Saad Haddad T A K H T. for full orchestra. Full Score. -DIB PRESSwww.saadnhaddad.com

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1 Saad Haddad T A K H T r ull rchestra Full Scre DI PRESS.saadnhaddad.cm

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3 Saad Haddad T A K H T r ull rchestra Full Scre DI PRESS.saadnhaddad.cm

4 INSTRUMENTATION Flutes ( nd Flute dubles Alt Flute, rd Flute dubles Piccl Obes Clarinets in lat ( rd Clarinet dubles ass Clarinet assns Cntrabassn Hrns in F Trumets (1 st Trumet in Elat, nd Trumet in C Tenr Trmbnes ass Trmbne Tuba Timani ( drums Percussin 1 (Crtales, bed Percussin (ctave Marimba Har Pian Strings [Suggested number layers: r mre. I using less vilins, take care t assign the missing art(s t the next clsest available layer(s (see Vilin A/ Ntatin] Scre in C Duratin: ca. 1 minutes PERFORMANCE NOTES Accidentals: xed Cells: Accidentals, including micrtnes, carry thrugh each measure. Accidentals d nt carry thrugh dierent ctaves in any given bar unless therise ntated. A bx arund a set ntes indicates t errm the resective cell ad libitum ithin each sectin. Thick hrizntal lines that ll bxed cells indicate t reeat the cell until the next ntated event. I the cell lasts r mre than 1 measure, a cue ill be given rm the cnductr t indicate the next ntated event. Cues: Dashed Arr: A cue is shn via a circled rehearsal letter and number. This signiies an entrance, change musical material, r exit an instrument r string sectin. The cnductr is advised t cnduct ith ne hand hile signaling the numbered cues in the ther hand during alicable assages (mm., 8 1, 1 18, , and A dashed arr signiies a gradual change. Feathered eaming: This tye beaming shs a gradual change in the seed the ntes. It is shn ith a rimary straight beam and ther diagnal secndary beams (that tgether resemble a eather. These secndary beams suggest a gradual acceleratin r deceleratin rm the irst nte value ithin the eathered beam t the last. When similar gestures are dubled thrughut the ensemble (this includes members the string sectins, they are nt meant t line u erectly and shuld rduce a smearing, almst kaleidscic, eect. Female Vices: Fr the urse shaing the harist s singing assages, a select gru emale instrumentalists designated by the cnductr that d nt lay in mm. and Rehearsal O end are t sing ah in the exact range indicated by the square nteheads ith little t n vibrat (d nt sing int instrument. The arementined assages are included in mst rchestral arts r lexibility in assigning singing emale instrumentalists. The lling is a suggested methd r executing said assages, thugh the cnductr is encuraged t adust this set instructins t achieve a balanced blend ith the ensemble in the hall: mm. : har sings nly; mm. 8: add 1 r emale instrumentalists nt laying; mm. 10 1: add 1 r mre emale instrumentalists nt laying; etc. Cntinue this rcess u t abut 8 emale instrumentalists (r as e r as many needed t btain a balanced sund lus the harist. The site rcess shuld start at Rehearsal O ith abut 8 emale instrumentalists singing. y the last iteratin (mm , nly the harist sings. Grace Ntes: All grace ntes shuld be layed bere the beat and as ast as ssible. Micrtnes: An accidental ith ne arr indicates t ler itch by arximately ne quarter tne; an accidental ith t arrs indicates t ler itch by arximately ne third tne. Pian Prearatin: Lay ne lng micrhne cable (r similarly insulated ire n the ian strings beteen G and G. Make sure the cable des nt tuch the damers. The resulting sund shuld vary rm ne key t the ther; the keys shuld nt have a uniied sund. Kee the cable inside r the duratin the iece. Sing int Instrument: This technique alies t the lutes (mm. 10, 90 9, 11 11, , 1 18, 8 0, 8, and 7 9, as ell as the trmbnes and tuba (Rehearsal H L. Sing itches indicated ith square nteheads int instrument. When singing and laying at the same time, bth itches shuld be equally resent, as much as ssible. I the ntated itch is ut the range the errmer, adust the ctave accrdingly, thugh be sure t blend as ell as ssible. In mm. and Rehearsal O end, lease nte that the square ntehead assages ith ah indicated underneath reer t the Female Vices nte abve and shuld nt be sung int the instrument. Vilin A/ Ntatin: Vilin layers are seciied via stand number and letter; i.e., the cncertmaster is indicated as 1A (1 st stand, utside, hile his r her stand artner is indicated as 1 (1 st stand, inside; bth layers are indicated as 1A. Similarly, A and indicate the nd stand s utside and inside layers, resectively, and s n. When multile utside r inside layers are indicated, a cln (: is used; i.e., 1,, 7: A indicates that the utside layers stands 1,,,, and 7 shuld lay. An indicatin all: A signiies all utside layers. An indicatin additin (+ signiies that articular layer t be added t the reexisting texture; i.e., in mm. 9, the nd stand, utside layer in the Vilin I sectin is added t the reexisting texture hich includes the cncertmaster, h began laying in mm. 8. Vilin Gesticulatins: All entrances and exits shuld be gesticulated ust as a vilin slist might execute; reer t the cncertmaster r h they lan t achieve this; maintain unirmity in the executin these gestures thrughut. PROGRAM NOTE The title this rk, Takht ( ensemble in Arabic, describes the tyical Middle Eastern musical gru that cnsists mst the traditinal instruments used in Arabic music, including the ud, qanun, kamanah, ney, riqq, and darbakeh. Originally cmsed r a chamber rchestra 1 layers (ne er art, this rk relects a symhnic exansin the Western equivalent that ensemble. Sme the instruments even share similarities beteen each ther; r examle, the 'ney' is similar t the lute in cnstructin, hile the 'kamanah' sunds very much like the vilin. An nging muse in my utut thus ar is the vice arguably the mst amus Egytian singer h ever lived, Umm Kulthum ( , the Star the East. In this articular rk, her vice, in a sense, is brught back t lie as the dinds, brass, and har instrumentalists literally sing and lay int their instruments, transrming the hall int an abstract deictin Umm Kulthum s ermeating resence in the lives millins ele that cntinue t adre her tday..saadnhaddad.cm

