dl.tufts.edu Abstract Three Poems from Shi Jing is a song cycle composed to three texts chosen from the Book of Odes, an ancient collection of Chinese poems that dates back to the

Composing “Three Poems from Shi Jing, for Mezzo-Soprano and Chamber Orchestra in Five

Groups”

A thesis submitted by

Wei Yang

In partial fulfillment of the requirements for the degree of

Master of Arts In

Music

Tufts University Graduate School of Arts & Sciences

May, 2015

ADVISOR: John McDonald

Abstract

Three Poems from Shi Jing is a song cycle composed to three texts chosen

from the Book of Odes, an ancient collection of Chinese poems that dates back to the

11th century BC. The composition is written for voice and chamber orchestra, with the

orchestra divided into five groups. The piece represents not only the culmination to this

point of my studies in contemporary compositional aesthetics and techniques, but also

my research into Chinese culture, all of which took place during the two-year master’s

program at Tufts University under the guidance of Professor John McDonald. The goal

of this composition is not purely a creative work, but also a personal effort to provide a

forum that allows negotiation between ancient and contemporary, east and west, and

noise and music. In this essay, I will address the following issues: my motivation to work

on such a project; my choice of texts in Chinese as well as in English translation; and

my compositional process, specifically addressing the orchestration, structural design,

and relationship between the language and the music.

i

Table of Contents

I. Motivation for Composing Three Poems from Shi Jing 1

1. Motivation from composer Chou Wen-Chung 1 2. Motivation from Shi Jing 2

II. The Analysis of Chosen Texts 4

1. Guan Guan 42. Zi Jin 73. Ji Gu 8

III. Compositional Process 10

1. Structural Design 112. Orchestration 133. Deriving Pitch Material from the Transcription of Tonal Language 15

IV. Conclusion 17

V. Score 18

ii

Acknowledgements

I am indebted to John McDonald for his unstinting mentoring and support throughout the

entire duration of the master’s program. Studying with him not only made me a better com-

poser, but also inspired me to become a better person. For this reason, I would like to dedicate

this composition to him.

I am also grateful to Joseph Auner, whose Sound Studies seminar changed the way I viewed

music. It is not an exaggeration to say that my current compositional direction and aesthetics

are strongly influenced by ideas exchanged in the class. I would also like to express my grati-

tude to Michael McLaughlin, who not only kindly agreed to be part of my thesis defense commit-

tee, but also came to performances of my compositions and gave me feedback. In addition, I

want to thank Jane Bernstein, who compassionately helped me adapt to the academic environ-

ment at Tufts during my first semester, and inspired me to become a music scholar.

I must also thank the Department of Music, my fellow colleagues, all faculty members and the

staff, whose enthusiasm and dedication toward their work constantly inspires me. Special

thanks go to Lucille Jones and Danna Solomon, who not only help me with the work in the Mu-

sic Office, but also enchant me with their charming personalities.

As always and forever, I cannot thank my parents enough. They have always been supportive

throughout my life. It is the sacrifice they have made for me to pursue my dream that encour-

ages me to strive for better results through my chosen art.

iii

I. Motivation for Composing Three Poems from Shi Jing

The conception of this project took place towards the end of summer 2014 after

my first year study at Tufts University. During that summer, I was fortunate to attend

several festivals where I had the opportunity to exchange ideas with young fellows as

well as with established composers from the world. Although the schedule was filled

with lectures, presentations, rehearsals and performances, I was able to find time to

reflect on what I had learned in the past year at Tufts and what I was going to do in

order to advance. Several ideas came to me and two of them eventually motivated me

to undertake this project.

1. Motivation from Chou Wen-Chung

In today’s world of contemporary music, there are several composers of Chinese

background actively contributing their unique voice to the diverse body of the new music

repertoire . Though utilizing different methods, their music are similarly involved with the 1

process of drawing ideas from the reservoir of their native culture. Being a young

Chinese composer, I found myself constantly inspired by their music and philosophies,

particularly those of Chou Wen-Chung’s.

Chou (born 1923) is arguably one of the most intriguing composers from China,

known for his unique fusion of east and west. For many people, even those highly

educated in music, prior to hearing a piece by a Chinese composer, they have certain

expectations of pitches, harmonies, use of folk materials, forms, and spiritual

characters, among others. It is these features that usually reveal the composer’s culture

identity. However, when listening to Chou’s music, one can hardly make the Chinese

Chou Wen-Chung, Chen Yi, Bright Sheng, Zhou Long, Tan Dun, Lei Liang, Ruo Huang, to name a few.1

�1

association based on these expectations. This is the result of Chou’s deep

understanding of Chinese culture and his unique practice of cultural syncretism. For

him, it has less to do with studying the existing materials that are available for

composing, but more about immersing himself in the behind-the-scenes culture and

aesthetics that cause materials to come about. He went back to the roots and studied

Chinese history, philosophy, archeology, and even other artistic forms such as

calligraphy and poetry, to gain a more comprehensive understanding of the culture.

Chou transfers this approach to his compositions, where he refuses direct sounding

references and integrates his cultural investigation into the compositional process

instead. For example, he derives pitch materials from I-Ching, plans orchestration

based on the study of calligraphy, designs forms using principles of brush painting, and

many other techniques. The result of this practice is culturally subtle but sophisticated,

sonically highly personal but universal; to me, this is the highest achievement for a

composer. It is Mr. Chou’s music and his path as a composer that inspire me to re-learn

my culture and to seize every opportunity to practice my knowledge. My experience with

Chou’s music became an initial motivation for this project.

2. Motivation from “Shi Jing”

Among all categories of Chinese literature, poetry has always been my favorite

because of several qualities it embodies: the rich imagery, the contour of pitch

arrangement, the use of cultural references, the invitation for open interpretation, and

the clarity of the structure. Often, Chinese poetry has not only been the inspiration for

my vocal compositions, but for instrumental writing as well. For example, my “Three

�2

Songs from the Song Dynasty”, a cycle for chorus, was inspired by Su Dongpo’s

threatrical, programmatic poems ,; and my “To Be Continued I”, a chamber piece for 2

clarinet, violin, cello and piano, draws ideas from a series of images from Meng

Haoran’s Spring Dawn . Moving in a new direction from these previous pieces, Three 3

Poems from Shi Jing undertook a different approach from these past compositions

using poetry as inspiration.

During my study at Tufts, I have become increasingly interested in new

categories of sounds and their application in music. This does not only include the

organized sound that we experience in music mostly written in the past, but also

extends to noise, which we hear constantly in daily life but tend to be skeptical about

including in music. Among the poems in Shi Jing, or the Book of Odes, there are

many descriptions of different sounds in the texts, which I seize as opportunities to

experiment with noise passages. Moments of noise do not merely function as effects,

but more importantly as devices that unify the structure and create sonic spaces that

animate the poetic content.

Another inspiration from Shi Jing comes from my observation that the sonic

qualities of the words resonate with the musical content and make a huge impact on the

quality of a song. Since Chinese is a tonal language, this impact is even more

significant. In this Shi Jing project, I have been trying to transcribe the “tones” of single

characters and to study the tonal relationship when single characters are combined to

Su Dongpo is a Chinese poet from 11th century Song Dynasty. He is known for his mastery of different artistic 2

mediums and for being the founding figure for Haofang school poetry, which tends to use more historic and heroic references in order to achieve a sense of grandeur.

Meng Haoran is a landscape poet from Dang Dyanasty whose focus are primarily solitude, personal enlightenment 3

and the appreciation of nature.

�3

form a poem, an approach which has deepened my interest in generating musical

materials from the tonality of the language. I was eager to experiment with this over-

arching idea, and this project presented a wonderful opportunity for me to do so.

II. The Analysis of Chosen Texts

I have chosen three texts from Shi Jing for various reasons. First, these three

texts share the theme of human relationships; second, although all about relationships,

the human interactions described are of different types and situate in different

conditions, providing an expressive range and variety of vivid imageries; third, in the

contents of all three poems, there are descriptions of different types of noise or

apparent indications of noise by certain physical gestures; I mentioned this above as

one of my prime motivations for this project. In this section I will provide the translations

of all three poems and discuss how each individual poem contains the concept of each

musical setting.

1. Guan Guan

Chinese text:

�&·-1·#l

##lgv�C�IuedW�vS �mu

2=n:vAD$�uedW�vrc+�u

+��vrc0*uM^M^v_(8Qu

2=n:vADH�uedW�vRZ��u

2=n:vADs�uedW�v9K��u

�4

English Translation:

Guan Guan

“Guan Guan” the ospreys cry, resting on the riverside.

The beautiful lady with elegance and smile, lingers on gentlemen’s mind.

Short and long the water spinach grow, the water flows to the left and right.

The beautiful lady with elegance and smile, whom the gentleman seeks day

and night.

He proposed but was denied, he thinks of her day and night.

The night is so slow and long, he turns and tosses from side to side.

Short and long the water spinach grow, he picks it on the left and right.

