The Transmutation of the Immutable Abyss

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The Transmutation of the Immutable AbyssAmanda McCulloughUniversity of Nebraska-Lincoln, [email protected]

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THE TRANSMUTATION OF THE IMMUTABLE ABYSS

by

Amanda McCullough

A DOCTORAL DOCUMENT

Presented to the Faculty of

The Graduate College at the University of Nebraska

In Partial Fulfillment of Requirements

For the Degree of Doctor of Musical Arts

Major: Music

Under the Supervision of Professor Tyler Goodrich White

Lincoln, Nebraska

May, 2017

THE TRANSMUTATION OF THE IMMUTABLE ABYSS

Amanda McCullough, D.M.A.

University of Nebraska, 2017

Adviser: Tyler Goodrich White

The Transmutation of the Immutable Abyss is a song cycle for a female voice and

chamber orchestra, originally inspired by the instrumentation of a community theater pit

orchestra. This piece sets eight poems by A. R. Ammons over eight movements. One

primary goal of this piece was to combine elements of jazz and contemporary classical

music.

The Transmutation of the Immutable Abyss also explores duality along with the

combination of disparate elements to create a more complete whole. In a literal sense,

jazz and classical elements coexist in varying amounts of prominence. Also in a literal

sense, elements of tonality such as clear tonal centers are conflicting with moments of

nontriadic, including the fifth movement which is serial. The narrative tells a story of

metamorphosis and circularity, reflected in the selected poems of A. R. Ammons. Often

the circularity of the text reflects opposing forces, creating again, a sense of duality.

© 2017 Amanda McCullough, Music for Bluesy Apocalypse, ASCAP. This work is published with a Creative Commons Attribution-Noncommercial-No

Derivative Works 3.0 Unported license.

Permission to use the poetry of A.R. Ammons granted by the Estate of A.R. Ammons and John Ammons c/o Writers’ Representatives LLC

Acknowledgements

I would like to thank my committee, Drs. Tyler Goodrich White, Greg Simon, Joy

Castro and Prof. Tom Larson. I would also like to thank my previous composition

teachers, Drs. Eric Richards and Gordon McQuere.

!v

Table of Contents

Instrumentation and Duration…………………………………………………………….vi

Performance Notes……………………………………………………………………….vii

Introduction…………….……………………………………………………………….viii

The Transmutation of the Immutable Abyss………………………………………………1

I. Prologue…………………………………………………………….……..1

II. Songlet…………………………………………………………….……..19

III. Reflective……………………………………………………….………..29

IV. Utensil……………………………………………………………………47

V. Small Song……………………………………………………………….62

VI. Hollows…………………………………………………………………..67

VII. Utensil Reprise/Mirrorment……………………………….……………..80

VIII. Sphere, Come Prima, Sphere…………………………………………….84

Bibliography….……………………………………………………………………..….109

APPENDIX A: Text…………………………………………………………………….110

APPENDIX B: Original Source Text…………………………………………………...113

APPENDIX C: Movement V Matrix…………………………….…………………..…116

!vi

Instrumentation and Duration

approx. 22’30”

Soprano/Mezzo-soprano

Flute/Piccolo

Oboe/English Horn

Clarinet in Bb

Trumpet/Flugelhorn in Bb

Trombone

Piano

Percussion 1 (Bass Drum, Glockenspiel, Chimes, Suspended Cymbal, Claves, Guiro, Tambourine)

Percussion 2 (Suspended Cymbal, Snare Drum, Triangle, Crotales)

2 Violins

Viola

Cello

Bass

!vii

Performance Notes

The housetop “^” accent is the only accent that indicates a tongue stop articulation. All

other accents should be performed within the norms of modern “classical” performance

practice.

The improvised trumpet and trombone solos should be muted. This choice of mutes is

left up to the performer.

Any ossia in the vocal part can be taken at any time by the soprano/mezzo-soprano so the

part will better fit her voice.

!viii

Introduction

The Transmutation of the Immutable Abyss explores duality and the combination

of disparate elements to create a more complete whole. In a literal sense, jazz and

classical elements coexist in varying amounts of prominence. Also in a literal sense,

elements of tonality such as clear tonal centers, are conflicting with moments of

nontriadic harmony, including the fifth movement which is serial. The narrative tells a

story of metamorphosis and circularity, reflected in the selected poems of A. R. Ammons.

Often the circularity of the text reflects opposing forces, creating again, a sense of

duality. Examples of circularity in the text include the text of the third movement,

Reflective; the text of the fifth movement, Small Song; and the inserted poem in the

seventh movement, Mirrorment. The main purpose for this piece was to create a musical 1

world where elements of contemporary classical and jazz styles can coexist and transition

between each other seamlessly.

The instrumentation of this piece was originally inspired by the instrumentation 2

of a pit orchestra. The original version was written as a warm up for the pit orchestra for

the Lincoln Community Playhouse’s 2016 production of My Fair Lady. The original

version of the fifth movement was written for the composition portion of the

comprehensive exam.

The text is a collection of poems from A. R. Ammons, arranged in an order to

imply a metamorphosis or journey. The vocalist is given the opportunity to create a

See Appendix A for text.1

Full instrumentation is listed on page vi2

!ix

character (or multiple characters as would be appropriate particularly in the seventh

movement) if she so chooses.

I. Prologue

The first movement is instrumental and its purpose is to set the stage for the

singer in the second movement and throughout the rest of the piece. Another important

element introduced in the first movement is the tritone motive. This motive is first

introduced in mm. 1-2 as shown in the score reduction in Figure 1, below.

The brief fanfare in the winds in m. 1 is immediately repeated a tritone above in m. 2.

This pattern continues in mm. 3-4. This opening motive (and the smaller motive within)

introduces the concept of duality that will be further explored in the text and in

contrasting sections throughout the rest of the piece.

The form of the first movement is ternary with the contrasting B section

beginning in m. 43 after a transition in mm. 27-42 and the return of A occuring in m. 55.

Since the material in A does not return in its entirety, an argument could be made for this

movement being a rounded binary. However, the B section is distinctly different in

sound, using a more transparent texture and a slower tempo. Also, there is a tonal center

of Bb in the B section while the A sections are less distinctly tonal. Bb is implied by

Fig. 1

!x

repetition in both the bass and melodic instruments and a modal mixture of Bb major and

minor are implied in the melody in the strings and woodwinds. In the A sections, the

repeated chords in the strings and piano are built from two tritones a minor second apart,

or set class 4-9 (0167). Finally, the motivic and melodic content of the B section is very

different from the two A sections.

The final chord of the movement contains a modal mixture of D major and minor

triads with the major third only occuring in the trumpet. This chord acts as a dominant to

the tonal center in the second movement, G minor. It also reinforces the sense of duality

between tonal and nontriadic elements in the first movement.

II. Songlet

After a brief introduction in the piano and strings, the voice enters on the word

“death”. Even though the piano and strings continue to prioritize G minor, the voice

implies D/D minor as a tonal center and does not reach the pitch center until the cadence

in m. 85 at the end of the first stanza of text. This cadence culminates on the word

“leaves” where further word painting occurs with a sudden texture, dynamic and

orchestration change.

Further examples of word-painting include: “unsteady” in m. 86, “we say, another

adjustment as usual:” in m. 87, and “light” in m. 89. In m. 86, the word “unsteady” is set

to a triplet creating a 2:3:4 ratio with the rhythms in the accompaniment. This hemiola

creates an unsteady feeling in the declamation of the text. In m. 87, after the words “we

!xi

say”, the rest of the phrase is spoken instead of sung. Finally, in m. 89, the word “light”

coincides with a G major chord before returning to G minor in the next measure.

The form of this movement can be described as unipartite, with a slightly varied

repeat of the same material; in other words, subsections of A and A’. The movement as a

whole prioritizes G minor, while the beginning of A’ briefly detours into G major on the

word “light”. This movement ends on a B major triad over E in the bass, acting like a

dominant over the pitch center in the next movement which is E.

III. Reflective

In this movement, jazz elements finally begin to be introduced. For example,

melodic fills are written in trumpet and oboe between mm. 109-116 to emulate

improvised fills. The fills become more elaborate in m. 117 and are traded between the

flute, oboe, and clarinet. Another element borrowed from jazz style is the simulated ride

pattern in the triangle. The written parts in the piano were inspired by jazz piano

comping patterns and the bass is reminiscent of a walking bass line.

The tonal center is E, based on the repeated bass line as seen in Figure 2:

The main repeated melody throughout consists of a G and Bb at first, implying a minor

mode with the inclusion of the tritone. As this melody/motive is harmonized, a B natural

Fig. 2

!xii

and D are added, implying a Locrian #2 mode. This harmony was originally added with

the idea of creating parallel major thirds.

The form of this movement is also unipartite, repeating the melodic motive over

the repeating bass line (a four bar idea that repeats a smaller two bar idea as seen in the

reduction in Figure 3, above) until it is built up into a frenzy, just to return to a quiet,

more intimate orchestration at the entrance of the voice near the end.

The vocal part at the end of this movement was transcribed from a melody sung

with the text, over the existing bass and triangle parts. It is marked in straight time, but

implies swing through the use of triplet figures. After the voice finishes setting the poem,

the movement ends with an improvised trombone solo, playing on some of the modal

aspects of the piece and continuing the four bar idea.

IV. Utensil

The fourth movement continues expanding the jazz elements in the previous

movement and includes completely improvised bass and piano parts. The bass line from

movement III is moved into the viola and cello parts (with slight rhythmic alterations)

Fig. 3

!xiii

while the bass walks underneath. Overall, this movement acts like the continuation and

natural outgrowth of the previous movement.

The form of this movement is ternary, with a complete statement of the poem in

each A section and a trumpet solo in the B section. Several changes occur in A’ from the

original A. These include: the pitch level of A’ is up a fifth from A, the bass ceases

walking and is playing sustained pitches on the bow, and the bass line moves up into the

woodwinds, causing it to sound less like a bass line and more like an accompanimental

gesture. The effect of these changes is that A’ has a more floating ethereal character

rather than a rhythmic character like its counterpart in A.

V. Small Song

Unlike the other movements, this movement was originally written with a soprano

in mind and has the highest range of any of the movements. It also presents a distinct

departure stylistically from the movements that came before it. Instead of including jazz

elements, there is an emphasis on 12-tone construction throughout the movement.

The clarinet melody is derived from the row (in concert pitch): E, C, B, F#, G, D,

Eb, C#, A, G#, F, Bb. The vocal melody is based on P9 with the addition of two dyads

from R4 and P4 respectively: Db, A, Ab, Eb, E, B, C, (D, A), (Bb), Bb, F#, (Ab, E), F, D,

G, Db. The notes in parentheses correspond with words repeated from the original text.

The original text contains 12 words and 13 syllables (the final syllable repeating the same

pitch as the row began). On page xiv, Figure 4 which shows how the pitch classes

respond to the original words and repeated words (shown in parentheses).

!xiv

The other wind and string instruments besides the clarinet are used to create

atmosphere under the clarinet and voice. The rolled dyads are similar in construction to

the dyads that began the piece in the piano as shown below in Figure 5. In the

percussion, the bass drum with superball mallet corresponds with the word “wind” in the

text.

The form of this movement is unipartite, similar to other movements in this piece.

Like other poems that are set in this song cycle, the text for this movement comes from

Ammons’s book, The Really Short Poems of A. R. Ammons. These shorter poems are

frequently conducive to simpler one-part structures.

VI. Hollows

The form of this movement is ternary and consists of a B section that is also used

as a transition of the A section back to itself. The motive in the woodwinds of the A

(Bb) Bb F# (Ab) (E) F D G Db

(wind) and give (and) (give) the wind a- way

Fig. 4

Fig. 5m. 228m. 1

Db A Ab Eb E B C (D) (A)

The reeds give way to the wind (to) (the)

!xv

section are an example of word-painting for the word “whirlwind”, consisting of

sweeping groups of 32nd notes.

The piano dyads from I and V return in this movement as well, returning in the B

section in order to distinguish it even further from the A sections. The tritone appears as

well, although in more subtle ways than in previous movements. One example of the

tritone motive is in the bass line, with a B-F in mm. 256-7 and D-G# in m. 264. In each

case, the bass line eventually resolves to a perfect interval, either within the line (the B-F

resolves to a pedal E) or as a harmonic interval (the D-G# resolves to a G natural in the

cello and a C in the string bass). Another appearance of the tritone motive is what

appears in the voice, as is shown in Figure 6, above.