5 Scre in C Flute TAKHT r ull rchestra Saad Haddad Withreverenceq= U Flute dbl. Alt Flute Flute dbl. Piccl Obe b Clarinet b Clarinet dbl. ass Clarinet assn U U U U U U Cntrabassn F Hrn U U F Hrn U Eb Trumet U C Trumet U Tenr Trmbne U ass Trmbne U Tuba Timani Percussin Percussin Har* Pian Vilin I U U / U / U U ah *detune har as lls by cents: sl, sing int cued hands thrugh a hle at the back the sundbard r maximum resnance # gliss. U Withreverenceq= U ah Vilin II Vila U U Vilncell U Cntrabass U Cyright Dib Press (ASCAP.saadnhaddad.cm All Rights Reserved.

6 Fl. 8 a, lay indicated itch a, sing indicated itch int instrument stagger breath as needed * Ó # n m legat H. # # ah ah = Fl. 1 A sim. Ó # n m n H. # # A, cn srd. 7 gl. # # n b esress. n b n b O n O O O O O (cresc. rm niente A ah (dim. t niente last layer near huse, cn srd. Ó quasi gl. n n O O O O b O esress. O O O = Fl. 1 a **, stagger breath as needed b Cl. b m legat H. ah n n O O b b O b b O O O O quasi gl. O O O O O O O ~ I A, cn srd. esress. b O O O <b O O s s last layer near huse, cn srd. O O Ó O O n n n n O O Or b O b O O O O O O esress. s s gl. quasi gl. *Oscillate slly back and rth beteen laying and singing int instrument under the dtted slur in an asynchrnus manner ithin the sectin. **Oscillate slly back and rth beteen laying nrmally and luttertnguing under the dtted slur in an asynchrnus manner ithin the sectin.

