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MATADOR
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Julio Patino, B. M., M. M.
Denton, Texas
May, 1998
31f f^SiJ
MO. V 7<
Patino, Julio, Matador. Doctor of Musical Arts (Composition), May, 1998,
essay 30 pp., score 207 pp., 1 table, 18 examples.
Matador is an opera scored for orchestra, mixed chorus and soloists (mezzo-
soprano, 3 tenors, 2 baritones). It is scored for 2 flutes (piccolo), oboe , Bb clarinet,
bassoon, C trumpet, 2 F horns, tenor trombone, tuba, percussion, and strings. The
percussion section requires three performers, timpani, vibraphone, tubular bells, chimes,
suspended cymbal, three tom-toms, snare drums, claves, bass drums, triangle, a large
key ring, shackles, (a chain of approximately 3 feet of length). A whistle is also included
for one of the soloists on the stage.
The work is in one act divided into two main sections. Each of these sections is
divided into subsections. The libretto is aphoristic in nature and dictates the form of each
of these subsections. The division into two parts also serves as a means to evoke a sense
of hopelessness of emotions in the first and a transforming disposition that culminates in
a jubilant song in the second.
MATADOR
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Julio Patino, B. M., M. M.
Denton, Texas
May, 1998
31f f^SiJ
MO. V 7<
Copyright © 1998
Julio Patino
111
TABLE OF CONTENTS
Page
LIST OF TABLES v
LIST OF EXAMPLES vi
ANALYSIS vii
Introduction vii
I. Form ix
II. Melodic material xiii
III. Harmonic material xvi
IV. Timbre xviii
Summary xxi
The libretto xxii
MATADOR 1
IV
LIST OF TABLES
Table Page
I. OVERVIEW OF THE STRUCTURE OF MATADOR xx
LIST OF EXAMPLES
Example No. 1 ix
Example No. 2 x
Example No. 3 x
Example No. 4 xi
Example No. 5 xi
Example No. 6 xii
Example No. 7 xiii
Example No. 8 xiv
Example No. 9 xiv
Example No. 10 xiv
Example No. 11 xv
Example No. 12 xv
Example No. 13 xvi
Example No. 14 xvi
Example No. 15 xvii
Example No. 16 xvii
Example No. 17 xviii
Example No. 18 ixx
VI
ANALYSIS
Introduction
Matador is an opera scored for orchestra, mixed chorus and soloists.
Matador
XI
X2
Guard
Judge
Miss Justice
The jury and other prisoners:
sopranos, altos, tenors and basses
tenor
tenor
baritone
baritone
tenor
mezzo-soprano
The orchestra consists of the following instruments :
Woodwinds:
2 flutes (piccolo)
Oboe
Bb clarinet
Bassoon
Strings:
Violin I
Violin II
Viola
Cello
Contrabass
Brass:
2 F horns
C trumpet
Tenor trombone
Tuba
vn
Percussion: Timpani, vibraphone, tubular bells, chimes, suspended cymbal, three
tomtoms, snare drums, claves, bass drums, triangle, a large keyring, shackles (a chain of
approximately 3 feet of length). A whistle is also included for one of the soloists on the
stage.
The work is in one act divided into two main sections. Each of these sections is
divided into subsections.
The libretto, written by the composer, is aphoristic in nature and dictates the form
of each of these subsections. The division into two parts also serves as a means to evoke
hopelessness of emotions in the first and a transforming disposition that culminates in a
jubilant song in the second.
The libretto is designed with contrast of the characters in mind. Each of the
characters is presented with specific music that identifies them. The techniques employed
for this purpose are conventional and include syllabic and melismatic setting of the text, the
use of sprechstimme with free rhythm, and indistinct toneless mutterings and laughters.
Also melodic as well as harmonic motives are used to differentiate each character.
The instrumental notation techniques are also conventional in nature with the
inclusion of systematic aleatoric sections that provide distinct harmonic-rhythmic contrast.
The instrumental sections are of three different types. They are employed as introductions
to the singing melodies, as interludes between vocal sections and as echoing the vocal
sections.
The chorus is used as the voice of the prisoners and the voice of the jury. They
serve as the foundation for the soloists as well as reflecting on what the soloist has sung.
The melodies and harmonies are for the most part organized around pitch centers
but almost never employ functional progressions. The use of melodic and harmonic
tensions help evoke restlessness and discontent. The pitch environment varies. The
vm
pitches are employed tonally in an obscure way at the beginning and in a bright, clear
texture at the end of the work.
Form
The work is in one act divided into sections. Most of the sections are embraced by
the structural timbre at the beginning and at the end. This device consists of the percussion
improvising on given materials enclosed in a boxon the score that is repeated continuously
for approximately 45 to 60 seconds. These aleatoric portions of the work are employed
for other instruments as well. Almost every time it is designed to provide, aside from the
organizational device, a certain mood of serenity except for one time towards the middle of
the composition during "Count time" (measure 435). In this case, it is intended to enhance
the uneasiness and nervousness of the situation. The interpretation of these improvisational
sections requires from the performer a sensitivity to the drama in order to evoke the mood
intended.
The forms of the lyrical melodies are simple one- or two-part forms reflecting the
structure of the text. The first section is divided into seven main subsections. Each of
these sections is of a different form. The first section begins with the aleatoric section
common to each section. (Ex. 1).
Ex. 1
Repeal continuously, free tempo
Snare Drum alternate instiumei
mp
Tubular bells
IX
This is followed by a series of downward sextuplets (MM. 2-8) (Ex. 2)
Ex. 2
This forceful drive culminates in measure 9 where Matador shouts: "Damned". His lament
begins on measure 13. The form of his lament is unisectional. It escalates from
the tonal regions of d minor in measure 13; eb minor in measure 17; e minor in measure 22;
Gb in measure 26; and finally it ends with a variation of his initial motive in F. The initial
Matador motive of MM 13-16 is shown in the next example. (Ex.: 3)
Ex. 3
Sus. Cymbal
The following section, MM 36-72 is sung by the male chorus. After the improvisatory
interlude, the chorus sings a very simple melody "You will get used to it" in two-part form
(Ex: 4).
Ex.4
iltfl liJ""" J J L J J J -mp
fl.SU J J LJ J J i = mp
, i — n , i i i > - T 8 H b« * * W * • -
you will get used to it
r r 1. r r r '
b* V * VJ J * 1
you will g« wed to it
mp
a-ii r r r u l t ^ ^
you will get
mp
li'j r r r UMd to H
r r r '
The first part begins in measure 36 and the second in measure 64. The end of the melody
of the second part of this section dissolves into muttering.
A prolonged clarinet solo begins the next section which is in ABA form. (MM 80-
201) It is similar to the first lament in form but orchestrated with strings mainly suggesting
a change of Matador's emotions "God, I don't want to pray anymore". (Ex.:5 MM 89-94).
Ex. 5
X I
The form is ABA; measure 89 begins A, measure 114 B, and measure 150 A.
Following the return of the clarinet solo is a transition to the next section beginning at
measure 201.
The climax of the first part of this work is a long section that culminates with the
appearance of Miss Justice with a simple song ABA (MM 513-526; 555- 578). This
entire section of the work (MM 436-513 is designed to accumulate tension beginning
with the trial, right after the Guard shouts "Clear!" in measure 436. The increasing
tension begins with the monotone declamation of the Judge. His authoritarian
declamation is emphasized by the use of the whole orchestra on the word "court" and
the same motive to the word "God". (Ex.: 6)
Ex.6 I -1? 'm
i m
m I
m i
m ;
m
The interaction between the Judge, Matador, XI, and the mixed chorus of the jury begins
in measure 485. This confusion escalates until the appearance of Miss Justice on measure
513.
