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TILL MILLENNIAL KINGDOM: A COMPOSITION FOR TRUMPET, THREE
PERCUSSIONISTS, AND TAPE
Jermaine Edward Stegall, B.M.
Thesis Prepared for the Degree of
MASTER OF MUSIC
UNIVERSITY OF NORTH TEXAS
August 2003
APPROVED: Cindy McTee, Major Professor Clay Couturiaux, Minor Professor Joseph Klein, Committee Member and Chair of the
Division of Composition James Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse
School of Graduate Studies
Stegall, Jermaine Edward, Till Millennial Kingdom: A Composition for Trumpet,
Three Percussionists, and Tape. Master of Music (Composition), August, 2003, 39 pp.,
music score 26 pp., bibliography, 17 titles.
Till Millennial Kingdom is a single-movement composition, eleven minutes in
length, combining a trumpet, three percussionists, and tape. Throughout this text, use of
the word “tape” will refer to pre-recorded audio on compact disk. This is also a
programmatic composition, in that it uses music to depict a non-musical event. The form
and instrumentation of Till Millennial Kingdom create a musical depiction of natural and
supernatural events as they relate to biblical prophecy.
The trumpet makes a significant thematic contribution throughout the work and
particularly during the end of the piece. The use of percussion provides an element of
rhythmic agitation, and the tape part provides a musical canvas upon which all sonic
elements of the work are arranged. The combination of percussion and electro-acoustic
gestures represents the programmatic concept of wrath and tribulation. Ironically, the
closing stages of this work musically represent the beginning of eternity.
TABLE OF CONTENTS
PART 1: Musical Analysis Page
OUTLINE OF COMPOSITION (PROGRAMMATIC ELEMENT)…….1
MELODIC AND HARMONIC MAKE-UP……………………………...4
COMPOSITIONAL PROCESS………………………..............................8
THE OVERALL FORM…………………………………………………13
NOTATION AND THE SCORE………………………………………...19
HISTORICAL CONTEXT.………………………………………………21
BIBLIOGRAPHY……………………………………………….…….….25 PART 2: The Score……………………………………………………………….27
1
OUTLINE OF COMPOSITION (PROGRAMMATIC ELEMENT)
Till Millennial Kingdom is an eleven minute, single-movement composition,
combining trumpet, three percussionists, and tape. Throughout this text, use of the word
“tape” will refer to pre-recorded audio on compact disk. This work involves
conventional acoustic instrumental performance as well as recorded sounds processed by
electronic equipment. The trumpet part of Till Millennial Kingdom contains elements of
improvisation and development of a thematic motive. The tape includes shouting,
preaching, and electronically processed sounds. The percussion parts include irregular
rhythms, improvisation and traditional applications. Throughout the entire work, all
instruments are treated with equal relevance.
Till Millennial Kingdom can be appropriately labeled as program music in that it
is an attempt to create a musical depiction of a non-musical idea. The title of the piece
bears a direct relation to its programmatic content. Extra-musical ideas are derived from
biblical prophecy, which states that the church age we live in will culminate in a series of
supernatural events. Events of apocalyptic prophecy include a sudden rapture of people
out of this world (in which Christians are unexpectedly removed from earth to meet Jesus
Christ in the air), a seven-year period of great tribulation, and Jesus Christ’s return to
earth to reign for one thousand years. This thousand-year reign is the millennial kingdom
to which the title refers. The form, instrumentation and musical content of Till Millennial
Kingdom create a musical depiction of natural and supernatural events as they relate to
these prophesied events.
The methodical integration of the acoustic instruments with the tape part
strengthens the foundation of the composition. Percussion instruments used to represent
2
the apocalyptic nature of this work include xylophone, glass chimes, bass drums, crotales,
suspended cymbals, tam-tams, metal pans, tom-toms, triangle, sizzle cymbal, chimes, and
glockenspiel. The organic quality of the music is enhanced by conversational interaction
between the tape part and the acoustic instruments.
The performance venue of this work will be enhanced if the seats are arranged in
a congregational manner, which is to say in parallel rows to simulate a church setting.
The opening minutes of the work give a sonic realization of entering and participating in
a live church service. The presentation of sounds that resemble a church service,
combined with suggested congregational seating, contributes to an effective environment
in which to musically depict the rapture. Furthermore, speakers should be placed evenly
throughout the performance space to provide enhancement of aural relationships that will
contribute to a better sonic portrayal of a church congregation. Although this is a stereo
work, a circular arrangement of several speakers will enhance the effect of the pre-
recorded audio.
Till Millennial Kingdom can be best described as a through-composed
composition with thematic development. The structure of the work is based primarily on
programmatic relationships to biblical prophecy. The text in the tape part does not
appear merely as a sound source to be developed, but it also aids the establishment of a
conversational atmosphere. The recorded text includes a reading of verses from the Bible
used in conjunction with musical illustrations. The aural transition from a church
congregation atmosphere to a landscape of synthesized and processed sounds corresponds
to the programmatic depiction of the rapture. All dialogue in the tape part is directly
related to the program and contributes to the cohesiveness of the work. In Till Millennial
3
Kingdom, the recorded speech often describes that which is musically illustrated. As
processed sound files are gradually introduced, a sense of supernatural presence and
otherworldliness is developed and enhanced through timbral exploration.
Program music can be thought of as music that creates a sonic depiction of a non-
musical event. Program music was one of the most prevalent forms of music
composition of the 19th century Romantic period1. The three main structural techniques
associated with writing programmatic music include the expressive, depictive, and
narrative approaches. The expressive approach to writing program music involves
carefully sustaining one or many moods within a work. The depictive approach to
writing program music involves an element of non-musical representation, such as
imitating the sound of water, and can be found prominently in the tape part of Till
Millennial Kingdom. The narrative approach to writing program music involves basing
the character of the work entirely on its underlying subject.
Till Millennial Kingdom includes the narrative, and to a lesser degree, the
depictive method of programmatic writing. It is commonly thought that the narrative
approach to composing is the most controversial for reasons of coherence, but I view this
as a challenge to be overcome by meticulous organization. Till Millennial Kingdom
makes use of many detailed elements while retaining the intended coherence. In a later
discussion of form, depictive and narrative approaches to the structure of Till Millennial
Kingdom will be explained. Additional elements of construction concerning the overall
form also will be examined during forthcoming chapters.
1 Don Michael Randal, The New Harvard Dictionary of Music, (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1996), p. 656.
4
MELODIC AND HARMONIC MAKE-UP
The primary source of harmonic motion comes from a shifting pattern of note
cells. The term “cell” will be used throughout this text to refer to the pitches upon which
the harmonies and melodies of a particular section of the work are based. The melody is
stated prominently in the trumpet, but all components of the work occasionally assume
both leading and supporting roles. The initial statement of the focal melodic figure of the
work appears in measure nine of the trumpet part (Example 1).
Example 1- Focal melodic figure as initially stated by the trumpet.
This thematic figure periodically appears in fragmented and embellished forms and
contains pitches related directly to this section of the work. The pitches stated are part of
a five-note cell consisting of C, F, G, Ab, and Bb. As the crotales and vibraphone begin
to improvise on this cell, the additional pitch of Eb is introduced in measure twelve. The
second pitch cell, appearing in measure seventeen, consists of the notes C, C#, D, F, F#
and B. The use of collections of pitches throughout Till Millennial Kingdom is inspired
by the improvisatory convention of jazz chord usage, as most jazz works that call for
improvisation provide the parameters of chords, scales, and tonal relationships.
The first pitch cell is used to establish consonant harmony in association with
5
optimism. Conversely, the purpose of the second pitch cell is to provide a dissonant
contrast in association with obscurity. This contrast is one that promotes the release of
harmonic and rhythmic tension as a major developmental feature. The third pitch cell is
introduced in measure 63. This cell, consisting of the notes Ab, Bb, Db, Eb, and E, is
used briefly but serves as a basis of notes from which to improvise. Measure 63 marks
the use of a dissonant pitch cell in the first of three major developments of tension and
consequent release. The release of this tension occurs in measure 65 with the initiation of
section D along with the restoration of tempo. The fourth pitch cell, consisting of D, Eb,
G, A, and Bb, is introduced in measure 96. The release of tension in this case, occurs in
measure 98 with the commencement of section E. The use of tension, release of tension,
and establishment of consonant harmony, increases the dramatic effect and help shape the
work.
The final development of tension begins in measure 113. In this case, tension is
created by the establishment of a lively tempo and is fully released in measure 164 as a
result of the sudden deceleration of the tempo and the establishment of consonant
harmony. The enhancement of tension between measures 113 and 155 is also promoted
by the use of fully diminished scales built on F, Bb, and ultimately, Eb.
No single pitch cell is reiterated extensively throughout the work, but the melodic
figure stated in the first pitch cell provides a link to the final harmonic statement. The
shared pitches of the concluding harmony in the original motive found in pitch cell one
are C, Bb, G, and F. Transposed fragments of this motive are stated between measures
155 and 170 (Example 2)
6
.
Example 2- Penultimate trumpet statement of unifying motive in fragmented form.
Example 3- Final trumpet statements of unifying motive.
