University of New MexicoUNM Digital Repository
Music ETDs Electronic Theses and Dissertations
6-9-2016
Composition PortfolioThomas McVeety
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Recommended CitationMcVeety, Thomas. "Composition Portfolio." (2016). https://digitalrepository.unm.edu/mus_etds/13
Thomas G. McVeetyCandidate
MusicDepartment
This thesis is approved, and it is acceptable in quality and form for publication:
Approved by the Thesis Committee:
Peter Gilbert , Chairperson
Jose--Luis Hurtado
Karola Obermulller
i
COMPOSITION PORTFOLIO
by
THOMAS G. MCVEETY
BACHELOR OF MUSIC, CELLO PERFORMANCEUNIVERSITY OF NEW MEXICO, DECEMBER 1985
BACHELOR OF ART, MUSICUNIVERSITY OF NEW MEXICO, MAY 2007
BACHELOR OF SCIENCE, ELECTRICAL ENGINEERINGUNIVERSITY OF NEW MEXICO, MAY 2007
THESIS
Submitted in Partial Fulfillment of the Requirements for the Degree of
Master of Music
The University of New MexicoAlbuquerque, New Mexico
May 2016
ii
DEDICATION
I dedicate this work to my wonderful parents, Raymond and Abigail McVeety.
iii
ACKNOWLEDGMENTS
I want to thank the following individuals for their inspiration, guidance and
patience: Karola Obermulller, Peter Gilbert, Jose--Luis Hurtado, Richard Hermann and
David Bashwiner. I am grateful for their insight and suggestions, for thoroughly
challenging my abilities, and for opening new paths of thinking and hearing.
Others who brought knowledge and understanding to my studies include William
Wood, Scott Wilkinson, Chris Schultis, Joanna de Keyser, and David Schepps.
I also want to thank my family and friends for their patience and support.
iv
COMPOSITION PORTFOLIO
by
Thomas G. McVeety
B.M., Cello Performance, University of New Mexico, 1985
B.A., Music, University of New Mexico, 2007
B.S., Electrical Engineering, University of New Mexico, 2007
M. Mu., Music, University of New Mexico, 2016
ABSTRACT
This manuscript is a collection of musical compositions written while I was a
graduate student at the University of New Mexico. My portfolio contains
composition synopses, musical scores and spectrograms and audio recordings.
The compositions featured in the portfolio are Song of the Bisti, an improvised
film score for electric cello and electronics; Four New Mexico Landscapes, for
chamber ensemble; Phonemes, for alto saxophone and five string cello; and Requiem
for an Ancient Forest, for wind symphony.
v
TABLE OF CONTENTS
LIST OF FIGURES.................................................................................................................... vii
LIST OF TABLES..................................................................................................................... viii
CHAPTER 1 Song of the Bisti and Fossil Forest..............................................................1
Description of the composition................................................................................................ 1
CHAPTER 2 Four New Mexico Landscapes.......................................................................5
Description of the composition................................................................................................ 6
CHAPTER 3 Phonemes........................................................................................................... 8
Description of the composition................................................................................................ 9
CHAPTER 4 Requiem for an Ancient Forest..................................................................10
Description of the composition.............................................................................................. 11
APPENDICES............................................................................................................................ 15
APPENDIX A Notes on Signal Processing and Software............................................16
APPENDIX B The Electric Cello.........................................................................................18
APPENDIX C Spectrograms of the Compositions.........................................................20
APPENDIX D Scores of the Compositions......................................................................28
Four New Mexico Landscapes................................................................................................ 29
Phonemes....................................................................................................................................... 37
Requiem for an Ancient Forest............................................................................................... 44
vi
LIST OF FIGURES
Figure 1. A view of the Bisti area, September 2011....................................................................1
Figure 2. Mixing the soundtrack for the Sound of the Bisti in the SAWStudio DAW. This view shows over twenty separate tracks of music and sounds spread across the twenty-six minute length of the soundtrack.................................................2
Figure 3. Integrating the audio with the video of Sound of the Bisti in the SAWStudio DAW. The RME digitizer software mixer, capable of internal loopback, is shown at the right......................................................................................................................................... 2
Figure 4. The three audio recordings used in the Fossil Forest section are shown in their final placement before the mix down to stereo tracks. Track one uses the same recording, placed at the beginning and end of the excerpt...............................4
Figure 5. The six string solid body electric cello.......................................................................18
Figure 6. Spectrogram image of Song of the Bisti. Fossil Forest excerpt at center-right................................................................................................................................................... 21
Figure 7. Spectrogram image of Early Sounds, from Four New Mexico Landscapes.. 22
Figure 8. Spectrogram image of Considering Non Linear Time, from Four New Mexico Landscapes..................................................................................................................... 23
Figure 9. Spectrogram image of Floating Colors of the Sky, from Four New Mexico Landscapes..................................................................................................................................... 24
Figure 10. Spectrogram image of Bosque, from Four New Mexico Landscapes...........25
Figure 11. Spectrogram image of Phonemes..............................................................................26
Figure 12. Spectrogram image of Requiem for an Ancient Forest......................................27
vii
LIST OF TABLES
Table 1 General characteristics of Four New Mexico Landscapes........................................7
Table 2. Instrumentation for Requiem for an Ancient Forest..............................................12
Table 3. Percussion notes for Requiem for an Ancient Forest.............................................12
Table 4. Sections and tempos in Requiem for an Ancient Forest........................................13
viii
CHAPTER 1 Song of the Bisti and Fossil Forest
Description of the composition
Song of the Bisti is an unreleased video with soundtrack of a northwestern New
Mexico desert known as the Bisti. Twenty-six minutes in length, this work was
premiered in December 2012 at the DynaMAX theater in the NM Museum of Natural
History. The project was a collaboration with videographer Bob Crain.
Approximately fifty recordings and over twenty separate audio tracks were used
in the mixing process to make the composite soundtrack for the video. A six stringed
solid-body electric cello was the only instrument used in the creation of the
soundtrack. While there is no complete soundtrack score available, screen captures
of the recording process and the integration of the soundtrack with the video are
shown in Figure 2 and Figure 3.
1
Figure 1. A view of the Bisti area, September 2011
2
Figure 2. Mixing the soundtrack for the Sound of the Bisti in the SAWStudio DAW. This view shows over twenty separate tracks of music and sounds spread across the twenty-six minute length of the soundtrack..
Figure 3. Integrating the audio with the video of Sound of the Bisti in the SAWStudio DAW. The RME digitizer software mixer, capable of internal loopback, is shown at the right.
The audio processing and recording system is software based and runs on a
personal computer. A number of commercially available VST (Virtual Studio
Technology) software modules were interconnected and identified as a patch. A
patch is a high level view of the lower level architecture used for specific processing
requirements. The patch is hosted in a single instance of a standalone VST host, with
multiple hosts necessary to accomplish the desired tasks. The VST host used here
included a large number of MIDI tools, helpful in controlling various parameters of
the VST modules and allowing for more natural interfacing with the MIDI controllers
and pedals, especially when using the software in real time performance. The
interconnected processing modules included reverberation, time delay and transient
and envelope processors, frequency equalizers and spatial panning. Additional VST
and standalone tools included diagnostic modules such as spectrum analysis, level
metering and monitoring. Additional information about the electric cello and the
recording process is given in the APPENDICES.
A seven minute section entitled Fossil Forest has been excerpted from the
soundtrack and is included here to help illuminate the recording process. Fossil
Forest is an audio assemblage of three related improvisations that were recorded as
separate statements and then combined as seen in Figure 5, a screen capture of the
recording process. Although the individual tracks had been conceived and recorded
separately in the same recording session, they are heard as three contrapuntal lines.
The three tracks each used a different type of processing for the recording. The
first track used reverb only, the second added an echo texture created with a short
3
time delay, and the third track was recorded with multiple long delays in a loop. The
same recorded material is used for both the intro and closing of the excerpt and this
audio is found on track one.
4
Figure 4. The three audio recordings used in the Fossil Forest section are shown in their final placement before the mix down to stereo tracks. Track one uses the same recording, placed at the beginning and end of the excerpt.
CHAPTER 2 Four New Mexico Landscapes
5
Description of the composition
This work is written for a version of the Pierrot Lunaire ensemble: soprano, flute
and alto flute, bass clarinet, piano, violin, and cello. Four New Mexico Landscapes was
premiered by the UNM graduate new music ensemble, New Music New Mexico,
under the direction of David Felberg, on 24 February, 2016.
Four New Mexico Landscapes is a set of four miniatures, approximately five
minutes in length. The score includes some proportional notation, senza misura, and
stem-less note heads. Extended performance techniques are used throughout the
work. The instruments and voice are used in conventional within the extended
performance technique continuum with the exception of an accessory device for the
pianist. This accessory is a threaded plastic rod, 0.25 or 0.375 inch in diameter, two
to four feet in length. The plastic used in the performance is Delrin, also known as
acetal. It is placed between two of the lowest strings at the tuning block. Sound is
produced by rapidly moving the thumb along the axial length of the rod while
maintaining contact. Variations in sound come from the velocity of the thumb stroke
and use of thumb flesh, fingernail or plastic plectrum..
In general, the pieces are done in a notation that removes bar lines and correlates
event timing by having all players read from the score. This method is successful
both because of the greater cohesiveness of a small ensemble and the nature of the
musical lines. In addition to more familiar extended technique notational graphics,
specific techniques created for this composition are identified with unique symbols
6
or other graphical images for a clearer expression definition.
Characteristics of the four movements are shown below in Table 1.
Table 1 General characteristics of Four New Mexico Landscapes.
Movement Tempo Expression Note
Movement I, Early Sounds q = 72 Curiously -
Movement II, Considering
Non Linear Time
q = 48 With dynamic flow Pianist usesthreaded plastic
rod for soundmaking device with
the piano
Movement III, Floating
Colors of the Sky
q = 60 A slowly changingsunset
C flute thismovement only
Movement IV, Bosque q = 60, 76, 68 Veiled -
7
CHAPTER 3 Phonemes
8
Description of the composition
Phonemes is written for alto saxophone and five string cello. This piece is in three
short movements, played attacca. The score is senza misura. The goal was to create a
score structure that provided boundaries, but still allowed some degree of freedom
of interpretation and collaborative improvisation between the saxophone and cello.
Contributions from Alex Martin, the alto saxophone player, were greatly appreciated
and Alex performed the work's premiere on February 28th, 2014.
The sounds of Phonemes are a dynamic blending of the saxophone and the cello,
in this case an acoustic cello with a fifth string tuned to E4. Saxophone multiphonics
are used in several places in the piece, a technique that can produce a broad
spectrum of sound, rather than a single specific note. The cello imitates these
multiphonics in the first movement using fortissimo double stop wolf tones played
on the G and C strings.
The cello part is mostly conventional in technique, but there are some uses of
extended techniques. Mixtures of spectral and pitch material are generated by
various left hand techniques and partial finger and palm pressures. Bow velocity,
location and related bowing parameters create additional aspects of the sounds. For
example, in one section the cellist is asked to use both hands to create a tremolo
pizzicato, but only striking along the edges of the fingerboard. In another section
the bow is drawn against the flat vertical side of the cello bridge, effectively bowing
the bridge.
9
CHAPTER 4 Requiem for an Ancient Forest
10
Description of the composition
Requiem for an Ancient Forest is a work for wind symphony, derived in part from
the previously discussed Fossil Forest, an improvised work for electric cello.
This work, about eight minutes in length and one hundred thirty-five measures, is
written for a forty piece wind ensemble. A reading was done by Professor Eric
Rombach-Kendall and the UNM Wind Symphony in December 2013. The recording
from that reading is included with the Composition Portfolio.
The ensemble instrumentation, shown in Table 2 below, is conventional with the
exception of the addition of the cello section. Even this choice is not so unusual, as
some professional wind ensembles now include a cello section. The cello is a
versatile instrument, and a section of three to six players can produce sufficient
volume to have a presence within the overall sound of the wind symphony. The
cellos can be effective in the ensemble due to their wide range of color and
articulation. In a typical orchestral setting, the cellos often double the bassoons or
horns. Here, in addition to these more common instrument mixes, the cellos work
together with the saxophones to create a unique hybrid sound.
11
Table 2. Instrumentation for Requiem for an Ancient Forest.
Instrument
Flute 1, 2, 3 / piccolo Trombone 1, 2
Oboe 1, 2 Bass Trombone
English horn Euphonium
Eb Clarinet Tuba
Bb Clarinet 1, 2 Percussion 1 β Marimba, Crotales
Bb Bass Clarinet Percussion 2 βVibraphone, CrashCymbals, Tam-tam shared with
Percussion 4
Bassoon 1, 2 Percussion 3 β Five Tom-toms,Suspended cymbal, Five Temple Blocks
Alto saxophone 1, 2 Percussion 4 β Bass drum, Tam-tam
Tenor saxophone Cello
F Horn 1, 2, 3, 4 Double Bass
Bb Trumpet 1, 2, 3
The attached score is in C and is found in the APPENDICES. The standard octave
transpositions are used, with the crotales sounding two octaves higher than written,
the piccolo sounding one octave higher, and the double bass sounds one octave
lower than written. Some of the percussion instruments have additional
requirements as shown in Table 3.
Table 3. Percussion notes for Requiem for an Ancient Forest.
Instrument Additional information
Suspended cymbal Bow, scraper, brushes
Vibraphone Bow, slow speed
Marimba Bow, range of B2 to C5
Crotales Soft mallet, range to Ab6
Tam-tam Bow, scraper, shared between Percussion
12
2 and Percussion 4
Orchestral toms 5 sizes
Bass drum Soft mallet
Temple blocks 5 pitches
Brass Mutes
Cello Three or more players
Double Bass C string extension
Requiem for an Ancient Forest has several distinct sections, as shown in the table
below.