The beautiful lady with elegance and smile, with harp and lute he sings her

a rhyme.

Short and long the water spinach grow, he plucks it on the left and right.

The beautiful lady with elegance and smile, he plays bell and drum to her

delight.

In ancient China, the osprey is a symbol of genuine love. According to legend, an

osprey only cries out when it meets its mate; and if its mate dies, the other would starve

itself to death. Regardless if the legend is true or not, the opening of “Guan Guan” not

only sets up the romantic tone for the rest of the poem, but also provides the “noise”

material I use for the composition, which was executed by having woodwind instruments

from different groups perform in Sprechstimme. Another inspiration from the poem is

�5

the structure. At an initial glance, the text is simply about a gentleman trying to pursue

the lady he adores, which seems joyous and has a satisfying outcome in the end.

However, in my research I learned that behind this seemingly delightful surface actually

hides a darker story, which contains three parts:

(1) the love part where this gentleman met a lady (Lines 1-4);

(2) the traumatic part where he proposed but was rejected. At the end he couldn’t sleep

at night and his life turned disastrous (Lines 5-6);

(3) the fantasy part where the gentleman starts fantasizing his life with the lady and how

he would have treated her (Lines 7-10).

Based on this analysis, I divided the piece into several corresponding sections:

(1) Introduction - with sprechstimme using “Guan Guan”;

(2) The reality part- two variations, which correspond to L1&2, and L3&4;

(3) The traumatic part - a dramatic change of pace that serves as a transition into the

fantasy part;

(4) The fantasy part - L7 to L10 are repeated twice, with elements of tempo, dynamic

and instrumentation density increased until reaching a climax by the end of the

second statement;

(5) The recapitulation - A truncated section derived from the introduction was brought in

to musically release the tension, but emotionally contrasts it with the desperation

reached by the end of previous section. This captures a sense of emptiness and

helplessness.

2. Zi Jin

�6

Chinese Text:

�&·V&· a

66 avMM�u

O��3v B�k.w

66 PvMM�0u

O��3v B��w

>Y5Yv�/jYv

��!v��'Yu

English translation:

Zi Jing

Blue is your collar, saddened is my heart.

Although I couldn’t go, why have you not sent words?

Blue is your jade pendant , prolonged is my thought.

Although I couldn’t go, why have you not come to visit?

Restlessly I wander, on the top of the gate tower.

Each single day without the sight of you, feels like three months if not longer.

This poem is addressed to a young male and is apparently a love poem.

However, the gender of the writer has always been debatable. Some scholars believe

that it was written by a young girl who was in love with a gentlemen. But this is

historically incorrect because females were not allowed to linger on the gate tower . 4

Based on the choice of words, some others argue that it is a homosexual love poem

Gate tower is a type of brick structure built in ancient China, which served as the entrance to the city as well as a 4

defensive wall.

�7

written by a scholar, who dedicated it to his protégé . In this poem, the description of 5

sounds is not provided directly, but instead implied by the character “�” (Xi), which was

used in ancient Chinese poetry as an auxiliary word of exclamation. Depending on the

situation, it can mean “Ah”, “Aha”, “Wow”, etc. To paint this moment of text, I used

breathing sounds combined with vowels, such as “u”, “i”, “a” (for example, bassoon in

measure 142, flute in measure 147), to create the nostalgia quality of the poem.

Structurally, the composition reflects the poems — first question, second

question, and then the description of a specific action. The pitch materials are more or

less stable; however the orchestration and use of breath varies from section to section.

At the beginning, bassoon has its reed removed and is entirely dedicated to the

breathing sound. Throughout the development of the piece, most of the woodwinds

(except flute) and trumpet have their reeds or mouthpieces removed and eventually

merge entirely into a “breath ” section. In addition, theatrical aspects are explored

through the gestural design for the vocalist, whose materials interact closely with the

musical content of the rest of the ensemble.

3. Ji Gu

Chinese text:

�&·t&·4K

4K%ovbU�Lu

?�/iv�71�u

"N ]v)J \u

Up to 20th century, females were not allowed to either teach or study in a learning institute. 5

�8

��EvG�fu

q<q,wqX%;w

��+�w�@��u

��[Tv ��u

F ��v `�u

�hTYv��Yu

�hpYv��Yu

English translation:

Ji Gu

“Tang” — hear the drum struck, soldiers were busy all about.

Some stayed to construct the gate, while we marched alone southbound.

I followed General Sun Zizhong, attempting to conquer the State of Chen and

Song.

We failed to return home, and my heart was filled with sorrow.

Where to stay and where to stop? Where did my battle horse go?

Can he somewhere be found? He was already buried underground.

Live or die, meet of part, here is the promise from my heart.

Our hands will hold, together you and I will grow old.

We shall not separate, or we won’t meet again in a time so desperate;

From you I will never stay far, or keeping my promise will be hard.

This poem is held in high regard as it portrays sincere love in a very desperate

situation. In weddings, a groom is very likely to use the phrase “��”, or

�9

“Our hands will hold, together you and I will grow old” to make promises to his bride,

even though the poem is actually about companionship between soldiers who try to

encourage each other through difficult battles. Like Guan Guan, the sound description

“Tang” appears at the outset of the poem. Throughout the movement, it is sung, spoken

and whispered by vocalist instrumentalists alike. The nature of using “Tang” is at times

programmatic, with the purpose of capturing the intense feeling of war, while at other

times it is simply used as a noise element, integrated less conspicuously with other

noise features produced by the ensemble. Similar to the second song, I used repetition

to emphasize certain phrases in order to maximize the dramatic effect. To this end, Line

5 and 6 were repeated four times. During the repetition, I enact a procedure that could

be described as filling a jigsaw puzzle. For the first statement of Line 5 and 6, I

displayed pitch materials in different registers with woodwind instruments from different

groups, which initially created a pointillistic impression. In the second statement, other

members from groups [a] and [b] played crescendo lines to arrive at notes played by the

woodwinds in the same groups. In the next two statements, instruments in other groups

are brought into the picture in the same fashion. By the end of the section, all the points

from the first statement are connected and rapid shifts of colors are achieved.

III. Compositional process

In this section, I will address the cycle’s structural design, orchestration, and how

I derive pitch materials by transcribing the language.

�10

1. Structural Design

The cycle is cast in five movements - Prelude, Guan Guan, Zi Jin, Ji Gu, and

Postlude, which are unified structurally by recycling thematic materials.

The Prelude previews in condensed form all of the pitch materials and playing

techniques that are explored in more detail in the ensuing movements. At the end of the

prelude, a solo flute passage (which comes from a previous solo piece I composed for

shakuhachi) sets the stage:

Figure 1: Flute Solo, Prelude. Page 32, mm58 — 66.

This passage consists of two phrases: mm58 — 61; and mm62 — 66. Each

provides the thematic materials for the two songs that follow. In Guan Guan, this is

move obvious in the trumpet and percussion part at m82:

Figure 2: Thematic Material in Guan Guan. Page 36, mm84 — 85.

�11

or in the vocal part at m104:

Figure 3: Vocal Figuration in Guan Guan. Page 40, mm104 —108.

In Zi Jin, similar approach can be observed in instrumental writing:

Figure 4: Trumpet Opening in Zi Jin. Page 47, m142.

as well as the vocal writing:

Figure 5: Vocal Figuration in Zi Jin. Page 53, mm171 — 174.

In the last setting (Ji Gu), two new motives are introduced:

one is this four-note material brought in by the trumpet at m206:

Figure 6: Tumpet Figuration in Ji Gu. Page 60, m206.

the other one is the solo vocal line towards the end of the movement:

Figure 7: Vocal Solo in Ji Gu. Page 69, mm239 — 243.

�12

These two excerpts were later combined as a phrase and added to the previous two in

the prelude, to form the three-phrase Postlude.

Figure 8: Postlude is also a solo flute passage, which meant to conclude the piece in a circular way

(score, page 71).

2. Orchestration

Conceiving orchestration for this piece was tricky as I was having a hard time

deciding the relationship between the ensemble and the vocalist. Should I assign a very

clear soloist role to the vocal and have the instrumental ensemble as accompaniment?

Or should I treat every one more or less as soloist? Is there a middle point where these

two approaches can meet? These questions were eventually answered by the scheme

indicated by the composition’s title, which is to divide the ensemble into five groups,

encompassing four trios and one string quartet. Why five groups? Because:

�13

• Each instrument has myriad sonic possibilities; these tend to become obscured in the

setting of large sectional playing. By separating the groups, I can pay maximum

attention to individual instruments and also achieve reasonable control by asking for

chamber-music precision within the smaller groups.

