FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s...
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FOUR TUNES FOR CHAMBER ENSEMBLE
By
Nathaniel Thomas Bliton
A THESIS
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of
MASTER OF MUSIC
Music Composition
2011
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Four Tunes
Blito-Slip-Jig
Measured Rain Resting on a Stair
Anucar
Program Notes
These four tunes are written as virtual folk music. They are written as though they
were native idioms from imaginary cultures, borrowing from Irish, Bulgarian, Latin
American and North American musical styles. I mean for them to be played as if the
performing musicians were in a band together and had grown up listening to this type
of music, and could improvise and embellish in the style of these tunes. The tunes’
rhythmic frameworks are pulse-oriented, and should feel intuitive. The original tunes,
written as to appear in a songbook, are included at the end of this document.
“Blito-Slip-Jig” mixes ideas from Afro-Cuban music and traditional Celtic music.
While the rhythm is similar to a Slip-Jig (an Irish music style usually notated in 9/8
meter), the syncopated melody and diatonic harmonic structure relate more closely to
some styles of Latin music, like Cuban son or salsa. This tune in particular should feel
natural to dance to.
“Measured Rain” has a constant pulse that never changes throughout the piece, but
sub-divisions of that pulse constantly shift and layer in different ways. I am interested
in the way rain is the combination of many different drops of water falling in different
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conflicting patterns, but still feels so constant and so steady as a whole. In this tune, I
try to communicate something of that paradox of measuring rain.
The original tune for “Resting on a Stair” is closely related to a traditional Irish Jig
fiddle-tune (which normally appear in notation with a 6/8 meter). Its comparatively
simple rhythmic structure made it the prime candidate for the most lush arrangement
of this set of tunes. However, this tune can be heard and played in a couple of
different rhythmical contexts. After it gains momentum, it segues directly into the
following piece.
“Auncar” has the most energy and drive of the four tunes, but its groove is uneven.
While the tune should be danced to, the accompanying dance would be an odd one
indeed! The name comes from an intuitive process of applying nonsense syllables to
the melody of this tune (“A-nu-car” seems to fit well over the first three pitched notes).
The melodic, harmonic and rhythmic content is borrowed from some Bulgarian and
Eastern-European folk music – music that feels as natural as it is challenging to play.
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Performance Notes “Blito-Slip-Jig” is a piece that melds rhythmic ideas from the Irish 9/8 Slip Jig, Cuban son
and Mexican son styles of music. Similarly to some Latin melodic styles, this melody fits
with the rhythm presented in measures one and two of the Percussion I part in a way
similar to a Salsa melody’s relationship to the Son Clave. So, like in those styles,
alignment of the eighth-notes between the different instruments is crucial. The performers
should pay attention to the pulse implied by the syncopated percussion parts, while
aligning with the eighth-note grid of their composite rhythm. The performers should also
play this tune as they might in a jazz combo or rock band, where the “rhythm section”
(percussion, bass and cello in this case) should feel free to improvise within the
established rhythmic and tonal framework. There is a solo section where the accordion or
oboe player should improvise freely to the chord changes provided in their parts. In some
places, the bass player and percussionists have chord symbols, indicated “fills,” and slash
marks, borrowed from jazz and pop notation. I encourage the players to improvise,
embellishing on the rhythmic and melodic ideas presented in the score. At specific points,
I wrote in suggested “fills” to deviate from the established patterns, and those are indicated
in the score and parts. Alternate fills are welcome when “fill” is written in the measure.
In “Measured Rain,” a very clear pulse runs throughout, with layers of different sub-
divisions of that pulse occurring simultaneously. These different sub-divisions move
between the timbres of the different instruments, so it is important to practice playing each
of the instruments’ parts in combination with each of the others, to make clear how the
rhythms lock together in the ensemble.
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“Resting on a Stair” is close to a traditional Slip-Jig, but with a strong grouping of four
eighth-notes, giving it a 3/2 metric feel over the written 12/8 meter. This arrangement of
the tune spends most of its time in 12/8, but I encourage the performers to feel it with a
stronger half-note pulse. The transition into Anucar should happen seamlessly, carefully
maintaining the eighth-note synchronicity between the different instruments.
“Anucar” has a regular rhythmic scheme over an irregular metric framework. For this
tune, the performers should practice feeling the pulse by dancing (or walking around
town) in four beats with a short first step/beat (2-3-3-3 is the grouping of eighth-notes in
the notation). There are four sections to the tune, and the first section repeats between
each of the following sections, following the pattern of a Rondo form (ABACADA). I
encourage the performers to embellish their parts to bring out the 2-3-3-3 metric rhythm,
or even to syncopate against it. Notes in the melody written in parentheses should be
“ghosted,” or played with less force or pressure (like the opposite of an accent).
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Additional notes for Percussion:
Percussion I should play a higher-pitched cowbell than Percussion II. Notes on the
cowbell line with note-heads should be played on the open end of the cowbell with the
side of the stick, to get the open full tone of the cowbell. Notes written on the cowbell
line with note-heads should be played further up the cowbell with the tip of the stick,
to get a more muffled tone. Notes written on the ride cymbal line with note-heads
should be accented and played on the bell of the cymbal, while notes written with note-
heads should be played normally.
Bring out notes on the kick drum and cowbell in the overall texture. They are used for
metric accents, and should be considered like a kick drum and snare in a drum set, where
the high log drum and high roto-tom are like a clave player in a group: clear, but
sometimes only implied.
For Percussion II the “rim/shell” sound works well on the rim of the low roto-tom, while
Percussion I should hit the side of the kick drum, or a non-pitched part of the log drum.
The Percussion II part has two lines for “rim/shell,” implying that the lower line might
work better with the left hand, and the higher line might work better with the right hand.
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Percussion I Staff Layout
Percussion II Staff Layout
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Four Tunes for Chamber Ensemble
2011
Oboe
(or optional Bb Soprano Saxophone)
Accordion
Viola
Cello
Double Bass
Two Percussion Players:
I: Suspended Ride Cymbal
Cowbell
Log Drum (two tones)
Suspended Kick Drum
II: Suspended Ride Cymbal
Cowbell
Roto-Tom (two tones)
Suspended Kick Drum
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89
89
89
89
89
89
89
Oboe
Percussion I
Percussion II
Cello
Double Bass
Accordion
!
œ
jœ Œ j
œ Œ jœ
!
!
!
!
1
!
high log
F
q. = 100 Playful, Pushing Forward
!
‰ œ ‰ œ .œ
!
!
!
!
2
!
!
œ
jœ Œ j
œ Œ jœ
!
!
!
!
3
!
9
Blito-Slip-Jig
Nate Bliton
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
‰ œ ‰ œ .œ
!
!
!
!
4
!
!
œ
jœ Œ j
œ Œ jœ
1>
y y 1> Jy J1> y
!
!
!
5
!
F
ride cym.
!
‰ œ ‰ œ .œ
1> J1> Jy 1
>1> Jy
!
!
!
6
!
Blito-Slip-Jig
10
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
œ
jœ Œ j
œ Œ jœ
1>
y y 1> Jy J1> y
!
!
!
7
!
!
‰ œ ‰ œ .œ
1> J1> Jy 1
>1> Jy
!
!
!
8
!
!
œ
jœ Œ j
œ ‰ ‰ jœ
1>
y y 1> Jy J1> y
!
!
!
9
!
Blito-Slip-Jig
11
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
.œ>j
œœ> œ>
jœ
1> J1> Jy 1
>1> Jy
!
!
!
10
!
low log
!
œ
jœ Œ j
œ Œ jœ
Œ . Œ . Œ .
!
!
œ
jœ .˙
11
œ Jœ .˙
pizz.
A
F
F
pizz.
!
‰ œ ‰ œ .œ
Œ . Œ . Œ .
!
!
œ
jœ .˙
12
œ Jœ .˙
Blito-Slip-Jig
12
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
œ
jœ Œ j
œ ‰ ‰ jœ
1>
y y 1> Jy J1> y
!
!
!
13
!
!
.œ>j
œœ> œ>
jœ
1> J1> Jy 1
>1> Jy
!
!
!
14
!
!
œ
jœ Œ j
œ ‰ ‰ jœ
1>
y y 1> Jy J1> y
!
!
œ
jœ .˙
15
œ Jœ .˙
Blito-Slip-Jig
13
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&
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
.œ>j
œœ> œ>
jœ
1> J1>
jy
œ
1>
1> Jy
!
!
œ
jœ .˙
16
œ Jœ .˙
kick drum
!
œ
jœ Œ j
œ Œ jœ
1>
y y 1
œ> Jy J1> y
!
!
!
17
!
!
‰ œ ‰ œ œj
œ
1> J1>
jy
œ
1>
1> j
1
œ
!
!
!
18
!
Blito-Slip-Jig
14
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
œ œ
x x
œ ‰ ‰ jœ
2
1
œ>y y 1
œ> Jy J1> y
!
!
!
19
!
rim(fill)
!
‰ œ ‰ œ .œ>æ
1> J1> Jy 1
> .1>
!
!
!
20
!
!
.œæ Ó .
!
!
!
.˙ .œ
21
.œ .˙
B
f
f
!
!
!
!
!
.œ .˙
22
.˙.œ
Blito-Slip-Jig
15
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
!
!
!
!
.˙ .œ
23
.œ .˙
!
!
!
!
!
.œ .˙
24
.˙ .œ
!
!
!
!
!
.˙ .œ
25
.œ .˙
!
!
!
!
!
.œ .˙
26
.˙.œ
!
!
!
!
!
.˙ .œ
27
.œ .˙
Blito-Slip-Jig
16
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
!
!
!
!
.œ.˙
28
.˙ .œ
!
!
.œ .œ .œ
!
!
.œ
jœ œ
œ
jœ
29
.œ .œ Jœ œ
C
more
more
low roto
p
!
!
.œ .œ .œ
!
!
.œ .œ
jœ œ
30
.œ Jœ œ .œ
!
!
’ ’ ’
!
!
.œ
jœ œ .œ
31
.œ .œ Jœ œ
Blito-Slip-Jig
17
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
!
’ ’ ’
!
!
.œ .œ
jœ œ
32
.œ Jœ œ .œ
!
!
’ ’ ’
!
!
.œ
jœ œ
œ
jœ
33
.œ
.œ Jœ œ
!
!
’ ’ ’
!
!
.œ .œ
jœ œ
34
.œ Jœ œ .œ
Blito-Slip-Jig
18
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&
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
!
’ ’ ’
!
!
œ
jœ .˙
35
œ Jœ .˙
!
!
’ ’ ’
!
!
œ
jœ .˙
36
œ Jœ .˙
!
!
jœ
œ
jœ
œ
jœ
œ
!
!
œ
jœ
jœ œ .œ>
37
.œ œ
>Jœ Jœ œ
D
p kick drum
low roto
Blito-Slip-Jig
19
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&
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?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
Œ . Œ . Œ Jx
jœ
œ
jœ
œ
jœ
œ
!
!
.œ œ>j
œ
jœ œ
38
œ Jœ Jœ œ .œ>
rim
!
!
«2
!
!
œ
jœ
jœ œ .œ>
39
.œ œ
>Jœ .œ
!
Œ . Œ . Œ Jx
!
!
.œ œ>j
œ .œ
40
œ Jœ œ œ œ.œ
>
Blito-Slip-Jig
20
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&
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Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
!
«2
!
!
œ
jœ
jœ
œ
.œ>
41
.œ
œ> j
œ
jœ
œ
!
x x Œ . Œ .2
!
!
.œ œ> jœ
jœ œ
42
œ Jœ Jœ œ .œ>
!
!
«2
!
!
œ
jœ .˙
43
œ Jœ .˙
(fill)
Blito-Slip-Jig
21
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&
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?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
‰ Jy
œ ‰ Œ jœ
‰œ
y
œ>
!
?
!
œ
jœ .˙
44
œ Jœ .˙
ride cym.
Bassoon
kick drum
!
x> Jx> Œ Jx> Œ Jx
.
.x
œJx
œ
.
.x
œ
œ œ œœ
œœ ‰ œ
>
!
.˙ .œ
45
.˙ .œ
E
F
rim
kick drum
rim
low roto
!
