see the score
TRANSCRIPT
Liebeslied (2011)for female voice, live electronics & chamber orchestra
C score
music and text by Alex Temple
Liebeslied is licensed under a Creative Commons Attribution Share-Alike license. This means that other composers may quote the piece or create
derivative works, as long as they credit Alex Temple for the original work and license their new creations under identical terms.
Liebeslied was commissioned by American Composers Orchestra for its Orchestra Underground series and for the opening of its Sounds of a New
Century Festival. It was written for ACO and vocalist Mellissa Hughes.
Instrumentation
fluteoboeclarinet in Bbassoon
horn in Ftrumpet in Ctenor trombonetuba
percussion 1vibraphoneglockenspiel
percussion 2triangleflexatonehi-hatlow (c. 12”) mounted tomfloor tomkick bass drum
pianoamplified harp
(see “Technical Notes” for amplification details)
amplified female voice + live electronics soloist (see “Technical Notes” for amplification details)
violin 1 (6)violin 2 (5)viola (4)cello (3)double bass (2)
b
Stylistic Notes
The love songs of the 1940s and 50s are pleasant and light-hearted on the surface, but a closer look often reveals a deeper strangeness. Songs like “I Only Have Eyes For You,” “Till There Was You,” “Laura” and “Some Enchanted Evening” paint a very unsettling picture of romance if you take the surreal imagery in their lyrics literally. They describe people who are blinded to the physical world by the intensity of their love, or by the fact that they have not yet found someone to bring that world to life — people who are haunted for years by visions of lovers lost, or of people they glimpsed only once and have never even spoken to. The music reinforces the dreamlike quality of the lyrics with excessive reverb, rhythmic dislocation and dynamic imbalance between the voice and the orchestra, and stylized, emotionally detached spoken-word passages.
Liebeslied brings this latent ominousness to the foreground. It begins as an exaggerated version of a mid-century ballad, but as the piece continues, the jazz and pop elements are increasingly distorted, fragmented and blurred, and the vocal soloist finds herself in ever stranger, lonelier and more frightening worlds. The piece also alludes to the more overtly surreal repertoire of 19th-century German orchestral Lieder, both musically (for instance, in mm. 17-21) and lyrically (references to foreign lands, cypresses and portentous skies).
In the first half of the piece (before Rehearsal E), the performers and conductor should bring out these stylistic references as much as possible, particularly in the passages marked “schmaltzy,” “over-the-top” and “Hollywood.” In the second half (from Rehearsal E on), the music should be increasingly cold, abstract and unfriendly.
The piece begins (before Rehearsal B) and ends (from Rehearsal I on) with passages in which the orchestra emulates the sound of electronic reverb. In the opening passage, the reverb is applied to a trumpet solo; in the ending passage, it’s applied to the voice. All string harmonics, long wind and brass notes, and ringing piano and vibraphone attacks should be played with this in mind.
Liebeslied is follows a strict proportional scheme based on units of 40 seconds each. Tempi should be observed as strictly as possible in order to preserve these proportions. The one exception is the molto rallentando in m. 11, which introduces the love song.
Technical Notes
The vocal soloist also operates a Max/MSP patch on a laptop. The patch both applies effects to her voice (varying levels and types of reverb, including an undulating, pitch-shifted reverb starting at Rehearsal I), and triggers samples and loops. Because the the signal from her microphone goes directly into the patch, only the output from the laptop needs to go to the house PA system. In order to make the text comprehensible, and to reflect the way that pop studio recordings were typically mixed in the mid-20th century, the vocalist should always be audible above the orchestra, even if this means that some orchestral detail is obscured.
The score shows the soloist’s electronic part on two lines. “Electronics (control)” shows the keys that the soloist presses on the laptop keyboard to trigger the effects and samples, and “Electronics (sound)” is a loose graphical representation of all effects other than straightforward reverb.
The harp should also be amplified, but it should be run through a small amp or speaker near the instrument rather than through the house PA. The amplification should be just enough to make the harp stand out in the orchestra, as if it were high in the mix of a studio recording. Ideally, the audience should find it hard to tell whether the harp is amplified or not.
