at the still point for orchestra

Transcription

1 at the still pint r rchestra by Zi Hua Tan Schulich Schl Music McGill University, Mntréal August 2017 A thesis submitted t McGill University in partial ulillment the requirements the degree Dctr Music Cpyright 2017 by Zi Hua Tan

2 Table Cntents Vlume : Musical Scre Prgram Ntes... iii nstrumentatin... iii Dispsitin iii Duratin.. iii Perrmance Ntes. iii Symbls and Abbreviatins iii Scre 1 Vlume : Analysis Abstract... iv ésumé... iv Acknledgements... v Chapter 1: ntrductin t the rchestral Prject ntrductin Perrmances nstrumentatin Dispsitin nstruments ntrductin t the Cncept Nn duality The Pem TS Elit Musical Ekphrasis The Tripartite Cntinua and the Nn dualistic Middle Way... Chapter 2: Ekphrastic Frm and Structures ntrductin The urnt Nrtn based Structural Framerk Tail hymes as Structural Markings Pauses in Elit s ecitatin as Winds t lluminatin The verall Ekphrastic Frm... 1 i

3 Chapter : Teralities The Teral (Time based Cntinuum Linear Terality Nnlinear Terality Mment Terality Nn dualistic C teraneus Terality Variable Teralities Chapter : Ekphrastic Snic Materials The Cntinuum Sunds Tne ull Sunds as e presentatins the Lyrical and Visinary Vices Tne less Sunds as e presentatins the Prsaic Vice.... Nn dual Sunds as e presentatins the Didactic Vice... 7 Chapter : Ekphrastic Timbres and rchestratin The Cntinuum Timbral lends lend Nn blend (three grups Nn dualistic Hal blend.... Timbre as a Frm bearing Musical Cnent... Chapter : Gestural rganizatin Three Types Gestures Kinesthetic Gestures Spatial Gestures.... Teral Gestures... 7 Chapter 7: Pitch and hythmic rganizatin The Unvarying Pitch Cllectin ecntextualizatins the Pitch Cllectin hythmic Structures... Cnclusin and Future Explratins... 9 Aendices Aendix A: The Pem Aendix : The ecrdings ibligraphy ii

4 at the still pint r rchestra by Zi Hua Tan Schulich Schl Music McGill University, Mntréal August 2017 Vlume : Musical Scre A thesis submitted t McGill University in partial ulillment the requirements the degree Dctr Music Cpyright 2017 by Zi Hua Tan

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6 Prgram Ntes This rk, in a ay, iss a musical ekphrasiss reacting t the sen particularly Sectin VV the ive sectins as ell as its rm garden, sudden illuminatins, gates pened r clsed, cluds suggestss that it is thrugh paradx that transcendencee is ach sibility nn duality as expressed in the pem, urnt Nrtn T.S. Elit m, md, and deliberate arrangement details. earing the imagery an enchanted s cncealing the sun, children in liage, and the still pint a turning rld, the pem ieved. An attet as madee t ech the seemingly paradxical sensibility thrughut the piece, by letting the snic materials hichh all n the nn dualistic tne ull tne less spectrum t unld in a luid rr discntinuus manner, as ell as embracing dierent teralities linear, nnlinear and mment rm. Perhaps, t be itness s thee present is t be present in clex invlutins past and uture. nstrumentatin 2 lutes in C (1. dubling piccl 1 alt lute bes (. dubling cr anglais 2 clarinets in 1 bass clarinet bassns (. dubling cntrabassn hrns in F truets (1. 2. in C,. in tenr trmbnes bass trmbne tuba percussins* 2 harps Strings: 1 vilins 1 vilins 12 vilas 10 cells 8 duble basses * Percussin 2 tam tams (medium: 70cm small: ~cm 1 tian (~81cm 1 rin (medium large: cymbal (small: ~0cm 1 rame drum (large: 0cm 1 vibraphne 1 ratchet (medium high pitched 1 bullrarer (relatively l ~ ~20cm 1 suspended sunding Crtales: Percussin 2 tam tams (large: 90cm small:~cm 1 tian (~7cm 1 rin (medium large: ~20cm 1 suspended cymbal (medium: ~0cm 1bass drum (huge 1 ratchet ( high pitched 1 bullrarer (relatively l sunding Percussin 2 tam tamsmall:~ ~cm 1 tian (~ cm ( large: 90cm 1 rin (medium large: ~20cm 1 suspended cymbal (large: ~cm 1bass drum (huge 1 ratchet (high pitched 1 bullrarer (relatively l sunding Percussin V 2 tam tams (medium: 70cm small: ~cm 1 tian (~8cm 1 rin (medium large: cymbal ( large: ~cm 1 rame drum ( large: 0cm 1 ratchett (medium high pitched 1 bullrarer (relatively l ~20cm 1 suspended sunding Crtales: Dispsitin n general, the percussins, harps and duble basses shuld b may change accrding t the shape the stage: be symmetrically placed n the stage. ne pssibility is as lls (the rmatin shape Percussin Percussin rass Wdinds Cell Vilin Vila Vilin Cnductr Duratin Ca. 1 1 minutes. The tei given may be slightly varied acc Perrmance Ntes The dynamics indicated r sme techniques may nt crresp suggest the relative rates change, the pressures exerted r crding t the acustical prperties the percussin instruments pnd ith the abslute alitudes the resultant sunds. n sme cases, they r the requencies executing a technique The speed designatins ast,, nrm. are arximatins nly. They suggest h a technique bing, muting unmuting, trill, etc shuld be carried ut rm ne speed t anther r. t may aect the dynamic. there is n speed marking, the deault speed a treml r trill is ast. Symbls and Abbreviatins General n sme brass and dindd passages, ne has t bl the air ith the muth shaped as i prnuncing ne these vels. The precise PA equivalents t the indicated vels are as lls: n the scre PA [a] [ɑ] [e] [] [i] [i] [] [ɒ] [u] [u] iii

7 iv

8 v

9 vi

10 Cncert Pitch at the still pint r rchestra Zihua Tan Flute 1, 2 Alt Flute be 1, 2 Past and uture q = 1,2 n n b n p p n n n n b n p p 2 n b n n b p p p p > > Cr Anglais Clarinet 1,2 in b ass Clarinet in b slap b2 j b2 j assn 1,2 Cntrabassn 1, 2 ithut reed lap 22 j 22 j Hrn 1, 2 in F Hrn, in F Truet 1, 2 in C Truet in b Trmbne 1,2 ass Trmbne Tuba 1,2 air [u] air [u] [i] [u] p [e] [i] [i] [e] [u] > p [i] [u] p [e] [i] [i] [e] [u] [i] p [i] p [] [] [i] [u] p > p [i] [u] p Percussin Percussin Percussin Percussin V t.-tam t.-tam t.-tam t.-tam A ipe p j A ipe p j A ipe p j A ipe p j p p p p p p p p p p p p p p p p > > > > j j j j { Harp D C E F G A ipe p j p c. ipe - p r A scrape l.v. j { Harp Vilin q = D C E F G A 1-8 Ascrape j ipe p ipe p p 2 p c. ipe ipe - > p p l.v. > 9-1 Vilin Vila Vilncell 1-7 bg. p bg. p s. bg. p p p p bg. p bg. p > -10 Duble ass 201 Zihua Tan

11 2 Fl. 1,2 ~~ p n b n n b p p > n n b n n b p p A. Fl. ~ p p p > p p Cl. 1,2 1,2, ithut reed p. Cl. b2 j sn. 1,2 22 j Tbn. 1,2 [i] > p [i] p [] [i] p [u] [i] [u] [i] p [] [i] p. Tbn. [i] > p [i] p [] [i] p [u] [i] [u] [i] p [] [i] p Perc. t.-tam p p > j p p Perc. t.-tam p p > j p p Perc. t.-tam p p > j p p Perc. V t.-tam p p > j p p c. ipe scrape c. ipe Hp. p l.v. - p l.v. j - p r Vln. { Hp. 1-8 c. ipe scrape ipe p > p 9-1 l.v. - p p r p j p > p p p c. ipe - p p l.v. 1-7 Vln. 8-1 m p 1- Vla m p Vc. 1- p p p p > p p div a 2 laut. p Db. -8 s. bg. p p

12 11 A. Fl. A Time and the ell j j p j j p b. 1,2 G G gg j G G g har. hisper 1 2 G Tbn. 1,2 1 [i] [u] 2 [i] [u]. Tbn. [u] [i] Perc. ast ast Perc. ªA bass dr. Perc. bass dr. ªA Perc. V ast ast rattle Ç V m ipe V V Hp. l.v. r Ç rattle V V V m ipe Hp. r 1-8 ipe Vln. 9-1 ipe 1-7 p ast ast Vln. 8-1 p 1- p ast ast Vla p Vc. 1- p p p p -10 p p 1- unis. s. bg. p Db. -8 ast ast p

13 17 A. Fl. j j p b. 1,2 gg j G G g G gg j G Cl. 1,2 r Tbn. 1,2 1 [u]. Tbn. [i] [u] [i] [u] Perc. t-tam p ast ast Perc. t-tam bass dr. Perc. t-tam bass dr. Perc. V t-tam p ast ast Hp. V m V V r Hp. V V V m 1-8 r Vln p ast ast Vln p ast ast Vla Vc. 1- p p -10 p Db. 1- ast ast p -8

14 Fl. 1,2 A. Fl. b. 1,2 C. A. G g G ithut reed crk dyad r dyad air Aay gg j g b r Cl. 1,2 dyad r. Cl. sn. 1,2 Cbsn. j dyad air 1,2 [ha] j Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. 2 [i] [u] + + j cn srd (brass mute cn srd (brass mute + + j cn srd + (harmn ithut stem + cn srd (harmn ithut stem + + j cn srd (harmn ithut stem + + cn srd (harmn ithut stem + + [u] j cn srd (harmn ithut stem + j j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p Perc. Perc. Perc. V j j t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p p { Hp. { Hp. V V m A scrape l.v. j m A scrape l.v. r bg. 1-8 p Vln. bg. 9-1 p V r p p Vln p p Vla p Vc. Db. 1- da. pizz.»» p p p p da. pizz.» da. pizz.» da.pizz.»»»» arc, s. bg. p arc, s. bg. p arc, s. bg. p arc, s. bg. p

15 29 A. Fl slap 2 j 2 j 2 j C. A.. Cl. slap 2 j 2 j 2 j sn. 1,2 lap 22 j 22 j 22 j Cbsn. j pṗ j. j. C Tpt. 1,2 senza srd 1 [i] [u] 2 [u] 1 [i] [u] 2 [u] Tbn. 1,2 senza srd 1 [i] [u] 2 [u] 1 [i] [u] 2 [u]. Tbn. senza srd slap muthpiece 7 j 7 j 7 j Tba. senza srd slap muthpiece 7 j 7 j 7 j Perc. Perc. t-tam ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ rin n ti. r t-tam p rll iiii p j bass dr. ªA j Perc. t-tam bass dr. ªA j j Perc. V t-tam Hp. r p r r Hp. r j j > > p > ipe Vln. 9-1 ipe r r Vln ipe ipe r r 1- ipe Vla r r 1- Vc. -10 Db

16 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. Cbsn ,2 har. [] 2 [u][i] p r [] [u] [e] j j r [] [u] [e] j j r G G ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r p r har. hisper [i] [i] p 7 Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. cn srd 2 [u] [i] + r cn srd + + r + 1 [i] + senza srd 1,2 [i] [e] cn srd + senza srd cn srd + r r senza srd senza srd 1,2 r r r r 1,2 [u] r r [u] [i] [e] [e] [i] [i] [e] [u] [u] Perc. Perc. Perc. j t-tam t-tam r dr. j p p ast ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p p p sub. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perc. V dr. j ast ast scrape Vln. Vln. Vla. Hp. { Hp. Vc l.v. r scrape r r r 2 l.v. ipe ipe laut. div a 2 p j Db laut. p laut. j p

17 8 0 Fl. [] [] [u] [e] j r [i] A. [] [] [u] [e] j r [i] b. 1,2 G G G G C. A. [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r p p Cl. 1,2 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r [u][i] p. Cl. har. hisper har. hisper ~ C Tpt. 1,2 1,2 [i] [e] [u] [i] [e] [u] Tpt. [i] [e] [u] [i] [e] [u] Tbn. 1,2 1,2 [u] [e] [i] 1 [i] [u] 2 [i] cn srd [u] [e] [i] 1 [u]. Tbn. [u] [e] [i] cn srd [u] [e] [i] Perc. dr. ast ast Perc. Perc. t-tam Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r p p t-tam Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r p p p p Perc. V dr. ast ast ast Hp. 1-8 Vln. 9-1 m r Vln m r Vla r m 1- Vc m j j 1- Db. -8 j j

18 Fl. 1,2 A. Fl. b. [] + 1 [] [] [u] [e] [i] j r r [] [u] [e] j r [i] C Clematis G G b r 9 2 C. A. Cl. 1,2. Cl. sn. 1,2 [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ p p [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r r p har. hisper, j 1,2 [ha] Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. [i] [i] [e] [i] [e] [u] [e] [u] [u] + r + r reverse muthpiece reverse muthpiece cn srd + [u] reverse [e] [i] [i] [u] [i] muthpiece r 1,2 j j [u] [e] [i] r + r + r reverse muthpiece Perc. ast Perc. Perc. Perc. V ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r p p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r p { Hp. { Hp. Vln. 9-1 Vln. 8-1 Vla. Vc Db. 1-8 m m m m da. pizz.» p sub. p p p p sub. sub. sub. sub. p sub p sub. p p unis. -10» p 1-8» j j sub. j sub. sub. l.v. j j j 2

19 10 0 Fl. [] [] r p A. [] r Hn. 1,2 senza srd 1,2 Hn., senza srd 1,2 p Tbn. 1,2 senza srd 1,2. Tbn. senza srd p Perc. paperclips n ti. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r Perc. Perc. paperclips n ti. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bass dr. A r j paperclips n ti. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bass dr. A j j Perc. V paperclips n ti. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b nail Hp. > 2 j 2 > 2 m m nail Hp. > 2 2 j p > 2 p 2 j m ast m 2 ast Vln. 9-1 m m m r 1-7 ast m ast m Vln. 8-1 m m m r 1- m ast m ast Vla m m m 1- ast ast Vc. -10 m m m Db arc, bg. > arc, bg. > > >

20 Fl. 1,2 1 [e] [i] [s] [sh] [s] [i] [e] [u] 11 A. Fl. [e] [i] [s] [sh] b. 1,2 C. A. b Cl. 1,2 [e] [i] [s] [sh] j j. Cl. [e] [i] [s] [sh] [s] [i] [e] [u] Hn. 1,2 1,2 1,2 Hn., 1,2 C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. senza srd lz. 1,2 1,2 senza srd lz. t-tam A Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Perc. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Perc. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ast Perc. V nail Hp ast Vln. { Hp ast ast 1-7 Vln Vla r j j j j j j Vc. Db r c.l. scraping m c.l. scraping > j m

21 12 2 Fl. 1,2 2 [e] [i] A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. [s] [i] [e] [u] b [s] [i] [e] [u] [e] [i] [s] [sh] [s] [i] [e] [u] j j [e] [i] Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V 1,2 1,2 1,2 1,2 1,2 lz. paperclips n ti. bass dr. ~~~~~~~~~~ ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t-tam lz. j lz. bass dr. Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Hp. ast nail Hp. Vln Vln. -10 Vla. Vc. Db j > 2 j ast r r r r r r r j j r c.l., ipe > c.l., ipe j j