Till Millennial Kingdom concludes with an unsettling harmony, which ironically
represents the programmatic element of the beginning of eternity. The final harmonic
scheme of C major over an inverted Bb major chord emerges from measure 157 and
extends throughout the remainder of the work. This particular harmony is used because
of its unresolved sonority.
Initially, the trumpet part was conceived to exist as pre-recorded audio. Later, it
was decided that the trumpet part needed to be performed live. Throughout the work, the
major role of the trumpet part is to prominently introduce melodic gestures, though
constant fanfare-like writing for the trumpet would probably make the part uninteresting.
By varying the role of the trumpet, however, interest is maintained. The trumpet part was
enhanced by the creation of opportunities to portray a background role and to provide the
most significant thematic material of the piece. For example, the use of sustained notes
7
during section C allows the trumpet to play an accompanying role. This section also
provides the trumpet player with some rest in the midst of demanding and virtuosic
passages. Another aspect of the trumpet part is the use of improvisation. Development
of the thematic material presented by the trumpet promotes elements of contrast, dense
combinations of instruments, and varying degrees of intensity throughout the work. The
constant shifting of roles by all members of the ensemble, from foreground to
background, enhances interest for the listener. Writing for this collective ensemble in a
way that enables it to present unique and surprising material was a constant challenge.
8
COMPOSITIONAL PROCESS
While composing Till Millennial Kingdom, many of the orchestrations related to
the program came about more naturally than others. The original concept for this work
was for computer music alone: a stereo recording on compact disk. As the ideas evolved
and the musical concept became more complex, a mixed ensemble seemed more
practical. The use of percussion provides rhythmic excitement as well as tension. The
notion of using trumpet was a direct relation to the programmatic aesthetics: it is noted in
biblical scriptures that the initiation of the supernatural event known as the rapture will be
accompanied by the sounding of a trumpet. In writing for solo trumpet, careful
precautions were taken to compose material worthy of development and to utilize the
idiomatic qualities of the trumpet. Efficiency was achieved with a certain level of
thoughtful labor in the trumpet writing. The inflexible parameters of the range and the
difficulty of executing chromatic passages were part of the ongoing challenges in writing
for this instrument.
This work was composed in a linear fashion. The first two-minute-and-forty-
three-second section of the piece is an introduction to the subject of the composition for
tape alone. The sonic portrayal of an animated church service introduces a unique sound
environment to manipulate. The gradual introduction of acoustic instruments supports
the aesthetic of a smooth transition from one sonic environment to another. The original
sound sources become unrecognizable as the electronic sounds are developed
thematically and the work evolves . The evolution of the electronic sounds in the work is
noticeably present, but is not excessive. Methods for the manipulation of sound sources
in this piece included time stretching, pitch bending, reverberation, sound convolution,
9
and amalgamation. The tape part is assigned to the roles of both foreground and
background, as the desire to emphasize the shape of the work is fulfilled.
The rhythm of the text is carefully considered when determining tempo. The
attention paid to the rhythm of the spoken dialogue found in the tape part also improved
the likelihood of fully achieved synchronization as shown in Example 4.
Example 4- Mapping of speech rhythms.
Till Millennial Kingdom contains conversational activity between the acoustic
instruments and the tape. As a result of personal experiences, the manner in which Till
Millennial Kingdom was dictated and unified included a considerable amount of variance.
During the construction of the piece, ideas were orchestrated carefully to enhance the
composition’s organic quality. In measure 119 the trumpet begins frequent continuation
of melodic lines initiated by other instruments. Delineation of the rhythmic aspects
before anything else in the work was also useful. The ability to compose driving
rhythmic activity prior to the consideration of pitch content was of great value,
particularly during the concluding section of the work. A number of rhythms were
composed before the pitches in order to sustain fluidity during the composition of this
work. Musical dialogue was carefully interwoven within many symbolic passages of the
work. Also, freehand drawings were composed into the tape part of the score before
10
development of corresponding sounds. The graphics were used to visually stimulate the
compositional aspect of Till Millennial Kingdom in a general way.
Stable tempos are often supportive in synchronizing all elements of this
composition. Establishment of these tempos was achieved with minimal difficulty.
Careful placement of short sound samples at recurring intervals of time helps define the
pulse. Once a recurring pulse is achieved, subdivision and anticipation of pulse in the
tape part also becomes easier. The increased level of activity in the tape part, promotes
the energy and the level of intricacy in the work. The ability to derive tempos from the
tape part was also helpful in the creation of aural cues for the conductor. During the
compositional process, the need for a conductor’s display of visual synchronization cues
was also taken into account by including rhythmic cues in the score.
Genuine realization of the work required sampling of very distinctive sound
sources to be processed carefully so as to retain familiarity. Till Millennial Kingdom
contains a variety of timbral combinations. Percussion passages are continually
integrated with tape sounds of electronically processed bass drums, crotales, and
xylophone samples to complement the live instruments.
I originally felt apprehensive about the amplification of the entire ensemble, but
ultimately decided that it would provide timbral consistency. The amplification of all
instruments used in an electronic environment promotes a more coherent sound palette.
Attention paid to the amplification also makes an environment more optimal for
recording. Amplification of the percussion instruments in this work is minimal, and there
is a modest amount of reverberation provided for the trumpet through live sound
processing.
11
Some improvements for achieving an intensified dynamic range throughout the
piece came in the late stages of composition. Several tom-tom passages appear in the
work between measures 98 and 113. These first few measures of this closing section
contain rhythmic energy that propels the work to its end. Because the sound of tom-toms
has such a naturally strong presence, the dynamic range of these measures was reduced.
Activity is still high in these measures while the dynamic level remains low. This late
modification magnified the shape of the overall dynamic shape of the work. When
working on large-scale works, it is helpful to amend dynamics as they pertain to sections.
The varied use of dynamics in this work heightens anticipation of the conclusion and
alleviates predictability.
The ability to achieve seamless synchronization between an unregulated stream of
audio and the live performers in this work was a challenge of particular concern. The
successful integration of these two mediums came about through consideration of aural
synchronization cues. All cues in the tape part are consistently characteristic of the
surrounding music. Till Millennial Kingdom requires that the performers remain alert at
all times. Clarity in the aural cues is intended to assist the conductor as well as the
performers. The consistent use of closely related timbres also encourages coherence of
sounds present in the work.
The aforementioned parameters of the work are presented in order to enhance the
quality of the work, as well as increase the probability of its unified performance. The
use of an independent element such as an inflexible audio source increases the risk
involved in synchronization and requires a more intricate coordination of the elements As
a result of this integration of live and fixed elements, it was necessary to meticulously
12
work out the details in the composition of Till Millennial Kingdom.
13
THE OVERALL FORM
Though Till Millennial Kingdom uses music to represent non-musical events,
percussive and electro-acoustic gestures coincide to represent the concepts of wrath and
tribulation, and to facilitate its organic integration. The tape begins the piece and extends
throughout the entire work. Major divisions of the piece can be broken down into five
main sections and are marked by letters A through E. Each of these sections outlines a
different programmatic concept. The purpose of section A in Till Millennial Kingdom is
to suggest a conversational environment. The first two minutes and forty-three seconds
of the work contains crowd noises to aurally portray an energetic church congregation.
The conversational environment is realized in the tape part only. The program inspired
this unique approach to the use of media. The gradual integration of acoustic instruments
corresponds to the idea of transformation. This alteration of contrasting aural sonorities
also represents the idea of extreme transition from one state of being to another.
The predetermined outline of the work suggests rapture-like sounds in the
beginning of section B and is marked by the foremost melodic statement made by the
trumpet2. Electronically processed sounds are heard in the tape part of section B and
represent supernatural motion. This musical depiction of the rapture occurs 2’43” into
the work. The result of the first attempt to musically represent the rapture included an
abrupt change in texture in which the two major sonic palettes (musical content appearing
before and after 2’43”) were juxtaposed. The piece was originally arranged in this way
for programmatic reasons: the imitation of a sonic event taking place in a time span that
resembles the “twinkling of an eye” was part of the early aesthetic. The subsequent
2 Rapture-like sounds refers to the sound of rocks being shuffled in the tape part.
14
alteration at the beginning of section B made the transition from one sonic landscape to
the next smoother. Original timings were ultimately preserved, though the abruptness of
this sonic transformation changed.
Measure 30 marks the beginning of section C which extends through measure 64.
Measure C commences with a sonic portrayal of the opening of seven seals (heard as
spoken text of the tape part) and a representation of wrath-like "trumpet judgments" of
great tribulation3. The sounds of seals being opened precede the resultant judgment-
inspired sounds of a more agile and vigorous nature. Judgment-inspired sounds are
represented by flutter-tonguing of the trumpet and irregular rhythms in the percussion.
The use of triplets is also incorporated into the symbolic representation of trumpet
judgments. A clear example of this occurs as a simple embellishment of the main
thematic statement, and can be found in measure 37 (Example 5).
Example 5- Trumpet statement sonically representing “trumpet judgments.”
Measure 53 of section C introduces a brief sonic portrayal of “bowl judgments” referred
to in the Bible. These bowl judgments are represented by processed and unprocessed
chiming of bowls heard in the tape part. The sonic depiction of “trumpet judgments”
ultimately concludes in measure 64 with a resultant build up of tension for approximately
thirty seconds. This tension includes chaotic improvisation and the presentation of the
3 The Bible, the book of Revelations.
15
third pitch cell referred to earlier.
