…who can recall the past lives…, for large ensemble · His Past Lives” was life changing to...
45
…who can recall the past lives…, for large ensemble By Thatchatham Silsupan A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Ken Ueno, Chair Professor Edmund Campion Professor Cindy Cox Fall 2015
Transcript of …who can recall the past lives…, for large ensemble · His Past Lives” was life changing to...
…who can recall the past lives…, for large ensemble
By
Thatchatham Silsupan
A dissertation submitted in partial satisfaction of the
requirements for the degree of
Doctor Philosophy
in
Music
in the
Graduate Division
of the
University of California, Berkeley
Committee in charge:
Professor Ken Ueno, Chair Professor Edmund Campion
Professor Cindy Cox
Fall 2015
Abstract
…who can recall the past lives…, for large ensemble
By
Thatchatham Silsupan
Doctor of Philosophy in Music
University of California, Berkeley
Professor Ken Ueno, Chair
...who can recall the past lives… is a musical composition for large mixed ensemble with optional amplification. The work explores the idea of translating a personal aesthetic of transformation, reincarnation and hybridity into music.
In this work, different types of harmonic materials, such as spectral, microtonal, and equal-tempered harmonies, are superimposed and juxtaposed while transforming as they constantly move into each other’s harmonic domain. Pure sounds and complex sounds also intertwine with instrumental sounds and real sounds from the world, thus creating a kind of sonic hybridity. Sonic materials are also composed in such as way that, strangely, they are reincarnated.
…who can recall the past lives… is inspired by the film “Uncle Boonmee Who Can Recall His Past Lives” of Apichatpong Weerasethakul.
1
Notes on composition
In some of Apichatpong Weerasethakul’s feature films such as “Mysterious Object at Noon”, “Blissfully Yours”, and the internationally-acclaimed “Tropical Malady”, a Thai independent film director and the 2010 Palme d’Or winner has showed us somewhat a revelation of the cinematic art-making in terms of styles, techniques, and narrativity that which is aesthetically moving away from the mainstream cinema. Much of his films, I found them fascinating on how various concepts and philosophies about spiritual existences are intersected and projected through the screen.
To discover one of his awarded film “Uncle Boonmee Who Can Recall His Past Lives” has been also a life changing to me as an artist. The film, which is inspired by a book, entitled, “A Man Who Can Recall His Past Lives”–written by an author only known by the name “Boonmee”, has a story that is gravitating on a protagonist (“Boonmee”) who has witnessed his past lives in several forms of living creatures during the final stage of his life. The narrative elements of the film are, therefore, concerning with the hybridity and coexistence of variant forms of lives such as human beings, animals, as well as some mythical creatures–like an old princess, a monstrous hybridity of man and monkey, a talking catfish, etc. What I found interesting about this film is that it represents a theme of that all forms of life are “inextricably intertwined”–which is perhaps also one of a principle found in Buddhism (somewhat that of reincarnation)–as well as the idea of “boundless transformative properties of a wandering soul in the afterlife.”
Inspired by the narrativity of the film, I, then, had an idea to translate personal senses of ‘transformative’, ‘reincarnated’, and ‘hybrid’ into music. The composition, titled with almost similar name, is, thus, constructed with different kinds of superimposed and juxtaposed harmonic materials such as spectral, microtonal, and equal-tempered, in which all are transformative and constantly moving into each other’s harmonic domain. “Pure Sound” and “Complex Sound” are also intertwined as well as the instrumental sound and real sound from the world in the latter part, thus create a kind of sonic hybridity. In addition, sonic materials are also composed in such a way that they are strangely reincarnated.
“…who can recall the past lives…” is composed for 18 musicians and having approximately 15 minuets in duration. It is also optionally required amplification that could radically alter the ensemble’s timbre.
3
Feature films such as “Mysterious Object at Noon,” “Blissfully You,” and the internationally acclaimed “Tropical Malady” by Thai director Apichatpong Weerasethakul move away from mainstream cinema and show us innovative style, technique, and narration in cinematic art-making. I was fascinated by his approach to spiritual existence as it was intersected and projected through the screen.
Discovering the film “Uncle Boonmee Who Can Recall His Past Lives” was life changing to me as an artist. The film was inspired by the book A Man Who Can Recall His Past Lives and written by an author known only as “Boonmee.” In his final days, the protagonist Boonmee witnesses his past lives as a series of living creatures. The narrative elements of the film concern hybridity and the coexistence of variant forms of life including humans, animals, and mythical creatures such as an old princess, a monstrous hybrid man/monkey, a talking catfish, and others. I was interested in the theme that all forms of life are inextricably intertwined (a principle in Buddhism and reincarnation), as well as the idea of the boundless transformative properties of a wandering soul in the afterlife.
Inspired by the narration of the film, I attempted to translate the actions of the ‘transformative,’ ‘reincarnated,’ and ‘hybrid’ into music. My composition, titled with a similar name, is constructed with a variety of spectral, microtonal, and equal-tempered harmonic materials that are constantly moving into each other’s harmonic domain. Pure sounds and complex sounds also intertwine, creating a kind of sonic hybridity. Sonic materials are also composed so that, strangely, they are reincarnated.
“…who can recall the past lives…” is composed for eighteen musicians and is approximately fifteen minutes in duration. Optionally, it requires amplification which radically alters the ensemble’s timbre.
1
Instrumentation:2 Bass Flutes2 Bass Clarinets2 Bass Trombones2 Percussionists (identical set for both players–except Thai gongs):
Tamtam (prepared with aluminium foil)Suspended cymbal (prepared with aluminium foil)2 Thai gongs (pitches should be different for both players)Bass DrumLarge GongCrotales (2 octaves, C5-C7)Unconventional objects: D.B. bow
PianoUnconventional objects: aluminium foil, glass (with flat-base), wire brush, compact disc player
4 Violins2 Violas2 CellosDouble Bass
Unconventional objects (for strings): aluminium foil
Groups & Spacing:Group 1: Bass Flute 1, Bass Clarinet 1, Bass Trombone 1, Violin 1, Violin 3, Viola 1, Cello 1 Group 2: Percussion 1, Percussion 2, Piano, Double Bass Group 3: Bass Flute 2, Bass Clarinet 2, Bass Trombone 12, Violin 2, Violin 4, Viola 2, Cello 2
Amplification:- Amplification is optional. - For non-amplified situation, the Bass Flutes are always amplified and the speakers should be placed as close to
musicians as possible.- Panning to stereo channels are corresponded to the instruments’ position on stage.- The amplification is applied in order to achieve radical timbre’s alteration.
Equipment: - microphones as necessary to amplify (included compact disc player)- mixer, 32 XLR inputs- 2 speakers on stage
Perc.1 Perc.2
Piano
D.B.
Vn.1
Vn.3 Vn.4
Vn.2
Va.1 Va.2
Vc.1 Vc.2
B.Fl.1 B.Fl.2
B.Cl.1 B.Cl.2
B.Trb.1 B.Trb.2Compact Disc Player
Speaker L Speaker R
4
2
Notes on performance
General:
Oscillation: - “Oscillation” is used throughout the piece as rhythmic pulsation instead of “classical vibrato”.- [osc. very slow] = 1 oscillation per beat, [osc. slow] = 2 oscillation per beat, [osc. med.] = 3-4 oscillation per
beat, [osc. fast] = 5-6 oscillation per beat, and [osc. very fast] = 7 or more oscillation per beat
Speed of activity:- changing the speed of gestural activity; for instance, the speed of tremolo or indicated movement- The dotted line indicates changing from one state to another. It is also applied to other timbral transformation.
For Winds:
Breath, air sound: Blow into the instrument without pitch. The letters L (low), M (medium), and H (high) are referring to timbral register changed by adjusting the oral cavity.
With Voice: Singing and playing at the same time.
Multiphonics: Over blown pitches and fingerings are at the discretion of the performer.However, written fundamental note should be sounded. In a situation when it is writtenwith an arrow, the performer should try to get the highest over blown pitches as muchas possible. For Bass Flutes, some multiphonics are fully written with fingerings (takenfrom Pierre-Yves Artaud’s “Present Day Flutes”).
Overblowing: Play the highest note on the instrument as much as possible by producing harmonic.
Percussive sound: (for Bass Trombone); Producing various non-pitched percussive sounds at the discretion of the performer.
For Percussions:
Preparation on Tamtam & Cymbal: Tamtam & Cymbal should be partly wrapped witha piece of aluminium foil so that the aluminium foil is always resonating against the instrument’sbody.
Circular movement: Scrape the surface of indicated instrument in circular motion (usually with wire brush).
Bowing Crotales: Beginning at measure 113, Crotales are bowed with D.B. bow. Depending on musical phrases, bow direction can be changed at the discretion of the performer. However, the sound should be constantly resonating.
Choosing mallets: In any places where mallets are not indicated, the performer should use certain types of mallet that fit to the context of instrument. For instance, using Gong mallet for Thai gong.
5
3
For Piano:
Pedal: Sustained pedal should be stepped on for the entire piece. It is also possible to put a heavy object on the pedal as well.
Lid: The lid should remained off for the entire piece.
Preparation with aluminium foil: Pieces of aluminium foil should be scattered on the area of lowest register inside the Piano. The aluminium foil should be always resonating with the strings.
With Brush: Scrape the strings with wire brush at the area of lowest register.
Hand’s strumming: Strum the strings at the area of lowest register quickly as much as possible.
Glass:
1. Rotate a glass from side to side on the low strings (indicated “circular motion”).
2. Scrape along the low strings up and down firmly with the bottom of glass (indicated “vertical motion”). By pressing the glass firmly against the low strings, which is also also corresponded to dynamic, it should create a high raspy sound with overtones.
Preparation with Blu-Tack: Put the Blu-Tack on the strings (lower staff) to obtain the written harmonics (upper staff).
Compact Disc Player: A compact disc player with internal or extended speaker should be placed as close as possible to the pianist (see the diagram on the instrumentation’s page). The compact disc should contain a pre-recorded sound of any quiet and noisy environmental sound approximately 2 minutes 20 seconds in duration, with the sound being faded away toward the end. The sound file can be obtained from the composer or recorded by the performer. Beginning at measure 112, the performer press a button to turn on the compact disc player. In non-amplified situation, the volume of the compact disc player should be balance with the overall dynamic of the ensemble.
For Strings:
Bow placement: a.s.t. : alto sul tasto s.t. : sul tasto ord. : ordinary s.p. : sul ponticello a.s.p. : alto sul ponticello Scratch Tone: Increasing bow pressure to obtain non-pitched and noisy sound.
Breath, air sound: Mute the strings with left hand while bowing. It should create sound that is akin to “white noise”.
6
4
Vertical Bowing: Bow the indicated string in vertical direction while muting the strings with (from a position ‘close to the left hand’ to ‘near the bridge’). The changing of bow’s direction is at the discretion of the performer.