Table 4. Sections and tempos in Requiem for an Ancient Forest.
Section Description Expression Tempo Location
Explosive Apocalyptic 66 BPM Bar 1 β 14
Chorale, chromatic Expressivo 66 BPM Bar 15 β 46
A little slower, building tolarge climax
Tempo expressivo,Cataclysmic at bar 70
60 BPM Bar 47 β 72
More movement ininstrumental lines, lighter
textures
- 60 BPM Bar 73 β 125
Air Sounds, bowedpercussion,
Slower, Calm 52 BPM Bar 126 β 135
The opening section of fourteen measures is marked Apocalyptic with a tempo of
66 beats per minute. The beginning of the piece shifts quickly from a hazy cello
tremolo and soft percussion sounds into a dynamic explosion of fortissimo sounds
from the brass and the winds in extreme upper ranges. This fades into the glow of a
pedal tone from the crotales. The first section finishes with a measure of rest for the
entire ensemble.
13
The second section, a chorale of sorts from bars 15 β 46, uses reduced dynamics,
and short fragmented phrases of long notes from the wind players to create a
complex chromatic contrapuntal sound field. Phrase fragments, delayed on the order
of a second or two, help to form this section, making for a jagged conversation
between the instrumental voices. This section of the piece uses dense chromatic
harmonies in the winds to alternately reveal and obscure musical lines.
The third section, tempo expressivo, with a tempo of 60, builds slowly from bar 46
to a large tutti at bar 70, marked Cataclysmic. Following a measure of rest at bar 72
for the entire ensemble, the next section begins.
The fourth section, bars 73 β 128, begins with a lively saxophone line and jet
whistle echos from the piccolo and then proceeds in a less dramatic chromatic
language with calmer rhythms and softer articulations. Throughout this portion of
the piece, there are many shorter echoes of phrases and fragments, heard within and
between instrument groups.
The final section, bars 126 β 135, slower, calm, with a tempo of 56, moves towards
the final measures where the wind and brass players create toneless air sounds,
while the percussion section is bowing their instruments. This unusual
orchestration combination fades away to finish the piece.
14
APPENDICES
APPENDIX A Notes on Signal Processing and Software, page 16
APPENDIX B The Electric Cello, page 18
APPENDIX C Spectrograms of the Compositions, page 20
APPENDIX D Scores of the Compositions, page 28
15
APPENDIX A Notes on Signal Processing and Software
The VST host used in this work is called Bidule, from Plogue Software. Bidule
allowed great freedom in creating signal processing patches for use in recording of
the electronic music presented here. VSTs are available from many different vendors,
and serve the function of signal modification by passing the signal through the
module's software based processing. VSTs simulate the functionality of analog music
processing equipment and included standard studio signal processing in both time
16
Figure 1. Signal processing flowchart diagram
Spatial domainSpatial domain
MIDIKorg nanoKontrols
Yamaha MIDI volume pedals
MIDIKorg nanoKontrols
Yamaha MIDI volume pedals
Hammerfall DSP Mixer
Audio I/O with Digiface II, in loopback mode
Hammerfall DSP Mixer
Audio I/O with Digiface II, in loopback mode
i5 - 2500k
4.4 GHz
1 core / instance of
Bidule
WindowsXP64
i5 - 2500k
4.4 GHz
1 core / instance of
Bidule
WindowsXP64
Freq domainFreq domain
Time domainTime domain
System signal flow
BiduleStandalone
VST host
BiduleStandalone
VST host
SAWStudiomultitrack digital
recording
SAWStudiomultitrack digital
recording
Digitalaudio
Analogaudio
MIDI
and frequency domains. Time domain effects include compressors, delays and
reverberation, while frequency domain effects include equalizers and spectral
processors. Spatial processing was also used to place components of the sound in
specific locations, or to add movement to the sound by modulation of the sound
location in the sound field.
The Bidule setup used was somewhat nonstandard, due to the requirements of
realtime performance and finite computer resources. Four Bidules were run
simultaneously to allow the CPU load to be spread between the four cores of the i5-
2500k CPU, which was overclocked to 4.4 GHz. Even with the overclocking, the VST
load could overwhelm the CPU without this method. The four Bidules were
interconnected within the RME MultiFace II driver in a loopback scheme, allowing
processed signals from one Bidule to be fed to one or more others.
17
APPENDIX B The Electric Cello
The electric cello used here is similar in concept to an electric guitar, with the
solid-body made from rock maple and the fingerboard from tulipwood. The shape
follows much of the standard cello outline, but the extended neck design is
somewhat different from a typical cello. The instrument features six strings,
normally tuned in fifths, from F1 to E4. Stereo output is available from piezo pickups
mounted in the modified bass bridge.
This unique instrument was designed and built in Albuquerque, and created to
18
Figure 5. The six string solid body electric cello
mitigate acoustic feedback problems often found in amplified sound performance
with more resonant designs.
The output of the pickups mounted in the bridge of the instrument is processed
through the RME digitizer and brought into the computer. It is then further
processed within the computer using VST software that perform time, frequency
and spatial domain signal processing on the now digital pulse code modulation
representation of the original acoustically generated vibrations. Signal processing
functions are usually done with a resolution of 96 kHz and 24 bit. The
interconnected processing modules include reverb, time delay and transient
processors, equalizers and panning for a multiple channel output. Additional tools
include diagnostic modules such as spectrum analysis, level metering and
monitoring.
19
APPENDIX C Spectrograms of the Compositions
Spectral processing, once available only with laboratory test instruments, is now
easily performed on a personal computer with a variety of commercial and open
source software. The spectrogram image is a visual alternative to the audio file and
score, and is created directly from the frequency and magnitude data of the sound
file.
These spectrograms included here for reference were generated from wave
format files, The spectrogram image uses the x-axis for time scale in seconds and the
y-axis for the frequency scale in Hertz. Color value is used to show the magnitude of
the audio signal in dB; here, red represents the loudest sections and blue represents
the softest sections, according to the color scale shown on the right side of the
image.
It is important to note, in reference to the images shown here, that differing
amounts of temporal detail are available when generating the image, according to
the length of the recording and various parameters of the spectrogram processing.
For example, to create two spectrograms with the same amount of temporal detail
from two recordings that differ in time length by a factor of two requires twice as
much processing time and the image is physically twice as long. Consequently, the
images included here show different degrees of detail according to the length of the
recording.
20
21
Figure 6. Spectrogram image of Song of the Bisti. Fossil Forest excerpt at center-right.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Mon Mar 14 22:38:26 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 131072Averaging: 4Window: Hanning
Song of the Bisti44.1 kHz/16 bit; 128k FFT, 20% overlap
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Figure 7. Spectrogram image of Early Sounds, from Four New Mexico Landscapes.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Sun Mar 13 21:02:29 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 32768Averaging: 4Window: Hanning
Early Sounds, Four New Mexico Landscapes44.1 kHz/16 bit; 32k FFT, 94% overlap
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Figure 8. Spectrogram image of Considering Non Linear Time, from Four New Mexico Landscapes.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Sun Mar 13 21:05:02 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 32768Averaging: 4Window: Hanning
Considering Non Linear Time, Four New Mexico Landscapes44.1 kHz/16 bit; 32k FFT, 92% overlap
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Figure 9. Spectrogram image of Floating Colors of the Sky, from Four New Mexico Landscapes.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Sun Mar 13 21:30:21 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 32768Averaging: 4Window: Hanning
Floating Colors of the Sky, Four New Mexico Landscapes44.1 kHz/16 bit; 32k FFT, 76% overlap
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Figure 10. Spectrogram image of Bosque, from Four New Mexico Landscapes.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Sun Mar 13 21:36:54 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 32768Averaging: 4Window: Hanning
Bosque, Four New Mexico Landscapes44.1 kHz/16 bit; 32k FFT, 87% overlap
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Figure 11. Spectrogram image of Phonemes.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Wed Apr 06 07:19:49 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 65536Averaging: 1Window: Hanning
Phonemes- Keller Concert 28 Feb 201444 kHz, 16 bit. 6:56; 64k, 59% overlap; Hanning
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Figure 12. Spectrogram image of Requiem for an Ancient Forest.
Printed By: SpectraPLUS-SC Sound Card EditionLicensed To: tmcveety
Mon Mar 14 23:17:46 2016
Average of Left and Right ChannelsSampling Rate: 44100FFT size: 131072Averaging: 4Window: Hanning
Requiem for an Ancient Forest44.1 kHz/16 bit; 128k FFT, 76% overlap
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APPENDIX D Scores of the Compositions
Four New Mexico Landscapes, page 29
Phonemes, page 37
Requiem for an Ancient Forest, page 44
28
for
Soprano, Flute / Alto Flute, Bass Clarinet,
Violin, Cello and Piano
Four New Mexico Landscapes
Tom McVeety
29
Β°
Β’
Β°
Β’
{
q = 72
Copyright Tom McVeety Β© 2016
I. Early sounds
Alto Flute
Bass Clarinet
in Bb
Soprano
Piano
Violin
Violoncello
&
Curiously
mp
increase air in sound
air
mf
increase air in sound
air
mf ff
>
f
floating down
- -
-slowing down
- -
ff
strongly
.>
ff
.>
&
mp
p
mp mf fp mp
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.>
f
.>
3
&
mf mf
Ahh
mf
Ahhh
increase air in sound
air
&
Ahh
Γ
f
.
ββ
mf pp
ΕΈ~~~~~~~~~~~~~~~~~~~~~~
?Γ
f
.
ββf
f
ff
^
.
&Γ
II
pp
ponticello region
pitch drift
pmp
crunchy / scratchy
bow pressure
mf mp
normal bow
pressure.
tremolo,
sizzle and vanish
ponticello
ppff
.Μ
ff
.Μ
?
mf
partial bow pressure changes to normal bow pressure
partial finger pressure changes to harmonic pressure
ponticello region
pitch drift
p
mp pp mp
ponticello
p
tremolo, sizzle and vanish
pp ff
norm. finger
norm. bow
.^
ff
^
.
w Λ β’ Ε
Λ β’ Ε# Εn
Ε β’Ε# β’ Ε# β’ ΕΒ΅
J β°
Εn
J
Ε#
Ε β’ Ε
j
w# Λ#
β° Εn
JΕ#
Ε#
ΕΕ Ε Εn
JΕ#
Ε Ε
Ε
j
w# Ε#
j β°
Ε#
j
w# Λ β’ Ε w Ε Γ
ΕbΕ
ΕnΕb
Εn
Εb
j
w
Ε
Εb Εb
ΕnΕ
Εb
ΕbΕn Ε
Εn
ΕΕb
Εb
Εn
β°
Ε
ΕΕn
b
b
j
OΛ
OΛ## β’
β’ OΛ## β’
β’ OΛ##
æææ
OΛ## Εn
Jβ°
Ε#
J
w# wn~ ~Β΅
æææ~¡
Ε
Ε
Ε
n
b
b
J
β°
Ε
ΕΕn
b
j
1
30
Β°
Β’
Β°
Β’
{
q = 48
II. Considering Non Linear Time
A. Fl.
Pno.
Vln.
Vc.
&
with dynamic flow
pp
increase air in sound
mf
air
trilling key clicks
mf
>
mf
>
tongue block
f
>
key slaps
norm.
&
> >mf
ΕΈ
f
key clicks
.>
.>
&
B. Cl.
mf
trilling key clicks
> > >
&
pp ppmp
frullato as possible
mf
mp
mf
key clicks
&
S.
mmm
hum
mf
whiss
pp
norm.
gliss.
mf
mmm
mp
ah
roof of mouth
tongue click
ff
Tic
.
mf
zzzzz zz zz
-
zzzz
mf
-g
liss.
aah
&
mp
velocity slopes; use fingernail against plastic threaded rod
pizz.
mp
Β° ΓΈ
ββ
?
p pp
mf
~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~ΕΈβ
mf
~~~~~~~~~~~~~~~~~
mp
~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~
mf
ΕΈβ
~~~~~~~~~~~~~~~~~~~~~~~~~
&
mf
ΕΈ~~~~~~~
p
mp
col legno
mp
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
gliss
mp pp
?
II
p
mfmp
mpmf
col legno
f
single pizz. with gliss.
pitch drift
>
Β»
ff
>
LH light damping
battuto
mf
ff
.>
.>
.>
.>
.>
mp
.>
3 5
Ε#
Λ#
ΒΏ
j
ææ¿ ¿
j
ææ¿
ΒΏ ΒΏ
j
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
Εb
j
ΕΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ
r
ΒΏ
r
Εn
j
ææ¿
Ε
j
ææ¿
Ε
j
ææ¿
Ε Ε Ε
7
Ε
7
Ε ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏΒΏ ΒΏ
Ε# Ε#
Λ#
Ε Ε ΒΏ
7
Ε
7
Ε
7
Ε
7
Ε
7
Ε 7
Ε
Ε
Ε
Εn
Ε# ΕΕΕb#n
ΕΕΕ
Ε Ε Ε Ε Ε Ε Ε Ε
Εb
j
Ε Εb
j
Ε Εb
Εbβ°
æææO β’
Εb Ε ΕΕ#
Ε ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ
ΒΏ ΒΏ ΒΏ
r
ΒΏ
rΒΏ
r
ΒΏ
r
2
31
Β°
Β’
Β°
Β’
{
q = 60
III. Floating Colors of the Sky
Flute
B. Cl.
Pno.
Vln.
Vc.
&
mf
A slowly changing sunset
mp mp mp mp
fast gliss.
~~~~~~
f mp
slow gliss.
~~~~~~~~~~~
mp mp
&
mp
lightly tongued changes to frullato, then slows down to norm.
