-
"TERPISCHORE" CONSISTS OF THE FOLLOWING THEMES AND DANCE
SCENES:
The precocious Muse begins her wild, whirling dance;Entrancing
Terpsichore dazzles all those who behold her;
A most majestic and dramatic solo performer;The beguiling Muse
slows and strikes a pose;
Her frenzied dance resumes;The Muse displays her hypnotic,
swaying gracefulness;
She pauses one last time;Her recollection of past glories, and
homage to the ancient circular dances;
The capricious Terpisichore's Finale!
Terpsichore, Op.7
Poème de dansefor
Full Orchestra
SCORE FOR LARGE ORCHESTRA IN "C"
(ca.14-15 mins.)
© 2005
Supported by the FOUNDATION FOR NEW MUSIC (USA) and the KENNETH
LEIGHTON TRUST (UK)
WORLD PREMIERE RECORDING ON ERM "MASTERWORKS", Vol.11KIEV
PHILHARMONIC ORCHESTRA / ROBERT IAN WINSTIN
First performance score reproduced with the aid of a grant from
theSociety for the Promotion of New Music's "Frances Chagrin Fund"
(UK)
byJONATHAN LITTLE
EVOCATION OF THE SEVENTH OF THE NINE MUSES
"The Whirler"or
Muse of Dance
-
Capriccioso ma con gusto e spirito!
Capriccioso ma con gusto e spirito!
q = ca.100
q = ca.100
Jonathan LITTLE
Terpsichore - the "Whirler", or Muse of Dance
Piccolo
Flute 1.2
Oboes 1.2
Cor Anglais
Clarinet in Bb 1.2
Bass Clarinet in Bb
Bassoon 1.2
Contrabassoon
Horns in F 1–4
Trumpet in C 1.2.3
Trombone 1.2
Bass Trombone
Bass Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3Glock/Xylo
Harp
Celesta
Harpsichord
Violin I
Violin II
Viola
Violoncello
Double Bass
THE PRECOCIOUS MUSE BEGINS HER WILD, WHIRLING DANCE
I. III. II. IV.
(7 timps &bird whistle)
7 timps: tune first to (low to high) (F)/A flat, C, E flat, F, A
flat, A natural, C
To triangle p
To sizzle cymbal - struck with triangle beater (if no sizzle
cym, use triangle beater scraped along crash cym)
mp
(+ F crotales,bass drum, tam-tam,sistrum &castanets)
EbF§GbA§BbC§D§
6 mp
6
mp
mp
mp
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3mp
3 3mp
N.B.: Wherever a single grace note is shown before a trill, that
note indicates the interval of the trill, and the trill should
begin marginally before the beat, on that note.
© J. Little 2005
3
-
3
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
I.
II.
con sord.
con sord.
(straight mute)
(straight mute)
mp
mp
To crotales (F octave) with triangle beaters p
6
6
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
PERCUSSION INSTRUMENTATION = PERC.I.: triangle, 3 high cowbells,
tam-tam, bell tree, 2 timbales, bass drum (secco), snare drum;
PERC.II: sizzle cymbal, 2 high suspended cymbals, large
suspendedcymbal, sleigh bells, anvil/brake drum, tambourine, 2
rototoms (or similar), bass drum (secco). More than 3
percussionists may be employed, if this is found to be most
practical to play all the instruments well.
4
-
5
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
6
6
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
5
-
7
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
mp
6
6
3
3
3
3
3
3
3
3
6
-
8
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
I. senza sord. (naturale)
II. senza sord. (naturale)
3
3
To cowbells (3 high-pitched) - with nylon tip drum sticks:
To suspended cymbals (2 high-pitched, slightly damped) - with
nylon tip drum sticks:
(F octave crotales) p
To glock. - hard plastic mallets
6
6
3
3
3
3
3
3
3
3
3 3
7
-
A
A
10
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
f
unis.
f
SOLO - wood sticks
ff
p
To tam-tam (damped) with nylon tip sticks
p
p
(High cymbal)
mf
(sus crash cym w/ triangle beater) f
3
f
To xylophone - 8 mallets!
mf
ff
ff
SOLO - couple manuals
m.g.
m.g.
