Jason Freeman Leroy Anderson Went to Harvarddistributedmusic.gatech.edu/jason/music/leroy/materials/perusal... · Sleigh Ride, one of the most ... ranging from Ella Fitzgerald to

Jason Freeman

Leroy AndersonWent

to Harvard

for percussion quartet

About the music:Leroy Anderson (1908-1975) went to Harvard, where he studied composition with Walter Piston.After being repeatedly turned down for a fellowship to study in Paris with Nadia Boulanger, hebegan to pursue a doctoral degree in German and Scandinavian languages at Harvard while alsodirecting the Harvard band, but he soon dropped these pursuits to become a translator for thearmy during World War II.

Meanwhile, in 1936 he arranged a medley of Harvard songs for the Boston Pops, and in 1938Fiedler’s Pops played and recorded an original composition of his, Jazz Pizzicato. Andersonwent on to write dozens of short novelty pieces for the Boston Pops, many of which aremasterpieces of the genre. Sleigh Ride, one of the most popular, has been recorded by hundredsof musicians, ranging from Ella Fitzgerald to TLC to Charlotte Church to Kenny G.

I’ve played Sleigh Ride many times over the years, but one performance was particularlymemorable: the Yale Precision Marching Band’s halftime show in November 1996, at the annualYale-Harvard football game. Our shows involved neither marching nor precision; we wouldchaotically run from one formation to the next, spelling out words on the field and playing shortmusical excerpts as the announcer read a witty script which connected our antics to currentevents or school rivalries.

But that day, we suspected that the stadium’s public address system might not work, so we tookpreemptive action and created a show in which nothing made much sense even with theannouncer’s script. The climax of this “surreal” show involved a fifty-foot long cardboard sharkcoming onto the field while we played — yes — Leroy Anderson’s Sleigh Ride. The traditionaltrumpet horse-neigh at the end of the piece was replaced by a duck call.

Perhaps the music actually was a subtle stab at Harvard: we all hate playing Sleigh Ride; SleighRide was written by Leroy Anderson; Leroy Anderson went to Harvard; therefore Harvard sucks.Or even subtler: Leroy Anderson went to Harvard; Leroy Anderson’s estate chose to donate allof his papers and manuscripts to the Yale Music Library rather than to Harvard; thereforeHarvard sucks. But whatever the reasoning, if indeed there was any, it was surely beyond thegrasp of the drunken fans, or, indeed, of many of the drunken band members. Yet the show wassomehow the most memorable the band had done in years, and it remains one of the few I stillremember.

Leroy Anderson Went to Harvard was written for the So Percussion Group.

Leroy Anderson Went to Harvard - Score - ii

Stage Layout:(back)

≈ © √∆ ç

∑ å„ ¥

Ó Ò Î(front)

Instrument Notes:

Player 1: sleighbells, temple blocks (shared with player 2), xylophone(shared with player 4), and crotales.

Player 2: temple blocks (shared with player 1), cowbells, triangles, and sleighbells.Player 3: slapstick, woodblocks, glockenspiel, suspended cymbals (shared with player 4),

and windchimes.Player 4: slapstick, xylophone (shared with player 1), vibraphone, and suspended cymbals

(shared with player 3).

Leroy Anderson Went to Harvard - Score - iii

ÒSleighbells (2): The two instruments should be as similar to each other aspossible. Player 1 should use the same instrument throughout.

ÓSlapsitck (2): Player 3 should use an instrument with a handle so that it may beplayed with one hand; player 4 may use a larger instrument without a handle ifdesired. The two instruments should be slightly different in size, loudness, andtimbre.

„Temple Blocks (2): Use mallets (or possibly sticks) which produce a soundwhich is more resonant than that of the wood blocks. The temple blocks shouldbe mounted on a stand. In choosing both instruments and mallets, strive for as“horse-like” a sound as possible (as in the horse hooves in Sleigh Ride). Bothplayers should use identical mallets.

∑Wood Blocks (3): Use hard mallets which produce a dry sound with a sharpattack. The woodblocks should be mounted on a stand. The lowest pitched of thethree instruments should be as close in timbre to player 3’s slapstick as possible.

∆Cowbells (4): Use fairly large instruments to produce low and resonant tones.The instruments should be mounted on a stand. Up to letter L, they should be

played with sticks (§)that produce a sharp metallic attack. After letter L, they

should be played with yarn mallets (⁄)which produce a softer and more diffuseattack.¿ = play on top œ = play on lip

≈Xylophone: Use mallets which produce as dry a sound as possible. (Sounds oneoctave higher than written.)

© Glockenspiel: Up to letter P, use brass mallets (∞)with a sharp, piercing attack

and quick decay. After P, use hard rubber mallets (£) with a gentler attack.Always be sure that the clarity of individual notes does not get lost in a generalwash of sound. (Sounds two octaves higher than written.)

çCrotales (8):

&Piccolo

¤œ# œ œ œ œ# œ œ œ ∑ ∑

&Pic.