The second part of the opera utilizes the materials previously used, with new lyrics
and the inclusion, at the end, of a jubilant song (MM. 855-959).
Melodic Material.
The melodic material in this work is based on serving the characterization of each
of the soloists. The instrumental melodies that accompany each of the scenes are designed
to support the individuality of each of the characters. The lyrical melodies include the use
of sprechtimme. That is, the use of the voice midway between speech and song with only
approximate reproduction of the written pitches and the avoidance of the sustaining of any
pitch. Syllabic and melismatic setting of the text and emphatic and rhythmically abrupt
melodies. Examples 7 through 12 include the initial motive of each of the characters.
Throughout the opera, the melodic material is diversified in various ways. Matador
sings, for the most part, melodies that are set syllabically, at times dwelling on nonchordal
tones. (Ex. 7, m. 13)
XI sings emphatic syllabic melodies with abrupt rhythms but using fewer pitches than that
of Matador or X2. (MM. 40-44 Ex. 8)
XIll
Ex. 8
X2 is characterized by wide leaps in a syllabic text setting. The diversified orchestration
helps individualize this character. MM. 247- 250 Ex.9
Ex. 9
The Guard is set in sprechstimme with aleatoric accompaniment beginning in
measure 435. This section is in free rhythm which begins with the blow of the whistle.
(Ex. 10)
Ex. 10
XIV
The Guard has the command of the situation in the opera with his authoritarian attitude. He
will dismiss the prisoners with the word "Clear" which in turn cues the instruments to
stop playing, (m. 436. Ex.11)
Ex. 11
(As (he guard stouts clear, muttering begins.)
(Hft likrt h i urn* to cal
The judge begins his declamatory singing in a monotone manner suggesting the
psalm singing by the father of the church of God. (MM 443-512 Ex. 12)
Ex. 12
Miss Justice is characterized by the clear melodies that flow with grace and solemnity,
suggesting the divine truth. (MM. 513-592. Ex.13)
Ex. 13
Harmonic Material
The harmonic language of this work ranges from a dense and dark harmony to a clear and
simple triadic one. For example at the entrance of Matador, in the beginning of the work,
a characteristic harmonic pattern is used, where two consecutive tritones enhance the word
"damned" (m. 9. Ex. 14).
Ex. 14
xvi
The contrast of this sound is found at the end of the work, with the use of triadic and
simple harmonies of Miss Justice. Another type of harmony is the vertical sonorities of
melodic materials (m.275 Ex.: 15)
Ex. 15
quite diff-reat (rain
m
p JTd-r
p i m i p l
m
Other devices include free rhythm in the accompaniment of the Guard, who uses
sprechstimme , which renders a sharp contrast to the rest of the section.
The harmonic pattern used at the beginning of this work with the use of two
consecutive tritones, is used again for the interlude in the middle of the opera, suggesting
the confrontation between the imaginary beast and the matador (Ex: 16).
Ex. 16
Measures 940 to the end of the opera exemplify the use of tertial harmony. This section
ends in the key of Bb.
xvii
Timbre
The use of unusual timbres, inside the improvisational boxes, is an important factor in
achieving contrasting sound. Specific instruments, such as the shackles and the key ring,
provide a soft and tenuous effect. As a contrast to these, the use of the brake drum creates
a more impetuous effect. Conventional instruments are also used in certain combinations
or as soloists to help clarify the individuality of each of the characters. The low registers
of the tuba and the bassoon in the interlude are intended to enhance the darkness of this
section.
The beginning of the opera uses improvisational techniques that provide
contrasting sounds to the measured sections. The muttering that is used first with the
aleatoric percussion provides a peculiar timbre that later is reused in a different way. This
time it is a tonal bifurcation from the unison to the minor second. This in turn dissolves
into muttering. (MM 96-100. Ex 17).
Ex. 17
into mutteenng and some
es into mutteenng and some scornful laughter
dissolves into mutteenng and some scornful laughter
Another sound that is peculiar to this work is given in measure 434 (Ex.: 18), which is the
entire orchestra playing all the twelve tones vertically while the percussion sounds the brake
drum. (Ex. 18)
xvm
Ex. 18
limp.
106
,.N
, * • i ih t—rmri—
106 1
m . •
* *• f ap • 106
m i f Iq
! 106 r j —-
JCDBT '
I- ** if.s j'fe = * 106 A s
*• t-jaarv i- » » •Jsstr- - ..., -
106 m —— v—_ » »• j*
106 m v
1 106 jflSGT f I- * * T?t=
, 106 jflar "
kdram » *• >• > <—
106 H
J5BT ' tntodnim 1 1 > f, ...5
XIX
OVERVIEW OF THE STRUCTURE OF MATADOR
M.l Aleatoricbox M.2 intro M.9. "Damned..." Matador M. 13-34 Nothing I can do... Matador M.35 Aleatoric box M.36-72 "You will get used to it" Male-Chorus and XI M.73 Aleatoric box M. 74-80 transition M.80-88 clarinet solo. Prelude to following song M.89-186 "God, I don't want to pray anymore" Matador M. 186-200 clarinet solo. Postlude to "God,... M.201-231 orchestra interlude M.232 Aleatoric box M.233-285 "All human affairs..." X2 M.286-297 "No, we ought to kill them" XI M.298-325 "I know" X2 M.326 Aleatoric box M.327-387 "Night..." Matador M.388 Aleatoric box M.389-434 "Another day of nothingness" Male chorus M.435 "Count" Guard M.436 "Clear" M.437-512 Trial Judge, Matador, XI M.513-592 "Everything is vanity" Ms Justice M.593 Aleatoric box M.594-654 The dream Matador dance M.656-691 Orchestra interlude M.692 Aleatoric box M.693-745 "Freedom is not worth having" X2 M.646-757 "No, you got to do your time" XI M.758-785 "I know" X2 M.786 Aleatoric box M.787-853 "Two years" Matador M.854 Aleatoric box M.855-994 Victory song Ms Justice, Matodor and visitors.
xx
Summary
This opera is composed using conventional instruments and conventional notation. The use
of aleatoric open form, as found in the opening, is considered a common language in the
present time, and serves to provide accompaniment to a simple libretto written by the
composer. The invention of the two allegorical figures, Matador and Miss Justice, provides
a tool to exemplify the indomitable spirit. At first the libretto and the music conveys an
adverse situation and a sense of hopelessness. This is transformed into a victorious ending.
The goal of the composer is to evoke the feelings and emotions that are expressed in the
text, and the significance of spiritual awakening is the focal point of the opera. It is
intended that this be communicated through this work.
xxi
MATADOR
Inside a prison at the present time.
Matador: (In his cell, on right side of the stage)
Damned, I'm damned
Nothing I can do could take away this pain
Nothing I can do would fill the void in my soul
Nothing I can do would alleviate my sense of loss
Nothing I can do can make me feel complete again
Only time would do that, a long time-
Chorus and XI: (Middle of the stage. XI in the foreground)
You will get used to it, you will get used to it
you will get used to it, you will get used to it
no, no difference, no there's no difference, no, no difference
there's no difference, no, no difference, there's no difference.
