SCORE

Soo Yeon Lyuh

Yessori (Sound from the Past)
(2016)
Composed for Fifty for the Future: The Kronos Learning Repertoire

Please help spread the word about Kronos’ Fifty for the Future project by including the
credit below along with the title and composer of the work. This information should be
included in printed programs, press announcements, performance videos, websites
and when announcing the work from the stage.

“This piece was commissioned for Fifty for the Future: The Kronos Learning
Repertoire, a project of the Kronos Performing Arts Association. The score
and parts are available for free online. kronosquartet.org.”

Soo Yeon Lyuh’s Yessori (Sound from the Past) was PUBLISHED BY
commissioned as part of the Kronos Performing Arts Kronos Performing Arts Association
Association’s Fifty for the Future: The Kronos P.O. Box 225340
Learning Repertoire, which is made possible by a San Francisco, CA 94122
group of adventurous partners, including Carnegie www.kronosquartet.org
Hall and many others.

© 2016
2016 Kronos
Inner Sunset Publishing.All
Arts Publishing. AllRights
RightsReserved.
Reserved.
 YESSORI
String Quartet by Soo Yeon Lyuh
For Fifty for the Future: The Kronos Learning Repertoire

REHEARSAL NOTES: GENERAL

Intonation

- Based on a pentatonic scale:

o E-flat, A-flat: High

o F, B-flat, D-flat: Low

- Features a wider interval range for note relationships than is customary

in Western tuning schemes

Hooking the fish

The circled notation (above left) indicates that the grace note should be
accented and played in the same bow direction as the first note. This
technique is always performed downbow, followed by an abrupt change to
upbow on the note following the grace note.

Note: Bow pressure and speed is highly variable on haegeum (the instrument
on which this piece was originally written). Please see instructional videos for
examples.
Special marking [c]

Very quick upward slide into the target note, very

abrupt with a release at the top

REHEARSAL NOTES: BY SECTION

Rhythm for Section A
- Players can cue the downbeats of each bar to stay together.
- Overall timing of individual phrases should remain within the meter;
however, timing within the phrase is elastic.
- Most important for players to breathe together, feeling a push and
pull against the meter.

Vibrato for Sections A, C, E

Slow and consistent vibrato, entering after the initial

note (where indicated in the score), with a slight
crescendo, favoring the higher pitch

Vibrato begins slowly with a release downward from the

initial note, and picks up speed, favoring the lower pitch,
with a slight decrescendo

Bow markings for Section A

- Slur markings indicate a single bow to be used. Up or down bow is at
the player’s discretion.
- Grace notes should be accented. Pay close attention to the placement
of the grace note—contrary to the normal Western style of playing,
the grace notes here are often played in the same bow as the
preceding note (though they are occasionally played in the same bow
as the following note).

Rhythm for Section B

- One cycle is equal to 2 measures.
- There should be a slight separation (lift bow) between the 3rd and 4th
notes of each 5-note pattern, i.e. between the 3rd and 4th and between
 the 8th and 9th eighth notes in each bar, which matches the percussion
part.
- The cellist plays percussion in this section. A small gong, metal pot, or
similar object may be used, and should be played with a soft mallet.
Staccato indicates dampening; otherwise, all notes should be asllowed
to ring.

Vibrato for Sections B, D

- Wide, big, and fast
- Begins immediately with the attack

Structure of Section C
- Section C should be performed as a series of overlapping solos, with
each player choosing freely from the given 12 gestures. The order of
entry should be: viola, cello, violin 2, violin 1.
- Each player should choose two gestures and improvise for about 30–
45 seconds based on those gestures. The next player should enter
before the previous player finishes, so that each entrance overlaps by
about 10–15 seconds, with the first player fading out gradually.
- Each entry should maintain the general musical character throughout
the section. Players may vary dynamics within the overall character.
Not all gestures need to be played—some may be omitted at the
players’ discretion. The entire section should be about 2–3 minutes.

 YESSORI
Soo Yeon Lyuh

A q. = 50 Elegant, floating
° bb b 18
Violin I & b 8 ∑ ∑

b 18
Violin II & b bb 8 ∑ ∑
ÍÍÍÍ Æ!œ¶ œ™ œ™ , -ÍÍÍ -ÍÍÍ -œ !Æœ¶ œ™ œ™
b 18 J û œ œ J û ™
Viola & b bb 8 Œ ™ Œ™ Œ™ œ™ Œ Œ™
mf

Violoncello
? bb b 18 ∑ ∑
¢ b 8

3
° bb b ÍÍÍÍÍ , ÍÍÍ
& b ∑ Œ™ Œ™ j œj j œ œœ œ œ™û
œ œ œ™ œ -ûœ
mf
bb
&b b ∑ ∑
,
b b œ ™ œ œ œ œ œ ÆœJœ œ ÆJ œ œ œ ÍÍÍÍÍÍœ
ÍÍÍÍ œ ÍÍÍÍÍÍÍÍÍ
&b b û û ûœ ™ ÆJ œ ™ ˙™ Œ™ Œ™ Œ™ Œ™ B
f 3

?b
¢ b bb ∑ ∑

© 2016 Inner Sunset Publishing. All Rights Reserved.

2
5 ÍÍÍÍÍÍÍ j , ÍÍÍÍÍÍÍÍÍÍ , ÍÍÍÍÍÍÍÍÍÍÍÍ
° bb b
& b œ œœ™ œ™ œ œ-û œ j œ™ œ œ œ œ œ œœ ™ œ ™ œ ™ œ ™ œj œ œ™ û œj
™ ™
-û -û

b ™ ÍÍÍÍÍÍÍÍÍÍÍ ± ÍÍÍÍÍÍÍ
& b bb ∑
œ™ œ œ ™ œ ™ œ ™ œ ™ œ™
j
˙™
p

B bbbb ∑ ∑

ÍÍÍÍÍ œ œ™
? bb b œ ™ œ J œ™ ÍÍÍÍÍÍÍÍ
œ™ œ™ ÍÍÍÍÍÍ
˙™ û œ ™ û œ™ -œû -œ -œû -œ ÆœJœ
¢ b J
mp mf

7
!µµµ > ÍÍÍ ÍÍÍ ÍÍÍÍÍÍÍÍÍ , ÍÍÍ
° bb ™ ™
œ œJ œ™ œ œ œ œ œ œ™ œ -œ œ œ
&b b œ œ™ œ ™ Œ ™ Œ œ œ œ™
Jû Jû J
mp mf

ÍÍÍ ± !µµµ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ

b b -œ ™ œ™ œ™ œ™ ù
& b b ϝ j j Ϫ Ϫ
- ù
œ œ™ œ™ œ œ™ œ™ œ™ -
mp

!µ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j
B bbbb Œ j œjœ ™ j j
œ ™ œ ™ œœ ™ û œ œ œ™ œ™ ˙™ œ˙™
œ
p

± ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ
j
? b b œ ù ™ œ œ ˙™ ˙™ ˙™ œ ùœ
¢ bb œ œ û œ ˙™
9 ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ , ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ - ,3
° bb b œ ™ œ œ œ™ ˙™ -œ œ œ œû
Ϊ J
& b J
mp

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j
b
& b bb œ ™ œ™ ù j ™ œ œù
œ™ œ ù œ œ
mp
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j
b b
B b b œ™ œ™ ù j
œ™ œ™ œù œ
œ
œ™ ±
mp

