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Liebeslied (2011, revised 2012 & 2014) for voice, live electronics & chamber orchestra transposing score music and text by Alex Temple Liebeslied is licensed under a Creative Commons Attribution Non-Commercial Share-Alike license. This means that other musicians may quote the piece or create derivative works, as long as they credit Alex Temple for the original work, don’t use their new creations for commercial purposes, and license them under identical terms. Liebeslied was commissioned by American Composers Orchestra for its Orchestra Underground series and for the opening of its Sounds of a New Century Festival. It was written for ACO and vocalist Mellissa Hughes.

Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Text of Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret...

Page 1: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

Liebeslied (2011, revised 2012 & 2014)

for voice, live electronics & chamber orchestra

transposing score

music and text by Alex Temple

Liebeslied is licensed under a Creative Commons Attribution Non-Commercial Share-Alike license. This means that other musicians may quote the piece or create derivative works, as long as they credit Alex Temple for the original work, don’t use their new creations for

commercial purposes, and license them under identical terms.

Liebeslied was commissioned by American Composers Orchestra for its

Orchestra Underground series and for the opening of its Sounds of a New Century Festival. It was written for ACO and vocalist Mellissa Hughes.

Page 2: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

Instrumentation

fluteoboeclarinet in Bbassoon

horn in Ftrumpet in Ctenor trombonetuba

percussion 1 vibraphone glockenspielpercussion 2 triangle flexatone hi-hat low (c. 12”) mounted tom floor tom kick bass drum

pianoamplified harp (see “Technical Notes” for amplification details)

amplified voice (F#3 – Eb5) (see “Technical Notes” for amplification details)

live electronics operator

violin 1 violin 2 viola cello double bass

b

Page 3: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

Stylistic Notes

The love songs of the 1940s and 50s are pleasant and light-hearted on the surface, but a closer look often reveals a deeper strangeness. Songs like “I Only Have Eyes For You,” “Till There Was You,” “Laura” and “Some Enchanted Evening” paint an unsettling picture of romance if you take the surreal imagery in their lyrics literally. They describe people who are blinded to the physical world by the intensity of their love, or by the fact that they have not yet found someone to bring that world to life — people who are haunted for years by visions of lovers lost, or of people they glimpsed only once and have never spoken to. The music reinforces the dreamlike quality of the lyrics with excessive reverb, rhythmic dislocation between the voice and the orchestra, and stylized, emotionally detached spoken-word passages. Liebeslied brings this latent ominousness to the foreground. It begins as an exaggerated version of a mid-century ballad, but as the piece continues, the jazz and pop elements are increasingly distorted, fragmented and blurred, and the vocal soloist finds herself in ever stranger, lonelier and more frightening worlds. The piece also alludes to the more overtly surreal repertoire of 19th-century German orchestral Lieder, both musically (for instance, in mm. 17-21) and lyrically (references to foreign lands, cypress trees and portentous skies). In the first half of the piece (before Rehearsal E), the performers and conductor should bring out these stylistic references as much as possible, particularly in the passages marked “schmaltzy,” “over-the-top” and “Hollywood.” In the second half (from Rehearsal E on), the music should be increasingly cold, abstract and unfriendly. Throughout, the vocal soloist should use informal American vowels and consonants, rather than trying to purify or Europeanize the language.

The piece begins (before Rehearsal B) and ends (from Rehearsal I on) with passages in which the orchestra emulates the sound of electronic reverb. In the opening passage, the reverb is applied to a trumpet solo; in the ending passage, it’s applied to the voice. All string harmonics, long wind and brass notes, and ringing piano and vibraphone attacks should be played with this in mind.

Technical Notes

The electronics are operated using a Max/MSP patch. The patch both applies effects to the singer’s voice (varying levels and types of reverb, including an undulating, pitch-shifted reverb starting at Rehearsal I), and triggers samples and loops. Because the the signal from the vocal mic goes directly into the patch, only the output from the laptop needs to go to the house PA system. In order to make the text comprehensible, and to reflect the way that pop studio recordings were typically mixed in the mid-20th century, the vocalist should always be audible above the orchestra, even if this means that some orchestral detail is obscured. The score shows the electronic part on two lines. “Electronics (control)” shows the keys that the operator presses on the laptop keyboard to trigger the effects and samples, and “Electronics (sound)” is a loose graphical representation of all effects other than straightforward reverb.