• The groups are placed physically in the space in a way that mirrors the symbolistic

nature of a particular Chinese character and maps it into the process of designing

orchestration. For example, in the first song, I chose “�” as the character of the

movement, which can be broken down into different strokes —

With the ensemble placed in the following way, I can connect dots to simulate the

strokes in a larger physical arrangement of instruments:

e d

c

a b

e+c d+c a+b d+e d+c+a e+c+b

Thus, the character can almost be “read” if the listener could view the ensemble

aerially. The arrangement of the instrumental groupings therefore represents a kind of

�14

signature that further personalizes the procedures that contribute to the atmosphere and

intentions of the whole cycle. The sounding result of this scheme is extremely highly

decorated monody, where instruments and voice are relatively independent but also

amplify each other.

3. Deriving Pitch Material From the Transcription of Tonal Language

Besides deriving pitch materials from the solo flute passage at the end of the

Prelude, another approach took place simultaneously, which was to take advantage of

the language’s tonal characteristics. The Chinese language has four tones - keeping

straight, going up, slowly going up, and coming down. With a moveable initial pitch for

the first tone, these four tones can be perfectly reflected in relative intervallic distances,

and by assigning a fixed initial pitch, one can transcribe all four. For example, if I assign

the initial pitch B to the first tone, the second tone can be represented as a rapid

glissando upward from G to Bb without emphasizing either pitch; the third tone is a

slower glissando upward from E to G with primary emphasis on E and secondary

emphasis on G; and the last tone manifests as a rapid glissando downward from C to A.

With this method in mind, I can almost transcribe any phrase in the poetry. The interval

of minor third appears prominently in all of the four language tones. Hence the

transcription of every phrase offers opportunities for motivic unity as well as a way of

capturing the sense of the language tones. Due to glissandi, the pitches transcribed

encompass a range from microtones to perfect fifths. With this flexible ambit, the music

can attain a chromatic range that embraces as much consonance and dissonance as I

want for my compositional palette.

�15

One special note I wish to make is that when I was composing this piece, I kept

in mind a specific soprano whose native tongue is Chinese Mandarin. Although the

pronunciation has been spelled out in the composition, it is recommended that a vocal

performer seek guidance from a native speaker. In addition, this voice type in the score

is mezzo-soprano; however, it can also be done by tenor, sung one octave lower than

written.

�16

Conclusion

Three Poems from Shi Jing makes an effort to combine western contemporary

music aesthetics and techniques with poetic and musical gestures inspired by ancient

China. Through the compositional process I have learned several techniques discussed

above, which have not only advanced my compositional skills but have also encouraged

my compositional growth in an increasingly personal direction. Working on this

composition has presented a wonderful opportunity which will lead inevitably to further

research and study.

�17

72

Wei Yang

Three Poems from Shi Jing

��

For Mezzo - Soprano and Chamber Orchestra

in Five Groups

April 18, 2015

18

Distribution:

Group [a] - flute, violin, viola;Group [b] - clarinet, violin, viola;Group [c] - violin I, violin II, viola, cello;Group [d] - bassoon, trumpet in Bb, percussionGroup [e] - oboe, double bass, grand piano

Seating arrangement

[e] grand piano [d] percussion bass, bassoon oboe, trumpet [c] sting quartet

[a] violin, viola, flute [b] clarinet, viola, violin

The trumpet and clarinet in the score have already been transposed. Double bass is notated one octave higher than its sounding.

Percussion (1 player)

2 Timpani

Marimba

Vibraphone

Snare drum

* If extened collar timpani is available

19

Notes on Notation

I. Genreral

+ //d one quarter tone higher/lower

= , three quarter tones higher/lower

t.tr timbral trill

irregular tremelo

trill by default is semitone trill

Glissando is excuted immediately after the attack of the note

Noteheads of repeated pitch are omitted, ex.

Broken line indicates the beat:

slightly before the beat

on the beat

slightly late for the beat

II. Woodwinds

¿ Key clicks

– ! Breathy, a mixture of air and pitch

ø Very breathy, very little pitch

‚ · Multiphonic, decided by the instrumentalists; however, the choice should include the given pitch

sl Slap tongue

III. Keyboard

1/2 + Touch the string inside the piano in a way that allows a combination of pitch and percussive sound come out

+ Strongly press the string so no pitch but only percussive sound will come out

w.t Whitsle tone

" # Inhale/exhale

pizz pluck indicated strings inside the piano

20

IV. Percussion

; use palm

)))))))))) scratch the drum surface in a circular motion; moisturize fingers/hands beforehand

/ on the edge of the drum

rim on the rim

m use bow

V. Strings

ob on the bridge; place the left hand on the fingerboard to avoid any tone; only hair sound should be heard

bb behind the bridge

ord cancel any former technical indication

L.H 1/2 only apply half of the pressure in the left hand ; cancelled by L.H ord.

2 finger pizz pizz tremolo of two fingers

+ left hand pizz

Bow Placement

s.t sul tasto

s.p sul pont

s.p.e extreme sul pont

Bow Pressure

$ slightly stronger than normal

‡ much stronger than normal; tone should be heavily distorted

flaut. half of normal

heavy bow pressure only at the attack

circular bow motion: s.t - ord - s.p - s.p.e - s.p - ord - st. Always starts at s.t

n use mallet appropriate to the color indicated

!

x stop the note(s) right away

21

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44

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Flute [a]

Violin [a]

Viola [a]

Clarinet in Bb [b]

Violin [b]

Viola [b]

Violin I [c]

Violin II [c]

Viola [c]

Cello [c]

Bassoon [d]

Trumpet in Bb [d]

Double Bass [e]

Piano [e]

Percussion [d]

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Œ Y Y x3 3

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Œ Y Y y3 3

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22

Three Poems from Shi JingWei Yang

Score

Dedicated to John McDonald

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43ˆ161

43ˆ161

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44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

6 Œ ' Rø.

‰ Œ ' J–.

'6 Œ ‰ x x x x x x>x

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Ó Œ X3

6 Œ Œ jœ. Œ j–. ‰3

6 Œ ‰ x x x x x x>x3 5

Ó Œ X3



y y> y y> y y> y y y> ¿ ¿ ¿ ¿> ¿3 5

y y> y y> y y> y y y> ¿ ¿ ¿ ¿> ¿3 5

6 Ó x x ‰ . x x ‰ .5 5

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6 Œ ‰ œ ˙3

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5

6 Œ ‰ x x x x x x> x3 5

6 Ó Œ Œ Jœb3

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Fob

Fob

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ob

P

P

P

timp.

Í;——————

sl

F

P

P

key click

air

F

F

F

F

F

sl

Œ ‰ ‰ –b˘ –Œ '

3

x> .x x> .x ‰ ‰ Œ '3

x> .x x> .x ‰ ‰ ·œbb

œ>

Œ '3

&

%

x> .x x> .x J¿> ‰ Œ '

x> .x x> .x J¿> ‰ Œ ' &

x> .x x> .x J· ‰ Œ '

x> .x x> .x J·b ‰ Œ '

y> .y y> .y Jy> ‰ Œ '

y> .y y> .y Jy> ‰ Œ ' &

x> .x x> .x J¿> ‰ ‰ Jœn ˘ '

Ó ‰ Jœ# ˘ '

œ œ œ ‰ Œ '3

Ó ‰ œœ> œœ ¿> '

Œ Jœ ‰ Œ '

x> .x x .x J¿> ‰ Œ '

Œ œ

œbfl

Œ Œ '3

Ó Œ '

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

s.p

S

ƒ

ƒ

ƒ

ƒ.

Harmon MuteStem off

ƒ

ƒ

ƒ

ƒ ˘

vibraphone

/

ƒ as possible

s.p

Ó Œ ø. ø. ø. øb .

%

' .Jœ œb ‰ Ó3

B

%

Ó œb œ ‰3

Ó œ œb ‰3

Œ œ Jœb ‰ Œ

Ó Œ ' œ5

Œ œ Jœb ‰ Œ&

Ó Œ ' œ5

%

Ó œ# œ œb

%

%

Œ .·%

%

%

flaut.

ric.

ric.

a. ord.

a. ord.

a. ord.

a. ord.

a. ord.

a. ord.

p

P

P

F

F

q = 84

p

f

half valve

P

ric.

flaut.

Mosso accel.

‰ ø. øb . øb . ø. ø.‰

–Jœn ˘

‰5:4

‰ œb> jœ ‰3

‰ œ>$ Jœb‡˘ ‰3

Œ ø. ø. øb . ø. ø# . ' –. –b . –. J–# .‰

5:4

‰ œb> Jœ ‰3

‰ œ>$ Jœb‡˘‰

3

‰ œb> Jœ ‰3

Jœb Œ Ó3

‰ œ>$ Jœb‡ ‰3

B

Jœb Œ Ó3

?

‰ ‚b J ‰3

Jœ ‰

%

Ó Œ œ

. j ‰

Œ ‰ Jœb ‰ ' œ+œ ' Jœb . ‰

3 5

Ó Œ ·

Ó Œ œo°

mF

S

ƒ

ƒ

ric.

ƒ

f ƒ

f

ƒ

ƒric.

slow motor

S

ƒ

ƒric.

ƒ

ord.

ƒ

ƒf

d

~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

23

&

&

B

&&

&

&

&B

?