‰ x> ‰ x
> .x>
x
œœ
x ‰ x
œJx
œ
œ œ œœ œ
œ .œ
!
.˙ .œ
46
.˙ .œ
Blito-Slip-Jig
22
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&
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?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
«2
«2
‰ œ œ œ œœ. Jœ œ
>
!
!
47
!
!
œ œ œ Jœ œ.œ
!
!
48
!
!
«2
«2
œ œ œœ
œœ ‰ œ
>
!
!
49
!
Blito-Slip-Jig
23
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&
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?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
œ œ œ Jœœ .œ
!
!
50
!
!
«2
«2
‰ œ œ œ
œ œ Jœ œ
!
!
51
!
!
œ œ œ
œ œœ .œ
!
!
52
!
Blito-Slip-Jig
24
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ œ
œ
jœ
jœ
œ
«2
.
.x
œ Jx
œœ
.
.x
œ
Jœ œœ Jœ Jœ œ
!
!
53
.˙ .œ
F
pizz.
F
Fj
œ œœ>
jœ
.œ
x
œœ
x
œ
x
œ
Jxœ
Jœ œœ
>Jœ
.œ
!
!
54
.œ œ Jœ .œ
‰œ
œ
jœ
jœ
œ
«2
«2
‰ œœ Jœ Jœ œ
!
!
55
.˙ .œ
Blito-Slip-Jig
25
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ œ
œ>j
œ
.œ
Jœ œœ
>Jœ
.œ
!
!
56
.œ œ Jœ Jœ œ
‰ œ
œ Jœ Jœ œ
«2
«2
‰œ
œ Jœ Jœ œ
!
!
57
.˙ .œ
jœ œ œ œ
œ
jœ
œ
Jœ œ œ œ
œ Jœ œ
!
!
58
.œ œ Jœ Jœ œ
Blito-Slip-Jig
26
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ œ
œ
jœ
jœ
œ
«2
.
.x
œ Jx
œœ
.
.x
œ
Jœ œœ Jœ Jœ œ
!
œ
jœ
jœ œ .œ
59
.œ œ Jœ Jœ œ
pizz.
F
œj
œ œœ> œ
œ>‰
jœ
œj
œœ
œœ
y
>
œ
Jœ œœ>
œœ
> ‰
!
œ
jœ œ œ
œ
œ>
‰
60
.œ œ œ
œ
œ>
‰
Blito-Slip-Jig
27
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&
ã
ã
?
?
?
?
..
..
..
..
..
..
..
..
..
..Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
‰ jœ
‰ .œ> œ œ œ
x
>x x x
> jx
jx
>x
z Jz Œ Jz Œ Jz
jœ
œ
jœ
œ
jœ
œ
‰ Jœ ‰ .œ
>œ œ œ
!
.œ œ
jœ
jœ œ
61
œ Jœ Jœ œ> .œ
f
f
G
f
Master
f
F
F cowbell
œ>œ œ œ
œ>œ .œ>
x
> jx
> jx x
>x
> jx‰ z ‰ z .z
jœ
œ
jœ
œœ
œ
x
œ
> œ œ œœ> œ .œ
>
!
œ
jœ
jœ œ
.œ
62
.œ œ> Jœ Jœ œ
>
rim
Blito-Slip-Jig
28
![Page 29: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/29.jpg)
&
ã
ã
?
?
?
?
..
..
..
..
..
..
..
..
..
..Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
‰ jœ
‰œ
‰ œ œ
> œ œ
x
>x x x
> jx
jx
>x
z Jz Œ Jz Œ Jz
jœ
œj
œœ
jœ
œ
‰ Jœ ‰ œ ‰ œ œ>
œ œ
!
.œ œ
jœ
jœ œ
63
œ Jœ Jœ œ> .œ
1.
œ
œ œ> œ œ œ œ>>
œœ
x
> jx
> jx x
>x
> jx‰ z ‰ z .z
jœ
œj
œœ
œœ
y
>
œ
œ œ>
œ œ œ œ>>
œœ
!
œ> jœ>
jœ œ>
œ> œ œ
64
.œ œ> Jœ Jœ œ
>
Blito-Slip-Jig
29
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
2.
œ
œ> œœ
œ
>œ œ
> œœ
x
> jx
> jx x
>x
> jx‰ z ‰ z .z
jœ
œj
œœ
jy
œ> œ
œ
œ>
œœ
œ> œ œ
>œ
œ
!
œ œ œ
œ
> jœ
> jœ œ
>
65
.œ œ> Jœ Jœ œ
>
arco
f
‰ Jœ ‰ .œ>
œ œ œ
x
>x x x
> jx
jx
>x
œ Jz Œ JœŒ Jz
jœ
œj
œœ
jœ
œ
‰ Jœ ‰ .œ
>œ œ œ
.œ.œ .œ
.œ.œ
> .œ
66
œ> œ
œ Jœ œ> .œ
Single Bass
H
f
Blito-Slip-Jig
30
![Page 31: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/31.jpg)
&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ> œ œ œ
œ> œ .œ
>
x
> jx
> jx x
>x
> jx
‰ z ‰ œz
Jœ
jœ
œœ
œœ œ
œœ
œ
> œ œ œœ> œ .œ
>œ>
Jœ>
Jœ œ>.œ
œ>
Jœ>
Jœ œ>.œ
67
.œ œ> Jœ Jœ œ
>
‰ Jœ ‰ œ ‰ œ œ>
œ œ
x
>x x x
> jx
jx
>x
œ Jz Œ JœŒ Jz
jœ
œ
jœ
œ
jœ
œ
‰ Jœ ‰ œ ‰ œ œ>
œ œ
.œ.œ .œ
.œ.œ
> .œ
68
œ> œ
œ Jœ œ> .œ
Blito-Slip-Jig
31
![Page 32: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/32.jpg)
&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ
œ œ>
œ œ œ œ>>
œœ
x
> jx
> jx x
>x
> jx
‰ z ‰ œz
Jœ
jœ
œœ
œœ œ
œœ
œ
œ œ>
œ œ œ œ>>
œœ
œ Jœ Jœ œ
œ
œ œ
œ>
Jœ>
Jœ œ> œ> œ œ
69
.œ œ> Jœ Jœ œ
>
‰ Jœ ‰ .œ>
œ œ œ
x
>x x x
> jx
jx
>x
œ Jz Œ JœŒ Jz
jœ
œ
jœ
œ
jœ
œ
‰ Jœ ‰ .œ
>œ œ œ
.œ.œ .œ
.œ .œ> .œ
70
œ> œ
œ Jœ œ> .œ
Blito-Slip-Jig
32
![Page 33: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/33.jpg)
&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ
> œ œ œœ> œ .œ
>
x
> jx
> jx x
>x
> jx
‰ z ‰ œz
Jœ
jœ
œœ
œœ œ
œœ
œ
> œ œ œœ> œ .œ
>œ>
Jœ>
Jœ œ>.œ
œ>j
œ>j
œ œ> .œ
71
.œ œ> Jœ Jœ œ
>
‰ Jœ ‰ œ ‰ œ œ>
œ œ
x
>x x x
> jx
jx
>x
œ Jz Œ JœŒ Jz
jœ
œ
jœ
œ
jœ
œ
‰ Jœ ‰ œ ‰ œ œ>
œ œ
.œ.œ .œ
.œ .œ> .œ
72
œ> œ
œ Jœ œ> .œ
Blito-Slip-Jig
33
![Page 34: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/34.jpg)
&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
Jœœ> œ
> œ œ>
œ œ>
œ
x
> jx
> jx x
> .x
‰ z ‰ œ.z
jœ
œœ
œœ
‰œ
Jœœ> œ
> œ œ>
œ œ>
œ
œj
œ
œ Jœ Jœ œ
œ Jœ œ> Jœ> Jœ œ
>
73
.œ œ> Jœ> Jœ œ
>
(fill)
.>Œ .
x> Jx> Œ Jx> Œ Jx
jœ
œ
jœ
œœ
œœ
.˙
> Œ . &
.˙ Œ .
.œ0
.o
74
.œ .œ .œ
œ œ œ
jœ ‰ ‰
œœ
œœ œ œ
‰ x> ‰ x
> .x>
jœ
œœ
jœ
‰œ
œ œ œ
jœ ‰ ‰
œœ
œœ œ œ
’ ’ ’
!
75
.œ œ Jœ .œ
F G
F G
F
F
P
Bassoon
Bass player may play chord changes instead
P
P
(optional comping)
Blito-Slip-Jig
34
![Page 35: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/35.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ œ œœ
œœ
‰œ>
x> Jx> Œ Jx> Œ Jx
.œ
jœ
œ .œ
œ œ œœ
œœ
‰œ>
’ ’ ’
!
76
.œ .œ .œ
Cmaj9
Cmaj9
I
œ œ œœ œ
œ .œ
‰ x> ‰ x
> .x>
jœ
œœ
jœ
‰œ
œ œ œœ œ
œ .œ
’ ’ ’
!
77
.œ œ jœ
jœ
œ
Fmaj9(#11)
Fmaj9(#11)
‰ œ œ œ œœ. Jœ œ>
«2
«2
‰ œ œ œ œœ. Jœ œ>
’ ’ ’
!
78
.œ œ Jœ( ) .œ
>
E-
E-
Blito-Slip-Jig
35
![Page 36: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/36.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ œ œ
jœ
œ .œ
œ œ œ
jœ
œ .œ
’ ’ ’
!
79
.œ œ Jœ Jœ œ
Fmaj7 G
Fmaj7 G
œ œ œœ
œœ
‰œ>
«2
«2
œ œ œœ
œœ
‰œ>
’ ’ ’
!
80
.œ .œ .œ
Cmaj9
Cmaj9
œ œ œ
jœ
œ .œ
œ œ œ
jœ
œ .œ
’ ’ ’
!
81
.œ œ jœ
jœ
œ
Fmaj9(#11)
Fmaj9(#11)
Blito-Slip-Jig
36
![Page 37: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/37.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
‰ œ œ œ
œ œ Jœ œ
«2
«2
‰ œ œ œ
œ œ Jœ œ
’ ’ ’
!
82
.œ œ Jœ( ) .œ
>
E-
E-
œ œ œ
œ œœ .œ
œ œ œ
œ œœ .œ
’ ’ ’
!
83
.œœ Jœ Jœ œ
Fmaj7 C
Fmaj7 C
jœ œ
œ
jœ
jœ
œ
œ
jœ Œ j
œ Œ jœ
«2
jœ œ
œ
jœ
jœ
œ
’ ’ ’
.˙ .œ
84
.˙ .œ
D-9
D-9
J
F
arco
F
Blito-Slip-Jig
37
![Page 38: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/38.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ œ
œ>j
œ
.œ
‰ œ ‰ œ .œ
jœ œ
œ>j
œ
.œ
’ ’ ’
.œ œ
jœ
jœ œ
85
.œ œ Jœ Jœ œ
Fmaj69
Fmaj69
‰œ
œ
jœ
jœ
œ
«2
«2
‰œ
œ
jœ
jœ
œ
’ ’ ’
.˙ .œ
86
.˙ .œ
D-9
D-9
jœ œ
œ> Jœ œ
> œœ
jœ œ
œ> Jœ œ
> œœ
’ ’ ’
.œ œ
jœ
jœ œ
87
.œ œ Jœ Jœ œ
Fmaj69
Fmaj69
Blito-Slip-Jig
38
![Page 39: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/39.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ œ
œ
jœ
jœ
œ
«2
«2
jœ œ
œ
jœ
jœ
œ
’ ’ ’
.˙ .œ
88
.˙ .œ
D-9
D-9
dim.
jœ œ
œ> Jœ œ
œœ
jœ œ
œ> Jœ œ
œœ
’ ’ ’
.œ œ
jœ
jœ œ
89
.œ œ Jœ Jœ œ
Fmaj69
Fmaj69
jœ œ
œ œ
œ
jœ
œ
œ
jœ Œ j
œ Œ jœ
jœ
œ
jœ
œ
jœ
œ
jœ œ
œ œ
œ
jœ
œ
Jœ œ
œ œ
œ Jœœ
.˙
Œ ‰
90
.˙ .œ
Double Bass
Blito-Slip-Jig
39
![Page 40: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/40.jpg)
&
ã
ã
&
?