- -
mf
clap
final note
&S.
mf
tongue click
>
tongue clicks, hit
bottom of mouth
> >
mf
>
hand claps
mf
>
mf
>
&
mf
ββ
p
p
ββ
p
?
normal
finger
pressure
II
p
p
Β° ΓΈ
p
Β° ΓΈ
&
mfp
harmonic
finger pressure
mp
gliss.
mf
col legno
mute lightly w/ L.H.
mf
col legno
mute lightly w/ L.H.
?
mf
poco a poco ponticello
normal
finger
pressure
I
mf
harmonic
finger pressure
mp p
spiccato
. . . . . . .
mp
Ε Ε Ε Ε Ε Ε
Ε ΕΕ
Ε
Ε Ε
Ε# Ε#
Εb Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
7
Ε
7
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε ΕΕ Ε Ε Ε
ΒΏ
J ΒΏ
J
ΒΏ
J
ΒΏ
j
ΒΏ
jΒΏ
ΒΏΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ
f ff f f f f
ΒΏΒΏ ΒΏ
ΒΏΒΏ
ΒΏ
f
Ε
Ε
b
Ε
Ε
#
Ε
Ε
b
Ε
Ε
b
Ε
Ε
b
ΕΕ
Εn Εn Εn
Ε# O# O#Ε
Ε
Ε O O O O# O O O O O O O O O#
3
32
Β°
Β’
Β°
Β’
{
III. Floating Colors of the Sky
Flute
B. Cl.
S.
Pno.
Vln.
Vc.
&Fl.
mp
-
fp
-
ff
key clicks with air
mp
key clicks
&
f
norm.
&
p
pp mf mp
mf
p
increase air in sound
&
Oh
mp
Ah
mf
.>
Oh
subito
p pp mf
Tss Ah
p
Zz tss tss tss tss
&
p
ββ
pp p
ββ
Β° ΓΈ
?
mp
Β° ΓΈmp
Β° ΓΈ
ΕΈβ
p
like scattered pebbles
Β° ΓΈ
ΕΈβ
&
mf
III
o
III
mp
o
pp
mf
col legno
mp
col legno
p
col legno
?
mp
I
fp
II
poco a poco ponticello, increasing white noise
IV
mf
o
unstable bow pressure
f pp
III
p
partial bow pressure
partial finger pressure
pitch drift
Ε ΕΒΏ ΒΏ ΒΏ ΒΏ ΒΏΒΏΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏΒΏΒΏΒΏ
Ε Ε
Ε Ε Ε Ε
Ε#
Εb Εb Εb
Εb Εb Εb Ε Ε Ε Ε
Ε
Ε
b
Ε
Εn
b
Εn
Ε
Εb
Εn
Ε
Ε
Ε
Ε
b
ΕΕ
O
OΒ΅Ε
Εb
4
33
Β°
Β’
Β°
Β’
{
III. Floating Colors of the Sky
Fl.
S.
Pno.
Vln.
Vc.
&
slower motions
fp
-
air sounds
p
soft air sound
glissando upward
mp
~~~~~~~~~
p
~~~~~~~~~~~~~~~~
&
B. Cl.
mf
key clickswith some air
mf
&
mp
- - - -
pp
- - - - - -
mf
-
vary fingerings for alternate timbre and pitch
mp pp
&
szz
mf p
zzoo
mf
zzss
pp
&
p
mf
.
p
Β° ΓΈ
mf mp
?
mf mp
Β° ΓΈ
&
mf
col legno
slide bow toward bridge
during bow stoke
β₯ β₯
g
liss.
g
li
s
s
.
β₯
g
l
i
s
s
.
β₯ β₯
g
lis
s
.
β₯
g
l
i
s
s
.
g
lis
s
.
col legno
slide bow toward bridge
during bow stoke
p
β₯
g
li
s
s
.
β₯
g
li
s
s
.
pp
β₯
g
l
i
s
s
.
?
fp
>
ponticello region
partial bow pressure
mp
- mp
mf
slow
bow speed
heavy
bow pressure
pp
ΕnΕ
ΕΕ
ΒΏΒΏ ΒΏΒΏΒΏΒΏ ΒΏΒΏΒΏ ΒΏΒΏΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ ΒΏΒΏ ΒΏ
Ε# Ε Ε Ε Ε Ε Ε Ε Ε Ε# Ε Ε Ε Ε Ε Ε Εw
Ε# Εn Εn
Εn Ε Ε Ε
Ε
Ε#
Ε
Ε#
Ε Ε
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε# Ε#
Ε#
Εn
5
34
Β°
Β’
Β°
Β’
{
IV. Bosque
A. Fl.
B. Cl.
S.
Pno.
Vln.
Vc.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
veiled
q = 60
β β β
faster
q = 76
β
increase air in sound
mf
air
o
mp
o
pp pf
mf
air
ff
gliss.
&
sfz p
-
p
-
sfz
>
sfz p
-
p
bumpy air flow
-
sfz mp
>-
sfz p
-
increase air
in sound
mf
-
air
mf
-
air
&β β
humming
mp
β
aah-ac
f
low freq. exhalation
mp
high freq. exhalation
aah-ee
f mp
β
&β β β β β
mp
?β β
pp
ββ
mf
b
Β° ΓΈ
mp ββ
Β° ΓΈ
&
q = 60
β β
mf
IV
mp
o
>
o o o
>
p
o
>
q = 76
normal
finger
pressure
faster
β β β
mf
II
pp mf
II
?β
mf
IV
mp
> >
p
>
mf
IV
mp
o
>
o o o
>
p
o
>
IV
pp
partial
finger pressure
mf
pitch drift
pp mf
III
pp pp
Λ#
Λ# w
Γ
Ε Ε Ε Ε
Ε
Λ β’ ΒΏ
Ε# Ε Ε Ε Ε Ε
Ε Ε
Ε# Ε Ε Λ# Ε
j β°
Ε# Λ
Γ Ε
Ε# Ε Ε
Ε Ε
Λ# β’
Γ Γ Ε
Λ# β’
w#Γ
Λ
Γ Γ
Λ
Γ
wΕ Λ# β’ Λ β’ Ε
w#
Γ
Γ
Ε
Ε β°
Ε#
J
w
Εn
jw
w#Ε
Λ
Λ
Λ
b β’
β’
β’
Λ
Λ
Λ
β’
β’
β’
Ε
O O O O
Ε
O
~ ~w##
O# O O Oβ°
O#
jΕ
O O O Oβ°
O
jΕ
wb wb
w
wb w
w
6
35
Β°
Β’
Β°
Β’
{
IV. Bosque
A. Fl.
B. Cl.
S.
Pno.
Vln.
Vc.
&
A little slower
q = 68
β
forceful tongue
"taa"
mf
-
mp
sim.
f
.
-
p
norm.
mp ppmp pp
&
sfz p
-
mp
-
pitch drift
β
mp
pp
&β β
ee
mp
ah-
pp
β
exhalation
ah aye
mf
ee
pp
&
mp
#
pp
β
pp
ββ
?
mp p pp p
&
A little slower
q = 68
I
II
mf
o o
β
I
mp
?
mp
III
col legno
freely
mp
. . .
Γ ΕΕ
Ε
Ε
Ε# Λ Εn β’β°
ΕB β’β° β°
Εb
J
Ε Λ
Ε
Ε# Ε Ε
Ε
Λ# β’ ΕB
Γ
Λ# w
Ε Λ β’ Ε Ε Ε Ε Ε
Ε
β° Εn
J
Λ β’
Λ β’
Γ Ε
Ε# Ε Ε Ε
β°
Ε
J
Εb Λ w
w Λ# β’
Ε Ε
Λn β’
Γ
Λ# w
Γβ’
O
On
O
O β’β’
Ε Γ
O ~
wn w
w
wΓ ΒΏ
J
β° ΒΏ
J
β° Ε ΒΏ
J
β° Γ
7
36
for Alto Saxophone and Five String Cello
2014
Tom McVeety
Phonemes
37
Total performance time for Phonemes is approximately 6:40:
I. 2:30
II. 1:30
III. 2:40
An E4 pitch should be used for the fifth string on the cello, shown as V.
The other four strings are the standard A3 ( I ), D3 ( II ), G2 ( III ), C2 ( IV ); A = 440 Hz.
Performance Notes
The multiphonics were created on a Yamaha model 62 alto saxophone, with
Van Doren mouthpiece AL3 and #3 reed.
The alto saxophone part greatly benefited from the contributions of Alex Martin,
who worked with the music from the original sketches and performed the premiere.
38
Β°
Β’
Β°
Β’
Β°
Β’
β’β’
β’β’
q = c. 108
Copyright Tom McVeety 2014
ITom McVeety
Phonemes
β’β’
β’β’
q = c. 84
Alto Saxophone
Five string cello
Alto Sax.
5 Stg Cello
q = c. 54
C C C
Bb
C
Bb
C
Bb
Alto Sax.
5 Stg Cello
&
Make didgeridoo-like sound, with light left hand pressure
for muffled, non pitched sound. Start with bow at bridge,
angled so hair is on edge, with wood tilted toward bridge.
Pull bow quickly towards fingerboard. Bow motion is
elliptical along length of string; bow speed in nonlinear,
slower when moving towards bridge. Repeat ad lib,
approximately 20x
Score in C
ad lib, improvisando
partial finger pressure changes to harmonic pressure
freely
?
IV
mf
slowing
!
sul pont.
IV
ppp
III
mp
IV III IV III IV III III
III
IV
III
IV
p
III
&
pmp mp
mp
?
III IV
III
IV III
IIII
mf
II
I
II
I
#
mp
II
I
#
II
I
#
BB
I
mp
I
lightly touch top note
use slow, wide,
non linear vibrato
ΓΓΒ― ΓΜΓΓΓΒ―Β―Β―Β―Β―ΓΓΓΓΓΒ―Β―Β―Β―Β―Β―Β―Β―Β―ΓΓΓΓΓΓΓΓΓ
&
ff
Γ―
Γ³Γ―Γ―
Γ―Γ―
, Γ―Γ―Γ³
Γ―Γ―Γ―
adjust embrocure
to bring out
upper octave
,
Γ―Γ―
Γ³Γ―Γ―
Γ―
,
b
Γ³
Γ―Γ―
Γ―
Γ―Γ―
,
III
IV
b
Γ―Γ―
Γ―
Γ―
Γ³
Γ―,
p
b
Γ―
Γ―
Γ―
Γ―
Γ―Γ―
key clicks
pp
attacca
?
^
fff
II
I
b^
sempre
##
,
b^
^ ,
^
II
III
##
,
II
^
III
wolf tone,
let it howl, tune to
maximize beats
#n
,
^
fff
#n
,
mp
#
Y Y YY ~
βbO
βbO
βbO
βn ~
w
~
w
~
w w w wn w
~
w
~ ~w w
~ w~w
ΕOΕ
w~w
w~
~w
~Y
Λb
ww ww ww
w
ww ww
w
ww ww ww
ΕΕ# ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΛΛ ww ww w
wb
ww ww wwΛΛ
ΒΏΒΏ
1
39
Β°
Β’
Β°
Β’
Β°
Β’
II
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
&
c. 8 sec.
f
key clicks
c. 8 sec.
?
|f
spiccato with
weight in attack
muffle strings
slightly with left hand
. . . . . . .
mp
non linear
accelerando
. . . . . . .
. . . . . . . .
. . . . . . . .
. . . . . . . . . .
fsfz
battuto
. . . . . . . . . . .
sfz
ponticello
mp
. . . .
* Sounding result is still relatively quiet
&
mp
c. 6 sec. c. 6 sec.
?
f
col legno
move bow parallel to string ponticello
mf
. . . . . . . .
&
&
Use rapid L & RH fingernail tremolos
along each side of the fingerboard for
the entire length, making a timbre gradient.
c. 6 sec. c. 6 sec.
attacca
&
f
gliss.?
β₯
Bow across flat vertical surface of bridge,
(FB side of bridge) in a elliptical motion with
a slight sense of rhythmic pulse, a sound of human breathing.
mf
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€β₯
β€
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏΒΏΒΏΒΏ ΒΏ ΒΏ
ΒΏΒΏΒΏΒΏΒΏ ΒΏ ΒΏ
ΒΏ ΒΏΒΏΒΏΒΏΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏΒΏΒΏΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
ΒΏ ΒΏ ΒΏ
7ΒΏ
7
ΒΏ
7
ΒΏ
7
ΒΏ ΒΏ ΒΏΒΏ ΒΏ
ΒΏ ΒΏΒΏ ΒΏ
ΒΏ ΒΏΒΏ ΒΏ
ΒΏ ΒΏΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏ
ΒΏ ΒΏΒΏ ΒΏ
ΒΏ ΒΏΒΏ ΒΏ ΒΏ
ΒΏ
ΒΏ ΒΏ
2
40
Β°
Β’
Β°
Β’
II
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
&
mp
key clicks
c. 6 sec.
valve pops
f
mp
> > > >
key clicksvalve pops
c. 6 sec.
> > > > >
?
f
III
sul pont.
II
f
III
sul pont.
II
&
&
c. 6 sec.
mf
c. 10 sec. c. 14 sec.
pp
attacca
&
mp
?
mp
#
mf
n#
n#
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Ε
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w ww
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3
41
Β°
Β’
Β°
Β’
Β°
Β’
III
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
&
mf
lots of air
in sound
c. 10 sec.
mf
c. 10 sec.
mostly air, changing
to pitch, and back to air
p
c. 15 sec.
?
II
III
mf
bn
wide
vibrato
ΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓ
~~~~~~~~
~~~~~~~~
sul pont.
V
I
&
fff
^
fff
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I
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?
II
III
mf
bn
wide
vibrato sul pont.
