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Concerto for Electric Guitar and Symphonic Band
Nolan Stolz
© 2010 Stolen Notes (ASCAP)
Concerto for Electric Guitar and Symphonic Band
I. Naïve — Vivacious duration ca. 11.5’ pg. 1
II. Melancholy — Bittersweet duration ca. 8’ pg. 62
III. Aggressive duration ca. 9.5’ pg. 83
Total duration ca. 29’
INSTRUMENTATION
Piccolo
Flutes 1.2 (6-12 in total; 8 preferred, 4 absolute minimum)*
Oboes 1.2 (2-4 in total)
English Horn (1-2 in total)
E� Clarinet
Clarinets (B�) 1.2.3 (10-16 in total)*
Bass Clarinet (B�) (1-2 in total)
2 Bassoons (2-4 in total)
2 Alto Saxophones (E�)
Tenor Saxophone (B�)
Baritone Saxophone (E�)
4 Horns
4 Trumpets (B�) (1.2 doubling flugelhorns)
2 Trombones
Bass Trombone
Euphonium
Tuba(s) (1 or 2)
Contrabass (with optional amplification)
Timpani (five drums, but playable on four)
Percussion 1
suspended cymbal, ride cymbal, hi-hat, concert bass drum, snare drum, five concert toms (6”, 8”, 10”, 12”,
13”), tambourine, three triangles (6”, 8”, 10”), ratchet, slapstick, glockenspiel (shared with Percussion 4)
Percussion 2
suspended cymbal, hi-hat, “sizzle” cymbal, “china” cymbal, crash cymbals (orchestral), bass drum (from a
drum set) with pedal, five concert toms (14”, 15”, 16”, 18”, 18” or 20” bass drum), snare drum, tambourine,
chimes (shared with Percussion 3), crotales (high set), xylophone (shared with Percussion 3 and 4)
Percussion 3
three suspended cymbals: small, medium and large, crash cymbals (orchestral), triangle, concert bass
drum**, snare drum, temple blocks, chimes (shared with Percussion 2), crotales (low set), xylophone (shared
with Percussion 2 and 4), vibraphone (shared with Percussion 4)
Percussion 4
tambourine, tam-tam, glockenspiel (shared with Percussion 1), xylophone (shared with Percussion 2 and 3),
vibraphone (shared with Percussion 3), marimba
Electric Guitar (solo) with 180o reversible tremolo (whammy) bar with floating bridge and locking tremolo
Pedal effects include: distortion, chorus, flanger, delay, wah-wah and whammy (pedal)
EBow with “normal” and “octave” settings is required for second movement
Electric Bass (preferably a Rickenbacker)
Pedal effects: chorus, flanger, distortion and wah-wah
Synthesizer with sounds emulating electric piano (Fender Rhodes and RMI Electra Piano), Mellotron (choir and
flute), celesta, “synth-lead” (Minimoog or ARP ProSoloist) with portamento, Oberheim OB-8, Hammond
B-3 (as heard through a fast-rotating Leslie speaker cabinet), Moog Taurus pedals, “synth pads”
Pedal effects: light distortion or fuzz
* At mm. 64-5 in movt. III, Flutes 2 are divisi, thus creating the need for at least four players for Flutes 2. If the minimum forces are
employed (6 flutes in total, 3/3), have one flute from Flutes 1 join Flutes 2 to ensure each voice has at least two players. At m.181-4 in
movt. III, both flute parts are divisi. The preferred number of players is eight, ensuring that each voice has two players. The absolute
minimum, therefore, is four players, but the total recommended number of players is six to twelve. At m. 168 and 170 in movt. I, and
at mm. 81-8 in movt. II, Clarinets 1 are divisi. The recommended forces are 4/3/3 at a minimum, to ensure that each voice in Clarinets
1 has at least two players. No more than sixteen players 6(3+3)/5/5 should be necessary.
** Note: Percussion 1 and 3 must use separate concert bass drums
Performance Notes
Symphonic Band: The volume of the guitar should be loud; never sacrifice the timbre of a loudly amplified guitar for the sake of
balancing to a soft ensemble. The volume of the guitar should equal to that of the winds or the brasses as a whole. The volume of the
electric bass and the synthesizer should also equal the volume of the winds and brass sections. As a general guideline, 35 winds=14
brass=5 percussion=1 electric guitar=1 electric bass=1 synthesizer. The contrabass may be amplified for a better balance.
If there is no articulation marking, the note should receive a separate tongue neither tenuto nor staccato.
A transposed score is also available.
Electric Guitar: Several electric guitarists are listed in the score to give the soloist a better idea of the timbre, pedal effect and style of
the particular passage. These include Jason Becker, Robert Fripp, David Gilmour, Steve Hackett, Allan Holdsworth, Tony Iommi,
Alex Lifeson, John Petrucci, Randy Rhoads, Joe Satriani and Steve Vai. Many other guitarists (Jeff Beck, Al Di Meola, Steve Howe,
Mike Stern, Frank Zappa to name only a few) have played an influential role on the guitar writing in this piece, but their names are not
attached to particular passages.
1. A solid slur means that only the first note is picked, and the remainder should be executed with slides (S), hammer-ons (H),
and pull-offs (P).
2. A dashed slur means that the notes should be played on separate strings so they may ring.
3. A dotted slur means the notes are to be played on the same fret, but the pitch is changed with a bend (B) or release (R). A
180o reversible tremolo (“whammy”) bar with and whammy pedal are required in order to bend pitches down and up, and
to give a rhythmic attack to legato melodic lines (as in movt. III). In m. 210 in movt. I, the performer is asked to bend the
pitches down by pressing on the body of the instrument. In m. 292 in movt. I, the performer is asked to bend the pitch
behind the nut, but if the guitar has a locking nut, the player must bend with the bar.
4. Certain notes are played as hammer-ons with the picking hand “tapping” (T).
5. Ossia staves are used to show the location of certain natural harmonics.
6. Pinch harmonics are notated with a diamond notehead with the sounding pitch written in parenthesis (octave + fifth or
15ma). For pinch harmonics where any resultant harmonic is acceptable, the sounding pitch is written 8va. In some
passages, notes are marked with an asterisk and “semi-p.h.,” which means to produce a weak pinch harmonic, where the
fundamental is still very strong.
7. “Rhythm” pickup refers to the neck pickup, and “treble” pickup refers to the bridge pickup.
8. An EBow is required for movt. II. The “octave” setting on the EBow energizes higher frequencies, and the pitch an octave
above the fretted pitch is often sounded.
9. As explained in P.J. Howorth’s The Wah Wah Book, wah-wah pedals “use a bandpass filter that have a variable resonant
frequency, which is controlled by a potentiometer” which is controlled by the foot. Howorth continues, “when the pedal is
pushed all the way down (closed), the high frequencies (treble) get boosted. Conversely, when the pedal is all the way up
(opened), the low frequencies (bass) are the ones that are emphasized.” To keep with common usage in guitar notation, the
closed position (treble) is notated with “+” , and the open position (bass) is notated with “o” . Note this is, in some sense,
opposite of trumpet and trombone hand wah notation, where the closed “+”symbol gives a more hollow sound (bass), and
the open “o” position is the natural sound. When the “+” and “o” symbols are used, the player moves the pedal into the
position immediately. An arrow is used when the change from bass to treble (or vice versa) is gradual. The “o” symbol is
placed higher than the “+” symbol to show the position of the toes. For example, when the arrow points up (towards “o”),
the toes gradually lift up towards the open position (bass). The “Ø” symbol is used to show the wah pedal as being in the
middle position.
10. The two cadenzas (movt. I mm. 339-75 and movt. III mm. 260-338) may be played as written, improvised, or composed in
advance by the performer. It should be based on the harmonic structure shown by the chord symbols above the staff in the
score. It should have similar gestures and melodic shape. Themes presented elsewhere in the work may be used as source
material. Where there is no accompaniment, the new cadenzas do not need to adhere to the number of measures, but their
lengths should be close to the original durations (1’05” and 1’48”, respectively).
11. A TAB version of the guitar part is also available.
Electric Bass:
1. The electric bass should “cut” through the ensemble with a bright tone/timbre (a Rickenbacker is preferred).
2. It should be played with the finger, with a pick, and with a technique of Yes’s Chris Squire (a mixture of flesh and pick to
create occasional pinch harmonics, resulting in a very bright timbre). Squire explains this technique in his “Star Licks”
video.
3. The distortion and wah-wah used in movt. II should be similar to the effect used by Cliff Burton on his “(Anesthesia)-
Pulling Teeth” from Metallica’s Kill ‘Em All record. In this section, there are “power” chords that should have so much
distortion and wah-wah treble that it is pitchless. A similar instance occurs on beat “3” in the 3/4 section (0:37 on the Kill
‘Em All studio version and at 0:14 on the Denmark performance heard on the Cliff ‘Em All video).
4. A flanger pedal and a chorus pedal are also required.
Synthesizer: The synthesizer part lists several vintage keyboards: celesta, Fender Rhodes, Hammond B-3 (as heard through a fast-
rotating Leslie speaker cabinet), Mellotron (choir and flute), Minimoog or ARP ProSoloist with portamento, Moog Taurus pedals,
Oberheim OB-8, RMI Electra Piano, and “synth pads.” Although using the original keyboards would be ideal, for the sake of
practicality, one or more keyboards (or a laptop computer) emulating these classic sounds is acceptable. A light distortion or fuzz
should be applied to the Mellotron (choir) sound in mm. 91-100 in movt. I. This may be done with a pedal, or programmed in to the
patch (if a digital keyboard is used).
