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M a r c S a b a t
U l j a n a W o l f
Seeds of skies, alibis
cantata for 6 voices, electronic sounds
and instruments ad libitum
P L A I N S O U N D M U S I C E D I T I O N
for Jeffrey Gavett and Ekmeles
commissioned with the assistance of the Canada Council
premiered in the Crypt of the Church of the Intercession
New York City, 22 February 2018
SEEDS OF SKIES, ALIBIS Whirled English for Six Voices Soprano/Mezzo/Countertenor/Tenor/baritone/Bass cantata on a text by Marc Sabat and Uljana Wolf after Ovid Metamorphoseon Lines 1-88 / 2017 Part One page I — Nowhere: In no war fared 1. RECITATIVO: In nova fert animus 2 2. INVOCATION: Tempora carmen 3 II — Chaos nay! quick amnesia 1. CHORALE: Discordia semina rerum 11 2. CHANTS: Sky hole nature 16 III — Heavens margins tear at us 1. AIRS AND DUETS: Prepare a bat! 21 IV — Land-cuts for others 1. SHORT CUTS LONG LINES: sky tear land 33 2. LULLABY: for others from mothers 41 3. POSTLUDE: Falling orb 48
Part Two V — Waters (this is a tomb) 1. OVERTURE: Ignea convecsi VI — Total damage quick VII — Immigrant, moon-doomed VIII — Soul to pass
Part Three IX — A quick cramp X — Astral tenant kill XI — Seeds of skies, alibis
The Latin text is not spoken directly. Ovid’s hexameter is given as a guide to suggest rhythms, accents, sustains, ad lib. Words in modern English / German / French etc. to be interpreted as free dialects, bent echoes reimagining the sound of vivid Latin vernaculars; arguing, whispering, alive, striving to be heard and understood as in a flooding marketplace. The six voices are independent, counterpoints each following its meaning freely, synchronised on matching phonemes; pronunciation may be distorted when desired to more closely echo, nuance, express and comment the original Latin; [text in square brackets] = performance instructions mmmmm or ———— = sustains ————> = gradual transition ... = repeated, looped (muttering, whispering) - = broken continuity to another voice or later time ~ = nasalised r = rhoticity [*] or [x] = unpitched sounds (within staff or with ledger lines = partially voiced) (words bracketed, in italic) = spoken aside, added beats, without pulse, like a commentary or annotation, possibly chanted (bracketed sounds) = continued sounds from a preceding line words in normal script = spoken in improvised rhythm, hard with accented lilts, syncopated hexameter OR sung in a direct, folk manner without vibrato
A C C I D E N T A L S EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION f o r J u s t I n t o n a t i o n d e s i g n e d b y M a r c S a b a t a n d W o l f g a n g v o n S c h w e i n i t z The exa ct intonatio n of each pit ch m ay b e writt en o ut b y means o f the fo llo wing ha rmonically- de fined signs:
E e n v V Pythagorean series of fifths – the open strings ( … c g d a e … )
dmuU Ffow lowers / raises by a syntonic comma 81 : 80 = ci rca 21.5 cent s
cltT Ggpx lowers / raises by two syntonic commas circa 43 cent s
< > lowers / raises by a septimal comma 64 : 63 = ci rca 27.3 cent s
• ¶ lowers / raises by two septimal commas circa 54 .5 cents
4 5 raises / lowers by an 11-limit undecimal quarter-tone 33 : 32 = ci rca 53.3 cent s
0 9 lowers / raises by a 13-limit tridecimal third-tone 27 : 26 = ci rca 65.3 cent s
: ; lowers / raises by a 17-limit schisma 256 : 255 = ci rca 6 .8 cent s
/ \ raises / lowerss by a 19-limit schisma 513 : 512 = ci rca 3 .4 cent s
! ±" raises / lowers by a 23-limit comma 736 : 729 = ci rca 16 .5 cents
In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to indicate its absolute pitch-height as a cents-deviation from the respectively indicated chromatic pitch in the 12-tone system of Equal Temperament. The attached arrows for alteration by a syntonic comma are transcriptions of the notation that Hermann von Helmholtz used in his book “Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik” (1863). The annotated English translation “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885) is by Alexander J. Ellis, who refined the definition of pitch within the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents. The sign for a septimal comma was devised by Giuseppe Tartini (1692-1770) – the composer, violinist and researcher who first studied the production of difference tones by means of double stops.