?
?
..
..
..
..
..
..
..
..
..
..Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
.˙ Œ ‰
‰ œ ‰ œ .œ
.˙
Œ .
.˙ Œ .
.˙
Œ .
jœ œ œ>
jœ>
jœ œ>
91
.˙
.œ
>p
pizz.
(fill)
’ ’ ’
x
œ
>x x x
> JxJx
œ
>x
zœ
z ‰ œz ‰ œ
z
’ ’ ’
’ ’ ’
œ
jœ
jœ œ .œ>
92
.œ œ
>Jœ Jœ œ
E-
E-
K
f
f
f
fcowbell
high roto
kick drum
Solo SectionBlito-Slip-Jig
40
![Page 41: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/41.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
’ ’ ’
x>
Jx
œ
> Jx x>
x>
œ
x
‰ zœ ‰ z
œ Jz œ
’ ’ ’
’ ’ ’
.œ œ>j
œ
jœ
œ
93
œ Jœ Jœ œ.œ
>
D-
D-
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ
jœ œ
.œ>
94
.œ œ
>Jœ Jœ œ
E-
E-
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œ œ>j
œ
jœ
œ
95
œ Jœ Jœ œ .œ>
B- F
B- F
Blito-Slip-Jig
41
![Page 42: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/42.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ
jœ œ .œ>
96
.œ œ> Jœ Jœ œ
G
G
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œ œ>j
œ
jœ œ
97
œ Jœ Jœ œ.œ
>
G
G
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ
jœ œ .œ>
98
.œ œ
> Jœ Jœ œ
F
F
Blito-Slip-Jig
42
![Page 43: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/43.jpg)
&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œœ>
jœ
jœ
œ
99
œ Jœ Jœ œ .œ
>
F
F
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ
jœ œ .œ>
100
.œ œ
>Jœ Jœ œ
D-
D-
L
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œ œ>j
œ
jœ œ
101
œ Jœ Jœ œ .œ>
F C
F C
Blito-Slip-Jig
43
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ
jœ œ .œ>
102
.œ œ
>Jœ .œ
D-
D-
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œ œ>j
œ .œ
103
œ Jœ œ œ œ.œ
>
F
F
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ
jœ
œ
.œ>
104
.œ
œ> j
œ
jœ
œ
C G
C G
Blito-Slip-Jig
44
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&
ã
ã
&
?
?
?
..
..
..
..
..
..
..
..
..
..Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œ œ> jœ
jœ œ
105
œ Jœ Jœ œ .œ>
A- G
A- G
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
.œ .˙
106
.œ.˙
E- F
E- F
(fill)
(fill)
1.
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
’ ’ ’
œ
jœ .˙
107
œ Jœ .˙
E- D-
E- D-
Blito-Slip-Jig
45
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
2.
‰œ. œ.
jœ. ‰ œ œ
’ ’ ’
’ ’ ’
‰œ. œ.
jœ. ‰ œ œ
‰ œ. œ. Jœ. ‰ œ œ
œj
œ .˙
108
œ Jœ .˙
Master
ƒ
ƒ
Double Bass
.œ .œ .œ
z
>Å Å z
> jÅ
jz
>Å.œ .œ .œ
zœ
z ‰ œz ‰ œ
z
.œ .œ .œ
.˙ .œ
.˙.œ
109
.˙.œ
M
arco
ƒ
ƒ
arco
f
f
cowbell
Blito-Slip-Jig
46
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
.œ œb >Jœb >
Jœ œb >
z
> jz
> jÅ z
>z
> jÅ.œ .œ .œ
‰ zœ ‰ z
œ Jz œ
.œ œb> Jœb
> Jœ œb>
.˙# .œ
.˙b œ-
Jœ-
110
.˙# œ# Jœ
œ œœ> œ œ. ‰
œ>j
œ
«2
«2
œ œnœ> œ œ. ‰
œ>j
œ
.˙ .œ
.˙n .œ
111
.˙n .œ
Blito-Slip-Jig
47
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ> œœ œ
jœ œ> œ
œ
œ> œœ œ
jœ œ> œ
œ
.œ œ Jœ Jœ œ
.œ œ Jœ Jœ œ
112
.œ œ Jœ Jœ œ
.œ> .œ
> .œ>
«2
«2
.œ
>.œ
>.œ
>.˙
.œb
.œ .œ .œ .œ
113
.˙ .œ
œ>
œ œb œb > ‰ œb . ‰ jœb > ‰
œ
>œ œb œb
>‰ œb
.‰ j
œb> ‰
.œb œ Jœ Jœ œ
.˙b .œb
114
.˙b .œb
Blito-Slip-Jig
48
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
‰ jœn fl
‰ .˙>
y
>Å Å z
> jÅ z
>Å
y
.œ .œ .œ
y
œœ
z ‰ œz ‰ œ
y
œ
‰ jœn fl
‰ .˙
>
.˙
.œb
.œn œ> Jœ> Jœ œb >
115
œn >j
œ>j
œ œ> .œb
‰ jœfl
‰ .˙>
z
> jz
> jÅ z
>z
> jÅ.œ .œ .œ
‰ zœ ‰ z
œ Jz œ
‰ jœfl
‰ .˙
>
.˙.œ
œ> Jœ> Jœ œb > .œ
116
.œ œ>j
œb >j
œœ
>
Blito-Slip-Jig
49
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
‰ jœfl
‰ .˙>
y
>Å Å z
> jÅ z
>Å
y
.œ .œ .œ
y
œœ
z ‰ œz ‰ œ
y
œ
‰ jœ
œfl‰ .
.˙
˙>.˙
.œb
.œn œ> Jœ> Jœ œb >
117
œn >j
œ>j
œ œ> .œb
‰ jœfl
‰ .˙>
z
> jz
> jÅ z
>z
> jÅ.œ .œ .œ
‰ zœ ‰ z
œ Jz œ
‰ jœ
œfl‰ ..˙
˙>?
œ
jœ
jœ œ
.œ
œ> Jœ> Jœ œb > .œ
118
.œ œ>j
œb >j
œœ
>
Blito-Slip-Jig
50
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ œ œœ
œœ. œ>
1 y 1 1 Jy y y 1
!
œ œ œœ
œœ. ‰ œ
>
!
!
119
!
N
ƒ
ride cym.
(fill)
‰ œ œœ œ
œ .œ
1 J1 Jy 1 .1
Œ . Œ . Œœ> œ>
‰ œ œœ œ
œ .œ
!
!
120
!
ƒ
‰ œ œ œ œœ. Jœ œ>
1z
>y y
z1>
Jyz 1>
yz
jœ>
œ jœ
œ jœ
œ
‰ œ œ œ œœ. Jœ œ
>
!
.œ-
œ
>Jœ. ‰ œ
.
121
œ- Jœ. ‰ œ
. .œ
>
Blito-Slip-Jig
51
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ œ œ
jœ
œ .œ
1> J1> Jyz 1
>1z
>z
y
jœ
œ jœ
œ
jœ
œ
œ œ œ Jœ œ .œ
!
œ-
Jœ. ‰ œ
. .œ>
122
.œ-
œ> Jœ. ‰ œ
.
œ
jœ
jœ œ œ Jœ
«2
«2
.œ>
Jœ œ>
œ Jœ
!
.œ-
œ> Jœ. ‰ œ œ
123
.œ Jœ œ.
œ>
œ œ
Jœ œ œ Jœb Jœ œ
.œ>
Jœ œb>
œ
Jœ
!
œ Jœb . ‰ œ. .œ
>
124
.œ œb >Jœ. ‰ œ
.
Blito-Slip-Jig
52
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
œ Jœ Jœ œ œ Jœ
«2
«2
.œ œ Jœ Jœ œ
!
.œ-
œ
>Jœ. ‰ œ
.
125
œ-
Jœ. ‰ œ
. .œ
>
œ œ œ Jœ œ œ œ
œ
œ œ œ Jœ œ œ œ
œ
!
œ
-Jœ. ‰ œ
. .œ>
126
.œ
-œ> Jœ. ‰ œ
.
Jœ>
œœ
> Jœ> .œ
«2
«2
Jœ>
œœ
>Jœ> .œ
!
.œä .œ
ä .œä
127
.œ
ä .œ
ä .œ
ä
OBlito-Slip-Jig
53
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&
ã
ã
?
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
!
! &
!
.œ"
œ>#
œ œ>
œ ‰ œ
128
.œ
"
œ
>#œ œ
>œ ‰ œ
Jœ>
œœ> >
«2
«2
jœ> œ
œ> ˙>!
.œä .œ
ä .œä
129
.œ
ä .œ
ä .œ
ä
!
!
!
.œ"
œ>#
œ œ>
œ ‰ œ
130
.œ
"
œ
>#œ œ
>œ ‰ œ
Blito-Slip-Jig
54
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ> œ
œ>j
œ> .œ
«2
«2
jœ> œ
œ>j
œ> .œ
Jœ>
œœ
>Jœ> .œ
œ! Jœ>
"
œ œ œ>
œ ‰ œ
131
œ
!
Jœ>"
œ œ œ
>œ ‰ œ
Double Bass
cresc.
cresc.
cresc.
cresc.P
P
cresc.
cresc.
‰œ. .œ> .œ>
‰œ. .œ
>.œ
>
‰ œ
. .œ
> .œ
>
.œ!
œ>"
œ œ>
œ ‰ œ
132
.œ
!
œ
>"œ œ
>œ ‰ œ
Blito-Slip-Jig
55
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&
ã
ã
&
?
?
?
Ob.
Perc. I
Perc. II
Vc.
Bass
Acc.
jœ> œ
œ>j
œ> .œ
1z
>y y
z1>
Jyz 1>
yz
jœ
œ jœ
œ jœ
œ
jœ> œ
œ>j
œ> .œ
Jœ>
œœ
>Jœ> .œ
œ Jœ> œ œ œ>
œ ‰ œ
133
œ Jœ>
œ œ œ
>œ ‰ œ
‰ œ. .œ
>œ> ‰
1> J1> Jyz 1
>1z
> ‰
jœ
œ
œ
œ
œ œ œ>‰
‰ œ
œ
. ..œ
œ>œ
œ>‰
‰ œ. .œ
>œ
>‰
.œ œ>
œ œ œ>
‰
134
.œ œ
>œ œ œ
> ‰
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
Blito-Slip-Jig
56
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
22
22
22
22
22
22
22
22
22
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..Oboe
Cello
Double Bass
Accordion
Marimba II
Marimba I
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙!
˙"
˙ ˙
˙! ˙"
1
˙! ˙"
h = 60
P
P
P
P
arco
arco
P
P
Even, with Momentum
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
2
˙ ˙
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
3
˙ ˙
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
4
˙ ˙
57
Measured Rain
Nate Bliton
© Nate Bliton
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
!
!
˙ ˙
5
˙ ˙
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
!
!
˙ ˙
6
˙ ˙
!
˙ ˙˙ ˙
˙ ˙˙ ˙
!
!
˙ ˙
7
˙ ˙
!
˙ ˙˙ ˙
˙ ˙˙ ˙
!
!
˙ ˙
8
˙ ˙
!
˙ ˙˙ ˙
˙ ˙˙ ˙
!
!
!
9
˙ ˙
Measured Rain
58
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
!
˙ ˙˙ ˙
˙ ˙˙ ˙
!
!
!
10
!
!
œœ œœ œœ œœ œ3
˙ œ œ
˙ ˙˙ ˙
!
!
!
!
A
!
œœ œ œœ œœ œœ3
œ œ ˙
˙ ˙˙ ˙
!
!
!
12
!
!
œœ œœ œœ œœ œ3
˙ œ œ
˙ ˙˙ ˙
!
!
!
13
!
Measured Rain
59
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
!
œœ œ œœ œœ œœ3
œœ
œ œ œ3
˙ ˙œœ œ ˙
!
!
!
14
!
!
œœ œœ œœ œœ œ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ3
˙ œ œ
!
!
!
15
!
!
œœ œœ œœ œœ œœ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œœ3 3
œ œ œ ˙3
!