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Percussion 2 Notation
kick bass floor tom mounted tom triangle hi-hat (open) hi-hat (closed) flexatone
Trumpet, strings: hold the first note steady for most of its duration, then quickly glissando to the second note.
Strings: gradually glissando over the entire duration of the first note.
Flute, clarinet, trombone: slowly bend the pitch, as far as you want or are able, for the duration shown.
Winds, brass, strings: slowly bend the pitch up and down ad lib. for the duration shown. Stop for breath whenever necessary. Someinstruments will be able to bend further than others; the important thing is that the pitch be unstable.
Strings: "wobble" the pitch up and down quickly.
Trombone: "Wobble" the pitch up and down, quickly at first but then slowing down.
Strings: bow too slowly, producing an intermittent scratch tone.
Violin I: extremely high note; do not try to match the pitch of the rest of the section.
Piano: damp strings with one hand while playing note with the other. Flute: blow across mouth-hole for an airy, breathy tone.
Piano: depress keys silently.
Flute: slap tongue — place your tongue on the roof or your mouth as if you are going to pronounce a T," and then release it sharply to produce a percussive puff of air.Tom-tom: rimshot.
Bassoon: remove reed and tongue mouthpiece while fingering low Bb to create a nasty, percussive noise.
Voice: highly percussive consonant, very close to the microphone.Consonants are written in the International Phonetic Alphabet.
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D.B.
Pno.
Hp.
Ÿ~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~
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p
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25
æ .œæ ‰
æ .œæ ‰
æ.œæ ‰
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fœ
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"
w+p
w+
p
big band feel; vibrato ad lib. on long notesstem in
w+
pharmon mute — stem in big band feel; vibrato ad lib. on long notes
.˙Í
jœ.ß
‰
"
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fJ—. ‰
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‰birds stop
"
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26
˙schmaltzy, "Hollywood"
fœ Jœ. ‰
˙schmaltzy, "Hollywood"
fœ Jœ. ‰
œpizz.
Fœ œ œ œ œ œ œ3 3
Œ œpizz.
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brass mallets
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œœœgggg œœœggggœœœgggg Ó
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sing ing, the
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27
˙ .œ jœ#
˙ .œ jœn
œ œ œ œ œ œ œ œ3 3
Œ œ œ œ œ œ œ œ3 3
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
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Ÿ~~~~~~~~~~
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‰bells stop
"
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28
œ œ Jœ. ‰
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œ œ œ œ œ œ œ3 3
œ œ œ œ œ3
œ Œ œ
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œ .œ œ œ ‰ jœf
ring ing, the
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"
29
˙ .œ jœ
˙ .œ jœ#
œ œ œ œ œ œ œ œ3 3
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30
˙ œ Jœ. ‰
˙ œ jœ. ‰
Œ œ œ œ Œ œ œ œ3 3
œ œ œ Œ œ œ œ Œ3 3
œ Œ œ Œ
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44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
Jœ. ‰ Ó
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31
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œn .œ jœ
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espressivo
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32
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sÍ
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s͜
3
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sÍ33
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nnnn bb
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Fl.
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Cl.
Bsn.
Hn.
Tpt.
Tbn.
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Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
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"
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pLb
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36
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ƒpwwnnarcosul tasto
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subito p
sul tasto
fluid
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
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38
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42
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10
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nn# ## ##
nn# ## ##
nn# ## ##
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nn# ## ##
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44
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
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43
43
43
43
43
43
43
43
43
44
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44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
D
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moon
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49
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col legno batt.