Example 6- Third pitch cell (“tension cell”)..
The initiation of section D occurs in measure 65. This section is marked with the
release of tension created during the fermata which lasts approximately thirty-three
seconds and includes a re-establishment of tempo. Section D deals primarily with the
development of beast-like sounds heard in the tape and also are portrayed in the
percussion. Electronically processed sounds of a meowing cat combined with the sound
of a roaring lion are in the tape part during this section. These beast-like sounds
represent the programmatic idea of a beast prophesied to rise out of the sea. This section
16
also brings about additional development of the main trumpet motive. This motive is
stated throughout all instruments of the group. Section E is the final formal section of the
work, throughout which the concluding ideas are established. The main goal of the
section is to use the percussion to execute agile rhythmic passages and convey an organic
sense of time. This is represented by the use of chaotic and irregular combinations of
rhythm throughout the percussion (Examples 7 and 8).
Example 7- Display of irregular rhythms used in programmatic representation of
“tribulation”.
Example 8- Additional display of chaotic rhythms.
Synchronization of these disjunctive rhythms is facilitated by placement of a quarter note
pulse in the tape part. The use of disjunctive rhythms in this section provides the
17
suggestion of destructive activity and also represents elements of “great tribulation.”
Additionally, during the conclusion of the final section, the second rhythmic motive
appears in measure 124. This new rhythmic motive is introduced to utilize the mallet
instruments for their ability to display rhythmic and harmonic agility (Example 9).
Example 9- The second thematic motive appearing in varying mallet instruments.
This seven-note rhythmic gesture is used in conjunction with diminished harmony to
facilitate an equal distribution of interesting parts throughout the entire ensemble. After
its introduction, this subsequent rhythmic gesture is displayed in various forms
throughout the remainder of the work, particularly between measures 126 and 135.
Subdivisions of tempo in the tape appear at the end of the work and add excitement to the
final climax. Just as the tape prominently begins Till Millennial Kingdom, it also ends
the piece.
When determining what order the electric sounds would be presented, formal
elements were of the utmost concern. During the composition of the tape part, the
significance of its role grew continually. Reverberation and spacialization eventually
became unifying elements as well as formal elements of the tape part’s construction. As
the work progresses, electronic sounds are constantly being transformed as each new
sound is introduced. To emphasize the effectiveness of the tape’s contribution to the
piece, special consideration is given to the panning of sounds as well as reverberation
18
times. Though clarity of materials is intended for any listener of this piece, the overall
character is ambient. Elements of Musique concrète, which will be discussed later, were
also used with regard to the quality of each sound source.
19
NOTATION AND THE SCORE
Till Millennial Kingdom is the first composition in which I attempted to notate
computer music on tape. A large portion of this work is notated conventionally, just as it
was composed. However, the integral role of the tape part in its suggestive,
unconventional form, required careful thought with regards to notation. In composing the
tape part, a grand staff was simulated. This pseudo-grand staff is comprised of a standard
treble clef on the top line and a percussion clef on the bottom consistently. A majority of
the notations made in the percussion clef staff of the tape part are graphic representations
of non-pitched sounds (Examples 10-12).
Example 10- Graphic representation of sound in measures 63 and 64.
Example 11- Graphic representation of the seal breaking sounds.
20
Example 12- Graphic representation of the final culmination of electronic noise.
Careful attention is given to the correspondence of the graphics with the quality of
the sounds being represented. These implicit graphics are present in the score primarily
to assist the conductor in the synchronization of the work4. Graphic portrayals of sound
are helpful because the tape part should run continuously during the performance and the
players must depend upon the conductor for an accurate display of visual cues. Precise
timings have been placed above each measure in the score, which aid the initial learning
of the piece.
A note of preparation is specified in the score for a few of the percussion
instruments. The sustain pedal on the chimes should remain down for the entire duration
of the work. Furthermore, the pedals on both vibraphones should be depressed
throughout. These two parameters contribute to the ambient nature of the work. An
aural balance between prerecorded audio and the live instruments should be made so that
both are equally audible. Another consideration is the provision of a headphone feed for
the conductor at a level that ensures the audibility of the tape part. Adherence paid to
these performance issues will promote the greatest possible integration of the acoustic
instruments with the electronic sound environment.
4 The term “implicit graphics” refers to sounds that are represented by pictures in the score.
21
HISTORICAL CONTEXT
Since the end of the 1940’s, several genres of music were created as a result of the
creative use of electronic equipment. The development of magnetic tape also has
inspired what we now call “tape music.” The term musique concrète has been used
frequently in reference to aural collages made up of naturally occurring environmental
sounds5. Examples of musique concrète, in Till Millennial Kingdom are the sounds of
pouring water, animals, wind, and footsteps. In the earliest stages of electroacoustic
music composition, the genre of electronic music utilized the phonograph and magnetic
tape as primary recording equipment devices. In Till Millennial Kingdom, humanistic
concrète sounds that can also be found in this work include preaching, speaking,
clapping, and shouting.
Many of the earliest examples of musique concrète appeared in radio plays
composed by Pierre Schaeffer in studios of the French radio in Paris around 1948.
Additional creators of musique concrète such as Pierre Henry, Bernard Parmegiani, and
Guy Reibel were the first to experiment extensively with the cutting, splicing, and
looping of magnetic tape with compositional intent6.
Throughout Till Millennial Kingdom, varied combinations of concrète sounds
have been merged with processed electronic sounds as well as instruments resulting in an
eclectic mix of contemporary devices. The orchestration of Till Millennial Kingdom
allowed a large number of possible combinations. However, the acoustic instruments, as
well as the sound sources utilized in electronic processing, were selected carefully.
5 Elliot Schwartz, / Daniel Godfrey, Music Since 1945, (Belmont: California: Simon and Schuster Macmillan, 1993), p.111. 6 Randal, The New Harvard Dictionary of Music, p.281.
22
The tape part of Till Millennial Kingdom is particularly important, especially with
regard to the uniqueness of the sounds and their strategic placement as they correspond to
an outlined chain of events. Consistency in the quality of each sound source is used in
sustaining the engagement of the listener, as an excessive amount of drastically differing
sounds would have reduced the effectiveness of the electronic sounds for listeners. In
Till Millennial Kingdom, a reasonable amount of processed sound files are integrated
throughout the entire piece.
Alternations between instruments and tape can establish timbral relationships that
function as components of a large structural design. The symphonic work Déserts by
Edgard Varèse was one of the first attempts to combine an acoustic ensemble with
electronic sonorities7. The unifying relationships between instrumental and processed
sounds in Déserts had an influence on the aural relationships in Till Millennial Kingdom.
During the late 1950’s, new strategies came about for the re-organizing of traditional
ensembles, as well as music for prerecorded audio on tape. Throughout this period,
composers were exploring timbral relationships between instruments and tape, as the
integration of the two media became more intriguing. In establishing various
relationships between contrasting sound sources, the number of possible sonorities
increases8.
In writing the piece Kontakte, Karlheinz Stockhausen continued the exploration of
integrating acoustic instruments with electronic sound. The meticulous detail found in
the score of Kontakte encouraged the composition of many works, including Till
Millennial Kingdom, to be written in a similar way. Till Millennial Kingdom has a place
7 David Ernst, The Evolution of Electronic Music, London: Collier Macmillan Publishers, 1977, p.123. 8 Ernst, The Evolution of Electronic Music, p.126
23
at the end of a long chain of works in the evolution of contemporary music. Till
Millennial Kingdom utilizes compositional elements present in many early works, and is
still unique because of the style and sound sources used. Till Millennial Kingdom also
displays control over tonal material within the context of acoustic and electronic
sonorities.
A typical studio from the 1960’s might have contained several magnetic tape
recorders, oscillator banks, reverberation chambers, filters, and elaborate mixing consoles
to compose a work like Till Millennial Kingdom. However, advancements in technology
have made it possible to compose this piece entirely in a home studio setting today.
Over the past few decades, the use of computers in music composition has been
diverse. Early integration of computers with live performers consisted of various
elements ranging from serial techniques, to timbre construction to the combining of sine
tones. By the 1980’s, a wide array of commercial synthesizers were available.
Developers of technology to this point produced sophisticated studio equipment, pocket-
sized devices used for entertainment, and electronic games. The composing of Till
Millennial Kingdom mainly involved the use of technology for the processing and
organization of its key sonic material. Pitch-sustaining sound samples were meticulously
developed to avail the use of all twelve tones whenever desired. This promoted the
availability of a chromatic canvas made entirely of electronic sounds with which to
integrate the acoustic instruments.
In many early examples of tape music notation, a minimal amount of information
was included. The composing of Till Millennial Kingdom mainly involved the use of
technology for the processing and organization of its key sonic material. As the medium
24
of electronic music composition has evolved, composers have gone into painstaking
detail in the notation of electronic music to facilitate synchronization with live players.
Furthermore, the use of an independent element such as an inflexible audio source
increases the risk of the work becoming unsynchronized. The ability to achieve seamless
synchronization between an unregulated stream of audio and the live performers in this
work was a particularly satisfying challenge.