There is no difference from the outside world
there's no difference
XI :
Here too, everybody hates everybody
There is also sorrow and grief here
we live in a world of perpetual darkness
Matador: (separated, by himself)
God I don't want to pray anymore
I feel anguish, anger, and despair
xxii
Why have you abandoned me?
Sometimes I think that you don't exist and that is better to be a criminal
If you would exist there would not be so much injustice
I am suffering the worst of situations as if I were the worst of criminals
God I don't want to pray anymore, I don't want to be good
I want to die and never, never be part of this corrupted world
I want to destroy everything around me and shout to the world
that everything is a lie, is a farce - even God!
X 2: (Middle of the stage, surrounded by other inmates)
All human affairs have two aspects, each quite different from the other. What at first seems
to be death, may prove to be life. What at first seems to be beautiful, may actually be ugly.
Ultimate freedom comes only from inside each of us. But how can we break this cycle of
wretchedness?
XI: (Angrily antagonizing X2)
No! First thing we ought to do is kill all the lawyers and politicians. Congress is full of
crooks and hypocrites. We ought to kill them, kill them all..
X2: (Emphatically opposing, looking at XI)
I know, I know who you are, and what evil spirit inhabits you. We all experience pain,
and fear, injustice, confusion. We can only struggle to stay whole while we last.
(Muttering, gradually subsiding as the lights soften).
XXlll
Matador: (In his cell, by himself at night. Soft lighting. In meditation)
Night, everyone sleeps. I wonder... I wonder...
What is life, what is death, time space, creation, destruction. Something is definitely
wrong. Where are we going?
How could I recover my destiny ?
I need to feel loved and needed. And to feel useful again, to have a mission, a purpose in
life! I wonder...I wonder ...(fading into darkness)
(Beginning of a new day. Bright. Middle of the stage.)
Chorus:
Another day of nothingness, another day of nothingness, nothing is changed and there
never will, there is no difference, another day of nothingness, another day of nothingness,
another day of nothingness, nothing is changed and there never will, there is no difference,
another day of nothingness, nothing is changed and there never will, there is no difference,
another day of nothingness, another day of nothingness, nothing is changed and there
never will, there is no difference, perpetual nothingness, confusion, deception.
XI:
Prosecutors want to win and win and win at any cost.
X2:
The inquisition, the prohibition, the war on drugs. It's all the same!
Matador:
Everything is vanity!
Nothing matters!
xxiv
The whole world is a big prison.
XI:
Prosecutors want to win and win and win at any cost!
X2:
The inquisition, the prohibition, the war on drugs!
Matador:
Everything is vanity. Nothing matters...
This whole world is a big prison.
(Suddenly the Guard comes out shouting angrily.)
Guard: (Blows the whistle to count)
Count! Count time! Everybody in their cells right now!
This is not a place for rehabilitation! We're here to break you! Both physically and
spiritually!
Even mentally! Interesting things can happen to the human mind in subjugation.
(Counts to himself as he points with his finger at each prisoner)
Clear! (As the guard shouts clear, muttering begins.)
(Muttering continues. Brass announces a trial in the court of law. Left side of the stage. A
memory-like situation is combined with the present)
Judge:
This is my court. You will have a fair trial in my court! And a chance to defend yourself in
my court!
xxv
You will be convicted in my court! Only if proven guilty beyond a reasonable doubt I have
the power to execute the law in my court according to my discretion and the benevolent
guidance of God! Do you swear to tell the truth, the whole truth and nothing but the truth,
so help you God ?
Matador: (standing before the judge)
Yes, I do!
Judge:
Tell your story to the court.
The jury; (In the background, the jury comments)
Let there be justice, let there be justice-
Matador :
I was enticed by an undercover agent. For three months, the agent called me at work until I
finally agreed...he did just what I did - why am I accused and not him ?
Judge:
That is the law - he acted in the name of the law,
XI; (angrily shouts as he crosses over to the judge's side of the stage, pointing his finger
at the judge)
Who's going to judge him now ?
xxvi
Judge:
You are out of order! Out of order! You're in contempt in the court of law,
(the chorus repeats: Let there be justice, let there be justice....) (Increasing commotion)
Matador:
He fabricated the crime! That was entrapment, like in the inquisition!
Judge:
Order! You are in contempt in the court of law!
Miss Justice: (appears solemnly dressed in a long white dress at the climax of confusion
cutting through the commotion from the back in the middle of the stage)
Everything is vanity. When are you going to learn ? When is it going to end ? Unless you
change your ways, everyone will perish, oh no, the purpose of creation was to impart
boundless goodness to all, to all, was to impart boundless goodness to all, to all. When
you lose track of God's purpose in life, you succumb to evil, you have created your own
prison.
Matador:
He fabricated the crime that was an entrapment like in the inquisition, unless there is a
change all is one sided - no! Nobody wins in this court, I'm down to rot in prison, how is
it, I want to know...
XXVll
Chorus :
Is it all lost ? Is it too late ? Is it too late ? Is it too late ?
Miss Justice:
No! It's not too late, you can find your way out, God's gift of love is for everyone. Reach
within yourself, receive the truth. No, it's not too late !
Chorus : The purpose of creation, boundless goodness to all.
SECTION II
Interlude.
Dream scene. As Matador sleeps in his cell, he has a vision of a real bullfighter doing his
dance and defeating the beast. A male dancer dressed in a matador suit performs a stylized
bullfighting event. The spot light fades out from Matador and increases on the appearing
bullfighter. When he finishes triumphantly killing the beast, the light fades out).
X2:
Freedom is not worth having, if it does not free freedom to sin, freedom to sin, what a
misery, what a wretchedness, who can decipher all this. Ultimate freedom comes from
inside each of us. But how can we break this cycle of wretchedness ?
XXVlll
XI : (angrily rebuking)
No! you got to do your time, you must pay your dues, you must pay your dues and we
should kill them all, kill them all.
X2 :1 know, I know who you are, who you are and what evil spirit inhabits you. We all
experience pain, and fear, injustice, confusion. We can only struggle to stay whole while
we last.
Matador:
Two years, two years, at last I'm beginning to feel at ease. I feel more at ease, I am
recovering my destiny, I need to forgive, to have a mission, a purpose. Two years, two
years.
Miss Justice:
Matador, blessed are you, Matador, the spiritual awakening is your most precious gift, the
purpose of creation for the boundless goodness to all, you have a mission, take position
and win your way out. God's gift of love is for everyone, reach within yourself and let
yourself receive the truth.
Chorus : (The visitor comment)
The purpose of creation, boundless goodness to all, the purpose of creation, boundless
goodness to all.
xxix
Matador:
I sing in gratitude, I am a new creation, I am defeating the beast, I am free through my
faith, through my faith in God, in God, no condemnation, no more guilt, no more guilt, I
believe, I believe, I believe in God, in God, no condemnation, no more guilt, no more
guilt, I believe, I believe, I believe in God, in God.
Miss Justice :
It is your freedom, goodness to all, it is your spirit.
Chorus :
There is now no condemnation, no more fear, no more fear, through the faith, through the
faith in God, in God.
xxx
Matador Opera in One Act
Oboe (English Horn)
Repeat continuously. Free tempo but moderately slow.
ca. 60 sec."
ents freelv)
Tubular beUs
Indistinct toneless muttering. Some laughter, slamming dominoes on a table
muttering continues
i i J w
Sus. Cymbal
r * P — * Mf
tom-tom
r—r i p wtp
— p _ p _ _ —
Lti J.. 1 - ! * 1— ftm ' jbf=
mp Mp
* r " " « f
ft y > MP L-J ra--
Pf#=H ] 1 Jb1 sLJ
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m »/> ""
Mp
i j i = p "
p
Mf Mp r ^
p
mf
!