divisi a2
col legno
mp
N.B.: The harpsichord may be amplified for balance purposes, if
the conductor deems it necessary.Alternatively, an electronic
keyboard - on harpsichord setting - may be employed, should
circumstances determine this to be a more viable option.
pizz.
f
8
-
13
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
(naturale)(naturale)
To cowbells - with nylon tip drum sticks
p
(sus cyms - with nylon tip drum sticks)
p
(High cymbal)
mf
3
To glock. - hard plastic mallets
f
To tam-tam (damped) with nylon tip sticks
p
f
ff
m.g.
m.g.
col legno
mp
col legno
mp
pizz.
9
-
B
B
15
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
12
I. II. III.
f
III.
I. II.
3
3
3
f
f
SOLO
ff
ff
SOLI - 2 timbales
3
3
ff
SOLI - 2 rototoms
3
3
10
-
C
C
18
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
ENTRANCING TERPSICHORE DAZZLES ALL THOSE WHO BEHOLD HER
(Fl. I. & II. alternate as indicated)
ff
I. II.
12 12 12 12
ff
ff
mf
unis.
f
f
(glock.)
ff
11
-
19
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
12 12
I. II. I.
12 12 12 12
ff
R R L L etc. 12 12
12
-
20
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
II.
I.
12 12 12 12
f
To nightingale whistle (or other loud high-pitched warbling bird
whistle) ff
To bell treeff
gliss. gliss.
To sleigh bells
ff
12 12
EbF§GbAbBbC§D§
ff
12 12
ff
12 12
13
-
21
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bsn. 1.2
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
12 12 12 12
II.
I. II.
12 12 12 12
I. con sord.
II.con sord.
(straight mute)
(straight mute)
ff
ff
ff
gliss. gliss.
12 12
12 12
12 12
14
-
22
poco rall.
poco rall.
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
f
12
ff
unis.
f
3
3
3
3
3
3
6
ff
3
3
3
3
3
3
ff
3 3 3
ff
unis.
f
3
3
3
3
3
3
6
f
ff
f
ff
f
ff
f
3
3
3
3
f
3 6 6
f
3 6
6
f
nat.
divisi a2
ff
nat.
ff
divisi a2
port.
port.
port.port.
port.
port.
port.port.
nat.divisi a2
f
unis.f
arco divisi a2
f
unis.
ff
15
-
D
D
Un poco meno mosso
Un poco meno mosso
q = 94
q = 94
24
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Vln. I
Vln. II
Vla.
Vc.
Db.
CantabileSOLI
3
3
3
3
SOLICantabile
3
3
3
3
CantabileSOLI
3
3
3
3
unis.Cantabile
f
3
3
mp (not too loud)
3
3
3
3
3
3
3
3
3
3
mp (not too loud)
3
3
3
3
3
3
3
3
3
3
f
SOLICantabile
unis.3
3
3
3
f
3
Cantabile
f
3
3
16
-
27
Subito più mosso
Subito più mosso
q = 100
q = 100
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Vln. I
Vln. II
Vla.
Vc.
Db.
3
3
3
3
3
f
3
3
3
3
f
3
3
3
3
3
3
3
3
unis.
ff
unis.
f
3
ff
3
divisi a2
mf
(unis.)mf
17
-
Subito meno mosso
Subito meno mosso
q = 90
q = 90
30E
E
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
3
3
3
3
3
3
3
3
3
3
3
3
mp (not too loud)
3
3
3
3
3
3
(not too loud)mp
3
3
3
3
3
3
3
3
3
3
(Hard felt sticks: top line smooth and melodic)��mp
p
3
3
3
3
To anvil/brake drummf
l.v.
f
unis.
3
3
3
3
3
unis.
3
3
divisi a2
��mf
3
3
3
3
18
-
Un poco più mosso e
Un poco più mosso e
33
poco accel.
poco accel.
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
12
3
3
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp
mf
f
3 3
3
3
3
3
To sus. cym. (hard yarn mallets)
(molto cresc. & decresc.)
mf
f
33 3 3 3 3 3 3 3
l.v.
l.v.
unis.
f
3
3
divisi a2
mf
unis.mf
3
3
3
3
19
-
F
F
A tempo
A tempo
q = 100
q = 100
36
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
(Fl. I. & II. alternate as indicated)
I.
ff
II.