!
!
16
!
!
œ œ œ œ œ3œ œ œ œ œ œ3
œœ œ œœ œœ œœ3
œœ
œ œ œ3
!
!
!
17
!
Measured Rain
60
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
!
œœ œœ œœ œœ œ3
œ œ œ œ œ3
œ œ œ œ œœ3
œ œ œ œ œ3
!
Ó ˙
!
18
!
PSingle Bass
!
œœ œœ œœ œœœ œ œ œ
œ œ œœ œœ œœ3
œ œ œ œ œ3
!
w
!
19
!
B
!
œœ œœ œœ œœ œœ œœ3 3
œ œ œ œ œ œ3 3
œœ œ œœ œ
œ œ œ œ
!
w
!
20
!
!
œ œ œœ œœ œ œ œ
œœ œœ œœ œœ œœ œœ3 3
œ œ œ œ œ œ3 3
!
˙ ˙
!
21
!
Measured Rain
61
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
!
œœ œœ œœ œœ œœ œœ3 3
œ œ œ œ œ œ3 3
œ œ œœ œœ œœ œœœ œ œ œ œ œ
!
.˙ œn
!
22
!
!
œ œ œœ œœ œ œ œ
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
!
w
!
23
!
!
œœ œœ œœ œœ œœ œœ3 3
œ œ œ œ œ œ3 3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
!
˙ ˙
!
24
!
!
œœ œ œœ œœ œ œ œ
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
!
˙ ˙
!
25
!
Measured Rain
62
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#
#
#
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Vc.
Bass
Acc.
Mba. II
Mba. I
!
œœ œœ œœ œœ œœ œœ3 3
œ œ œ œ œ œ3 3
œœ œœ œœ œœ œœ œ œ3
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!
.˙ œ
!
26
Ó ˙
p
p
Ppizz.
!
œœ œœ œœ œœ œ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
Ó œb œ œ3
w
!
27
˙ ˙
F
C
Bassoon
!
œœ œ œœ œœ œœ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
ww
!
28
˙ ˙
!
œœ œœ œœ œœ œ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
œ ˙ ˙ œ33
w
!
29
˙ ˙
Measured Rain
63
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#
#
#
#
#
#
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Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
!
œœ œ œœ œœ œœ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
˙ œ œ œ œ.˙ œn
!
30
˙ œ œ
!
˙ ˙
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œœ œ3
Œ Œ œ œ œ3w
!
31
˙ ˙
f
!
œœ œœ œœ œœ œœ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ3
w
!
32
˙ ˙
Measured Rain
64
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#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
!
œœ œœ œœ œœ œœ œ
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
œ ˙ ˙ œ3 3
w
!
33
˙ ˙
p
!
œœ œ œœ œœ œœ3
œ œ œ œ œ3
˙ œœ œœœ œ œ œ œ œ œ
3
˙ œ œ œ œ˙ ˙
!B
34
˙ ˙
f
˙ ˙
˙ ˙
˙ œ œ
Œ œœ œœ œœ œœ œœ œœ3
˙ œ œ
Ó œb œ œ3
w
Óœb " œ œ
3
35
˙ ˙
D
Master
f
f
P
F
Measured Rain
65
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&?
B
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ œ œ- œ- œ-3
œœ œœ œœ œœ œœ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œœ3
Œ œ œ œ œ œ œ3
ww
w
36
˙ ˙
p
œ< œ< œ< œ< œ< œ
œœ œœ œœ œœ œœ œœœ œ œ œ œ
3
œœ œœ œœ œœ œœ œœ3
œ œ œ œ œ œ œ3
œ œ ˙ œ3
w
œ œ ˙ œ3
37
˙ ˙
p
cresc.
f
œ< œ œ- œ- œ-3
œœ œœ œœ œœ œœ3
œ œ œ œ œ3
œœ ˙ œœ œœ œœ œœ3
œ œ œ œ œ œ œ3
˙ œ œ œ œ.˙ œn
˙ œ œ œ œ
38
œ œ ˙
Measured Rain
66
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B
?
#
#
#
#
#
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#
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Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ- œ- œ- œ< œ3
œœ œœ œœ œœ œ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
Œ Œ œ œ œ3w
Œ Œœ œ œ
3
39
˙ ˙
p
œ< œ œ- œ- œ-3
œœ œ œœ œœ œœ3
œ œ œ œ œ3
œœ œœ œœ œœ œœ œ œ3
œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ3
wœ œ œ œ œ œ œ
3
40
˙ ˙
œ- œ- œ- œ< œ3
˙ œœ œœ œ3
˙ œ œ œ3
˙ œœ œœ œœ œ œ3
˙ œ œ œ œ œ3
˙ œ œ œ3
w˙ œ œ œ
3
41
˙ ˙
Measured Rain
67
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B
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ< œ œ- œ- œ-3
..œœjœ œ œ œ
3
.œ jœ œ œjœœ ..œœ œœ œœ œ œjœ .œ œ œ œ œ
œ œ œ Œ˙ ˙œ œ œ Œ ?
42
˙ ˙
Fœ- œ- œ- œ< œ<
3
!
˙ œ œ œ3
˙ œ œ œ3
!
œ œ œ œ œ œ3
œ œ ˙
œ œ œ œ œ3
43
˙ ˙
E
subito p
subito p
subito p
subito p
subito p
Double Bass
f
œ< œ< œ- œ- œ-3
!
œ œ ˙ œ3
œ œ ˙ œ3
!
jœ œ jœ œ œ œ3
˙ œ œ
œ œ œ œ œ3
44
˙ ˙
Measured Rain
68
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ- œ- œ- œ< œ<3
!
˙ œ œ œ3
˙ œ œ œ3
!
œ œ œ œ œ3
œ œ ˙
œ œ œ œ œ3
45
˙ ˙
œ< œ< œ- œ- œ-3
!
œ œ ˙ œ3
œ œ ˙ œ3
!
œ œ œ ˙ Œ
w
œ œ œ œ œ3
46
˙ ˙
œ- œ- œ- œ< œ<3
jœ œ jœ œ ˙3
Jœ œ Jœ œ ˙3
˙ ˙˙ ˙
Œ œ œ ˙3 ?
˙ ˙
˙ œ œ œ3
47
œ œ œ œ œ3
Measured Rain
69
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#
#
#
#
##
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ< œ< œ- œ- œ-3
jœ .œ ˙ œ3
Jœ .œ ˙ œ3
jœ .œ ˙
Jœ .œ ˙
‰ œ œ œ œ ˙3
˙ ˙
œ œ œ œ œ œ3 3
48
œ œ œ œ œ3
œ< - œ< -3 3
jœ .œ œ ˙3
Jœ .œ œ ˙3
˙ ˙˙ ˙
œ œ œ œ œ œ3
w
˙ ˙ œ3
49
˙ ˙ œ3
dim.
dim.
dim.
dim.
dim.
˙ Ó
œ ˙ ˙ œ3 3
œ ˙ ˙ œ3 3
˙ ˙ œ3
˙ ˙ œ3
œ œ œ œ œ Œ &
w
œ ˙ ˙3
50
œ ˙ ˙3 !
Measured Rain
70
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#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
Ó œb œ œ3
!
œœ œœ œœ œœ œœ œœ3
3
˙ ˙˙ ˙
Ó œb œ œ3
Ó œb œ œ3
Ó œb " œ œ3
51
˙ ˙
F
#
p
Bassoon
f
F
F
w
!
œœ œœ œœ œœ œœ œœ œœ œœ
˙ ˙˙ ˙
ww
w
52
˙ ˙
œ ˙ ˙ œ33
!
œœ œœ œœ œœ
œœ
œœ
3
3
˙ ˙˙ ˙
œ ˙ ˙ œ33
œ ˙ ˙ œ3
3
œ ˙ ˙ œ3
3
53
˙ ˙
Measured Rain
71
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&
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#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
˙ œ œ œ œ
!
œœ œœ œœ œœ œœ œœ œœn œœ
˙ ˙˙ ˙
˙ œ œ œ œ˙ œ œ œ œ
˙ œ œ œ œ
54
˙ œ œn
œ Œ œ œ œ3
!
œœ# œœ œœ œœ œœ œœ3
3
˙ ˙˙ ˙
œ Œ œ œ œ3œ Œ œ œ œ3
œ Œ œ œ œ3
55
w#
cresc.
œ œ œ œ œ œ œ
!
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˙ ˙˙ ˙
œ œ œ œ œ œ œœ œ œ œ œ œ œ
œ œ œ œ œ œ œ
56
.˙ œ
Measured Rain
72
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ ˙ ˙ œ3 3
!
œœ œœ œœ œœ œœ œœ3 3
˙ ˙˙ ˙
œ ˙ ˙ œ3 3
œ ˙ ˙ œ3 3
œ ˙ ˙ œ3 3
57
w
.˙ Œ
!
..˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
58
.˙ Œ
F
no rubato
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
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59
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G
f
f
f
f
f
f
pizz.
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˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
60
˙ ˙ ˙3
˙ ˙ ˙3
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˙ ˙ ˙3
˙ ˙ ˙3
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˙ ˙ ˙3
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61
˙ ˙ ˙3
Measured Rain
73
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
62
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
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˙ ˙ ˙3
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˙ ˙ ˙3
63
˙ ˙ ˙3
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˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
64
˙ ˙ ˙3
˙b ˙ ˙3
w˙ ˙ ˙
3
˙ ˙ ˙3
!
Ó œb œ œ3
w
w
65
wP
F
F
arco
H
P
arco
P
P
Measured Rain
74
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
˙ ˙
!
˙ ˙ ˙3
˙ ˙ ˙3
!
ww
w
66
w
œ œ ˙
!
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!
œ ˙ ˙ œ3 3
w
w
67
w
œ œ œ œ œ Œ
!
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ œ œ œ œ
.˙ œn
w
68
w
œ œ œ œ œ œ œ3
3
!
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
Œ Œ œ œ œ3
w
w
69
w
cresc.
Measured Rain
75
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ œ œ œ ˙3
!
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3œ œ œ œ œ œ œ3
ww
70
w
˙ œ ˙3
!
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
œ ˙ ˙ œ3 3
ww
71
wf
f
F
œ œ œ œ Ó
Ó Œ œ œ
˙( )
œœ( )œœ( )
œ œ3
Ó Ó ˙3
˙( )
˙( )
˙3
˙ œ œ œ œ
˙ ˙˙ ˙
72
˙ ˙
Measured Rain
76
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&?
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#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œb œ œ ˙3
w
˙ ˙ ˙3
˙ ˙ ˙3
w
Ó œb œ œ3
w
œ œ œ œ œ3
73
w
I
P
F
P
P
˙ œ œ
!
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!
ww
œ œ œ œ œ3
74
w
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!
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!
œ œ ˙ œ3
w
œ œ œ œ œ3
75
˙ ˙
Measured Rain
77
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#
#
#
#
#
#
#
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Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ œ œ œ œ Œ
!
˙ ˙ ˙3
˙ ˙ ˙3
!
˙ œ œ œ œ
.˙ œn
œ œ œ œ œ3
76
w
œ œ œ œ œ œ œ3
3
˙ ˙ ˙3
w
w˙ ˙ ˙
3
Œ Œ œ œ œ3
w
œ œ œ œ œ3
77
wf dim.
œ œ œ ˙
˙ ˙ ˙3
!
!
˙ ˙ ˙3œ œ œ œ œ œ œ3
w
œ œ œ œ œ3
78
w
Measured Rain
78
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ œ œ œ œ3
˙ ˙ ˙3
!
!
˙ ˙ ˙3
˙ œ œ œ3
w
˙ œ œ œ3
79
wF cresc.
cresc.
cresc.
˙ Ó
˙ ˙ ˙3
!
!
˙ ˙ ˙3
œ œ œ Œ˙ ˙œ œ œ œ œ
3
80
˙ ˙
œ œ œ œ œ œ3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
œ œ œ œ œ œ3
œ œ ˙œ œ œ œ œ œ
3
81
œ œ œ œ œ3
f
f
fpizz.