Multiphonics: Find a place on the indicated string (usually slightly above or below a harmonic node) to produce a multiphonic sound.
On the bridge: Bow exactly on the bridge so that it creates non-pitched and noisy sound.
Con sord. aluminium foil: At measure 145, use aluminium foil to mute the strings at bridge’s position. It should create raspy metallic sound. For all strings–except the Double Bass, it is possible to begin to mute the strings at the beginning of measure 139. For Double Bass, the strings should be muted with aluminium foil for the entire piece.
Scordatura on Double Bass: The low E should be tuned down to low C for the entire piece.
Other unconventional notation and extra explanation is written in the score.
7
5
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Bass Flute 1
Bass Clarinet 1
Bass Trombone 1
Violin 1
Violin 3
Viola 1
Cello 1
Percussion 1
Percussion 2
Piano
Double Bass
Bass Flute 2
Bass Clarinet 2
Bass Trombone 2
Violin 2
Violin 4
Viola 2
Cello 2
Group 1
Group 3
Group 2
!U
!U
!U
!U
""U
""U
!U
!U
!U
!U
!U
!U
!U
!U
!U
""U
""U
!U
arco legatissimo / bow changing imperceptibly
arco legatissimo / bow changing imperceptibly
bow position (a.s.t. - a.s.p.)
bow position (a.s.t. - a.s.p.)
breath, air sound
breath, air sound
#
#
arco legatissimo / bow changing imperceptibly
arco legatissimo / bow changing imperceptibly
breath, air sound
breath, air sound
bow position (a.s.t. - a.s.p.)
bow position (a.s.t. - a.s.p.)
#
#
Bass Drum
breath, air sound
– .– – "Ó Œ ‰ j–
!
Ó Œ ‰ .Rœ·œddd
o$
.
""
""j
‰ j–– –– ""
!̇ !̇Ó !̇
!
Ó Œx$
Œ ‰ . r– – – –!
!
!
""� � .� � �
"".j� � �
Œ % ..j–– –– ""
ø
bow position (a.s.t. - a.s.p.)
øa.s.t.
breath, air sound
sul IV
#
øbehind the bridgearco legatissimo / bow changing imperceptibly
Ø
Ø
¢
¢
scrape with brush in circular motion
scrape with brush in circular motionBass Drum
øarco legatissimo / bow changing imperceptibly
bow position (a.s.t. - a.s.p.)
breath, air sound
#
( )
q = 40
ø #L Mnon osc.
ø #Lnon osc.
non osc.
L
øbreath, air sound
breath, air sound
j– ‰ Œ Ó
– .– – "!
˙·̇o ˙
·̇o
"" .
""
""
œ! !̇ Œ
œ! !̇ œ!!
x .X
" j– ‰ Œ
Œ ‰ . r– "!
‰Jœ·œ+++
o$ œ·œo œ
·œo œ
·œo œ
·œo
.
""� � � �
""� � � � � �
""
arco legatissimo / bow changing imperceptibly
&
&
ø
[~] oscillating at the position between bridge and tailpiece
øarco legatissimo / bow changing imperceptibly
a.s.t.
sul IV Ø
Ø
#
( ) ( ) ( ) ( ) ( )
( ) ( )
ø
øM
#
øL
non osc.breath, air sound
breath, air sound
!
.j– % Œ Ó
." –
w·wo
""
"" .
""
.!̇ œ@œ! Œ Ó
!
X
!
." Œ
!
w·wo
""� � � �
�
""�
� � � �
""
ø# &! @
( )
( )
H
ø
# øH
&øLnon osc. osc. med.
The Spirit of Dead Cow
Thatchatham Silsupan
Score in C
Extremely slow, immaterial
*N.B. scordatura: low E to C throughout / con sord. with aluminium foil
c.12" - 15"
…who can recall the past lives…
8
6
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
5
!
!
"
w·wo
� � � � � .�
""�
� .� � ��
"".� � � � �
""
œ@ œ@ Jœ! ‰ Œ
Œ ‰ Jœ! !̇!
X
!
!
Ó Œ –
w·wo
� � �� .� �
""� .� �
� � � �
""� .� � � �
""
ø#
!
!
( )
( )
øL
non osc.breath, air sound
!
!
j– ‰ Œ Ó
˙·̇o œ
·œo œ
·œo œ
·œo
� � � � �
""� � � �
� � .�
""� .� � � �
�
""
!̇ @̇
@̇ œ! Jœ! ‰
!
.X x
!
!
" "
œ·œo .
..œ·œo œ
·œo ˙
·̇o
.� � � � ��
""�
� � � � �
""� � .� � � �
""
& ø# p! @
@ !
( ) ( ) ( ) ( )
( ) ( ) ( ) ( )
&
osc. slow
ø
!
!
!
Jœ·œo
‰ Œ Œ .Jœ·œrrr
o œ·œo
� � r�
"" r–– % ‰ Œ Œ
� � � � j�"" ..–– ‰ Œ
� � .� .j�
"" ..j–– % Œ Œ
!̇ Jœ! ‰ Ó
!
Ó ¿¿¿æ ...¿¿¿æ ¿¿¿æ . .. .. .j¿¿¿æ ®
x rx‰ .
!
!
" j– ‰ Ó
˙·̇o .
..˙·̇o
� .� � �� .j�
"" –– ..j–– % Œ
� � .� � � r�"" –– r–– % ‰ Œ
� � j�
"" j–– ‰ Œ Œ
ø
&
ø ø
ø
ø
ø
ø
ø
ø
ø!
ø & #
( ) ( ) ( )
a.s.p.
( ) ( )
ø
Tamtam
poco rit. q = 35
!U
!U
!U
w·wUo
!U
!U
!U
X!
!U
!U
!U
!U
!U
!U
w·woU
!U
!U
!U
Ø
( )
a.s.t.osc. very slow
Ø
( )
Øp
2
c.6" - 8"
scrape with brush / strings are resonating with aluminium foil
roll with soft mallets / resonating with aluminium foil
9
7
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
9
!
!
!
˙·̇o œ
·œo œ
·œo
.� � � � � �
""� � � .� � �
""
!
.X! x@
!
!
!
!
!
!
w·wo
� .�� � � � �
""� .� �
� � .� �
""
!
arco battuto / legatissimo / bowing with the wooden part of the bow
arco battuto / legatissimo / bowing with the wooden part of the bow
&
&
p
p
&
&
arco battuto / legatissimo / bowing with the wooden part of the bow
arco battuto / legatissimo / bowing with the wooden part of the bow
@
( ) ( ) ( )
( )
a tempo q = 40
Œ % .j– – – .–Ó ‰ j– –Ó Œ % .j–
œ·œo
Jœ·œo
‰ Ó� .� � � � .� �
""� .� � � � � �
""
Π% .jx$
x x
x@ X@ x!ΠX! x@
!
!
!
!
!
œ·œo ˙
·̇o
Rœ·œo
‰ .
� � � .� � �
""� � �
� �
""
Ó Œx
$
ø
ø
!
@&
ØTamtam
non osc.
non osc.
( ) ( )
( ) ( ) ( )
&øø
ø
L H
L
L
non osc.
non osc.
non osc.
ø #
behind the bridge / arco battuto[~] oscillating at the position between bridge and tailpiece
øbehind the bridge / arco battuto
." Œ
– – ."
" – .– –
!
� � � � .� � �
""� � � �
�
""
X
X! x! Œ
x@ .Xæ
!
!
Ó Œ –!
!
!� � .� � � �
""� � .� � �
�
""
x x .x X
æØ
&
&
p
ø
M
osc. med.
#
[~] oscillating at the position between bridge and tailpiece
øM
non osc.
!
– Œ Ó
." Œ
Ó Œ ‰ .Rœ·œ+++
$o
� .� � � � � �
"".� � � � .� �
""
.X x
Œ X! x!x@ X@ Œ
!
!
– .– – "‰ j– – – – –Œ ‰ % r– "
!
� � .� � � � �
""� � � � � .�
""
X
øa.s.t.
@ !Ø
ø #
( )osc. very slow
øø
Hosc. very slow
&
&øø
L
L H
L
non osc.
non osc.
3
roll with soft mallets / resonating with aluminium foil
10
8
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
13
Ó Œ –!
!
˙·̇o ˙
·̇o
� � .� � �
.."" ––� � �
� � �
""
X rx% ‰ Œ
x! X@ xæ
Π.X!!
Ó Œ ko$
" Œ –
." r– % ‰
.– – ."
Œ ‰Jœ·œddd
o$ ˙·̇o
� .� � � � � �
""�
� � � .� �
.."" ––
!
øa.s.t.
ø
ord.
&
øLnon osc.
( ) ( )
ø
&
ø
æ
!
øLnon osc.
øø
p
osc. med.
( )( )
" ."
" ."Ó ."
˙·̇o .
..˙·̇o
� �
–– Ó Œ
� �j�
"" j–– ‰ Ó
!
Xæ .Xæ
X@ .Xæ
Œ ¿¿¿æ ...¿¿¿æ j¿¿¿æ ¿¿¿æ
ko ko .≠o
" ."
" ."
РΠ."
˙·̇o .
..˙·̇o
� � �
.."" Ó
�r�
–– r–– % ‰ Ó Œ
!
&
ø
Ø
#
L
L
non osc.
non osc.
( ) ( )
ø
#
#æ
Ø p #
Ø
#
L
L
non osc.
non osc.
ø
&
ord.
( )( )
ø
ø
accel.
– .– Œ Ó
– .– Œ Ó
– .– " Œ
œ·œo ˙
·̇o .
..Jœ·œo
%
!
!
!
Jx ‰ Œ Ó
Jx ‰ Œ Ó
j¿¿¿¿>‰ Œ Ó
ko ≠o
– .– Œ Ó
– .– Œ Ó
– .– " Œ
˙·̇o œ
·œo .
..œ·œo œ
·œo
!
!
!
P / pppsub.
P / pppsub.
P / pppsub.
H
H
H
osc. very fast
osc. very fast
osc. very fast
ønon osc.
ø( ) ( ) ( )
p
p
Psub.
P / pppsub.
P / pppsub.
P / pppsub.
H
H
H
osc. very fast
osc. very fast
osc. very fast
ø( )( )( )( )
q = 52 q = 40sub.
rit.
!
!
!
!
!
!
!
!
!
!
Jko
‰ Œ Ó
!
!
!
œ·œo
Jœ·œo
‰ Œ
!
!
!
ø
ønon osc.
( )( )
q = 354
/
with brush strum the strings with hand
11
9
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
17
!
!
!
!
!
!
!
!
X@!
!
!
!
!
!
!
!
!
q = 48
"
Œ # .j– $ .– –
˙ .˙Ó Ó ‰ . r–æ
!
!
!
!
!
X@ .X!Ó . ‰ j––– –––
!
!
˙ .˙!