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&~~~~~
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fff
V
I
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normale
arco
^^
^
ββ
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?
pizz.
&
mf
c. 10 sec.
V
I
f
c. 15 sec.
~~~~~~~~~~~~~~~~~
~~~~~~~~~~~
key clicks
?
normale
II
III
mf
bn
wide
vibrato
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sul pont.
~~~~~~~~~~~
&
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I
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normal finger pressure
changes to harmonic pressure
?
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~~~~~~~~~~~~~~~~~~~~
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^
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c. 12 sec.
mf
c. 12 sec.
&
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I
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~~~~~~~~~~~~~~~~
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pizz.
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II
III
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bn
wide
vibrato
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ff
^
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^ ^^ ^
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gliss.
&
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Ε
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4
42
Β°
Β’
Β°
Β’
Β°
Β’
III
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
Alto Sax.
5 Stg Cello
&
c. 6 sec.
mf
~~~~~~~~~~~~~
continue upward, starting
approximately at previous
glissando final
pitch
c. 8 sec.
~~~~~~~~~~~~~~~~~~~
c. 14 sec.
key clicks
&
mp
V
I
arco
#
p
pizz.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~
arco
mf
gliss.
mp
ββ
~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~
gliss.
pp
ββ
?
&
mf
additional air in sound
c. 14 sec.
mf
c. 6 sec.
?
II
III
mf
bn
wide
vibrato
~~~~~~~~~~~~~~~~~~~~
~
ΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓΓ
f
^^
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gliss.
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I
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p
pizz.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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c. 10 sec. c. 18 sec.
p
mostly air, changing
to harmonic-like timbre,
and fade away with more air in tone
&
pizz.
mf
gliss.
arco
mp
gliss.
ppp
ancient and far away
ββ
w
wb
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5
43
Full Score
Tom McVeety
Requiem
for an
Ancient Forest
for
Wind Symphony
44
Instruments
Flute 1
Flute 2
Piccolo
Oboe 1
Oboe 2
English Horn
Eb Clarinet
Bb Clarinet 1
Bb Clarinet 2
Bassoon 1
Bassoon 2
F Horn 1
F Horn 2
F Horn 3
F Horn 4
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
Trombone 1
Trombone 2
Bass Trombone
Euphonium
Tuba
Percussion 1 Marimba, Crotales
Percussion 2 Vibraphone, Crash cymbals, Tam-tam shared with Perc. 4
Percussion 3 Five tom-toms, Suspended cymbal, Five temple blocks
Percussion 4 Bass drum,Tam-tam
Cello
Double Bass
Notes:
1. Percussion 1, 2, 3, 4 will require a bass or
cello bow and rosin.
2. The cello section should be 3 players or more.
3. The double bass section should be 2 or more players,
preferably insturments with a low C string.
4. Standard transpositions apply:
Crotales are notated 2 octaves lower
Double Bass is notated 1 octave higher
Piccolo is notated 1 octave lower
45
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Copyright Tom McVeety Β© 2012
Piccolo
Flute 1
Flute 2
Oboe 1
Oboe 2
English Horn
Eb Clarinet
Bb Clarinet 1
Bb Clarinet 2
Bb Bass Clarinet
Bassoon 1
Bassoon 2
Alto Saxophone 1
Alto Saxophone 2
Tenor Saxophone
F Horn 1
F Horn 2
F Horn 3
F Horn 4
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
Trombone 1
Trombone 2
Bass Trombone
Euphonium
Tuba
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Cello
Double Bass
f
ff
f
q = 662 3 4 5
f ff
f
f
ff
f
mfmf
mf f mf
mf
mf mf mf
mf
mf f f mf
f
ff
f
f
ff
f
fff ff
f
mf ff
ff
mf
fmf f ff
f
mf
mf f
f
f
f f f
f f f
mff
f f
fmp
f fff
2 3 4 5
f mpf
fff
f
f mp f ff
f mp f
ff
mf
mf
mf
f
f f
f
f f
ff
ff
f
f f
f f
p
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pp
mf
ff
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f
f f f f f f
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
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4
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4
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&
Apocalyptic
β β β
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3
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frullato
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3
3
33
Tom McVeetyScore in C
Requiem for an Ancient Forest
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soft mallets
/
Crash Cymbals
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46
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 4
Cello
Db.
f f f mf mf
6 7 8 9 10
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f ff
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mf f f
f f
mf
mf f f ff
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f
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fmf f
f
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6 7 8 9 10
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f
fmf mf mf
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mf
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mf f ff f
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f
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T. Blk.
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r Ε Ε Ε Ε ΕΕ Ε Ε
Εβ Ε
ΕΕ
ΕΕ Ε
æææŠΕ
r
Ε Ε Ε Ε Ε Ε Ε Ε Ε
βΕ Ε
Ε ΕΕ Ε
Ε ΕΕ
Ε Ε Ε
Ε ΕΕ Ε
ΕΕ Ε
ΕΕ Ε β β Ε Ε β Ε Ε Ε Ε Ε Ε Ε Ε
ΕΕ Ε β° Ε
Ε β
æææw
Λ β’
Γ¦Γ¦Γ¦Λ β’
Ε
æææΕ
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Ε
Γ¦Γ¦Γ¦Λ β’ Λ
Γ
w
Γ
æææΛ
β°
æææ
Ε
Εn
#
æææ
Ε
Ε
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Λ
Λ
æææ
Ε
Ε#
æææ
Ε
Ε β°
æææ
Ε
Ε
æææ
Ε
Ε β° Ε β°
æææ
Ε#
æææŠææ
Γ¦Ε#
æææ~
æææΕ
æææΕ
β°
æææ
Ε
Ε β°
æææ
Ε
Ε
b
æææ
Ε
Ε β°
æææ
Ε
Ε
b
Γ
3
47
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
mf mf p
A11 12 13 14
mf mfp
mf p
mf f
mf f
mf
mf
mf f
mf
11 12 13 14 15
mf
mf f
mf
f
mf mf
f mf mf
f mf mfmf
pp
11 12 13 14 15
mp
p
mp
mf
mp
p
pp
normale
mf
&
ΕΈ
normale
β β β
Chorale
&
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ normale
β β β
&
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~normale
β β β
&β β β β β
&β β β β β
&β β β β
expressivo
&
normale
β β β β β
&
normale
β β β β β
&
normale
β β β β β
&
normale
β β β β
expressivo
?
normale
β β β β β
?
normale
β β β β
&β β β β
expressivo
&β β β β
expressivo
&β β β β
expressivo
&β β β β
stopped
expressivo
&β β β β
straight mute
expressivo
&β β β β
stopped
expressivo
&β β β β
straight mute
expressivo
&β β β β β
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β
?β β
?β β
&
Crot.
β β
/ β
l.v.
β β
/
Susp. Cym.
β β β
/
B.D.
Tam-t.
β β
&β β
?
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
β β β
w w
β°
Ε Ε Ε Ε
β°
w
ΕΛ β’
Ε
Λ# β’
ww
Λ
Εb Ε
Ε
Λ
Εb Ε
Ε
β
Λβ° Εb Ε
ΕΛ
Εb
Λ
Εb Ε
Ε
Λ β’Εb
ΕΛ β’
β° Ε Ε Ε β° Ε
Γ
Λb
β°
Εb Ε Ε Ε
β° Ε
Λb β’
Ε
Λb β’
β°
Εb Ε
Γ β°
Εn Ε
Ε
Ε
Λ
Γ
Γ
Εb Ε
β°
Εb Ε
β°
Ε Ε
β°
wb
æææw
æææw
æææw
ΓΕ β° Ε
j
Λ Γ
æææw
æææw
Γ
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Λ
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Ε
æææ~#
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4
48
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
mf
16 17 18 19 20
mf
mf
mf
mf
mf
mf
f
mf
mf
mf
mf
mf f
mf
f
f
f
mff
f mf
f mf f
f
mf mf
16 17 18 19 20
mf
f
mf
mf
mf mfmf
f
mf
mfmf
mf
mf
mf f
mf
16 17 18 19 20
&β β β β
&β β β β
&β β β β
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&
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&
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&
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&
&
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Ε
Ε# Λ
Λ#
β°
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Λ β’ Ε
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Λ
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ΛΕ Λ
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Λ
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β°Ε# Ε Ε
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Ε
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β°Ε Ε Λ β’
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Λ<b>
β° Ε Ε Ε Ε
Ε Ε
β°Ε# Ε Ε
Ε Ε
β°
Ε#Λ β’
Ε β°
Εb Ε
Ε β°
Ε
j
β°Ε Ε
Εb
Ε#
Ε
Λb
Ε#
Λ# Λ
β°Ε Ε
Εb
Ε#
5
49
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
21 22 23 24 25
mp
mp
mp
mf
mp
mp mp
mp
mp
mp
mp
mp
mp
21 22 23 24 25
mp
mp
mp
mp
mp mf
mp
mp
mp
mf
mp
mpmf
mf mf
21 22 23 24 25
mp
mp
f
&β β β
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- - - -
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&
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&
&
&
&
normale
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normale
β
&
normale
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&
normale
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- - - - -
33
33
&β β β β
- - - - - -
3
3
3 3
?β
straight mute
- - - - - - - -
3
3
3
3
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straight mute - - - - - -
3
3 3 3
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Marimba
> > > >
> >>
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Vib.
&
soft mallets
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Tom-t.
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strong
ogliss.
o
gliss.
?β β β
pizz.
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r
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Ε
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r
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w Λ β’
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β° Ε β° Ε β° Ε β° Ε Ε Ε
J
Ε
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Ε
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Ε
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Ε
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Ε
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Ε
J
Ε
β°
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Ε
β°
Ε
Λ<#>Λ
Λ β’
Ε β°
Ε
β°
Ε
β°
Ε
β°
Ε
β°
Ε
β°
Ε
β°
Ε
β°
Ε Ε Ε
J
Ε
ΛΛ Λ β’
ΕΕ β’
β° Γ ΕΕ Ε
β° Ε
Λ<#>Λ
Λn β’Ε
Ε Ε Ε Ε Ε Ε Λ β’Ε
Ε
R
Ε
R
ææ把Ε
æææŠΕ
R
Ε
ææ把ŠΕ
R
Ⱐæææ
Ε Ε Ε Ε
R
Ε
R
Ε Ε Ε
æææΕ
Ε
r
Ε
r
ææ把Ε
æææŠΕ
r
Ε
ææ把Ε
Ε
Λ# β’
ΕΕ
β°Ε Ε
β° Ε β° Ε β° ΕΕ
β° Ε β°
Λb β’
Ε ΛΕ
Ε ΕΛ# β
Εβ° β°
Εβ° β°
6
50
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
B26
27 29
28
mp
mf
mf
mp
mf
mpmp
mp mp mp mp
mp mf
mf
mp
26
27 29 30
28
mp
p
mf mf
mfp
mp
mf
mf
p
mp
mf
mpmf
mf
mpmp
mp
mfmp
mfmf mp
mp
mfmp pp
mp
pppmp
mp
26
27 29 30
28
mf
ff
mf
mf
&β β β β β
&
- - - - - -
&
- -
&β
&
&
&β
&β
&
&β
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?
&
&
&
&
&
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&β
&
&
- - - - - - -
-
- - - - -β
- -
33 3 3
3
3
33 3
33
3
&
- - - - - -
3
-
3
- -
-
-3
- - - - - - - -
3
β
3
3 3 3
3
3
3 3
?
- - - - - -
3
- - - - - - - - - - - - - - - - -
3
3
3
3
3 3 3 3
3
3
3
?
- - - - - -
3
- - - -
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3
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3
- - - -
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3
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. .
β
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&
Mar.
>β
> > ?>
> > >
>
> >
&
Vib.
3 3 3 3 3 3 3 3 3 3 3 3
/
Tom-t.
β
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&
>
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pizz.
