Hungarian Suite for Jazz Chamber Ensemble

Transcription

1 University o Nebraska - Lincoln DigitalCommons@University o Nebraska - Lincoln Student Research, Creative Activity, and Perormance - School o Music Music, School o Fall Hungarian Suite or Jazz Chamber Ensemble Christoher Paul Varga University o Nebraska-Lincoln, ichi.elix@gmail.com Follo this and additional orks at: htt:digitalcommons.unl.edumusicstudent Part o the Music Commons Varga, Christoher Paul, "Hungarian Suite or Jazz Chamber Ensemble" (2015). Student Research, Creative Activity, and Perormance - School o Music. 9. htt:digitalcommons.unl.edumusicstudent9 This Article is brought to you or ree and oen access by the Music, School o at DigitalCommons@University o Nebraska - Lincoln. It has been acceted or inclusion in Student Research, Creative Activity, and Perormance - School o Music by an authorized administrator o DigitalCommons@University o Nebraska - Lincoln.

2 Hungarian Suite or Jazz Chamber Ensemble by Christoher Paul Varga A Doctoral Document Presented to the Faculty o The Graduate College at the University o Nebraska In Partial Fulillment o Requirements For the Degree o Doctor o Musical Arts Major: Music Under the Suervision o Proessor Thomas Larson Lincoln, Nebraska November, 2015

3 Hungarian Suite or Jazz Chamber Ensemble Christoher Paul Varga, D.M.A. University o Nebraska, 2015 Advisor: Thomas Larson Hungarian Suite or Jazz Chamber Ensemble is an original comosition in three arts, each art using a searate Hungarian olk melody as its source. Written or a maximum instrumentation o 1 layers, the suite emloys a our-iece rhythm section aired ith three reeds, three brass, and three strings. The olk melodies are rom a collection o studio recordings made under the suervision o Bela Bartok in the 190s, notable or not being ield recordings and as such exhibiting a higher quality o sound. Although crude coies o Bartok s highly detailed transcritions o selected melodies are included in the liner notes to the album, I did not reer to them. In addition to a ractical desire to ork rom ritten transcritions that ere akin to a jazz style lead sheet, by ersonally transcribing the material I became much more amiliar ith the melodies, thereore roviding a more organic comositional rocess. A varied aroach to instrumentation, musical devices, and comositional methodology as emloyed or each movement. The manner and degree to hich the olk melodies retain their original itch collection, rhythm, and embellishments as consciously maniulated in order to create contrast beteen the three arts. In art one, O Love, O Love, the relationshi to the original melody is most distant. I used distinctive musical elements, e.g., seciic intervals or characteristic motives, as sources or entirely ne melodies, resulting in an obscure resemblance beteen the olk song and my comosed music. In art to, The Cemetery s Gate, the similarity

4 beteen the original melody and my adatation is most overt, in that I arranged the initial resentation o the melody in a rubato ashion and ith sarse and simle accomaniment. In art three, Beautiul is the Sring, the transormation is erhas the most comlex. I retained the itch content and general acing o the original but laced it in a seciic meter () and groove (trilet-based). While I did not use the lyrics as a guide to shae the musical content, I believe the music shares some o the same bitterseet and melancholy qualities as the texts.

5 i ACKNOWLEDGEMENTS This roject ould not have been ossible ithout the sel-less guidance and assistance o Eric Richards. I ould also like to thank Proessor Thomas Larson, ho relaced Richards as my chie advisor or my inal semester at UNL, and the remainder o my suervisory committee: Hans Sturm, Scott Anderson, and Hendrik van den Berg. Additionally, the olloing aculty members rovided invaluable ractical, roessional, and ersonal advice: Peter Bouard, Paul Haar, Darryl White, Anthony Bushard, Peter Leerts, Rhonda Fuelberth, and Dave Hall. Finally, I ould like to thank my brother Jason Varga and his ie Nhung, or their love and suort throughout my doctoral studies.