!
!
!
!
osc. very slow
ø %
ø fL H
osc. very slow osc. very fast
[~] irregular pitch oscillation
"
Lflz.
ø!
¢ use a flat-bottom glass / circular motion / extremely slow movement
ø
osc. very slow
ø % [~] irregular pitch oscillation
– .$
w
–æ $æ –æ
Ó Œ ––
Π..$$
!
!
Œ ˙ œ
x@ .Xæ
––– ...$$$
!
!
w!
Ó # ..j–– ––
!
!
!
med.
f
H L
pæ
%
Bass Drum
¢
Ø P@
Ø
vertical bowing / breath, air sound
Ø
øvertical bowing / breath, air sound
.$ Œ
.œ œ- œ ˙
$æ
$$ j–– –– ––3
–– ..$$
!
!
˙ Jœ ‰ ‰ . Rœ
Xæ Xæ
$$$
!
Ó # .j– –
œ œ ‰ œ- ˙3
!
$$ $$
..$$ –– j––3
!
!
øFsub.
øL
ø P / ppsub.
øL
osc. very slow
ø Ø!
p
p
vertical bowing / breath, air sound
p
ø p
vertical bowing / breath, air sound
5
with brush
12
10
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
21
!
w
–æ Œ Ó
$$ r–– # ‰ Œ
–– Œ Ó
..$$ ––
Ó $$
.˙ œ
.xæ Jx@ X@
$$$
!
– .– – – –
wŒ ‰ # r–æ –æ –æ
–– ..j–– # Ó
..$$ Œ
Ó Œ ‰ . r––
!
posc. med.
ø
fHosc. very fast med.
osc. med.
p
"
Lflz.
f
H
Ø@
@p
ø
ø
Ø
Ø
p
vertical bowing / breath, air sound
vertical bowing / breath, air sound
Ø
ø
ø
!
.˙ œ!
!
!
$$
..–– –– ..$$
œ Œ ˙
.X@ xæ
$$$
!
$ $
.˙ œ
$æ –æ $æ
!
!
$$
Œ ‰ j–– $$
L
L
pæ
æF"
p
ø
ø
vertical bowing / breath, air sound
vertical bowing / breath, air sound
Ó # .j– –
.jœ # Œ # .j– –!
!
!
!
..$$ Œ
.œ ‰ ˙
Xæ
$$$
!
– Œ # .j– –
.jœ # Œ # .j– –
.$æ Œ
!
!
$$
$$
ø
Ø
Ø
ø
H
"H
"
H
"H
"
!Ø
ø
ø
– .– j– ‰ Œ
– .– – j– ‰
œj> .œ .Jœ # Œ
¿¿> ¿¿ # Œ Œ
¿¿> ¿¿ # Œ Œ
¿¿> ¿¿ # Œ Œ
¿¿> ¿¿ # Œ Œ
Jœ> ‰ Œ Œ
Jx> ‰ Œ Œ
j¿¿¿>‰ Œ Œ
œj> ‰ jœ+&
œ
– .– j– ‰ Œ
– .– – j– ‰
œ> .œ .jœ # Œ
¿¿> ¿¿ # Œ Œ
¿¿> ¿¿ # Œ Œ
xx> xx# Œ Œ
¿¿> ¿¿ # Œ Œ
F / ppsub. øosc. very fast
F / ppsub.
osc. very fast
øsf / pppsub. Ø
F / ppsub. øosc. very fast
F / ppsub.
osc. very fast
øsf / pppsub. Ø
ß
¢
æß
Fsub. a.s.t.
osc. very slow
ø
F / pppsub.
F / pppsub.
F / pppsub.
F / pppsub.
behind the bridge
behind the bridge
behind the bridge
behind the bridge
F / pppsub.
F / pppsub.
F / pppsub.
F / pppsub.
behind the bridge
behind the bridge
behind the bridge
behind the bridge
6
scrape the surface with wooden stick(another side of mallet) in circular motion
pizz. arco
13
11
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
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
43
43
43
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
25
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
wU
!U
!U
!U
!U
!U
!U
!U
p
!
!
" .jœ .œ ¬œ ¬˙
!
!
!
!
!
!
!
w
!
!
Œ ‰ jœ œ ¬œ
!
!
!
!
# posc. very slow with voice
# posc. very slow with voice
Thai Gongs
q = 54
!
!
¬w
!
!
!
!
Ó ‰ " rœ Œ
!
Ó Œ " ...j–––
.˙ œ
!
!
¬w
–j –
–+ – – –
–
!
#
use a flat-bottom glass / vertical motion / extremely slow movement
Thai Gongs
noise pizz.
noise pizz.
noise pizz.
sul III
#
#
#
$
! œœsr
! œ
¬w ..j¬œ "
!
!
!
!
Ó Œ ‰ " rœ rœ Œ
‰ Rœ " Œ Ó Œ
––– %%%
œ ˙ ˙
! œœsr
! œj
¬w ¬œ
– – – –
– – – –g –
– – –
!
osc. sloword.
p
#
#
#
#
#
p
p $
p
$
7
2 4 2 3 4 5 n
2 4 2 3 4 5 n
fragile sound / do not tune with B.Fl. 1
fragile sound / do not tune with B.Fl. 2
14
12
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
29
œœ ˙˙
œ ˙
Œ ‰ œ œ3
!
!
!
!
!
Œ rœ " ‰ Œ
––– %%%
œ ˙
œœ ˙˙
œ ˙
¬œ r¬œ " ‰ Œ
–y � � � –
– – – –j � � �
– – –r –
!
osc. very slow
F
#
F
F
F
F
F
#
p
Ø
#
..˙˙ Œ
w
œ ..¬˙
!
!
!
!
Rœ " ‰ Œ Ó
Ó Œ " rœ Rœ ‰
...––– j––– %%%
˙ œ .œ œ
..˙˙ Jœœ ‰
w
Œ ‰ jœ œ ¬œ
–r – – –d � � � �
� –+ –y – – – � �
– – – – –l � � � �
!
osc. slow
Ø
Ø
p
# p
$
p
p
!
Rœ " ‰ Œ Ó Œ
¬w ¬œ
–s – –
–
–r – – –
!
‰ rœ Rœ " Œ Ó Œ
! rœ " ‰
r–––" ‰ Œ Ó Œ
˙ .˙
!
œ Œ Ó Œ
..¬˙ ¬˙
� –
� – – –
� � � � � � –
!
øØ
non osc.a.s.t.
ø
ø
osc. med.
osc. med.
p #
#
Ø
noise pizz.
noise pizz.
noise pizz.
#
#
#
!
!
¬œ ¬˙ ..j¬œ "
– – – –r – –
– – – – –d – –
– – –+ � � � –+
!
rœ " ‰ Œ Ó
Ó ‰ " rœ rœ Œ
Œ ‰ j––– ...––– ––– –––
w
!
!
¬˙ ¬œ ..¬œ ¬œ
!
!
!
!
posc. very slow
# p
Øvery slow
p
p $
p #
8
increase pressure / get overtones
15
13
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
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
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
33
! œ! œ! –
– – –y � � � � � –
– � � � –j –l – – � �
–d – � � � � –r
!
Œ .X! xæ
! Ͼ
%%% –––
w œ
! œ! œ
¬œ r¬œ " ‰ Ó –
!
!
!
!
ord.
Øosc. very slow
M
M$
$
#
Losc. slow
M
M$
$
#
Losc. slow
ø #! æTamtam
øBass Drum
#
p
p
p
œ jœ œ œ3
œ jœ œ œ3
– j– – –3
Œ ‰ ¿¿>&
¿¿3
j–r ‰ ‰ ¿¿>&
¿¿3
Œ ‰ ¿¿>&
¿¿3
Œ ‰ ¿¿>&
¿¿3
xæ Jxæ xæ xæ3
Ͼ JϾ Ͼ Ͼ3
––– j––– –––> ...j–––"3
œ jœ œ> œ3
œ jœ œ œ3
œ jœ œ œ3
– j– – –3
Œ ‰ ¿¿>&
¿¿3
Œ ‰ ¿¿>&
¿¿3
Œ ‰ ¿¿>&
¿¿3
Œ ‰ ¿¿>&
¿¿3
ff / ppsub.
osc. very fast
ff / ppsub.
f
f
ƒ
Hosc. very fast
f
f
ƒ
Hosc. very fast
f
f
ff / ppsub.
behind the bridgearco battuto
ff / ppsub.
behind the bridgearco battuto
ff / ppsub.
behind the bridgearco battuto
ff / ppsub.
behind the bridgearco battuto
#
ff / ppsub.
behind the bridgearco battuto
ff / ppsub.
behind the bridgearco battuto
ff / ppsub.
behind the bridgearco battuto
ff / ppsub.
behind the bridgearco battuto
.jœ " Œ Ó
œ jœ ‰ Ó
% r– " ‰ Œ
r¿¿ " ‰ Œ Ó
r¿¿ " ‰ Œ Ó
XX xx ..xx xx
..XX xx
Xæ
æ̇ Jœæ ‰ Œ
!
.˙ jœ ‰
.jœ " Œ Ó
œ jœ ‰ Ó
% r– " ‰ Œ
r¿¿ " ‰ Œ Ó
r¿¿ " ‰ Œ Ó
XX ..xx xx xx
XX XX
very slowa.s.p.
Ø
#
#
øL
osc. very slow
#
#
øL
osc. very slow
ø
ø
ø
Ø
[~] oscillating at the position between bridge and tailpiece
ø
rit.
ø
ø
[~] oscillating at the position between bridge and tailpiece
ø
Ø
[~] oscillating at the position between bridge and tailpiece
[~] oscillating at the position between bridge and tailpiece
!
!
!
!
!
..XX
..XX
Jxæ ‰ Œ Œ
!
!
!
!
!
!
!
!
..XX
..XX
Ø
q = 409
fragile sound / do not tune with B.Fl. 2
fragile sound / do not tune with B.Cl. 2
fragile sound / do not tune with B.Fl. 1
fragile sound / do not tune with B.Cl. 2
roll with mallets
16
14
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
37
" .jœ .œ œ> jœ ‰ Œ
" .jœ .œ œ> jœ ‰ Œ
" .j–æ .–æ –æ> –æ .j–æ "
" ..J¿¿ ..¿¿ ¿¿> ¿¿ R
¿¿ " ‰
" ..j¿¿ ..¿¿ ¿¿> ¿¿ r¿¿ " ‰
¿¿ ..¿¿ ¿¿> ¿¿ r¿¿ " ‰
¿¿ ..¿¿ ¿¿> ¿¿ r¿¿ " ‰
Œ ‰ œæ Jœ>æ ‰ Œ3
Œ ‰ " Rœæ œæ Jœ>æ ‰
Œ ‰ " r¿¿¿>Ó
Œ ‰ " Rœ> Ó
" .jœ .œ œ> jœ ‰ Œ
" .jœ .œ œ> jœ ‰ Œ
" .j–æ .–æ –æ> –æ .j–æ "
" ..J¿¿ ..¿¿ ¿¿> ¿¿ R
¿¿ " ‰
" ..j¿¿ ..¿¿ ¿¿> ¿¿ r¿¿ " ‰
¿¿ ..¿¿ ¿¿> ¿¿ r¿¿ " ‰
¿¿ ..¿¿ ¿¿> ¿¿ r¿¿ " ‰
M
p ff / ppsub. M
p ff / ppsub.