J
f
F
F
Jœ œ jœ œ œ œ3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
Jœ œ jœ œ œ œ3
˙ œ œ
Jœ œ Jœ œ œ œ3
82
œ œ œ œ œ3
Measured Rain
79
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ œ œ œ œ3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
œ œ œ œ œ3
œ œ ˙œ œ œ œ œ
3
83
œ œ œ œ œ3
cresc.
cresc.
œ œ œ ˙ Œ
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
œ œ œ ˙ Œ
wœ œ œ ˙ Œ
84
œ œ œ œ œ3
Œœ œ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
Œ œ œ ˙3
˙ ˙
Œ œ œ ˙3
85
˙ œ œ œ3
f
f
Measured Rain
80
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
‰ œ œ œ œ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
‰ œ œ œ œ ˙3
˙ ˙
‰ œ œ œ œ ˙3
86
œ œ œ œ œ3
œ œ œ œ œ œ3
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ œ œ3
w
œ œ œ œ œ œ3
87
˙ ˙ œ3
dim.
dim.
œ œ œ œ œ Œ
œ œ œ œœ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ œ œ Œ
w
œ œ œ œ œ Œ
88
œ ˙ ˙3
Measured Rain
81
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
Ó œb œ œ3
˙ ˙ ˙3
!
!
˙ ˙ ˙3
ww
Ó œb " œ œ3
89
w
K
p
F
Farco
P
P
P
w
˙ ˙ ˙3
!
!
˙ ˙ ˙3
ww
w
90
w
œ ˙ ˙ œ3 3
˙ ˙ ˙3
!
!
˙ ˙ ˙3
ww
œ ˙ ˙ œ3
3
wdim.
˙ œ œ œ œ
˙ œ œ œ œ œ3
˙ œ œ œ œ œ3
˙ ˙ ˙3
˙ ˙ ˙3
w.˙ œn
˙ œ œ œ œ
92
w
P
F
Measured Rain
82
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
œ Œ œ œ œ3
w˙ ˙ ˙
3
˙ ˙ ˙3
w
ww
œ Œ œ œ œ3
93
w
cresc.
œ œ œ œ œ œ œ
!
˙ ˙ ˙3
˙ ˙ ˙3
!
w.˙ œ
œ œ œ œ œ œ œ
94
w
œ ˙ ˙ œ3 3
ww
ww
ww
œ ˙ ˙ œ3 3
95
w
dim.
dim.
F
˙ ˙
ww
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ ˙
96
˙ Ó"
Measured Rain
83
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&
&?
&?
&?
?
?
#
#
#
#
#
#
#
#
#
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..Ob.
Vc.
Bass
Acc.
Mba. II
Mba. I
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
97
˙ ˙ ˙3
no rubato
p
p
p
p
P
P
˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙˙ ˙
˙ ˙
98
˙ ˙
3x ˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
˙ ˙ ˙3
w
ww
ww
ww
w
100
w
Measured Rain
84
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
22
22
22
22
22
22
22
22
22
22
23
23
23
23
23
23
23
23
23
23
Oboe
Viola
Cello
Double Bass
Marimba I
Marimba II
!
!
!
!
!
!
!
w
w
1
w
h = 55
P
P
Parco
arco
arco
Start Calmly, then Soar
!
!
!
!
!
!
!
w
w
2
w
˙ ˙
˙
!
!
!
!
!
!
w ˙
w ˙
3
w ˙
F
F
F
F.w
!
!
!
!
!
!
.w
.w
4
.w
85
Resting on a Stair
Nate Bliton
© Nate Bliton
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&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
22
22
22
22
22
22
22
22
22
22
23
23
23
23
23
23
23
23
23
23
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
!
!
!
!
!
!
w ˙
w ˙
5
w˙
p
p
p
˙ ˙
˙
˙
˙
˙
!
!
!
˙
˙
˙
˙
!
w
w
6
w
P
P
P
P
P
P
.˙ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
!
!
!
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
!
w
w
7
w
Resting on a Stair
86
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
23
23
23
23
23
23
23
23
23
23
22
22
22
22
22
22
22
22
22
22
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
w Ó
!
!
!
!
!
!
.w
.w
8
.w
˙b ˙b
˙
˙bb˙
˙
!
!
!
˙
˙
˙
˙
!
wb
wb
9
w
p
F
F
p
p
p
˙˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
!
!
!
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
!
w
w
10
w
Resting on a Stair
87
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
23
23
23
23
23
23
23
23
23
23
22
22
22
22
22
22
22
22
22
22
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
˙ ˙
œ
œ
œ
œ
˙
˙
!
!
!
œ
œ
œ
œ
˙
˙
!
w
w
11
w
f
f
cresc.
cresc.
cresc.
cresc.
˙ w
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œÓ
!
!
!
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ Ó
!
.w
.w
12
.w
˙ ˙
œ
œ
œ
œ
˙
˙
!
!
!
œ
œ
œ
œ
˙
˙
!
w
w
13
w
f
f
Resting on a Stair
88
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
23
23
23
23
23
23
23
23
23
23
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
˙ ˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
!
!
!
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
!
w
w
14
w
f
f
f
f
.˙ Œ
!
!
!
!
!
!
w
w
15
w
˙ ˙
˙
Ó ˙ ˙
!
!
!
!
!
œ œ w
˙ œ œ
˙
16
.w
A
dim.
f
F
Resting on a Stair
89
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
Jœ ‰ œ œ œ
˙
˙˙ œ œ
!
!
!
!
!
œœ
.˙œ
˙ œ œ
˙
17
.w
˙
œ œ œ
˙
Ó ˙ ˙
!
!
!
!
!
˙
˙
˙
.w
18
!
dim.
dim.
˙ Œœ œ
œ
œ
œ
œ ˙ œ œ
!
!
˙ ˙
˙
!
!
.w
!
19
!
F
Resting on a Stair
90
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œ
œ
œ
œ œ
œ
œ
˙˙ œ œ œ
!
!
˙ œ œ
˙
!
!
w ˙
!
20
!
F
œœ œ
œ œ œ
œ
œ
˙˙ œ œ œ
!
!
˙ œ œ œ
˙
!
!
˙ ˙ ˙
w ˙
21
!
F
dim.
Resting on a Stair
91
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œ œ œ
œ œ œ
œ
œ œ
œ
œœ
œ
œ œ œ
!
!
œ œ œ œ
œ
œœ
!
!
˙
˙ ˙
w œ œ
22
!
œ œ œ œ
œ œ œ
˙
œ
œœ
œ œ
œ œ œ
!
!
œ
œ œ œ
œ
œœ
!
!
˙ ˙ ˙
œ œ œ œ œ œ
œ œ œ
œ
23
!
f
F
Resting on a Stair
92
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
˙˙ ˙
œ
œœ
œ œ
œ œ œ
!
!
œ œ
œ œ œ
œ
œœ
!
!
œ ˙ œ ˙
œ œ œ œ œ œ
œ œ œ
œ B
24
!
dim.
dim.
w
Ӝ
œ œ œ œ œ œ
œ œ œ
!
!
œ œ
œ œ œ
œ
œ œ œ œ
!
!
œ œ œ œ œ
œ œ
w ˙
25
w ˙
f
pizz.
F
f
Resting on a Stair
93
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&
&?
ã
&?
ã
B
B
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
œ
œ œ œ œ œ œ
œ œ œ
!
!
œ œ
œ œ œ
œ
œ œ œ œ
!
!
œ œ œ œ œ
œ
œ œ œ œœb œ œ œ
26
wb ˙
f
!
œ
œ œ œ œ œ œ
œ œ œ
!
!
œ œ
œ œ œ
œ
œ œ œ œ
!
!
œ œ œ œ
œ œ
œ œ œ œ
˙ œ
27
˙ ˙ ˙
dim.
dim.
Resting on a Stair
94
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&?
ã
&?
ã
B
B
?
bb
bb
bb
bb
bb
bb
bb
bb
44
44
44
44
44
44
44
44
44
44
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
Ó Ó Œœ œ
œ
œ œ œ œ œ œ
œ œ œ
!
!
œ œ
œ œ œ
œ
œ œ œ œ
!
!
œ œ œ .œ .œ
˙ ˙ ˙ ?
28
˙˙ ˙
fœ œ œ œ .œ
jœ
w
w
!
!
!
w
w
!
.œ
.œœ
.˙œ
29
˙ ˙
B
P
P
Parco
p
p
(Œ = Œ)
œ œ
œ ‰œ œ œ
w
w
!
!
!
w
w
!
˙ ˙
˙ ˙
30
˙ ˙
Resting on a Stair
95
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œ œ
.˙
w
w
!
!
!
w
w
!
˙ ˙
˙˙
31
˙ ˙
F
F
F
F
F
œ œ œ œ œ
w
w
!
!
!
w
w
!
œ .˙
œ .˙
32
œ ˙
ƒœ œ œ œ
œ œ œ
w
w
!
!
!
w
w
!
.œ.œ œ
w
33
w
f‰
œ œ œ
œ œ œ
w
w
!
!
!
w
w
!
w
‰ .œ .œ Jœ
34
w
dim.
dim.
f
Resting on a Stair
96
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
‰ jœ
œ Œœ œ
3
ww
!
!
!
w
w
!
w
œ œ Jœ .œ
35
˙ œ œ
pizz.
f
œ ‰œ œ
œ œ
3 3
w
w
!
!
!
w
w
!
˙
˙
˙ ˙
36
.˙ œ
"
"
œ œ œ œ .œ
jœ
!
!
!
!
!
!
w
w
37
.˙ œ
dim.
œ œ
.˙
!
!
!
!
!
!
Œ ‰ jœ œ œ œ œ
!
38
˙ ˙
cresc.
Resting on a Stair
97
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œ œ
.˙
!
!
!
!
!
!
œ œ
˙ œ œ
!
39
œ .˙
f
œ œ
.˙
!
!
!
!
!
!
.œ
jœ œ œ
!
40
.˙ œ
w
!
!
!
!
!
!
œ œ œ œ œ
œ
!
41
˙ œ œ
ƒ
dim.
!
!
!
!
!
!
!
.œ
jœ œ œ
Œ œ œ œ œ
œ
42
.˙ œ
P
P
Resting on a Stair
98
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
812
812
812
812
812
812
812
812
812
812
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
‰ .œ .œ Jœ
!
!
!
‰ .œ .œ Jœ
!
jœ .œ .œ
jœ
Jœ .œ .œ Jœ
43
w
p
p
!
œ œ Jœ .œ
!
!
!
œ œ Jœ .œ
!
œ œ
jœ .œ
œ œ Jœ .œ
44
w
!
œ œ œ Jœ œ œ œ
œ œ
œ œ
!
!
!
œ œ œ Jœ œ œ œ
œ œ
œ œ
!
.œ Jœ œ œ Jœ .œ
.˙.˙
45
.œ .œ.œ
.œ
C
f
f
f
F
F
(‰ = ‰)
Resting on a Stair
99
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
œ œ
œ œ œ œ Jœ œ œ
jœ
!
!
!
œ œ
œ œ œ œ Jœ œ œ Jœ
!
.œ Jœ œ
œ Jœ .œ
.˙ .˙
46
.œ .œ .œ .œ
!
œ œ œ Jœ œ œ œ œ Jœ œ
!
!
!
œ œ œ Jœ œ œ œ œ Jœ œ
!
.˙ œ Jœ .œ
.˙ .˙
47
.œ
.œ.œ .œ
dim.
Resting on a Stair
100
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ œ
œ œ
œ œ
œ
Jœ Jœ œ
!
.œ Jœ œ œ Jœ .œ
.œ .œ.œ
.œ
48
.œ .œ.œ
.œ
dim.
p
.œ.œ œ
jœ
jœ
œ
!
!
!
!
œ œ œ Jœ œ œ œ
œ œ
œ œ
!
.œ Jœ œ .˙
œ œ œ Jœ œ œ œ
œ œ
œ œ
49
.œ .œ.œ
.œ
p
Resting on a Stair
101
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
.œ Jœ œ œ Jœ Jœ œ
!
!
!
!
œ œ
œ œ œ œ Jœ œ œ Jœ
!
.˙ Ó .