PP
x _ i—_
P \
p z=- PP P
m
Repeat continuously. Free tempo but moderately slow.
ca. 60 sec
tom-tom 3 (Alternate instruments freely)
t. bells ate instruments freely^
xi ^
36
I *p
snare
mp
. 1 Q ClflVftff
mp mp
mp
! mp mp mP *p
get wed to it you will gel
ii» r i.
Pen:. 1
4 5 I,.—,
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mp
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l r f f
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mp
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fir-t
61
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j j . j j J J J J J J j -> * =
mp
tr
mp
tr
l j f . , 4 ~
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* g g J 1 & p =
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' M . r r i j - L l _ * —
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t j . j j & ? * = j - n ' r ^
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l * **p
' L i i i f i t t in a world of mp
l j i i ~ r =
per • pel ual dark - ness
^ 2 — ,— 2—, i 2 ,
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per • pet ual dark • nets
i — 2 — , — 2— 2 ,
we l,ve in a world of per - pel • uai dark - IKU per - pel ual dark - BC*I
Perc. 1
into muttcenng and scornful laughter)
Repeat continuously. Free tempo but moderately slow
ca. 60 sec.
tom-tom Alternate instruments freel snare
vibraphone
(muttering corn.)
74 Tw- J ^
2i 1p~ZZT
« x r tH* 1 pgro-o —
—i 1 frH—
,, *- * ] *p * *
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ft
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9.0
$ = 4 ^ == [4^ '|J " mp
(Q w~ 1 , l- F- r ' -
" — ^
LJ 1 H f P mp
Tiinp.
pn§p
^ mp
^ . T ^ - 1
y- =—
-fl =
= •
4> " 1 , " • j
11
ft—
S - 1 . f U = -y - ' J-W—'
I »m suf - fer • uig the
f — =- | ! - H - ' x = r g y 1 1 ii 1 __=J
Pere. 1
146 [ * = • — ^
\ t = )
— i $ '
( fa : " ~ p«r
^ JyuJ - mp mf
-]] =
1
i
F T - 1 =
mp
, I i ^ r r 1 .. , N I > mf
^ = = r w.i f ^ ' ' ' 1 1 " ' • 1 ! ^
I don't want to pray an y -
PP
u t f y ~
fl .... — 1 — i V -"""::1"".."",
PP ^ k~~3 ' r r r r ~
P p
p r f * =
166
— ' I I — ^ — =
i - '
i t i
t » j»- iJ ^
~r yr r if i 1 ^ mm
mf sob. p
176
4
r >
1
$ i 1
Wp
l - e — 1
=*
j ^ g = r
j
• f f
rhj: -¥
A
ihout lo Die world th*t
* ! . y T» - - -... - - ,
lie,
~ 1 " i " 1 " ' " 1 " " ' 1
^ - =r - - | — j , | - | ^ EEj
j} ^ = =
1 $ = = = = = ^
, 1
± ! j
| i
|
b
ven
~ j - - • \i ~m I "
=9* { ~ = j • 1 | 1 - J • - 1
m f — P - t :
186
i 1 = *
. Y — 1 *p
{T f ^
f 1* I
!
4 =1 i |
S
=
, n
y ~ - 1 1 - ! ~ "-1 " 1 -98 • — " | " | - | • - ~ =| ! • — — .
p , 5 C_CJ» n » U LI
206
«l J i i J J
j J U J J
m
Perc. 1
Pfcrc.2
Perc.2
Repeat continuously. Free tempo but moderately slow.
ca. 60 sec
vibraphone
p i f m » T > ' r >|i - ! - ^
L ! i i I
m = ^ j
LP 7 • — 1
= = = = =
^ Uj--?
• |L_ii_!i!; p p,_jc 4 J j I I i J
f r n j ~ j = ^
y -
j r * y- r -~r t*—~* f k* f r <p—p f fr* -4
p i i i i ' ' I f i i
•• I— - « i" I 1 i "
| L y j J - J ,'J J J j i
^ ' — * — V — ^ d d tJ—J J i*
*P J P J * J 1 -—1 1
* P~ p p p p ==•
—
r - -- -
~t~ - h~^
P' •• P P- P • -P P
—\
p •• ~ - -4 i hn 1—F F~t—
J 4
i 1 (_—| ^— =t= ; _| j 1 1 1 1 "
l y * —
•JLJJ 1 _ y * '
" = - 1 j - ' [ ' - j ' ' - '• - I * • j
- -fj - ~t~ — ' 1 ' " 11 ' ~ ~T~ " ' 1
l ' —
:
t t r j r J i
-T f- r
u f r
i
246
9* *9
r r r ir m
251
«j i !
£ t j | i r
1
fei - -
1
I
H - P ^
|-, f i - J J ? - - f V
t — r t f
Peie. 1
P * v , — What « Tint teem to be death. may prove to be tife
feljzzM; r i * h i j j j J J
4 i m .i i r h. i\ 1
j p > J — - — : £4d* — - : j
i | , , , 3 , 1
— - - ,, (
\l
—55 " ' "4
V i
$ ~ V = = j ^ [SfT ? . j | ' ' I - 1 1 "
i - =
rj—6 p = -fl
¥ =
$
* ^ i ' r i>» 1 »
*c tu ai ly be u - gly. Ul • U - mMe
=9*" ~ • " 1 " ~ 1 1 ~ i " 1
t = ' —
-ftj———: =
f i r - = *
Nh j
-A f- iff r w - f fc-f f ~ i y
1 v <
I t ' J. ^
1 - - 1 ^ -;
f »r. T' r -
cy • cle of wrach
: n Mf.""t :
4 y .
j g j , , •• ^ A J .
J 1 _ J
j e n i
_fy_ * J
i n .
" - , u =
l~l 1 fa 1 TOlJJ 1.J J "Qa . IjJW.
—1 "V ' " I
2fl86
= J
jgag 5 V jjTJf
1
* F = . • = ™ N i J l U - fs i J ! 7 I' ~m "'•" i » • • v
i r - ,7 ^ ^ i —>, 1 I
"• •»"";• m m »: •• iJ
, P J P P 7 J" ^ P 7 *' 'P * ^ P 7 * ' p * P P 7 r
% Tj-fl f—*
g k » r i *1 i- 1 — k > r—i"1 •> • •
P * • IS 7 *
V -tmmJ * "
lb ^ ?— J>* n 1 1
' J yj'* L - ^ — i -d ' *
- i i - 1 j, . 1
i
them all
lT' flf
3 0 1
U . =
u \ ,
# ^ =
rp gr-
J *""3 ..hp :.:... 1 - F ' * • - i
| ' l ^ ^ '1 W JJ ?! r » i r 1
[#?— 1 i m=
LH
~~i - - - •- •"
i<jj> - ~ i • ~ 1 - i - r - - 1
t - i - i - i - i = § = 1 1 ' 1 1
J f ' g f r jr r~r » > i r~ ^ r f T t i. i. _ i«l,»- t ->—, \J. lj ! i 1 «» I LJ [ LXJ i L J
I knew who you are, who you are and what e - vil
rll ff-t- : i , * 7 a 'p 1,- — '
~£# j,J -•
r m _ _
L_ y f f ^ r • • - ... IT 1 L r r 1
306
- U to
J l > i _m j = i
[ f t 1 f
[ & > J . =
* Y ^ J —
, , i
J
t j . = =
1 'd+*d fll.