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9 10 11 12 13 14 15 16
17 18 19 20 21 22 23 24
25 26 27 28 29 30 31 32
33 34 35 36 37 38 39 40
41 42 43 44 45 46 47 48
49 50 51 52 53 54 55 56
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testedandnotatedinthreegradationsofdifficulty(largeopennotehead=easiest;smallblacknotehead=mostdifficult)
byMarcSabat(violin/viola)withassistancefromWolfgangvonSchweinitz(cello),BeltaneRuiz(bass),AnaïsChen(violin)—Berlin,2005
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An informal introduction to the Helmholtz-Ellis Accidentals by Marc Sabat Berlin, April 2009 In learning to read HE accidentals, without having to rely on an electronic tuning device, it is important to be familiar with three things: First, to keep in mind the natural tuning of intervals in a harmonic series, which deviate from the tempered system. Second, to get to know how the accidentals refer to these overtone relationships. Third, to observe that each written pitch may be related to many other pitches by natural intervals, and to tune it accordingly. In most cases, this approach will allow the player to quickly and intuitively play just intonation (JI) pitches quite accurately. Any remaining adjustments can be made by ear, based on the specific sound of JI intervals. Just intervals are readily learned because they are built up from simple, tuneable harmonic relationships. These are generally based on eliminating beating between common partials, finding common fundamentals and audible combination tones, and establishing a resonant, stable sonority which maximizes clarity: both of consonance and of dissonance. A well-focussed JI sound is completely distinct from the irregular, fuzzy beating of tempered sounds. Just consonances, when marginally out of tune, beat slowly and sweetly and may be corrected with the most subtle adjustments of bowing or breath. Just dissonances produce a sharply pulsing regular rhythm and have very clear, distinct colors. To become familiar with the notation and sounds of JI, the fundamental building blocks are prime number overtones 3, 5, 7, 11 and 13, each of which is associated with a specific pair of accidentals and a basic musical interval. 3 is associated with the signs flat, natural, sharp and refers to the series of untempered perfect fifths (Pythagorean intonation). Generally, A is taken as the tuning reference, and the central pitches C-G-D-A-E can be imagined as the normal tuning of the orchestral string instruments. The just C is rather lower than tempered tuning because of the pure fifths. The further this series is extended, the greater the deviation from tempered tuning: the flats are lower, the sharps higher. 5 is associated with arrows attached to the flat, natural, sharp signs and refers to the pure major third. These arrows correct the Pythagorean intervals by a Syntonic Comma, which is approximately 1/9 of a wholetone or 22 cents. So, for example, the note E-flat arrow-up is a just major third below G, and the note F-sharp arrow-down is a major third above D. In most music, flats are often raised by a comma and sharps are lowered. Because of the open string tuning, it is common to sometimes raise F and C (to match A and E) and to sometimes lower A and E (to match F and C).
Corrections by one Syntonic Comma have been used throughout Western music history and are relatively familiar to the ear. However, traditionally these corrections have been hidden by players, for example in Meantone Temperament where fifths are mistuned narrow by ¼ comma so that the third C-E ends up sounding pure. More recently, the currently prevailing Equal Temperament has made us accustomed to beating thirds, so at first the pure intervals may seem unfamiliar. To play the arrows accurately, one must carefully learn the sound of the consonant major and minor thirds and sixths, and learn to articulate comma differences clearly. 7 is associated with a Tartini sign resembling the numeral. It corrects the Pythagorean intervals by a Septimal Comma, which is approximately 1/7 of a wholetone or 27 cents. When the Pythagorean minor third is lowered by this amount, it becomes a noticeably low third often heard in Blues music. 11 is associated with the quartertone signs (cross and backwards flat). The accidental is used to raise the perfect fourth by 53 cents, producing the exact tuning of the 11th partial in a harmonic series. The sound is most easily learned by playing one octave plus one fourth and raising it by a quartertone. 13 is associated with the thirdtone signs (cross and backwards flat, each with 2 verticals). The accidental is used to lower the Pythagorean major sixth by 65 cents, producing the exact tuning of the 13th partial in a harmonic series. The sound is most easily learned as a neutral-sounding sixth, one-third of the way between the just minor and just major sixths (closer to minor than to major). The following table presents the accidentals together with their associated ratios and cents deviations. To calculate the cents deviation from Equal Temperament of a specific written pitch (if desired) the following shortcut may be used: 1.) Find the cents deviation of the Pythagorean pitch, by calculating how many fifths it is away from A, multiplying by 2, and using a plus sign if it is on the sharp side and a minus if it is on the flat side. 2.) For each microtonal accidental, add or subtract its approximate cents value (as given above), keeping in mind whether the accidental is raising or lowering the pitch. The resulting value should be a cents deviation within 1 or 2 cents accuracy, which is an acceptable starting point for fine-tuning by ear.