In both examples, the span of the voice is a tritone. In the first example, this will

“resolve” in the next phrase of the vocal line, which is the span of a perfect fourth.

Another reason these vocal lines are the span of a tritone is because the vocal melody of

this movement is pieced together from two natural minor scales a minor second apart: Ab

and A minor, which is a similar construction to the repeated chords in the first

movement’s A section which will reappear in the final movement. The coexistence of

these two scales create a sense of duality, which will become even more prominent

thematically in the next movement.

Fig. 6

mm. 265-6 mm. 271-2

!xvi

VII. Utensil Reprise/Mirrorment

The main purpose of this movement is to transition from the sixth movement to

the eighth and final movement; at 17 measures, it is barely long enough to stand on its

own. The idea of duality is expressed most clearly in this movement by the juxtapostion

of the two short poems “Utensil” and “Mirrorment”. The combination of these two

poems creates the strange, less grammatically sound phrases: “How does the pot pray:

birds are flowers flying wash me, so I gleam? And flowers prays, perched birds. Crack

my enamel: let the rust in.” The text of “Utensil” has already been heard twice in the

fourth movement and contains the same melodic contour as before, so it can easily be

identified from “Mirrorment”. The difference between the two poems is brought to

further clarity by the placement of the voice. The text of “Utensil” occurs in a higher

mid-range octave while “Mirrorment” occurs in the register at the bottom or below the

staff. The “Mirrorment” melody is a melody unique to this movement and is in response

to the melodic fragments of “Utensil”. This duality between the two disparate texts and

differences in registers creates an opportunity for the vocalist to create different

characters. It also foreshadows the same process of combining two poems that will occur

with longer poems in the final movement.

VIII. Sphere, Come Prima, Sphere

The text of this movement is the combination of the poems “Sphere” and “Come

Prima”. Unlike the previous movement however, “Come Prima” is inserted in its entirety

in the midst of “Sphere”. The insertion of “Come Prima” occurs right before the last

!xvii

stanza of “Sphere”; the last stanza coincides with the coda of the movement as the return

of the material from the first movement in the previous section comes to gestural closure

by departing from and returning to referential sonority.

The form of this movement can be described as through-composed. If only the

style and character of each section is considered rather than the melodic material, there

are repetitions of some sections, as is shown in the table in Figure 7, above. The ethereal,

“sparkly” section that begins the piece is returned to several times during the movement

(although with different melodic material) with contrasting sections in between.

The first contrasting section, beginning in m. 339 which marks a partial return to

the A material of the first movement. The driving eighth notes in the strings and the rapid

ascending passages in the woodwinds return while the melody (now in the vocal part) is

different. Another differing section occurs beginning in m. 364, accompanying the return

of the word “death” with the return of the music from the second movement, the first

(and only other) occurence of the word “death”. After another ethereal section, the

orchestra vamps single measures of pointillistic bits of music as the vocalist recites the

poem “Come Prima”. The final line of “Come Prima”, “I raise my hand”, ushers in the

Fig. 7

Event Starting Measure Ending Measure

Part A: “Ethereal and Sparkly” 323 336

Transition 336 338

Part B: “Movement I” 339 359

Transition 359 363

Part C: “Movement II” 364 373

Part A’: “Ethereal and Sparkly”/transition 374 381

Part D: Vamp Section 381 392

Part B: “True Return of Movement I” 393 408

Part A’’/Coda 408 432

!xviii

final return of the first movement’s A section, this time as a true repeat of the melodic and

motivic material, without the voice. This section acts as the structural close of the

movement and piece, ending with repeated chords that depart from and return to the

referential sonority of the section to resemble a cadential gesture.

The final section acts as a coda and sets the final stanza of “Sphere”. It returns to

the style of the ethereal parts earlier in the movement. The pitch center of the final

section is G, based on the repetition of G’s in the vocal part in mm. 412-3 and the G pedal

in the low strings when they enter in m. 418 through m. 423. In mm. 423-4, the melody

in the voice is A-C#-D, mimicking a tonicization of the dominant. The ending measures

prioritize D, reflected by the D in the bass, but to create ambiguity, the cello moves from

a D to an Ab. The piece never returns to G despite longing to do so. Instead it ends with

a D in the bass and bowed crotales, overlayed with three pizzicato Ab’s in all the other

string parts. This results in the audience feeling suspended, waiting for the ending to

return with another phrase in G, a hope left unfulfilled.

Metamorphosis From A Text Perspective

The entrance of the text in the second movement introduces the beginning of a

journey or metamorphosis with the lines “kisses us awake into / the new world and

leaves” (2-3) and “here: we turn to where / a beam forms and set out” (8-9). The third

movement, using the text from the poem “Reflective”, follows its namesake in being

reflective; the character portrayed in this piece by the singer talks about self reflection.

An allusion to a willingness to accept change occurs in “Utensil” (IV) with the lines:

!xix

“prays, crack my enamel: / let the rust in.” (3-4). The text seems to imply that it is better

to potentially gain “rust” through change rather than just standing still. The narrative of

V and VI is a feeling of circular motion, rather than forward motion. Both speak

metaphorically about wind and its circular or non-directional nature. The character’s

metamorphosis is at a standstill. In VII, the character again acknowledges her yearning

for change with the return of the text from “Utensil”, but in this reprise, it has been

fragmented by another poem that is circular in nature: “Birds are flowers flying / and

flowers perched birds.” (1-2). The final movement is characterized by a frenzy of text

and rapid declamation, building to a climax. The coda of the movement reflects a return

to calmness, whether or not the metamorphosis is truly complete with the lines from

“Sphere”: “A warm unity, separable but / entire, / you the nucleus / possessing that

universe.” (26-29).

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© 2017 Amanda McCullough, Music for Bluesy Apocalypse, ASCAP.Permission to use the poetry of A.R. Ammons granted by

the Estate of A.R. Ammons and John Ammons c/o Writers’ Representatives LLC

Score The Transmutation of the Immutable AbyssI. Prologue Amanda McCullough

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∑


œœœœœœœœ>

œœœœœœœœ

œœb> œ

œœœ

œœ> œ

œœœ

∑

∑

œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


12


∑

∑

∑

.œ œ œ>Œ

Œ ‰ . Rœ> œb

∑


œœœœœœœœ

œœœœœœœœ>

œœb

œœ> œ

œœœ

œœ

œœ>

∑ &

∑

œ œ> œ œ œ œ>


œ œ> œ œ œ œ>


13


ƒ

‰ œ œ# œ œ# œ œ œ# œ œ# œ œ œ# œ œ# œ œ# œ œ

‰ œ œb œ œb œb œn œ œb œn œ œ œ œb œb5

7

‰ œ œb œb œ œb œ œ œb œ œ œ œ œ œ œ œ œ œ

7 3 3 3

∑

.˙

∑

œœœœ#bœœœœ

œœœœ>œœœœ

œœœœœœœœ>

œœb

œœ

œœ> œ

œœœ

œœ>

‰ œ œ# œ œ œ# œ œ œ# œ œ#

.˙æ

œ œ œ> œ œ œ>


œ œ œ> œ œ œ>


14


Glock.

f

f

f

f

Oboe

f

Snare Drum

Piccolo

3

&

&

&

&

?

&

&

?

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

Jœ# >

‰ Œ Œ

Jœb >‰ Œ Œ

Jœn >‰ Œ Œ

Œ Œ ‰ ≈ Rœb >

‰ . Rœ> ˙

∑

œœœœ#bœœœœ

œœœœœœœœ>

œœœœœœœœ

œœb

œœ

œœ

œœ> œ

œœœ

Jœ ‰ Œ Œ

Jœ ‰ Œ Œ

œ œ œ œ> œ œ

œ# œ œ œ> œ œ

œ œ œ œ> œ œ

œb œ œ œ> œ œ

15œb œ œ œ> œ œ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

Œ Œ ‰ . Rœ

Œ Œ ‰ . rœb

Œ Œ ‰ . Rœb

˙b‰ ≈

Rœn

˙‰ . R

œbB

∑

œœœœn#b œœœœ>

œœœœœœœœ

œœœœ>œœœœ

œœn

# œœ> œ

œœœ

œœ> œ

œ

∑

∑

œb œ> œ œ œ> œ

œ œ> œ œ œ> œ


œ œ> œ œ œ> œ

16œ œ> œ œ œ> œ

ƒ

ƒ

ƒ

.œbJœn œb œ œb

3

.œ Jœb œ œ# œ

3

.œJœ œ œ# œ

3

.œ Jœ# œn œ œb3

.œ Jœb œ œb œ

3

∑


œœœœœœœœ

œœœœœœœœ>

œœn

# œœ> œ

œœœ

œœ

œœ>

∑

∑


œ œ> œ œ œ œ>


œ œ> œ œ œ œ>

17œ œ> œ œ œ œ>

.œ œb œb œ œ .œ œ

3

.œb œ œ œb œ .œn œ#3

.œ œ œ œb œ .œn œ#3

.œ# œb œn œ œb .œN œ3

.œn œ œ œb œ .œA œb

3

∑

œœœœn#b œœœœ

œœœœœœœœ>

œœœœœœœœ

œœn

# œœ

œœ

œœ> œ

œœœ

∑

∑

œb œ œ œ> œ œ

œ œ œ œ> œ œ

œb œ œ œ> œ œ

œ œ œ œ> œ œ

18œ œ œ œ> œ œ

4

&

&

&

&

B

&

&

?

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œb >Œ Œ

œb > Œ Œ

œ> Œ Œ

œ# > Œ Œ

œn > Œ Œ

∑

œœœœn#b

>œœœœ

œœœœœœœœ>

œœœœœœœœ

œœn

# > œœ

œœ

œœ> œ

œœœ

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ

19œ> œ œ œ> œ œ



7


7 3 3 3

Ó ‰ . rœ

Ó ‰ .Rœ

∑


œœœœœœœœ

œœœœ>œœœœ

œœn

# œœ> œ

œœœ

œœ> œ

œ

‰ œ# œ œb œb œ œb œb œ œ# œ

.˙æ


œ œ> œ œ œ> œ


œ œ> œ œ œ> œ

20œ œ> œ œ œ> œ

f

f

f

f

f

Jœ#

‰ Œ Œ

Jœb‰ Œ Œ

Jœn‰ Œ Œ

.œ> œ ‰ .Rœb > œn

.œb > œ ‰ . Rœb > œn

∑

œœœœ#bœœœœ

œœœœ>œœœœ

œœœœœœœœ

œœb

n œœ

œœ> œ

œœœ

œœ

Jœb‰ Œ Œ ã

Jœ ‰ Œ Œ

œ œ œ> œ œ œ

œ# œ œ> œ œ œ

œ œ œ> œ œ œ

œb œ œ> œ œ œ

21œb œ œ> œ œ œ

ƒ

ƒ

ƒ

ƒ

ƒ

To Bass Dr.

∑

∑

∑

‰ . Rœ# > œn Œ

‰ . Rœ> œ Œ

∑


œœœœœœœœ>

œœœœœœœœ

œœb

n > œœ

œœ

œœ> œ

œœœ

∑

∑

œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


22œb > œ œ œ> œ œ

5

&

&

&

&

B

&

&

?

ã

ã

&

&

B

?