Recommended modern keyboards, modules/expansion cards, and software emulations:
1. ARP and Moog: Minimoog V and ARP2600 V from the “V Collection” by Arturia
2. Fender Rhodes: Velvet from Avid
3. Hammond: Nord Electro 2, Nord C-1, or Hammond/Suzuki XB, or B4 II plug-in from Native Instruments
4. Mellotron: Nord’s Mellotron library for use by the Nord Electro 3 or Nord Wave (the owner of Mellotron gave the original
re-mastered Mellotron tapes to Clavia/Nord), GForce M-Tron Pro (a “Virtual Vintage Keyboard” from M-Audio)
5. Moog Taurus pedals: Vintage X Pro Vol. 1 from E-mu
6. RMI Electra Piano: Kurzweil’s PCR-2 Classic Keys expansion card; Hollow Sun’s sample library
7. Vintage X Pro Vol. 1, Vintage Keys, or Classic Keys from E-mu
About the Piece
The Concerto for Electric Guitar and Symphonic Band was completed in Hartford, CT in April 2010. It was
composed primarily during a December 2009-January 2010 residency at the Virginia Center for the Creative Arts
in Amherst, VA. The piece is dedicated to Les Paul, a man whose contributions to the development of the electric
guitar cannot be overstated. I had the pleasure of meeting Les at his 93rd
birthday concert in Milwaukee, WI; he
was very gentle and kind. He left this world about one year later, leaving behind an amazing legacy.
I had been wanting to compose a concerto for electric guitar and symphonic band since 2000. I was inspired by Jim
Bonney’s Chaos Theory, a concerto for electric guitar and wind orchestra, which was premiered that year at the
University of Nevada, Las Vegas.
My goal with this work is to add to the electric guitar repertoire while staying true to the styles often associated
with the instrument.
Programmatic Content
The concerto’s opening (mm. 1-45) presents a theme played by the horn. The accompaniment is rhythmically and
harmonically simple, and the music is marked “naïve.” With the exception of the allusion in mm. 211-213, this
material is not at all developed in the first movement. The general character of the first movement is quite
different, marked “energetic: sparkling with vivaciousness.”
The last two notes of the first movement (F-E) are used as the opening motif of the oboe solo at the beginning of
the second movement. This music is marked “melancholy.” It is marked “exploding with emotion” at m. 80, where
the band plays fortissimo, the guitar and the bass are heavily distorted, a “rock” organ is heard, and the percussion
play an aggressive tutti figure. Out of this music, the guitar plays the F-E motif followed by a minor-mode
reworking of the opening horn theme, marked “deeply sad.” At m.131, the theme is heard again, but it uses both
major- and minor-mode pitches, and its emotional affect is marked “bittersweet memory.” At m. 159, the guitar
once again plays the theme with major- and minor- mode pitches. It is marked “melancholy: suffering caused by
unrequited love,” thus revealing its programmatic connection to the opening melody.
The third movement begins with an aggressive guitar “riff.” At m. 60, the texture thins and the flute, glockenspiel
and horn play the theme in whole steps, representing “love and sorrow.” Other woodwinds have syncopated
dissonant pitches that represent “anger.” This section is marked “Ambivalent: anger/love and sorrow.” It is not
indifferent, which has a different meaning, but here it means to have conflicting feelings towards a particular
person. At m. 69, the music is again marked to be played “aggressively.” Interrupting the G minor 7/4 meter
section at m. 123, the horn plays its theme, this time marked “like a distant bittersweet memory.” At m. 134, the
trumpet recalls the opening material, with the addition of oboes. The theme is played for the final time at m. 158
marked “deeply sad,” this time forte by four horns and English horn. At m. 185, the “anger” motif from the
“ambivalent” section begins to be transformed into a 12-tone row. The dissonance cleanses the sadness in a
cathartic way, and all is forgotten: it progresses into a Neoclassical rock section (which is almost tongue-in-cheek
with parodic elements such as 7/8 meter and fully-chromatic mediant relationships), a cadenza bordering on being
self-indulgent, and a coda which recapitulates the opening of the third movement.
Acknowledgements
I wish to thank those who have offered feedback on the composition: my dissertation advisor Ken Steen, Steve
Gryc (orchestration), my examining committee, Chris Ladd (electric guitar), Kelly Fussell (oboe and English horn),
Peter Scuderi (clarinets), Cindy Mickens (bassoon and keyboard) and Megan Burke (horn). Electric guitarists and
long-time friends Cody Miller, John Miner and Tony Quirk were especially helpful in preparation for writing this
piece. Special thanks are extended to Troy Stetina, author of “Rush's Greatest Riffs” in the February 1994 issue of
Guitar World, who graciously offered detailed information about Alex Lifeson’s flanger sound on “The Spirit of
Radio” in the form of email correspondence. Special thanks are also due to Milo, for sharing his knowledge of
1970s synthesizers (many of which are called for in this piece) and to Mike Egizi for his expertise on vintage
keyboards and his recommendations for modern keyboards and software-based synthesizers that recreate the
aforementioned keyboards. The efforts of Christy Bird of the University of Hartford’s Interlibrary Loan (ILL)
service, Adriana Chichester of Project Bookfind (Hartford Public Library’s ILL), Dennis O’Connor of Naugatuck
Valley Community College’s ILL, and Janice M. DeWolf of Three Rivers Community College’s ILL have enabled
my access to many useful materials. Thanks are due to them for their outstanding work. I also wish to thank the
Virginia Center for the Creative Arts for the fellowship that allowed me to compose the bulk of this work.
Gratitude is expressed to my mother Gale Winds, my father Jon Stolz and his wife Deb, my aunt and uncle Carol
and Dave Redfield, and Yovianna García who monetarily supported my residency at the VCCA. Thanks to the
fellows at VCCA, my family members (especially my uncle Brett Kemnitz), my friends, and fellow faculty
members at TRCC and NVCC that have been supportive this past year. I would like to thank my mother again for
buying me an electric guitar and electric bass when I was a teenager; this piece would have never been composed if
it were not for those Christmas gifts!
Score in C
h = 63
h = 63
in memoriam Les Paul
Nolan StolzInnocent, naïve and hopeful
Innocent, naïve and hopeful
Concerto for Electric Guitar and Symphonic Band
I. Naïve — Vivacious
© 2010 Stolen Notes (ASCAP)
Piccolo
Flutes 1.2
Oboes 1.2
English Horn
Eb Clarinet
Clarinets (Bb) 1.2
Clarinets (Bb) 3.
Bass Clarinet (Bb)
Bassoons 1.2
Alto Saxophones (Eb) 1.2
Tenor Saxophone (Bb)
Baritone Saxophone (Eb)
Horns (F) 1.2
Horns (F) 3.4
Trumpets (Bb) 1.2
Trumpets (Bb) 3.4.
Trombones 1.2.
Bass Trombone
Euphonium
Tuba(s) (1 or 2)
Contrabass(w/ optional
amplification)
Timpani(Five drums,
playable on four)
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Electric Guitar
Electric Bass
Synthesizer
p
mp
p
mp
p
mp
p
mp
mp
1. mp
p 3
mf
mp
3
(E, G, D, E, F#) or (E, G, D, E) if only four drums are used, alternatives are given at m. 28 and m. 376 in movt. I and mm. 76-77 in movt. III
14
A
A
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
mf
mp
a2 mf
mf
a2
mp
mf
p
mf
(mp)
mf
(mp)
mf
(mp)
mf
(mp)
a2
mf
p
mf
p
mf
p
mf
(mp)
(1.)
3
mf
mp
3.
3
mf
mf
mf
mf
mf
mf
mf
mf
except where marked otherwise,play with minimal or no vibrato
p
mf
l.v. p
Chimes
f
Glockenspiel, soft plastic mallets
mp
l.v. mf
medium plastic mallets
l.v.
2
25B
B
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
mp
mp
mp
p
1. mf
mp
mp
1.
a2
mf
If a fifth timpani is not available, change E to F#
l.v. change G to A
Concert Bass Drum
mf l.v.
18" concert tom no.2 (or 20" mounted bass drum) w/ timp. mallet
p
l.v.
3
35
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
sfz
sfz
mf
mf
a2
sfz
mp
mf
sfz
fp
sfz
mp
(mp)
sfz
sfz
mp
mp
(mp)
sfz
fp
(mp)
mp
(mp)
mp
p
mf
mp
p
mf
mp
p
mf
mp
(mp)
mf
1.
a2
mf
3.
mf
a2 3 1.
f
p
w/ shaftof stick
mf
Suspended Cymbal
Ride Cymbal
l.v.
S.C., w/ yarn mallets
mf
p
l.v.
w/ tip of stick
Suspended Cymbal
mf l.v.
Sizzle Cymbal
mf
CymbalsLarge Small Medium
l.v.
mf
Chimes
mf
(glock)
l.v.
p
Bowed Vibraphone (motor off)
f
4
C
C
q = 135*
q = 135*
46
Energetic: sparkling with vibrancy and vivaciousness
Energetic: sparkling with vibrancy and vivaciousness
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
* ideal tempo. standard tempi q = 132 and q = 138 are slightly too slow/fast, respectively
mf
1.
mf
2.
mf
1.
mf
2.
sfz
pizz.
mf
l.v.
R.C., w/ tip of stick
f
l.v. l.v.
w/ distortion
f
mf
Analog synth (Oberheim OB-8 or similar) warm sound with percussive attack
5
53
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
a2
(mf)
1.
f
2.
a2
1.
mf
2.
a2
mf
mf
mf
1. con sord.
mf
arco
p
f
l.v.