Prologue
Bang went round. Stars uncrowned. Worlds in ground. When at sea, a grave, a list. What is the barrier after the barrier. Who is the courier after the courier. What is salt. What is a shore. What is a shoulder. What is a border. Who carries the courier. Who poured the salt into the sea. We were never sure. We were never a direction. What is waiting. What is a sea.
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forMarcusandEllen
music: Marc Sabat
words: Uljana Wolf
SEEDS OF SKIES, ALIBIS: PROLOGUE.
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Wo r- - - lds- i n- - - grou nd,- wo r- - lds- i n- grou nd.-
27
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When at sea a grave, a li st.- What is the bar rier-
40
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xii
ù
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{Ostrava/Berlin18September2017
S
M
C
T
b
B
t
Wha t is- - wai ting.- What is a sea.
137
t-i s- - - - - - a sea.
wai ting.- What i s- - a sea.
ting.- - Wha t- - - - - is a sea.
ting.- - Wha t- - - i s- - - a sea.
ting.- - Wha t- - i s- a sea.
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xiii
2
Part One
I — Nowhere: In no war fared I.1. RECITATIVO: In nova fert animus [stage black, only performers’ faces are lit]
1 In no-va |fer- t_a-ni-|mus mū-|tā-tās |dī-ce- re |fōr-mās
S: (No-where:) | | | (t- tell us) | k- | M: (No-where:) | | | |di-ck_ar-rows |form us———— C: (No-where:) | | | | r—————————— T: (No-where:) | | | (t- tell us) | | b: In no war |fare-d_a-ni-|mals mu-|ta-te_us————— | k- | B: (No-where:) | | | (t- tell us) | k- |
2 cor-po-ra: | dî, coep-|tīs (nam |vôs mū-|tâs- ti-s_e-|t_il -lă)
S: cor-po-rate | -p-|t (d-| dey mu-|te_us) | M: cor-po-rate | -p-|t (d-| dey mu-|te_us) | C: r—————————a|ts_dey ke-p-|t_us numb———— | (mu-|te_us tes- |t_'n kill us) T: | | |voice—— (mu-|te_us tes- |t_'n kill us) b: cor-po-ra————|ts -|ts | (d- | dey tes- |t_'n————— us) B: cor-po-ra————|ts -|ts | (d- | dey tes- |t_'n————— us)
3 a(d)- spī- |râ-te me-|īs prī-|mâ- qu(e)_a-b_o-|rī-gi-ne |mun-dī
S: a-dd: | | | 't_a- b_o-|ri-gi-nal |Mon-day M: a-dd: | m————————————|mar-k't_a- bo- |ri-gi- | [*] (big bang bang) C: a-dd: | | pre-|mar-k't_a- bo- |ri- | [*] (big bang bang) T: a-dd: | m———|aze pre-|mar-k't_a- bo- | | [*] (big bang bang) b: a-dd: r————|a- tom m-|aze pre-|mar-k't_a- | | [*] (big bang bang) B: a spear————|a- tom m-|aze pre-|mar-k't | | [*] (big bang bang)
= [LOUD CLAP] 4 me- a |per-pe-tu-|um dē- |dū-ci- te |tem-po-ra |car-men!