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
? bb b œ-û œ œ-û œ œ-û
¢ b œ™ œ™ ù ˙ ™ œ™ - -
mf

ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍ - ÍÍÍÍÍÍÍÍÍÍÍÍÍ ,

10
° bb œ œ œ ™ œ œ œ™ œ œûÆœ œ œ™ œ™ œ™ œ œ
&b b J J û
mf f

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
bb
&b b œûœ œûœ œ œjù œ
œ
j
œ™ œ™ œ ù -œ ÆœJ-œ
œ- - œ- J
mf f

- ÍÍÍÍÍÍÍÍÍÍÍÍÍ
-œ ù œJ œ™ œ™ œ™ œ œ œ
B bbbb û œ œ™ œ û œj
f

? bb œ Œ™ Œ™ Œ™ Œ™
¢ b b œ œ™ œ™
4 ÍÍÍÍÍÍ
11 ÍÍ ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ >œ œ ™ œ™ œ œ
° bb b œ œ œ œ œ™ œœ œ ™œ™ ÍÍ œ œù ˙™
Ϫ
œ
& b J J J J J
mf f mp f

ÍÍÍÍÍÍÍ
b
& b bb ˙ ™ œ™ œ™ ˙™ Œ™ Œ™ œ™
œ ™ ù œ œjùœ ™
mp p

ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ

B bbbb ˙ ™
œ û œj œ™ œœ œ ™˙™ œ-ûœ-œ-ûœ-œjœ œ™ ˙™ œ- ùJ œ ™
œ
mp mf f f

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
? bb b Œ ™ œ ™ ÆœJ œ ûœ ÆœJ œ™ ˙™ ˙™ œ œùœ ùœ ˙™
¢ b J J J
mp f

ÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ -œ - -œ - -œ

13 œ œ œ ™ œ œ œ™ >œ™ œ™ œ™ û œ ûœ
° bb b J
& b
ff

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ

b b
&b b œ™ œ ™ù œ ™ œ œ œ™ œ ™ œû œù œ œ™
f
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ™ ™ œ j
B bbbb œ J œ œ û œ ù ˙™
œ

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ -œ ™ -œ œù
? bb b ˙™ œ œù œ™ J
¢ b J
 !µµµ !¶ 5
14 -
œ û œ œ™ÍÍÍÍÍÍ - -œ ù œ œ™ÍÍ œ™ ˙™ œ ÍÍÍÍ ÍÍÍÍÍÍÍ
° bb b J œ ÆJ œû
J œ œ ™ ù œ œJ œ œ œ û
& b
mf

b !µµµ !!¶
& b bb j
Œ™ Œ™ œ ™ ÆœJœû œ œ™ œj ˙™
œ™ œ
œ™ ˙™ œ™ J
mf
!!¶
œ ™ ÆœJ œû Æœ œûœ œ™ œ™ œ œœ
B bbbb -œû-œ -œû-œ -œûœj œjœ ˙™ ˙™ œ™ J
ff mf
!µ !¶
-˙™ ˙™ ˙™ ÆœJ œû œ œ ™ ˙ ™
?b ˙™
¢ b bb J
mf

16 œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ œ ù ˙™
° b b œÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œJ ÆJ œ™ œ™
J
&b b

bb j
& b b œ™ ù œ™ œ™ œ ˙™
mp
œ ù

œ œ œ™ ùœ -œ -œù -œ œÍÍÍÍÍÍÍÍÍÍ
™ ÍÍÍÍÍÍÍÍÍÍ
B bbbb Ϫ
f

? b b œ ™ù œ™ ˙ ™ù ˙™
¢ bb
6
17 œ™ œ™ œ œ - -œ œ -œ ˙™ !µµµ
° bb b û œ ÆJ
& b
ff

b
& b bb œ™ œ
j
œù œ ™ ù œ™ œ œ œû œ œ œû j
mf f û
œ
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ -œ -œ ù -œ
B bbbb œù œJ œ ™ œ J œ ™ œ œ œ™
œ
f

!µ
? bb b œ™ ù œ™ ù œ™ œ™ œ™ ™
¢ b ùœ
f mf

18
° b b >œ ™û -œ -œû -œ œ ÆœJ œ œ œ œ œj œ œ œ œ ÆœJ œ œ œ ™
&b b J J û û û
f mf

bb ÍÍÍÍÍÍÍÍ
j j
&b b Ϫ
-
œ- û œ œ œœ
ûœ
˙™ œ™
-
mf

b œ™ œ™ û ˙™ ˙™ !µµµ
Bb bb
mf

ÍÍÍÍÍÍÍÍÍÍÍ œ™
? bb j
œ
¢ b b œ™ œ™ œ™ œ™ œ™
 sul pont. 7
19
° bb b œ ™ œ œ ˙ ™ ˙™ œùœJ œ™ œ™ÍÍÍÍÍÍÍÍÍ æ˙™
& b ûJ Œ™ æ
mp p pp

ÍÍÍÍ ÍÍÍÍÍÍÍÍÍ !µj ÍÍÍÍÍÍ -œ œ œ™!µ

b b ™ œ ™ b œ ---
œ œ œ œ
& b b œ™ ù œ nœ ™ j œ œ œûœù œ œ œ- - œ œ
-
mf
œ™ œ
ÍÍÍÍÍÍÍÍÍ ÍÍÍ ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍ ÍÍÍ
j œ œù œ
B bbbb œ™ œjœ™ œ œ ùœ™ÆJ œnœœ œ ÆJ œ œ œ bœ œ œjœ ˙™
J ûœ œ œJ œ™ œœ œ ™
mf
f
ÍÍÍÍ
œ™ -œ -œ -œ ! ™ !µµµ !¶ !µ ÍÍÍ
?b ù ù ù œ™ ˙ ˙™ ÆœJ œ œùœ ™ œ nœj bœ ™
¢ b bb J
f mp

21 œ™ ™ œ™ bœ™ œ™ n œ ™ œ™ bæœ ™ œ™ n œ ™ œ™ n œ ™
° b b æ nææœ æ æ æ ææ æ æ æ ææ æ æ
&b b

ÍÍÍÍ ÍÍÍÍ ! ™ ÍÍÍ

œ™ ÍÍÍÍ
œ™ b >œû -œ -œû-œ -œû
bb j Œ™ Œ™ Œ™ Œ™ œ
& b b œ- œœœ nœ bœjœ j nœj j
--- œ bœ œ œ
f f
ÍÍÍÍÍ ÍÍÍÍÍÍ œ ûœ ÍÍÍÍ
™ œ™ nÍÍÍÍÍÍÍÍÍÍÍ
b œ ù œ œ ûœ œ œ ˙™ bœ ! œ œ™ ÆœJ œûœ ÆœJœ œœ œ œ œ
b
B b b Ϫ J J J J
f
ff
!µµµ
? bb ˙™ û j - j- j
œœ œ ™ œ œ œûœ nœ bœ nœ ˙ ™
¢ b b ˙™ œ œ û -- -
f
8
23 Ϫ bϪ U
° bb b æ ææ ˙™ 10
& b ææ ˙™ Ó™ Œ™ Œ™ Œ™ Œ™ 8
æ
œ n œ b œ œ™
ÆJ ˙™ !µµµ
b û û U 10
& b bb J Œ™ Œ™ ∑ 8