The harp should also be amplified, but it should be run through a small amp or speaker near the instrument rather than through the house PA. The amplification should be just enough to make the harp stand out in the orchestra, as if it were high in the mix of a studio recording. Ideally, the audience should find it hard to tell whether the harp is amplified or not.

Page 4: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Percussion 2

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Trumpet, strings: hold the first note steady for most of its duration, then quickly gliss to the second note.

Strings: gradually gliss over the entire duration of the first note.

Flute, clarinet, trombone: slowly bend the pitch, as far as you want or are able, for the duration shown.

Winds, brass, strings: slowly bend the pitch up and down ad lib. for the duration shown. Stop for breath whenever necessary. Someinstruments will be able to bend further than others; the important thing is that the pitch be unstable.

Strings: quickly wobble the pitch up and down.

Cello, bass: bow too slowly, producing an intermittent scratch tone.

Violins: extremely high note.

Piano: damp strings with one hand while playing note with the other. Flute: blow across mouth-hole for an airy, breathy tone.

Piano: depress keys silently.

Flute: slap tongue — place your tongue on the roof or your mouth as if you are going to pronounce a T," and then release it sharply to produce a percussive puff of air.Tom-tom: rimshot.

Bassoon: remove reed and tongue mouthpiece while fingering low Bb to create a nasty, percussive noise.

Voice: highly percussive consonant, very close to the microphone.Consonants are written in IPA.

Page 5: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 6: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 7: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 8: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 9: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 10: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 11: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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7

Page 12: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 13: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 14: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Page 15: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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11

Page 16: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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12

Page 17: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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13

Page 18: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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14

Page 19: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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15

Page 20: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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16

Page 21: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Vn 2

Vla

Vc

D.B.

Pno

Hp

n

n

n

n

w

w

w

w

"

"

"

"

˙fast

Ó

"

"

"

"

"

œ ‰ ¿ ˙the mu

"

"

75

wwn

wwn

wwn

wwn

wn

"

"

"

"

"

"

"

"

"

"

"

"

"

"

œ œ Œ Œ .œ jœ3 3

sic dies a

"

"

76

wwF

wwF

wwF

wwF

wF

n

n

n

n

"

"

"

"

w

w

wn

w

wwwwbslow

"

wwwwnÏwww

"

"

¿ Œ Óway,

"

"

77

wwn

wwn

wwn

wwn

wn

n

n

n

n

w

wn

w#

w

wF

wF

wF

wF

wwww

"

˙ ˙np˙ ˙

"

"

Œœn œ ˙5

and I find

"

"

78

"

"

"

"

"

n

n

n

n

w

Fw

FwFwF

w

w

w

w

wwww

"

wwwwwww

"

Ó˙

p

œ œn ˙ Œ5

my self

"

"

79

"

"

"

"

"

put mute back in

w

w

w

w

"

"

"

"

˙fast

Ó

"

"

"

"

œ œ œ œ œ œ œ3

œ œ ˙ ˙5

in a no ther

"

"

80

"

"

"

"

"

w

w

w

w

"

"

"

"

"

"

"

OOOOOnnn#sostenuto pedal

silently depress keys

Ó œ œ œ œ œ œ33

œ œ œ œ œÓ

5

wntime...

"

"

81

"

"

"

"

"

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17

Page 22: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

F

œnsubito p

Fslow pitch bend ad lib.

(6 q )

"

œ#subito p

slow pitch bend ad lib.(6 q )

œn .

߉ Œ Ó Ó

˙f #

˙b ˙n3

"

œp

slow pitch bend ad lib.(6 q )

"

œœœn

nn

°p

vary motor speed ad lib.

Œ Ó Ó

œKick bass

ƒŒ Ó Ó

œœœnnn -

p‰ Œ Ó Ó

œœœnnn - ‰ Œ Ó Ó

wnf

Ó

"

˙ Ó Ó

œ Œ ÓG[undulating harpsample loop]

82

—#

extremely high note; bend pitch slowly up and down ad lib

—#

extremely high note; bend pitch slowly up and down ad lib

˙p

˙ ˙# ˙n3

˙bp

˙ ˙ ˙b3

œƒcol legno battŒ œ Œ œ Œ

"

"

"

"

˙p

˙ ˙b3

"

"

"

"

"

"

"

"

"