?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

Œ Œ ‰ . rœ

Œ Œ ‰ .Rœ

∑

œœœœ#bœœœœ>

œœœœœœœœ

œœœœ>œœœœ

œœb

n œœ> œ

œœœ

œœ> œ

œ

∑

Œ Œ ‰ .Rœ

œ œ> œ œ œ> œ

œ# œ> œ œ œ> œ

œ œ> œ œ œ> œ


23œb œ> œ œ œ> œ

‰ . Rœ œ> œ# Œ

‰ . Rœ# œn > œ Œ

‰ . Rœ œ> œ# Œ

.œ> œ Œ Œ

.œb > œ Œ Œ

∑

œœœœ#bœœœœ

œœœœ>œœœœ

œœœœœœœœ>

œœb

n œœ

œœ> œ

œœœ

œœ>

∑

.œ œ œ> œ Œ

œ œ œ> œ œ œ>


œ œ œ> œ œ œ>


24œb œ œ> œ œ œ>

Œ Œ ‰ . Rœb

Œ Œ ‰ . Rœ

Œ Œ ‰ . Rœ

Œ ‰ . rœ .œ# > œn

Œ ‰ . Rœb .œ> œb

∑

œœœœ#bœœœœ

œœœœœœœœ>

œœœœœœœœ

œœb

n œœ

œœ

œœ> œ

œœœ

∑

Œ ‰ .Rœ .œ œ

œ œ œ œ> œ œ

œ# œ œ œ> œ œ

œ œ œ œ> œ œ

œb œ œ œ> œ œ


œb > œ Œ ‰ . Rœ#

œb > œ Œ ‰ . rœ

œ> œ Œ ‰ . Rœ

Œ ‰ . Rœ .œ> œ#

Œ ‰ . rœ# .œ

>œn

∑


œœœœœœœœ

œœœœ>œœœœ

œœb

n > œœ

œœ

œœ

œœ> œ

œ

∑

œ> œ ‰ .Rœ .œ> œ

œ> œ œ œ œ> œ

œ# > œ œ œ œ> œ

œ> œ œ œ œ> œ

œb > œ œ œ œ> œ

26œb > œ œ œ œ> œ

P

P

P

œ̆ œ. œ. œ. œ. œ. œ̆ œ.

œbfl

œ. œ. œ. œ. œ. œfl

œ.

œ̆ œ. œ. œ. œ. œ. œ̆ œ.

œ> Œ Œ

œ> Œ Œ

∑

œœœœ#b >

œœœb œœœ œœœ œœœ œœœ> œœœ

œœb

n > Œ Œ

œ> Œ Œ Œ

œ> Œ Œ

œ>Œ Œ

œ# >Œ Œ

œ>Œ Œ

œb >Œ Œ

27

wb >

Bass Drum

B

P

f

To Chimes

To Crotales

6

&

&

&

&

B

&

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ# . œ. œ. œ. œ̆ œ. œ. œ.

œ. œ. œ. œ. œ̆ œ. œ. œ.

œ# . œ. œ. œ. œ̆ œ. œ. œ.

∑

∑

∑

œœœ### œœœ œœœ œœœ œœœ> œœœ œœœ œœœ

∑

∑

∑ &

∑

∑

∑

∑

28

w

œ. œ. œ̆ œ. œ. œ. œ. œ.

œb . œ. œfl

œ. œ. œ. œ. œ.

œ. œ. œ̆ œ. œ. œ. œ. œ.

∑

∑

∑

œœœb œœœ œœœ> œœœ œœœ œœœ œœœ œœœ

∑

∑ &

Œ œ> Ó

∑

∑

∑

∑

29

w

π

π

π

π

π

CrotalesBowed

œ̆ œ. œ. œ. œ. œ. œ̆ œ.

œbfl

œ. œ. œ. œ. œ. œfl

œ.

œ̆ œ. œ. œ. œ. œ. œ̆ œ.

∑

∑

∑

œœœb > œœœ œœœ œœœ œœœ œœœ œœœ> œœœ

∑

Œ ‰ jœœb >Ó

∑

∑

∑

∑

∑

30

w

ß

Chimes

7

&

&

&

&

B

&

&

?

&

&

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ. œ. œ. œ. œ̆ œ. œ. œ.

œb . œ. œ. œ. œfl

œ. œ. œ.

œ. œ. œ. œ. œ̆ œ. œ. œ.

∑

∑

∑

œœœb œœœ œœœ œœœ œœœ> œœœ œœœ œœœ

∑

∑

Ó œ> Œ

∑

∑

∑

∑

31

w

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

œœœb > œœœ œœœ œœœ œœœ œœœ œœœ œœœ

∑

Ó Œ ‰jœœ#

>

∑

∑

∑

∑

∑

32

w

ß

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑


∑

∑

œ> Œ Ó

œ Œ Œ œ

œ#Œ Œ

œ

œ Œ Œ œ

œ# Œ Œ œ

33

w

pizz.

p

pizz.

ppizz.

p

pizz.

p

P

To Snare

8

&

&

&

&

B

&

&

?

&

&

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑


∑

∑

∑

Œ œ Ó

Œœ#

Ó

Œ œ Ó

Œ œ# Ó

34

w

π

π

π

π

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

œ> . .œ .˙

œ# > . .œ .˙

∑


∑

Œ ‰ jœœb >Ó

∑

œ Œ Œ œ

œ#Œ Œ

œ

œ Œ Œ œ

œ# Œ Œ œ

35

w

p

p

p

p

P

P

St. Mute

St. Mute

ß

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

‰ œJœ# Jœ œn

Jœ

‰ œ#Jœ# Jœ œn

Jœ#

∑


∑

∑

∑

Œ œ Ó

Œœ#

Ó

Œ œ Ó

Œ œ# Ó

36

w

π

π

π

π

9

&

&

&

&

B

&

&

?

&

&

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

œ> . .œ .˙

œn > . .œb .˙

∑


∑

Ó Œ ‰jœœ#

>

∑

œ Œ Œ œ

œ#Œ Œ

œ

œ Œ Œ œ

œ# Œ Œ œ

37

w

p

p

p

p

ß

œ̆ œ. œ. œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ. œ. œ.

œ̆ œ. œ. œ. œ. œ. œ. œ.

‰ œJœ# Jœ œn

Jœ

‰ œ#Jœ# Jœ œn

Jœ#

∑


∑

∑

∑

Œ œ Ó

Œœ#

Ó

Œ œ Ó

Œ œ# Ó

38

w

π

π

π

π

π

π

π

π

To Bass Dr.

∑

∑

∑

œ. Œ Œ

œ# . Œ Œ

∑

∑

∑

∑

∑

œ Œ Œ

œ#Œ Œ

œ Œ Œ

œ# Œ Œ

39

œ# Œ Œpizz.

p

p

pizz.

p

p

p

π

π

C∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ ã

œ Œ œ

œŒ

œ#

œ Œ œ

œ Œ œ#

40

œ Œ œ#

π

π

π

π

π

10

&

&

&

&

B

&

&

?

&

ã

&

&

B

?

?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ ˙æ

∑

∑

∑

∑

41

∑

Snare Drum

œ# .œn U̇

œb .œ U̇

œ .œ U̇

œ .œ U̇

œ# .œ U̇?

∑

œœœœ###

....œœœœn ˙̇̇

˙U

?

œœ#

# ..

œœ

˙˙

U

∑ ã

.˙æU

œ# .œ U̇

œ .œ U̇

œ# .œn U̇

œ# .œ ˙U

42œ# .œ ˙

U

f

f

f

f

f

f

f

f

f

arco

arco

arco

Open

Open

f

arco

f

arco

ß p

∑

∑

∑

∑

jœœb^

Œ Ó

∑

œ œ œ# œ œ# œ œb^

Œ Ó


Œ Ó

œ> Œ Ó

œ œ> Œ Ó

∑

∑

∑

jœœb^

Œ Ó

43

jœœb^

Œ Ó

ß

ß

ß

ß

ß

D

Bass Drum

gliss.

gliss.

gliss.

To FluteWith Apprehension

ß

ß

◊

∑

∑

∑

∑

jœœb^

Œ Ó

∑


Œ Ó


Œ Ó

œ> Œ Ó

œ œ> Œ Ó

Ó œ œ

Óœb œ

Óœ œ

jœœb^

Œ Ó

44

jœœb^

Œ Ó

ß

ß

ß

ß

ß

gliss.

gliss.

gliss.

P

P

P

gliss.

gliss.

gliss.

q = 80

ß

ß

∑

∑

∑

∑

Œ jœœb^

Ó

∑

Œœ œ œ# œ œ# œ œb

^Ó


^Ó

Œ œ> Ó

Œ œ œ> Ó

œ œ œb œ œn œb

œb œ œ œ œ œ

œn œ œb œb œn œb

Œ jœœb^

Ó

45

Œ jœœb^

Ó

ß

ß

ß

ß

ß

simile

simile

simile

ß

ß

11

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

˙b >>̇

∑

>̇˙# >

Ó jœœb ^

Œ

∑

Óœ œ œ# œ œ# œ œb

^Œ

Óœ œ œ# œ œ# œ œb

^Œ

∑

œ wæ>

∑

∑

∑

Ó jœœb^

Œ

46

Ó jœœb^

Œ

ß

St. Mute

ß

ß

ß

f

ß

ß

∑

w

>̇ ˙# >œ Œ Ó

jœœb ^

Œ Ó

∑


Œ Ó


Œ Ó

œ> Œ Ó

œ œ> Œ Ó

Œ jœœ œ œ# œ œ#

Œjœ

œ œ œ œ œ#

∑

jœœb^

Œ Ó

47

jœœb^

Œ Ó

legato molto vibrato

legato molto vibrato

f

f

ß

ß

ß

ß

ß

f

ß

ß

œ œ œ# œ œb œ œ

œ œ œb œ œn œb

œ œ œ œ œb œ œ

∑

˙b ˙

∑

∑

∑

∑

∑

œb œ œ œ œ œ

œ œ œ# œ œb œ œ

∑

∑

48

∑

Flute

f

f

œbŒ Ó

œn Œ Ó

œŒ Ó

∑

œŒ Ó

∑


^Ó


^Ó

Œ œ> Ó

Œ œ œ> Ó

wb

œb .˙

œb ˙b œ œ

Œ jœœb^

Ó

49

Œ jœœb^

Ó

ß

ß

ß

ß

gliss.

gliss.

ß

ß

12

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

Œ œ œ# œ œb œ œ

Œ œ œb œ œn œb

Œœ œ œ œb œ œ

∑

˙b ˙

∑


Œ Ó


Œ Ó

œ> Œ Ó

œ œ> Œ Ó

Œ œb œ œ œ œ

w

w

jœœb^

Œ Ó

50

jœœb^

Œ Ó

P

P

P

ß

ß

To Glock.

ß

ß

gliss.

gliss.

ß

ß

w

w

w

w#

˙ ˙b

∑

∑ &

∑

∑

œ œ> Œ Ó

w

w

˙ ˙b

˙ ˙b

51

w

accel.

Open

P

P

P

ß

w

w

w

œ# > . .œn .˙

œ> . .œ .˙

∑

Œ œœœœnbb

>œœœœ

Ó

Œ œœn

b > œœ Ó

∑

Œ œ> œ Ó

w

˙ ˙#

w

w

52

w

P

P

wb

w

w

œ# > . .œn .˙

œ> . .œ .˙

∑

Œ œœœœnbb

>œœœœ

Ó

Œ œœn

b > œœ Ó

∑

Œ œ> œ Ó

wb æ

wæ

wæ

wæ

53

wb æ

wn

wb

w

œ# > . .œn .˙

œ> . .œ .˙

∑

œœœœnbb

>œœœœ

œœœœœœœœ

œœœœ>œœœœ

œœœœœœœœ

œœn

b > œœ

œœ

œœ

œœ> œ

œœœ

œœ

∑

œ> œ œ œ œ> œ œ œ

wn æ

wæ

wæ

wæ

54

wæ

f

13

&

&

&

&

?

&

&

?

ã

ã

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

œœœœnbb

>œœœœ

Œ Œ

œœn

b > œœ Œ Œ

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ

55

œ> œ œ œ> œ œ

q = 120

f

f

To Piccolo

f

f

f

E

f

Violently

∑

∑

∑

∑

∑

∑

œœœœnbb > œœœœ Œ Œ

œœn

b > œœ Œ Œ

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ

56

œ> œ œ œ> œ œ

∑

Œ Œ ‰ . rœb

∑

∑

∑

∑

œœœœnbb > œœœœ ‰ jœœœœ

bb>

Œ

œœn

b > œœ ‰

Jœœ>

Œ

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ

57

œ> œ œ œ> œ œ

f

∑

.œJœ œb œ

∑

∑

∑

∑

Jœœœœn

bb >‰ Œ

Jœœœœ>

‰

Jœœn

b >‰ Œ

Jœœ>

‰

∑

∑


œ> œ œ œ œ> œ


œ> œ œ œ œ> œ

58

œ> œ œ œ œ> œ

∑

.œ œb œ œb œ œ œb œ3

3

∑

∑

∑

∑

Œ jœœœœnbb

>‰ Œ

ŒJœœn

b >‰ Œ

∑

∑

œb œ œ> œ œ œ

œ œ œ> œ œ œ

œb œ œ> œ œ œ

œ œ œ> œ œ œ

59

œ œ œ> œ œ œ

∑

œb œ œ> œ œ> œ

∑

∑

∑

∑

Jœœœœn

bb >‰ Œ

Jœœœœ>

‰

Jœœn

b >‰ Œ

Jœœ>

‰

∑

∑


œ> œ œ œ œ> œ


œ> œ œ œ œ> œ

60

œ> œ œ œ œ> œ

14

&

&

&

&

?