œ œ
œ œ œ œ Jœ œ œ Jœ
50
.œ .œ .œ .œ
P
p
.˙ Ó .
!
!
!
!
œ œ œ Jœ œ œ œ œ Jœ œ
!
!
œ œ œ Jœ œ œ œ œ Jœ œ
51
.œ
.œ.œ .œ
Resting on a Stair
102
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
Œ jœ
jœ œ œ Jœ Jœ œ
!
!
!
!
œ œ
œ œ
œ œ
œ
Jœ Jœ œ
!
!
œ œ
œ œ
œ œ
œ
Jœ Jœ œ
52
.œ .œ.œ
.œ
pœ œ œ œ
œ œ œ
jœ œ œ
œ
œ œ œ œœ œ œ
jœ œ œ
œ
!
!
!
œ œ œ œœ œ œ Jœ œ œ
œ
!
.˙
.˙
.˙
.˙
53
.˙ .˙
D
P
F
P
P
F
f
arco
Resting on a Stair
103
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
Jœ œ Jœ œ
œ
œ œ œ œ œ œ
Jœ œ Jœ œ
œ
œ œ œ œ œ œ
!
!
!
Jœ œ Jœ œ
œ
œ œ œ œ œ œ
!
.˙ .˙
.˙ .˙
54
.œ .œ .˙
œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ
!
!
!
œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ
!
.˙.œ .œ
.˙ .˙
55
.˙ .œ .œ
Resting on a Stair
104
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
Jœœ œ
Jœ Jœ œ
œ jœ
jœ
œ œ
Jœ Jœ œ
œ
jœ
!
!
!
Jœœ œ
Jœ Jœ œ
œ Jœ
!
.œ .œ .˙
.˙ .˙
56
.˙ .˙
f
f
cresc.
cresc.
cresc.
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ
œ
!
!
!
œ œ œ œ œ œœ œ œ œ œ
œ
!
œ Jœ Jœ œ œ Jœ .œ
œ Jœ Jœ œ œ Jœ .œ
57
œ Jœ Jœ œ œ Jœ .œ
F
F
F
Resting on a Stair
105
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œ œ œ Jœ œ œ œ
œ œ
œ œ
œ œ œ Jœ œ œ œ
œ œ
œ œ
!
!
!
œ œ œ Jœ œ œ œ
œ œ
œ œ
!
.œ.œ .œ .œ
.˙.˙
58
.œ
jœ
œ œ
jœ .œ
ƒ
ƒ
ƒ
f
f
f
œ œ
œ œ œ œ Jœ œ œ Jœ
œ œ
œ œ œ œ Jœ œ œ
jœ
!
!
!
œ œ
œ œ œ œ Jœ œ œ Jœ
!
.œ.œ .œ .œ
.˙ .˙
59
.œ
jœ
œ œ Jœ .œ
Resting on a Stair
106
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œ œ œ Jœ œ œ œ œ Jœ œ
œ œ œ Jœ œ œ œ œ Jœ œ
!
!
!
œ œ œ Jœ œ œ œ œ Jœ œ
!
.œ
.œ .œ .œ
.˙ .˙
60
.œ Jœ œ œ
jœ .œ
dim.
œ œ
œ œ
œ œ
œ
Jœ Jœ œ
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ œ
œ œ
œ œ
œ
Jœ Jœ œ
!
œ œ œ œ œ œ
.œ .œ.œ
.œ
61
.œ Jœ œ œ Jœ .œ
dim.
Resting on a Stair
107
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
.w
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ œ
œ œ
œ œ
œ
Jœ Jœ œ
!
.œ .œ .˙
.w
62
.w
dim.
!
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ œ
œ œ
œ œ Jœœ
œ œ
œ
!
.w
œ
"œ
œ# .œ
œ œ
œ .œ
63
.w
Eaccel.
cresc.p
dim.
Resting on a Stair
108
![Page 109: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/109.jpg)
&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ
œ œœ
Jœ œ œ
œ œ
œ œ
!
!
œ œœ .œ
œ œ
œ .œ
64
.w
!
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ
Jœ Jœ œ
œ œ œ
œ
Jœ
!
Œ ‰œ
"
œ
œ
#
œ jœ
jœ
œ
œ œ
œ .œ
œ œœ .œ
65
!
p
Resting on a Stair
109
![Page 110: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/110.jpg)
&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
!
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
Jœœ
œ œœ œ
œ œ Jœœ
!
œ
œ œœ
jœ
œ œ
œ œ jœ
œ œ
œ .œ
œ œ
œ .œ
66
!
dim.
cresc.
œœ
œœ
œœ
œœ
œœ
œœ
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ œ
œ œ
œ œœ
Jœ œ œ
œ
!
jœ
œ œ
œ œœ
jœ
œ œ
œ
œ œœ .œ
œ œ
œ .œ
67
œ
-Jœ-
Jœ œ
-œ
-Jœ-
Jœ œ
-
p cresc.
cresc.p
dim.
arco
Resting on a Stair
110
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œœ
œœ
œœ
œœ
œœ
œœ
œ œ
œ œ
œ œ
œ jœ
jœ
œ
!
!
!
œ
œ œ
œ
Jœ Jœ œ
œ œ œ
!
œ jœ
jœ
œ œ
œ œœ
jœ
œ œ
œ .œ
œ œœ .œ
68
œ Jœ Jœ œ œ Jœ Jœ œ
"
sim.
œœ
œœ
œœ
œœ
œœ
œœ
!
!
œ
jœ
jœ œ œ
jœ
jœ œ
!
œ
Jœ Jœœ
œ œœ Jœ ‰ ‰
!
œ œ
œ œ jœ
jœ
œ œ
œ œ
œ œ
œ .œ
œ œ
œ .œ
69
œ Jœ Jœ œ œ Jœ Jœ œ
p cresc.
high log
q. = 114
"
Resting on a Stair
111
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œœ
œœ
œœ
œœ
œœ
œœ
!
!
œ
jœ
jœ œ œ
jœ
jœ œ
!
!
‰œ œ
jœ
jœ œ œ
jœ
œ
jœ
œ œ
œ œ jœ
jœ
œ
œ œœ .œ
œ œ
œ .œ
70
œ Jœ Jœ œ œ Jœ Jœ œ
p cresc.
kick drum
œœ
œœ
œœ
œœ
œœ
œœ
!
!
œ œ œ œ œ œ œ œ œ œ œ œ
!
!
jœ œ œ
jœ
jœ œ œ
jœ
œ
œ œœ
jœ
œ œ
œ œ jœ
œ œ
œ .œ
œ œœ .œ
71
œ Jœ Jœ œ œ Jœ Jœ œ
f
f
f
Resting on a Stair
112
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&
&?
ã
&?
ã
B
?
?
bb
bb
bb
bb
bb
bb
bb
bb
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..Ob.
Va.
Vc.
Bass
Mba. I
Mba. II
œœ
œœ
œœ
œœ
œœ
œœ
!
!
œ œ œ œ œ œ œ œ œ œ œ œ
!
!
œ œ œ œ œ œ œ œ œ œ œ œ
jœ
œ œ
œ œœ
jœ
œ œ
œ
œ œ
œ .œ
œ œ
œ .œ
72
œ Jœ Jœ œ œ Jœ Jœ œ
repeat and dim.
repeat and dim.
repeat and dim.
repeat and dim.
repeat and crescendo
repeat and crescendo
5x
!
!
!
œ œ œ œ œ œ œ œ œ œ œ œ
!
!
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
z
œ
!
!
73
!
ƒ
ƒ
cowbell
vamp
attacca
Resting on a Stair
113
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&
&
?
ã
ã
B
?
?
811
811
811
811
811
811
811
811
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
.. ..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
.. ..
Oboe
Percussion II
Viola
Cello
Double Bass
Percussion I
!
!
!
œ> œ œ> œ œ œ> œ œ œ> œ œ
z z z z z z z z z z z
œ œ œ œ œ œ œ œ œ œ œ
!
!
1
!
4xPerc. I Accents Start Movement
q. = 114
high log
ƒcowbell
kick drumƒ
Erratic, Full of Energy
!
!
!
œ> œ œ> œ œ œ> œ œ œ> œ œ
z
>z z z z z z z
>z z z
œ œ Jœ œ œ œ œ œ œ
!
!
2
!
dim.
dim.
4x
114
Anucar
Nate Bliton
© Nate Bliton
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
!
!
œ> œ œ> œ œ œ> œ œ œ> œ œ
z
> jÅ z
> ‰ Å .z
>œ œ Jœ .œ œ œ œ
!
!
3
!
F
f dim.
!
!
!
œ> œ œ> œ œ œ> œ œ œ> œ œ
z
> .Å Å
jz
> Œ jÅ
œ œ Jœ .œ œ œ œ
!
!
4
!
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> jÅ z
> ‰ Å .z
>œ œ Jœ œ œ œ
!
!
5
!
F
Anucar
115
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> .Å Å
jz
> Œ jÅ
œ œ Jœ .œ œ œ œ
!
!
6
!
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> jÅ z
> ‰ Å .z
>œ œ Jœ œ œ œ
!
!
7
!
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> .Å Å
jz
> Œ jÅ
œ œ Jœ .œ œ œ œ
!
!
8
!
Anucar
116
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> jÅ z
> ‰ Å .z
>œ œ Jœ œ œ œ
!
!
9
!
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> .Å Å
jz
> Œ jÅ
œ œ Jœ .œ œ œ œ
!
!
10
!
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> jÅ z
> ‰ Å .z
>œ œ Jœ œ œ œ
!
!
11
!
Anucar
117
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
!
!
œ> .œ>j
œ> œ
jœ> œ
z
> .Å Å
jz
> Œ jÅ
œ œ Jœ .œ œ œ œ
!
!
12
!
œ> j
œœn >
œ œ#œ œ> œ
œ
!
!
œ> Œ . Œ . Œ .
z
>Œ . Œ . Œ .
œ
œ>
Jœ œn >œ œ#
œ œ>
œœ
!
13
!
F
F
AMelody
Anucar
118
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œb >œn .œ œ œ
œ> œ
jœ
!
!
!
!
œb > œn .œ œ œœ>
œ Jœ
!
14
!
œfl œ- .œ
œfl œ- œ œ> œœ
!
!
!
!
œ œ- .œ
œ œ- œ œ
> œœ
!
15
!
œfl œ- .œ
œfl œ- œ œ ‰
!
!
!
!
œ œ- .œ
œ œ- œ œ ‰
!
16
!
Anucar
119
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ( ) œ
>œ
œœb œ
>œ œ
>œ
jœ
!
!
œ> Œ . Œ . Œ .
z
>Œ . Œ . Œ .
œ
œ( )"œ>
œœ
œb œ>
œ œ>
œ
Jœ
!
17
!
œ
>œ .œ
œ œ> œ .œ
!
!
!
!
œ> œ .œ
œ œ> œ .œ
!
18
!
œfl œ- .œ
œfl œ- œ œ> œœ
!
!
!
!
œ œ- .œ
œ œ- œ œ
> œœ
!
19
!
Anucar
120
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- .œ
œfl œ- œ œ ‰
!
!
!
!
œ œ- .œ
œ œ- œ œ ‰
!
20
!
œfl œ- .œœfl œ- œb œ> œ œ
!
!
!
x .x .x .x
œ œ- .œ
œ œ- œ œ
> œ
œ
œ .œ .˙
21
!
B
rim
P
F
œ> œ.œ œ> œ œ œ
‰
!
!
!
x .x .x .x
œ
>œb .œ
œ
>œ
œ œ ‰
œ .œ .˙
22
!
Anucar
121
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- .œ œ œb > œ>j
œ œ>!
!
!
x .x .x .x
œ œ- .œb
œ œ
> œ> Jœ œ
>
œ .œ Jœ œb .œ
23
!
1.
œ> œ œ> œb œ œ œfl œ- œ œ
jœ
!
!
!
x .x .x .x
œ> œb œ> œ œ œ
œ œb -œ œ Jœ
œ .˙b .œ
24
!
Anucar
122
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
2.
œ> œb œ> œ œ œ
œ
>œ
œ.
œb > Jœ
œ
œbœ
œ ‰ œ
œ>Jœ. j
œb œb >
"
"
x .x .x .x
œ> œb œ> œ œ œ
œ
>œ
œ.