4 ∑ ∑ ∑

&Pic.

7 ∑ ∑ ∑

&Pic.

10 ∑ ∑ ∑

&Pic.

13 ∑ ∑ ∑

&Pic.

16 ∑ ∑ ∑

&Pic.

19 ∑ ∑ ∑

[Title][Composer]

Use brass beaters throughout. Suspend lower four pitches freely; place upper fourpitches on felt or foam so they do not resonate as much. Create moderate vibratothroughout by waving hands in front of instruments. (Sounds two octaves higherthan written.)

√Vibraphone: Choose mallets which produce a clear but not harsh attack. Motoris on a moderate speed throughout.

– = bowed

Leroy Anderson Went to Harvard - Score - iv

åTriangles (3): Play with standard metal beaters.

¥Suspended Cymbals (2): Play with mallets which produce a fairly diffuse attackand long decay. The two cymbals should be different in size, but not so much sothat their dynamics and decay times significantly differ.

ÎMetallic Wind Chimes: Activate them with a metal beater. Glissandi should lastno more than a few seconds, and should get faster as the tempo speeds up at letterW.

› = gliss up fl = gliss down

Time, Repetition, and Duration:

Usually when a composer notates gestures that repeat, he or she also gives some indication ofeither the number of repetitions or the amount of time for which the gesture should last. Thereare no indications of either sort in this piece. The only timing information I specify is this: theduration of the entire piece should be no shorter than ten minutes and no longer thanthirty minutes.

Because so many repetitive gestures in the piece involve gradual processes and transitions, I feelthat these processes, along with the intuition of the quartet, should dictate the pace at which themusic evolves. Experiment as you rehearse the piece and do what feels most natural.

In the second half of the piece, much of the pacing is determined by the amount of time it takesnotes to decay to a certain dynamic or to niente. While the decay times do considerably limityour latitude in determining the proportions of these sections, remember that your interpretivedecisions regarding dynamics, accents, mallets, etc. do influence the decay time of these notes,and therefore the pacing as well.

The notation is not proportional. With the exception of letter T (see clarification below), eventsshould happen in left-to-right order even when barlines do not explicitly connect events in onestaff to those in another. But the rate of motion through the score will necessarily vary from pageto page, or even within a single page, as you discover what durations and repetitions make mostmusical sense to you.

Leroy Anderson Went to Harvard - Score - v

Guide to notation:

÷

÷

÷

÷

.. .. .. ..Ò

„

Ó

Ó

Ó = 108

pœ œ œ œ Œ = …

(Ó = 108 )

accel. æ̇> ac cel.„ = Ó

(Ó = 108)

ƒœ>æ œ>æ œ>æ œ>æ

Leroy Anderson Went to harvard Jason Freeman

copyright (c) 2003 by Jason Freeman

Horizontal Bar: Repeat measure with nochange in tempo.

Horizontal Bar after non-repeatedmeasure: Continue gesture with no changes.In this example, the tremolo continues butthere are no further accents after the initial hit.Horizontal Arrow: Repeat measure withgradual change in tempo as indicated.

Goal Measure: Indicates goal of gradualtempo change, usually accompanied by newtempo marking. Goal measures are oftenthemselves the beginning of new repeatedgestures.

Midpoint Dynamic: Indicates a momentduring a decrescendo at which an event shouldoccur. In this example, the player shouldbegin the second measure once the chord fromthe first measure has decayed from fortissimoto forte.Decrescendo to niente: All sound mustcompletely die out before moving on.

afap as fast as possible

afap w/ player x afap in sync with another player. Both playershave the same number of noteheads and restsin their repeated gestures.Gradual Accents: These appear in somerepeated sections in conjunction with ahorizontal bar or arrow. Gradually add orremove accents as indicated to make asmooth transition from the repeated gestureto the goal measure. To determine where toadd or remove accents, look at thedifferences in accentuation between therepeated gesture and the goal measure.

v.Vibrato: For vibes, turn motor on to amoderate speed. For crotales, wave hands toproduce moderate vibrato effect.

Leroy Anderson Went to Harvard - Score - vi

œIndeterminate rest (in the context of anunmetered measure): At the end of themeasure, wait for all other players to finishbefore moving on.

Âafap rest (in the context of an unmeteredmeasure): A rest equal in duration to an afapnote (œ). These rests only appear when anafap gesture is played in sync with anotherplayer.Fermatas are only used when all players aresilent. These are moments of high dramatictension and should be drawn out as long aspossible. Remain completely still!

4œafap meter: Metrical sign for sections inwhich afap gestures between multipleplayers must be coordinated. In this example,there are four notes (œ) or rests (‰) permeasure.

0 ametrical: No regular beat or meter.

…damp / dead stroke: When this symbolappears above an attack, play a dead stroke.When it appears anywhere else, damp allnotes which are still sounding.