12 12 12 12
ff
ff
mf
unis.
f
f
ff
ff
l.v.
(glock.)
ff
20
-
37
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
12 12
I. II.
12 12 12 12
ff
12 12
21
-
38
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bsn. 1.2
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
I.
II.
12 12 12 12
ff
ff
ff
mf
mf
mf
To nightingale whistle (or other loud high-pitched warbling bird
whistle) ff
To bell treeff
gliss. gliss.
To sleigh bells
ff
12 12
ff
12 12
ff
12 12
22
-
39
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bsn. 1.2
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
12 12
12
I. II.
12 12 12 12
ff
gliss. gliss.
12 12
12 12
12 12
23
-
40
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
I.
ff
II.
12 12 12 12
fff
Nobile e brillante!
3
3
3
3
3
3
3
3
Nobile e brillante!
fff
3
3
3
3
3
3
3
3
f
f
ff
24
-
41
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
12 12
I. II.
12 12 12 12
3
3
3
3
3
3
3
3
ff
12 12
25
-
42
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
I.
II.
12 12 12 12
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mf
mf
mf
Soft sticksmp
cresc.
ff
12 12
ff
12 12
26
-
43
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
12 12 12 12
I. II.
12 12 12 12
3
3
3
3
3
3
f
L
(Glock. gliss. "black" notes only - smooth rather than too
loud)
L L LL L L
gliss.R
R R R R R Rgliss. L gliss.
R
gliss. L
gliss.R
gliss. L
gliss.R
gliss.
7 7 7 7 7 7 7 7
12 12
12 12
27
-
44
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
I.
II.
I.
II.
3
3
3
3
L gliss.
R
gliss. L
gliss.R
gliss. L
gliss.R
gliss. L
gliss.R
gliss.
7 7 7 7 7 7 7 7
28
-
45
Fl. 1.2
Ob. 1.2
Bb Cl.1.2
Bsn. 1.2
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
I.
II.
I. II.
ff
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
mf
mf
senza sord. (naturale)
I. & II. only
f
f
6
6
6
6
6
Bell tree gliss. gliss. gliss. gliss.
To tambourine (hand strike on crotchets; shake back and forth
between)
6 6 6 6
L gliss.
R
gliss. L
gliss.R
gliss. L
gliss.R
gliss. L
gliss.R
gliss.
7 7 7 7 7 7 7 7
gliss.gliss.
ff
ff
gliss
.
ff
glis
s.
unis.
mp ff
3
mp ff
3
mp ff
3
mp ff
3
unis.
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
(arco)
divisi a2
f
29
-
46
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
(Cl.I & II. alternate)
f
I. II. 12
12
mf
mf
mp
66
divisi
mf
mp
mf
mp
II. & III. only (naturale)
mp
I.
3
3
f
molto dim. pp
f
molto dim. pp mp
3 6 6
f
molto dim. pp mp
p
3 6
6
f molto dim. pp
l.v. (let ring)
gliss.
(Let glock. ring this bar only)
gliss.
EbF§GbA§BbC§D§
f
mf
divisi a2Vln.I only
f
unis.
mf
unis.mf
unis.mp
(arco)
30
-
G
G
49
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
A MOST MAJESTIC AND DRAMATIC SOLO PERFORMER ...
Soft sticks
p
Back to wood sticks!
mp
Près de la table
mp
mp
divisi a2
mp
divisi a2
mp
divisi a2mp
divisi a2ff
divisi a2
mp
mf
ff
31
-
56
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
(Wood sticks)
f
f
2 timbales
f
f
2 rototomsf
f
To bass drum (damped)
mf
mf
3
ff
ff
32
-
H
H
63
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
f
f
33
-
67
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
ff
(sempre senza sord. - naturale - al fine)
f
ff
3
3
3
(Wood sticks)
ff
fff
SOLO
3 3 3 3 3
fff
3 3
fff
large sus cym.