œb > Jœ
œ .œ .œ.œb
25
"
f
œ> Jœ œ
>œ œb œ œ
> œœ
œ
œ
œ
œ
JœnJœ
œ#œ
œ Jœ
"
"
x .x .x .x
œ>
Jœ œn >œ œ#
œ œ> œ
œ
œ .œ .˙
26
œ .œ .˙
C
f
f
p
p
Anucar
123
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
(!)
œ> œ .œ œ œ
œ>
œ Jœ
œbœn
œ
œb ‰ œ
œ Jœ jœ
œ
"
"
x .x .x .x
œb > œn .œ œ œœ>
œ Jœ
œ .œ .˙
27
œ .œ .˙
œ œ- .œ
œ œ-
œ œb > œœ
œ
œ
œ
œJœ j
œ
œ
œ
œ Jœ
"
"
x .x .x .x
œ œ- .œ
œ œ- œ œ
> œœ
œ .œ .˙
28
œ .œ .˙
Anucar
124
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
(!)
œ œ
- .œ œ œ-
œ œ ‰
œ
œj
œ
œ
œ
œ
Jœ jœ
œ
"
"
x .x .x .x
œ œ- .œ
œ œ- œ œ ‰
œ .œ .˙
29
œ .œ .˙
œ( ) œ>
œœ
œ
œ> œ œ
>œ
Jœœ
œ
œ
œ
Jœb
Jœb œ œ
œ Jœ
"
"
x .x .x .x
œ( ) œ>
œœ
œb œ>
œ œ>
œ
Jœ
œ .œ .˙
30
œ .œ .˙
Anucar
125
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
(!)
œ>
œ .œb œ œ>
œ
.œb
œ
œ
Jœœ
œ
œJœ j
œ
œ
"
"
x .x .x .x
œ> œ .œ
œ œ> œ .œ
œ .œ .˙
31
œ .œ .˙
œ œ- .œ
œ œ-
œ œb > œœ
œ
œ
œ
œJœ j
œ
œ
œ
œ Jœ
"
"
x .x .x .x
œ œ- .œ
œ œ- œ œ
> œœ
œ .œ .˙
32
œ .œ .˙
Anucar
126
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
(!)
1.
œ œ
- .œ
œ œ
- œ œ ‰
œ
œj
œ
œ
œ
œ
Jœ jœ
œ
"
"
x .x .x .x
œ œ- .œ
œ œ- œ œ ‰
œ .œ .˙
33
œ .œ .˙
2.
œfl œ- .œ
œ œ
- œ œ ‰
œ
œj
œ
œ
œ
œ
Jœ jœ
œ
"
"
x .x .x
œ> œ œ œ
œ œ- .œ
œ œ- œ œ ‰
œ .œ .˙
34
œ .œ .˙
high roto
Anucar
127
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
œ> œ
jœb > œ
œ>j
œ
œbfl
œ- œ
!
!
x .x .x
jx x
œœ Jœ ‰ œ œ Jœ
œ
>œ Jœb >
œ
œ>
Jœœb ˘
œ-
œ
œ>œb >
Jœ.œ
> .œb >
35
‰ Jœ>
Jœ œ
>œ>
Jœ>
Jœœb >
D
pizz.
pizz.
f
f
f
f
f low roto
!
œ œ> œ œb .œ> œ>j
œ
!
!
x .x .x
jx x
‰ Jœ ‰ œœ Jœ ‰ œ
œ œ> œ œb .œ
>œ>
Jœ
œ>
œ .œ> œ
> Jœ .œ>
36
œ>
œ> Jœb > Jœ œ
>œ>
Jœ>
Anucar
128
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
!
œb > œ Jœb >œ
œb >Jœ œfl œ- œ
!
!
x .x .x
jx x
œœ Jœ ‰ œ œ Jœ
œb >œ Jœb >
œ
œb >Jœ œ œ
-œ
œb > œb >Jœ
œb >Jœ .œ
>
37
œ œ>
Jœ œ>
œb >Jœ>
Jœœ>
1.
!
œœfl œ- œ
œfl œ- œ .œ
!
!
x .x .x
jx x
‰ Jœ ‰ œœ Jœ ‰ œ
œœ œ
-œ
œ œ- œ .œ
œ>
œœ>
Jœ œ
>Jœ
œ> Jœ
38
œ>
œ> Jœ> Jœ œ
> œ> Jœ>
Anucar
129
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
2.
!
œœfl œ- œ œfl œ- œ .œ
!
!
x .x .x
jx x
‰ Jœ ‰ œœ Jœ ‰ œ
œœ œ
- œ œœ-
œ .œ
œ œ .œ> œ
œ>
Jœ ..œ
œ>
39
œ>
œ> Jœ> Jœ œ
> .œ
œ> j
œœn >
œ œ#œ œ> œ
œ
!
!
x
œ œ
x
œ œ
x
œ
‰œ
x
œ œ
œœ
œœ
jœ
Jx œÅœ
x
œ
œ> j
œœn >
œ œ#œ œ> œ
œ
œ- .œ Œ . Œ .
40
œ- .œ Œ . Œ .
E
arco
Ï
ƒ
ƒ
arco
Ï
rim
f
Anucar
130
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œb >œ .œ œ œ
œ> œj
œ
!
!
œ œ œz ‰
œ
x
œœ
x ‰œ
zœœ
jœ
œzœ
jœ j
œ
x
œ
œb > œ .œ œ œœ> œ
jœ
œ- .œŒ . Œ .
41
œ- .œŒ . Œ .
cowbell
œfl œ- .œœfl œ- œ œ> œ
œ
!
!
x
œ œ
x
œ œ
x
œ
‰œ
x
œ œ
œœ
œœ
jœ
Jx œÅœ
x
œ
œfl œ- .œœfl œ- œ œ> œ
œ
œ- .œ Œ . Œ .
42
œ- .œ Œ . Œ .
Anucar
131
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- .œœfl œ- œ œ ‰
!
!
œ œ œz ‰
œ
x
œœ
x ‰œ
zœœ
jœ
œzœ
jœ j
œ
x
œ
œfl œ- .œœfl œ- œ œ
‰
œb - .œ Œ . Œ .
43
œb - .œ Œ . Œ .
œ( ) œ>
œœ
œb œ>
œ œ>
œj
œ
!
!
x
œ œ
x
œ œ
x
œ
‰œ
x
œ œ
œœ
œœ
jœ
Jx œÅœ
x
œ
œ( ) œ>
œœ
œb œ>
œ œ>
œj
œ
œ- .œ Œ . Œ .
44
œ- .œ Œ . Œ .
Anucar
132
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ>
œ .œœ œ> œ .œ
!
!
œ œ œz ‰
œ
x
œœ
x ‰œ
zœœ
jœ
œzœ
jœ j
œ
x
œ
œ
>œ .œ
œ œ> œ .œ
œb - .œ Œ . Œ .
45
œb - .œ Œ . Œ .
œfl œ- .œœfl œ- œ œ> œ
œ
!
!
x
œ œ
x
œ œ
x
œ
‰œ
x
œ œ
œœ
œœ
jœ
Jx œÅœ
x
œ
œfl œ- .œœfl œ- œ œ> œ
œ
œ- .œŒ . Œ .
46
œ- .œŒ . Œ .
Anucar
133
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- .œ
œfl œ- œ œ ‰
!
!
œ œ œ
z ‰œ
x
œœ
x ‰œ
z
œœ
jœ
œz
œ
jœ j
œ
x
œ
œfl œ- .œ
œfl œ- œ œ‰
œ- .œ
Œ . Œ .
47
œ- .œ
Œ . Œ .
(fill)
œ> œb œ œfl œ- œ- œb > œ œ- œ. œ> œ œ
!
œ> œb œ œ œ
-œ- œb ˘
œ œ- œ
.œ
>œ œ
!
œœ
œ
œ
jœ
Jx œ œ
œ
x
œ
œ> œb œ œfl œ-œ- œb > œ œ- œ.
œ> œ œ
œ .œ
.˙
48
‰ Jœ Jœ œ
œ Jœ Jœœb
F
pizz.
arco
F
f
F
F
f
2nd Time Only
Anucar
134
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- œ> œb œ œ- œfl œ- œ- œ> œ œ
!
œ œ
-œ
>œb œ œ
- œ œ-
œ-
œ
>œ œ
!
z
œœ
jœ
œz
œ
jœ j
œ
x
œ
œfl œ- œ> œb œ œ- œfl œ- œ- œ> œ œ
œ .œ .œ
.œ
49
œ œ Jœb Jœ œ œ Jœ
œ> œbœ œfl œ- œb œ>
œ œ- œ. œ> œ œ
!
œ> œb
œ œ œ-
œb œ œ œ-
œ. œ
> œ œ
!
œœ
œ
œ
jœ
Jx œ œ
œ
x
œ
œ> œbœ œfl œ- œb œ> œ œ- œ. œ> œ œ
œb .œ .˙
50
œ œ Jœ œ
œb Jœ Jœœ
Anucar
135
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- œfl œ- œb œb >œ œ
œ. œ> œ œ
!
œ œ-
œ œ-
œb œb > œ œ
œ. œ
> œ œ
!
z
œœ
jœ
œz
œ
jœ j
œ
x
œ
œfl œ- œfl œ- œb œb > œ œ
œ. œ> œ œ
œ .œ .˙b
51
œœ Jœ œ
œ œ
œ Jœ
œ> œb œ œfl œ- œ- œb > œ œ- œ. œ> œ œ
!
œ> œb œ œ œ
-œ- œb ˘
œ œ- œ
.œ
>œ œ
!
œœ
œ
œ
jœ
Jx œ œ
œ
x
œ
œ> œb œ œfl œ-œ- œb > œ œ- œ.
œ> œ œ
œ .œ .œ .œb
52
œ
œ Jœ œ
œ Jœ Jœœb
cresc.
Anucar
136
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œfl œ- œ> œb œ œ- œfl œ- œ- œ> œ œ
!
œ œ
-œ
>œb œ œ
- œ œ-
œ-
œ
>œ œ
!
z
œœ
jœ
œz
œ
jœ j
œ
x
œ
œfl œ- œ> œb œ œ- œfl œ- œ- œ> œ œ
œ .œ .œb .œ
53
œ œ Jœb Jœ œ œ Jœ
œ> œbœ œfl œ- œb œ>
œ œ- œ. œ> œ œ
!
œ> œb
œ œ œ-
œb œ œ œ-
œ. œ
> œ œ
!
œœ
œ
œ
jœ
Jx œ œ
œ
x
œ
œ> œbœ œfl œ- œb œ> œ œ- œ. œ> œ œ
œ .œ.œ .œb
54
œ œ Jœ œ
œb Jœ Jœœ
Anucar
137
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
1.
!
!
œ œ-
œ œ-
œb œb > œ œ
œ. œ
> œ œ
!
z
œœ
jœ
œz
œ
jœ j
œ
x
œ
œfl œ- œfl œ- œb œb > œ œ
œ. œ> œ œ
œ.œb .œ .œ
55
œœ Jœ Jœ œ
œ
jœ
2.
œfl œ- œfl œ- œb œb >œ œ
œ. œ> œ œ
!
œ œ-
œ œ-
œb œb > œ œ
œ. œ
> œ œ
!
z
œœ
jœ
œz
œ
jœ j
œ
x
œ
œfl œ- œfl œ- œb œb > œ œ
œ. œ> œ œ
œ.œb .˙
56
œœ Jœ Jœ œ
œ
jœ
(fill)
Anucar
138
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ>
Jœ œn >œ œ#
œ œ> œ
œ
!
!
œœ
œœ œ
zœ œ
œ
‰ œ
Å z
y
‰y
z
œ
z
yJz
y
œ ..œœ Jœœ œ
œ
..œ
œ
œ>
Jœ œn >œ œ#
œ œ> œ
œ
57
œ œ
jœ
œ
.
.œ
œ
œ
œJœ
G
ƒ
f
f
ƒ
ƒœb > œn .œ œ œ
œ>
œ Jœ
!
!