22 8 Fl. 1,2 [s] [sh] [s] [i] [e] [u] 1 A. Fl. [s] [sh] [s] [i] [e] [u] b. 1,2 slap 22 j 22 j 22 j C. A. Cl. 1,2. Cl. sn. 1,2 Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V slap slap 22 j 22 j 2 j 2 j 2 j 1,2 1,2 1,2 1,2 b lap 2 j 2 j 2 j pṗ 2 j. 2 j. lz. lz. rin n ti. ªA rin n ti. j ªA j paperclips n ti. ti. 22 j 2 j iiii iiii rin n ti. j b iiii iiii Ẏ Hp. 2 ast j { Hp. 1- Vln Vln. -10 ast ast r ast r 1- ast r j j j j Vla. Vc Db. ast r c.l. c.l. m c.l. m r r j j > c.l. j j j >

23 1 7 Fl. 1,2 1,2 D Tendril and spray r A. Fl. b. 1,2 C. A. r b b r Cl. 1,2. Cl. 1,2 r r sn. 1,2 Cbsn. 1,2 ithut reed Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V rin n ti. rin n ti. rin n ti. rin n ti. 1,2 rd. 1,2 rd. 1,2 1,2 lz. r r dr. A bass dr. A bass dr. A dr. A brush brush brush brush r r r r { Hp. { Hp. Vln Vln. -10 Vla. Vc. Db ipe p ipe p bg. p bg. p l.v. r

24 80 Fl. 1,2 A. Fl. b. 1,2 μ μ [u][i] [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 1 C. A. Cl. 1,2. Cl. j j slap 2 2 slap j 2 j 2 j 2 j sn. 1,2 1,2 lap j 2 j Cbsn. Hn. 1,2 muthpiece reinserted 1,2 air + valve ith reed.. j. j pṗ Hn., muthpiece reinserted 1,2 air + valve C Tpt. 1,2 1,2 air + valve Tpt. cn srd +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ mute trill. Tbn. muthpiece reinserted 1,2 air + valve Tba. Perc. Perc. Perc. Perc. V Vln. Vln. { Hp. { Hp rin n ti. iiii rin n ti. iiii rin n ti. iiii rin n ti. cym. lz. r b cym. b iiii dr. A j j dr. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A scrape r j j p scrape scrape scrape j j j A scrape scrape j j j j Vla j 1- Vc. -10 Db. -8 ast ast m sub. ast ast m sub. buzz c.l. + pizz. 1- c.l sub. sub. + + buzz pizz. 7 7

25 1 8 Fl. 1,2 A. Fl. b. 1,2 C. A. μ [u][i] [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u][i] [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 2 j 2 j Cl. 1,2. Cl. sn. 1,2 j 2 j 2 j 22 j 2 j Cbsn.. j. j j [u] [sh] Hn. 1,2 1,2 Hn., C Tpt. 1,2 1,2 1,2 Tpt. Tbn. 1,2 +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ muthpiece reinserted cn srd mute trill 1,2 +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ. Tbn. Tba. Perc. Perc. cym. b bass dr. A j t-tam t-tam A Perc. t-tam A Perc. V cym. b t-tam A Vln. Vln. Vla. Hp. { Hp. Vc. Db j j c.l. c.l. ast ast r r c.l. c.l. ast ast

26 91 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. sn. 1,2 2 [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r μ [e] 1 [sh] [s] [u] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r [u][i] j ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ b [u][i] 2 [u] [sh] 17 [u] Cbsn. [u] [sh] [u] Hn. 1,2 1,2 Hn., 1,2 C Tpt. 1,2 1,2 Tpt. Tbn. 1,2. Tbn. +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ 1,2 +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Tba. Perc. Perc. Perc. Perc. V dr. bass dr. cym. cym. p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vln. Vln. { Hp. { Hp r V V r V V ast ast ast ast 1- Vla Vc Db. -8 ast ast ast ast V c.l. c.l. V bg. bg. j j

27 18 97 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1, Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u] [i] [u] [i] [u] [i] [u] [i] ast [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ b b [u][i] ast ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [i] [u] [i] [u] [u] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~ [i] [u] [i]. Cl. [e] [s] [e] ~ [s] [e] sn. 1,2 [e] [s] [e] ~~ [e] [s] Cbsn. [s] Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + + +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + + cn srd + + Tba. +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ cn srd Perc. Perc. Perc. Perc. V cym. dr. ast bass dr. t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j cym. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vln. Vln. Vla. { Hp. { Hp. Vc. Db r ast c.l. ast c.l. ast c. ipe - j l.v. j j j j j j

28 102 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. ast (all dinds ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n n n n n n n n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n n n n n n n b [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u] [i] [u] [i] [u] [i] [u] [i] [u] [i] [u] [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u] [i] [u] [i] [u] [i] [u] [i] [u] [i] [u] b [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u] [i] [u] [i] [u] [i] [u] [i] [u] [i] [u] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ [e][s] [e] 19 sn. 1,2 Cbsn. [e][s] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [e] [s] [e] [s] [e] [s] [e] [s] [e] [s] [u][s] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ [u] [s] [u] [s] [u] [s] [u] [s] [u] muta in bassn (ith reed j 1,2 Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. cn srd cn srd cn srd ast (all brass +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Perc. Perc. Perc. Perc. V ast (all percussins Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p sub. p sub. sub. sub. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p sub. sub. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p sub. sub. cym. cym. cym. cym. Vln. Vln. Vla. { Hp. { Hp. Vc. Db c. ipe ipe r j - j m ast ast ast j ast l.v. - j m l.v. ipe buzz pizz r b 7 7 b 7 buzz pizz r r r r r r sub. sub. sub. sub. r ~ ~ ~ ~

29 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. sn. 1,2 sn. Hn. 1,2 E Cling 1 r r μ muta in be, ith reed ith reed 1 r 1 ith reed 1 + p μ lap m j Hn., C Tpt. 1,2 Tpt.. Tbn. Tba. + p Perc. Perc. Perc. Perc. V cym. cym. cym. cym. Vln. Vln. Vla. { Hp. { Hp. Vc. Db. 1-8 Çrattle m Ç rattle m V V V V V μ μ

30 111 1 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 sn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba μ μ lap m m + + p p + p p ,2 μ p μ μ μ p p + μ j μ + p p + p μ j μ j p p μ j p 21 Perc. Perc. Perc. Perc. V { Hp. V V Vln. Vln. { Hp. 1-8 V V c.l.b., salt. ïïï c.l.b., ïïïsalt. b μ μ b Vla Vc. Db

31 22 11 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 sn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V cym. 2 m μ m bass dr. ªA + p + p p m m p 2 2 muta in Cntrabassn p + μ m bass dr. cym p p p m μ + p cym. ªA cym. bass dr. j j μ j bass dr. ªA cym. j m ªA cym. m μ j j j j j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A { Hp. A scrape Ç rattle V j j j j m Vln. Vln. Vla. { Hp. Vc A scrape Ç rattle V V j ïïï c.l.b., salt. c.l.b., salt. ïïï μ μ m j b j c.l.b., salt. c.l.b., salt. c.l.b., ïïï salt. 1- μ μ 2 ïïï c.l.b., salt. ïïï + 7 ïïï Db

32 121 Fl. 1,2 F Chill ( q = 8 r 1. muta in piccl 2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 ithut reed ithut reed 1,2 r b r r [a] Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1, Tbn. Tba. + μ + + Perc. Perc. Perc. Perc. V Vln. Vln. Vla. { Hp. { Hp. Vc. Db ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ tuning key vibr %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ p SP Chill ( q = 8 A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ -8 %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ tuning key vibr %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ p j + û pizz. luid p p SP p p G q SP SP p SP pizz. luid + ù ù p SP G q p pizz. luid + û û p SP p SP p SP p SP p p G q p + û p

33 2 Picc., Fl A. Fl. slap 2 j. Cl. slap 2 j Perc. crtales Perc. bass dr. ªA j p Perc. cym. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perc. V cym. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ p bell tne Hp. Hp. %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ p 1- + û p -8 G q - - G q G q G q Vln ù ù p Vln pizz. luid + û p + û p Vla Vc. -7 Db s. bg. > m m + 7 m

34 Picc., Fl muta in Flute 2 2 A. Fl. 2 j. Cl. 2 j Perc. ratchet Perc. Perc. j ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p Perc. V ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Hp. %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ẏ p Hp. 1- %A ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ p + û bell tne p G q G q Vln ù ù ù p p Vln û û p Vla Vc. -7 s. bg. > > m Db

35 2 1 Fl. 1,2 G 2 Curled ( q = ,2 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b n n n n Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n b n n b A. Fl. Cl. 1,2 p ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j n b n n b b b n n b b n b n Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. 1,2 1, , , μ Perc. ratchet p Perc. ratchet ast - Perc. ratchet Perc. V { Hp. ipe, ly j 1 ratchet Hp. ipe, ly j Vln Vln Curled ( q = G q G q hammer pizz. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b hammer pizz. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b Ÿ~~~~~~~~~~~~~~~~~ hammer pizz. b Vla Vc Db div a 2 da. pizz.»»»»» r r r r r da. pizz.»» r r»» r r

36 18 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 n n n n n b nn ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ key clicks 1,2 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ key clicks ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ key clicks n b n n b b b n n b n b n b key clicks ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ key clicks ast 1,2 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ key clicks m m 27 Hn. 1,2 senza srd 1,2 Hn., senza srd 1,2 C Tpt. 1,2 Tpt. Tbn. 1,2 Perc. Perc. 1,2, senza srd senza srd ratchet ast senza srd cym. vibr. Perc. ratchet Perc. V ratchet ast Vln. Vln. Vla. { Hp. { Hp. Vc ~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A scrape p j A scrape hammer pizz. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b hammer pizz. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ast ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b 1- hit j j arc, laut. p arc, laut. p arc, laut. p arc, laut. p ast hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 arc, laut. b p ast hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 ipe b p j p l.v., Db hammer pizz. n n μ hammer pizz. n n b b b pizz. j j j pizz. j j j

37 28 1 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V Vln. Vln. Vla. { Hp. { Hp. Vc H Kingisher's ing 1, s~~~~~~~~~ 2, s~~~~~~~~~~~~~~~~~~ 1, s~~~~~~~~~~~~~~~~~~, s~~~~~~~~~~~ μ ~~~~~~~~~~~~ 1, ith reed, s~~~~~~~~~~~~~~~~~~ r cn srd cn srd 1, s~~~~~~~~~~ 2 2 ith reed 1 1 2, ith reed, s~~~~~~~~~~~~~~~~~~, s~~~~~~~~~~~ 1 +ÍÍÍÍÍÍÍÍÍÍÍÍÍ cn srd +ÍÍÍÍÍÍ 2, s~~~~~~~~~~~~~~~~~~ 2, s~~~~~~~~~~~ μ 2 1 +ÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍ j +ÍÍÍÍÍÍÍÍÍÍÍÍÍ 2 +ÍÍÍÍÍÍÍÍÍÍÍÍ cn srd 1 +ÍÍÍÍÍÍÍÍÍÍÍÍÍ 2 +ÍÍÍÍÍÍÍÍÍÍÍÍÍ μ +ÍÍÍÍÍÍÍÍÍÍÍÍÍ cn srd +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ratchet - - bass dr. ªA j dr. cym. A r r vibr. ipe gliss. ipe gliss. p ipe ipe ipe gliss. SP ï~~~~~~~~ ipe SP r ï~~~~~~~~~~~~~~~~~ r r SP ï~~~~~~~~~~~~~~~~~~~ -10 r 1 1 r 1 ï~~~~~~~~ SP ratchet - SPï~~~~~~~~~~~~~~~~~ ï~~~~~~~~~~~~~~~~~ SP j r 1 j j - r - - r - r SP ï~~~~~~~~~ j 1 Db arc, c.l. j m arc, c.l. j m hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ c.l. c.l. hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r c.l. m c.l. m j j

38 18 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V Vln. Vln. Vla. { Hp. { Hp. Vc. Db , s~~~~~~~~~~~~~~~~~~~~ 1, s~~~~~~~~~~~~~~~~~~~ 2 2 1,2, s~~~~~~~~~~~~~~~~~~~ μ 2 2, s~~~~~~~~~~~~~~~~~~ μ, s~~~~~~~~~~~~~~~~~~~~ 1, s~~~~~~~~~~, s~~~~~~~~~, s~~~~~~~~~~~~~~~~~~~ 2, s~~~~~~~~~ 2 j, s~~~~~~~~~~~~~~~~~~~~, s~~~~~~~~~~~~~~~~~~~, s~~~~~~~~~~~~~~~~~~ 2 +ÍÍÍÍÍÍ j +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍ ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍ 1 +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r +ÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍ j +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍ - ipe gliss. SP bass dr. ªA A r ø p ratchet - r ï~~~~~~~~~~~~~~~~~~~~ SP ï~~~~~~~~~~~~~~~~~~~ 1- SP ï~~~~~~~~~~~~~~~~~~~ r SP c.l. c.l. ï~~~~~~ SP SP SP SP ï~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ï~~~~~~~~~~~~~~~~~ hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r - j, s~~~~~~~~~~ j r 1 c.l. c.l. m m ï~~~~~~~~ ï~~~~~~~~ j j

39 0 1 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V Vln. Vln. Vla. { Hp. { Hp. Vc. Db , s~~~~~~~~~~~~~~~, s~~~~~~~~~~~~~~ 2 2 1,2, s~~~~~~~~~~~~~~~, s~~~~~~~~~~~~~~~ 2 μ muta in cr anglais (ith reed 1 j 1, s~~~~~~~ 1,2, s~~~~~~~ μ, s~~~~~~~~~~~~~~~~, s~~~~~~~, s~~~~~~~~~~~~~~~ 1 j 2 j, s~~~~~~~~, ast s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, s~~~~~~~ j j +ÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍ μ +ÍÍÍÍÍÍÍÍÍÍÍ vibr. bass dr. +ÍÍÍÍÍÍÍÍÍÍ 2 +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍ r j +ÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍ 2 +ÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍ +ÍÍÍÍÍ +ÍÍÍÍÍ j j j +ÍÍÍÍÍÍÍÍÍÍÍ ratchet m ªA j p dr. ratchet - - j cym. ratchet <>~~~~~~~ Ÿ SP ï~~~~~~~~~~~~~~~ hammer pizz. SP SP ï~~~~~~ ratchet ï~~~~~~~~ ï~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ï~~~~~~~~~~~~~~~ SP ï~~~~~~ ï~~~~~~~~ SP ï~~~~~~~~~~~~~~~ ï~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r r 1 1, s~~~~~~~, s~~~~~~~~ 2 - c.l. m c.l. m V SP ï~~~~~~~~~~~~~~~ 1 hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pizz. j j - hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j r ast