?

&?

&

&

?

&

?

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

42ˆ161

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

(

10 %10 %

%10 %10 %

%

%

%

Ó ·æ

Ó œ

10 %10 %10 %

J Œ .10 %10 Ó œ

10 ·

wo

p

p

q = 72

L.H 1/2s.p

p

let ring

2 finger pizz

2 finger pizz

%

%

%

%%

%

%

%· ·b

œ Ó

%

%

%%

%

œ Ó

%

%

=

L.H ord.

poco

s.p.e

,

ric.

%

%

%

%%

%

%

%..· Ó

%

Ó . Œ ‰ ‚3

Ó . ‰ œ# . œ3

Ó .æ%

%

%

Ó . Œ ' œ

œ.

'

œ

œ.5

Ó Œ

marimba

)

p

p

p

arcos.p.e

&

harmon mute off

%

%

%

%%

%

%

%

% &

% &

R

œ# . œn . œ. œ. œ# . Œ '5

œ œœ ¿˘ ‰ Œ '%

' .j‚ r

' .JœŸ Œ Rœ

Œ Rœ. œ. œ# . œ# . œ. ' '5 5

?

%

dF

F

F

P

P+

F

s.p

Sarco

S

%

%

%

%%

%

œ$ Jœ ‰ Œ

Œ Jœ$

J œ Œ3 3

Ó Œ Rœ 5

Œ ‰ ' Rœ Jœ 3

%

%

%%

> j > . > r > 3 5

%

' ‰ ‰ ‰ ‰

'R

œœ

œb

.

‰J

œœ

œb

.

‰

œœ

œb

¯

‰

œœ

œb

¯

‰

f

+

+ gliss

fgliss

ord.

ord.

p

F p

+ord. flaut.

P &

+ric.

P

f

c.l.b.

arco

24

&

&

B

&

&

&

&

&

&&?

&?

&&

?

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~

(

15 %

15 %

%

15 %15 %

%

%

% œ Ó

15 %15 %15 %

%15

Ó15 %

15 .˙ ' ‰

J

œ

œb ‰J

œ

œb

-

‰ 'J

œ

œb

-

‰5

&

&

‰ œ # œ rœ œæ Jœb3 5

3

˙n œ œ+ .œ 5

' œ ˙n5

%

%

% B

%

%

%%%%%%%

%

œ Œ Ó' ‰ &

'J

œ

œb

-

‰ Œ Ó5

+ + =Pflz.

f

d

flaut.

flaut.

s.t

s.t

s.p

p

p

+

s.p

s.p.e

s.p.e

d

&

–> œn –n> œ –#> œn ˙#3 3

˙ œn œb œb3

˙n œ œ œn3

‚n>j >

j >–b . –n . –. –b . œb3 3

·œ## > ·œ ·œ## > ·œ ·œ## > ·œ ·œ> ·œ ·œnn > ·œ ·œ> ·œ##3 3 3 3

‰ jœ# ‰ œ ‰ œ ' œ œ ' œ œ3 3

5 5

%

%

%%%%%%

Ó ‰ ‚> > J >3 3

Ó ‰ Jœ ‰ œ ‰ œ#3 3

Ó ' œb . œn . œ. œb . œb . ' œn . ‰5 5

%

+t.tr

ƒ!

!

f

f

ord.

ord.

+

f

fs.p.e

S S S

+

d ,

S S Sd

++++ dd

d + dric.

! fast

! fast

d d

bow trem

bow trem

d

f

f

flz. > œ-Œ Œ

3

wn

w#

J‚ ‰ Œ Ó

· · Œ3

' œ œ ‰ œb Jœ ‰ ' œ5 3 5

&

%

%

%%%%%%

J ‰ Œ Ó

œ+ .œ œ œ ‰ Œ3

‰ œb . œb . ' œn . œn . ‰ œb . œb . ‰ œœbn . ‰ Jœœbn . ‰5 5 3

%

! fast

! fast

+ d d

! fast

++! slow

ƒ n

d! fast ! slow

ƒ

ƒ

ƒ

ƒ

ƒ

P

d

F

+ ric.

m.v n.vd

ord.

25

&

&

B

&

&

&

&

&

&&

?

&?

&&?

&?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43ˆ161

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

(()

19 %19 .˙ ·œbb

.˙·œ

19 %19 Ó Œ œ

œn ‰ Œ Œ œ 3

%

%

%%

19 %19 %19 %

%19 %19 Ó Œ œo

&

19 œb

°

‰ œ. ‰ jœ. ‰ œ.‰ œ.

‰3˙b Jœ Jœ

%

! slow

! slow

&

&

S

+p

p

p

p

p

d

p

p+

flaut.

flaut.

flaut.

flaut.

flaut.

s.p

s.p

s.p

s.p

s.p

%

$ ‡5

>$ Ó5

% $ ‡

5

$> Ó5

%

%

% B

% ?

%

%

%

% ã

% >$ Ó

5

%

%

S

S

S

a. ord.

a. ord.

a. ord.

a. ord.

a. ord.

Ó ø

J ‡ ‰ Œ Ó

Ó ¿ ¿ ¿ ¿ ¿> ¿ ¿ ¿> ¿5

Ó ø

J ‡ ‰ Œ Ó

Ó ¿ ¿ ¿ ¿ ¿> ¿ ¿ ¿> ¿5

%

%

%%

%

%

Ó ˙b

%%

Ó ¿ ¿ ¿ ¿ ¿> ¿ ¿ ¿> ¿5

%

%

F

F

F

ob

ob

ob

F

F

timp.

P——————

ƒ

ƒ

Jø ‰ Ó

%

J¿> ‰ Ó

Jø ‰ Ó

%

J¿> ‰ Ó

‰ jœ$ Œ jœ ' r·œbn ‰3

‰ jœ$ Œ jœ ' r·œn ‰3

‰ jœb Œ jœb ' rœb ‰3

‰ jœ Œ jœ ' rœ ‰3

Ó ‰ . Rœ

%

œb œ .œ

¿œ

fl

.œ¿

œ

fl

' r

¿

œ

fl

‰5

' ‰%

J¿> ‰ Œ Œ

%

%

snare

f

S

SS

S

harmon mute,stem off

F

S

SS

S

S

SS

S

+

d

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

n

%

%

%

%

%

%

' .Jœb œ‰ Jœn œ

' .Jœ œ'

' .Jœ œ ‰ Jœn œ ' .Jœ œ '

%%

œ# œ .œn œ œ ‰ œ> œ œ ‰ œ> '5 3 3

œ> ‰ œ# œ .œ# œ# œ# .œ œ# œ Rœ# .3 5 5

%

Ó Œ ¿. ¿.

%

%

%

%

F

s.p.eL.H 1/2

F

f

s.p.eL.H 1/2

F+ +

f

f

f

f

rim

d

26

&

&B

&

&&

&

&B

?

?

&?