7 Fl. m Ó # b n Ó # n b Cl. # b b H. # ah 7 # n b n n b nb O O n O O O nn O O b O # # n O O O O Ó s quasi gl. n n n O O O O b b # O O O O O O s s s s quasi gl. # O O # O O ~ O O O O O I # O O O O O # O O = A. Fl. 9 sl n m legat b Cl. # n # sn. sl legat H. # O O senza srd. O O ~ Ȯ Ó senza srd. I bb s n n O O # O O <b O O # n O O s s s IV III senza srd. O b b O O b n n O b O # O O # ~ Ȯ Ó s quasi gl. senza srd.

8 Fl. a, lay Ó a, sing int instrument m b n # Ó A. Fl. Ob. lay Ó m n Ó sing int instrument b #. Ó n b # m b Cl. a b b n # m # n sn. n m m F Hn. n m F Hn. T,, r ingering n Ó m H. # ah A : A n n n O b O O O O # bbo n O O n <# <b <n s s 7 s s n n n Ó O O O # O O O O O O O O b b O O O s <b O I A # b O Ó O O b s s O

9 Fl. 7 Ó.. n n n b # m Ob... n # m m n b b Cl. F Hn. F Hn. # Ó Ó bb Ó m n b b m m b n n n 7 O n O O b O O O O # bbo O O n <# <b <b O O <n n <n s s s s s b A n n n n O b O O O O O O O b b O O O b O, : A I, : A 0 bbȯ Ó nn O O O O b O n b bo O bbo O O O s A 0 Ó nn O O n # b O O O O b bo b b O n b O O nn s s O, : A = Fl. 1 n b # m Ob. # # # Ó m. F Hn. m b F Hn. Eb Tt. n Ó n n n, : A,, : A n b b no O b no O O b b O <b <b O O O O O bbo O O O 7 Ó quasi gl. Ó # #, : A n 7 n O O b b O O O O n O O O O O O # m I,, : A,, : A 0 Ó nn O O O O b O <n b bo O b bo O O O s,, : A 0 O n # n b O O O O b bo b bo n b O O # O s s div. :,, : A div. Ó b

10 F Hn. a <# b a # Eb Tt. m C Tt. b # m Tbn. Tbn. Ó m m (,, : A # # # O O O b O O O O b O :, : A n # n O O O O # O O n b O O O b O m I ( :,, : A Ȯ,, : A # O O O b O O O O b O O n# O # n O n b O O O b O (div. bbo O (div. cresc. c a c dim. c a c cresc. c a c b # # O O # # O O O O O O m dim. c a c div. div. Ó ## O O O O bo O cresc. c a c cresc. c a c bo O # O O bo O # # O

11 b Cl. b. Cl. sn. 7 rit. Slq= C accel. F Hn. Eb Tt. n # C Tt. # Tbn. Perc. H. Pn. I <# m lay ith hands like a cnga until therise indicated; reeat ad lib., vary tem; i this technique is inaudible in the hall, sla mallets may be used as a substitute; alays maintain balance ith and izz. rit. Slq= C accel. bo O O bo O ~ Ȯ O bo O O bo O ~ Ȯ O Marimba 7 RH bisblig. q. legat; tuch edal thrughut, never lay luder than har, l.v. semre # # O O O # # O O izz. by interchanging index and middle ingers hile sradically shiting u and dn the ingerbard thrughut t achieve subtle dierences in timbre # # O O O O O m izz. by interchanging index and middle ingers hile sradically shiting u and dn the ingerbard thrughut t achieve subtle dierences in timbre O # # O O O O Ȯ Ó 7 m

12 C1 b Cl. b. Cl. TemI(q= Perc. (Marimba nnchrmatic itches nly (igure lasts the san this measure b H. = lay n string indicated ith x ntehead * LH tuning key laced here b Y Y Y *line indicates t slide the tuning key beteen ntated sunding itches n the string indicated ith x ntehead b Pn. b b m b (utside, izz. C1 TemI(q= (igure lasts the san this measure III 7 b (utside, izz. (igure lasts the san measure III b m C1: Marimba// tem arrival

13 b Cl. C a n n cresc. gradually sl dn q m dim. h (in time n Perc. H. 7 7 b (in time gradually sl dn h m Y Y Y Y Y q h Pn. gradually sl dn h (in time b dashed slur indicates t izz. the irst nte under the slur nly, then inger the next itch b dashed slur indicates t izz. the irst nte under the slur nly, then inger the next itch C = b Cl. C C 1 # Perc. nnchrmatic itches nly b # 7 H. b b RH and LH shuld nt lay in rhythmic unisn until the end mm. m b b b C C III b 0 # III b # 0 m C: Marimba// change C:Marimba// change C: Marimba/H.// change