Feathered Beams: In unmetered sections, these indicate a gradual and somewhat irregularaccelerando or ritardando over a very long period of time. In this ritardando example, the beamextension off the right end indicates that this feathered beam continues on the next staff system.Depending on the pacing you choose, you may want to add additional notes to or remove notesfrom a feathered beam gesture.

Nested Repeats: A repeated gesture is itself repeated. In this example, the second measure isrepeated, but the entire gesture — from the beginning of the excerpt to the last repeat sign — isitself repeated.

In all metric modulations, a grace note (…) represents a single note within a tremolo, while anotehead (œ) represents a single note within an afap figure.

Leroy Anderson Went to Harvard - Score - vii

About Barlines:

• When a barline appears in only a single staff, or when barlines appear simultaneously inmultiple staves but are not connected to each other, the player(s) need not coordinatetheir arrival at that barline with other players.

• When a barline is connected between two or more staves, the players must arrive at thebarline at the same time.

• When a barline is connected between two or more non-adjacent staves but breaks when itpasses through an intervening staff, that intervening staff remains independent from theconnected staves.

• When barlines are connected at the end of a staff system, the corresponding players mustbegin the next system at the same time.

• A barline in the middle of a horizontal bar or horizontal arrow indicates the beginning ofa repetition of the gesture.

• Dotted vertical lines indicate simultaneous events in different staves which are notpractical to connect with standard barlines.

• When beginning — but not ending — repeat barlines connect two or more staves, thoseplayers should begin the first repetition of the gesture together, but they are independentof each other after that.

• When both beginning and ending repeat barlines connect two or more staves, thoseplayers remain together throughout the repetition of their gestures.

General Notes:

• With the sole exception of rehearsal letters, markings on a single staff never apply toother staves.

• Meters continue to apply to the staff on which they appear until there is an explicitchange to another meter.

• Accidentals are valid for the duration of the measure, but only in the staff and octave inwhich they first appear.

Leroy Anderson Went to Harvard - Score - viii

• Observe dynamic markings in a manner which makes sense within the overall texture. Noinstrument should ever be played so loudly as to completely hide other instruments in theensemble or so softly as to be completely hidden.

• Always let notes vibrate and decay naturally, unless explicitly instructed to damp or playa dead stroke. (There is an exception to this rule in the crotales between P and T — seethe clarification below.)

Clarifications:

• After C, slapstick (player 4): The parenthetical note merely indicates that one hit within theritardando should line up with player 1’s penultimate note (as shown by the dotted lines).

• J, cowbells, wood blocks, and xylophone: These three players should play together hereas indicated. But note that the wood block’s downbeats are not going to coincide with theother players much of the time because its measures are of a different length. You shouldend the repetition, though, at such a moment that all three players do reach a downbeat atthe same time. This also applies to the vibraphone and glockenspiel between letters Rand T.

• P through T, crotales: The notes within each measure are spaced proportionally. Fromthe third measure after P through to the second measure after S, pitches which are notpresent in a chord should be damped. The notes which are present in each chord shouldbe allowed to continue to decay. If a note in a chord has already been damped earlier inthe measure, it should be reattacked at a dynamic matching the other sounding notes.

• T, all players: Note that barlines never connect staves here, which means that even whengestures in different staves are horizontally aligned they need not happen simultaneously.Each player should be completely independent, timing their gestures as dictated by thedecay time of their instruments. This is the one section in the piece where events may notalways happen in left-to-right order; in other words, one player may reach a gesturebefore another player reaches a gesture which starts further left on the system.

• One measure after T, triangle: The lowest note is not reattacked on the downbeat ofthis measure; only attack the upper two notes (with accents). The same is true for thethird measure of V.

• Accelerandos From U to V, all players: To make successive repetitions faster,gradually stop waiting for gestures to decay to niente or to midpoint dynamics. This isalso true for the wind chimes at letter W.

PERUSAL ONLY: PURCHASE AT HTTP://WWW.JASONFREEMAN.NET

÷

÷

÷

÷

44

.. ..

44

.. ..

44 44

Ò

„

Ó

Ó

Bb

Ó = 108

pœ œ œ œ

Œ = …

Ó = 108

accel.

Cb

.æ̇>

accel.

Ó = 108

„̆= Œ

Bb

ƒœ>æ œ>æ œ>æ œ>æ

÷

÷

÷

÷

44 44

.. ..

84

Ò

„

Ó

Ó

ƒ

0

0

œ

∑U

∑U

p

A

œæ

swung

rit. and towards swing

Ó = 108

… = Œ

( ƒ )

Bb

œ œ œ œ

œ œ

Œ Æ Ó.

gradually lengthen first and third

0

Leroy Anderson Went to Harvard

JJJJaaaassssoooonnnn FFFFrrrreeeeeeeemmmmaaaannnn

copyright (c) 2003 by Jason Freeman


÷

÷

÷

÷

84

.. ..

.. .. .. ..

84

.. ..

84

Ò

„

Ó

Ó

gradually add accent

( p )

Í

Ó = 108

B

0

(ord.)