ã

&

&

&

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

*

~~~~~~~~~~~~~~

(

24 Œ ø24 %

Œ ¿ ¿ ¿ ¿ ¿> ¿ ¿ ¿> ¿5

24 Œ ø24 %

Œ ¿ ¿ ¿ ¿ ¿> ¿ ¿ ¿> ¿5

%

%

%

% B

24 %24 %24 Œ ˙b

%

24 %24 Œ ¿ ¿ ¿ ¿ ¿> ¿ ¿ ¿> ¿

5

24 %

%

Pob

Pob

P

Pob

P

P—————— ( œ )*

Jø ‰ Œ

%

J¿> ‰ Œ

Jø ‰ Œ

%

J¿> ‰ Œ B

%

%œ# œ .œn œ œ ' œ

5 5

œ. œ. œ. ' œ. œ. ' ?

%

%Œ ¿. ¿. ‰ .

5

¿. ¿. ‰ Œ

%

J¿> ‰ Œ ?

%

%

arco

pizz.

F

F

Pord.

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

ƒ as possible

rim

%

%%

%

%%

%

%Jœ ‰ Ó

Jœ ‰ Œ Œ

%

%Œ ‰ œb Œ

¿æ ¿æ

œ>

‰ Œ3

œ œb œb œb ‰ œb 3

œ# > .œ œ> .œ œb>jœb ‰5

Œ ‰ .

jœœœbb . ‰

œœbb .

œ.

‰ .

œœbb .

œ

œb . œ

œb

. œ.

55

f

t.tr

fdf

ord.

P S

S

S

*

%

%%

%

%%

‰ Jœb$' Rœ ‰ J·œbb ‰

‰ Jœb$

' Rœ ‰ J·œbb ‰

‰ jœb ' rœb ‰ jœb ‰

‰ jœ ' rœ ‰ jœ ‰

%

%‰ . ‰ ' ‰

¿

œb>

‰ . ¿

œb>

‰ ' R¿

œb

‰5

·b J‚. ‰

‰ .Jœæ æ Jœb .‡ ‰5

%

%

+

dS S

S S S

S S S

L.H ord.

L.H ord.

ƒ

a. ord. s.p.e

ƒ

ƒ

S

S S S

q = 84 %

%%

%

%%

%

%

%

%

%

%%

%

%

%

%

%

27* If no extended collar drum available, play F instead of G

&

&B

&

&

B

&

&

B

?

?

&?

ã

&?

&?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

(

*

(

*

~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~

29 %29 %

%

29 %29 %

%

' R·œbb ‰ . Ó5

' R·œbb > ‰ . Ó5

' rœb>‰ . Ó5

' rœ> ‰ . Ó5

29 %29 %29 œb

¿

‰ . Ó5

' ‰ . Ó29 ' Rœb> ‰ . Ó

5

29 ' Rœ> ‰ . Ó5

29 ' Rœœbn ˘ ‰ . Ó5

' rœœbfl‰ . Ó5

S

S

S

s.p.e

S

S

Sord.

S

Ss.p.e

a. ord.

'.

Jœ> œ

' R·œ>

‰

' rœb>‰

'.Jœb ˙

' R·œbb > ‰ Œ

' rœb>‰ Œ

·œ> ·œ> ‰ Œ

·œbb > ·œb> ‰ Œ

œb> œb>‰ Œ

œb> œ>‰ Œ Œ

' .Jœ> ·

œ œ ‰ Œ ŒŒ

¿> ¿

œb˘

‰ Œ

' .Jœb> ·

' Rœ ‰

%

–––b

–––

‰ Œ Œ

S

S

S

S

S

arco

S

S

S

S

arco

d

ƒ

S

ƒ

ƒ

S

ƒ

ƒ˘

a. ord.

d

cluster

– ø5

%

%

%

%

%

%

%

%

%

J ‰ Ó

%%

%

J ‰ Ó

%

%

%

P

P

+ . U

%

%

%

%

%

%

%

%

%

%

%%

%

%

%

%

%

p

w.t

¶¶¶•

%

.Y

.Y

%

‰ Jy Y

‰ Jy Y

%

%

%

%

%

%%

%

%

%

%

%

! q / circle

! q / circle

pp

mute strings

mute strings

! q / circle

! q / circle

mute strings

mute strings

q = 725''

p

p

Œ rœ ˙

Œ ‰ jœÿ ‰ Œ3

%

%

%

%

%

%%

%

%

%

%

%

dP

sl

P

28

&

&

&

&

B?

?

&?

&?

&

?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~(

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~

35 rœb ÿ œ .œ œb æ œæœ5 5

35

35 Œ jœÿ Œ ‰ J‚b3

35

&

%

%

%

%35 %35 %35 %

35 %35 %35 %

%

t.ram ord. m.v flz.

S

sl

P f

%

‚ Óœœ œœ œœ œœb Œ

3

œœb¯ œœ

¯ œœ¯ ‰ œ ‰

3

%

%

%

%

%

%%

%

Œ Œ ‰ Jy

%

%

f

f

s.p

s.p

Pric.c.l.b.

P

p

mute strings

! q / circle

%

%

%

%

%

%

%

%

%

%%

%

.Y

%

%

%

%

%

%

%

%

%

%

%

%%

Ó jœ œb3

Ó ‰ . ·b

Ó ‰ . rœb o°

P

P

‰ œb œb œ Rœ œ5 5

œ œ ·œb

˙b ·bb œb

%

%

%

%

%

%

%

%

%%

œn ' .Jœœ

Œ ' Jœ ' Œ Rœ.5

%

P+

+s.p

ps.p

p

flaut.

flaut.

pizz.

‰rœb œæ Jœæ ‰ Œ3

Œ ' .Jœ Œ

˙ · Œ

%

%

% B

%

Ó ‰ Jy

Ó y

%

%

%%

.‚ ‰ Œ

œ. œb . ‰ œ. 'rœ

œ

‰ Œ5

Œ ' Jœ œ

F

flz.

F

.

ric.c.l.b.

F

pmute strings! q / circle

p! q / circlemute strings

29

&

&

&

&

&

B

&

&

B

?

?

&

?

&

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~

41

y# y" y#41 %

%41 %41 %

%

%

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.Y

% &

41 %41 ‰ y# y" Jy#

41 %41 %41 Œ41 %

%

air

air

&

&

n

y" y# y"

‰ œ ‰

œ

œn œ3

Jœ ' Œ3

%

%

%

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‰ œæ j æ ‰ œæ œb3

–b ' œ

Jy y" y# Jy"

% &

%

%

%

%

,

+

+

P

P

d dd

p

vibraphone

flaut.

ord.

ord.

s.p

p

2 finger pizz

n.vt.tr

ps.t s.p

2 finger pizz

E X

p

p

d

y# y" y#

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Œ œ œ Jœ ‰5

%

%

%

·œb$ J·œ‡ ‰ Œ

Œ Jœb ‰ Œ?

‚æ j . ‰ Œ

Jy y# y" Jy#

Œ ˙

%

%

%

%

F

slow motor

F

f

f

F

F fflz.

fm.v

m

........

as fast as possibleP S2 finger pizz

y" Y#

%

%

‰ y# y" Jy#

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‰ Jy Y

.Y

Œ .

Œ . &

‰ Jy Y

%

Jy y" ‰ Œ

Œ Œ

y# y" y#

%

%

%

! q / circle

&mute strings

! q / circlemute strings

&! q / circle

&mute strings


&

n

n

let ring

air

&

&

&

p

air

&

%

%

%

J¿ ¿" ‰ ø#

Ó œ œ

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%

%

%

y" y# y"

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%

%

p

p

p

sul D

p

ds.p.e

s.p.e

P

P

P

p

s.pL.H 1/2

30

&

&

&

&

&

&

?

&

&

&

?

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

46 %46 %

% B

46 ‚# ‚ ‚. ‰ Œ5

46

œ

œb

n œ

œ

œ

œ

œ

œ

œ

œ

œ

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n ‰ Œ3 5

‰ Œ

46 %46 %46 %46

y# y" y#

46 œ .œ Œ5

46 Œ œ œ

%

+

ord.

ord.

S

Sfl fl fl

d

d

d +

........

as fast as possiblep

ord.

S

SL.H ord.

%

Ó y

Ó y

%

%

%

%

%

%

y" y# y"

Ó ‰ Jy

Jœ ‰ Ó

%

+

S


mute strings! q / circle

p

p

p

Ó œæ.Y

.Y

%

%%

%

%

%

%

%

%

%

y# y" y#

.Y

%

%


&

flz.

p Jœ rœ> œ œ rœ#

> œ œ œ# > œ œ3 3

%

%%

%

%

%

%

%

%

%

Œ rœ#> œ rœ# > œ œn > œ

3

%

%

P

· – –b˘ – –b˘ –>5

%

%

%

%%

%

%

%

%

%

%

%

œæ .œ œ œb˘ œ œb˘œ ‰

55

%

%

%

flz.

F

F f

f S.!

%

%

%

%%

%

%

%

%

%

%

%

%

%

%

%

31

&Fl. [a]

~~~~~~~~~~~~~~~~~~~~~52

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.˙w.t ¶¶¶•§£¡

p.! J ‰ Ó

n

%

&Fl. [a]

58

œ œ œ œ œ œ œ .œ œ#........p P

Solo Lyrical, slow

œ œ ˙# jœ, œb œ œ# œ œb .œ Jœ5

Fœ# œ œn œ œ œ Ó

pg

&Fl. [a]

62 œ œ œ œ œb œ œ œb œ œ3

pœb œ œb œ œn œb Jœn

5

flz

fœb œ œ œ œ œ# œb œb œn Jœ

3ƒ

Piu Mosso

Fœb œb œb œ œ ˙n

3

&Fl. [a]

66 œ œ .œb .˙P

m.vrit. n.v

attacca

32

&

&B

&

&B

&&B?

&?

&?

ã&?

&?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

67 w

67 %Ó Œ ‰ œœ

3

67 %67 %

Ó Œ ˙3

%%%%

67 %67 %67 %67 %

%67 %67 Œ .˙67 %

÷ Ó

p

&n.v

n.v

n.v

&

&

q = 54

sos ped al fine

E

low A

d

.ø Œ

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%

%

ww%%%%%%%%%%

w

%%

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‰ Jœ# œ ·œ œ ·œ ..·œ œ ·œ5 5

w·w%

Ó ‰ Jœ

·ww%%%%%%%%%%

w

‰ . · Œ Œ · Œ3

‰ . rœo°Œ Œ jœo Œ3 &

&

&

&

very slow bow

very slow bow

flaut.

flaut.

d

II. Guan Guan

%..·œ ·œ ·œ Rœ5

w·w%

.œ œ œn œ œ œœ œn œ .œ œœ œn œœ œœ œn6 6 6

·ww%%%%%%%

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w

Œ Œ ‰ ‰ . Rœb

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pizz.

P

timp.