&

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑


œ œ œ> œ œ> œ

∑

∑ B

∑

Œ jœœœœnbb

>‰ Œ

ŒJœœn

b >‰ Œ

∑ &

∑

œb œ œ> œ œ œ

œ œ œ> œ œ œ

œb œ œ> œ œ œ

œ œ œ> œ œ œ

61

œ œ œ> œ œ œ

f

œ# œ œ> œ œ> œ


œ œ œ> œ œ> œ

Œ ‰ œ# œ œ# œ# œ œ# œ œ# œ#

7

Œ ‰ œ œ œb œ œ œb

∑

jœœœœnbb

>‰ ‰ œ# œn œ# œ œ œ# œ œ# œ

7

Jœœn

b >‰ Œ

Jœœ>

‰ &

‰ œ œ œ# œ œ# œ œ œ# œ œ#

.˙æ


œ> œ œ œ œ> œ


œ> œ œ œ œ> œ

62

œ> œ œ œ œ> œ

p

p

Glock.

f

f

p

Œ Œ ‰ . Rœb

Œ Œ ‰ . rœ

Œ Œ ‰ .Rœ

œ Œ ‰ . Rœ

œnŒ ‰ . R

œ

∑

Jœœœœb

n#>

‰ Œ Jœœœœ>

‰

jœœb

n>

‰ Œ jœœ>

‰

Jœ ‰ Œ Œ

Jœ

œn > œ œ œ œ> œ


œ> œ œ œ œ> œ


63


f

f

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

.œJœ œ œb œ

3

.œb Jœn œb œ œb

3

.œ Jœ# œn œ œb

3

.œ# Jœ œ œn œ3

.œbJœn œb œ œb

3

∑

‰ Jœœœœ#b>

Œ ‰ Jœœœœ>

‰ jœœb >

Œ ‰ jœœ>

?

∑

∑

œ œ> œ œ œ œ>


œ œ> œ œ œ œ>


64


15

&

&

&

&

B

&

&

?

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

.œ œ œ œb œ .œn œb

3


3

.œ# œb œn œ œ .œ œ

3

.œ œ œ# œn œ .œ# œb3

.œb œb œ œ œ .œ œ

3

∑

Œ jœœœœ#b >‰ Œ

ŒJœœb>

‰ Œ

∑

∑

œ œ œ> œ œ œ

œb œ œ> œ œ œ

œ œ œ> œ œ œ

œb œ œ> œ œ œ

65

œb œ œ> œ œ œ

œb œ œb .œ œ œb3

œ œb œ .œn œ# œb3

œ œb œ .œn œ# œb3

œ œ œb .œ œ œb3

œ œb œ .œ œb œ3

∑

jœœœœ#b >‰ ‰ jœœœœ>

Œ

Jœœb>

‰ ‰Jœœ>

Œ &

∑

∑

œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


66


∑

∑

∑

Œ ‰ œ# œ œ# œ# œ œ# œ œ# œ#

7

Œ ‰ œ œ œb œ œ œb

∑

‰ Jœœœœ#b>

‰ œ# œ œ# œn œ œ# œn œ# œ

7

‰ jœœb >

ŒJœœb>

‰?&

‰ œ œ œ# œ œ# œ œ œ# œ œ#

.˙æ

œ œ> œ œ œ> œ


œ œ> œ œ œ> œ


67


p

p

f

p

f

16

&

&

&

&

B

&

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

œ Œ ‰ .Rœ

œŒ ‰ . R

œ

∑

Jœœœœn

bb >‰ ‰ jœœœœ

bb>

Œ

‰ jœœb >

Œ Œ

Jœ ‰ Œ Œ

Jœ ‰ Œ Œ


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


f

f f

f

ƒ

ƒ

∑

∑

∑

.œ Jœ# œn œ œb3

.œJœ œ œb œ

3

∑

Jœœœœn

bb >‰ ‰

Jœœœœ>

Œ

jœœn

b>

‰ ‰ jœœ>

Œ

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


To Sus. Cymbal

∑

∑

∑

.œ# œb .œn œ œ#

.œ œ .œ œ œ

∑

Jœœœœn

bb >‰ ‰

Jœœœœ>

Œ

jœœn

b>

‰ ‰ jœœ>

Œ ?

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


∑

∑

∑

.˙

.˙

∑

œœœœnbb

>œœœœ

œœœœœœœœ>

œœœœœœœœ

œœn

b > œœ

œœ

œœ> œ

œœœ

∑

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ


17

&

&

&

&

B

&

&

?

&

ã

&

&

B

?

?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Perc.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

Œ Œ œ>

.˙# >

Œ >̇

.˙

.˙

∑

œœœœnbb

>œœœœ

œœœœœœœœ>

œœœœœœœœ

œœn

b > œœ

œœ

œœ> œ

œœœ

∑ ã

∑


œ> œ œ œ> œ œ


œ> œ œ œ> œ œ

72

œ> œ œ œ> œ œ

f

f

f

ƒ

ƒ

w

w

w

∑

∑ ?

∑

œœœœnbb

>œœœœ

œœœœœœœœ>

œœœœœœœœ>

œœœœœœœœ>

?

wbwb

wæ

∑

œb > œ œ œ>œb œ> œ œ>

œ> œ œ œ>œ œ> œ œ>

œb > œ œ œ>œb œ> œ œ>

œ> œ œ œ> œ œ> œ œ>

73

œb > œ œ œ> œ œ> œ œ>

suspended cymbal

wU

wU

wU

œ .œ# > œU,

˙#U>

œ# .œ> œU , ˙U>

∑

wwwwU

w

U

w

wæU

w

Uæ

wU

wU

wU

wU

74

wU

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

18

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

Œ ‰jœœœ## œœœœ#nb ‰

jœœœœ##b œœœœ œœœœ

www### œ

œ

∑

∑

∑

∑

∑

∑

75

∑

With Quiet Resignation q = 40

p

Suspended Cymbal

Flute

Oboe

Triangle

∑

∑

∑

∑

∑

∑

jœœœœnbbn ....œœœœ ‰jœœœœ œœœœ œœœœb œœœœb œœœœ

˙˙n

n ..

˙˙

∑

∑

∑

∑

∑

∑

76

∑

II. Songlet

∑

∑

∑

∑

∑

∑

‰Jœœœb œœœ œœœ œœœœb œœœœ œœœœ œœœœn œœœœ œœœ

ww

œœ

∑

œ Ó Ó

∑

∑

∑

˙ .œb .œ

77

˙ .œb .œ

p

p

F

p

19

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

œœœ## œœœ œœœ œœœ œœœœbn œœœœ œœœœ œœœœ# œœœœ œœœœ

ww#

# œœ

∑

∑

∑

∑

∑

˙# .˙#

78

˙# .˙#

∑

∑

∑

∑

∑

∑

œœœœnbbn œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœb œœœœ

˙˙n

n ..

˙˙

∑

∑

∑

∑

∑

˙n .˙

79

˙n .˙

∑

∑

∑

∑

∑

œ Œ Ó .

Death,

œœœb œœœ œœœ œœœ œœœœb œœœœ œœœœ œœœœn œœœœ œœœœbb

ww

œœ

∑

Œ œ Ó Œ

w œ

∑

∑

w œ

80

w œ

p

p

20

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

Œ ‰ jœ .œb jœ ‰ jœun du ly un

œœœnb œœœ œœœ œœœ œœœœb œœœœ œœœœ œœœœ œœœœn œœœœ

ww

œœ

∑

∑

˙ .œb .œ

∑

∑

w œ

81

w œ

∑

∑

∑

∑

∑

œ œ#Œ Œ ‰ œb œ œ œ

do ing, kiss es us a


ww#

# œœ

∑

Ó œ Ó

.˙# ˙b

∑

∑

w# œ

82

w# œ

∑ ‰ Jœ

∑ ‰ Jœb

∑ ‰ Jœb

∑

˙n .˙

˙ œ œ Œ ‰ Jœb

wake in to the

œœœœnbb œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœb œœœœ

˙˙n

n ..

˙˙

wæ œæ

∑

˙ .œ .œb

∑

∑

˙n .˙

83

˙˙n

n ..

˙˙

π

π

π

ππ

π

π

π

π

π

- - - - -- -

21

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

˙ œ œ# ˙

w œ

w œ

˙# ˙n œ œb

w œ

˙# ˙n ‰ jœbnew world and

œœœb œœœ œœœ œœœ œœœ œœœ# œœœ œœœ œœœ œœœ

ww

œœ

wæ œæ

∑

˙# ˙n œ œb

∑

∑

w œ

84

ww

œœ

f

p

f

f

f

f

f

f

f

f

f

f

Ó Œ œ œb œ# œ œb œn œ# œ

‰ œ# œ œ œb œ œ œ œ œ œ œ œ œ

∑

œ Œ Ó Œ

∑

œ Œ Ó œ œleaves us pre

œœœb œœœ œœœ œœœ œœœœb œœœœ œœœœ œœœœ œœœœn œœœœ

ww

œœ

∑

∑

œ Œ Ó Œ

∑

∑

∑

85

∑

p

subito p

subito p

subito p

p

subito p

-

22

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œb œn œ# œ œ œ œb œ œ œn œ œ œ œ œb œ œ œn œ œ

œb .œ w

w# œ

Œ ‰ œ œ œ œ# œn Œ Jœ ‰3

∑

œb .œ ‰ œ œ œ œ œb Œ Jœ ‰3

emp ted and un stea dy oh,


ww#

# œœ

∑

Œ œ Ó œ

∑

∑

∑

∑

86∑

p

p

Harmon

- - -

23

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ# œ œb œ œ œn œ œ œ œ œb œ œ œn œ œ œ œ œb œ

œ œ# œb œ œ œ# œb œ œ œb œn

˙n .˙#

∑

˙n .˙

œ œ# œb ‰ jœ œ# ≈ Û Û Û Û Û Û ≈ Û Û Û Û

here we go, we say, a no ther ad just ment as us u al:

œœœœnbb œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœœ

˙˙n

n ..

˙˙

∑

∑

∑

∑

∑

∑

87∑

(spoken)

p

- - - - - -

24

&

&

&

&

?

&

?

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œb œ œ# œ œ œn œ# œ œb œ œ œb œ œ œn œ œ œ œ# œn œn œb

œ# œ œb œ œ# œb œ œ œ œ

w œ

∑

w œ

∑

œœœb œœœ œœœ œœœ œœœ œœœ# œœœ œœœ œœœ œœœ &

ww

œœ

Ó Œ ˙æ

∑

Ó Œ˙#

Ó Œ˙

∑

∑

88

∑

rall.

p

p

π

w œ

wn œ

w œ

w œ

w œ

˙ Ó .

light

œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ œœœœ œœœœ œœœœbb

ww

œœ

œ Œ Ó Œ

œ Œ Ó Œ

w œ

w œ

w œ

w œ

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Œ œ œ Jœ œ

3

∑

∑

∑

∑

129

œ Œ œ# Œ

38

&

&

&

&

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&

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Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Clv.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

Jœ œ œ œb œn œ œ Œ3

looked in at a mirror in me

∑

∑

∑

Œ œ Œ œ

∑

∑

∑

∑

130

œœ Œ Ó

∑

∑

∑

∑

∑

Œ œ œ œ Œ

that had

∑

∑

∑

Œ œ œ Jœ œ

3

∑

∑

∑

∑

131œ Œ œ# Œ

∑

∑

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Œ œ Œ œ

œ

·w

( )

∑

∑

∑

132œœ

Œ Ó

P

∑

∑

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∑

Ó ‰ .Rœb œn jœ

3

a weed in

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Œ œ œ Jœ œ

3

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·w

( )

∑

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133œ Œ œ# Œ

∑

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jœ ‰ Œ Ó

it

∑

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œ Œ Ó

œ

·w

( )

∑

∑

∑

134

œœ Œ Ó

39

&

&

&

&

B

&

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ã

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?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Clv.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

∑

∑

∑

w

·w

( )

w

·w#

#( )

∑

∑

135

Û Œ Û Œ

Emaj9(sus)

Emaj9(sus)

(ethereal)

P

P

L

Solo

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

∑

∑

∑

w

·w

( )

w

·w

#( )

∑

∑

136

Û Œ Ó

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

∑

∑

∑

w

·w

( )

w

·w

#( )

∑

∑

137

Û Œ Û Œ

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

∑

∑

∑

w

·w

( )

w

·w

#( )

∑

∑

138

Û Œ Ó

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

∑

∑

∑

w

·w

( )

w

·w

#( )

∑

∑

139

Û Œ Û Œ

∑

∑

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∑

∑ ?