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Εβ°
Εβ°
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Ε# Ε
β°
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β°
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Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε β° Ε β° Ε
r
Ε β° Ε β° Ε
r
Ε
r
β° Ε β° Ε Ε
r
Ε
r
Ε
r
β° Ε β° Ε Ε
r
Ε
r
Ε β° Ε β° Ε
r
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r
Ε Ε Ε Ε Ε
r
Ε
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r
Ε β° Ε β° β° Ε β° Ε Ε
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Ε
r
Ε
r
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r
Ε
r
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r
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r
Ε
r
β° Ε β° Ε
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β° Ε Ε β° Ε Ε β° Ε Ε β° Ε# Ε β° Γ
Ε
r
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Ε
r
Ε β° Ε β° Ε
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β°Ε
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Λb
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Ε
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Ε
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Ε
r
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r
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rΕ
r
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rΕ
r
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r
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β°
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Ε
r
Ε
r
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Ε
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Ε
Ε
J
β° Ε
J
Ε β° Ε Ε Ε β° Ε β° Ε Ε Ε Ε Ε Ε Ε Ε Ε
J
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J
Ε
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J
Ε β° Ε Ε β° Ε β° Ε β°
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j
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Ε
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J
Ε
β°
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J
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J
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β°
Ε
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Ε
β°
Ε
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Ε
β°
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J
Ε Ε
β°
Ε
β°
Ε
β°
Ε
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Ε ΕΕ
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β°
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Ε Ε
r
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r
Ε
r
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r
Ε
r
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r
Ε
ææ把Ε
Ε
r
Ε
ææ把ŠΕ
r
Ε
r
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r
Ε Ε
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r
Ε
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w<#> Λ
Ε
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Ε Ε Ε Ε Ε Εb Ε Ε Ε Ε Εb Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Εb Ε Ε Ε Ε Ε Ε
ΕΕ
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ΕΕ
β°
Ε
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β°
ΕΕ
β° Ε Ε β° Ε β°Ε
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ΕΕb
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β° β°
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7
51
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
31 32 33 34 35
mf
mf
ff mf
mf
ff mf
mf mf
ff mf
mf
mf
mf ff mf
f
ff mf
ff mf
ff
mf
ff
mf
ff
mf
f mf
31 32 33 34 35
f mf
mf
mf
f mf
f mf
f mf
mp f mf
mp f mf
mp
f
mf
mp
f mf
fmf
31 32 33 34 35
ff fff
f
fff
fff
ff mf
ffmf
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w
Ε
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Ε
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Ε
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Ε
r
Ε
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r
Ε
r
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Ε Ε Ε
r
Ε
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r
Ε
r
æææŠΕ
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Ε Ε Ε
r
Ε
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r
Ε
r
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ææΛ# β’
Ε
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Γ¦Γ¦Λ Γ β Ε
Ε ΕΕ
Εβ° Ε Ε β° Ε β° Γ Ε Ε Ε Ε Ε β°
Ε
ΕΕ
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ΕΕ
ΕΕ ΕΕ Ε Ε
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Λ# Λ β’ Ε Εn
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β°
8
52
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
f mf
36 37 38 39 40
f mf
f mf
ff
f
mf
f mf
ff f
ff
ff ff
ff
ff
ff ff
ff
ff
ff ff
ff f ff
ff f ff mf f
ff f ff
ff f
ff f
ffmp
f mf mp
36 37 38 39 40
f mf mp
f mf mp mf
f mf mp
f
f
f
f
f
fmf
mp
f mf
mp
fmf
mp
36 37 38 39 40
mf
mp mf mf
mf mp
ff f
f
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f
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Vib. >
3
>
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w
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w Εβ° Ε Ε
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Ε Ε Ε ΕΕ
wΕ
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w ΕΕ
Ε
Ε
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Ε
Ε# Λ
Ε
Ε#
ΛΓ
w
β°
Ε Λ β’
β°
Ε Λ β’
β°Ε Λ β’
w Λ β’
Ε
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Ε
Λ β’
Ε Ε
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Ε
Λb β’
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Ε
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β°
Ε
Ε# Ε Εn Ε Ε β° Ε
ΕΛb β’
Ε
9
53
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
p
41 42 43 44 45
mp
p
p mp
p p
p
p
p
p
p p p
p
p
p
p
mp
p p
p
pp
p p
p
41 42 43 44 45
p
p p
p
p
p
p
p
mf
p
mf
p
mf
p
pp
41 42 43 44 45
mp mp mp mp mp
p
mp
p
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&
&
&
&
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w
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Λ# ΛΛ#
ΛnΛ
β° Εn Ε β° Ε Ε
Λ
Γ Λb Λ Ε Λ# Εn β° Ε Ε ΕΕ Ε
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r
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r
Ε
r
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r
Ε Εæææ
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r
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Ε
r
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r
Ε
r
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Ε
r
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r
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r
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r
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Ε Εæææ
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r
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r
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r
Ε
r
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Ε
r
Ε Εæææ
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r
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Ε
r
Ε
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r
Ε
r
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Ε β° Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε β° Λ β’ Λ Γ Ε Ε Ε Ε Ε
Λ Ε
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Ε
Ε Ε Ε Ε Ε
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Ε Ε
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Λ# β’ w Λ β’ Ε
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Λ
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Ε
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Λ
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Ε#
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Ε
Λn β’Ε
Λ
Λ Ε
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Λ# Λ
Λ#
ΛΛ
Ε Λb β’ ΕΕ
Λ# ΛΛ#
ΛbΕ
Ε# Λ β’Ε#
β°
Ε Ε Ε Ε
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β°
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Ε# Λ β’Ε# Ε
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Ε
Λb ΕΕ Λ β’
Ε
Λn
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Ε Ε Ε Ε
β°
Λb Ε
Εn
Λ β’ Ε Ε
Λ β’
ΕΛ β’
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Λ β’Ε β° Ε Ε Ε Ε β°
β°Ε Λ β’
β°
Ε Ε Ε Ε
β°
Ε
r
Ε
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r
Ε
r
æææŠΕ
æææ
Ε Ε Ε
r
Ε Ε
ææ把Ε
r
Ε
æææŠΕ
æææ
Ε Ε
r
Ε
ææ把ŠΕ
r
Ε
r
æææŠΕ
æææ
Ε Ε
ææΕ
æææΕ
æææΕ
æææΕ
æææΕ
æææΕ
æææ
Ε
β° β°
æææ
Ε
æææΕ
β°
æææ
Ε
æææΕ
æææΕ
æææ
Ε
æææ
Ε
ææ
Ε
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Ε
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Ε
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Γ¦Γ¦Γ¦Λ β’
æææΕ#
Εn
ΕΕ#
Λ Ε
Ε Εb Ε
Ε Ε
Εn Ε
Ε# Ε ΕΕ# Ε# βn
ΛnΛn
10
54
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
q = 60
C46 48 49 50
p
p
mpmf
mpmf
mpmf
p
mpmf
mpmf
mpmf
p mp
mf
46 47 48 49 50
f
mp
p
46 47 48 49 50
mp mp mp mp mp
mf
mp
&β
Slower
β
tempo espressivo
β β β
&
&
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&β β β β
&
>
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>
&
> > >
&
>
β β β β>
>
&
-
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?
- > > >>
?
> >
&
&
&
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&
tempo espressivo
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β β
?β
tempo espressivo
?β β β β β
&
Mar.
> >β β β β
&
Vib.
/β β β β β
/
B.D.
β β β β
&
tempo espressivo
?β β β β β
Λ β’Ε# w w wn w
Ε<#> Εβ° β°
Εn Ε wn w ΕΛ β’ w
Λ β’ Ε
Λ β’ Ε
w
Ε ΕΕ# Λ Ε
Λ β’ ΕΛ β’ Ε Λ
Ε
Ε ΕΕ# Λ Ε
Λ β’ ΕΛ β’ Ε Λ
Ε
w<#> Εn Ε Ε Ε Ε Ε Λ β’ ΕΛ β’ w
Ε
r
Ε
æææ
Ε
Ε
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r
Ε
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Ε
Ε Ε Ε Ε Ε ΛΛ# Ε# Ε Ε Ε Ε Ε# Ε Ε Ε Ε wn
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Λ ΕΛ β’ w
Ε Λ# Ε Εn Ε Ε Ε Ε
J
Ε β’ Εn Λ β’ w ΕΛ β’
Λ β’
Ε ΛΛ# Ε Λ β’ Ε Λ β’ Ε Λ
Ε
Λ β’
Ε ΛΛ# Ε
Λ β’ ΕΛ β’ Ε Λ
Ε
Λ β’
Ε β° Ε ΕΛ# Ε
Λ β’ ΕΛ β’ Ε Λ
Ε
w
Ε ΛΕ# Λ
Λ ΛΛ Λ Λ
Ε
ΛΕ# Λ
Λ ΛΛ Λ Λ
Ε
r
Ε Ε
ææ把Ε
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Ε Ε Ε Ε
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β° Γ
Λ# β’
Ε ΛnΛ# Ε
Λ β’ ΕΛ β’ Ε Λ
Ε
11
55
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
51 52 53 54 55
mp
p
p
mpmf
mpmf
p
mf
f
mf
f
51 52 53 54 55
mf
mf
51 52 53 54 55
mp
mf mf
mf
&β β β β β
&
- - - -
&
- - -
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&
&
&
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&
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&
>
&
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&
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&
Vib.
β β β β β
&
/β β β β β
/
B.D.
β β β
&
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ΕΛ β’ Ε Ε Ε Ε Ε Λ
Ε
Ε w Λ
Γ
Λ
ΕΕ Ε Ε Ε Ε Ε Ε Λ
Γ ΕΛ# β’ w
Ε
Λ# β’ Λ β’ Ε Λ#
ΛΛb
Λb Ε
Λ β’
Ε
Λ# β’ Λ β’
Ε
Λ#
ΛΛb
Λb Ε
Λ β’
ΛΕ
Ε w ΛΓ Ε
Λ# β’ w
Ε Ε Ε Ε Ε ΕΛ β’ Ε Ε Ε Ε Ε Λ
Ε
Ε w
Λ
Ε
Ε w Λ
Γ Ε
Λ β’ w
w Λ
Ε
Ε w Λ
Γ
Ε
Ε# Λ β’ Λ β’ Ε Λ#
ΛΛb
Λb Ε
Λ β’
Ε
Ε# Λ β’ Λ β’ Ε Λ#
ΛΛb
Λb Ε
Λ β’
Ε
Ε# Λ β’ Λ β’ Ε Λ#
ΛΛb
Λb Ε
Λ β’
Ε# Ε
Ε ΕΕ Εb Ε
Εb Ε Ε
Λ#
Ε Εβ° Λb
Λb
Λ
Λ# wΕ Λ# β’ Λ β°
Ε ΕΛb
Λb
Λ
Λ#
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε ΛΓ Ε
Ε# Ε Ε Ε
Ε β’
β° Γ
Ε β’
β° Γ
Ε
Λ# β’ Λ β’ Ε Λ#
ΛΛb
Λb Ε
Λ β’
12
56
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
56 57 58 59 60
mp
mp f f
p
p
mf fmp
fmp
fmp
mp
mp
mpmf mp
56 57 58 59 60
mf
mf
mf
mf
p
mf
mf
mf
mf
mf
56 57 58 59 60
mp
mf cresc.
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&
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&
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>
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3 3 3 3
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&β β β β
&
&β β β β β
&β β β β
&
&β
straight mute
β
&β
straight mute
β
?β β
?β β β β
?β β β β
?β β
?β β β β
&
Vib.
Mar.
β β?
Mar.
> > >
>
>
> > >
&
/β β β β β
/β β β β β
&
?
?β β β β β
ΕΛ# β’ w w w Ε Λ β’
w<#> w Ε Λ# β’ w Λ#Ε
Ε#
Εb Ε Ε Ε ΕΕ# Ε Ε# Ε
β° Ε
w
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε Λ β’ Ε
Γβ’ ΕΛ# β’
Ε Λ β’ Ε# Ε Ε Ε ΕΕ# Ε Ε Ε Εn Ε# Ε Ε Ε
β°
Ε Λn
Ε
Ε
w<#> w
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε
Ε
r
Ε Ε
Ε
Ε Ε
r
Ε Ε Ε Ε Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε
Λ
Γ Ε β°
Ε# Ε ΕΕ
R
Ε Ε Ε Ε Ε
R
Ε
R
Ε Ε Ε Ε Ε
R
Ε Ε Ε Ε Ε
R
Ε
R
Ε Ε Ε Ε
w w Ε Λ β’ w Λ
Ε
Ε
w
Ε Λ β’ Ε
Γβ’
Ε Λ β’ Ε
Γβ’
Ε Λ β’ Ε
Γβ’w# w w
Ε<b> Ε
Ε ΕΕ
Ε<b>Λ β’ w Ε
Γβ’Λ β’
Ε Ε
Λ# β’
Ε
Λ# β’
Ε<b>Λ β’ w Ε
Γβ’Λ β’
Ε Ε
Λ# β’
Ε
Ε Ε Ε Ε Ε
β°
Ε Ε Ε
Ε
Ε Ε Ε
Ε β°
Ε Ε Ε Ε Ε
β°
Ε Ε Ε Ε
β°
Ε
Ε β°
Ε Ε Ε Ε Ε
ΕΛ# β’ w wn
Ε
Λ β’
β°
Ε Λ β’
Ε
Λ# β’ w w
w
Ε
r
Ε
ææ把ŠΕ
r
Ε
r
æææŠΕ
æææ
Ε Ε
Ε
r
Ε Ε
ææ把Ε
r
Ε
æææŠΕ
æææΕ
Ε
r
Ε
ææ把ŠΕ
r
Ε
r
æææŠΕ
æææ
Ε Ε
Ε# Ε Ε Ε Ε Ε# Ε Ε Ε Ε Ε# Ε Ε Ε Ε Ε# Εn Ε Ε Ε Εn Ε Ε Ε Ε
Ε Λ β’ Ε
Γβ’Ε
æææŠΕ
r
Ε Ε Ε
r
ææ把Ε
r
æææ
Ε Ε Ε Ε
Ε
r
ææ把Ε
r
Ε
æææŠΕ
æææΕ
Ε
æææŠΕ
r
Ε Ε Ε
r
ææ把Ε
r
æææ
Ε Ε
13
57
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
p mpmf
61 62 63 64 65
p
mf
mf
mf
61 62 63 64 65
mf
mf
mf
p
61 62 63 64 65
f
mf
mf
&β
- -
- --
-
&
- - - - - - - -
&
- - - - -
&β β β β
3 3 3 3
&β β β β β
&β β β β
3 3 3 3
&
- -- -
- -
&β β β β β
&β β β β
&β β β β β
?
- -- -
-
?
- - --
- -
&β β β β β
&β β β β β
&
- - - - -
&β β
&
&β β
&β β β
&
&β
&β β β
?β
?β
?
?
- - -
?β β
?
Mar.
>
>
> > >
>
>
> > >
>
>
&
Vib.- - -
Perc. 2: Move to Bass Drum
-
β β
/β β β β β
/β β β β β
?