&

d dd d dd ddd

stop

w·w

·ww%%%%%

%

æ œb æ æ jœ ‰ Œ3

%

w

%%

Sprechstimme **

Sprechstimme **

Sprechstimme **

Sprechstimme **

P &

33**: without instrument; notation is in concert pitch; sing/speak around the pitch A within a comfortable range

&

B

&

B

&

&

B

?

?

&?

ã&

?

&&

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~

~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

72 ‰ œ œ Œ Œ ‰ œ>

œ3 3

Guan Guan Guan

72

w·w72 Ó Œ jœ œ> œ œ>3 3

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72

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%

%

%

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Guan

72 %72 %

%72 Œ ' .jœ Ó

Guan

72 w72 %

%

p

p

Í

p

pœ>

œ œ> jœ œ

> jœ ‰ Œ3 3

Guan Guan Guan Guan

w·wœ œ

>œ jœ ‰ Ó3

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·ww

Ó Ó

%

%

%

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%%

%' .jœ œ ÓGuan

w

%%

p

P p

P p

&

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Guan

w·wÓ Œ œ œ ‰ œ5

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Œ ‰ ·œ ·3

%

%

%

%% &

%Œ ‰ œ œ Œ œ œ œ3

Guan Guan

w

%%

p

p

simile.

simile.

p

simile.

1/2 c.lsul G n.v

&

&n.v

ddsul G1/2 c.l

p

p

‰ œ œ ‰ œ œ œ ‰ œ œ œ œ3 3 3 3

w·wœ ‰ œ œ ‰ œ œ ' ' œ œ ‰ œ œ ‰ œ5 5 5 5

·ww

·œ ·œŸ ·œ ·œ 3

·œ ·œŸ

·œ j·œ 3

Ó œb · œb · œ

%

œ œ œ Œ Jœ> œ œ> œ œ> œ œ3 3 3

%%

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w

%% ?

simile.P

f

m.v

m.v+

+

P

FIII

II

Fs.p

vibraphone

snareF

‰ ¿ Œ Ó3

Ha

w·wr¿ Œ Œ Ó5

Ha

·ww

jœ ‰ Œ Ó

jœ ‰ Œ Ó

Œ

œ œb œ œb œ

œ .œ Jœ ‰ ‰ œ Jœ ‰3

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œœ

œ

œœ

œ

b Œ Ó5

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w

Ó ‰ . · ‰ . Rœb

Ó ‰ . rœo°Œ

f p

S

S

d

ppizz.

n

n

F

F

d+finger perc.

F poco

f p

p

F

F

34

&&B

&&B

&

&

B

?

&?

&&ã&?

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~

77 %77 %

...œ·œ ‰ Ó77 %77 %

...·œœ ‰ Ó

%

‰ œb .˙3

‰ œ .˙3

%77 %77 %77 %77 Œ Jœ ‰ Ó

%77 œ Œ Ó77 ˙ Ó77 Ó ‰ .¿

%

p

Pm

gliss inside the piano

p

P

Pn.v

ord.

ord.sul C

%%%%%%

%

œ ·œ œ ·œ ..·œ œ ·œ ..·œ ·œ ·œ Rœ5 5 5

w

Ó Œ ‰ jœ

Ó Œ ‰ œ¿ œ¿Guan Guan

%%%

%%%

J¿ ‰ Œ Ó%

Senza Misura

p

&

ppizz.

p

pizz.

espress.

flaut. very slow bow

***

%%%%%%

' Jœ

‰œ

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wœŸ œb Œ Ó B

œ œ¿ œ¿ jœ ‰ Œ ‰ œ rœb œ3 5

Ju Jiu Zai Ho

%%%

%%%%%

d

p

d

( )

ric.pizz.

%%%%%%

Œ ' .Jœo œo Œ rœ Jœb3

w

' Jœ ‰ ' Jœo ' Ó5

.œ œn ¿ œ¿ jœ ‰ Œ ‰ œ œb œ œ36

Zhi ZhouYao Tiao

%%%

%%%%%

pd

arco+ flaut.

%%%%%%

rœ œ ‰ œo rœoJœ ‰ Ó

3

w

Œ ‰ œŸ Ó3

œ œ¿ œ¿ œ¿ jœ ‰ Œ ‰ œ¿ œ¿5 5

Shu NuJun Zi

%%%

%%%%%

d

d

ric.

35*** grace notes happen on the beat; gliss from grace note to main note; emphasis the grace note and de-emphasize the main note.

&

&B

&

&

B

&

B

B

&

?

&

&

&?

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~

82 %82 %

%82 %82 %

%

·œ J·œæ æ > Ó3

Jœ> Ó

.œ jœ+

> Ó

‰ Jœo ‰ ŒU Ó3

82

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82 %82 %

82 %82 œ œ Œ Ó82 %82 %

%

dd

d

P

P

P

a. ord. s.p

m.v

Ín.v

ord.

%

%%

%

%

%

?

‰ œ¿ rœb œb ¿ œ œ œn rœ œ œ3 3

Jun Zi Hao Qiu

%%

%

%%%%

pm.v

Sprechstimme

Sprechstimme

Sprechstimme

Sprechstimme

marimba

%

‰ Jœ œ ·œ œ ·œ ..·œ œ ·œ ..·œ ·œ ·œ5 5 5

w·w%

.œ œ œn œ œ ·œ œn œ .œ ·œ œn ·œ ·œ œn œ6 6 6

·ww##

‰ . œ œ ‰ œ œ ' ' œ œ ‰ œ œ ‰ œ5 5 5 5

Guan Guan

Œ jœ jœ œ œ jœ jœ œ3 3 3 3

Guan Guan

Œ Œ Jœ Jœ œ œ Jœ3 3 3

Guan Guan

œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œGuan Guan

jœ ‰ Œ Ó

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3

‰ œæ œæ œ œ œ jœ œb œ œ œb3 3

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%%

&d

Piu Mosso q = 60

&+ ++ + ++ + ++ ++ ++

&

p

d dd d dd ddd&

simile.&

& simile.

simile.

simile.

sempre

p

d

very slow bow

very slow bow

poco

p P

p

P

P

P

P

poco

round sound

P

flaut.

flaut.

s.p

Ó Ó –3

.œ ·œ œ ·œ Ó5

wwÓ ˙

.˙ Œ

ww

œ ‰ œ œ ‰ œ œ ' Ó5 5

œ jœ jœ Œ Ó3 3

Jœ œ Jœ ‰ Œ ‰ ‰3

œ ‰ œ œ ‰ œ Jœ ‰ Œ

%

%

Jœ .œb Ó

.œ œn œ œb æ .œæ ‰

% æ æ œæ Œ

%%

++ + ++

,

&

&

&

&

p

rit.

)

n

&

36

&

&B

&

&B

&&

B?

&

?

&&

&?

&?

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

85

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~

~~~~~~~~~~~~~~~

~~~~~~~~~

~~~~~~~~~~~86 .–æ –- ‰ –. –. –b .‰ J–- Œ Rœb .

5 5

86 %%

86

œ œ jœ ˙ œ3 3

86 %%

%%

%

%86 ‰ œ œ œ œn rœb œ jœ ‰ ‰ . jœ.

3 5

Chen Ci Xing Cai Zuo

86 œ ‚ .¿ .¿b ‰86 %86 %86 Ó rœb œ ‚86 %86 %

%

q = 54

dP

t.tr

flz.

pt.ram

p

P p P

p ppoco

pkey click

P

P poco

Ó Œ ‰ œ œb œ œ6

%%

' Jœ ‰ ' –b . –b . œ ' Ó5 5

%%

%%

%

%

rœb œ. œ œ Jœ ‰ Œ ‰ œ œb œ œ5 6

You Liu Zhi Yao Tiao

‰ œ œ# .œ ‰ Œ5

%%

j‚ ‰ œ .œ ‰%%%

d

sl

P

F

F

Pt.tr

&

d

P

P

F

œ œ Œ Ó

%%

' œ œb œ jœ ‰ Œ5

%%

%%

%

%

œ œ¿ œ¿ œ¿ œ .œ jœ ‰ ‰ . œ œ5 5

Shu Nu Wu Mei

Œ ‰ .¿ .¿ Œ%%

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t.tr

P

P

p

Œ .œŒ .œb

jœ ‰ Œ .

%

%%

%%

%

%

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%%

! ‰%%%

F

&

pt.tr

p

pizz.

p+

37

&

&

B

&&

B

&

&

B?

&

?

&

&ã

&?

&?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~

~~~~~~~~~~~~

90

œ Œ Ó90

œ@ œ@ œb @ œb @ œb @ œn @ œ@ œb$3

œ@ œ@ œ@ œb@ œb@ œb@ œb@ Jœn ‰3

90 %90 œ œ œb œb œb œn œ Jœb ‰

3

œ œb œ œ œ œb œ jœ ‰3

%

%

%

%90 œ¿ œb ¿ œ¿ rœ œ¿ rœ# œ¿ œ¿ rœ œ¿ œ¿ rœ Jœn ¿ ‰3

Qiu Zhi Bu De Wu Mei Si Fu

90

J¿ ‰ Œ Ó90 ˙ œ œ ' œ ' jœ ‰5

90 Ó Œ œ

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90 %90 %90 ––

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‰3

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––––

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& ?