S.C. w/ yarn mallets
p
f
l.v. w/ sticks Snare Drumf
Concert Toms (8", 10", 12")
Concert Toms (16", 18", 18")
f
(f)
mf
mf
6
D
D
58
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
a2
f
f
a2
f
a2
mf
a2
f
a2
f
a2
f
f
f
f
S.C., w/ shaft of stick l.v.
S.C., w/ shaft of stick l.v.
Concert Bass Drum (different drum than used by Perc. 1)
f
l.v.
f
Glock., brass mallets
w/ flanger like Alex Lifeson on "The Spirit of Radio"Flange cycle set at 1.7 seconds: the duration of wMedium to heavy depth set between 50% and 80%
f
mf
7
62
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(a2)
(f)
(f)
(a2)
(a2)
(a2)
(f)
(f)
Toms (6", 8", 10", 12", 13") and S.D.
(f)
Toms (14", 15", 16", 18", 18")(f)
Cymbals
(f)
sm. med. lg. l.v.
(glock)
(f)
(f)
(mf)
f
(f)
8
66
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
1.
mf
f
1.
mf
f
mf
f
f
1.
mf
2.
f
f
f
f
1.
mf
2.
f
1.
mf
2.
f
mf
f
mf
f
f
1.
f
(w/ tip of stick) S.C.mf
R.C. l.v.
Sizzle Cym. (w/ tip of stick)
f
l.v.
mf
(w/ tip of stick) l.v.
l.v.
flanger off
mf
H
P.M.
w/ pick
S
9
71
E
E
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(f)
a2
(f)
a2
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
f
a2 senza sord.
f
a2
(1.)
(f)
(f)
S.C.mp
f
l.v.
mf
Toms
Temple blocks
f
f
Xylophone (hard mallets)
(f)
P.M. f
(f)
f
(OB-8)
10
76
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
a2
a2
a2
f
f
f
f
f
f
div.if only 1 tuba, play lower octave
f
LH: B.D. malletRH: stickToms
B.D.
l.v.
Cym. l.v.
Tam-tam
f
l.v.
11
81
F
F
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
mf
mp
mf
mp
mf
mp
mf
(f)
(f)
(f)
(f)
B.D.
mf
l.v.
mf
Hi-hat l.v.
mf
Sizzle cymbal (w/ yarn mallet)
mf
(dampen) l.v.
mf
w/ yarn mallet l.v.
(f)
mf
(sounds -14 cents)
sweep
sweep
(f)
mf
S
(f)
12
87
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
p
mf
1.
mf
p
mf
p
mf
a2
mf
p
mf
p
mf
f
mf
f
mf
f
mf
(mf)
mf
(mf)
mf
(mf)
con sord.ff
senza sord.
con sord.ff senza sord.
f
mf
mf
l.v.
B.D.
mf
mp
Bass Drum w/ pedal(from a drum set)(somewhat muffled)
f
China cymbal l.v.
Small cym. (with vibraphone mallets)
p
f
(dampen)
Vibraphone
mf
(sounds -14 cents)
with bar (-1)
let ring
(let ring)
(sounds -14 cents)
let ring
f
mf
Choir "Ahh" (Mellotron or similar)with light distortion or fuzz
mf
13
96
G
G
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
(mf)
f
(a2)
(mf)
f
(mf)
f
f
a2
f
mf
f
(mf)
(mf)
a2
a2
(mf)
(mf)
f
a2
1.
mf
f
a2
(mf)
ff
(mf)
p mf
l.v. f
l.v.
Hi-hat l.v.
B.D. w/ pedal
mf
S.C.
mf
l.v. S.D., Toms,B.D., S.C.
f
l.v.
l.v.
(vibes)
(mf)
f
Cym.(w/ vib. mallets)
mf
l.v. B.D.
f
l.v.
Xylo.
f
(mf)
S
f
(mf)
H
H
DrivingLike Chris Squire or Geddy Lee
f
(mf)
14
104
H
H
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
1. 3
mf
1.
3
f
R.C.
S.D.
mp p f
f
p
f
p mf
mp
f
mf
mp
B.D.
l.v.
mf
B.D.
l.v.
Unison Bend (+1)
like Tony Iommi
3
3
Release Bend
Bend (+1)
sim.
sweep
33
3
15
112
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
(1.)
(mf)
(mf)
mf
a2
mf
mf
a2
(mf)
(1.)
(f)
(mp)
R.C.
p
H.H.
(mf)
l.v. (mf)
Triangle
f
mp
l.v.
mf
Glock.
(f)
B R B R H P B R
B R 5
5 5 5 5
(f)
mf
Electirc Piano (RMI Electra Piano, or similar)
f
16
118
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
l.v.
mf
l.v. f
mp mf
f
Cym.mf
l.v. l.v.
Tam-tam
mf
l.v.
S
3
R 5 3 6 6 6
17
123
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(f)
ff
(f)
l.v.
(f)
3
R B R B R
B R S
(f)
(f)
18
I
I
127
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
(dampen)
(dampen)
(dampen)
(dampen)
ff
ff
(dampen) (dampen) (dampen) (dampen)
Xylo.
ff
like John Petrucci
T P P PH H T
sim. T T
T T T
B
R B B B R S S flutter w/ bar
36
6 6 6 6 8:6
ff
ff
19
131
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(ff)
(ff)
mp
(ff)
mp
(ff)
(ff)
(ff)
mp
(ff)
mp
(ff)
(ff)
mp
mp
(ff)
(dampen)
(dampen)
mp
(ff)
(ff)
ff
ff
(ff)
(f)
H
T-a
Two-handed tapping:RH: "T" (fingers "m" and "a"; "p" and "i" hold pick) LH: "H"Atonal tapping flurry
T-mH
HH T P
T P
PT P
H
T PP
T P
H
sim. S5:6 5:6 5:6
5:66 6 6 6
(ff)
f
(ff)
20
J
J
136
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
a2
mf
mf
mf
mf
mf
f
f
a2
f
f
f
f
f
f
ff
ff
f
l.v.
f
mf
3 3
f
mf
China
3 3
f
l.v.
f
mf
p.m.
w/ pinch harmonic(a p.h. notated 8va the fretted pitch meansthat any resultant pitch is acceptable)
vib.
w/ p.h.
w/ p.h.
vib.
Flute (Mellotron flute, or similar)
mf
21
143
K
K
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(a2)
(mf)
(mf)
(mf)
(mf)
(mf)
(mf)
(f)
(f)
mf
mf
mf
(mf)
(bell of R.C.)
(bell of R.C.)
(mf)
mf
f mf
(mf)
l.v. Vibes
mf pedal up
(f)
* semi-p.h.
* *
* * T
(f)
P PP
sim. T P
T P P P sim.
(f)
mf
(mf)
22
148
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
f
a2
f
(rip)
f
(rip)
f
p
f
p
f
f
f
f
f
f
(bell of R.C.)
(bell of R.C.) Ratchet
mf
f mf
mf
f
Xylo.
f
T P P P sim. sweep
vib.
R.H. rapidly shake barL.H. rapidly slide up/down string with gradual descent
f
23
153L
L
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
a2
f
a2
f
mf
3
f
mf
3
f
1.
f
No more than two on a part
mf
3
No more than two players
f
mf
3
(f)
f
mf
3
(f)
mf
f
a2
f
mf
(f)
mf
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(mf)
B.D.
f
l.v.
(mf)
p
(f)
(vibes)
(f)
(xylo)
(f)
molto vibrato, optional: heavy delaylike Robert Fripp's melodic style
3
S
(f)
mf
Electric Piano (RMI) mf
24
160
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mf
a2
3
3
mf
3
3
mf
a2
mf
a2
mf
a2
f
mf
mf
S
3
3 6 6 6 6 6 6 6 6 6
25
165M
M
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
ff
(mf)
ff
(mf)
(a2) ff
(mf)
non cresc.
ff
(mf)
ff
(mf)
ff
1. div.
2.
(mf)
ff
(mf)
non cresc.
ff
(mf)
(a2)
non cresc.
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
(f)
ff
ff
Slapstick
ff
B.D. (w/ pedal)
(xylo.)
ff
(f)
molto vib.
like John Petrucci
sim.
S
vib. w/ bar
S
6 6 6 6
3
66 6
36 6 6
(mf)
ff
(mf)
ff
421
5
13
26
171N
N
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
ff
f
f
ff f
f
ff f
f
ff
f
f
ff
f
f
ff
f
f
ff
f
ff
f
ff
ff
R.C.
ff
Crotales (low)
f
l.v.
B.D.
ff
f
Tam-tam
ff
l.v.
sweep
*slide and angle finger 4to cover strings 1-3
12
34 4
4
m.v. ff
p.h.
5
6 6 6
3
f
ff
f
Flutes (Mellotron)
27
176O
O
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(f)
(f)
(f)
(f)
(f)
1. div.
(f)
ff
ff
ff
(ff)
III mf
l.v.
(f)
l.v.
(ff)
(f)
mf l.v.
Chimes
mf
Vibes
ff
mfw/ pedal
(ff)
S
f
sweep
sweep
(ff)
S
mf
(f)
Analog Synth (Oberheim, Moog, or similar) complex overtones; over the course of four measures, spectral content should become less complex and higher frequencies should be attenuated; similar to the beginning of Rush's "Tom Sawyer"
mf
28
185
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mf
a2
mf
mp
mp
mp
mf
a2
mp
mp
f
mf
l.v.
f
mf
Crotales (low)f
l.v.
(pedal up)
secco
with bar (-4)
mf
29
192
P
P
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
a2
f
f
(a2)
f
f
f
f
f
f
f
f
f
f
f
f
f
B.D.
f
l.v.
Crash cymbals (orchestral)
f
mf
píu f
f
l.v. B.D.
f
l.v.
f
Glock., brass mallets
f
w/ flanger, same settings as before (rehearsal "C")
f
w/ pick
f
Analog Synth (OB-8) as before at rehearsal "C"
30
198
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
a2
a2
f
l.v. 3
f
f
l.v. 6
mf
l.v.
31
203
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
p
(f)
(a2) p
(f)
(a2) p
(f)
p
(f)
(a2) p
(f)
(a2) p
(f)
(f)
mf
p
mf
p
mf
p
(f)
l.v.
(f)
(f)
Cym. l.v.
(f)
(glock)
l.v.
(f)
mp
flanger off
(f)
mf
w/ finger
mp
(f)
32
209
Q
Q
q = 120
q = 120
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
1. 2.
mf
1. 2.
mf
mf
mf
mf
mf
a2
mf
mp
mf
mp
mf
mp
p
mf
mf
mp
mf
mp
mp
p mp
mp
p mf
mf
mp
mf
pizz.
mf
p
l.v. mf
p
(dampen)
p
mf
p
Chimes
mf
let ring until it is soft enough that is no longer heard
mf
let ring
push on corner of body of the guitar to bend pitch down (-1/2)
mp
accompanimental
S
Synth-pad with an electric piano attack
mp
33
220
R
R
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mp
(mf)
mp
(mf)
mp
(mp)
mf
mp
(mp)
(mf)
(mf)
mp
(mp)
(mf)
mp
(mp)
(mf)
mp
p
(a2)
(mf)
mf
mp
a2
p
mf
mf
mp
mf
mp
p
mf
p
mf
mp
1. f
p
mf
mf
mp
mf
p
mf
p
(mf)
arco
f
mf
mf
mf
(dampen)
mf
mf
p
(mp)
S
mf
molto legato (like Allan Holdsworth)
H
H
(if possible, all H and P)
(w/ finger)
f
mf
vib.
(mp)
34
228
S
S
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
p
mf
p
f
mf
(mf)
mp
f
mf
(mf)
p
mp
mf
p
mf
p
mf
p
p
mf
a2
p
p
mf
a2
p
f
p
mf
f
p
mf
f
p
mf
f
p
mf
f
mf
mp
pizz.
sfp
f
l.v.
H
H
(if possible, all H and P)
w/ volume knob (or pedal)
f
mf
35
235
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
(solo)
mp
1. solo
1. (solo)
mp
mp
mp
1. solo
(mp)
(mp)
mp
a2
solo
mf
mf
mp
mp
2. con sord.
mp
1. (senza sord.)mp
2. senza sord.
mp
con sord.
senza sord.
mp
(mp)
mp
(soft enough to hear tenor sax solo)
mp
n
distortion off("clean" tone)
mp
mf
(mf)
36
244
T
T
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mp
1. tutti
mf
mp
(tutti)
a2
mf
mp
mf
mp
1. tutti
mf
mp
mf
mp
mf
mp
mf
mp
mf
mf
mp
mf
mp
p
f
p
f
mf
1. f
p
f
p
mf
f
p
mf
mp
arco
p
f
mf
mf
(chimes)
(separate pedals)
mf
(glock.)
mf
distortion on
H
T
T T
T T T
T
sl.
mp
(Synth Pad w/ Elec. Pno.)
37
252
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mp)
(mp)
(mp)
(mp)
f
(mp)
f
(mp)
f
(mp)
f
(mp)
f
f
f
f
p
f
(f)
p
p
f
(f)
p
f
p
f
a2
f
p
f
f
p
f
f
p
f
mf
p
pizz.
sfz
(mf)
sfp
f
(mf)
(chimes)
(mf)
(glock.)
l.v.
(mf)
H
H rake-sweep
T T
T T T T T
T
T
T 5
mf p
mp
mf
mp
38
257
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(solo)
mp
(solo)
mf
1. solo
mp
1. solo2. solo
mf
a2mp
mp
sub.mp
sub.mp
mpsub.
f
a2
mp
a2
f
mp
a2
f
3
3
f
3
3
f
p
f
3
3
l.v.
sfz
mp
Crotales f 3
l.v.
3
mp
f
3
l.v.
3
T
like John Petrucci
f
p.h. (with these specific resultant pitches)
3
3
14
f
3
3
f
3
3
3
3
39
U
U
262
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
a2
mf
mf
f
pp
f
pp
pp
mf
f
pp
mf
f
(f)
(a2) pp
(f)
pp
(f)
pp
mf
(f)
mp
arco
f
l.v.
(f)
l.v.
f l.v. S.D.
mf
f
Crash cymbals
Lg. Cym.
p
f
l.v.
(f)
sim. sweep picking
15
6 6 33
6 6 6
(f)
(f)
40
267
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
tutti
mf
7 7 7 7
6 6
7 7
mf
mf
mf
mf
No more than two players per part
mf
No more than two players on part
p
mp
Vibes
mf
sim.
(glock.)
mf
T T T T
T T 6 6 6 7 7 7 7 7 7 7
41
271
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
3
f
3
3
(mf)
3
3
f
3
3
3
3
3
3
3
3
3
3
(mf)
f
3
3
3
3
f
3
3
(mf)
3
f
3
3
3
(mf)
f
3
(mf)
f
3
3
f
3
3
f
3
3
(f)
(f)
p
p
p
p
p
f
f
p
(mp)
mf
3
3
mf
Tambourine 3
3
3
3
(mf)
(vibes)
(mf)
(glock)
3
3
3
3
3
3
T
(f)
S sim. 3
T S
3
sim.T S
3
T S
3
TS
T S T S
3
TS
TS
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
f
Electric Piano (RMI)
3
3
3
3
3
42
274
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
mp
a2
mp
a2
p
tutti
(f)
f
tutti
f
a2
(f)
f
3
3
f
3
3
f
3 3
f
3
3
mf
f
3 3 mf
f
3
3
mf
f
3 3
mf
f
3
3
mf
f
mf
mp
l.v.
3
3
p
3
3
Chimes
mf
3
3
3
3
T S sim.
3 T
3 sim.
(sounds -14 cents)
(f)
5 5 5 5 5 5 3 3 3
f
3
3
3
3
3
3
43
279V
V
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mp)
(mp)
(a2)
(mp)
(a2)
(mp)
mp
(mp)
mp
(mp)
mp
(mp)
mp
mf
l.v.
(chimes)
mf
mf
Vibes
(f)
mp
mp
44
286
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
f
mp
mf
f
mp
mf
f
mp
pp
mf
pp
1. lip down 31 cents (approx. 1/6 tone) (like the seventh harmonic in the overtone series)
mp
f
mp
lip down 14 cents (approx. 1/12 tone)"pure" major third (like the fifth harmonic in the overtone series)
mp
f
mp
mp
f
mp
mp
f
mp
mp
1. "pure" major third (-14 cents) (like the fifth harmonic in the overtone series)
f
mp
mp
f
mp
mp
f
mp
mp
f
mp
mp
f
mp
mp
f
mp
mp
f
mp
mf
(sounds -14 cents)
(sounds -31 cents)
l.v.
mf
f
Toms
mp
mp
f
mp
(sounds -31 cents)
p.m.
bend/release behind nut (if guitar has a locking nut, bend with bar)
sim.
p.m.
p.m.
f
mp
45
294
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
(mf)
(mp)
China
f
mp
mf
mp
Crotales
mf
(dampen)
sim.
mf
(glock)(dampen) sim.
f
T
T T
T T
HT
H
T S
T T T
T T sl.
T H
6 6 6 6 6 6 6 6 6 6
(mp) mf
46
297
W
W
q = 135
q = 135
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
a2
mf
a2
mf
f
f
a2
f
f
High Tom
f Sus. cym.
mf
Tamb.
S.D./Toms
mf
mf
let ring
l.v.
Triangle
mf
dampen
let ring l.v.
f
(vibes)
T
T
T
T
T T T sl.
T T T T T T T T T
6 6 6 6
(finger)
f
f
47
301
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
(mf)
f
(mf)
f
a2
(f)
f
1.
(f)
(f)
a2
f
1.
f
f
a2
a2
f
a2
a2
f
a2
f
f
f
(f)
f
(mf)
Toms Hi-hat
(mf)
p
f
(mf)
Temple Blocks (w/ soft mallets)
p
f
Lg. cym.
B.D. (same mallets)
(f)
(vibes)
Tam-tam (w/ vib. mallets)
p
f
(f)
p.m.
p.h.
B R
m.v.
3
(f)
(f)
48
307
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
mp
mp
f
f
fp
a2 mp
f
fp
a2 mp
f
f
fp
mp
(p)
fp
fp
fp
pizz.
mf
f
mp
HH: half-open "sloshy"Ø
f
5 5
p
Lg. cym.
f
Med. cym. l.v. l.v. p
B.D.
p
Tam-tam
mf
p.h.
T T
p
5
5
p
49
X
X
313
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
f
mf
a2 f
mf
a2 f
mf
f
f
a2
f
f
mf
(a2)
mf
(p)
(a2) f
(a2)
(p)
f
(p)
f
(p)
f
(p)
f
(p)
f
mf
l.v. arco
f
mf
l.v. B.D.
f l.v.
Crash cymbals
f
mf
l.v. B.D.
f l.v.
f
Glock., brass mallets
f
flanger on, same settings as before
f
mf
Analog Synth (OB-8) as at rehearsal "C"
f
50
319
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
f
f
f
a2
a2
a2
f
a2
f
a2
f
f
Sus. cym., Toms
f
Sus. cym., Toms
Temple blocks
f
51
323
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(f)
(a2)
(f)
(a2)
(f)
(f)
(f)
(f)
(f)
(f)
(a2)
f
mp
(f)
mp
(f)
mp
(f)
(a2)
mp
(f)
(a2)
mp
(f)
(a2)
mp
(f)
(a2)
mp
(f)
(a2)
mp
(f)
mp
(f)
mp
(f)
mp
(f)
mp
(f)
(f)
l.v.
l.v. l.v.
(f)
l.v.
l.v. l.v.
(f)
(f)
(f)
T T
3 6 3 6
(f)
(f)
Choir "Ahh" (Mellotron, or similar)
mp
52
Y
Y
q = 152
q = 152
330
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
p
p
3. div.
mf
(mf)
2.mf
1. (mf)
mf
suggested bowing changes are placed at the entrances of other instruments in order to mask the bow change
mp
flanger offw/ wah (+ is treble/toes down (heel up)/"closed" position, o is bass/toes up (heel down)/"open" position, Ø is in the middle)
delay on (789ms (duration of h) with three regenerations decreasing in volume)+
o+ o + o + o + o + o + o
+ o+ o
+ o+ o + o + o + o
+ o+ o
+ o
+ o
+ o
+ o
lightly rearticulate when/if needed (mp or mf)
53
335
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mp)
mf
(mp)
mf
tutti
(mf)
(mf)
(mf)
(mp)
+
(f)
o
+ o
+ o
+ o
+ o+ o
+ o+ o + o + o
+ o + o
gradually change to treble position
H P sim. + Ø
6 6 6
(f)
(mp)
54
Z q = 112
339
E. Gtr.
*The performer may compose or improvise a cadenza based on the harmonic structure shown by the chord symbols above the staff. It should have similar gestures and melodic shape. Themes presented elsewhere in the work may be used as source material. The passage from mm. 339-47 does not need to adhere to the number of measures, but its length should be close to the original (duration ca. 19"; total duration from mm. 339-75 is ca. 1'05").
(f)
delay off(keep wah-wah in middle position)
CADENZA (until m. 375)*
Bsus4 T
T
T
T
C/B
T
T
T
T
F#º/B
T
T
Em/B
T
Eb+/B
T
6 6 6 6 6 6 6 6 6 6 6 6
342
E. Gtr.
G/BT
C#Ø7/B
T
Bsus7(b9)
T
T
Em('b6)/B
T
T
D#º7/B
T
T
Am/B
T
T
Em/B
TS S
T
6 6 6 6 6 6 6 6 6 6 6 6
345 E. Gtr.
B7(âÄ)
T S S
T
Em('6)/B
T
T
B7(âÄ)
T S S
Em/B
T
T
T
Em
6 6 6 6 6 6 6 6
55
AA
AA
q = 168
q = 168
348
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
T
(f)
Em
T
T
E5F#º
T
Em7
T
E5F#º
T
T
Am('2)/E
T
T
BØ7/E
T
Am/E
mf
56
353
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
T
E7('4)T
Am/E
T
T T Esus7(b9)
T T
Am/E Em
T S T
E5F#º
T
Em7
T
Am('2)/E
T
T
Em
T
57
359
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
p
mf
p
p
mf
p
p
mf
p
p
mf
p
p
mf
p
p
mf
p
p
mf
p
p
mf
p
(f)
Bsus7(áÆ) OR:
F#º
Em/BOR:
Em('2)/BAm('2)
Bsus13 OR:
E/BF#m OR:
E('2)/BA('2)
Bsus7(áÆ)OR:
F#º
Em/B
OR:
Em('2)/BAm('2)
F#Ø7/C
58
BB
BB
q = 176
q = 176
365
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(B Super Locrian; i.e., 7th mode of C ascending melodic minor)
B7(áÆâÁ)
S
wah:(Ø)
B (+1)
T
o
tap w/ side of pick
(P) R
+
Ø
59
371
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
(A, B, C, D, F) or (A, B, C, F)
(f)
H B
RT
wah:
partially palm muted
+
o
+
o
+
o
+
B7(b9)
o
S
+
o
S
+
o
S
+
o
5 5 5 5
mf
f
60
375
CC
CC
q = 144
q = 144
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3.
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
ff
f
ff
f
a2 ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
a2
f
ff
f
ff
f
ff
f
ff
f
ff
f
(if a fifth drum is not available, change C to D)
ff
(dampen)
f
Toms/Sus. cym. l.v.
f
B.D. (dampen)
Toms
f
China
f
dampen
mp
B.D.
f (dampen)
Crash cymbals
f
dampen
Tam-tam
f
dampen
S
+ o
S
+
end of cadenza
wah off
optional: alternate picking (no pull-offs and hammer-ons) with slides or: all pull-offs, hammer-ons, and slides
S
S S
ff
5 6 6 6
6
ff
f
Electric Piano (RMI)
ff
61
h = 48 Melancholy
II. Melancholy — Bittersweet
accel.
h = 60
Ob. 1.2
Eng. Hn.
Bsn 1.2
1.
mp
cantabile; "sung" in a melancholy "voice"
3
3
p
p
h = 669
Ob. 1.2
Eng. Hn.
Bsn. 1.2.
mf
5
3
3
mp
3
3
mp
p
mp
p
A15
Ob. 1.2
Eng. Hn.
Cl. 1.2
B. Cl.
Bsn. 1.2.
cantabile; "sung" in a melancholy "voice"
mp
5
No more than two on a part
p
p
B h = 76
21
Ob. 1.2
Eng. Hn.
Bsn. 1.2.
mp
growing with excitement
cresc.
5
7:3h
mf
mp
mf
3 più f
11
p
mp
mf
p
mp
mf
28 h = 66
C h=48
Ob. 1.2
Eng. Hn.
Bsn. 1.2.
mp
3
mf
f
3
mf
3
p
mf
p
mf
62
33
Ob. 1.2
Eng. Hn.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
E. Gtr.
Synth.
(1.)
(mf)
p
(mf)
p
mp
if necessary, stagger breathingduring these three "big" beats only
mp
if necessary, stagger breathingduring these three "big" beats only
mp
(mf)
p
w/ EBow (normal setting)w/ distortion"rhythm" pickup
very relaxed
mf 1
legato sempre
like Steve Hackettslow bends like David Gilmour(optional: heavy delay)
B (hold) R
B
R
3
B (hold)
R
B
(hold)
R
create higher harmonicsand feedback with the vibrato
vib.
3 3 3 3 3
Synth padsDecrease volume with RH
p
mf
44
h = 60
h = 60
rit.
rit.
Cl. 1.2
Cl. 3
B. Cl.
E. Gtr.
Synth.
3
B(hold)
R
vib.
3
S S
2
1 3
B
R
2
1
2
S 3
S
2
volume swells createdby lifting Ebow away from string
3
2
1
1
3
2
1
1
3 3 3
increase volume w/ free hand
63
D
D
h = 48
h = 48
54
E
E
h = 60
h = 60
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
a2
expressively
mp
mf
mf
expressivelymp
mf
p
f
mf
p
f
mf
p
f
mf
p
mf
p
a2
mf
p
p
mf
p
mf
p
1.
mf
mp
expressively
mf
3.
p
Marimba
p
3(mf)
1
slowly slide Ebow
towards bridge lift Ebow from string and let volume decrease with natural decay
(p)
(dampen if still ringing)
w/ pick
p
mf
p
Celesta sound (sounds as written)
p
64
64
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
p
1.
p
1.
p
p
p
mp
p
p
mp
p
p
mp
p
p
mp
p
p
mp
p
cantabile
1.
mf
a little louder
mp
Crotales (high)
Crotales (low)
p l.v.
let ring
vib.
65
71
F
F
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
p
1.
(p)
(p)
sfz
(p)
p
(p)
(p)
(p)
mf
1.
cantabile
mf
3.
cantabile
harmon mute sfz
sfz
sfz
sfz
sfz
sfz
harmon mutesfz
sfz
sfz
sfz
sfz sfz
(1.)
(mp)
2.
sfz
harmon mute sfz
sfz
harmon mute
sfz
sfz
sfz
(p)
(dampen) (crotales)
(p)
(dampen)
l.v.
(marimba)
(p)
distortion offRH: play with thumb
p (with enough "gain" so the tapped notes are loud enough)
Tap and hold
T-i
T-m
T
(p)
Melody,w/ fingers
mp
(p)
66
79
Exploding
with emotion
Exploding
with emotion
G
G
h = 69
h = 69
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
ff
ff
a2
flutter
f
a2
ff
f
ff
f
ff
ff
1. div.
2.
f
ff
f
ff
f
ff
a2 f
ff
f
ff
f
ff
f
ff
a2
flutter
f
ff
a2
flutter
f
senza sord.ff
flutter
f
senza sord.ff
flutter
f
senza sord.ff
flutter
f
senza sord.ff
f
senza sord.ff
f
senza sord.
ff
f
ff
ff
wood mallets
Toms, S.D.
ff
3 3 3
(dampen) Toms, S.D.
ff
3 3 3
l.v.
B.D.
ff
T-i
tap with index finger (i) and holdtap with middle finger (a) and hold
T-a
Distortion on"treble" pickupw/ pick
ff (volume very loud, but strummed in a fairly relaxed manner)
sul pont.
sub.ff
w/ distortion and wah-wah(preset distortion level muchlouder than when "clean")
o wah: bass/toes up (heel down)/"open" position
so much wah and distortion that the chord is pitchless (noise), like Cliff Burton on "(Anesthesia)-Pulling Teeth"
+treble/toes down (heel up)/"closed" position
o
+
o
+
o
+
"Rock" organ (fast-rotating Leslie) sound
ff
67
87
H
H
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
ff
ff
ff
ff
ff
ff
1. tutti
2.
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
(ff)
(ff)
(ff)
Sus. cym.
f
l.v.
(ff)
B.D., Toms, S.D.
Sizzle cym.
f
l.v.
(ff)
f
Chimes
Glockenspiel
f
l.v.
(ff)
T
TT
T
T
(ff)
o
+
o
+
(ff)
68
93I
I
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mp
mf
mp
mf
mp
mf
mp
mf 1. Solo expressively
mp
mf
Solomp
expressively
mf
mf
mp
mf
mp
harmon mute
sfp
sfp
senza sord.to flugelhorns
harmon mute
sfp
a2
senza sord.
mf
in the background mp
mf
in the background mp
mf
in the background mp
mf
in the background
mp
f
f
l.v.
f
T
S
it is acceptable if the high "B" is nearly inaudible
mf
mp
distortion offw/ wah-wah
"clarinet" effectRH: Strike the string with fingertip 8va higher than LH (notated in small notes) as if it were tapping
(mp)
(wah in middle position)Ø
+ oi
K iq+ o +
play wah in triplet rhythm,
becoming slower
o + oiK iq
+ o + o sim.
q+ o
q+ o
w/ volume pedal or knob LH: hold the notated pitches as notated
distortion and
wah-wah off
mp
o
sub.
69
103J
J
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mp)
(1.)
(mp)
mp
(marimba)
p
mp
Ebow"rhythm" pickupwah-wah off
mp
m.v. slowly lift Ebow away from stringfor diminuendo
mp
m.v.
(mp)
mp
Elec. Pno. sound (Rhodes)
70
115K
K
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
molto vib.
mp
p
mp
deeply sad
3
quickly lift Ebowaway from string(natural decay)
mp4
deeply sad
3
2
1
3 2 1
(3rd harmonic "E" should begin to sound)
m.v. (3rd harmonic "C" should begin to sound)
3
vib.
71
125
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
No more than two players on each part
p
No more than two players on part
p
p
p
f
p
f
p
f
p
f
mp
f
Toms
f
f
Toms
mp
(chimes) (separate pedals)
p
Lg. Cym.
(mp)
(marimba)
(mp)4
3
2
1
2
(essentially: trill)
1 sim.
3 2
(attempt to cause harmonic feedback with vibrato)
(mp)
f
(mp)
72
L
L
Bittersweet memory
Bittersweet memory
131
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
a2
f
3
mf
emphasize the groupings
mf
f
a2 3
f
a2 3
f
a2 Flugelhorn 3
mf
mf
mf
mf
(f)
mf
l.v. l.v.
B.D., S.D.
l.v.
3
f
l.v. p
mf
l.v.
f
Glock. 3
"treble" pickupw/ pickDistortion on
f
sul pont.
f
Chris Squire pick technique(flesh/pick mix to create occasional pinch harmonix)
Analog Synth (ARP ProSoloist, MiniMoog, or similar) with portamento
f
3
73
137M
M
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(a2)
(f)
3
f
(mf)
(mf)
f
a2
f
mf
emphasize the groupings
mf
emphasize the groupings
mf
(f)
a2 3
(f)
a2 3
(a2)
(f)
3
(mf)
f
(mf)
(mf)
(mf)
(f)
(mf)
l.v. S.C.
f
(bell of R.C.) l.v. + +
(f)
l.v.
p
f
3
f
Chimes
(f)
(glock)
l.v. 3
(f)
sul pont.
trill E and G,"dive" with bar
sul pont.
(f)
S
(f)
3
74
143
N
N
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
a2
a2
f
f
a2
f
a2
f
f
f
(8va if low Eb is not available)
l.v. l.v.
l.v.
S
H S
75
150
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
(a2)
(f)
mf
(a2)
(f)
mf
(f)
mf
mf
f
mf
f
mf
(f)
mf
(f)
mf
f
mf
f
mf
(f)
mf
(a2)
(f)
mp
(a2)
(f)
mp
(a2)
(f)
mf
mf
(a2)
(f)
mf
mf
(f)
mp
(f)
mf
(f)
mp
(f)
mf
(f)
l.v. w/ yarn malletsp
mp
l.v. Toms (w/ yarn mallet)
p
(f)
l.v. mf
mp
sizzle l.v. p
l.v.
(chimes)
(f)
(f)
(glock) l.v. l.v.
(f)
sul pont.
switch to"rhythm" pickup
(f)
vib.
(f)
76
O158
E. Gtr.
E. Bass
mp
Melancholy: suffering caused by unrequited love
Ebow"rhythm" pickupDistortion off until end of movementvolume swells with volume pedal (Ebow must always vibrate the string)
vibrato should cause harmonics to sound
3
mp
w/ finger
167
Eng. Hn.
Cl. 1.2
Cl. 3
E. Gtr.
E. Bass
mf
3
1. 2-4 players
p
2-4 players
p
EBow Tremolo:alternate between the twostrings, but not so fast thatthe Ebow does not vibrate them
77
P
P
175
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
sf
sf
sf
a2sf
a2
mf
emphasize the groupings
(mf)
mf
(p)
1. (2-4 players)
2. (2-4 players)
mf
a2
tutti
emphasize the groupings
(p)
(2-4 players)
mf
tutti
emphasize the groupings
mf
p
mf
a2
mf
p
mf
p
mf
emphasize the groupings
p
mf
mf
p
mf
a2
p
mf
p
a2
mf
mf
Trumpets (senza sord.)
a2
mf
mf
Trumpets (senza sord.)
a2
p
mf
mf
p
mf
mf
(mf)
mf
p
mf
mp
R.C. w/ tip of stickB.D.
l.v.
mf
mp
l.v. Toms (w/ yarn mallet)
mf
(chimes)
mf1
(quick slides to each note)
1
1
1 1
1
1
(natural decay)
RH: switch Ebow from "normal mode"to "octave mode"
f
(molto vibrato sempre; harmonics will sound as a result)
1
1
1
1 1
1
(mp)
mf
78
182
h = 60
h = 60
Q
Q
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
3
f
3
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3
f
3
f
3
f
f
f
f
f
f
f
l.v.
f
S.C. w/ yarn mallet l.v. l.v.p
f
l.v. l.v.
3
china
3
33
1
1
1
1
2 1
3
f
w/ distortion
Heavy, low synth (like Moog Taurus pedal)
f
79
188
molto rit.
molto rit.
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
sfp
(f)
sfp
(f)
sfp
(f)
sfp
(mf)
sfp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
(mf)
sfp
3 3 3 3 3 3 3 3 3 3 3
(mf)
(mf)
(a2)
(mf)
sfp
(mf)
sfp
(mf)
sfp
(f)
(a2)
sfp
(f)
(a2)
sfp
(mf)
sfp
(mf)
sfp
(mf)
sfp
(mf)
sfp
(mf)
sfp
(mf)
(f)
p
felt mallets
(p)
f
l.v.
(f)
l.v.
l.v.
l.v.
3 3
3
3 3
(f)
1
1
1
1
slow slides
1
1
1
vibrato becomes wider
(f)
3 3
(f)
80
R
R
h = 76
h = 76
193
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
f
f
1.
mp
3
3
mf
5
3 3
11
p
mp
f
f
f
p
mp
f
f
f
f
f
f
f
f
f
f
f
mute any cymbals still ringing
mute any cymbals still ringing
distortion off
81
199
h = 66
h = 66
h = 48
h = 48
attacca
attacca
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2.
A.S. 1.2.
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2.
Tpt. 3.4.
Tbn. 1.2.
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mf
più f
(1.) mp
mf
a2
f
3
3 3
mf
p
mf
f
3
mf
mf
mf
p
mf
f
1.
3
mf
3
mf
3
3
mf
mf
f
3
mf
mf
Choir "Ahh" (Mellotron)
82
q = 138
q = 138
Aggressively
Aggressively
III. Aggressive
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
ff
f
ff
G-A-D-Eb ff
(dampen) sim.
Snare Drum
ff
mf
ff
f
LH: grab B.D. mallet
f
Toms
Large Cymbal (shaft of stick)
ff
(dampen) (dampen) (dampen)
f
mp
Small Cymbal (tip of stick) f
mp
wah:
f
w/ distortion and wah"treble" pickup
+palm mute
o
percussive sound (no pitch)
+
o
+
o
+
o+
o
+
o
w/ pick
f
83
7
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(ff)
f
(ff)
f
(ff)
f
a2
(ff)
f
(ff)
f
(ff)
f
(ff)
f
(ff)
f
(ff)
f
mf
cresc.
(ff)
f
(ff)
f
mf
(ff)
f
mf
(ff)
f
mf
a2
(ff)
f
mf
a2
(ff)
f
mf
(ff)
f
mf
(ff)
f
a2
mf
(ff)
f
mf
(ff)
f
mf
(ff)
f
mf
(ff)
f
ff
mf
(ff)
f
mp cresc.
(f)
Concert Bass Drum
l.v.
(f)
mp
f mp
Med. Cym. p
f
l.v. p
yarn mallets
+
(f)
o
+
o
+
f
o
gradually change to treble position
mpsub.palm mute
cresc.gradually lift palm off string
+
(f)
Electric Piano (Rhodes or similar)
fsub.mp cresc.
84
A
A
13
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
mp
Ø Hi-Hat (pedal partially down, "sloshy")
f
mf
f
(dampen) (dampen) (dampen)
mf
Snare Drum
wah off
Neoclassical (like Randy Rhoads and Jason Becker)
f
6
f
85
20
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
ff
mf
mp
ff
mf
a2
mp
(a2)
ff
mf
mp
ff
mf
mp
ff
a2
mf
mp
ff
mf
mp
mp
f
(f)
(f)
(f)
(f)
f
f
ff
ff
f
mp
f
mp
f
mp
f
p
(mp) f
mp
f
mp
l.v.
l.v. ff
3
3
f
Hi-Hat (loosely tightened "sloshy") l.v. l.v.
Suspended Cymbal
l.v. mf
SizzleCymbal l.v.
f
HH
Sm. Cym.f
l.v.
mf
Cym.
(mf)
S.D.
f
(f)
LH: release pressure from stringbecoming percussive, eventuallybecoming harmonics
(-14 cents)
With bar, bend the sustaining harmonics as high as string tension will allow. To bend pitch up, reverse bar 180º (i.e., away from pickups). Use whammy pedal to continue the pitch bend.
like the "Satriani Scream"
(f)
86
B
B
27
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
6
sfz
f
6
sfz
f
6
f
6
f
sfz
f
sfz
f
sub.mf
f
(f)
(f)
(f)
(f)
f
a2
a2
f
a2
a2
f
a2
a2
f
mf
f
mf
f
sub.mf
f
sub.mf
sub.mf
f
f
f mp f
mp f
f
(f)
Temple Blocks
Tambourine
f
semi-pinch harmonics
*
*
p.h. (any harmonic is acceptable)
H S
H T
T T
T T
T T
T T
T
T P P H H
p.h.
bend pitch up as far as possible using a combination of bar, finger and whammy pedal
6 6 6 6 6
87
33
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(f)
(f)
a2
(f)
(f)
(f)
(f)
(f)
(f)
a2
(f)
(f)
(f)
(f)
a2
(f)
a2
(f)
(f)
(f)
(f)
(f)
f
(f)
ff
f mp f
mp f
(f) mp
f
mp
f
mp
f
p
ff
(f)
p
f
(f)
(f)
(f)
(f)
S
(f)
88
39
C
C
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
mf
mf
3 6
mf
mf
mf
5
5
f
a2
f
5
f
sffz
f
ff
Sus. Cym (w/ stick)
mf
(dampen) (dampen) (choked)
ff
mf
mf
S.D.
mf
mf
Glockenspiel, hard plastic mallets
mf
S
T
T T T
* semi-p.h.
3 6
mf
S
89
45
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
(mf)
f
(mf)
f
f
(mf)
f
(mf)
a2
f
(mf)
f
(f)
(f)
(ff)
mf
(mf)
l.v.
Xylophone, hard plastic mallets
f
(glock)
(mf)
l.v.
(f)
TT T T T T T T T
(f)
S
90
D
D
50
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mf
a2
mf
a2
mf
f
mf
mf
mf
mf
mf
a2
f
mf
mf
f
mf
f
a2
mf
f
mf
f
mf
f
mf
f
a2 mf
f
mf
f
mf
f
mf
f
mf
f
B.D.
S.C. w/ yarn malletl.v.
mf
l.v.
l.v.
Chimes
f
Crotales (low set) l.v.
f
l.v.
Electric Piano (RMI or similar)
f
91
56
E
E
Ambivalent*: anger/love and sorrow
Ambivalent*: anger/love and sorrow
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
p
6
(a2)
(mf)
1.
mp
3
(a2)
(mf)
1.
p
6
p
(mf)
(mf)
(mf)
(a2)
mp
mp
1. 3
mp
1. 3
f
Crotales (high set)
(f)
(dampen Ab) (dampen G) (dampen E)
(f)
(crotales) (dampen B) (dampen Bb)
(f)
(glock)
mp
Soft plastic mallets l.v.3
(f)
slow slide
6
(f)
(f)
* "Ambivalent" is sometimes used incorrectly as a synonym for "indifferent," which has a quite different meaning. Here, it means to be have contradicting feelings towards a person (in this case: anger and love).
92
64
F
F
Aggressively
Aggressively
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
sub.f
fluttertongue
3
3
2. div.
f
fluttertongue
3
3
3
3
f
f
mp
(mf)
mp
(mf)
mp
(mf)
f
mp
(mf)
mp
(mf)
mp
(mf)
f
mp
(mf)
mp
(mf)
mp
(mf)
f
mp
(mf) mp
(mf) mp
(mf) f
mp
(mf) mp
(mf) mp
(mf) f
mp
(mf)
mp
(mf)
mp
(mf)
f
mp
(mf)
mp
(mf)
mp
(mf)
f
mp
(mf) mp
(mf)
f
1.
f
f
f
pizz.
sffz
sffz
mf
f
l.v.
f
f l.v.
flutter w/ bar
3
3
B (with bar; -m3)
(-M3)
(-m6)
R
w/ wah+
Ø
+
Ø
f
93
71
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
f
mf
(f)
f
mf
(f)
f
mf
(f)
mf
f
f
mf
(f)
mf
f
mf
(f)
mf
f
(f)
mf
f
(f)
mf
f
mf
a2ff
brash!
f
sfp
f
a2ff
brash!
f
sfp
f
(f)
p
f
(f)
mf
f
mf
f
ff
brash! f
sfp
f
mf
f
brash!
ff
f
sfp
f
sffz
arco
mf
f
p
f
mf
f
pIf only four timpani are available:
p
(mf)
(ff)
f
ff
china
3
3
mp
B.D. w/ hard mallet
mf
f
(f)
+ S
T
o
T T T T T T T+
S
o
+S
o
+ S
o
+
(f)
vib.
mf
S
f
(RMI)
94
G
G
78
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
f
psub.
f
mpsub.
f
Play f in order to compete with the volume of the guitar. The written dynamics show the shape of the melodic line.
mp f
mp f
mp f
mp
f
f p
sub.
mp
f
mp
1.
f psub.
mp
mp
f
mp
Triangle (6" or smaller)
p
(dampen)
mp
(dampen)
mf
(dampen)
f
(dampen)
mp
(dampen B.D. completely)
Xylophone (hard mallets)
f
wah offp.m.
mp
sweep
f
mp
f mp
f mp
f
mp
95
86
H
H
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
ff
f
ff
(f)
ff
ff
f
ff
f
ff
f
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
(dampen) sim.
(f)
Triangle (8" or smaller)Triangle (10" or smaller)
ff
(dampen all) (dampen)
f
(Crotales-high) ff
Crotales (low) to chimes
(xylo)
f
ff
to marimba
(wah remains off)
f
f
96
93
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
mf
f
mf
a2
f
(f)
f
(f)
f
mf
f
(f)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
mf
f mf
f
(f)
f
(f)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
(f)
f
(f)
f
(f)
a2
f
a2
(f)
f
(f)
a2
f
mf
3.
f
2.
mf
1. f
f
(f)
f
mf
f mf
f
(f)
f
l.v.
l.v.
(dampen) l.v.
f
Xylophone
Chimes
f
Marimba
f
f
"Synth-Lead" with portamento (ARP ProSoloist, MiniMoog or similar)
(at least as loud as the clarinets and alto saxophones)
3 3 3 3 3 3 3 3 3 3 3 3 3
3
3 3
97
101
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
(mf)
3
3
mf
a2
(mf)
3
mf
a2
f
mf
a2
3
f
3
3
3
3
mf
f
mf
3 f
3 3 3 3
mf
f
3
3
3
3
(f)
mf
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mf
mf 3
f
f
mf
(f)
(f)
1.
3 mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
33
3 3 3
f
(f)
3
mf
3 3 3 3
f
(f)
3 mf
3 3
3 3
mf
(a2)
f
mf
1.
3
f
a2
3
f
(a2)
mf
3.
3
f
a2
3
f
a2
(f)
3
If trumpet 1. cannot consistently play the C# without a split tone (a "frack"), trumpets 1.2 should play the ossia below
3
3
mf
f 3
(mf)
(f)
mf
(f)
(f)
3
(mf)
mf
(mf)
mf
(f)
(f)
l.v.
Glock.
l.v.
(f)
(xylo)
(chimes)
(f)
(marimba)
(f)
3 3
3
3
(f)
(sounds -14 cents)
3
3
3
wide vib. w/ bar
3
dive w/ bar
(f)
(f)
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
3
3
98
I
I
108
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
3
mp
3
a2
p mp
p
5 5
mf 3
mp
3
mf
3 mp
3
mf
3 mp
3
3
mp
3
3
mp 3
mf
3
mp 3 3
p
mf
3 mp
3 3
p
I
p mp
p
5 5
mf
l.v.
Celesta sound
p mp
p
5 5
99
J
J
115
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
(a2)
mp
mp
mp
expressive vibrato
mp
Vibes (motor on)
mp
(marimba)
mp
Distortion offw/ chorus
mp
w/ chorusw/ finger
100
123
K
K
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mf
1. no more than two players
p
p
mf
a2
mf
mf
mp
1. sololike a distant bittersweet memory
f
1. solo
mf
(still w/ vibrato)
(vibes)
mf
(marimba)
mf
Distortion onchorus offuse vibrato liberally
mf
mf
chorus off
mf
Electric Piano (RMI or similar)
101
132
L
L
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
p
a2 mp
1.
(a2)
(mf)
mp
(a2)
mp
(mf)
mp
p
mp
1. tutti
p
mf
p
mf
mp
mf
(a2)
(mf)
mp
mf
(mf)
a2
mf
(mf)
mf
mf
mp
1. mp
(mf)
3
(mf)
(mf)
normal (minimal or no vibrato)
(mf)
(vibes)
f
(mf)
(marimba)
f
(mf)
f
(mf)
(mf)
(mf)
102
141
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
mf
mp
f
3 3
mf
mp
f
3 3
mf
mp
f 3 3
f
f
f
f
f
f
f
f
f
f
mf
mp
f
3 3
f
f
f
f
f
f
(xylo)
f
(sounds -14 cents)
f
103
M
M
150
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
(f)
S.D.
ff
Toms, S.D.
Toms, Snare drum
ff
Crash cymbals (orchestral)ff
(f)
(marimba)
ff
(f)
104
158
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
deeply sad
f
3
deeply sad
f
a2 3
deeply sada2
f
3
Bass drum (w/ pedal)
f
105
N
N
166
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
a2
f
1. f
(f)
mf
mf
mf
mf
1.
f
f
Toms, S.D.
f
Crash Cymbals
f
stand behind drum set B.D. B.D. w/ pedal
f
Bass Drum
l.v.
(ff)
f
(f)
f
"Synth-lead" w/ portamento (ARP, Moog or similar)
106
173
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
1.
f
a2
1.
f
f
1.
f
1.
3
3
f
3
3
f
3
3
f
3
3
f
3 3
f
3
3
3
3
Suspended cymbal
mp
Ride cymbal
Toms f
3
3
(marimba)
f
107
179
O
O
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
mp
(1.)
(f)
3
3
div.
mp
2.
f
3
3
mp
div.
(a2)
(f)
mp
(f)
3
mp
(f)
f 3
a2
f
3
f
(f)
3
a2
f
3
3
(f)
3
(f)
3
(f)
3
f
3
3
3
f
3
3
3
f
a2 3
3
3
(f)
3
(f)
(f)
3
(f)
(f)
l.v.
(dampen if still ringing)
(mp)
3
3
3 f
l.v. (dampen if still ringing)
(f)
China
mp
(dampen) (dampen)
(marimba)
3
3
3
3 3
(f)
3
3
3
(f)
mp
Electric Piano (RMI or similar)
108
185
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
a2
p
con sord.
p
con sord.a2
con sord.
p
con sord.
p
mp
S.C., R.C.
p
l.v. l.v. l.v. l.v. l.v. l.v. l.v.
Cymbals (sm., lg.)
p
l.v. l.v. l.v. l.v. l.v. l.v. l.v.
Vibraphone, motor on
p
mplet ring (separate strings)
Distortion offw/ chorus
mp
109
P
P
193
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
mf
mp
a2 mf
mp
mf
mp
mf
f
senza sord.a2
senza sord.
mf
a2
senza sord. f
p
senza sord. f
p
f
p
f
p
(mp)
f
p
B.D.
mf
l.v.
Triangle
p
l.v.
Distortion onChorus offWah-wah on (use at own's discretion)
f
(mp)
f
(mp)
mf
110
199
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
f
(f)
mp
mf
mp
mf
mp
mf
mp
f
mf
mp
f
(f)
mf
f
mp
mf
mp
mp
mf
mp
mf
mp
mf
1. senza sord.
f
senza sord.a2
mf
f
a2
f
f
p
f
f
p
f
f
p
f
f
p
f
f
p
f
f
l.v.
Crotales (high)
mf
f
B.D.
mf
l.v.
Glock.f
mf
f
l.v.
like Steve Vai
R.H.: press down on bar rhythmically instead of using pick; bar reversed 180º (i.e., away from pickups as to bend pitch up)
p.h. slow dive with bar
mp
mf
mp
111
207
Q
Q
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
(mf)
(a2)
(f)
mf
(mf)
f
mf
f
(mf)
f
(f)
(a2)
(mf)
(a2)
f
(f)
(a2)
f
(a2)
p
p
f
p
f
p
p
f
p
f
p
p
f
p
f
p
p
f
p
f
p
p
f
p
f
p
f
f l.v.
f
l.v.
(f)
sul pont.
(quick slides)
S S
SS
S
T
S
P
(f)
f mf
112
214
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
f
f
f
f
a2
f
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
p
f
f
l.v. ff l.v.
Crash cymbalsff
ff l.v.
f
(glock)
l.v.
play attacks with reversed bar (as before)
sul pont.
f
113
219
R
R
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(f)
sfz
(f)
sfz
(f)
sfz
(f)
sfz
(f)
sfz
(f)
sfz
(f)
sfz
(dampen)
mp
sfz
(dampen)
Wah-wah offNeoclassical (like Randy Rhoads and Jason Becker)
(f)
sweep
3
(f)
(f)
114
225
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mp
mp
1.
3 3 3 3 3
mp
3 3 3
3 3
mp
mp
mp
mp
S
S
H P H P H
T P P H
P 3
3 3 3 3 3 3 3 3 3
115
S
S
231
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mp)
(1.)
(mp)
(mp)
mp
(mp)
(mp)
(mp)
(mp)
a2
f
a2
f
f
f
f
f
f
soft mallets
(f)
p.m.
mf
116
237
T
T
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
mf
mf
mf
mf
mf
mf
a2
mf
mf
mf
mf
mf
mp
H.H., S.D.
R L R L R
L R R
mfL
mpR L R L L
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mf
l.v.
H P B R
B RS S
B (hold)
T
(tap "D," but Eb will soundsince the string is bent up a semitone)
R
P T P sim.
117
244
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
mf
(mf)
mf
(mf)
(mf)
(mf)
(mf)
mf
mf
mf
(mf)
(mf)
(mf)
(mf)
mf
(mf)
l.v.
f
mp
(mp)
mf
mp
R.C.
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
3 3 3 3 3 3 3 3
mp
mf
Concert B.D.
l.v.
(f)
S
3
3 33 3 3 3 3
(mf)
S
118
249
U
U
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
mp
f
mp
f
mf
mf
mp
mf
mp
mf
mp
mf
mp mf
l.v.
f
f
l.v.
T
B
R
S
6 6 6
119
253
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(a2)
(mf)
(mf)
(mf)
(mf)
(mf)
(mf)
(mf)
sub.p
l.v.
(mf)
sub.p
l.v.
mf
l.v.
mf
l.v.
(f)
T P P HP
B (hold)
Release occurs at the same time as the re-picked "B," therefore imperceptible
B (hold)
as before
molto rit. 3
3 3 3 3 3 3 3 3 3 3
(mf)
120
V q = 160
260
q = 112
E. Gtr.
CADENZA (until m. 338)*
(let ring)
*The performer may compose or improvise a cadenza based on the harmonic structure as shown by the chord symbols above the staff. It should have similar gestures and melodic shape. Themes presented elsewhere in the work may be used as source material. The passages mm. 260-84 and 309-38 do not need to adhere to the number of measures, but their lengths should be close to the original (durations ca. 28" and ca. 47" respectively, total duration ca. 1'48").
(f)
F#ºGº
sweep
Gm Gm
Ebm(ma7)Bbm
5 5 5 5 6 6
264 E. Gtr.
Bbm(ma7)S
Am(ma7)S
Abm(ma7)S
Gm
S
D
Ebma7 AØ
6
6
q = 156
270 E. Gtr. F#º7
D7(âÄ)
S p.h.
B R p.h.
B R
AØ
p.h.
B R S
AØ
T
F#º7
T
AØ
T
Aº
3
5 5 5 5 5
277
E. Gtr.
soundsapprox.:
q = 176
3 3
Cm7
T T
Cm7
T
Cm6
T
Cm
LH: Bend up 3/4 tone and gradually releaseT T T T T T T
D7(b9)
T T T T T T T T
D7
sim. 3 3
282 q = 156
Timp.
E. Gtr.
mf
LH: Bend up semitone in rhythm
286
Timp.
E. Gtr.
p.h.
D7(âÄb13)
121
W
W
339
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
f
p
mf
f
p
mf
f
p
mf
f
p
mf
f
p
mf
f
p
mf
f
p
mf
mf
p
mf
f
p
mf
f
p
mf
mf
mf
mf
mf
mf
f
p
f
f
(dampen) sim.
p
f
l.v.
f
Toms, B.D.
f
f
Large cym., yarn mallet (dampen) (dampen) (dampen) (dampen)
B.D.
l.v.
w/ wah
+
(f)
o
+
o
+
o
+
o
+
slide to and fromindiscernible pitch
+o
(f)
123
344
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
f
f
f
f
(mf)
f
(mf)
f
(mf)
f
(mf)
f
(f)
(f)
p
f mf
ff
f
ff
3
(f)
mf
f
B.D. (same drum as perc. 1)
(f)
"Lay back"slightly slower than written, ca. q=138
(f)
Ø
H B R T
B R P
Tmolto vib.
P
a tempo
S
S
S S
(f)
Electric Piano (Rhodes or similar)
f
124
351
Picc.
Fl. 1.2
Ob. 1.2
Eng. Hn.
Eb Cl.
Cl. 1.2
Cl. 3
B. Cl.
Bsn. 1.2
A.S. 1.2
T. Sax.
B. Sax.
Hn. 1.2
Hn. 3.4
Tpt. 1.2
Tpt. 3.4
Tbn. 1.2
B. Tbn.
Euph.
Tba.
Cb.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
E. Gtr.
E. Bass
Synth.
sffz
a2
sffz
a2
sffz
sffz
sffz
sffz
a2
sffz
sffz
a2
a2 sffz
a2
sffz
bend note
sffz
sffz
a2
sffz
a2
sffz
a2
sffz
sffz
a2
slow gliss. sffz
sffz
sffz
sffz
sffz
f
p
sffz
(dampen)
f
l.v. Crash cymbals
sffz
mf
f
mf
f
(dampen cym.)sffz
(dampen drums) 3 3 3 3 3 3 3 3 3 3
(dampen cym.)sffz
(dampen B.D.)
sffz
(dampen B.D.)
S S
mute strings forpercussive effect
( )Ø
o
sffz
+
3 3 3 3 3 3 3 3 3 3 3 3 3 3
sffz
sffz
Hartford, CT
Amherst, VA (VCCA)
April 2010
125