!µ ÍÍÍÍÍ U
!µ
B bbbb Ϫ j
nœœ ™ Œ™ Œ™ Œ™ Œ™ 10
œ™ bœ- œ- œ- œ- œJûœ û œ™ ˙™ 8
mf

To Perc.
?b U 10
¢ b bb b˙ ™ ˙™ Œ™ Œ™ Ó™ Œ™ Œ™ Œ™ Œ™ / 8

25
B e=150 Lively, as a dance
° b b 10
&b b 8 ∑ ∑ ∑ ∑

ÍÍÍ .
ÍÍÍÍÍÍÍ
ÍÍÍÍÍÍÍÍ
œ™ œ n œ œ œù œ œ. ÍÍœ
b b 10 œ ™ œù J J
&b b 8 ∑ ∑

j ÍÍÍÍ j ÍÍ j j
ÍÍÍÍj j ÍÍÍ
B bbbb 10 ∑ ∑ œ œ
8 ùœ œ. œ ùœ œ. œ ùœ œ. œ ùœ œ. œ
mp
Percussion
.j .j .j .j .j .j .j . .j
b
b b 10 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿
¢/ b 8
f
 9
29
ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍ . ÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍ œ. ÍÍÍÍ ÍÍÍÍÍœ ÍÍÍÍ
° bb b ¯¯¯¯¯¯¯ ÍÍÍÍ
œ œœ ™ œœ
Æ œ œœ ™ œ œ
Æ
œ nœ . œ
ÆJ œ
& b œ™ œ Æ J œ J œ œ Æ J œ J J
f mp f

ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍ œ™

b b œ ™ û nœ œ ™ û n œ û ÍÍÍÍÆœÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍ
&b b œ ™ œ Œ œ Jœ ™ œ ÆœJ œ ™
mp f mp

± ± ÍÍÍÍÆœ ÍÍÍ ÍÍÍÍÍÍ ± ±ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ

. j j . œ
œ. œ
B bbbb œ œ œJ œ J œû nœJ œû œ œjœ. œ œjœ œ œ œ ùœ œJ œ ÆJùœ J
ù
.j .j .j . .j .j .j
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

32 ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ

° b b bœ œ. œû
&b b J œ ÆœJœ œ ∑ ∑
J
mp

œ œ±ÍÍÍÍÍÍÍÍÍÍÍ
œ œ . ¯¯¯ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍ œ œ. ÍÍÍÍ
œ
b b ù J œ œ .
œ œ œ .
œ œ œ ™ J
&b b J ùœ ùJ ù ùJ J
Æ œ œ ù
mp f

œ±œ œ±œ nœ. œ j ÍÍÍÍ ±ÍÍÍÍ ÍÍÍÍ j j ÍÍÍÍ j j ÍÍÍÍ

b b œ œ
Bb b J J û ùœ œ. œ ùœ J œ œ œœ. ÆœJœû œ œœ. œ
f mp

.j . .j .j .j .j . .j .
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
ff mp f
10
35
° bb b ÍÍÍ ÍÍÍ ÍÍÍ ÍÍÍÍÍ ÍÍÍ . ÍÍÍ ÍÍÍÍÍÍÍ . ÍÍÍÍÍÍ œ œ. ÍÍÍÍ
œ .
œœ œ œ œ
Æ
& b œ™ œ Æœ œœ ™ ÆœJœ œ œJ ÆœJœ Æœ œœ ÆœJûœ œ ù J J û
J
f

ÍÍÍÍÍÍÍÍÍÍ ±¯¯¯¯ ¯¯¯

b œ œ œ œ œ œ œ ùœ œ. ¯¯¯¯
œ ù¯¯¯¯¯¯¯
˙ œ. œ nœ. û¯¯¯
œ
& b bb œ ™ œ ù J J J J J
mp

œ . ÍÍÍ
œ œ ± ±œ±
œ ± œ œ œ. >œ ÍÍÍÍÍÍÍÍÍ j ÍÍÍÍÍ
œ œ œ .
œ œ
B bbbb ù J ù J ù œ œ ÆœJœ œ œ œ œ™ œ
. ù ù
f
mp
.j .j .j
¢/ ¿ ¿ ¿ Œ ‰ Œ ¿ ¿ ¿ Œ ‰ Œ ¿ ¿ ¿ Œ ‰ Œ

±ÍÍÍÍ œû œ œ œ œ œ Æœ œ œ œ. œû ±±œ
38 œ
° b b œ J œ Æœ œ™
œ œ
ÆJ œ œ œ œ œ œ œ ÍÍÍÍÍ
&b b

ÍÍÍ ÍÍÍÍÍ œ. ÍÍÍ

œ œ™ ¯¯¯¯¯¯¯¯ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ™ œ
b b œ J œ nœ bœ nœ œ œ ™ œ
&b b œ™ ÆJ œ
ùœ
ù J

±ÍÍÍÍÍ œ. ÍÍÍÍÍ ±ÍÍÍÍÍ

b b
¯¯¯¯¯
œ™ ¯¯¯¯
œ ¯¯¯¯¯
œ™ œû œ
œ
J
œû œ
û J
œ
œ œœ œ œ
j j ÍÍÍÍÍ
Bb b
ù ùœ J ÆJ œ. œ

.j . .j . . .j .j .j .j .j .j
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41
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.
ÆœJœ œ J
& b J J ùœ œJ œ Jùœ J û œ œœœ
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mf
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œ œ ™ œ œ œ±¯¯¯¯ œ œ œ±̄¯¯
œ Æœ ÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍ
J œ ™ ÆJ œ ÆœJ œ ™
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b Ϫ
& b bb
J J
f

œ . ÍÍÍ
œ œ œ .
œ œ œ±œ±ÆœJ œÍÍÍÍÍ œ œ œ œ. œ œ±œ œ±œ œ œ œ. œ
b
Bb bb ù J ù J œû J J œû û
f

.j .j .j . .j .j .j
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f

44 ÍÍÍÍÍÍÍÍÍÍÍÍÍ
° b b ÍÍÍÍÍÍÍÍÍÍÍ
™ œ
&b b œ œ ÆJ œ ™ œ ∑ ∑
mp
ÍÍÍÍÍÍÍÍÍÍÍ
ÆœJ œ™ œ œ œ. ÍÍÍÍ ¯¯¯¯¯¯¯¯ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
bb
œ œ™ œ œ ™ œ œ™ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
Ϫ ϝ
&b b ‰
mp

ÍÍÍÍ ± ± ± ±ÍÍÍÍ ÍÍÍÍ œ. ¯¯¯ œ œ. ÍÍÍÍ

œ ¯¯¯ œ. ¯¯¯¯ œ œ œ œ. ÍÍÍÍ
œ
b
Bb bb œ œ œ œ œ œ œ œ
ÆJ œ
ù J œ ù J œ ù J œ J
œ
mp

.j . .j .j .j .j . .j
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
mp
12
ÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍ
47
° bb b œ™ œ œ ™ œ
& b ∑ ∑
f
±ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍœ ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ ±
ÍÍÍÍÍ œ œ œ œ œ™ œ ÆJ œ™ œû œ™ œ n œ œ œ œ±
b œ
& b bb û ‰ J J
mf f

œ œ±œ œ±ÍÍÍÍ
œ . œ œ Æœ œ. œ œ œ±œ±ÍÍÍÍÍÍ Æœ . ÍÍÍÍ Æœ . ÍÍÍÍÍ
œ bÆœœ
B bbbb J J û J
J û J J œ J œ bÆœJ œ œ J œ ÆœJœ
J J
mf f