rn i F i ° ' -4*4 O' •
316
r r *f f rf
Perc. 1
327
Repeat continuously. Free tempo but moderately slow.
ca. 60 sec.
tom-tom
tubular bells
Indistinct toneless muttering. Prisoners gradually leave the stage. Lights fade into darkness
328
•r 1
$ — o o y- If-
1 \>ar Uo U"
^ ffjr — »
339
t-# 1 -f—r V r
L r - i | 19 " U 1 I
\
346
A \>&*
1 1 ;
l>o
1 I
Im r r . r ,
E- 1
i i r r [
j
|
— — ~
\p — = j — =
9) " = 1
361
hj 1 * f 4 F . ; H — — - = =
I I - = 3 r r r * r = l = FT . = = r f L Z~LJ f f - h d f#
= , = J
371
383
[Q — = , = \
¥
J 1 i J =; mP
* gipf* ^ i
mp
1
_=— =
" 4 ]
2 - i - | | i - i ; 1 # ' 1 1 1 ! 1
~j . 1 . 1 . ; _ 1 . 1 , 1 — 1 1 ' 1 '• 1 • 1 - 1
389
m
m Repeat continuously. Free tempo but moderately slow.
ca. 60 sec
tom-tom i snare
tubular bells.
A new day. Prisoners gradually come to the stage. Gradual increase of mutterin
m—
p r =
i
p r =
i
1
^ : i i ? PH ^
=
P A 4 .. -
. . . . ^
A* A I
j ? M
^ - n r ,i >' i I I ' **' 1
1 1
»r- r r 11- i
- r f *•: r 1- 1
- » r — r — i ! <• * m'
1 frf * .
-fp ^ r — r T
I T - 1 r r T P * 1 0- 0- f, 't ' ' '
^ r r p *
m ^
= f - r i p * |
• j»a »•••• !>• 0
_ ,*r , |J j j
i L u J L U !
m f u m j i — * , j ^
m m r n 1
LI. 1 4 * V
i , r n , m t i J . J J ? = 1 1- M I
V
1
i
U -so * oth - er d»y of noth - ing - new
t>> m • L . ' ^ *
A°V {• r j- —h» i + J »• f i- JIB!?, p» Lr—r— r i
|J> >. >. r >r fjf
*• i• t-
t- riff!..
} • » • » • |
L i - J
^ * * ' L-i-ilf g ? =£ 1 | | ITf
1
U £ £ — •
t # • » f . I > r f ~ f
h g g " g U £ £ — •
t # • » f . I > r f ~ f f r r f , » f . ! > » f " f ,
4 0 6 f f y i # j
I - * ' l
* r r '
f » • » • l J j l p I U .
- ' ' L - U V " I
|
|
j
f j t J j J > M . m = , i . r , m = = = = = i t ' r ijy H u • L r J J — | ±Z2—* 4 ^ + ^
m . . r ^ p — j i . i j n m r p j , l . n m m j = 3 e e = L(hi.• m.\. r- - i U
| i r r 3 | J * # L # i * ! # » « ; — » ' L , J " ' - J<- ' *
| 4 = -- * - —
1 —
o , m — F — r r T f T — h , ! ' i" i j , , i v — m i , m k , i — — m — h - i i i | . i — r > r — i — n r r ^ U J « _ J ) [ J ^ J U
as - o(h • er day of aoth • ing - oeti
j f f a U r ' r 1 V > r - V - r
\d .d d J ? .[,«i j' 1 J " W , V / E
an - och - er day of aoth - tag - ocu
U 0 0 U - , l>» 0
\ /0 0 0 j > i J r j - J * * *
an-ath-er day of noth - ing - aeu
^000—-—\r» a 0
\/0 J J u j > r J j t^J
aoth- ing a changed and there nev - er will
V • ' » > . . > • . r r
aa-oth-er day of noth - ing • MM an- o«h- er day of noth - tog - act* ao- olh- er day of nolh - ing - nes»
1 ' 1 1 P * ' i ' - H
noth-ing is changed and there aev - er will
f [ l - r p . V , - = r v y p \
h k - — * - = — • - £ — * * p *-*' h y if r r f P P = ^ — r — f * F f f f -fn—»r»» r » r r rr
# £ £ j T £
L > . r r . r r » w r r n r — r -
r ! — i v L k y - i
% e . i r g
1 • f f f r f
1 *1 I P 1 » ' I -
, t , , * * , , f r j , ff
I t r r r r >
= L i i P i r r u
% * r g
i . r r r r r r y n * — f =
I... v $ .„ • 1> f — y - | — 1 — I — 1 — > — j
-J * | - {—[ —LJ—L1 .... . | — I T 1 | 1 i — t ]•. L. 1— ^ ^ P * P * i 1 r - £ j
1 1 r 1 1
J ~ j r - = = j - J J i j " J ^ | :b
Sil
L U '
r r — f — - T P r r r \
f . r l r n
h r 1
> . > . J T U H T I
i T ^ H ? : ;
1 ^ 1 * M J
f h £ =
i a J T 3 t j J j j — — * ^ 4 > * —
V
* » * j
. r n , m r n j = F =
—£ £ *—Jg—I m 1 m—\-4
J T j J T g i j J J |
' * - 4 I f > I
-9
I — =
J f
JL \ r=^r^' * p r-v- r J j J h L .1 »• m J x F T i h L J t - m j -$ l 7 U ' L U 7
^ r - . T ' f ' r - f ' r ' 7 -
> # ....* . #. , ' UJ »• • d ? * •• •
t>» • • ..... [,-•• ^ j»# » —
b y m.:. * J •' t>J f J . g» ' »
an - olh - «r day of nxh - inf - aeu
l» f f . I . . . U f —
there » 00 dif-fer-eoce aa • olh - cr day of aolh • ing - nets an - oth - tr <Uy of noth - ing - MU
1 j I. . J S | 1 1 1
% g ^ % t % f £~Z 4, r I , p f f i r - f # —
^ , «• , f _ l » r • t r r , r f , I p P f
m > • i- i- t- rn rn —, \¥7~T t-hf-> ; r r-F-f—
i- I- - i- ! t t
Q * i» «, -->• >• — ^ = E E
• prrn t- 1 11 , 1 — |
J< J- J- j j
f p fi —t i j
; | I i ~ •
i i
r-ri .m .rm m r i r 1 p= -j
!
I I"7"1 FT1 Hp J—i—
j —
». ^|j * M S s = f = 9
1
§ -
u - mh - a day of noth - tog - KU
r , I.. _ . k. . noth- iog a changed ami there nev • er will
k. rlT ~ Ip p p- - " T _ per pel • u*l
. ,-p , W - . , ^ ? ^ - = a s p ., ..
h-ing » changed m DO dif-fer-c
J U - 1 iE j - i - I EEEEE^S
- • b t-j I»J !•« ^ V p, » s w = L - h r - - n • = i - I Jjgf== l>r J ) I, JgLH 1 [IM 1 p—i j/-i~ P i ^ 1 1 _J—1 1 ^ Y — J
• ^ l>* ^ \ r + M ^ +
i LJ-J . . L J ^rj~-L- • * > > f j f ^ _ Y * r *
I I I : V*- \ , m -m p j ^ !>*• _l»f» •» _ r i m ^ r
y f» r —. - [.„• .