Œ

stylized, highly rhythmic speech — in the manner of the spoken passages inSkeeter Davis's "The End of the World" or Rosemary Clooney's "Hey There"(the placement of noteheads represents contour, not approximate pitches —don't try to "speak" in the octave above middle C!)P

j¿ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3

3 3 3

Com plete ly sur round ed by re

œ Œ Ó7[heavy reverb]

83

˙##

˙ ˙#3

˙#

˙b ˙n3

œ Œ œ Œ

"

"

"

"

#˙b ˙n

3

"

"

"

"

"

"

"

"

"

¿ ¿ ¿ ¿ Ó3

ver ber ant noise,

"

84

˙p

˙# ˙n3

˙bp

˙n ˙b3

"

"

"

"

"

˙p

˙ ˙b3

"

"

"

"

"

"

"

"

"

Œ j¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ ¿ ¿3 3

as hun dreds of voi ces ri co

"

85

˙##

˙ ˙#3

˙#

˙b ˙n3

"

"

"

"

" ?

#˙b ˙n3

"

"

"

"

"

"

"

"

"

¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿3

3

chet off the hard mar ble

"

86

˙p

˙# ˙n3

˙bp

˙ ˙b3

"

- - - - - - - - - - - -

18

Page 23: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Œœ

Ó(3 q )

"

Œ œ# Ó(3 q )

˙n

˙#

˙n ˙b3

œp

Ón

(4 q )

"

Œ œ# Ó(3 q )

"

Œ œœœ# Ó Ó

Œ ¿Tom-tomsrimshotÓ ¿ Œ

Œœœœ# -

‰ Ó Ó

Œ œœœ# - ‰ Ó Ó

"

"

J¿ ¿ Œ Œ ¿

as if artificially slowed down;elongate all the vowels

¿ j¿snapping back to normal

¿ j¿ ¿3

33

3

walls of the mas sive for mal

"

87

˙##

˙psim ˙ ˙#

3

˙#

˙psim ˙b ˙n

3

"

"

"

"

˙p

˙b ˙n3

"

"

"

"

"

"

"

"

"

"

¿ ¿ ¿ Œ ‰ ¿ ¿3

di ning room in an

"

88

˙#

˙# ˙n3

˙b#

˙ ˙b3

"

n

Œœ(5 q )

"

Œ œ#(5 q )

œ#

Ó(4 q ) slow pitch bend ad lib.

˙n

˙#

˙ ˙b3

"

Œ œ(5 q )

"

Œœœœ Ó Ó

Œ ¿ Ó Ó

Œœœœ-

‰ Ó Ó

Œ œœœ-

‰ Ó Ó

"

"

¿ ¿ ¿ Œ Œ ¿

as if artificially slowed down

¿ ¿3

e le gant old ho

"

89

˙#p

˙ ˙ ˙#3

˙p

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Œ œ Œ œ Œ œ

"

"

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p˙b ˙n

3

"

"

"

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¿ Œ Ó

"

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j¿snapping back to normal

¿ Œ Ó3

tel.

"

90

˙#

˙# ˙n3

˙b#

˙ ˙b3

Œ œ Œ œ

œ#(6 q )

"

œ(6 q )

"

œ#

(6 q )

Œ œ-

harmon mute — stem out

ƒœ- jœ# œ. œ. œb . ‰ jœ œ œ œb œ3

œ(6 q )

"

œœœ# Œ Ó Ó

œ Œ œ Œ œ Œ

œœœ#-

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œœœ-

‰ Œ Ó Ó

"

"

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œ Œ Ó ÓX[loop out]

91

.w#p

.wp

"

- - - - - -

19

Page 24: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

n

"

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˙p

˙ ˙#3

w

"

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Œ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3 3 3

All of the fa ces are ob

œ Œ ÓG[loop in]

92

˙bP

˙ ˙b3

˙

P˙# ˙n3

"

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"

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˙P

˙# ˙n3

"

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J¿ ¿ ‰ ¿ ¿ ¿ ¿33

scured by the glare

"

93

˙p

˙b ˙n3

˙p

˙ ˙#3

"

n

Ó Œœ(3 q )

"

Ó Œ œ#(3 q )

˙n

˙p

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œp

Ó(4 q )

"

Ó Œ œ(3 q )

"

Ó Œ œœœ Ó

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Ó Œœœœ-

‰ Ó

Ó Œ œœœ- ‰ Ó

"

"

Œ j¿ .¿ ¿ ¿ J¿ ¿ Œ Œ ¿

as if artificially slowed down

¿3

33 3

of af ternoon sun light stream ing

"