.j .j .j . .j .j .j .j .j .j
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿
mf f

ÍÍÍÍÍÍÍ ÍÍÍÍÍ
50 œ œ œ œ œ™ œ ÆœJ œ œ œ œ œ œ
ÆJ œ. œû ÍÍÍÍÍÍ
œ™ œ
ÍÍÍÍÍÍÍÍ
° bb J J J ù û ùœ™ œû
&b b

œ±ÍÍÍÍ
œ ÍÍÍÍÍÍÍ ÍÍÍÍÍ œ œ±bœ œ œ±ÆœJ ÍÍÍ ±œ œ œ
ÆJ œ. œ
bb œ J œ™ J û J œ œ œJ û J
&b b œ

±œ±ÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍ ± ÍÍÍÍÍ ± ± ±

œ bœ
B bbbb œ J ÆJ œ œ ÆœJ œ. œ œ J œ œ œ œ œ .
œ œû œ œ œ œJ œ œ ÆœJœÍÍÍÍÍ
J J J

.j . .j .j .j .j .j .j .j . .j .j .j .j
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰
 ÍÍÍÍÍÍ 13
53
œ™ œû ÍÍÍÍÍ œ œ œ. œ œÍÍÍÍÍ ¯¯¯¯¯ ÍÍÍ
œ ÍÍÍÍ
œœ œœœ œœœ œ
Æ Æ Æ
° bb b ùœ™ œ œ™
J ÆJ œ™
J
& b
ÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ
œ . ÍÍÍÍ
œ œ . ÍÍÍÍÍÍ
œ œ œ™ œ œ œ™
œ ÆœJ œ ™ œ
b œ ÆJ
b J û J œ™
&b b Ϟ
± œ ÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍ
œ œÆ œ. œ œ Æœœ œ. Æœœ œ j ÍÍÍÍÍÍ
B bbbb œ J J ùœ J J JJ ù œ. œ ∑

.j .j .j . .j .j .j .j .j .j
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿
ÍÍÍÍÍ œ±±œ ÍÍÍÍÍ œ œ±±±±ÍÍÍÍÍÍÍÍÍÍÍ
œ œ œ >œ œÍÍÍÍ œœ œ™
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
56 œ œ
ÆJ
œ ù œœ
Æ
J œ Æ
J œ Æ œ œ™ œ œ™ œ
° bb b J J
& b
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍœ Æœ ÍÍÍÍÍÍÍÍÍ
™ œ ÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍ
ÍÍÍ œ œ™ œ ùœ™ J
œ œ ™ œû œ™ œ
b œ .
œ
b
&b b J

B bbbb ∑ ∑ ∑

.j . .j .j .j .j .j .j .j . .j .j .j .j
¢/ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰
œ ™ ÆœJ œ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍ ÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ rit.
59
° bb œ™ œ œ™ œ œ œ. œ œ™ œ œ™ œ
J 12
&b b ∑ 8
±ÍÍÍ ÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ œ œûn œ. œ œ™ œ œ™ œû ÍÍÍÍÍÍ ÍÍÍÍ œ™ œ
!µ
ÍÍÍÍÍÍ œ™ œ
bb œ™ œ û
J J œ™ œ 12
&b b 8

B bbbb ∑ ∑ ∑ ∑ 12
8
.j .j Violoncello
¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰¿ ¿ ‰ ¿ ¿ ‰¿ ¿ ‰¿ ¿ ¿¿¿ ¿¿ ? 12
¢/ 8
14
C Freely, expressive
Gesture 1
œ™ ÍÍÍÍÍÍÍÍÍÍ >œ ÍÍÍÍÍÍÍÍ > !µµµ
b 12 œ
& b bb 8 ˙ ™ ÆœJ œ™ J ÆœJ
œ J ÆœJ œ ˙™

Gesture 2
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
b
& b bb ˙ ™ û œ™û œ œû œ œû œ œû œ œ˙ ™ Œ™

Gesture 3
œù œ œ™ œ™ œ bœ œ™ b œ ÆœJ œ ¯¯¯¯¯¯
œ™ œ™ œ™û
b b J J
&b b
Gesture 4
œû œ œû œ œû ˙™ œ™ œ™ œ™
b nœ œ œ œ™
& b bb
Gesture 5
Gesture 6
œbœ œû œ ˙™ œ œ œ ÆœJ œ ÆœJ œ ÆœJ œ œ œ œ™ œ™
b Æ û b ™ œ
& b bb
J J
& b bb œ œûœ œûœ œ ÆJ ˙ ™û
Gesture 7

b œ bbb œù œJ œ ÆœJ œ œ œ ÆœJ œ œ œÆœJ œ œ œ œ ™û

& b bb œ™ œJ ÆJ œû œ œûÆœ œœ œ œ ™û & b

Gesture 8 Gesture 9
b œ œû ¯¯¯
œ œ œ™
ÆœJ œ™û bbb œ œJ œ™ œ œ œ ™œ œœ ™
b J J œ ™û
&b b & b Æ

Gesture 10
œ
b ùœ œ ùœ ùœ ùœ ùœ ùœ ùœ ùœ ùœ ùœ œ
& b bb œJ J
3
Gesture 11 !µœ
œ™ œ œ œ œ œ œ œ œ œ œû œ œ™ ÆJ œû œ œ œ ™ œ Æœ œ œ œ œ
ÆJ œ™û
b û J
& b bb J J
Gesture 12
“” nœ ™ !µ b œ ™ù U
Ϫ
bbbb œ ™ œ™ bÆœ
J œ™ œù œ œ™
J 12
& 8
pp ppp
 15

D q. = 100 Powerful, insistent

63 >œ™ >œ™ ÍÍÍÍÍÍÍÍÍ
>œ™ >œ ™ û ÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍÍÍÍ
° bb b 12 ¯¯¯¯¯ ÍÍÍÍÍÍÍÍÍ
>œ ™ œ
J ÆJ œ >
œ œ œ™
& b 8 J
ff

b 12 > ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ

>œ ™ >œ ™
& b bb 8 œ ™ œ™ j
> û œ œjœ œ™ j
œ œ™
ff >Ϫ
>
>œ ™ >œ ™ ÍÍÍÍÍÍÍÍÍ
>œ ™ >œ™ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ j ÍÍÍÍÍÍÍÍÍ
B bbbb 12 û œ™ œ œ
ÆJ œ œ™ œ œ™
8 > J
ff
>
>œ™ >œ™ >ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ
Ϫ >
œ™ û
? bb b 12 œ œj œ œ ™ œ
j
¢ b 8 œ> ™ J œ™
ff
>