To tam-tam ff
34
-
72
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
12
ff
SOLO 3 3 6 6 6 6 6 6
ff
SOLO 3 3
35
-
74
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
ff
I.
ff
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
ff
3
3
3
3
3
3
3
3
f
3 3
unis.
f
3 3
ff
unis.
molto legato e minaccioso!
ff
molto legato e minaccioso!
ff
molto legato e minaccioso!
To sistrum (and/or Turkish Crescent - or large tambourine): slap
or stamp on accents
mp f
mp f
mp f
mp f
3 3 3 3
unis.
mp ff
3
mp ff
3
mp ff
3
mp ff
3
unis.
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
N.B.: PERCUSSION III -- The "SISTRUM" should be capable of
producing a bright, metallic clatter. If an appropriate sistrum is
not available, a TURKISH CRESCENT should ideally be used (otherwise
known as a JINGLING JOHNNY, or PAVILLON CHINOIS). If these
instruments are not available, then a large tambourine with batter
head may suffice. The instruments should be slapped with the hand
on the accents (on the batter head of the tambourine, for instance)
or - in the case of the Turkish Crescent - the instrument stamped
on the floor on the accents, so producing a dull thud. A
COMBINATION OF TWO OR MORE DIFFERENT TYPES OF INSTRUMENT MAY EVEN
BE EMPLOYED FOR A FULLER EFFECT, IF ENOUGH HANDS / PLAYERS ARE
FREE!
36
-
75
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
(Fl.I & II. alternate)I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
37
-
76
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
38
-
77
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
39
-
78
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
40
-
79
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
41
-
80
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
42
-
81
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
43
-
82
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
ff
f
ff
3
3
3
(Wood sticks)
ff
fff
SOLO
3 3 3 3 3
fff
ff
SOLO 3 3 3 3 3 3
fffTo sus cym. + rototoms
fff
ff
SOLO
3 3
To tam-tam
ff
44
-
88
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
12
3 3 3 3 6 6 6 6 6 6
3 3 3
45
-
91
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
ff
I.
ff
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
ff
3
3
3
3
3
3
3
3
f
3 3
unis.
f
3 3
ff
unis.
molto legato e minaccioso!
ff
molto legato e minaccioso!
ff
molto legato e minaccioso!
To sistrum (and/or Turkish Crescent - or large tambourine): slap
or stamp on accents
mp f
mp f
mp f
mp f
3 3 3 3
unis.
mp ff
3
mp ff
3mp ff
3
mp ff
3
unis.
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
46
-
92
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
(Fl.I & II. alternate)I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
47
-
93
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
48
-
94
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
49
-
95
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
50
-
96
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
51
-
97
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
52
-
98
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
53
-
99
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
ff
f
ff
3
3
3
(Wood sticks)
ff
3 3 3
fff
3 3
fff
To tam-tam
ff
54
-
103
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
fff
SOLO
3 3 3
SOLO
6 6 6 6 6 6 6 6 6 6 3
SOLO
3 3 3 3 3
55
-
108
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
sul pont.
unis.
pp
nat.
unis.
pp
56
-
I
I
Quasi meno mosso
Quasi meno mosso
q = 100
q = 100
119
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
THE BEGUILING MUSE SLOWS AND STRIKES A POSE
mp
I. SOLO
pp
I. SOLO
mp
mp
SOLO
mp
I. SOLO (lontano)
IV. SOLO
p (lontano)
To triangle
p
Près de la tablep
mf
(nat.)
(nat.)
con sord.2 desks only
pp
divisi
con sord.
Mutes off!
57
-
J
J
A tempo
A tempo
127
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
HER FRENZIED DANCE RESUMES
mp
I. naturale
II. naturale
mp
mp
To sizzle cymbal - struck with triangle beater (if no sizzle
cym, use triangle beater scraped along crash cym)
mp
(F octave crotales)
p
6
mp
6
mp
mp
(tutti unis.)
mp
senza sord.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp
unis.
3 3
mp
unis.
58
-
129
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Vln. I
Vln. II
Vla.
Vc.
Db.