Soli
- --
-- -
-
-
-- -
?β
-Λ β’
Ε Ε
-Λ β’
Ε
-
Ε
-Λ
-Ε# -
Λ -Ε
ΕΕ
Λ
ΕΕ
Λ ΕΛ β’ Ε
Λ β’
ΛΕ
ΕΕ
ΕΕ
ΕΕ
ΕΕ
Ε ΕΕ
ΕΕ
Ε
Ε Ε Ε Ε
ΕΕ#
ΕΕ
Ε
Ε
Ε
Ε
Ε
Λ β’ Λ β°Ε β’ Λ
β°Εb Εn Ε Εb
Εb Ε Ε Ε Εn Ε Ε Ε Ε Ε Ε Ε
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε
Ε
Ε
Ε
ΕΕ
ΕΕ Ε
Λ β’ ΕΛ β’ Λ Λb
Λ Λb
Ε
Ε
Ε
ΕΕ
Ε
Ε
Ε Ε
Λ β’ ΕΛ β’ Λ Λ
Λ
Ε
Ε
Ε
Ε
Ε
ΕΕ
Ε
Ε
Ε
ΕΛ β’ Ε
Λ β’
Ε<#> Λ# β’ w ΛΕ
Ε#Ε
Ε#Ε
ΕΕ
Ε
Ε
Ε
Ε Λ Ε Ε Λ ΕΕ#
Λ# β’
Λ<#>Λ# Λn β’
Ε w
Λ Γ w
Ε
Λ Ε
Ε Λ ΕΕ#
Λ# β’
Λ<#>Λ
Ε#
Λ# β’
Λ<#>Λ# Λn β’
Ε w
Λ Γ w
Ε Λ ΕΕ#
Λ# β’Λ Λ
Ε#
Λ# β’
Ε Λ ΕΕ#
Λ# β’
Ε Λ β’Ε
Λ ΕΕ#
Λ# β’
Λ Λ
w
Ε
Λ ΕΕ#
Λ# β’
Λ Λ
w
Ε
Λ# β’ w w w#
w<#> Ε
Λ β’ w Λ Ε
Ε
Ε
Ε
Ε
Ε
w
Γ
Λ
Λβ° Ε Ε β°
Ε
r
Ε Ε
ææ把Ε
r
Ε
æææŠΕ
æææΕ
Ε
r
Ε
ææ把ŠΕ
r
Ε
r
æææŠΕ
æææ
Ε Ε
Ε
r
Ε Ε
ææ把Ε
r
Ε
æææŠΕ
æææΕ
Ε
r
Ε
ææ把ŠΕ
r
Ε
r
æææŠΕ
æææ
Ε Ε
Ε
r
Ε Ε
ææ把Ε
r
Ε
æææŠΕ
æææΕ
Ε Ε Ε
β°
Ε Ε
Ε
ΛΕ
Ε Γ
Ε Ε
Ε
r
ææ把Ε
r
Ε
æææŠΕ
æææŠΕ
Λ ΕΕ#
Ε# ΕΕ Ε
ΕΕ
Λ
Ε#Λ Ε
14
58
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
f
f
ff
66 67 68 69 70
mf
mf
p
mf mf
mp
mf
f
f
f
f
ff
f
ff
f
f ff
66 67 68 69 70
f
ff
f
ff
ff
mf
f
f ff
mf
mf f ff
mf
f ff
mff
f
mf f f
mf
f
fmf
f
mf
ff
66 67 68 69 70
f ff
ffff ff ff
mff
f
ff
fff
ff ff
&
> > > > > >
Cataclysmic
> > > > >
&
&
&β
> > > > > > > > > > >
> > > > > > > > > > > >
&β
> > > > > > > > > > >
> > > > > > > > > > > >
&β β
&
> > > > > > > > > > >
> > > > > > > > > > > >
&β
&
&β
> > > > > > > > > > >
> > > > > > > > > > > >
?
> > > > > >
?> > > > > > >
&β β β
> >>
>
β
3
3 33
&β β β
>> >
>
β
3 3 3
3
&
-
&β β β
&
&β β β
&β β β
&
&β
&β β
?β
?β
?
- - -
?β
?β
?β β β
&
Crot.
> > > >
β
> >
&β β β β
/
Cr. Cym.
/
Tom-t.
β
.>.> .>
.>
.>
.>
.>
.> .>.>
.>
.>
.> .>.> .>
.>
.>
.>
.> .>
.>
.>.> .>
.>
.>
.>
.>
.> .>
.>
.>
.>
.> .>.> .>
.>
.>
.>
.>
.>
.>
5
5
5 5
5
5
/
Tam - t.
B.D.
l.v.
Perc. 2: Move to Cr. Cym.
l.v.
?-
-- -
> > > > > > > > > > >
> > >> > >
> > >
3 3
33
3
5
?-
β
-Ε#
-Ε# β°
Ε-Ε
Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
β°Ε Ε Ε Ε
r
Ε Εβ°
Ε Ε
r
Ε Εβ°
Ε Ε
r
Ε Ε Ε Ε
Λ Λb Λ Λn wΕ Ε Ε β° Ε β° Ε Ε Ε β° Ε Ε Ε β° Ε β°
Ε
ΕΕ Ε Ε β’
Λ Εb Ε Ε Λb Λ wΕ
Λ# β’
Λ<b> Λn wΕ Ε# Ε#
ΕΛn β’
Εb Εn β’
β°
Λn
Ε Ε Ε β° Ε β° Ε Ε Ε β° Ε Ε Ε β° Ε β°Ε# Ε
β°Ε Ε
β°Ε Ε Ε Ε β° Ε Ε β° Ε Ε
Ε Ε Ε β° Ε β° Ε Ε Ε β° Ε Ε Ε β° Ε β°Ε# Ε
β°Ε Ε
β°Ε Ε Ε Ε β° Ε Ε β° Ε Ε
Ε
Λ# β’ w Λ Λn
Λ<b> Ε β’
β° Ε Ε Ε β° Ε β° Ε Ε Ε β° Ε Ε Ε β° Ε β°Ε# Ε
β°Ε Ε
β°Ε Ε Ε Ε β° Ε Ε β° Ε Ε
w# w w w
Λ<b> Λ ww# w w
Ε Ε Ε β° Ε β° Ε Ε Ε β° Ε Ε Ε β° Ε β°Ε# Ε
β°Ε Ε
β°Ε Ε Ε Ε Ε β° Ε Ε β° Ε Ε
Λ Λ w
Ε
Λ β’Ε Ε Ε Ε Ε Ε
β°
ΕΕ
Ε Ε ΕΛ
Λ
Λ Λ Λ Λ w Ε# Ε Ε Ε Ε Εβ°
Ε Εn Ε Ε w
Ε# Ε ΕΕ# Ε
Ε Ε
Ε
Ε ΕΕΕ Ε Ε
Ε Ε
Εn Ε Ε Ε Ε Ε Ε Εb ΕΕ
ΕΕ Ε Ε
ΕΕ
ΕΛ β’ Ε
Λ β’ Λ Λb Λ Λb w
β°
æææ
Ε
æææ
Ε Ε
æææ
Ε β°
æææ
Ε β° β°
æææ
Ε
æææ
Ε Ε
æææ
Ε β°
æææ
Ε β°
Λ#
Λ# Λ
Λ ΕΓβ’ Γ
Λ ΕΛ# β’
Ε β°
æææŠΕ
æææ
Ε β°
æææ
Ε β°
æææ
Ε
æææ
Ε Ε
æææ
Ε β°
æææ
Ε β°
Γ
Λ ΕΛ# β’
Λ#
Λ# Λ
Λ
Λ Λb Λ Λb Λ Λ
Ε Ε Ε β° Ε β° Ε ΕΛ Λb Λ Λb Ε β’ Ε β’ Ε
Ε β° Ε Ε Ε Ε β° ΕΛb Λn Λ Λ
Ε β°Ε# Λ
β°
Λ Ε β’Λ Λ# Λ Λ#
Ε β° Ε# Λ β°Λ Ε β’
Λ Λ# Λ Λ#
Ε<#> Λn β’ w Λ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Λ Ε
Γ Λ
Λ β’
Ε
Λ
ΛΛ
Λ
Γ
Λ Λ β’
Ε
ΛΛ
Λ Λ
Ε
Ε#
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
Ε
Ε
β° Ε ΕΕ
Ε
Ε
Kr
Ε Ε Ε Ε Ε Ε Ε Ε Ε
βΕ Ε
Ε ΕΕ Ε
Ε ΕΕΕ Ε Ε
Ε ΕΕ Ε
Ε Ε ΕΕΕ Ε Ε
Ε
Kr
Ε Ε Ε Ε Ε Ε Ε Ε Ε
βΕ Ε
Ε ΕΕ Ε
Ε Ε
Ε Ε Ε Ε
Ε ΕΕ Ε
Ε Ε Ε ΕΕ Ε Ε
Γ
æææΛ
æææ
w
Λ
æææw
Ε Ε Ε Ε Ε Ε
Γ
Ε
Ε
Ε
Γ¦Γ¦Γ¦Λ β’
Γ
Ε#
Ε#
β°
Ε ΕΕ Ε Ε
β°
Ε
β°
Ε Ε Ε Ε
β°
Ε Ε Ε Ε
β°
Ε Ε
β°
Ε
Ε
# Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
bΕ
Ε
J
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε β
ΕΕΕΕ
ΕΕ Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Εn
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
β°
15
59
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
fff
f f
q = 72
D
71 72 74 75
fff f
fff
f
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
p
mf
fff
f
ff
f
fffmp
f ff
71 72 73 74 75
f ff
fff
f ff
fff
f ff
fff
f
ff
f
ff
f
ff
f
ff
f
ff
71 72 73 74 75
f ff ff
ff
f
ff
ff
fff
ff
fff
&β
jet whistle
3 3
&β β β
jet whistle
&β β β
jet whistle
&β β β β
&β β β β
&β β β β
&
> > >
β β β β
> > >
&β β β β
&β β β β
&
> > >
β β β β
> > >
?β β β β
?β β β β
&
> >
β
>
3
>
>
β β
>>
>3 3
3
3
3
&
> >
β β β>
>
>>
3
3
3
3
33
&β β
>
>
>
>
β
3 3
33
&β β β β
&β β β β
&β β β β
&β β β β
&β β β β
&β β β β
&β β β β
?β β β β
?β β β β
?β β β β
?β β β β
?β β β β
&β β β β β
/
Cr. Cym.
β
Perc. 2: Move to Vib.
β β β
/
Tom-t.
.>.> .>
.>
.>
.>
.>
β β β β
.> .>
5
/
B.D.
Tam-t.l.v.
β β β β
?β β β β
3
3
3
3
?
^ ^
β β β ββ°
Ε Ε
β°
Ε# Ε Ε Ε Ε Ε Ε Ε Ε Ε
β
Ε Ε ΕΒΏ β’ ΒΏ β’ ΒΏ ΒΏ β’ ΒΏ β’ ΒΏ ΒΏ β’ ΒΏ β’ ΒΏ
Λ
Ε
Ε ΒΏ β’ ΒΏ β’ ΒΏ
Λ
ΕΕ
ΒΏ β’ ΒΏ β’ ΒΏ
Λ
Ε
Ε
Λ
Ε
Ε
Λ
ΕΕ
Ε Ε β° Ε Ε β° Ε Ε
Λ<#> Λ
Λ<#> Λ
Ε Ε β° Ε Ε β° Ε Ε
Λ β’Ε
ΛΛ
β°Ε# Ε
βΕ Ε Ε Ε Ε Ε Ε
β°Ε Ε Ε
Ε
ΕΕ
Εb
j
Ε ΕΕ
Ε
Ε ΕΕ
β°Ε Ε
βΕ Ε Ε Ε Ε Ε Ε
β°Ε Ε Ε
ΕΕ#
Ε
Εb ΕΕn
ΕΕb
ΕΕ
ΕΕn Ε Ε
ΕΕn
ΕΛ# β’ β°
Εb
β° β°
Ε
β° β°
Εb
ΕΕb
ΕΕb
β° Ε# Ε β° Ε Ε
Ε# Εβ° β°
Ε Ε
Ε# Ε β° β° Ε Ε
β°Ε# Ε
β°Ε Ε
Ε Λ β’
ΕΛ# β’
Ε
Λ# β’
Ε# Ε Εn Ε Ε
Ε<#> Ε Ε Ε Ε
Ε Ε Ε Ε Ε
Ε Ε Ε Ε Ε
Ε Ε Ε Ε Ε
Ε Ε Ε Ε β° Ε
Ε
Kr
Ε Ε Ε Ε Ε Ε Ε Ε Ε
βΕ Ε
Ε ΕΕ Ε
Ε Εβ° β
Ε
Ε Ε
β° Ε Λ
Εβ°
Εβ°
Ε Ε
β°Ε
β°
Ε Ε Ε Ε Ε ΕΕ Ε Ε Ε Ε Ε Ε ΕΕ Ε Ε Ε
β
Ε Ε ΕΕ
β
Ε Ε Ε
Ε
β° β°
Ε Ε
16
60
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
mp
76 77 78 79 80
mp
mp
mp
mp
mp
mp
mp
mp
p
mp
76 77 78 79 80
mp
mf
mp
mp
mf
mp
76 77 78 79 80
mp
pp
pp
f
&β
normale
β β β
&
normale
&
normale
&β β β β β
&β β β β β
&β β
&β β β β β
&
&β β β β β
&β β β
?
?
&β β β β β
&β
&
&β β β β β
&β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
?β β β β β
?β
?β β β
?β β β
?β β β
&β β β β β
&
Vib.
> > > >
/
B.D.
soft mallet
Susp. Cym.