Pen;. 2
jr
I *p
Free tempo. Moderately slow. Repeat continuously pausing after each sequence
441
(Comes shouting angrily as he blows the whistle for count)
446
Pcrc.2
Muttering
466
I —
- t —
• V * M f —
a '•• _ * ! • — -j |-4- T iiiimrt
»•
\-p— =
k J g !
\l - = = =
^ _ _ _ r
481
I !
, i _ j
f t " I- MR1 * ~1
1 -|
: M !
; M
pjM * ^T- I *P
t i i - t
ffl
= ^ J>
j" '
( H !•'*>? P »
*M b = = = i Jk-r-5—3
up ! V 7 * i ; J0ET
,j. ? 1
mp JJT
JJJ _
I - =
1 " V - 1
1 JJJ
i-f ;
i f f
4 ( 5 6 - ^ 7 * ^
1 2
*
— 1 Jff
ffi \
k t - t - i
Jff
- j s i . > •
l — 1 "P 1
hfr-j t ' =
L _ p ^ J J O T *
r - i ' *P
f f r l E * ! — -
> •' •• -»— j K f 1
1
mp |
S i — ? I ' —
w p • • j
l y j \ 1 •
Jff mp j I
mp JJT mp
j Jff
1 5 r
U — — — -
1 = 4
1 b H ; — F = i — i - r T ^ h . — f r - T — i — » — * — F = * — I 1 " 1 7 , E f r t ; you will be
1 f r " j * ^ L
my
r ^ T ? - J _ i ' r u u ^
on - ly if prov - en
p r _ f J • * i
guill - y
! T P 1
1
1 1 J 1 J h „ > re-i — —
mp
H M
' YI
T-riVrl H : i - f = ^ r
Jff'
mp 7 . . . . » * i > « ,E
U _ _ _ H
= : » - ^ J J = JJT
mp i Jff
mp JJT
491 7 I ~r~r
Perc.2
. , 3 , , , . i 3—1 1 3 1 ffi mf
1 i j r r ^ j rn rr-j
ii... :~~ Jm nf
^ m U 1 = = ^LjH Sr = If
ftf 7 ~ ^ ~ " 1 =
Tdl your
_ fit
M
VM
fit
M
VM
7 l a p
fit
M
VM
fit
M
VM
516
Perc.l
key ring
j N ? _ - • + - — h » . - » • = »
n **v ••• - * i - i • p - & • — •••* # ? 7 » i» <*'
M
p 0 ' - p 0 p f p p » » p » 0 y ^ —
ffi
b y — p ' ,
A 1 Ml "1
; sf
1
M J 0 T
til I fi - n*I - ly a - greed.
5 f l 3 1
I !
1 ^ - - i
i
J - i - . i
r - j
1
N _ i — i
J - Q . " J)
|$ " ^ t 1 t
1 ; u —
T n = = :
— —
RIY i ! r
^ 2
i j
= d
1 ?
r.'ff " .. 1 " , . H™""1 ....
T ~ ~ - i ' = = * i 1 U\ T 7 - r M f T
he did just what I did why am ac cued and not him'
\ l = | - — 1 - 1 - 1 - S B j g > 1 1 1 ' = 1
£ — - i - - i - r f — v — v , ^ = 2
^ — 1 L i j L-I -— * 7 JH ihat » the law he
L P . =
" F 1 1 1 i i
[»=-i n .
\ U : — u \
\y- _ ;
(IP . =•
V
n P, , ,
3
i
H 1 — F — * let there be ju» tice
1 ' 1 — —
np , ,
4 — i — f — • « let there be jut tice
, . r
r r r J ^ I
let there be jut • tice
let there be jut • Uce
let there be jut - tice
|» ^ • 0 * ^ f-
let there be jut Uce let there be JU» uce
he
who't go - lag to judge him now
O i ' ~ 1 " = = | - . | ~ | - 1
9 : 1 " • = i " 1 " 1 " 1
ac • ted in the name of the law. You are out of or - der' out of or - der-
I | y
r * i r -, j > > j
- f * • r — c =
, i > i _ = 9 i- 1 • J
I * ? J . 1 "j »
? * * ~ ? = flat f f d
r J J ) E 3 E $
I ' • *
- o ft.—
i r — J _ — • » [ • r * ~ T ~ = f =
. n . n . i . . - ^ = h i H - 1 " T i l r J J L _ L J ! 1 fab-ri-cal - cd the cnroe
2 - — i ; , 7 W * f j=t 1 J
^ \ \= like in the inqui - >i - tion
n n = v > 1 t — f - i . ^
in - qui • n - lion
r l . t .
or - der You're in con • tempi in ttMcourl of l>w
( f ^ r * - r i r f * - f — r | r * r r r * r - e — - 1 - • i —
i
r * r
1 1 . 1#;
^ p J*
J1 J f
r t r - , r if f prr-f - ^ r *
, T F~ r —
r — : r r r = i 11 - —
4 = = = , . , . i . i ,
one will per . Kh oh
^ — r - = - -
No'
bfc-7~ JV J — -! P P ~ r -p——|
i i i = y r
! * •
J * — ^ J L _
t*-
•3—h
H t t _*£ g £
—d aI
f $r
566
p i
boun - leu good - nets to all to all When you lace track of
u ..r""• r F • 1 - -1
«T
'>• r f f l = = 1
N 1 "
f r r e If * A — r = =
576
'p nJ i J I T J y P God's pur pose in lire you wc - cumb to e • vil
* ** f ES Jf I f j f .
-*r * = =
S i
586
Perc. I
rUj-fc l y — » • j = n , p r ^JV=1
" f r 1 ! i
i"<V "L. : j j
fy- ~
i — — |
\l J #
l_I 1
m m m • $ " — = — '
if
•_! 1
—e> P : r
r f r
t=t r
FF— r t
*)* P. 1 1 . "" /,'ff , 11
"1 1 1 1
^ = = f = = ^ ^ EE!
* t|* 8|» r * - f - =
t." 1 . .1 . rrz:
f f ' r f r = = =
Perc.2
» r r r — i
i j j — j
rnr — « r — : »
r =
•0 * y
r r — f ~ - =
f r
_j. J.
j
1 ' r . _*_ * m
4 - i - i j • i - n m
^ - . . 1 E E S — | = 1 _ • 1
|»""°T.^s J | J ~ _ f T r r - * - — 1
your way
jjp | ~ '
7 b.. !l> ^ ^ p
God'f
P » —
^ f * gin or
a J
love it for
| j f = g = : V- ^ 4 1 4 . — ' •
1
606
W " l
fl 1 1
!
^ — . • = 1
611
h p
• i*r 1 1 r "' i 1
4 ~ = \» J - i
? — f J = j
f f • • • 1
" t ]p T J
1
y i
- P 1 the pur po*e
p T " r the pur poK
of ere
of ere
I f
* V * t * —
bound lew
a tion lew
y i
* if * r » ,
of ere
of ere
I f j . . t r ~ ^
u-
g 1* ft-g' f »f r
626
Repeat continuously. Free tempo but moderately slow
ca. 60 sec.
shackles w. block
Perc. 1
641 | ~
& = = = = = ^ , I l. •• L f — f 1 'ft =
ty, ^ J
^ u r ^ r _ j 'i r # * J3*
i t i
J ~ i h - H P —
-«! : •
-j-jt j f
£ k#
"f
M nit- * J S*
Q .... _ . —
? * *1zS 1
"* sfc :
P 7
j
Si f 1 j — 1 - • > fa- ^
T 1 ~ 1
- j — 4 — f t i —
i
* j J1]"] _ i
n u l f ~ f
, t fj.