3
3
6
6
59
-
K
K
130
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
unis.
f
f
SOLO - wood sticks
ff
To cowbells (3 high-pitched) - with nylon tip drum sticks
p
To tam-tam (damped) with nylon tip sticks
p
To suspended cymbals (2 high-pitched, slightly damped) - with
nylon tip drum sticks
p
(High cymbal)
mf
(sus crash cym w/ triangle beater)
f
3
To glock. - hard plastic mallets
f
To xylophone - 8 mallets!
mf
ff
ff
SOLO - couple manuals
m.g.
m.g.
divisi a2
col legno
mp
pizz.
f
60
-
133
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
(naturale)(naturale)
To cowbells - with nylon tip drum sticks
p
(sus cyms - with nylon tip drum sticks)
p
(High cymbal)
mf
3
To glock. - hard plastic malletsf
To tam-tam (damped) with nylon tip sticks
p
ff
ff
m.g.
m.g.
col legno
mp
col legno
mp
pizz.
61
-
L
L
135
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
12
f
I. II. III.
I. II.
III.
3
3
3
f
f
SOLO
ff
SOLI - 2 timbales
3
3
ff
SOLI - 2 rototoms
3
3
62
-
138
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
ff
I.
ff
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
ff
3
3
3
3
3
3
3
3
f
3 3
unis.
f
3 3
ff
unis.
molto legato e minaccioso!
ff
molto legato e minaccioso!
ff
molto legato e minaccioso!
To sistrum (and/or Turkish Crescent - or large tambourine): slap
or stamp on accents
mp f
mp f
mp f
mp f
3 3 3 3
unis.nat.
mp ff
3
mp ff
3mp ff
3
mp ff
3
unis.nat.
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
63
-
139
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
(Fl.I & II. alternate)I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
64
-
140
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
65
-
141
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
66
-
142
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
67
-
143
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
68
-
144
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
3
I.
II.
3
I.
II.
3
I.
II.
3
3 3 3 3
3
3
3
3
3
3
3
3
3 3
3 3
ff
ff
ff
mp f
mp f
mp f
mp f
3 3 3 3
mp ff
3
mp ff
3mp ff
3
mp ff
3
mp
ff mp
ff mp
ff mp
ff
3 3 3 3
69
-
145
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
Tbn.
B. Tbn.
B. Tba.
Glock/Xylo.
Vln. I
Vln. II
Vla.
Vc.
Db.
sfz
12 12
I.
II.
I. II.
3
I.
II.
12 12 3
9
3
3
9
9
3
3
3
3
sfz
sfz
3 3 33
sfz
sfz
33 3 3
mp f
mp f
mp f
mp ff
3 3 3 9
mp ff
3
mp ff
3
mp ff
3
mp ff
9
mp
ff mp
ff mp
ff mp
ff
3 3 3 9
70
-
M
M
146
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
ff
f
ff
3
3
3
(Wood sticks) ff
fff
SOLO
3 3 3 3 3
ff
fff
3 3
fffTo sus cym. + rototoms
fff
71
-
N
N
151
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
mp ff
3 3
ff
SOLO
mp
3 3 3 3 6 6 6 6 3 3
ff
SOLO
3
mp
3 3 3 3 3
72
-
159
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
3
ff
3 3 3 3 6 6 6 6 6 6 6 6 6 6 3
ff
3
3 3 3 3 3 3
73
-
165
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
3 3 3 3
3
3
3 3
74
-
171
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
mf
3 3
mf
3 3
75
-
O
O
177
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
mp
mp
unis.
mp
mp
mp
mp
mf
3 3
mp
3 3
mp
3 3
76
-
182
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
3 3
To bass drum (secco - like a kit bass drum)
mf
3 3
3 3
mp
unis.
mp
unis.
77
-
P
P
186
Picc.
Fl. 1.2
Ob. 1.2
C. A.
Bb Cl.1.2
Bass Cl.
Bsn. 1.2
Cbsn.
Hns.1-4
C Tpt.
Tbn.
B. Tbn.
B. Tba.
Timp.
Perc. I
Perc. II
Glock/Xylo.
Hp.
Cel.
Hpsd.
Vln. I
Vln. II
Vla.
Vc.
Db.
THE MUSE DISPLAYS HER HYPNOTIC, SWAYING GRACEFULNESS
mp
mp
mp
mp
mp