L Hflz.
p ff / ppsub. ø
M
p ff / ppsub.
M
p ff / ppsub.
L Hflz.
p ff / ppsub. ø
ø ff / ppsub. øbehind the bridge
arco ord.
ø ff / ppsub. øbehind the bridge
arco ord.
ff / ppsub. ø
ff / ppsub. ø
ø ff / ppsub. øbehind the bridge
arco ord.
ø ff / ppsub. øbehind the bridge
arco ord.
ff / ppsub. ø
ff / ppsub. ø
Tamtam
$ f
# f
ç
ç
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
Œ j·>.‰
Œ J·>. ‰
" .jœj œ .œ
Œ r¿¿>" ‰
Œ r¿¿>" ‰
Œ r¿¿>" ‰
Œ r¿¿>" ‰
Œ Jœ> ‰
Œ Jœ> ‰
" ...j––– –––> ...–––
Œ rœ>" ‰
Œ j·>.‰
Œ j·>.‰
" .jœ œ .œ
Œ r¿¿>" ‰
Œ r¿¿>" ‰
Œ r¿¿>" ‰
Œ r¿¿>" ‰
ç
ç
¢
¢
ç
ç
$ ff / ppsub. ø
ç
ç
$ ff / ppsub. ø
ç
ç
ç
ç
ç
ç
ç
ç
$ ff / ppsub. ø
ç
q = 48
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
10
scrape the surface with wooden stick(another side of mallet) in circular motion
overblow / get highest overtone
extreme bow pressure / noise only
with glass
pizz. pizz.
extreme bow pressure / noise only
overblow / get highest overtone
c.6" - 8" c.10"
17
15
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
41
!
!
¿ ¿ ¿ ¿ ¿
Œ ‰ . R–> "
!
œj # .œ œ ˙
!
!
!
jœ>‰ Œ Ó
!
!
!
¿ ¿ ¿ ¿ ¿
."> .– –
!
Ó Œ ‰ $ rœ=#
!
a.s.t.
ø
a.s.t.osc. very slow
ø
q = 42
posc. very slow
Tamtam
/ ff /
breath, air sound
ç
/ ff / breath, air sound
on the bridge
on the bridge
%
%
!
!
¿ ¿ ¿ ¿ ¿ ¿ ¿
." –
Ó $ .J–> –
w
Ó Œ œ+#
.X x
Ó Œ x
!
!
!
!
¿ ¿ ¿¿ ¿ ¿ ¿
." –!
"> – .– –
œ œ ˙
Ó $ .jœ+#
œ
a.s.t.osc. very slow
ø
p
øa.s.t.
osc. very slow
Tamtam
¢
¢Ø %
Ø
/ p /
/ ff / breath, air sound
/ ff / breath, air sound
on the bridge
on the bridge
!
!
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
." – .–!
"
w
.œ œ œ ˙
.X Œ
X X
!
!
!
!
¿ ¿ ¿¿ ¿ ¿ ¿ ¿
"!
" "!
˙ ˙
w
p
p
ø%
/ p /
/ p /
!
!
¿ ¿ ¿ ¿
."! –!
." –!
œ .œ œ ˙
˙ .œ œ �
X X
x ΠΠx
!
!
!
!
¿ ¿ ¿ ¿
"!
"! "!
œ .œ œ � �
˙ œ œ
ord.
ord.
ord.
ord.
&
Ø p
ø
@
/ p /
11
scrape with brush in circular motion / slow movement
scrape with brush in circular motion / slow movement
stop
percussive sound
percussive sound
detaché speed
18
16
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
45
Œ œœsy
!
¿ ¿ ¿
–! –@
"!
œd œ
œd œ
J¿ ‰ Œ
J¿ ‰ Œ
!
!
!
!
¿ ¿ ¿
"@
"!
œ= œ
œs œ
ø &
ø &
a.s.p.
a.s.p.
ø &
ø
a.s.p.
a.s.p.
%
accel.
&
%
osc. slow
/ f /
@
/ f / @
˙̇ œœ
Œ ‰ . r¬œb ¬œ¿ ¿ ¿
."@
–@ "@
.˙
.˙
!
!
!
!
..˙̇r
Œ ‰ . r¬œb ¬œ¿ ¿ ¿
"@ J–! ‰
."@
.˙
.˙
%osc. very slow
tone and voice
%osc. very slow
tone and voice
p
osc. med.
%
osc. slow
/ f /
@
ø
/ f /
!
@
..˙̇ œœ ‰ œœsy
¬w¿ ¿
J–! ‰ Œ Ó
"@ Ó
w
w
Œ œæ æ̇
Ó æ̇
––– ––– ...––– """
!
ww
¬w¿ ¿
!
–! Œ Ó
w
w
ord.
pord.
p
ØBass Drum
ord.
pord.
p
&
q = 52
ØBass Drum
posc. med.
p&
¢@
ø!
ø!
ø!
Ø
Ø
˙̇ Jœœ œœ œœ3
..¬œ ¬œ ¬œ ¬˙!
!
!
.˙ œ
w
æ̇ œæ œæœæ œæ æ̇
"""
Ó Œ ‰ $ rœl #
˙̇ $ ..Jœœr œœ
..¬œ ¬œ ¬œ ¬˙!
!
!
˙ œ œ œ
w
%
%
ø
p
osc. fast
&
12
roll with mallets
roll with mallets
2 3 42 3 4 5#
2 3 42 3 4
with glass / lively
detaché speed
19
17
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
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
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
49
˙̇ œœ Œ
wb -!
!
!
˙ œ .œ œ
œ .œ œ ˙
Ͼ ΠϾ Ͼ
æ̇ Œ œæ
"""
w
œœ ..˙̇
¬œ œb - ˙!
!
!
˙ œ œ
œ œ ˙
osc. med.
ø Ø
ø Ø
osc. med.
osc. med.harmonics sweep / ad lib
F
osc. med. harmonics sweep / ad lib
F
Øosc. slow
posc. fast
Ó Œ ˙l
˙ œ jœ ‰ œ!
Œ Œ Œ $ ..j¿¿ ¿¿
Œ Œ Œ $ ..j¿¿ ¿¿
.˙ œ œ �
.˙ ˙
æ̇ œæ æ̇
.æ̇ æ̇
""" –––
œ X X
œœ Jœœ ‰ ‰ ‰ ˙r
˙ œ jœ ‰ œ!
Œ Œ Œ $ ..j¿¿ ¿¿
Œ Œ Œ $ ..j¿¿ ¿¿
.˙ œ œ
.˙ œ .œ œ
osc. med.
øbehind the bridge
p
p
ø p
osc. med.
ø p
øbehind the bridge
øbehind the bridge
øbehind the bridge
M
M
M
M
%
Ø %osc. slow
F
behind the bridge&
rœ> $ ‰ Œ Œ
rœ>$ ‰ Œ Œ
!
r¿¿> $ ‰ Œ Œ
r¿¿>$ ‰ Œ Œ
œ+>
.œ ˙
œ+> .œ ˙
Jœæ ‰ Œ Œ
Jœæ ‰ Œ Œ
j¿¿¿>‰ Œ Œ
Rx> $ ‰ Œ Œ
rœ> $ ‰ Œ Œ
rœ>$ ‰ Œ Œ
!
r¿¿> $ ‰ Œ Œ
r¿¿>$ ‰ Œ Œ
œ> .œ ˙
œ> .œ ˙
ç
f
f
ç
ç
ç
extreme bow pressure
extreme bow pressure
ç
extreme bow pressure
ç
extreme bow pressure
ç
ç
ç
rit.
ç
ç
ç
ç
Ø( )
!
ç Ø( )
!
·+
·+
Ø
! ·( )
¿> ¿> ¿> ¿> ¿> ¿>¿> ¿> ¿>
!
!
!
.˙ œ
˙ ˙
Ó Œ ¿'
Ó Œ ¿'
!
!
¿> ¿> ¿> ¿> ¿>¿> ¿> ¿> ¿>
!
!
!
˙ jœ œ œ3
.˙ œ œ
q = 42
æp
pæ
p
Ø p
æ
! æ( )·=
f
f
f
f
Cymbals
Cymbals
F
F
13
trills with artificial harmonics
trills with artificial harmonics
trills with artificial harmonics
trills with artificial harmonics
pizz.
pizz.
pizz.
pizz.
20
18
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
53
¿> ¿> ¿> ¿> ¿>¿> ¿> ¿>¿> ¿> ¿>
!
!
!
˙ rœ " ‰
œ jœ ‰ Œ
J¿ ‰ Œ Œ
J¿ ‰ Œ Œ
!
‰ œd#
˙3
¿> ¿> ¿> ¿> ¿>¿>¿> ¿> ¿> ¿> ¿>
!
!
!
œ .jœ " Œ
.˙
Ø!
Ø!
!
Bass Drum
Bass Drum
$øosc. very slow
a.s.t.
¿> ¿> ¿ ¿ ¿ ¿¿> ¿> ¿ ¿ ¿
Œ ‰ . r¬œ ¬˙
!
!
Ó ‰ jœr œ
œj œ .œ ˙
.æ̇ œæ
æ̇ œæ œæÓ ...––– ––– –––
w
¿> ¿> ¿> ¿ ¿¿¿> ¿> ¿> ¿> ¿
Œ ‰ j¬œ ¬˙
!
!
Œ œd jœ œ œ3
.œ ‰ Œ " .jœ
øø
ø
ø
!
poco accel.
with voiceosc. slow
osc. slowwith voice
%
P
P
% ford.
ord.osc. slow
osc. slow
% f
$
ord.osc. slow
ord.osc. slow
$ F
$
$
$
$
!
!
¬w
!
!
w
w
œæ æ̇ œæ
æ̇ œæ œæ
&&&
w
!
!
¬œ ..¬˙
!
!
w
w
q = 48
f
P
P
$
$
f
F
F
Ó Œ œœlr
!
¬w
!
!
w
w
æ̇ æ̇
æ̇ æ̇
&&& &&&
.œ œ œ ˙
!
!
¬w
!
!
˙ ˙
w
ord.
osc. med.
f
$
f
@
$osc. slow
14
with glass / more movement
2 42 3 4 5 n
21
19
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
57
ww
Œ œ ˙
¬˙ j¬œ ‰ ¬œ
!