S: make our |per-pe-tu-|al day————| | | (know, where, you, be:) M: (a-dd:) | | | chea- |t | (know, where, you, be:) C: (a-dd:) | | | chea- |t | (know, where, you, be:) T: (a-dd:) | t- | |to chea-t_a |tem-po-ra-ry |cal-min'! b: (a-dd:) | | | chea- |t | (know, where, you, be:) B: (a-dd:) | | | chea- |t | (know, where, you, be:)
ù
û
ù
û
S
M
C
T
b
B
We flee sky, dar ling- s,- flee end less- cu- t-s
Flowing
Flee skie s,- dar ling- s,- tear less- la nd- cu- t-s
Fl ee- skie s,- flee
We flee, tear less- dar lings,-
from o ther- s- for mo ther- s-
from o ther- s- for mo ther- s-
S
M
C
T
b
B
from o thers- for mo thers- from o thers- cu - ts, dar lings.-
6
tear less- land for mo thers- from o thers- for mo thers.-
from o thers- for mo thers- from o thers- dar lings-
flee e n- d-le- ss- cu- ts for mo thers- from o thers,- flee.
for o ther- s- from mo ther- s-
for o ther- s- from mo ther- s-
8
4
5
4
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41
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23 et li- qui- |dum spis- |sō sē- |crê-vi-t_a- |b_ā-e-re |cae-lum;
S
M
C
T
b
B
Add: li qui- - d, spi t- wa ter.- -
Tempo primo
13
A- t li qui- d- spee d- - se crets- partwa ter.- Wa ter,- wa ter- tear le- ss,-
Li quid- spee - d se cre- ts- par - t wa ter,- wa ter.-
Wa ter,- wa ter- tear le- ss,-
At li quid- speed, spi t- wa ter,-
S
M
C
T
b
B
We flee sky, dar ling- s,- flee end less-
20
we flee, we flee sky dar lings.- Flee skie s,- dar ling- s,- tear less- la nd-
Fl ee- skie s,- flee
we flee, we flee sky dar lings.-
dar l- ings.-
se crets,- se crets,- par t.- -
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42
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cu- t-s - part air from sky,
26
cu- t-s - part air from sky,
A t- li quid- spee d- se crets- part.
A t- li quid- spee d- se cre- ts- part, part air from sky,
A t- li quid- spee d- se cre- ts- part, part air from sky.
S
M
C
T
b
B
sky tear land, part air from sky, sky tear la n- - d.-
33
sky tear land, part air from sky, sky tear sky tear lan d.-
lan- d.
part air from sky, lan- d.
part air from sky tear
part air from sky tear
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43
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24 quae post-|qu(am)_ē-vol-|vit cae-|cô-qu(e)_ec-|sê-mi-t_a|cer-vō,
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Who clea ns- u p- the me ss?- Key wea pons- e vo- l- -
Andantino
40
Key wea p- - - - - ons- to calm the me ss- e - -
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Who clea ns,- clea ns- u p- - the me ss?- key wea -
S
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b
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v e- d.-
45
v o- l- - ve d,- kick or go qui ckly- go qui ck.- - - - -
kick or go qui ckly- go qui ck- - to ca l- m,-
pons e vol- ve- d,- kick or g o- qui ckly- go qui ck- - -
To ca l- m,-
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to cal m,- e xe- - m- - p- t-
to cal m,- to calm, e xempt- or e mi- t-
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kick or go qui ck- e xempt- - or e xi- t- mi t.-
55
e m- i- t- e xi- t- - m i- t.- -
e xempt- or e mit- kick or go qui ck- - e xe- mpt- e m- i- t.- -
or e xit- mi t- kick or go qui ck- e xempt- or e m- i- t.- - -
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46
[spoken in a somewhat steady beat, articulated, accompanying parts like an analog tape-echo]
25a dis-so- ci-|â- ta lo-|cīs 61 S: | ty ty |ty ty ty | te |te te te te | to know— n-| o n- o. | to— M: dis iss|iss isst | dis iss|iss iss isst | cuss |usst | dis |iss- t C: | ty ty |ty ty ty | te |te te te te |tête know— n-| o n- o. | to— T: dis iss|iss isst | dis iss|iss iss isst | cuss |usst | dis |iss- t b: dis so-|ci- e- ty lo-|ca-ted dis-a- |sso-ci- a- ted |joi-ning: lock us |lost in space un-|bound! each dis-|placed, B: dis so-|ci- e- ty lo-|ca-ted dis-a- |sso-ci- a- ted |joi-ning: lock us |lost in space un-|bound! each dis-|placed,
25b cīs con- |cor-dī | pâ-ce 68 S: | to— kn-|ow no! no—| to know, |no! | | | to know, no! M: dis |iss t dis iss |iss isst dis iss |iss isst dis |iss-t dis |iss iss dis |iss iss dis |isst C: | to— kn-|ow no! no—| to know, |no! | | | to know, no! T: dis |iss iss dis iss |iss isst dis iss |iss isst dis |iss-t dis |iss iss dis |iss iss dis |isst b: dis-|sen-ting dis-en- |ta-ngled dis-con- |cor-dant in-dis-|posed dis-|pla-ces dis-|plea-ses des-|cend in peace. B: dis-|sen-ting dis-en- |ta-ngled dis-con- |cor-dant in-dis-|posed dis-|pla-ces dis-|plea-ses des-|cend in peace.