14 Perc. Perc. C crit. SlightlySlerq= b (Marimba, lay asynchrnusly ith the har b b n b b b # x=x(+ 1 Crtales, bed m 1 n H. b b b n b b b b n b b # b b b X (in time (LH needed r tuning key b # n 1 # # n # n 1 (edal gliss. n # n # n crit. C SlightlySlerq= all: A x=x(+ cn srd. 1 bbȯ O Or gradual gliss. m O Or m I 1 all: A cn srd. # # O Or n n O m m 1 = C: Marimba/H. change; / ut Perc. 71 # m m m m H. b # n # n n # b n # n n # # n b n b # # n # n # n n # n m b O b Or O Or O Or O Or m m m m O Or m I Or O Or b O b Or # # O O # # O Or n n O m m m m m = Perc. 77 # m m m caccel. H. b # n # n n # b n # n n # # n # n b # n # n b r n b O b Or O Or O Or b O b Or O O r m m m m m senza srd. caccel. I senza srd. Or O Or b O b Or # # O Or m m m O Or n n m O O m

15 Perc. 8 x=x D TemI(q= lay as bere h D1 h H. q 7 Y nnchrmatic itches nly Pn. legat; tuch edal thrughut, never lay luder than har, l.v. semre x=x D TemI(q= D1 h h utside, izz. as bere utside, izz. as bere h h m = Fl. Perc. D 87 q a, lay n n a, sing int instrument b b cresc. 7 7 gradually sl dn H. gradually sl dn h h # # (in time m Y Y Y Y Y Pn. b gradually sl dn h (in time # III b 7 b D III b b D1(eat: Marimba// change D: Marimba// change

16 Fl. 9 a (lay h (in time n a (sing int instrument D D m #.. b # b # Ob. # b # m m m Ob. # b m Perc. (Marimba nnchrmatic itches nly b # 7 m H. Y # Pn. # D D A # b (utside, izz. gradually add layers rm rnt t back tutti III b 0 # m (utside, izz. gradually add layers rm rnt t back tutti III b 0 # m m D: Marimba// change D: Marimba// change

17 Fl. Fl. Ob. 97 # # b # b b b b b b b # b Ob. # b m b # Perc. H. Pn. I : A # nn div. : A b # b b sim. n : A nn div. sim. : A # # n b # b

18 Fl. Fl. Ob. Ob. b. Cl. sn. Cbsn. F Hn. Tba. D 101 b # E1 crit. atem(q= b m # b b bb b b b b # # cresc. m dim. a # cresc. m dim. # cresc. m dim. # # cresc. m dim. n n cresc. m dim. Ó Perc. (Marimba H. Pn. b gradually descend based n attern rm mm. 's bxed cell # EF#GA n DCb b # gradually descend based n attern rm mm. 's bxed cell gradually descend based n attern rm mm. 's bxed cell dim. c a c use these itches nly: C D E F# G A b b # b # gradually descend based n attern rm mm. 's bxed cell m 7 dim. E1 D crit. atem(q= : A b # n # b # bn# # b n nbb I ( : A nb b b : A (izz. (izz. m m m gradually remveinside layers rm back t rnt gradually remveinside layers rm back t rnt dim. D: H./Pn. change E1: Marimba/H./Pn.// change

19 b. Cl. E E E E 10 sn. Cbsn. F Hn. Tba. Perc. nnchrmatic itches nly H. Pn. E E E E n b 7 nb b n b n gradually remve layers rm back t rnt lace a shrt, almst negligible sace beteen grace A nte and next nte; alies t all similar igures I A n n lace a shrt, almst negligible sace beteen grace nte and next nte; alies t all similar igures utside utside E: / utside layers nly E: H. ut E: Vln. A/Vln. A E: Marimba// change