œ œ œ œ œ œ7
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42
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44
44
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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56
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57
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13
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44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
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58
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59
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60
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~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~- -
14
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44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
q = 90
q = 90
E
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62
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wwb p
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wwbpord. cold, non vibrato, like an electronic sound fading in and out
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unexpressive, even robotic, with very precise dictioncrescendo and diminuendo ad lib. on long notesspoken syllables: highly inflected Sprechgesang, blending seamlessly into the sung line
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63
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wcold, non vibrato, like an electronic sound fading in and out
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wF
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64
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65
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66
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67
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68
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69
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23
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23
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
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n
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70
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73
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75
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silently depress keys
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76
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23
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23
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23
23
23
23
23
23
23
23
23
23
23
23
23
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
F
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77
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extremely high note; bend pitch slowly up and down ad lib; players should not try to match the pitch of the rest of the section
"
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stylized, highly rhythmic speech — in the manner of the spoken passages inSkeeter Davis's "The End of the World" or Rosemary Clooney's "Hey There"(the placement of noteheads represents contour, not approximate pitches —don't try to "speak" in the octave above middle C!)P
j¿ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3
3 33
Com plete ly sur round ed by re
œ Œ Ó7[heavy reverb]
78
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79
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as thou sands of voi ces ri co
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80
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81
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- - - - - - - - - - - -
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Œœ
Œ(4 q )
"
Œ œ Œ(4 q )
˙n
˙%
˙n ˙b3
œp
Ón
"
Œ œ# Œ(4 q )
"
Œ œœœ# Ó Ó
"
Œ Jœœœ# -
‰ Ó Ó
Œ Jœœœ# - ‰ Ó Ó
"
"
J¿ ¿ Œ Œ
as if artificially slowed down
¿ ¿ j¿snapping back to normal
¿ j¿ ¿3
33
3
walls of the mas sive for mal
"
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¿ ¿ ¿ Œ ‰ ¿ ¿3
di ning room of an
"
83
"
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˙b%
˙ ˙b3
"
n
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"
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"
Œœœœ Ó Ó
Œ œ>Œ œ>
Œ œ>
Œ Jœœœ-
‰ Ó Ó
Œ Jœœœ-
‰ Ó Ó
"
"
¿ ¿ ¿ Œ Œ ¿
as if artificially slowed down
¿ ¿3
e le gant old ho
"
84
"
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˙p
˙ ˙b ˙n3
"
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"
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"
"
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j¿snapping back to normal
¿ Œ Ó3
tel.
"
85
"
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˙b%
˙ ˙b3
"
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(4 q )
"
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"
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Œ œ-harmon mute — stem out
ƒœ- jœ# œ. œ. œ. ‰
jœ Jœ œ œ# œn3
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"
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‰ Œ Ó Ó
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‰ Œ Ó Ó
"
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œ Œ Ó ÓX[loop out]
86
"
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.wp
"
- - - - - -
18
(4 q )
(4 q ) (4 q )
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
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w
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The din ner guests' fa ces are ob
œ Œ ÓG[loop in]
87
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"
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"
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scured by the glare
"
88
"
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˙p
˙ ˙#3
"
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Ó Œœ(4 q )
"
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Ó Œ Jœœœ-
‰ Ó
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"
"
Œ j¿ .¿ ¿ ¿ J¿ ¿ Œ Œ ¿
as if artificially slowed down
¿3
33 3
of af ternoon sun light stream ing
"
89
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P
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Œ Ó
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in through a gap where your
"
90
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- - - - - - -
19
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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hand has dis placed the hea vy
"
91
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3
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"
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"
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Ó Œ Jœœœ# -
‰ Ó
Ó Œ Jœœœ# - ‰ Ó
"
"
¿ ¿ ¿ Œ Ó Œ ¿
as if artificially slowed down
¿3
dra per y. But I
"
92
"
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˙p
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n
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"
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j¿snapping back to normal
¿ # ¿ ¿ j¿ ¿ Œ Œ ‰ ¿ ¿3 3 3
can't catch your eye through the
"
93
"
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P
˙ ˙# ˙n3
"
remove reed
"
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"
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j¿ ¿ Œ Ó3
crowd.
"
94
"
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˙p
˙ ˙#3
"
œ#(6 q )
"
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"
Jœ.F
‰ Œ Ó Ó
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95
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P‰ Œ Ó Ó
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- - - -
20
(4 q )
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
VVVVVV)))))))
VVVV
VVVV
VVVV
VVVV
~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
G
G
Jœn .
‰ Œ Ó
"
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¿b .
tongue mouthpiece while fingering low Bbto create a nasty, percussive noise
f‰ ‰ ¿.
Œ j¿.‰
"
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Jœ# .
f‰ Œ Ó
"
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œ œ œ
"
Lÿ$
damp strings with hand
tenseF
Lÿ Lÿ Lÿ
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Ó ¿lower register, ominous, like a figure in a dream who's about to reveal a great and terrible truthp
¿ ¿ ¿ ¿ ¿3 3
Sud den ly all of the
œ Œ ÓJ[sample looppitch shifts down]
96
"
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col legno batt.
tenseFœœ œœ œœ
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‰ j¿b .Œ j¿.