25c li- |gâ- vit.
75 S: Let |go ’f it. C: Let |go ’f it.
ù
û
ù
û
S
M
C
T
b
B
in
Libero, breathe as needed, rejoin freely within the phrase
75
see a lo- ne,- a l- o- -
we see i ɪ t- a lo- ne,- a lo- ne-
dis so- ci- a- di sso- ci- ɛ- i t- a i ɪ t- a ɑ ɔ o a lo- ne-
In no v- a- f er- t- a ni- a ni- u o
ɪ o w a s o- we see i t- a l- o- ne,- a
sotto
voce
-
S
M
C
T
b
B
a kiss, a o r di a lone,- -
80
ne, a ki ss,- con co- r- di- di a,-
in a kiss, a o r di a-
sottovoce
an (n)i- mus- a lo- ne,-
in a kiss, a o r di a- a lo- -
a
sottovoce
n- i- mus,-
unpocopiùforte
di s- a- sso- ci- a- te,-
n- i- mus,-
comeprima
a n- i- mu- s,- - a -
3
1
&
∑ ∑ ∑
&
∑ ∑
<e <e
m
consonant sixth with C
m m m
3
&
∑
<e <e <e <e
>
consonant sixth with S
ê
3
ê dissonant fifths to S !
&
‹
3
> >
?
,
>
∑
?
>
&
,
&> > >
&
,
>
&
‹
>
dissonant fifth to B ! ê
3
?
∑
o o o o o
∑
>
? o
consonant sixth
with T
o
∑ ∑ ∑ Ó™
œn
∑
œ
Œ
˙
w w œŒ Ó Œ
˙ ™ œ œœn˙n
∑ ∑ Ó™
œn
w w œ ™™
¿
R
˙wn ˙
™ œn˙n œ
œnœn
˙n ˙
∑ Ó™
œn
˙n™
œn ˙n œn œn œn ˙n œ™™
¿
R
˙n™
˙n™
œn™™
¿
R
˙n™
˙n™
˙n™
˙n™
˙n wn wn™
Ó™
œn
wn wn ˙n
Y
˙n ™™™
¿
R
Ó˙n wn ˙n ™ ˙n ™ ˙n ™ ˙n ™
wn ˙™
˙n™
wn™
Y ™
wn œn ˙n œn™™
¿
R
œn ˙n ™ wn wn
∑ ∑ Ó™
œn
wn™
L
˙n wn ˙™
û
˙n ™ ˙ ™ Œ Œœn w ™ wn ™
œn
Œ Ó ∑ ∑
˙ ˙n ™ ˙n ™
Y
Œ
œn œn˙™
L
˙™
Œ Ó
˙ œ
Œ Ó ∑
˙˙n œ
Œ Ó ∑ ∑
œ
Œ Œ
œn
wn™
L
˙n ˙n™
˙™
˙n ™ ˙ ™ ˙˙n ™
Œwn
Œ
œn ˙n
Œ
œn wn wn
∑ Ó™
œn
wn
L
˙ ˙n ˙n ˙ ™
˙n™
˙™ Œ ∑ Œ
˙œn w
™Œ
œn˙n œ
œnœn
wn ˙ ™ œn ˙n ™
Œ
˙
¿ ™
‰
˙ ˙ ˙ œ™™
¿
R
w ˙n ™ œn ˙n ™Œ ∑ ∑ Ó
™œn ˙
wn
w™
¿
Œ Ó ∑ Œ
˙™
47
ù
û
ù
û
ATTACCA
S
M
C
T
b
B
(i)n
sottovoce
pla
unpocopiùforte
ce- wa - s bound.