The inspiration to compose Till Millennial Kingdom in a programmatic way,
stemmed from the desire to make musical references to the Bible. Issues concerning
form, instrumentation, and the musical content of the work facilitate unity throughout the
work. The inflexible pre-recorded audio inspired the need to notate the tape part in very
detailed way, which in turn assists the coordination of the more difficult performance
elements of this work by a conductor. The work is also an attempt to stray temporarily
from traditional methods of music making in its unique instrumentation as well as its
display of distinctive pre-recorded sounds, particularly evident in the introduction for
tape alone. Till Millennial Kingdom represents the culmination of my varied experiences
as a writer and performer of diverse musical styles and genres.
25
BIBLIOGRAPHY:
Books:
Benware, Paul N. Understanding An End Times Comprehensive Prophecy Approach. Chicago: Moody Press, 1995.
Keane, David. Tape Music Composition. London: Oxford University Press, 1980.
Ernst, David. The Evolution of Electronic Music. London: Collier Macmillan Publishers, 1977. Randal, Don Michael. The New Harvard Dictionary of Music. Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1996. Schwartz, Elliot/ Daniel Godfrey. Music Since 1945. Belmont: California: Simon and Schuster Macmillan, 1993. Stone, Kurt. Music Notation in the Twentieth Century. New York: W.W. Norton & Company, 1980. Scores:
Crumb, George. Mundus Canis [A Dog’s World]. New York: C.F. Peters Corporation, 2000.
Meijering, Chiel. Meuk: The Animal Mind. The Netherlands: Donemus Amsterdam, 1996.
Rouse, Christopher. Falcones Luminis. New York: American Composers Edition, 1978.
Stockhausen, Karlheinz. Hymnen. Hackensack, New Jersey: Joseph Boonon Music Publications,1968.
________. Ylem, ed. Jayne Stephens. Kürten, West Germany: Stockhausen-Verlag, 1977.
Recordings:
Budon, Osvaldo. Territorios [for percussion ensemble and tape] (Time: 15:33). Philip Hornsey, Kirk White, Patrick Graham and Rob Power, percussion. Compact disc.
Kelly, Rev. James. Speech recorded by Jermaine Stegall, October 20, 2002. Digital tape
recording. Morse Street Baptist Church, Denton, Texas.
Morris, Tom. Prayer recorded by Jermaine Stegall, July 21, 2002. Digital tape
26
recording. St. John Missionary Baptist Church, Joliet, Illinois. Nelson, Jon Christopher. Other Terrains [for percussion ensemble and two-channel tape]
(Time: 12:15). John Colarutolo, Thomas Dell’Omo, Rich Malloy and Christopher Vigneron, percussion. “Music from SEAMUS volume 9." Compact disc. Denon Digital Industries, 2000.
Picton, Michael. Ouvertures II [for percussion and electroacoustic tape] (Time: 4:59). D’Arcy Gray, percussionist. Compact disk. McGill University Faculty of Music, 7717-0537-9, 1999.
Pounds, Michael. Release [for percussion orchestra] (Time: 8:19). Mel Mobley, percussion. “Music from SEAMUS volume 9." Compact disc. Denon Digital Industries, 2000.
Schindler, Alan. At The Edge [for solo percussion and computer music on tape] (Time: 15:41) John Beck, percussion. Compact disc. Centaur Records, 44747-2170-2, 1993.
Jermaine Stegall Till Millennial Kingdom for trumpet percussion and tape (2003) Score
Performance Notes: The sustain pedal on the chimes should remain down for the entire duration of the work. The sustain pedal on the vibraphone should also remain down for the entire duration of the work, except where pedal markings are indicated. An aural balance between pre-recorded audio and the live instruments should be made so that both are equally audible. Another consideration is the provision of a headphone feed for the conductor at a level that ensures the audibility of the tape part.
Instrumentation
Trumpet in C
Percussion 1: (Glockenspeiel, Crotales, Tam-Tam, Triangle, Glass Chimes, Tom-Toms)
Percussion 2: (Glockenspiel, Vibraphone, Chimes, Tam-Tam, Metal Pans, Small B.D.)
Percussion 3: (Xylophone, Tom-Toms, Sizzle Cymbal, B.D.)
Tape
&&
÷
&
÷
÷
&
÷
Trumpet in C
Percussion 1
Percussion 2
Percussion 3
Tape
A
(sound of footsteps)
0'0"
0
0
0
0
0
0
0
0
∑∑
∑∑
∑
∑
∑
1
("Mommy, why..." "...Well...")
(spoken)
10.5"
∑∑
∑∑
∑
∑
∑
2
(door opens, as prayer continues)
28"
∑∑
∑∑
∑
∑
∑
3
(shouts and crowd response begins)
33"
∑∑
∑∑
∑
∑
∑
4
(improvised sermon accompaniment begins)
1'14"
∑∑
∑∑
∑
∑
∑
5
Till Millennial Kingdom Jermaine Stegall(2003)
29
&&
÷
&
÷
÷
&
÷
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
(band rhythm) cheering
1'41"
∑∑
∑∑
∑
∑
∑
6
preaching continues as sounds gradually mutate
1'50"
∑∑
∑∑
∑
∑
∑
7
B
Ú2'38.8"
cue for Ú60
∑∑
∑∑
∑
∑
J' ' '
8
60
sparse electronic sounds
ƒ
marcato
n
2'43"
œ3
œb œ œb œ œ ‰3
œ œ œ6
œ œ œ œ œ œ
∑
∑∑
∑
∑œœœœœb
9
30
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
πcrotales
πvibraphone
repeatedly and in random order w/ shaft of mallet
2'47"
repeatedly and in random order w/ shaft of mallet
(sparse sounds continue)
3
œ œ œ œb œ œ Ó
œ œ œ œb œb œ
∑
œ œ œ œb œb œ
∑
∑
10
F
F
2'51"
∑
∑
∑
∑
11
ƒ
2'55"
f
œ jœb œb> ‰3
œb œ œ œ œ œb œ3
œ œ œ œ
∑
∑
∑
12
Œ
2'59"
œ Œ Ó
∑
∑
∑
13
n
n
3'03'
∑
∑
∑
∑
14
Ó Œ
31
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
3'07"
∑∑
∑∑
∑
∑
J¿ ‰ Œ Ó
15
3'11'
vibraphone
flip mallets
flip mallets
∑∑
∑∑
∑
∑
J¿ ‰ Œ J¿ Œ
16
low hitF
bowed sound
F
3'15"
crotales (hard plastic mallet)
F
(hard plastic mallet)
F
∑œ œb œ œ œ œ
3
œ œ œ œ œ œ œ œ œ œ œ
∑œ œb œ œ œ œ
3
œ œ œ œ œ œ œ œ œ œ œ
∑
∑
Ó ˙
17
>
f
3'19"
5
œ œb œ œn œ3
œ œ œ œ œ Œ5
œ œ œb œ œ
5
œ œb œn œ œ Œ Œ5
œ œ œb œ œ
∑
5
œ œb œn œ œ Œ Œ5
œ œ œb œ œ
∑
∑
˙˙b Œ J¿ ‰
18
∑
32
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
bowed
F
3'23"
‰3
œ œb œn œb œ œb œ3
œ œ œ œ œ
Œ ˙bb œœ
∑˙bb ˙
∑
∑
˙ Ó
19
J¿ ‰ Œ Œ J¿ ‰
p
p
bowed sound
F
3'27'
∑
œ# œ œ# œn œ œ œ œœ# œ œ œ œ# œ# œ œ
∑
œ# œ œ# œn œ œ œ œœ# œ œ œ œ# œ# œ œ
∑
∑
Ó ˙˙˙b
20
Œ J¿ ‰ Œ J¿ ‰
3'31"
∑œ# œ# œ œ œ# œ œ# œn œ œ œ œ
œ# œ œ œ
∑œ# œ# œ œ œ# œ œ# œn œ œ œ œ
œ# œ œ œ
∑
∑
wwb
21
J¿ ‰ Œ J¿ ‰ Œ
B.D.
P
p
3'35"
∑œ# œ œ œ œ œ œ œ œ œ# œ# œn œ œn œ œ
∑∑
∑
Ó æ
œœœœœb#n#
22
∑
33
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
gradual crescendo
F
3'39"
vibraphone
F
crotales
f
∑œb
3
œ œ œ œ œ3
œ œ œ œ œ
∑œb
3
œ œ œ œ œ3
œ œ œ œ œ
∑
wæ
˙˙˙b
23
J¿ ‰ Œ Ó
3'43"
l.v.
l.v.
∑Œ
3
œ œ œ œ œ3
œb œ œ œ
∑Œ
3
œ œ œ œ œ3
œb œ œ œ
∑
wæ
∑
24
J¿ ‰ Œ Ó
f
F
3'47"
(cymbal scrape)
∑∑
∑∑
∑
wæ
wwwwb ˙
25
Ó ‰ Jœ œ
tam tam
F
tam tam
F
F
3'51"
∑∑
Ó æ∑
Ó æ
w@
˙ Ó
26
œ Ó œ
3'55"
∑∑
æ∑
æ
œ Œ Ó
∑
27
˙ Ó
34
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
l.v. (to toms)
l.v.