œœ
œœ œ
zœ œ
œœ œ
Å
y
z
y
jy
jœ
z
y
z
y
jz
y
œ
œ
..˙˙ ..œ
œ
œb > œn .œ œ œœ>
œ Jœ
58
œ .œ ..˙
˙
Anucar
139
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ œ- .œ
œ œ- œ œ
> œœ
!
!
œœ
œœ œ
zœ œ
œ
‰ œ
Å z
y
‰y
z
œ
z
yJz
y
œ
œ
˙˙ œ
œ
..œ
œ
œ œ- .œ
œ œ- œ œ
> œœ
59
œ œ
jœ
œ
.
.œ
œ
œ
œJœ
œ œ- .œ
œ œ- œ œ ‰
!
!
œœ
œœ œ
zœ œ
œœ œ
Å
y
z
y
jz
y
‰ z
y
z
y
jz
y
œ
œ
..˙˙ ..œ
œ
œ œ- .œ
œ œ- œ œ ‰
60
œ .œ ..˙
˙
Anucar
140
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ( ) œ>
œœ
œb œ>
œ œ>
œ
Jœ
!
!
œœ
œœ œ
zœ œ
œ
‰ œ
Å z
y
‰y
z
œ
z
yJz
y
œ
œ
˙˙ œ
œ
..œ
œ
œ( ) œ>
œœ
œb œ>
œ œ>
œ
Jœ
61
œ œ
jœ
œ
.
.œ
œ
œ
œJœ
œ> œ .œ
œ œ> œ .œ
!
!
œœ
œœ œ
zœ œ
œœ œ
Å
y
z
y
jy
jœ
z
y
z
y
jz
y
œ
œ
..˙˙ ..œ
œ
œ> œ .œ
œ œ> œ .œ
62
œ .œ ..˙
˙
Anucar
141
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&
&
?
ã
ã
B
?
?
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ œ- .œ
œ œ- œ œ
> œœ
!
!
œœ
œœ œ
zœ œ
œ
‰ œ
Å z
y
‰y
z
œ
z
yJz
y
œ
œ
˙˙ œ
œ
..œ
œ
œ œ- .œ
œ œ- œ œ
> œœ
63
œ œ
jœ
œ
.
.œ
œ
œ
œJœ
(fill)
œ œ- .œ
œ œ- œ œ ‰
!
!
œœ
œœ œ
zœ œ
œœ œ
Å
y
z
y
jy
jœ
z
y
z
y
jz
y
œ
œ
..˙˙ Œ .
œ œ- .œ
œ œ- œ œ ‰
64
œ .œ ..˙
˙
(fill)
Anucar
142
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ œ- œ Jœ œ œ
- œ œ> œ
œ
!
!
œœ
œœ œ
zœ œ
œ
‰ œ
Å z
y
‰y
z
œ
z
yJz
y
œœ
jœ
jœ
œœ
jœ
œ œ- œ Jœ œ œ
- œ œ> œ
œ
65
œ
œ Jœœ
œ Jœ Jœ œ
H
ƒ
ƒ
ƒ
ƒ
pizz.
cresc.
cresc.
œ œ- œ Jœ œ œ
- œ œ ‰
!
!
œœ
œœ œ
zœ œ
œœ œ
Å
y
z
y
jy
jœ
z
y
z
y
jz
y
œœ
jœ
œœ
jœ
jœ œ
œ œ- œ Jœ œ œ
- œ œ ‰
66
œ
œ Jœ Jœ œœ j
œ
Anucar
143
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&
&
?
ã
ã
B
?
?
Ob.
Perc. II
Va.
Vc.
Bass
Perc. I
œ œ- œ Jœ œ œ
- œ œ ‰
!
!
œœ
œœ œ
zœ œ
œ
‰ œ
Å z
y
‰y
z
œ
z
yJz
y
œœ
jœ
jœ
œœ
jœ
œ œ- œ Jœ œ œ
- œ œ ‰
67
œ
œ Jœœ
œ Jœ Jœœ
ƒ
ƒ
œ œ- œ Jœ œ Jœ
ϊ
‰
!
!
œœ
œœ œ
zœ œ
œ>‰
Å
y
z
y
jy
jœ
z
y
z
y>‰
œœ œ
œ œœ
jœ
œ- ‰
œ œ- œ Jœ œ Jœ œ
ä ‰
68
œœ
jœ
œj
œœ-
‰
Anucar
144
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&?
89
89
œ œ œ œ œ œ ‰ œ>.Û .Û .Û
Cmaj9
q. = 100 A section
œ œ œ œ œ œ .œ.Û Û JÛ JÛ Û
Fmaj9(#11)
‰ œ œ œ œ œ. Jœ œ>«
2E-
œ œ œ jœ œ .œFmaj7 G
&5
œ œ œ œ œ œ ‰ œ>Cmaj9
œ œ œ jœ œ .œFmaj9(#11)
‰ œ œ œ œ œ Jœ œE-
œ œ œ œ œ œ .œFmaj7 C
&9 jœ œ œ jœ jœ œ
D-9 jœ œ œ>jœ .œFmaj69 ‰ œ œ jœ jœ œ
D-9 jœ œ œ>jœ .œFmaj69
&13
‰ œ œ Jœ Jœ œCmaj7 jœ œ œ œ œ jœ œ
Fmaj69 jœ œ œ jœ jœ œE-
œ jœ œ œ> œ œ>‰
Fmaj69 E-
& .. .. ..‰ jœ ‰ .œ> œ œ œE-7
B section
œ>œ œ œ œ>
œ .œ>Fmaj9 D-7
‰ jœ ‰ œ ‰ œ œ> œ œ
E-7 1.
œ œ œ> œ œ œ œ>> œ œE-/BFmaj9
2.
œ œ>œ œ œ>œ œ>œ œ
Fmaj9 E-/B
& ..22 3.
œ œ œ> œ œ œ œ>> œ œE-/BFmaj9
4.
jœ œ> œ> œ œ> œ œ> œF G
.> Œ .D-
œ œ œ jœ ‰ ‰ œ œ œ œ œ œF G
& œ œ œ œ œ œ ‰ œ>Cmaj9
A section
œ œ œ œ œ œ .œFmaj9(#11)
‰ œ œ œ œ œ. Jœ œ>E-
œ œ œ jœ œ .œFmaj7 G
145
Blito-Slip-JigNate Bliton
Chart
![Page 146: FOUR TUNES FOR CHAMBER ENSEMBLE - d.lib.msu.edu · PDF filesimilar to a Salsa melody’s relationship to the Son ... to get the open full tone of the ... Bring out notes on the kick](https://reader031.fdocuments.us/reader031/viewer/2022030405/5a7df9ee7f8b9a49588e0933/html5/thumbnails/146.jpg)
&30
œ œ œ œ œ œ ‰ œ>Cmaj9
œ œ œ jœ œ .œFmaj9(#11)
‰ œ œ œ œ œ Jœ œE-
œ œ œ œ œ œ .œFmaj7 C
&34 jœ œ œ jœ jœ œ
D-9 jœ œ œ>jœ .œFmaj69 ‰ œ œ jœ jœ œ
D-9 jœ œ œ> Jœ œ> œ œ
Fmaj69
&38 jœ œ œ jœ jœ œ
D-9 jœ œ œ> Jœ œ œ œFmaj69 jœ œ œ œ œ jœ œD-9 .˙ Œ .E-
Blito-Slip-Jig
146
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& 22 .. Ó œ# œn œ
3B-
h = 60A section
w#A -9/E
œ ˙# ˙ œ33
Gmaj9
˙ œ œ œ œEm7 B
ø/F
Ó œ œ œ3
B -7/F#
œ œ œ œœ œ œGmaj9/D
& ..7 1.
œ# ˙ ˙ œ3 3Cmaj7(#11)
˙# œ œ œ œF
# øCmaj7(#11) 2.
˙# œ œ œ3
Cmaj7(#11)
.œ jœ# œ ŒF
# øCmaj7(#11)
& œ œ# œ œ œ œ3
Gmaj7/B Cmaj9
B section
Jœ œ jœ œ œ œ3
F#dim/C D œ œ œ œ œ
3
A -7 B -7
œ œ œ ˙ ŒCmaj7
&15
Œ œ œ ˙3
Gmaj9 A -9
‰ œ œ œ œ# ˙3
B -7 Cmaj7
œ œ œ œ œ œ3
D
œ œ œ œ œ ŒCmaj9
& Ó œ# œn œ3
B -7
A section
w#A -9
œ ˙# ˙ œ33
Gmaj9
˙ œ œ œ œEm7 B
ø/F
&23
œ Œ œ œ œ3
B -7/F#
œ œ œ œ œ œ œGmaj9/D
œ# ˙ ˙ œ3 3
Cmaj7(#11)
˙# Ó
Measured Rain
Nate Bliton
Chart
147
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& bb 812 .. œ œ œ Jœ œ œ œ
œ œ
œ œ
G- FEbmaj7q. = 114
A section
œ œ
œ œ œ œ Jœ œ œ
jœ
Bbmaj7 D-D-/F
œ œ œ Jœ œ œ œ œ Jœ œ
Ebmaj7 C-
& bb ..4
œ œ
œ œ
œ œ
œ jœ
jœ
œ
D- Eb F Bbœ œ œ œ
œ œ œ
jœ œ œ
œ
G- EbB section
Jœ œ Jœ œ
œ
œ œ œ œ œ œ
F D-7Ebmaj7
& bb7
œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ
C- D- G- jœ
œ œ
Jœ Jœ œ
œ
jœ
Ebmaj7(#11) F
œ œ œ œ œ œœ œ œ œ œ
œ
FEb Bb(break)
& bbœ œ œ Jœ œ œ œ
œ œ
œ œ
G- FEbmaj7A section
œ œ
œ œ œ œ Jœ œ œ
jœ
Bbmaj7 D-D-/F
œ œ œ Jœ œ œ œ œ Jœ œ
Ebmaj7 C-
œ œ
œ œ
œ œ
œ jœ
jœ
œ
D- Eb F Bb
Resting on a StairNate Bliton
Chart
148
These are the original four tunes, written as to appear in a songbook. To varying degrees, the full scores of the four tunes could be thought of as transcriptions of performances of tradi- tional arrangements of these four charts.
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& # # 811 .. œ>Jœ .œ> œ# œ œ> œ œ
A section
q. = 114
œ> œ .œ œ œ œ> œ jœ œfl œ- .œ œfl œ- œ œ> œ œ
& # #4
œfl œ- .œ œfl œ- œ œ ‰ œ( ) œ> œ œ œ œ> œ œ> œJœ œ> œ .œ œ œ> œ .œ
& # # .. ..7
œfl œ- .œ œfl œ- œ œ> œ œ œfl œ- .œ œfl œ- œ œ ‰ œfl œ-.œ œ
˘œ- œ œ> œ œ
B section
œ> œ .œ œ> œ œ œ ‰
& # # .. ..11
œfl œ-.œ œ œ>
œ Jœ œ 1.
œ> œ œ>œ œ œ œ œ- œ œ jœ2.
œ> œ œ> œ œ œ œ> œ œ. œ> Jœ œ> œ jœ> œ œ> jœ œ œ- œC section
& # # ..15 œ œ> œ œ .œ> œ> jœ œ> œ Jœ
> œ œ> Jœ œ œ- œ 1.œ œfl œ- œ œfl œ- œ .œ 2.œ œfl œ- œ œfl œ- œ .œ
& # # .. œ> œ œ œfl
œ- œ- œfl œ œ- œ. œ> œ œD section
œfl œ- œ> œ œ œ- œfl
œ- œ- œ> œ œ œ> œ œ œfl
œ- œ œ œ œ- œ. œ> œ œ
& # # ..22
œ œ- œfl
œ- œ œ> œ œ œ. œ> œ œ 4x
œfl œ- œ Jœ œfl œ- œ œ> œ œE section
& # #24
œfl œ- œ Jœ œfl œ- œ œ ‰ œfl œ- œ Jœ œfl œ- œ œ ‰ œfl œ- œ Jœ œfl Jœœ ‰
AnucarNate Bliton
Chart
149
Form: A - B - A - C - A - D - A - E