!
œ .œ œ ˙
˙ ˙
œæ .æ̇
.æ̇ œæ
&&&
w
œœrj œœ œœ ˙̇
Ó ‰ jœ œ
¬w
!
!
œ .œ .˙
w
p
p
osc. fast
s.p.
s.p.
M
$osc. slow
F
M
$osc. slow
$ F
osc. slow
œœ ..˙˙
w
¬w
!
!
˙ ˙
œ œ œ ˙
æ̇ æ̇
.æ̇ œæ
&&&
w
ww
˙ ˙
‰ j¬œ ¬œ ¬˙
!
!
w
œ œ ˙ œ
osc. very fast
osc. med.
osc. very fast
s.p.
s.p.
F
osc. med.
F
ww
w
¬w
‰ . r¿¿ ¿¿ ¿¿>
Ó XX
˙ œ " ¿¿ ¿¿
œ œ ‰ œœr ˙̇
œæ Œ Œ ‰ Jxæ
œæ œæ Œ Œ
&&&
w
ww
w
¬w
Œ " ..j¿¿ ¿¿ ..¿¿ ¿¿>
Π..XX
˙ " ..j¿¿ ¿¿
œ .jœ " ˙̇r
øbehind the bridge
ƒ
øbehind the bridge
behind the bridge
osc. very fast
$
$ %Tamtam
behind the bridgeextreme bow pressure / slow bowing
øbehind the bridge
ø
øbehind the bridge
osc. very fast
osc. med.
osc. fast
ƒ
osc. med.
extreme bow pressure / slow bowing
Rœœ " ‰ .˙s œ
Rœ " ‰ .˙b œr¬œ " ‰ ..¬̇ ¬œ
XX ..XX
..xx xx xx ..xx xx XX
xx xx xx xx XX
¿¿ ¿¿ ..˙̇
Xæ .Xæ
Œ ‰ Jxæ .Xæ
&&& j¿¿¿>‰
.· ·
Rœœ " ‰ .˙ œ
rœ " ‰ .˙ œr¬œ " ‰ ..¬̇ ¬œ
XX xx ..xx XX
xx xx xx xx xx XX
xx XX xx ..xx xx
œœ œœ ..¿¿ ¿¿ ˙̇
extreme bow pressure / slow bowing
ƒextreme bow pressure / slow bowing
ƒ
ƒ
extreme bow pressure / slow bowing
$Tamtam
extreme bow pressure / slow bowing
ƒ
extreme bow pressure / slow bowing
ƒ
extreme bow pressure / slow bowing
ƒ
p fM osc. med. osc. very fast
p fM
osc. very fast
q = 54 sub.
p f
osc. med. osc. very fast
p f
osc. med. osc. very fast
p fM osc. med. osc. very fast
p fM
osc. very fast
æsfffz
ƒ
15
harmonic sweep along the string / ad.lib.
2 42 3 4 5 n
22
20
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
61
rœ>" ‰ Œ
rœ>" ‰ Œ
r¬œ>" ‰ Œ
¿¿ Œ
¿¿ r¿¿ " ‰
..j¿¿ " Œ
˙̇
J¿>æ ‰ Œ
J¿>æ ‰ Œ
!
· .j· "
rœ>" ‰ Œ
rœ>" ‰ Œ
r¬œ>" ‰ Œ
¿¿ j¿¿ ‰
¿¿ Œ
XX
œœrœœ " ‰
ç
ç
ç
ç
ç
ç
%
a.s.t.
ç
ç
ø
ø
ø
ø
ø
ø
ø
ø
!U
!U
!U
w= #U
w+ #U
!U
!U
!U
!U
!U
!U
!U
!U
!U
w= #U
w= #U
!U
!U
Ø
Ø
ord.
ord.
non osc.
non osc.
Ø
Ø
ord.
ord.
non osc.
non osc.
!
!
!
w
w
!
!
!
!
!
!
!
!
!
w
w
!
!
$
$
$
$
q = 40
!
!
!
œ .˙
˙ .œ œ œ
¿ ¿ ¿
¿ ¿
!
!
!
!
!
!
!
˙ ˙
.˙ œ
¿ ¿
¿
osc. very slow
osc. very slow
osc. very slow
osc. very slow
%
%
behind the bridge / legno battuto
behind the bridge / legno battuto
%
%
behind the bridge / legno battuto
behind the bridge / legno battuto
16
c.8"
23
21
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
65
!
!
! –
.˙ ˙
.˙ ˙
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Œ ‰ Jœ ‰ Ó ‰ . "rœ rœ3
Œ Œ # # # jœ jœ Œ Œ "5
!
Œ Œ ŒX
!
!
! –
.˙ ˙
.˙ ˙
¿ ¿¿ ¿ ¿ ¿ ¿ ¿¿¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
osc. med.
osc. med.
øbehind the bridge
Thai Gongs
Thai Gongs
osc. med.
osc. med.
p
p
øbreath, air sound
@
øbreath, air sound
@
F
F
!
!
$ $
w
w
¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿
!
Œ Rœ # ‰ Ó
Ó # ...j¿¿¿æ ¿¿¿æ
X X
!
!
$ $
w
w
¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿
f [~] irregular pitch oscillation
f [~] irregular pitch oscillation
ƒ
extreme bow pressure / slow bowing
f [~] irregular pitch oscillation
f [~] irregular pitch oscillation
%
ƒ
æ
ƒ
æ
F
F
!
!
.$ Œ
˙ œ .œ �
˙ ˙
¿ ¿ ¿ ¿
¿ ¿ ¿
‰ J¿ ¿ J¿ ‰ Œ
Œ ¿ J¿ ‰ Œ
...XXXæ ‰ jxxx
x .x .X
!
!
.$ Œ
œ œ œ � �
˙ œ œ
¿ ¿ ¿ ¿
¿ ¿ ¿
osc. very slow
osc. very slow
osc. very slow
osc. very slow
øø
Cymbals
Cymbals
ß
ß
øF ø Fsub.
ø!
ø!
Ø
Ø
Ø
Ø
U
!U
!U
!U
ws &U
wd &U
!U
!U
!
!U
!U
!U
!U
!U
!U
w&U
w= &U
!U
!U
ø
ø
ø
ø
17
oscillating the slide position while blowing the air
oscillating the slide position while blowing the air
with brush with hand
c.7"
24
22
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
69
!
!
!
w
w
!
!
!
!
!
!
!
!
!
w
w
!
!
'
'
'
'
!
!
!
˙ œ œ œ
œ .œ œ ˙
!
!
Ó # # jœ .Jœ5
Œ ‰ ‰ jœ Œ3
!
– – – – – – –j �
!
!
!
˙ œ œ œ
œ .œ œ ˙
Ó Œ œœy
!
Thai Gongs
Thai Gongs f
f
sul I, IIø
p
Œ ‰ j– .$ –!
!
.˙ .˙
˙ œ .˙
# ..Jœœd ˙̇ œœ œœ ..¿¿ ¿¿
ΠΠ.X x
Œ Œ Œ Œ Xæ
Œ # jœ .jœ Œ Œ Œ ¿æ!
� � � – – � � � � –+ �
Ó # .j– – $!
!
.˙ œ œ .œ œ
œ ˙ .˙
˙˙ œœ ¿¿ ¿¿ ¿¿ œœ
Π.X X
osc. fast
ƒ [~] irregular pitch oscillation
osc. fast
ƒ [~] irregular pitch oscillation
ƒøextreme bow pressure / normal bowing speed
ø f
behind the bridge
Tamtam
Tamtam
øø
osc. fast
ƒ [~] irregular pitch oscillation
osc. fast
ƒ [~] irregular pitch oscillation
ƒ
extreme bow pressure / normal bowing speed
ø f
behind the bridge
scrape the surface of tamtam with stick / circular motion
p fF
æø f
breath, air sound
f
breath, air sound æ%
poco accel.
.$ Œ
w!
˙ ˙
œ œ .œ œ �
¿¿ œœ œœ ˙̇
x .X
Xæ Jx ‰ Œ
¿æ J¿ ‰ Œ Œ
!
� � � � –r
.$ Œ
w!
œ œ � �
œ œ œ � �
˙˙ Jœœ ‰ Œ
.XŒ
osc. med.
osc. med.
f
f
osc. med.
osc. med.
ø
ø
ø
ø
scrape the surface of tamtam with stick / circular motion
%
ø
ø
M
%
M
%
q = 54
!U
rœU
> # ‰ Œ Ó
!U
w+ &U
ws &U
!U
!U
R¿ # ‰ UÓ .
R¿ # ‰ UÓ .
!
!
!U
rœU
> # ‰ Œ Ó
!U
w+ &U
wd &U
!U
!U
øosc. very slow
øosc. very slow
¢
¢ç
ç
øosc. very slow
øosc. very slow
ß
ß
18
noise pizz.
with key clicks / fast ad lib.
with key clicks / fast ad lib.
25
23
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
74
¿ ¿ ¿ ¿
¿ ¿ ¿ ¿
!U
wU
wU
!U
!U
!U
!U
!U
!U
¿ ¿ ¿ ¿
¿ ¿ ¿ ¿
!U
wU
wU
!U
!U
Ø
key clicks only / ad.lib.@ U
Ø
@ U
Ø
key clicks only / ad.lib.@ U
Ø
@ U
!U
wU
wU
!U
!U
!U
!U
!U
!U
!U
wU
wU
!U
!U
F øæ !U
F øæ !U
F øæ !U
F øæ !U
!
!
!
.˙ œ
w
!
!
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿¿ ¿¿ ¿¿ ¿
!
!
!
!
!
w
w
!
!
p
p
p
p
q = 40
Tamtam
Tamtam
%
%
!
!
!
˙ œ œ œ
.œ œ œ ˙
!
!
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
!
!
!
!
!
˙ œ œ .œ
œ œ œ ˙
!
!
osc. fast
osc. fast
19
with wooden stick
with wooden stick
c.7" c.9"
26
24
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
78
!
!
!
œ œ .¿ ¿ ¿
˙ œ ¿ ¿
!
!
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Ó # .jx x
!
!
!
!
œ .œ ¿ ¿ ¿
œ œ œ œ ¿
!
!
extreme bow pressure / normal bowing speed
ƒ
osc. fast
ƒ
extreme bow pressure / normal bowing speed
f
scrape along the string with nail / slow movement
behind the bridge
ƒ
ƒ
osc. fast
r¬·b> # ‰ Œ Œ Œ Œ
R¬·> # ‰ Œ Œ Œ Œ
.$æ –æ .–æ –æ
¿ œ œ œ � �
¿ ¿ ˙ œ
!
!
Jœ> ‰ Œ Ó Œ
Jœ> ‰ Œ Ó Œ
X .X
x> .x X X
R¬·b > # ‰ Œ Œ Œ Œr¬·> # ‰ Œ Œ Œ Œ
‰ j–æ .$æ –æ
œ œ œ œ � �
¿ ¿ ¿ œ ˙
!