84
(i)n
sottovoce unpocopiùforte
in a pla ce- wa s- bound.
dis
sottovoce
placed,- pea ce- in
unpocopiùforte
place was bound.
ne,- dis
sottovoce
placed,- pea ce- in
unpocopiùforte
place was bound.
a lo- ne,- dis pla- ce(d),- -
sottovoce
pea ce- in
unpocopiùforte
place was bound.
l one- in pa ce.- - -
26/27 I(g)-ne-a |con-vec- |sī vî- |s_et si-ne |pon-de-re |cae-lī | ē-mi-cu- |it sum- |mâ-que lo-|cum si-bi |fê-ci-t_i-|n_ar-ce;
S
M
C
I(g)n-ea on ve- i vî - s_e- t si ne- lī ē-mi sum mâ- que lo- cum- e ci t_i- n_a-
Weightless, gliding, suspended
I(g)n-e-a on ve- i vî s_e- on de- re- i cu i um-- mâ o um i fê i a
I(g) n-e- a con - ve - c-si e pon cae-lī mi t_sum mâ- lo um si bi- n_ar ce-
3
4
&
í ™™
,
î™™ ( ) ( )
,
∑
<f <f
&
í ™™
,
î™™ ( )
<e
7°
∑
<e <e <e
&
&
‹
ê
?
consonant fifth
to T
> > >
<e
m
5°
m m m >
u7
>
?
∑ ∑
&
triads: 7imal minor
>
7imal Major
<
minor
utonal
7imal(sim.)
>
M 7M P
<f
dim
<
P
>v
u7
>v
3
IV.3. POSTLUDE: Falling orb
&
triads:
>
7imal
Major Pythagorean
<f
diminished
<
P (sim.)
>v
u7
>v
3
>u
M 7m
<
7m 7
>u
dim
&
triads:
>u
Major
7imal
minor
<
7m (sim.)
otonal
7imal
>u
dim
>
7m 7M
<
m u7
>
wn
∑ ∑ ∑
˙ ™Y
Œ
w œn ¿n Wn
∑
∑ Ó
wn
Ó™
œn
w ™L
Ó
˙ ™
Y
Œ
˙ ™ ¿
Ó
Wn
∑
œ
Œ Ó ∑ Ó ‰
œn™
wn™ Ó ∑ Ó
™wn™
Y
ΠΪ
œn™
˙n™ Œ
™˙n™ Œ
™Wn
∑
˙n w ™∑ Œ
™
œn™
wn™
Œ Ó Ó™ wn ™
Y
Œ Œ™ ˙n ™ ˙n ™ ˙n ™
Ϊ Wn
∑
Ó
˙n˙n ™ œ ˙
‰
Ϫ
˙™ ˙ ™
˙™P
Y
Œ Ó™
w™
Y
ΠΪ
Ϊ
Ϊ
Ϫ
˙™
˙™
W
∑
œ˙n
LŒ ∑
˙n ™Œ
Wn ™ Wn ™
Œ Œ
˙ œ˙n ˙
œ ˙
œn
j
œn
j
˙ ™ œ˙ ˙
™˙
œn œ ˙˙™
œœ ˙ ˙ ™
Œ ˙™
˙œn œ ˙
˙™
œœ ˙ ˙ ™
Œ Œ
œ ˙n™
˙ ™ ˙ ™˙n™
˙
Œ
œn œ™ ‰
œ ˙n™
˙ ™ ˙ ™˙n™
˙
Œ Œ
˙ œ˙n ˙
œ ˙
œn
j
œn
j
˙™
œ˙
48
ù
û
ù
û
30/31 et pres-|s(a)_est gra-vi-|tâ-te su-|ā; cir-|cum-fluu-|s_û-mor |ul-ti-ma |pos-sê- |dit so-li-|dum-que co-|er-cu-i-|t_or-bem.