.˙ œ

œæ>

(afap)

( ƒ )œœ

œ> œ

(afap)

Ó. Æ Ó

gradually shorten

fœ> œ>

rit.

„ = 108 (Ó = 216)

Bb

œ

= Œ

œ> œ> œ> œ>

rit.

Cd

÷

÷

÷

÷

84

..

.. ..

..

.. .. .. ..

84

Ò

„

Ó

Ó

gradually remove accent gradually remove accent

Ó = 108

Ó. = 108 (Ó = 162)

Cd

( p )˙

( f )œ> œ> œ> œ>

œ

Ó Æ Œ

gradually shorten

( ƒ )œ œ œ

œ> œ œœ> œ œ œ œ

Ó = 108

rit.

Bb

Bb

Œ = Œ

Ó = 108

œ œ œ œ

Óƒ˙

Leroy Anderson Went to Harvard - Score - 2


÷

÷

÷

÷

44

..

..

..

..

.. ..

44

44

Ò

„

Ó

Ó

( p )

Ó = 108

Ó = 108

p

C

œ œ œ œ

œ œ œ œ

Ó = 108

Bb

œ œ œ œ

œ œ œ œ

f

f p

ƒ

œ Œ Œpœ

3:2

œ> œ> œ> œ> Œ œ

Ó ˙

:

:

:

:

œ œ œ œ

œ œ œ œ

Ó ˙

ƒ

Ó = 108

˙ Ó

accel.

accel.

accel.

rit.

Ó = 108

Œ = Ó

˙ ˙

Œ = …

rit.

0

0

Ó =

Ó =

œ

œ

Cb

÷

÷

÷

÷

44

44

..

..

..

44

44

.. ..

Ò

„

∑Ó

Ó

gradually add accent to downbeat

afap

afap

Ó = 108

( p )

(rit.)

( ƒ )

0

0

:

:

:

Cb

.æ̇>

‰

( ƒ )œ

œ

‰

rit.

accel.

0

Ó = 108

„̆= Œ

Bb

ƒ

(afap)

œ>æ œ>æ œ>æ œ>æ

œ> œ œ> œ œ>

( )

œ

[to „]

œ œ



÷

÷

÷

÷

.. ..

44

.. ..

44

„

„

∑

Ó

w/ one mallet

(afap)

(rit.)

( ƒ )

( ƒ )œ

œ œ> œ

œ œ œ

Cb

(ord.)

Ó = 108

.æ̇>

accel.

Bb

Bb

Bb

„̆= Œ

Ó = 108

Óf>̇

Ó = 108


Ó = 108

Ó ˙

÷

÷

÷

÷

44

..

..

..

..

..

..

..

..

.. ..

.. ..

416

„

„

∑

Ó

gradually add accent gradually add accent

gradually remove accentgradually remove accent


0

∑U

∑U

∑U

∑U

f

f

Ó = 108

Ó = 108

Ó = 108

p

afap

D

œ Œ

Œ œ>

œ œ

ƒ̇ Ó

œ Œ

Œ œ>

accel.

accel.

∑

Ó = 108

Ó = 108

Œ= ‰

Œ= ‰

accel.

rit.

œ ‰ œ> ‰ œ ‰ œ> ‰

‰ œ> ‰ œ ‰ œ> ‰ œ

accel.

accel.

œ

œ

‰ =

‰ =

D

D

D

œ

œ

œ



÷

÷

÷

÷

416

.. ..

.. ..

.. ..

.. ..

.. ..

44

44

„

„

∑

Ó

gradually remove accent



( f )

( f )

f

( ƒ )

(accel.)

D

D

D

œ

œ

œ

afap (w players 2 + 3)

œ> ‰ œ> ‰


‰ œ ‰ œ


3:2

œ œ œ>

3:2

œ œ œ>

rit.

œ> ‰ œ ‰

‰ œ ‰ œ>

W»œ

afap

H

H

H

œ

œ

œ

0

œ œ œ œ

÷

÷

÷

÷

44

..

..

..

..

..

..

„

∆ „

∑

Ó


( f )

( f )

( f )




( ƒ )

§

E

H

H

H

œ

œ

œ

œ> ‰ œ> ‰ œ> ‰ œ> ‰

‰ œ ‰ œ> ‰ œ> ‰ œ

œ œ œ> œ œ œ> œ œ

œ

[to ≈]

œ> ‰ œ> ‰ œ> ‰ œ> ‰

‰ œ ‰ œ> ‰ œ> ‰ œ

œ> œ œ œ> œ œ œ> œ

œ> ‰ œ> ‰ œ> ‰ œ> ‰

‰ œ ‰ œ> ‰ œ> ‰ œ

œ œ> œ œ œ> œ œ œ>

œ

œ

D

D

&



÷

÷

÷

&

.. ..

.. ..

44

.. ..

44

.. ..

„

∆

∑

≈

gradually remove accent gradually add accent


( f )

( f )

( f )

rit.