‰ ‰ j¿.Œ
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Œ Œgradually decelerating pitch wobble
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jœ.߉ Œ Œ
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¿ j¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿ ¿ ¿ ¿3 3 3
guests are hol ding their heads at the same un com for ta ble
"
97
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¿b .‰ ‰ ¿.
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¿ ¿ ‰ Œ Œ j¿ ¿ ¿ ¿ ¿3 3
an gle. They're look ing at the
"
98
"
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"
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clouds. The
"
99
œ# æmolto sul pont.
p œfŒn
wide pitch wobble
œ# æmolto sul pont.
p œfŒn
wide pitch wobble
œ# æmolto sul pont.
pœf
Œn
wide pitch wobble
œ#æmolto sul pont.
pœ
fŒn
wide pitch wobble
œœ# œœ œœ œœ
- - - - - - - - -
21
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
VVVV
VVVV
VVVV
VVVV
))))))))VVVVV
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"
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"
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L# ÿ Lÿ
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Œ œ œn œ3
¿ .¿ ¿ ¿ ‰ ¿ ¿3 3
clouds form a map of the
"
100
"
"
"
"
œœ# œœ
n
n
n
n
"
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‰ j¿b .Œ j¿.
‰
"
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L# ÿ Lÿ Lÿ
.˙# .˙b
.˙
j¿ ¿ Œ Œ3
world.
"
101
œn æmolto sul pont.
p œf
œn æmolto sul pont.
p œfœæmolto sul pont.
pœf
œnæmolto sul pont.
pœf
œœn# œœ œœ
"
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‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿3
3 3
As I stare at the con ti nents, all of a
"
102
"
"
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œœ#n œœ œœ œœ
"
"
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Œ j¿b .‰ ‰ j¿.f
Œ
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f
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¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿3 3 3
sud den I feel your hand on my spine.
Œ
Ó Œ œX[loop out]
103
"
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œœ# œœ œœ Œf
- - -
22
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
q = 108
q = 108
H
H
œ
Ï
bend pitch slowly up and down ad lib.; breathe whenever necessary
œnÏ
bend pitch slowly up and down ad lib.; breathe whenever necessary
œ#Ï
bend pitch slowly up and down ad lib.; breathe whenever necessary
j¿b .ω Œ Óput reed back in
œÏ
bend pitch slowly up and down ad lib.; breathe whenever necessary
œbÏ
no mutebend pitch slowly up and down ad lib.; breathe whenever necessary
œ#Ï
bend pitch slowly up and down ad lib.; breathe whenever necessary
œÏ
bend pitch slowly up and down ad lib.; breathe whenever necessary
"
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ƒ
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–––ÿ
ÏŒ Ó
"
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104
œœ# div.
Ï
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
œœdiv.
Ï
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
œœbÏ
div.
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
œ#Ï
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
œ#unis.
Ï
bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.
"
"
"
"
"
"
"
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105
"
"
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Œ œƒ loud and intense, as if struggling to be heard through the noise
œ œBut when I
"
"
106
"
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"
.œ jœ œ œb œbturn to meet your
"
"
107
"
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wbkiss,
"
"
108
"
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"
"
109
23
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
"
"
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.˙ Œ .œb jœbcrowd dis ap
"
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110
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"
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111
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112
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113
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.˙b ˙ œ#sky goes
"
"
114
- - -
24
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44
44
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
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violentÏ
hard malletsmotor off
œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5 5 5 5 5 5
"
œœœœ## .
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sim.
"
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œ Œ Ó ÓL[wild loop in]
115
"
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and I
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116
ww#
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sul pont.unis.
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sul pont.unis.
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sul pont.unis.
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sul pont.unis.
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find my self wan
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117
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
"
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118 wwF
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rimshot
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119
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bow too slowly, producing a harsh, ugly, intermittent scratch tone
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120
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in un end ing
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121
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œ œ .œ jœ# œ5
dar kened corr i dor
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122
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.˙ œs.