!
ç
overblowing with voice / get the highest harmonic
osc. med.
p
osc. med.
ß
ß
scrape the surface of tamtam with stick / straight motion
scrape the surface of tamtam with stick / straight motion
ç F
[~] oscillating at the position between bridge and tailpiece
osc. med.
p
osc. med.
ç
overblowing with voice / get the highest harmonic
poco rit.
ç
ç
flz. L H
ø f
flz. L H
ø f
!
!
.$æ Œ
� � � �
.� œr � � �
!
!
Ó ‰ J¿& ¿
Ó ¿& ¿
rx
# ‰ Œ Ó
X Jx ‰ Œ
!
!
$æ
� � � � �
œ � � �
!
!
'
'
øø
'
p
Cymbals
Cymbals using D.B. bow
using D.B. bow
øø
q = 35
M
ø
L
ø
!U
!U
!U
w+ &U
w+ &U
!U
!U
J¿ ‰U
J¿ ‰U
!
!
!U
!U
!U
wj &U
wd &U
!U
!U
osc. very slow
p
p
osc. very slow
p
'osc. very slow
p
p
osc. very slow
20
c.6"
27
25
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
82
!
!
!
w
˙ œ .œ œ
Œ ‰ Jœ= " ˙
!
Ó Œ ‰ . jœ rœ
!
!
!
!
!
!
w
œ œ œ ˙
Ó # .Jœj" œ
!
F
øosc. very slow
a.s.t.
fThai Gongs
Fa.s.t.
osc. very slow
ø
q = 42
with voice
with voice
Ó ‰ . Rœœs œœ
!
.˙y œ
˙ .œ œ œ
w
.˙ œ œ
‰ . rœj"
œ .œ œ œ
Œ
Œ ‰ ‰ Jœ Ó3
!
!
Ó ‰ . Rœœs œœ
!
.˙y œ
.œ œ .˙
.˙ œ
.œ œ œ ˙
˙l " ˙
f
osc. fast
F
ord.
øa.s.t. ord.
osc. very slow
fThai Gongs
Tamtam
f
F
ord.
øosc. very slow
a.s.t. ord.
f
fosc. fast
f
f
p
p
osc. med.
osc. med.
Posc. slow osc. med.
Posc. slow osc. med.
ww
œ .œ œ ˙w
w
w
.˙ œ
w
.Xæ xæ
Ó Xæ
!
!
ww
œ .œ œ ˙w
w
w
.˙ œ œ
w
fosc. fast
osc. fast
$
%
f
fTamtam
osc. fast
f
osc. fast
FM
p F
M
p F
F
osc. med.
osc. med.
..˙̇ œœ ‰ œœs-
wœ # œj .˙
˙ .œ œœ=+ œœ
.˙ œ
w
w
Xæ xæ Œ
xæ Xæ xæ
¿¿¿æ
!
˙̇ œœ # œœs - œœ
wœ # œj .˙
.˙ œ œœdd
w
w
.œ œ œ ˙
osc. med.
osc. med.
P
p
P
p
ø
osc. very slow
osc. very slow
21
1 2 3 4 5 2 3 4
1 2 3 4 5 2 3 4
microtone by embouchure / do not tune exactly with B.Trb. 2
microtone by embouchure / do not tune exactly with B.Trb. 1
with brush
28
26
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
&
&
86 ww
œ ‰ œ- .˙3
w
œœ œœ ˙̇
œ œ œ œœ+d œœ
œ .œ œœrr œœ œœ&
˙ œ œ
æ̇ œæ œæŒ æ̇ œæ
¿¿¿æ
!
ww
œ œ ‰ œ- ˙3
w
œœ œœ œœ ˙̇
œ ˙ œ ..œœ
œ œ œœ++ œœ
˙ œ .œ œ
f
P
F f
f
F
P
p F p
p F
P
M
osc. med.
osc. med.
M
..˙̇ œœ
˙ .œ œ œ# .jœr - .˙
œœ ..¿¿ ¿¿ ¿¿ ¿¿
œœ ..œœ ¿¿ ¿¿ ¿¿
œœ ¿¿ ¿¿ ¿¿
.jœ # Œ Ó
œæ Jœæ> ‰ Ó
œæ Jœæ> ‰ Ó
j¿¿¿>‰ Œ Ó
!
˙̇ œœ œœ œœ
.˙ œ .œ# .jœr - .˙
..œœ ¿¿ ¿¿ ¿¿ ¿¿
œœ œœ ¿¿ ¿¿ ¿¿
œœ œœ ..¿¿ ¿¿ ¿¿
rœ ‰ . Œ Ó
ƒ
extreme bow pressure / slow bowing
ƒ
extreme bow pressure / slow bowing
ƒ
extreme bow pressure / slow bowing
ƒ
ƒ
ƒ
extreme bow pressure / slow bowing
extreme bow pressure / slow bowing
extreme bow pressure / slow bowing
a.s.p.
a.s.p.
ø
f
fp
sfffz
Fosc. very fast
osc. very fast
osc. very fast
Fosc. very fast
osc. very fast
osc. very fast
ø
Rœœ # ‰ Œ Œ
rœ # ‰ Œ Œ
rœ # ‰ Œ Œ
�� �� ��
�� �� ��
�� �� ��
!
!
!
!
!
Rœœ # ‰ Œ Œ
rœ # ‰ Œ Œ
rœ # ‰ Œ Œ
�� �� ��
�� �� ��
�� �� ��
!
p
p
posc. slow
osc. slow
osc. slow
posc. slow
osc. slow
osc. slow
p
p
!
!
!
�� ¿¿ ¿¿ ¿¿
�� �� ..¿¿ ¿¿
�� ¿¿
!
!
!
!
!
!
!
!
..�� ¿¿ ¿¿ ¿¿
�� �� ¿¿ ¿¿
�� ..�� ¿¿ ¿¿
!
p
p
p
p
p
p
22
with hand
29
27
V?
?
&
&
&
?
ã
ãt
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
(&)
(&)
&
&
&
&
90
!
!
!
R¿¿ ‰ . Œ Ó
¿¿ J¿¿ ‰ Ó
¿¿ Œ Ó B
‰ jxx XX ..xx xx
!
!
!
!
!
!
!
..J¿¿ # Œ Ó
¿¿ ¿¿ Ó
œœ œœ Rœœ ‰ . Œ
Π..XX
behind the bridge
ø p
ø
ø
ø
ø
ø
ø
behind the bridge
behind the bridge
ø
!
!
!
Œœœ �� �� ��
Óœœ �� ..��
Œ ‰ Jœœ ..�� �� ��
XX XX
! &
! &
!
.X x
!
!
!
Œœœ �� ��
Óœœ ..�� ��
Œ ‰ Jœœ �� �� ��
xx ..xx xx xx xx xx
f
extreme bow pressure / slow bowing
ø f
fp
extreme bow pressure / slow bowing
Crotales
Crotales
( )
( )
( )
ø
ø
ø
( )
ø( )
ø( )
ø
f
f
f
f
f
f
accel.
œy æ rœ> # ‰
œæ rœ># ‰
œ rœ># ‰
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
xxrxx>
‰ .
Œ Rœœœœb > ‰ .
Œ rœœœœn>‰ .
!
x Rx> ‰ .
œr æ rœ> # ‰
œæ rœ># ‰
œ rœ># ‰
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
xxrxx>
‰ .
sfffz
sfffz
sfffz
sfffz
sfffz
sfffzp
sfffz
sfffz
sfffz
( )
( )
( )
sfffz( )
sfffz( )
sfffz( )
Mwith voice
p sfffzMwith voice
p sfffz
with voice
sfffzpM
with voice
p sfffzMwith voice
p sfffz
with voice
q = 52
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
23
gliss. to highest voice (scream)
c.20"
gliss. to highest voice (scream)
30
28
V?
?
&
&
B
?
&
&t
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
&
&
&
&
&
&
&
&
94
!
!
!
‰ Jœœ �� ..�� �� ��
Œ ‰ . Rœœ �� ��
œœ �� �� �� ��
Œk �� ..�� ��
!
!
!
!
!
!
!
‰ Jœœ �� �� ��
Œ ‰ . Rœœ �� �� ..��
œœ �� �� �� ��
Œk �� ��
ø( )
f
fø( )
ø f
( )
ø f
( )
ø( )
fø( )
ø f
( )
ø( )
f
q = 46 accel.
œy æ rœ> # ‰
œæ rœ># ‰
œ rœ># ‰
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
Œ Rœœœœbb > ‰ .
Œ rœœœœ>‰ .
Œ r¿¿¿>‰ .
Œ r¿> ‰ .
œr æ rœ> # ‰
œæ rœ># ‰
œ rœ># ‰
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
sfffz
sfffz
sfffz
sfffz
sfffz
sfffz
sfffz
sfffz
( )
( )
( )
( )
sfffz( )
sfffz( )
sfffz( )
sfffz( )
f
sfffzpM
with voice
p sfffzMwith voice
p sfffz
with voice
sfffzpM
with voice
p sfffzMwith voice
p sfffz
with voice
q = 52
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
Œ ‰ . rœr ˙Ó ˙
!
Ó ‰ Jœœ ��
Ó ‰ Jœœ ��
Ó ‰ Jœœ ��
Ó ‰ j¿ �
!
!
''' '''
!
Œ ‰ . rœr ˙Ó ˙
!
Ó ‰ Jœœ ��
Ó ‰ Jœœ ��
Ó ‰ Jœœ ��
Ó ‰ j¿ �
ø( )
ø( )
ø( )
( )ø
ø( )
ø( )
ø( )
( )ø
øøM
M
with voice
with voice
øøM
M
with voice
with voice
ø p
q = 42 accel.
œ rœ># ‰ Œ
œ rœ> ‰ . Œ
Œ rœs> # ‰ Œ
�� r¿¿>‰ . Œ
�� r¿¿>‰ . Œ
�� r¿¿>‰ . Œ
� Rk>
‰ . Œ
Œ Rœœœœss > ‰ . Œ ã
Œ rœœs>‰ . Œ ã
––– r¿¿¿># ‰ –––
Œ R¿> ‰ . Œ
œ rœ># ‰ Œ
œ rœ> ‰ . Œ
Œ rœs> # ‰ Œ
�� r¿¿>‰ . Œ
�� r¿¿>‰ . Œ
�� r¿¿>‰ . Œ
� Rk>
‰ . Œ
( )
( )
( )
( )
( )
( )
( )
( )
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
sfffz
ß
with voice
ß
ß
with voice
ß ø
q = 52 q = 40sub.
24
c.11"
with glass
31
29
V?
?
&
&
B
?
ã
ãt
t
V?
?
&
&
B
?
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
&
&
&
&
99
!
!
!
!