/
soft mallet
?β
?β β β β β
Ε Λ β’
ΛΛ Λ β’
Ε Λ Ε Ε Ε Ε Λ w
Ε Ε β’ Ε β’Ε
Ε Λ Ε Ε Ε Ε Ε
Γ
Ε Λ β’ Ε
w w w
w w w ΕΓ Ε Λ β’ Ε
Ε
Γ
Ε Λ β’Ε
w w w Ε
ΓΕ Λ β’ Ε
Λ β’Ε w w w Ε
Γ
Ε
ΕΛ Ε Ε
Λ
Ε# Λ β’ Ε# w
w ΛΛ Λ β’
Ε w w
Γ
Λ Ε β’
Ε β’
Ε# Λ β’ Ε# w
Λ β’Ε Ε
Ε Ε β’
Ε# β’ Λ β’ Ε# w
Γ
Λ Λ β’
Ε
Ε Λ ΕΛ β’
Ε
Γβ’
Ε Λ β’
Ε
Ε β’ Ε β’Ε Ε Ε β’ Ε β’ Ε Ε β’ Ε β’ Ε Ε β’ Ε β’ Ε
Γ Ε
æææw
æææw
æææw
æææw
æææw
β
æææw
β
æææw
β
æææw
β
æææw
æææw
ΕΛ Ε Ε
Ε β’
Ε
J
Ε# Λ β’ Ε# w
17
61
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
81 82 83 84 85
mp
mp
mp mp
mp
mp
mp
mp
mp
mp
81 82 83 84 85
mf f
mf
81 82 83 84 85
f
mp
mp
mp
pp
pp
mp
&β β β β β
&β β
&β β
&β β β
&β β β
&β β β
&β
&β β β
&β β β β
&β β
?β β
?β β
&β β β β
&β β
&β β
&β β β β β
&β β
&β β β β β
&β β β β β
&β β
Soli
normale
&β β β β β
&β β β β β
?β β β β β
?β β β
?β β β β β
?β β
?β β β β β
&β β β β β
&
Vib.
β β
/
Susp. Cym.
/
?
3
>
3
>
3
>
3
?β β β
> > >
3 3
Ε
Ε Ε
Ε Λ β’ Ε w
Λ β’Ε# w w
Λ β’ Εw
w# w
w# w
w# w Γ Γ Γ Γ
Λ β’ Ε# w#
w#
Λ β’ Ε# w w
Λ β’ Ε w w
Λ β’Ε Λ β’ Ε# w
Γ Γ
ΕΛ#
Ε Ε
Λ
Ε Λ Γ
w Ε
Γ
Ε Λ β’Ε
ΕΛ#
Ε Ε
Λ
Εn Λ Γ
Γ
Λ Ε
JΕ β’
Λb Λ β’
Ε
Λ β’Ε Ε
Λ β’
Ε
Λ
Ε# Λ β’ Ε# w
Λ β’ Ε Λ β’ Ε# w
æææw
æææw
æææw
æææw
æææw
æææw
æææw
æææw
æææw
æææw
ΕΛ#
Ε Ε
Ε β’
Ε
J
Ε# Λ
Γ Ε Ε
Ε
Ε
#
J
Ε
Ε
Ε
Ε
J
Ε
Ε
Ε
Ε
# Ε
Ε
J
Ε
Ε
Ε
Ε
Ε
Ε
J
Ε
Ε
Ε ΕΕΕ# Ε
ΕΕΕ
J
ΕΕ# Ε
ΕΕΕ
ΕΕ
ΕΕ
J
18
62
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
E86 87 88 90
p
p
p
mp pp
mp pp
mp pp
p mp
p mp
86 87 88 89 90
p mf
ppmp
pp
ppmp
pp
ppmp
pp
86 87 88 89 90
&β β β β β
&β β β
&β β β
&β β β
&β β β β β
&β β β β β
&β β β β β
&β β β
&β β β
&β β β
?
>
3 3
β β β β
3
?>
3 3
β β β β
3
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β
3 3
β
?β β
3 3
β
?β β
3 3
β
&β β β β β
&
Sus. Cymbal
β β
/
/
B. D.
?β β β β β
?β β β β β
w# w
w w
w w
w# Λ Γ
w# ΛΓ
w Λ
Γ
Ε# Ε
J
Ε
J
Ε Ε Ε
J
Ε
Ε Ε
J
Ε
J
Ε Ε Ε
J
Ε
Λ Ε β° Ε Γβ’ Εb Λ β’ Ε β° Γ
Ε β’ Ε
J
Ε Ε# Ε
Λ
Ε# Ε
j
Ε Ε Ε
j
Ε Ε Γβ’
Ε# Ε
j
Ε Ε Ε
j
Ε Ε
Γβ’
Ε Ε
j
Ε Ε Ε
j
Ε Ε
Γβ’
Γ Γ Γ Γ Γ Γ
æææw
æææw
æææw
æææw
æææw
æææw
æææw
æææw
æææw
æææw
19
63
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
91 92 93 94 95
pp
pp
pp
pp
pp
mppp
p mp pp pp
p mp
mp
mp
pp
mp
mp
pp
pp
pp
91 92 93 94 95
pp ppp
91 92 93 94 95
mf
mp
ppp
ppp
mf
&β β β β β
&β β β β
&β β β β
&β β β β
&β β β β
&β β β β
&β β β β
&β β
&β β
>
3 33
&β β β
>
3 3
β
3
?β β
3 3 3 3
3
3
?β β
3
3
3 3 3 3
&β β β β β
&β β β β
&β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
&β β β β β
&β β β
Vib.
/
Susp. Cym.
β β β
/
B. D.
β β β
?β β β
?β β β β β
wb
Λb Λb
w
Ε Λb β’
Λb Λb
wb
Ε
r
Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε Ε Ε Ε
Ε#
Ε
Λb
Ε# Ε
J
Ε
J
Ε Ε Ε
J
Ε Λ
Γ wb
Ε# Ε
J
Ε
J
Ε Ε Ε
J
Ε
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
ΕΕ Ε Ε
ΕΕ Ε Ε
Λb Λb
ΕΕ Ε Ε
ΕΕ Ε Ε
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Λb
Ε
Ε
Λ#Ε Ε
Ε#
Ε
Λb
Ε β’ β° Ε β° Ε Λ β’ Ε
Εb Ε β’ Ε β’ Λb Ε Ε
æææw
æææw
æææw
æææw
Λb Λb Λ
Ε
Ε
20
64
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
96 97 98 99 100
mp
mpmp
mp
96 97 98 99 100
mp
96 97 98 99 100
f
&β β β β β
&
&
&β β
&β β
&
&β β
&β
&
&β β β β
?
?
&β β β β β
&
&
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
&β β β β β
&
Vib.
/β β β β β
/β β β β β
?
?β β β β β
Λ<b> Ε Εb Λ Λb Λ Ε
Εn Λ β’
Ε
w#
Λ<b> Ε
Ε Λ β’
Ε
w# w w
Ε Λ β’ Ε Λ β’ β° Λ# β’ β°
β° Λ β’ β° β° Λb β’ β° ΕΛ# β’
Λ<b> Ε
Ε Λ β’
Ε w# w w
Λ<b>
Ε
Εb Λ Λb Λ
Ε
Εb
w<b> Λ
Ε
Εb Λ Λb
Ε
r
Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β°
Λ<b> Ε Εb Λ Λb Λ Ε
Ε
Ε
r
Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β° β° Ε β° Ε Ε
r
β° Ε Ε
r
β° Ε
β° Ε β° Ε Ε
r
β° Ε Ε
r
β° Ε
Λ<b>Ε Ε Λ β’ Ε
w# w# w
Λ<b> Λb Λ
Ε Ε Λ β’ Ε Ε Λ β’
Λ# β’ Ε
Λ β’ Ε w# w w ΕΛ β’
w<b> Λ
Ε
Εb Λ Λb Λ
Ε Εn Λ β’ Ε
Γβ’ Ε# Λ Γ ΕΕ
Λ# Ε
Ε Λ Λ β’ Ε
Λ<b> Λb Λ Ε
Ε Λ β’
Ε Ε# Ε Ε Ε Ε Ε# Ε Ε Ε Ε
Λ β’
Ε
w# w w
Ε
Λ β’
21
65
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
101 102 103 104 105
mp
mp
mp
mp
mp
mp mp
mp
mp
mp
mp
101 102 103 104 105
101 102 103 104 105
mp
&β
&
&
&β β β β β
&
&β β β β β
&β β β β
3 3 3 3
&
3 3
3 3
3 3 3 3
&
3 3 3 3 3 3
3 3
3
&β
3 3 3 33
3
?
?
&β β β β β
&
&
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
&β β β β β
&
Vib.
/β β β β β
/β β β β β
?
?β β β β β
Ε β° Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β° Ε β° Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β°
w<#> w
ΕΛ β’ Ε
ΕΛ Ε Λ# β’
ΕΛ β’ Ε
ΕΛ Ε
Λb β’ Λ Λb w
Ε
Λ β’ Ε
Ε
Λ Ε Λ# β’ Λ Λ# Λ Λb
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
β° Ε β° Ε Ε
r
β° Ε Ε
r
Ε
r
β° Ε Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β° Ε Ε Ε Ε Ε Ε Ε ΕΕ Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε Ε Ε Ε Ε Ε Ε Ε
Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β° β° Ε β° Ε Ε
r
β° Ε Ε
r
β° Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε β°
Ε
r
Ε β° Ε
r
Ε β° Ε
r
Ε β° Ε β° β° Ε β° Ε Ε
r
β° Ε Ε
r
β° Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε
Λ β’ Ε
Ε
Λ Ε Λ# β’ Λ Λ# w
w#
Ε
Λ β’ Ε
Ε
Λ Ε Λ# β’ Λ Λ#
ΕΕ
Λ Ε Λ# β’ Λ Λ# w#wb
w# w w
ΕΛ β’ Ε
ΕΛ
ΛΛ#
w#
Ε Λ β’ Λ β’ Ε
Ε# Ε Ε Ε Ε Ε Ε# Ε Ε ΕΕ
Ε
Λ Ε Ε# Ε Ε Ε Λ Λn
Ε
Ε
Λ Ε Λ# β’ Λ Λ w w#
22
66
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
106 107 108 109 110
mp
mp
mp
mp
mp
mp
f
f f
106 107 108 109 110
f
f
f
f
f
f
f
f
f
f
f
mp f
f f
f f
f
f f
f
f
f
106 107 108 109 110
mp p
mf
&β β β β β
&
&
&β β β β β
&β β β
&β β β β
&β
&β
&β
&β
3 3
3
3 3 3
3
3
?
?
&β β β β β
&
&
&β β β
&β β
&β β β
&β β
&β β β β β
&β β β β
&β β β
?β β β
?β β β
?β β
?β β
?β β
&β β β β β
&
Vib.
/
Tom-t.
β
> >
> > > > > >
>
/β β β β β
?
?β
Λb
ΓΛb
Λb
ΓΛb
Λ<#> Λ wwb Λ β’ Ε w
wb Λ β’ Εb w Ε Ε
Λ
Λ
Λ#
w β° Ε β° Ε Ε
r
β° Ε Ε
r
β° Ε
β° Ε β° Ε Ε
r
β° Ε Ε
r
β° Ε
Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε Ε Ε
r
Ε
r
Ε Ε Ε ΕΕ
r
Ε Ε Ε Ε
w# w w w
ww# w w
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε
Ε Ε
Ε
Ε Ε Ε Ε
Ε
Ε Ε Ε
Ε
Ε Ε
Ε
Ε Ε Ε Ε
Ε
Ε
wb Λ β’ Εb w Ε
Ε Λ
Λ
Λ#
w<#>
wb Λ β’ Εb w Εn
Ε Λ#
Λ<b> β’ Εb w Ε Ε Λ Λ Λ# w
ΕΛb β’ Λ Λb w wb Λ β’ Εb
Ε Λ β’ Λb ΕΕb
Ε
Λ
Ε Ε Λ β’ Ε β°
Εb Λ
wb Λb ΕΕb
Ε
Λ β’
wb Ε β°
Εb Λ
Λb Γ
Ε
Λ β’
Λb Γ
Ε β’Λ
β° Ε β°Εb Λ
Γ β°Εb β’ Γ β°
Εb Ε
Ε β’Λ
β° Ε
Λ β’
Ε β°Εb Λ
Ε ΛΕ Λ# β’
Ε ΕΛn
Ε
Λb Λ Γ
Λ
Λb Λ
Ε
Ε Ε Ε ΕΕb Ε Ε Ε Ε Εb Ε Ε Εn Ε
Ε
Ε Ε Ε Ε Ε
Ε Λ
Εβ°
ΕΕ
ΕΕ
Εβ°
ΕæææΕ
Ε
R
ΕΕ
Ε
R
æææΕ
ΕΕ
R
ææ把Ε
Ε
Ε
R
æææΕ
ΕΕ
RΕ
æææŠΕ
æææ
Ε
Ε
æææΕ
Ε
R
Ε
ΕΕ
R
æææŠΕ
Ε
r
æææΕ
Ε
Λ<#> β’ Ε w Ε
Ε
Λ Λ Λ# w
Γ Γ
23
67
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
111 112 113 114 115
mf
mf
mf
mp
mf
mp
mf
mf
111 112 113 114 115
p
f
mf
p
f
f
p
f
111 112 113 114 115
p
mf
&β β β β β
&
&
&β β β β β
&β β β
&β β
&β β
&β β β
&β β β β β
&β β β
?
?
&β β β β β
&
&
&β β β
&
stopped
&β β β
&
stopped
&β β β β β
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β
?
?β β β β
&β β β β β
&
Vib. Vib.
/
Tom-t. >
β β β β
/β β β β β
?
?β
pizz.