40 1 18 Fl. 1,2 2, s~~~~~~ 1, s~~~~~~~~~ 2, s~~~~~~~~~ 1, s~~~~~~~~~ 2, s~~~~~~~~~ A. Fl. b. 1,2, s~~~~~~, s~~~~~~~~~, s~~~~~~~~~ μ μ μ, s~~~~~~~~~, s~~~~~~~~~ μ μ C. A. Cl. 1,2, s~~~~~~, s~~~~~~~~~, s~~~~~~~~~, s~~~~~~, s~~~~~~~~, s~~~~~~~ j j j. Cl., s~~~~~~~~~, s~~~~~~~~~ sn. 1,2 Cbsn., s~~~~~~, s~~~~~~~~~, s~~~~~~~~~, s~~~~~~~~~, s~~~~~~~~~ Hn. 1,2 +ÍÍÍÍ j +ÍÍÍÍÍÍ +ÍÍÍÍÍÍ j j Hn., +ÍÍÍÍÍÍ j +ÍÍÍÍÍÍ j C Tpt. 1,2 +ÍÍÍÍÍÍ +ÍÍÍÍÍÍ Tpt. +ÍÍÍÍ +ÍÍÍÍÍÍ +ÍÍÍÍÍÍ Tbn. 1,2. Tbn. +ÍÍÍÍ μ +ÍÍÍÍÍÍ μ +ÍÍÍÍÍÍ +ÍÍÍÍÍÍ j j +ÍÍÍÍÍÍ μ Tba. +ÍÍÍÍ +ÍÍÍÍÍÍ +ÍÍÍÍÍÍ j j j Perc. ast ast ast Perc. ast ast Perc. ast ast Perc. V ast ast 1-8 Vln Vln Vla Vc. -10 Db pizz. n j

41 2 1 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. sn. 1,2 Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. 1, s~~~~~~~~ 2, s~~~~~~~~., s~~~~~~~~., s~~~~~~~~~~~ μ μ μ, s~~~~~~~~, s~~~~~ μ μ, s~~~~~~~~, s~~~~~~~~ j, s~~~~~~~~~~~~ μ, s~~~~~~~~, s~~~~~ j, s~~~~~~~~,, s~~~~~ s~~~~~~~~ j +ÍÍÍÍÍÍ j j. +ÍÍÍÍÍÍ j +ÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍ ọ +ÍÍÍ +ÍÍÍÍÍÍ ọ +ÍÍÍÍÍÍÍ μ μ +ÍÍÍÍÍÍ μ ọ +ÍÍÍÍÍÍ j j. +ÍÍÍÍÍÍ j j. 2 Perc. ratchet vibr. Perc. ratchet ast bass dr. ªA j p j Perc. Perc. V ratchet ast - ratchet Vln. Vln. Vla. Hp. { Hp. Vc. Db Çrattle V arc p arc μ j p m ipe p da. pizz.» da. pizz.» A scrape m pizz. m j c.l.b. c.l.b. pizz. μ 2

42 18 Fl. 1,2 2 1,2 [u] [i] 1,2 b A. Fl. μ b [u] [i] b. 1,2 C. A. key clicks 1,2 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ μ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ key clicks Cl. 1,2 μ b n 1,2 [u] μ [i] 1,2 μ. Cl. [u] [i] Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2 1,2 senza srd 1,2 senza srd 1,2, senza srd senza srd 1,2 senza srd + cn srd + cn srd. Tbn. senza srd Perc. dr. A Perc. j j j Perc. Perc. V Vln. Vln. Vla. { Hp. { Hp. Vc. Db. t-tam A dr hit m c.l.b., salt. ïïï m hammer pizz. cym. ipe gliss. ipe gliss. ïïï Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b r hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ hammer pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j s. bg. s. bg. 1 1 ipe sub. bg. bg. bg.

43 Light t light 17 r Fl. 1,2 A. Fl. r b. 1,2 ithut b reed r C. A. ithut reed crk Cl. 1,2. Cl. r sn. 1,2 1,2 [a] C Tpt. 1,2 j Tpt. j Tbn. 1,2. Tbn. Perc. Perc. rin n ti. iiii p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j bass dr. t-tam A p p p p Perc. Perc. V Hp. Hp. rin n ti. iiii p F>F t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p p ipe p p p p p p A scrape ipe p scrape A r j r j p p p 1- ~ ~ ~ ~ p Vln r p ~ ~ ~ ~ 12-1 j r laut. p 1- Vln Vla Vc. -10 Db j j r μ laut. p laut. r μ p laut. r μ p laut. p r n laut. p r ~ ~ j ~ p r m m laut. p

44 A. Fl. 2 1 μ p b. 1,2 1, 2 ith reed p C. A. ith reed p Cl. 1,2 μ p. Cl. p sn. 1,2 p Hn. 1,2 1,2 p Hn., 1,2 p C Tpt. 1,2 1,2 senza srd p Tpt. senza srd p Tbn. 1,2. Tbn. 1,2 p + p Perc. j r t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p Perc. Perc. Perc. V Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p p Ẏ j A r Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t-tam p Hp. p p p scrape A j Hp. 1- p p ~ ~ n~ p scrape A j n Ȯ ~ Vln Ȯ Ȯ ~ ~ Ȯ Ȯ Vln Vla. 1- μ ~ ~ ~ j j Vc. -10 j r Db. 1- r -8 r

45 18 Fl. 1,2 A. Fl. b. 1,2 C. A. Cl. 1,2. Cl. sn. 1,2 Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V Vln. Vln. Vla. -8 Db ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s, s, r ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s, s,, s, s, ast s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r, μ, ast s s, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ast, μ, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s, s, s, ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, s, ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s, s, μ ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s, s, cn srd +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ cn srd +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ μ μ ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ+ + cn srd μ + + ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ cn srd ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + + cn srd μ ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + + cn srd r ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + + ast t-tam ast t-tam p ast ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ratchet - ast bass dr. ªA j m p p - ast ast ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ast p p ast ast ast p p ast ast ast ast p buzz pizz. buzz pizz j s ast - - p ast ast ast p ast μ μ 7 7 j 7 7 j j 7 7 j p p

46 190 Fl. 1,2 A. Fl. C. A. Cl. 1,2 Cbsn., s, s, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ast 1. muta in Piccl , s, s, ast s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, s, s, ast s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ muta in be (ithut reed, s, s, ast s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ μ, s, s ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, s, s ast, s~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 7 Hn. 1,2 Hn., C Tpt. 1,2 Tbn. 1,2 Tba. + μ +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ast +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + + ast + +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ + μ + ast + +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ μ μ ast + +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ast + + +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ +ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ μ μ Perc. ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r p p > p Perc. Perc. Perc. V Vln. Vln. Vla. Vc. Db. - ast t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ t-tam A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j p ast Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ r 1- p p ast μ 7 7 j - - ast > > > ast ast p ast ast p ast ast SP p p p SP p j p

47 8 Picc., Fl. ( q = Perc. t-tam ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perc. t-tam ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perc. t-tam ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perc. V t-tam ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ tuning key gliss %A p Hp. tuning key gliss %A p Hp. ( q = SP p Vln SP p 1-1 SP - p SP p Vln SP p 12-1 SP p G q Vla. -8 SP p 9-12 SP p G q Vc

48 9 Picc., Fl. 200 A. Fl. [u] [s] [u] [u] [s]. Cl. slap 2 j 2 j sn. 1,2 Cbsn. 1,2 ithut reed lap ithut reed 22 j lap 2 j 2 j 22 j. Tbn. slap muthpiece 7 j 7 j Tba. slap muthpiece 7 j 7 j Perc. crtales t-tam ªA j p crtales Perc. cym. Perc. Perc. V b crtales t-tam bass dr. A ªA b t-tam ªA p Hp. %A %A Ẏ p p { Hp. %A p 1- Vln. Vln. Vla. -8 Vc. -7 Db G q G q div a 2 pizz. j j pizz. div a 2 j j

49 0 Picc., Fl. A. Fl. b. 1,2 b.. Cl. sn. 1,2 20 accel. Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. ithut reed verbl b r b 2 j [u] p p p [u] [s] [u] [u] [s] [u] 1,2 ithut reed verbl b r ithut reed verbl b r 2 j crtales cym j r j r j μ μ μ μ 1-2slap muthpiece 1-2slap muthpiece 1-2 slap muthpiece slap muthpiece 1-2 slap muthpiece j r j j r + 7 j j r j l.v. t-tam ªA j m Perc. Perc. V Vln. Vln. { Hp. { Hp. Vla. -8 Vc. -7 Db t-tam bass dr. crtales accel. -8 j %A p p G q G q b G q p G q p 1- j b p t-tam ªA m

50 1 K Still ( q = 72 Picc., Fl muta in Flute in C 1,2 A. Fl. b. 1,2 b. sn. 1,2 Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. Perc. Perc. V { Hp. { Hp. b r b t-tam A t-tam t-tam t-tam b r μ b r A A bell tne %A p %A p r A bell tne m m Vln. Vln. Vla. -8 Vc. -7 Db Still ( q = p p p p h sim. G q V p p h p sim. p p h sim. 1- unis. s. bg. unis. s. bg.

51 2 21 Fl. 1,2 A. Fl. b. 1,2 r Perc. t-tam. Perc. t-tam. Perc. t-tam. Perc. V t-tam. Hp. Hp. m ipe p ipe p p p m 1- p -8 p Vln p 1-1 p Vln p p p Vla. -8 Vc. -7 Db p p p p p p p p p

52 217 Fl. 1,2 A. Fl. Perc. Perc. Perc. Perc. V Vln Vln Vla Vc Db

53 221 Fl. 1,2 A. Fl. b. 1,2 b. Cl. 1,2. Cl. sn. 1,2 Cbsn. Hn. 1,2 Hn., C Tpt. 1,2 Tpt. Tbn. 1,2. Tbn. Tba. Perc. Perc. ere and ater ( q = nrm. - bullrarer bullrarer - ith reed ith reed ith reed L lz. p μ p nrm. Perc. Perc. V Vln. Vln. Vla. { Hp. { Hp. Vc. -7 Db ipe ipe 1-8 bullrarer - nrm. - bullrarer p p p p p p p p r r p p p p p p p p ere and ater ( q = nrm. p p V SP > j

54 22 Fl. 1,2 r 1. [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ast A. Fl. b. 1,2 b. Cl. 1,2. Cl. [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ r ast sn. 1,2 r Cbsn. Hn. 1,2 1,2, senza srd [] p Hn., C Tpt. 1,2 Tbn. 1,2 [e] 1,2, senza srd [e] 1,2 senza srd p 1,2, senza srd [u] [i] [i] [u] p [u] [i] Tba Perc. Perc. nrm. nrm. Perc. nrm. nrm. Perc. V nrm. { Hp. Hp. ipe gliss. j p ipe gliss. - p rattle 1 Ç V V m bell tne bell tne j - p 1 Vln Vln. -10 Vla. Vc ïïï c.l.b., salt. c.l.b. ïïï c.l.b., salt. c.l.b. ïïï c.l.b., salt. p V ipe ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï s. bg. c.l.b., ïïï salt. ïïï ïïï ïïï c.l.b., ïïï salt. ïïï ïïï ïïï ïïï c.l.b., salt. s. bg. V ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï p ïïï ïïï ïïï ïïï ïïï ïïï Db. 1-8 > j D > j > j

55 21 Fl. 1,2 2. [u][i] ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ast Cbsn. rd. Hn. 1,2 1,2 [u] p Hn., Tpt. senza srd [i] p Tbn. 1,2 [i] [u] [u] [i]. Tbn. senza srd [i] p Tba. + + Perc. bullrarer nrm. nrm. Perc. bullrarer Perc. bullrarer nrm. nrm. Perc. V bullrarer nrm. { Hp. Hp. rattle Ç V m ast p V m V V ast - p 1 1- ïïï ïïï ïïï ïïï Vln Vln. -10 Vla ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï p ïïï ïïï ïïï Vc Db. 1-8 laut. sere > j > j

56 7 2 Fl. 1,2 [u][i] ast ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ U A. Fl. Cbsn. [u][i] ast ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ U U Hn. 1,2 U Hn., 1,2 [u] p U C Tpt. 1,2 1,2 [e] p U Tpt. U [] p Tbn. 1,2 [i] [u] [i] [u] [i] [u] U. Tbn. [] p U Tba U Perc. nrm. nrm. stp abruptly (hld the head U r Perc. nrm. nrm. stp abruptly (hld the head U r Perc. U r stp abruptly (hld the head Perc. V nrm. nrm. stp abruptly (hld the head U r Hp. { Hp. p bell tne U j bell tne j - p p U V U 1 U Vln Vln. -10 Vla. Vc Db. 1-8 ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï > j ïïï ïïï ïïï ïïï ïïï p ïïï ïïï ïïï ïïï ïïï ïïï ïïï > j ïïï ïïï ïïï ïïï ïïï ïïï ïïï ïïï > j U U U U U U U U U U U

57 at the still pint r rchestra by Zi Hua Tan Schulich Schl Music McGill University, Mntréal August 2017 Vlume : Analytical Text A thesis submitted t McGill University in partial ulillment the requirements the degree Dctr Music Cpyright 2017 by Zi Hua Tan

58 Abstract at the still pint is a csitin r ull rchestra that explres the cncept nn duality by relecting in a special ay the pem by T.S. Elit, urnt Nrtn, irst the Fur Quartets. The dissertatin crises t vlumes: the scre and the analysis. n the bradest sense, the csitin metaphrically represents the sentiments expressed in the pem thrugh a prcess knn as an ekphrasis. The rm and structure a sectin the pem als inrm certain technical aspects my csitin. Mre speciically, a tripartite cntinuum as created in at the still pint r each three csitinal cnents terality, snic material, and timbre here the extremes can be und at the ends, hile the state nn duality sits in the middle this cntinuum. The tripartite divisins hint at h the past, present, and uture are intertined ithin the pem. Three ther csitinal cnents gesture, pitch rganizatin, and rhythmic rganizatin unld accrding t this three ay plan. The rm the csitin is based upn the rder the scalled tail rhymes in Sectin V the pem, and the duratin each musical sectin crrespnds t a recitatin und in an archival recrding made by T.S. Elit himsel. ésumé «at the still pint», une uvre pur grand rchestre, explre le cncept de nn dualité, et relète d une açn spéciale le pème urnt Nrtn de T.S. Elit, le premier des Quatre Quaturs. La thèse crte deux vlumes: la partitin et l analyse. Au sens large, l uvre re présente métaphriquement les sentiments exprimés dans ce pème à travers un prcessus cnnu sus le nm d'ekphrasis. Divers traits techniques de mn uvre repsent aussi sur la rme et la structure d une sectin du pème. Spéciiquement, un cntinuum triparti a été créé pur chacune des tris csantes d uvre la teralité, la matière snre et le timbre ù les extrêmes snt situés aux pôles sés, tandis que l'état de nn dualité se truve au milieu du cntinuum. Les tris divisins indiquent cmment le passé, le présent et le utur s entrelacent au pème. Tris autres csantes de la csitin le geste, l'rganisatin des hauteurs et l'rganisatin du rythme se dérulent seln ce plan à tris vlets. La rme de la csitin est basée sur l'rdre des rimes de in de vers à la quatrième sectin du pème, et la durée de chaque sectin musicale crrespnd à la récitatin urnie par Elit luimême retruvée dans un enregistrement d archive. iv