3'59" ∑∑
ÏœŒ Ó∑
ÏœŒ Ó
∑
∑
28
∑
4'03" ∑∑
∑∑
∑
∑
∑
29
∑
Ú130C
(spoken)
4'07" ∑∑
∑∑
∑
∑
∑
30
f¿ 3¿ ¿ ¿ 3J¿ ¿ ¿Now o - pen the se - ven seals...
4'09.2" ∑∑
∑∑
∑
∑
∑
31
low hitfÓ
4'11.1" ∑∑
∑∑
∑
∑
∑
32
R– ≈ ‰ Œ Ó
4'13" ∑∑
∑∑
∑
∑
∑
33
3–æ J–. Œ Ó
4'14.9" ∑∑
∑∑
∑
∑
∑
34
.≠æ Œ
35
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
4'16.8"
∑∑
∑∑
∑
∑
∑
35
–æ Œ J– ‰ Œ
4'18.7"
∑∑
∑∑
∑
∑
Ó J¿ ‰ Œ
36
–@ –. Œ Óf
4'20.6"
Ó Œfœb>
∑
∑∑
∑
∑ &
Ó Œ œb
37
≠æ – ^ ¿low hitƒ
4'22.5"
xylophone
f
˙ Œ3
œ# . œ# œ>
∑
∑∑
∑
Ó Œ3
œ# œ# œ>
˙ ˙b
38
Ó Œ J¿ ‰
marcato
marcato
4'24.4"
æ Œ 3œ# œ œ œ.∑
∑∑
∑
æ Œ 3œ# œ œ œ
ww
39
Ó Œ J¿ ‰
F
F
4'26.3"
3
œ# ‰ œ#3
œ œ ‰3
œ œ œ3
œ œ œ
∑
∑∑
∑
3
œ# œ œ#3
œ œ œ3
œ œ œ3
œ œ œ
wwwn
40
∑
36
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
4'28.2"
ƒ 3
œ# œ# œ Œ Ó∑
∑∑
∑
ƒ 3
œ# œ# œ Œ Ó
wwwn
41
Ó jœlow door closing
f3¿ J¿.
4'29.7"
∑∑
∑∑
∑
∑
.˙n Œw
42
Ó J¿ ‰ Œ
fF
f
processed bow
F
w/ brass mallet
4'31.5"
B.D.
Ó Œ œbÓ Œ œb
∑∑
∑
Ó Œ œbæwwwbb Ó Œ œb
43
Ó Œ œ
crotales
xylophone
electronic scrape
scrapesus. cym.
f
4'33"
˙ Œ3
œb œ œ œ.
˙ Œ œb>
∑∑
Ó ˙
æ Œ œœbb œœ ‰
www
44
Ó ˙gprocessed bow
F
scrape
4'35"
3
œb œ œ œ.3
œ œ œ œ œ3
œb œ œ œ.œb> œ> Œ œb
∑∑
Ó ˙œœbb œœ ‰
œœ œœ ‰ Œ œœbb œœ ‰
˙˙˙ J¿ ‰ Œ
45
J¿ ‰ Œ ˙b
37
&&
÷
&
÷
&
&
÷
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
P
4'36.9"
3
œb œ œb3
œ œ œ œ. Œ
3
œb œ œb Jœ ‰ Œ
∑∑
∑
3
œbæ œæ œbæ3
œ œ œ œ. Œ
J¿ ‰ Ó ¿¿¿¿
46
J¿˙
f
f
door closes
scrapesus. cym.
ƒ
scrape
ƒ
4'38.5"
B.D.
Œ3
œb œ œb3
œ œ œ œ ŒŒ
3
œb œb œ œ œb3
œ œ œ Œ
∑∑
˙ Œ Ó
Œ3
œb œb œ œ œbæ 3
œ œ œ Œ
47
œ Ó jœ3
µ Jµ œ
metal pans
F
scrape
4'41"
Œ ˙b> ‰ Jœb>
3
œ œ œ œ Œ3
œb œ œ œb3
œ œ œ œ
∑∑
3œ œ œ œ Œ3œ œ œ œ
3œ œ œ œ
3
œ œ œ œ@ œæ3
œb œ œ œb .3
œ œ œ œ@
wwbb
48
œ Œ Óœ
38
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
4'42.8"
œ Œ œb œ œb Œœ
3
œb œ œ œb .3
œ œ œ œ Œ
∑∑
Œ 3œ œ œ œ.3œ œ œ œ Œ
Ͼ3
œb œ œ œb .3
œ œ œ œ Œ
ww
49
Œ œ Ó
Íl.v.
f
Ítrpt
4'44.6"
l.v.
f
f
Ó Œ ‰ Jœ
Ó œb œ œb œ œ œb œn
∑Ó œb œ œb œ œ œb œn
∑
Ó œb œ œb œ œ œb œn@
..˙˙ œœ#
50
∑
to toms
4'46.5"w
∑
∑∑
Ó Œ3
œ œ œ œwæww
51
∑
4'48.3"
B.D.
w
∑
∑∑
Œ6
œ œ œ œ œ œ3
œ œ œ œ3
œ œ œ œ
wæww
52
Ó œ œ
39
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
ƒ
tom-toms
ƒ
ƒto chimes quick
bowl chime sound
4'50"
Œ ˙n œ#∑
3
œ œ œ œ
∑
3
œ œ œ œ Œ Ó
∑ ÷
∑
53
¬ ¬ Œ j¿ ‰ Œœ
f
fB.D.
fchimes
4'52"molto ritenuto
3
œ# œ# œn œ ˙
∑
Ó æÓ ˙b ˙b
∑
Ó >æ
wwbb
54
Œ œ œ œ¿ ¿ ¿ ¿
Ú60
ƒÏ
l.v. to vibes
f
f
4'55"
Ï
(sub.)
(sub.)
.˙ Œ∑
3œ œ œ œ Œ Ówwbb >
∑
œ Œ Ó
wwwwb
55
f
sound cluster
bowl chime sound
water stirringP
4'59"
∑∑
∑
wwbb∑
∑ &
∑
56
. –
pcup mute
F
bowed sound
F
5'03"
glass chimes
.˙# œ#∑
æ˙˙bb ˙˙
∑
˙b ˙b
Ó ˙˙˙˙#b
57
– – –
40
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
F
5'07"
glass chimes cont.
f
œ .˙∑
æŒ ˙˙b œb
∑
.˙n œb
‰ jœœœœ#bb ˙˙˙˙ œœ#ggg
58
>
F
( )
Ford.
low hit
f
P
5'11"
Ó Œ œ-∑
æÓ ˙
∑
œ Ó œŸ œb
Ó Œ œœb
59
–
(distant)
Pf
πƒ
5'15"
πƒ
(hk)
(hk)
œ œ œ œ œ œ œ œ œ∑
æŒ œ œ œ œ œ œ œ œ
∑
æ œ œ# œ œ œb œb
œb>Œ œ> œ
60
F f
F
F
5'19"
œb3
œ œ œb> œ œ œ
Ó Œ ≈ œ œ œb
∑
œb ˙ œ
∑
œb° 3
œ œ œb œ3
œ œ œ
Œ œb ˙bb
61
5'23"
œb œ. œ œb > ˙ Œ
œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ
∑∑
∑
3
œ°œb œ
3
œ œn œb3
œ œ œn œb œ œb œ
Ó œb Œ
62
41
&&
÷
&
÷
&
&
÷
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
0(20"-22")
hrmn. mute
on crotales and glockenspiel(20"-22")
(gradually accelerate to as fast as possible)
0 p0
0
metal pans(20"-22")
(gradually accelerate to as fast as possible)
0 ptom-toms on the rim(20"-22")
(gradually accelerate to as fast as possible)
0 p
long bend lowP
Ï
0
bowls of water pouring begins
0
5'27"
p ƒad. lib.
ad. lib.
ad. lib.
ad. lib. and on the shell
Cued by conductor
Ó œb œb œb œ
œb œb œb œb œn
∑∑
’ ’
’ ’
œb> Œ ÓU
63
(8"-9")
ƒ p(8"-9")
ƒ p(8"-9")
ƒ p(8"-9")
(8"-9")
ƒ
5'51" Ú∑U
∑∑
∑ ?
64
ƒopen
D
low pad
f
ƒ
6''00"60
Ó Œ œb œ œ œ œ œ∑
∑∑
∑
∑
wwwbbb
65
œ B.D.
f
6'04"
∑∑
∑∑
∑
∑ ÷
ww
66
˙ œ œ
42
&&
÷
&
÷
÷
?
÷
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
F
ord.
6'08"
glass chimes
F
∑ 3
œb œb œb
∑
æ œæ∑
∑
∑Fœæ
ww
67
∑ œ
continue
ƒ
sus. cymb. (sticks)
F
p
6'13"
h
h
’ ’ ’6
œb œb œb œ œ œ
∑
.æ Œ∑
Œ3
œ œ œ œ œ œ œ œœ œœœ œ
œ> œ œ œ3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ww ÷
68
œ Œ œ œ
(spoken)f
6'17"
crotales l.v.