(afap w/ player 2)

(afap w/ player 1)

F

œ

œ

D

D

œ> ‰ œ ‰ œ> ‰ œ ‰

‰ œ ‰ œ>‰ œ>‰ œ

accel.afap (independent)

0

accel.

œ œ œ œ

0

afap (independent)

œ œ> ¿ ¿>

0

÷

÷

÷

&

.. ..

.. ..

44

„

∆

∑

≈


( f )

( f )

( f )œ œ œ> œ œ œ> œ œ œ>

(afap)

œ œ> œ œ>

(afap)

¿> ¿ ¿ ¿>

Bb



÷

÷

÷

&

44

.. ..

44

.. ..

.. ..

43

„

∆

∑

≈


( f )

( f )

( f )

rit.

Ó = 108

p

G

Bb

œ œ œ> œ œ œ> œ œ œ> œ œ œ>

w ∑

œ»e

Ó = 108

Bb

accel.

œ> œ> œ> œ> œ> œ> œ> œ>

(afap)

¿> ¿ œ> œ

„=Ó

Bb

÷

÷

÷

&

43

..

..

.. ..

.. ..

44

„

∆

∑

≈

( f )

( f )

rit.

Ó = 108

F

Ó = 108

( p )

H

Bb

:

:

3

˙ ˙ >̇

w

3

˙ ˙ >̇

w

‰ = Œ

Ó = 108

accel.

accel.

œ> œ> œ> œ>

(afap)

œ œ> œ> œ

rit.

ÁÓ = Œ

„ = ¥„

Cb



÷

÷

÷

&

44

..

..

..

..

44

.. ..

.. ..

44

„

∆

∑

≈


Ó = 108

Ó = 108

rit.

( f )

(rit.)

P

( p )

I

Cb

œ œ œ> œ

3:2

w ˙

œ œ>

3:2

˙ w

accel.

Ó = 108

Bb

pœ œ> ¿ ¿> œ œ> ¿ ¿>

Œ = Ó

Ó = 108

accel.

rit.

>̇ >̇

Œ= ‰

Á„ = Ó

‰ = Œ

Fh

÷

÷

÷

&

44

..

..

..

..

44

„

∆

∑

≈

Ó = 108

Ó = 108

( p )

( p )

ƒ

Ó = 108

p

(Œ. = 144)

J

Fh

>̇

¿¿> ¿¿

œ œ œ>

˙

[to ≈]

¿¿> ¿¿

œ œ œ>

˙

:

:

¿¿> ¿¿ ¿¿> ¿¿

˙ ˙

Bb

rit.

‰ = ¥Œ

&



&

÷

÷

&

44

.. ..

.. ..

.. ..

.. ..

.. ..

.. ..

≈

∆

∑

≈


Ó = 108

( p )

( p )

( p )

p

(Ó = 108)

(Ó = 108)

(Ó = 108)

K

Bb

œ œb œ ˙̇̇bb

œ¿> ¿œ œ¿> ¿œ

3:2

œ œ œ>

3:2

œ œ œ>

˙ ˙

rit.

ÁŒ = Œ

Ó = 108

œ œb œ œœœbb œœœ

œ œ œ œ

&

÷

÷

&

.. ..

≈

∆

∑

≈

f

f

ƒ

ƒ

(Ó = 108)

(Ó = 108)

Œœ œ œb œ

œ¿>

…

Œ Ó

œ Œ Ó

...˙̇̇bb œœœ œœœ

[to ©]

[to ¡]

œb œ œ œ œ œ œ œ œ œ œ

&

...˙̇̇bb œœœ œœœ œœœ œœœ œœœ œœœ œœœ

ƒ

ƒ

Ó = 108

ƒ

œ Œ Ó

Œ œ œ œ

œœœb Œ Ó

∞

œ œ œ œ



&

÷

&

&

..

..

..

..

..

.. .. ..

44

≈

∆

©

≈

(Ó = 108)

(Ó = 108)

(Ó = 108)

¡

L

p

F

π

œ œb œ ˙̇̇bb

œ œ> œ> œ œ œ> œ> œ

œ œ œ œ

œb œ œœœbb œœœ

œ œ> œ> œ œ œ> œ> œ

œ œ œ œ

accel.

Œ = ‘Œ

Ó = 108

5:4

œ œ œ œ œ

&

÷

&

&

44

≈

∆

©

≈

Ó = 108

( p )

( p )

(Ó = 108)

(Ó = 108)

(Ó = 108)

:

:

:

:

:

:

( F )

π

œb œ œœœbb œœœ

œ œ> ¿ ¿> œ œ> ¿ ¿>

˙ ˙

accel.

“Œ = ˇŒ



&

÷

&

&

.. ..

44

44

≈

∆

©

≈

( p )

Ó = 108

(Ó = 108)

(Ó = 108)

(Ó = 108)

M

( F )

( π )

œb Œ Ó

¿> ¿ ¿ ¿>¿> ¿ ¿ ¿>

6:4

œ œ œ œ œ œ

˙b ˙b

[to ç]

6:4

œ œb œ œ œ œ

˙ ˙b

6:4

œ œ œb œ œ œb

˙N ˙

6:4

œ œ œ œ œ œb

˙b ˙b

&

÷

&

&

44

44

..