Mosso (q = 72)

+ + =

p f

P f

+p F f

snare

vibraphone

p

mF

P

p

p F

Fps.t

s.t

s.p

s.p

p

p F

Fpizz.

pizz.

F

f

arco

%

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%%

%

%

%

%

%%

%

%

Jœ ‰ Œ Œ

%%

%

%

%

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3

%

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%

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p

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n.v !

%

%

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%

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p Fs.t s.p

marimba

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m.v

Fp

Fp

38

&

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&

&

B

&

&B?

&

?

&

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&

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

(

95 œ œæ ‰ –. –. ‰ Jœb ˘

‰3 3

95 œ œ œ œn rœ œb rœ œb œ rœb œœ œ œ œnæ œ ‰ œ

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3 5

95 œ œ œæ œb . rœ œb ‰ rœb Jœ

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95 %95 ‚b > ‚> ‚> ‚> ‚.95

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95 jœb . ‰ œb . œ. œ. œ. œb . œb . ‰ jœb .3 3

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f

d darco

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d d darco

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œ œ œ œn rœ œb . rœ œb . œ œb>‡œ œ œ œn rœ œb . rœ œb . œ œb ‡fl

jœb . ‰ œb . œfl œ. œfl œb . œbfl‰ Jœb3 3

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n.v

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39

&

&

&

Fl. [a]

Vln. I [c]

S

99w

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ƒ

ƒ

ƒn.v

"

˙ÓU

˙‡ ÓU

Jœ ‰ Œ Œ . .U rœFan

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æ æ æ3

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q = 60

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d

2 finger pizz

Jø ‰ Œ Ó

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s.p

w

%

0 Œ Ó

q = 54 ¶¶¶•

w.t

p

Sigh

p

&&

&

B

?

&

?

&?

ã

&?

&?

Fl. [a]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

104˙

Ó.˙ Jœ. ‰

Ó Œ j·œbb . ‰

Ó Œ œb&

Ó Œ ‰ jœ#104

œ œ œ œ œ¿ jœb . ‰Chen Ci Xing Cai

104 %104 %104 œ œ œ œ

jœ. ‰ œæJœ#‰

%104 Œ ‰ j‚ ‚ jœb . ‰104 ‰ œb œb œb œ œ Œ104 %

%

q = 64

ric.

P

P

pizz.

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pizz.

P

p P

harmon mute off

marimba

p

n.v

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m.v

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q = 74

-

40

&

&B

&

&

B

&

?

&

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?

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

108 ‰ – œb . œ. ‰3

108 Ó Œ œ‰ œ. œ. œ. œ. œ. Œ

108 Ó ø Jœ ‰108 œ œ œ œ œ ·œbb

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U2 ''q = 78

41

&

&B

&

&B

&

&

&?

&

?

&&

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&?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~

(

~~~~~~~~~

113 %

113 %%

113 Ó œ œ œ œ .œ113 œ œ œ œ ·œbb $. ·œ$. ‰

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113 % B

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p

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ord. s.p ord.

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q = 84

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p

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42

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&B

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Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~

~~~~~~~~~~~~~~~~

117 %117 %

%117 Ó œ œ œ œ .œ117 œ œ œ œ ·œbb $. ·œ$. ‰

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cresc. poco a poco

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33

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q = 94

43

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42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

42

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

121

œ. œ.‰

œb . œ.‰

œn . œ.‰ Œ

121 œb . ‰ œ. ‰ Jœ. ‰ Œœ. œ. ‰ œ. œ. ‰ œ. œ. ‰ Œ

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Fl. [a]

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Vln. II [c]

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Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

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~~~~~~~~~~~~~

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J– ‰ Œ ÓŒ œ Œ

3

Œ œb Œ3

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%

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œ œ ˙b œn œ6

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P! q / circle

P

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Alla Misura

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p

ric.

&ric.

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poco

+

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Ó Œ œ# . . . . .5

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3

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x" x# x" x#a u a u

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p

p

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ric.

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poco

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Beat on thechest with fist

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p

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p F

F! fast

52

&

&

B

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&

&

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&

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&

&

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44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

171 %171 %

%171 %171 %

%˙ œb œ œ

3

Jœ ‰ Œ œ œ œb3

Ó ˙

jœ ‰ Œ ˙b171 œ œ .œ œ œ œ œ ˙

5 5

Qing Qing Zi Pei

171 Ó x# x"u a

171 Ó X# x"3

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171

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171 Ó ' .Jœ œ œ œ œ5

171

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171 %

Œrœb

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P

Normal Position

p

Fp

ps.p

ps.p

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p

p

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p

p

1/2 c.l

1/2 c.l

! q / circle

p

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ppizz.

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%

%

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x# x" Óu a

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pJ– ‰ Œ Jø . . . . . J– ‰

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p

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arco

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53

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B

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Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~

175 %175 Œ Ó

Œ Ó175 %175 %

%

˙ œb ˙b3

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175 Ó Œ œ œbZong Wo

175

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Remove the reed

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Jœ ‰ Œ ˙

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Bu Wang Ang Zi Ning

x# x" x# x"u a u a

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x# x" x# x"u a u a

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~

179 œæ œ œb .‰ Ó

3

179 Œ ‰ Jœ ‰ Ó3

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179 %179 %

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Revome the Mouthpiece

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p

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44ˆ81

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44ˆ81

44ˆ81

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Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~

184 –# ø Ó5

184 %% &

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cresc. poco a poco

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S

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56

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Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~

~~~~~~~~~~~

~~~~~~~~~~~

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188 Jœ.œb >

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188 Œ œ œ œ+ œ# œ œ# œn œ œ œ3

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188 Œ œ- ‰ œ- ‰ œ- œ- ‰ Jœb3

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188 Œ œ œ œ œ œb æ188 œ- Œ Ó

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57

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Bb Cl. [b]

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Ob. [e]

192 %192 %

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q = 74

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196

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58

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Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

200

200

200

200

200 %200 %200 %200

200

200

200 %%

Sprechstimme

Sprechstimme

Sprechstimme

Sprechstimme

Sprechstimme

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Timp.l.v sempre

snaresnare off

q = 94

Sprechstimme Œ Jœ. ‰ ÓTang

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Perc. [d]

232 Ó ‰ Jœ. ‰ Œ3

232 Œ œ# œ œ ‰ Œ3

Œ œ# œ œ# ˘ ‰ Œ3

232 Ó Œ Œ Jœ.3

232 Ó œ# œ jœfl3

Ó œ# œ Jœ# ˘3

rœ Jœb ‰ Œ Œ Jœ œ3


Ó Œ Œ3

Ó œ‰ œ

Œ3

232



232 Ó Jœ. ‰ Œ232 %232 Jœ.

%232 œ Jœb ˘ ‰ Ó232 ·œ Jœ+ ‰ Ó232 jœœb . ‰ Jœb ‰ Œ ‰ ‰

Ó Jœœb . ‰ Œ

P

P

pizz.

P

f

Piu Mosso q = 104

vibraphone

marimba

ord.

ord.

F

F

harmon mute off

P

F

F

F

p

p

F

P

F

F

F

p

p

cresc. poco a poco

%

%

%%

%

% &


3


Ó ‰ œ

·‰ Œ3

Ó Œ

Œ rœ jœ¿ Œ rœ Jœb ¿ ‰ rœjœ¿ ‰ Œ3

3 3

Sang Qi Ma

Œ Jœb œ œ œb ‰ Œ3 3

Œ Jœb œ œ œn ‰ Œ3 3

Ó ‰ jœ. ‰ Œ3

Œ œ. œ. Œ Ó3

Ó ‰ œ œ3

Ó ‰ ·œ ·œ3

Œ Œ Jœ.

Ó3

Œ jœœ. Œ Ó3

s.p

pizz.

sul G

P

p P

p

p

F

p F

%

%

%Œ ‰ Jœb .