20 Fl. 111 a, lay # cresc. F1 m a, sing int instrument Perc. (Marimba b b 7 7 gradually add layers rm rnt t back 0 n b quasi gliss. n b tutti gradually remve layers rm rnt t back last layer near huse F1 gradually addlayers rm back t rnt # n I gradually add layers rm rnt t back 0 n b n quasi gliss. b tutti gradually remve layers rm rnt t back last layer near huse gradually addlayers rm back t rnt # n (utside, izz. III b 7 b (utside, izz. III b b m F1:Marimba// change

21 Fl. Ob. F 11 m.. b F # # b dim. Ob. # b m F Hn. a b legat. Tbn. # legat Tba. legat Perc. nnchrmatic itches nly b # 7 n h tutti F # F q # I n h tutti # (m gradually add layers rm back t rnt tutti III b 0 # gradually add layers rm back t rnt tutti III b 0 # m F:Marimba// change F: Marimba// change

22 Fl. Fl. 10 <# F # b b # # # b b b Ob. # b b b m Ob. # b m b # b Cl. a cresc. c a c b b. Cl. F Hn. b cresc. c a c b cresc. c a c F Hn. a b b m dim.. Tbn. Tba. # m dim. m cresc. c a c Perc. I (Marimba F b # b # b (m m (izz. ( m n # # b (izz. F: Vln. change

23 Fl. Fl. Ob. 1 F G1 b # # b # # b b b # Ob. b b b b Cl. b. Cl. b b m m n * b b b n m m b n n * sn. a # m Cbsn. # m F Hn. n * b b b n m m Tbn.. Tbn. # m Tba. Perc. m cresc. b # F G1 n # I nb # b n b b b n arc dim. c a c F: ut G1:Marimba ut; / entrance; change *b Cl. /, b. Cl, and F Hn. micrtne shuld be in tune ith each ther. (izz. dim. c a c dim. c a c izz. by interchanging index and middle ingers hile sradically shiting u and dn the ingerbard thrughut t achieve subtle dierences in timbre

24 Fl. G 18 b Cl. a b. Cl. sn. Cbsn. F Hn. a. sl, esress. m sl, esress. n n # match sn. micrtne m Tbn. Tba. G I (arc gradually remve layers rm rnt t back gradually sl dn (m (m (izz. gradually remve layers rm rnt t back gradually sl dn (m (m (izz. gradually remve layers rm rnt t back gradually sl dn last layer near huse (m (m G(eat:// start t gradually sl dn

25 b. Cl. G crit. SlightlySlerq= G 1 x=x 1 sn. # 1 m m Perc. 1 Crtales, bed n m m H. b # 1 n # n Y 1 ( # # n # n n # n b # n # n b crit. SlightlySlerq= G G all: A x=x 1 b b O Ȯ O Or m O Or b O b Or m m = I G: ut G: / ut ( ( last layer near huse last layer near huse 1 (in time 1 (in time 1 1 utside, arc all: A # # O Or n n O Or m m O Or m b. Cl. 10 n # m m m R # sn. sn. b m m # m esress. F Hn. m esress. Perc. # m m m n H. n # b n # n n # # n b b n b # # n # n # n n # n O Or m O Or m O Or m O Or m I b O b Or # # m O Or # # m O Or n n m O m

26 Ob. 1 b r m esress. x=x b Ob. r # m esress. b Cl. b. Cl. sn. sn. F Hn. m esress. R # R m m m R # R m r R b r n n m b R m b b semre F Hn. r n n # m esress. semre Perc. (Crtales, bed m m m # H. b # b # n n b n # b # n # n # n # n # n # n # n b # b gliss. EbF GA DCb b O b Or O Or O Or b m m m O b Or m x=x I Or O Or b O b Or # # O Or m m m O Or m tutti, arc b tutti b

27 Fl. caccel. 11 H TemI(q= a Picc. Ob. b b Cl. b. Cl. sn. b F Hn. a Tbn. a, lay b legat, cresc. a, sing int instrument Perc. Marimba, mallets b b cresc. H. gliss. b b # m H caccel. TemI(q= tutti, nn div. semre b b legat I tutti, nn div. semre b legat tutti, nn div. semre b b legat b b legat nn div. semre b cresc. c a c gradual gliss.

28 Fl. H1 H 1 a subit Picc. F Hn. a subit Ó n Ó m F Hn. a Ó subit Tbn. a b b b m m. Tbn. b lay legat, cresc. sing int instrument b Tba. b lay legat, cresc. sing int instrument b Perc. (Marimba m b b H1 H b b I b b b b b m b H1: Har ut; Marimba/Vlns.// change H:Marimba/Vlns.// change

29 Fl. H 19 b b b b I Picc. b b b b F Hn. n b n b F Hn. Ó b b Ó b b Tbn. Ó b b b b b b m m b b. Tbn. m b b b b b b Tba. m b b b b b b Perc. m b b H (in time Ó n b m b nn div. b I b I (in time b b m Ó (in time b b m b nn div. b nn div. b b (in time m b b b nn div. b b b b b H: Marimba/Vlns.// ut

30 Fl. I1 I 1a sub. Picc. sub. F Hn. F Hn. a Ó n a Ó m Tbn. a b b b m. Tbn. (sing int instrument b (lay Tba. (sing int instrument b (lay Perc. (Marimba b b I1 I b b I b b b b b m b I1: Marimba/Vlns.// change I: Marimba/Vlns.// change

31 Fl. I 17 b b Ó Picc. b b Ó F Hn. Ó n b b F Hn. Ó b b Ó b b Ó Tbn. Ó m b b b b b b b. Tbn. b b m b b b b b b Tba. b b m b b b b b b Perc. I (in time Ó n b m b I (in time m b b b (in time Ó b b m (in time m b b b n nn div. b b I: Marimba/Vlns.// ut

32 Fl. 171 accel. Fasterq= a, lay # m a, sing int instrument Ob. b m b Cl. a, lay # m b Cl. b sn. a b F Hn. a Eb Tt. n b b n m m C Tt. bb Tbn. # m Tim. lay ith hands like a cnga until therise indicated; i this technique is inaudible in the hall, cnsider the lling: cnga sla stick mallets (i.e., by Mike alter ith mutes n =h. b =h. b b s m s m s m =h. H. sing int a sund hle at the back the sundbard # ah accel. Fasterq= b b b =h. s s dim., asynchrnus s I b b b =h. s s s dim., asynchrnus s =h. b b b s s dim., asynchrnus s s b b s =h. b b s dim., asynchrnus s s

33 Fl. Fl. Ob. Ob. b Cl. b Cl. b Cl. sn. Eb Tt. 17 Ó Ó m m m m m m m m m b # b # b b b b Ó # Ó # m m m b b b m m m R R R m m m Ó b b m # # Ó b # # # C Tt. Ó Tbn. m n Ó Ó # b m b Tbn. Tim. H. Pn. n m =h. s m s m lay Ó b b # # Ó b b =h. Ó b b # # Ó b b # # # # sim. =h. s s dim. s I sim. =h. s s s dim. s sim. =h. b s dim. s s sim. s dim. s s m =h. b izz. # # Ó Ó Ó

34 Fl. Fl. Fl. Ob. Ob. 179 b # b # m m b b m m b b m R # m m # # b b n # b bn b Cl. b Cl. b Cl. m m m m m m b b # b # R # R sn. a m Eb Tt. C Tt. Tbn. Tim. m cresc. m n b bb. Ó # b m m a, lay a, sing int instrument reeat ad lib, vary tem =h. n ga 7 i ssible # n bb b # H. b # b # Ó b # b # Pn. b # b # Ó b # b # =h. b æ s nn dim. s b n b b I b æ =h. b n b b s s nn dim. s =h. b æ b n b b nn dim. s b æ nn dim. (izz. # # arc Ó m =h. b n b b s

35 Fl. Fl. Fl. Ob. Ob. b Cl. 18 b b b 1 n b Ó b b Ó b b b n b b b Ó b b n b b Ó b b n b b n Ó Ó # b # R # n b Cl. b b b Cl. sn. Cbsn. Eb Tt. C Tt. Tbn.. Tbn. Tba. Tim. b Ó bnb n b sim. 1 b b b n 7 s s s s s s 7 b b n b n b # b b I b b b b b s s s s s s b b b b b n b b s s s s s s n b b b b s s s s s s b b b n b b 1: Timani change :Timani change