..

.. ..

44

44

ç

∆

©

≈

rit.

(Ó = 108)

(Ó = 108)

(Ó = 108)

:

:

6:4

œ œb œ œ œ œ

˙ ˙b

Ó = 108

Ó = 108

Ó = 108

rit.

accel.

Ó = Œ

‰ = ˇŒ

flŒ = ¥Ó

N

P

f

p

6:4

¿> ¿ œ> œ ¿> ¿

3:2

˙ ˙b ˙

œ œN œ# œb

6:4

œ> œ ¿> ¿ œ> œ

3:2

˙ ˙ ˙

œ œb œ œ#

rit.

3:2

˙ ˙ ˙

œN œN œb œN

3:2

˙b ˙ ˙

œ# œN œN œ#



&

÷

&

&

44

44

..

..

ç

∆

©

≈

( P )

rit.

(Ó = 108)

(Ó = 108)

:

:

( f )

3:2

˙b ˙ ˙b

œN œN œ# œ#

accel.

ÁÓ = Œ

rit.

Œ = ¥Ó

flŒ = “Œ

Ó = 108

Ó = 108

jœ

œb œ œb œb

3:2

˙ ˙# ˙N

&

÷

&

&

..

..

..

..

ç

∆

©

≈

F

O

Ó = 108

(Ó = 108)

(Ó = 108)

ƒ

P

5:4

œ œ> œ> œ œ

œ œ œn œ

3:2

˙ ˙N ˙bp

:

:

F

5:4

œ> œ> œ œ œ>

œ œ œ œ

3:2

˙ ˙b ˙b

accel.

rit.

5:4

œ> œ œ œ> œ>

5:4

œ œ œ> œ> œ

rit.

¥Ó = Ó

Œ = “Œ

Ó = 108

Ó = 108

5:4

œ œ œ# œ œb

˙b ˙b

œ

= ¥Ó

5:4

œ œ# œ œ œ

˙ ˙



&

÷

&

&

44

ç

∆

©

≈

f

Ó = 108

(Ó = 108)

(Ó = 108)

ƒ

F

3:2

¿̇> ¿̇ ¿̇>

5:4

œ œ œ œb œ

˙b ˙b

œ¿ ¿œ> œ¿ ¿œ>

5:4

œb œb œ œ œ

˙ ˙

3:2

œ¿ ¿œ> ¿¿ ¿œ> œ¿> œ¿

3:2

œ œb œ œ œ> œ

˙b ˙b ƒ f

0

Ï

fœ¿ ¿¿>

…

Ó

œ œ>

…

Ó

Œ œ>

…

Œ

3:2

œ œ# œ

&

÷

&

&

44

44

.. ..

ç

∆

©

≈

ƒ

v. (sempre)

[to ‹]

P

0

œœœœ# >

œ>

n.

[to √]

n.

ƒ

0

œœœœ# >

n.

ƒ

π

afap

œœœœ# > œœ

¿> ¿ ¿ ¿>

rit.



&

÷

&

&

44

.. ..

44

ç

∆

©

√

ƒ

(rit.)

( π )

Ó = 108

π

‹

œœœœ# > œœœ

œ œ œ œ

n.

accel.

= Œ

Ó = 108

Bb

œœ œœœ ƒ

œ

œœœœ>

¿> ¿ œ> œ

n.

rit.

Œ = …0

œœœ œœ œœœ

&

÷

&

&

44

46

46

ç

∆

©

√

( π )

( π )

ƒ

(rit.)

0

œœœœ# >

œæ

n.

0

œœœœ œœœ œœ œœœ ƒ

n.

0

œœœœ# > œœ

œ œ> œ> œ œ



&

÷

&

&

46

ç

∆

©

√

ƒ

ƒ

ƒ

ƒ

v. (sempre)

Q

0

sub.

œœœœ# >

œ> œ> œ œ>

œæ>

œ>æ°

rit.

rit.

n.

π

œœœ œœ œœœ ƒ

n.

ƒ

œœœœ# > œœœ œœ œœœ œœœ

&

÷

&

&

46

.. ..

46 46

ç

å

©

√

ƒ

[to å]

(rit.)

(rit.)

Bb

œœœœ# > œœœ œœ

Ó = 108

… = ˇŒ

œœœ#

6:4

œ œ œ œ œ œ

Bb

Ó = 108

n.

… = ‰

Ed

6:4

œ œ œ œ œ œ

œ œ œ œ œ œ œ# œ*



&

÷

&

&

46

..

..

..

..

..

..

..

..

46

ç

å

©

√

ƒ

P

(Ó = 108)

(Ó = 108)

R

Ed

p

œœœœ# >

6:4

œ œ œ œ œ œ

œ°

œ œ# œ œ œ œ œ

œœ

œ œ

n.