6 ii TABLE OF CONTENTS Abstract Acknoledgement Table o Contents i ii Hungarian Suite or Jazz Chamber Ensemble 1 1. O Love, O Love 2 2. The Cemetery s Gate 22. Beautiul is the Sring 26 Reerences 8 Aendix A 8 Aendix B 86

7 !1 Hungarian Suite or Jazz Chamber Ensemble 2015 Christoher Paul Varga

8 2 1. O Love, O Love Instrumentation Sorano Saxohone Tenor Saxohone Trumet 1 Trumet 2 (Flugelhorn) Vibrahone Guitar Drumss

9 Transosed Score 1. O Love O Love Varga Sorano Saxohone Tenor Saxohone Trumet 1 in Bb Flugelhorn (Tt 2) = So. Sax. Ten. Sax. Tt. 1 Tt. 2 Vibrahone Guitar Drums q=152 Straight 8th eel { Solo b b b b 2 { b b n b 5 6 8

10 9 b F 6A O Love O Love G B b b b = b Active drum n bass groove D Š b B ( ˆˆ2)D n b Fill 8 = 1 { b b b bb b F 6A b G B b b b = { b n b n n D Š b b B ( ˆˆ2)D n b Fill 8

11 25 O Love O Love 5 { b b Atmosheric F 6A b b G B b bb b b b = { b D Š(#11) n b n n B ( ˆˆ2)D b b n b = 8 V { # 5 Fill V V V V

12 Ten. Sax. Tt. 2 6 m m O Love O Love J b J b b i j b b ij b b b 6 { F 6A b Tenor, Flugel G B b b b = Ten. Sax. Tt b J J J j b J j { D Š(#11) B ( ˆˆ2)D b b n b Fill 8

13 So. Sax. Tt. 1 { F 6A b J b m b J m G B O Love O Love b b ij b ij b b b b b b 5 6 = So. Sax. Tt. 1 b J J J j b J n J { D Š(#11) B ( ˆˆ2)D b b n b Fill 8

14 So. Sax. Ten. Sax. = Tt. 2 So. Sax. Ten. Sax. Tt {. b J J. j j {. J b m j. m b b b G B b b b F 6A b D Š(#11) D Š(#11) D Š b B ( ˆˆ2)D b n b b j b B ( ˆˆ2)D V V V V V V V V V V V V V B ( ˆˆ2)D b J J b J j j j b b O Love O Love b n j # j # b 8 V V V V V V V V V V V V V 8

15 So. Sax. Ten. Sax. = Tt. 1 So. Sax. Ten. Sax. Tt J J J J J j b { b J j b b b b F A G B + V V V V V V V V V V V V b b b b (Ride cym) Fill + V V V V V V V V V V V V V { D Š(#11) b Time J J J J J J b O Love O Love b b J b b J B ( ˆˆ2)D b n b m Fill 9

16 Tt O Love O Love SOLO V V V V V V V V A9( ) 10 { # Flugel solo G9( ) m 1 i j j i j i j j i j = Tt. 2 V V V V V V V V { # i j j i j i j j i j

17 Tt. 2 SOLO F O Love O Love hrygian Maj rd 11 = So. Sax. Ten. Sax. Tt. 1 Tt. 2 E # { <# E E Groove sim. 6 i j j i j i j j i j V V V V V V V V # # m # m # m SOLO A9( ) V V V V V V V V { # G9( ) V V V V V V V V

18 O Love O Love 12 So. Sax. Ten. Sax. Tt. 1 Tt. 2 V V V V V V V V # # m # m # m = So. Sax. Ten. Sax. Tt. 1 Tt. 2 { V V V V V V V V <# <# <# F SOLO hrygian Maj rd To tt. # { <# E # + + +

19 92 { SOLO G( 9) O Love O Love F Š. V V J V 1 = =. V V J V. V V J V E { V. V J V. V J. V V J Hal-time eel. V V + J V V V V V V V V V V V J V hrygian Maj rd. V V + J V V V V V V V V V V V V Fill 2nd x back to drum n bass groove 100 F ( Š)A F( ˆˆ2)A ( solo cont) { b n j (drum n bass groove)

20 10 { D Š(#11) O Love O Love B ( ˆˆ2)D 1 b J b n b = F ( Š)A F( ˆˆ2)A { 8 b n j = { B ( ˆˆ2)D D Š(#11) b J b n b Fill 8

21 So. Sax. Ten. Sax. = Tt. 1 Tt. 2 So. Sax. Ten. Sax. Tt. 1 Flug. 116 { ^ ^ J J ^ ^ J J ^ ^ <b J J ^ ^ j J { m m m m ( solo cont) F ( Š)A m m F( ˆˆ2)A # b # b D Š(#11) Trumet O Love O Love.^ ^ J J.^ ^ J b.^ ^ J b b.^ ^ J b. n j j B ( ˆˆ2)D b J b n b ^ ^ Fill! j j

22 12 F ( Š)A F( ˆˆ2)A { Vibes, Drums only Vibes, Drums only; more active O Love O Love = { B ( ˆˆ2)D V V V V V V V V V V V V D Š(#11) V V V V V V V V V V V V = So. Sax. Ten. Sax. Tt. 1 # { V V V Vb J j b V V V Fill Break V V V V V V V # j 8

23 So. Sax. Ten. Sax. = Tt. 1 So. Sax. Ten. Sax. Tt. 1 1 J j b { b { F A Ride G B D Š(#11) J J J J b b b b J J J J J J b b J j b b J b b J O Love O Love B ( ˆˆ2)D b b n b Time Fill b b Fill b 1

24 Ten. Sax. = Flug. Ten. Sax. 12. b J { b m (Flugel) j. b m b b bb G B F 6A m 12 m J b J b J J b J j j j b O Love O Love b b b 18 Flug.. j j { b b D Š(#11) n b B ( ˆˆ2)D b b n b Fill 8

25 So. Sax. Tt { F 6A m m O Love O Love J b J b G B b ij b ij b b b b 19 b b b b = So. Sax. Tt. 1 { b J J J j b J n J D Š(#11) B ( ˆˆ2)D b b n b

26 O Love O Love 20 Ten. Sax. Flug. 158 m m J b J b b i j b ij b b b b { G B F 6A b m b b b = Ten. Sax. Flug. b J J J j b J j { D Š(#11) B ( ˆˆ2)D b b n b

27 166 { b O Love O Love b b bb b 21 b b b b = { b n b n n b b n b = = b bass and drums only b b b n b b 8 b 8 sudden sto. V V V V V V V V V V V V V V V

28 22 2. The Cemetery's Gate Instrumentation Tenor Saxohone Vibrahone Drumss

29 2. The Cemetery's Gate 2 Transosed Score Varga Tenor Sax Rhythm { A # # Rubato Rubato A 11 A 11 # # # i j # edal U Ten. Sax. Rhythm Ten. Sax. # { B # U J # A 11 F Š D B U V # # j U Rhythm { B Š(#11) E Š D( ˆˆ2) U

30 Ten. Sax. C The Cemetery's Gate 2 { Rhythm 18 In-time, slo Vibes only add bass b b b n b b b # Ten. Sax. Tenor Solo EG CE F 11 D 11 EG CE F 11 D 11 V V V V V V V V OPEN { Rhythm n b b b n b b b DF B D E 11 C 11 DF B D E 11 C 11 # # OPEN 26 Ten. Sax. ON CUE # # { n b n b Rhythm AC C Š GB E D AC C Š GB E D # n # n b b n b b n

31 The Cemetery's Gate 25 Ten. Sax. D # # # # # i j # Rhythm Ten. Sax. Rhythm Ten. Sax. { # A E A F Š D( ˆˆ9) C ( Š) E 11 A 11 F Š D { V V V V V V V V V V U V V V V V V V V V V V V V V V Rubato # J # # Rit. # U j Rhythm B B Š(#11) E Š D( ˆˆ2) U U {

32 26. Beautiul is the Sring Instrumentation s Reed 1 (Sorano Saxohone, Flute) Reed 2 (Tenor Saxohone, Clarinet) Reed (Baritone Saxohone, Clarinet) Trumet 1 (Flugelhorn) Trumet 2 (Flugelhorn) Trombone Violin Viola Violincello Vibrahone Guitar Drumss

33 . Beautiul is the Sring 2 Transosed Score Varga Reed 1 (Sorano, Flute) Reed 2 (Tenor, Clarinet) Reed (Bari, Clarinet) Trumet 1 (Flugelhorn) Trumet 2 (Flugelhorn) Trombone Violin Viola Violoncello Vibrahone Guitar Introduction 1 2 B Rubato m E º C 6 A Š(#11) n { # # b m b b Drums

34 Beautiul is the Sring b j Moving B i n U { F( ˆˆ2)A F F Š A Š G( ) G Š(#11) C9( ) AC # # n b n b bb b # n = U B i j i j { C9( ) AC AC D 9 E Š9 C b # n n b b b b = B. U U { n GB B Š A 11 A Š(#5) b U b U

35 Reed 1 2 q = Beautiul is the Sring 29 Reed 2 Clarinet in Bb # m J j # J j J J J J m B m b n m J J J J = Reed 1 Cl n # J j n # J j b n J b J # J J B b n J b J # J J b n

36 Beautiul is the Sring 0 Fl. Cl. 2 Flute 28 b n m Reed Clarinet Tt. Tt. B. Tbn. Harmon Mute # m Harmon Mute m B # { # # m Trilet eel Fill V V V

37 Beautiul is the Sring 1 Fl. 29 (Stay on lute) 0 Cl. B. Cl. Tt. Tt. B. Tbn. # j J j # j J j # j J j # j J j { j J j b m - - J J B - - J J (8th notes are lightly sung) b To Cu Mute Oen (Harmon o), To Flug. b n (8th notes are lightly sung) b Catch igures hile keeing time on ride m j J j + V + + V V V V n n n

38 Beautiul is the Sring 2 Fl. 1 2 Cl. B. Cl. n j # J j n # j J j n j # J j n # j J j (Stay on clarinet) (Stay on bs. clar.) Tt. Tt. B. Tbn. b n - b J n b { b j n m B b - J n b m - # J b j b J j b b J b b J b - # J n # j J j n n TACET Fill + V V V J V V + V + V V V V + V V V V TACET TACET

39 Beautiul is the Sring = b 5 m m Trilet-groove, quasi Aro-Cuban; emulate hand ercussion b m n n V V V V V V V V V V V V V V 6 b J b n b b J b n b V V V V j V V V V V V V V V V = B. Cl. Tt. 8 9 ( Cl.) b m Flug. m n # b n V V V V V V V V V V V V V V

40 Beautiul is the Sring B. Cl. Tt. 0 1 b J b n J n J J b n b J b b J n b V V V V j V V V V V V V V V

41 Beautiul is the Sring 5 Fl. Cl. B. Cl. Tt. 2 m m bb m 6 6 # b J b # b J Tt. B. Tbn. 6 b b bb 6 m B b b bb { # izz. m # # # b b # b DRUMS TACET n n æy m 6 6

42 Fl. Cl. B. Cl. Tt. Tt. B. Tbn. b { 5 m arco b Groove as beore, more aggressive. Ride cym # b # J (Cu) # J b # B Flug. b b Beautiul is the Sring 6 n b b n J # n n n V V V V V V V V V V V V V V

43 Fl. Cl. B. Cl. Tt. Tt. B. Tbn b b J b b B J b b b { J b b b Jb b J Jn J b b J b (Stay in cu) Jn J J n J b b b b J b bb b Beautiul is the Sring b b b J b b b b To Tt. bb m b V V V V j V V V Fill V V V V V V + V V V V

44 Beautiul is the Sring 8 { B m b m b m Very sarse, suggest m b n j J "quarter-time" eel V V V V V V V V V V V n n j j V V V

45 Beautiul is the Sring 9 Fl # m Cl. # m B. Cl. m B. Tbn. b b n { B b b m m b b # b # b m m b b b n b b n n V V V V V V V + V

46 Beautiul is the Sring 0 Fl. Cl. B. Cl. Tt. Tt. B. Tbn b 2 2 m m 2 Bell tones Trumet 2 2 b 2 n <b B 2 b 2 m m b { 2 b D( ˆˆ) 2 (samle voicing) # 2 b V V V V V V b b

47 Fl. Cl. B. Cl. Tt. Tt. 61 8th notes lightly sung 62 (Cu) Beautiul is the Sring 1 # B. Tbn. b n B b m A Š1 Trilet groove as beore (bar 20) m m m F Š1A m { V V V V V V V V V V V V V V V V V V V V V V V V V V V

48 Beautiul is the Sring 2 Fl. Tt. 6 6 b i j { D Š1 n i b j n b i j n b b b b B ( ˆˆ2)D V V V V V V V V V V V V V V V V V V V V V V V V V V V V = Fl. Tt b ij b i j { b ij b E ( Š) C( ˆˆ2)E G A 1( ) V V V V V V V V V V V V V V V V V V

49 Beautiul is the Sring Fl. Tt { ij b b j j i j J J ij b b D 11 DF D F CE E Š1 J J V V V V V V V V V V = Fl. Tt. V V V V V V V V V V b. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. OPEN.. j. j m m B.. J J m m.. J J m m {.. m CD D Š1 CD D Š1.. V V J V V V J V + m Time -solo.. V V J V V V V V V V V V V V V J V V V V m m

50 Beautiul is the Sring Fl < Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (Stay on lute). j. j m. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. B J J m.. J J m { CD D Š1 CD D Š V VJ V V Sarse noodling or 8 bars.. V VJ V V V V V V V V V V V VJ V m.. VJ V V V V V V V V V V V V V V V V V V V V V V

51 Beautiul is the Sring 5 { b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SOLO.. V V V V V V V V V V VJ V V V V V V V V V V V V J V CD D E CE D Š1.. V VJ V V V V V V V V V V V V J V V VJ V V V V V V V V V V V V J V 8.. V V V V V V V V V V V V V V V V V V V V V V V V = {. V V V V V V V V V V VJ V V V V V V V V V V CD D E. V V V V V V V V V V VJ V V V V V V V V V V. V V V V V V V V V V VJ V V V V V V V V V V 8. Shit toards straight eel V V V V V V V V V V V V V V V V V V V V V

52 Fl. 101 Beautiul is the Sring m Cl. B. Cl. Straight e eel. j m B. J m. b J m { V. V J V V V V V V V V V V CE D Š1 END SOLO V. V J V V V V V V V V V V.. V V J V V V V V V V V V V b b CD m D Š1 lute m V. (ill) 8 Straight e (cross-stick q groove). V V V V V V V V V V V V V J V V V V V V V m

53 Fl. Cl. B. Cl # # m Beautiul is the Sring m b. # Ÿ~~~~~~~~~ m. j B <b b {. J m m m. b J. b b n CD b D Š1 sim. V V V V V V V V V. V V V V VJ V

54 Fl. Cl. B. Cl. Tt. Beautiul is the Sring m J # # m < Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Tt. B. Tbn. Flugel j # m B <b { J b J b lute J m m J b m <b b b (Str, lug) sim. j V V V V V V V V V V V V V V V

55 Fl. Cl. B. Cl. Tt. Flug. B. Tbn #. j OPEN m. B m. m... b b J J j b J J { Beautiul is the Sring 9 b CD D Š1 j. n b b J # b j m m Fill. V V J V V V V V V J V

56 Beautiul is the Sring 50 Fl. Cl. B. Cl. Tt. Flug. B. Tbn To So. Sax. <b B { # b m b b To Ten. Sax. # b b j b b b b b b To Bari. Sax. b b b b b b b b b b V V V V V V V V V V V V Fill

57 Beautiul is the Sring 51 Fl Cl. B. Cl. Tt. Flug. B. Tbn. B SOLO { DRUM SOLO Bari. Sax. m m m m m m # n m m m b b b b b V V V V V V V V V V V V V b b

58 So. Sax. Ten. Sax. Bari. Sax. Tt. Flug. B. Tbn. Sorano # J # # # # # J # <n J j b J m # - - J # b b - b b j n j b m U j j b b.. b j j m n U J # # # # J # m B U # J # # # J b m.. b b J j b Tenor # To Cl. # # U J # # # J # J # U { # # J # m n U J # # # # # J # J m U b b j J b J J m U V V V J VJ # J V VJ V V V J V + m m m To B. Cl. To Flute To Cu Mute # U J # # J # # Beautiul is the Sring 52 U # J J To Trumet in Cu Mute U To Cu Mute U j j To mute

59 129 { Freely # # Beautiul is the Sring # # # ## # # # rit. n Freely ¼ A 6 B ŠD # + + Freely ¼ A B ŠD = ¼ U { # # U # + EG ¼ EG " " # # b n n bb n # n b U n EG ¼ U " + #

60 So. Sax. 10 (Vcl.) Beautiul is the Sring Cl. Bari. Sax. Clarinet b m n b B con sord. # # m con sord. m b { b b n b b Set temo (mm) # # n (Vcl.) Cym mallets ~ æ m ~ æ

61 So. Sax. Cl. B. Cl. Tt. Tt. B. Tbn. <b n { oco rit. 12 Flute 1 Clarinet Tt. senza sord. m m m Beautiul is the Sring 55 A temo (Cu) (Cu) m m m m m (Cu) m m B<# # senza sord. # # b b # b b n # b # n n n n ~ æ oco rit. A temo ~ æ m

62 Beautiul is the Sring 56 Fl. Cl. B. Cl. Tt. Tt. B. Tbn b n b # b B # # { Damen A on b. ~ æ æ O

63 Beautiul is the Sring 5 Fl. Cl. B. Cl. Tt. Tt. B. Tbn. q=68 q= b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # m b m m # m B { # # Slightly sloer b n n b n 6 # n # # ṅ n# Floor Tom q=68 q=80 æ m æ

64 Beautiul is the Sring 58 Fl. Cl. B. Cl. Tt. Tt. B. Tbn. Bell tones (Stay on lute) U U J J Bell tones (Stay on clarinet) # U U J J (Stay on bs. clar.) U U # - j n - j (Stay in cu) (Stay in cu) Mute o U U # - j # - j # - - U U J J SLIGHTLY FASTER SLOWER B - U U - j J U U U U U U { # # - - Arco U U J J b n U bn b b # n b # ## # # # # # J J Colors Color and ill U B ŠD U U + + U æ O æ O

65 151 q=2 accel # # # # n # # # # n m Beautiul is the Sring 59 = 15 q=9 15 # # # # m B # # m { # # # # n # # # # n = Fl. Cl. 155 (Flute) 156 5bnbb b b b b J b J m (Clarinet) 5 bb b b b J b b b J m 5 # 5 B # 5 { # # # # n # # # # n m

66 Fl. Cl. oco accel <b <b Beautiul is the Sring 60 To So. Sax. b b b b To Ten. Sax. B. Cl. Tt. Tt. B. Tbn. (Cu) Oen b b b m (Cu) Oen b b b n m B { m # # # # # # # # # n # # # # n # # # # crash oco accel. j cu Y Y

67 B. Cl. B. Tbn. Beautiul is the Sring 61 q= # j # m #. #. # # # # (Oen) m - m B # - # # m m - # J - { # j # # # # q=10 # ## # Solo ill. 16th note-ish ride j j Big! V V V V V V V V V V V V -

68 So. Sax. Ten. Sax. B. Cl. Beautiul is the Sring b b b. # - #. # To Bari. Sax. Tt.. - b. # Tt.. -. b B. Tbn. - b. b <n. b B b b b b b b b b b b b b b b b b { b b b. b b J b <n. b b J Busy time hile catching igures Fill V V V V V V V V V V V V V V V

69 So. Sax. Ten. Sax. Bari. Sax. Tt. Tt. B. Tbn. Beautiul is the Sring #.. bb b n # 5 m #. j #. b bbb bn # 5. b B bbb bn 5. b bbb bn j 5. b { b bbb b n n m m # # # J b. j m b. J 5 m b.. Break! Fill V j V V V V V V V V V V V V J

70 Beautiul is the Sring G GF G B 6 V V V V V V V V V V V V G GF G B 6 m b Light time (hand-ercussion-ish) V V V V V V V V V V V V m = G GF G V V V V V V V V V V V V G GF G rhythm continues V V V V V V V V V V V V = Lead into solo B 6 b ¼ A Š V V V V V V V V V B 6 ¼ A Š b V V V V V V V V V Fill

71 18 Beautiul is the Sring { V V V V V V V V V V V V SOLO G GF G B 6 V V V V V V V V V V V V b More aggressive groove V V V V V V V V V V V V = { V V V V V V V V V V V V G GF G B 6 ¼ A Š V V V V V V V V V V V V b b V V V V V V V V V V V V

72 So. Sax. Ten. Sax. Bari. Sax. Tt. Tt. B. Tbn Beautiul is the Sring 66. # m. # m m m. # m m B m m m... { V V G GF G B 6 G GF V V b V V

73 Beautiul is the Sring 6 So. Sax. Ten. Sax. Bari. Sax. Tt m m m ^ # # ^ # # ^ Tt. B. Tbn. B b b n { V V G B 6 ¼ A Š G GF G B 6 V V b b b V V

74 Beautiul is the Sring 68 So. Sax. Ten. Sax. Bari. Sax. Tt. Tt. B. Tbn ù { # m m m m # # m b B b V V V V V V V V m # m m m G GF G E Š V V V V V V V V V V V V V V V V V V

75 So. Sax. Ten. Sax. Bari. Sax. Tt. Tt. B. Tbn. b b b b 211 n B n b n b n b n b b b n b n b n b b b b b b Beautiul is the Sring 69 n n { V V V V D % A 11 G V V V V V V V Ens. igure Solo drums V V V V V V V V V V V G V V V V V V

76 Beautiul is the Sring 0 So. Sax. Ten. Sax. Bari. Sax. Tt. Tt. B. Tbn <#. ^ <n J ^. b J. b j.. n. B # J <n.. b J {. ^ (Stay on so.) J. ^ <b J. ^ J #. ^ # J G( ) G D Š G V V V V V V V V V V V b. Ens. igure Solo drums G G(#9) D Š sim. ^ V V V V V V V V V V V V V J V V V V Dr and gtr b V V V V V V V V V V V V ^ j V ^ j V Dr and gtr V V V V

77 So. Sax. Beautiul is the Sring Ten. Sax. Bari. Sax... #. R #. Solo Tbn, Tt. Tt. B. Tbn.... R n. Solo Bari, B { END SOLO m E9( ) E9( ) V + + m 22 E % D ( 9) E % D ( 9) D ( 9) E % D ( 9) Solo. Tbn, Bari. E %. R. V V V V V V V V V + m More oen eel, Fill still energetic. V Ẏ V V V V V V V V V V V V + break! + + b b V V V V V V V V V +

78 Beautiul is the Sring b { E % D ( 9) E % G 9( ) + V V V V V V V V V b b E % D ( 9) E % bb G 9( ) V V V V V V V V V = + 25 m 5 V V V V V V V V V # # # # # n # n # # # # # # 2

79 So. Sax. Ten. Sax. Bari. Sax. Tt. Tt. B. Tbn. accel b 2 b b 2 # 2 b (Oen) { 2 # n # # + n b (Oen) Drum solo # # B 2 2 Beautiul is the Sring m Time-solo, straight exish subdivisions V V V V V V V V V V V V V V accel.

80 So. Sax. Ten. Sax. Bari. Sax. Tt So. q=110 b n b b n b b n b R R m Tenor b n b b b b n b b R R m Bari. # # r # m b n b b n b Beautiul is the Sring b n R R Tt. m b n b b n b R b R B. Tbn. m # r m # # # R R m B # # # R R m # # # n m n { # # # R R m # # r b R m # R m V V V V V V V V + V V V m

81 Beautiul is the Sring 5 So. Sax. Ten. Sax. Bari. Sax. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b rit To Flute (quickly!) m bÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ To Cl. m To B. Cl. m Tt. Tt. B. Tbn. To Flug. U To Flug. U - U U - # J # J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U U # m U U B # # m # U m m U U { # m n b U U - # j - # j m m U U # # J m inding don... V V V V V V m rit. m m To Cu Mute U V V j V V + + U

82 Fl. Ten. Sax. B. Cl. 252 q=86 exressively # # m # # # Beautiul is the Sring 6 # # # # Clar. Clarinet b b m bb b b m B # # m # # m # # # m { SLOWER E (b5) D Š F D ( ˆˆ2)F b bb b bb bb m arco b # n m q=86 mallets ~ æ

83 Beautiul is the Sring Fl rit. 259 (Stay on lute) U Cl. U B. Cl. (Stay on Bs. Cl.) U # j m U B m Mute on U Mute on # J m U { E Š9 b + + izz. U U m m m m D Š(#5) # U # # # # # D ( ˆˆ2)F E Š D Š(#5) U U O U + rit.