∑

’ ’ ’ ’

∑

∑

Œ œ œ Jœ œ

3

∑

∑

∑

∑

140

Û Œ Ó

p

40

&

&

&

&

?

&

&

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ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Clv.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

w

w#

w#

w

141

Û Œ Û Œ

Emaj9(sus)

Emaj9(sus)

ethereal

p

p

p

p

M

comp undertrombone solo

p

p

p

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w

w

w

w

142

Û Œ Ó

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

w

w

w

w

143

Û Œ Û Œ

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w

w

w

w

144

Û Œ Ó

41

&

&

&

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&

&

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ã

ã

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&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Clv.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

w

w

w

w

145

Û Œ Û Œ

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w

w

w

w

146

Û Œ Ó

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

w

w

w

w

147

Û Œ Û Œ

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w

w

w

w

148

Û Œ Ó

42

&

&

&

&

?

&

&

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ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Clv.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

∑

∑

∑

∑

149

Û Œ Û Œ

A maj9

A maj9

A maj9

N∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

∑

∑

150

Û Œ Ó

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

∑

∑

∑

∑

151

Û Œ Û Œ

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

’ ’ ’ ’

∑ &

Œ œ œ Jœ œ

3

∑

∑

∑

∑

152

Û Œ Ó

43

&

&

&

&

?

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

.˙# ŸÈŒ

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

œ# Œ Ó

Œ œ Œ œ

∑

∑

∑

∑

153

Û Œ Û Œ

Emaj9(sus)

Emaj9(sus)

Emaj9(sus)

Glock.

Œ.˙# ŸÈ

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

Œ œ# Ó

Œ œ œ Jœ œ

3

∑

∑

∑

∑

154

Û Œ Ó

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ Œ œ

∑

∑

∑

∑

155

Û Œ Û Œ

Ó ˙#ŸÈ

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

Ó œ# Œ

Œ œ œ Jœ œ

3

∑

∑

∑

∑

156

Û Œ Ó

44

&

&

&

&

?

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ Œ œ

∑

∑

∑

∑

157

Û Œ Û Œ

O∑

w#

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w#

∑

w

∑

158

Û Œ Ó

p

p

p

.˙# ŸÈ

Œ

w#

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

œ# Œ Ó

Œ œ Œ œ

w#

∑

w

∑

159

Û Œ Û Œ

Cup Mute

P∑

w#

w#

Œ .˙#ŸÈ

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w#

w#

w

∑

160

Û Œ Ó

P

p

p

23-3

∑

w#

w#

∑

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ Œ œ

w#

w#

w

∑

161

Û Œ œ# œ# œ œ

45

&

&

&

&

?

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

.˙# ŸÈ

Œ

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

œ# Œ Ó

Œ œ œ Jœ œ

3

∑

∑

∑

∑

162

œœŒ Ó

A maj9

A maj9

A maj9

Solo

fade out solo

Œ.˙# ŸÈ

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

Œ œ# Ó

Œ œ Œ œ

∑

∑

∑

∑

163

Û Œ Û Œ

∑

∑

∑

Œ .˙ŸI

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

∑

∑

164

Û Œ Ó

0-3

Ó˙#ŸÈ

∑

∑

∑

’ ’ ’ ’

∑

’ ’ ’ ’

Ó œ# Œ

Œ œ Œ œ

∑

∑

∑

∑

165

Û Œ Û Œ

∑

∑

∑

œ# .Œ Ó

’ ’ ’ ’

∑

’ ’ ’ ’

∑

Œ œ Ó

∑

∑

∑

∑

166

’ ’Û Œ

attacca46

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

Œ .˙ŸÈ

∑

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

Œ .˙

Œ .˙

œŒ œ# Œ

œ Œ œ# Œ

167

’ ’ ’ ’

C maj9(#11)

C maj7(#11)

pizz.

pizz.

q = 100

Guiro

Comp

P

P

P

P

P

P

P

P

P

Triangle

Serene∑

∑

∑

‰ jœ œ Jœ̂ Ó3

‰ Jœb œ Jœ̂ Ó3

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w

w

œ Œ Ó

œ Œ Ó

168

’ ’ ’ ’

G m

G m

P

P

Cup Mute

Cup Mute

IV. Utensil

∑

∑

.˙ŸÈ

Œ

∑

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

.˙ Œ

.˙Œ

œ‰ jœ# œ œ

œ ‰ Jœ# œ œ

169

’ ’ ’ ’

C maj9(#11)

C maj7(#11)

‰.œb ˙

‰ .œb ˙

∑

‰ .œ ˙

‰.œb ˙

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

Ó Œ œ

Ó Œ œb

∑

∑

170

’ ’ ’ ’

G m

G m

f

47

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ̂Œ Ó

œ̂ Œ Ó

Œ .˙ŸÈ

œ# ^ Œ Ó

œ̂Œ Ó

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

œ̂Œ Ó

œ̂ Œ Ó

œŒ œ# Œ

œ Œ œ# Œ

171

’ ’ ’ ’

C maj9(#11)

C maj7(#11)

f

f

f

f

f

f

f

f

f

f

f

P

P

P

P

P

P

P

∑

‰ Jœœb

Jœ̂ Ó3

˙ŸÈ

œ œ œ Jœ

3

‰ jœ œ jœ^

Ó3

‰ Jœb œ Jœ̂ Ó3

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

œ Œ Ó

œ Œ Ó

172

’ ’ ’ ’

G m

G m

P

P

P

F

∑

∑

.œ# Jœ# œ

Jœ œJœa

3 3

∑

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

∑

∑

œ‰ jœ# œ œ

œ ‰ Jœ# œ œ

173

’ ’ ’ ’

C maj9(#11)

C maj7(#11)

‰.œb ˙

‰ .œb ˙

œn Œ Ó

‰ .œ ˙

‰.œb ˙

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

Ó Œ œ

Ó Œ œb

∑

∑

174

’ ’ ’ ’

G m

G m

48

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ̂Œ Ó

œn ^ Œ Ó

∑

œn ^ Œ Ó

œ̂Œ Ó

Ó ‰ jœb œ œHow does the

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

œ̂Œ Ó

œ̂ Œ Ó

œŒ œ# Œ

œ Œ œ# Œ

175

’ ’ ’ ’

G m7

G m7

P

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ

p

p

ƒ p

subito p

subito p

p

subito p

solo fill under vocal solo

∑

∑

∑

∑

∑

˙ jœ .œbpot pray:

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

œ Œ Ó

œ Œ Ó

176

’ ’ ’ ’C 9

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

∑

∑

œ‰ jœ# œ œ

œ ‰ Jœ# œ œ

177

’ ’ ’ ’

G m7

G m7

‰.œb ˙

‰ .œb ˙

‰.œ ˙

‰ .œ ˙

‰.œb ˙

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

∑

∑

∑

∑

178

’ ’ ’ ’

ƒ

49

&

&

&

&

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&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ̂Œ Ó

œn ^ Œ Ó

œ̂Œ Ó

œb ^ Œ Ó

œ̂Œ Ó

.œb jœ ˙wash me

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

∑

∑

œŒ œ# Œ

œ Œ œ# Œ

179

’ ’ ’ ’D 7(b5) G 9

ƒ

ƒ

ƒ

ƒ

ƒ

ƒ p

ƒ

f p

ƒ P

ƒ P

ƒ

p

p

∑

∑

∑

∑

∑

Ó ‰ Jœ œ œ

so I

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

œ Œ Ó

œ Œ Ó

180

’ ’ ’ ’C m7

p

p

∑

∑

∑

∑

∑

˙b Ó

gleam?

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

∑

∑

œ‰ jœ# œ œ

œ ‰ Jœ# œ œ

181

’ ’ ’ ’

G m7 F #m7

G m7 F #m7

∑

∑

∑

∑

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

∑

∑

∑

∑

182

’ ’ ’ ’

F m7 Em7

F m7 Em7

50

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

.˙ œ œ# >

.˙b œ œ>

∑

∑

˙ Ó

prays,

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

.˙ œ œ# >

.˙b œ œ>

œŒ œ# Œ

œ Œ œ# Œ

183’ ’ ’ ’

Eb7

Eb7

P

P

P

P

P

∑

w

w

∑

∑

Ó ‰ Jœb œ œcrack my e

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

w

w

œ Œ Ó

œ Œ Ó

184’ ’ ’ ’

D 7

D 7

∑

.˙ œ œb >

.˙ œ œ# >

∑

∑

jœ .œbÓ

na mel:

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

.˙ œ œb >

.˙b œ œ# >

œ‰ jœ# œ œ

œ ‰ Jœ# œ œ

185’ ’ ’ ’

G m7

G m7

∑

˙ ˙

˙ ˙n

∑

∑

˙b œ œb œlet the rust

’ ’ ’ ’ ?

x x Jx x x

3

Œ œ Œ œ

˙ ˙

˙ ˙n

œŒ œ# Œ

œ Œ œ# Œ

186’ ’ ’ ’

A 7(b5) D 9

A 7(b5) D 9

- -

51

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

œ Œ Ó

œŒ Ó

’ ’ ’Œ

∑

œbŒ Ó

in.

∑

x Œ Ó

∑

w

wb

œ Œ Ó

œ Œ Ó

187

Û Œ Ó

A m9

G m9

solo

p

p

p

p

p

p

p

.˙# œ œ

.˙ œ œ

.˙# œ œn

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

œ Œ Ó

œnŒ Ó

∑

∑

188

’ ’ ’ ’

D maj7(#11)

C maj7(#11)

C maj7(#11)

comp under trumpet solo

P

P

P

P

P

P

P

P

P

Qw

w

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

∑

∑

∑

∑

189

’ ’ ’ ’

A m9

G m9

G m9

P

.˙# œ œn

.˙ œ œ

.˙# œ œ

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

∑

∑

∑

∑

190

’ ’ ’ ’

D maj7(#11)

C maj7(#11)

C maj7(#11)

52

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

w

w

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

∑

∑

191’ ’ ’ ’

A m

G m

G m

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

w

w

∑

∑

192’ ’ ’ ’

D maj7(#11)

C maj7(#11)

C maj7(#11)

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

wb

w

∑

∑

193’ ’ ’ ’

A m

G m

G m

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

w

w

∑

∑

194’ ’ ’ ’

A m7

G m7

G m7

53

&

&

&

&

?

&

&

?

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

wb

w#

∑

∑

195’ ’ ’ ’

E7(b5) A 9

D 7(b5) G 9

D 7(b5) G 9

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

∑

∑

œ‰ jœ# œ œ

œ ‰ Jœ# œ œ

196’ ’ ’ ’

A m7

G m7

G m7

P

P

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

∑

∑

∑

∑

197’ ’ ’ ’

∑

∑

∑

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

∑

∑

œŒ œ# Œ

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198’ ’ ’ ’

E7(b5) A 9

D 7(b5) G 9

D 7(b5) G 9

54

&

&

&

&

?