!
!
!
Œ ¿@Œ ‰ J¿@
––– –––
!
!
!
!
!
!
!
!
Tamtam
Tamtam
øø
p
Œ ‰ jœj œŒ ˙s
!
Œ ‰ Jœœ ��
Œ ‰ Jœœ ��
Œ ‰ Jœœ ��
Œ ‰ j¿ �
¿@ ¿@ J¿@ ‰ Œ
.¿@ ¿@ ¿@ ¿@ Œ
––– ...––– '''
‰ J¿ ¿ ¿
Œ ‰ jœr œŒ ˙s
!
Œ ‰ Jœœ ��
Œ ‰ Jœœ ��
Œ ‰ Jœœ ��
Œ ‰ j¿ �
ø( )
ø( )
ø( )
( )ø
ø( )
ø( )
ø( )
( )ø
ø
ø
p $
p $
ø $behind the bridge
%
M
M
øM
øM
with voice
with voice
with voice
with voice
accel.
œ rœ> # ‰
œ rœ> ‰ .
œ rœ> # ‰
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
� Rk>
‰ .
Œ jœ Jœ ‰
Œ jœ jœ ‰
––– r–––># ‰
¿ r¿¿> ‰ .
œ rœ> # ‰
œ rœ> ‰ .
œ rœ> # ‰
�� r¿¿>‰ .
�� r¿¿>‰ .
�� r¿¿>‰ .
� Rk>
‰ .
( )ß
( )
ß
( )
ß( )
ß
( )ß
( )
ß
( )
ß( )
ß
ß
ß
F
F
Thai Gongs
Thai Gongs
ß
ç
ß
ß
p ßwith voice
p ßwith voice
q = 52
!
!
!
!
!
!
!
! &
! &
!
!
!
!
!
!
!
!
!
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
25
c.9"
32
30
V?
?
&
&
B
?
&
&t
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
103
Œ # rœb> ‰ Ó
Œ # rœ>‰ Ó
Œ # rœ>‰ Ó
Œ # ¿¿> ¿¿. Ó
Œ # ¿¿> ¿¿.Ó
Œ # ¿¿> ¿¿. Ó
Œ # ¿¿> ¿¿. Ó
Œ # Rœœœœs > ‰ Ó
Œ # rœœœœn>‰ Ó
Œ # –––> ––– ––– –––
Π# xx> xx x x
Œ # rœb> ‰ Ó
Œ # rœ>‰ Ó
Œ # rœ>‰ Ó
Œ # ¿¿> ¿¿. Ó
Œ # ¿¿> ¿¿.Ó
Œ # ¿¿> ¿¿.Ó
Œ # ¿¿> ¿¿.Ó
ç
ç
Crotales
Crotales
ç
ç
ƒ
extreme glass' pressure
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p
behind the bridge
ç p ø$
M
M
M
ç
with voice
with voice
with voice
ç
ç
M
M
M
ç
with voice
with voice
with voice
q = 60 rit.
!
!
!
!
!
!
!
!
!
––– ––– j–‰ ŒU
x x XŒU
!
!
!
!
!
!
!
p ø
$ ø
q = 35
Ó rœ># ‰ Œ
Ó rœ># ‰ Œ
ÓU rœ># ‰ Œ
Ó ¿¿> ¿¿. # Œ
Ó ¿¿> ¿¿.# Œ
Ó ¿¿> ¿¿. # Œ
Ó ¿¿> ..¿¿ ¿¿
Ó Rœœœœss > ‰ . Œ
Ó rœœœœn>‰ . Œ
Ó –––> ...––– –––
Ó xx> ..xx x
Ó rœ># ‰ Œ
Ó rœ># ‰ Œ
ÓU rœ># ‰ Œ
Ó ¿¿> ¿¿. # Œ
Ó ¿¿> ¿¿.# Œ
Ó ¿¿> ¿¿.# Œ
Ó xx> ..xx xx
sfffz
sfffz
sfffz
sfffz
Ï P
extreme glass' pressure
sfffz p
slow bowing
p
behind the bridge
p
p
p
behind the bridge
behind the bridge
behind the bridge
sfffz
sfffz
sfffz
sfffz
p
behind the bridge
sfffz
p
behind the bridge
sfffz
p
behind the bridge
sfffz
p
behind the bridge
sfffz
U
U
U
U
U
U
U
U
U
U
U
U
U
U
slow bowing
slow bowing
M
M
sfffz
with voice
with voice
with voice
sfffz
sfffz
U
U
M
M
sfffz
with voice
with voice
with voice
behind the bridge
q = 54
!
!
!
!
!
!
¿¿ ¿¿ ¿¿ ¿¿ ¿¿
!
!
''' ––– ––– –––
X x .x x
!
!
!
!
!
!
xx ..xx xx XX
f
F
F $
F
rit.26
33
31
V?
?
&
&
B
?
&
&t
t
V?
?
&
&
B
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
107
!
!
!
!
!
!
..XX Jxx ‰
!
!
––– ...j–––# Ó
x x x X
!
!
!
!
!
!
xx XX xx
ø$
p ø
$ p
!
!
!
!
!
!
!
Ó Œ xæ
!
!
X X
!
!
!
!
!
!
..XXjxx
‰ø
%Tamtam
Tamtam
q = 35 accel.
!
!
!
!
!
!
!
.Xæ
.Xæ
!
.X
!
!
!
!
!
!
!
ø
%
‰ . rœ>Œ
‰ . rœ>Œ
‰ . rœ>Œ
‰ . r¿¿>Œ
‰ . r¿¿>Œ
‰ . r¿¿>Œ
‰ . r¿¿>Œ
.xæ x>æ Œ
.xæ x>æ Œ
‰ # r¿¿¿>Œ
.xxx> Œ
‰ . rœ>Œ
‰ # rœ>Œ
‰ . rœ>Œ
‰ . r¿¿>Œ
‰ . r¿¿>Œ
‰ . r¿¿>Œ
‰ . r¿¿>Œ
sfffz
ç
ç
sfffz
sfffz
sfffz
M
M
sfffz
with voice
with voice
with voice
sfffz
sfffz
M
M
sfffz
with voice
with voice
with voice
sfffz
behind the bridge
sfffz
behind the bridge
sfffz
behind the bridge
sfffz
behind the bridge
sfffz
behind the bridge
sfffz
behind the bridge
sfffz
behind the bridge
sfffz
behind the bridge
q = 60
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
27
c.25"
34
32
V?
?
&
&
B
?
&
&t
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
112
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U ?
!U
!U
!U
!U
!U
!U
!U
!U
Audio Playback
Crotales
Crotales
Ó œo .œ œ
!
!
!
!
!
!
.œ" œ .˙
‰ . Rœs" œ ˙
··œœbnb ÿ‰ ·
œss
ÿŒ Ó
!
!
!
!
..## –– ..––
Ó Œ $ .J–
!
!
q = 60
% &
% &
pøvertical bowing / breath, air sound
%on the bridge / breath, air sound
% p
osc. very slow
S sF
w
!
!
!
!
!
!
w
w
!
!
!
!
!
##
– .#
!
!
p
w
!
!
!
!
!
!
œ œ $ œ" ˙
w
Œ ‰ j·œ
j·œÿ‰ Ó3
!
!
!
!
## –– ‰ –– ––3
#
!
!
% &
%
osc. med.
ß
28
c.10"
with D.B. bow
with D.B. bow
35
33
V?
?
&
&
B
?
&
&?
t
V?
?
&
&
B
?
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
116 .˙ Jœ ‰
!
!
!
!
!
!
w
œ ‰ œ" .˙3
!
!
Ó Œ $ .Jœo
!
!
##
#
!
!
p
% &
osc. slow
%
%
osc. very slow
!
!
!
!
!
!
!
.˙ .Jœ $
w
$ r·œss
ÿ‰ Œ ‰ j·
œb ÿ‰ Œ
3
!
œ .œ œ ˙
!
!
##
#
!
!
sP sF
%
p
!
! &
!
Ó Œ ––
!
!
!
wb "
.˙ œ ‰ œ"
Ó Œ ‰ r·œ
r··œœnb
ÿ$
!
w
!
!
r–– $ ‰ Œ #
.# $ .J–
!
!
%
M
sul IV ø
øsul IV
M
ß
%
&
ø
osc. med.
vertical bowing / breath, air sound
!
Ó Œ $ .Jœj
!
–– ..–– –– ##
Œ ‰ $ R– – – J–3
!
!
w
w
!
!
.˙ Jœ ‰
!
!
– .– .#
– – J– #3
$ .J– – .– – –
!
F
F
&
Føsul IV
M
p
% p
osc. slow
%
on the bridge / breath, air sound
%osc. very slow
29
36
34
V
&?
&
&
B
?
&
&?
t
V?
?
&
&
B
?
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
120
!
œ .˙
!
## –– $ –– ––
#
!
!
.˙ œ ‰ œ"3
w
!
!
!
!
!
– R– $ ‰ Ó
# J– ‰ Œ
.# Œ
!
ø
ø
ø
%
p
%
!
.˙ œ
!
##
#
!
!
w
œ $ œ" .˙
r·œÿ$ ‰ Œ Ó
!
!
! &
!
Ó #
$ ..j–– –– ##
!
!
% p
vertical bowing / breath, air sound
Ø
on the bridge / breath, air sound
p
osc. med.
sP
&
% &
!
˙ Rœ $ ‰ Œ
!
r–– $ ‰ # – –
# Œ ‰ J–
Ó ‰ – –3
!
w
w
!
!
!
Œ ‰ ‰ Jœr œ œ œ3
!
– J– .#3
##
‰ ‰ J– – #3
!
p
on the body / breath, air sound
ø p
% ø F
ø
ø
%
M
M
M
sul IV
sul IV
sul IV
%
% p
osc. very slow
!
!
!
#
# #
.– – .#
!
œ œ $ œ" ˙
.˙ œ ‰ œs"3
Œ ·œb
ÿ‰ ··œœs
s
ÿÓ
!
!w
!
#
..## –– $ ––
#
!
%
F
F
sp ç
% &
%
30
37
35
V
&?
&
&
B
?
&
&?
t
V
&?
&
&
B
?
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
124
!
!
!
– Œ Ó
# R– $ ‰ Œ
– J– ‰ Œ ‰ J–
!
w
w
!
!
!˙ œ œ œ
!
#
##
#
!
ø
ø
ø %on the body / breath, air sound
osc. med.
Ó ‰ . Rœl œ
!
!
Œ $ .J– – – J–3
‰ ‰ j–– ## ––3
– – .– #
!
˙ œ ‰ œ" œ3
w
Ó r·œ
r·œÿ$ ‰ Œ
!
!.˙ Œ
!
#
##
#
!
% p
% p
p
vertical bowing / breath, air sound
on the bridge / breath, air sound
%
sP
% &
%
osc. slow ˙ Jœ œy - œ3
!