36 Fl. Fl. Fl. Ob. Ob. b Cl. b Cl. b Cl. sn. Cbsn. Eb Tt. C Tt. Tbn. 187 Ó m Ó Ó Ó b # b b a b b b n # b Ó # b a b b Ó b b n b b b b Ó n Ó b n b b Ó b n b b Ó b # b R b b b Ó b b b b b b b b b b b # b b n. Tbn. b b b b b b Tba. b b b b b b Tim. I Ó b b s b b s b b s b b s (eat: Timani ut b n # b n # b b n # b n # b b n # b n # b b n # b n # b b b n n n n

37 Fl. K Ó b n b b K1 n b Ó Fl. Fl. Ob. Ob. # b b b n # b b n b b b Ó b b n b Ó b b Cl. # b # b b Cl. # b R b b Cl. sn. F Hn..... Eb Tt. n b b b Ó C Tt. b b Tbn. # Tim. 7 # n 7 K b n b b b b s s s s K1 b I b n b b b b b s s s s b n b b b b b s s s s b n b b b b s s s s b K1: Timani change

38 Fl. Fl. Fl. Ob. Ob. b Cl. b Cl. b Cl. sn. Cbsn. F Hn. Eb Tt. C Tt. Tbn.. Tbn. Tba. Tim # n# # # n# b b n # b Ó b a K b b n b b n Ó m K 7 # # R b b n b b b b Ó n b b Ó b Ó b n b b Ó b b b bnb n b Ó Ó # b b n b b # n Ó b # b R b b b n b Ó Ó b b Ó # I K b n s s s s b b s s s s b b n b b b b s s s s b b n s s s s n b b b b b b b b b b b b K b n # b n # b n # b n # K: Timani change K(eat: Timani ut

39 Fl. Fl. Fl. Ob. Ob. b Cl. 199 b # b b b b Ó # Ó Ó b b b b b Cl. b b Cl. sn. a b Cbsn. F Hn. Eb Tt. C Tt. b # <# n b # b b n # b n m b n# Tbn. b b b b b a, rd. b # R. Tbn. b b b b # rd. Tba. b b b b rd. # Tim. mallets æ æ b n # b n æ æ æ æ I b n # b n æ æ æ æ b n # b n æ æ æ æ b n # b n æ æ æ æ b b

40 b Cl. L Ó sn. a b Ó a b Cbsn. F Hn. a # b Ó a b F Hn. Eb Tt. C Tt. a Ó # b n a Ó a # Ó # a Tbn. Ó a # R Ó a # R. Tbn. # Tba. Tim. æ æ # æ æ æ = Ob. rall. 09 b Cl. r sn. a R b Cbsn. Ó # # F Hn. r b F Hn. r Eb Tt. C Tt. a R # b dim. c a c Tbn. # R. Tbn. Ó # # Tba. Tim. Ó # # æ æ æ æ Ó

41 Fl. Slq= accel. 1 a, lay a, sing int instrument m legat L1 # TemI(q= Ob. m Ob. m b Cl. Eb Tt. C Tt. (m (m Marimba Perc. 7 lay ith hands like a cnga until therise indicated; reeat ad lib., vary tem; i this technique is inaudible in the hall, sla mallets may be used as a substitute; alays maintain balance ith // izz. H. ah sl, sing int cued hands thrugh a hle at the back the sundbard r maximum resnance # (RH bisblig. cresc. c a c Slq= accel. A, cn srd. +A, cn srd. esress. +A, +A, +A, +A, cn srd. cn srd. cn srd. cn srd. L1 O O O # O O O Ȯ TemI(q= I : A, cn srd. : A O utside izz. by interchanging index and middle ingers hile sradically shiting u and dn the ingerbard thrughut t achieve subtle dierences in timbre utside izz. by interchanging index and middle ingers hile sradically shiting u and dn the ingerbard thrughut t achieve subtle dierences in timbre utside izz. by interchanging index and middle ingers hile sradically shiting u and dn the ingerbard thrughut t achieve subtle dierences in timbre L1: Marimba/// tem arrival