65 ¯¯¯¯ ÍÍÍÍ >œ ÍÍÍÍ

° bb b œ œ J œ œ™û >œû œ ÆœÍÍÍÍÍ
> ™ œ
>
¯¯¯¯ ÍÍÍÍÍ > > >ÍÍÍÍÍ
œ œ œ™ œ > œ œ œ ™ >
œ œ œ
ÍÍÍÍÍ
>
J Ϫ Ϫ
& b J
J J J ÆJ

b b ¯¯¯¯ j ÍÍÍÍ >œ ÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍ

& b b œ™ œ œ J ™
œ œû œ j j j j
j j
> >û œ œ œ ™ >œ œ œ œ™ œ œ œ™
>œ > > > >
œ œ œœ™
>
> ÍÍ œ >œ ÍÍÍÍ
œ œ ™û >œ j ÍÍÍÍÍ j ÍÍÍÍÍ > > >ÍÍÍÍÍ > >ÍÍÍÍÍ
B bbbb œ™ œJ J û œ ÆœJœ ™ œ œ j
œœ™ >œ œ œ œ™ œ œJ ÆœJœ ™
>
ÍÍ œ >œ ÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍ
? bb b œ ™ œ J œ œ™û >œû œj œj œ™ œj œj œ
>
œ ™ >œ ™ ™ ™ ™
¢ b J > >œ >œ >œ
16
68 ÍÍÍ ÍÍÍÍ ¯¯¯¯ ÍÍÍ >œ ÍÍÍÍÍ ÍÍÍÍ U
ÍÍÍÍ
° bb b ¯¯¯¯¯ œ± ¯¯¯¯ >
œ ™ œ œ œ œ™û >
œ ¯¯¯
œ œ > ™ J û œ œ™ >
œ ÆJ œ œ œ ™ 18
& b œ™ J ÆJ œJ œ œ J
J J 8
>
ÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍ UÍÍÍÍ
b b j j œ™ œ œ œ ™û 18
&b b j j j jj j j 8
œ> œ. œ œ ™ >œ œ œ œ™ >œ
œ > J >œû œ œ œ ™ >œ œ œ œ™
ÍÍÍÍÍÍ j ÍÍÍÍÍÍ ÍÍÍÍÍÍ j ÍÍÍÍ >ÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍ U
ÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍ
b b
B b b œ™ œ œ™ œ™ œ œ™ œ™ œ™ >œ™ Æœœ ™ œ™ œ
j 18
J Ϫ Ϫ Ϫ 8
> > > >
U
ÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍ >ÍÍÍÍÍÍÍÍ ÍÍÍÍ >ÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍ
j
? bb b œ ™ œ œ™ œ ™ j
œ œ
™ œ™ œ ™ œ ™ œj œ™ œ ™ œj œ ™ 18
¢ b > œ ™ œ ™ 8
> > >

E e = 80 Stately, assured
71 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
° b b 18 ÆœJœ ™ œ™ œ. ÆœJœ
Ϫ Ϫ Ϫ
&b b 8 J
f

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ™ œ™ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
bb b 18 œ
ÆJ ÆœJ œ œ™ œ™ œ™
& b 8 J
f

b 18 >ÍÍÍÍÍÍÍÍÍ >ÍÍÍÍÍÍÍÍÍÍ
œ œœ™ œ™ >ÍÍÍÍÍ ÍÍÍÍÍ >œ ¯¯¯¯¯¯¯¯
>œ ÍÍÍÍÍ >œ™ ÍÍÍ
j j
ÍÍÍÍÍÍÍÍ ÍÍÍ
j ÍÍÍÍÍÍÍÍ
b
Bb b 8 Æ œ
ÆJ œ œ œ œ
œ œ
f

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ jÍÍÍÍ

? b b 18
8 ˙™ ˙™ œ œ œ j
œœ
b
¢ b J
f
 17
72 ¯¯¯¯¯¯ ¯¯¯¯ ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
° bb b œ œ Æœ œ œœ œ ™ ÆœJ
& b J œ œ™ œ™ œ™
J

ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ™ œ™ œ™ û
b ÆœJ œù œ ÆœJ œù œ
b
& b b œJ œ J J

¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯ œû ¯¯¯¯¯ ÍÍÍÍÍÍÍÍ

B bbbb œjœ œ œ œ™ œù œ œ J œ™ œ œ >œ. Æœœ
J J J

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍj ÍÍÍÍ ÍÍÍÍÍÍÍÍÍ >œ. ÍÍÍÍÍÍÍÍÍ ÍÍÍÍ

? bb b œ ™ œ
œ™ œù œ œ œû œ œ œ œj œ œ œ
j
¢ b J

ÍÍÍÍ ÍÍÍÍ
œ ™ ÍÍÍ
œ ÆœJ œÍÍ > ÍÍÍÍ U
73
œ ÆœÍÍ œ ÍÍÍÍÍ ÆœJ ÆœJ œ œ
œù œJ œ œ ™œ œûœ œ ™ œ ¯¯¯¯
° bb œ™ ¯¯¯¯¯
œ ™ œ™ œ
&b b œ J œJ J
J
J œJ

ÍÍÍÍÍÍ œ ÍÍ œ. ÍÍ œ. ¯¯¯¯ ÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ¯¯ÍÍÍÍÍ

œ
ÍÍÍÍ
ÆœJ œ™
œ ™ ÍÍÍ
ÍÍÍÍ œ ÆœJ œÍÍÍ> ÍÍÍÍ
œ œ
U
ÆJ œ œ
bb œ ™ œJù œ œ œ ÆœJœ œ ™ œ ™ œJ J œJ J
&b b J

¯¯¯ ±± ÍÍ œ œ
ÆJ œ ™
œ™ œ ÆœJ ÍÍÍ
ÍÍÍÍÍÍÍ ¯¯ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ ÍÍÍÍœU
>œ œ ÆJ œ œ
B bbbb œ™ œ™ œ™ œ œ œ œ Æœœ œ
J œ œ™
œ
J J J J
J

Í ÍÍÍÍÍÍ ÍÍÍÍÍÍ ±±ÍÍ ÍÍÍÍÍÍ ÍÍÍÍ ¯¯ÍÍÍÍÍœ ÍÍÍÍ ÍÍÍÍ œ ÆœJ ÍÍÍ
œ ™ ÍÍÍ ÍÍÍÍœ U
? b b ™ œ ™ û œ ù œ œ œÆœ œ ™ œ™ œ œ ÆJ œ™ œ œ œ ÆJ œ œJ
>
J
¢ bb œ J J œ J J
VIOLIN I

Soo Yeon Lyuh

Yessori (Sound from the Past)
(2016)
Composed for Fifty for the Future: The Kronos Learning Repertoire

Please help spread the word about Kronos’ Fifty for the Future project by including the
credit below along with the title and composer of the work. This information should be
included in printed programs, press announcements, performance videos, websites
and when announcing the work from the stage.

“This piece was commissioned for Fifty for the Future: The Kronos Learning
Repertoire, a project of the Kronos Performing Arts Association. The score
and parts are available for free online. kronosquartet.org.”

Soo Yeon Lyuh’s Yessori (Sound from the Past) was PUBLISHED BY
commissioned as part of the Kronos Performing Arts Kronos Performing Arts Association
Association’s Fifty for the Future: The Kronos P.O. Box 225340
Learning Repertoire, which is made possible by a San Francisco, CA 94122
group of adventurous partners, including Carnegie www.kronosquartet.org
Hall and many others.

© 2016
2016 Kronos
Inner Sunset Publishing.All
Arts Publishing. AllRights
RightsReserved.
Reserved.
 YESSORI
String Quartet by Soo Yeon Lyuh
For Fifty for the Future: The Kronos Learning Repertoire

REHEARSAL NOTES: GENERAL

Intonation

- Based on a pentatonic scale:

o E-flat, A-flat: High

o F, B-flat, D-flat: Low

- Features a wider interval range for note relationships than is customary

in Western tuning schemes

Hooking the fish

The circled notation (above left) indicates that the grace note should be
accented and played in the same bow direction as the first note. This
technique is always performed downbow, followed by an abrupt change to
upbow on the note following the grace note.