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123
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w
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124
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26
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
!!!!!!!!!!!!!!!!!!!
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Ó Œ ‰ . . RÔ¿oHi-hat
ƒ jarring, intrusive
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125
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Œ j¿#tongue pizz
ω Ó
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ƒ jarring, intrusive
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Œharmon mute — stem in
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ƒ jarring, intrusive
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126
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molto sul pont. Œn
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molto sul pont.
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127
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Ldamp string with hand
PŒ Ó
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Œp fragile, breathy, non-vibrato, very close to the mic
œ œb œ‰ jœb
5
Whose foot steps were
œ œb œ œb
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128
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129
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130
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Ó Œ . JœÍ
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ƒ
motor on — fast
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Ó Œ . Jœœœn#n .
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ç3
Ma ho gany— /!p'!/
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131
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132
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27
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Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
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133
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134
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! like an echo
.œ Jœ
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˙ Ódoor—
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135
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w
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136
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w
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137
Œ .˙nn
molto sul tasto
Ó˙n
molto sul tasto
Ó . œn
molto sul tasto
Ó Œ . Jœn
molto sul tasto
Own
molto sul tasto
J
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p ¿ ¿ ¿ ¿ ¿ ¿7
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Jœ- ‰ Œ Ó
jœ ‰ Œ Ó
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rub drum head with drumstick
Tom-toms
ΠΠ.7 7
Óœœœ# .( œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
7
jœ.
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138
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¿ ¿ Œ Œ . Ó7
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œœœ# . œœœ. Œ Œ . Ó7
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¿ Œ Ó/!t!/
¿
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139
Own
molto sul pont.
Ow##n
molto sul pont.
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- - -
28
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
"
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140Ow%Ow%
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Ó Œ ‰œ#
%œ# œ# œ œ#
5
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Ó Œ ‰ jœ#soft malletsmotor off
%black key gliss
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141Ow
Ow
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rœ# .# ‰ Œ Ó
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jœ# ‰ Œ Ó
ΠΠ.7 7
Óœœœ# .( œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.
7
jœ.
$
‰ Œ Ó°
œ œ# œ# œ# œ# Ó5
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142
JOœ
‰ Œ Ó
JOœ ‰ Œ Ó
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¿ ¿ Œ Œ . Ó7
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œœœ# . œœœ. Œ Œ . Ó7
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¿ Œ Ó/!ts!/
¿
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143Own
Ow##n
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Œ ‰ jœ œ Œ
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œ œ œb œ œb
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144Ow%Ow%
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# œœ##
Glockenspiel
play with stick side of mallets
!
œœ# Œ Ó
‰ J'æ%
Flexatone Œ Ó
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145Own
Own
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~~~~~~~~~~~~~
29
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Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Vox.
Elec.(sound)
Elec.(ctrl)
Vn. I
Vn. II
Vla.
Vc.
D.B.
Pno.
Hp.
"
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146
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147
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148
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Ó Œ œ#!
vibrato in this rhythm
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œ$
Œ Ó
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‰ jœ#%
œ œ œ œ œ3
A glimpse of a face
œ# œ œ œ
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149
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œpizz.
%
Œ Ó
œ!
œ œ œ œ œ3 3
vibrato in this rhythm
œ œ œ œ
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"
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"
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œ œ œ# œ œ œ Œ3
in the win dow.
œ
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150
"
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œ œ œ œ œ œ3 3
œ œ œ œ
"
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Ó ‰ jœ#!
œ"Du ar
œ#
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151
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œ œ œ œ œ œ3 3
œ œ œ œ
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Œ œo Ó
œ œ jœ Œ Ómes Kind."
œ
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152
Œ .˙n
molto sul tasto
Ó ˙n
molto sul tasto
Ó . œn
Ó Œ . Jœn
Own
arcomolto sul tasto
jœn ‰ Œ Ó
jœn ‰ Œ Ó
"
"
"
"
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"
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LHi-hat
%Œ Ó
on the bell
"
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œn o Œ Ó
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153
œn -%
Œ Ó
œn -%
Œ Ó
œn -%
Œ Óœn -
%Œ Ó
Oœbn -
%
Œ Ó
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
"U
154
"U
"U
"U
"U
"U
- -
30