&

&

ã

ã

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&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

wb

wb

œ Œ Ó

œ Œ Ó

199’ ’ ’ ’

D m7

C m7

C m7

P

P

P

P

w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

˙ ˙

˙ ˙

œ‰ jœ# œ œ

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200’ ’ ’ ’

A m7 G #m7

G m7 F #m7

G m7 F #m7

w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

˙b ˙

˙b ˙

∑

∑

201’ ’ ’ ’

G m7 F #m7

F m7 Em7

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w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

wb

w

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202’ ’ ’ ’

F 7

Eb7

Eb7

55

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

∑

∑

œ Œ Ó

œ Œ Ó

203’ ’ ’ ’

E7

D 7

D 7

w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

∑

Œ ‰ Jœ Œ œ

∑

∑

œ‰ jœ# œ œ

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204’ ’ ’ ’

A m7

G m7

G m7

w

∑

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

∑

∑

œŒ œ# Œ

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205’ ’ ’ ’

B 7(b5) E9

A 7(b5) D 9

A 7(b5) D 9

w

∑

w

’ ’ ’ ’

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∑

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

∑

∑

œ Œ Ó

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206’ ’ ’ ’

A m7

G m7

G m7

56

&

&

&

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&

&

?

ã

ã

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&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

.˙# œ œ

.˙ œ œ

.˙# œ œn

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ Œ œ

œŒ œ# Œ

œŒ œ# Œ

œ Œ œ# Œ

œ Œ œ# Œ

207’ ’ ’ ’

D maj7(#11)

C maj7(#11)

C maj7(#11)

pizz.

pizz.

w

w

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

∑

Œ œ œ Jœ œ

3

œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

208’ ’ ’ ’

A m

G m

G m

.˙# œ œn

.˙ œ œ

.˙# œ œ

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

x x Jx x x

3

Œ œ Œ œ

œŒ œ# Œ

œŒ œ# Œ

œ Œ œ# Œ

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209’ ’ ’ ’

D maj7(#11)

C maj7(#11)

C maj7(#11)

w

w

w

’ ’ ’ ’

∑

∑

’ ’ ’ ’

’ ’ ’ ’

x x Jx x x

3

Œ œ œ Jœ œ

3

œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

210’ ’ ’ ’

A m

G m

G m

57

&

&

&

&

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&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

wb

w

w

∑

∑

Ó ‰ jœ œb œHow does the

∑

∑

Œ œ Ó

∑

∑

w

Ó ˙

211

œb Œ ˙arco

arco

arco

R

p

p

p

p

p

∑

∑

∑

∑

∑

˙b ˙pot pray:

∑

∑

∑

∑

∑

˙b

˙ ˙

212

˙ ˙

∑

∑

∑

’ ’ ’ ’

∑

∑

∑

∑

Œ œ Œ œ

∑

∑

wb

wb

213

wb

A mfill

p

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∑

’ ’ ’ ’

∑

∑

∑

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Œ œ œ Jœ œ

3

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∑

w

wb

214wb

D maj7(#11)

58

&

&

&

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?

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&

ã

ã

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B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

œb .˙n

wash me,

∑

∑

∑

∑

∑

œ .˙n

w

215w

œb .Œ œ. Œ

œb .Œ œ. Œ

œb .Œ œ.

Œ

∑

œb . Œœ.

Œ

Ó ‰ Jœb œ œb

so I

∑

∑

∑

wb

wb

w

˙ ˙b

216˙

˙b

arco

arco

p

p

p

p

p

p

Cup Mute

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œb . Œ Ó

œb . Œ Ó

’ ’Ó

œb .Œ Ó

Jœ .œ Ó

gleam?

∑

∑

∑

wb

w

w

˙ ˙

217

˙b ˙

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p

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. Œ œb .

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. Œ œb .

œb .‰ jœ.

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’ ’ ’ ’

œb . ‰ Jœ.

Œ œb .

∑

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∑

∑

wn

w#

w

˙ ˙b

218

˙ ˙b

D maj7(#11)

59

&

&

&

&

?

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œb .Œ œ. Œ

œb .Œ œ. Œ

œb .Œ œ.

Œ

∑

œb . Œœ.

Œ

˙# Ó

prays,

∑

∑

∑

w

w

w

w#

219w

œb .Œ Ó

œb . Œ Ó

œb .Œ Ó

∑

œb .Œ Ó

Ó ‰ Jœ œb œ

crack my e

∑

∑

∑

w

w

wb

∑

220

∑

∑

∑

∑

∑

∑

jœb .œ Ó

na mel:

∑

∑

∑

w

w

w

∑

221

∑

∑

∑

∑

∑

∑

˙b œ œ œlet the rust

∑

∑

∑

wb

˙b ˙

˙ ˙

∑

222

∑

- -

60

&

&

&

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&

&

ã

ã

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?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Gro.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

’ ’ ’Œ

∑

œ Œ Ó

in.

∑

∑

∑

w

wb

w

∑ &

223

∑

C

∑

∑

∑

’ ’ ’ ’

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w

∑

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wb

224

w

F #˚

∑

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w

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w

225

w

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∑

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∑

w

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∑

w

226

w

∑U

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’ ’ ’ ’U

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wU

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wU

227

wU

π

π

π

π

61

&

&

&

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&

&

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ã

ã

&

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&

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

° * ° * ° * °

∑

∑

∑

∑

∑

∑

œœœgggggggggggggggggggg

Œ Ó

œœ Œ Ó

œ Œ Ó

‰ Jœ Œ Ó

w

∑

∑

w

228

w

π

π

π

π

Mysterious q = 60

Bass Drum

p

Triangle

Eng. Horn

∑

∑

Ó Œ ‰ jœ#

∑

∑

∑

Ó

œœœ###gggggggggggggggggggg

Œ

Ó œœ## Œ

œ Œ Ó

‰ Jœ Œ Ó

w

∑

∑

w

229

w

π

P

P

p

∑

∑

.œ-jœ# - œ# œ œ

∑

∑

∑

∑

∑

∑

œ Œ Œ œ

w

∑

∑

w

230

w

π

V. Small Song∑

∑

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∑

∑

∑

Óœœœgggggggggggggggggggg

Œ

Ó œœ Œ

œ Œ Ó

‰ Jœ Œ Ó

w

∑

∑

w

231

w

π

p

∑

∑

.œ# jœ jœb .œ

∑

∑

∑

∑

∑

∑

œ Œ ‰ Jœ Œ

w

∑

∑

w

232

w

∑

∑

w

∑

∑

∑

Ó œœb Œ

∑

∑

Ó œ Œ

w

∑

∑

w

233

w

f

f

f

62

&

&

&

&

?

&

&

&

ã

ã

&

&

B

&

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

*

w#

∑

Ó Œ ‰ jœ

∑

∑

∑

Œœœb

Ó

∑

œ Œ Ó

∑

wb

w

∑

∑ ?

234

w

ƒ

f

π

π

P

w

w

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∑

∑

∑

Óœœb

Œ

∑

wæ

∑

w

w

w

wb

235

∑

P

P

P

P(Eng. Horn)

π

π

π

S

P

w

w

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œ# . œ. œ.Œ

3

∑

∑

Ó Œ ‰ Jœ#

The

Œœœb

Œ œœb

∑

œæ

œ Ó

∑

w

w

w

w

236

∑

P

π

π

πP

P

πP

π

π

π∑

∑

∑

∑

∑

.œ jœb œb œn .œ

reeds give way to the

∑

∑

∑

∑

w

wb

∑

∑

237

w

Rub head with Superball mallet

∑

∑

∑

∑

∑

œ Œ Ó

wind

∑

∑

w

œ Œ ‰ Jœ Œ

w

w

∑

∑

238

w

p

p

63

&

&

&

&

?

&

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

°

∑

∑

.œ jœ ˙

∑

∑

Ó Œ œ .œto the

∑

∑

w

Ó œ Œ

w

wb

∑

∑

239

w

π

p

∑

∑

w

∑

∑

œbŒ Œ ‰ Jœb

wind and

∑

∑

w

œ Œ Ó

w

w

∑

∑

240

wb

P

π

∑

Ó ‰ .œ#

‰ .œ# ˙#

∑

∑

œ# Œ Œ ‰ jœbgive and

∑

∑

∑

‰ Jœ Œ œ Œ

w#

w

∑

∑

241

w

π

π

π

∑

˙# ˙

˙ œ œ

∑

∑

œ œ ˙

give the wind

∑

∑

wæ

∑

wn

w

∑

∑

242

w

Regular mallets

π

P

˙# ˙

w

œœ# > >̇

∑

∑

Ó Œ œa

∑

∑

wæ

∑

∑

∑

∑

w#

243

w#

P

P

P

P

œ# >Œ Ó

œb > Œ Ó

œb > Œ Ó

∑

∑

œœ##>

Œ Ó

way

Ó


Œ

Ó œœ## Œ

œ Œ œ Œ

∑

∑

∑

∑

w#

244

w#

ƒ

ƒ

Ïƒ

ƒ

ƒ

Ï

ƒ

ƒ

-

64

&

&

&

&

?

&

&

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ã

ã

&

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B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

* ° *

∑

∑

Ó Œ ‰ jœ#

∑

∑

∑

∑

∑

∑

∑

w

w

∑

w

245

w

p

T

p

p

p

p

∑

∑

.œ jœ# œ# œ œ

∑

∑

∑

∑

∑

w

œ Œ Œ œ

w

w

∑

w

246

w

p

Rub head with Superball mallet

p

∑

∑

.˙ ‰ jœ

∑

∑

∑

∑

∑

w

‰ Jœ Œ Ó

w

wb

∑

.œn jœ œ# œ œb

247

.œnJœ œ# œ

œb

∑

∑

.œ# jœ jœb .œ

∑

∑

∑

∑

∑

w

œ Œ ‰ Jœ Œ

∑

∑

∑

w

248

w

π

w

w

.˙‰ jœ

∑

∑

∑

œœœgggggggggggggggggggg

Œ Ó

œœ Œ Ó

∑

œ Œ Ó

w

w

w

w

249

w

π

π

π

π

π

π

π

π

π

π

w

w

œb œn œ# œ Œ ‰ jœ

∑

∑

∑

∑

∑

œ Œ Œ œ

‰ Jœ Œ Ó

w

w

w

w

250

w

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π

65

&

&

&

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&

&

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ã

ã

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B

?

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Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

° *

w

w

œ œ# œ# œn œ# Œ

∑

∑

∑

∑

∑

Ó Œ œ

‰ Jœ Œ Ó

w

w

w

wn

251wn

w#

w

Ó Œ œ

∑

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∑

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∑

‰ Jœ Œ œ Œ

w#

w

w

w

252w

w

w

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∑

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∑

Œ


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w

w

w

∑

253

∑

π

rit.w

w

w#

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Ó Œ ŒU

∑

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∑

∑

œ Œ Ó

w

w

w

∑

254

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attacca

∏

∏

∏

∏

∏

∏

66

&

&

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Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Tamb.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

∑

∑

Ó ˙æ

œ Œ Ó

∑

∑

∑

∑

255

∑

q = 100

P

Tambourine

PTriangle

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∑

∑

∑

∑

∑

œ Œ ˙æ

œ Œ Ó

∑

∑

∑

œ Œ ‰ .œ

256

œ Œ ‰ .œpizz.

pizz.

P

P

P

P

Eng. Horn

VI. HollowsÓ Œ ‰ œ œ œ œ#

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œb Œ ˙arco

arco

Cup Mute

Cup Mute

PP

P

P

P

P

P

P

P

P

arco

∑

∑

∑

w

w

˙b ˙pot pray:

∑

∑

∑

∑

∑

∑

˙b

˙ ˙

311

˙ ˙

∑

∑

∑

w

w

˙ œœ

œœ

œœ

œBirds are flo wers

∑

∑

œ Œ Ó

∑

∑

∑

wb

wb

312

wb

P

∑

∑

∑

w

w

.

.œ

œj

œœb

b ˙˙

fly ing

∑

∑

∑

∑

∑

∑

w

wb

313wb

- -

81

&

&

&

&

?

&

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

w

w

œb .˙n

wash me,

∑

∑

∑

œ Œ Ó

∑

∑

œ .˙n

w

314

w

X∑

∑

∑

∑

∑

Ó ‰ jœb œ œbso I

∑

∑

∑

Ó œ Œ

wb

wb

w

˙ ˙b

315

˙˙b

arco

arco

arco

P

P

∑

∑

∑

∑

∑

jœ.œ Œ ‰ jœb

gleam? and

∑

∑

Ó Œ œ

∑

wb

w

w

˙ ˙

316

˙b ˙

∑

∑

∑

∑

∑

œ œb Ó

flow wers

∑

∑

∑

∑

wn

w#

w

˙ ˙b

317

˙ ˙b

-

82

&

&

&

&

?