* r
i i ; |
r — ^ — — 1 ' =
_i _ £ — L n y « - =
^ • -V^5 1
^ 6 t t 4 | j A | j . # tnm . ^ ffgj,, \,M
Fl.
^ 6 t t
v t ! 3
Ob. 9 p— y
• • • — ! «u « I
_1
a. lf f r r~jf i 1
f ^ 1 Bsn.
r ~ n
I p u -
5 B , > s-* f — —
•4,:—11 ? = T"P? * :
5 ;fi w > -• '
18-31 J, : = ^
[4 V I *
:5 , |* , i >.-, , ••——:; 11
jp<r j j y -4 V ?•? • ' :
-HP, i t - a,J - ? FKTl1"-'- - • — Hh p :' * : -EEr— , __
5 • -|f • •*« * —•
l y • *
-5 -p. *. >
: jba- 1 11 1 1 1 ~r
[4 y " f 5__: 1 is p u - ;
Ci r —
^ r = r = = E j
14 p 7 ? * r~
r j r T - t - ^ = ^ = : =g
,,#*f prE — - p ppr - , „ r r f f f . — ..ffrFF
117 » _,rrf» * _»^rft * " ^ _ 7 _ ^
p * * r r r r r t? * r r r r r n * ^ J 7 ^TFP _ — '-rnjr j
rrTTm i—<—• . ;""RL TRg t f * m w J j — J»J4
*
= ^ f l
( ± — r . r r f f f
1 7 > ,*»fft t „ . r r j.V | 1 . ^Lit-gj-, 1 |J7P^i. f , flJTTV . h* 1* F *, -fr —r fP f f f f 3 i f f r f l j ] [B . 1 7 1 1 7..., 1
1 ' ''' '
4 [ -11
=5
6 7 6 t f f i
^ , | 1 1
, L ~ J ~
_ j
1 v > n n ^ y j i J J * J J 1
| ! !
i
n J J T ^ ^ t ^ -
^ y 7
•#
-*••#'- •"[ - ^ * *• —— — :
- > ^ • • L L L | • * « « - ~ ~ 1
^ _ j P ! - — — — 1 -* 1
3 * «f > " > "" d ^ L ^ L L L - "• = 3 g 7 * 3 g 7 * * :
m
681
I * I I
J i X_—^ $ 1,1 v.1,:1 1
- - — 1 [ I 8 —
f f E = I
P 7 7 P 1
» Tf 7 » |
— V
•9 u t = r — - -v—-—-—P—?
w
i = F — 7 T 1
: i
686 ^
* J T r r p i 1 ^
— i > 1 ST\
\-hJT?1 - -Nrii* f f t [T '" • * *7 • »
P ^ L-J" 7 P * 1 7 J J J J|J J
rs- j ' • L - J - f r - i—i—fr~> N - - h i . |<J' 7 7 d! f
1 , ! i , 1 3 1 b T T J> * ff 7 7 fl » = =
'J) 7 7 J) ? = « 7 f * » =
j J J I*1 L _ Z 3
[> 1 1 ? > 1 ~ -V— !
V V ! ^ M—1— — H
Repeat continuously but moderately slow
ca. 60 sec
shackles w.block
kev ring
<U 1 f f
snare
Perc. 2
M
J j J U J
716 * *~~~ [
P " ' " " & 7 T \
3" »p
fe f—j •
y j T i ^ '
|p#
—1 1"—N-r-
l*""* \>ST •
mprz^^—,
; «P - < !
j ^ A , * r — j 4 " ' - ' 1 r f I 1
, , | f
mp
m r ^ <rr
* * t * * H i r f ! r r j * =
i ' f ' 8 8 1 1 1- —J *
mp
»P
f~fl -p a
»» i — i — — mp
m _ i — - —
.. t- i
! | l f l i? {' t- = r = mp
mp
,, , 7 j j
n j $ j f V i t i
4 ! i ' V r
j rt, t M i>» r r ^ * f i — t —
i:'t JT-{ . r 1 t m 4 L - t *
mp " " 4 - " *• * 'fi»Z i \ > >
w, l i t
mp! ^ ^ T J l O ^ J — J ± 1 — ?
mp ' f 1 * '
mp
. T ~ T r
mf
tr tr tr tr
r 5 5 7 5 7 L f 5
J * 1 —
f 5 5 5 1 / 5
^ * 1 ^
T 5 5 7 5 7 5 -
L i — r : .1
', T '. t*i l*J 5 ' f j * fi ...zrrrr:
730
Repeat continuously. Free tempo but moderately slow
ca. 60 sec:
tom-tom snare
731 'n~. > m h - j t • — * — J S c ;
I; 11 v V- r r r 4 .._ _ = = N _l f > g r , , =
\V . 1
N 1 > dff-$— <5""' 1 4 =
—4 J N J 4 j1! , . ( f V f c l r = = j) » — r ^ f -1§>H'8 + d *—d 1 — w i * y = = J r ? y
I picc. l * g f
improv. ends
7 bass drum
741
i 1
• 1
® i * " T T i \ * "
i-fl | | j i • { |
r^-r-T r r r i— keyring
r { l '? = ! i -
* =
1 • E ^ S f t I i
: f = i
r-fr- - ==j
i = i
- f 1
i - =
ft —
L_ r ftf ..
746 rig - =f
^ f: * jlTc l<§
11 -1 * ;
§ =1 h0 =
J
J E — fS=
* j j ' I ?
f, rp re=g
rbf —- — M—....| }• - 4— 1 =$=. $ t^U |j—3LJ j j J J J J = r pi* r f Nf
r . v
mp
' ' J *1 * *H =
1* - ^ h f z — r - T J. m*
n ^ n - f F ^ i T * - r • . .. i t * - r
T | J I S L
V I : J*+ ' ) * ~
f "TV>- r
i i
' ' ' ' 1* L—| •• - i ! 1
tefc— •_ i 1 1 | ! 1 1 • f t 1
lj> - = 7=t=i—r=«^ ••• t. t. | i 1 i ""i—
T hr !
% — !
\a g • r r *r r r "r ^ '
W -J J- -a ' * 0 *• 1 # ^ ' *• ' i J 1
p 1 ,
~ r r r r r r
!
fh= | — =
i f - , 1 ^ _ = = ] •J & 1r6 ^
j „ f ^
• ill lihUl "H. i j J j
l i t I | J J I 3 =
? r ^ r i y ~
7 ~ T ~ j T ~ ~ J " ~ ]
T
J — =
ft* • „ ; • i
^ t A p r i» f \ \ ~
. * . # w w , # g
r .. * - p f V "
!
i
— * — j M — » ^ < H — r * $* J . ^
* F J * •••• m l ^ : y r ' r w '•• r ••—•— > ^ ^ r i i ' i i
i- Q A
i = = i r r r r i r =
• "..1 •." ,M n_i w f f i i —
=3
b ^ s
F# - *
l r r ,
from w - ndc each of
9 1 ! - 1 " 1 —~ j - • 1 - zrzrrrj
tT
- g - f " 7 . F r P ~ r !
l » i r ip r p r f ' p
^ 1 1 M '.j ". 1 -••/•••• • 1
J. J U =
\±- n i = f = , f ! > ; ~ ~ ~
r§ i i 1 n
L > r m .. > r r ^ - p ' ~~~ 1
j ' ' —
i , [»ts: ^
! f * 1-
i
f r r c . . '
[ " =
^ J ' ' _f i_ p -v
Pen:. 2
781 ess u31
' y - - - t*1 * I* - I"-'-
|
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1
-• • - ...*4* | J J
* L i -°
i j
- N * n i t ^
5 * PP'V
r - !