F
∑‰ œ œ œ œ œ œb œ œ œ Œ
∑∑
œ œ œ œ œ œ œ œ Œ Ó
∑
Œ ‰ . R¿ ¿3
¿ ¿ ¿ ¿The beast out of the sea...
&
69
œ Ó ‰ Jœ@
43
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
p
p
tom-toms
beastly breathing sound
yarn mallets
6'21"
tom-toms
∑∑
ƒœ>œ œ œ
3
œ œ œ œ œ œ œ œ œ œ œ Ó∑
∑
ƒœ>œ œ œ
3
œ œ œ œ œ œ œ œ œ œ œ Ó
∑
70
|œ
f
FB.D.
p
p
6'25"
glockenspiel
F
∑∑
Œ œ œ œ œ œ œ œ œ Œ ‰ jœ@‰ œb œ ≈ ≈ œn œ ‰ Œ œb œ ‰ .
∑
Œ œ œ œ œ œ œ œ œ Œ ‰ jœ@
∑
71
œ Œ œ œ
f
f
6'29"
f
F‰ Jœb œ .œ œ œ œ œb œ œ œ œ œ Œ
∑
œæ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ‰ .œb Ó
∑
œæ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
∑
72
œ Œ œ œgrowling beast
fbend
ƒ
F
F
6'33"
bowed
tom-toms
F
ad lib.
Ó ‰ jœb @ œæ∑
Ó ‰ jœ@ œæ∑
Ó ≤ ≥
Ó ‰ jœ@ œæ
∑ ?
73
Œ ‰ jO Oœ Œ œ œ
44
&&
÷
&
÷
÷
?
÷
45
45
45
45
45
45
45
45
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
as loud as possible
ƒ
6'36"
∑∑
æ∑
˙
wæ
wwwbbb
74
OÓ œ Œ
l.v.
f
f p P
Pp
6'41"
∑∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œ œ œ œ∑
œ Œ Ó
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œ œ œ œ
wwwb &
75
electronic sound≠œ œ Œ œ
f
f
ord.
F
6'45"
F
∑∑
œœœœ>œœœ>œœœœœœœœœŒ ‰ jœ@
∑
Ó6
œœœœœœœœœœ
œœœœ>œœœ>œœœœœœœœœŒ ‰ jœ@
∑
76
œ
on rim
F
on rim
F
6'49"
∑∑
œ œ œ œ œ> œ œ œ> œ œ> œ œ œ œ œ œ Ó œ@ ¿ œ∑
∑
œ œ œ œ œ> œ œ œ> œ œ> œ œ œ œ œ œ Ó œ@ ¿ œ
∑
77
|œ œ Œ œ œ
45
&&
÷
&
÷
÷
&
÷
44
44
44
44
44
44
44
44
45
45
45
45
45
45
45
45
43
43
43
43
43
43
43
43
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
p f
p f
6'54"
∑∑
fœ œ œ œœ> œ œ œ> œ œ> œ œ œ œ œ œ Ó œ œ œ œ œ
∑
∑
fœ œ œ œ œ> œ œ œ> œ œ
> œ œ œ œ œ œ Ó œ@ œ œ œ œ
∑
78
œ œ Œ œ œ p
6'59"
fon the bell
∑∑
œ@ œ> œ .œ œ Œon rimœ@ ¿ œ
∑
œ@ œ œ .œ œ Œ œ@ œ
∑
∑
79
Ó . ¿¿¿
ƒ P
ƒ
ƒ
f
Ú120
bowl chime sound
on the rim
7'03" 7'05"
Œ œb œ œ œ Ó 3œ œ œ œv∑
3
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿3
¿ ¿ ¿ ¿ J¿ ‰3
œ œ œ œ∑
3
œ œ œ œ œ œ œ œ œ œ3
œ œ œ œ Œ
Ó . Œ3
¿ ¿ ¿ ¿
¿¿¿
80
¬j¿ ‰ Œ j¿ ‰ Œ j¿ ‰
46
&&
÷
&
÷
÷
&
÷
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
to xylophone
ƒ
7'06"3œb œ œ œ Œ œb œ œ œb
∑3œ œ œ œv Œ
3œ œ œ œv∑
on the bell
3
¿ ¿ ¿ ¿3
¿ ¿ ¿ ¿ Œ
3œ œ œ œv Œ3œ œ œ œv
∑
81
¬ Œ
metal pans
F
7'07"
∑∑
∑∑
3œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
82
¬ Ó
F
7'09"
F
∑∑
3
œ œ œ œ3
œ œ œ3
œ œ œ œ3
œ œ œ∑
3
œ œ œ œ3
œ œ œ3
œ œ œ œ3
œ œ œ
∑ &
∑
83
œ Œ œ Œj¿ j¿
ƒ
ƒ
f
f ƒ
ƒ
7'11"
on the bell
xylophone
xylophone
Œ ˙b>3
œb œb œb>
∑
3
œ œ œ œ Œ Ó∑
3
œ œ œ œ ¿> Ó
Œ ˙bæ3
œb œb œb@>
Ó . ‰ Jœb@
84
œ Œ œ Œj¿ j¿
47
&&
÷
&
÷
&
&
÷
46
46
46
46
46
46
46
46
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
p
p
F
F
7'13"˙ Œ3
œb œb œb
∑
3
œ œ œ œ3
œ œ œƒœv Œ∑
3
œ œ œ œ3
œ œ œƒœv Œ
˙ Œ3
œb œb œb
∑
85
œŒ
œŒjœ
ƒ
ƒ
Í
Í
F
7'15"
glass chimes
ƒ
3
œb œb œb3
œb œ œ3
œ œ œ œ> œ
∑
Ó . œ@∑
∑
3
œb œb œb3
œb œ œ3
œ œ œ œ>@ œæ
Ó . œœœb
86
œ œ œŒ ‰ j¿
ƒ
ƒ
7'17"
n
.æ Œ Ó∑
.æ Œ Ó∑
∑
.æ Œ Ó
∑
87
j¿ ‰ Œ Œ j¿ ‰ j¿ ‰ j¿ ‰B.D.
bowl chime sound
fbrassy7'20"
f
f
Œ3
œb œb œb3
œ œ œ œwwb
∑wwb
∑
Œ3
œbæ œbæ œb æ3
œ œ œ œwwwb#
88
œ
48
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
chimes
ƒto vibes
7'22"
glass chimes
ƒ
Œ œb> œ> œb œ
∑
æŒ œb> œ œb> œ
∑
Œ œb>@ œ@ œb>@ œ@wwwwwwb
89
J¿ ‰ Ó .
to glockl.v.
Ís
P cresc.
electronic sound
7'24"
œ .>
∑
æ∑
∑
œ@ Œ Ó ÷
wwwwwwb
90
|
7'26"w
∑
∑∑
∑
∑˙˙˙ Ó
91
glockenspiel
vibraphone
f
f
7'28"
xylophone
f
f
œ# œ# œ# œ œ#> œ œ#> œ
œ# œ# œ# œ œ#> œ œ#> œ
∑Œ œœ##>
œœ œœ##>œœ
∑
Œ œ# ‰ Jœ# Œ&
Œ ....œœœœ## Jœœœœ## œœœœ
92
√
l.v.
ƒ
ƒ
to tam-tam
7'30"
œ .>
œ .>
∑Œ ..˙
∑
∑œœœœ# ....˙˙˙#
93
¿
49
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
p7'32"w
∑
∑∑
∑
∑ ÷
wwww
94
∑
tam tam
B.D.
F
ƒ
f
7'34"
∑Ó @
∑∑
Ó @
w@wwwwbb
95
∑
hrmn. mutead. lib randomly until cued
f
ad. lib randomly until cued
processed cheering gradually enters
B.D.
F
F
7'36"-7'55"
0
0
0
0
0
0
0
0
œ œ œ œb
3
œ œb œ œ œ œbœ œ
∑vibraphone
œ œ œ œb
∑
w@U
wwwwwU
96
50
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
l.v.
ƒƒ
7'56"
44
ƒ44
44
44
44
44
Ú 60
electronic cue
F
∑
∑
w@
∑
97
JY ‰ Œ Y Y Y Y
l.v.
l.v.
ƒ
ƒ
ƒ
E 8'00"
(Cued)
tam tam
Ïl.v.
(to toms)
crotales
∑Ó Œ œœ>
˙ ÓÓ Œ œœ>
∑
œ Œ Ówwwwwbb
98
* Ó *
8'04"
glass chimes
ƒ
fl.v.