!
#
##
#
!
w
.˙ œ ‰ œb"
Œ ‰ ‰ j··œœss
ÿÓ
3
!
Ó ‰ œl œ3
!
!
– .J– $ Œ ‰ . R–
–– Œ – .– –
# J– ‰ –
!
%
%
%
ø
ø F
ø
M
M
M
sul III
sul IV
sul IV
ß
%
M
p sF
%
osc. fast
osc. slow
w
! ?
!
#
..## –– $ ––
#
!
w
w
‰ $R·œbb ´
‰ r·œÿ$ Ó
!
˙ œ œy - œ
!
!
# #
#
– J– – #3
Œ ‰ ‰ J– #3
F
F
øMsul IV
%
sp sF
&
p sF
Mosc. fast
31
38
36
V?
?
&
&
B
?
&
&?
t
V
&?
&
&
B
?
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
128
˙ Ó
Œ $ .jœ ˙
!
.˙ Œ
##
# Œ $ .J–
!
w
˙ œ ‰ œn" œ3
!
!
w
! ?
!
# R– $ ‰ ‰ J–
J– ‰ Œ – – –
– J– ‰ Ó
.# J– ‰F
ø
ø
ø
ø
on the body / breath, air sound
in the pegbox / high crispy sound
sul IV
%
% p
p
%
%
øM
sul III
sul IV
%
ØM
Ø
osc. slow
osc. slow
!
.˙ œ
!
# – J– –3
r–– $ ‰ # – .–
# #
Ó – .– –
œ $ œb" .˙
w
Ó r·œ
r··œœnb
ÿ$ ‰ Œ
!
œ jœ ‰ Ó
˙j œ .œ œ
!
– J– – #3
#
Œ ‰ –– –– ..–– ––3
‰ J– # –
vertical bowing / breath, air sound
on the tailpiece / breath, air sound
p
% p
% p
%
ø F
ø F
F
Fø
M
M
M
sul IV
sul IV
ß
&
% &
F
Ø
osc. fast
osc. slow
M
Ø F
osc. med.
Œ ˙r œ
œ .jœ $ Ó
!
.# .J– $
#
.# Œ
#
w
.˙ œ $ œs"
!
!
!
.˙ œ
!
#
#
##
#
ø
ø
on the body / breath, air sound
%
øosc. very slow
M
% f
osc. med. .˙ œ .œ
Ó Œ $ .jœy
!
Œ ‰ ‰ J– – – .–3
.J– $ Œ ‰ J– –
–– –– j–– ##3
# Œ $ .J–
œ $ .Jœb" ˙
w·œb
ÿ‰ ··œœs
sÿ
Œ Ó
!
!
œ Jœ ‰ Ó
!
#
#
..## ..j–– $
#
%
ø
ø
% p
%
% p
%
in the pegbox / high crispy soundsul III
vertical bowing / breath, air sound
on the tailpiece / breath, air sound
sF ç
&
% &
ø
M
%
32
39
37
V?
?
&
&
B
?
&
&?
t
V?
?
&
&
B
?
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
132
˙ Rœ $ ‰ Œ
œ .˙
!
#
#
##
– .#
w
w
Œ ‰J···œœœn
bb
´‰ Ó
3
!
Ó ˙d!
!
.# J– ‰
.# Œ
–– ..##
#
%
%
p
p
sul III
ç
Ø
f
M
%
!
œ .˙
!
#
#
–– $ –– ..##
#
w
œ $ œ" .˙
Œ $ r·œb R
·œb ´
‰ Ó
!
jœ œ .˙3
!
!
Ó #
$ .J– .#
##
– Œ Ó%
ø
øM
Msul IV
sF
% &
f
!jœ ‰ Œ Ó
!
.# J– ‰
#
##
#
œ ‰ œb" .˙3
w
!
!
.œ jœ ˙Œ ‰ Jœj ˙
!
– – .– #
#
r–– $ ‰ Œ ‰ – –3
Π$ .JР#
%
f
f
ø
ø
M
M
%
sul IV
sul IV
% &
Ø
M
%
!
!
!
$ .J– # – J–3
– R– $ ‰ #
j–– ‰ Œ Œ Œ J–3
Œ ‰ – – –3
w
˙ œ ‰ œn" œ3
‰r·
œb
ÿ$ $ r··œœs
s
ÿ‰ Ó
‰ jœr'
.˙
.jœ $ Œ Ó
w
!
# J– ‰ Œ
J– ‰ Œ Ó
– .#
#
ø
ø
f
f
%
%
%
ø f
ø
ø
ø f
M
M
M
M
sul IV
sul III
sul IV
sul IV
sp ç
% &
osc. very slowa.s.t.
ø
Ø
f
con sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
33
40
38
V?
?
&
&
B
?
&
&?
t
V?
?
&
&
B
?
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
136
!
!
!
#
#
– .– – #
#
w
w
Œ ‰R····œœœœbn
bsbs
´$ Ó
w
!
œ .œ ˙ Jœ ‰
Ó Œ $ .j–
!
!
– R– $ ‰ Ó
J– ‰ Œ Ó
ø
ø
f
f
ç
%
Øbreath, air sound
øL
osc. very slow
con sord. aluminium foil
con sord. aluminium foil
!
!
Ó Œ $ .j–
R– $ ‰ Œ Ó
.# J– ‰
#
# .J– $ Œ
w
w
Ó ‰ . r––– –––
w
!
Ó Œ –
.# –
!
!
!
!
ø
ø
ø
%
f
øbreath, air sound
Losc. very slow
Hosc. fast
øL
osc. very slow
!
con sord. aluminium foil
con sord. aluminium foil
!
Ó . #
.# #
!
!
– Œ Ó Œ
!
œ Œ Ó Œ ã
œ Œ Ó Œ ã
––– ###
œ w
Ó . ‰ . r– –
.# .– – –
# –
!
!
!
!
ø
rit.
Ø
Ø
&
osc. med.ord.
P
Tamtam
f
Hosc. fast
øL
osc. very slow
f
øH
L
osc. very fast
osc. very slow
@
con sord. aluminium foil
con sord. aluminium foil
‰ ‰ j– # .– –3
– j– .#3
#
!
!
!
!
Ó Œ $ .Jxæ
!
...### –––
w
# #
#j– ‰ Œ Ó
!
!
!
!
q = 40
f
%
øLosc. very slow
f
ø fH
L H
osc. very fast
osc. very slow osc. very fast
fH
osc. very fast
æ
34
with glass
41
39
V?
?
&
&
B
?
ã
ã?
t
V?
?
&
&
B
?
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
140
#
# j– ‰ Œ
j– ‰ Œ Ó
!
!
!
!
Xæ xæ Jxæ xæ3
.Xæ xæ .xæ
### ...––– ––– –––
·
.# j– ‰
– r– $ ‰ Ó
!
!
!
!
!
f
Tamtam
%
f
f
øL
osc. very slowø
Losc. very slow
osc. very slow
øø
L
Losc. very slow
osc. very slow
j– ‰ Œ Ó
!
!
!
!
!
!
.xæ Jxæ Xæ
xæ .Xæ
###
.· jœ ˙
!
!
!
!
!
!
!
P
P
& F
%
øL
@
rit.
!
!
!
!
!
!
!
Xæ Œ
.Xæ
### ...j–––$
.˙
!
!
!
!
!
!
!
ø
Ø
p Ø!
q = 35
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
wU
!U
!U
!U
!U
!U
!U
!U
ø
%
35
harmonic sweep along the string / ad.lib.
c.11"
42
40
V?
?
&
&
B
?
ã
ã?
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
144
!
!
!
!
!
!
!
Ó Xæ
Œ Xæ xæ
!
w
!
!
!
!
!
!
!
osc. very slow
q = 48
øø p
!
!
!
Πxx>"
.x X
Πxx>"
.x X
Πxx>"
.x X
Πxx>"
.x X
xæ Xæ xæ .xæ
.Xæ Œ
Ó $ ...j––– –––
œ .˙
!
!
!
Πxx>"
.x X
Πxx>"
.x X
Πxx>"
.x X
Πxx>"
.x X
poco accel.
F &
ø%
sf / pppsub.
behind the bridge
sf / pppsub.
behind the bridge
sf / pppsub.
behind the bridge
sf / pppsub.
behind the bridgecon sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
sf / pppsub.
behind the bridge
sf / pppsub.
behind the bridge
sf / pppsub.
behind the bridge
sf / pppsub.
behind the bridgecon sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
con sord. aluminium foil
!
!
!
X
X
X
X
Xæ
Xæ
###
w
!
!
!
X
X
X
X
F
osc. med.
%
Œ $ rœ>‰ Œ
Œ $ rœ>‰ Œ
Œ $ rœ>‰ Œ
x x ..xx> xx xx
x x ..xx> xx
x x ..xx> xxjxx
3
x x ..xx> xx
xæ xæ x> $ Œ
xæ xæ x> $ Œ
–––$ j¿¿¿>
$ Œ
œ œ .œ>rœ $ ‰
Œ $ rœ>‰ Œ
Œ $ rœ>‰ Œ
Œ $ rœ>‰ Œ
x x ..xx> ..xx xx
x x ..xx> xx ..xx
x x ..xx> xx
x x ..xx> xx
q = 60
ff / ppsub. p
osc. very fast
ç
ç
f ç
ƒ
ƒ
ƒ
ƒ
F
F
ƒ
ƒ
ƒ
ƒ
F
F
slow bow
slow bow
slow bow
slow bow
slow bow
slow bow
slow bow
slow bow
Mwith voice
çMwith voice
çwith voice
ç
Mwith voice
çMwith voice
çwith voice
ç
36
43
41
V?
?
&
&
B
?
ã
ã?
t
V?
?
&
&
B
?
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
B. Fl. 1
B. Cl. 1
B. Tbn. 1
Vn. 1
Vn. 3
Va. 1
Vc. 1
Perc. 1
Perc. 2
Pno.
D.B.
B. Fl. 2
B. Cl. 2
B. Tbn. 2
Vn. 2
Vn. 4
Va. 2
Vc. 2
148
!
!
!
..XXjxx
‰
..xx xx ..XX
XX
xxjxx xx XX
3
!
!
!
!
!
!
!
XX
..XXŒ
XXjxx ..XX
3
xx xx ..xx XX
F
F
ø
poco rit.
ø
F
F
!
!
!
!
xxjxx
‰ Ó
rxx$ ‰ Œ Ó
..XXŒ
!
!
!
!
!
!
!
jxx‰ Œ Ó
!
xxjxx
‰ Ó
XXÓ
ø
ø
ø
ø
ø
ø
!
!
!
!
!
!
!
Œ œ-
Œ œ-
!
!
!
!
!
!
!
!
!
q = 35
p
p
Large Gong
Large Gong
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
!U
37
c.30"
44
42
