!!
Laments of the Gorges
For chamber orchestra
© Stef Conner 2009
!!"!#$!!%"&' Triple Gorge one thread of heaven over ten thousandcascading thongs of water...
Stef Conner
!(
Laments of the Gorges (2009)
For chamber orchestra:
flute/alto flute; oboe; clarinet; contrabassoon;
percussion 1: bass drum/sizzle cymbal/glockenspiel/anvil (or metal bar)/bells (suspended)/drum (non-western; unspecified)/whip;
percussion 2: tam-tam/wind chimes/whip/temple blocks/suspended cymbal/water gong/sleigh bells/congas/triangle/crotales/vibraphone/tubular bells;
harp; 6 violin 1; 4 violin 2; 4 viola; 2 violoncello; 2 contrabass.
Premiered by The University of York Chamber Orchestra (conducted by Dr. John Stringer), in the Sir JackLyons Concert Hall, January 2009.
Duration c. 11 minutes
Performance Notes
The score is notated at concert pitch.
Explanations of non-standard notations are given as they occur in the score. The following general principles are observed:
Senza Misura Senza Misura passages in this piece use approximate spacial notation and are not strictly proportional.Conductor cues are given, within which performers judge the duration of their material individually(approximate timings are sometimes indicated). Accidentals apply only to the notes they precede.When individuals play un-metered material, barlines are shown if it is necessary to continue to followthe conductor (in order to resume metered material at a particular point); barlines are hidden when it ispossible for the player to ignore the conductor for a significant period of time.
Dashed arrows indicate gradual change from one state to another. Thus, if an arrow appears betweentwo notes, performers should arrive at the new state by the second note, having transitioned gradually.
'Extender': thick lines are spacial representations of note length, or duration for which a motive ortechnique (e.g. a graphic notation) is to be repeated. In measured passages, duration is indicated bythe number of bars the extender covers, unless it is extended by a duration of less than a bar, in whichcase note values are shown above the stave. In senza misura passages, durations are spacial andapproximate.
Woodwind notes:
Crossed note-heads are frequently notated on five-line staves in the woodwind parts. Performers must be aware that this notation isan indication of fingering only - no pitch should sound at all.
Transposing woodwind instruments are notated at concert pitch, but when the above tablature notation is used (and no pitch issounded) exact fingerings are notated, rather than transpositions.
The following IPA symbols are used in the score:
Vowels and semi-vowels
IPA Symbol Example of RP Usage
[a][!][o]["][i][#][e][$][u][w]
‘%’ as in the French ‘p%tes’‘a’ as in ‘father’Not really used in RP English. 'o' as in 'bode' in American English.‘a’ as in ‘comma’‘ee’ as in ‘see’‘e’ as in ‘bed’'é' as in the French santé'oor' as in 'door'‘oo’ as in ‘soon’'w' as in 'weather'
Consonants [t][d][p][&][k][s]['][(][)][x]
[m][n][*][l][j]
[+]
‘t’ as in ‘bet’‘d’ as in ‘do’'p' as in 'person'‘ch’ as in ‘chair’‘k’ as in ‘kill’‘s’ as in ‘see’‘sh’ as in ‘share’like 's' but with tongue further retractedlike ''' but with tongue further retracted‘ch’ as in the Scottish ‘Loch’‘m’ as in ‘man’‘n’ as in in ‘no’'ng' as in 'king'‘l’ as in ‘left’‘y’ as in ‘yes’Not really used in English; like an ‘f’ but with lips pursed and teeth not touching lips.
Senza Misura
Stef Conner
Laments of the Gorges
Flute
Flute
Oboe
Clarinet in Bb
Contrabassoon
Horn in F
Trumpet in Bb
Trombone
Percussion 1
Percussion 2
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c. 3-4"
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Alternate phonemes ad lib.
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Breath sounds (breathe ad lib.) with occasional crackle made by spit against the reed.Vary timbre by slowly changing fingering.
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Tpt.
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26
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Tpt.
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Perc.1
Perc2.
Hp.
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Vla. (iii)
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Finger Cymbals
- 7 7 7 7 &
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a tempo (q = 60)
a tempo (q = 60)
B
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Perc. 2
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Vln. 1 (i)
Vln. 1 (ii)
Vln. 1 (v)
Vln. 2(i)
Perc.
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Vc. 2
Cb. 1
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Fl.
Ob.
Cl.
Hn.
Tpt.
Tbn.
Perc. 1
Perc. 2
Hp.
Vln. 1 (i)
Vln. 1 (ii)
Vln. 1
Vln. 1 (v)
Vln. 2
Perc.
Vla.
Vc.
Cb. 1
Cb.
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11
89
A. Fl.
Cl.
Cbsn.
Hn.
Tpt.
Tbn.
Perc. 1
Perc. 2
Vln. 1 (i)
Vc. 1
Vc. 2
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q = 50
q = 50
A. Fl.
Fl.
Cl.
Cbsn.
Hn.
Tpt.
Tbn.
Perc. 1
Perc. 2
Vln. 1
Vln. 1(ii)
Vc. 1
Vc. 2
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A. Fl.
Fl.
Cl.
Cbsn.
Hn.
Tpt.
Tbn.
Perc. 1
Perc. 2
Hp.
Vln. 1
Vla.
Vc. 1
Vc. 2
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117 ((
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K
K
Fl.
Fl.
Cl.
Cbsn.
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vla.(iv)
Vc.
Cb.
Cb. 2
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120 A(
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L
L
Fl.
Fl.
Ob.
Cl.
Cbsn.
Perc. 1
Perc. 2
Hp.
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vla.(iv)
Vc.
Cb.
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Fl.
Fl.
Ob.
Cbsn.
Hn.
Tbn.
Perc. 1
Perc. 2
Hp.
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vla.(iv)
Vc.
Cb.
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N
N
Fl.
Cbsn.
Hn.
Tpt.
Tbn.
Perc. 1
Perc. 2
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vla.(iv)
Vc.
Cb.
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8 8
! 777.9p'' ''
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''mf.9 .9 // .9 .9 ',
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',mp
.9 83 +3
!p
. ' '4 3
3
7 6 3f
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! 7779.
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'' ''4 33 7 6 3f
'# . 7 7 3 //mp
') 2 .3
- 7 7arco
mf' .*3
ff
' .+
7 7 6 3mp
'
- 7 7 arco
p
. . /mf
. /ff
' +6 3
mp
') #' .f
.3
-mf
8 . . . / 7 7 3 /mp
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-mf
8 . . . / 7 7 7
%mf
8 . . . / +/
sfz
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8 +/
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'4 . /
%)
mf
8 . . . / /sfz
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8 8
18
138
Fl.
Fl.
Ob.
Cl.
Cbsn.
Tpt.
Vln. 1
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vc.
Cb.
!"
!"
!
"
!
"
!
"
!"
!
"
! 7 3 3ppp
')5 .p
8 . /sfz
fl.
777'$) /5
! 7 6 1ppp
'( /4 'p
8 8
! 7 6 3ppp
'5 'p
8 85
! 7 3ppp
'(4 . /mp
8 83
%) 8 /
ppp
'3
. /p
'# / '# . / / '3
. /3
!sp
=(alternate fingering)
'''ff
'' ''''''''' ' '<# /pp
'3ff
''$#''< '< '< ' 3 1
mf
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'B ' /!1# !6# !1# !6#!1# !6#
f
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3
5
3 66 7
5
5
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. '$5 /
f
'') # ''#') ' '') '' ') ' ' ' ' ' ') ') '< //mf
''# '5. ' 'J) 'J) '$ ') ') ') '
ff
'' ' '<
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5 7 3 5
! 7 6 3 1ppp
') 5 8 8
! 7 6 3ppp
' 8 8
! 6 /mp
norm.')4 'f
8p
8 8
!38
ff
9. 9.p
9. // 3 7
! 8f
. //mf fff
')5jeté'$ '< '< '< '<) '< '< '< '< '< //
f sfz
'5 777.$ '
Tremolo slows, then accelerates again.
3sfz777.$G)
! 3mp
. /f
8p
8 8
!f
8 8p
8 8
- . /f
' 8p
8 8
- 8 8p
8 8
-f
8 8p
8 8
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8 8p
8 8
%)
8 8p
8 8
19
142
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
;(
Repeat ad lib. (x 4 - 10)
Repeat ad lib. (x 4 - 10)
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
//
:(
:(
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:(
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:(
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:(
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:(
:(
Fl.
Fl.
Ob.
Cl.
Cbsn.
Tpt.
Perc. 1
Perc. 2
Vln. 1
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vc.
Cb.
!"
!"
!
"
!
"
!
"
!"
!
"
! 777'
p
.) /(Aggregate increase in dynamics over all repetitions - not repeating swells)
. /ff
! 8 . /ff
!8 . /
ff
! 8 . /ff
%) . /
mf
' . /ff
! /mp
''< '<') ' '< '< '< '<Improvise with given notes (n order, but possibly with occasional variation at player's discretion).Vary phrasing, timbre, dynamics and rhythm ad lib., but overall impression must convey dramatically increasing intensity.
ff
'< '< '< ') ' ') ' ' ' ' ') 'fff
3
&Bass Drum
pp
' ' '$ /mp +
*********************************************** / 6(first time only)
f
' 6
&Sizzle Cymbal
arco
mp
. /f
3 (first time only)
p
. /ff
!
!') ') ') ' ') ') ') ') ' ' Improvise with given notes (n order, but possibly with occasional variation at player's discretion).
Vary phrasing, timbre, dynamics and rhythm ad lib., but overall impression must convey dramatically increasing intensity.
(Aggregate increase in dynamics over all repetitions - not repeating swells)
fff
!8 . /
ff
!8 . /
ff
! 8 . /ff
! 7778
Play given notes in order, as fast as possible and building in intensity.
ff
' ' ') ') ') ' ' '
! 3 1sfz
Tremolo slows and accelerates ad lib.
mf777'$) /4 777
.777. /
ff
! 8 . /ff
! ' 1sfz
Tremolo slows and accelerates ad lib.
mf
777'$) /# 777. 777. /
ff
- 8 . /ff
- 8 . /ff
- 8 . /ff
% 8 . /ff
%)
8 . /ff
20
:(
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O
O
144 ((
((
((
((
((
((((
((
((((
((
((
((
((
((
((
((
((
((
((
((
((
((
((
((
Fl.
Fl.
Ob.
Cl.
Cbsn.
Perc. 1
Perc. 2
Hp.
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.
Vc.
Cb.
!"
!"
!
"
!
"
!
"
-!
"
!pp
'( /4mf
' 'A+ pp f
' '0
pp
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mf +'4 1
mf
'5D '(5 ' '? '(ppp
') 'A ') '( ' '< 1ppp
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3
3
5
!pp
''? #' '(mf
' ')ppp p f
' / '< ' '( '?4 K
+ mf p
''? #'0 '0ppp
'? '0 '? ' / '( ') '( 8 .f
'03 .5 5 3
!ppp
''0 '? '0p mf
'? '* '( '*
mp ppp
' '( '? ' '(1 3 3 7 7
5 3
!pp
''( '
mf
'( / ' '+ mp + p
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ff + p
' ' / ' 'ff p +
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ff' 3
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mf
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pp ff
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mp
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9 6 3
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p ff
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stagger bowing' '0 '? ' '0 '0 '? '* #'? '0 / ' '0 ' '* '0ff
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21
147
Fl.
Fl.
Cl.
Cbsn.
Perc. 1
Perc. 2
Hp.
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.
Vc.
Cb.
!"
!"
!
"
!
"
!
"
-
!
"
! .mp
.) 8 ' .) / 8 . .) 8 8
!.
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.0 8 80 'ff
'%?& # ' '# '# '3 ' . '
3 ' ' '3
mf
'# '3
' ' '# '3
' ' '3
'# '3 '
3 3
! .ppp
.( 8 . /f
'%?& . . 'mf
. /Play 3/4 against the conductor's 4/4; begin with the same crotchet pulse,then allow your tempo to drift.
. / C // = / D//
%) 8 . / '
f
. / 777' 777. 777. 7778fff8*
mf8*
& 7 6 3 ' 33 Bells 'f
3 6 Drum6 3 ' 33
6 3'777.$'' '3 /
+6 3 ' 33
Anvil6ff
' 3
& ' 3 6 ' 3 6 ' 3 ' 3 ' 3 6 ' 3 6 ' 3 6 6ff
' 3
& 3f
''#'ff
''# '3 1p
'2f
''#''' ' 3mf
' ' "ff mf
' ' ' ""ff
'' ' ' ' ' ' ' 1''' " 3p
' ' ''$ ' / ''#''$ ' ''#' ' '' ' ' ' 'ff
'"#' ' ' ''' " ' '$ 3 6 3 / ''# '4 '''33 / ''# 7' ''3
3
35
35
3
3
3
&Sleigh Bells
7 7 7 7 7 7 6fff
' 3
!=
6+
7 7 7 7 7 7
!.
pp
. 8f mf
') '$) . / 8 8 8 8
!.
pppp
. 8 8 8 8+
7 7
!.
pppp
. 8 'f
'4 '4 '$3
. 8mf
8 8pp
83
!.
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. 8 8 8 8 . /+ mp
') 8
!.)
pppp
. 8pp
8) 8 8 8 8
! .mf
. 8 8 8 8 8 8
! .mp
. 8 8 8 8 8 8
! .mp
. 8pppp
8 8 8 8 8
! .mp
. 8 . .ff
'$3
8mf
8 8 8
! 8 8 8 8 8 8 . /ff
')
- 8 8 8 ' .? / 8 8 8
- 8sp
8 8 8 8 'ff
' .* 8
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fff
' '$) 8)mf
.) 'ff
.$)3
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mp.) . .
3
% 8ff
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mf
8 8 8 8 ' '*fff
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8 8 8 ' '* / . /mf
8 8 8
22
154
Fl.
Fl.
Ob.
Cl.
Cbsn.
Perc. 1
Perc. 2
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.
Vc.
Cb.
!"
!"
!
"
!
"
!
"
!
"
! 8) 8ff
'Play 3/8 against the conductor's 4/4; begin with the same quaver pulse, then stop following the conductor and gradually get faster.') ' ' C //' ' ) N N
3
N N N D//
3
!Improvise on given pitches with a triplet feel, in free tempo.
mf' ' ' '
! 7 7f
8$fl.
fff
7778fl.7778
!
%) C //
Stop following the conductor; allow your tempo to drift.
f8* D//
&Drum6 3 ' 33
6 3 1 7Anvil
fff
'$''' ' ' ' ' 'ppp
' 65
& ' 3 6 ' 3 ' 3 ' 3 6ff
' 3 6 6ppp
.****************************
& 3mf
''''33 /ff p
"$ 'f
''''' '#' ' ' 'fff
''' ''$====
5 3 /'# ' ''$f
''''' ''' 3 7 3 =
p ff
' ' ' ''+
''' ' 333
3
3
7
& 7 7 7fff
' 3 6 7
! 8 8 8f mp
8 8) 8) 8)
! 7 7 6 //mp
M'5 '* ' ') ' ''Repeat given note sequence in free rhythm (beginning at roughly semiquaver speed);vary phrasing ad lib. and gradually accelerate.
f
' '* ' ') ' '* ')
! 8 8 8 ' ' '3
ff
'* '*Repeat given note sequence in free rhythm (beginning at roughly the same speed as previous quintuplet);vary phrasing ad lib. and gradually accelerate.
mf
' '? '* '* ' ' '* '* ' '? '* ' ' '? '* '*
3 5
!8 8 8 8 .
Beginning with the same semiquaver pulse, stop following the conductor and repeat the given 7/16 pattern with increasing speed and intensity.
C //ff
' ' '%)& ' ' '%)& ' '
!8 8
ff
''$* #' ' ''$# ''$# ''$#' ' ' ''$#' '/ ''$# ''$#' ' / ''$# '5f
''$* # ' ''$# ' Improvise jerky and erratic gestures using given material. Gradually become louder and faster.
3 5
! 8 8 ' 'ff
')5 ' ') '< '< ''#' ' 1 '5f
') '') # ''Improvise jerky and erratic gestures using given material,inserting grace note sporadically. Gradually become louder and faster. 5
5
! 8 8fff
8%?&f
8 8
! 8 8 8 .ff
' ') ' ')Repeat given note sequence in free rhythm (beginning at roughly the same speed as previous quintuplet);vary phrasing ad lib. and gradually accelerate.
') '? ') ' ') ' '? ') ' ' ' ' ' '? ') ' ') ' '?3 5 5
! 8 '* ' 'ff
' '5
' '* ' ' ' ' '5
mf
'* ' ' ' '5 C //
Stop following conductor and repeat ad lib., gradually getting faster.
' '* ' ' ' ' '5 D//
! ' ' ')3
' ' '3
mf
' ') '3
') ' '3
C //Stop following conductor and repeat ad lib., gradually getting faster.' ') '
3
' ' '3
D//
- 8 8 8fff
' ' / ' ' '4 / C //f
Stop following conductor and repeat ad lib., gradually getting faster.
' ' ' '4 / ' ' ' / D//' ' ' '5 5 5 5
-mf
8 8 8 8 8
- C //Stop following the conductor;allow your tempo to drift and do not coordinate.
mf
.) . .3 D//
%' .* ' ' '* . C //
Stop following the conductor;allow your tempo to drift
mf
'* ' ' ' D//
%)
8fff
8$* 8mf
8 8
23
P
P
Senza Misura
Senza Misura
((
((
((
((
((
((
((
((
((((
((
((
((
((
((
((
((
((
((
((
((
((
((
((
((
q = 50
q = 50
Fl.
Fl.
Ob.
Cl.
Cbsn.
Hn.
Tpt.
Tbn.
Perc. 1
Perc. 2
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1 (iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2 (ii)
Vln. 2 (iii)
Vln. 2(iv)
Vla. (i)
Vla. (ii)
Vla.
Vc.
Cb.
!"
!"
!
"
!
"
!
"
!
"
!
"
!
c.2-3" #I
c.3-4"
ffff
#II
')c.3"
+
#III
c1-2"
!+#
.
ff
")!-#
fff% !6)# !9#
"$) "" ") 0000
!,)#% !-#
fff
") ") "$)!6)#!9#
'"# "!+$# !:#
f
"%)& ") $) /000000!)#
0000000000000000000000000% %
"3 3
!
ffff
much slower' ' ' '+
!+#
.
ff
")!-#
fff% !6)# !9#
"$) "" ") 0000
!,)#% !-#fff
") ") "$)!6)#!9#
'"# "!+$# !:#
f
"%)& ") $) /000000!)#
0000000000000000000000000% %
"3 3
!(breathe ad lib.)777'
ffff
Remove reed"
ff
!"(fff
!!!"$* "* 1 3 3 3 1
"
ff
!Replace reed 7"%(&5
3
!
ffff ff
' + !(#
ff
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[t]"$* "*" "0000"?
2 13 3fff
'"<# " 0000!(#
7"
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%)
ffff ppp.%*& / '%*& 8
%
Hn. $ff!+# !-#
fff% %
"$2 /
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f!9#
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f!-#
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ff!:#sp
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"3 3
!
Tpt. $ff!+# !-#
fff% %
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"2 $ /000000!)#
0000000000000000000000000
% %
"3 3
%
Tbn. $ff!+# !-#
fff% %
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ff!:#sp
"2 $ /000000!)#
0000000000000000000000000
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"3 3
&Bass Drum
f
' 'p f
**************************************************+
Sizzle Cymbal "# $
mp
***************** # 3 3 1p
#777'2 3 3 1 Bass Drum777'
26 3
pp'
mf
3 3 **********
&Tam-tam
mf
'fff
**************************************************************+
Whip//mf
'2 3 3 O 3 7
!f
') ')ffff ppp
') 8 . / ' ')
!
ffff
7 7
!
ffff
7 7
!' ' ' ' ' '
D//
ffff
7 7
!
ffff +7 6 3 /
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''$* # '4
!
ffff
molto rall.
ppp
') 8%)& . / '') #') ' 1 '<5
! 'ffff ppp
8 8
!
ffff
molto rall. 'B) 'B 'B)ppp
'B) 8 . ' ') ' ')3
!
ffff ppp8* .
p'* ' '
5
!
ffff +7 3
pp
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ffff ppp
' 8 .mp
'4 / ' ' / '45 5
- '%*&ffff ppp
8%*& .mp
.
-
ffff
molto rall.
ppp'* 8%*& 8
mp
.*3
%
ffff
molto rall.
ppp8* .
mp
'* '%) '
ffff ppp
8 .mp
.
24
Q
Q
Senza Misura
Senza Misura
166 ((((
((((((
((((((
((((((
((
((
((
((
((((((((((
((
((
((((
((
((
((((
Fl.
Fl.
Ob.
Cl.
Cbsn.
Hn.
Tpt.
Tbn.
B. D.
T.-t.
Vln. 1
Vln. 1(ii)
Vln. 1(iii)
Vln. 1(iv)
Vln. 1(v)
Vln. 1(vi)
Vln. 2(i)
Vln. 2(ii)
Vln. 2(iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla.(iii)
Vla.(iv)
Vc.
Cb.
Cb. 2
!"
!
"
!
"
!
"
!
"
!
"
!
"
! C //+fff
') ' ' ' ' D// c.3-4"
#I
rall.
c.1-2"
#II
mf
c.1-2"
#III
c.1-2"
#IV
c.1-2"
+ !(#
#
f
V
$)c.3"
3
!+
fff
' ' ' ' rall.
mf
.
p
'
!fff
fl.777'mf +
Remove reed "
f
!$(
! C //fff
. / D// mp
rall.
+!(#f
$*%) C //
fff
8$*D//
ffff
'mf
unpitched breath sound
$
% %ffff
Hn. 'mf
!
!ffff
Tpt. 'mp +
!(#
f
$
% %ffff
Tbn. 'mp +
& 'ff
'$************************************************************************************* **************************************************************************+
&Triangle
ff
777' ''G $'ad lib.'' ' ' ''' ' ' ' ' '' 'pp
' ' ' '' ' ' ' '
> Tam-tam
fff
'$ !
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') ') rall.
mp p
')
!fast
fff
' '* ' ') ' '* ') rall.
mf + ppp
'p
!fast
fff
' ' '* '* rall.
mf +
! C //fast
fff
') ' ' ' ' ' ' ') ' ' ' 'D//
' ' rall.
mf +
!fast
fff
''$* # ' ''$#' rall.
mp +!
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fff
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f +!
fff'
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fff
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mf
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' '* ' ' ' ' '5 D// rall.
mf
'* +! C //
fast
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mf
')p
- C //fast
fff
'4 / ' ' ' / D// rall.
mf
' ' ' '5 5
-fff
'%*&mf p
- C //fast
fff.* . .
3 D// mf
rall.
+ &Finger Cymbals
mf
'
- C //fast
fff.* . .
3 D// rall.
mf '*% C //
fast
fff
'* ' ' ' D// rall.
mf '*
%)1
fff
'%*&ffff
'$mf + &
Finger Cymbals
f
' ' '$Fast, erratic hits with sporadic accents
%)
fff
'%*&ffff
'$mf mp
25
((
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R
R
q = 50
q = 50
175
Senza Misura
Senza Misura
Fl.
Fl.
Ob.
Cl.
Cbsn.
Hn.
Tpt.
Tbn.
Perc. 1
Vib.
Hp.
Vln. 1
Vln. 1(ii)
Vln. 1(v)
Vln. 2(i)
Vln. 2 (ii)
Vln. 2 (iii)
Vln. 2(iv)
Vla.(i)
Vla. (ii)
Vla. (iii)
Vla.(iv)
Vc. 1
Vc. 2
Cb. 1
Cb. 2
!
"
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"
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"
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c.2" #II
c.3" #III
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! 7 &Finger Cymbals
Respond to Contrabass/vla. (iii) finger cymbal strokes with echo-like patterns, as previously.
+
! 8 +6
sfz
.$ ' /+
3 3 6 3mf
sul pont..
+3 7 7
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-p
8 8 7+ 7 7 7
- 8* 8 . . +3
3
7 7 7
- Respond to Contrabass finger cymbal strokes with echo-like patterns, as previously.become more and more sparse
+
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8%*& 8pp
8 +7 7 7
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777'$*pp
777' / ' . 8 . / 3+!
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ad lib. - becoming more sparse
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f
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26