∑∑
Œ .æÓ Œ œœ
∑
∑wwwww
99
j‚ ‰* Œ * Œbowed cym
8'08"
F∏
∑∑
.æ ŒÓ ˙
∑
∑
∑
100
* œ Œ
51
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
tom-toms hard mallets
hard malletstom-toms
π
π
8'12"
P
P
∑∑
5
œ œ œ œ œ ‰ Œ Œ œ œ œ œ
∑
∑
5
œ œ œ œ œ ‰ Œ Œ œ œ œ œ
Ó . œ
101
* Œ œ Œ
8'16"
∑∑
œ œ3
œ œ œ3
œ œ œ@ œ œ œ œ œ œ5
œ œ œ œ œ
∑
∑
œ œ3
œ œ œ3
œ œ œ@ œ œ œ œ œ œ5
œ œ œ œ œ
∑
102
‰ j‚@* Ó œ
cup mute
f ƒ
scrapechimes (w. wood end of chime mallet)
p
p
8'20"
Ï
bending electronic noise
œ 3
œ œb œ œ œ ‰3
œ œ œb
∑
5
œ œ œ œ œ ‰ Œ Œ5
œ œ œ œ œ ‰Œ ¿ ¿ Œ
∑
5
œ œ œ œ œ ‰ Œ Œ5
œ œ œ œ œ ‰
∑
103
Œ œ Œ*j‚@w
52
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
F
ß
chimes
f
8'24"
œ œ œ œ ‰ Jœb> œ
∑
œ œ œ œ œ œ>3
œ œ œ3
œ œ œ œ@ œæŒ ‰ Jœ œ œb œ
∑
œ œ œ œ œ œ>3
œ œ œ3
œ œ œ œ@ œæ
∑
104
* * * *> ‰ Œ *scrape
Fƒ8'28"
F
F
œb> œb œ œ> œ œ> ‰ jœb œ œb∑
œ œ œ Œ ÓŒ ‰ jœb œ œb œ
∑
œ œ œ Œ Ó
∑
105
* ‰ œ jœ
p8'32"
sus. cym.
œ œ .˙
∑
Ó . ‰PJœ@
œ œ .˙
∑
Ó . ‰Pjœ@
∑
106
w j‚@œ
tom-toms
8'36"
on the bell
∑∑
6
œ œ œ œ œ œ œ3
œ œ œ œ œ3
œ œ œ3
œ œ œ œ3
œ œ œ œ∑
6
œ œ œ œ œ œ œ Jœ ‰ Œ3
œ œ œ œ3
œ œ œ œ
œ ¿> Œ ‰ jœ
∑
107
* * Œ ‰j·
53
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
voices
◊
8'40"
small B.D.
f
[
œ 3
œb œ œ œ œ ‰3
œ œb œ
∑tom-toms
5
œ œ œ œ œ ‰ Œ Œ5
œ œ œ œ œ ‰Œ chimes‰ scrapeJ¿ ¿ Œ
Ó Œ 5
œ œ œ œ œ ‰tom-toms
5
œ œ œ œ œ ‰ Œ Œ5
œ œ œ œ œ ‰
‰ Jœœ# ....˙˙˙˙b ˙w
108
* Œ œ Œ
8'44"
metal pans
chimes
F
œ œb œ ˙
∑3
œ œ œ@ œ œ3
œ œ œ ‰3
œ œ œ@ œ@ Œ≈frœb ˙ Œ
Ó Œ ‰3
œ œ œ œ3
œ œ œ@ œ œ3œ œ œ ‰
3
œ œ œ@ œ@ œ@3
¿> ¿ ¿ ¿>
˙ ?
109
œ Œ œ Œ‰ j·@ ‰ j·@
glockenspiel
l.v.
ƒ
f
f
8'48"
chimes
∑6
œ œ œb œb œb œ ‰ Jœ6œ œ œ œ œ œ Œ
∑Œ ‰ Jœ ˙
∑
6
œ œ œ œ œ œœ¿ œ@ Ó
Œ ‰ jœ ˙˙ &
110
œ * * Œ
54
&&
÷
&
÷
÷
&
÷
41
41
41
41
41
41
41
41
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
8'52"
Small B.D.
F
∑∑
3œ œ œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ∑
Ó Œ 3œ œ œ œ œ œ œ œ œ
F3œ œ œ œ œ œ œ œ œ Ó
3
œ œ œ œ œ œ œ œ œ
∑
111
*electronic sound|œ Œ œ
8'56"
∑∑3œ œ œ œ œ œ œ œ œ∑3œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œ œ œ œ
∑
112
‰ jœf
l.v.
1388'57"Úhrmn. mute
Fwb
∑
Ïœv œv ‰ Œ Ó
∑
Ïtam tamœ œ ‰ Œ Ó
Ïœv œv ‰ Œ Ó
wwbb
113
ì Œ ì Œ≤bowed cym
sizzle cymbal
F(use xylo. mallets)
8'58.7"
w/ shaft of mallet
w
∑
∑∑
∑
Ó Œ ‰ . Rœ
˙˙ Ó
114
Ó ì Œ‰ . Rœ
55
&&
÷
&
÷
÷
&
÷
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
F
9'00"
∑∑
∑∑
∑
sizzle cymbalœ Œ œ œ .œ
∑
115
ì Œ ì Œ≤w
9'02"
∑∑
∑∑
∑
sempre l.v.œ œ .œ œ œ œ œ
∑
116
Ó ì Œœ
9'04"
∑∑
∑∑
∑
œ œ .œ ˙
∑
117
ì Œ ì Œ≤
9'05.7"
∑∑
∑∑
∑
œ œ œ .œ œ
∑
118
ì Œ ì Œ≤
F
9'07.5"
Œ ŒFhrmn. muteœb>
crotales
œ œb l.v.œb
∑
Fvibraphoneœœ œœbb œœbb
∑
∑
psynth and voices.˙
119
Œ Œ ì
9'08.7"
w∑
∑∑
∑
œ œ œ œ .œ
Ó Œ Fœ
120
ì≤‰ j‚@ ‚æœ
56
&&
÷
&
÷
÷
&
÷
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
F
9'10.5"
Fcrotales
vibraphone
∑3œ œb œb œ
∑
3
œœ œœbb œœbbœœ
∑
Œsizzle cymbalœ .œ Œ
.˙
121
Œ ì Œ≤ Œ ≤
9'11.8"
[
∑
f˙ Ó
∑
f˙ Ó
∑
œ œ œ Œ
wwbÓ◊b
122
ì Œ ì Œ≤
9'13.4"
∑Ó Œ
fœ œ œ œ
∑Ó Œglockenspiel
fœ œ œ œ
∑
œ .œ œ Ó &
ww
123
ì Œ ì Œ≤ ‰ J‚@
f S9'15.2"œ œb œ .˙œ œb œ Œ Ó
∑œ œb œ Œ Ó
∑
xylophone
fœ œb œ@ .æ
∑
124
ì Œ ì ŒÓ . ≤
9'16.9"flutter tng..æ Œ
∑
∑∑
∑
wæ
∑ ?
125
ì Œ ì ŒÓ . ≤Œ ‰ J‚@
57
&&
÷
&
÷
&
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
9'18.7"
ƒœb .˙n
crotales
Pœb œn œ œb
∑Œvibraphone
Pœ œ œ œ œ> œb œ œb> œb œ
∑
Œxylophone
Pœ œ œ œ œ> œb œ œb> œb œ
.˙bœ
126
ì Œ ì Œ≤ Œ Œ ≤¿
9'20.3"
Ó Œ ‰fJœ
œb œn œ#fœ
∑œb> œ œ œb œ œb œ> œb œ œ
œ> œ œb
∑
œb> œ œ œb œ œb œ> œb œ œœ> œ œb
.˙ Œ
127
ì Œ ì ŒÓ . ≤‰ J‚@
9'22"w#>
œb œb œ œ œb ‰ œ œb
∑œb œ œb œ œ œb œ œb œb œ œn ‰ œ
> œb
∑
œb œ œb œ œ œb œ œb œb œ œn ‰ œ> œb
Ó ˙
128
Œ ≤ Óì Œ
9'23.9"
∑œ œb œ œn
ƒœb> Ó
∑œ œb œb œ œ œn
ƒœb> Ó
∑
œ œb œb œ œ œnƒœb>@ æ
œ ..˙b
129
Ó ì Œ≤ ‰ Jœ@
58
&&
÷
&
÷
&
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
9'25.6"
∑∑
∑∑
∑
∑wwbÓ ˙b
130
ì Œ ì Œ‚@
9'27.4"
∑∑
Ó Œ triangle
FϾ
∑
∑
∑ww
&
131
ì Œ ì Œ‚@
F
9'29"
∑∑
æŒglockenspielœ œ œ œ œ œb œ ‰ œb œb
∑
Œxylophone
Fœ œ œ œ œ œb œ Œ
wwwbb
132
ì Œ ì ŒŒ . J‚@ Œ .j‚@
beast roaring¿
voices
open
9'30.8"
Œf˙
3
œb œÍœb
∑l.v.æœ Œ Ó
∑
∑
wwwb .˙b
133
Ó ì Œ≤ J‚@¿
9'32.6"w
Œcrotales
fœb œ œb> ‰ œ œ Jœ> ‰
∑Œfœb œ œb> ‰ œ œ Jœb> ‰
∑
Œxylophone
fœb œ œb> ‰ œ œ Jœb> ‰
www
134
ì Œ ì Œ‚@
59
&&
÷
&
÷
&
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
9'34.5"w
∑
∑∑
∑
∑ ÷
ww
135
ì Œ ì Œ.¿B.D.
l.v.
9'36"
tom-toms
∑∑
tam tam
ƒl.v.œ Œ Œ œ œ œ œ∑
tam tam
ƒl.v.œ Œ Œ
metal pans
œ œ œ œ
ƒœ Œ Œ B.D.