59 Acknledgements First and remst, uld like t thank Pressr hn ea r his tireless surt and encuragement thrughut my studies at McGill University. Under his incredible guidance, have learned that, amng many ther things, n matter h clex an idea is, there ill alays be a ay t express it ith abslute clarity. am grateul r the rtunities given t me by the Csitin Area thrugh the Cser in esidence prgram. The prgram has alled me t rk ith the McGill Cnterary Music Ensemble, the McGill Percussin Ensemble, and the McGill Syhny rchestra (MGS. have managed t hne my csitinal skills thrugh the prcess rking ith these ensembles. greatly areciate the nderul musicianship displayed by the MGS, under the directin Maestr Alexis Hauser, in perrming my rchestral rk, at the still pint. Many thanks t the Music esearch department at the Schulich Schl Music and the Centre r nterdisciplinary esearch in Music Media and Technlgy (CMMT r prviding me ith generus inancial and technical surt s that culd carry ut my research and artistic prjects. A special thanks t Pressr Aiyun Huang r giving me the chance t rk ith students rm the percussin studi. eing an amazingly versatile musician, she has als inspired me t alays seek r dierent pssibilities in my csitins. And many thanks t Pressr Chris Paul Harman, my secnd reader, r his detailed and helpul cmments n my analysis and scre. am rtunate t have rked as a teaching assistant r Pressr Christph Neidhöer, Pressr Nicle iamnte, and Pressr bert Hasegaa, all hm have been my rle mdels r being an excellent teacher. Thrugh my rle as a lecturer, have als managed t pnder ver many acets music ith musicians and nnmusicians alike, thanks t the questins psed t me by my students. v

60 Last but nt least, uld like t express my deepest gratitude t my amily, h has shn me uncnditinal lve, ithut hich uld nt be here am tday. vi

61 Chapter 1: ntrductin t the rchestral Prject 1.1 ntrductin at the still pint is an rchestral rk that explres the cncept nnduality by relecting n the pem T.S. Elit, urnt Nrtn, the irst pem Fur Quartets, thrugh a rhetrical prcess knn as ekphrasis. n this chapter, ill discuss the terms, nn duality and ekphrasis, as ell as the general ramerk my rchestral csitin. n the subsequent chapters, ill examine varius musical parameters the csitin and h they relate t the t terms and t the rchestral prject as a hle. 1.2 Perrmances The csitin as ritten as part the Cser in esidence prgram at the Schulich Schl Music, McGill University (Mntreal. n April 7 and 8, 2017, the McGill Syhny rchestra perrmed the rk in Pllack Cncert Hall under the directin Alexis Hauser. ts duratin is arximately 1 minutes. The csitin as als perrmed by the Tky Philharmnic rchestra, under the directin Kah Chung Wng, n May 28, 2017, as part the Tru Takemitsu Csitin Aard 2017 Final Cncert in apan. 1. nstrumentatin at the still pint is scred r ull rchestra: t lutes (ne dubling piccl, ne alt lute, three bes (ne dubling English hrn, t clarinets, ne bass clarinet, three bassns (ne dubling cntrabassn, ur hrns in F, three truets, t tenr trmbnes, ne bass trmbne, ne tuba, ur percussinists, t harps, and strings (1, 1, 12, 10, 8. n rder t achieve a variety speciic timbral qualities, the harps and sme percussin instruments require preparatins. The instrumentatin and list percussin instruments, as ell as the 1

62 preparatin prcedures, can be und n pages ii thrugh vi the scre (Vlume. 1. Dispsitin nstruments Figure 1.1 shs the dispsitin the rchestral instruments. The ur percussin, t harps, and duble basses are symmetrically psitined n the stage, a scenic arrangement that nt nly alls the respnses beteen a pair (r pairs instruments t be augmented ith regard t spatially directed gestures, but als prvides the audience ith a visually discernible scenic dichtmy. A spatially directed gesture is a musical gesture that deals ith sund lcalizatin a listener s ability t discern the lcatin a sund s directin and distance. Spatially directed gestures ill be urther examined in Chapter. Figure 1.1: Dispsitin the rchestral instruments Percussin Percussin rass Wdinds Cell Vilin Vila Vilin Cnductr 1. ntrductin t the Cncept Nn duality Fr many years sn has cvered the muntain, This year the sn is the muntain Dōgen 1 1 Dōgen ( , a apanese Zen Master, quted in David Ly, Nnduality: A Study in Carative Philsphy (Ne Haven: ale University Press, 1988, 7. 2

63 at the still pint centres n the cncept nn duality in the cntext music. n essence, nn duality is the ntin that an entity, a thing, is ree rm is and is nt r is ree rm being subject r bject. This ntin may cntradict ur mdes experience. Accrding t David Ly, a schlar n nn duality: ur usual cnceptual knledge is dualistic in at least t senses: it is knledge abut smething, hich a subject has; and such knledge must discriminate ne thing rm anther in rder t assert sme attribute abut sme thing. 2 The aareness nn duality is an elusive quality that is rarely explred in music because its very nature is nt susceptible t descriptin, let alne pr. Music, hever, is prbably the medium mst suitable r experiencing nndualism. n The Dry Salvages, the third part Fur Quartets, T.S. Elit hints at the absence a plurality there is n hearer r bjective music that is heard, but an absence that becmes ully engrssed in the music such that the music ceases t be externalized: music s deeply That it is nt heard at all, but yu are the music While the music lasts n subsequent chapters, aim t prvide an adequate ramerk r varius csitinal parameters in rder r the aareness this elusive quality t maniest itsel ithin a listener s perceptin. 1. The Pem TS Elit at the still pint as csed ut my thinking abut T.S. Elit s urnt Nrtn, hich as ritten in 19 and is, as mentined, the irst the Fur Quartets. The ull text aears in the Aendix (page 0. The pem 2 bid.,. T.S. Elit, Fur Quartets (Lndn: Faber and Faber, 19,. bid., 1.

64 tgether ith t theatrical rks created during the same perid bears the imagery an enchanted garden, sudden illuminatins, gates pened r clsed, cluds cncealing the sun, children in liage, and the still pint a turning rld. There are many seemingly cntradictry ideas that are presented in the pem, such as time and timelessness, mvement and stillness, and music and silence. The pening verse, in particular, sets the nn dualistic tne r the pem by describing h time present and time past are bth perhaps present in time uture. The title my rchestral csitin is taken rm Sectin and Sectin V the pem, and encapsulates the sense smething n the verge becming, smething psitined in the middle ay that retains the ptential t all int either extreme: t stay still r t cntinue turning. This middle ay led t the manner in hich divided the cntinuum r each musical parameter int tripartite sectins. Further elabratins n each cntinuum ill be made as the relevant musical parameter is being examined. 1.7 Musical Ekphrasis Amng the many csitins inspired by T. S. Elit s petry, t nterthy exales in the repertire invke his petic art as an explicit inspiratin. Anthem: The Dve Descending reaks the Air by gr Stravinsky 7 eatures a verse rm Little Gidding, the urth and inal pem the Fur Quartets, and it elys serial techniques. The structures the piece adhere t a binary pattern, 8 perhaps as an allusin t the glbal theme duality in the pem. Sia Murder in the Cathedral (19 and The Family eunin (199 This characterizatin is made by Denis Dnghue, Wrds Alne: The Pet, T.S. Elit (Ne Haven: ale University Press, 2000, 2. 7 gr Stravinsky and T.S. Elit, Anthem: The Dve Descending reaks the Air (Lndn: sey Hakes, 191, 1 8 See Andre Thmas Kuster, Stravinsky's tplgy: an examinatin his telve tne rks thrugh bject riented analysis structural and petic expressive relatinships ith special attentin t his chral rks and Threni (Mrrisville, NC: Lulu.cm, 200, 8.

65 Gubaidulina s Hmmage à T. S. Elit, 9 ith a text adapted rm three pems the Fur Quartets, came abut due t her preccupatin ith vertical and hrizntal time. 10 My arach t Elit diers rm the araches these t csers because abve all my piece is mre a sund based than a tne based csitin. The dramaturgy is shaped arund the inherent expressivities pitched and nn pitched rchestral sunds and the interactins that can be made t ccur beteen them. Additinally, my relectins n urnt Nrtn speciically Sectin V ( ive sectins are nt a direct transer cntent rm pem t music. ather, my relectins behave like an ech the sentiment nn duality expressed in Elit s rds, reminding us that it is thrugh paradx that transcendence is achieved. 11 n ther rds, at the still pint des nt adhere t the tenets a type prgram music that uld merely narrate scenes rm the pem; rather, my rk reacts t the style the pem, as ell as t its rm, md, and deliberate arrangement details characteristics a musical ekphrasis as delineated by musiclgist Siglind ruhn. Ekphrasis is deined in its strictest sense as a literary descriptin, r cmmentary n, a visual rk art (Merriam Webster dictinary, 11 th editin. rring rm Tamar acbi s bservatin made in literary thery, ruhn sums up the dierence beteen prgram music and musical ekphrasis as lls: prgram music represents, hile musical ekphrasis represents r re enacts Sia Gubaidulina and T.S. Elit, Hmmage à T.S. Elit: ür Spran und ktett (Hamburg: H. Sikrski, 1991, Michael Kurtz, Sia Gubaidulina: A igraphy, ed. Malclm Hamrick rn, trans. Christph K. Lhmann (lmingtn: ndiana University Press, 2007, Fr a discussin this tpic, see Glenn Hughes, A Mre eautiul Questin: The Spiritual in Petry and Art (Clumbia: University Missuri Press, 2011, See Siglind ruhn, A Cncert Paintings: Musical Ekphrasis in the Tentieth Century, Petics Tday 22, n. (2001:.

66 n my music, intend t re present the state mind in hich ne is likely t be ater a reading the pem by ay varius transmedializatinal means. The term transmedializatin, hich is cined by ruhn, 1 reers t the prcess hereby an inter artistic transer takes place beteen the riginal medium an artrk and that the ne medium and artrk respnding t it The Tripartite Cntinua and the Nn dualistic Middle Way A tripartite cntinuum as dran r each three csitinal cnents terality, snic material, and timbre in at the still pint, here the presused extremes are lcated at the ends, hile the state nn duality, hich term the middle ay, sits in the middle the cntinuum. These tripartite divisins relect, r me, the sentiment that all things (entities are relative and cnditined by each ther, as Elit intimates in the pem, especially h the past, present and uture are intertined. The cntinua r the three csitinal cnents are summarized bel in Figure 1.2. Figure 1.2: The tripartite cntinua r terality, snic material, and timbre extreme end nn dual middle extreme end Terality: linear "mment" rm nnlinear Snic Material: tne ull sunds nn dual sunds tne less sunds Timbre: blend hal blend nn blend Terality: in music, accrding t Langer, there are t maniestatins terality the time created by the music itsel (virtual time and the time in hich the music unlds (clck time. 1 n at the still pint, terality reers t the listener s experience virtual time, even thugh there are mments in the 1 See Siglind ruhn, Musical Ekphrasis: Csers espnding t Petry and Painting (Hillsdale, N: Pendragn Press, 2000, 1. 1 See Siglind ruhn, Snic Transrmatin Literary Texts: Frm Prgram Music t Musical Ekphrasis (Hillsdale, N: Pendragn Press, 2008, 8. 1 Fr a discussin n the dierence beteen virtual time and clck time, see Susanne K. Langer, Feeling and Frm: A Thery Art (Ne rk: Charles Scribner s Sns, 19,

67 music here musical materials are laid ut in such a ay as t suggest clck time. Lcated at the extreme ends the tripartite cntinuum terality are linearity and nnlinearity, hile mment rm is the middle ay. n a linear terality, a musical cnditin ill transrm successively int anther cnditin ver time, hereas in nnlinear terality, a transrmatin is nt sequential. n the mment rm, the bundaries beteen linearity and nnlinearity are blurred. These dierent types teralities, as ell as a urther ntin cteeraneusness, are set rth in Chapter. Snic materials: in my csitin, snic materials are gruped accrding t their perceived qualities and inherent textures. n ne end the cntinuum snic materials, ne inds tne ull sunds that exhibit a relatively steady peridicity. n the ther end, ne inds tne less sunds that have similar alitudes at dierent requency cnents. n ther rds, in an ideal rld, a pure tne hich has a sinusidal averm ill be placed n ne end this cntinuum, hile hite nise hich has equal alitudes at dierent requencies ill be placed n the ther end. Grupings snic materials are discussed in greater length in Chapter. Timbre: a spectrum and an envelpe, amng ther physical characteristics, determine the timbre a sund. n my thesis, hever, ill nt cus n thse physical characteristics that distinguish ne sund rm anther; rather, ill prpse a cntinuum timbre that is divided accrding t the degree t hich the sunds blend accrding t my subjective inner ear. Dierent sunds that are perceived as a single timbral entity are cnsidered t have attained timbral blend. The site timbral blend is timbral nn blend, hich ccurs hen dierent timbres, even i sunded cncurrently, are perceived t be segregated. Mre details abut timbral blends are cvered in Chapter. 7

68 Three ther csitinal cnents gesture, pitch rganizatin, and rhythmic rganizatin develp als accrding t a three ay plan. Gesture: ide ranging cntexts exist r the term gesture, but it has been deined as a mvement r change in state that becmes marked as signiicant by an agent. 1 n my csitin, the gestures are categrized accrding t three types changes in state: kinesthetic directin (a change in suggested physical mvement, spatial directin (a change in sund lcalizatin, and time based directin (a change in terality. H these gestures are deined and elyed in my rk is elabrated in Chapter. Pitch rganizatin: ithin the prcess transrming ne pitch set (cllectin t anther, the middle ay ccurs at a pint here changes are halted halay thrugh the prcess. n a sense, these pitch sets cllectins can be likened t the extremes a cntinuum, and they are urther explained in Chapter 7. hythmic rganizatin: as r the rhythmic aspect my csitin, there are three speciic types rhythmic structures gestural rhythm, regular pulse rhythm, and irregular rhythm each hich eatures a tripartite system. Fr exale, in an irregular rhythmic structure (see Figure 7.12, an unmeasured treml decelerates t a measured quintuplet, bere accelerating back t the riginal, unmeasured rapidity, thus rming a three phase develpment. A mre crehensive analysis these rhythmic structures can be und in Chapter 7. n Elit s rk, each the Fur Quartets als lls a tripartite develpmental arc. Adapting Evelyn Underhill s thughts n mysticism, 17 Kenneth Paul Kramer ntes that the Fur Quartets develp in three phases: preparatry recllectins, interir quietude, and unitive cntelatin. n the irst phase, a meditative landscape is cnceived in the mind, lled by illuminatins invked by 1 Anthny Gritten and Elaine King, Music and Gesture (Aldersht, England: Ashgate, 200, xx. 17 See Evelyn Underhill, Mysticism: A Study in the Nature and Develpment Man s Spiritual Cnsciusness (Minela, N: Dver Publicatins, 1911; 2002,

69 the landscape. n the secnd phase, there are mments sel surrender and transrmatin ne s ill, as ell as a quiet, purgative tne at the last mment. All the themes presented in the irst t phases sme hich cntain cntradictry ideas are reslved by a unitive visin in the third and inal phase. 18 Unitive is deined as a cnditin characterized by r tending t prduce unin (Merriam Webster dictinary, 11 th editin. While it may seem paradxical r me t segment an therise luid cntinuum int three parts, the meaning each nn duality can be crehended nly by reerring t the particular part the duality that is being denied. Fr exale, e ill nly realize h tne ull a sund is hen e have heard its exact site, a tne less sund. nce e have heard bth sunds, e can then and nly then perceptually determine hich sunds are neither tne ull nr tneless. n ther rds, pints reerence n a cntinuum must be ixed bere e can identiy a middle ay. Furthermre, due t ur linguistic training, in hich e are called upn t identiy things as bjects, e segment them hether r nt e are aare it. y recgnizing ur predispsitin t segmentatins, hever, e can take the next step in negating this tendency in rder t be aare the nn plurality things (entities. 18 Kenneth Paul Kramer, edeeming Time: T. S. Elit s Fur Quartets, (Lanham, MD: Cley Publicatins, 2007,