&

&

&

ã

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

˙# Ó

prays,

∑

∑

∑

œ Œ Ó

w

w

w

w#

318w

∑

∑

∑

∑

∑

.

.œ

œnj

œœ

‰ Jœ œb œ

perched birds crack my e

∑

∑

œ Œ Ó

Ó œ Œ

w

w

wb

∑

319

∑

∑

∑

∑

∑

∑

jœb .œ Ó

na mel:

∑

∑

∑

∑

w

w

w

∑

320

∑

To Chimes

∑

∑

∑

w

w

˙b œ œ œlet the rust

∑

∑

∑

∑

wb

˙b ˙

˙ ˙

∑

321

∑

p

p

p

p

p

p

∑

∑

∑

w

w

œ Œ Ó

in.

∑

∑

∑ &

∑

w

wb

w

∑

322

∑

π

π

π

π

π

π

attacca

- -

83

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

√ √

∑

∑

∑

w

w

Ó Œ œ œin the

Ó Œ œœœbgg

∑

∑

∑

wæ

wb æ

wb æ

∑

323

∑

SerenePiccolo

recitative

(π)

(π)(π)

π

(π)

(π)

(π)

q = 80

∑

∑

∑

w

w

.œ œ œ œ œ œb œ Œ

dark o ri gi nal wa ter,

Ó œœœbgg Œ

∑

∑

∑

wæ

wæ

wæ

∑

324

∑


∑

∑

∑

w

w

‰ œ œ œ œ ‰ Œ ‰ jœam ni o tic in

‰ œœœœbggg ‰ Ó

Ó Œ ‰ jœ

∑

∑

wæ

wæ

wæ

∑

325

∑

∑

∑

∑

w

w

œ œ œ Œ Ó

fin i ty

∑

œ œ Ó

∑

∑

wæ

wæ

wæ

∑

326

∑

∑

Ó ˙#

Ó ˙#

∑

∑

∑

∑

∑

∑

∑

w# æ

w# æ

wæ

wæ

327

w# æ

p

p

p

p

p

p

p

To Flugelhorn

œ# > œ# > ˙# >

w

w#

∑

∑

œ# Œ Ó

closed

œ# > œ# > ˙# >

∑

∑

∑

wæ

wæ

wæ

wæ

328

wæ

p

p

p

Y

- - - - - - - - - -

84

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

(√)

.>̇ œ# >

w

w

∑

∑

œ œ Œ ‰ œ œ# œbound less in cir cu

.>̇ œ# >

∑

∑

∑

wæ

wæ

wæ

wæ

329

wæ

œb > Œ Œœb >

Ó ˙

Ó ˙

∑

∑

œ œ œ Œ Ó

lar i ty:

œb > Œ Œœb >

∑

∑

∑

wn æ

wn æ

wb æ

wb æ

330

wn æ

œŒ Œ

œb >

w#

w#

∑

∑

∑

œŒ Œ

œb >

∑

∑

∑

wæ

wæ

wæ

wæ

331

wæ

œb >Œ Ó

∑

∑

‰ . rœ# œ .œ œ# œ

‰ . Rœ# œ .œ œ# œ

∑

œ# >Œ Ó

∑

∑

∑

w# æ

w# æ

w# æ

w# æ

332

w# æ

Flugelhorn

OpenP

P

P

P

P

P

P

∑

∑

∑

œ œ# œ# œ#

œ œ# œ# œ#

∑

∑

∑

∑

∑

wæ

w# æ

w# æ

w# æ

333

w# æ

- - - - -

85

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

w#

w

w#

wb

wn

∑

∑

∑

‰ œ> œ# œ# œ> œ œ œ>

∑

wæ

wæ

wæ

wæ

334

wæ

Chimes

Z

f

f

f

f

f

f

f

f

f

f

f

w

w

w

∑

∑

∑

∑

∑

œ# œ# œ> œ œ œ œ# œ

∑

wæ

wæ

wæ

wæ

335

wæ

w

w#

w#

∑

∑

.˙ œ œtame, hea vy

∑

∑

œ# >Œ Ó

∑

w# æ

wæ

w# æ

wæ

336

w# æ

P

P

P

P

P

P

P

P

P

P

∑

∑

∑

∑

∑

œ# œn œ Œ .œ œ#wa ter, e qui

∑

∑

∑

∑

Ó œ. .œ. œ. .œ.

Ó .œ# . œ. .œ. œ.

w

w

337w#

Ó Œ œ œb

∑

∑

Œ .>̇

Œ .˙# >

œ# œn œ# Œ Œ œ œb3

li br ant, a ny

∑

∑

∑

∑

œ. .œ. œ. .œ. œ. .œ. œ. œ.

.œ# . œ. .œ. œ. .œ. œ. œ. œ.

w

w

338w

p

p

p

p

- - - - - - -

86

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ œ œ# œn œ#

∑

œfl

œ. œ. œfl

œ. œ.

∑

∑

œ œ œ# œn œ#

will for ming to be

∑

∑

∑

∑

œfl

œ. œ. œfl

œ. œ.

œ#fl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

339

œbfl

œ. œ. œfl

œ. œ.

Allegro q = 132

p

p

p

p

p

p

AA˙ œb œ œ œb œ œ œ œn

Œ Œ ‰ jœ

œfl

œ. œ. œfl

œ. œ.

∑

∑

œ Œ ‰ jœcome con

∑

∑

∑

∑

œfl

œ. œ. œfl

œ. œ.

œ#fl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

340

œbfl

œ. œ. œfl

œ. œ.

p

œ# ˘ œ. œ. œ̆ œ. œ.

œ œ# œn ‰ Jœœ œ#

3

œfl

œ. œ. œfl

œ. œ.

∑

∑

œ œ# œn ‰ Jœœ œ#

3sis ten cy of mo tion

∑

∑

∑

∑

œfl

œ. œ. œfl

œ. œ.

œ#fl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

341

œbfl

œ. œ. œfl

œ. œ.

œ̆ œ. œ. œ̆ œ. œ.

Œ Œ ‰ jœ#

œbfl

œ. œ. œfl

œ. œ.

∑

∑

Œ Œ ‰ jœ#a

∑

∑

∑

∑

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

œnfl

œ. œ. œfl

œ. œ.

342

œfl

œ. œ. œfl

œ. œ.

- - - - - - -

87

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œb ˘ œ. œ. œ̆ œ. œ.

œ œb œ œ œb œ

œbfl

œ. œ. œfl

œ. œ.

∑

∑

œ œb œ œ œb œ

ri

∑

∑

∑

∑

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

343

œfl

œ. œ. œfl

œ. œ.


œœ œb œ œb œb œn œ œb œn œ œ œ œb œb5

7


7 3 3 3

∑

∑

œ œ œb œœ

œœ#

# œœ

∑

∑

∑

∑

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

344

œfl

œ. œ. œfl

œ. œ.

Jœ#

‰ Œ Œ

Jœb‰ Œ Œ

Jœn‰ Œ Œ

∑

∑

œœn

n Œ Œ

sing

∑

∑

∑

∑

œfl

œ. œ. œfl

œ. œ.

œ#fl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

345

œbfl

œ. œ. œfl

œ. œ.

To Flute

f

f

f

f

f

f

f

f

f

To Eng. Horn

∑

∑

∑

∑

∑

Œ Œ ‰ jœan

∑

∑

œ Œ Œ

∑

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œbfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

346

œfl

œ. œ. œfl

œ. œ.

recitative

- - - - - - - -

88

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

œœ œ jœ ‰ Œ3

ni hi la ted

∑

∑

‰ jœ Œ Œ

∑

œb . œ. œnfl

œ. œ. œ.

œ. œ. œbfl

œ. œ. œ.

œb . œ. œnfl

œ. œ. œ.

œ. œ. œbfl

œ. œ. œ.

347

œ. œ. œbfl

œ. œ. œ.

BB

f

∑

∑

∑

∑

∑

Œ Œ œ œby its

∑

∑

∑

∑

œ. œ. œ. œfl

œ. œ.

œb . œ. œ. œfl

œn . œ.

œ. œ. œ. œfl

œb . œ.

œb . œ. œ. œfl

œn . œ.

348

œb . œ. œ. œfl

œn . œ.

∑

∑

∑

∑

∑

œœ Œ ‰ jœ

e qual and

∑

∑

œ>Œ Œ

∑

œfl

œ. œ. œ. œ. œ.

œfl

œ. œ. œ. œ. œ.

œbfl

œ. œ. œ. œ. œ.

œfl

œ. œ. œ. œ. œ.

349

œfl

œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

œœ œ Œ Œ3

op po site:

∑

∑

‰ jœ Œ Œ

∑

œ. œ. œ#fl

œ. œ. œ.

œ. œ. œfl

œ. œ. œ.

œb . œ. œnfl

œ. œ. œ.

œ. œ. œfl

œ. œ. œ.

350

œ. œ. œfl

œ. œ. œ.

∑

∑

∑

∑

∑

Œ Œ ‰ Jœb

an

∑

∑

Œ ‰ Jœb > Œ

∑

œ#fl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

351

œfl

œ. œ. œfl

œ. œ.

- - - - - -

89

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

œb œ ‰ Jœ œ œ

e ven com plete ex

∑

∑

‰ jœœb>

Œ Œ

∑

œ#fl

œ. œ. œfl

œ. œ.

œfl

œ. œ. œfl

œ. œ.

œ̆ œ. œ. œ̆ œ. œ.

œfl

œ. œ. œfl

œ. œ.

352

œfl

œ. œ. œfl

œ. œ.

∑

∑

∑

∑

∑

Jœ ‰ Œ Œ

tent:

∑

∑

œœb>

Œ Œ

∑

œfl

œ. œ. œfl

œ. œ.

œ#fl

œ. œ. œfl

œ. œ.

œ# ˘ œ. œ. œ̆ œ. œ.

œbfl

œ. œ. œfl

œ. œ.

353

œbfl

œ. œ. œfl

œ. œ.

rit.∑

∑

∑

∑

∑

∑

∑

∑

œœb>

Œ Ó

∑

œ. œ. œfl

œ. œ. œfl

œ# . œ. œfl

œ. œ. œfl

œ# . œ. œ̆ œ. œ. œ̆

œb . œ. œfl

œ. œ. œfl

354

œb . œ. œfl

œ. œ. œfl

∑

∑

∑

∑

∑

∑

∑

∑

œb > ‰ jœ>Œ

Œ Œ ‰ Jœ

œ. œ. œ. œfl

œ. œ.

œ# . œ. œ. œfl

œ. œ.

œ# . œ. œ. œ̆ œ. œ.

œb . œ. œ. œfl

œ. œ.

355

œb . œ. œ. œfl

œ. œ.

Triangle

∑

∑

∑

∑

∑

∑

∑

∑

Œ ‰ jœ>Œ

œ Œ ‰ Jœ

œ. œfl

œ. œ. œ. œfl

œ# . œfl

œ. œ. œ. œfl

œb . œfl

œ. œ. œ. œfl

œ. œfl

œ. œ. œ. œfl

356

œ. œfl

œ. œ. œ. œfl

- - -

90

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑

∑

∑

œb ‰ jœ>Œ

œ Œ ‰ Jœ

œ. œ. œ. œ. œfl

œ.

œ# . œ. œ. œ. œfl

œ.

œb . œ. œ. œ. œfl

œ.


œ.

357


œ.

∑

∑

∑

∑

∑

∑

∑

∑

œœb>

‰ jœœ>Œ

œ œ œ Jœ3

œ. œ. œ. œfl

œfl

œfl

œ# . œ. œ. œfl

œfl

œfl

œb . œ. œ. œfl

œfl

œfl

œ. œ. œ. œfl

œfl

œfl

358

œ. œ. œ. œfl

œfl

œfl

∑

∑

∑

∑

∑

∑

∑

∑

œœb>

‰ jœœ Œ œœ#

œ œ œ Jœ œ

3

œfl œ# .˙

jœ#fl

‰œ jœ .œ

jœbfl

‰ œ Jœ .œ

jœfl

‰ Œ Ó

359

jœfl

‰ Œ Ó

With Quiet Resignation q = 40

P

P

P

P

P

P

P

CC

To Glock.

∑

∑

∑

∑

∑

œb Œ Œ ‰ jœ(there an

∑

∑

∑

Œ œ Œ œ

w

w

w

∑

360

∑

P

∑

∑

∑

∑

∑

œb œ œÓ

e den: how

∑

∑

œb Œ œ Œ

Œ œ œ Jœ œ

3

wb

w

w

∑

361

∑

Glock.