Γβ’Εb
Γβ’
Ε
ΓΕb
Ε Ε
Ε
Γ
Ε Ε
Λ
Λ
Λ# w ΕΛ β’ Λ
Λb
w<#> ΕΛ β’ Λ
Λb w Ε
Λ β’
Ε Λ β’ Ε
Λb β’
ΛΛb w Ε Λ β’
wwb Λ β’ Εb
w# ΕΛ β’
w# ΕΛ β’
w<#> ΕΛ β’ Λ
Λb w
Ε
Λ β’
Λn
Λ# w ΕΛ β’ Λ
Λb w
Ε<#>Λ β’ Λ
Λb w Ε Λ β’ ΕΛb β’
w<b> Ε Ε
Λ Λ
Λ# w ΕΛ β’
Λ<b>Γ Λb β’ Ε
Ε
Λb
Ε Γβ’
Εb Ε
Ε Ε
Ε Ε
Γ
Εb ΕΕ Ε
Ε
Λ<b>Γ Ε β° Εb Ε Ε
Ε
Λn
Ε Γβ’
Εb Ε
Ε Ε
Ε Ε
Γ
Εb ΕΕ Ε
Ε
Γ
Λ
Λ# β’
Ε Γβ’Εb Ε
Ε Ε
Ε Ε
ΓΕb Ε
Ε Ε
Ε
Γ
Λ
Ε
Ε# Ε Ε Ε
Ε
Ε# Ε Ε Ε Ε#Λ β’ Λ
Λb Ε Εb Ε Ε Ε
ΕΕ
Ε
R
æææŠΕ
Ε
R
Ε
æææŠΕ
æææΕ
Ε<#>Λ β’ Λ
Λb w
Ε
Λ β’ Ε
Λb β’
24
68
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
116 117 118 119 120
mf
mf
mpmf
mf
mf
mf mf
mf ff
mf
mf
mf
mf
116 117 118 119 120
116 117 118 119 120
mf
mf
f mf
ff
f mf f
&β β β β β
&
&
&β β
&β β β
&
&β β
&β β β β β
&β β β β β
&β β β
?
?
&β β β β β
&
&
&β β β β β
&β β β
&β β β β β
&β β β
&β β β β β
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β
?β β β β β
&β β β β β
&
Vib.
/β β β β β
/β β β β β
?
?
arco
Εb Ε ΕΕ
Ε Ε Γ Ε
Εb
ΕΛb β’
Ε
w<b> Ε
Λ β’ Ε
Λb β’ w w
ΕΛb β’ w w
ΕΛ β’ Ε
Γβ’
Ε
Λb β’
Ε
Λb β’Ε Ε Εb Ε
w<b> w
Ε
Λb β’ w w
ΕΛ β’ Ε
Γβ’
w<b> Εb
Ε Λ Λ
Λ#
w
Ε Λ# β’
Ε
Λb β’ w w ΕΕb
Ε
Ε Ε
Ε Εb Λ
Ε
Λ β’ Ε
Λb β’ w w Ε
Λ β’
w<b> wΕ
Λ β’ ΕΓβ’ Ε
Λ# β’
ΛΛb w
Ε
Λ β’ Ε
Λb β’ w
Εb Ε
Ε
Ε Ε Ε Ε
Ε
Εb Ε
Ε
Ε Ε Ε Ε
Ε
Εb Ε ΕΕ Ε Ε Ε Ε
Ε Ε Ε Ε Ε Ε
Εb Ε Ε Ε
Ε
Εb Ε Ε Ε wb
ΕΛ β’
w<b> w
Ε
Εb Ε
Ε ΕΕb
ΕΕb
Ε
Ε Ε
Ε Εb Λ
Ε
Ε Ε
Λ β’
25
69
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
121 122 123 124 125
mfmf
mfmf
mf mf
mf
mf
mf mf
mf
mf
f
mf
mf
mf
121 122 123 124 125
121 122 123 124 125
f
mf
&β β β β β
&
&
&β β β β β
&β β β β β
&β
&β
&β
&β β
&β
?β
?β
&β β β β β
&β β β
&
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
&β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
?β β β β β
&β β β β β
&
Vib..
β
/β β β β β
/β β β β β
?β
?
>
β β βΓ
Ε# Ε Ε Εn Ε
ΕΛ β’ Ε
Ε Γ Ε
Λ# β’ w w
Ε
Λ# β’ w w
Γ
Λ# Εn Ε# Ε Εn
Ε
Λ# β’ w
Γ
Λ# Εn Ε# Ε Εn
Ε
Λ# β’ w
Γ
Λ# Εn Ε# Ε Εn
ΕΛ# β’ w
ΓΛ# w
ΕΛ# β’ w w
ΕΛ# β’ w
Ε ΕΛ# Εn Ε# Ε Εn
Ε ΕΕ#
Ε Λ ΕΕ Ε Ε Ε Ε
β°
Ε Ε Ε Ε β’
β° Γ
Ε
Γβ’ Ε
Λ# β’ w w
w<#> w
w<b>
Ε
Λ β’ Ε
Γβ’ ΕΛ# β’ w#
ΕΓβ’ Ε
Ε# Ε Ε Ε Ε# Ε Ε Ε Ε Ε Ε# Ε Ε Ε
ΓΕ#
Ε Λ ΕΕ Ε Ε Ε Ε
β°
Ε Ε Ε Ε β’
β° Γ
Ε Ε Ε
26
70
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
mp
mp mf
q = 52
F127 129 130
128
mpp mf
mf
mp p mf
mf
mp
p mf mf
mpp mf
mpp mf
mf
mp pmp
p
mfmf
mp pmp
p mp
mf
mp p
mp
mp
mf
p
mf
mf
mpmf
p
mf
mp mp p
mf
mf
mp mp
p mf
pmf
mp
126 127 129 130
128
mp
mp
mp
mpmp
mp
mpmp
mp
mpmp
mp
126 127 129 130
128
mf
mp
mp
mp
mp
mp
mp
mf mp mp mp
mf
mp
mp
mp
&β
Slower, calm
- -β
poco a poco air sounds
&β
- -β
&β
- -β
poco a poco air sounds
&β
- -β
poco a poco air sounds
&β
- -β
poco a poco air sounds
&β
- -β
poco a poco air sounds
&
-
- -β
poco a poco air sounds
&
-
- -β
poco a poco air sounds
&
-
- -β
poco a poco air sounds
&β β β
poco a poco air sounds
?β β β
poco a poco air sounds
?β β β
poco a poco air sounds
&
-
- -β
poco a poco air sounds
&
-
- -β
poco a poco air sounds
&β β β
poco a poco air sounds
&
- - -β β β
&
-
β β β β
&
-β β β β
&
-
β β β β
&β β β β
&β β β β
&β β β β
?β β β β β
?β β β β
?
-
β
?
-
β
?
-
β
&β β β β β
&β β β β β
/β β β β β
/
Tam - t.
B.D.
β
?-
β
?βΕ
-Λ β’
Ε
Λ β’
Ε
Λ β’
ΕΛ β’
Ε Ε Λ Ε
Ε ΕΕ Ε Λ Λ
Ε Ε Λ Ε Λ β’ Λ Ε Ε β°
Ε Ε Λ Ε Λ β’ Λ Ε Ε β°
Ε Ε Λ Ε Λ β’ Λ β’ Ε
Ε Ε Λ Ε Λ β’ Ε Ε Ε Ε Ε β°
Ε Ε Λ Ε Ε Ε Ε Ε Ε Λ Ε Ε β°
Λ
Λ
Ε Ε Λ Ε Ε Ε Ε Ε β° Λ Ε Ε β°
Λ
Λ
Ε Ε Λ Ε Ε Ε Ε Ε β° Λ Ε Ε β°
Λ
Λ
Ε Ε Λ Ε Λ β’ Λ Ε Ε β°
Ε Ε Ε Ε Ε β° Ε Ε Ε Ε Ε β°
Ε
Λ β’ Ε Ε Ε Ε Ε
β°
w Λ Ε Ε β°
Λ
ΛbΕ Ε Λ Ε Ε Ε Ε Ε β° Λ Ε Ε Ε β°
Λ
ΛbΕ Ε Λ w Λ Ε Ε β°
w Ε Ε Ε Ε Ε β°
Ε ΛΕ Ε Λ Ε
ΕΕ
Λ
Ε ΕΛ
ΕΛ
Ε
Ε Γβ’
Ε Γβ’
Ε Γβ’
Ε Γβ’
Ε
Λ β’
Γ β°
Ε Ε Λ β’
Ε Ε
Λ β’
Ε
Λ β’
Γ β°
Ε Ε Λ β’
Ε Ε
Λ β’
Ε
Λ β’
Γ β°
Ε Ε Λ β’
Ε Ε
Λ β’
β
ΕΛ β’
Ε
Ε
Λ β’
Ε Ε Ε
Ε
Ε
Λ β’
Ε Ε Ε
Ε
Ε
Λ β’
Ε Ε Ε
ΕΛ β’
ΕΛ β’
ΕΛ β’
Ε
Λ β’
27
71
Β°
Β’
Β°
Β’
Β°
Β’
Β°
Β’
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Eng. Hn.
Eb Cl.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
T. Sax.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Cello
Db.
pmf
ppmp
pp
131 132 133 134 135
p mf pp mp pp
p mf pp mp pp
p mf pp
mp
pp
pmf
pp
mp
pp
p
mf
pp
mp
pp
p mf pp
mp
pp
p mf pp
mf
pp
mf
pp
mf
pp
pmp
mp
pp
mp mp pp
pmf
ppmf
pp
p
mf
ppmp
pp
p
mf
pp
mf
pp
p mf ppmp
pp
p mf pp
131 132 133 134 135
p
mf
ppmp
pp
pp
pmf
pp
mp
pp
pmf
pp
mp
pp
p mf pp mp
pp
p mf pp mp
pp
pmf
ppmp
pp
mf pp
mp
pp
mf ppmp
pp
pmf
pp mp pp
p mf pp
mp
pp
pmf
pp
mp
pp
mf
mf f
mf f
p
131 132 133 134 135
mf f mf mf fp
mp
mp
mp
mp mp mp
mf mf pp
mf mf pp
&β
air sounds, high pitch
β
air sounds high pitch lunga
U
&β β
air sounds high pitchlunga
U
&β β
air sounds high pitchlunga
U
&β β
air sounds high pitchlunga
U
&β
air sounds mid pitchlunga
U
&β β
air sounds mid pitchlunga
U
&β β
air sounds high pitchlunga
U
&β β
air sounds high pitchlunga
U
&β β
air sounds high pitchlunga
U
&β β
air sounds mid pitchlunga
U
?β β
air sounds mid pitch
lunga
U
?β β
air sounds mid pitchlunga
U
&β β
air sounds high pitchlunga
U
&β β
air sounds mid pitchlunga
U
&β β
air sounds mid pitchlunga
U
&β β
air sounds mid pitch lunga
&β β
air sounds mid pitch
lunga
&β β
air sounds mid pitch lunga
&β β
air sounds mid pitch lunga
&β β
air sounds high pitch lunga
&β β
air sounds high pitch lunga
&β β
air sounds mid pitch lunga
?β β
air sounds mid pitchlunga
?β β
air sounds mid pitchlunga
?β β
air sounds low pitch
lunga
?β β
air sounds mid pitch
lunga
?β β
air sounds low pitch
lunga
&
Mar.
β?
boweduse lots of rosin; create wood and hair in sound
&
?
bowed
lunga
U
&
Vib.
β
boweduse lots of rosin, create metal and hair in sound
?
bowed
U
/
Susp. Cym. bowed, lots of rosinlunga
-U
/
B.D.
Tam-t.
l.v. bowed, lots of rosin
lunga
U
?β β
&
time bow changes to breath
sul pont.
lunga
U no pitch, air sounds
?β β
&
time bow changes to breath
sul pont.
lunga
no pitch, air sounds
~# ~#
U
Y#
Ε
ΒΏ ΒΏΒΏ ΒΏ Y Y Y
ΒΏ Y β’ Y ΒΏ ΒΏ β° Y
ΒΏ Y β’ Y ΒΏ ΒΏ β° Y
ΒΏ ΒΏ Y ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β° Y
Ε β’ β° Γ ΒΏ Y β’ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β° Y
ΒΏ ΒΏ ΒΏ Y Y ΒΏ ΒΏ β° Y
Ε Y β’ Y ΒΏ ΒΏ β° Y
Ε Y β’ Y ΒΏ ΒΏ β° Y
Ε Y β’ Y ΒΏ ΒΏ β° Y
Y ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β° Y
Ε
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β’ ΒΏ ΒΏ β’ Y
ΒΏ Y β’ Y ΒΏ ΒΏ β° Y
ΒΏ ΒΏ ΒΏ Y ΒΏ ΒΏ Y Y
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β° Y ΒΏ ΒΏ β° Y
ΒΏ Λ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β° Y
Y Y Y β’ Ε Y
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ β° Y
ΒΏ ΒΏ ΒΏ Y Y ΒΏ ΒΏ β° Y
ΒΏ ΒΏ ΒΏ Y Y ΒΏ ΒΏ β° Y
Ε ΒΏ Y Y ΒΏ ΒΏ β° Y
Ε ΒΏ Y Y ΒΏ ΒΏ β° Y
ΒΏ ΒΏ ΒΏ Y ΒΏ ΒΏ ΒΏ Y Y
ΒΏ Y β’ Y ΒΏ ΒΏ β° Y
ΒΏ Y β’ Y ΒΏ ΒΏ β° Y
ΒΏ ΒΏ ΒΏ Y ΒΏ Y
Ε
Y
ΒΏ ΒΏ ΒΏ Y Y ΒΏ ΒΏ
β°
Y
ΒΏ ΒΏ Y ΒΏ ΒΏ ΒΏ ΒΏ
Ε
Y
Λ
Γ β° Ε Ε Ε
Ε Ε Ε Ε Λ
Ε
Λ β’
β°
Ε Ε
Ε
Ε Ε Ε
β° β°
Εb Ε Ε Ε Εb Λ
Ε
Λ β’
Ε Λ β’ w w w w
Ε
Ε
Λ β’
Ε Ε Ε
w
βΕ
Λ β’Ε
Λ β’Ε
Λ β’
~# ~# Y#
28
72
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