œ œ œ œ
∑
136
ì Œ ì Œœ
beastly breathing sound
.¿
9'37.8"
Ó Œƒœ> œ œ œ
∑
œ œ œ Œ Ó∑
œ œ œ Œ Ó
œ œ œ Œ Ó
∑
137
ì Œ ì Œ¿ ‚@
p ƒ
9'39.5"
Jœ ‰ œ> œ œ œ Jœ ‰pœ 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
∑ ?
138
ì Œ ì Œ¿B.D. œ ‰ J‚@
n
9'41.3"
ƒ 3
œ- œ œ3
œ œ œ
∑
Œ œ œ œ ÓglockenspielÓ f
œ œb l.v.œb Œœ œ œ Œ Ó
Œ œ œ œ Ó
Ó ˙b
139
ì Œ ì Œ
60
&&
÷
&
÷
÷
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
B.D.
9'43"
∑Œ crotales
fœœ œœ œœ## œœ∑
Œf
glockenspielœœ## œœ œœ# œœ
∑
∑
Œ ...œœœ## Jœœœ# œœœ
140
ì Œ ì Œœ beast roaring
9'44.7"
∑Œƒ..˙#>
∑Œƒ..˙>
∑
∑ &
œœœ ....˙˙˙#n
141
ì Œ ì Œœ Ó ‰ j¿
Ha
f
9'46.4"
xylophone
˙b3
œ œ œb œ
∑
∑Œƒœ œ œ
œ# œ# œ œ œ#> œ> œ œ
∑
Œƒœ œ œ œ# œ# œ œ
œ#> œ> œ œwwww
142
ì Œ ì ŒB.D.
œ¿
9'48.3"
.˙ Œ∑
∑
œ# œ œ#> œ œ œ œ œ> œ œ œ#πœ#>
∑
œ# œ œ#>@ œ@ œ œ œ œ> œ œ œ# πœ#> ÷
wwwn#
143
ì Œ ì Œ¿
61
&&
÷
&
÷
÷
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
cheeringpouring
9'49.8"
tam tam
ƒ
˙b3
œb œ œ œ
∑
œ Œ Ó∑
∑
˙ Ó
wwbb
144
ì Œ ì Œ
9'51.7"
B.D.
f
w
∑
Πtom-toms
fœ> œ œ œœ œ œ Œ∑
Œ fœ> œ œ œ œ œ Œ
ΠB.D.
œ> œ œ œ œ œ œ Œ
wwwbbb
145
ì Œ ì Œ
f
9'53.4"
ƒ
f
Œ3
œb œb œ ˙
Ó Œ glockenspielœ# œ# œ# œn
Œ œ œ œ œ ÓÓ Œ glockenspielœ# œ œ# œ
∑
Œ œ œ œ œ Ó
ww
146
ì Œ ì Œ‚@
9'55"
f
B.D.
ƒ
3
œb œb œ .˙
œ œ# œ œ œ# Ó
Ó tom-tomsœ œ œ œ œ œ œ∑
Ó Œ œ œ œ
Ó Œ œ œ œ
wb
147
ì Œ ì Œ
62
&&
÷
&
÷
÷
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
9'56.8"
B.D.
˙ Ó∑
∑∑
Œ œ œ œ œ œ œ œ Œ
Πtom-toms
œ œ œ œ œ œ œ Œ
˙ Ó
148
ì Œ ì Œ
l.v.
l.v.
l.v.
tam tam
9'58.6"
Ï
Ï
Ï
∑∑
œ> Œ Ó∑
tam tamœ> Œ Ósizzle cymbalœ> Œ Ó
∑
149
ì Œ ì ŒB.D.
pouring
ƒœ
10'00"
f
P ÏB.D.
∑∑
tom-tomsœ œ œ œ œ œ œ œ œ œ∑
œ œ œ œ œ Ó
∑ &
∑ &
ì Œ ì Œ
loco
10'01.9"
glockenspiel
xylophone
ƒ 3
œb œb œb .˙
Ó ŒF
glockenspielœ>
∑Œ .
fœ# œ œ# œœ œ œ œto chimesœ
∑
Œ .Fœ# œ œ# œ
œ œ œ œ œ ÷
Óf˙˙˙˙˙##
151
ì Œ ì Œ‰ J‚@ ‚@bowls of water pouring begins
10'03.7"w
∑
∑∑
∑
∑
wwwwwwwbb
152
ì Œ ì Œ
63
&&
÷
&
÷
÷
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
10'05.4"
∑∑
tom-tomsœ œ œ œ œ œ œ œ œ œ œ Œ∑
∑
Ó . tom-toms
Fœ œ œ œ
wwwwwww##
153
ì Œ ì ŒB.D.œ
10'07.1"
f
∑∑
Ó Œ fœ œœ œ
∑
Ó Œ ‰ œ œ
œ œ œ œ œ œ œ œ œ œ œ Œwww
154
ì Œ ì Œ
ƒ10'08.9"
Ó open˙
∑
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 œwwwb
155
ì Œ ì Œœ
10'10.5"
˙3
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 œ œ œ œ œ œww
&
156
ì Œ ì Œœ
64
&&
÷
&
÷
÷
&
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
10'12.3"
B.D.
F
F
F
˙3
œ œ œ-> œ
∑tom-toms
œgradual cresc.
œ œ œ œ œ œ œ œ œ œ∑
œ> œ œ> œ œ œ œ> œtom-toms
gradual cresc.
œ œ œ œ œ œ œ œ œ œ
w ?
157
ì Œ ì ŒB.D.
water pouring continuesœ
10'14"
ƒ
œ Œ3
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 œwwwwwwwwwbbb
158
ì Œ ì Œœ
ƒ
10'15.7"
Ó3
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 œwwwb
159
ì Œ ì Œ˙ ˙
65
&&
÷
&
÷
÷
?
÷
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
10'17.5"˙3
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 œ œ œww
&
160
ì Œ ì Œ˙ ˙
◊
pouring
10'19"
Ï
[
œ Œ Ó∑
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
fwwwwwwb ˙b
161
ì Œ ì Œ˙
10'20.9"
π
ƒœ œ .>
∑
œ œ œÏ.>æ∑
∑
œ œ œ œ .>æwwwwwww w
162
ì Œ ì Œ
10'22.5"molto ritenuto
∑∑
∑∑
∑
πw@
wœœ
163
ì
ƒ
Œ ì Œ
Ú12010'24.4" ∑
fcrotalesœ œ œ œ œ
5
œ œ œ œ œ œ
∑∑
∑
∑
∑
164
ì Œ ì Œ
66
&&
÷
&
÷
÷
&
÷
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
10'26"
∑crotalesœ œ œ œ œ
5
œ œ œ œ œ œ
∑∑
∑
∑ &
ƒw
165
ì Œ ì Œ]
ƒ
chimes
10'28.4"
œb œn œ œ œ œ œ œ
f 5
œ œ œ œ œ œ5
œ œ œ œ œ œ
∑
f 5
œ œ œ œ œ œ5
œ œ œ œ œ œ
∑
fxylophone
5
œ œ œ œ œ œ5
œ œ œ œ œ œ÷
◊wwwwwwwb
166
ì Œ ì ŒB.D.
high noise
10'32.4"
Small B.D.
B.D.
∑∑
ƒtom-toms
5œ> œ œ œ œ œ5œ> œ œ œ œ œ
∑
ƒ5œ> œ œ œ œ œ
5œ> œ œ œ œ œ
ƒ5œ> œ œ œ œ œ
5œ> œ œ œ œ œ &
w
167
ì Œ ì Œƒœ œ
◊]
ƒ
10'34.4"
ƒ1st time only˙ both timesœ œ œ œ
crotales
5
œ œ œ œ œ œ5
œ œ œ œ œ œ
∑
ƒchimes
5
œ œ œ œ œ œ5
œ œ œ œ œ œ
∑
ƒxylophone
5
œ œ œ œ œ œ5
œ œ œ œ œ œ÷
wwwwwwb
168
ì Œ ì Œ
67
&&
÷
&
÷
÷
&
÷
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Tpt. in C
Perc. 1
Perc. 2
Perc. 3
Tape
10'38.4"
∑∑
5œ> œ œ œ œ œ5œ>œ œ œ œ œ
∑5œ>œ œ œ œ œ
5œ>œ œ œ œ œ5œ> œ œ œ œ œ
5œ>œ œ œ œ œ
w
169
ì Œ ì Œsimileœ œ
]◊
ƒ
10'40.4"
ƒœ œ œ œ œ œ œ œ
5
œ œ œ œ œ œ5
œ œ œ œ œ œ
∑
ƒ 5
œ œ œ œ œ œ5
œ œ œ œ œ œ
∑
∑wwwwwwwb
170
ì Œ ìÓ . ‰bowedjœ
10'44.4"
∑∑
∑∑
∑
∑
w
171
œ.˙
10'46.4"
F
∑∑
∑∑
∑
wæ
w
172
10'48.4"
Íflutter tng.wæ
∑tam tam
ƒæ∑
tam tam
ľ
wæ
∑
173
ƒ10'50.4wæ∑
æ∑
æB.D.wæ
∑
174
10'52".4 - 11'18"
∑∑
Ïl.v.œ Œ Ó∑
Ïl.v.œ Œ Ó
Ïl.v.œ Œ Ó
∑
175
68