Note: Bow pressure and speed is highly variable on haegeum (the instrument
on which this piece was originally written). Please see instructional videos for
examples.
Special marking [c]

Very quick upward slide into the target note, very

abrupt with a release at the top

REHEARSAL NOTES: BY SECTION

Rhythm for Section A
- Players can cue the downbeats of each bar to stay together.
- Overall timing of individual phrases should remain within the meter;
however, timing within the phrase is elastic.
- Most important for players to breathe together, feeling a push and
pull against the meter.

Vibrato for Sections A, C, E

Slow and consistent vibrato, entering after the initial

note (where indicated in the score), with a slight
crescendo, favoring the higher pitch

Vibrato begins slowly with a release downward from the

initial note, and picks up speed, favoring the lower pitch,
with a slight decrescendo

Bow markings for Section A

- Slur markings indicate a single bow to be used. Up or down bow is at
the player’s discretion.
- Grace notes should be accented. Pay close attention to the placement
of the grace note—contrary to the normal Western style of playing,
the grace notes here are often played in the same bow as the
preceding note (though they are occasionally played in the same bow
as the following note).

Rhythm for Section B

- One cycle is equal to 2 measures.
- There should be a slight separation (lift bow) between the 3rd and 4th
notes of each 5-note pattern, i.e. between the 3rd and 4th and between
 the 8th and 9th eighth notes in each bar, which matches the percussion
part.
- The cellist plays percussion in this section. A small gong, metal pot, or
similar object may be used, and should be played with a soft mallet.
Staccato indicates dampening; otherwise, all notes should be asllowed
to ring.

Vibrato for Sections B, D

- Wide, big, and fast
- Begins immediately with the attack

Structure of Section C
- Section C should be performed as a series of overlapping solos, with
each player choosing freely from the given 12 gestures. The order of
entry should be: viola, cello, violin 2, violin 1.
- Each player should choose two gestures and improvise for about 30–
45 seconds based on those gestures. The next player should enter
before the previous player finishes, so that each entrance overlaps by
about 10–15 seconds, with the first player fading out gradually.
- Each entry should maintain the general musical character throughout
the section. Players may vary dynamics within the overall character.
Not all gestures need to be played—some may be omitted at the
players’ discretion. The entire section should be about 2–3 minutes.

 YESSORI
Violin I
Soo Yeon Lyuh

A q. = 50
b b 18
3Elegant, floating ÍÍÍÍÍÍÍ ,
b
& b 8 Œ™ Œ™ j œj j œ œœ œ œ™û
œ œ œ™ œ œ-û
mf

5 ÍÍÍÍÍÍÍÍÍÍÍ j , ÍÍÍÍÍÍÍÍÍ , ÍÍÍÍÍÍÍÍÍÍÍÍ

b b j ™ ™ ™ j œj
b b œ
& œ œ™ œ™ œ -û œ œ œ œ œ œ œ
œ- œ œ ™ œ ™ œ ™ œ ™ œ œ-û û œ™
û

7
!µµµ >œ œ œ™ ÍÍÍ ÍÍÍ ÍÍÍÍÍÍÍÍ , ÍÍÍ
b b ™ ™ ™ ™ œ
œ œ™ œ œ œ œ ™ -œ œ œ
&b b œ œ œ Œ Œ J Jûœ œ™ œ Jû J
mp mf

, ÍÍÍ ÍÍÍ
ÍÍÍÍÍ , - œ œ œû œ œ œ ™ œ œ œ™ œÍÍ -œûÆœ œ œ™ œ™ÍÍÍÍÍÍ
9 ÍÍ ÍÍÍÍÍ - ,
b ™ œ œ™˙ ™ œ œ™ œ œ
b œ œ Œ™ J J J J û
&b b
mp mf f

> ™ ™ÍÍÍÍÍÍ œ
11 ÍÍÍÍ ÍÍÍ ÍÍÍÍ ù ÍÍÍÍÍÍÍ
˙™ ÍÍÍ
œ œœ œ œ
™
b b œ œ œ œ œ™ œ œ œ œ™ œ™ œ œ J J
b
& b J J J
mf f mp f

ÍÍÍ
œ œ ÍÍÍ
œ ™ œ œ œ™>œ™ œ™ œ™
ÍÍÍÍ -œû -œ -œû -œ -œ œ û œ œ™ÍÍÍ - -œ ù -œ œ™ÍÍ œ™Æœ
13
œ J
b b J J
&b b
ff

!¶µµ
!µ
15 œ ÍÍÍÍÍ œ œÍÍÍÍÍÍ œ œ™ ÍÍÍÍÍ œ œù ˙ ™
˙™ ÆJ œû œ œ ™ ù œ œ œ ÍÍÍ
û œ JJœ Æ œ™
bbbb J J J
&
mf

© 2016 Inner Sunset Publishing. All Rights Reserved.

 3
17 œ ™ œ ™ œ œ - -œ œ -œ ˙™!µ > - - œ
bbb ûœ ÆJ œ ™û-œ œûœ œÆJ œ œ œ œj œ œ œ ÆœJ œ œ œ ™
& b J J œ ûœ û û
ff f mf
sul pont.
19
œù œJ œ™ œ™ÍÍÍ ˙™ œ™ ™ œ™ b œ ™ œ™ ™
b b ™ œ ˙ ™ ˙™ ææ ææ nææœ ææ ææ ææ nææœ
& b b œ œû J Œ™
mp p pp

22 œ™ b œ ™ œ™ ™ œ™ n œ ™ œ™
b b ææ ææ ææ nææœ ææ ææ ææ bæœ ™ ˙™ U 10
b
& b æ æ ˙™ Ó™ Œ™ Œ™ Œ™ Œ™ 8
æ ææ
B e = 150 Lively, as a dance
25 4 ¯¯¯ ÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍ . ÍÍÍ ÍÍÍÍÍ ÍÍÍ ÍÍÍ œ. ÍÍÍ ÍÍÍœ ÍÍÍ
b b 10 œ œ
Æ œœ ™ ÆJ œ
œ œ
Æ œœ ™ ÆJ œ
œ nœ ÆJ œJ. œ
&b b 8 œ™ œ œ œ
J
œ œ J
f mp f

32 ÍÍÍ . ÍÍÍ ÍÍÍ 2 ÍÍÍ ÍÍÍ ÍÍÍ ÍÍÍ ÍÍÍ . ÍÍ ÍÍÍ . ÍÍÍ
b b b œ œ œ œ ™ œ Æœ œœ ™ ÆœJ œ œ œJ ÆœJœ Æœ œœ ÆœJûœ œ
&b b J û œ ÆœJ œ œ
J J
mp

37 .œ ÍÍÍ . œ±ÍÍÍ
œ Æœ œ œ™ œ œû œ œ œ œ œ Æœ œ œ œ. œû
œ œ œœ œ
Æ
œ œ œ ÆJ
bb
&b b ù J J û J
f

40 ±œ± ÍÍÍÍ
b œ œ œ œ œ œ œ œ œ. ¯¯¯
œ œ . œ ÍÍÍÍ . ÍÍÍÍ
œ
& b bb ù J ù J ù ùœ œ œ ÆœJùœ ÆœJ œ. œû
J J
mf