28/29 pro-xi-mu-|s_es-t_ā- |ēr il- |lī le-vi- |tâ-te lo- |cô-que; | dēn-si-o-|r_hîs tel-|lūs e-le- |men-ta-que |gran-di-a |trâc-sit
Berlin,13June2017/finePARTONE
S
M
C
T
b
B
mu s_e a- ēr il- lī tâ lo cô ɛ- si (h)îs tel le - nt
13
xi es t_ā- ēr- il lī- le vi- a o que dēn i el lūs- e-le men - a- (a)n
pro e s- t_ā ēr- il lī- a te o ɛ o r_hî- lūs e gran trâ
mu s_e a- ēr il- lī tâ lo cô ɛ- si (h)îs tel le - n ta que- a c-si
t_ā ēr- il lī- le vi- a o que dēn i el lūs- e-le men - a- (a)n di- a- i t-
lī a te o ɛ o r_hî- lūs e gran trâ
T
b
B
t e a vi a te u- a i um fluu- o ma po e di u o er u i- t_or
25
res sa- tâ ir - cum - uu - s_û-mor ti os sê- i li um que- co er u i- t_o em.
t pre (e)st gra su ā- cir u mor ul i a o e it so-li- dum cu i- or bem.-
& >u
M 7m
<
7m 7
>u
dim
>
7m 7M
<
m
∑ ∑
&>
7m 7M
<
m u7
>
M 7M P
<f
dim
<
P
∑
&
>
P
<f
dim
&
‹
<
P
>v
u7
>u
M 7m
<
7m 7
>u
dim
&
‹
>u
M 7m
<
7m 7
>u
dim
>
7m 7M
<
m u7
>
M
?
∑
<
u7
>
M 7M P
<f
dim
<
P
>v
u7
>v
3
?
∑ ∑ ∑
<
P
>v
u7
>u
M 7m
<
7m 7
>u
dim
&
‹
>
P
<f
dim
<
P
>v
u7
>u
M 7m
<
7m 7
>u
dim
∑
?>u
M 7m
<
7m 7
>u
dim
>
7m 7M
<
m u7
>
M
?>
7m 7M
<
m u7
>
M 7M P
<f
dim
<
P
>v
u7
>v
3
>
Œ Œ
œ ˙n™
˙ ™ ˙ ™˙n™
˙
Œ Œ
˙ œ˙n ˙
œ ˙
Œ
Œ
˙ œ˙n ˙
œ ˙
œn
j
œn
j
˙™
œ˙ ˙ ™ ˙
œn œ ˙˙ ™ œ
Œ Œ
˙ ™ ˙œn œ ˙
˙™
œ˙ ˙ ™
Œ Œ
œ ˙n™
˙ ™ ˙ ™˙n™
˙
Œ
Œ Œ
œ ˙n ™˙™
˙™
˙n ™˙
Œ Œ
˙ œ˙n ˙
œ ˙
œn
j
œn
j
˙ ™ œ˙
Œ
˙n ˙œ ˙
œn
J
œn
J
˙™
œ˙ ˙ ™ ˙
œn œ ˙˙ ™ œ
œ ˙ ˙ œ
J
¿
J
˙ ™ œ˙ ˙
™Œ Œ
œ ˙n ™˙™
˙™
˙n ™˙ Œ
˙™
˙œn œ ˙
˙™
œ˙ ˙ ™
Œ Œ
œ ˙n™
˙ ™ ˙ ™˙n™
˙
Œ
Œ Œ
œ ˙n ™˙™
˙™
˙n ™˙ Œ Œ
˙ œ˙n ˙
œ ˙
œn
j
œn
j
˙ ™ œ˙ ˙
™
‰
¿
J˙ œ
˙n ˙œ ˙
œn ˙ ™ œ˙ ˙
™˙
œn œ ˙˙™
œœ ˙ ˙ ™
Œ
˙
49
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