰ ≈ f 103
248 246
Fl. & ∑ ∑ ∑ ∑
Ob. & ∑ ∑ ∑ ∑
Cl. & ∑ ∑ ∑ ∑
Bsn. ? ∑ ∑ ∑ ∑
246 3 Hn. 1 > & ∑ ∑ ∑ Ó œ œ œ > > f Hn. 2 j j j & ∑ ∑ ∑ Œ. œ œ œ œ f ord. Tpt. 1 ∑ ∑ ‰ Œ. j Ó & œ œ œ œ œ œ Œ œ œ œ
ford. Tpt. 2 j & ∑ ∑ œ œ œ œ œ œ ‰ œ œ Œ ‰ œ œ œ ‰ Ó ord.f œ. œ Tbn. 1 ? ∑ ∑ J Ó ∑
ord.f œ. œ œ œ Tbn. 2 ? ∑ ∑ Ó ∑ f
Tba. ? ∑ ∑ ∑ ∑
246
Perc. ã ∑ ∑ ∑ ∑
248 246 (non div.) Vln. I œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ j & ‰ ≈ œ #œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ (non div.)
Vln. II œ œ ‰ œ œ œ ≈ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ∑ ‰ ‰ j & œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
(non div.) f Vla. B #œ œ œ œ œ œ œ œ œ bœ œ ‰ œ œ œ ≈ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ∑ ∑ (nonœ œ div.) œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ Vc. ? # œ œ ‰ œ œ œ ≈ œ œ œ œ œ œ œ œ #œ œ œ ∑ ∑
246 Db. t #œ œ j ‰ #œ œ œ ≈#œ œ œ œ ‰ ∑ ∑ ∑ 104
251 250 Fl. 1 b˙ œ bœ œ. bœ & ∑ ∑ Ó J heavy f Fl. 2 w & ∑ ∑ Ó Œ bœ heavy f 1 Ob. & ∑ ∑ Ó Ó b wheavy 1 f Cl. bw b˙. & ∑ Ó Ó heavy Œ f 1 b˙. Bsn. ? ∑ ∑ ∑ Œ heavy f
250
Hn. 1 ∑ bœ. j & w w heavy bœ ˙ p f Hn. 2 & w ˙ Ó ‰ ˙ œ Œ Œ bœ b œheavy. p f Tpt. 1 w bw ∑ Ó b˙ & heavy f
Tpt. 2 œ w œ bœ œ ∑ Œ b˙ ‰ J J & heavy bœ. f b˙ ˙ w b˙ Tbn. 1 ? œ bœ ∑ heavy f b˙ Tbn. 2 ? ∑ ∑ Ó b˙ œ ‰ œ heavy J f
Tba. ? ∑ ∑ ∑ ∑
250
Perc. ã ∑ ∑ ∑ ∑
251 250 Vln. I œ. #œ œ œ œ œ. œ. œ œ œ œ#œ. œ œ œ. œ. #œ œ œ œ. œ œ œ œ #œ. œ. œ œ œ œ œ. & ‰ J f Vln. II œ. #œ œ œ œ œ. œ. œ œ œ œ#œ. œ œ œ. œ. #œ œ œ œ. œ œ œ œ #œ. œ. œ œ œ œ œ. & ‰ J f Vla. B ∑ Ó ‰ œ œ#œ. œ. #œ œ œ œ. œ œ œ œ #œ. œ. œ œ œ œ œ. J f œ œ#œ. œ. #œ œ œ œ. œ œ œ œ #œ. œ. œ œ œ œ œ. Vc. ? ∑ Ó ‰ J
250 f Db. t ∑ ∑ ∑ ∑ 105
254 257
Fl. 1 ˙ œ b˙ ˙ bœ bœ ˙ ˙ bœ & bœ ‰ J Œ
bœ bœ b˙ ˙ Fl. 2 œ b˙.. ˙ bœ nœ ˙ & J
(1) Ob. Ó Ó & w b˙ w ˙ (1) a2 Cl. œ Œ ˙ bœ w œ & Œ Ó Œ Œ bœ (1) a2 nœ n˙ ˙ ˙ Bsn. bw bœ œ . ? Œ ‰ J ‰ bœ
254
Hn. 1 bœ j b˙ œ Œ b˙ nw & ˙ . bœ œ .
Hn. 2 j j œ œ Ó ‰ b˙. Œ Œ ‰ bœ œ & b˙.. bœ. b˙ w Tpt. 1 bœ bœ & b˙. œ Ó b˙
Tpt. 2 bœ w bœ w & ˙ ‰ bœ J Œ b˙
˙. bœ n˙ Tbn. 1 ? bw œ Œ Ó b˙
bœ ˙ œ b˙ bw ˙. Tbn. 2 ? œ bœ J J Œ Œ
Tba. ? ‰ bw sub.,˙. .heavy w w f f
254 bass drum Perc. ‰ œ Œ Ó œ Œ Ó ã J ∑ ∑ ß ß 254 257 œ œ #œ. œ. œ œ œ œ. #œ œ œ œ œ. œ. œ œ œ œ#œ. œ œ œ Vln. I ‰ J ‰ J ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. II œ œ #œ. œ. œ œ œ œ. #œ œ œ œ œ. œ. œ œ œ œ#œ. œ œ œ & ‰ J ‰ J ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
Vla. B ‰ œ œ #œ. œ. œ œ œ œ. #œ œ œ œ œ. œ. œ œ œ œ#œ. ‰ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vc. ? j ‰ œ œ #œ. œ. œ œ œ œ. #œ œ œ œ œ. œ. œ œ œ œ#œ. ‰ j ‰ ‰ œ œ#œ 254 tutti Db. t ‰ bw sub.˙.. w w f f 106
258 w œ b˙ œ bœ ˙ Fl. 1 œ J & bœ J bœ w Fl. 2 œ bœ œ nœ. ˙ bœ & ‰ J J
a2 Ob. Ó b˙ œ bœ. j j bœ. & ˙ bœ bœ œ (a2)
Cl. ˙. ˙ ‰ bœ. bœ & (a2)œ b˙. ˙ œ. bœ œ b˙ Bsn. ? J œ œ œ J . b˙
258 Hn. 1 Œ œ œ bœ œ. œ bw & ˙ ‰ J J
Hn. 2 ˙ ‰ j ˙. w & Ó œ
Tpt. 1 nw bœ œ œ. œ. bœ. œ. & bœ. Œ ‰ ‰ Œ ‰ Œ bœ. œ.
Tpt. 2 œ bœ. . . & Œ Œ œ œ ‰ œ œ ‰ ‰ bœ œ Œ ‰ Œ bœ œ. J . . bœ. œ. w bœ œ. œ. œ. . . . Tbn. 1 ? bœ œ bœ œ œ ‰ J Ó Œ
Tbn. 2 œ ˙ bœ. œ. œ. ? Ó bœ Œ Ó bœ. œ. œ. Œ
Tba. ? œ ˙. œ b˙. ˙ b˙
258 (b.d.) Perc. Œ œ Ó Œ œ Ó œ. œ Œ œ ‰ ã J J ß ß ß ß ß
258 Vln. I ‰ ‰ ‰ œ #œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
Vln. II ‰ ‰ ‰ œ #œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
Vla. B œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ #œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ Vc. ? ‰ ‰ ‰ ‰
258 Db. t ˙ œ ˙. œ b˙. b˙