43 ± ± ÍÍÍÍÍ œ œ. œû ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ 4

b ù J
& b bb œ œ œJ œ œ ™ œ ÆœJ œ ™ œ
mp
4
ÍÍÍ ÍÍÍ ÍÍÍÍ
™ ÍÍ œ œ ÍÍÍÍ ÍÍÍÍ
œ™ œ ÆœJ œ œ œ œ œ ÆœJ œ. œ ÍÍÍÍ ÍÍÍÍ
49 œ™ œ œ œ œ œ û œ™ œ
b b J J J ù ûùœ™ œû
&b b
f

53
œ™ œû ÍÍÍÍÍ œ œÍÍÍÍÍœ. œ ÍÍÍÍ ¯¯¯¯¯ ÍÍÍ
œ Æœœ œ Æœœ œ Æœ œ œÍÍÍÍÍ
œ™ œ œ™ œ œ™
b b ù J ÆJ J
&b b

56
ÍÍÍÍÍÍÍ œ± œ±œ ÍÍÍÍÍÍ œ œ± œ± œ± œ±ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ
>œ œÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œœ™
œ ÆJ
œ ù ÆJ œ œ Æ
J œ Æ œ
b
& b bb J J

ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍ . ÍÍÍÍ

58 œ ™ œ œ™ œ œ™ ÆœJ œ œ™ œ œ™ œ œ œ œ
b
& b bb J

61
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ™ œ œ™ œ
bb 12
&b b ∑ 8
C Freely, expressive
Gesture 1 œ™ ÍÍÍÍÍÍÍÍÍÍÍ >œ ÍÍÍÍÍÍÍ >
b 12
& b bb 8 ˙ ™ ÆœJœ™ J ÆœJœ
œ
J ÆœJ œ ˙™!

Gesture 2
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
b
& b bb ˙ ™ û œ™û œ œû œ œû œ œû œ œ˙ ™ Œ™

Gesture 3
b œù œ œ™ œ™ œ bœ œ™ b œ ÆœJ œ ¯¯¯¯¯¯
œ™ œ™ œ™û
& b bb J J
 Gesture 4 5
œû œ œû œ œû ˙™ œ™ œ™ œ™
b nœ œ œ œ™
& b bb

Gesture 5
œbœ œû œ ˙™ œ œ œ ÆœJ œ ÆœJ œ ÆœJ œ œ œ œ™ œ™û
bbb Æ
b J J
&

Gesture 6
bb œ œ œ™ ÆœJ ˙ ™û œ ÆœJ œû œ œû œ œœ œ œ ™û
& b b œ ûœ ûœ œ™ J Æ

Gesture 7 Gesture 8

b œù œ œ ÆœJ œ œ œ ÆœJ œ œ œÆœJ œ œ œ œ ™û b œ ÆœJ œû¯¯¯

œ œ œ™ œ™û
&b bb J &b bb J J

Gesture 9 Gesture 10
™œ œ œ œ œ œ œ œ œ œ œ œ œ
b b œ œœ™ œœ œ b ù œù ù ù ù ù ù ù ù ù
&b b J œ œ ™ œ ™û
Æ & b bb œJ J
3

Gesture 11
œ œ œ œ œ œ !
œ™ œ œ œ œ û œ œ™û ÆœJ œû œ œ œ ™ œ ÆœJ œ œ œ ÆœJ œ™û
b b J J
&b b

Gesture 12
“” nœ ™ !µ b œ ™ù U
Ϫ
bbbb œ ™ œ™ bÆœ
J œ™ œù œJ œ ™ 12
& 8
pp ppp
6
D q. = 100 Powerful, insistent
>œ™ >œ™ ÍÍÍÍÍ >œ¯¯¯¯ œ >œ ÍÍÍÍ
™ œ ÍÍÍÍ
63 >œ™ >œ ™ ÍÍÍÍÍ ÍÍÍÍ ¯¯¯ ÍÍÍ œ œ™û
bbb 12 û > ™ œ Æœ œ > J
& b 8 œ J J œ œ œ™ J
J
ff

66
b >œ œ ÍÍÍÍÍ > ¯¯ ÍÍÍÍÍ > >œ >œ >ÍÍÍÍÍ
™ > ÍÍÍÍÍ ¯¯¯¯ ±ÍÍÍÍ ¯¯ ÍÍÍÍ
> œÆœJ œ >œ œ ™
b bb û œ ÆJ œ™ œ œ ™ œ œ œ œ œ
ÆJ œ™
& J œ J J
J >œ™ J œ

>œ ÍÍÍÍÍÍ
69
b
¯¯¯¯¯¯
>
œ ™ œ
ÍÍÍÍÍÍ
œ œ œ™û >œ ÍÍÍÍÍÍÍ ¯¯¯¯ U
ÍÍÍÍÍÍÍÍ
b J û œ ÆœJ œ™ >
œ œ œ™ 18
&b b J J J 8

E e = 80 Stately, assured
71
b œ
ÍÍÍÍÍÍÍÍÍÍÍ
œ ™ œ ™ . ÍÍÍ ¯¯¯¯¯¯¯¯¯¯¯¯¯
œ œ ™ œ ™ œ ™ ¯¯¯ ¯¯¯ ÍÍÍ
œÆœ œ œœ œ ™ ÆœJ
ÍÍÍÍÍÍÍÍÍÍÍ
& b bb 18 ÆJ
J ÆœJ œ œ œ™ œ™ œ™
8 J œ J
f

73 œ ÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍ

œ ™ ÍÍÍ
œ ÍÍÍ ÍÍÍœ U
œ œ
œ œ ™ œ
œ œ ûœ œ ™ œ ¯¯¯
œ ÍÍ œ Æ
J œ™ ¯¯¯
œ ™ œ™ Æ
J >œ œ ÆJ œ œ
b ϝ
& b bb J ÆœJœ œ
JJ
JJ J
VIOLIN II

Soo Yeon Lyuh

Yessori (Sound from the Past)
(2016)
Composed for Fifty for the Future: The Kronos Learning Repertoire

Please help spread the word about Kronos’ Fifty for the Future project by including the
credit below along with the title and composer of the work. This information should be
included in printed programs, press announcements, performance videos, websites
and when announcing the work from the stage.

“This piece was commissioned for Fifty for the Future: The Kronos Learning
Repertoire, a project of the Kronos Performing Arts Association. The score
and parts are available for free online. kronosquartet.org.”

Soo Yeon Lyuh’s Yessori (Sound from the Past) was PUBLISHED BY
commissioned as part of the Kronos Performing Arts Kronos Performing Arts Association
Association’s Fifty for the Future: The Kronos P.O. Box 225340
Learning Repertoire, which is made possible by a San Francisco, CA 94122
group of adventurous partners, including Carnegie www.kronosquartet.org
Hall and many others.

© 2016
2016 Kronos
Inner Sunset Publishing.All
Arts Publishing. AllRights
RightsReserved.
Reserved.
 YESSORI
String Quartet by Soo Yeon Lyuh
For Fifty for the Future: The Kronos Learning Repertoire

REHEARSAL NOTES: GENERAL

Intonation

- Based on a pentatonic scale:

o E-flat, A-flat: High

o F, B-flat, D-flat: Low

- Features a wider interval range for note relationships than is customary

in Western tuning schemes

Hooking the fish

The circled notation (above left) indicates that the grace note should be
accented and played in the same bow direction as the first note. This
technique is always performed downbow, followed by an abrupt change to
upbow on the note following the grace note.