94

˙bP

˙ ˙ ˙b3

˙

P

˙ ˙# ˙n3

Ó Œ œ Œ œ

"

"

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˙P

˙n ˙b3

"

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¿ Œ Ó

"

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¿snapping back to normal

‰ ¿ ¿ ¿ ‰ ¿ ¿3 3

in through a gap where your

"

95

˙p

˙b ˙n3

˙p

˙ ˙#3

Œ œ Œ œ

- - - - - -

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Page 25: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"

"

"

˙p

˙b ˙n3

"

"

"

"

"

"

"

"

"

"

¿ ‰ ¿ ¿ .¿ ¿ j¿ ¿3 3

hand has dis placed the hea vy

"

96

˙bP

sim ˙ ˙b3

˙

P

sim ˙# ˙n3

Œ œ Ó

Ó Œœ(3 q )

"

Ó Œ œ#(3 q )

˙P

˙ ˙n ˙b3

"

"

Ó Œ œ#(3 q )

"

Ó Œ œœœ# Ó

Ó Œ ¿ Ó

Ó Œœœœ# -

‰ Ó

Ó Œ œœœ# - ‰ Ó

"

"

¿ ¿ ¿ Œ Ó Œ ¿

as if artificially slowed down

¿3 3

dra per y. But I

"

97

˙p

˙ ˙b ˙n3

˙p

˙ ˙ ˙#3

"

n

"

"

"

œp

Ó(4 q )

˙n

˙p

˙ ˙#3

"

Ó Ó

"

"

¿ Œ Ó Ó

"

"

"

"

j¿snapping back to normal

¿ $ ¿ ¿ j¿ ¿ Œ Œ ‰ ¿ ¿3 3 3

can't catch your eye through the

"

98

˙bP

˙ ˙ ˙b3

˙

P

˙ ˙# ˙n3

"

remove reed

"

"

"

"

˙ ˙# ˙n3

"

"

"

"

"

"

"

"

"

j¿ ¿ Œ Ó3

crowd.

"

99

˙p

˙b ˙n3

˙p

˙ ˙#3

"

œ#(6 q )

"

œ(6 q )

"

œ.F‰ Œ Ó Ó

Œ œ-ƒœ- jœ# œ. œ. œb . ‰ jœ œ œ œb œ3

œ(6 q )

"

œœœ# Œ Ó Ó

œ Œ œ Œ œ Œ

œœœ#-

‰ Œ Ó Óœœœ-

‰ Œ Ó

"

"

"

"

œ Œ Ó ÓX[loop out]

100

œb .

P‰ Œ Ó Ó

œ.

P‰ Œ Ó Ó

"

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21

Page 26: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

VVVVVV

VVVVVV

VVVVVV

VVVVVV

~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

G œn .‰ Œ Ó

"

œ. ‰ Œ Ó

¿b .

tongue mouthpiece while fingering low Bbto create a nasty, percussive noise

f‰ ‰ ¿.

Œ¿.

"

œ. ‰ Œremove muteÓ

œ# .f

‰ Œ Ó

"

"

œp tense

œ œ œ

"

Lÿ%

damp strings with hand

tenseF

Lÿ Lÿ Lÿ

"

œp

œ œ# .˙3

ÓG

¿lower register, ominous, like a figure in a dream who's about to reveal a great and terrible truthp

¿ ¿ ¿ ¿ ¿3 3

Sud den ly all of the

œ Œ ÓJ[sample loop pitch shifts down]

101

"

"

"

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œœ#tenseF

œœ œœ œœ

"

"

"

‰ ¿b .Œ

¿.‰ ‰ ¿.

Œ

"

"

"

"

"

œ œ œ œ œ

"

Lÿ Lÿ Lÿ Lÿ Lÿ

"

"

¿ j¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿ ¿ ¿ ¿3 3 3

guests are hol ding their heads at the same un com for ta ble

"

102

"

"

"

"

œœ# œœ œœ œœ œœ

"

"

"

¿b .‰ ‰ ¿.

Œ¿.

"

"

"

"

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œ œ œ œ

"

Lÿ Lÿ Lÿ Lÿ

"

Ó Œ œ# œ# œn3

¿ ¿ ‰ Œ Œ j¿ ¿ ¿ ¿ ¿3 3

an gle. They're look ing at the

"

103

"

"

"

" B

œœ# œœ œœ œœ

n

n

n

n

"

"

"

‰ ¿b .Œ

¿.‰ ‰ ¿.

"

"

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"

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œ œ œ œ

"

L# ÿ Lÿ Lÿ Lÿ

.˙n .˙ Œ

.˙bŒ

j¿ ¿ Œ Œ Œ j¿3 3

clouds. The

"

104

œ#æmolto sul pont

pœf

wide pitch wobble

œnæmolto sul pont

pœf

wide pitch wobble

œ#æmolto sul pont

pœf

wide pitch wobble

œ#æmolto sul pont

pœf

wide pitch wobble

œœ# œœ œœ œœ

- - - - - - - - -

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Page 27: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

VVVVV

VVVVV

VVVVV

VVVVV

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"

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"

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œ œ

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L# ÿ Lÿ

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Œ œ œn œ3

.¿ ¿ ¿ ¿ ¿ ¿3 3

clouds are a map of the

"

105

"

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n

n

n

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¿.‰

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L# ÿ Lÿ Lÿ

.˙# .˙b

j¿ ¿ Œ Œ3

world.

"

106

œnæpœf

œæpœf

Ͼp

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Ln ÿ Lÿ Lÿ Lÿ

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‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿3

3 3

As I stare at the con tinents, all of a

"

107

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¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿3 3 3

sud den I feel your hand on my spine.

Œ

Ó Œ œX[loop out]

108

"

"

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œœ# œœ œœ Œf

- - -

23

Page 28: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

H q = 108

œ

Ï

H bend pitch slowly up and down ad lib.; breathe whenever necessary

œnÏ

bend pitch slowly up and down ad lib.; breathe whenever necessary

œb

Ï

bend pitch slowly up and down ad lib.; breathe whenever necessary

¿b .ω Œ Óput reed back in

œÏ

bend pitch slowly up and down ad lib.; breathe whenever necessary

œbÏ

no mute

bend pitch slowly up and down ad lib.; breathe whenever necessary

œ#Ï

bend pitch slowly up and down ad lib.; breathe whenever necessary

œÏ

bend pitch slowly up and down ad lib.; breathe whenever necessary

"

¿o

ƒ

Œ Óœ Œ Ó

"

–––ÿ

ÏŒ Ó

"

"

"

"

"

109

œ#

Ï

bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

œÏ

bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

œbÏ

bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

œ#Ï

bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

œ#Ïarco

bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

"

"

"

"

"

"

"

"

"

"

110

"

"

"

"

"

"

"

Œ œƒ loud and intense, as if struggling to be heard through the noise

œ œBut when I

"

"

111

"

"

"

"

"

"

"

.œ jœ œ œb œbturn to meet your

"

"

112

"

"

"

"

"

"

"

wbkiss,

"

"

113

"

"

"

"

"

"

"

Ó Œ ‰ œthe

"

"

114

24

Page 29: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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46

46

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46

46

46

46

46

46

46

46

46

46

46

46

Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

"

"

"

"

"

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"

.˙ Œ .œb jœbcrowd dis ap

"

"

115

"

"

"

"

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"

.˙ ˙ ‰ œnpears, their

"

"

116

"

"

"

"

"

"

"

œ ˙b Œ .œ jœvoic es leave my

"

"

117

"

"

"

"

"

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"

.˙ ˙ ‰ œears the

"

"

118

"

"

"

"

"

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.˙b ˙ œ#sky goes

"

"

119

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Page 30: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))

"

"

"

.wÍ

"

"

"

"

..œœ

violentÏ

hard malletsmotor off

œb œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ5 5 5 5 5 5

"

œœœœ## .

violentÏ

$ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

"

œœœœ#ggggviolentÏ

œœœœggggœœœœgggg

œœœœggggœœœœgggg

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœsim

"

.w#blank,

œ Œ Ó ÓL[wild loop in]

120

"

"

"

"

"

"

"

"

æ œ.ç‰ Œ

"

"

"

"

œb œb œ œ œ œ œ œ œ œ ˙5 5

"

œ œ œ œ# œ# œ œ œ ˙

Ó˙##

œœœœ# œœœœ œœœœ œœœœ ˙˙

"

Ó Œ œ# œ3

and I

Ó

Ó œ Œspace[wild loop fades out]

121

ww#

#

sul pont

ww#

sul pont

wwb#

sul pont

w##

sul pont

w#

sul pont

"

"

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Ó ˙p

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"

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ww

"

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.œ Jœ œ ˙b3

find myself wan

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122

ww

ww

ww

w

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- -

26

Page 31: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

"

"

"

"

˙ æf˙ æ

f˙ æ

f˙ æ

f

"

"

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Ó OOOOOb#b#

"

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œ œ œ# ˙3

der ing

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123wwF

wwF

wwF

w F

wF

q = 72I"

"

wæf

w# æf

œ.ß

‰ Œ Ó

œb .

߉ Œput mute back inÓ

œ.ß

‰ Œput mute back inÓ

w#ß

"

¿Ï

Tom-tomsrimshot

Œ Ó

œœœœœb#b# .>

ç‰ . Œ Ó

OOOOO

"

"

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œ Œ Ó0[pitch-shifted reverb]

124

"

"

"

w#P

ordbow very slowly, producing a harsh, ugly, intermittent scratch tone

wP

ordbow very slowly, producing a harsh, ugly, intermittent scratch tone

"

"

w

w#

"

"

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w

"

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OOOOO

"

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125

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OOOOO

"

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Œchant-like

œ#F

œ .œ jœ3

in un end ing

œ# œ"

126

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w

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œ œ .œ jœ# œ5

dar kened corr i dors.

"

127

"

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w

"

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"

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"

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"

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"

128

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w

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129

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- - - - - - -

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Page 32: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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42

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44

44

44

44

44

44

44

Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

!!!!!!!!!!!!!!!!!!

!!!!!!!!!!!!!!!!!!

"

"

"

"

"

"

"

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Ó Œ ‰ . . ¿oHi-hat

ƒ jarring, intrusive

"

OOOOOn###sostenuto pedal

"

"

"

"

130

"

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"

w

w

"

"

Œ ¿Ï

dry slap‰ Ó

"

"

Œharmon mute — stem in

œ#+

ƒ jarring, intrusive

œo

œ+

‰ Œ

Œharmon mute — stem in

œ+

ƒ jarring, intrusive

œo œ+ ‰ Œ

œ# .߉ œ# .

æƒ

‰ Ó

Œ œ#° ƒ

Ó

¿+ ¿ ¿ ¿ ¿ ¿æo

Ó3

‰ œ#ƒ jarring, intrusive

œ# œ# œ. ‰ Ó3

"

‰ œƒ jarring, intrusive

œ# œ# œ# œœ# . ‰ Ó3

"

Œ ¿ç

‰ Ó/!t"!/

¿

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131

Œ O## æÏ

molto sul pont Œn

Œ OæÏ

molto sul pont

Œn

"

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œ œ.߉ Ó

"

"

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132

"

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"

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"

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"

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Ldamp string with hand

PŒ Ó

"

"

"

Œp fragile, breathy, non-vibrato, very close to the mic

œ œb œ ‰ œb5

Whosefoot steps were

œ œb œ œb

"

133

"

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"

"

"

"

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"

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œ Œ Óthose?

œ

"

134

"

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135

"

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Ó Œ ‰ œÍ

"

"

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Ó Œ ‰ œœœ##ƒ

motor on — fast

"

Ó Œ ‰ œœœ##p

Ó Œ ‰œœœn#n .

Ï

"

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Œ ‰ œ œb œ# œ‰ ¿

ç3

Ma ho ga ny— /!p'!/

œ œb œ# œ¿

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136

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www

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137

"

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- - - -

28

Page 33: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

"

.˙n

Œ

wn

"

"

"

"

"

"

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www

"

"

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Ó Œ œ

pœb

3

Some one

œ œb

"

138

"

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"

"

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wp

" B

"

"

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www

"

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jœb œ jœb .œn jœblaughing be hind the

œb œ œb .œn œb

"

139

"

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"

"

"

"

"

wn

Œ . Jœb -

! like an echo

.œ Jœ

w!

"

"

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www

"

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˙ Ódoor—

œ

"

140

"

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w

"

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www

"

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141

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"

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.œ Jœb .œ Jœ

w

"

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www

"

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142

Œ .˙nn

molto sul tasto

Ó˙n

molto sul tasto

Ó . œn

molto sul tasto

Ó Œ . Jœn

molto sul tasto

Own

molto sul tasto

J

J

Ó œ.p œ. œ. œ. œ. œ. œ.7

"

"

œ- ‰ Œ Ó

œ ‰ Œ Ó

"

"

"

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!

rub drum head with drumstickTom-toms

ΠΠ.7 7

Óœœœ# .(

p

œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.7

œn .%

#

‰ Œ Ó°

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#

p.d.l.t.œ# œ# œ# œ# Ó5

"

"

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143

œ-#

Œ Ó

œ-#

Œ Ó

œ-#

Œ Ó

œ-#

Œ Ó

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Œ Ó

œ. œ.Œ Œ . Ó7

"

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!