70 Chapter 2: Ekphrastic Frm and Structures 2.1 ntrductin T transmedialize rm rds t sunds, sught ater cmmnalities beteen the t, mindul that cmmn eatures may vary hen they emerge in dierent media. Accrding t hn Cage, music can be divided int ur elements: structure, rm, methd, and materials, and in his Deense Satie, he asserts that duratin is the nly aspect sund that is cmmn t bth sund and silence, and thus a musical structure that is based n time is a necessity. 19 David Fuller, a schlar in the ield early mdern English studies, speculated that hen Elit csed the Fur Quartets each hich exhibits ive sectins he had in mind the late quartets eethven, particularly p. 12 (182, hich als exhibits ive mvements, the urth mvement being smehat shrt. Fuller als cnjectured that, in rder t recreate Elit s mental states experience heard in eethven s music by ay rds, he gives special attentin t the structural patterns in the pem. n his very n manner reciting the pem 20 say, like a cser s distinctive perrmance his n scre Elit adpted a chant like quasi singing style. This incantatry mde urther accentuates the rmal structure the pem, especially the structure each line and the patterns rhyme. 21 Taking a cue rm bth Cage and Elit, have based the rm and structures my rchestral rk n the duratin each verse, including the pauses, as heard in Elit s recrded reading Sectin V in urnt Nrtn. did this s that 19 See ames Pritchett, The Music hn Cage (Cambridge: Cambridge University Press, 199, T. S. Elit, T. S. Elit eads Fur Quartets, T. S. Elit, Sundmark ecrds 828, 201, CD 21 David Fuller, Music, in T.S. Elit in Cntext, ed. asn Harding (Cambridge: Cambridge University Press, 2011,

71 ekphrastic links beteen musical means and the literary cntent the riginal rk uld be established. There are several reasns hy gave prminence t Sectin V the irst quartet, urnt Nrtn. As ith the ther structures in the pems the Fur Quartets, Sectin V is transitinal. The md has mrphed rm a place disaectin (, line 1 in the third sectin t the ith (and inal sectin here Elit inds a unitive visin in rder t cme t terms ith the dualistic themes that have aeared earlier. Sectin V can thus be cnsidered as the middle ay all ive sectins. Furthermre, in lking at the number rds in each verse Sectin V, ne can see a urther tripartite divisin: the irst ur and the last ur verses are signiicantly lnger than the middle t verses. Lastly, despite its brevity as cared t the ther ive sectins, Sectin V embdies the micrcsm urnt Nrtn since it cntains the basic themes the preceding three sectins the dnard mvement descending int perpetual slitude (, line 2 in Sectin maniests itsel in the image the straying r driting dn the clematis plant in Sectin V and hints at the md recnciliatin in the inal sectin. 2.2 The urnt Nrtn based Structural Framerk The rm the rchestral piece cuses upn the rder tail rhymes rhymes in the inal syllables verses und in Sectin V the pem, as seen in Figure 2.1 (the tail rhymes are underlined, resulting in an A A A C D E C D E rm. Similar tail rhymes ill be categrized in the same grup, such as day and aay, and chill and still. Cnsequently, sectins that share similar tail rhymes have the same rm. The duratin each musical sectin crrespnds ekphrastically t the recitatin given by Elit himsel n the recrding, 22 ater being scaled 2 times lnger than the ttal riginal 1. secnds. th the rigi 22 T. S. Elit, T. S. Elit eads Fur Quartets. 11

72 nal and scaled duratins are shn in Figure 2.1. The sum elapsed time the scaled duratins is abut 12 minutes. T additinal 0 secnd sectins are reserved r a Prelude aended t the beginning and a Cda t the end. Figure 2.1: Sectin V urnt Nrtn and the crrespnding rm in at the still pint Scaled duratin (min Measure in Scre Text urnt Nrtn (Sectin V Tail rhyme Frm Duratin (s Time and the bell have buried the day, day A The black clud carries the sun aay aay A' Will the sunler turn t us, ill the clematis clematis Stray dn, bend t us; tendril and spray spray A" Clutch and cling cling C Chill chill D Fingers ye be curled curled E Dn n us Ater the kingisher's ing ing C' Has ansered light t light, and is silent, the light is still still D' At the still pint the turning rld. rld E' At the very beginning my rchestral scre (page 1, a shrt Prelude, marked Past and Future, precedes the A sectin in the rm. The Prelude serves as a prlepsis (anticipatin prjecting ther passages that ill ccur later n in the rk, and is a nd t Elit s habit placing epigraphs usually in a reign language at the beginning his pems t cnvey a general md r the reader. This habit in turn culd be seen as a parallel t a cser s elyment a key signature and te. 2 The inal E sectin is lled by a cda, marked ere and Ater n page the rchestral scre. This Cda des nt unctin in a cnventinal sense, since it des nt signal the end the music; rather, it alls, thrugh unvaried gestures, the listener t dell n the still pint (V, last line a little hile 2 This argument is made by bert. Niclsi, T. S. Elit and Music: An ntrductin, The Musical Quarterly, n. 2 (April, 1980:

73 lnger. The Cda als reshads the sentiments t be expressed in the inal lines urnt Nrtn the exact same three rds, bere and ater, clse the clete pem and beynd, thrugh passages that symblize timelessness. The signiying gestures in the Prelude and Cda are urther discussed in Chapter. 2. Tail hymes as Structural Markings Mdeling the placement each tail rhyme at the end a verse in the pem, the ending each musical sectin ill be demarcated by a harmnic marker, a kind chrd characterized by its rchestratin and pitch rganizatin. n general, ater clete the transmedializatin prcess, the same pitch cllectin based n the natural harmnic series reaears at the ccurrence a tail rhyme, but each time the pitches are rchestrated dierently accrding t Elit s phnatin the rd in his recitatin. Fr instance, the rchestratin that crrespnds t the tail rhyme rld is mre tne based than that ing, as the rmer is a mre runded sund. Mre details n the rchestratin and pitch rganizatin the harmnic markers ill be expunded upn in Chapter and Chapter 7, respectively. 2. Pauses in Elit s ecitatin as Winds t lluminatin While maing Elit s recitatin the pem, nted that there ere pauses varying lengths. These pauses are deined as mments here the sund alls bel 0d as measured ith a digital audi rkstatin. Fr t main reasns, these pauses are nt literally transmedialized int silences in the csitin. First, i ne is t accept nn duality as a csitinal principle, ne can think silence nt as the negatin sund, but rather the underside sund, s t speak. Secnd, these pauses serve my purpse disrupting any linear l in the music, ekphrastically relecting Elit s n l riting that, as mri Mses bserves, prevents any deinite sense deliverance and cels 1

74 the reading prcess t be in time present. 2 Thus, the pause based passages in my csitin ten aear abruptly and are discernibly dierent rm the passages that cme bere them. Each abrupt disturbance is als an ekphrastic metaphr, in my vie, r the sudden illuminatins und in urnt Nrtn. Even thugh the term, sudden illuminatin (Quartet,, line 7 hich reers t mments a speciic kind hainess nly aears in the third quartet, The Dry Salvages, there are precedents already r a reshading in urnt Nrtn. ne instance this illuminatin in urnt Nrtn emerges in the hidden laughter children, ccurring suddenly in a shat sunlight (V, line. While Elit des nt prvide a clear deinitin n this kind hainess, he ntes that it is nt the sense ellbeing,fruitin, ulillment, security r aectin,r even a very gd dinner (Quartet,, lines 7. 2 interpret this image as an illuminatin: a sudden realizatin smething that has alays been present but has gne unnticed. n at the still pint, ne exale an illuminating passage ccurs in mm. 70 7, in sectin the rm. The strings and percussin, hich seldm play tgether in the measures leading up t this pint, start t play en masse (Figure 2.2. The previus nise based texture als gives ay t smething mre tneull, ith the percussinists, starting in meas. 7, ding glissandi hile playing rin gngs placed n the tiani. ere these measures, the rin gng plays nly nce, ithut glissand, in Percussin (mm. 0. When the rin gng reaears later in all percussin parts, it serves t bring t light hat has been latent in the subcnscius, a kind illuminatin, instead being a surprising mment. Such illuminatins may resemble Salvatre Sciarrin s use la rme à enêtres ( ind rm, here at times vilent disruptins in music rce us 2 mri Mses, Aecting Time: T. S. Elit s urnt Nrtn, Sundings: An nterdisciplinary urnal 88, n. 12 (SpringSummer, 200: T.S. Elit, Fur Quartets (Lndn: Faber and Faber, 19, 28. 1

75 t perceptually enter anther related, but dierent, ind rame. 2 Hever, by using similar materials that precede the illuminatins, and by aviding little bangs a term used t describe vilent blasts in Sciarrin s music 27 intend t blur the utline each ind. With less jagged disruptins, the questin re mains purpseully nebulus hether r nt ee have entered a ne r dierent ind. Figure 2. 2: Exale an illuminating passage (mm. 70 7, percussin andd strings nly percussin strings 2 Grazia Giacc, La ntin de «igure» chez Salvatre Sciarrin (Paris: L Harmattan, 2001, bid.,

76 2. The verall Ekphrastic Frm Figure 2. shs the planned ekphrastic rm the piece ver time as it is maed t Elit s recitatin the pem, represented as a averm ith the recited text attached t the tp the averm. Abve each line the text, ne can ind the crrespnding rehearsal mark, lled by the rmal sectin and the measure number. Additinally, the starting time each sectin is given bel the rehearsal mark. Fr exale, the rehearsal mark starts at 1 0. There is n averm assciated ith the Prelude and Cda, since they are nt part the pem prper. As delineated in the legend Figure 2., (P stands r the pauses und in the recitatin (as explained in Chapter 2.. Elit can be heard taking a breath sn ater reading the line and is silent. This breath, indicated as ( in Figure 2., is nt cnsidered a pause, even thugh n rd is spken, leading t the brie instant rm arund 10 0 t being marked as a sund rather than a cntinuus pause. n at the still pint, there are t instances here the music des nt ll the rmal plan utlined in Figure 2.1 abve. The music that lls rehearsal mark F (mm is lengthened rm the riginal recitatin duratin 0.9 secnds t 2.7 secnds hence the subsequent music at rehearsal mark G is shrtened since, in my pinin, the reading the rd chill is particularly arresting, creating a rile eect that spreads int sectin G. Similarly, the sectins ith rehearsal marks and K (mm are lengthened; these sectins ly mrph int the cda ithut a clear cut transitin, capturing the sense nn duality at the still pint the turning rld und in the pem. 1

77 17

78 18

79 Chapter : Teralities.1 The Teral (Time based Cntinuum ne my primary csitinal cncerns is structuring at the still pint alng a teral cntinuum, in a clear ekphrastic respnse t Elit s verdetermined discussins n the dierent maniestatins time. arach time in a metaphrical manner since even pure duratin, as Henri ergsn pints ut, is nt a quantity, and e inadvertently sense it in terms space as sn as e try t measure it. 28 As epitmized in the irst ten lines urnt Nrtn, ur distinct senses time are present in the pem: chrnlgical, eternal, speculative, and alays present. 29 These senses time are relected in my rk as teralities: linear, nnlinear, mment rm, and c teraneus terality, respectively. Figure.1 shs the relevant ten lines and the senses time that they encapsulate as ell as the transmedialized teralities. As pinted ut in Chapter 1.8, linear and nnlinear teralities are situated at the extreme ends the cntinuum, hile mment rm terality is the middle ay. C teraneus terality, hich signiies simultaneity dierent teral rms, is my additinal cnstruct t address the alays present sense time. n my pinin, this urth sense time, albeit merely hinted at in the pem, is nly realizable in a musical rk, nt a literary ne. 28 Henri ergsn, Time and Free Will: An Essay n the mmediate Data Cnsciusness, trans. F. L. Pgsn (Minela, N: Dver Publicatins, 2001, See Kenneth Paul Kramer,. 19

80 .2 Linear Terality Figure.1: Fur senses time, and their crrespnding lines in the text and teralities in the music Lines in the Pem Sense Time Terality in Music Time present and time past Are bth perhaps present in time uture, And time uture cntained in time past. all time is eternally present All time is unredeemable What might have been is an abstractin emaining a perpetual pssibility nly in a rld speculatin. What might have been and hat has been Pint t ne end, hich is alays present. chrnlgical eternal speculative "alays present" linear nnlinear "mment rm" c teraneus At ne extreme end my teral cntinuum is linear terality. nstead rking ith musical elements directly assciated ith time such as rhythm, meter, and duratin all the listeners t discern the linear passing time by gradually shaping the timbral quality the cmbined rchestral sunds rm being tne less t being tne ull. The evlutin sund rm being tneless t tne ull is mst discernible in the parts dinds and strings. The prminent perrmance techniques r the dinds and strings that prduce such sunds are summarized in Figure.2. Details n h t execute these techniques are revealed in the Symbls and Abbreviatins legend in the scre (pages iii vi. At rehearsal mark A, techniques such as dinds bling an airy tne r strings iping (ith a b alng a single daened string, create tne less sunds. Abut halay thrugh the piece at rehearsal mark G, bth the hal airy tnes prduced by dinds and the string hammer pizzicat generate a mixture tne ull and tne less sunds. At the end this linear develpment, in passages that ll rehearsal mark, the mst tne ull sunds emerge thrugh the playing rdinary tnes by bth dinds and strings. 20

81 Figure.2: Main dind and string techniques elyed in all sectins ehearsal Mark Measure Wdinds Strings "A" airy tne iping b n string and bing n bridge "" airy tne ith vel changes same as in "A" but mre rhythmically deined End "D" (mm tutti n airy tne ith vel changes brushing b n string ith harmnics "E" multiphnic same as in D but ith " ' dynamic "F" rdinary tne (piccl b next t let hand "G" hal airy tne hammer pizzicat "H" timbral trill and multiphnic brushing b n string ith sted ntes, pizzicat, trill beteen sted ntes and harmnics mm. 1 rdinary tne cl legn battut, daened pizzicat, glissand ith harmnics "" (mm rdinary tne tutti n rdinary tne Secnd hal "" timbral trill extreme b pressure ith harmnics, b next t let hand "K" verbl ithut reed glissand ith harmnics n the secnd hal the music ater rehearsal mark (mm , the linearity is brken, ith dinds and strings playing a mixture tne ull and tne less sunds. This discntinuity in linearity arises rm t things: 1 recurrences similar sectins in the rm sectins D and E share similar snic materials as in earlier sectins D and E and 2 my intentin t break the predictability even the mst straightrard terality, ekphrastically mirrring Elit s breaking the seriality riting, ne instance hich, as mri Mses ntes, can be und in lines 7 in Sectin V urnt Nrtn: ( Wrds, ater speech, reach nt the silence. nly by the rm, the pattern, Can rds r music reach The stillness, as a Chinese jar still Mves perpetually in its stillness. 21