I
rtt J ?.:»...: , J J '..» J
$ 1_! " 1 —• r UJ
! P* *- i
f r - y - r r ^ n -
^ » L
r7 8 6 J p S b g p g _ r _ l | J
ft , , , ft ' ! i
1 $ i
j
p _ p _ J — ^ — I ? 4 ^ — t — ^ • " P * 1 J - 7 d = 1 J f c — ^ — u — u L " -
fr * V^== • V * P P * ~ 1 = = ' P ? ' P ' £ f :
[ j ^ I ^ " j 7 J ^ j * Ji i j , L J J # » U c j ; • » « * | f " f r g " # ^ : : = f ^
1
[ j
(£, - = i w
1 f » • • -
j — • • • - " • " "
~1 y i i i ' i — t
do your time you mist pay your due. you mux pay your
- y ~ - 1 — i " 1 " | — = - • z j
? 1 " i 1 " 4 — • g
< S >
i
v T v r n p t P P ' I
806
811
fi-4-
- i . 7 ~ : ~ i
1
1 „ —1 [ 4 -s -
- ? — ? f ^ — V V r = — 1 HP |~IV ,
^ J w y—1r» f f " | * »
J 1
r — 1 •> * v * J ^ 1 •>
r p m "' -•' # m ' a a -i r r r r r r
ca. 60
lom-iom snare
vibraphone
831
fetZT - E ! 1
FT=
r 1
1
^ i i
f 1 * 1 — -j i
i 1
f f — : I
! 1 ^r_. — —
i
-
—
- j - I - " | * | = |
-91 - | - | - ~| - | 1
I • ! = - | - | . | . = »
¥ — 1 — 1 i i =d
A - ; - 1 " - | 1 = u ¥ 1 1 1 1 1
f~$= i j ° h*' \r~ f$ = = — ^ i 1 :
.f f = "n k- ttno
i 1 :
.f f = "n " U
t\,
-i&~- I :
i
r f v : 1 J r h • r r r J - =
i
re
i i
U > ;
b = = — ly =
JSf — j
L f S — — ,
H " I r a 1
i f ^
U : : 1 o
B g = —
^ = = E S 5 i i • h t u
j > _ Z |
• ' 1 - " I I
lv" , , ;:v v . 1 • • •
i t T
h
F t
t " ~ % :
\ j 14 =
j
- j \ ~ . h I 1 f > f ' i 'Th -y r 1 _ _ " * * •[ - 11 1 1
be - gin - ning to feel
I - I 1 - 1 - | • = , h I = I I T =
J • ; | • I • , . = = •
f # = ! ' 1 ' - = l
L - - : 1- ' ! - = 1 - i - — d
^ 1>Q
0 p.
0 \>0 ,0
I O
L - . -m"
!
1 ^
0
0
>41
1 • : j b . - •: 1 » - 0
i ? -
1
846
t - h c T ^ H i i ' i r ^ T T ^ r J » i $ , p ^ P z a 1 — F ^ - . ^ j [ j ? — . = ± * r
« last
5 — ^
t»o
ft==
— > — 1 I " P i r
1 5 — ^
t»o
ft== ' T r
i
864
£ t tf-
a
\>Ol
A
868
\1 - =
P ? : '
ye*™ two yews
~gti = = . | - —-\ - j " | " | • • - |
9'' m - — ~ | - ~ 1
«T
hi [ f \§ =
I -j ? W ~ —
- v !
- • i
*
l . = !
i
i
|
886
Repeat continuously. Free tempo but moderately slow.
ca. 60sescr
tom-tom snare
vibraphone
887
W -
i) S - sssss 1
ia« ••> » - - ' ~
\Pl — "
Pen:. 2
,
- y " 1 " : = 1 ~ 1 • " 1 ' " = |
| —- - | - | - | ^
^ T= MM bleu cd an
i _ ^ 5 » _ p
^ p..-:: :::: : f :: : !————H \~Jtp- w — . j t
\ l r r r ! 1 !
U i - -4— i
re r r r }• "w • -m - M- i r r r _ 4
1 ,
f r r = — p j
r r ~r—==
you Mai
i'
Vn I — r f , — r j Y y — ryj^r-f-h- T . t -i
Vn 11 j r Va
Vc.
^ I — m tp-
DB. r
901
* jr-.— Jt J = f r =
I f r r = g -4 J z= J — W~f = " * :
hnrf -f4 :
-V It* : • |
b?
• • ft
*f f »r r --J i — •• 1 --
£ T = J
|*f f *r r _ *— i L I M ! 1
911
r ? t
1 i i
i !
! _
j
! I 1
i _
i
^ • " | | ' ~ 1 - - •• 1 • |
~ 1 : : : = | • ~ | • " * rrmzrj
4- =^= i - - — 1 i • = i ,
$£=====
the pur pose Of Cfc
, |f ^
• tion for the
? r r r ;
! 1 J J J — "
^ ^ f EE r *r r ^ - » ffr - j
1 — f - - r *T r tor-
...i - *" •
J ; 'f •• 1 1 I
L r . r - r - j F = p = = 4 f - $F= .. * • •
u t r
« . . . ) =
i - • * p — j T r
916
{' - j
, I -I* , T *
l»r p f —-T
h p : 1 r r i^=~ ~ n — z =
^ — » • — * — 4 f 'r i*-
[" ^ e e e
ip*- -If a
931
|4
i i
- ••• i ! i rc
i
' yr r —-
ft
9* .. 1 - . • • '
i . = ik g—r •j f§
i i !
r » 1 —
$ • yr r f 1
L " 1 i i
* P — ri i P ft- if ^ #
L_
-p »f If i * *T tr r # r »r -
Perc.2
r P
^ — - ^ E = i
\± J H E , — & 0 o "' p : r
- p - f r « f
7 r
-e> jt
r r
- r r
r r
_ p _ *
- r r
O 1 ' ,p '• ,'" , ; I f , :, - , — r
i , . i i • 1
1 = 1 = 3
_£ ± 0. , _ # ? #
p r r i
946
Perc. 1
p«r 1
the pur pme
ft If" "ft I - D ^ i1?'
p i 1 I
| d * r r = t p — |
f j r r : ft =J m c 0 0 » -1 1 1 __J 1 Li r — | J J j
$ R = - = 1 ft r l>ft r r f = t | ^ _
? r r i t ; J j - j
I r •<J m • • d..:
|XL ! = £ =
,tJ .J - i -
pmm £=iL 1'r r
I am de teal mji the bcatt I wn
L}1 j — ^ . 1 " 1 " | : " 1
9 * = - l — 1 - ! ' ~ |
all u your
rf j fcp —
m—=*—F—^
. .yjjjO * - T = •r —
- J u J j J J =
- = i - -==== >p- r =====
j • IJ | ~ j J
Pen:. 1
Pens. 2
ifT~" rn 3= rn
986
991
l l »p I ^ »f i f
i . , j !
1 f -F F H i 1
S — - | j j j ^ j J J ^ J # ^ f 3 a J 1 a '
1QQ1 m m ^ >m M M m m M * m m m
-1 i-