84 Beautiul is the Sring 8 Tt. q= Tt. 8 8 B. Tbn. 8 8 VERY SLOW e=e 8 e=e 8 con sord. B # # # n 8 # # # n m 8 con sord. m legato 8 # 8 J # { arco 8 8 Mallets; colors in and out o time 8 V V V V V V V V V V V V V V V 8 V

85 Beautiul is the Sring 9 Tt Tt B. Tbn e=e 8 e=e B # # # n 8 # # # n J # # { To brushes V V V V V V V V V V V V V V V 8 V V

86 Beautiul is the Sring 80 Fl. Cl. B. Cl b b b b b J J Flug. Flug. B. Tbn. Flugel b m b b Flugel b b b m A Š(#11) B # izz. m m ¼ ¼ (min rd in bkgs) V V V V V V V V VIBVLN SOLO senza sord. senza sord. (min rd A Š(#11) ¼ ¼ in bkgs) { V V V V V V V V b b b b b b b b b J Brushes, suggest more time, but stay colorul # # V V V V V V V V m m

87 Fl. Cl. B. Cl. Flug. Flug. B. Tbn # q=2 # j b J b b # m j b Cu Mute b J b Ÿ~~~~~~~~~~~~~~~~~ # J # m b b m m m V V V V V V V J V + Beautiul is the Sring (Stay on lug) (Stay on lug) Mute o MOVING B 2 2 { 2 A Š(#11) A % A Š(#11) END SOLO dolce # # # m m A Š F D Š 2 V V V V V V V J V + + V + # Fill and decresc. V V V V V V V J V V V V V 2 2 #

88 Beautiul is the Sring 82 Fl. Cl. B. Cl. Flug. Flug. B. Tbn rit molto rit. - U l U b J m - U l #- - b - Clar U l # n U l b - m m U l # m m - Oen U l b b m U l U J b m U l B U <# j n b - b - b - b- { U l U V V V + rit. m m m m U l U b AC C Š1 B Š A Š B Š(#11) A 6 l U + V V V V V V V b b J b b ill and ar. B G U l U V V V + Color U l U V V V + U

89 8 REFERENCES Traditional. Folk Music o Hungary, various erormers, recorded in Hungary under the suervision o Bela Bartok. Folkays FM 000. MP. 1950, Bartok, Peter. Liner notes to Folk Music o Hungary. Various erormers. Folkays FM 000. MP. 1950, 1961.

90 APPENDIX A 8 Transcritions o Folk Melodies 1. O LOVE, O LOVE "Primitive" lute and male voice; ree temo, somehat stilted. Flute b bb nbbbn j ij ij i j j bb b ij J ij i b j b b j - b ij b i j ij - - i j bb j bẏ 50" voice ù ij b nb i j # n b j b U j

91 85 2. THE CEMETERY'S GATE Female voice; slo moving in non-strict trile meter. b b b b b b b b b b b b b b b b i j b b U b b b ù. BEAUTIFUL IS THE SPRING Female voice; rubato, but animated temo. b b ij ù ~~~~~ U j i j b j j j ù b U

92 86 APPENDIX B FOLK SONG TEXTS 1. O Love O Love O love, O love, O cursed ain, O love, O love, O cursed ain. Why do not they blossom The leaves o all trees The leaves o all trees, The to o the cedar Ah, a rose is not What loers in the garden, A rose is indeed Those loving each other. 2. The Cemetery s Gate The cemetery s gate At last it is oened. Through it they carry me Into that black grave. Both sides o my grave Are lined ith roses. The amous girls o Koroso Did lay them there, crying. Pluck them o, girls, Pluck them o rom my grave. One rose only, that bron one, Don t you tear that one o!. Beautiul is the Sring Beautiul is the sring, more beautiul the summer,

93 8 Ho beautiul to orm a coule, I one has hit on the right one. The sring ind dries the road, All birds are choosing a mate, My God, hom should I choose, So that I don t remain alone My mind roams about like a cloud, My heart is decaying like the years; Peole tell me, I am not sad Because I don t cry on the streets. My mind roams about like a cloud, My tears are alling like rain, They ashed a ditch on my cheek, Like the rain on the road. Oh, my God, lease unish him, On account o hom I ear mourning clothes.