82 As suggested by these lines, in rder r rds r music t reach stillness, e need a pattern, hich in turn is attained by repetitin. And repetitin rds, such as rds and reach rustrates sequence. Mses als ntes that the link beteen still and mves nt nly achieves grammatical punning and enjambment, but als prduces a cntradictry eect juxtapsitin. 0 Figure. visualizes the linearity the emergence tne rm rehearsal mark A t K, thanks t the use dierent perrmance techniques in each sectin, ith a darker hue indicating an increase in tne ullness. As mentined, the disruptin in linearity tards the end arises rm recurrences similar sectins in the rm. dinds strings Figure.: Visualizatin the emergence tne ullness (strings and dinds nly "A" "K" Stating that the quintessential expressin linearity is the tnal system, nathan D. Kramer, a schlar n musical time, deines linearity as a successin musical events, ith each ne depending upn at least ne previus event. 1 My deinitin linearity, hever, des nt necessarily invlve causality. The tneless t tne ull cntinuum stands as my n plan in being the cunterpart a human tendency, as see it, t linearly arrange the gradatins a phenmenn rm ne extreme t anther. n ther rds, the emergence tne ullness is linear in rganizatin, nt in dependence, as understd by Kramer. 0 Mses, Aecting Time: T. S. Elit s urnt Nrtn, 1. 1 nathan D. Kramer, Ne Teralities in Music, Critical nquiry 7, n. (Spring, 1981: 9. 22

83 . Nnlinear Terality The sense timelessness in Elit s pem, r me, can be best transmedial ized ekphrastically int nnlinearity ithin the csitin. As in the case r lin ear terality y, nnlinear terality is nt directly deined in terms tem pral units, but is hinted at by a type sund that is perpetually present in my rk. The germ this type sund is the iping gesture that is irst intrduced by the percussin at the very beginning. Wiping a ire brush repeatedly acrss the surace a tam tam, as illustrated in Figuree., deines this gesture. The re sultant sund is st, ull high partials, and similar t hite nise. n turn, the strings (bing parallel acrss muted strings and harps (iping the strings ith the palm mimic this sund. ccasinally, rm mm. 0, r instance, an airy tne, as prduced n certain dind and brass instruments, is paired ith a iping sund. ver the curse the piece, the sund evlves smehat r exale, percussinists perrm the same iping gesture n a bass drum in mm. but it never lses its ragile, rareied, andd st character. Figure. Visualizatin iping gesture,, n ur tam tams, meas. 1 Similar t the case linearity, my vie n nnlinearity diers rm that.d. Kramer, h psits that there are t types music that share nnlinear terality: ne that is s raught ith discntinuities that it is issible t recast, and ne that is characteriz ed by stasis, here the mtin is ceaseless but here the experiencee listening t it is static because there is a lack phrase structure, and hence listening t part it is cmmensurate ith listening t the hle. 2 The sensee nnlinearity in my rk, hever, cannt be de 2 bid., 1. 2

84 scribed as being static r discntinuus since itt is cntinuusly evlving thrugh the use dierent perrmance techniques and instruments at each mment, an evlutin that is seamlessly executed thrughut the piece. n mm (Figure., ne can see h the nnlinear sund is passed rm the ur percussin players (hittingg the tam tam stly t the strings (bing next t the let hand ingering r playing harmnic glissandi. Fr me, hever, nnlinearity is identiied as a state iermanence, a series chang es, nt just mtin. n at the still pint, it is the cnstancy iermanence that rustrates linear terality and yields nnlinearity. Mrever, since my music is perpetually evlving, listening t part it is nt equal t listening t the hle. Figure.: A nnlinear gesture rm ur percussinists t strings (mm percussin strings 2

85 . Mment Terality n urnt Nrtn, there is a speculative tne that cntelates a perpetual pssibility (, line 7. With regard t terality, this tne is eched ekphrastically in my rk thrugh the use mment time. eerring t a cncept riginating in his Kntakte (198 0, Karlheinz Stckhausen delineates mment rm as teral rms here an instant des nt have t be just a bit a teral line, nr a mment [sic] just a particle a measured duratin, but rather in hich cncentratin n the N n every N makes vertical slices, as it ere, that cut thrugh a hrizntal teral cnceptin t a timelessness call eternity. n at the still pint, the brass instruments predminantly spearhead the mment passages. At meas. 9, in Figure., the passage is marked by very shrt grups sixteenth nte triplets, rceul spurts airy tne attacks by the brass, and is reinrced by a similar technique n the English hrn tgether ith the scraping technique n the duble basses. The passage seems t spring up in an irtu ay and des nt adhere t any cnventinal develpment curve intrductin, develpment, and clsure; it sily begins and ends ater a speciic duratin. Similar mment passages recur later in the piece in mm , r instance. All these passages d nt link up ith preceding r succeeding passages, and thus d nt participate in any glbally directed narrative curve. Mment musical time sits miday in the cntinuum terality. At rehearsal mark E, the multiphnic mti played by all the dinds can be cnsidered a mment. The seemingly linear trajectry rm a st single nte t a luder multiphnic cllapses as sn as the mti ends. Elit, Fur Quartets, 7. Karlheinz Stckhausen, Mmentrm, Texte zur Musik 1 (19:

86 Figure.: Mment terality in meas. 99 (mm. 1 are shn here mment rm 2

87 . Nn dualistic C teraneus Terality A thread cntradictins is ven int Elit s pem. As exeliied by a bird that carries ambivalent meanings r Elit in Sectin the pem, Mses ntes, there can be n emtin ithut the existence its site, and n ability t inhabit a space that des nt cntain its cntrary. These sitins can, hever, nt nly be transcended, but als unld simultaneusly in a piece music hence the pssibility hsting c teraneus teralities hereas in ther media, perceivers prceed in a particular rder, it seems t me. n ther rds, a musical passage is nt cnined t exhibiting slely ne type terality the simultaneity teralities is pssible. The last prtin the csitin at rehearsal mark L (meas. 22, page ers an irtant exale the recnciliatin amng the three teralities: linear, nnlinear, and mment. The recnciliatin cannt be described as a reslutin, since there is nthing inherently cnlicting beteen them; rather, it signiies the embrace the cexistence sitins ekphrastically channeling the sense immbility in the midst mbility as illustrated at the end Sectin V the pem. At rehearsal mark L, the percussin parts, hich call r bullrarers t be cntinuusly sirled, suggest t me a timeless nnlinearity. n the ther hand, mst the ther instrumental parts prceed in a relatively linear ashin. The strings and harps ll an ebb and l gestural pattern repeated three times. ne instance this pattern can be traced in mm : the brushing technique, cupled ith an upard glissand, as und in meas. 22 (in the parts Vilin : 12 1, Vilin : 11 1, and Vila: 7 12, resumes the ebb andl trajectry in meas. 228 by reversing the directin the glissand. cnsider this leetingly iactul ebb and l gesture t be a mment terality. Lastly, the cntrabassn and tuba play the rle keeping linear clck time Mses, Aecting Time: T. S. Elit s urnt Nrtn,

88 the same nte is repeated at a cnsistent interval (every t bars ithut any variatin in dynamics, and ith nly a slight change in articulatin in the cntra bassn part. The relevant exales that crrespnd t the three teralities are utlined in Figures.7 t.9. Figure.7: The harp and string parts in mm ( mment terality 28

89 Figure.8: The bullrarer passage in mm (nnlinear terality Figure.9: The cntrabassn and tuba parts in mm (linear terality. Variable Teralities urnt Nrtn prjects the qualities a meditative pem, hich can be de ined as a rk that cnjures up an interir drama in the mind the drama be gins ith a sel address, it t cnsciusness, and cncludes ith a mment illuminatin: the pet inds a reslutin t all reging tensins and cnlicts. n my csitin, the prleptic (anticipatry Prelude aims t bring rth ekphrastically the meditative qualities the pem by intrducing uture materials int the present (lash rard and past materials int the present (lashback. Such techniques are re alized thrugh sing the seeds all types spatially directed gestures ithin the Prelude (reer t Chapter t learn abut the types gestures und in the csitin. These gestures exhibit a mment terality because they ceasee t sund almst as sn as they aear. Hever, hen the gestures in hich the mind studies a situatin evked by memry, brings See Luis Martz, The Meditative Pem: An Anthlgy Seventeenth Century Verse (Ne rk: Ne rk University Press, 19,. 29

90 reemerge in any ne the lling sectins, the teral cntext may change. Fr exale, in meas., all instruments but the duble basses deliver tne less sunds. Such sel cntained sunds can be understd as prtraying a mment terality hen perceived in the cntext the Prelude. Hever, hen such sunds are incessantly repeated in lling sectins, they allude t nnlinear terality. n shrt, sunds that start unexplained r in an irtu ay in the Prelude attain a mre cncrete lcal teral meaning hen they reemerge in subsequent sectins. This cncretizatin prcess is my ekphrastic respnse t the reslutin cnlicts typically und in a meditative pem such as urnt Nrtn. 0

91 Chapter : Ekphrastic Snic Materials.1 The Cntinuum Sunds n rder t address the nn duality paradx, ely a cnceptual ramerk my n design here snic materials are gruped ithin three general segments n the cntinuum sunds: tne ull sunds, tne less sunds, and nn dual sunds. The tne ull sunds are urther divided int t grups: sunds that exhibit bell like qualities, and thse that d nt. Tgether, these ur grups sunds re present ur petic vices: prsaic, lyrical, didactic, and visinary, hich accrding t David Fuller interact ith each ther in the Fur Quartets. 7 Figure.1 shs sme the representative lines in the pem that exhibit these vices. Figure.1: Petic vices and representative lines in ur sectins urnt Nrtn Petic Vice lyrical visinary prsaic didactic Sectin epresentative Lines Time and the bell have buried the day, V the black clud carries the sun aay. The surace glittered ut heart light, And they ere behind us, relected in the pl. Then a clud passed, and the pl as ety. There uld be n dance, and there is nly the dance. can nly say, there e have been: but cannt say here. The detail the pattern is mvement, V As in the igure the ten stairs. Since my ekphrasis prcess des nt perate like a text painting technique, here music tries t relect the literal meaning a text, the re presentatin Elit s text thrugh the snic materials in my csitin ill nt ll the literal rder the rds. Furthermre, a ne t ne maing uld nt be cnsistent ith Elit s riting, riting hich can ten carry many shades mean 7 Fuller, 10. 1

92 ings ithin a single vice. The categrizatin sunds t be discussed here as inspired, in part, by Pierre Schaeer s thery n musique cncrète. 8 The criteria that adpt r such categrizatin, hever, are my persnal chices and are by n means universally bjective. The sunds are als subject t a type relativizatin, that is, they may shit their psitins n the cntinuum sunds in the cntext larger masses rchestral timbre..2 Tne ull Sunds as e presentatins the Lyrical and Visinary Vices Tne ull sunds are sunds ith a relatively steady peridicity hat is usually assciated ith rdinary sunds that characterize an instrument. They are used mainly r transmedalizatins the lyrical vice in urnt Nrtn, such as the accunt the rld experience in Sectin V, lines 1 2, in particular. Flling the principle linear terality achieved thrugh a gradual increase in tne ullness, as described in Chapter the mst tne ull mment in the csitin arrives at the beginning rehearsal mark (meas. 17, ne measure ater the duble basses have settled n the pitch 1 thrugh glissand. The strings play lautand (bing abve the ingerbard ith little b pressure r nn lautand ith an artiicial harmnic ingering, all ithut any niseprducing technique (Figure.2. The harmnic and lautand perrmance techniques yield hat can be described as Schaeerian bright sunds sunds ith a relatively limited number harmnics, hse alitudes d nt decrease rapidly ith a change in range, as ell as Schaeerian dark sunds thse ith e harmnics, here alitudes decrease ith a change in range. 9 8 See Pierre Schaeer, n Search a Cncrete Music, trans. Christine Nrth and hn Dack (erkeley: University Calirnia Press, 2012, bid.,

93 Figure.2: The mst tne ull mment (strings nly, mm The visinary vice in my csitin is re presented by sunds ith a di aphanus quality. Figures. t. sh excerpts rm the parts Piccl, Harps, and Vilins and the main instruments, tgether ith ther slists rm the string amily, that surt this ntin visinary vice. The Piccl part is exceptinally transparent, playing just a single nte ith a slight glissand t a nte a semitne ler in the secnd hal the igure. The Harp part is cm psed a sund carable t a slide n a Haaiian guitar, prduced by per rming a vibrat n the string using a tuning key. The Vilin part is quite similar t that the Harp, but instead a vibrat, it exhibits a pizzicat luid tech nique, executed by mving the tensin scre a b n a string ater plucking it ith the let hand. Figure.: The transparent Piccl part in mm

94 Figure.: The Harp s tuning key vibrat technique in meas. 121 Figure.: The Vilin s pizzicat luid technique in meas Tne less Sunds as e presentatins thee Prsaic Vice At the ther end the spectrum theree is the tne less sund, hich make the ekphrastic equivalent t Elit s prsaic vice. n the essay, The Music Petry, Elit claims that in a pem any length, there must be transitins beteen passages greater and less intensity, t give a rhythm luctuating emtin essential t the musical structure the hle; and the passages less intensity ill be, in relatin t the level n hich the ttal pem perates, prsa ic. 0 Similarly, in my csitin, the prsaic tne less sund has the least in tensity particularly ith regard t dynamics but its presence is essential in r der t all sunds ith greater intensity t emerge, hile its ubiquity ties the hle piece tgether. n ther rds, r me,, prsaic is interpreted as being mnipresent and, mre irtantly, nt a lack petry. The tne less sunds, hich are mainly btained thrugh the iping ges ture (reer t Figure., may be described as belnging t indistinctt tessituras hite nise that has a huge number requency cnents thatt are nt ar ranged in any predictable rder. 1 With the iping gesture at its cre, tne less sunds are clsely linked ith nnlinear terality. ten unctining as an r 0 T. S. Elit, The Music Petry (Glasg: acksn, Sn C., 192, Schaeer

95 chestral backgrund layer, dierent instruments carry ut the tne less sunds n dierent ccasins, but all share the hite nise quality. At varius times, hever (such as at mm. 0, shn in Figure., tne less sunds seize the regrund by the sheer multiplicity instruments and an increase in dynamics. n these measures, the brass and dinds perrm a variety air sunds, hile the harps prduce nise by brushing the strings ith ingernails, the strings b n daened strings, and the percussin play n the rims the tiani using cins. Even thugh the percussin sunds are rather tne ull, they are masked by the metallic nise created by the cntacts beteen the cins and the rims the tiani.