Note: Bow pressure and speed is highly variable on haegeum (the instrument
on which this piece was originally written). Please see instructional videos for
examples.
Special marking [c]

Very quick upward slide into the target note, very

abrupt with a release at the top

REHEARSAL NOTES: BY SECTION

Rhythm for Section A
- Players can cue the downbeats of each bar to stay together.
- Overall timing of individual phrases should remain within the meter;
however, timing within the phrase is elastic.
- Most important for players to breathe together, feeling a push and
pull against the meter.

Vibrato for Sections A, C, E

Slow and consistent vibrato, entering after the initial

note (where indicated in the score), with a slight
crescendo, favoring the higher pitch

Vibrato begins slowly with a release downward from the

initial note, and picks up speed, favoring the lower pitch,
with a slight decrescendo

Bow markings for Section A

- Slur markings indicate a single bow to be used. Up or down bow is at
the player’s discretion.
- Grace notes should be accented. Pay close attention to the placement
of the grace note—contrary to the normal Western style of playing,
the grace notes here are often played in the same bow as the
preceding note (though they are occasionally played in the same bow
as the following note).

Rhythm for Section B

- One cycle is equal to 2 measures.
- There should be a slight separation (lift bow) between the 3rd and 4th
notes of each 5-note pattern, i.e. between the 3rd and 4th and between
 the 8th and 9th eighth notes in each bar, which matches the percussion
part.
- The cellist plays percussion in this section. A small gong, metal pot, or
similar object may be used, and should be played with a soft mallet.
Staccato indicates dampening; otherwise, all notes should be asllowed
to ring.

Vibrato for Sections B, D

- Wide, big, and fast
- Begins immediately with the attack

Structure of Section C
- Section C should be performed as a series of overlapping solos, with
each player choosing freely from the given 12 gestures. The order of
entry should be: viola, cello, violin 2, violin 1.
- Each player should choose two gestures and improvise for about 30–
45 seconds based on those gestures. The next player should enter
before the previous player finishes, so that each entrance overlaps by
about 10–15 seconds, with the first player fading out gradually.
- Each entry should maintain the general musical character throughout
the section. Players may vary dynamics within the overall character.
Not all gestures need to be played—some may be omitted at the
players’ discretion. The entire section should be about 2–3 minutes.

Violin II
YESSORI
Soo Yeon Lyuh
A q. = 50
Elegant, floating
4 ÍÍÍÍÍÍ ± ÍÍÍÍÍÍÍ ± !µ
b 18
& b bb 8 ∑™ j œ™ œ™ œ™ œ™ œ™ ù j j
˙™ œ™ œ œ œ œ™ œ™ œ œ™ œ™ œ™
p
8 ÍÍÍÍÍ ÍÍÍÍÍÍ
b b - ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ j
b
& b œ™ œ™ ùœ ™ œ ™ œ ™ œ ™ ù œ ™ œ ™ù j œ œù
- - œ œ ™
mp
œ™ œ ù
mp
10 ÍÍÍÍÍÍ
b j j - -
& b bb œûœ œûœ œœ œùœ œ ™ œ ™ œ- œ- ùœ- œJÆœJ œ ˙™ œ™ œ™ ˙™
mf f mp p
12 ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍ ÍÍÍÍÍ
b b
&b b Œ™ Œ™ œ™ œ™ ù j œ™ œ ™ œ ™ù œ ™ œ œ œ™ œ ™ œûœù œ œ™
œ œù f
14 !!¶
b !µµµ
& b bb j
Œ™ Œ™ œ ™ ÆœJ œûœ œ™ œj ˙™ œ™ù œ™ œ™ œj ˙™
œ™œ œ™ ˙™ œ™ J œù
mf mp
17
b ÍÍÍ
& b bb œ™ œ œjù œ œ œ œ j œ™
-
j
œ- û œ œ œj œ œ
û
mf œ ™ ùœ™ f û œ û œ û œ ˙™ œ™ -
mf
19 ÍÍÍÍÍ ÍÍÍÍÍ !µj ÍÍÍÍÍ
b - - - -œ œ œ™!µ
& b bb œ™ œ ™ nœ ™ j œ œ œ œ œù œ ™ œ
û
b œ
œ- - œ œœ œ œ œ
mf
œ™ ù œ -
21
bb j j ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ !
Ϊ Ϊ
& b b œ- œ- œ- œ- nœ bœ œ j b œ nœj œj
œ œ
f
22 ÍÍ
œ™ ÍÍ
œ™ b >œ -œ -œ -œ -œ œ nÆœJ b œ œ™ ˙™!µ
bbbb Œ ™ Œ ™ œ ™ û û û Jû û
Ϊ Ϊ
U
∑ 10
& 8
f © 2016 Inner Sunset Publishing. All Rights Reserved.
2
e = 150
B
Lively, as a dance ÍÍÍ .
25 2 ÍÍÍÍÍÍÍÍ
œ™ œ n œ œ œ . ÍÍÍ
œ œ ÍÍÍÍÍÍÍ
b 10 ÍÍÍÍÍÍ œù œ ™ û
& b bb 8 ™
œ œ ù J J ™
œ œ Œ
mp

30 ÍÍÍ œ±ÍÍÍ ÍÍ
ÍÍÍ œ ™ n œ œ™ û ÍÍÍ ÍÍÍ ÍÍÍ ÍÍÍÍ ùœ œ œ . ¯¯ . ÍÍÍ . ÍÍÍ
b nœ û œ œ
& b bb
J
œ ÆœJœ ™ œ ÆœJ œ ™ J ùœ ùœJ œ ùœ ùœJÆœJ œ
f mp mp

34 ÍÍÍÍÍÍÍ œ œ. ÍÍÍ
œ ÍÍÍÍÍÍÍ œ œ ±¯¯ . ¯¯ ¯¯¯¯ . ¯¯ . ¯¯¯
bbbb œ ™ œ ù J œ ™ œ ù œ J œ œ J œ ùœ œJ œ ù˙ œJ œ nœûœ
œ
& J
f mp

ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ™ œ
38 . ÍÍÍ
ÍÍ ÍÍÍ œ œ œ ™ œ ¯¯¯¯¯¯ œ™ œ
bbbb œ ™ ÆœJ œ œ J ù nœ bœ nœ œ œ ™ œ œ™
& ù J
f

42 œ œ±¯¯
œ œ œ±̄¯¯
œ Æœ ÍÍÍÍ
J œ ™ œ
Æ
J
ÍÍ ÍÍÍ
œ Æ
J J
ÍÍÍÍÍÍ
œ œ ™ œ Æœ œ ™ œ œ .
œ
ÍÍÍ
œ œ ™ œ ¯¯¯¯¯
bb b J J û
‰ œ™ œ
& b
mp

±ÍÍÍ ÍÍÍÍÍÍÍÍœ ÍÍÍ

46 ÍÍÍÍÍÍÍÍ
œ™ œ ÍÍÍÍÍÍÍÍ ÍÍÍÍ œ œ œ œ œ™ œ ÆJ œ™ œû ÍÍÍÍÍÍÍÍÍ
œ™ œ n œ œ
± ±
œ
b b œ ™ œù œ û‰ J J œ
&b b
mf f

50 œ±ÍÍ
œ ÍÍÍÍ ÍