an original composition, vestiges of kubla and an analysis
TRANSCRIPT
Louisiana State UniversityLSU Digital Commons
LSU Doctoral Dissertations Graduate School
2007
An original composition, Vestiges of Kubla and ananalysis of George Crumb's Quest for guitar,soprano saxophone, harp, contrabass, andpercussionJohn Manuel CrabtreeLouisiana State University and Agricultural and Mechanical College, [email protected]
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This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion inLSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected].
Recommended CitationCrabtree, John Manuel, "An original composition, Vestiges of Kubla and an analysis of George Crumb's Quest for guitar, sopranosaxophone, harp, contrabass, and percussion" (2007). LSU Doctoral Dissertations. 3336.https://digitalcommons.lsu.edu/gradschool_dissertations/3336
AN ORIGINAL COMPOSITION, VESTIGES OF KUBLA AND AN ANALYSIS
OF GEORGE CRUMB’S QUEST FOR GUITAR, SOPRANO SAXOPHONE,
HARP, CONTRABASS, AND PERCUSSION
A Dissertation
Submitted to the Graduate Faculty of the
Louisiana State University and
Agricultural and Mechanical College
In partial fulfillment of the
Requirements for the degree of
Doctor of Musical Arts
in
The School of Music
by
John M.Crabtree
B.M., Southeastern Louisiana University, 1996
M.M., Louisiana State University, 1999
December 2007
ii
ACKNOWLEDGEMENTS
I would like to first acknowledge the love and unwavering support and of my wife,
Sabrina Hurst, and my best friend, Joseph McNair, who have both encouraged me and witnessed
my hard efforts throughout my entire academic career. I would like to thank my major professor
Dr. Stephen David Beck for his insightful guidance and generous patience with me throughout
the years – I hope to work with him again one day. This final process would not have been
possible without the personal sacrifice and encouragement of Dr. Jeffrey Perry, my minor area
professor, who has provided me with the motivation and wisdom needed to fulfill my goal.
Also, the remaining members of my committee, Dr. Dinos Constantinides and Dr. Robert Peck,
deserve great recognition as they have provided me with a strong education that has made me a
better teacher and musician, and further appreciation is given to Dr. Robert Carney for being a
supportive committee member during the final process. Finally, I would like to also thank my
colleagues and friends, William Price, and Aaron Johnson for making my graduate career at LSU
an enjoyable and memorable experience, and give special thanks to Carlo Vincetti Frizzo, to
whom I owe an eternity of debt, for inspiring me to become a better composer and musician.
iii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ………………………………………...…………………………… ii
PROGRAM NOTES …………………………………………………….……………………… iv
ABSTRACT …………………………………………………………………..……………..….. v
PART ONE: AN ORIGINAL COMPOSITION, VESTIGES OF KUBLA ……..……….……..... 1
I. IN XANADU …..………………………..………………...........…. 2
II. HYMN FOR THE CHILDLESS CITY ………………….……..... 72
III. BLISS APPARATUS ……………………..………..…………....105
PART TWO: AN ANALYSIS OF GEORGE CRUMB’S QUEST FOR GUITAR,
SOPRANO SAXOPHONE, HARP, CONTRABASS, AND PERCUSSION…. 163
I. INTRODUCTION.…………………………………….………... 163
II. FORM ……...………..………………………………………….. 169
III. PITCH MATERIAL AND PROCESS……...……………………181
IV. USE OF MUSICAL QUOTATION: “AMAZING GRACE”……204
V. CONCLUSION………………………………………………….. 224
REFERENCES ……………………………………………………………………..………… 225
APPENDIX: LETTER OF PERMISSION ………………………………………………..….. 227
VITA …………………………………………………………………………………….……. 228
iv
PROGRAM NOTES
Vestiges of Kubla is scored for the following instrumentation:
Piccolo
2 Flutes
2 Oboes
2 Clarinets in Bb
2 Bassoons
4 Horns in F
2 Trumpets in Bb
2 Trombones
Tuba
Timpani
3 Percussion (sharing the following instruments):
Bass Drum
Bongos
Brake Drum
Cymbal
Marimbas (2)
Tambourine
Tam tam
Triangle
Tubular Bells
Vibraphone
Vibraslap
Xylophone
Guitar - soloist
Violin I
Violin II
Viola
Cello
Contrabass
The score is in C. All instruments in the score with the exception of octave transposing
instruments appear at concert pitch.
Accidentals are valid for the entire measure, in the indicated octave only. Courtesy accidentals
have been added for notation clarity.
Any amplification of the guitar should be subtle and not affect the natural timbre of the
instrument. A pickup microphone in the soundhole of the guitar or a transducer microphone
should not be used in any situation. Instead, a simple condenser microphone placed in front of
the performer, and a small amplifier with a clean channel input is preferred by the composer.
v
ABSTRACT
Vestiges of Kubla is scored for the following instrumentation: piccolo, 2 flutes, 2 oboes, 2
clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, 3 percussionist, guitar, and
strings. Structured differently than a traditional concerto form, the overall architecture of the
work is a large-scale sonata-allegro form in which the first movement is an exposition, the
second movement is a slow development, and the third movement is a recapitulation of musical
ideas from in the first, followed by a concluding coda. Although the concerto is unified by
thematic, motific, and harmonic content presented in the first movement – derived from an
extended guitar chord with Lydian tendencies (E-B-E-A#-B-E, reduced to E-B-A#) – additional
but related musical ideas are incorporated in the second and third movements.
The second part of the dissertation is an analysis of George Crumb’s Quest (1994) for
guitar, soprano saxophone, harp, contrabass, and percussion. This analysis explores and
ultimately reveals how the guitar’s standard string tuning (E-A-D-G-B-E), along with the
intervallic qualities from a musical quotation (the popular hymn tune Amazing Grace),
influences and generates Crumb’s entire compositional process in this work. The analysis also
briefly explores additional elements, form and symbolism, that define Crumb’s musical style.
1
PART ONE: AN ORIGINAL COMPOSITION, VESTIGES OF KUBLA
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œ# œ# œ œ# œ œ œ œ œ#8≈ œ
fœ œ œ# œ# œ œ#
9
œ œ œ œ œ# œ# œ œ# œ
Jœœ>
‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
jœœ>‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
∑
∑
∑
∑
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ .œæp∑
jœœ
>[
div. ‰ ‰9
œ œ œ œ œ# œ# œ œ# œ8≈ œ
fœ#cresc.
œ œ œ œ œ#9
œ# œ œ# œ œ œ œ œ# œ#. .
jœœ#>
[div. ‰ ‰ 9
œ# œ# œ œ# œ œ œ œ œ#8≈ œ
fœ#cresc.
œn œ# œ# œ œ#9
œ œ œ œ œ# œ# œ œ# œ
Jœœ>
‰ ‰ Œ .
∑
∑
5
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
~~~~~~
ƒ
17 Jœ>
‰ Jœ>
‰ Jœ>
‰
Jœœ#>
ƒ‰ J
œœ>
‰ Jœœ>
‰
Jœœ#> ‰ J
œœ> ‰ Jœœ> ‰
Jœœ>ƒ
‰ Jœœ> ‰ J
œœ> ‰
Jœœ>
‰ Jœœ>
‰ Jœœ>
‰
17 jœœ#>‰ jœœ>
‰ jœœ>‰
jœœ>‰ jœœ>
‰ jœœ>‰
Jœœ> ‰ J
œœ> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
17
‰ Jœ> ‰ Jœ> ‰ Jœ>
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ>ƒ
‰ Jœ> ‰ œ>æ17
∑
17 Jœ>unis.
ƒ‰ J
œ>‰ J
œœ>non-divisi
‰jœ#>
‰jœ>
‰jœœ>
[ ‰Jœ ‰ Jœ ‰ Jœœ# ] ‰
Jœœ>
‰ Jœœ>
‰ Jœœ>
‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
1
Jœ>
‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ> ‰ ‰ Ó
Jœœ>
‰ ‰ Ó
jœœ#>‰ ‰ Ó
jœœ>‰ ‰ Ó
Jœœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
Jœ> ‰ ‰ Ó
∑
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
œœœœœœ#>
rasq.
ƒ
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
Jœœ>
‰ ‰ Ójœœ#>
[ ‰ ÓJœœ# ] ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
∑
∑
∑
∑
∑
to triangle
to marimba
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
∑
∑
∑
∑
∑
6
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
21
∑
∑
∑
∑
∑21
∑
∑
∑
∑
∑
∑
21
∑
∑
∑21
œœœœœœ#>
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
21
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œp
triangle
˙
∑
∑
œœœœœœ#>
simile
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
..œœ##div.
p
˙˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Π. >F
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
..œœ˙˙
FŒ . ˙
˙##p
div.
∑
∑
Π.>fF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ..œœ
˙˙
.
.œœ
˙˙
∑
∑
.œ ˙
7
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
25
∑
∑
∑
∑
∑25
∑ ?
∑ ?
∑
∑
∑
∑
25
∑
∑
∑25
œœœœœœ#>
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ25
˙˙
..œœ
˙˙F
.
.œœ
∑
∑
˙ .œ
∑
.œ#F
a2 ˙
‰ ‰ Jœ#F
a2 ˙
∑
∑
œ#>F
a2
œ œ#Jœ#> Œ ‰
Œ . œ#>F
a2
œ# œ œ
∑
∑
∑
∑
.œ>F
˙
œœœœ#>F
marimba
œœœœœœœœ
œœœœ>œœœœ
œœœœ>œœœœ&
∑
......œœœœœœ#>
L.V.
Ó
..œœ˙˙
.
.œœ
˙˙
œ#>unis.
Fœ œ# œ#> œ œ œ
.œ ˙
.œ ˙
∑
.œ .œ#
‰ ‰ Jœ# .œ
∑
∑
œ#> œ œ#Jœ#> ‰ ‰
Jœ#> Œ œ#> œ œ
∑
∑
∑
∑
∑jœœœœ#>‰ ‰ Œ .
∑.œo .œo
..œœ ..œœ
.
.œœ
.
.œœ
œ#> œ œ# œ#> œ œ
.œ .œ#
.œ .œ#
to bass drum
∑
œ œ œœ> œ œ#> œ
‰ œ œœ> œ œ#> œ
∑
∑
œ#> œ œ#Jœ#> Œ ‰
Œ . œ#> œ# œ œ
∑
∑
Œ . ˙#p∑
∑
∑
∑
∑
œœ œ
œ œœ
œœ>
œœ
œœ##> œ
œ
œœ œunis.
œœ> œ œ#> œ
œ#> œ œ# œ#> œ œ œ
.œ ˙#
.œ ˙#
8
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
~~~~~~~
29
Ó Jœ#>f
‰ Jœ>
˙# Jœœ#>f
‰ Jœœ>
˙#Jœœ#>f
‰ Jœœ>
Ó jœœ#>f‰ jœœ>
Ó Jœœ>
f‰ J
œœ>
29 œ#> œ œ# œ œ> œ œ
f
Jœ#> ‰ Œ œ> œ œf
Ó jœœ#>f‰ jœœ>
Ó Jœœ>f
‰ Jœœ>
˙jœ#>f‰ jœ>
∑29
Ó Jœ>fbass drum‰ Jœ>
Œ Œjœœœœ#>f‰
jœœœœ>
Ó Jœ>f‰ Jœ>
29
∑
29 ˙#Jœœ#>
f‰
Jœœ>
˙#
˙#Jœœ#>[
f‰ J
œœ>
[
œ#> œ œ# œ Jœœ>non-divisi
f‰ J
œœ>
˙ œ> œ œ#>
f
˙jœ#>f‰ jœ>
2
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
rasq.
ƒ
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
Œ . Jœœ>pizz.
‰ Œ
Œ . Jœœ#>pizz.div.
‰ Œ
Œ . Jœœ>pizz.div.
‰ Œ
Œ . Jœ>pizz.
‰ Œ
Œ . Jœ>pizz.
‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
∑
∑
∑
∑
∑
to triangle
to tubular bells
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ>F
˙
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
∑
∑
∑
∑
.œ>fF
arco
˙
9
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
33
∑
∑
∑
˙#p
.œF
∑
33
∑
∑
∑
∑
∑
∑
33
∑
∑
˙#>F
tubular bells .œ
33
œœœœœœ#>
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
33
˙˙##
p
arco ..œœ
∑
∑
∑
˙ .œ
with mute (harmon mute - stem in)
∑
.œ#F
a2 ˙
‰ ‰ Jœ#F
a2 ˙
∑
∑
œ#>F
œ œ#Jœ#> Œ ‰
Œ . œ#>F
œ# œ> œ
Œ . œ#p
œ œ œŒ . œ# œ œ œ
∑
∑
∑
.œ>triangle
F˙
œœœœ#>Fœœœœ
œœœœœœœœ>
œœœœœœœœ>
œœœœ
∑
......œœœœœœ#>
L.V. Ó
..œœF
˙˙
.œ# æ>F
unis.arco
jœ#>
‰ Œ
∑
œ#>unis.
F
arco œ œ# œ#> œ œ œ
.œ ˙
∑
.œ .œ
‰ ‰ Jœ# .œ
∑
∑
œ#> œ œ#Jœ#> ‰ ‰
Jœ#> Œ œ#> œ œ
œ# œ œfŒ .œ# œ œ Œ .
∑
∑
∑
∑jœœœœ#>‰ ‰ Œ .
∑.œo .œo
..œœ ..œœ
.œ# æ>Fjœ#>
‰ ‰
∑
œ#> œ œ# œ#> œ œ
.œ .œ#
to bass drum
Œ .œ>
Fœ œ#> œ
œ œ œœ> œ œ#> œ
‰ œ œœ> œ œ#> œ
∑
∑
œ#> œ œ#Jœ#> Œ ‰
Œ . œ#> œ# œ> œ
∑
∑
∑
∑
∑
∑
∑
.œosul E (6th string) Ó
œœ œ
œ œœ
œœ>
œœ
œœ##> œ
œ
.œ# æ>Fjœ#>
‰ Œ
∑
œ#> œ œ# œ#> œ œ œ
.œ .œ ‰
10
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
37
.œ# œ# Jœ#
.œ# œ# Jœ#
.œ# œ# Jœ#
.œ#p
.œ.œ# .œ
Œ . .œ#a2
P37
œ> œ# œ# œ> œ œ
∑
œ#p
œ œ œ œ œœ# œ œ œ œ œ
Œ . .œa2
P
Œ . .œ#P∑
37
∑
∑
∑
37
∑
37 .œ# œœ##
Jœœ##
.œ#
..œœ##p
div.
..œœ
..œœ##p
div. arco ..œœ
œ> œ# œ# œ> œ œ
.œ# .œ#
f
f
f
f
f
f
f
œ
fJœ.
‰
œ
fJœ.
‰
œ
fJœ. ‰
˙
˙
Jœ> ‰ œ
fœ#>
œ> œ# œ œ#>
f
œ# œ œ œf
œ# œ œ œ
˙#
˙
∑
∑
œœœœ#>>pœœœœ
œœœœ>œœœœf
∑
∑
œœ
fJœœ
‰
˙˙
˙˙
œ> œ# œ œ#>
f
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
f
œ œ# œ#>
œ œ œ.œ ˙
..œœπsubito
˙
..œœπsubito
˙
∑
∑
Œ . jœ>pizz.
P‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ# œ#>
œ œœ
>
.œ .œ Jœ
..œœ ˙#
..œœ# ˙
∑
Œ . jœ#>pizz.
P‰ ‰ jœ>
Œ . jœ#>‰ ‰ jœ>
11
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
41
∑
∑
∑
∑
∑
41
∑
∑
∑
∑
∑
∑41
∑
∑
∑
41
œ#>
œ œ# œ#>
œ œœ
>
.œ .œ Jœ41 .œ ˙.œ# œ œ
..œœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ#>
œ œ œ#.œ#
œŒ
.œ ˙.œ ˙#
..œœ ˙
∑
jœ#>‰ ‰ jœ> ‰ Œ
jœ#>‰ ‰ jœ> ‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ# > œ œ œ#> œ œ
..œœp
..œœ
..œœp
..œœ
∑
.œ#arco
.œ
.œ#arco
.œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ# > œ œ œ> œ œœ#> œ œ
..œœ ..œœ#P
..œœ#
..œœ ..œœ#P
..œœ
∑
.œ .œ .œ#
.œ .œ .œ#
12
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
43
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
44
42
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
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
45
∑
∑
∑
∑
∑45
∑
∑
∑
∑
∑
∑
45
Œ ˙æbass drum
π∑
∑
45 œ> œ# œ œ œ# œ œ# œ
45 ..˙
..˙
∑
.˙#F
.˙#F
3
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
>F
∑
w#>F
œ#>
œ œ œ>
œ œ œ>
œw#ww
ww
∑
.œ#>jœ> œ œ>
.œ#>jœ> œ œ>
∑
∑
∑
∑
∑
∑ &
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ# œ œ
˙
∑
∑
.
.œœF
div.
Jœœ##
>F
>F
to tambourine
to bongos
F
∑
∑
∑
∑
∑
œ#1.
Pœ œ œ œ œ œ œ
Fw#P
2.
∑
∑
∑
∑
∑
∑
∑ ÷
œ#>
œ œ œ>
œ œ œ>
œw#
∑
∑ww
.œ#>jœ> œ œ>
.œ#>jœ> œ œ>
13
&
&
&
&
?
&
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
42
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
44
42
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
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
◊
49
∑
.œF
Jœ#
∑
.œFjœ#
∑
49
∑
∑
∑
∑
∑
∑
49
∑
∑
‰ Jœptambourine
œ œ>F
49
œ
>œ# œ œ
˙
49
∑
∑˙˙
>F
>F
F
∑
w
∑
w
.œ#>P.œ> œ>
œ#P
3.
œ œ œ œ œ œ œF
w#P
4.
∑
∑
∑
.œ#>F.œ> œ>
∑
œ#>Pœ œ œ> œ œ œ> œ
∑
œ#>
œ œ œ>
œ œ œ>
œw#
∑
∑ww
.œ#>jœ> œ œ>
.œ#>jœ> œ œ>
f
.œF
Jœ#
œ œ>
fœ
.œF
Jœ#
œ œ>f
œ
>F∑
∑
‰ jœ#F
harmon mute
œ œfl
‰Jœ# œ œ
˘
∑
∑
>æ
∑
jœ>F‰ Œ
‰ JœFœ œ>
f
œ
>œ# œ œ
˙
.œF
unis.
Jœ#
.œF
unis. Jœ#
œœ œunis.
fœ
>F
>F
F
w
w#Fw
w#F
.œ#> .œ> œ>
œ#P
1.
œ œ œ œ œ œ œf
w#P
3.
∑
.œ#>F.œ> œ>
.œ#>F.œ> œ>
.œ#>F.œ> œ>
∑
œ#>Pœ œ œ> œ œ œ> œ
∑
œ#>
cresc.
œ œ œ>
œ œ œ>
œw#w
w
w#F
.œ#>jœ> œ œ>
.œ#>jœ> œ œ>
14
&
&
&
&
?
&
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
(◊)
f
f
53 œ œ> œ
œ œ> œ
œ œ> œ
œ œ> œ
>f53
∑
∑
‰ jœ#F
œ œfl
‰Jœ# œ œ
˘
>f
> f
>æ53
∑
jœ>f‰ Œ
‰ JœFœ œ>
53
œ
>œ# œ œ
˙
53
œ œ œ
œ œ œ
œ œ œ
> f
> f
Jœ#˘
ƒŒ Ó
Jœ#˘
ƒŒ Ó
Jœ#˘
ƒŒ Ó
jœ#flƒŒ Ó
∑
∑
∑
∑
∑
∑
∑
∑
Jœœ##˘
ƒŒ Ó
JœƒŒ Ó
œœœœ##>rasq.
Ï
œœœœœœœœ
œœœœœœœœ
œœœœœœœœ> œœœœ
œœœœœœœœ
œœœœ> œœœœ
œœœœœœœœ
Jœ#˘ƒ
Œ Ó
Jœ#˘ƒ
Œ Ó
Jœ#˘ƒ
Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑ ?
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ##>simile œœœœ œœœœ
œœœœœœœœ
œœœœœœœœ> œœœœ
œœœœœœœœ
œœœœ> œœœœ
œœœœœœœœ
∑
∑
∑
∑
∑
15
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
56
∑
∑
∑
∑
∑
56 .œ>fp
˙
.œ#>fp
˙
∑
..œœ#>
fp˙
∑
∑
56
œ>ƒ
bongos
œ œ œ œ œ œ> œ œ œ œ> œ œ œ
œœœœ#>ƒœœœœ
œœœœœœœœ>
œœœœœœœœ>
œœœœ
∑56
Jœœœœ##˘
Œ Ó
56
..œœ#>div.
ƒ
˙
..œœ# >div.
ƒ˙˙
..œœ>div.
ƒ
˙
∑
∑
∑
∑
∑
∑
∑
.œ ˙
.œ ˙
∑
..œœ ˙
∑
∑
œ> œ œ œ œ œ œ> œ œ œ œ> œ œ œ
œœœœ#>œœœœ
œœœœœœœœ>
œœœœœœœœ>
œœœœ
∑
∑
..œœ ˙
..œœ ˙˙
..œœ ˙
∑
∑
4
to xylophone
Jœ#˘
‰ Œ Ó
Jœ#˘
‰ Œ Ó
Jœ#˘
‰ Œ Ó
jœ#fl ‰ Œ Ó
∑
Jœ.ƒ
‰ Œ Ó
Jœ.ƒ
‰ Œ Ó
∑
Jœœ.ƒ
‰ Œ Ó
∑
∑
Jœ> ‰ Œ Ójœœœœ#>‰ Œ Ó
∑
œ#>fœ# œ œ
> œ œ# œ> œ œ# œ
Jœœ.
‰ Œ Ó
Jœœ.
‰ Œ Ó
Jœœ. ‰ Œ Ó
w#P
∑
16
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
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
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
59
∑
∑
∑
∑
∑
59
∑
∑
∑
∑
∑
∑
59
∑
∑
∑59
œ#> œ œ# œ> œ œ# œ> œ œ# œ
5
œ> œ œ œ œ
59
∑
∑
∑
.˙poco cresc.
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œœ#>
œ œœ>œ œ œ
w
∑
∑
∑
w
wP
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ#>
œ œ#> œ
.˙
∑
∑
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œœ#>
œ œœ>œ œ œ œw#
∑
∑
w
Pw#div.
∑
∑
17
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
63
∑
∑
∑
∑
∑
63
∑
∑
∑
∑
∑
∑
63
∑
∑
∑
63 œ#> œ œ œ# œ œ# œ
63
∑
∑
.œpoco cresc.
˙.œ ˙
Œ . œ#>Fœ
∑
∑
∑
∑
.œ#1.
P.œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ# œ#> œ œ œ> œ œ
∑
∑
Œ . .œ .œ.œ# .œ .œ
.œ# .œ .œ
.œ#F
.œ .œ
∑
∑
∑
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ œ
∑
∑
˙˙
˙
˙
∑
∑
∑
.œ#2.
P.œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ#>
œ œ#œ>
œ œ.˙
∑
∑
.œ# .œ.œ .œ
.œ .œ
.œ .œ
18
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
67
∑
∑
∑
.œ# .œ
∑
67
∑
∑
∑
∑
∑
∑
67
∑
∑
∑
67 œ#>
œ œ#œ# >
œ œ.˙
67
∑
∑
.˙ .˙
.˙
.˙
F
∑
∑
∑
œ jœ# .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# >
œ œœ>
œœ œ
.˙
∑
∑
.˙ .˙
.˙
.˙
5
P
P
F
F
∑
∑
∑
jœ
‰ ‰ Œ .
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ œ#> œ œ#
∑
∑jœ ‰ ‰ Œ .Jœ ‰ ‰ Œ .
.œ# .œ
.œ# .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ#œ#> œ œ
∑
∑
∑
.œ .œ
.œ .œ
19
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
F
F
71
∑
jœ#fla2
F‰ ‰ jœfl ‰ Œ
jœ#˘ ‰ ‰ jœ
˘ ‰ Œœ#>
œ Jœ#fl‰
œ>
œ JœflŒ
œ#>
œjœ#˘ ‰
œ>
œjœ˘ Œ
Jœ# fl‰ ‰ Jœfl
‰ Œ
Jœa2
F‰ ‰ Jœ ‰ Œ
71
∑
∑
∑
∑
∑
∑
71
∑
∑
∑71 œ#> œ œ œ#> œ œ œ
71
∑
∑
.œ#unis.
F˙
.œ ˙
.œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œœ#> œ œ
∑
∑
.œ .œ#
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ œ# œ œ
∑
Œ . .œunis.
F.˙
.˙
.˙
f
fa2
div.
div.
Ó Ó œ#> œ
Ó Ó œ#> œ
Ó Ó Jœ#>f
‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œœ#> œ œ œ#> œ œ# œ
œœ##>
F
œœ œ
œ
œœ> œ
œœœ
œœ œ
œ
œœ##>
.˙#fF
˙.˙div.
˙
.˙#fF
˙.˙ ˙
.˙#fF
˙
.˙#fF
˙
20
&
&
&
&
?
?
?
&
?
?
?
÷
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
75
œœ> œ œ
œ#> œ
œœ> œ œ
œ#> œ
œœ> ‰ Jœ Jœ#> ‰
∑
∑
75
∑ &
∑ &
∑
∑
∑
∑
75
∑
∑
∑
75 œ#> œ œœ#> œ œ
75œœ
œœ> ˙
˙
œ ˙#œ ˙#
œ# ˙#œ ˙#
œ ˙#
œ ˙#
œ> œ œ Jœ>f‰ Jœ> ‰
œ> œ œ Jœœ#>
f‰ J
œœ#> ‰
œ> œ œ Jœœ#>
f‰ J
œœ> ‰
Œ . jœœ#>f‰ jœœ>
‰
Œ . Jœœ#>
f‰ J
œœ>
‰
Œ . jœœ#>f‰ jœœ>
‰
Œ . jœœ#>f‰ jœœ>
‰
Œ . Jœœ#>f
‰ Jœ> ‰
Œ . Jœœ## >f
‰ Jœœ> ‰
Œ . Jœ#>f
‰ Jœ> ‰
Œ . œ#>f
œ œ> œ
Œ . Jœœ## >
xylophone
f‰ J
œœ˘
‰&
Œ . jœœ#>f‰ jœœfl
‰
Œ . Jœ>f‰ Jœ> ‰
œ> œ# œ œœœœœ#>
ƒ
œœœœœœœœ
œœœœ Jœœœœ˘
‰
.
.œœ J
œœ˘
f‰ J
œœ˘
‰
.œjœœ##˘
[
f‰
jœœ˘[ ‰.œ Jœ# ‰ Jœ ‰
.œ jœ#f
‰ jœ˘
‰.œ Jœ# ‰ Jœ ‰
.œ œ#>f
œ œ> œ
.œ œ#>f
œ œ> œ
6
∑
∑
∑
∑
∑
∑
œ#4.
Pœ œ œ œ œ
∑
.˙#P
∑
∑
∑
∑
∑
œ#>Fœ# œ œ#> œ œ œ#> œ œ
∑
∑
œœ## >Fœœ œœ œœ> œœ œœ
.œ#2nds only
FJœ œ
.˙#F
21
&
&
&
&
?
&
&
&
?
?
?
&
&
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
78
∑
∑
∑
∑
∑78
∑
œ# œ œ œ œ# œ
∑
.˙
∑
∑
78
∑
∑
∑78 œ#> œ œ# œ#> œ œ
œ#> œ œ
78
∑
∑
œœ## > œœ œœ> œœ œœ> œœ
.˙
.˙
∑
∑
∑
∑
∑
∑
œ# œ œ œ œ œ
∑
jœ# ‰ Ó.˙P
∑
∑
∑
∑
∑
œ#>
fœ œ œ#>F
œ œ œ
∑
∑
œœ## > œœ œœ œœ> œœ œœ
œ œ# œ
.˙
∑
∑
∑
∑
∑
œ#P
2.
œ œ œ œ œ
œ# œ ˙#F∑
.˙
∑
∑
∑
∑
∑
œ#> œ œœ#> œ œ
œ> œ œ
∑
∑
œœ## > œœ œœ> œœ œœ> œœ
œ œ ˙
.˙
∑
Ó œ#a2
Fœ#
œ#a2
Fœ ˙#
Ó œ#a2
Fœ
œ#a2
Fœ# ˙
œ# œ œ œ œ œ
.˙
∑
jœ#P
‰ Ó.˙
.˙#P
∑
∑
∑
∑
œ#> œ œœ> œ œ
œ#> œ œ
∑
∑
œœ## > œœ œœ œœ> œœ œœ
.˙
.˙
22
&
&
&
&
?
&
&
&
?
?
?
&
&
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
82
∑
.˙ œ#
w
w#
.˙ œ#
82
œ# œ œ œ œ œ œ# œ#
.˙ œ#
∑
wf
w
∑
82
∑
∑
∑82 œ> œ œ
œ#> œ œœ>œ œ
œ>œ œ
82
Œ ‰ Jœœ## œ
œ##œœ
œœ##
œœ##
∑
œœ## > œœ œœ> œœ œœ> œœ œœ> œœ
œ#unis. .œ Jœ œ
w
œ#f
œ# œ œ
.œf J
œœ## ˙
˙
Œ ‰ jœœ#f
˙
Œ ‰ jœf
˙Œ ‰Jœ ˙
w#fŒ ‰ jœ ˙wfŒ ‰ jœ# ˙w#f.˙fa2
œ# œ œ œ
∑
Œ . jœ#f
˙
∑
∑
∑
∑œ#>
ƒœ œ œ# œ#> œ œ œ
œ>œ œ œ
œ> œ œ œ
.
.œœ
f Jœœ## ˙
˙
Œ . jœœ#f
˙
jœœ## f‰ ‰ jœœ ˙
w#f
div.
w#
w#f
œ# œ œ œ#
.
.˙˙
œa2
œ#a2
œ ˙# œ
œ# œ ˙# œ.˙ œ
.˙ œ
œ# œ ˙# œ.˙ œ
œ# œ ˙# œw
.˙# ŒF
∑
w# >w# >æfF
∑
‰ jœœ#> œœ œœ œœ> œœ œœ> œœ
∑œ#>œ œ œ#
œ>œ œ œ
œ>œ œ œ
œ#> œ œ œ
.
.˙˙
œunis.
œœ œœ#> œœ œœ œœ> œœ œœ> œœ
œœ œœ#> œœ œœ œœ> œœ œœ> œœ
.˙ œw
w
23
&
&
&
&
?
&
&
&
?
?
?
&
&
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
85 œ#>f
œ ‰ Jœ> Jœ ‰ œ> œ
œ#> œ ‰ Jœ> Jœ ‰ œ> œ
œ# œ# œ œ
.˙# œ.˙# œ
.˙# œ
85
.˙# œ.˙# œ
.˙# œ
.œ# Jœn ˙
Jœœ##>f
‰ ‰ Jœœ> Œ Jœœ
> ‰
Jœœ## >f
‰ ‰ Jœœ>
Œ Jœœ> ‰
wn
∑
85 œ#>f
œ ‰ Jœ> Jœ ‰ œ> œ
‰ Jœf
Jœ ‰ œ œ ‰ Jœ
Jœ>f‰ ‰ Jœ> ‰ ‰ Jœ> ‰
85 œ#>œ œ œ# œ#> œ œ œ
œ>œ œ œ
œ> œ œ œ
85 œ#> œ œœ> œ œ
œ> œ
.œb jœn ˙w
ww##
.œb jœ ˙wn
wn
‰ Jœ> Jœ ‰ œ#> œ Jœ> ‰
‰ Jœ> Jœ ‰ œ#> œ Jœ> ‰
œ# œ œ œ#
w#w#
œ# œ# ˙n
w#w#
wbw
‰ Jœœ#> Œ Jœœ#
> ‰ Jœœ> ‰
‰ Jœœ#>
Œ Jœœ#> ‰ Jœœ
>‰
w
∑
‰ Jœ> Jœ ‰ œ#> œ œ> œ
Jœ ‰> œ œ ‰> Jœ ‰> Jœ
‰ Jœ> ‰ ‰ Jœ> ‰ Jœ> ‰
œ#>œ œ œ#
œ>œ œ œ
œ>œ œ œ
œ#> œ œ œ
œœ> œ œ
œ#> œ œ> œ
ww
ww
œ# œ# ˙nw
w
to tam-tam
to triangle
Jœ#> ‰ Œ Ó
Jœ#> ‰ Œ Ó
œ# œ ˙# œœ#
œ# œ œ œ
œ# œ ˙ œ#
Ó œ# œÓ œ# œ#
œ#a2
.˙
∑
∑
.˙# œ
∑
Jœ#> ‰ Œ Ó
Jœ#> ‰ Œ Ó
Jœ> ‰ Œ Ó
œ#> œ œ œ#œ> œ œ œ
œ> œ œ œœ> œ œ œ
œ# œJœ ‰ Ó
œ#unis.
œ ˙#div. œœ#
œ#unis.
œ ˙#div.
œœ#
œ# œ ˙ œ#.˙# œ
.˙# œ
24
&
&
&
&
?
&
&
&
?
?
?
&
&
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
88œ> œ# ‰ Jœ> Jœ ‰ œ> œ#œ> œ# ‰ Jœ> Jœ ‰ œ> œ#
œ>a2
œ# œ œ> œ œ# œ> œ
œ# œ œ œ
.œ# Jœ# ˙
88
w#œ# œ .˙
w#
∑
œ#a2
œ .˙
.œ#> .œ> œ>
∑
88
∑
∑
∑88 œ#> œ œ œ#
œ> œ œ œœ> œ œ œ
œ> œ œ œ
88œ> œ# ‰ Jœ> Jœ ‰ œ> œ#
œ> œ# œ œ> œ œ# œ> œ
ww#w#
.œjœ# ˙w#
.œ#> .œ> œ>
∑
∑
jœ>‰ Œ Ó
.œ> Jœ œ œ# œ œ
œ œ# œ# œ ˙
œ œ# œ œ˙ ˙
.œ>jœ œ œ# œ œ
∑
œ œ# œ# œ ˙
˙ ˙
∑
∑
∑
˙tam-tam
Fœ> œ œ œ#
œ#> œ œ œœ> œ œ œ
œ> œ œ œ
.œ> Jœ œ œ# œ œ
jœ>‰ Œ Ó
.œ> jœ œ œ# œ œ.˙# œ œ
œunis.
œ# œ# œ ˙
˙ ˙
to bongos
∑
.œ Jœ#> ˙
.œ Jœ#> ˙
.œ Jœ#> ˙
œ œ œ# ˙#
.œ jœ# > ˙œ œ# .˙#
œ œ œ œ#w
∑
w
œ> œ œ œ> œ œ œ> œ
œ>f
œ œ œ> œ œ œ> œ
∑
∑
∑
œ> œ œ œ#œ> œ œ œ
œ> œ œ œœ> œ œ œ
.œ Jœ#> ˙
∑
.œunis. Jœ#> ˙
œ œ œ# ˙#
œ> œ œ œ> œ œ œ> œ
25
&
&
&
&
?
&
&
&
?
?
?
&
&
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
91
∑
.œ ˙
.œ ˙
.œ ˙
œ#> œ œ# œ#> œ œ œ
91
œ#>a2
œ œ# jœ#
Œ ‰
jœ#>a2 Œ
œ#> œ# œ œ
∑
∑
.œ# ˙
∑
91
∑
∑
∑
91 œ> œ œœ#> œ œ œ#> œ œ
œ> œ
91.œ ˙
œ#div.
œ œ# œ œ œ œœ# œ œ# œ œ œ œ
.œ# ˙
œ#> œ œ# œ#> œ œ œ
.œ# ˙
Œ . Jœ#>ƒ
‰ Jœ ‰
.œJœœ## >
ƒ‰ J
œœ ‰
.œJœœ## >ƒ
‰ Jœœ ‰
.œJœœ## >
ƒ‰ J
œœ ‰
œ#> œ œ# œ#> œ œ œ
œ#> œ œ# jœ#>
Œ ‰
jœ#>
Œœ#> œ œ œ#
∑
œ>œ œ# Jœ
>ƒ
‰ jœ#fl‰
œ>œ œ# Jœ
>ƒ
‰ jœ#fl‰
∑
∑ ÷
∑
∑
œœ#> œ œ œ#> œ œ œ#>
Ïœ œ
.œJœœ## >div.
ƒ‰ J
œœ ‰
œ# œ œ# œ œ œ œ#œ# œ œ# œ œ œ œ#
.œ#Jœœa# >div.
ƒ‰ J
œœ ‰
œ#> œ œ# œ#> œ œ œ
ƒ
œ>œ œ# Jœ
>ƒ
‰ Jœ ‰
7
∑
∑
∑
∑
Jœ.
‰ ‰ Œ .
∑
jœ. ‰ ‰ Œ .
∑
∑
∑
∑
.>triangle
P∑
∑
œ#subito F
œ# œ œ œ œ œ
cresc.
œ œ œ œ œ
∑
..œœ##
Psubito
..œœ
∑
Œ . .œP
œ>Psubito
œ œœ> œ œ
26
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
94
∑
∑
∑
∑
∑94
∑
∑
∑
∑
∑
∑
94
∑
∑
∑94
œ# œ# œ œ œ œ œ œ œ œ œ œ
94
Œ˙
P
unis.
œœ##>
F
œœ
jœœfl
‰ Œ
Œ Œ œ#unis.
P˙ œ#
œ> œ œ> œ œ> œF
∑
∑
∑
∑
∑
∑
∑
œ# .P
with mute (harmon mute - stem in)1.
œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
œ# œ# œ œ œ œ œ œ œ œ œ œ
.œ .œ
œ# .unis.
Pœ. œ. œ. œ. œ.
.œ .œ
.œ#P
.œ
œ>
Pœ œ
œ> œ œ
F
∑
∑
∑
∑
∑
∑
∑
œ# . œ. œ. œ. Jœ. ‰
∑
∑
∑
∑
∑
∑
œ# œ# œ œ œ œ œ œ œ
f.˙
œ# . œ. œ. œ. Jœ. ‰
˙ œ#
.˙
œ> œ œ> œ œ>œ
27
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
97
∑
∑
œ#>1.
Pœ# œ œ
> œ œ Œ
∑
œ#>Fœ œ œ> œ œ
97
∑
∑
∑
∑
∑
∑
97
∑
∑
∑97
œ#> œ# œ œ> œ œ œ# œ# œ œ
97
∑
∑
œF
œ œ# œ
.˙F
œ#>Fœ œ œ> œ œ
∑
∑
∑
∑
œ#> œ œ œ> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ# œ# œ œ œ œ
∑
∑
.œ œ# œ#
.œ ˙
œ#> œ œ œ> œ œ> œ
∑
∑
œ#>
F
œ œjœ#>
‰ œ>
œ œ œ#jœ>
‰ œ>œ œ œŒ
œ#>
œ œ Œœ
>œ œ œ# Jœ#> ‰
∑
Jœ#> ‰ Œ Œ Ó
∑
∑
∑
∑
œ#>Fœ œ œ> œ œ œ> œ œ> œ
∑
∑
∑
∑
œ#> œ œœ#> œ œ œ> œ œ œ# œ> œ œ œ
œ> œ œ œ
∑
.œF
jœ# œ œ œ#
.œdiv. jœ# œ œ œ#>
œ œ# ..˙ œ œ#
.˙# ˙
œ#> œ œ œ> œ œ œ> œ œ> œ
28
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
100
∑
.œ#>F
a2 .œ#> .œ>
jœ#> ‰ ‰ Œ . Œ .
∑
∑100
∑
∑
∑
Œ . œ>F
œ œ œ> œ œ
œ> œ œ œ> œ œ œ> œ œ
∑
100
∑
∑
∑100
œ#>œœ
œ œœ
œ#>œœ
œ œœ
œ>œ
œ
œ œœ
100 œ#> œ# œœ#> œ œ
œ> œ œ
.œ#> .œ#> .œ>
..œœ# ..œœ ..œœ
.œ>œ> œ œ
.œ>
œ> œ œœ> œ œ
œ> œ œ
œ#>F
œ> œ#>
œ#> œ> œ#>
œ#>a2
œ> œ#>
∑
∑
∑
∑
∑
Jœ> ‰ Jœ
> ‰ Jœ>ƒ
‰
jœ>‰ jœ>
‰ jœ>ƒ‰
∑
∑
∑
∑
œ#>œ œ
œ
œ>œ œ
œ
œ#>œ œ
jœ#>
div. ‰ jœ>
‰jœ#>
‰œ# œ
œœ œ# œ
œ#> œ> œ#>
œ#> œ>
œ#>œ œ.
œ#>
œ œ# . œ>œ œ# . œ
>œ œ.
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
ƒ
.œ#>
ƒ
.œ
œ#>
ƒ
œ œ œ> œ œ
œœ#>ƒ
œœ œœ œœ> œœ œœ
œ#>ƒ
a2
œ œ œ> œ œ
œ#>ƒ
œ œ œ> œ œ
..œœ#>F..œœ
cresc.
..œœ## >F..œœ
cresc.
.œ#>F
a2 .œcresc.
.
.œœ#>F
.
.œœcresc.
.œ#>F.œ
cresc.
.œ#æf.œæ
.Ͼf
.Ͼ
∑
œ>f
bongos
œ œ œ œ œ œ> œ œ œ œ œ
œœœœ## >
ƒ
rasq. œœœœ
œœœœ
œœœœ
œœœœ
œœœœ
œœœœ> œ
œœœœœœœ
œœœœ
œœœœ
œœœœ
..œœ##>
ƒ
..œœ
œœ#>ƒ
div.
œœ œœ œœ> œœ œœ
œ#>
œ œ œ>
œ œœ>
œ œ œ>
œ œ
œ#>ƒœ œ œ> œ œ
œ#>ƒ
œ œ œ> œ œ
29
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~103
˙#>
œ#> œ œ> œ
œœ#> œœ œœ> œœ
œ#> œ œ> œ
œ#> œ œ> œ
103
˙
˙
˙
˙˙
˙
˙æ103
˙æ
∑
œ> œ œ œ œ> œ œ œ
103 œœœœ## >simile
œœœœ
œœœœ
œœœœ
œœœœ> œ
œœœœœœœ
œœœœ
103 ˙˙
œœ#> œœ œœ> œœ
œ#>
œ œ>
œœ>
œ œ>
œ
œ#> œ œ> œ
œ#> œ œ> œ
.œ> ˙#> n
œ#> œ œ œ> œ œ> œ
œœ#> œœ œœ œœ> œœ œœ> œœ
œ#> œ œ œ> œ œ> œ
œ#> œ œ œ> œ œ> œ
..œœ ˙# æflutter tongue
..œœ ˙## æflutter tongue
.œ ˙#æflutter tongue
.
.œœ
˙˙#æflutter tongue
.œ ˙# æflutter tongue
.œæ ˙æ
.œæ ˙æ
∑ ?
œ> œ œ œ œ œ œ> œ œ œ œ> œ œ œ
œœœœ## > œ
œœœœœœœ
œœœœ
œœœœ
œœœœ
œœœœ> œ
œœœœœœœ
œœœœ
œœœœ> œ
œœœœœœœ
œœœœ
œœ##> œ
œœœ
œœ> œ
œœœ> œ
œ
œœ#>! œœ! œœ! œœ>! œœ! œœ>! œœ!œ#>! œ! œ! œ
>! œ! œ>! œ!œ
>!œ!
œ! œ>!
œ! œ
>!œ!
œ#>!
div.
œ! œ! œ>! œ! œ
>! œ!œ# œ œ œ œ œ œ
œ#> œ œ œ> œ œ> œ
8
to tubular bells
to tambourine
A Little Broader
Jœ#>
‰ Œ Ó
Jœ# ‰ Œ Ó
Jœœ#> ‰ Œ Ó
jœ#> ‰ Œ Ó
jœ#>‰ Œ Ó
jœœ#>ƒ‰
œa2
Fœ# œ œ œ
jœœ## >ƒ‰
˙#a2
F œ œ
Jœ#>ƒ
‰ Œ Ó
jœœ##>ƒ
‰ Œ Ó
jœ#>ƒ‰ Œ Ó
Jœ#>ƒ
‰ Œ Ó
Jœƒ‰ Œ Ó
Jœ#>ƒ
(marimba)
‰ Œ Ó
Jœ>ƒ‰ Œ Ó
Jœœœœ## >
‰ Œ Ó
Jœœ##>
‰ Œ Ó
Jœœ> ‰ Œ Ó
Jœœ## > ‰ Œ Ó
jœœ#>‰ Œ Ó
jœ#>‰ Œ Ó
30
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
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
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
106
∑
∑
∑
‰ jœF
1.
œ œ#jœ# ‰ Œ
jœ#>F‰ Œ Ó
106
.œ jœ# œ œ œ œ#
.˙ œ#
∑
∑
∑
∑
106
∑
jœ#>F‰ Œ Ó
∑106
∑
106
∑
∑
‰ jœF
1.
œ œ# Jœ# ‰ Œ
jœ#>F
unis. ‰ Œ Ó
jœ#>pizz.
f‰ Œ Ó
∑
∑
∑
∑
œ#> œ# ‰ jœ#>
‰ ‰
.œ .œ#>
œ œ# œ œ#jœ#
∑
∑
∑
∑
∑
œ#> œ# ‰ jœ#>
‰ ‰
∑
∑
∑
∑
∑
œ#> œ# ‰ jœ#>
Œ
œ#> œ# ‰ jœ#>
‰ ‰
∑
Œ Œ œF
1. œ
∑
∑
jœ#>‰ jœ>
‰ œ#>œ#
œ#> jœ>‰ jœ>
‰
.œjœ>
‰ jœ#>
∑
∑
∑
∑
∑
jœ#>‰ jœ>
‰ Œ
∑
∑
Œ Œ œ
F
unis. œ
∑
∑
jœ#>‰ jœ>
‰ œ#>œ#
jœ#>‰ jœ>
‰ œ#>œ#
∑
Jœ#>
‰ Œ Ó
∑
∑
jœ#>‰ Œ Ó
w> p
w# > p∑
∑
∑
∑
∑
jœ#>‰ Œ Ó
∑
∑
Jœ#>
‰ Œ Ó
œ# !F
unis.
œ! œ# ! œn ! œ! œ! œ! œ#!
.œF
unis. jœ# œ œ œ œ#
jœ#>‰ ˙# œ œ
jœ#>‰ Œ Ó
31
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
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
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
110
∑
∑
∑
∑
œ#> œ# ‰
œ#>a2 œ# œ
110
∑
∑
∑
∑
∑
∑
110
∑
œ#> œ# ‰ jœ#>
‰ ‰
∑110
∑
110 œ#>!F
œ! œ#!
œ#>! œ! œ
!
œ#>! œ
! œ#! œ#>! œ! œ
!
.œ œ#>! œ# ! œ
!
œ œ# œ œ# Jœ
œ#> œ# ‰ jœ#>
‰ ‰
9
P
∑
∑
∑
.œ jœ# œ œ œ œ#w#
jœ#>‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
jœ#>‰ Œ Ó
∑
‰F
jœ œ# œn œ œ œ œ#w#
rœ#>≈ ‰ Œ Ó
rœ#>≈ ‰ Œ Ó
.œ jœ# œ œ œ œ#
.˙ œ# œ
jœ#>F‰ Œ Ó
∑
∑
∑
.œ .œ#.œ# .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œ# œ# œ œ
∑
∑
.œ .œ#
.œ .œ
œ#> œ# ‰ jœ#>
‰ ‰
to cymbal
∑
∑
∑
œ# œ œœ.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#œ# œ œ
œ#œ
∑
∑
œ# œ œœ
˙ œ#
jœ#>‰ jœ>
‰ Jœ#> ‰
32
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
114
∑
∑
∑
jœœ#‰ Œ Ó
∑114
∑
∑
∑
∑
∑
∑
114
∑
∑
∑
114
‰jœn œ#
œn œ œ œ œw
114
∑
∑
œ œn œ œ# œ œ œ
wdiv..œ# Jœn ˙
warco
∑
Œ ‰ jœF
a2
œ œ œ> œ
∑
∑
∑
∑
∑
‰ Jœœ.p
harmon mute
œœ. œœ. œœ œœ. œœ. œœ.
∑
∑
∑
wtubular bells
F&
∑
∑
œ œ# œ œ œ œ œ œ.œ Jœ ˙
Ó Œ Oœp
∑
.œ Jœ œ œ#
wœ œ œ# œ ˙
w
∑
∑
∑
∑
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
..O
∑
.œ .œ
.œ .œ.œ# .œ
œ> œ œ œ> œ œ
to triangle
∑
∑
∑
Œ œa2
F
œ œ> œ
.˙
∑
∑
∑
∑
∑
∑
∑ ÷
∑
∑
œ> œ œ> œ œ> œ
..O
∑
˙ œ œ
.˙#œ# œ œ œ œ
.˙
33
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
p
118
∑
œ> œ œ œ> œ œ
œF
a2
œ œ œ
∑
∑118
∑
∑
∑
œF
œ œ
∑
∑
118
.˙F
triangle
∑ ÷
∑118 œ
œœ œ
œ
118 ..OFœ>
Fœ œ œ> œ œ
˙ œ œ
.œ jœ œœ œ œ
œ œ œ
10
p
p
∑
w
w
∑
jœ>f‰ Œ Ó
∑
∑
∑
jœ>f‰ Œ Ó
jœ>f‰ Œ Ó
∑
∑
˙cymbal
F∑ ÷
‰f
jœ œ#œ œ œ œ œw
∑
w
‰ Jœ œ œ# œ œ œ
ww
w>
∑
œ1.
Fœ# œ Ó
Œ ‰ jœ#1.
Fœ œ# œ œ
∑
jœ> ‰ ‰ jœ#> ‰ ‰ œ#>œa
∑
∑ ?
∑
jœ> ‰ ‰ jœ#> ‰ ‰ Jœ#> ‰
jœ> ‰ ‰ jœ#> Œ ‰ jœ>
∑
∑
∑
Jœ>Ftambourine‰ ‰ Jœ> Œ œ>æ
œ œ# œ œ œ œ œ.œ Jœ# ˙
∑
∑
.œ Jœ œ œ#
.œ jœ# ˙œ œ œ# œ œ œ œ
.œ>jœ#> œ
œ#>œ
to xylophone
to marimba
∑
∑
∑
‰ jœn1.
œ#œn œ œ œ œ
jœn> ‰ Œ Ó
∑
w>F
2.
∑
jœn> ‰ Œ Ó
jœn> ‰ Œ Ó
∑
˙
Œ ‰ Jœ ˙
∑
‰jœ œ#
œ œ œ œ œw
∑
∑
.œ Jœ .œ Jœ
wnw#
wn >
34
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
1.
1.
122
∑
Ó œ œ# œ œ#
œ2. œ# œ Ó
∑
jœ>f‰ ‰ jœ#>
Œ jœ>‰
122
∑
.œ> Jœ#> œ œ>
∑
jœ>f‰ ‰ jœ#>
Œ jœ>‰
jœ>f‰ ‰ jœ#>
Œ jœ>‰
∑
122
∑
∑
Jœ> ‰ ‰ Jœ> Œ œ>æ122
œ œ# œ œ œ œ œ#.œ Jœ# ˙
122
Ӝ!
œ#!
œ! œ#!
∑
œ œ œ œ# ˙
.œ jœ ˙.œ Jœ# œ œ# œ
.œ>jœ#> œ œ>
P
P
∑
∑
∑
∑
∑
∑
˙nP
.œ
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œ>
œ œ˙ .œ
∑
∑
˙nP
.œ
˙ .œ.œ# Jœ .œ
˙n .œ
unis.
Jœ>F
‰ ‰ Jœ> ‰ ‰
Jœœ> ‰ ‰ J
œœ> ‰ ‰
jœ>a2
‰ ‰ Jœ> ‰ ‰
‰>a2
œ œ‰> œ œ
∑
∑
.œ .œ
∑
∑
∑
∑
Jœœ>
xylophone
F‰ ‰ J
œœ>
‰ ‰&
∑
∑
œ>
œ œœ>
œ œ.˙#
jœ>pizz.
F‰ ‰ Jœ
> ‰ ‰
∑
.œ .œ
.œ# .œ.œ .œ
.œ .œ
to cymbal
∑
∑
œ> œ> œ>
∑
∑
∑
.˙
∑
∑
∑
∑
∑ ÷
∑
∑
∑
Ó ‰ JOœarco
œ> œ œ> œœ> œ
œ>F
œ œ> œœ>
œ
˙ œF
.˙
.˙
35
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
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
44
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
83
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
√
π
p
126
∑
∑
.œŒ ‰
.œ .œ
.œ#F .œ126
∑
.œF
œ# Jœ
∑
∑
∑
∑
126
∑
∑
∑
126
œ>
œ œœ>
œ œ.œ Œ .126 ..Oœ ..Oœ
∑
∑
.œ .œ.œF
œ# Jœ
.œ#F .œ
∑
‰ jœ1.
œ œ Jœ# ‰
‰ jœ1.
œ œ Jœ# ‰
.˙
.˙
∑
.œ jœ# œ œ
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ>
œ œ>
œ˙ Œ
..O
∑
∑
.˙ .œ Jœ# œ œ
.˙
p
∑
∑
∑
w
jœ>‰ ‰ jœ ˙
.œF
jœ# œ œ œ œ
w
∑
∑
∑
∑
∑
∑
∑
..˙>œœœ#o
VII
Ow
.œ jœ# œ œ œ œ
.œ Jœ# œ œ œ œ
wunis.
jœ>‰ ‰ jœ ˙
∑
.œ#
∑
∑
œ> œ œ
.œ
Jœ> ‰ ‰
∑
∑
∑
∑
∑
œœ>F
marimba
œ œ?
∑
...œœœ
.œ#
.œ
.œ
œ> œ œ
jœ>‰ ‰
36
&
&
&
&
?
&
?
&
?
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?
÷
?
÷
&
&
&
B
?
?
43
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
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
130
∑
.˙
∑
∑
œ> œ œ> œ Jœ> ‰
130
.˙#
Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
∑
∑
∑
130
∑
œœ>
œ œœ>
œ jœœ>
‰
∑
130
œloco
œ œ œ œ# œ œ œ œ œ œ œ
130.˙
.˙#
.˙#
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jœ>‰ jœ>
‰ œ>
∑
w
∑
∑
.œ jœ# œ œ œ
.˙ œ#
∑
∑
.œF
jœ# œ œ œ
w#F
∑
∑
∑
∑
w>
w
.˙ œ#
.˙ œ#
.˙div. œ#.œ Jœ# œ œ œ
w#
∑
Jœ> ‰ Œ Œ ‰
œ> œ# œ# œ> œ œ œ> œ
Œ ‰ Jœ> œ œ œ#> œ#
.œ Jœ> œ œ#>
.œ jœ>
˙.œ# Jœ>œ œ
>∑ &
∑
.œ Jœ> œ œ#>
.œ jœ>‰ ‰ jœ#>
‰
∑
∑
∑
∑
‰ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ
œ> œ# œ# œ> œ œ œ> œ
.œ Jœ> ˙
.œ# Jœ> œ œ>
.œ jœ>
˙.œ Jœ>œ œ#
>
.œ jœ> œ œ>
∑
.œ> Jœ# œ œ œ
∑
∑
w>
∑
.œ>jœ# œ œ œ
∑
w>
∑
∑
∑
∑
∑
w>
.œ> Jœ# œ œ œ
w
.œ> Jœ# œ œ œ
w>unis.
w>
37
&
&
&
&
?
&
&
&
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?
?
÷
?
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
134
∑
w>
∑
∑
œ œ œ# œ œ œ œ
134
‰ œa2
œ# œ œ œ œ
w>
∑
.œ Jœ#> œ œ> œ
.œ>jœ#> œ œ> œ
∑
134
∑
∑
∑
134
w>sul E (6th string)
134 w>
œ œ œ# œ œ œ œ
w>
œ œ œ# œ œ œ œ
.œ>jœ#> œ œ> œ
11
∑
∑
∑
w1.
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œ œ#>
œœ>
œ œw
.˙P
œ
Jœ. ‰ Œ Ó
∑
w
P
wPsubito
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ œ#>
œœ>
œ œw
w
∑
∑
œœ œ# œ
w
∑
∑
∑
w#2.
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œœ>
œœ>
œ œŒ . œ# Œ .
w
∑
∑
.œF
jœ# œ œ œ
w#
38
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
43
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
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
138
∑
∑
.œ#>F Jœ œ œ œ
jœfl ‰œ
a2
Fœ# œ
œ>F œ œ œ> œ œ> œ œ
138
∑
∑
∑
∑
∑
∑
138
∑œ
œ
>(marimba)
F
œ œ œ
œ
> œ œ
œ
> œ œ
Jœ>F‰ ‰ Jœ> ‰ Jœ> ‰ ‰
138 œ#> œ œ œ> œ œ> œ œ
138 w# >
F
∑
Œ œP
œ# œ
.œ Jœ ˙
œ>Fœ œ œ> œ œ> œ œ
∑
∑
.>
.œ jœ# œ œ
.>
∑
∑
∑
∑
∑
∑
∑..˙
˙
>
Jœ> ‰ Œ Œ
œ>
œ œ œ>
œ œ œ>
œ.˙.œ
Jœ œ
∑
.œF Jœ# œ œ
œ œ# œ
.>
∑
w#>
F
w#>
˙ ˙#
œ#> œ œ œ> œ œ œ> œ
∑
∑
∑
∑
∑
∑
∑œ
œ##> œ œ œ
œ
> œ œ œ
œ
> œ
Jœ> ‰ ‰ Jœ> ‰ ‰ Jœ> ‰
œ#> œ œ œ> œ œ œ> œ œ
w
∑
˙ ˙#
œ .˙#
œ#> œ œ œ> œ œ œ> œ
p
to triangle
to tam-tam
∑
w
‰ Jœ œ œ# œ œ œ
jœfl‰ Œ Ó
∑
‰ jœF
œ œ# œ œ œ
∑
∑
w>
∑
∑
>F
cymbal
J
œ
œ
>‰ Œ Ó
∑
w>
‰ Jœ œ œ# œ œ œ
‰ jœF
œ œ# œ œ œ
w
.œ Jœ ˙
w>
39
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
142
∑
∑
.œ Jœ œ œ#
‰œF œ# œ ˙
w>142
.œ jœ œ œ#
‰œ œ# œ ˙
∑
jœ. ‰ Œ Ó
∑
∑
142
∑
∑
∑142 wo
sul B √
142 .œ Jœ œ œ#
.œ jœ œ œ#
w
œ œ œ# œ ˙
w
Œ . JœF
.œ Jœ
Œ . JœF
.œ Jœ
.œ Jœ .œ Jœ
ww#cresc.
jœfl‰ Œ Ó
.œ jœ .œ jœ
w
Œ . jœF .œ jœ
w#
w>cresc.
∑
∑
∑
∑
∑
.œ Jœ .œ Jœ
.œ jœ .œ jœ
œ# œ œ# œ œ œ œ
ww#div.
wn >
f
f
œ .˙
œ .˙
œ .˙
w>a2
.œ> Jœ# œ œ œ
œ .˙
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œ .˙
w>.œ Jœ# œ œ œ
.> œ#
∑
∑
∑
∑
∑
œ .˙
œ .˙
.œ> Jœ# œ œ œ
w>.œ Jœ# œ œ œ
.> œ#f
12
Jœ.
f‰ ‰ Ó
Jœ.
f‰ ‰ Ó
Jœ.
f‰ ‰ Ó
jœ.f
‰ ‰ Ó
Jœ.
f‰ ‰ Ó
Jœ.f
‰ ‰ Ó
jœ.f‰ ‰ Ó
Jœ.f
‰ ‰ Ó
Jœœ.
f‰ ‰ Ó
jœ.f‰ ‰ Ó
∑
Œ . ˙triangle
F∑
∑
œ>
f
loco
œœ# œ
>
œœ>
œ‰ .œ œ Jœ
Œ .˙
F.œ
Fsubito ˙
Jœ.f
‰ ‰ Ó
Jœœ.f
‰ ‰ Ó
.œFsubito
˙
40
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
146
∑
∑
∑
∑
∑
146
∑
∑
∑
∑
∑
∑
146
∑
∑
∑
146
œ>
œœ# œ
>
œœ>
œJœ .œ œ Jœ
146
.œ ˙
.œ Ó
Œ . ˙
∑
.œ ˙
∑
∑
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∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
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.œ .œ
∑
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∑
∑
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∑
jœ>f‰ ‰ jœ>
‰ jœ>‰
∑
∑
∑
∑
∑
∑
∑œ
œ
>(marimba)
F
œ œ œ
œ
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œ
> œ
∑
œ> œ œ œ#> œ œ> œ
.œ ˙
∑
œ>fœ œ œ> œ œ> œ
∑
œ>f œ œ œ> œ œ> œ
to cymbal
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ> œ œ œ
Ó .œ Jœ
∑
œF
.˙
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wF
41
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
150
∑
∑
.œ ˙
∑
jœ> ‰ ‰ jœ> ‰ jœ> ‰
150
∑
∑
∑
∑
∑
∑
150
∑œ
œ
> œ œ œ
œ
> œ œ
œ
> œ
∑
150 œ> œ œ œ> œ œ œ
150 .œ ˙
∑
.œ œ œ
.œ œ œ
œ>fœ œ œ> œ œ> œ
π
∑
∑
w
∑
∑
w1.
P
.œF
jœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ> œ œ œ
w
.œ jœ œ œ œ
.œ Jœ œ œ œ
w
w
∑
∑
∑
∑
∑
wF
.œ jœ# œ œ œ
∑
∑
∑
∑
∑œ
œ
> œ œ œ
œ
> œ œ
œ
> œ œ
∑
œ> œ œœ> œ œ> œ œ
w
.œ jœ# œ œ œ
.œ Jœ# œœ œ
œ> œ œ œ> œ œ> œ œ
œ> œ œ œ> œ œ> œ œ
13
∑
∑
∑
∑
∑
Œœa2
F œ# œ œ œ
Œ ˙#F
œ œ
∑
∑
∑
∑
∑
∑
∑
w# >
∑
w# >.˙#> œ œ
.œ> Jœ# œ œ œ œ#
jœ#>‰ Œ Ó
42
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
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
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
154
∑
∑
∑
∑
∑
154
.œ#> .œ#>
œ œ# œ œ# jœ#
∑
∑
.˙#∑
154
∑
∑
∑
154
.œn b
.œ
154
∑
∑
.˙
.œ .œ#
.˙#
∑
∑
∑
∑
∑
œ#> jœ>‰ jœ>
‰
.œ jœ>‰ jœ#>
∑
∑
jœ>
‰ Œ Œ
∑
∑
∑
∑
jœ ‰ Œ Œ
∑
∑
˙ œ#
œ# œ œœ
jœ>‰ Œ Œ
∑
∑
∑
∑
ww
‰ jœ .˙
‰ jœ .˙
∑
∑
∑
∑
∑
∑
∑
∑
wdiv.
.œ# Jœn ˙
‰ jœ œ œ# œ œ œ
‰ Jœ œ œ# œ œ œ
œ œn œ œ# œ œ œ
wwdiv.
∑
Œ ‰ jœp
œ œ#
Œ ‰ jœp
œ œ#
∑
ww
jœ.π‰ Œ Ó
jœ.π‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
wœ œ œ# œ ˙
.œ jœ œ œ#
.œ Jœ œ œ#
.œ Jœ œ œ#
ww
43
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
◊
158
∑
.œF
.œ
œ>Fœ ‰ œ> œ ‰
‰ œF
œ.‰ œ œ.
..œœ>
œ>a2
œ œ
158
∑
∑
∑
∑
Œ . œ>fœ œ
∑
158
∑
∑
∑
158
∑
158
.œunis.
.œ
.œ .œ
œ> œ œ œ> œ œ
.œ .œ
..œœ>
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œ œ
Ӝ>
fœ œ œ
œ# œ œ>
fœ œ œ
˙ Jœ>f
‰ Œ
∑
w
w#P
œ#P
œ œ œ œ œ œ
∑
∑
wF
∑
Ó >F
cymbal
∑
∑
∑
œ# œ œ>
fœ œ œ
œ# œ œ>
fœ œ œ
˙ Jœ>f
‰ jœ> ‰
w#div.
œ# œ œ œ œ œ œ
w
∑
∑
∑
‰ jœF
œ œ# œ œ œ
jœ>f‰ Œ Ó
wfwf
∑
∑
w>fF
∑
∑
∑
∑
∑
‰ jœF
œ œ# œ œ œ
wfF‰ Jœ
Fœ œ# œ œ œ
wunis.
fF
w>fF
to tubular bells
∑
∑
Ó Œ œ#F
.œ jœ œ œ
‰ œ>Fœ œ œ> œ œ> œ
jœ.π‰ Œ Ó
jœ.π
‰ Œ Ó
∑
∑
w#
∑
∑
∑
∑
∑
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.˙ œ#
.œ Jœ œ œ#
œ œ> œ œ œ> œ œ> œ
w#
44
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
162
∑
∑
.œ jœ# œ œ œ
.œ jœ ˙
w
162
∑
∑
∑
∑
∑
∑
162
∑
∑
∑
162
∑
162
.œ jœ# œ œ œw
.œ jœ# œ œ œ
.œ Jœ ˙
w
.˙ œ
∑
∑
.œ œ œ
.œ œ> œ œ> œ
œ> œ œœ> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ.œ œ>
œ œ>
œ
.œ œ œ
.œ œ> œ œ> œ
.œ ˙
œ> œ œœ> œ œ> œ
∑
.œF
jœ œ œ œ
.œ jœ œ œ œœ œ œ œ# œ œ
w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œ œœ œ œ œ# œ œ
œ œ œ œ# ˙
w
w
w
∑
w
w.œ Jœ ˙
.œ jœ ˙w
œœ
œœ> œ
œœœ
œœ> œ
œœœ> œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w.œ Jœ ˙
w
w
œ œ> œ œ œ> œ œ> œ
œ œ> œ œ œ> œ œ> œ
45
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
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
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
14
∑
Jœf‰ ‰ .œ
P.œ
Jœf
a2
‰ ‰ Œ . Œ .
jœœflf‰ ‰ Œ . Œ .
Jœœ˘
f‰ ‰ Œ . Œ .
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
fœ œ
œ>
œ œœ>
œ œ.œ .œ .œ
Jœf
unis.
‰ ‰ Œ . Œ .
Jœf
‰ ‰ Œ . Œ .
Jœf‰ ‰ Œ . Œ .
Jœf
‰ ‰ Œ . Œ .
.œfP
.œ .œ
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œœ>
œ œ#>
œœœ œ
∑
Œ jœ.F
pizz.
‰ jœ. ‰
∑
∑
.œ jœ œ
∑
.œ .œ
.œP
.œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œœ>
œ œ.œ .œ
∑
‰ ‰ JœP
.œ
∑
.œP
œ# Jœ
.œ œ# jœ
∑
JϹ
‰ Œ Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ>
œœ>
œœ œ œ
∑
.˙
∑
.˙
.˙
46
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
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
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
F
F
170
∑
∑
˙
∑
∑
170
∑
∑
∑
∑
∑
∑
170
∑
∑
∑
170
˙˙>
170 œ> œ œ œ
˙
œ> œ œ œ
œ> œ#
˙
∑
∑
JϹ
‰ ‰ Œ .
.œa2
P.œ
.œPa2
.œ
∑
∑
∑
∑
∑
∑
.œtubular bells
P .œ&
∑
Œ . .œptam-tam
œ œ œ œ œ œ.œ>
.œ>
.œ .œ
∑
.œ .œ
.œPsubito
œ# jœ
.˙
.œ .œ
∑
∑
∑
jœ>‰
œ
˙
∑
∑
∑
∑
∑
∑
˙
∑
∑
œ œ œ>
œœ>
œ
∑
.œ jœ
˙
œ> œ>
˙
to cymbal
∑
.œP
jœ# œ œ œ
∑
w
˙ œ> œ œ>∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ œ œ>
œ œ œœ>
œ œ œ‰ Jœ ‰ Jœ Œ œ
∑
.œ jœ# œ œ œ
w
.˙ œ> œ
˙ œ> œ œ>
47
&
&
&
&
?
&
&
&
?
?
?
&
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
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
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
174
∑
.œ .œ
∑
.œ .œ
.œn .œ174
∑
∑
∑
∑
∑
∑
174
Œ . .œ
∑
∑
174
œ>
œ œ œ>
œ œ.œ .œ.œnŒ .
174
∑
.œ .œ
.œ> .œ>
.œ .œ
.œn .œ
∑
˙
∑
jœ>‰
œ
˙
∑
∑
∑
∑
∑
∑
˙
∑
∑
œ>
œ œ>
œœ œ
∑
˙
œ> œ>.œ> Jœ
˙
∑
∑
.œP
jœ ˙
w
˙ œ> œ œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ œ œ>œ œ œ
œ>œ œ
œ>
œ œ‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
∑
.œ jœ ˙
w
œ ˙ œ> œ
˙ œ> œ œ>
∑
∑
.œ .œF
.œF
.œ
œ>Fœ œ œ> œ œ
∑
∑
∑
∑
∑
∑
.œF
.œ
∑
∑
œ>
œ œ œ>
œ œ.œ .œ.œ .œ
∑
.œ .œF
.œF
œ Jœ
œ>F
œ œ œ> œ œ
œ>Fœ œ œ> œ œ
48
&
&
&
&
?
&
&
&
?
?
?
&
?
÷
&
&
&
B
?
?
42
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
44
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
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
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
178
∑
∑
.œ Jœ
jœ> ‰ œ
˙
178
∑
∑
∑
∑
∑
∑
178
˙
∑
∑
178 œ>
œ œ>
œœ œ
178
∑
.œ Jœ
˙
œ> œ>
˙
∑
∑
.œ Jœ œ œ œ
w
˙ œ> œ œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œ œœ>œ œ œ
œ>
œ œœ>
œ œ‰ Jœ ‰ Jœ Ó
∑
.œ Jœ œ œ œ
w
.˙ œ> œ
˙ œ> œ œ>
∑
.œF
.œ
Jœ. ‰ ‰ Œ .
.œ .œ
œb > œ œ œ> œ œ
∑
∑
∑
∑
œb >Fœ œ œ> œ œ
∑
Œ . .œ
∑
∑
œb>
œ œ œ>
œ œ.œb .œ
∑
.œ .œ
.œ> .œ>
.œ .œ
œb > œ œ œ> œ œ
∑
œ œ
∑
œ>jœ>
‰
˙
∑
∑
∑
∑
jœb>
‰ Œ
∑
˙
∑
∑
œ œ œ>
œœ>
œ
∑
œ œ
œ> Jœ> ‰
.œ> Jœ
˙
49
&
&
&
&
?
&
&
&
?
?
?
&
?
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
182
∑
.˙ œb
∑
˙ œ œ
jœb> ‰ Œ œb> œ œ> œ
182
∑
∑
∑
∑
∑
∑
182
‰ Jœb> .˙
‰ Jœœœœbb >
F
(marimba)
Œ Jœœœœ>
‰ Jœœœœ>
‰
∑
182
œb>œœœœœœbb>
rasq.
œœœœœœ
œœœœœœ
œœœœœœ
> œœœœœœ
œœœœœœ
> œœœœœœ
182
∑
.˙ œb
˙ œ œ
œ ˙ œb> œ
˙ œb> œ œ>
15
∑
w
‰ Jœ> œ œ œ œ œ
‰ jœ> œ œ œ œ œ
w>
∑
∑
∑
jœ>f
a2 ‰ Œ Ó
jœ>f
‰ Œ Ó
∑
w>
Jœœœœ>
‰ Œ Ó
Œ ‰ Jœ>Fcymbal
˙
wwwww>
‰ Jœ> œ œ œ œ œ
w>
w
‰ Jœ> œ œ œ œ œ
w>
to triangle
∑
jœ.p‰ Œ Ó
.œ Jœ œ œ
.œ jœœ œœ œœ
w>
∑
∑
Œ . JœF
œ œ
‰ jœ>Œ Ó
‰ jœ>Œ Ó
∑
∑ ÷
∑
∑
∑
.œ Jœ œ œ
œ œ> œ œ œ> œ œ> œ
w
.œ Jœœdiv.
œœ œœ
w>
50
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
185
∑
‰ Jœ> œ œ œ œ œ
w
ww
w>185
∑
‰ jœ>Fœ œ œ œ œ
w
‰ jœ>Œ Ó
‰ jœ>Œ Ó
∑
185 >Ftriangle
∑
∑185
∑
185
w
‰ Jœ> œ œ œ œ œ
‰ Jœ> œ œ œ œ œ
ww
œ> œ> .˙
∑
.œ Jœ ˙
.œ Jœ œ œ œ
.œ jœ œ œ œ.œ Jœ ˙
jœ>‰ Œ œ> œ œ> œ
∑
.œ jœ œ œ œJœ ˙
.œ Jœ œ œ œ
jœ>‰ Œ œ> œ œ> œ
jœ>‰ Œ Ó
∑
∑
∑
∑
∑
.œ Jœ œ œ œ
.œ Jœ ˙
.œ Jœ œ œ œ
‰ œ> œ œ œ> œ œ> œ
w>
∑
˙ œ œ œ> œ
.œ> Jœ œ œ œ
˙> œœ œœ œœ> œœ
Jœ> ‰ ‰ jœ>
Œ œ>
.œ>jœ œ œ œ
˙> œœ œœ œœ> œœ
Jœ. ‰ Œ Ó
Jœ> ‰ ‰ jœ>
Œ œ>
jœ>‰ ‰ jœ>
Œœ>
∑
∑
∑
∑
∑
.œ> Jœ œ œ œ
˙ œ œ œ> œ
.œ> Jœ œ œ œ
.> œ>
.> œ>
to bass drum
∑
œb> œ œ œ œ œ œ
.œ> Jœ œ œ
jœ>a2 ‰ ‰ jœ>
Œœ>
jœ> ‰ ‰ jœ>
Œ œ>
.œ>jœ œ œ
jœ>a2 ‰ ‰ jœ>
Œœ>
∑
jœ> ‰ ‰ jœ> Œ œ>
jœ>
‰ ‰ jœ>
Œœ>
∑
∑
∑
∑
∑
.œ> Jœ œ œ
œb> œ œ œ œ œ œ
.œ> jœ œ œ
.>œ>
.> œ>
51
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
16
∑
.œ> .œ>
Jœ>
‰ ‰ Œ .
œ>
œ œ œ>
œ œ.œ .œ
jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
.œ> .œ>
∑
œ>F œ œ œ> œ œ
jœ>
‰ ‰ Œ .
.œ>F.œ>
∑
∑
.>F
∑
Jœ>
‰ ‰ Œ .
.œ> .œ>
.œ œ Jœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ> Jœ> .˙
˙ ˙ œ>
.œ> Jœ> .˙
jœ>a2 ‰ jœ>
‰œ> ˙
∑
Ó Œ Œ œ>
˙ ˙jœfl
‰
∑
œ> œ œ> .˙
jœ>
‰ jœ>
‰ Ó Œ
œ> œ œ> .˙
∑
∑
∑
∑
.
.œœ>div.
Jœœ> ..˙˙
˙ ˙ œ>
˙ .˙
œ> œ œ> œ ˙
œ> œ œ> .˙
.œ .œ
.œ .œ>
.œ .œ
.œ> .œ>
œb> œ œ œ> œ œ
.œ .œ>
œb> œ œ œ> œ œ
∑
jœbfl ‰ ‰ Œ .
.œb> .œ
∑
∑
œb> œ œœb> œ œ
∑
∑
..œœ ..œœ
.œ .œ>
.œ> .œ>
.œ> .œ>
œb> œ œ œ> œ œ
52
&
&
&
&
?
&
&
&
?
?
?
÷
?
÷
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
192 .œ> Jœ> œ œ>
w
.œ> Jœ> œ œ>
jœ> ‰ jœ>‰ jœ> ‰ jœ>
‰
‰ jœb> œ œ œ> œ œ> œ
192
w
˙b> ˙
.œ> Jœ> œ œ>
‰ jœb> œ œ œ> œ œ> œ
jœb>
‰ Œ Ó
‰ jœb> œ œ œ> œ œ> œ
192
∑
Jœœbb> ‰ Œ œ
œ> œ œ
œ> œ
∑
192
192..œœ>
Jœœ> œ
œœœ>
w
Jœ> ‰ Jœ> ‰ Jœ> ‰ Jœ
> ‰
˙ ˙
wb
to triangle
to cymbal
w>fw>fw>f
w>fwb>f
w>f
w>fw>f
wb>f
wb>fwb>æf
∑
Jœœbb>
f‰ Œ Ó
∑
∑
ww>
fw>fw>fw>f
wb>f
Jœ> ‰ Œ ÓU
Jœ> ‰ Œ ÓU
Jœ> ‰ Œ ÓU
jœ>‰ Œ ÓU
jœb> ‰ Œ ÓU
jœ> ‰ Œ ÓU ?
jœ>‰ Œ ÓU ?
Jœ> ‰ Œ ÓU
jœb> ‰ Œ ÓU
jœb>f
‰ Œ ÓU
jœb> ‰ Œ ÓU
∑U
∑U
∑U
∑U
Jœœ>
‰ Œ ÓU
Jœ> ‰ Œ ÓU
Jœ> ‰ Œ ÓU
Jœ> ‰ Œ ÓU
jœb> ‰ Œ ÓU
53
& 87 42 86 86 44Gtr.
f
œ>17 Cadenza
œ œœ>
œœ>
œ.œ ˙
œ>
œ œ>
œ˙œ>
œ œœ>
œ œ.˙œ
>œ œ œ# œ œ
.˙
& 44 43 44 87 44Gtr.
199
3
œ œ œ3
œ œ œ3
œ œ œ3
œ œ œœ œ œ œ
F
Œrit. ‰ jœ œ.˙woU
>√
f F
A Tempo
œ>loco
œ œ# œ œ œ œ œ œ œ œ œ œ œ
& 44 87 44 87Gtr.
f
203
œ
..˙>
Uo
w f Fœ> œ œ# œ œ œ œ œ œ œ œ œ œ œ
f
rit.
œ
œœ>o hhh#
>
Uo√
w
Staggered
pœ> œ œ
œ> œ œ> œ
& 86Gtr.
207 œ> œ œœ> œ œ> œ
œ#A Tempo
cresc.
œ# œ œ œ œ œ œ œ œ œ œ
.˙œ# œ# œ œ œ œ œ œ œ œ œ œ
.˙œ# œ# œ œ œ œ œ œ œ œ œ œ
.˙
& 42 43 86Gtr.
f
211
œ# œ# œ œ œ œ œ œ œ
.˙œ#> œ# œ œ
> œ œ œ#> œ# œ œ œ œ œ œ œ œ œ œ œ# œ# œ œ œ œ œ œ œ œ œ œ
& 86 82 86Gtr.
215
œ# œ# œ œ œ œ œ œ œ œ œ œ œ# œ# œ œ œ œ œ œ œ œ œ
rasq.
Jœœœœ## >
ƒ‰
fœ#> œ# œ œ œ œ œ œ œ œ œ œ
& 83 87 42Gtr.
219
œ# œ# œ œ œ œ œ œ œ œ œ
rasq.
œœœ>
ƒ
œœœ>
Jœœœ˘
j¿fl
percussive knock
on body of guitar
rasq.
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
& 42 44 89 43 44 87Gtr.
223 ˙˙˙˙#>Œ
J¿ ‰˙o> ww
Uœ>
P
œ œœ#>
cresc.
œ œœ>œ œ
w
œ#>
œ œ#>
œ œ#> œ
.˙
œ>œ œ
œ#>œ œ
œ>œ œ œ œw#
& 87 86 82 44Gtr.
229 œ#> œ œ œ# œ œ# œ œ#>
œ œ#œ#>
œ œ.˙
œ#>
œ œ# œ#>
œ œ.˙
jœœœœœœ#>
rasq.
ƒ
j¿fl
54
& 44 42 44Gtr.
233
œ#>
f
œ# œ œ œ>
œ œ>
œ˙
œ œœ
>œ# œ œ
˙ œ#>
œ# œ œ œ>
œ œ>
œ˙
œ œ
rasq.
f
jœœœœœœ#>ƒ
‰ Œœ
>œ# œ œ
˙
&Gtr.
237
œ#>
œ# œ œ œ>
œ œ>
œ˙
œ œœ
>œ# œ œ
œ#>
œ# œ œ
˙ ˙p
rasq.
œœœœœœ#>ƒ
¿
percussive strike
with nails
¿ j¿>‰
œ#>
œœ#>
œœ œ
‰f
jœ œ#œ œ œ œ œw
& 87 86Gtr.
241
œ œ# œ œ œ œ œ.œ Jœ# ˙‰ jœ œ#
œ œ œ œ œw
œ œ# œ œ œ œ œ#.œ Jœ# ˙
‰ œ œ œ œ>
œ œ˙ Œ .
& 86 87 89 44Gtr.
245 œ> œ œ œ> œ œœ>
œ œ#>
œ œ>
œ œ˙ .œœ>
œ œ œ>
œ œ>
œ œ>
œ.œ Œ Ó3
œœ œ
3
œœ œ
3
œ
rit.
œ œ3
œœ œœ œ œ œ
& 87 89 44Gtr.
249>
p> w
Uœ>
A Tempo
p œœ# œ
>
œœ>
œ‰ .œ œ Jœœ>
cresc.
œœ# œ>
œœ>
œJœ .œ œ Jœ
œ#> œ œœ> œ œ
œ> œ œ
& 44 89 43 89 43Gtr.
254 œ#> œ œ> œœ>
œœ>
œ œ> œ œœ>
œ œœ> œ œ
3
œ>œ œ
3
œ>œ œ
3
œ>œ œ
œ>
f
œœœ œ
œ
œ>œœœ œ
œ
œ>œœœ œ
œ
& 43 89 43Gtr.
258 œ>
œ œœ
œ>
œ œœ
œ>
œ œœ
œ>
œœ
œ œœ
œ>
œœ
œ œœ
œ>
œœ
œ œœ
& 43 44Gtr.
260 œ>œ œ
œ
œ>
œ œœ
œ>
œ œœ
œ>
cresc.
œ œœ
œ>œ œ
œ
œ>œ œ
œ
œ>œ œ
œ
œ>œ œ
œ
œ>œ œ
œ
œ>œ œ
œ
œ>œ œ
œ
55
&
&
&
&
?
?
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
18 Powerful and Intense
∑
∑
∑
∑
∑
263 jœflƒ‰ Œ Ó
jœflƒ‰ Œ Ó
∑
jœflƒ‰ Œ Ó
jœflƒ
‰ Œ Ó
jœflƒ‰ Œ Ó
Jœbass drum
ƒ‰ Œ Ó
Jœƒ
cymbal‰ Œ Ó
∑
‰œœœœ>rasq.
ƒ
œœœœœœœœœœœœœœœœœœœœœœœœ> œ
œœœœœœœœœœœœœœœ> œ
œœœœœœœœœœœ
jœfl
pizz.
ƒ‰ Œ Ó
jœfl
pizz.
ƒ
‰ Œ Ó
jœflpizz.
ƒ‰ Œ Ó
jœflpizz.
ƒ‰ Œ Ó
jœflpizz.
ƒ‰ Œ Ó
∑
∑
∑
∑
∑
jœfl‰ Œ Ó
jœfl‰ Œ Ó
∑
jœfl‰ Œ Ó
jœfl
‰ Œ Ó
jœfl‰ Œ Ó
Jœ ‰ Œ Ó
Jœ ‰ Œ Ó
∑
‰œœœœ>simileœ
œœœœœœœœœœœœœœœœœœœœœœœ> œ
œœœœœœœœœœœœœœœ> œ
œœœœœœœœœœœ
jœfl
‰ Œ Ó
jœfl
‰ Œ Ó
jœfl ‰ Œ Ó
jœfl‰ Œ Ó
jœfl‰ Œ Ó
∑
∑
∑
∑
∑
jœfl‰ Œ Ó &
jœfl‰ Œ Ó &
∑
jœfl‰ Œ Ó
jœfl
‰ Œ Ó
jœfl‰ Œ æ
p cresc.
Jœ ‰ Œ Ó
Jœ ‰ Œ Ó
∑
‰œœœœ> œ
œœœœœœœœœœœœœœœœœœœœœœœ> œ
œœœœœœœœœœœœœœœ> œ
œœœœœœœœœœœ
jœfl
‰ Œ Ó
jœfl
‰ Œ Ó
jœfl ‰ Œ Ó
jœfl‰ Œ Ó
jœfl‰ Œ Ó
56
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
266
∑
∑
∑
∑
∑266
Π.>p
Œ .>p∑
Π. >pa2
Π.>p
.œæ æ
266
Œ . ˙æp
∑
∑266
œœœœ> œ
œœœœœœœ
œœœœ
œœœœ
œœœœ
œœœœ> œ
œœœœœœœ
œœœœ
œœœœ> œ
œœœœœœœ
œœœœ
266
∑
∑
∑
∑
∑
19 Fierce and Accented (Like the Beginning)
Jœ#>ƒ
‰ ‰ Œ .
Jœœ#>ƒ
‰ ‰ Œ .
jœœ>ƒ‰ ‰ Œ .
jœœ#>ƒ‰ ‰ Œ .
Jœœ>ƒ
‰ ‰ Jœ>f
a2
‰ ‰
jœœ#>ƒ‰ ‰ Œ .
jœœ>ƒ‰ ‰ Œ .
jœ#>ƒ‰ ‰ Œ .
.œ>f.œ
jœ>ƒ‰ ‰ jœ>f
‰ ‰
Jœ>ƒ
‰ ‰ Œ .
Jœ>ƒ
‰ ‰ Œ .
∑
Œ . .œ>triangle
f
Jœœœœ>
‰ ‰ Œ .jœœ#>
[div.
‰ ‰ Œ .Jœœ ] ‰ ‰ Œ .jœœ#>
[
div.
‰ ‰ Œ .Jœœ ] ‰ ‰ Œ .
œœ#>non-divisi
œf
œ œ> œ œ
œ>f
œ œ œ> œ œ
.œ>f .œ
∑
∑
∑
∑
Jœ> ‰ Jœ
> ‰ Jœ> ‰
∑
∑
∑
.˙
jœ>‰ jœ>
‰ jœ>‰
∑
∑
∑
∑
∑
∑
∑
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
.˙
57
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
269
∑
∑
∑
∑
Jœ> ‰ ‰ Jœ
> ‰ ‰
269
∑
∑
∑
.œ> .œ
jœ>‰ ‰ jœ>
‰ ‰
∑
269
∑
∑
∑
269
∑
269
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ> .œ
∑
∑
∑
∑
Jœ> ‰ Jœ
> ‰
∑
∑
∑
˙
jœ>‰ jœ>
‰
Jœ>F
‰ Jœ> ‰
∑
∑
∑
∑
∑
∑
œ> œ œ> œ
œ> œ œ> œ
˙
∑
∑
∑
∑
Jœ>ƒ
‰ ‰ Ó
∑
∑
∑
jœ>ƒ‰ ‰ Ó
jœ>ƒ‰ ‰ Ó
Jœ>ƒ
‰ ‰ Ó
∑
∑
∑
œœœ#>rasq.
ƒ
½ XIV œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
Jœ>ƒ
‰ ‰ Ó
Jœ>ƒ
‰ ‰ Ó
jœ>ƒ‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
∑
∑
∑
58
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
273 Jœ#> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
jœœ>‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
Jœœ> ‰ ‰ Jœ
>f
a2
‰ ‰
273 jœœ#>‰ ‰ Œ .
jœœ>‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
.œ>f.œ
jœ>‰ ‰ jœ>f
‰ ‰
Jœ> ‰ ‰ Œ .
273
Jœ> ‰ ‰ Œ .
∑
Œ . .œ>
273
jœœœ#>
‰ ‰ Œ .J
œœœ
‰ ‰ Œ .
273
jœœ#
>[
‰ ‰ Œ .Jœœ ] ‰ ‰ Œ .jœœ#>
[ ‰ ‰ Œ .Jœœ ] ‰ ‰ Œ .
œœ#> œf
œ œ> œ œ
œ>f
œ œ œ> œ œ
.œ>f.œ
∑
∑
∑
∑
Jœ> ‰ Jœ
> ‰
∑
∑
∑
˙
jœ>‰ jœ>
‰
∑
∑
∑
∑
∑
∑
∑
œ> œ œ> œ
œ> œ œ> œ
˙
∑
∑
∑
∑
Jœ> ‰ ‰ Jœ
> ‰ ‰
∑
∑
∑
.œ> .œ
jœ>‰ ‰ jœ>
‰ ‰
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ> .œ
to brake drum
to triangle
to tubular bells
∑
∑
∑
∑
Jœ> ‰ Jœ
> ‰
∑
∑
∑
˙
jœ>‰ jœ>
‰
Jœ>F
‰ Jœ> ‰
∑
∑
∑
∑
∑
∑
œ> œ œ> œ
œ> œ œ> œ
˙
59
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
20
∑
∑
∑
∑
Jœ>ƒ
‰ ‰ Ó
∑
∑
∑
jœ>ƒ‰ ‰ Ó
jœ>ƒ‰ ‰ Ó
Jœ>ƒ
‰ ‰ Ó
∑
∑
∑
œœœ#>rasq.
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
Jœ>ƒ
‰ ‰ Ó
Jœ>ƒ
‰ ‰ Ó
jœ>ƒ‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ#>simile
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
jœ>‰ ‰ Ó
∑
∑
∑
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
Jœ> ‰ ‰ Ó
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ>f
brake drum‰ ‰ Ó
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
∑
∑
∑
60
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
281
∑
∑
∑
∑
∑
281
∑
∑
∑
∑
∑
∑
281
∑
.œ>F
triangle ˙
∑281 œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
281
.œ
p
˙
∑
∑
∑
∑
∑
∑
∑
∑
jœ>‰ ‰ Ó
∑
∑
∑
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
Jœ> ‰ ‰ Ó
Œ . Jœ> ‰ Œ
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
∑
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
∑
∑
∑
∑
jœ>‰ ‰ Ó
∑
∑
∑
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
Jœ> ‰ ‰ Ó
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ
F
˙
∑
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ#>
œœœœœœ
>œœœ
œœœ
>œœœ
œœœœœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
∑
∑
∑
∑
61
&
&
&
&
?
&
&
&
?
?
?
÷
÷
&
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
21
Œ Ó ‰
.œ>F
a2
>
∑
∑
.œF >
∑
∑
∑
Œ . jœ>‰ Œ
Œ . jœ>‰ Œ
Œ . Jœ> ‰ Œ
Œ . Jœ> ‰ Œ
∑
Œ . Œ œF
tubular bells
œœœ#>ad lib rhythm
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ>F >
.œF
˙
.œF
˙
.œF
˙
∑
.œ ˙
∑
Π. >a2
f
.œ jœ>‰ jœ>
‰
Π. >a2
f∑
∑
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
Œ . Jœ> ‰ Jœ
> ‰
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ ˙
.œ# >f
.œ ˙
.œ ˙
∑
.œ ˙
∑
.œ# ˙
.œ œ> œ œ>
.œ# ˙
∑
∑
Œ . jœ>‰ Œ
Œ . jœ>‰ Œ
Œ . Jœ> ‰ Œ
∑
∑
∑
œœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ ˙
.œ# ˙
.œ œ> œ œ>
.œ œ> œ œ>
to xylophone
∑
jœflFŒ Ó
.œ>F
a2
>
jœflF
‰ ‰ Ó
.œ œ jœ>‰
.œ>F
>
.œ>F
a2
>∑
Œ . Œ jœ>‰
Œ . Œ jœ>‰
Œ . Œ jœ>‰
Jœ> ‰ ‰ Ó
∑
Œ . ˙
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ> >
.œF
˙
.œ ˙
.œ ˙
62
&
&
&
&
?
&
&
&
?
?
?
÷
÷
&
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
289
∑
∑
.œ ˙
∑
.œ> >289
.œ ˙
.œ ˙
Π. >a2
fjœ>‰ ‰ jœ>
‰ Œ
jœ>‰ ‰ jœ>
‰ Œ
jœ>‰ ‰ jœ>
‰ Œ
289
∑
∑
∑
289 œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
289
.œ ˙
.œ ˙
.œ# >f
.œ ˙
.œ ˙
∑
∑
.œ ˙
∑
.œ jœ>‰ jœ>
‰
.œ ˙
.œ ˙
.œ# ˙
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ ˙
.œ# ˙
.œ jœ>‰ jœ>
‰
.œ jœ>‰ jœ>
‰
.œF
˙
..œœ> ˙
˙>
jœflFŒ Ó
..œœ>
F
˙˙>
.œ jœ>‰ jœ>
‰
jœflFŒ Ó
jœflF
Œ Ó
.œ>F
>
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
Œ . Jœ> ‰ Jœ
> ‰
Œ . Jœ> ‰ Œ
∑
.œ ˙
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ> >
.œ> >
.œF
˙
.œ jœ>‰ jœ>
‰
.œ jœ>‰ jœ>
‰
.œ ˙
.
.œœ
˙˙
œ>fœ œ œ> œ œ> œ
.
.œœ
˙˙
.œ >Œ . œ>f
œ#
Œ . œ>fœ#
œ> œ œ œ> œ œ> œ
Œ . jœ>‰ Œ
Œ . jœ>‰ Œ
Œ . Jœ> ‰ Œ
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ ˙
.œ# œ>f
œ
.œ >
.œ >
63
&
&
&
&
?
&
&
&
?
?
?
÷
÷
&
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
293 .œ ˙
.
.œœ
˙˙
∑
.
.œœ
˙˙
.œ >293
.œ ˙
.œ ˙
.œ ˙
Œ . jœ>‰ Œ
Œ . jœ>‰ Œ
Œ . Jœ> ‰ Œ
293
∑
∑
.œ ˙
293 œœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
293 .œ ˙
.œ ˙
.œ ˙
.œ >
.œ >
Jœ. ‰ ‰ Ó.œ ˙
..œœ>
F
˙˙>
Jœœ˘
‰ ‰ Ó
.œ jœ>‰ jœ>
‰
∑
.œ>F
>
jœflF‰ ‰ Ó
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
Jœ> ‰ ‰ Ó
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ> >
.œ> >
.œF
˙
.œ jœ>‰ jœ>
‰
.œ jœ>‰ jœ>
‰
∑.œ ˙
.
.œœ
˙˙
Œ . œ>f
a2
œ#
.œ >
œ> œ œ œ> œ œ> œ
œ> œ œ œ> œ œ> œ
Œ . œ>fœ#
Œ . jœ>‰ Œ
Œ . jœ>‰ Œ
Œ . jœ>‰ Œ
∑
∑
.œ ˙
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ ˙
.œ# œ>f
œ
.œ >
.œ >
F
F
F
F
to marimba
Œ . Œ7
œ#F
œ# œ# œ# œ œ# œ#
.œ ˙
.
.œœ
˙˙
.œ ˙
.œ jœ>‰ jœ>
‰
.œ ˙
.œ ˙
.œ ˙
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ jœ>
‰
Œ . jœ>‰ Œ
Œ . Œ Jœ>bass drum
F‰
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
.œ ˙
.œ ˙
.œ ˙
.œ jœ>‰ jœ>
‰
.œ jœ>‰ jœ>
‰
64
&
&
&
&
?
&
&
&
?
?
?
÷
&
&
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
22 .œ
f
˙
.œ>
f
>
.œa2
F˙
.œF
˙
.œ jœ> ‰ jœ> ‰
Œ . ˙pŒ . ˙pŒ . ˙
pŒ . ˙
Œ . jœ>f‰ jœ> ‰
Œ . jœ>f
‰ jœ>‰
Œ . jœ> ‰ jœ> ‰
∑
jœœœœ>f
xylophone
‰ ‰jœœœœ>‰
jœœœœ>‰
∑
œœœ
>œœœ
œœœœœœ
>œœœ
œœœ
>œœœœ
œœœ
œœ
œœ
œœ
œœ
œœ
.œ>
f
>
.œf
˙
.œ>f
>
.œfjœ> ‰ jœ> ‰
.œf
jœ> ‰ jœ> ‰
.œ ˙
œ> œ œ œ> œ
œ> œ œ œ> œ
œ> œ œ œ> œ
.œ >
.œ ˙
.œ ˙
.œ œ
fœ œ œ.œ œ
>œ œ>
œ
Œ . jœ> ‰ Œ
Œ . jœ>‰ Œ
Œ . jœ> ‰ Œ
∑
jœœœœ>‰ ‰
jœœœœ>‰
jœœœœ>‰
.œ ˙
œœœ
>œœœ
œœœœœœ
>œœœ
œœœ
>œœœœ
œœœ
œœ
œœ
œœ
œœ
œœ
.œ ˙
œ> œ œ œ> œ
.œ ˙
.œ >
.œ >
.œJœ.
‰ Œ.œ
Jœ.
‰7
œ# œ œ œ# œ# œ# œ#
.œ ˙
.œ ˙
.œ jœ> ‰ jœ> ‰
œ>fœ œ œ jœ>
‰
œ>fœ œ œ
jœ>‰
.œ œ jœ>
‰.œ œ Jœ ‰
Œ . jœ> ‰ jœ> ‰
Œ . jœ>
‰ jœ>
‰
Œ . jœ> ‰ jœ> ‰
∑
jœœœœ>‰ ‰
jœœœœ>‰
jœœœœ>‰
∑
œœœ
>œœœ
œœœœœœ
>œœœ
œœœ
>œœœœ
œœœ
œœ
œœ
œœ
œœ
œœ
.œ Jœ
‰7
œ# œ œ œ# œ# œ# œ#
.œ ˙
.œ ˙
.œ jœ> ‰ jœ> ‰
.œ jœ> ‰ jœ> ‰
to bass drum
to bongos
∑.œ ˙
Jœ> ‰ ‰ œ> œ
Jœ> ‰ ‰ œ> œ
.œb >
.œ> >
.œ> >
Œ . œ>a2 œ
Œ . jœb> ‰ Œ
Œ . jœb>
‰ Œ
Œ . jœb> ‰ Œ
Jœœœœb>
f
marimba
‰ ‰Jœœœœ>
‰Jœœœœ>
‰?
∑
∑
œœœœœb>œœœœ
œœœœœœœœœœ>
œœœœœœœœœœ>
œœœœœ
.œ ˙
.œ> >
.œ> >
.œb >
.œb >
65
&
&
&
&
?
&
&
&
?
?
?
?
&
&
&
&
&
B
?
?
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
301
Œ . Œ7
œ# œ œ œ# œ# œ# œ#
.œ ˙
.œb> œ œ
.œb> œ œ
.œb jœ> ‰ jœ> ‰
301
œ> œ œ ˙
œ> œ œ ˙
.œb> œ œ
Œ . jœb> ‰ jœ> ‰
Œ . jœb>
‰ jœ>
‰
Œ . jœb> ‰ jœ> ‰
301
Jœœœœb>
‰ ‰Jœœœœ>
‰Jœœœœ>
‰
∑
∑
301 œœœœœb>œœœœ
œœœœœœœœœœ>
œœœœœœœœœœ>
œœœœœ
301.œ ˙
.œ ˙
.œ ˙
.œb jœ> ‰ jœ> ‰
.œb jœ> ‰ jœ> ‰
.œ ˙
.œ ˙
.œ >
.œ >
.œb jœ> ‰ jœ> ‰
.œ >
.œ>
.œ Jœ> ‰ Œ
Œ . jœb> ‰ jœ> ‰
Œ . jœb>
‰ jœ>
‰
Œ . jœb> ‰ jœ> ‰
Jœœœœb>
‰ ‰Jœœœœ>
‰Jœœœœ>
‰
∑
∑
œœœœœb>œœœœ
œœœœœœœœœœ>
œœœœœœœœœœ>
œœœœœ
.œ ˙
.œ >
.œ >
.œb jœ> ‰ jœ> ‰
.œb jœ> ‰ jœ> ‰
.œJœ
ƒ‰
7
œ#f
œ œ œ# œ# œ# œ#
.œJœ
ƒ‰
7
œ#f
œ œ œ# œ# œ# œ#
.œ Jœ> ‰
7
œ#f
œ œ œ# œ# œ# œ#
.œ Jœ> ‰
7
œ#f
œ œ œ# œ# œ# œ#
.œb>jœ>ƒ
‰ œ>
.œ œ>ƒ
œ
.œ œ>ƒ œ
œ> œ œ œ>ƒ
œ
jœb> ‰ ‰ jœ>ƒ‰ jœ> ‰
jœb>
‰ ‰ jœ>ƒ
‰ jœ>
‰
jœb> ‰ ‰ jœ> ‰ œ>æ
Jœœœœb>
‰ ‰Jœœœœ>
‰Jœœœœ>
ƒ‰
∑
∑ ÷
œœœœœb>œœœœœ#
œœœœ
œœœœœ>œœœœœ
œœœœœ>.œ
Jœ
ƒ‰
7
œ#f
œ œ œ# œ# œ# œ#
.œ œ>
ƒ
œ
.œ œ>
ƒœ
.œb>jœ>ƒ
‰ œ>æ
.œb>jœ>ƒ
‰ œ>æ
66
&
&
&
&
?
&
&
&
?
?
?
?
&
÷
&
&
&
B
?
?
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
82
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
304 Jœ>
ƒ‰
Jœ>
ƒ‰
Jœ>ƒ
‰
Jœ>ƒ
‰
∑
304
∑
∑
∑
∑
∑
∑
304
∑
∑
∑304 jœœœœœœ
#>
‰
304 Jœ>
ƒ‰
∑
∑
∑
∑
23
Jœ>
‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
jœœ>‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
Jœœ> ‰ ‰ Jœ
>f
a2
‰ ‰
jœœ#>‰ ‰ Œ .
jœœ>‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
.œ>f.œ
jœ>‰ ‰ jœ>f
‰ ‰
Jœ> ‰ ‰ Jœ
>f
‰ ‰
œ>
fœœœœœœ>œœœœœ
∑
Œ . .œ>bass drum
f∑
jœ>
[
div.
‰ ‰ Œ .Jœœ
‰ ‰ Œ .jœœ#>
[
div.
‰ ‰ Œ .Jœœ ] ‰ ‰ Œ .
œœ#>non-divisi
œf
œ œ> œ œ
œ>f
œ œ œ> œ œ
.œ>f.œ
∑
∑
∑
∑
Jœ> ‰ Jœ
> ‰ Jœ> ‰
∑
∑
∑
.˙
jœ>‰ jœ>
‰ jœ>‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
œ>œœœœ>œœœœ>œœœ
∑
∑
∑
∑
∑
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
.˙
∑
∑
∑
∑
Jœ> ‰ ‰ Jœ
> ‰ ‰
∑
∑
∑
.œ .œ
jœ>‰ ‰ jœ>
‰ ‰
Jœ> ‰ ‰ Jœ
> ‰ ‰
œ>œœœœœœ>œœœœœ
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ .œ
67
&
&
&
&
?
&
&
&
?
?
?
?
&
÷
&
&
&
B
?
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
loco
308 Jœ#> ‰ Jœ> ‰
Jœœ#> ‰ J
œœ> ‰
Jœœ#> ‰ J
œœ> ‰
jœœ#>‰ jœœ>
‰
Jœœ##>
ƒ‰
Jœœ> ‰
308 jœœ#>‰ jœœ>
‰
jœœ#>‰ jœœ>
‰
jœœ>‰ jœœ>
‰
jœ#>ƒ‰ jœ> ‰
jœ#>ƒ
‰ jœ>
‰
jœ#>ƒ‰ jœ> ‰
308 œ#> œ œ œ œ> œ œ œ
∑
∑308
∑
308
Jœœ#>
unis.non-divisi
‰ Jœœ> ‰
jœœ#>
[ ‰jœœ>
[ ‰Jœœ# ] ‰ J
œœ ] ‰
œ#>ƒœ œ> œ
œ#>ƒœ œ> œ
jœ#>ƒ‰ jœ> ‰
Jœ> ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœœ#>‰ ‰ Ó
jœœ>‰ ‰ Ó
Jœœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
jœ#> ‰ ‰ Ó
Jœ>
‰ ‰ Ó
∑
∑
œœœ#>
ƒ
œœœœœœœœœœœœœœœœœœ
>œœœ
œœœ
>œœœœœ
rasq.
œœ œœ œœ œœ œœ œœœ
œœœ
œœœ
œœœ
jJœ>
‰ ‰ Ó
jœ>
‰ ÓJœœ# ] ‰ ‰ Ó
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ#>simileœœœœœœœœœœœœœœœœœœ
>œœœ
œœœ
>œœœœœ œœ œœ œœ œœ œœ œœ
œ
œœœ
œœœ
œœœ
∑
∑
∑
∑
∑
24
Jœ#> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
jœœ>‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
Jœ>a2
f‰ ‰ Jœ
> ‰ ‰
jœœ#>‰ ‰ Œ .
jœœ>‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
.œ>f.œ
jœ>f‰ ‰ jœ>
‰ ‰
Jœ>f
‰ ‰ Jœ> ‰ ‰
œ>œœœœœœ>œœœœœ
∑
Œ . .œjœœœ# ‰ ‰ Œ .J
œœœ
>‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
jœ>
‰ ‰ Œ .Jœœ# ] ‰ ‰ Œ .
œ>f
œ œ œ> œ œ
œ>f
œ œ œ> œ œ
.œ>f.œ
68
&
&
&
&
?
&
&
&
?
?
?
?
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
312 Jœ#> ‰ Jœ> ‰ Jœ> ‰
Jœœ#> ‰ J
œœ> ‰ Jœœ> ‰
Jœœ#> ‰ J
œœ> ‰ J
œœ> ‰
jœœ#>‰ jœœ>
‰ jœœ>‰
Jœœ##>
ƒ‰
Jœœ> ‰
Jœœ> ‰
312 jœœ#>‰ jœœ>
‰ jœœ>‰
jœœ#>‰ jœœ>
‰ jœœ>‰
jœœ>‰ jœœ>
‰ jœœ>‰
jœ#>ƒ‰ jœ> ‰ jœ> ‰
jœ#>ƒ
‰ jœ>
‰ jœ>
‰
jœ#>ƒ‰ jœ> ‰ jœ> ‰
312 œ#> œ œ œ œ> œ œ œ œ> œ œ œ
∑
∑312
∑
312
Jœœ#> ‰ J
œœ> ‰ Jœœ> ‰
jœœ#>
[ ‰jœœ>
[ ‰jœœ>
[ ‰Jœœ# ] ‰ J
œœ ] ‰ Jœœ ] ‰
œ#>ƒœ œ> œ œ> œ
œ#>ƒœ œ> œ œ> œ
jœ#>ƒ‰ jœ> ‰ jœ> ‰
Jœ> ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ> ‰ ‰ Ó
Jœ>a2 ‰ ‰ Ó
jœœ#>‰ ‰ Ó
jœœ>‰ ‰ Ó
Jœœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
jœ#> ‰ ‰ Ó
Jœ>
‰ ‰ Ó
∑
∑
œœœ#>rasq.œœœœœœœœœœœœœœœœœœ
>œœœ
œœœ
>œœœœœ œœ œœ œœ œœ œœ œœ
œ
œœœ
œœœ
œœœ
jJœ>
‰ ‰ Ó
jœ>
‰ ÓJœœ# ] ‰ ‰ Ó
Jœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ#>œœœœœœœœœœœœœœœœœœ
>œœœ
œœœ
>œœœœœ œœ œœ œœ œœ œœ œœ
œ
œœœ
œœœ
œœœ
∑
∑
∑
∑
∑
to tom-toms
Jœ#> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
Jœœ##>
f‰ ‰
Jœœ> ‰ ‰
jœœ#>‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
jœœ>‰ ‰ Œ .
.œ#>f.œ
jœ#>f‰ ‰ jœ> ‰ ‰
jœ#>f‰ ‰ jœ> ‰ ‰
œ#> œ œ œ œ œ œ> œ œ œ œ œ
∑
∑jœœœ# ‰ ‰ Œ .J
œœœ
>‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .jœœ#>
[ ‰ ‰ Œ .Jœœ# ] ‰ ‰ Œ .
œ#>fœ œ œ> œ œ
œ#>f
œ œ œ> œ œ
.œ#>f.œ
69
&
&
&
&
?
&
&
&
?
?
?
?
&
÷
&
&
&
B
?
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
316
∑
∑
∑
∑
Jœœ##> ‰
Jœœ> ‰
316
∑
∑
∑
˙#
jœ#> ‰ jœ> ‰
jœ#> ‰ jœ> ‰
316 œ#> œ œ œ œ> œ œ œ
∑
∑316
∑
316
∑
∑
œ#> œ œ> œ
œ#> œ œ> œ
˙#
∑
∑
∑
∑
Jœœ##> ‰ ‰
Jœœ> ‰ ‰
∑
∑
∑
.œ> .œ
jœ#> ‰ ‰ jœ> ‰ ‰
jœ#> ‰ ‰ jœ> ‰ ‰
œ#> œ œ œ œ œ œ> œ œ œ œ œ
∑ ÷
∑
∑
∑
∑
œ#> œ œ œ> œ œ
œ#> œ œ œ> œ œ
.œ> .œ
25
Jœ> ‰ Œ Ó
Jœœ>‰ Œ Ó
Jœœ#> ‰ Œ Ó
jœœ#>‰ Œ Ó
Jœœ> ‰ Œ Ó
jœœ>‰ Œ Ó
jœœ#>‰ Œ Ó
jœœ>‰ Œ Ó
jœ#> ‰ Œ Ó
jœ#> ‰ Œ Ó
jœ#> ‰ Œ Ó
Jœ#. ‰ Œ Ó
‰ œ>
ƒ
bongos
œ œ œ œ œ œ> œ œ œ œ> œ œ œ
∑
Jœœœœ##>‰ Œ Ó
Jœœ>‰ Œ Ó
jœœ#>‰ Œ Ó
jœ> ‰ Œ Ó
‰ Jœæ .˙æ
jœ#> ‰ Œ Ó
to xylophone
Jœ#> ‰ Œ Ó
Jœœ#> ‰ Œ Ó
Jœœ#> ‰ Œ Ó
jœœ#>‰ Œ Ó
Jœœ> ‰ Œ Ó
jœœ#>‰ Œ Ó
jœœ#>‰ Œ Ó
jœœ#>‰ Œ Ó
jœ> ‰ Œ Ó
jœ> ‰ Œ Ó
Jœ> ‰ Œ Ó
∑
Jœ> ‰ Œ Ó
‰ œ>tom-toms
ƒœ œ œ œ œ œ> œ œ œ œ> œ œ œ
∑
Jœœ#> ‰ Œ Ó
‰ jœ# æf
unis.
.æ
Jœœ#>non-divisi
‰ Œ Ó
Jœ>ƒ
‰ Œ Ó
jœ> ‰ Œ Ó
70
&
&
&
&
?
&
&
&
?
?
?
?
÷
÷
&
&
&
B
?
?
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn. 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
320
∑
∑
∑
∑
∑
320
∑
∑
∑
∑
∑
∑
320
∑
∑
Jœ> ‰ ‰ Ó
320 œœœ#>
rasq.
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
320
∑
jœ>ƒ‰ ‰ Ó
..Oœ##unis.
fF
O
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
..Oœ O
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑ &
∑
∑
œœœ#>
œœœœœœ
œœœ
>œœœ
œœœ
>œœœœœ
œ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
∑
∑
..Oœ O
∑
∑
Jœ>
‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ#> ‰ ‰ Ó
Jœœ> ‰ ‰ Ó
jœœ>
‰ ‰ Ó
Jœœ> ‰ ‰ Ó
jœœ>‰ ‰ Ó
Jœœ> ‰ ‰ Ó
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
Jœ> ‰ ‰ Ó
jœœ>xylophone
Œ ÓJœœ# Œ Ó
Jœœ> ‰ ‰ Ó
Jœ> ‰ ‰ Ójœœœ#>
‰ ‰ ÓJ
œœœ
‰ ‰ Ó
Jœœ>
‰ ‰ Ójœœ#>
[
div.
‰ ‰ ÓJœœ# ] ‰ ‰ Ó
Jœœ#>ƒ
non-divisi
‰ ‰ Ó
jœ>‰ ‰ Ó
jœ>‰ ‰ Ó
71
&
&
&
&
?
&
&
&
&
&
&
B
?
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1
Oboe 1
Clarinet in Bb 1
Bassoon 1
Horn in F 1
Horn in F 2
Tubular bells
Guitar
Violin 1
Violin 2
Viola
Violoncello
Contrabass
Reverently q»63∑
∑
∑
∑
∑
∑
Π.p
.˙P œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
.pjϹ
‰
∑
Ó Œ œpjœπ
‰ Œ Ó
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ jœπ‰
∑
.˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ ‰ JœpŒ œ
p ˙
∑
∑
∑
˙ œœ
œ
∑
∑
∑
∑
∑
∑
72
II. HYMN FOR THE CHILDLESS CITY
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
5
∑
∑
w
jœ ‰ Œ Ó
wp
5
∑
∑
˙˙
˙3
5
∑
5
∑
∑
∑
∑
∑
∑
Œ .˙p
œ Jœ ‰ Ó
∑
Jœ ‰ Œ Ó
∑
wp
.˙ œ
∑
∑
∑
∑
∑
∑
26
∑
Jœ ‰ Œ Ó
∑
∑
∑
∑
jœπ‰ Œ Ó
w
∑
.œP
unis.
dolce
Jœ# œ œ œ
∑
∑
∑
wPunis.
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
wU
∑U
∑U
∑U
˙#dolce
˙ ˙U
3
73
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
9
∑
∑
∑
∑
∑
9
∑
∑
∑
9
∑
9 w#
wP.œ
P Jœ# œ œ œ œ
∑
w
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
∑U
wU
wU
˙ ˙#U
.˙#div. œ#U
w#u
w#U
27
∑
∑
∑
∑
∑
Œ œf
˙#
Œ œf ˙
˙˙#f
˙˙
#
∑
˙div.
f..œœ# J
œœ
˙f
..œœ#jœœ
˙div.f
..œœ# Jœœ
˙f
..œœ Jœœ
wwdiv.
f
f
f
∑
∑
∑
∑
∑
w#Í
wÍww#
∑
.œ# jœ œ œ# œw
.œ# jœ œ œ# œw
ww#
ww##
ww##
74
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
13
∑
∑
∑
∑
∑
13
∑
Œœp
œ œ
wF
13
∑
13 wwFwFŒ œ ˙#ŒF
œ ˙#w
wwFwwF
P
P
P
P
P
∑
∑
∑
∑
∑
∑
˙#P
˙
Œ˙#P
œ
∑
ww
ww
ww#
ww##
ww##
∑U
∑U
∑U
∑U
∑U
∑U
œ Œ ÓU
œ .˙U
∑U
∑U
∑U
wU ∑
∑U
∑U
28
∑
∑
∑
.œP
cantabile
œ œ# .œ jœ
∑
∑
∑
∑
∑
∑
∑
w ∑
wunis.
∑
75
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
17
∑
∑
∑
w
∑
17
∑
∑
∑
17
∑
17
∑
w
.œ#unis. jœ œ œ œ
w#
∑
∑
∑
∑
.œ œ œ œ œ
∑
∑
∑
∑
∑
∑
w
˙ œ œ œ
w
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
.œ jœ# ˙
˙ œ œ#
.˙ œ#
∑
∑
∑
.œ#cantabile
F œ œ œ œ
.œ#F
œ œ œ œ
∑
∑
∑
∑
∑
∑
.˙ œ
.˙ œw
˙ œ œ#
Ó ˙unis.
76
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
21
∑
Ó œP
œ œ# œ3
œ œ œ œ# ˙3
œ œ œ œ# ˙3
∑
21
∑
∑
∑
21
∑
21
∑
.˙ œ œ œ#3
ww#
œ .˙
w#
∑
w
w
w
Œ œP
œ œ# œ
Œ .p π∑
˙ ˙
∑
‰ jœ œ œ# ˙
w
ww
w#
w
29
∑
∑
∑
∑
∑
∑
∑
∑
.œF
tenderly
œ œ# .œ jœœœ#ggg ˙ œ
∑
∑
∑
wp
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww#Œ œ œ œ#
∑
∑
∑
w#
∑
77
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
25
∑
∑
∑
∑
∑
25
∑
∑
∑
25 .œ œ œ .œ jœœœœ#gggg ˙ œ25
∑
∑
∑
wP∑
∑
∑
∑
∑
∑
∑
∑
∑
wœggggggg œ œ œ#ww
∑
∑
Ó œP œ#
.˙ œ#
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
.œ# œ œ œ œwwwgggg Œ ˙ Œ
∑
Ó Œ œP
.˙ œ
w
∑
∑
∑
wPŒ œ
Fœ œ œ#
∑
Ó ˙P∑
∑
œ œ œ œ# ˙3
œœ#ggggg Œ Ó
∑
.˙ œ œF
œ#3
wdiv.w#
˙# œF
œ œ
Ó ˙#F
78
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
29
∑
Œ ˙F
œ#
œF
œ# .˙
.œ jœ ˙#∑
29
˙ ˙#
∑
Œ ˙F
œ#29 œ
F
˙ œ#Œ ˙˙# œœœw#29
∑
w
wFw
.œ jœ ˙#
w
π
π
π
P
P
P
∑
œ .˙
w
w∑
.˙ Œπ
∑
œ .˙
œ .˙œœœ ...˙˙#w∑
w
ww
˙ œ# œ#
w P
30
∑
∑
∑
∑
∑
∑
∑
∑
Œ>
F
œ#>
˙F
˙#
∑
.˙Funis.
œ#
Œ .˙F
wF
∑
∑
∑
∑
∑
∑
∑
∑œ >
Œ
.˙ œ#
Ó œf
œ#
.œf Jœ# œ œ œ œ
.˙ œ#
œ œ œf
œ#
79
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
33
∑
∑
∑
∑
∑
33
∑
∑
∑
33
∑
33 œ ˙f
œ#
œ œ œ# œ .œ œ œ3
œ œF
œ .œ œ œ
‰
f
jœ œ ˙#œdiv.
œ œ# œ ˙3
œ œ ˙#F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ .˙F
.œ jœ# œ œ œ œ
.œf Jœ# œ œ œ œ
.œunis.F
œ œ# œ œ
˙ œ œ
Œ ˙ƒ
œ
Œ ˙ƒ
œ
Œ œƒ .œ jœ
Œ ‰ œ#ƒ
œ .œ jœ3
Œ œƒ˙#
.˙ƒ œ
.˙ƒ œ#
∑
∑
..˙ƒ
div. œœ
œƒ
œ œ# œ .œ jœ3
œƒ
œ .œ Jœ
œƒ
œ œ# œ ˙3
ƒ˙#
π
π
π
wπ
w
w
œ œ# œ œ œ œ œ œπ
œ œ ˙
œ œ# œ œ jœP
‰ Œ
˙ œ œ œ œπ
∑
∑
ww π
œ œ# œ œ œ œ œ œ
œ œ# œ œ œ œ œ œ
˙ ˙
˙ ˙
80
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
P
31 More Forward
∑
∑
∑
∑
∑
37
∑
∑
∑
37 ...œœœF
œ œ œ œ œ œ œb3œ œ œ œ ˙
37
∑
œP
œ ˙
˙P
œ œ œ
wdiv.œ œ ˙
Œ .˙P
∑
∑
∑
∑
∑
∑
∑
∑
œb œ œ jœ ‰ Óœ œb œ œ œb œ .œ œ œ œ
3
∑
œœ œ ˙
œ ˙ œ
œunis. œ œ Jœ œb œ œ œ3
wb
∑
∑
∑
∑
∑
∑
∑
∑
œ œb œ œ œ œ œ œ3
˙ œ œœ œ
.œ3
∑
œ œ œ œ .œ Jœ3
œ œ œ œ œ
œ œ œ œ ˙3
˙ œ œb œ3
81
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
40
∑
∑
Œ ‰ œbP
œ œ œ
Ó ‰ œP œb œ œ œb3
∑
40
∑
∑
∑
40 ..œœb œb œ œ œ œ œ œ œb3
œ œ Ó40
∑
œb œ ˙
.œ œb œ œ œ
.˙ œ œ œb3
˙ œ œ œb
Œ .˙bF
∑
œ .>FŒ .˙b>FŒ œ>F
œ œ œ3
‰ jœb>Fœ œ œ ˙
‰ jœ>F.˙
.˙b>F
œ
.œb>
fœ œ .œ
jœ..œœ ‰ ‰ œ œ œ
3
.œbF
œ œ ˙
.œbF
œ œ ˙
œ .>Fœ œ>
Fœ œ œ
3
Œ œ>Fœ œ œ
3
œ .˙
.œf
œ œ .œ Jœ
.œ œ œ .œ jœ
jœ ‰ Œ Œ ‰ jœ
œ œ œ œ œ œ œ œ3
3
œ œ œ .œ jœ3
œ œ œ .œ jœ3
œ œ œœ
œ
˙˙
ÓŒ œ œ œ œ œ œ œ œb œ
33
œ .˙
.œ œ œ .œ Jœ
.œ œ œ .œ Jœ
˙div.
œ œœb œ œ œ
˙ œ œ
82
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
43
œ .˙
.œ Jœ œ œb
.œ Jœ œ œb
.œ œ œ œ œ œf
œ3
Œ œb> œ œ œ3
43
.œ œ œ œ œ œf
œ3
.œ œ œ œ œ œf œ3
œœ œ
œœ
43 ...œœœb
œ œ œ œ œ œ3
Œ œ œ œ œ œ œ43 œ .˙
.œ œ œ œ œ œf
œ3
.œ œ œ œ œ œf
œ3
Œ œ œ œ œ3
Œ œb œ œ œ3
Œ œb> œ œ œ3
˙f
˙#
˙ œf
œ
˙ œf
œ
.œ jœ˙
˙f
˙#
.˙ œ œ œ
˙ œ#jœ
‰
œ œ
fœ
œ# œ
˙ .œ œ œ..œœ Jœ .œ# ‰˙f
˙#
.œ jœ .œ œ œ
.œ Jœ œ œb
œf
œ ˙#
˙f
˙#
jœ# . ‰ Œ Ó
˙ ˙b ˙3
˙ ˙b ˙3
w
œ œ œn œ#
w
œ œ œ œ#˙ ˙
œ œ œ œ ˙3
Jœ# . ‰ Œ Ó
˙ ˙b ˙3
wwdiv.
œ œ œn œ#
œ œ œn œ#
83
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
∑
∑
∑
∑
∑
46
∑
˙ ˙
Œ .˙P
46
∑
46
∑
wFœbF
unis.œ œ œ œ œ
˙F
˙
wF
32 Passionately
∑
∑
∑
∑
∑
∑
∑
Œ .˙
œbf
œ œ œ œb œ œ œ œ3
3
˙ Ó
∑
∑
.˙ œ
w
w
∑
∑
∑
∑
∑
∑
∑
Œ .˙
œœ .œ œ œœ .œ œb œ .œ˙b Ó
∑
∑
.˙b œ
˙b œ œ
w
∑
∑
∑
∑
∑
∑
∑
Œ .˙
œ œb œ œ œœ œb œ œ3
˙b ˙b
∑
∑
œ ˙b œ œ œb
.˙ œ
˙ ˙b
84
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
50
∑
Œ œF
.œ Jœ
∑
∑
∑
50
∑
∑
∑
50
œb œ œ ˙ œ œ œ3˙ ˙
50
∑
Œ œF
.œ Jœ
.œ Jœb œ œ
˙ œb œ œ œ
œ œ œ œ ˙3
∑
˙b œ œ
∑
∑
∑
∑
∑
Œ .˙
œœ œb œ ˙ œwb
∑
˙b œ œ
œ ˙ œ
.œ Jœ .œ Jœb
˙ œ œb œ3
∑
wb
∑
∑
∑
.œbF œ œ .œ jœ
∑
wbFœb œ œ œ œ œ œ œww
∑
.œb œ œ .œ Jœ
w
.œb œ œ .œ jœŒ
div.
.˙
w
∑
∑
∑
œF
œ œb œ œ œ œ œ3 3
∑
w
∑
∑
œ œ œb œ œ œ œ œ œ œb3 3
3
∑
w
w
.œ jœ œ œ œœ œ ˙
œ œ ˙
85
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
54
∑
∑
∑
.œ ‰ Ó
∑ B
54
∑
.œF œ œb .œ jœb
Œ ˙ œ
54 œ œ œ œ œ œ œ œwb54 .œ
Fœ œb .œ Jœb
˙ ˙
.œ œ œb .œ Jœb
œ ˙ œ˙b œ œ
˙b œ œ
∑
∑
Œ ‰ œbF
œ œ œ œb œ œ3
∑
œbF
œ œ œ œ œb œ Jœ ‰ Œ3
?
˙ œ œb
w
w
œb œ œ œ œ œb œ œ œ œb .œ
ƒ
œ œ3 3
wb
wb
˙b œ œ
wœ œ œ œb
œ œ œ œb
œF
œb .œ œ . .œ .œœ
œ
∑
w
Ó Œ ‰ jœF
∑
.œ œ œ .œ jœ
˙b œ œ˙
˙bœ œb .œ œ . .œ .œ
œœ
.œ œ œ .œ Jœ
.œ œ œ .œ jœ
wdiv.˙b œ œ
w˙b ˙b
wb
86
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
57
Œ œb œ .œ œ . .œ œ
˙F
œ œb œ3
.œF
Jœb ˙
˙ ˙.œ
FJœb ˙
57
˙ ˙
˙b œ œ
w
57
Œœb
f
œ .œ œ . .œ œ
57 ˙ œ œb œ3
˙ ˙
˙ œ œb œ3
˙b œ œ
œ ˙ œbw
w
f
f
f
f
f
f
f
f
Œ œ œb .œ ˙
w
w
.˙ œf˙b ˙
.˙ œf
w
Ó˙
Œœ œb .œ œ . .œ
œw
.˙ œfwunis.
œ ˙ œ.œb Jœ ˙
.œb Jœ ˙
33
∑
∑
∑
∑
∑
∑ ?
Œ ‰ jœbp
˙
Œ ..˙˙bbF
.˙b> . .œF œ
˙bF
œ œ œ œ
˙F
œ œ œ œ
˙bFdiv. œœ œœ œœ œœ
Jœbpizz.
F
unis.
‰ ‰ Jœ ˙arco
Jœbpizz.
F‰ ‰ Jœ ˙arco
∑
∑
∑
∑
∑
wF
&
jœF‰ Œ Ó
∑
w>
œ œ œ œ œ œ3
.œ jœn œ œ œ œ
œunis.
˙b œ
w
w
87
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
61
∑
∑
∑
∑
∑
61
∑
∑
∑
61
∑
61 ˙ œ œ
œ œb œ œ œ
˙bdiv. œœ œœ
wb
wb
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œ œ
wwdiv.
ww
˙ œ œ œ
˙ œ œ œ
∑
∑
∑
∑
∑
∑
∑
Œ ˙bF
œ
∑
w
∑
˙ œ œ˙ œ œ
˙bdiv. œœ œœ
wb
∑
∑
∑
∑
∑
∑
∑
œ.˙
∑
w
∑
.œunis. Jœ œ œ
˙ œœb œœ
w
88
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
34
∑
∑
∑
∑
∑
65
∑
∑
∑
65 œbœ œ œ œ œ œ œ
33
œf
œ œœb œ œ
.˙ Œ65 jœb ‰ Œ Ó
∑
.˙bp
œ
wb unis.
pwp
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œb œŒ œ œb œ œ œ œœ
œ3 3
.˙nŒ
∑
∑
œdiv.
œ .œb œ œ˙b œ œ
wn
.˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ .œ œ œ .œ œ œb.˙b ŒŒ
˙ œ
∑
∑
w œ œ
œb œ ˙
wb
89
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
68
∑
∑
∑
∑
∑
68
∑
∑
∑
68 .œ œb œ œ œ œ œb œ œ œ œ œ œb œb œŒ œ Jœ ‰ Œw68
∑
∑
œ .˙b˙ œ œb
.˙ œb
˙ œ œb
35
∑
Ó ˙F
Ó .œF
jœb
Œ œF .œb jœ
Œ .˙bF
wF
˙bF .œ jœ
∑
œƒ
˙ œ œ œb œb œ œ
∑
∑
wF˙b .œ Jœ
˙div.
F.œb jœwb
wbF
Œ ‰ ≈ œbF
œ .œ œ œ œ
œ œb œ œ œ œ3
œ œb œ œ œ œ3
˙ œ œ
.œ Jœ œ œ
˙ œb œ
˙ œb œ
∑
œ .œ œb œ .œ œ œ œ œ œ œb œ œ œ œ
∑
∑
˙ œ œœ œb œ œ œ œ3
˙ œ œ.œ Jœ œ œ
w
90
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
71 œ ‰ ≈ œ œb .œ œ œ œ œ œ3
˙b œ œ
w
˙ œb œwb
71
w
˙b œ œ
Œ .˙71 œb .œ œ œ .œ œ œ œ œ œ
3
71
∑
∑
wF˙b œ œ
˙ œb œwb
wb
œ œb œ .˙
˙ œb œ
.œ jœ œ œ
˙ œb œ
.œ Jœ œ œ
˙ œb œ
˙ œb œ
Œ ˙ œ
œgggfœb œ .˙wb
∑
∑
.œ jœ œ œ˙ œb œ
˙ œ œ.œ Jœ œ œ
w
∑
∑
˙ jœP
‰ Œ
Ó œP
œ œ œb
∑
∑
∑
œ Œ Ó
˙ggggggF
œ œ œ œbœb ˙ œ.˙b œ
∑
∑
˙unis. œ œ œ œb
wbŒ
œ ˙b
∑π
rit.
P
∏
π
rit.
π
π
∑
w
∑
˙ œ œ œ
∑
Œ .˙∏
∑
∑
œœgggggggŒ
œ œ œœ œb œ œ œ œ3
w∑
∑
˙ œ œ œ
wunis.
∑
91
&Gtr.
Cadenza (A Tempo)36
75 œœgggggP
œœœrasq.
œœœ œœœ œœœ œœœ œœggggœœœsimile
œœœ œœœ œœœ œœœœb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœb œœœ œœœ œœœ œœœbœœb œ œ œ œ œ œ œ œ œœœgggggœœœœœœœœœœœœ
œœœœœœggggg
œœœœœœœœœœœœ
œœœœ œ œb œ œ œ
&Gtr.
78 œ œb œ œpoco rit.
œ œb œ œ œ œb œ œ œ œœœ œ œ œ œ œ œœœggggg
F
œœœœœœœœœœœœ
œœœ œ œœggggg
œœœœœœœœœœœœ
œœœ œœb œ œ œ œœ
œ œ œ œ œœ
œggggœ œ .œ œ œœ œœ œ œ œb
˙b œœœœ œœœœ œœ Œ
&Gtr.
81 œœœbgggggg
œœœgggggŒ œbgggggg
œœ œb œ ˙œœœœ
3
œgggœ œ œ ˙gggg˙b ˙
Œ œb ˙bQuick and Steady ( q »¡£∞ )wwb
P˙ œ œb
wwb˙ œ œbœb œ œ œ œ œww
&Gtr.
86 ˙b .œ jœœœ .˙ wwF˙ œ œb œb
3
ww œ œb œb3
œ œb œ ˙accel.
˙ œ œb œb3
∑œ œ œb œ œ œb
3
3
....˙˙bgggggA Tempo
ƒ
œ œ
&Gtr.
92 œœœœbrasq.œœœœ
œœœœ˙˙
œb œœœbbbrasq.œœœ
œœœ˙˙
œ œb molto rit.˙˙bbbgggggg f
˙bStrong with Reverence (Tempo I q»§£ )
˙˙bbgggggg F
œœœœb œ
œ ....œœœœbb
gggggggœœœœ
œœœrasq.
œœœ œœœ ˙˙˙ ˙˙˙bbggggggg
U
&Gtr.
Faster ( q »ªº )
98œb l.v.
pœ œ
œb œœ œ
œ œœcresc.
œœ œ
œ œœ œ
œ œœb œ
œ œœ œ
œ œœ œ
œ œœ œb
œ œœb œ
œ œœ œ
œ œœ œ
œ œœ
&Gtr.
101 œœ œ
œb œœ œ
œ œœ œ
œ œœ œ œ
fœ œ
œbœ œ œ
œœ œ œ
œœ œ œ
œ œbœ
œ œœœ
œ œœbœ
œ œœ
œœ œ
&Gtr.
104
œF
œ œœbœ œ œ
œœ œ œ
œœ œ œ
œ œbœ
œ œœbœ
œ œœœ
œ œœ
œœ œ œn
Pœb œ
œbœ œ œ
œœ œ œ œ
œ œ œœ
92
&Gtr.
107
œ œb œœb
œb œn œ œœ œ œ œ
œ œ œ œœb œ œ œ
œ œ œ œœ œ œ œ
œ œ œWith Emphasis
œb >
f
œ> .œ> jœ
>œ
œ œ œ œœ œ œ œ
œ œ œ œ œœb
œ
&Gtr.
110 œ> œ ˙œœ œ œ œ>
œ œ œ œ>œ œ œ œ œ œ œ œ> œ> .œb > jœ
>œœ œ œ œ
œ œ œ œœ œ œ œ œ
œœ
œb > œ> œ> œ>œœ œ œ
œœ œ œ œ
œ œ œ œœ œ œ
&Gtr.
113 œ> œ> .œ> jœ>œœb œ œ œ
œ œ œ œœ œ œ œ œ
œœ
œb > œ> œ> œœ>rasq.
ƒ
œœœœœœœœ
˘œœ œ œ
œbœ œ œ
œœ œ œ œœ œœ œœ œœ œœ
œ> œ> œ> œœ
>rasq.œœœœœœœœ
˘œ
œn œ œœœ œ œ
œœ œ œ œœ œœ œœ œœ œœ
&Gtr.
Strongly ( q »¡™º )116
œ œ œb œb œ œ œ œ œœ œ œ3 3 3 3
œ œ œœ œ œ
œ œ œœ œ œ3 3 3 3
molto rit.
œ œ œ .. .˙˙U
3
œ .˙
A Tempo
œ œ œ œ œ œb œb œ œœ œ œ3 3 3 3
&Gtr.
120
œ œœb œb œ
œœ œ
œœ œ
œ3 3 3 3
molto rit.
œ œ œ...˙˙
bU3
œ .˙A Tempo stringendo
œ
Fœb œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œb œ œ œ œ œ œ œ Jœœœ>
ƒ
rasq.
‰3 3 3
&Gtr.
124 œb
Fœn œb œb
cresc.
œ œ œA œ œ œ œ œ3 3 3 3
œb œn œb œb œ œ œA œ œ œn œ œ3 3 3 3
œ# œ œ# œ œ œ œ œ œ œ œ œ3 3 3 3
&Gtr.
127 œ# œ œ# œ œ œ œ œ œ œ œ œ3 3 3 3
( q »¡§º )œ#
ƒœ œ œ œ œ œ œ œ œ œ œ3 3 3
3 œ# œ œ œ œ œ œ œ œ œ œ œ3 3 3
3
&Gtr.
130 œ# œ œ# œ œ œ œ œ œ œ œ œ3 3 3 3
œ# œ œ# œ œ œ œ œ œ œ œ œ3 3 3 3
œ# œ œ œ œ œ œ œ œ œ œ œ3 3 3
3
93
&Gtr.
133 œ# œ œ œ œ œ œ œ œ œ œ œ3 3 3
3
A Tempo ( q »¡™º )
œ#f œ
œ œ œœ
œ œ œœ
œ œ œœ
œ œ
&Gtr.
135 œœ
œ œ œ#œ
œ œ œœ
œ œ œœ
œ œ œ#œ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ
&Gtr.
137 œœ œ œ œ#
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ#œ œ œ
jœœœœœfl
rasq.
ƒ
‰
&Gtr.
139 œ
Fœ#
œ œ œ#œ
œ œ œœ
œ œ œœ
œ œ œ
fœ œ œ œ
œ œ œ œ#œ œ œ œ
œœ œ
&Gtr.
141 œœœœœ##>ƒ
rasq.
œ œ œ œf
œ œ œœ
œ œ œ œ œ œ œ œœœœœ##>ƒ
rasq.
œ œ œ œf
œ œ œœ
œ œ œ œ œ œ œ
&Gtr.
143 œœœœœ##>ƒ
rasq.
molto animato
œ œ œ œ œ œ œ œœœœœ>
rasq.
œ œ œ œ œ œ œ œœœœœ##>
rasq.
œ œ œ œ œ œ œ œœœœœ>
rasq.
œ œ œ œ œ œ œ
&Gtr.
145 œœœœœ##>
rasq.
œœœœœœœœœœ
œœœœœ>œœœœœ
œœœœœœœœœœ
œœœœœ>œœœœœ
œœœœœœœœœœ
œœœœœ>œœœœœ
œœœœœœœœœœ
œœœœœ##>œœœœœ
œœœœœœœœœœ>
œœœœœœœœœœ
œœœœœœœœœœ>
œœœœœœœœœœ
œœœœœœœœœœ>
œœœœœœœœœœfl
94
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
√
37
Œœ
ƒ
œ œ œ# œ œ
Œ œƒ
œ œ œ# œ œ
Œ œƒ
œ œ œ# œ œ
Œ œƒ œ œ œ# œ œ
wƒ
147
Œ .˙ƒ
Œ .˙ƒ
Œ ..˙˙ƒ
147 wwwww##>
147 .œƒ
œ œ# .œ Jœ
.œƒunis. œ œ# .œ Jœ
.œƒunis. œ œ# .œ Jœ
wwƒwƒ
Strong with Reverence (Tempo I q»§£ )w
w
w
w
.˙# œ œ
œ# œ œ œ
œ# œ œ œ
Œ œ œ œ#
Œ œ œ œ# œ œœ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ
9
w
w
w
.
.˙## œœ œœ
.˙# œ œ
Œœ œ œ œ œ œ
Œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ
w
˙ œ# œ œ
˙ œ œ œ
Œ ..˙˙
w.œ œ œ .œ Jœ
.œ œ œ .œ Jœ
.œ œ œ .œ Jœ
ww
w
95
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
(√)
150
w
w
w
w
.˙ œ#150
œ œ# œ œ
œ œ# œ œ
..˙ œœ##
150
≈œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ
150 w
w
w
..˙ œœ##
.˙ œ#
Œœ# œ œ œ œ œ
Œ œ# œ œ œ œ œ
Œ œ# œ œ œ œ œ
Œ œ# œ œ œ œ œ
˙ œ œ#
Œ .˙#
Œ .˙#
œœ
˙˙## œ
œ
‰ œœœœ#rasq.
œœœœœœœœœœœœœœœœ
....œœœœ
œœœ œ.˙ Œ.œ# œ œ .œ Jœ
.œ# œ œ .œ Jœ
.œ# œ œ .œ Jœ
˙ œœ œœ##
˙ œ œ#
˙ œ œ œ œ#
˙ œ œ œ œ#
˙ œ œ œ œ#
˙ œ œ œ œ#
˙ œ œ#
Œ .˙
Œ .˙œœ .˙
œœœ#gggggg...
œœœœ œœ œ
œ#˙ œ œ œ œ#
˙div.
œ œ œ œ#w
˙div.
œ œ œ œ#w
˙ œœœœ##
˙ œ œ#
96
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
(√)
153w
.œ Jœ ˙
.œ Jœ .œ Jœ#
.œ jœ ˙
.˙ œ#
153
œ œ œ# œ
œ œ œ# œ
Œ ˙˙
œœ##
153 ˙ ˙
153 w
w .œ Jœ ˙
w .œ Jœ .œ Jœ#
..˙ œœ##
.˙ œ#
w
w
w
œ œ œ# œ œœ œ œ# œ œ
w
wœœ
˙˙
œ
˙Ó
w
ww
ww
œ œ œ# œ œw
w
38
∑
Œ œF
.œ# œ œ
Œ œF
.œ# œ œ
Œ œF
.œ# œ œ
∑
∑
∑
œ .˙F
∑
wF˙F
unis. .œ# œ œ
˙F
unis. .œ# œ œ
Œ .˙F
unis.
wF
97
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
(√)
156
∑
.œ œ œ# ˙
.œ œ œ# ˙
.œ œ œ# ˙
∑
156
∑
∑
Œ .˙156
∑
156 .˙ œœ##div.loco
˙œ# œ œ œ
˙ œ# œ œ œ
œ œ œœf
div.
œœ##
œ œ œf
œ#
∑
Ó ˙f
Ó ˙f
Ó ˙f
∑
∑
∑
Ó ˙f
∑
œœ˙
f
œœ##
œ œ œpoco cresc.
œ# œ .œ œ œ3
œ œ œpoco cresc.
œ# œ .œ œ œ3
œœ œœ˙##F
œ œ ˙#F
∑
œ# .˙F
œ# .˙F
œ# .˙F
∑
∑
∑
œ#F
.˙
∑œœ .
.˙
F
.œF
jœ# œ œ œ œ
.œF Jœ# œ œ œ œ
˙ œœœœ
˙ œ œ
98
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
159
Œ˙
f
œ
Œ ˙f
œ
Œ œf .œ jœ
Œ ‰ œ#f
œ .œ jœ3
Œ œf
˙#159
.˙f œ
.˙f œ
Œ ..˙˙f
159
∑
159
.
.˙
f
œœ
œ œf
œ# œ .œ jœ3
œ œf
œ# œ .œ Jœ3
˙f
˙##
f˙#
poco rit.˙Ó
p˙
F
˙ F
œ œ# œ œ œF
œ
˙ ˙F
œ œ# œ œ œF
œ
œ œ# œ œ œF
œ
.˙F œ
∑˙ ˙
F
œ œ# œ œ œFœ
œ œ# œ œ œF
œ
˙ ˙F
˙ ˙F
∑
∑
∑
∑
∑
w
w
œ ˙ œ
∑..˙
œP
unis.
w
w
∑
∑
99
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
162
∑
∑
∑
∑
∑
162
∑
∑
œœ
˙
162
∑
162
w
wPwP
∑
∑
Sad and Distant ( q»∞¢ )39
∑
∑
∑
∑
∑
∑
∑
∑
.œ
F
œ œ# .œ œ œ œ œœœœ#ggggg œ .œ œ Jœ ‰
∑
∑
w
wunis.
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ# œ œœ# œ œ œ3
œœœ#ggggggg Œ œ œ œ œ#
3
∑
∑
.œ#dolce jœ œ œ œ
.˙# œ
∑
100
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
165
∑
∑
∑
∑
∑
165
∑
∑
∑
165 .œ œ œ .œ œ œ œ œœœœggggggg œ .œ œ œ Jœ ‰
165
∑
∑
˙ œ œ œ
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œ œ
œ
œ# œ œ œ œœ
œ œ œ œ œœ
œ œ œwwwwgggggggg
∑
∑
œdiv.
œ# œ œ˙ œ œ
.˙ œ#
.˙ œ#
f
∑
∑
∑
∑
∑
∑
∑
∑
.œ# œ œ .œ œ œ œ œ...˙ggggggŒ
œ œ .œ œ œ œ œ Œ
∑
∑
œ#F
œ ˙˙ .œ Jœ#
..˙Fdiv. œ#unis.
˙F
œ œ#
101
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
168
∑
∑
∑
∑
∑
168
∑
∑
∑
168 .œggggggœ œ œgggggg
œF
œ..œœ# ‰ ˙˙#
168
Œ ‰ œF
œ .œ Jœ
.œF
œ ˙ œ œ#
œ# œ ˙˙ œ œ
˙ ˙#
˙ ˙#
∑
∑
∑
∑
∑
∑
∑
∑
.œggggggœ œ# .œgggggg
œ œœœœ œœœ œ# œ
˙ œ œ
œ œ# ˙
œ œ# ˙.œ œ œ# ˙
œ œ œ œ# œ œœdiv. ˙ œ œ
œ .˙
∑
∑
∑
∑
∑
∑
∑
∑
.œgggggœ œ# .œgggggg
jœœœœ œœœ œ# œ
˙ œ œ œ
œ œ# œ œ œ œ
œ œ# ˙.œ œ œ# ˙
œ œ œ œ# œ œœ ˙ œ œ
œ .˙
102
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
171
∑
∑
∑
∑
∑
171
∑
∑
Ó ŒœF
171 .œgggggœ œ# ˙gggggg
œœœ œ˙
171 ˙ ˙
.œ œ œ# ˙
˙ ˙.œ œ œ# ˙
˙ œ œ# œ˙ ˙
˙ ˙
Ó .U Œ
Ó .U Œ
Ó .U Œ
Ó .U Œ
Ó .U Œ
Ó .U Œ
Ó .U Œ
œ ˙U œ
Ó .U Œ
.U œ
.U œ
.˙U œ.˙ œ
œ ÓU Œœ ÓU Œ
œ ÓU Œ
Ó Œ œP
Ó Œ œP
∑
∑
∑
Ó ˙P∑
.˙ œ
PŒ ...˙#˙ ˙
Ó ˙
Œ .˙unis.
Œ .˙unis.
jœ>pizz.unis.
‰ ..˙#div.arco
w
103
&
&
&
&
?
&
&
&
&
&
&
B
?
?
Picc.
Fl. 1
Ob. 1
Cl. 1
Bsn. 1
Hrn. 1
Hrn. 2
Tub. bells
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
poco rit. to end174 ˙ Œ œ
p˙ Œ œ
p∑
∑
∑
174
˙ Ó
Ó ˙p
.˙ œ
p174
ŒP
...˙#˙ ˙
174
Ó ˙P
Œ .PŒ .˙
Pjœ>pizz.unis.
P‰ ..˙#
div.arco
wP
˙ Œ œπ
˙ Œ œπ
∑
∑
∑
Ó ˙π
˙ Œ œπ.˙ œ
Œp
...˙#˙ ˙
Ó ˙p
Œ .pŒ .˙
pjœ>pizz.unis.
p‰ ..˙#
div.arco
wp
∑U
∑U
∑U
∑U
∑U
∑U
wU
wU
wU
∑U
∑U
∑U
∑U
∑U
104
&
&
&
&
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&
&
&
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?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Piccolo
Flute 1 2
Oboe 1 2
Clarinet in Bb 1 2
Bassoon 1 2
Horn in F 1 2
Horn in F 3 4
Trumpet in C 1 2
Trombone 1 2
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Guitar
Violin 1
Violin 2
Viola
Violoncello
Contrabass
Quick and Obsessive ( q k »¡£º ) [e»e sempre ] ∑
∑
∑
∑
∑1
∑
∑
∑
∑
∑
∑
∑
œ>P
tom-tom
œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>f
œ œ> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
to triangle
to cymbal
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
105
III. BLISS APPARATUS
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
6
∑
∑
∑
∑
∑
6
∑
∑
∑
∑
∑
∑
6
∑
œ> œ œ œ> œ œ
∑
∑
6
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
40
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ> ‰ ‰ Œ .
.>cymbal
fœœœœ
#
>ƒ
rasq.½ C XIV œœœ
œ
œœœœ
œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
..Of
unis.
..Of
unis.
∑
.>f
unis.
.>f
unis.
to tambourine
to vibraslap
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ
œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
..O
..O
∑
.˙
.˙
106
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
11
∑
∑
∑
∑
∑
11
∑
∑
∑
∑
∑
∑
11
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ
œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
11 ..O
..O
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ>
œœœœ
œœœœ>
œœœœ
œœ œœ œœ œœ œœ œœ
..O
..O
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ
œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
..O
..O
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ
œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
..O
..O
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ
œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
..O
..O
∑
.˙
.˙
107
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
16
∑
∑
∑
∑
∑
16
∑
∑
∑
∑
∑
∑
16
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ>
œœœœ
œœœœ>
œœœœ
œœ œœ œœ œœ œœ œœ
16
JOœ ‰ Œ Œ
JOœ ‰ Œ Œ
∑
jœ ‰ Œ Œ
jœ ‰ Œ Œ
f
.˙
F.˙
F
a2
∑
∑
∑
.œ# -f
a2
.œ# -
∑
∑
jœ>f
a2 ‰ ‰ jœ>‰ ‰
jœ>f‰ ‰ jœ>
‰ ‰
∑
œ>triangle
Fœ œ œ
>œ œ
∑
∑jœœœœ
#
fl‰ ‰ Œ .
jœœ ‰ ‰ Œ .
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# .œ# -
jœ>‰ ‰ jœ>
‰ ‰
.>
.˙
.˙
∑
∑
∑
.œ# - .œ-
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
.˙
.œ# .œ
∑
∑
∑
.œ# - .œ-
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ#> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
Jœ>
f‰ Œ Œ
Jœ>
f‰ Œ Œ
∑
∑
∑
jœ#> ‰ jœ#> ‰ jœ#> ‰ ?
∑ ?
∑
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
∑
.>
Jœ>f
tambourine
‰ Jœ> ‰ Jœ> ‰
∑
œœœœœœ#>
rasq.
œœœœœ
œœœœœ>
œœœœœ
œœœœœ>
œœœœœ
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
jœ#> ‰ jœ#> ‰ jœ#>‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
108
&
&
&
&
?
?
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
21
∑.˙
F.˙
F
a2
∑
∑
21
∑
.œ# -f
a2
.œ# -
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
21
œ>triangle
Fœ œ œ
>œ œ
∑
∑jœœœœœœ
#>
‰ ‰ Œ .
21 œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ# -
jœ>‰ ‰ jœ>
‰ ‰
.>
∑.˙
.˙
∑
∑
∑
.œ# - .œ-
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
Jœ>
f‰ Œ Œ
Jœ>
f‰ Œ Œ
∑
∑
∑
Jœ#> ‰ Œ Œ
∑
jœ>‰ Œ Œ
jœ>‰ Œ Œ
∑
.>
Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
œœœœœœ#>
rasq.
œœœœœ
œœœœœ>
œœœœœ
œœœœœ>
œœœœœ
Jœ> ‰ Jœ# > ‰ Jœ> ‰
Jœ> ‰ Jœ> ‰ Jœ
> ‰
jœ#> ‰ jœ> ‰ Jœ#> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Jœ> ‰ Jœ#> ‰ Jœ>
‰
Jœ> ‰ Jœ#> ‰ Jœœ>
‰
Jœ> ‰ J
œœ#> ‰ Jœœ> ‰
Jœ>f
a2
‰ jœ>‰ Jœ
> ‰
Jœ#>f
a2
‰ Jœ> ‰ Jœ#> ‰
Jœ#> ‰ Jœ> ‰ Jœ#> ‰
Jœ#> ‰ Jœ> ‰ Jœ#> ‰
Jœœ>
f‰ J
œœ#> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>>‰
jœ>‰ jœ>
‰ jœ>>‰
Jœ>f
‰ Jœ> ‰ Jœ
> ‰
∑
∑
∑jœœœœœœ
#>
‰ Œ Œ
Jœ> ‰ Œ Œ
Jœ> ‰ Œ Œ
jœ#> ‰ Œ Œ
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
41
∑
∑
∑
∑
∑
∑ &
∑ &
∑
∑
∑
∑
∑
∑
Œ . .œ>F
vibraslap
œ#>
f
œ œ œ#>
œ œ.œ# .œ#.˙
∑
∑
∑
jœ>F‰ ‰ jœ>
‰ ‰
.>F
109
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
26
∑
∑
∑
∑
∑
26
∑
∑
∑
∑
∑
∑
26
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
26
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ#>
œ œ>
œœ# œ# œ
˙ œ œ
∑
∑
∑
jœ>‰ jœ>
‰œ> œ
.˙
Jœ>
‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœœ#>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
∑
Jœ> ‰ ‰ Œ .
∑
œ#>
œ œ œ#>
œ œ.œ# .œ#.˙
Jœœ>f
div.
‰ ‰ Œ .
jœœ#>f
div.
‰ ‰ Œ .
jœœ>div.
f‰ ‰ Œ .
jœ>f‰ ‰ jœ>F
‰ ‰
.>fF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
110
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
31
∑
∑
∑
∑
∑
31
∑
∑
∑
∑
∑
∑
31
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
31
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ>
œ œ#>
œœ# œ œ#.˙
∑
∑
∑
jœ>‰ jœ>
‰œ> œ
.˙
f
.˙
F.˙
F
a2
∑
∑
∑
.œ# -f.œ# -
∑
∑
jœ>f
a2 ‰ ‰ jœ>‰ ‰
jœ>f‰ ‰ jœ>
‰ ‰
∑
œ>
Fœ œ œ
>œ œ
∑
∑jœœ>>
‰ ‰ Œ .
œ>unis. œ œ œ> œ œ
œ>unis.
œ œ œ> œ œ
.œ# -unis.
.œ# -
jœ>‰ ‰ jœ>
‰ ‰
.>
.˙
.˙
∑
∑
∑
.œ# - .œ-
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
.˙
.œ# .œ
∑
∑
∑
.œ# - .œ-
∑ ?
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ#> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
111
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
36
Jœ> ‰ Jœ#> ‰ Jœ>
‰
Jœ> ‰ Jœ#> ‰ Jœ>
‰
Jœ>a2 ‰ jœ#> ‰ Jœ
> ‰
Jœ>f
a2
‰ jœ>‰ Jœ
> ‰
Jœ#>f
‰ Jœ> ‰ Jœ#> ‰
36 jœ#> ‰ Jœ> ‰ Jœ#
> ‰
Jœ#> ‰ Jœ> ‰ Jœ#> ‰
Jœœ>
f‰ J
œœ#> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Jœ>f
‰ Jœ> ‰ Jœ
> ‰
36 .>
Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
∑
36
Jœ> ‰ Jœ#> ‰ Jœ> ‰
Jœ> ‰ Jœ> ‰ Jœ
> ‰
jœ#> ‰ jœ> ‰ Jœ#> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ Jœ
> ‰ jœ>‰
42
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ#>
œ œ.œ# .œ#.˙
∑
∑
∑
jœ>F‰ ‰ jœ>
‰ ‰
.>F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
to cymbal
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ#>
œ œ>
œœ# œ# œ
˙ œ œ
∑
∑
∑
jœ>‰ jœ>
‰œ> œ
.˙
112
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
41
Œ . Jœ>
‰ ‰
Œ . Jœœ#> ‰ ‰
Œ . Jœœ> ‰ ‰
Œ . jœœ#>‰ ‰
Œ . Jœœ>
‰ ‰
41
Œ . jœ#> ‰ ‰
Œ . Jœ>
‰ ‰
Œ . Jœœ> ‰ ‰
Œ . Jœœ> ‰ ‰
Œ . jœ>‰ ‰
Œ . Jœ> ‰ ‰
41
∑
Œ . Jœ> ‰ ‰
∑
œ#>
œ œ œ#>
œ œ.œ# .œ#.˙
41
Œ . Jœœ>f
‰ ‰
Œ . jœœ#>f‰ ‰
Œ . jœœ>div.
f‰ ‰
jœ>‰ ‰ jœ>f
‰ ‰
.>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>F‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ>
œ œ#>
œœ# œ œ#.˙
∑
∑
∑
jœ>‰ jœ>
‰œ> œ
.˙
43.˙
F cresc.
.˙F cresc.
a2
∑
.œ# -a2
.œ# -
∑
.œ# - .œ# -
Jœ> ‰ ‰ Jœ
> ‰ ‰
œœ> œœ œœ œœ> œœ œœ
∑
jœ>f‰ ‰ jœ>
‰ ‰
∑
œ>
Fœ œ œ
>œ œ
∑
.>cymbal
f
œ
œ œ œ œ œ
œ>unis. œ œ œ> œ œ
œ>unis.
œ œ œ> œ œ
.œ# -unis.
.œ# -
jœ>f‰ ‰ jœ>
‰ ‰
.˙f
113
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
46
.˙
.˙
∑
.œ# - .œ-
∑
46
.œ# - .œ-
Jœ> ‰ ‰ Jœ
> ‰ ‰
œœ> œœ œœ œœ> œœ œœ
∑
jœ>‰ ‰ jœ>
‰ ‰
∑
46
œ>
œ œ œ>
œ œ
∑
∑
œ
œ œœ
œ œ
46 œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
.˙
.œ#> .œ
∑
.œ# - .œ-
∑
.œ# - .œ-
Jœ> ‰ ‰ Jœ
> ‰ ‰
œœ#> œœ œœ œœ> œœ œœ
∑
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
œ
œ œ œ œ œ
œ> œ œ œ> œ œ
œ#> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
Jœ>
f‰ Œ Œ
Jœ>
f‰ Œ Œ
∑
jœ#> ‰ Œ Œ
∑
jœ#> ‰ jœ#> ‰ jœ#> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
Jœœ> ‰ J
œœ#> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
∑
.>
Jœ>f
‰ Jœ> ‰ Jœ> ‰
∑
œ
œ œœ œ
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ jœ#> ‰ Jœ
> ‰
jœ#> ‰ jœ#> ‰ jœ#>‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
∑.˙
F.˙
F
a2
.œ# - .œ# -
jœ>‰ ‰ jœ>
‰ ‰
.œ# - .œ# -
.œ# - .œ# -
œœ> œœ œœ œœ> œœ œœ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
.>cymbal
f
œ
œ œ œ œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ# -
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑.˙
.˙
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.œ# - .œ-
.œ# - .œ-
œœ#> œœ œœ œœ> œœ œœ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
œ
œ œœ
œ œ
œ> œ œ œ> œ œ
œ#> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
114
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
51
∑
Jœ>
f‰ ‰ Œ .
Jœ#>f
‰ ‰ Œ .
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
jœ>‰ jœ>
‰ jœ>‰
51 jœ#> ‰ Jœ> ‰ Jœ#
> ‰
Jœ#> ‰ Jœ> ‰ Jœ#> ‰
Jœœ#> ‰ J
œœ> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
∑
51 .>
Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
œ
œ œœ œ
51
Jœ> ‰ Jœ> ‰ Jœ> ‰
jœ#> ‰ Jœ> ‰ jœ> ‰
jœ#> ‰ jœ> ‰ Jœ#> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Œ ..œ
F
Œ ...œœF
Œ . .œF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
rasq.
ƒ
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
Œ . .œ>
.œ> .œ#>
.>
.>
.>
.˙
.
.˙˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
.˙
.˙
.˙
.˙
.˙
Jœ>
f‰ Œ Œ
Jœœ>
f‰ Œ Œ
Jœ>f
‰ Œ Œ
jœ#> ‰ jœ#> ‰ jœ#> ‰
∑
jœ#> ‰ jœ#> ‰ jœ#> ‰
∑
∑
jœ>‰ jœ>
‰ jœ>‰
jœ>
‰ jœ>
‰ jœ>
‰
∑
∑
Jœ>f
tambourine
‰ Jœ> ‰ Jœ> ‰
∑
œœœœœœ#>
œœœœœ
œœœœœ>
œœœœœ
jœœœœœ>
‰
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
jœ#> ‰ jœ#> ‰ jœ#>‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
to bass drum
44
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.>o
∑
∑
.œ#>
f.œ#>
œ# œ œ œ# œ œ
.˙F
∑
∑
jœ>F‰ ‰ jœ>
‰ ‰
.˙F
115
&
&
&
&
?
&
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
56
∑
∑
∑
∑
∑
56
∑
∑
∑
∑
∑
∑
56
∑
∑
∑
.œ#> .œ>œ# œ œœ œ œ
56 .˙
∑
∑
jœ#>‰ ‰ jœ>
‰ ‰
.œ#> .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ# > .œ
>œ# œ œ
œ œ œ
.˙
∑
∑
jœ#>‰ ‰ jœ#>
‰ ‰
.œ#> .œ#
Jœ#>F
‰ Jœ#> ‰ Jœ> ‰
jœ#>F
a2
‰ jœ#> ‰ jœ> ‰
jœ>F‰ jœ>
‰ jœ>‰
jœ#>F
‰ jœ#>
‰ jœ>‰
jœ#>F‰ jœ#> ‰ jœ> ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ#>
œœ#>
œœ>
œ œ œ œ œ œ
jœ#> ‰ jœ#> ‰ jœ> ‰
jœ>F‰ jœ>
‰ jœ>‰
jœ#>F‰ jœ#> ‰ jœ> ‰
jœ#>‰ jœ#> ‰ jœ> ‰
jœ#>‰ jœ#> ‰ jœ> ‰
∑
∑
œ> œ œjœ#> ‰ ‰
Œ . œ#> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ>
.œ#>
œ œ œœ# œ œ
.˙
∑
∑
jœ#>‰ ‰ jœ>
‰ ‰
.˙#>
∑
∑
œ#> œ œjœ#> ‰ ‰
jœ#> ‰ ‰ œ#> œ œ
∑
∑ ?
∑
∑
∑
∑
∑
∑
∑
∑
.œ#> .œ#>œ# œ œ
œ# œ œ
.˙#
∑
∑
jœ>‰ ‰ jœ#>
‰ ‰
.œ> .œ#
116
&
&
&
&
?
?
?
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
61
œ œ# œ# œ œ# œ# œ#> œ œ Jœa> ‰ ‰
œ œ# œ# œ œ# œ# œ#> œ œ Jœa> ‰ ‰
.œ# .œ
jœ#> ‰ ‰ .œ#
jœ#>‰ ‰ jœ#>
‰ ‰
61 .œ# .œ
.œ# .œ#
∑
∑
∑
∑
61
∑
Jœ> ‰ ‰ Œ .
∑
.œ#> .œ#>œ# œ# œ œ# œ œ
61
.œ# .œ
∑
.œ# .œ#
jœ#>‰ ‰ jœ#>
‰ ‰
.œ#> .œ#
f
f
f
f
f
f
f
f
f
f
∑
œ œ# œ# œ œ# œ# œ#>f
œ œ> œ Jœ> ‰
œ œ# œ# œ œ# œ# œ#>fœ œ> œ jœ> ‰
jœ# >f‰ Jœ
> ‰ Jœ#> ‰
jœ>f‰ Jœ#
> ‰ Jœ#> ‰
Jœ# > ‰ Jœ> ‰ Jœ#> ‰
Jœ#> ‰ Jœ#> ‰ Jœ#> ‰
jœ#>a2
‰ Jœ> ‰ Jœ#
> ‰
Jœ#> ‰ Jœ#> ‰ Jœ#> ‰
jœ>‰ jœ#>
‰ jœ>‰
∑
œ>
œ œ>
œ œ>
œ
œ œ œ œ œ œ Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
Jœœœ## > ‰ J
œœœ>
‰ Œ
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
Jœ#> ‰ Jœ#> ‰ Jœ#> ‰
jœ>‰ Jœ#
> ‰ Jœ> ‰
jœ>‰ Jœ#
> ‰ Jœ> ‰
45
Œ . Jœ>
‰ ‰
Œ . Jœœ>
‰ ‰
Œ . Jœœ#> ‰ ‰
Œ . Jœœ> ‰ ‰
Œ . Jœœ#> ‰ ‰
Œ . Jœ#> ‰ ‰
Œ . Jœ#> ‰ ‰
Œ . Jœœ#> ‰ ‰
jœ#> ‰ ‰ Jœ#> ‰ ‰
jœ#>
‰ ‰ Œ .
∑
∑
Œ . Jœ> ‰ ‰
.œ>bass drum
Π.
œ#>
œ# œ œ>
œ œ.˙
Œ .jœœ#>div.
[ ‰ ‰Œ . Jœ#>‰ ‰
Œ . jœ>div.
‰ ‰Œ .Jœœ#>
[
‰ ‰
.œ#>F.œ
jœ#>F‰ ‰ jœ> ‰ ‰
.œ#>F.œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ# œ œ>
œ œ.˙
∑
∑
.œ# .œ
jœ#> ‰ ‰ jœ>jœ ‰
.˙
to marimba
to marimba
to cymbal
∑
∑
∑
∑
∑
∑ &
∑ &
∑
∑
∑
∑
∑
∑
∑
œ#>
œ# œ .œ#>
.˙
∑
∑
.˙
jœ#> ‰ ‰ jœ>jœ ‰
.˙
117
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
66
∑
∑
œ#>F
a2
œ# œ .œ>
œ#>F
a2
œ# œ .œ>
∑
66
∑
∑
∑
∑
∑
∑
66
∑
∑
∑
œ#>
œ# œ.œ>
.˙
66
∑
Œ . .œ>unis.
F.˙#>
jœ#> ‰ ‰ jœ>jœ ‰
.˙
Jœ>
F‰ ‰ Jœ# > ‰ ‰
jœ>
F
‰ ‰ œ#>
œ œœ œ œ Jœ#> ‰ ‰
Jœ> ‰ ‰ Jœ# > ‰ ‰
Jœ> ‰ ‰ jœ# > ‰ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œœ#>
œ œ.˙#
∑
.œ .œ#>
.˙
.˙#
.˙#
Jœ#>
‰ ‰ Jœ> ‰ ‰
jœ#‰ ‰ œ
>œ œ
œ#
>œ œ Jœ> ‰ ‰
Jœ#> ‰ ‰ Jœ> ‰ ‰
Jœ#> ‰ ‰ Jœ
> ‰ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ#>
œ œœ>
œ œ.˙
∑
.œ#> .œ>
.˙
.˙
.˙
f
f
f
f
f
Jœ#>f
‰ Jœ> ‰ Jœ> ‰
jœ#>a2
f‰ Jœ
> ‰ jœ> ‰
jœ#>f‰ Jœ
> ‰ jœ> ‰
jœ#>f‰ Jœ
> ‰ jœ> ‰
∑
jœ>‰ jœ>
‰ jœ>‰
jœ#>
‰ jœ#>
‰ jœ>
‰
Jœ>a2
‰ Jœ> ‰ jœ#> ‰
jœ#> ‰ jœ> ‰ jœ> ‰
∑
∑
∑
∑
∑
œ#> œ œ#> œ Jœ> ‰
Jœ>unis.
‰ Jœ> ‰ jœ#> ‰
jœ#> ‰ jœ#> ‰ jœ>‰
Jœ#> ‰ Jœ#> ‰ Jœ> ‰
jœ#> ‰ jœ> ‰ jœ> ‰
jœ# ‰ jœ> ‰ jœ> ‰
∑
∑
Œ . œ#>Fœ# œ
œ#>Fœ# œ jœ#> ‰ ‰
∑
∑
.œ# -F.œ# -
‰ ‰ JœF‰ ‰ Jœ
jœ#>F‰ ‰ jœ#>
‰ ‰
.˙#F∑
∑
∑
∑
œ#>
œ# œœ#>
œ# œ.œ# .œ#
.˙F
.œ# -F
.œ# -.œ# -
F.œ# -
jœ#>F‰ ‰ jœ#>
‰ ‰
.˙#F
118
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
71
∑
œ#>Fœ# œ jœ> ‰ ‰
jœ#> ‰ ‰ Œ .
Œ . œ#> œ# œ
∑
71
∑
.œ#> .œ#>‰ ‰ Jœ ‰ ‰ Jœ
jœ#>‰ ‰ jœ>
‰ ‰
.˙∑
71
∑
∑
∑
œ#>
œ# œœ
>œ œ
.œ# .œ71 .˙
.œ# - .œ# -
.œ# - .œ# -
jœ#>‰ ‰ jœ>
‰ ‰
.˙
∑
Œ . œ#> œ# œ
∑
jœ>‰ ‰ Œ .
œ>F
a2 œ# œ Jœ> ‰ ‰
∑
.œ- .œ# -‰ ‰ Jœ ‰ ‰ Jœ
jœ>‰ ‰ jœ#>
‰ ‰
.˙∑
∑
∑
∑
œ
>œ# œ
œ#>
œ# œ.œ .œ#
.œ- .œ# -
.œ- .œ# -
.œ- .œ# -
jœ>‰ ‰ jœ#>
‰ ‰
.˙
f
f
f
f
f
f
f
f
f
f
Œ .œ> œ œ#
jœ#> ‰ Jœœ> œ œ#
œ#> œ# œJœ> ‰ ‰
œ#>
œ# œ Jœ> ‰ ‰
Jœ#> ‰ ‰ jœ#> ‰ ‰
Œ . .œ>fF
.œ> .œ>
‰ ‰ Jœf
Jœ ‰ ‰
œ#> œ œ œ#>fœ œ
œ#> œ œ œ#>fœ œ
∑
∑
∑
∑
œ#>
œ# œ œ>
œ œ.˙
.œ> œ> œ œ#
.œ> œ> œ œ#
.œ> .œ>
œ#> œ œ œ#> œ œ
œ#> œ œ œ#> œ œ
F
F
F
F
F
∑
∑
Œ . œ#>Fœ# œ
œ#>F
œ# œ jœ#> ‰ ‰
∑
.˙
.œ-F.œ# -
.>Pjœ#>F
‰ ‰ jœ#>‰ ‰
.˙#F
∑
∑
∑
∑
œ#>
œ# œœ#>
œ# œ.œ# .œ#
.œ- .œ# -
.˙
.œ- .œ# -
jœ#>‰ ‰ jœ#>
‰ ‰
.˙
∑
œ#>Fœ# œ jœ> ‰ ‰
jœ#> ‰ ‰ Œ .
Œ . œ#> œ# œ
∑
.˙
.œ#> .œ>
.˙
jœ#>‰ ‰ jœ>
‰ ‰
.˙∑
∑
∑
∑
œ#>
œ# œœ
>œ œ
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.œ# - .œ-
.˙
.œ# - .œ-
jœ#>‰ ‰ jœ>
‰ ‰
.˙
119
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
76
∑
Œ . œ#> œ# œ
∑
jœ>‰ ‰ Œ .
œ>F
œ# œJœ#> ‰ ‰
76 3
œ# -cresc.
œ- œ# -3
œ# -cresc.
œ- œ# -.˙F
jœ>‰ ‰ jœ#>
‰ ‰
.˙∑
76 .˙æp
bass drum
cresc.
∑
∑
œ
>œ# œ
œ#>
œ# œ.œ .œ#
76 3œ# -cresc.
œ- œ# -
3
œ# -cresc.
œ# - œ# -3œ# -
cresc.
œ- œ# -
jœ>‰ ‰ jœ#>
‰ ‰
.˙
Œ . œ# >F
œ œ#
jœ# ‰ Jœ œ# > œ œ#
œ#> œ# œ Jœ> ‰ ‰
œ#> œ# œ Jœ#> ‰ ‰
Jœ#> ‰ ‰ jœ#> ‰ ‰
3
œ- œ# - œ# -3
œ- œ# - œ# -
œ> œ œ œœ#> œœ œœ#
œ#> œ œ œ#> œ œ
œ#> œ œ œ#> œ œ
∑
.˙æ
∑
∑
œ#>
œ# œ œ#>
œ œ.˙
3
œ- œ# - œ# -
3
œ- œ# - œ# -3
œ- œ# - œ# -
œ#>cresc.
œ œ œ#> œ œ
œ#>cresc.
œ œ œ#> œ œ
f
Jœ#> ‰ ‰ Œ .
Jœ# ‰ ‰ œ#> œ# œ
œ#> œ# œ œ> œ# œ
∑
œ# œ# œ .œ>
œ#> œ# œ .œ#>
œ# > œ# œ .œ#>
Jœœ#> ‰ ‰ J
œœ## >
f‰ ‰
.œ#> .œ#>
.œ#> .œ#>∑
.˙æ
∑
∑
œ#>
œ# œœ#>
œ# œ.œ# .œ#
œ#> œ# œ œ> œ# œ
œ#> œ# œ .œ#>.œ#> .œ#>
.œ#> .œ#>
.œ#> .œ#>
f
f
f
f
f
46 More Smooth and Broad
∑
.>
f.>
f∑
∑
.>f.>
f∑
jœ>f‰ ‰ Œ .
jœ>f
‰ ‰ Œ .
.>æfp cresc.
.>fœ#>marimba
fœ œ œ> œ œ&
œ>marimba
fœ œ œ> œ œ?
Œ .VII ..œœ# oo
.˙>.>
.œ#> .œn>jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
.>
to cymbal
∑
.œ .œ#
.œ .œ#
.œf
.œ
.œf
.œ
.œ Jœ#> ‰ ‰
.œ Jœ#> ‰ ‰
∑
∑
∑
.æ
∑
œ#> œ œ œ> œ# œ
œ> œ œ œ> œ œ
..˙
.˙
.œ .œ#
.˙
.œ .œ
.œ .œ
.˙
120
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
81
∑
.>
.>
.>
.>
81
∑
∑
∑
∑
∑
.æ
81
∑
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
..˙
.˙
81 .˙n>
.œ#> .œN>
.>
.>
.˙
∑
Jœ>
‰ Œ Œ
Jœ> ‰ Œ Œ
jœ>‰ Œ Œ
Jœ> ‰ Œ Œ
∑
∑
∑
∑
∑
Jœ>f
‰ Œ Œ
∑
Jœ> ‰ Jœ> ‰ Jœ
> ‰
Jœ> ‰ Jœ>
‰ Jœ> ‰
∑
œ> œ> œ#>
œ>œ> œ>
Jœ> ‰ Œ Œ
jœ>‰ Œ Œ
Jœ> ‰ Œ Œ
∑
.œ#> .œ>
.>
.œ#> .œ>
.>
∑
∑
∑
∑
∑
∑
.œ>cymbal
FΠ.
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
.œ#> .œN>
.>
.œ#> .œN>
.>
.>
∑
.œ .œ#
.˙
.˙
.œ .œ
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ œ> œ# œ
œ> œ œ œ> œ œ
∑
.œ .œ#
.˙
.˙
.œ .œ
.œ .œ
to tambourine
.œ#> .œ>
.œ#> .œ>
.œ#> .œ>
.>
.>
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
.œ#> .œ>
.œ#> .œ>
.>
.>
.>
121
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
86 .˙
.˙
> œ
.˙
Jœ#> ‰ Œ Œ
86
∑
∑
∑
∑
∑
∑
86
Jœ>tambourine
f‰ Jœ> ‰ Jœ> ‰
Jœ#> ‰ Jœ> ‰ Jœ
> ‰
Jœ> ‰ Jœ>
‰ Jœ> ‰
∑
86 .˙
> œ
.˙
jœ#>‰ Œ Œ
Jœ#> ‰ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œn œ#
œ
>œ œ
.œ .œ
∑
∑
∑
.>F
.>F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ
œ#œ
>œ# œ
.œ .œ
∑
∑
∑
.œ .œ>
.œ .œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ
œ#œ
>œ œ
.œ .œ
∑
∑
∑
.>
.>
F
to cymbal
œ>F
œ œ> œ œ> œ
œ>F
œ œ> œ œ> œ
œ>F
œ œ> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ ‰ jœ ‰ jœJœ>
‰ Jœ> ‰ Jœ>‰
∑
œ
>œ œ
>œ œ
>œ
.˙
∑
∑
∑
jœ>‰ Jœ
> ‰ Jœ> ‰
jœ>‰ Jœ
> ‰ Jœ> ‰
122
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
91
∑
∑
∑
∑
∑
91
∑
∑
∑
∑
∑
∑
91
∑
∑
jœ>F‰ ‰ Jœ> ‰ ‰
œ
>œ
œ#œ
>œ œ
.œ .œ
91
∑
∑
.˙#F.>
.>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
jœ> ‰ ‰ jœ> ‰ ‰
œ>œ
œ#œ
>œ# œ
.œ .œ
∑
∑
.˙
.œ .œ>
.œ .œ>
.˙
.˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
jœ> ‰ ‰ Jœ> ‰ ‰
œ
>œn œ#
œ
>œ œ
.œ .œ
∑
.˙F.˙
.>
.>
Jœ ‰ Œ Œ
.˙
œ> œ œ#> œ œ> œ
œ>F
œ œ#> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ ‰ jœ ‰ jœJœ>
‰ Jœ#> ‰ Jœ>‰
Jœ> ‰ ‰ Œ .
œ
>œ
œ#> œ œ
> œ.˙
∑
.˙
.˙
Jœ> ‰ jœ#>
‰ Jœ> ‰
jœ>‰ Jœ#
> ‰ Jœ> ‰
to triangle
47
∑
∑
∑
∑
∑
Œ . .œ>PŒ .
.œ>Pœ>F
a2
œ œ œ> œ œ
jœ>F‰ ‰ jœ>
‰ ‰
jœ>F
‰ ‰ jœ>
‰ ‰
.œ>F.œæ>
.˙cymbal
Fjœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ . &
œ
>œ œ
œ
>œ œ
.œ .œ
∑
.œ> .œ>æ
.œ> .œ>æ
.œ> .œ>æ
∑
123
&
&
&
&
?
&
&
&
?
?
?
÷
&
&
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
96
∑
∑
∑
∑
∑
96
.œ .œ>
.œ .œ#>
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
.œ.œ>
96
∑
∑
∑
œ
>œ œ
œ
>œ# œ
.œ .œ96
∑
.œ>F.œ>
.œ>F.œ#>
.œ>F
.œ>
Œ . .œ>
∑
∑
∑
∑
∑
.>F
.>Fœ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
.œ> .œæ>
∑
∑
∑
œ
>œ œ
œ
>œ œ
.œ .œ
.>
.œ> .œ>æ
.œ> .œ>æ
.œ> .œ>æ
.>
∑
∑
∑
∑
∑
.œ .œ>
.œ .œ#>œ> œ œ œ#> œ œ
jœ>‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
.œ>.œ>
∑
∑
∑
œ
>œ œ
œ
>œ# œ
.œ .œ
.œ .œ>
.œ>F.œ>
.œ>F.œ#>
.œ>F
.œ>
.œ> .œ>
∑
∑
∑
∑
∑
.>
.>
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
.œ> .œæ>
∑
∑
∑
œ
>œ œ
œ
>œ œ
.œ .œ
.>
.œ> .œ>æ
.œ> .œ>æ
.œ .œ>æ
.>
∑
∑
∑
∑
∑
.œ .œ#>
.œ .œ#>œ> œ œ œ#> œ œ
jœ>‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
.œ>.œ>
∑
∑
∑
œ
>œ œ
œ
>œ# œ
.œ .œ
.œ .œ#>
.œ> .œ#>
.œ> .œ#>
.œ> .œ>
.œ> .œ>
124
&
&
&
&
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&
&
&
?
?
?
÷
&
&
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
48
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
Intensely
101œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
Jœœ> ‰ ‰ J
œœ> ‰ ‰
101
Jœ ‰ ‰ œ> œ œ
jœfl‰ ‰
œ> œ œ
.>
jœ> ‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
œ>fœ œ œ> œ œ
101
œ>triangle
fœ œ œ
>œ œ
œ#>
f
œ œ œ> œ œ
œ>fœ œ œ> œ œ
3
Œ œ> œ
>
.˙>
101œ> œ œ œ> œ œ
œœ>div.
œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ#> œ œ
œœ> œ
œœœ
œœ##> œ
œœœ
œœ> œœ œœ œœ#> œœ œœ
œœ> œœ œœ œœ#> œœ œœ
..œœ>
Jœœ> ‰ ‰
œ> œ œ œ#> œ œ
œ> œ œ œ> œ œ
Jœ> ‰ ‰ œœ#> œœ œœ
.œ>jœ> ‰ ‰
.œ>jœ>
‰ ‰
œ> œ œœ> œ œ
œ>
œ œ œ>
œ œ
œ#> œ œ œ> œ# œ
œ> œ œ œ> œ œ
..˙
.˙œ> œ œ œ#> œ œ
œœ> œœ œœ œœ#> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
Jœœ> ‰ ‰ J
œœ> ‰ ‰
.>
.>
.>a2
jœ> ‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
œ>
œ œ œ>
œ œ
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
œ> œ œ œ> œ œ
œœ> œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ#> œ Jœ> ‰
œœ> œ
œœœ##> œ
œ Jœœ>
‰
œœ> œœ œœ#> œœjJœ>
‰
œœ> œœ œœ#> œœjJœ>
‰
Jœœ> ‰
Jœœ> ‰ J
œœ> ‰
œ> œ œ#> œjœ>
‰
œ> œ œ> œjœ>
‰
œ> œ œ#> œ Jœ> ‰
jœ> ‰ jœ> ‰ jœ> ‰
jœ>
‰ jœ>
‰ jœ>
‰
jœ> ‰ Jœ> ‰ jœ> ‰
Jœ+> ‰ Jœ
o> ‰ Jœ>+ ‰
Jœ>
‰ Œ Œ
Jœ> ‰ Œ Œ
∑
œ> œ œ#> œ œ> œ
œœ> œœ œœ#> œœ œœ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
Jœœ> ‰ ‰ J
œœ> ‰ ‰
jœfl‰ ‰ œ> œ œ
jœfl‰ ‰
œ> œ œ
.>
jœ> ‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
œ>
œ œ œ>
œ œ
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
œ> œ œ œ> œ œ
œœ> œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
125
&
&
&
&
?
&
&
&
?
?
?
÷
&
&
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
106œ> œ œ œ#> œ œ
œœ> œ
œœœ
œœ##> œ
œœœ
œœ> œœ œœ œœ#> œœ œœ
œœ> œœ œœ œœ#> œœ œœ
..œœ>
Jœœ> ‰ ‰
106
œ> œ œ œ#> œ œ
œ> œ œ œ> œ œ
Jœ> ‰ ‰ œœ#> œœ œœ
.œ>jœ> ‰ ‰
.œ>jœ>
‰ ‰
œ> œ œœ> œ œ
106
œ>
œ œ œ>
œ œ
œ#> œ œ œ> œ# œ
œ> œ œ œ> œ œ
∑
106œ> œ œ œ#> œ œ
œœ> œœ œœ œœ#> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
Jœœ> ‰ ‰ J
œœ> ‰ ‰
.>
.>
.>a2
jœ> ‰ ‰ jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
œ>
œ œ œ>
œ œ
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
œ> œ œ œ> œ œ
œœ> œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ#> œ Jœ> ‰
œœ> œ
œœœ##> œ
œ Jœœ>
‰
œœ> œœ œœ#> œœjJœ>
‰
œœ> œœ œœ#> œœjJœ>
‰
Jœœ> ‰
Jœœ> ‰ J
œœ> ‰
œ> œ œ#> œjœ>
‰
œ> œ œ> œjœ>
‰
œ> œ œ#> œ Jœ> ‰
jœ> ‰ jœ> ‰ jœ> ‰
jœ>
‰ jœ>
‰ jœ>
‰
jœ> ‰ Jœ> ‰ jœ> ‰
Jœ+> ‰ Jœ
o> ‰ Jœ>+ ‰
Jœ>
‰ Œ Œ
Jœ> ‰ Œ Œ
∑
œ> œ œ#> œ Jœ>
‰
œœ> œœ œœ#> œœ Jœœ> ‰
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
49
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ
œ#œ
>œ œ
.œ .œ
∑
∑
Œ . .œ#P
.>P∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ
œ#œ
>œ# œ
.œ .œ
∑
∑
.œcresc.
.œ
.œcresc.
.œ>
∑
126
&
&
&
&
?
&
&
&
?
?
?
÷
&
&
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
111
∑
∑
∑
∑
∑
111
∑
∑
∑
∑
∑
∑
111
∑
∑
∑
œ
>œ
œ#œ
>œ œ
.œ .œ
111
∑
∑
.œ .œ
.>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ>
œ œ>
œ
.˙
∑
∑
.˙
.>∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ
œ#œ
>œ œ
.œ .œ
.˙#FŒ . .œ
F
unis.
.˙F
.>F
.>F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ
œ#œ
>œ# œ
.œ .œ
.˙
.œ .œ#
.˙
.œ .œ>
.œ .œ>
∑
∑
∑
∑
∑
∑ ?
∑ ?
∑
∑
∑
∑
∑
∑
∑
œ
>œ
œ#œ
>œ œ
.œ .œ
.˙
.œ .œ
.˙
.>
.>
127
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
116
∑
∑
∑
∑
∑
116
œ-F
œ# - œ-
œ-F
œ# - œ-
∑
jœ>F‰ jœ#>
‰ jœ> ‰
jœ>F‰ jœ#>
‰ jœ> ‰
∑
116
∑
∑
∑
œ
>œ
œ#> œ œ
> œ.˙
116
.>
œ œ> œ>
œ> œ#> œ>
œ> œ#> œ>
œ> œ#> œ>
f
f
f
f
f
Jœ#> ‰ ‰ Œ .
Jœ#>a2
‰ ‰ Œ .
jœœ> ‰ ‰ Œ .
jœœ> ‰ ‰ Œ .
jœœ>
‰ ‰ Œ .
.>f.>
f∑
jœ>f‰ ‰ Œ .
jœ>f‰ ‰ Œ .
∑
Jœ>tambourine
‰ ‰ Œ .
∑
∑
œ#>
œ œ œ>
œ œ.˙
Jœœ#>div.
f‰ ‰ Œ .
.œ# -fF
.œ-jœœ>
div.
f‰ ‰ Œ .
.>fF
.>fF
Œ . œ>
F
œ œ
Œ . œ>F
œ œ
∑
∑
∑
.œ-F
.œ-
.œ-F
.œ-
∑
∑
Œ ..œ>fp
Œ . .œæ>fp∑
∑
∑
œ#>
œ œœ>
œ œ.˙
∑
.œ# - .œ-
∑
.˙
.˙
Jœ> ‰ ‰ Jœ> ‰ ‰
Jœ> ‰ ‰ Jœ> ‰ ‰
∑
∑
∑
.œ# - .œ-
.œ# - .œ-
∑
∑
.˙
.æ
∑
∑
∑
œ>œ œ
œ> œ œ
∑
.œ- .œ-
∑
.>
.>
∑
∑
œ>a2
Fœ> œ#>
f
œ>a2
Fœ> œ#>
f∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
œ>œ
œ>œ
œ#>œ
∑
œ> œ> œ#>
∑
œ- œ- œ# -
œ- œ- œ# -
128
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
121
∑
∑
∑
∑
∑
121
∑
∑
∑
∑
∑
∑
121
∑
∑
∑
œ>
œ œœ>
œ œ.˙
121
∑
.>fPŒ . .œ>
unis.
.>fP
.>fP
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>œ œ
œ>œ œ
∑
.˙
.œ#> .œ>
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œœ>
œ œ
∑
.>
.-
.˙#>
.˙#>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>œ œ
œ>œ œ
∑
.˙
.˙
.œ .œ
.œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ
œ> œ œœ#> œ œ
∑
Jœ>f
‰ Œ Œ
Jœ>f
‰ Œ Œ
œ- œ- œ-
œ- œ- œ-
129
&
&
&
&
?
?
?
&
?
?
?
÷
&
&
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
f
f
f
f
f
126 Jœ> ‰ Jœ> ‰ Jœ#> ‰
Jœ> ‰ Jœ> ‰ Jœ#> ‰
Jœ> ‰ jœ> ‰ Jœ
> ‰
jœ> ‰ Jœ> ‰ jœ> ‰
Jœ>a2
‰ Jœ> ‰ Jœ#> ‰
126
∑ &
∑ &
∑
∑
∑
∑
126
∑
∑
∑ ?
∑
126
∑
∑
∑
jœ>f‰ Œ Œ
jœ>f‰ Œ Œ
f
50
Jœ# ‰ ‰ Œ .
Jœ# ‰ ‰ Œ .
Jœ# ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
œ#>fœ œ œ> œ œ
œ>fœ œ œ> œ œ
œœ#>f
œœ œœ œœ> œœ œœ
œ>
œ œ œ>
œ œJœ> ‰ ‰ Jœ> ‰ ‰
jœ>f
‰ ‰ jœ>
‰ ‰
œ>fœ œ œ> œ œ
∑
Jœœœ#> ‰ ‰ J
œœœ> ‰ ‰
Jœœ> ‰ ‰ J
œœ> ‰ ‰
œœœœ#>
rasq.
ƒ
œœœœœœœœ
œœœœ>œœœœ
œœœœ
œœ#> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ#> œœ œœ œœ> œœ œœ
œ>
œ œ œ>
œ œJœ> ‰ ‰ Jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
∑
Jœœœ#> ‰ ‰ J
œœœ> ‰ ‰
Jœœ> ‰ ‰ J
œœ> ‰ ‰
œœœœ#>
œœœœœœœœ
œœœœ>œœœœ
œœœœ
œœ#> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ#> œœ œœ œœ> œœ œœ
œ>
œ œ œ>
œ œJœ> ‰ ‰ Jœ> ‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
∑
Jœœœ#> ‰ ‰ J
œœœ> ‰ ‰
Jœœ> ‰ ‰ J
œœ> ‰ ‰
œœœœ#>
œœœœœœœœ
œœœœ>œœœœ
œœœœ
œœ#> œœ œœ œœ> œœ œœ
œœ> œœ œœ œœ> œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
Jœ#> ‰ Jœ> ‰ Jœ> ‰
Jœ#> ‰ Jœ> ‰ Jœ> ‰
Jœœ#> ‰ J
œœ> ‰ J
œœ> ‰
jœœ> ‰ jœœ> ‰ jœœ> ‰
Jœ> ‰ Jœ> ‰ Jœ> ‰
jœ#> ‰ jœ> ‰ jœ> ‰
jœ>‰ jœ>
‰ jœ>‰
Jœœ#> ‰
Jœœ> ‰ J
œœ> ‰
Jœœ> ‰ J
œœ> ‰ J
œœ> ‰
jœ>
‰ jœ>
‰ jœ>
‰
jœ> ‰ jœ> ‰ jœ> ‰
∑
Jœœœ#> ‰ Œ Œ
Jœœ> ‰ Œ Œ
œœœœ#>
œœœœœœœœ>
œœœœ
jœœœœ>‰
Jœœ#> ‰ J
œœ> ‰ J
œœ> ‰
jœœ> ‰ jœœ> ‰ jœœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
jœ> ‰ jœ> ‰ jœ> ‰
jœ>
‰ jœ>
‰ jœ>
‰
130
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
131
∑
∑
∑
∑
∑
131
∑
∑
∑
∑
∑
∑
131
∑
∑
∑
œ#> œ œ .œ>
131
∑
Œ . .œ>unis.
Fjœ> ‰ ‰ .œ>Fjœ> ‰ ‰ .œ>F.>
fF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ#> œ œ
∑
.œ .œ#>
.œ .œ#>
.œ .œ>
.œ .œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
.œ>
∑
.˙
.>
.>
.>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œ> œ œ>
∑
œ> œ> œ#>
œ#> œ> œ>
œ> œ> œ>
œ> œ> œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ .œ>
∑
.œ> .œ
.>
.>
.>
131
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
136
∑
∑
∑
∑
∑
136
∑
∑
∑
∑
∑
∑
136
∑
∑
∑
œ#> œ œ
œ> œ œ
136
∑
.>
.œ#> .œ>
.œ .œ#>
.œ .œ#>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ
œ#>œ œ
.˙unis.
.˙
.œ> .œ#>
.œ> .œ>
.œ> .œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ œ
œ>
.˙
.˙
>
jœ>‰ jœ#>
‰ jœ> ‰
jœ>‰ jœ#>
‰ jœ> ‰
f
f
f
f
f
51
∑
∑
.œ>a2
.œ
.œ>a2
.œ
∑
∑
∑
∑
∑
∑
∑
.>trianglef œœ>
f
œ œ œœ> œ œ
∑œ>
œ œ
.œ>
œœ>div. œ
œœœ
œœ> œ
œœœ
.œ> .œ
.œ> .œ
.>
.>
∑
∑
.œ# .œ
.œ# .œ
∑
∑
∑
∑
∑
∑
∑
∑œœ> œ œ œ
œ> œ œ
∑
∑
œœ> œ
œœœ
œœ> œ
œœœ
.œ# .œ
.œ# .œ
.œ> .œ>
.œ> .œ>
132
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
141
∑
∑
.>
.œ> .œ#
.œ> .œ#
141
∑
∑
∑
∑
∑
∑
141
∑œœ> œ œ œ
œ> œ œ
∑
∑
141
œœ> œ
œœœ
œœ> œ
œœœ
.>
.œ> .œ#
.>
.>
∑
.>
Jœ> ‰ Jœ> ‰ jœ>
‰
Jœ> ‰ Jœ> ‰ jœ>
‰
Jœ>
‰ Jœ> ‰ Jœ> ‰
∑
∑
∑
jœ# - ‰ jœ- ‰ jœ- ‰
jœ# - ‰ jœ- ‰ jœ- ‰
∑
∑
Jœœ>
‰ Jœ>
‰ Jœ> ‰
∑
∑
Jœœ>
‰ Œ Œ
œ> œ> œ>œ> œ>
œ>
œ#> œ> œ>
œ#> œ> œ>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
Œ . .œ#>
Œ . .œ#>.œ- .œ-
.œ- .œ-
.œ- .œ-œ> œ œ œ> œ œ
.œ- .œ-
.>
.œ> .œ>æ
∑
jœ> ‰ ‰ Œ .
∑œ> œ œ œ> œ œ
œ>unis. œ œ œ> œ œ
.œ- .œ-
Œ . .œ#>
.>
.>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.˙
.˙
.œ- .œ-
.œ- .œ-
.œ- .œ-
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.œ- .œ-
.œ> .œ>
.œ>.œ>
∑
∑
∑œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ- .œ-
.˙
.œ> .œ>
.œ> .œ>
to tambourine
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.˙
.˙
.œ# - .œ-
.œ# - .œ-
.œ# - .œ-
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.>
.œ> .œ>æ
∑
∑
∑œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
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.˙
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.>
133
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
146 Jœ> ‰ Œ Œ
Jœ> ‰ Œ Œ
Jœ> ‰ Jœ> ‰ jœ>
‰
Jœ> ‰ Jœ> ‰ jœ>
‰
Jœ>
‰ Jœ> ‰ Jœ> ‰
146
Jœ> ‰ Œ Œ
Jœ> ‰ Œ Œ
Jœ> ‰ Œ Œ
Jœ>
‰ Jœ> ‰ Jœ> ‰
jœ>‰ Jœ
> ‰ jœ>‰
œ> œ> œ>æ146
∑
∑
∑
Jœ>
‰
146 Jœ> ‰ œ>œ>
œ> œ>œ>
œ> œ>œ>
œ>œ>
œ>
œ>œ>
œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ . Jœ>F
tambourine
‰ ‰
∑
∑
œ> œn œn œ> œ œ
∑
.˙nfF.œ-fF
.œ-
œ>fFœ œ œ> œ œ
.˙n>fF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œæ Jœ> ‰ ‰
∑
∑
œ> œ œœ> œ œ
∑
.˙
.œ- .œn -
œ> œ œ œ> œ œ
.œ> .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œœ> œ œ
∑
.˙
.œ- .œ-
œ> œ œ œ> œ œ
.>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ> jœ
>‰œ œ œ œ Jœ‰
∑
jœ> ‰ jœ> ‰ jœ> ‰
jœ> ‰ jœ> ‰ jœ> ‰
œ> œ> œ>
œ> œ> œ>
134
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
f
f
151 œ> œ œ œ> œ œ
∑
∑
Œ . .œ>
Œ . .œ>
151
∑
∑
Œ . .œ>
Œ . .œ>
∑
∑
151
∑
œ> œ œ Jœ> ‰ ‰
Œ .œ> œ œ
œ>œ œ œ> œ œ
151 œ>f
œ œ œ> œ œ
Œ . .œ>
Œ . .œ>
.˙
.˙
œ> œ œ œ> œ œ
Œ . .œ
Œ . .œ
.œ .œ
.œ# .œ
Œ . .œ
Œ . .œ
.œ .œ
.œ# .œ
∑
∑
∑
œ> œ œ Jœ> ‰ ‰
Jœ>
‰ ‰œ> œ œ
œ>œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ .œ
.œ# .œ
.˙
.˙
œ> œ œ œ> œ œ
.œ# .œ
.œ# .œ
.˙
.˙
.œ# .œ
.œ# .œ
.˙
.˙
Œ . .œ
∑
∑
œ#> œ œ Jœ> ‰ ‰
Jœ>
‰ ‰ œ> œ œ
œ#> œ œœ> œ œ
œ> œ œ œ> œ œ
.˙
.˙
.˙
.˙
Jœ> ‰ Œ Œ
œ> œ> œ>f
œ> œ> œ>f
.> f
.˙#>f
.> f
.> f
œ> œ> œ>f
.˙#>f
œ> œ#> œ>f∑
∑
œ>œ
œ>œ
œn>
fœ
œ>œ
œ>œ
œn>
fœ
œ>œ
œ>œ Jœn
>‰
œ> œ œ> œ œ> œ
œ> œ> œ>
.˙#>
œ> œ#> œ>
œ> œ#> œ>
fF
fF
fF
fF
fF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œn œn œ> œ œ
.œ> .œ-
.œ> .œn>
.œ .œ-
œ> œ œ œ> œ œ
.˙n>
135
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
156
.œ- .œ-
∑
∑
∑
∑
156
∑
∑
∑
∑
∑
∑
156
∑
∑
∑œ>
œ œœ> œ œ
156 .œ- .œ-
.˙
.œ- .œ-
œ> œ œ œ> œ œ
.œ> .œ
.œ- .œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œœ> œ œ
.œ- .œ-
.˙
.œ- .œ-
œ> œ œ œ> œ œ
.>
Jœ>
‰ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ>
œœ> jœœ
> ‰œ œ œ œ Jœ‰
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
œ>œ> œ>
œ> œ> œ>
52
∑
∑
Œ . .œF
.œ>F.œ
.>F∑
∑
∑
∑
jœ>F
‰ ‰ jœ>
‰ ‰
∑
∑
∑
∑
œ>
œ œ œ>
œ œ.˙œ>o œo œo œ>o œo œo
Œ . .œ
.œ>.œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑.>
F.>
.œ> .œ
.œ> .œ
∑
∑
∑
∑
jœ>
‰ ‰ jœ>
‰ ‰
∑
∑
∑
∑œ>
œ œ œ>
œ œ.˙œ>o œo œo œ>o œo œo
.>
.œ> .œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
136
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
161
∑.˙
.˙
.œ> .œ
.>161 .œ>
F.œ
∑
∑
∑
jœ>
‰ ‰ jœ>
‰ ‰
∑
161
∑
∑
∑
œ>
œ œ œ>
œ œ.˙
161
œ>o œo œo œ>o œo œo
.˙
.œ> .œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ> œ œ>f
œ
œ> œ œ> œ œ>f
œ
œ> œ> œ>f
œ> œ> œ>f
œ> œ> œ>f.> f
∑
∑
∑
jœ>
‰ jœ>
‰ jœ>f
‰
∑
Jœ>F
‰ Jœ> ‰ Jœ> ‰
∑
∑
œœ> œœœ> œ
œ> œ
Jœo>
‰ Œ Œ
œ> œ> œ>f
œ> œ> œ>f
jœ> ‰ jœ>‰ jœ>f
‰
jœ> ‰ jœ>‰ jœ>f
‰
∑
∑
.>F.>
F
œ>Fœ œ œ> œ œ
.œ>F
.œ
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œœ> œ œ
∑
.>F.œ>
F.œ
œ>Fœ œ œ> œ œ
œ>Fœ œ œ> œ œ
∑œ> œ œ> œ œ> œ
fœ> œ> œ>
œ> œ> œ>
.˙
.>
∑
∑
∑
∑
∑
∑
∑
∑
œœ> œœœ>
œœ> œ
œ> œ œ> œ œ> œ
œ> œ> œ>
œ> œ> œ>
.˙
.˙
∑
∑
.˙f.˙
fΠ.
.œ
f
.œ-f.œ-
.œ-f.œ-
∑
œ>fœ œ œ> œ œ
∑
∑
∑
∑
∑
œ> œ œœ> œ œ
Œ ..œ
f.œ-
f.œ-
.œf
.œ
œ>fœ œ œ> œ œ
.˙f
137
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
166
∑
œ> œ œ œ> œ œ
.˙
.˙
.˙
166
.œ- .œ-
.œ- .œ-
œ>f
œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ>f
œ œœ> œ œ
166
∑
∑
∑
œ> œ œ œ> œ œ
166.˙
.œ- .œ-
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ .œ
.œ- .œ-
.œ- .œ-
∑
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
œ> œ œœ> œ œ
.˙
.œ- .œ-
.œ .œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
œ> œ œ œ> œ œ
.˙
.˙
.˙
3
œ- œ- œ-3
œ- œ- œ-
œ> œ œ œ> œ œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ>œ>
œ>
∑
∑
∑
œ> œ œ œ> œ œ
.˙
3
œ- œ- œ-
3
œ- œ- œ-
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
∑.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ.œ
.œ- .œ-
.œ- .œ-
∑
œ> œ œ œ> œ œ
.˙
.˙æ
∑
œ> œ œ jœ>
‰ ‰
Œ .œ>
œ œ
œ> œ œ œ> œ œ
.œ .œ
.œ- .œ-
.œ .œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
œ> œ œ œ> œ œ
.˙
.˙
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œœ> œ œ
∑
œ> œ œ jœ>
‰ ‰
Jœ> ‰ ‰
œ>œ œ
œ> œ œ œ> œ œ
.œ .œ
œ> œ œ œ> œ œ
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
138
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
171œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.˙
171
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.˙æ171
∑
œ> œ œ jœ>
‰ ‰
Jœ> ‰ ‰
œ>œ œ
œ> œ œ œ> œ œ
171
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
œ> œ œ> œ œ>œ
œ> œ œ> œ Jœ> ‰
œ> œ œ> œ Jœ> ‰
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
jœ>‰ jœ>
‰ œ> œ
œ>ƒ
œ œ> œ œ> œ
∑
jœ>ƒ‰ Œ Œ
Jœ>ƒ
‰ Œ Œ
œ>œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
53
∑
∑
Œ . .œP
Œ . .œP
Jœ> ‰ ‰ jœ>P‰ ‰
∑
∑
∑
jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
∑
∑
∑
œ>œ œ
œ>œ œ
∑
∑
∑
jœ> ‰ ‰ jœ>P‰ ‰
.>Psubito
∑
∑
.œ .œ
.œ .œ
jœ> ‰ ‰ jœ>‰ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ
œ>œ œ
∑
∑
∑
jœ> ‰ ‰ œ>Fœ œ
.˙
∑
∑
.œ .œ
.œ .œ
jœ> ‰ ‰ jœ> ‰ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ
œ>œ œ
∑
∑
∑
jœ>P‰ ‰ jœ> ‰ ‰
.˙
139
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
176
∑
jœ>P‰ œ> œ œ>
Fœ
jœ>‰ œ> œ œ>
Fœ
jœ>‰ œ> œ œ>
Fœ
œ> œ œ> œ œ>Fœ
176
∑
∑
∑
∑
∑
∑
176
∑
∑
∑
œ>œ œ> œ œ> œ
176
∑
jœ>P‰ œ> œ œ>
Fœ
Jœ>P
‰ œ> œ œ>F
œ
œ> œ œ> œ œ>Fœ
œ> œ œ> œ œ>Fœ
∑
Œ . .œP∑
Œ . .œP
jœ>P‰ ‰ jœ> ‰ ‰
∑
∑
∑
jœ>P‰ ‰ jœ> ‰ ‰
.˙∑
∑
∑
∑
œ>œ œ
œ>œ œ
.o
F∑
∑
jœ>P‰ ‰ jœ> ‰ ‰
.˙P
∑
.œ .œ
∑
.œ .œ
jœ> ‰ ‰ œ>Fœ œ
∑
∑
∑
jœ> ‰ ‰ œ>Fœ œ
.˙∑
∑
∑
∑
œ>œ œ
œ>œ œ
.˙
∑
∑
jœ> ‰ ‰ œ> œ œ
.˙
∑
.œ .œ
∑
.œ .œ
jœ>P‰ ‰ jœ> ‰ ‰
∑
∑
∑
jœ>P‰ ‰ jœ> ‰ ‰
.˙∑
∑
∑
∑
œ>œ œ
œ>œ œ
.˙
∑
∑
jœ> ‰ ‰ jœ> ‰ ‰
.˙
∑
œ> œ> œ>
∑
œ> œ> œ>
œ> œ œ> œ œ> œ
∑
∑
∑
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
∑
∑
∑
∑
œ>œ œ> œ œ> œ
Jœ>f
‰ Œ Œ
jœ>‰ jœ> ‰ Jœ> ‰
Jœ>P
‰ Jœ> ‰ Jœ>
F‰
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
140
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
54
181
∑
œ>
F
œ œ œ> œ œ
.œ>F.œ
Jœ>
F‰ ‰ .œ
jœ>F‰ ‰ Œ .
181
Œ . .œ-F∑
∑
jœ>‰ ‰ Œ .
jœ>‰ ‰ Œ .
∑
181
∑
∑
∑
œ
>œ œ œ
>œ œ
.œ.œ
181
∑
.œ>F.œ
Œ . .œ-F
.>F
.>F
œ> œ œ œ> œ œ
Jœ>
‰ ‰ Œ .
.˙
.˙
∑
.œ- .œ-
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
∑
.˙
.œ- .œ-
.œ .œ>
.œ .œ>
Jœ>
‰ ‰ Œ .
œ> œ œ œ> œ œ
.˙
.˙
∑
.œ- .œ-
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
∑
.˙
.œ- .œ-
.>
.>
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
œ> œ œ> œ œ> œ
Jœ>f
‰ Œ Œ
Jœ>f
‰ Œ Œ
œ-F
œ- œ-
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
∑
∑
∑
∑
œ>
œ œ>
œ œ>
œœ œ œ
œ- œ- œ-
œ- œ- œ-
Jœ>
f‰ Œ Œ
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
∑
∑
∑
Œ . .œ-
Œ . .œ-
.œ> .œ
.œ> .œ
.>fp
jœ>‰ ‰ jœ>
‰ ‰
jœ ‰ ‰ jœ>‰ ‰
.˙æfF
∑
∑
∑
œ
>œ œ œ
>œ œ
.œ.œ
.>
Œ . .œ-
∑
.>
.>
141
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
186
∑
∑
∑
.œ- .œ-
.œ- .œ-
186
.œ .œ
.œ .œ
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ ‰ ‰ jœ>‰ ‰
.˙æ186
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
186 .œ Jœ> ‰ ‰
.œ- .œ-
Œ . .œ-F
.˙
.˙
∑
∑
∑
.œ- .œ-
.œ- .œ-
.œ .œ
.œ .œ
.œ> .œ
jœ>‰ ‰ jœ>
‰ ‰
jœ ‰ ‰ jœ>‰ ‰
.˙æ
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
œ> œ œ œ> œ œ
.œ- .œ-
.œ- .œ-
.œ> œ> œ œ
.œ> œ> œ œ
∑
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
Jœ>
‰ Œ Œ
jœ>‰ Œ Œ
jœ>‰ Œ Œ
œ> œ œœ> œœ œœ> œœ
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Jœ> ‰ jœ>
‰ Jœ> ‰
∑
∑
∑ &
œ>
œ œ>
œ œ>
œœ œ œ
œ> œ œ> œ œ> œ
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
57
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
Jœ> ‰ ‰ Œ .
Jœ>
‰ ‰ Œ ‰
Jœ>
‰ ‰ Jœ> ‰ ‰
Jœ> ‰ ‰ Œ .
Jœ ‰ ‰ Œ ‰
jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
œ> œ œJœ> ‰ ‰
Jœ> ‰ ‰ œ> œ œ
Jœ>
‰ ‰ Œ .
Jœœ>div.
‰ ‰ Œ .
Jœ>
‰ ‰ Jœ> ‰ ‰
Jœ> ‰ ‰ Œ .
.˙
.˙
∑
∑
Jœ> ‰ ‰ Jœ
> ‰ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑œ> œ œ
Jœ> ‰ ‰
Jœ> ‰ ‰ œ
> œ œ
∑
∑
Jœ> ‰ ‰ Jœ
> ‰ ‰
∑
.˙
.˙
142
&
&
&
&
?
&
&
&
?
?
?
÷
&
&
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
191 Jœ> ‰ ‰ Œ .
Jœœ>
‰ ‰ Œ ‰
Jœ> ‰ ‰ Jœ
> ‰ ‰
Jœœ>
‰ ‰ Œ .
Jœ ‰ ‰ Œ ‰
191 jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
jœ>
‰ ‰ Œ .
jœ> ‰ ‰ Œ .
191
Jœ> ‰ ‰ Œ .
œ> œ œJœ> ‰ ‰
Jœ ‰ ‰ œ> œ œ
∑
191 Jœœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Jœ
> ‰ ‰
Jœœ>div.
‰ ‰ Œ .
.˙
.˙
∑
∑
Jœœ> ‰ jœ>
a2
‰ jœ> ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>œ œ> œ
œ>œ
œ> œ œ> œ œ> œ
∑
∑
Jœ> ‰ jœ> ‰ jœ> ‰
∑
jœ> ‰ jœ> ‰ jœ>‰
jœ> ‰ jœ> ‰ jœ>‰
Jœ> ‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Jœ>F
‰ ‰
jœ>‰ ‰
.œ-Fjœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
∑
∑
œ>
œ œœ>
œ œ.˙
Jœœ>
‰ ‰ Œ .
Jœœ>div. ‰ ‰ Œ .
Jœœ>
‰ ‰ jœ>unis.
F‰ ‰
.˙fF
.˙fF
Œ . Jœ> ‰ ‰
Œ . Jœœ>
‰ ‰
Œ . Jœ> ‰ ‰
Œ . Jœœ>
‰ ‰
Jœ> ‰ ‰ Jœ> ‰ ‰
.œ- .œ-
Œ . jœ> ‰ ‰
Œ . Jœ>a2 ‰ ‰
Œ . jœ> ‰ ‰
Œ . jœ>
‰ ‰
Œ . jœ>F‰ ‰
Œ . Jœ>F‰
∑
∑
œ>
œ œœ>
œ œ.˙
Œ . Jœœ> ‰ ‰
Œ . Jœœ>
‰ ‰
Jœ> ‰ ‰ Jœ
> ‰ ‰
.˙
.˙
∑
∑
∑
∑
Jœ>
‰ ‰ Jœ> ‰ ‰
.œ- .œ-
∑
∑
∑
∑
∑
∑
∑
∑ ?
œ>
œ œœ>
œ œ.˙
∑
∑
Jœ> ‰ ‰ Jœ
> ‰ ‰
.˙
.˙
143
&
&
&
&
?
&
&
&
?
?
?
÷
&
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
196 Jœ>
‰ Jœ>
‰ Jœ>
‰
Jœœ>
‰ Jœœ>
‰ Jœœ>
‰
Jœ> ‰ J
œœ> ‰ Jœœ> ‰
jJœ>
‰ Jœœ> ‰ J
œœ> ‰
Jœ> ‰ Jœœ> ‰ Jœœ
>‰
196
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>
‰
Jœ>a2 ‰ Jœ
> ‰ Jœœ> ‰
jœ> ‰ jœ> ‰ jœ>‰
jœ> ‰ jœ> ‰ jœ>‰
jœ>F‰ jœ> ‰ Jœ>
f‰
196
Jœ>F
‰ Œ Œ
œ>F œ
œ> œ Jœ>
f‰
œ>F
œ œ> œ Jœ>
f‰
œ>œ œ
œ>œ œ J
œ>‰
196 Jœ>unis.
‰ Jœ>
‰ Jœ>
‰
Jœ>unis. ‰ Jœ
> ‰ Jœ> ‰
Jœ> ‰ jœ> ‰ jœ> ‰
jœ> ‰ jœ> ‰ jœ>‰
jœ> ‰ jœ> ‰ jœ>‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑÷œ>
œ œœ>
œ œ.˙
∑
∑
Π. .ϳF
.˙fF
.˙fF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œœ>
œ œ.˙
∑
.œF
.œ
.≤
.œ œ>fœ œ
.œ œ>fœ œ
to tambourine
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>triangle
Fœ œ œ
>œ œ
∑
∑œ>
œ œœ>
œ œ.˙
∑
.˙
.œ .œ
.>F
.>F
144
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
200
∑
∑
∑
∑
∑
200
∑
∑
∑
∑
∑
∑
200
∑
∑
∑œ>
œ œ œ>
œ œ.œ Œ .
200
∑
.˙
.œ .œ
.œ œ>fœ œ
.œ œ>fœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œœ>
œ œ.˙
∑
.˙
.œ .œ
.>F
.>F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ>
œ œœ>
œ œ.˙
∑
.˙
.œ .œ
.œ œ>fœ œ
.œ œ>fœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œ œ œ>
œ œ
∑
∑œ>
œ œœ>
œ œ.˙
∑
.˙
.œ .œ
.>F
.>F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ>rasq.
œœ œœ>
œœ œœ>
œœœ œ œ œ œ œ
∑
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
œ> œ> œ>
145
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
58
205
∑
∑
.>fp cresc.
a2
.>fp cresc.
a2
∑
205
Œ . .œF
Œ . .œF∑
∑
∑
∑
205
∑
∑
∑œ>
œ œœ>
œ œ.˙
205
.>
fp cresc.
.>
Π. .ϳ
.>
.>
œ>F
œ œ œ> œ œ
œ>F
a2
œ œ œ> œ œ
.˙
.˙
∑
.œ .œ
.œ .œ
œ>F
œ œ œ> œ œ
∑
∑
∑
∑
∑
∑œ>
œ œœ>
œ œ.˙
.˙
.œ .œ
.œ≤ .œ
.œ œ>fœ œ
.œ œ>fœ œ
∑
∑
.˙
.˙
∑
.˙
.˙
∑
.>F
.>F
.œ>F.œ>æ
œ>
œ œ œ>
œ œ
∑
∑œ>
œ œœ>
œ œ.˙
.˙
.œ .œ
.œ .œ
.>F
.>F
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
.˙
.˙
∑
.˙F.˙
Fœ> œ œ> œ œ> œ
jœ>f‰ jœ>
‰ jœ>‰
jœ>f‰ Œ Œ
jœ>f‰ ‰ Œ .
∑
jœœœ>f
‰ jœœœ>‰ jœœœ>
‰
∑
œœ>rasq.
œœ œœ>
œœ œœ>
œœœ œ œ œ œ œ
.˙
œ>f
œ> œ>
œ>f
œ> œ>
œ>fœ> œ>
œ>fœ> œ>
∑
∑
JœF
‰ ‰ .œ>
JœF
‰ ‰ .œ>
.œ>F
a2 jœ>‰ ‰
jœ> ‰ ‰ .œ>jœ> ‰ ‰ .œ>
∑
.>F
.>Fjœ>F
‰ ‰ œ>fœ œ
∑
∑
∑œ>
œ œœ>
œ œ.˙
œ>
F
œ œ œ> œ œ
.>F.>
F
œ>Fœ œ œ> œ œ
œ>Fœ œ œ> œ œ
146
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
210 œ>F
œ œ œ> œ œ
œ>F
œ œ œ> œ œ
3
œ> œ> œ>
3
œ> œ> œ>
œ> œ œ Jœ> ‰ ‰
210 3
œ> œ> œ>
3
œ> œ> œ>
œ>F
œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
jœ>F‰ ‰ jœ>
‰ ‰
210
∑
∑
∑œ>
œ œœ>
œ œ.˙
210
.˙
3
œ> œ> œ>
3
œ> œ> œ>
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
∑
∑
.>fF
.>fF
.œ>jœ>‰ ‰
.˙fF
.˙fF
∑
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ œ>f
œ œ
œ>
œ œ œ>
œ œ
∑
∑œ>
œ œœ>
œ œ.˙
œ>
F
œ œ œ> œ œ
.>
fF.>
fF
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ> œ œ> œ
fœœ> œ
œœœ> œ
œœœ> œ
œ
f.>
.>
Jœ> ‰ jœ>
‰ Jœ> ‰
.˙
.˙
œ> œ œ> œ œ> œ
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
œ>Fœ œ> œ œ> œ
f∑
jœœœ>‰ jœœœ>
‰ jœœœ>‰
∑
œœ>rasq.
œœ œœ>
œœ œœ>
œœœ œ œ œ œ œ
œ> œ œ> œ œ> œ
.>
.>
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
f
f
f
f
f
Œ ..œ>
fpΠ.
.
.œœ>
fp.>
fp.>
fp
Jœ>f
‰ Jœ Jœ> ‰ ‰
œ>
fœ œ Jœ
> ‰ ‰
Œ . œ>f
œ œ
.œ>f
Jœ> ‰ ‰
jœ>f‰ jœ jœ>
‰ ‰
jœ>f‰ jœ jœ>
‰ ‰
œ>fpœ œ œ> œ œ
œ>
fœ œ œ
>œ œ
jœœœ>‰ jœœœ
jœœœ>‰ ‰
∑
œœ>
œœ œœ œœ>
œœ œœœ œ œ œ œ œ
œ> œ œ œ> œ œ
œ> œ œ .œ>
œ> œ œ .œ>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.˙
.
.˙˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ jœ jœ>
‰ ‰
œ> œ œ Jœ> ‰ ‰
Jœ ‰ ‰ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ jœ jœ>
‰ ‰
jœ>‰ jœ jœ>
‰ ‰
œ> œ œ œ> œ œ
∑
jœœœ>‰ jœœœ
jœœœ>‰ ‰
∑
œœ>
œœ œœ œœ>
œœ œœœ œ œ œ œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
147
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
215œ>
f
œ œ œ> œ œ
œœ>
f
œœ
œœ
œœ> œ
œœœ
.>f.>f
Jœ> ‰ Jœ œ> œ œ
215
œ> œ œ Jœ> ‰ ‰
Jœ ‰ ‰ œ> œ œ
œ> œ œ Jœ> ‰ ‰
jœ>‰ jœ jœ>
‰ ‰
jœ>‰ jœ jœ>
‰ ‰
œ>fœ œ œ> œ œ
215
œ>
œ œ œ>
œ œ
jœœœ>‰ jœœœ
jœœœ>‰ ‰
∑
œœ>
œœ œœ œœ>
œœ œœœ œ œ œ œ œ
215œ> œ œ œ> œ œ
œ> œ œ .œ>
œ> œ œ .œ>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.>
.
.˙˙>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ Jœ> ‰ ‰
Jœ ‰ ‰ œ> œ œ
œ> œ œ Jœ> ‰ ‰
jœ>‰ jœ jœ>
‰ ‰
jœ>‰ jœ jœ>
‰ ‰
œ> œ œ œ> œ œ
∑
jœœœ>‰ jœœœ
jœœœ>‰ ‰
∑
œœ>simile
œœ œœ œœ>
œœ œœœ œ œ œ œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
59
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
Violentlyœ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
Jœ ‰ ‰ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
œ> œ œ> œ œ> œ
œ>
œ œ œ>
œ œ
œœ>
œ œ œœ>
œ œ
œ>tambourine
œ œ œ> œ œ
œœ>
œœ œœ œœ>
œœ œœœœ# œœ œœ œœ œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
Jœ ‰ ‰ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
œ>
œ œ œ>
œ œ
œœ>
œ œ œœ>
œ œ
œ> œ œ œ> œ œ
œœ>
œœ œœ œœ>
œœ œœœœ# œœ œœ œœ œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
œ>
œ œ œ>
œ œ
œœ>
œ œ œœ>
œ œ
œ> œ œ œ> œ œ
œœ>
œœ œœ œœ>
œœ œœœœ# œœ œœ œœ œœ œœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
148
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
220œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œœ> œ
œœœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
220
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
220
œ>
œ œ œ>
œ œ
œœ>
œ œ œœ>
œ œ
œ> œ œ œ> œ œ
œœ>
œœ œœ œœ>
œœ œœœœ# œœ œœ œœ œœ œœ
220œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œœ> œ
œœœ
œœ> œ
œœœ
œœ##> œ
œœœ
œœ> œ
œœœ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
œ> œ œ œ> œ œ
œ>
œ œ œ>
œ œ
œœ>
œ œ œœ>
œ œ
œ> œ œ œ> œ œ
œœ>
œœ œœ œœ>
œœ œœœœ# œœ œœ œœ œœ œœ
œ> œ œ œ> œ œ
œ#> œ œ œ> œ œ
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
Jœ> ‰ Jœ#> ‰ Jœ>
‰
jJœ>
‰jJœ#>
‰ Jœœ>
‰
Jœ>a2
‰ Jœ#> ‰ Jœ> ‰
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
Jœ> ‰ Jœ> ‰ Jœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
œ> œ œ> œ œ> œ
.>
jœœ>
‰ jœ# ‰ Jœ> ‰
Jœ> ‰ Jœ> ‰ Jœ> ‰
œœœœœœ#>
œœœœœ
œœœœœ>
œœœœœ
jœœœœœ>
‰
Jœ> ‰ Jœ#> ‰ Jœ>
‰
Jœ> ‰ Jœ#> ‰ Jœ> ‰
Jœ#> ‰ Jœ> ‰ Jœ#> ‰
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
60 A Tempo
Jœ>
‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
Jœœ#>
‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
∑
∑÷
Jœ> ‰ ‰ Œ .
œ#>
f
œ œ œ#>
œ œ.œ# .œ#.˙
Jœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ#> ‰ ‰ Œ .
jœ>‰ ‰ jœ>F
‰ ‰
.>f
to cymbal
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙F
149
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
225
∑
∑
∑
∑
∑
225
∑
∑
∑
∑
∑
∑
225
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
225
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ#>
œ œ>
œœ# œ# œ
˙ œ œ
∑
∑
∑
jœ>‰ jœ>
‰œ> œ
˙ œ>
f
f
f
f
f
f
f
f
f
f
Jœ>
‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
Jœœ#>
‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ>f
‰ ‰ Œ .
∑
∑
Jœ>f‰ ‰ Œ .
œ#>
œ œ œ#>
œ œ.œ# .œ#.˙
Jœ>
f‰ ‰ Œ .
Jœ>f
‰ ‰ Œ .
jœœ>div.
f‰ ‰ Œ .
jœ>f‰ ‰ jœ>F
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ.˙
∑
∑
∑
jœ>‰ ‰ jœ>
‰ ‰
.˙
150
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
230
∑
∑
∑
∑
∑
230
∑
∑
∑
∑
∑
∑
230
∑
∑
∑
œ#>
œ œ>
œ œ#>
œœ# œ œ#.˙
230
∑
∑
∑
jœ>‰ jœ>
‰ jœ>‰
.˙
61 .˙
F.˙
F
a2
∑
.œ# -a2
.œ# -
∑
.œ# -a2
.œ# -
jœ>
‰ ‰ jœ>
‰ ‰
œœ> œœ œœ œœ> œœ œœ
jœ>a2
‰ ‰ jœ>‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
fœ œ œ
>œ œ
.>cymbal
f∑
œ>œ œ .œ>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ#unis.
.œ# -
jœ>f‰ ‰ jœ>
‰ ‰
.˙f
.˙
.˙
∑
.œ# - .œ-
∑
.œ# - .œ-
jœ>
‰ ‰ jœ>
‰ ‰
œœ> œœ œœ œœ> œœ œœ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
.˙
.œ#> .œ
∑
.œ# - .œ-
∑
.œ# - .œ-
jœ>
‰ ‰ jœ>
‰ ‰
œœ#> œœ œœ œœ> œœ œœ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ# > œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
to bass drum
Jœ>
f‰ Œ Œ
Jœ>
f‰ Œ Œ
jœ#>a2
‰ jœ#> ‰ jœ#> ‰
jœ#> ‰ Œ Œ
Jœ#> ‰ Jœ#> ‰ Jœ#> ‰
jœ#> ‰ jœ#> ‰ jœ#> ‰
jœ>
‰ jœ>
‰ jœ>
‰
Jœœ> ‰ J
œœ#> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
.>
∑
Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ jœ#> ‰ Jœ
> ‰
jœ#> ‰ jœ#> ‰ jœ#>‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
151
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
235
∑.˙
F.˙
F
.œ# - .œ# -
Jœ> ‰ ‰ jœ>
‰ ‰
235
.œ# - .œ# -
.œ# - .œ# -œœ> œœ œœ œœ> œœ œœ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
235
œ>
œ œ œ>
œ œ
.>f
bass drum
∑
∑
235 œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.œ# - .œ# -
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑.˙
.˙
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.œ# - .œ-
.œ# - .œ-œœ#> œœ œœ œœ> œœ œœ
jœ>‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ jœ>
‰ ‰
∑
œ>
œ œ œ>
œ œ
∑
∑
∑
œ> œ œ œ> œ œ
œ#> œ œ œ> œ œ
.œ# - .œ-
jœ>‰ ‰ jœ>
‰ ‰
.˙
∑
Jœ>
f‰ ‰ Œ .
Jœ#>f
‰ ‰ Œ .
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ#> ‰ Jœ> ‰ Jœ#
> ‰
jœ#>
‰ jœ>‰ jœ#>
‰
Jœœ#> ‰ J
œœ> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
∑
.>
∑
Jœ> ‰ Jœ> ‰ Jœ> ‰
∑
Jœ> ‰ Jœ> ‰ Jœ> ‰
jœ#> ‰ Jœ> ‰ jœ> ‰
jœ#> ‰ jœ> ‰ Jœ#> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ>
‰ jœ>‰
Œ ..œ
F
Œ ...œœF
Œ . .œF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
Œ . .œ>
.œ> .œ#>
.>
.>
.>
to marimba
.˙
.
.˙˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
.˙
.˙
.˙
.˙
.˙
152
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
240 Jœ>
f‰ Œ Œ
Jœœ>
f‰ Œ Œ
Jœœ>
f‰ Œ Œ
jœ#> ‰ jœ#> ‰ jœ#> ‰
jœ>‰ jœ#>
‰ jœ#>‰
240 jœ#> ‰ jœ#> ‰ jœ#> ‰
jœ#> ‰ jœ#> ‰ jœ#> ‰
Jœœ> ‰ J
œœ> ‰ Jœœ> ‰
jœ>‰ jœ#>
‰ jœ#>‰
jœ>‰ jœ#>
‰ jœ#>‰
∑
240
∑
∑
Jœ> ‰ Jœ> ‰ Jœ> ‰
œœœœœœ#>
œœœœœœ
œœœœœœ>œœœœœœ
jœœœœœœ>‰
240
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
jœ#> ‰ jœ#> ‰ jœ#>‰
jœ>‰ jœ#>
‰ jœ#>‰
jœ>‰ jœ#>
‰ jœ#>‰
62
∑
∑
∑
.œ-F .œ# -∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œœ œ#
>
œœ.œ .œ#
∑
Œ . .œF
.œ-F.œ# -
.˙#F
.˙#F
∑
∑
∑
.œ- .œ# -
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ>
œœ œ#
>
œœ.œ .œ#
∑
.˙
.œ- .œ# -
.˙
.˙
∑
∑
∑
.œ# - .œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œœ œ
>
œœ.œ# .œ
∑
.˙
.œ# - .œ-
.˙#
.˙#
∑
∑
œ#>F
a2
œ#> œ#>
.˙#>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ
œ#>
œ
œ#>
œ
œ# œ# œ#
œ#>F
œ#> œ#>
œ#> œ#> œ>
œ#> œ#> œ#>
œ#> œ> œ#>
œ#> œ> œ#>
153
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
245
∑
∑
.>
∑
∑
245
.˙#>F∑
∑
∑
∑
∑
245
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
245 .œ- .œ-
.œ- .œ-
œ#> œ œ œ> œ œ
.˙
.˙
∑
∑
.œ# - .œ-
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ
.œ# - .œ-
.œ# - .œ-
œ#> œ œ œ> œ œ
.˙
.˙
∑
∑
.œ# - .œ# -
∑
∑
.œ .œ#>
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ#>
œ œ.œ# .œ#
.œ# .œ# -
.œ# - .œ# -
œ#> œ œ œ#> œ œ
.˙
.˙
∑
∑
.œ .œ-
∑
∑
.>
∑
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ
.œ .œ-
.œ .œ-
œ> œ œ œ> œ œ
.˙
.˙
∑
∑
.>
∑
.œF
.œ#>
.˙
∑
∑
.œF
.œ#>
∑
∑
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
œ> œ œ œ> œ œ
.>
œ#> œ œ œ#> œ œ
.œ .œ#>
.œ .œ#>
154
&
&
&
&
?
&
&
&
?
?
?
÷
÷
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
250
∑
∑
.˙
∑
.œ#> .œ#>250
.˙F
∑
∑
.œ#> .œ#>
∑
∑
250
∑
∑
∑
œ#>
œ œ œ>
œ œ.œ# .œ
250 œ#> œ œ œ> œ œ
.œ# - .œ-
œ#> œ œ œ> œ œ
.œ#> .œ#>
.œ#> .œ#>
∑
∑
3
œ# - œ# - œ-
3
œ# - œ# - œ-
.˙#>F3
œ# - œ# - œ-
3
œ# -Fœ# - œ-
∑
.˙#>
∑
∑
∑
∑
∑
œ>
Fœ œ œ
>œ œ.œ .œ
œ> œ œ œ> œ œ
3
œ# - œ# - œ-
3
œ# - œ# - œ-
.˙#>F
.˙#>F
∑
∑
3
œ# - œ# - œ# -3
œ# - œ# - œ# -
.˙3
œ# - œ# - œ# -3
œ# - œ# - œ# -
∑
.˙
∑
∑
∑
∑
∑
œ>
œ œ œ>
œ œ.œ .œ
œ> œ œ œ> œ œ
3
œ# - œ# - œ# -3œ# - œ# - œ# -
.˙
.˙
∑
∑
.˙#>F
.˙#>Fjœ>
‰ ‰ Œ .
.>F
.>F∑
.>
.>F∑
∑
œ>
marimba
F œ œ œ>œ œ&
∑
œ>
œ œ œ>
œ œ.œ .œ
œ> œ œ œ> œ œ
.˙#>Fœ>F
œ œ œ> œ œ
œ> œ œ œ> œ œ
.>
∑
∑
.˙#>
.˙#>
∑
.˙#>
.>
∑
.˙
.˙
∑
∑
œ#> œ œ œ>œ œ
∑
œ#>
œ œ œ>
œ œ.œ# .œ
œ#> œ œ œ> œ œ
.˙#>
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
.>
155
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
255
∑3
œ-
F
a2
œ# - œ# -
3
œ- œ# - œ# -
3
œ- œ# - œ# -
∑
255
.˙#>
∑
3
œ-a2
Fœ# - œ# -
.>
.>∑
255
∑
œ> œ œ œ>œ œ
∑
œ>
œ œ œ>
œ œ.œ .œ
255
3
œ- œ# - œ# -
3
œ- œ# - œ# -
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
.>
∑3œ# - œ- œ# -
3
œ# - œ- œ# -3
œ# - œ- œ# -
∑
.˙
∑
3
œ# - œ- œ# -
.˙
.˙
∑
∑
œ> œ œ œ>œ œ
∑
œ>
œ œ œ>
œ œ.œ .œ
3œ# - œ- œ# -
3
œ# - œ- œ# -
œ#> œ œ œ> œ œ
œ> œ œ œ> œ œ
.˙
∑
.>F
.>Fjœ#>F
‰ ‰ Œ .
∑
.œ .œ#>
∑
.>F
.>
.>∑
∑
œ> œ œ œ>œ œ
∑
œ>
œ œ œ>
œ œ.œ .œ
.>
F.>Fœ#> œ œ œ#> œ œ
œ> œ œ œ> œ œ
.>
∑
.œ# - .œ-
.˙#>
∑
∑
.>
∑
.˙#>
.˙
.˙
∑
∑
œ#> œ œ œ>œ œ
∑
œ#>
œ œ œ>
œ œ.œ# .œ
.˙#>
.˙#>
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
.>
∑
.>
3œ#>œ>cresc.
œ#>3
œ#> œ>cresc.
œ#>
.œ#> .œ#>
3
œ#> œ>cresc.
œ#>3
œ#> œ>cresc.
œ#>
Jœ#> ‰ ‰ Œ .
.œ#> .œ#>
.œ> .œ>∑
∑
œ> œ œ œ>œ œ
∑
œ>
œ œ œ>
œ œ.œ .œ
3
œ#>œ>cresc.
œ#>
3
œ#>œ>cresc.
œ#>œ#> œ œ œ#> œ œ
œ> œ œ œ> œ œ
.>
156
&
&
&
&
?
&
&
&
?
?
?
÷
&
÷
&
&
&
B
?
?
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
260
∑
.˙
3
œ#> œ#> œ>
3
œ#> œ#> œ>
.œ#> .œ#>
260 3
œ#> œ#> œ>
3
œ#> œ#> œ>
∑
.œ#> .œ#>
.œ> .œ>∑
260
∑
œ> œ œ œ>œ œ
∑
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œ œ œ>
œ œ.œ .œ
260
3
œ#> œ#> œ>
3
œ#> œ#> œ>
œ#> œ œ œ#> œ œ
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.˙
3
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3
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3
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3
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3
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3
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3
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3
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> Ͼ>
3
œ# æ> œ# æ> œæ>
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3
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3
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3
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3
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3
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∑
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∑
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œ œ œ>
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3
œ#æ> œ#
æ> œ
æ>
3
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> Ͼ>
3
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> Ͼ>
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.œ> .œ>
63
.>
fœ>
f
œ œ œ> œ œ
.œ>f
.œ>
.œ>f
.œ>
.œ>f
.œ>
.>fp cresc.
.>fp cresc.
.>fp cresc.
.>fp cresc.
.>fp cresc.
.>æfp cresc.
œ>
fœ œ œ
>œ œ
œ>f
œ œ œ> œ œ
∑
œ>
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œ œ.œ .œ
œ>
f
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œ>f
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œ>fœ œ œ> œ œ
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œ> œ œ œ> œ œ
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.œ> .œ>
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.˙
.˙
.˙
.˙
.˙
.˙æ
œ>
œ œ œ>
œ œ
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∑
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œ œ.œ .œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
157
&
&
&
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&
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&
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?
÷
&
÷
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
265œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
265
.˙
.˙
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
265
œ>
œ œ œ>
œ œ
œ> œ œ œ> œ œ
∑
œ>
œ œ œ>
œ œ.œ .œ
265œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
Jœ>
‰ Jœ#> ‰ Jœ> ‰
Jœ>
‰ Jœ#> ‰ Jœ> ‰
Jœ> ‰ Jœ#> ‰ Jœ> ‰
jœ#> ‰ jœ#> ‰ Jœ> ‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
jœ#>f‰ jœ#> ‰ jœ> ‰
jœ#>f‰ jœ#> ‰ jœ> ‰
Jœ>f
‰ jœ#> ‰ Jœ> ‰
Jœ>f
‰ Jœ> ‰ Jœ
> ‰
jœ>f‰ jœ>
‰ jœ>‰
Jœ>f
‰ Jœ> ‰ Jœ
> ‰
.>
jœœ>
‰ Œ Œ
Jœ>f
‰ Jœ> ‰ Jœ> ‰
Jœ> ‰ Œ Œ
Jœ>
‰ Jœ#> ‰ Jœ> ‰
Jœ> ‰ jœ#> ‰ Jœ> ‰
Jœ#> ‰ Jœ#> ‰ Jœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ jœ ‰> jœ ‰
Jœ>
‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ
œœœœ>
œœœœ
œœœœ
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.>fp cresc.
Jœœ>div.
‰ ‰ Œ .
Jœœ#>div.
‰ ‰ Œ .
.>
.>
∑
∑
∑
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∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
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#
>
œœœœ
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œœœœ>
œœœœ
œœœœ
œœ œœ œœ œœ œœ œœ
.˙
∑
∑
.˙
.˙
to marimba
to tambourine
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
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#
>
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.˙
∑
∑
.˙
.˙
158
&
&
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÷
&
÷
&
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&
B
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43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
270
∑
∑
∑
∑
∑
270
∑
∑
∑
∑
∑
∑
270
∑
∑
∑
œœœœ
#
>
œœœœ
œœœœ>
œœœœ
œœœœ>
œœœœ
œœ œœ œœ œœ œœ œœ
270 .˙
∑
∑
.˙
.˙
64
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œœ#> œ
œ&
œ>marimba
œ# œ œ> œ œ&jœœœœ
#
fl‰ ‰ Œ .
jœœ ‰ ‰ Œ .
.˙f.˙unis.
.˙#unis.
.˙
.˙
∑
.œa2 .œ
.˙a2
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œœ#> œ
œ
œ> œ# œ œ> œ œ
∑
.œ .œ
.˙
.˙
.˙
.˙
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#> œ œœ#> œ
œ
œ> œ# œ œ> œ œ
∑
.˙æfp.˙æ
fp.˙#æ
fp
.æ
.æ
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ#> ‰ Jœ> ‰ Jœ> ‰
jœ>‰ jœ#> ‰ Jœ> ‰
∑
.˙æ
.˙æ
.˙æ
.æ
.æ
159
&
&
&
&
?
&
&
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÷
&
&
&
&
&
B
?
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86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
275 Jœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
275 jœ#> ‰ ‰ .œfp
jœ>‰ ‰ .œfp
Jœœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
275
Jœ>tambourine
‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
œ#>
œ œœ>
œ œ.œ# .œ275
Jœ>f
‰ ‰ Œ .
jœ#>f‰ ‰ Œ .
jœ>f‰ ‰ Œ .
jœ>f‰ ‰ Œ .
.>fF
∑
∑
∑
∑
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
œ#>
œ œœ>
œ œ.œ# .œ
∑
∑
∑
∑
.˙
Œ . œ#> œ œ>
‰ ‰ Jœœ#> œ œ
œ>
‰ ‰ jœa2
œ#> œ œ
œ>
a2
œ œjœ#> ‰ ‰
œ>
a2
œ œ Jœ#> ‰ ‰
.˙
.˙
∑
∑
∑
∑
∑
∑
∑ ?
œ>œ œ œ# œ œ
∑
∑
∑
∑
.˙
.˙
.
.˙˙
..˙#>
..˙>
.
.˙˙>
jœ#>f‰ Œ Œ
jœ>f‰ Œ Œ
∑
∑
∑
∑
∑
Jœœœ# > ‰ J
œœœ> ‰ J
œœœ> ‰
Jœœœ>
‰ Jœœœ>
‰ Jœœœ>
‰
œœœœœœ#>
œœœœœœ
œœœœœœ>œœœœœœ
jœœœœœœ>‰
∑
∑
∑
∑
jœ>‰ Œ Œ
65
to tambourine
Jœ>
‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
Jœœ#> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
Jœœ>
‰ ‰ Œ .
jœ#> ‰ ‰ jœ>
‰ ‰
jœ>‰ ‰ j
œ>‰ ‰
Jœœ> ‰ ‰ Œ .
Jœœ> ‰ ‰ Œ .
.>œ> œ œ œ> œ œ
œ>tom-tom
fœ œ œ> œ œ
Jœœœ# > ‰ ‰ Œ . ÷
Jœœœ>
‰ ‰ Œ .
jœœœœœœ#>
‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ#> ‰ ‰ Œ .
jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
.>
160
&
&
&
&
?
&
&
&
?
?
?
÷
÷
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
280
∑
∑
∑
∑
∑
280
jœ>
‰ ‰ jœ>
‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
∑
∑
.˙
œ> œ œ œ> œ œ
280
œ> œ œ œ> œ œ
∑
∑
280
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
jœ>
‰ ‰ jœ>
‰ ‰
jœ>
‰ ‰ jœ>
‰ ‰
∑
∑
.˙
œ> œ œ œ> œ œ
œ> œ œ œ> œ œ
∑
∑
∑
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
jœ>
‰ jœ>
‰ jœ>
‰
jœ>
‰ jœ>
‰ jœ>
‰
∑
∑
.˙
œ> œ œ> œ œ> œ
œ> œ œ> œ œ> œ
∑
∑
∑
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ.˙
.˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ.˙
.˙
∑
∑
∑
161
&
&
&
&
?
&
&
&
?
?
?
÷
÷
?
&
&
&
B
?
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1 2
Ob. 1 2
Cl. 1 2
Bsn 1 2
Hrn. 1 2
Hrn. 3 4
Tpt. 1 2
Trb. 1 2
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Gtr.
Vln. 1
Vln. 2
Vla.
Vlc.
Cb.
285
∑
∑
∑
∑
∑
285
∑
∑
∑
∑
∑
∑
285
∑
∑
∑
œœœœœœ#>
œœœœœœ
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ
285
.˙
.˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
Jœ> ‰ Jœ#> ‰ Jœ>
‰
Jœ>a2
‰ Jœ#> ‰ Jœ>
‰
Jœ>a2 ‰ jœ#> ‰ Jœ> ‰
Jœ>a2 ‰ jœ>
‰ Jœ> ‰
Jœ#>a2
‰ Jœ> ‰ Jœ> ‰
jœ#> ‰ Jœ> ‰ Jœ
> ‰
jœ#>
‰ jœ>‰ jœ>
‰
Jœœ> ‰ J
œœ#> ‰ Jœœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>8vb ‰ jœ>
‰ jœ>‰
Jœ> ‰ Jœ
> ‰ Jœ> ‰
Jœ> ‰ Jœ> ‰ Jœ> ‰
Jœ>tambourine‰ Jœ> ‰ Jœ> ‰
jœ>‰ jœ#> ‰ jœ>
‰&
œœœœœœ#>
œœœœœœ
œœœœœœ>œœœœœœ
œœœœœœ>œœœœœœ
Jœ> ‰ Jœ#>>
‰ Jœ> ‰
Jœ> ‰ Jœ#> ‰ Jœ> ‰
Jœ> ‰ jœ#> ‰ jœ> ‰
jœ>‰ jœ>
‰ jœ>‰
jœ>‰ Jœ
> ‰ jœ>‰
Jœ>
‰ ‰ Œ .
Jœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ ‰
jœœœœœœ#>
‰ ‰ Œ .
Jœ>
‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
jœ>‰ ‰ Œ .
162
163
PART TWO: AN ANALYSIS OF GEORGE CRUMB’S QUEST FOR GUITAR,
SOPRANO SAXOPHONE, HARP, CONTRABASS, AND PERCUSSION
I. INTRODUCTION
Unveiled as a work-in-progress in Amsterdam in 1989, George Crumb’s Quest for guitar,
soprano saxophone, harp, contrabass, and percussion, was not fully complete until 1994.1
Following this unofficial premiere, and another by the ensemble Speculum Musicae, with
guitarist David Starobin, at the Settlement School in Philadelphia, Pennsylvania in 1990, Crumb
was never fully satisfied with the work. For almost another four years he subjected it to
revisions that would keep it “unfinished.”2 Officially completed by the composer in 1994, and
published by C.F. Peters in 1996, Quest has found intimate success among connoisseurs of
Crumb’s music. James M. Keller calls Quest a “monumental achievement” that is “among my
very favorites in Crumb’s catalogue.3 He further predicts it will “become a classic of the
chamber repertoire despite its abtrusiveness.”4 In fact, the 1998 recording of Quest (Bridge
9069) was awarded Editor’s Prize for Best Recording of a Living Composer at the MIDEM
Classical Music Awards. It further went on to place as one of Tower Records’ Top Five CDs of
the Year in 1999.5 Commissioned by Rose Augustine and the Augustine Foundation, the 25-
minute work for guitar and chamber ensemble was composed at the request of guitarist and
founder of Bridge Records, David Starobin, who had been involved in performances and
1 David Cohen, George Crumb: A Bio-Bibliography (Connecticut: Greenwood Press,
2002), 21. 2 Ibid.
3 James Keller, “George Crumb: An Appreciation,” in George Crumb and the Alchemy of
Sound, eds. Steven Bruns and others (Colorado: Colorado College Music Press, 2005), 5. 4 By “abtrusiveness” Keller may mean “abstrusiveness.”
5 Colin Cooper, “Mirroring the Innermost Recesses (David Starobin Talks About His
Collaboration with George Crumb),” Classical Guitar, 18 (1999): 11.
164
recordings of Crumb’s music since 1970.6 Like most of Crumb’s musical output, Quest is a
chamber ensemble work, but with specific focus on the guitar as a concertante instrument.7
Originally conceived as a solo guitar piece by the composer Crumb’s admitted insecurity in the
command of the instrument, and love of timbrally mixed ensembles and unorthodox instrumental
techniques, led him to develop Quest into a chamber work involving a sextet of players: guitar,
soprano saxophone, harp, contrabass, and two percussion players.8 Also like many of Crumb’s
works, he calls upon “unusual instruments,” such as the Appalachian hammered dulcimer, the
African talking drum, and the Mexican rain stick, to provide “an exceptionally colorful palette of
timbral and sonoric possibilities”9 In fact, he had never used the latter instrument, the Mexican
Rain Stick, in any of his works.10
Quest (composed in 1994) occupies a very interesting position in Crumb’s catalogue. It
is the only large work among the three compositions he composed during a ten-year lull in his
creative output (1988-1998). The other two works composed during this time were Easter
Dawning (1991) for carillon and Mundus Canis (A Dog’s World) (1998) for guitar and
percussion. Until this period, Crumb had averaged to complete one work each year since 1962.11
This slackening of his compositional pace was due to his decision, particularly after 1990, to
accept more invitations to attend festivals and concerts featuring his music in the U.S. and
6 Ibid.
7 Crumb specifically calls the guitar part the “principal protagonist” in his program notes
for Quest. George Crumb, Quest (New York and London: C.F. Peters Corporation, 1996), 2. 8 David Cohen, George Crumb, 21.
9 Crumb, Quest, 2.
10 George Crumb, “Guest Lecture: George Crumb” (lecture, Louisiana State University,
Baton Rouge, LA, February 18, 1999) (hereafter cited in text as Crumb, 1999). 11
George Crumb, “The Compositions,” The Official George Crumb Homepage,
http://www.georgecrumb.net/chrono.html (accessed October 8, 2007).
165
overseas, necessitating extensive travel.12
Interlaced with his teaching at the University of
Pennsylvania, such touring kept him away from normal compositional activity for several years –
which may have ultimately influenced his retirement from the University of Pennsylvania in the
spring of 1997 (after 32 years as Professor of Composition). Following this, and starting around
1998, he seemed to recapture his creative energies as his compositional output once again
became steady and consistent.13
Much discussion and research has been focused on Crumb’s musical style and technique
– with analysis of individual works (as in this study) as well as on his compositional style as a
whole – and without a doubt, his music has great appeal to academic research as his style
incorporates an eclectic mix of musical materials which eventually, but furtively, become unified
within the composition. While Crumb speaks often about his music, at lectures and post-concert
discussions with audiences, one will usually find that specific analytical details and methods
about his compositional techniques are rarely revealed. His sincere and humble presence, as well
as the appreciation he has for his audiences, allow him to be a very accessible composer to those
who inquire about his music. During a discussion in 1992 about Black Angels (1970) for electric
string quartet – probably the most meticulously detailed work of his entire career - Crumb
described his style in the following way,
My music is very much involved with symmetrical structures, and combines
tonality, modality, atonality, whole-tone effects, etc. Some of it is quite
dissonant, but it’s very tonal.14
12
Cohen, George Crumb, 22. 13
Keller, “George Crumb: An Appreciation,” 5. 14
Thomas Lawrence Riis, “A Conversation with George Crumb,” The American
Research Center Journal 3 (1992): 49
166
In 1999 he further stated, “…my music is not involved with rational schemes like…rotational
techniques, serial music, or anything like that,” a comment that he reiterates often to his
audiences.15
When asked about his composition procedures, Crumb repeatedly uses the
indefinite term “intuitive” to describe his works.”16
He further makes this claim increasingly
vague when he said, “By-and-large, I kind of work by ear the old fashioned way… there is some
conscious process that comes… into it.”17
His music does have a very intuitive and
improvisational quality to it, but one cannot help to wonder about the process and details that
generate his pieces. In Quest, we will see that his music is ultimately “very tonal,” as his
primary motive, as well as the incorporated musical quotation, contains intervals that outline a
basic triad.
Consistently throughout the many interviews and discussions he has engaged in about his
music, Crumb does present general information about his music while tending to avoid specific
details – even among the presence of the most astute musical audiences. Ambiguous comments
about his music effortlessly initiate a world of speculation, not to mention further research, in
attempting to fully understand Crumb’s musical style and process. In “The Music of George
Crumb: Stylistic Metamorphosis as Reflected in the Lorca Cycle,” a dissertation by Christopher
Rouse in 1977 from Cornell University, Rouse analyzes Crumb’s style in its several aspects:
pitch material and scale use, rhythmic devices, structure and form, theatrical elements,
instrument timbre and experimentation, and the use of quotation. The present study will mention
many of these topics according to their relevance in Quest, while going on the scope of this
15
Crumb, 1999. 16
Christopher Rouse, “The Music of George Crumb: Stylistic Metamorphosis as
Reflected in the Lorca Cycle” (Ph.D. diss., Cornell University, 1977), 111. 17
Crumb, 1999.
167
limited analysis. In particular Crumb’s use of quotation in Quest will play a large role in this
analysis as it is a central feature of the work, casting its influence over the entire composition.
Quotation has permeated Crumb’s music since its first appearance in his orchestral work, Echoes
of Time and the River (in the “Remembrance of Time” movement with the hymn “Were You
There When They Crucified My Lord?”) of 1967.18
Like Charles Ives, a composer that Crumb
admits is an influence his music, Crumb’s use of quotation is often a unique characteristic of his
style.19
Since that first modest use of quotation in Echoes of Time and The River, Crumb has
gone on to borrow musical ideas from composers such as Debussy (“Golliwog’s Cakewalk” in
Eine Kleine Mitternachtmusik, and the Syrinx theme in Idyll for the Misbegotten), Chopin (from
“Fantasie-Impromptu“ in Makrokosmos, Volume I), Strauss (“Also sprach Zarathustra” in Vox
Balanae), and Schubert (“Death and the Maiden” in Black Angels). He even makes allusions to
Mahler and Haydn in 1969’s Night of the Four Moons. In Quest, he calls upon the revival hymn,
Amazing Grace, presenting it (like most of his quotations) in a surrealistic manner against a
landscape of unusual musical timbres in the percussion. Don Gillespie, a long-time friend and
biographer of Crumb, says “One cannot escape the impression that something is amiss in
Crumb’s world of quotations.”20
Furthermore, Crumb admits that he adds “some element of
distortion” to his quotes, and when he specifically referred to his use of Amazing Grace in Quest,
he said, “…you don’t expect to hear it on the saxophone against a cloud of Japanese bells.”21
Obviously, a salient event like the sudden appearance of a well-known tune in such an
unexpected setting deserves in depth exploration in this study. Consequently, after exploring
18
Rouse, “The Music of George Crumb,” 100. 19
Crumb, 1999. 20
Don Gillespie, “George Crumb: Personal Recollection” in George Crumb and the
Alchemy of Sound, eds. Steven Bruns and others (Colorado: Colorado College Music Press,
2005), 275. 21
Ibid.
168
Crumb’s use of form, process, and pitch language in Quest I will conclude this study by
comparing the appearance of Amazing Grace in Quest to uses of the tune elsewhere, and explore
its function and connection to this work, where it acts as a narrative and structural focal point.
Chapter two considers Quest in terms of identifiable formal structures and Crumbian stylistic
elements. Chapter three focuses on identification of the work’s essential pitch and motivic
materials. Chapter four addresses Crumb’s use of quotation.22
Throughout the study, these
topics will be related to the role of the guitar in Quest, and how the instrument’s idiom, and
Crumb’s association to it, influences the shape of the work.
22
George Crumb, “The Writings,” The Official George Crumb Homepage,
http://www.georgecrumb.net/writ.html (accessed October 8, 2007).
169
II. FORM
Like a majority of his other works and with few exceptions, Crumb’s formal scheme in
Quest is fairly simple and clearly laid out. In his stylistic research of Crumb’s Lorca cycle
works, Christopher Rouse states, “Those who search for any complexity of architecture in
Crumb’s music are likely to be disappointed.”23
This seemingly harsh judgment is not meant to
discredit Crumb’s use of form, nor imply unworthiness for study or appreciation. Rather, Rouse
merely seeks to describe how Crumb limits his structures to simple and basic forms in order to
present the listener with a familiar design that will allow his complex musical language to be
more clearly communicated. In most of Crumb’s works these simple structures usually involve
ternary, arch, and strophic forms. Of these, varied strophic form is the most common in Quest.
Crumb’s stylistic use of senza misura in which a score does not contain bar lines or
measures presents a problem for the analyst since such notation makes it rather difficult to
present an accurate labeling of formal diagrams. Rehearsal numbers seem to be helpful in
overcoming this, but in Crumb’s case these markers do not always agree with his structural
designs – especially in the Forgotten Dirges and Nocturnal movements of Quest where the
rehearsal numbers appear slightly after the start of each section. Luckily, the composer’s unique
notational use of a square-shaped fermata-like symbol, indicating a durational rest measured in
seconds (seen in Example 2.1), in almost every case delineates not only phrase, but larger formal
boundaries within each movement.
23
Rouse, “The Music of George Crumb,” 78.
170
Example 2.1. Quest, notational symbols for durational rests measured in seconds (as presented in
the score’s “Performance Notes”)24
Although this notational symbol often clarifies features of the music’s form, using it in formal
diagrams does not seem to clarify duration and length of a particular phrase or section.
Therefore, this analysis will employ several methods of labeling structure throughout, including
measure numbers and rehearsal numbers (when applicable), along with consistent text-based
symbols that describe the location and length of the section in question. Each new method of
formal analysis will also be fully explained upon its presentation.
Quest is set in eight movements that include three short refrains acting, according to the
composer, as “kind of introductory movements.”25
As seen in Example 2.2, Refrain 1 and 2 are
set before two larger movements, while Refrain 3 precedes the final movement, Nocturnal.
Quest (1994) for guitar, harp, contrabass, and percussion (2 players)
Refrain 1 I. Dark Paths II. Fugitive Sounds
Refrain 2 III. Forgotten Dirges IV. Fugitive Sounds
Refrain 3 V. Nocturnal
Example 2.2, Quest, Movements and groupings as presented in the score’s “Program Listing.”26
24
Crumb, Quest, 2. 25
Crumb, 1999. 26
Crumb, Quest, 2.
171
Interestingly, and similar to his Songs, Drones, and Refrains of Death of 1968, Crumb
does not assign the Refrain movements an official numbered movement designation like the
others. In Songs, all four of the Refrain movements are instrumental (opposed to the other vocal
movements that set Federico Garcia Lorca’s poetry) and present, in various appearances, the
rhythmic motif that is heard at the beginning of the work. The movement format in Songs,
Drones, and Refrains of Death is shown in Example 2.3.
Songs, Drones, and Refrains of Death (1968) for baritone, electric guitar, electric double
bass, amplified piano/amplified harpsichord, and two percussionists
Refrain One I. La Guitarra (The Guitar)
Refrain Two II. Casida de las Palomas Obscuras (Casida of the Dark Doves)
Refrain Three III. Cancion de Jinete, 1860 (Song of the Rider, 1860)
Refrain Four IV. Casida del Herido por el Agua (Casida of the Boy Wounded by the Water)
Example 2.3, Songs, Drones, and Refrains of Death, Movements and groupings as presented in
the score’s “Program Listing.”27
In Quest, all movements are instrumental; the similarity of formal design to that of Songs
suggests that the composer considers the Refrain movements not only introductory, but also a
complement of “absolute” music to the following movements whose titles evoke poetic and
symbolic meaning – even though Crumb himself admits about Quest, “there is no precise
programmatic meaning implied.”28
Furthermore, the grouping format seen above in Example 2.2
27
George Crumb, Songs, Drones, and Refrains of Death (New York and London: C.F.
Peters Corporation, 1968), 2. 28
Crumb, Quest, 2.
172
strongly influences the listener to experience the work in three large sections: Refrain I and
movements I and II, Refrain II and movements III and IV, and Refrain III and movement V.
The Refrain movements typify Crumb’s approach to formal design. Each of the Refrain
movements contains similar thematic material with the guitar as the focus of attention, and each
refrain is based on repetitions of one formal section, creating a loosely strophic form.
Christopher Rouse terms Crumb’s loose adaptation of strophic form “strophic variant form,
which he describes as consisting of “a strophe – a melody, melodic gesture, or timbral effect –
stated once. The strophe is then repeated, usually twice, with limited alterations of pitch and
rhythms; these are the “variants.”29
Rouse adds, “Sometimes such a variant form will be
preceded by an introduction which returns at the end of the movement.” This “return” is also
seen in future movements of Quest on both a large and small scale.30
This strophic variant form is the most obvious recurrent structure in Quest. In fact, it
appears in almost every movement of the work in some capacity, whether (1) as the form of an
entire movement, (2) followed by a coda or additional section, or even (3) as a sub-structure
within a larger overall form. Strophic variant form will be the primary focus of this chapter on
the form of Quest.
Refrain I is centered on a rapid open-string B ostinato in the guitar with sporadic
ornamenting notes. This ostinato begins after an introductory figure that contains a rapid,
downward, arpeggiated flush of dissonant pitch material in the harp, hammered dulcimer, and
vibraphone. The first refrain contains four small sections of similarly repeated material. Each
29
Rouse, “The Music of George Crumb,” 78. 30
Ibid. Rouse specifically cites Night of the Four Moons (1969), Ancient Voices of
Children (1970), Madrigals, Books I and II (1965), and also includes “most of the miniature
movements in Crumb’s music,” as adhering to “strophic variant” form as well as some being
preceded by a returning introduction that appears at the end of the movement.
173
section of Refrain 1, after the very beginning, falls at a rehearsal number. It should be noted at
this point that for the purposes of this discussion the lower-case alphabetic labels given to each
formal section (a, a’, a’’, b, c, etc.) represent the material content related to the discussed
movement only. These alphabetic labels do not carry over into other movements – even if the
thematic material is similar among movements. Furthermore, upper-case alphabetic labels (A,
A’, B, C, etc.) will refer to larger sections of formal diagrams within a movement. Example 2.4
diagrams the form of Refrain 1.
Example 2.4. Quest, “strophic variant” form in Refrain 1 with rehearsal numbers designating
sectional division.
The variation among the four sections is minimal, and simply involves the number of repeated
notes, along with minor rhythmic variation of the ornaments that the guitar plays. In the other
movements where strophic variant form is present, variation techniques tend to be more
extensive, and include transposition of the pitch material, a device not found in the first refrain.
(When such transposition does occur in the later movements, it invariably occurs at the tritone
above.) However, in the Refrain movements the harp, hammered dulcimer, and vibraphone parts
are exact repetitions in each section – providing a sort of “timbral placemat” for the varying
concertante guitar part.
Further elaboration of the strophic variant form is found among other movements and
incorporates brief episodes that fragment initial statements, and even coda sections that act as
short cadenza-like passages for the guitar. Refrain 2 is extremely similar to Refrain 1 with
174
respect to its thematic content; the entire movement is transposed, as the ostinato pitch of the
guitar is centered on D4, rather than the previous B
4. In fact, we will actually see that the
relationship of a fourth is a significant interval throughout Quest. Although very similar to
Refrain 1, small variations in the guitar’s rhythmic ornaments give this movement its own
identity. Containing only two repeated sections, and resembling a truncated version of Refrain 1,
this movement ends with a rhythmically augmented fragment of its opening gesture. The
movement also incorporates a timbral “echo” which imitates and expands the guitar’s ostinato by
using repeated octave pitches in the harp. (Example 2.5)
Example 2.5. Quest, strophic variant form with returning fragment of a section in Refrain 2 with
rehearsal numbers designating sectional division.
This type of return, where introductory material is referenced again at the end of the
movement, is another common occurrence found in Crumb’s works.31
Rouse codifies and
briefly discusses its role in the final movement of Echoes of Time and the River, and at the
conclusion of Ancient Voices of Children with the return of the opening vocalise; in addition, it
can also be seen with the returning “Sea Theme” in Vox Balaenae, and in the returning opening
chords in Makrokosmos I.32
Such a return to material heard earlier in a movement or work
would normally suggest a ternary structure of some sort, but since the material returns so briefly,
in the form of rhythmically augmented fragments, it does not justify an independent sectional
designation. Charles Rosen discusses this technique in The Romantic Generation and shows
31
Rouse, “The Music of George Crumb,” 78. 32
Ibid.
175
how 18th and 19th century composers, such as Mozart, Beethoven, and Schumann, used it to
define strong formal structure in their music. Using the term “self-reference,” Rosen believes the
return of previously presented material reappearing later in a work is a device that provides a
literal “memory” of themes and form – rather than being simply a direct return or recapitulation.
Furthermore, in its resulting effect, he explains that a composer uses the device to create a
perceived distance between the original presentation of a theme or idea and the later return, or
“memory,” of it – as if one was returning home after many years of being away and
remembering what is was once like before you left.33
We can attribute this same compositional
device to Crumb as well as Quest contains returning material at the end of most movements.
However, Crumb’s use of “self-reference” to provoke “memory” occurs in a slightly different
way from 18th and 19
th century composers. “Self-reference” in Crumb often involves literal
returns to earlier stated material. However, like we will also see with his use of quotation, there
is usually an element that distorts the “memory” and gives it a sense of imperfection. Besides
simple transposition to a new pitch level, his “self-references” are known to incorporate:
augmentation of the original rhythms, softer dynamics, ritardandos, and even incomplete
fragments of the original figure that strongly implies the original, rather than actually presenting
in its literal form. These effects create a type of “echo” of the original musical figures, and while
earlier composers use “self-reference” to create a sense of returning home after a long departure
from it, Crumb uses it to create the feeling of arriving someplace new that reminds you of home
– rather than actually being there. This “reference late in a work to material heard earlier,” or
33
Charles Rosen, The Romantic Generation (Massachusetts: Harvard University Press,
1998), 169.
176
“self-reference,” found in Crumb’s music will be a formal device used in every movement,
except for Refrains 1 and 3, in Quest.34
Crumb uses strophic variant form once again in Refrain 3. This movement precedes the
lengthy final movement, Nocturnal, and demonstrates another type of strophic variant form.
After three similar sections (labeled a, a’ and a’’ in example 2.6) we encounter a solo cadenza-
like passage for guitar. This section, labeled in Example 2.6 as “Coda,” concludes the Refrain
movement.
Example 2.6. Quest, “strophic variant” form with Coda in Refrain 3 with rehearsal numbers
designating sectional division.
Although its role is not always as it is in the Refrain movements, strophic variant form
finds its way into the structures of the five larger movements as well. In these movements,
strophic variant form appears not only in larger structures, but also as a smaller form within large
sections, adding more formal complexity to Crumb’s musical landscape.
Using the second movement, Dark Paths, as an example, we can see how strophic variant
form appears as a large-scale form resulting from the combination of several smaller sections.
Although as in the refrains, in Dark Paths each rehearsal number tends to define a sectional
division, in the first section of this movement rehearsal number 4 corresponds with the second
musical gesture within this section, rather than to its beginning. (Rehearsal number 4 in the
score of Quest does not correspond to the start of section a, which actually begins, at
34
Rouse, “The Music of George Crumb,” 78.
177
approximately 17 seconds in track 2 of the Bridge recording, with the African Talking Drum
gestures that follow the introduction with the suspended cymbal and glissando timpani35
). The
movement contains an introduction followed by three short sections that comprise a composite
form, a, b, and c, each of which is defined by contrasting thematic content and alternating
instrumentation. These three sections are then repeated in order, transposed at the tritone. These
three sections, resulting in a second composite form, are labeled a’, b’, and c’ in Example 2.7.
The following coda, which begins at rehearsal number 10, contains the first appearance of
Amazing Grace, which will be explored in chapter four. Finally, at the end of the coda a
fragment of the “a” section results in another “self-reference” by Crumb. Example 2.7 diagrams
the Dark Paths movement, and demonstrates how the smaller composite forms (a, b, and c) make
up larger sections that reveal an overall strophic variant form on a large scale. In this diagram,
the rehearsal numbers are placed below the sections in order to maintain the clarity of form
relationships between the smaller and larger sections.
Example 2.7. Quest, a large-scale strophic variant, resulting from two composite forms, with
introduction and coda in Dark Paths with rehearsal numbers designating sectional division.
35
Crumb, George. George Crumb: Quest; Federico’s Little Songs. Bridge Records Inc.
#9069, � 1996 by Bridge Records Inc. Compact Disc.
178
The Forgotten Dirges movement provides another example of how Crumb uses strophic
variant form as part of more complex structures.36
Following Refrain 2, this movement
comprises a large-scale ternary form (A B A’) with a short introduction and coda. Each large
section is a strophic variant form consisting of three smaller sections of similar material that are
variations of one another, each two measures in length. The variations among the strophic
variant sections involve transposition of pitch material by a perfect fourth, a minor second, and
even a tritone. These transpositions do not always affect all of the instruments; some will
maintain their pitch level, or transpose at a different interval, while other transpositions occur in
the surrounding instrumental texture.
Rehearsal numbers in this movement are not a reliable indication of sectional divisions of
the form. However, because Crumb uses an actual metered notation in this larger movement
(instead of the senza misura in other movements), measure numbers (which are not provided in
the score but which can be easily added) can be used to clearly display and diagram form.
As shown in the Example 2.8, a short introduction begins the movement and is then
followed, starting at rehearsal 19, with three two-measure sections labeled a, a1, and a2. As
already mentioned these three sections will make up the first large section (A) and relate to one
another according to a clear strophic variant form. The first large section ends with a very brief
return of the introduction material, at measure 10 (rehearsal number 21). This “quotation” of
material previously presented at the beginning of the movement is a structural device common to
the end of each large section of movement’s overall ternary form. Rouse points out that this
structural device is very common in the works of George Crumb; in Quest, we see this not only
36
Forgotten Dirges is labeled movement three by the composer; however, its actual
position in Quest is movement five in the entire work. See Example 2.2 for the listing of
movements with their published labels.
179
several times in this movement, but also in Dark Paths and Refrain 2.37
Indeed, this referencing
of previously introduced material at movement’s end occurs in five of the movement of the
work, with the exception only of Refrain 1, Refrain 3, and the third movement, Fugitive Sounds.
As mentioned above, the form of Forgotten Dirges can be summarized as three large
strophic variant structures followed by a brief coda. In the second section of this ternary
structure, labeled section B in example 2.8, three more two-measure subsections, labeled b, b1,
and b2, are based on thematic material that contrasts with the previous sections. In b2 the phrase
is extended with a sequenced repetition of previously stated material. Finally, in the last section
of the overall ternary form (A’) there are three more small sections that contain material derived
from the a section at the beginning of the movement. Varying the material even further than in
the previous A section of the ternary form, these sub-sections are labeled a3, a4, and a5, and
make up the final strophic variant form of the movement. The movement then concludes with a
brief two-measure coda that again uses material found earlier in the movement – this time,
referencing material from the introduction. Example 2.8 diagrams this entire movement by
showing the overall ternary form as well as the smaller-level strophic variant structures.
37
Rouse, “The Music of George Crumb,” 79.
180
Example 2.8. Large-scale ternary structure in Forgotten Dirges with the smaller sub-sections
showing strophic variant form.
As seen in the above examples, the extensive use of strophic variant form in Quest
provides the clearest insight into Crumb’s formal procedures. It is a favorite of Crumb’s and is
commonly found in a majority of his works since the early 1960’s.38
Whether used as the
primary source of form in a movement or within a larger-scale design, strophic variant form,
through its simple design, provides Crumb with a clear and undemanding canvas upon which he
can exercise a rich and complex timbral palette - allowing his unique compositional voice to be
clearly presented to the listener without further obstruction and confusion from complex forms.
38 Ibid.
181
III. PITCH MATERIAL AND PROCESS
A preliminary investigation of Quest may initially reveal many different, and seemingly
unrelated, uses of pitch material, scale forms, and musical process; closer analysis, however,
reveals that Crumb’s musical processes as they apply to pitch are unified by one central
intervallic idea: a major third embedded within a perfect fourth. Crumb is able to generate all of
the pitch material found in Quest from this simple motive and its many possible variants,
emphasizing either its consonant or its dissonant aspects depending on the effect he desires in a
given context. It will henceforth be referred to as the Quest motive.
The Quest motive is first found within the guitar part in Refrain I, where the melodic
figure, Ab-G-C-B, emerges from the guitar’s initial ostinato on B4. Example 3.1 shows the
emergence of this figure.
Example 3.1. Quest, the opening guitar part in Refrain 1, showing the first statement of the Quest
motive. Used by permission of C.F. Peters Corporation, Copyright © 1996.
This figure as initially presented suggests a double incomplete upper neighbor-note figure that
embellishes the pitches G and B, but if we consider the pitch content of the motive as a set,
182
positioning them into normal order as shown in Example 3.2, its full range of intervallic
possibilities are revealed. The Quest motive is a member of set class 4-7 (0145); this means that
it includes two semitones, a minor third, two major thirds, and a perfect fourth – or their
inversions and compounds - and contains no whole steps or tritones. The relative prominence of
semitones and major thirds becomes a central feature of the pitch vocabulary of Quest. As
Example 3.3 illustrates, set class 4-7 (0145) is a symmetrical structure consisting, in its normal
form, of two minor seconds separated by a minor third.39
Example 3.2. Pitches from the guitar’s first melodic figure, from Refrain 1, rearranged in best
normal order, and showing the intervals of a perfect fourth (P4) and a major thirds (M3).
Example 3.3. Normal form of the Quest motive as heard in the guitar’s first melodic figure in
Refrain 1, showing the symmetrical disposition of minor seconds (m2) around the motive’s lone
minor third (m3).
39
A standard source of information concerning set classes and pitch-class set theory is
Joseph N. Straus, Introduction to Post-Tonal Theory, 3rd ed. (New Jersey: Prentice Hall, 2005).
183
The following analysis of pitch material in Quest will assume enharmonic equivalence of
notes of the same pitch class that Crumb spells differently; except perhaps in passages that
feature prominent tonal quotations, his music seems to inhabit a completely chromatic world,
sometimes rendered slightly more complex through microtonal inflection.40
Crumb generates the guitar line in Refrain I, which consists of a series of brief melodic
figures diverging from the pervasive ostinato on B4, from the intervals drawn from the Quest
motive. Some of these retain membership in, or are subsets of, the referential 4-7 (0145) form of
the Quest motive, while others, which result from new combinations of the motive’s component
intervals, do not. In the examples below, Examples 3.4a and 3.4b, the results are small pitch
sets, each a subset of the Quest motive’s 4-7 (0145), that include the central motive (labeled “a”)
expanded by a minor second (“b” and “g”), and then a short gesture containing two minor
seconds (“c”). In following section of the strophic variant form, this motive also exploits perfect
fourths in an ascending pattern (“d” and “e”), as well as the interval of a minor third juxtaposed
with a minor second (“f”).
40
Crumb’s spellings of pitch classes seem intended, for the most part, to facilitate
performance; given two possible pitch spellings such as C# and Db, Crumb seems to prefer the
one that occurs in “easier” keys, i.e. C#, which is familiar from keys like D major and D minor,
over the one that occurs in “harder” keys, i.e. Db, which occurs in keys like Ab major and F
minor.
184
Example 3.4a. Quest, pitch sets generated from the central motive (labeled “a”) in the first two
sections of Refrain 1 – extracted from the score (guitar part).
Used by permission of C.F. Peters Corporation, Copyright © 1996.
Example 3.4b. Pitch sets generated from the central motive set (“a”) in the first two sections of
Refrain 1 (guitar part).
In the following Refrain movements, which are modified variations of Refrain 1, the
motivic combination of major third and perfect fourth appears frequently in the guitar part,
sometimes yielding straightforward transformations of the Quest motive, sometimes introducing
more distant derivatives. Example 3.5 shows a reappearance of the Quest motive in the guitar
185
part during the opening section of Refrain 2, while Example 3.6 develops the motive by
presenting two overlapping occurrences of the motive’s component intervals in Refrain 3.
Crumb generates some of the most important musical gestures in Quest by using this
perfect fourth/major third motive in various creative and hidden ways. Analysis of the pitch
class content of these musical gestures reveals close connections with the Quest motive and its
intervallic components. Two further ways in which the latter are varied and developed involves
the substitution of a minor third for the major third, or a tritone – an augmented fourth or
diminished fifth – for the motive’s perfect fourth.
Example 3.5. Quest, pitches from the guitar’s first melodic figure, from Refrain 2, reordered to
display intervallic derivation from the Quest motive. Used by permission of C.F. Peters
Corporation, Copyright © 1996.
186
Example 3.6. Quest, pitches from the guitar’s first melodic figure, from Refrain 3, reordered to
display intervallic derivation from the Quest motive. Used by permission of C.F. Peters
Corporation, Copyright © 1996.
The expansive opening gesture that begins Fugitive Sounds, the movement that
immediately follows Dark Paths, is also derived from the perfect fourth/major third motive set.
Rich in tritones and minor thirds, the opening may be considered the product of three pitch class
sets, labeled A, B and C in Example 3.7. Set A duplicates the original motive at its original pitch
level, while B is a clear derivative; C, the vibraphone’s ascending figure, is a symmetrical
flourish that joins two augmented triads a minor third apart, thus developing the major third
component of the motive.
187
Example 3.7. Quest, opening gesture from Fugitive Sounds (measure 1) with resulting pitch sets
(A and B), and additional references to major thirds (C) related to the Quest motive. Used by
permission of C.F. Peters Corporation, Copyright © 1996.
The gesture in the example above is also used throughout the movement as a formal
device (another instance “self-reference”) to define the beginning of several sections. At each
reference following the opening statement it is presented usually at a new pitch level. This
occurs at rehearsal number 12, four measures after rehearsal number 12, at rehearsal number 16,
188
and three measures after rehearsal number 16. Later in the movement, at one, and four, measures
after rehearsal number 17, the ascending guitar figure from that gesture is extracted and used to
create a variant of the original. The variant guitar figure, along with a complementing figure in
the marimba, exploits the intervals of a major third (two of them) and a compound perfect fourth
that exists in the boundaries of the original statement. The first variant, one measure after
rehearsal number 17, is seen in a later example, Example 3.10, and used to further support the
intervallic connection to the Quest motive.
In a chordal passage in this same movement (measure following rehearsal number 11),
Crumb accompanies a soprano saxophone melody with harp chords derived from the central
motive voiced to emphasize perfect fourths. Individually the three chords, presented in
descending sequence, don’t seem to have any overt connection to the central motive. Example
3.8, however, clarifies the relationship. Note that here Crumb substitutes a minor third for the
Quest motive’s major third.
Example 3.8. Quest, harp part at rehearsal number 11 in Fugitive Sounds with reduction of
voices showing intervallic relationships to Quest motive. Used by permission of C.F. Peters
Corporation, Copyright © 1996.
189
In this same movement, as already seen in Example 3.7 in the vibraphone gesture
(labeled C), Crumb extracts the major third interval from the central motive set and makes it an
important feature in the guitar’s rapid figurations. These arpeggiated figures are prominent in
both Fugitive Sounds movements, and also make very brief appearances in some others. The
gesture consists of several patterns of three thirty-second-note triplet cells that ascend and
descend throughout the guitar’s range. Each three-note group is usually separated from the next
by a minor third - although an augmented fourth (the equivalent of two minor thirds combined)
serves this dividing function in the first occurrence of this figure in the movement.
As seen in Example 3.9, the separating minor third interval does break the expected
series, but it is used in order for the major third pattern to continue without repeating at the
octave. The augmented fourth is used to emphasize the uppermost pitch in each part of the
ascending pattern – first E6 and then G
6.
Example 3.9. Quest, mm.10-11 from Fugitive Sounds, and a reduction showing the resulting
intervals in the guitar’s line. Used by permission of C.F. Peters Corporation, Copyright © 1996.
As mentioned previously, the guitar has a passage near the end of this movement that
contains similarities to Example 3.9. In the measure after rehearsal number 17, and again three
measures later, there is a variant of the vibraphone’s set C, from the beginning of the movement
190
that also sounds like a fragment from the guitar’s more continuous solos between rehearsal
numbers 11 and 12, 13 and 14, and 15 and 16. Example 3.10 illustrates. Here the development
of the major third idea continues from the guitar to the marimba. The major third idea has now
expanded across several octaves, and across instruments. The interval between the guitar
figure’s two boundary pitches, D4 to G
6, is a compound perfect fourth – which is part of the
Quest motive – spread across most of the guitar’s range.
Example 3.10. Quest, intervals from the Quest motive occurring among the guitar and the
marimba parts from Fugitive Sounds (one measure after rehearsal number 17). Used by
permission of C.F. Peters Corporation, Copyright © 1996.
The perfect fourth and major/minor third are also used together to build harmonic
structures in many passages in Quest. This is most evident in the guitar’s chordal passages. The
most active use of guitar chords is found in the Forgotten Dirges movement. In the opening
measures of the movement at rehearsal number 19, and used in almost exact restatement in
alternating sections, the guitar plays a rhythmic series of chords built on intervals of fourths and
thirds of varied qualities. Some of the thirds in this texture appear as minor intervals, while
several of the fourths appear as tritones (labeled “TT” in Example 3.11).
191
Example 3.11. Quest, guitar chords built on thirds and fourths in Forgotten Dirges at rehearsal
number 14 (repeated chords are not analyzed).
Used by permission of C.F. Peters Corporation, Copyright © 1996.
As illustrated above therefore, this basic motive of a major third interval embedded
within the interval of a perfect fourth generates a majority of the material found in the Quest.
The ultimate source of these two intervals as generative factors in the work seems to be the
standard tuning of the guitar. The guitar’s bottom four strings are tuned in perfect fourths (E2-
A2-D
3-G
3); the fifth string (B
3) is tuned a major third above the fourth, and the sixth string (E
4) is
tuned a perfect fourth above the fifth. The inner strings (D3-G
3-B
3) are particularly significant as
a point of reference for the Quest motive and materials derived form it. Example 3.12 illustrates
the open strings of the guitar and its corresponding notation.
192
Example 3.12. Standard diagram of the guitar’s open strings showing string numbers and
corresponding pitches, as well as the sounding pitches with the perfect fourth D3-G
3 and major
third G3-B
3 emphasized.
The standard tuning of the guitar influences the pitch levels at which many of the
important harmonic and melodic ideas found in Quest occur. Furthermore, the pentatonic scale
on G (Example 3.13), which consists of the pitch classes represented by the tuning of the guitar’s
strings, is an important referential collection in the work.41
The most important use of the
pentatonic scale occurs in conjunction with Crumb’s quotation of the hymn tune Amazing Grace,
which will be explored in detail in Chapter 4 of this analysis.
41
The “pentatonic scale” referred to here, and throughout this analysis, is meant to
describe an anhemitonic pentatonic scale. This means the pitches for this scale can be derived
from a diatonic major scale that omits the fourth and seventh scale degrees – resulting in a scale
that consists of five notes with no semitones. Starting on the pitch of C, the anhemitonic
pentatonic scale would contain the pitches C, D, E, G, and A.
193
Example 3.13. Pentatonic scale on G derived from the open string notes of the guitar’s standard
tuning.
If we reorder these five pitch classes in a different way, we find that the pentatonic scale
in this arrangement is symmetrical; it may be considered as two pairs of perfect fourths on either
side of a central major third (Example 3.14).
Example 3.14. Pentatonic scale on G reordered to show a symmetrical relationship and the
intervals of a major third and perfect fourth.
The intervals found among the inner strings (D, G, and B) also impact another aspect of
the musical language that Crumb uses this work. The intervals yielded by these strings also
generate another composition tool that is used widely in Quest: the octatonic, or alternating
whole step/half step scale.42
Crumb uses all three forms of the octatonic scale throughout Quest:
42
The octatonic scale is an eight note scale that is built from a resulting pattern of either
alternating half-steps and whole-steps, or alternating whole-steps and half-steps. Certain 19th
century Russian composers, notably Rimsky-Korsakov, were among the first to make use of this
scale, and in the twentieth-century, composers such as Alexander Scriabin, Igor Stravinsky, Bela
Bartok, and Olivier Messiaen have regularly incorporated the octatonic scale into their
compositions. The scale has also found popularity among contemporary jazz styles where it is
194
a whole-step/half-step scale pattern starting on C (transposition 1), a half-step/whole step scale
pattern starting on C (transposition 2), and a half-step/whole-step scale pattern starting on C#
(transposition 3). Example 3.15 shows all three forms of the octatonic scale.
Example 3.15. Three forms of the octatonic scale.
These three forms of the octatonic scale are the only possible transpositions of this scale.
Composer Olivier Messiaen (1908-1992) includes the octatonic scale as one of his “modes of
limited transposition,”43
and Crumb admits that Messiaen is among many composers who have
had an influence in his music.44
used in solo improvisations over diminished 7th chords and altered dominants. Stefan Kostka,
Materials and Techniques of Twentieth-Century Music (New Jersey: Prentice Hall, 1990), 34. 43
Olivier Messiaen, The Technique of My Musical Language (Paris: Alphonse Leduc,
1956), 58-62. 44
Crumb, 1999.
195
Aurally, the pentatonic scale may seem unrelated and in complete contrast to the
octatonic scale – and indeed in isolated comparison, they are. In Quest, however, Crumb not
only makes a strong connection between these two scales, but he uses one to generate the pitches
of the other.
Consider isolating the pitch classes D, G and B, derived, as noted above, from the
guitar’s fourth, third, and second strings, and the intervals that result from their juxtaposition,
the perfect fourth D-G and the major third G-B. Duplicating this intervallic pattern until the first
pitch class repetition yields the pitch class content of octatonic transposition 3, as illustrated in
Example. 3.16.
Example 3.16. Octatonic scale (transposition 3) derived from a repeated pattern of a perfect
fourth followed by a major third.
The connection between two very contrasting ideas – the central Quest motive and the
octatonic scale – is typical of many of Crumb’s compositions. It is very characteristic of his
style to juxtapose two ideas (whether involved with scales, pitch centers, or instrumental
timbres), and the composer has often mentioned his obsession with combining elements that are
196
in direct opposition with one another. In an interview in Robert Duckworth, John Harvey, and
Julie Powell, he admits,
My music always has this kind of dual sense about it. Maybe it comes from some of the
models I've followed. I hear this quality in Mahler's music. There is sometimes kind of a
folk-like quality, and yet underneath there is an underlying irony that is implied in his
music. I find most music, the music I love most, always seems to have both sides to it.45
Forcing elements that traditionally would not be related to one another to work together is
one of the most interesting, and most cunning, aspects of Crumb’s music. We will also see this
duality of elements in the next chapter when we investigate Crumb’s use of musical quotation.
The octatonic scale is an even stronger presence in Quest than the Quest motive itself.
Whenever possible, when Crumb uses either octatonic material or material derived from the
central motive to define a gesture, he carefully arranges them to emphasize as many fourths –
both perfect and augmented – as possible. While the perfect fourth is derived from the motivic
entities that stem from the guitar’s standard tuning (and thus from the pentatonic scale), the
augmented fourth (tritone) is derived from the octatonic scale. Crumb exploits this dualism, and
the possible alternate derivation of the perfect fourth from the octatonic collection, throughout
the work. For example, the opening of the Dark Paths movement is built around the dichotomy
between the augmented and perfect fourths. The movement begins with a slow glissando
between the notes E2 and Bb
2 in the timpani, followed by a rhythmically and registrally
fluctuating harp figure built around a projection of fourths, E2-A
2-D
3-C
4-F
4, clearly derived from
the tuning of the guitar’s four lowest strings, which happens to be the same as the tuning of the
strings of the contrabass (although an octave higher). This figure, as well as the widely used
45
Robert Duckworth, John Harvey, and Julie Powell, "Interview with George Crumb,"
The Unclassical Show, University of Georgia, n.d. http://www.thing.net/~roddys/trickyol/
interview3.html (accessed June 11, 2006).
197
intervals of a perfect fourth throughout this movement, foreshadows the appearance of the
Amazing Grace quotation – which is heavily influenced by the interval of a perfect fourth, and
structured around the pentatonic scale. Again, this scale and quotation will be discussed in the
next chapter. The harp’s figure using exclusive perfect fourths is shown in Example 3.17.
Example 3.17. Quest, harp passage in Dark Paths (at rehearsal number 4) containing exclusive
use of perfect fourths. Used by permission of C.F. Peters Corporation, Copyright © 1996.
The first use of the octatonic scale in the work appears in the very opening of Quest, in
Refrain I. The opening gesture, performed on the Appalachian hammered dulcimer and echoed
by held chords in the vibraphone and harp, includes seven of eight notes of transposition 1 of the
octatonic scale. The missing C-natural that completes the collection arrives shortly thereafter as
part of the guitar’s first melodic figure, where it connects the Quest motive with this octatonic
gesture. (Example 3.18)
198
Example 3.18. Quest, opening gesture in Refrain I with the pitches of the octatonic scale
(transposition 2) identified. Used by permission of C.F. Peters Corporation, Copyright © 1996.
Having a missing pitch from a referential collection or sonority be supplied by another
musical gesture slightly later in the piece to complete the set is a consistent technique that Crumb
uses in the opening of all three Refrain movements. Indeed, pitch- and pitch-class-specific
connections occur throughout the work. This C plays a strong role within the guitar part of
Refrain I, occurring in every one of the musical gestures that deviate from the ostinato B, and
functioning as a quick upper-neighbor embellishment that helps define the ostinato pitch with
much strength and emphasis. Because it, like most of the rest of the pitch material in Refrain I,
is registrally frozen (i.e. it occurs as C4 throughout the refrain), its return as part of the harp’s
199
figure in the next movement forms an audible connection between the two sections. Such
registral fixedness helps reinforce the motivic role of perfect fourths and major thirds that we
have already noted above.
In the movement entitled Fugitive Sounds, two forms of the octatonic scale are found in
the first section among the melodic figures in the soprano saxophone and guitar parts. The
soprano saxophone utilizes transposition 2 of the octatonic scale; while the guitar’s imitative
gesture uses transposition 1. Many of the pitches in this figure are arranged to clearly project the
interval of a perfect fourth. (Example 3.19)
Example 3.19. Quest, melodic figures in the soprano saxophone (concert pitch) and guitar parts
in the opening section of movement Fugitive Sounds. Used by permission of C.F. Peters
Corporation, Copyright © 1996.
The octatonic scale is also prominent in the final movement, Nocturnal. Here droning
fifths accompany the “Amazing Grace” quotation. At rehearsal number 35, Andantino
piacevole; quasi “Serenata,” the vibraphone alternates a sequential melodic pattern that it
200
doubles in perfect fifths with the guitar, harp, contrabass, and hammered dulcimer. Although
perfect fifths are the most prominent feature of this melody, the notes of the vibraphone’s
melody form transposition 3 of the octatonic scale. (Example 3.20).
Example 3.20. Quest, vibraphone part at rehearsal 35 in Nocturnal revealing an octatonic scale
used in the context of a sequencing gesture that contains perfect fifths. Used by permission of
C.F. Peters Corporation, Copyright © 1996.
Creating gestures and textures from the octatonic collection while at the same time
incorporating the intervals of the Quest motive, is one of Crumb’s favorite ways of maintaining
consistency and unity throughout the work. In the second movement, Dark Paths, the soprano
saxophone’s melodic statements include strong octatonic references. Example 3.21 shows one
such reference; basically, here and in the other movements, whenever a figure or gesture is not
pentatonic, its pitch materials tend to be drawn from subsets of the octatonic scale.
201
Example 3.21. Quest, soprano saxophone melodic figure in Dark Paths, approximately midway
through rehearsal number 5, referencing octatonic (transposition 2). Used by permission of C.F.
Peters Corporation, Copyright © 1996.
Octatonic fragments occur throughout the next movement, Fugitive Sounds. The guitar’s
first sustained solo, starting at measure 10, incorporates arpeggios of ascending and descending
intervals of three major thirds – with each grouped interval pattern interrupted by a minor third
(as seen previously in Example 3.11). A sequential pattern of eight thirty-second note groups
that produce a chromatic pitch collection spanning a tritone follows these arpeggiated figures in
measures 12 and 13. Each eight-note pattern includes two fragments of the octatonic collection.
In Example 3.22, the entire sequence is shown, but for clarity the octatonic content of only the
first statement of the figure is shown.
202
Example 3.22. Quest, guitar part in measures 12 and 13 of Fugitive Sounds revealing two
fragments of octatonic transpositions 1 and 2. Used by permission of C.F. Peters Corporation,
Copyright © 1996.
Finally, in the Refrain movements Crumb makes prominent use of the diminished
seventh chord, one of the most important sub-sets of the octatonic collection. This chord, and
fragments of it, is found throughout the contrabass part. In Refrain I, the slowly unfolding bass
notes outline the fully diminished seventh arpeggio descending from Bb1 to C#
1. Refrain II
recalls this figure with an overall bass line that features the interval C#2/Bb
1. In the final Refrain
movement the overall bass line outlines the diminished triad F#2/Eb
2/A
1. Example 3.23
illustrates this.
203
Example 3.23. Resulting octatonic scale (transposition 2) from the rearrangement of the overall
bass-line pitches (contrabass part) in each of the Refrain movements (rehearsal numbers indicate
location in the score).
We have seen, therefore, that the intervals of the ubiquitous Quest motive, the perfect
fourth and major third, are ultimately influenced by the standard tuning of the guitar’s strings.
Its component intervals also generate other scales and pitch collections, such as the pentatonic
and the three forms of the octatonic. Crumb uses these two scales to create juxtapositions and
tensions throughout the work, as well as a pervasive unity of gesture. Each of the two scales is
dependent on the other; the presence of one leads the listener to anticipate the arrival of the other.
The fascination of Quest, however, lies not only in Crumb’s subtle manipulation of the central
motive, or in the influence of the guitar, or the dichotomy of pentatonic and octatonic; in
addition, Crumb’s characteristic use of musical quotation gives the work an intriguing, allusive
quality that makes it typical of his best works. The final chapter explores this process.
204
IV. USE OF MUSICAL QUOTATION: “AMAZING GRACE”
Beginning with the 1967 orchestral work Echoes of Time and the River, where he quotes
the hymn “Were You There When They Crucified My Lord?”, George Crumb uses quotation as
a compositional technique in many of his works.46
Crumb’s use of musical quotation can be
described as a way of conjuring up certain moods, a means of reaching outside his music to
allude to a larger reality, and as a method of introducing temporary moments of tonal clarity.
The effect of Crumb’s quotations is often similar to a clearing fog that reveals a familiar image
from afar that is soon engulfed again by the surrounding mist, among a complex landscape of
disparate sounds. In Quest, Crumb uses the famous hymn tune Amazing Grace as the focal point
of the composition, presenting phrases or smaller fragments of the tune at various points
throughout the work.
Although they are always recognizable, Crumb’s musical quotations typically contain, as
Crumb himself has stated during a lecture at Louisiana State University in 1999, “some element
of distortion.”47
These distortional elements include bitonal or heterophonic opposition to the
accompanying harmony or established tonal center; the scoring of the quotation for non-
traditional instruments or for traditional instruments using non-traditional or extended
techniques; and the placing of the quotation among contrasting, incongruous accompanying
timbres. These distortive elements seem to give dynamic life to themes and melodies that might
otherwise seem static and somewhat predictable due to their familiarity, and they tend to de-
familiarize Crumb’s allusions to familiar tonal repertoire. Concerning his quotations of Amazing
Grace in Quest, the composer states “you don’t expect to hear it on the saxophone against a
46
Rouse, “The Music of George Crumb,” 100. 47
Crumb, 1999.
205
cloud of Japanese bells.”48
Furthermore, the composer clearly describes this dynamic setting of
the hymn tune in the program notes for Quest by saying,
There is one use of musical quotation in the work: phrases from the famous hymn tune
Amazing Grace are played by the soprano saxophone -- initially, at the conclusion of
Dark Paths (over a delicate web of percussion sonority), and finally, in Nocturnal (over a
sequentially slowing ostinato of bare fifths in the harp and contrabass). On the very last
page of the score a distant echo of the tune is intoned by a harmonica, or, as in this
recording, a concertina.49
The Amazing Grace quotation is obviously an important focal point in Quest. Although it may
seem like a tune that was arbitrarily selected to add contrast, interest, and familiarity to the work
by the composer, this analysis will reveal that its role in the work is much deeper.
Amazing Grace is a well-known Christian hymn written in late 1772 and credited to John
Newton (1725-1807), a British Anglican priest and former slave trader.50
Appearing in several
popular early American hymnbooks, including Newton’s Olney Hymns (1779) and William
Walker’s Southern Harmony (1835), the tune became – and since then has remained – a favorite
due to its association with the Christian idea of “divine grace.”51
Through the nineteenth century
it appeared in more and more hymnals, and in the twentieth century rose to become a gospel and
folk standard (Arlo Guthrie performed it at Woodstock in 1969, and Judy Collins's 1970 a
capella recording dominated the UK charts for 67 weeks).52
In the 1960s the song’s lyrics
48
Ibid. 49
Crumb, Quest, 2. 50
Bernard Martin, An Ancient Mariner: A Biography of John Newton (New York:
Abingdon Press, 1950). 51
Steve Turner, Amazing Grace: The Story of America's Most Beloved Song (New York:
HarperCollins Perennial, 2003). 52
Promoted as “three days of music and peace,” the Woodstock Music and Art Fair was
held at Max Yasgur's 600 acre dairy farm in the town of Bethel, New York from August 15 to
August 17, 1969. Thirty-two of the best-known rock and pop musicians of this time period
appeared during the weekend festival which embodied the counterculture of the 1960s and the
"hippie era." David P. Szatmary, Rockin’ In Time: A Social History of Rock and Roll (New
206
gained new relevance to human rights and freedom. In 1972, an instrumental version by the
Pipes and Drums and Military Band of the Royal Scots Dragoon Guards popularized the song
for bagpipes and maintained the number one spot for five weeks, and spent a total of twenty-
seven weeks on the UK charts.53
Crumb does not make any clear connections between the
Christian associations of the tune and any programmatic or symbolic meaning of Quest, but one
cannot help but assume some type of significant connection between these two elements.54
The
possible nature of this connection will be explored later in this chapter.
The simple melody of the tune spans the range of one octave; the absence of the fourth
and seventh scale steps makes it a pentatonic melody. Example 4.1 presents the Amazing Grace
melody in C major. Example 4.2 then extracts the pentatonic scale in C from the previous
example.
Example 4.1. Amazing Grace, showing phrase structure.
55
Jersey: Prentice Hall, 2007), 198; Joan Baez’ single in 1970 is cited online at
http://www.chartstats.com/songinfo.php?id=5517 (accessed September 29, 2007). 53
http://www.chartstats.com/songinfo.php?id=5822 (accessed September 29, 2007). 54
In the program notes of Quest, Crumb states, “…although the movement titles are
poetic and symbolic, there is no precise programmatic meaning implied.” Crumb, Quest, 2. 55
Transcribed from Walter Ehret, Melinda Edwards, and George K. Evans, The
International Book of Sacred Song (New Jersey: Prentice Hall, 1969), 24-25.
207
Example 4.2. Pentatonic scale on C.
It will be no surprise after our previous discussion of the Quest motive and the tuning of
the guitar to discover that the pentatonic scale of Amazing Grace contains both a perfect fourth
and a major third; when this pentatonic scale is re-ordered as a symmetrical set, the perfect
fourth serves as a primary interval, the major third an axis of symmetry (Example 4.3).
Example 4.3. Pentatonic scale on C rearranged in a symmetrical set, and displaying the intervals
of a perfect fourth.
As we have seen, several musical passages in Quest are clearly derived from the
pentatonic scale. In Forgotten Dirges the pentatonic scale is used to generate a guitar passage
that appears several times in repetition and expansion within the movement. In the measure after
rehearsal number 21, the guitar plays a passage that contains two pentatonic scales: one in Db
and another in Gb. It is also interesting to note that the relationship between the centers of the
two pentatonic references is a perfect fourth; moreover, the bottom voice in the passage outlines
the perfect fourth sequence E-A-D.
208
Example 4.4. Quest, guitar passage incorporating two pentatonic scales, one measure after
rehearsal number 21 in Forgotten Dirges. Copyright © 1996 by C.F. Peters Corporation. Used
by permission.
Later on in the same movement, one measure after rehearsal number 23, the hammered
dulcimer uses two other pentatonic scales – one in G, and another in C - to derive a similar
ascending and descending figure. Again, the relationship between these two scales is a perfect
fourth. Above this figure, in the harp’s muted countermelody, another reference is made to a
pentatonic scale in Gb. By using the pentatonic scale so prominently in this movement, Crumb
foreshadows the Amazing Grace quotation and associated pentatonic materials that appear in the
final movement, Nocturnal.
Crumb generates most of the musical figures and melodies in Nocturnal from the
pentatonic. It is also no coincidence that this movement is the one that features the Amazing
Grace quotation almost exclusively. The pentatonic scale is very prominent from the very
beginning of the Nocturnal movement; each gesture on the first two pages contains a different
transposition of the pentatonic scale. Even the chordal figures in the vibraphone reference two
different pentatonic scales. Example 4.5 illustrates.
209
Example 4.5. Quest, use of pentatonic scales in the opening section of Nocturnal.
Copyright © 1996 by C.F. Peters Corporation. Used by permission.
The pentatonic scale and the Amazing Grace tune also have a strong connection to the
tuning of the guitar, as comparison of Examples 3.12 and 4.1 shows. We also saw in the
previous chapter that the pitches from the guitar’s open strings can be rearranged to form a
pentatonic scale built on G. Connecting these two elements together (the guitar’s open strings
and the Amazing Grace melody, as well as with the intervals that are found in the Quest motive)
now becomes very obvious. In fact, one can actually play the Amazing Grace melody using only
the open strings of the guitar (considering several octave displacements). Example 4.6
demonstrates this.
210
Example 4.6. Amazing Grace melody (transposed to G pentatonic) realized by using only the
open strings on the guitar (string numbers of the guitar are indicated above the notes).
Amazing Grace first appears in Quest in the second movement, Dark Paths. Appearing
briefly at the end of this movement, at rehearsal number 10, the quotation contains only the first
two phrases of the popular tune, and is played by the soprano saxophone. The tune is also placed
against contrasting timbres in the percussion that consist of a large and medium tam-tam, and
four Japanese temple bells. In fact, at each later appearance of the Amazing Grace, in the final
movement, the Japanese temple bells are included among the instrumentation that accompanies
the tune. This juxtaposition of unusual instrumental pairings is one of the “distortive elements”
that Crumb himself refers to when describing his use of quotation.56
Another technique of this
“distortion,” along with its overall intentions, will be discussed in the later appearance of the
Amazing Grace in the final movement, Nocturnal.
In Dark Paths, at the appearance of the quotation, Crumb indicates the expression mark
“misterioso” and further indicates, “as from afar.” The desired effect in this setting, and in its
later appearances, is one of transparency – especially as the dynamic marking for this entire
passage is triple piano (ppp). The very soft presentation of sounds found in this passage, along
56
Crumb, 1999.
211
with the triplet and quintuplet borrowed rhythms in both the bells and the saxophone, also
presents a somewhat free rhythmic character that seems almost mystic in quality. As mentioned
before, the quotation concludes the movement, and it serves not only as a musical reference, but
also as a moment of clarification — a place where a clear and functional tonal language emerges
out of a previously complex and dissonant musical landscape. This moment of clarification is
brief, and does not occur again until the final movement; here Crumb is foreshadowing its arrival
later on in the work.
Example 4.7. Quest, Amazing Grace quotation as seen in Dark Paths at rehearsal number 10.
Copyright © 1996 by C.F. Peters Corporation. Used by permission.
Even though some element of “distortion” exists in Crumb’s setting of a musical quote,
he is also capable of giving it a very clear presentation. The quotation of Amazing Grace in
Quest is not masked or concealed, but presented directly to the listener without textural
obstruction from the other instruments. In the previous example it can be seen that the
instrumentation is sparse and contains instruments of a different musical family (percussion)
from the quotation instrument, the soprano saxophone (woodwind). Crumb obviously wants the
listener to perceive clearly this moment of musical reference. In fact, in a notational practice that
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he uses in many of his other works he places the musical reference within quotation marks that
are notated above the passage (Schmidt, 2005, 172). This is also seen in Example 4.7.
The Amazing Grace quotation does not appear again until the final movement, Nocturnal.
In its first statement in this movement it appears in its entirety; in following appearances
fragments of the tune’s phrases occur. The sections of Nocturnal containing the quotation
appear three times between the larger sections of the movement and function as the refrains of an
overall rondo-like form. The appearances of Amazing Grace in Nocturnal occur with a similar
accompaniment each time: an open fifth dyad in the contrabass and harp plus Japanese bells that
alternate with the quotation, which is heard in the soprano saxophone throughout the movement,
with the exception of its last appearance where it is played by a harmonica. This transformation
of timbre will be explored further at the end of this chapter.
At rehearsal number 33, at the first appearance of the quotation in Nocturnal, open fifths
in the harp reinforced by a contrabass doubling accompany the soprano saxophone quotation.
The Amazing Grace melody in the saxophone is set in Db pentatonic and the open fifth dyads
play a repeated low ostinato pattern consisting of notes from the pentatonic scale on G (again
evoking the open strings on the guitar). Japanese bells eventually appear in this section and
alternate with the phrases with the quotation; a very soft punctuation by a large suspended
cymbal highlights that gesture.
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Example 4.8. Quest, Amazing Grace quotation at Nocturnal at rehearsal number 33. Copyright
© 1996 by C.F. Peters Corporation. Used by permission.
The same three open fifth dyads (E1/B
1, G
1/D
2, and A
1/E
2), found in the harp and
contrabass and played in the same repeated pattern in the above example, also accompany each
subsequent appearance of the Amazing Grace quote in the movement. This pattern of pitches
even maintains itself when the quotation’s pitch level changes. Throughout the final movement
the quotation is presented at several pitch levels, implying different pentatonic tonalities. First,
as seen above in Example 4.8, the quotation occurs in Db pentatonic (concert pitch). Later, at
rehearsal number 37, fragments of it occur first in Bb and then in Ab; the final presentation, at
rehearsal number 42, is in Gb pentatonic. The conflicting pitch centers between the quotation
and the open fifth accompaniment patterns create a strong separation between the two elements,
clearly setting off the quotation from its surroundings. Again, Crumb’s uses of quotation are
very direct and clear, befitting their important role in his works.
214
The several presentations of the quotation also play an extremely important role in
overall compositional integration. As mentioned in Chapter 2, Crumb’s technique of “self-
reference” provides the listener with a sense of familiarity, as well as a sense of thematic return
to an earlier experience – a return distorted by some element of aesthetic distance. This concept
also applies to his use of quotation.
When we first encounter the Amazing Grace tune (in Dark Paths) it is presented in
fragmented form, using only the first two phrases. The tune is accompanied by Japanese bells
with punctuation by tam-tams. When the tune emerges again in the final movement of Quest, it
appears juxtaposed with open fifths in the harp and contrabass (along with the Japanese bells)
that imply a sense of tonal center in the musical landscape – albeit a tonal center in opposition to
the tonality of the Amazing Grace quotation. Since the first appearance of Amazing Grace, at the
beginning of the work, was in Bb (concert pitch) this remains the listener’s frame of reference
for the tune throughout its subsequent appearances. Although this clear presentation of a
familiar melody in a clearly delineated tonality is briefly satisfying, it also establishes an
expectation that the entire tune will appear at some point later in the work, resolving the
incompleteness of this initial statement. When the quote reappears in Nocturnal, starting at
rehearsal number 33, the tonal centers of the tune (presented in Bb, Ab, and finally Gb – a
relationship reflecting the intervals in the Quest motive) are strongly undermined by the
dissonance between these tonal centers and the underlying harp/contrabass open fifths, which
imply G pentatonic. The opposition of these two tonal centers adds an element of “distortion”
that provides the listener with a sense of return to the memorable landscape previously
encountered in the earlier movement, but at the same time undercuts that sense of return. The
familiar surroundings evoked by the tune’s previous, less tonally problematic presentation have
215
now been altered – thus frustrating the listener’s expectations of resolution and completion.
Furthermore, when the instrumentation of the quotation changes at the end of the movement at
rehearsal number 42 (which is also the culmination of the compositional trajectory of the entire
work), another transformation has occurred. Amazing Grace, which throughout the work has
appeared in the soprano saxophone, is now transferred to the chromatic harmonica. In addition
to the tonal distance between the tune’s earlier presentations and the final statements – which use
the last three phrases of the hymn tune – at rehearsal numbers 42 and 43 (in Gb pentatonic
against a drone on G and D, its most dissonant setting yet), this change of instrumentation adds
an element of timbral and intonational distance, further de-familiarizing this seemingly familiar
musical object. While limited in its content, Example 4.9 diagrams the overall form found in
Nocturnal and emphasizes the appearances of the Amazing Grace quotation – showing the
phrases used in each statement. While this form does not exactly adhere to a true sonata rondo,
the overall structure does allude to recapitulatory form through the sonata principle. Notice that
the quotation statements function as the repeating A sections of the overall form, and the
Amazing Grace quotation has gradually unfolded from its first statement in Dark Paths, and
continuing throughout this movement. Following this, Example 4.10 shows the penultimate
appearance of the Amazing Grace starting at rehearsal number 42.
216
Example 4.9. Overall form of Nocturnal with details of phrase use
(from Example 4.1) and tonal centers included in the sections containing the musical
quotation, Amazing Grace.
217
Example 4.10. Quest, final presentations of the Amazing Grace quotation as seen in Nocturnal at
rehearsal number 42. Copyright © 1996 by C.F. Peters Corporation. Used by permission.
Symbolically, the appearances and reappearances of the quotation have an overall
importance not only as a structural marker, but also as an evocation of memory and of the ways
in which memory distorts the past – similar to the concept of “self-reference” that Crumb uses as
a compositional technique that was discussed in an earlier chapter. The quotation not only serves
as a familiar focal point for the listener, but it also acts as a narrative in which the unfolding of
the quotation throughout the work becomes a representation of an actual “quest” towards a final
goal. Crumb does not give us any concrete clues as to what sort of quest this could be, or what
its symbolic, allegorical, or metaphorical significance might be – and overall, there’s a beauty to
218
such an open-ended meaning. Listeners and students of Crumb’s music can speculate anew as to
the goal of Crumb’s “quest” each time they listen to the work. Regardless of this, any
interpretation of a “journey” (or “quest”) finds itself suggesting the idea of “ultimate triumph”
over a long and testing voyage – or of an overall greater awareness and personal development
after a rite of passage. As the writer Joseph W. Campbell states in his study of mythology The
Hero with a Thousand Faces,
A hero ventures forth from the world of common day into a region of supernatural
wonder: fabulous forces are there encountered and a decisive victory is won: the hero
comes back from this mysterious adventure with the power to bestow boons on his fellow
man.57
In the first appearance of the quotation from Amazing Grace in Dark Paths, phrases A
and A’ are presented with no opposition of other pitch elements. The presentation here
foreshadows the use of the Amazing Grace in the last movement. Then, in Nocturnal, the
quotation appears several times. First, at rehearsal numbers 33 and 34, it is presented in its
entirety – using all of the tune’s phrases. Each phrase here presents itself in alternation with the
ostinato in fifths and Temple bell music previously mentioned. At rehearsal numbers 37 and 38,
the quotation melody, using phrases A’ and B this time, appears once again. In this presentation
Crumb alternates each phrase as well – but distorts it this time with brief dissonant melodic
figures in the saxophone. These figures can be best described as both containing a pitch class set
of [014] (the first starting on E; the next one on D) that distort and oppose the quotation by a
tritone (since A’ is in Bb pentatonic, and B is in Ab pentatonic). Further distorting this context,
both figures also include a quarter-tone pitch functioning as an upper neighbor to the G# (concert
pitch). In these reappearances of the quotation there resides a conflict between the tonal centers
57
Joseph Campbell, The Hero with a Thousand Faces (Princeton: Princeton University
Press, 1949), 30.
219
and the open fifths ostinato that accompany the tune. This results in the familiarity of the tune
being challenged by outside obstacles, and creates a strong sense of textural dissonance against
the simple theme; and the listener hopes the melody will overcome this adversity at the
conclusion. However, at the conclusion of the work, and at the final appearance of the quotation,
the tune is moved from the soprano saxophone, the instrument that has always presented the
quotation until now, and is taken over by the harmonica – a transformation that suggests some
symbolic reference.
The (tonal) tune Amazing Grace, as it first appears in the work, is a token of simplicity
and innocence. It appears in the midst of a strange environment of exotic textures and dissonant
gestures. This musical language of exoticism, dissonance and conflict dominates the next
several movements; the familiar face of Amazing Grace is absent. When the quotation appears
in later form (i.e. at maturity) it is presented in direct confrontation with opposing elements of
the surrounding environment that challenge its right to occupy musical space. As the quotation
emerges, disappears, and re-emerges, a scenario of conflict between man and nature suggests
itself. Finally, at the quotation’s last statement the melody is significantly transformed. Perhaps
this transformation of the melody, as it moves from saxophone to harmonica, with the latter’s
connections to the Blues and to folk music, suggests the death of a protagonist that we have
glimpsed intermittently throughout the cycle followed perhaps by an experience of redemption or
liberation, or even a journey into an afterlife.
This “death” seems to occur within the Nocturnal movement. It can be symbolically
interpreted to take place at the first appearance of the quotation in this movement, at rehearsal
number 33, after a lengthy introduction that revisits motives and gestures from previous
movements (i.e. guitar ostinato from the Refrains played in the hammered dulcimer, and motivic
220
gestures from the saxophone in Dark Paths echoed now in the harp). Because the music is
entirely different in character from the previous movements, and different from the movement’s
opening musical atmosphere (in that they are dissonant in language, elusive in their pitch centers,
and maintain an overall improvisational character by juxtaposing borrowed rhythms and
grouplets), a symbolic event can be interpreted to have occurred. The stasis and ritual aura of
this section also alludes to a ceremony reflecting on death.
The Amazing Grace that immediately appears after this (at rehearsal number 33)
embraces the character of a lament – especially since it also contain a bass ostinato below it. The
texture of the quotation in this appearance, and subsequent ones, can be seen as quasi-
homophonic as the bass ostinato fifths provide a loose harmony to the quotation melody. The
low range of the open fifths in the harp and contrabass also solemnly portrays a mood and aura
of death. In fact, in Crumb’s Songs, Drones, and Refrains of Death, and in the third movement
of his Madrigals, Book IV, the contrabass drone of a perfect fourth is connected with the idea of
death.58
The quotations that appear starting here can also be symbolically associated with the
representation of death as Crumb indicates “white tone” and “senza vibrato” in the performing of
the melody’s phrases by the soprano saxophone – and later in the harmonica; this is a
performance indication that was not included in the quotation phrases that appeared previously in
the Dark Paths movement. And, it is also interesting to note that except for the soprano
saxophone, and an occasional bowed contrabass, every instrument used in the work has a
sustaining quality. The sounds from these instruments (harp, guitar, vibraphone, hammered
dulcimer, pizzicato contrabass and unpitched percussion instruments) naturally have a tendency
to sustain and resonate after initiation if they are not immediately stopped. Associating these
58
Thomas Raymond De Dobay, “Harmonic Materials and Usages in the Lorca Cycle”
(PhD., diss., University of Southern California, 1982), 143.
221
sustains, and their longing quality with the concept of fading death and distance provides further
strength to the conclusions formed here.
The contrasting sections to the Amazing Grace (seen in Example 4.9) in this movement
(rehearsal numbers 35 through 36, and through 41) are labeled as “quasi-Serenata” by the
composer. With metered notation and the use of a steady eighth-notes rhythm, these sections
give the movement a steady pulse. The alternation between the guitar gestures and the
harp/hammered dulcimer figures also resembles a “call and response” effect which is often
associated with religious rituals and services. These sections also seem more like an
accompaniment to a theme or melody, and because of the omission of a clear melody or theme,
these are not exactly true serenades (hence Crumb’s label “quasi-Serenata”). The New Harvard
Dictionary of Music describes the Baroque term “serenata” as a musical performance held in
someone’s honor, and performed in the evening, and this finds strong connection to the concepts
explored here.59
If the Amazing Grace quotations (or perhaps the saxophone instrument) in this
movement are considered to be a type of entity – one that eventually goes through a testing
journey through obstacles and outside forces before transcending towards a higher goal, then the
these contrasting “quasi-Serenata” sections can be considered a serenade, or homage, to the
quotation – and ultimately to the concept of death.
The hymn text to Amazing Grace closely associates the tune with the idea of
enlightenment, divine grace, and eternal salvation and redemption in the afterlife. The hymn is
frequently featured at funerals and memorial services. In modern times, Amazing Grace is
commonly performed on bagpipes, which have been a fixture of Scottish and Irish music, since
the 12th century. In Celtic tradition, bagpipes are commonly used to play a lament at services of
59
The New Harvard Dictionary of Music, 2nd
ed. (Cambridge, Massachussetts: Belknap
Press of Harvard University Press, 1986), 741.
222
remembrance, and today they remain popular in Scotland, Ireland, and various British
Commonwealth countries.60
Numerous commercial recordings of Amazing Grace performed by
solo or massed pipers are available and remain popular throughout the world.61
Perhaps by
scoring Amazing Grace over an ostinato in open fifths is Crumb’s way of acknowledging this
modern adaptation of the tune. Although the open fifth ostinato pattern, which outlines G
pentatonic, is not exactly a stationary drone, the pattern’s long rhythmic values and short
repeated pattern is evocative of a drone. The drone pipes of the Highland pipes are tuned in
perfect fifths (on, or near, G and D); The Amazing Grace tune with underlying fifths in this
movement of Quest evokes the texture of the bagpipes; the soprano saxophone (and later the
harmonica) serves as the “chanter,” or melody pipe, while the harp and contrabass play the role
of the drone pipes. Both the bagpipe and Crumb’s melodic “chanter” (saxophone/harmonica)
are, of course, woodwind instruments, providing a further point of correspondence.
With this textural imitation of the bagpipe by the soprano saxophone, contrabass, and
harp, the associations of the bagpipe with funerals and memorial services, and the symbolic
interpretation of the Amazing Grace quotation narrative, one can easily conclude that Crumb is
making references to the afterlife, a documented interest of his that he explored in works such as
Madrigals, Book II (1965), Songs, Drones, and Refrains of Death (1968), Madrigals - Book IV
(1969), and Ancient Voices of Children (1970) – a progressive and developing journey, or quest,
that leads to mystical or spiritual redemption. This conclusion also seems to be somewhat
confirmed, although stated elusively, if we revisit Crumb’s program notes about Quest:
60
Encyclopedia Britannica Online, s.v. “bagpipe,” http://www.britannica.com/eb/article-
9011758 (accessed October 2, 2007). 61
A search on Google for “amazing grace and bagpipe and cd” yielded about 11,300
results. http://www.google.com/search?q=amazing+grace+bagpipe+cd+&hl=en&start=0&sa=N
(accessed October 8, 2007).
223
The poetic basis for Quest was never very clearly articulated in my thinking. I recall
pondering images such as the famous incipit of Dante's Inferno ("In the midway of this
our mortal life, I found me in a gloomy mood, astray ...") and a line from Lorca ("The
dark paths of the guitar"); also the concept of a "quest" as a long tortuous journey towards
an ecstatic and transfigured feeling of "arrival" became associated with certain musical
ideas during the sketching process.62
The reference to Inferno also supports this conclusion as Dante’s overall story deals with a
religious pilgrimage to find God – while passing through Hell, Purgatory, and finally Paradise.
The intervallic components of the Amazing Grace tune, how it is connected to the Quest
motive, and its relationship to the tuning of the guitar, perfectly complement the overall
connection of musical elements in the work; indeed, the Amazing Grace quotation is the central
idea that generates the entire composition.
This use of quotation by Crumb is similar to what J. Peter Burkholder, referring to the
music of Charles Ives, calls “cumulative setting.”63
He describes “cumulative setting” as
a thematic form in which the theme, usually a borrowed or paraphrased tune,
appears complete only near the end of the movement and is anticipated by
development of motives from the theme, fragments or paraphrases of the theme.64
This term describes Ives’ use of quotation in his music appropriately; the way in which Crumb
uses quotation in Quest is clearly different, but related. Quest, represents a kind of “de-
cumulative setting” in which a more or less complete setting of a quoted melody is progressively
fragmented until only a poignant memory of its original shape and structure remain.
62
Crumb, Quest, 2. 63
J. Peter Burkholder, “The Uses of Existing Music: Musical Borrowings as a Field,”
Notes, 2nd
Ser., Vol. 50, No.3 (March 1994), 854. 64
Ibid., 855.
224
V. CONCLUSION
In Quest, Crumb explores one of the most unique aspects of the guitar’s design, namely
the standard tuning of the open strings. The guitar, therefore, plays a formative role as a primary
source of musical material in Quest. The other primary source, the hymn tune Amazing Grace,
as a quotation is a melody that has a strong congruence with the intervals of the guitar’s open
strings. The combination of these two elements, along with certain octatonic formations that also
derive, ultimately, from the standard tuning of the guitar, creates a musical whole with
considerable metaphorical and poetic resonance. The very title of the piece suggests a work that
enacts the linked concepts of journey, transformation, redemption and arrival.
On the surface, Quest seems to embody a simple intuitive process – the use of pentatonic,
octatonic, and other mutually opposed musical concepts to create a collage-like effect. We have
seen, however, that the work is unified by the generation of many of the materials of the work
from a basic motive. This network of motivic relationships is further strengthened by the use of
a musical quotation that is closely connected to it, namely the melody Amazing Grace, which, as
we have seen, is connected to the basic Quest motive through their common congruence the
standard tuning of the guitar. Such a simple concept that generates a complex web of unified
elements demonstrates the elegance of Crumb’s technique and musical style in Quest.
225
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________. The Official George Crumb Homepage. http://www.georgecrumb.net (accessed
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APPENDIX: LETTER OF PERMISSION
228
VITA
Originally from New Orleans, Louisiana, John Crabtree received his Bachelor of Music
degree in guitar performance from Southeastern Louisiana University in 1996 and his Master of
Music degree in composition from Louisiana State University in 1999. Crabtree’s compositions
have been performed nationally and internationally at various concerts and conferences in North
America, Europe, and South America. Among his awards are the Phi Mu Alpha National
Conference Centennial Fanfare Competition of 1997 for A Centennial Celebration: Sinfonian
Fanfare for brass ensemble, New York’s INMC (International New Music Consortium, Inc.)
Composition Competition of 2001 for Scintillate Plectrums for electronic tape, a series of
consecutive Standard Awards from ASCAP. His Commencement for trombone choir recently
won one of two prizes in the Penn State University College of Arts and Architecture’s
Competition for Two Commencement Marches for the Penn State University Trombone Choir.
Several of his works can be heard on the Magni, New Tertian Recordings, and Summit labels.
Crabtree has previously served on the music faculty at Southeastern Louisiana University in
Hammond, Louisiana, Our Lady of the Lake College in Baton Rouge, Louisiana, and the
University of Houston, in Houston, Texas. He is currently among the music faculty at Sam
Houston State University in Huntsville, Texas, where he teaches music theory, musicianship,
composition, and electronic music.