Œƒ

œœœœ# > œœœ œœ

6:4

œ œ œ œ œ œ

œ* °

œ œ œ œ# œ œ# œ

œœœ

œ œ*

n.

Fd

Œ

&

÷

&

&

46

..

..

..

..

46

..

..

..

..

46

ç

å

©

√

ƒ

( P )

(Ó = 108)

(Ó = 108)

Fd

( p )

œœœœ# >

6:4

œ œ œ œ œ œ

œ#°

œ œ œ œ# œ œ œ

œœœ

œ œ œ# œ

n.

Ed

œœ œœœ Œƒ

œœœœ# >

6:4

œ œ œ œ œ œ

œ°*

œ œ# œ œ œ œ œ

rit.

œœœ

œ œ*

n.

flŒ = ‘Œ

rit.

‰ = ‘Œ

:4

:3

Cd

œœ œœœ Œ



&

÷

&

&

46

..

.. ..

..

46

.. ..

.. ..

ç

å

©

√

S

Ó = 108

Ó = 108

ƒ

F

Cd

P

œœœœ>

5:4

œ œ œ œ œ

5:3

œ#°

œ œ œ œ

rit.

n.

rit.

“Œ = Œ

“Œ = ‘Œ

Bb

:4 :3

œœ Œ

Ó = 108

Ó = 108

ƒœœœœ# >

œ œ œ œ

5:4

œ* °

œ œ œ# œ*

n.

rit.

Œ = ¥Ó

rit.

“Œ = Œ

œœœ œœ œœœ# Œ

&

÷

&

&

.. ..

.. ..

.. ..

46 46 46 46

46

ç

å

©

√

Ó = 108

Ó = 108

ƒ

( F )

0

( P )

œœœœ# >

3:2

˙ ˙ ˙

œ°

œ œ œ*

( f )π

afap

œ œ# œ

rit.

n.

ƒ

œ

Cd

Ó = 108

= Œ

œ œ# œƒ

0

œœœœ# >π

( f )œæ

rit.

n.

ƒ

Ó = 108

… = Œ

Bb

0

0

0

œ œ œ œ



&

÷

&

&

46

46

..

..

.. ..

46 46

.. ..

46 46

ç

å

©

√

ƒ

ƒƒ

ƒ

ƒ

(sempre)

T

0

0

œœœœ# >

œœ>>

œ>

œœœœ#°

>

afap

π( f )œ# œ œ œ

πœœæ

rit.

ƒ

n.

n.

n.

[to ¥]

= Œ

Bb

( π )

( f )

–

πœ

œ

Ó = 108

0

œ# œ œ œƒ

ƒƒ

œœœœ# >

( )

œœœ>>>

fœ

afap

π

( f )

( π )

œ œ œ

πœœæ

rit.

n.

ƒ

n.

ƒ

œ

Ó = 108

Cd

= Œ0

ππ

œ œ œ

÷

&

÷

÷

&

46

.. ..

46 46

.. ..

46

..

46

ç

å

¥

√

ƒ

ƒ

(ord.)

ƒ

0

œœœœ# >

œ

œœœœœ## >

afap

π( F )

ƒ

n.

œ œ œ

œ>

rit.

ƒ

n.

n.

πƒ

œ

( f )

œœæ>

–

πœ

= Œ

Ó = 108

Cd

0

œ œ œƒ

ƒ

n.

œœœœ# >

œ

fœ

afap

π

( P )

ƒ

œ œ œ

œ>

rit.

n.

ƒ

n.

πƒœœæ>

œ

= Œ

Ó = 108

Cd

0

ππ

œ œ œ



&

÷

÷

&

46

.. ..

46 46

.. ..

46 46

ç

å

¥

√

ƒ

ƒ

(ord.)

0

œœœœ# >

œœœœ## >

afap

π( p )

( f )

( f )

œ œ# œ œ

rit.

ƒ

n.

œ

Bb

–

πœ

= Œ

Ó = 108

œ œ# œ œƒ

0

œœœœ# >

fœ

afap

π

( P )œ# œ œ

rit.

n.

ƒ

œ

= Œ

Ó = 108

Cd

0

ππ

œ# œ œ

&

÷

÷

&

46

.. ..

46 46

.. ..

46

..

ç

å

¥

√

ƒ

ƒ

(ord.)

0

œœœœ# >

œœœ# >

afap

π

( F )œ œ# œ

rit.

ƒ

n.

Cd

–

πœ

œ

= Œ

Ó = 108

0

œ œ# œƒ

œœœœ# >

fœ

afap

π

( f )œ# œ œ

rit.

n.

ƒ

œ

= Œ

Ó = 108

Cd

0

(back to )

T

ππ

œ# œ œ



&

÷

÷

&

ç

å

¥

√

ƒπ

–

(ord.)

œœœœ# >f

( f )π

πœ œ ƒπ

–

(ord.)