-

91

&

&

&

&

?

&

&

&

&

ã

&

&

B

?

?

45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

œ# œŒ Œ ‰ jœ

fo reign and

∑

∑

œ# Œ Ó

Œ œ Œ œ

w

w

w

∑

362

∑

∑

Ó Œ Œ œb

Ó Œ Œ œ

∑

∑

œn œ ˙b Œ œfar a way your

∑ ?

∑ ?

œ œb Œ Ó

∑

w œ

w œ

w œ

∑

363

∑

p

p

Eng. Horn

To Crotales

∑

˙ Œ Œ ‰ œn œb

˙ Œ Œ ‰ œ œb

∑

∑

˙ Œ Œ ‰ œn œbdeath, ri vu

œœœb œœœ œœœ œœœ œœœœb œœœœ œœœœ œœœœn œœœœ œœœœbb

ww

œœ

œ Œ Ó Œ

∑

w œ

wb œ

w .œ œb

w œ

364w œ

p

p

p

p

p

p

p

DD

p

- - - -

92

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Tbn.

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Glk.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

œ Œ ‰ œb œ œ ‰ Jœn

œ Œ ‰ œb œ œ ‰ Jœn

∑

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˙ ‰ œb œ .œjœn

lets tri k ling through


ww

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∑

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˙ ˙b œ

w œ

w œ

w œ

365

w œ

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∑

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ripe bowels,


ww#

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w œ

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w# œ

366

w# œ

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œœœœn œœœœ œœœœ œœœœ œœœœ## œœœœ œœœœ œœœœ œœœœn œœœœ

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n ..

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˙n ˙# œn

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w œ

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367

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p

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p

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93

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ww

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368

w œ

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ww

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∑

w œ

w œ

w# .œ# œn

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369

w œ

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w# .œ# œn

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ww

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w œ

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w# .œ# œn

w œ

370

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94

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Vln. I

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Pno.

∑

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w# .œ œ œ# œ# œ

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371

w# œ

To Chimes

˙n .˙#

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œœœœn œœœœ œœœœ œœœœ œœœœ## œœœœ œœœœ œœœœ œœœœn œœœœ

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n ..

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372

˙n .˙#

p

p

w œ

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ww

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373

w œ

p

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95

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44

44

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44

44

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44

44

44

Fl.

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Bb Cl.

Bb Tpt.

Tbn.

Voice

Glk.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

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œ Œ Ó Œ

œ Œ Ó Œ

jœ ‰ ‰ jœ ‰ œ œ œ œ Œ

turn to hea vy wa ter,

wwwwœœœœ

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∑

w œ

w œ

w œ

w œ

w œ

374

w œ

To Oboe

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To Trumpet

p

CrotalesBowed Freely

∑

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œ# œ œ Œ Œ Œ ‰ œ œin fi nite mul ti

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w# œ

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375

w# œ

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w œ&

wb œ

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376

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96

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44

44

44

44

44

44

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44

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44

44

44

44

44

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

œ œ œœ œ œb

dee pen ning fil te ring

∑

∑

œ Œ Ó

∑

∑

∑

∑

∑

377

wb æ

With Building Tension

subito pp

Chimes

GG

π

∑

∑

∑

∑

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œb œ œ#œ# œb œ œ

ear then womb that bears you for

∑

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œb Œ Ó

∑

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∑

wæ

∑

378

wæ

p

q = 80

∑

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œ# œn Œ Œ ‰ jœe ver be

∑

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œ Œ Ó

∑

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wæ

wb æ

379

wæP

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œbœb œ œ œ Œ ‰ Jœ

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∑

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wæ

wæ

wæ

380

wæ

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- -- - - -

97

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Fl.

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Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

Œ.˙b

Œ .˙

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Œ œ> œ> œ>

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œb œ œ Œ Ó

bar ri er!

∑ &

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œ œb œ œb

œb œ œ œ

wb æ

wæ

wæ

wæ

381

wæ

F

p

p

p

p

p

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p

Trumpet

f

f

f

f

f

p

œb .Œ Œ

œb .

Œ œ. Œ œ.

œ. Œœ. œ.

∑

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’ ’ ’ ’

œb .œ. œb . œ.

œ. Œ Œ œœb .

œ œb œ œb

œb œ œb œ

wæ

wæ

∑

∑

382

∑

I knowthere is perfection in the beingof my being,that I am holy in amnessas stars or paperclips,

VampHH

f

f

f

f

f

f

Spoken

f

f

œ.Œ Ó

œ. Œ Ó

œ. Œ Ó

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∑

œœ.Œ Ó

œœœ.

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˙ œ œ

˙ œ œ

wn æ

wæ

∑

∑

383

∑

p

p

f

f

subito p

subito p

subito p

œ.

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œ# .Œ

œ. œ.

∑

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œ œ œ œ

œ œ œ œ

wæ

wæ

wæ

wæ

384

wæ

that the universe,moving from void to void,pours in and out through me:

VampII

Spoken

f

f

f

f

f

f

f

f

f

f

- -

98

&

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Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

œ. Œ Ó

œ. Œ Ó

œ. Œ Ó

∑

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∑

Ó œ œb

wwwb

˙ œ œb

˙ œ œb

wn æ

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wæwb

æ

385

wbæ

subito p

subito p

subito p

subito p

subito p

subito p

subito p

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œ œ œ œ œ œ œ œ

www

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wæ

wæ

wæw

æ

386

wæ

p

p

f

f

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œ# .Œ

œ. œ.

∑

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œ. œ. œ. œœœ.

œœ œ œ œ œ œ œ œ

œ œ œ œ


wæ

wæ

wæ

wæ

387

wbæ

there is a point,only itself, that fills space,an emptiness that is plenitude:

VampJJ

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f

f

f

f

f

f

f

f

f

f

f

w

w

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ww

www

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388

wæ

a

subito p

p

p

p

p

p

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p

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wb æ

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389

wæ

p

void that is all being,

To Sus. Cymbal

99

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45

45

45

45

45

45

45

45

45

45

45

45

45

45

45

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Chm.

Crt.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

’ ’ ’ ’

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∑

˙ ˙

∑

∑

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wæ

wæ

390

wæ

P

a being that is void:

∑

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’ ’ ’ ‰ .RÛ

I

∑

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œ> Œ Ó ã

∑ ã

wæ

wb æ

wæ

wæ

391

wæ

I am perfect:the wind is perfect:ditchwater, running, is perfect:everything is:

F

F

(1st time only)

VampKK

Last time only:

Spoken

ƒ

ƒ

ƒ

ƒ

ƒ

F

To Bass Dr.

∑

∑

∑

∑

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raise my hand

∑

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Œ wæ

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æ̇

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Œ wb æ

392

Œ wb æ>

Suspended Cymbal

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p

p

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p

100

&

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ã

ã

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

Ob.

Bb Cl.

Bb Tpt.

Tbn.

Voice

Perc.

Trgl.

Vln. I

Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

∑

∑

∑


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∑

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393œb > œ œ œ> œ œ

f

f

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arco

ƒ

f

f

arco

arco

f

arco

f

arco

Bass Drum

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q = 120∑

∑

∑

∑

∑

∑


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101

&

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Vln. II

Vla.

Vc.

D.B.

Pno.

∑

∑

∑

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396

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397


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398


ƒ

102

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D.B.

Pno.



7


7 3 3 3

∑

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f

f

f

f

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ƒ

ƒ

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œn

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œbB

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ƒ

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103

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Vln. II

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3

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3.œJœb œ œ# œ

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3

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108

!109

Bibliography

Ammons, A. R. “Come Prima.” in Collected poems, 1951-1971, 52-53. New York, NY: W.W. Norton, 1972.

Ammons, A. R. “Sphere.” in Collected poems, 1951-1971, 97-98. New York, NY: W.W. Norton, 1972.

Ammons, A. R. “Hollows.” in The really short poems of A.R. Ammons, 60. New York, NY: W.W. Norton, 1990.

Ammons, A. R. “Mirrorment.” in The really short poems of A.R. Ammons, 8. New York, NY: W.W. Norton, 1990.

Ammons, A. R. “Reflective.” in The really short poems of A.R. Ammons, 16. New York, NY: W.W. Norton, 1990.

Ammons, A. R. “Small Song.” in The really short poems of A.R. Ammons, 54. New York, NY: W.W. Norton, 1990.

Ammons, A. R. “Songlet.” in The really short poems of A.R. Ammons, 152. New York, NY: W.W. Norton, 1990.

Ammons, A. R. “Utensil.” in The really short poems of A.R. Ammons, 147. New York, NY: W.W. Norton, 1990.

!110

APPENDIX A: Text

Text as appears in the composition (Parentheses around italicized text denote repetition, Brackets denote the insertion of one poem into another, and a line indicates a separation between movements/sections of the piece):

I. [Voice tacets]

II. Songlet

Death, unduly undoing, kisses us awake into the new world and leaves

us preempted and unsteady: oh, here we go, we say, another adjustment as usual:

light appears to be the leader here: we turn to where a beam forms and set out

III. Reflective

I found a weed that had a

mirror in it and that mirror

looked in at a mirror in

me that had a weed in it

IV. Utensil

How does the pot pray: wash me, so I gleam?

prays, crack my enamel: let the rust in.

(How does the pot pray: wash me, so I gleam?

prays, crack my enamel:

!111

let the rust in.)

V. Small Song

The reeds give way to the

wind (to the wind) and give (and give) the wind away

VI. Hollows

The whirlwind lifts sand into itself to hide

holy spun emptiness or to erect a tall announcement

where formed emptiness is to be found.

VII. Utensil Reprise/Mirrorment

How does the pot pray: [Birds are flowers flying] wash me, so I gleam? [and flowers] prays, [perched birds.] crack my enamel: let the rust in.


In the dark original water, amniotic infinity closed boundless in circularity:

tame, heavy water, equilibriant,

any will forming to become— consistency of motion arising— annihilated by its equal and opposite:

an even, complete extent:

!112

(there an eden: how

foreign and far away your death, rivulets trickling through ripe bowels,

return to heavy water, infinite multiplicity, in

the deepening, filtering earthen womb that bears you forever

beyond the amnion, O barrier!)

[I know there is perfection in the being of my being, that I am holy in amness as stars or paperclips,

that the universe, moving from void to void, pours in and out through me:

there is a point, only itself, that fills space, an emptiness that is plenitude:

a void that is all being, a being that is void:

I am perfect: that wind is perfect: ditchwater, running, is perfect: everything is:

I raise my hand]

A warm unity, separable but entire, you the nucleus possessing that universe.

!113

APPENDIX B: Original Source Text

Songlet

Death, unduly undoing, kisses us awake into the new world and leaves

us preempted and unsteady: oh, here we go, we say, another adjustment as usual:

light appears to be the leader here: we turn to where a beam forms and set out

Reflective

I found a weed that had a

mirror in it and that mirror

looked in at a mirror in

me that had a weed in it

Utensil

How does the pot pray: wash me, so I gleam?

prays, crack my enamel: let the rust in.

!114

Small Song

The reeds give way to the

wind and give the wind away

Hollows

The whirlwind lifts sand into itself to hide

holy spun emptiness or to erect a tall announcement

where formed emptiness is to be found.

Mirrorment

Birds are flowers flying and flowers perched birds.

Sphere

In the dark original water, amniotic infinity closed boundless in circularity:

tame, heavy water, equilibriant,

any will forming ot become— consistency of motion arising— annihilated by its equal and opposite:

an even, complete extent: (there an eden: how

foreign and far away your death, rivulets trickling through ripe bowels,

!115

return to heavy water, infinite multiplicity, in

the deepening, filtering earthen womb that bears you forever

beyond the amnion, O barrier!)

A warm unity, separable but entire, you the nucleus possessing that universe.

Come Prima

I know there is perfection in the being of my being, that I am holy in amness as stars or paperclips,

that the universe, moving from void to void, pours in and out through me:

there is a point, only itself, that fills space, an emptiness that is plenitude:

a void that is all being, a being that is void:

I am perfect: that wind is perfect: ditchwater, running, is perfect: everything is:

I raise my hand

!116

APPENDIX C: Movement V Matrix

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