‰ Ó3

œ œ œb˘‰ Ó

3

œb œ œ ‰ Ó3


3


Œ Œ Jœ ‰ ‰ Œ3

Ó ‰ Jœ Œ

rœ œb œ ‰ ‰ rœ Jœb ‰ ‰ Jœn ‰ Œ rœ Jœb3 3 3 3

Yu Yi Qiu Zi Yu

Ó ‰ œ œ3

Ó ‰ œ œ3

%

Ó ‰ œb œ ‰ Œ3

Jœ ‰ Œ Œ Œ Jœ.3

jœ˘

+ ‰ Œ Ó

Jœ. ‰ Œ ‰ Jœ. ‰ Œ3

Œ ‰ Jœœb . ‰ Ó3

s.p

s.t

F

F

F

F

F

p

p

timp.

p

p

Ó ‰ Jœ# .‰ Œ

3

Œ ‰œ œ œ# ˘

‰ Œ3 3

Œ ‰ œb œ œ ‰ Œ3 3

B

Œ ‰. Jœ. ‰ Ó3

œ# œ œ# ˘ ‰ Ó3

œ# œ œ# ˘ ‰ Ó3

B

Œ ‰ œ Jœ ‰ Œ3

Œ ·œ J·œ ‰ Œ‰ ‰ Jœ ‰ Ó

3

œ

œ‰ Œ Ó

rœ Jœb ‰ œ Jœ ‰ œ# œ3

3Lin Zi Xia

jœ ‰ Œ Ó

Jœ ‰ ‰ œ œ œ# ‰ Œ3 3

Jœb . ‰ Œ

%%

Œ ‰ œ œ œ ‰ Œ3 3

Œ ‰ Jœœ. ‰ Ó3

jœœb . ‰ Œ Ó

s.t

f

F

F

F

ƒ

F

F

f

f

f

F

F

f

f

Sprechstimme

~~~~

67

&

&

B

&

&

B

&&

B?

&

?

&

?

&?

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

(

236 Œ Jœ œ Jœ œ Jœ# >Jœ ‰

3 3 3

236 Œ ‰ œb>Jœ> œb>

Jœ ‰3 3

Œ ‰ œ Jœb> œ> Jœb ‰3

3

236 Œ Jœb ˙ Jœ ‰3

236 ‰ œb>Jœ> œb>

Jœ> œ> Jœ> ‰3 3 3

‰ œ Jœb> œ> Jœb> œb> jœ> ‰3

3 3

‰ jœ ‰ œb œ ‰ œb œb ‰ Jœn ‰3

3 3

Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

‰ Jœb ‰ œ œ ‰ œ œ ‰ Jœ ‰3 3 3

Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

236 %236 Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

236 Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

236 Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

Œ Jœb . Œ Jœ. Œ Jœ. jœ. ‰3 3 3

236 Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

236 Œ Jœ. Œ Jœ. Œ Jœ. J¿ ‰3 3 3

Hang Hang Hang

236 –– ––––

' –– ––––

' –– ––

––

' Œ5 5 5

Œ

ric.

ric.

pizz.

pizz.f

f

f

f

f

f

f

f

f

f

f

f

ric.

ric.

S

S

f

f

cresc.

cresc.

S

S

S

S

S

S

S

f cresc.

Scresc.

stomp

stomp

stomp

stomp

f

fstomp

stomp

S

S

S

S

S

stomp

œ- œ- œ .˙3

Œ .÷

Œ .÷œb - œ- œ .˙

3

Œ .÷

Œ .÷

Œ .÷Œ ÷

Œ .÷Œ .÷

%

.œb jœ>,

˙‰ . œ. œ. œb . œb . œn ¯ ‰ ' œ œ

5 5 5

%Ó ' œæ œ. œ. œb . œ. œ.

55

œ- œ- œ ˙ Jœ ‰3

œb - œb - œ œ œ Jœ œ3 3

Œ ‰ œ. œ. œb . Rœb . œn > Œ5

5

%

ƒ

ƒ

ƒ

f

f

f

ƒ

f

F f

ƒ¶¶¶•§£¡

stomp and speak "hang", randomly

¶¶¶•§£¡stomp and speak "hang", randomly



¶¶¶•§£¡

¶¶¶•§£¡


¶¶¶•§£¡




p

p

p

p

pp

pp

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

œ œŒ Ó

‰ J¿ Œ Ó

‰ J¿ Œ Óœ œb Œ Ó

‰ J¿ Œ Ó

‰ J¿ Œ Ó

‰ J¿ Œ Ó‰ J¿ Œ Ó

‰ J¿ Œ Ó‰ J¿ Œ Ó

‰ J¿ Œ Ó

œ œ Œ Óœ œb > Œ Ó

‰ J¿ Œ Ó

‰ jœ Œ Ó

‰ J¿ Œ Ó

‰ Jœb Œ Ó

%‰ jœ .˙

stomp

stomp

f

f

stomp

stomp

f

fstomp

fstomp

fstomp

fstomp

f

S

S

S

stomp

f

stomp

f

S

S

stomp

U8 ''

vib.

68

&&B

&&B

&&B?

&?

&??

&?

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

239 %239 %

%239 %239 %

%%%%%

239

œ œ œ œ œ œ œ œ œ œ5

Si Sheng Qi Kuo

239 %239 %239 %

%239 %239 %239 %

%

Ad Lib, cantabile

P

%%%%%%%%%%

Œ ‰ . œ œ œ .œ œ œ5

Yu Zi Cheng

%%%%%%%%

%%%%%%%%%%

œ œ œ# œ œ œ .œ .œ ‰U5 Shuo

%%%%%%%%

%%%%%%%%%%

œ œb œ œ œ œ œ œ œ œ5

5

Zhi Zi Zhi Shou

%%%%%%%%

69

&

&

B

&

&B

&

&B

?

&?

&?

?

&?

&?

Fl. [a]

Vln. [a]

Vla. [a]

Bb Cl. [b]

Vln. [b]

Vla. [b]

Vln. I [c]

Vln. II [c]

Vla. [c]

Vc. [c]

S

Bsn. [d]

Bb Tpt. [d]

Ob. [e]

D.B. [e]

Pno. [e]

Perc. [d]

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

243 %243

243

243

243

œ rœ œ œ œ œb œU5

Yu Zi Xie Lao

243

243

243

ã243

243

243

Whisper

Whisper

Timp.;

snare;

Whisper

Sprechstimme

Sprechstimme

Sprechstimme

Sprechstimme

Sprechstimme

Tap foot and whisper "hang", randomly




–# J–. Œ Œ –#3

Œ Jœ. Œ Ó3

Tang

Œ Jœ. Œ Ó3

Tang

Œ Jœ. Œ Ó3

Tang

Œ Jœ. Œ Ó3

Tang

Œ Jœ. Œ Ó3

Tang

÷

÷

÷

÷

Œ Jœ. Œ Ó3

Œ Jœ. Œ Ó3

Tang

jœœb ‰ Œ Œ

œ. œ.

œ œœ.

5

Œ Jœ. Œ Œ3

Œ Jœ. Œ Ó3

Tang

Œ Jœ. Œ Ó3

Tang

Alla Misura q = 84

p

p sempre

Stomp

Stomp

. .

p sempre

p sempre

p sempre

p sempre

p sempre

p sempre

p sempre

pocop p

p sempre

p sempre

Gently graze over lower strings in a circular motion;with half pedal

¶¶¶•§£¡

¶¶¶•§£¡

¶¶¶•§£¡

¶¶¶•§£¡

p

p

p

p

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

cresc. poco a poco

J–. ‰ Œ Ó

¿. ‰ œ. Œ Ó3 Tang









Jœ. ‰ Œ Ó


jœ ‰ Œ Ó

%



p

f

f

poco

tap foot

tap foot

tap foot

tap foot

tap foot

tap foot

tap foot

tap foot

tap foot

tap foot

70

&S

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

247

œ œ œ œ œ œ œ œ œ œ5

Yu Jie Kuo Xi

Ad Lib, cantabile

P

Group [a] [b] [c]

Group [d] [e]

p sempre

p sempre

œ ‰ . œ œ œ .œ œ œ5

Bu Wo Huo

œ œ œ# œ œ œ .œ .œ ‰5

Xi

œ .œb œ œb œn ˙3

Yu Jie Xun Xi

œ œ œ œ œ œ œ œ œ œ œ# œ6 6

Bu Wo Bu Wo Bu Wo

&S

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

252

œ œb œ ‰ .œbU3

Bu Wo Xin Xi

"rit.

n

%

f

f10 ''

&Fl. [a]

254

œ œ œ œ œ œ œ .œ œ#........p P

"Ad Lib, cantabile

œ œ ˙# jœ, œb œ œ# œ œ .œ Jœ5 F

V. Postlude

œ# œ œn œ œ œ Ópg

&Fl. [a]

(258 œ œ œ œ œb œ œ œb œ œ

3pœb œ œb œ œn œb

æ Jœ5

flz

f

ord.

œb œ œ œ œ œ# œb œb œn Jœ3ƒ F

Piu Mosso

œb œb œb œ œ ˙n3

&Fl. [a]

262œ œ .œb ˙ Ó

P smorz

m.v

rit. Using œ .œb jœb œn œ Ó3

.·pm.v n.v

a tempo œb œb œ .œ# .œ œn œ œ œ œ œb .œ·P Fsing %

&Fl. [a]

266 œ# œ œ œ œ œ œb œ œ Óp poco p œ œ œ œ œ

>œ œ œ œ

>œ œ œ œ Œ

3 3 3

·P F

sing

.œ ˙#n.v

p n

71

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dl.tufts.edu Abstract Three Poems from Shi Jing is a song cycle composed to three texts chosen from the Book of Odes, an ancient collection of Chinese poems that dates back to the