œœœœœ# > f( f )

ππœ œ

&

÷

÷

&

.. ..

.. ..

ç

å

¥

√

finish current repetition, then continue

ƒπ

–

U

( f )œ> œ f π

πœ

ƒƒ π

n.

finish current repetition, then continue

œœ>> œœæ( π )



&

÷

÷

&

..

46

..

..

46

.. ..

46

..

ç

å

¥

√

ƒ

ƒ

accel.

œœœœ# >

œœ>

π( f )œæ

rit.

… = Œ

Bb

Ó = 108

n.

ƒœ œ œ œ

accel.

n.

ƒ

Bb

œ>

Ó = 108

π

Œ

( f )œ œ œ œ

ƒ

accel.

0

œœ>

Œ = …

ƒœæ

n.

accel.

&

÷

÷

&

.. ..

46

46 46

ç

å

¥

√

ƒ

n.n.

(accel.)

(accel.)

(accel.)

œæ œ

Ó = 108

accel.

œ

= Ó

ƒ

ƒ

π

Cb

Cb

Cb

œ

œ

œ

= Ó

= Ó

= Ó

Cb

æ̇ ƒ̇

Ó = 108

Ó = 108

Ó = 108

0

0

0

0

ƒ˙˙˙˙# >

œ œ œ œ œ œ œ œ

˙̇>> ˙̇æ

..˙̇æ

ƒ>̇ πœ œ œ œ œ œ œ œ



&

÷

÷

&

46 46 46 46 46

ç

å

¥Î

√

ƒ

ƒƒ

ƒ

n.

V

0

0

0

0

œœœœ# >

œœ>>

œ

⇑

œæ

ƒœ>

( F )πœæ

rit.

… = Œ

π( π )œœæ

fœ

Ó = 108

n.

n.

n.

n.

Bb

œ œ œ ƒ

n.

œ

œæ

Œ

Œ

[to ¥]

ƒ

ƒ

n.

ƒƒ

0

œœœœ# >

œœ>>

œ

⇑

œæ

( F )πœæ

rit.

… = Œ

f

π( π )œœæ

œ

Ó = 108

n.

n.

n.

Bb

0

œ œ œ ƒ

n.

œ

œæ

Œ

÷

&

÷

÷

÷

46

ç

å

Î

¥

ƒƒ

n.

π

ƒ

n.

n.

ƒ

n.

f

0

œœœœ# >Œ

( )

œœœ>>

( π )œœæ œæ

œ

⇑

Œ

œœ>> Œ

[to Ò]

ƒƒ

n.

π

ƒ

n.

n.

f

÷

œœ>> ( π )œœæ œæ

œ

⇑

Œ

œœ>> Œ



÷

÷

÷

÷

Ò

å

Î

¥

ƒ

n.

n. n.

ƒ

n.

F

œœ>> Œ

œ

⇑

Œ

œæ œ Œ

ƒ

n.

n. n.

P

[to Ò]

œ

⇑

Œ

œæ œ Œ

÷

÷

÷

÷

.. ..

46

46

Ò

Ò

Î

¥

ƒ

n.

p

n.

W

œ

⇑

œ>

( ƒ )

accel.

œ

= Ó

[to Ó]

Bb

Ó = 108

˙

⇑

˙

⇓

accel.

Ó =

œ

Bb

0



÷

÷

÷

÷

46

.. ..

46

.. ..

46

Ò

Ò

Î

Ó

Ó = 108

afap

( ƒ )

π

X

Bb

0

œ œ œ œ

œ

⇑

œ

⇓

œ

⇑

œ

⇓

n.

accel.

Œ = …

Cb

Ó = 108

.æ̇>

accel.

Bb

Bb

„̆= Œ

÷

÷

÷

÷

46

.. ..

46

.. ..

46

Ò

Ò

Î

Ó

Ó = 108

Ó = 108

π

ƒ

Bb

Bb


œ œ œ œ

accel.

Œ = …

Cb

Ó = 108

.æ̇>

accel.

Bb

„̆= Œ



÷

÷

÷

÷

46

.. ..

46

.. ..

46

Ò

Ò

Î

Ó

Ó = 108

ƒ

Ó = 108

π

Bb

œ œ œ œ


accel.

Œ = …

Ó = 108

Cb

.æ̇>

accel.

„̆= Œ

Bb

÷

÷

÷

÷

46

.. ..

46

.. ..

46

Ò

Ò

Î

Ó

Ó = 108

ƒ

Ó = 108

π

Bb


œ œ œ œ

accel.

Œ = …

Ó = 108

Cb

.æ̇>

accel.

Bb

„̆= Œ



÷

÷

÷

÷

46

.. ..

46

.. ..

46

Ò

Ò

Î

Ó

Ó = 108

ƒ

Ó = 108

π

Bb

œ œ œ œ


accel.

Œ = …

Ó = 108

Cb

.æ̇>

accel.

Bb

„̆= Œ

Ó = 108

1/20/03


ƒ

ƒ

œ ∑U


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