Œ Œ . Ó7

"

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¿ Œ Ó/!t!/

¿

"

144

Own

molto sul pont

Ow##n

molto sul pont

"

"

"

- - -

29

Page 34: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

"

"

"

"

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145Ow#

Ow#

"

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Ó Œ ‰œb

#œb œ œb œb

5

"

"

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"

Ó Œ ‰ œ#soft malletsmotor off

#black key gliss

"

"

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146Ow

Ow

"

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Ó œ.p œ. œ. œ. œ. œ. œ.7

"

œ. ‰ . Œ Ó

"

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œ# ‰ Œ Ó

ΠΠ.7 7

Óœœœ# .(

p

œœœ. œœœ. œœœ. œœœ. œœœ. œœœ.7

œn .%

‰ Œ Ó°

œ œ# œ# œ# œ# Ó5

"

"

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147Oœ ‰ Œ Ó

Oœ ‰ Œ Ó

"

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œ. œ.Œ Œ . Ó7

"

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!

Œ Œ . Ó7

"

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¿ Œ Ó/!ts!/

¿

"

148Own

Ow##n

"

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" &

Œ ‰ œn œ Œ

"

"

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Œ ‰ œ œ œ œb œ œbThe house is growing.

œ œ œb œ œb

"

149Ow#

Ow#

"

"

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$ œœ##

Glockenspielplay with stick side of mallets

!

œœn# Œ Ó

‰ 'æ

#

Flexatone Œ Ó

"

"

"

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150Own

Own

"

"

"

~~~~~~~~~~~~

~~~~~~

30

Page 35: Liebeslied (transposing score)...in the style of 1940s/50s pop ballads such as Margaret Whiting's F"A Tree in the Meadow" or Jo Stafford's "You Belong to Me" œ œœœœœ. œœœ

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42

42

42

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44

44

44

44

44

44

44

44

44

44

44

Fl

Ob

Cl

Bsn

Hn

Tpt

Tbn

Tba

Perc 1

Perc 2

Vox

Elec(sound)

Elec(ctrl)

Vn 1

Vn 2

Vla

Vc

D.B.

Pno

Hp

"

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151

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152

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153

"

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Ó Œ œ#!

vibrato in this rhythm

"

"

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Ó Œ œ#+

oœ+

"

"

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œ%

Œ Ó

"

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‰ œ##

œ œ œ œ œ3

A glimpse of a face

œ# œ œ œ

"

154

"

"

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œpizz

#

Œ Ó

L!

L L L L L3 3

vibrato in this rhythm

œ œ œ œ

"

Ó Jœ## like an echo

"

"

"

"

"

"

"

"

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"

œ œ œ# œ œ œ Œ3

in the win dow.

œ

"

155

"

"

"

"

"

L L L L L L3 3

œ œ œ œ

"

Jœ# .œ Jœ .œ

"

"

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156

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L L L3

œ œ

"

Jœ# .œ

"

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‰ œ#!

œ"Du ar

œ#

"

157

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L L L L L L3 3

œ œ œ œ

"

Jœ# .œ Jœ .œn

"

"

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"

"

"

"

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"

Œ œo Ó

œ œ jœ Œ Ómes Kind."

œ

"

158

Œ .˙n

molto sul tasto

Ó ˙n

molto sul tasto

Ó Œ œn

Ó Œ ‰ œn

Own

arcomolto sul tasto

œn ‰ Œ Ó

œn ‰ Œ Ó

"

"

"

"

"

"

"

LHi-hat

#Œ Ó

on the bell

"

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"

œn o Œ Ó

"

"

159

œn -p

Œ Ó

œn -p

Œ Ó

œn -p

Œ Ó

œn -

pŒ Ó

Oœbn -

pŒ Ó

"U

"U

"U

"U

"U

"U

"U

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"U

"U

"U

"U

"U

"U

"U

"U

160

"U

"U

"U

"U

"U

- -

31