96 Figure.: Tne less sunds in the regrund layer (mm. 0

97 . Nn dual Sunds as e presentatins the Didactic Vice nterlaced thrughut urnt Nrtn is an aphristic, didactic vice, such as nly thrugh time time is cnquered (, line 9 and lve is itsel unmving (V, line 27. This vice transmedializes int the csitin by ay nn dual sunds that is, sunds that are neither clearly tne ull nr tne less. At the heart nn dual sunds are the thuds n the bass drum that irst aeared in Percussin at meas. 11. Since the bass drums are prepared ith paperclips stren acrss the drumheads, hen struck, they prduce a tne ull tne mixed ith a tne less buzz. Each thud is terse, usually repeats unchanged, and is my ay respnding t the aphristic vice Elit. The dinds mimic this thud by executing the tngue slap technique achieved by bling and striking the tngue n the reed r explsively thring the tngue ith a strng air stream in rder t bring abut a brusque and buzzy sund. Frm meas. 1 t meas. 17 (illustrated in Figure.7, ne can trace the evlutin the sunds rm being tne ull t tne less, ith measures in the middle exhibiting nn dual sunds. At irst, pitches can be clearly discerned, particularly in the dind and brass parts, but they gradually disslve int airy and buzzy sunds, culminating in an agglmeratin tne less sunds in meas. 17. The nn dual categry alls incmmensurable sunds t be gruped under the same type, r hat Helmut Lachenmann calls a musical sense unit a categry experience. 2 The practice assembling seemingly cntradictry sund types pens up the pssibility ne snic cntexts, since the listening experience changes hen sunds are nt cast ithin the mst predictable relatinal structures. n ther rds, sunds nt nly can be arranged in a h 2 Helmut Lachenmann, n Structuralism, Cnterary Music evie 12, n. 1 (2009: 98. bid.,

98 mphny similar sund types, but they can als cnstitute a plyphny di erent sund types. Figure.7: Wdind and brass parts rm mm Tne ull Tne less Figure. 8 bel summarizes these perrmance techniques, and by ili catin, the snic materials that are transmedialized rm Elit s ur distinct vices. Depending n the hle rchestral cntext, each snic material may cn vey ne r mre vices at each instant. Fr exale, in mm. 2, the iping gestures perrmed by the Truets, Trmbnes, Harp, Vilins and, and Vilas createe sunds that all under the prsaic categry, but due t the brusque duratins and rte dynamics, they prject a didactic vice and prtrude rm the backgrund layer, crised ther ster prsaic sunds. 8

99 Figure.8: Snic materials gruped accrding t the vice types in urnt Nrtn Wdinds rass Percussin Harps Strings Lyrical Visinary Prsaic Didactic rdinary tne rdinary tne (piccl airy tne slap tngue lutter tngue verbling hal airy tne lap tngue timbral trill vel trill multiphnics harmnic hisper rdinary tne airy tne slap tngue lutter tngue vel trill l shrt ntes mute trill cranking ratchet bing cymbal striking n bass iping drum ith palm technique r ire brush bing vibraphne bing crtales rlls n rin sirling bullrarer hitting strings bell like tne paperclip sizzle rdinary bing lautand verpressure bing tuning key vibrat r gliss. bing right next t the let hand (harmnic timbral trill pizzicat luid playing n daened strings scraping iping bing n daened strings bing n the tp side bridge iping technique brushing technique striking n tamtam ith mallet paperclips n tiani hitting hney dier cl legn battut cl legn saltand "buzz" pizzicat daened artk pizzicat 9

100 Chapter : Ekphrastic Timbres and rchestratin.1 The Cntinuum Timbral lends t is ten diicult t explain musical cnents and parameters separately rm ne anther. This is particularly true timbre, since it is multidimensinal, and cvers a brad range auditry attributes. et, timbre can be arached analytically rm dierent perspectives. n this chapter, ill cus n timbral blend deined as the usin multiple timbres int a single timbral image. As mentined in Chapter 1.8, relied n my inner ear and csitinal experiences t rmulate the cntinuum timbral blends in my csitin, in accrdance ith the literal and metaphrical images evked by Elit s pem. At ne end the cntinuum ne inds blended sunds that are perceived as a single timbral entity. At the ther end ne inds sunds that may be perceived as being segregated. Sitting beteen these t extremes are nn dualistic halblend sunds. n at the still pint, als ely timbre in rder t shape the rm the music thrugh multiple re rchestratins the same harmnic marker. H musical rm is shaped by my cnsideratins timbre is discussed in Chapter...2 lend Thrughut the piece, timbral blends are mst cmmnly realized by spreading a blanket prsaic sunds acrss instruments that are sunding simultaneusly. The passage shn earlier in Figure. is ne such exale; the instruments invlved prduce tne less sunds by ay varius perrmance techniques. Due t the dynamic hairpins ntated, each instrument gains salience the mst perceivable sund at a dierent mment. Hever, judged as a Stephen McAdams, Perspectives n the Cntributin Timbre t Musical Structure, Cuter Music urnal 2, n. (Autumn, 1999: 8. Gregry. Sandell, les r Spectral Centrid and ther Factrs in Determining lended nstrument Pairings in rchestratin, Music Perceptin: An nterdisciplinary urnal 1, n. 2 (Winter, 199:

101 hle, the passage exhibits a unirm timbre. Since the sunds are mstly tneless, that is, they exhibit a similar spectral centrid prile they tend t blend mre easily. T my mind, the greatest blend ccurs in mm (Figure.1, a mment preceding rehearsal mark E. n these measures, all instruments cntribute t a passage nisy and grainy timbre: the dinds bl airy tnes ith high l gradatins by alternating beteen dierent vels r cnsnants; the brass make airy tnes scintillate by tggling their mutes; the percussinists hit tam tams ith ire brushes t create high pitched metallic nise; the harps ipe the strings ith their palms t prduce grating sunds; and the strings, except r the duble basses, perrm the brushing technique that yields a cncctin nise and very aint pitches. n tp that, apart rm sme Vilins and Vilas, all the nise prducing instruments are gverned by a rhythmic synchrny, hich rtiies the blend.. Nn blend (three grups Nn blend mments can be bserved at rehearsal marks F and (meas. 121 and meas. 19, respectively, here there are three distinctly segregated cllective timbral grups. The Piccl, hich plays an unadrned tne similar t a sine tne, ith a slight glissand at the end, primarily characterizes the irst timbral grup the sund is bright ith a clear and cused rmant. This timbre is eched by ther visinary vices: slists rm the strings, and the harps. The strings perrm the pizzicat luid technique and the harps carry ut either a tuning key vibrat (at rehearsal mark F, meas. 121 r tuning key glissand (at rehearsal mark, meas. 19. A sund rm each amily representing the visinary as shn earlier in Figures. t.. 1

102 Figure.1: lending sunds and rhythms (mm

103 The secnd grup instruments cnsists the remaining strings, hich ely a technique that calls r bing t ccur next t the let hand ingering (Figure.2; seee page vi the rchestral scre. This technique leaves very little rm r the string t vibrate, resulting in a rather dull timbre. The ccasinal mvements in the let hand permit high squeaky partials t escape, but these sunds d nt pssess the purity and cnstancy the timbre the Piccl. Figure.2: The secnd timbral grup in the nn blend timbre (strings; mm The third distinct grup at rehearsal mark (meas. 19 unravels ith t kinds sund ver time: irst, e hear the thuds achieved by having the dinds execute slaps r laps, the brass slap the muthpieces, the percus sinists hit the tam tam r bass drum ith the palm, and the duble basses pluck the strings then, e hear the residual resnances achieved by having the Alt Flute play ith an airy tne, Percussin b the cymbal, and Percussin brush the tam tam ith a ire brush. Althugh these thuds and resnances have airly disparate timbres, they use because thee synchrnicity in attack makes a

104 blend these t sund types pssible. Figuree. delineates the thuds and res nances, indicated as Part and Part, respectively. Figure. : nstrumental parts belnging t the third grup in a nn blend timbre Part Part Part Part The abvementined three grups sunds ultimately lead t the pr ductin threee disparate timbre types that cann never blend seamlessly.

105 . Nn dualistic Hal blend The instrumental parts that eature the mment terality at mm. 22 0, described earlier in Figure.8, illustrate the nn dualistic hal blend. Even thugh the strings and harps ll similar ebb and l gestural patterns that are almst ully aligned ith regard t rhythm and hence lead tard a certain extent blend each grup instruments emits a dierent sund. The iping technique elyed by the harps and sme cells (as ell as bing n the side the bridge by the rest the cells gives rise t a raspy nisy timbre. The brushing technique executed by sme strings prduces a similar timbral eect, but ith a greater degree pitch presence. n the ther hand, a shrt, percussive, and smehat pitched timbre arises due t the use the cl legn battut technique (hitting ith the den side the b n the strings, hether r nt it is accanied by saltand (buncing the b. The last type hal blend timbre a lightly buzzy tne prceeds rm the Duble asses playing n the G string, hich is tuned dn by a majr sixth, and is reinrced by the Cntrabassn and Tuba. All the arementined timbres, hat call hal blend timbres, are mderately used due t an almst perect nset synchrny and t the shrt duratin each gesture, arximately t quarter ntes. These shrt lived gestures present listeners ith insuicient time t aurally disentangle the cnstituent timbres. et, the act that the cnstituent timbres are dierent in character alls a listener t realize the multiplicity in timbres and makes it pssible t perceptually discretize the sund, s t speak, i nly r a mment psterir t the cletin each gesture.. Timbre as a Frm bearing Musical Cnent As discussed in Chapter 2.2, the rm the piece lls the rder the s called tail rhymes presented in Sectin V the pem urnt Nrtn. Apart

106 rm prviding my csitin ith a duratinal ramerk, these tail rhymes als help t rame the rchestratin. The ive tail rhymes, accrding t the nter natinal Phnetic Alphabet (PA r American English, are: : 1 diphthng eɪ (day, aay, spray; 2 cnsnant s (clematis, a cnsnant nly exceptin that stands alne; cmbinatin vel and velar nasal ɪŋ (ding,, ing; cmbinatin vel and alvelar lateral arximant ɪl (chill, still; and, cmbinatin vel and threee cnsnants ɜrld (curled, rld. The phnetic grupings determine h the timbre a recurring harmny called a harmnic marker in my rk evlvess ver time. The harmnic marker recurs in all rmal sectins, and is transrme ed rm hat cnsider the mst tne based tail rhyme in sectin E t the mstt nise based in sectin the rm. The rderr the rmal sectins, E A D C, as created ith re gard t tne ullness by bserving the psitin the tngue accrding t the PA vel chart (shn in Figure.. Accrding t the chart, ɪ (e.g., ing, hich is a near clse near rnt vel, cmes irst, lled by e (e.g., day, hich is a clse mid rnt vel, and ɜ (e.g., curled, hich is an pen mid rnt vel. Figure.: The psitins ɪ, e, and ɜ n the PA Vel Chart The ɪl (chill and the ɪŋ (cling ere initially urther arranged accrding t the place articulatin in the vcal tract l is articulated at the alvelar,

107 nearer t the muth than the velar, here ŋ is articulated. Hever, my inal realizatin at the still pint deviates slightly rm the riginal plan: harmnic markers d nt accany tail rhymes ending ith il (chill and still. The reasn gave mysel as that hen heard thse rds recited by Elit, culd imagine a sense sund alling int eternity, as it ere, evked by his tremendusly and suspenseul utterances. This sense ininity is disrupted, uld argue, i any harmnic marker ere t be reintrduced, suggesting rigidity instead suspense. Figure. summarizes the dind rchestratins adpted t relect the transmedializatins Elit s phnatins the tail rhymes. The relevant rchestratins cncern dinds ithut the Cntrabassn even thugh ther instruments, such as the brass in mm. 7 78, ccasinally surt them. The rder the richness each transmedialized sund, accrding t the technique that prduces it, is: rdinary tne prductin, dyad (t ntes being prduced at nce, key click, and airy tne ( air. The degree tne ullness each csite timbre ill depend n the prevalence each technique. Fr exale, the mst tne based tail rhyme, rld (spelled as ɜrld in PA, is transmedialized by a cmbinatin dyads and rdinary tnes, hich are the mst tne ull sunds in my rk; hereas the mst tne less tail rhyme, clematis (spelled as ˈklɛmətɪs in PA, translates int all airy tnes. The sign V at meas. 7 stands r inhaling hile perrming an airy tne; inhaling intensiies the rareied quality tne less sunds. ther tail rhymes all beteen these t extremes tneullness and tne lessness. The tail rhyme, spray (spelled as spreɪ in PA, r instance, calls r a cmbinatin tne ull dyads and tne less airy tnes. This cmbinatin yields a nn dualistic mixed sund that is neither ully tne ull nr ully tne less. 7

108 Figure.: e rchestr atins the harmnic marker accrding t the eight tail rhymes 8

109 Figure. (cnt. 9

110 Chapter : Gestural rganizatin.1 Three Types Gestures As mentined in Chapter 1.8, gesture is a brad term. Fr my purpses have narred it dn t mean a marked mvement r change in the state spatializatin r terality. The term has als been used t reer t a ide variety musical attributes that unctin at dierent levels in a csitin. Fr exale, Ki Agau, in analyzing the irst mvement Mahler s Syhny N. 10, pints t a hle passage music as an elabrate clsing gesture and, at the same time, als reers t a mre sel cntained and lcal musical idea as a gesture. n general, depending n the cntext being invked, a musical gesture may reer t a snic phenmenn analgus t a physical gesture, r a rhetrical igure such as a metnym that cnntes an external thing r cncept (hether r nt it is musical, a mde cmmunicatin, and s n. n at the still pint, three types gesture cme int play: thse that are kinesthetically directed, thse that are spatially directed, and thse terally directed. The irst type is an ekphrastic transerence Elit s rds, hile the ther t relect the sensibility the pem in a metaphrical manner..2 Kinesthetic Gestures n Sectin V urnt Nrtn, keyrds rm each line suggest t me a gesture based n kinesthesia (prpriceptin, the sel aareness the psitin and mvement the bdy: buried, carries aay, turn t, tendril, clutch and cling, etc. Such kinesthetic gestures d nt presume an explicit der, nr d they display a catalyst; yet they ll smehat a clete cycle phases r a cnventinal sund prducing gesture, such as the preix excitatin suix md See V. Ki Agau, Tnal Strategy in the First Mvement Mahler s Tenth Syhny, 19 th Century Music 9, n. (Spring, 198:

111 el prpsed by l nge Gdøy, 7 hich accept bradly in rder t transmedial ize Elit s keyrds int musical gestures. Gdøy s mdel invlves inrmatin rm bth the sund prducer and the sund prduced, and unlds as lls: preix (i.e., a trajectry leading up t a pint cntact, excitatin (i.e., here the cntact and a transerr energy haens, and suix (i.e., a trajectry aay rm the pint cntact. Csite dynamic shapes such as thse seen in Figure.1 can visually depict transmedialized kinesthetic gestures. Frr purpses unirmity, these Figure.1: Kinesthetic gestures andd their crrespnding visual representat tins and snic attributes 7 l nge Gdøy et al., Musical Gestures: Cncepts and Methds, in Musical Gestures: Sund, Mvement, and Meaning,, ed. l nge Gdøy and Marc Leman (Ne rk: utledge, 2010,

112 shapes adhere t a general kinesthetic rule mainly assciated ith human arms and legs because the rigins the gestures are varied, ith sme being abstract such as r the passage time r even being absent. All gestures ne per line petry are gruped under ive categries accrding t their gestural behavirs as perceived by me, the visual representatins hich are als shn in Figure.1. Lsely lling Gdøy s mdel, each gesture is described ith regard t its snic attributes, henever they are relevant: stress pattern, pitch cntur, alitude envelpe, length sustain, and time stretch (acceleratindeceleratin. Fr instance, in the irst categry hich can be visualized as an arr pinting almst straight dn vertically the gesture alludes t a rceul dnard mvement. t has an abrupt mvement in the preix phase, a shrt lived cntact in the excitatin phase, and is lled by a shrt lived resnance in the suix phase. Althugh the rd tendril in the third categry des nt directly express a kinesthetic gesture, it des hint at the materializatin sme gestures prir t arriving at such an elabrate spiral like shape. Similarly in the ith categry, chill and still may bring t mind a rzen r immbile state. ut e are als aare Netn s Third La mtin, here a mvement in the site directin must be exerted at the same time r the current state t remain in equilibrium a act and eature cnsistent ith the nn dualistic theme Elit s pem. n the music, such as ith sunds prduced by the iping technique n the strings, try t prtray the imagined internal struggle keeping the music in a seemingly immbile state. The avering sund assciated ith the iping technique is meant t suggest this sense struggle s that the music remains in equilibrium, s t speak. n the Prelude, r exale, Vilin (1 8 perrm all ive types gestures, as shn in Figure.2. Cntrary t the ntatin r the ipe technique (meas. 2