42 b Cl. Perc. 0 H. a m legat (Marimba m cresc. c a c b # L L b Y Y Pn. legat; tuch edal thrughut, never lay luder than har, l.v. semre b I ( : A, cn srd. : A : A : A A b O O O O O O esress. # L L (utside, izz. (utside, izz. (utside, izz. tutti, arc L: Har change; ut L: Marimba// change

43 Fl. a, lay a, sing int instrument # m legat b Cl. a m legat Perc. 7 b b H. b gradually sl dn Y Y Y Y Y h (in time m Pn. b m b gradually sl dn dim. c a c h (in time A, cn srd. +A, cn srd. O O O # O O O esress. +A, cn srd. +A, +A, cn srd. cn srd. +A, cn srd. I III 7 b A, cn srd. +A cn srd. O O O esress. +A, cn srd. b III m

44 Fl. M1 M 1a a (lay a (sing int instrument b Cl. a # # m legat Perc. (Marimba 7 H. q h Y Y Y b Pn. M1 ( : A, cn srd. Ȯ M : A (cn srd. A (cn srd. I ( : A, +A, cn srd. cn srd. +A, cn srd. +A, cn srd. : A (cn srd. esress. : A # O O O Ȯ (utside, izz. :, cn srd. esress. O O (utside, izz. M1: Marimba// change M: Marimba// change

45 Fl. M M crit. n n m legat b Cl. n b b # m legat Perc. b # 7 M esress. A : A : A : A n n n O O O Ȯ (cn srd. : A (cn srd. : A A A O O b O n esress. M crit. I : A # O O Ȯ Ȯ O Or O O r O b b O O s s III : : O O O b b 0 # A b s O O III b 0 # = M: Har ut; Marimba// change M: Marimba// ut b Cl. N SlightlySlerq= 1 x=x 1 # m Perc. 1 Crtales, bed n m m m H. # 1 n # # n # n 1 ( n # n # n b # n # n n # n b # n N SlightlySlerq= A (cn srd. x=x A (cn srd. A (cn srd. A (cn srd. 1 bbȯ O Or m O Or b O b Or O Or m m m I O O O O O 1 # n O IV III n n # b s s A b n O b O 1 # # O Or m quasi gl. Or A (cn srd. A (cn srd. n n O m A (cn srd. Or O Or m A (cn srd. b b O m

46 Perc. (Crtales, bed # m m m H. n # # n b n b # # n # n # n n # n b # n # n n # n b # n A (cn srd. O m Or A (cn srd. A (cn srd. A (cn srd. O Or m O Or b O b Or O Or m m m A (A A (cn srd. A (cn srd. A (cn srd. Or # # O O # # O Or n n O Or m m m O Or b O b m m A A (cn srd. = Fl. x=x caccel. TemI(q= a, lay a, sing int instrument Perc. # m m H. n # b # n # n # n b # n # # # n gradually sl dn Y Y Y Y Pn. b # b gradually sl dn # # n # n A (cn srd. A x=x caccel. A TemI(q= O Or b m O b Or O m m A (cn srd. Vln. A A A (cn srd. Or # # O Or n O O n O Ȯ m m m

47 Fl. 8 # m legat b Cl. a # m legat F Hn. H. gl. Y h (in time q h m m Pn. h (in time esress. # A (cn srd. O O # O O O Ȯ O O esress. Vln. # A (cn srd. esress. A (cn srd. O O # O O O Ȯ esress. = F Hn. O # H. O ah sl, sing int cued hands thrugh a hle at the back the sundbard r maximum resnance # b A (cn srd. # Ó O Ó O # esress. lay m # O O O Ȯ Ó # Ó Vln. (A, cn srd. A (cn srd. # O O Ó (A, cn srd. esress. A (cn srd. O O Ó # O O ~ esress.

48 = H. Vln. 8 # ah A (cn srd. O # O Ó Ó esress. A (cn srd. A (cn srd. O O Ó # O O ~ esress. esress. O Ó O # esress. esress. A (cn srd. Ó # Ó esress. A (cn srd. esress. A (cn srd. A (cn srd. sim. b ah H. 7 # # b ah = 79 # H. ah ah = H. 8 # # U ah