113 2, a line that ges up acrss the sta yields a descending pitch cntur, and a line that cmes dn an ascending pitch cntur (the actual resultant sund is tne less, but relative pitch gradatins are discernible. n meas., Vilin mve the b in a circular manner rm sul pnticell t sul tast t carry ut the gesture, ith the resultantt sund als suggesting a circularr mtin. Figure.2: Vilin (1 8 playing all ive gestures in the Prelude All these gestures recur in the lling sectins the csitin ac crding t the maing the rm based upn Elit s reading (Figure 2.. At times, a gesture reemerges as a distrted variant, as is the case at meas. 110 (Figure. n the next page the dynamic hairpin is reversed hen cared t the irst clutch and cling gesturee at meas. in the Prelude. Furthermre the Flutes tgether ith ther dinds nt shn here nly all ther ntes t aear during the last third the beat due t the multiphnic technique, ur ther intensiying the attack at the suix (the end the gesture. This particular

114 use a variant the riginal idea is similar t the cncept ater image symmetry und, r exale, in the music Chu Wen chung, unchanged; hever, images relected in ater are distrted as a result the reractin light. 8 cnsider this an irtant intuitinn r my use variants because the distrted sense hich has been described as a situatin here the bjects remain amiliarity is depicted in Elit s pem as ell. n Sectin the pem, r in stance, the reader ill nly realize later that thee ater in the pl is sily a re lectin sunlight. Figure.: The clutch and cling gesture in meas Spatial Gestures Perrmer t perrmer spatializatin (antiphny is nthing ne in music. n act, it dates at least as ar back as the 9 th century, hen Amalarius Metz gave an accunt rerains being perrmed in alternating chral psalmdy. Amng the mre recent repertire, annis Xenakis s Persephassa (199 is ne exelar heree spatializatin is given privilege, especially at its climax (mm. 2, here sunds start t mve rm ne percussinist t anther six percus 9 8 anet ie ru Chen and Shyhji Pan Che, An ntrductin t Chu Wen Chung s Cncept Water image Symmetry, Mitteilungen der Paul Sacher Stitung, n. 19 (April, 200: Michel Hugl and an Halm, "Antiphn," Grve Music nline, ed. L. Macy, accessed December 2, 201,

115 sinists are placed at equidistance rm the audience. 0 Spatially directed gestures are rarely, i may say s, explred in recent repertire. deine a spatial gesture as a cntinuus gesture that requires multiple instruments t execute in successin. As the gesture mves rm ne instrument t anther, it leaves the iressin that an auditry stream is being spatialized. An auditry stream, cined by psychlgist Albert S. regman, reers t ur perceptual gruping the parts a single distinct snic haening hich itsel can incrprate mre than ne sund. 1 n Persephassa, during the mments instrument t instrument spatializatin, all the timbres are similar, thus making the auditry stream mre likely t be perceived as being cntinuus, as claimed by regman, 2 but the exceedingly lng duratin the stream prevents it rm being perceived as a distinct gesture, hich grasp t be shrt, selcntained, and exhibiting a clear intentin, hile being identiiable as a timbre. n at the still pint, t sel cntained and rhythmically cncise gestures invlving instrument t instrument spatializatin can be seen in the brass and strings in mm. 2 (see bel Figure.. These gestures, hich crise a successin rhythmic patterns abut hich rite in Chapter 7 are divided int t ragments, and each ragment is played by ne the t grups instruments: the irst grup cnsists Truet, Trmbne, Vilin (1 8, Vilin (1 7, and Vila (1, hile the remaining instruments cnstitute the secnd grup. Given the recmmended dispsitin instruments described in Chapter 1, ne can visually picture the spatial mvement the gesture as seen in Figure.. 0 annis Xenakis, Persephassa: pur six percussinnistes (Paris: Salabert, 1970, Albert S. regman, Auditry Scene Analysis: The Perceptual rganizatin Sund (Cambridge, MA: MT Press, 1990, bid., 9.

116 Figure.: Spatially directed gestures in mm. 2 Figure.: Visual depictin the spatially directed gesture in mm. 2

117 The arrs sh the directin the gesture unlding in time, and the shaded bxes sh the irst musician r grup musicians t play the irst ragment each gesture. verall, the gesture mves utard in the string sectin, and right t let in the brass sectin. A similar spatially directed gesture ccurs in meas. 92. This time, hever, an verlap ccurs beteen t gestures bere Vilin cletes its scraping technique, the Cells begin ith the same technique. n meas. 78, Vilin plays a gesture cnsisting t ragments alne, hence it is nt spatially directed.. Teral Gestures The inal type gesture, the teral gesture, makes the listener aare the unlding dierent teralities, as utlined in Chapter. All iguratin in the Prelude behaves as a single gesture, since its cnent elements are shrt, sel cntained, and markedly dierent rm ne anther. When the gestures are pieced tgether, ne can vie the cllective hle as an pening gesture in this case, it resembles Agau s characterizatin the term gesture (mentined earlier in.1 r large prtins music in Mahler s Syhny N. 10 because it is lcally cnclusive and distinctly dierent rm the sectins that ll. Additinally, as discussed in Chapter., the Prelude is characterized by a variable terality. Ater a clete listening at the still pint and upn relectin, ne may realize that all types gestures ere already present rm the very irst sectin (Prelude the csitin, nly t have been reintrduced, at times ith variatins, in subsequent sectins the music. Exhibiting at nce lash rard and lashback qualities, a gesture can be nt nly narrly deined as a signiicant energetic shaping thrugh time, but it can becme als an agent thrugh bert S. Hatten, nterpreting Musical Gestures, Tpics, and Trpes: Mzart, eethven, Schubert (lmingtn: ndiana University Press, 200, 9. 7

118 hich terality itsel is maniested. n the Cda, the ebb and l gestures, hich ere discussed in Chapter., ne inds my attet t ekphrastically mirrr Elit s sense eternal time. This eternal time is hinted at by the rds still pint the turning rld rm Sectin V urnt Nrtn and may be cared t the standing n (nunc stans medieval philsphy here time is said t be eternal because there is smething that des nt change: it is alays n. These gestures, irst intrduced in mm , attet t prtray this alays n idea by remaining unchanged in the subsequent three repetitins (mm Withut a change, listeners are rced t cntinuusly cus upn the n. Ly, Nnduality: A Study in Carative Philsphy, 22. 8

119 Chapter 7: Pitch and hythmic rganizatin 7.1 The Unvarying Pitch Cllectin Nt the stillness the vilin, hile the nte lasts, Nt that nly, but thee c existence, r say that the end precedes the beginning, And the end and the beginning ere alays there lines 8 11, Sectin V, urnt Nrtn The dénuement rm Sectin V urnt Nrtn cntains ne the mst striking depictins nn duality. Here Elit reveals that r him, stillness is nt synnymu us ith immbility; rather, it pints t bth ends a mvement that has alays c existed. And i there is any sequence t events, this sequence is perhaps due t ur limitatin in perceiving thee simultaneities ithin time. at the still pint elys an unvaryingg pitch set (cllectin in rder t prtray ekphrastically nn dualistic sensibility. The pitches this set are dran rm a natural harmnic series made up rm the undamental, ith, seventh, eighth, eleventh, telth, and thirteenth partials, arximated t the nearest quartertnes. Fr practical reasns, the pitchess are smetimes runded up r dn t the nearest semitnes. The irst pitchh set, based n the undamental pitch E, is illustrated in Figure 7.1. Figure 7.1: Six partials plus the undamental the harmnic series n pitch E The pitch set unctins mre like a scale than a spectral chrd, here nrmally the registral rder the pitches has t be respected. n accrdance ith the recurrences certain themes ithin the pem, Elit, Fur Quartets, 12. 9

120 such as dierent teralities, children s laughter, and stillness, the same pitch cllectin is revisited cntinuusly thrughut my csitin in its rle transmedializing the pem s principle cntinual transrmatin the same ideas. n additin t the set n pitch E, ur ther sets, each based n the same series shn in Figure 7 1 but transpsed t a dierent undamental D,, A, and G crise the pitch materials r the piece (Figure 7.2. Figure 7.2: Five pitch sets ith dierent undamentals These ive sets are in turn maed t thee tail rhymes the pem. Figure 7. shs nly the pitch class ntatin the undamental tnes elyed in each the ten segments the music. Fr the segment assciated ith the clematis tail rhyme (starting rm meas. 9, the undamental nte is repre sented by an x shaped ntehead because mst the sunds in this particular segment are nn pitched. Fr the chill and still segments, ely an extra G undamental nte in rder t create a harmnic dissnance, suggesting the tensin that arises rm atteting t keep the music in a relatively unperturbed state. Figure 7.: The undamenta als assciated ith each tail rhyme 0

121 7.2 ecntextualizatins the Pitch Cllectin My reasn r selecting the undamentals as shn in Figure 7.2 is that r the mst part they represent the pen strings the string instruments, hich embdy the largest rce instruments in the rchestra. Even thugh pitch is nt an pen string, the assciated pitch set n has been prduced here in rder t prvide a slightly smther transitin rm the pitch D cllectin t the ne based n A. n additin t the sheer large number players the string amily, an pen string undamental is als crucial in ensuring that the passage rm meas. 19 t meas. 22 (rehearsal marks and K has been clearly reshaded since the inceptin the music. n this passage, a scre excerpt hich can be seen in Figure 7., all strings except r duble basses perrm the harmnic glissand technique en masse, a technique that prduces a harmnic spectrum the particular pen string n hich it is being perrmed. n my piece, the unvarying harmnic plan here the same intervallic pitch cllectin is present rm the very beginning the csitin elucidates in my mind Elit s ntin the amalgam the end and beginning as seen in Sectin V the pem (line 11: And the end and the beginning ere alays there. n the string parts at rehearsal mark (meas. 17 here the culminatin tne ullness is reached, the pitches dran rm the pitch set gradually transrm int the pitch cllectin rted in G but stp shrt in meas. 182 bere the prcess can be cleted; the prcess transrmatin eventually reaches the desired resultant pitch set rted in bth and G. As seen in Figure 7., the expected path leading t the middle pitch cllectin is abrted; instead, the path leads t the hybrid pitch set at the right the Figure. The utcme is a state metaxy (i.e., in beteen ness r middle grund mirrring the state time depicted in the pem s Sectin V, caught beteen un being and being (V: line 2. 1

122 Figure 7.: Strings perrm harmnic glissandi att rehearsal K Figure 7.: The transrmatin pitch set at rehearsal Anther recntextualizatin ithin at the still pint can be heard in the requently punctuated and rather lud, thick,, blck, brass chrds. All the pitches thesee chrds are extracted rm thee same pitch class E cllectin as 2

123 bere but n are rganized in a manner t make the pitches ithin the middle register sund like a dense cluster by juxtapsing small intervals (clse vicing rm the set. n meas. 2, r instance, Hrn 2, Hrn, Hrn, and Trmbne 1 aear in the middle range the chrd. This clse spacing at the centre the chrd, in cntrast t the pen spacing at bth the ler and higher ends the chrd, is my metaphr ith regard t the nn dualistic middle ay. Figure 7.: The thick blck chrd playedd by the brass in meas hythmic Structures A tripartite system regulates all the rhythmic structures in my rchestral piece: gestural rhythms, steady pulse rhythms, and irregular rhythms Gestural rhythms Gestural rhythms are shrt, precise, and inseparablee rm the gestures de scribed in Chapter. Essentially, they are rmed by threee main grups ntes in sixteenth triplets, ith t additinal grups in hat culd be called an ex tended versin, hich is nly ccasinally elyed in lnger series gestures. Each gestural grup can be cnsidered as a cell and is smetimess used inde pendently. All these grups are smetimess ritten in reverse (retrgrade, hinting at the nn dualist ic simultaneity time past and time present. An ab stract versin these gestural rhythm grups iss shn in Figure 7.7.

124 Figure 7.7: Gestural rhythmic grups Figure 7.8 depicts the brasss amily perrming the gestural rhythmic grups: the irst t grups are reversed extended grups, hile the ensuing threee grups are dran rm the reversed main grups seen in Figure 7.7, ith the last grup delayed by seven quarter rests except r Hrn 1 and Hrn 2, h play lng airy ntes in beteen the grups. n this exale, the parts r all the truets, hich exhibit slightly dierent nte values, d nt strictly ad here t the rhythmic patterns; their tied nte values prvide r sulementary cluristic eects.

125 Figure 7.8: rass playing the reversed gestural rhythmic grups extended grups main grups (reversed (reversed 7..2 Steady pulse rhythms Steady pulse rhythms usually cme in the rm three attacks, trans medializing the past, present, and uture in Elit s pem. T rests, the secnd hich is tice as lng as the irst ne, separatee the attacks. The increase in the nte value the rest pints t the stretching time bere and ater illumina tin, as alludedd t in the last t lines Sectin V ( idiculus the aste sad timestretching bere and ater. Ntes assciated ith steady pulse rhythms are ten rchestrated in such a ay that it suggests the striking gesture n a bell. n the excerpt shn in Fig ure 7.9, sme dinds carry ut the brusquee slap tngue r lap tngue tech nique, hile the trmbnes slap their muthpieces, imitating the attack n a See Herman Servtte and Ethel Grene. Anntatins t T.S. Elit s Fur Quartets (lmingtn: iuniverse nc., 2010, 20 A.

126 small bell. At the same time, Harp perrms the iping technique t blster the resnance therise very dry sunds generated by the ther instruments. Figure 7.9: egular pulse rhythms in mm. 1 At times, t grups the steady pulse rhythms verlap. n mm. 8 8, a grup ith such rhythms played by English Hrn, ass Clarinet, assns, Cn trabassn, Harp, and Duble ass (1 interacts ith anther grup that be gins ne attack later ater the irst. The lling instruments play this latter pulse rhythm: English Hrn, ass Clarinet, assns, Cntrabassn, Harp, and Duble ass ( 8. Sme instruments play in bth grups. Figure 7.10 is extracted rm the English Hrn part. Figure 7.10: T verlaing steady pulse rhythms in mm. 8 8

127 Gestural and steady pulse rhythms are smetimes cmbined, as shn in the Hrn part in Figure ests that ll the 1:2 rati, a signature the regular pulse rhythm, separate the gestural rhythmic igures. Figure 7.11: Hrns ith cmbined rhythmic types (mm rregular rhythms rregular rhythms are mstly characterized by unmeasured acceleratins and decelerati ns in the speed playing. Figuree 7.12 delineates a representatin this kind rhythm in mm nitially, Vilin (1 7 play a ast treml be hind the bridge, then the treml gradually s dn t the pint here each b strke lasts as lng as ne part a quintuplet; rightt bere the end the secnd quintuplet, the treml begins getting aster again,, returning t the initial speed, resulting in a palindrmic rhythmic pattern. The measured middle prtin this pattern is anther exale a cntrasting middle ay here the ex tremes cnverge. Figure 7.12: rregularr rhythms in the part Vilin (1 7 in mm n mm , almst all the instruments cllectively assume an irregu lar rhythmic pattern but cme t a halt in the middle measured sectin. 7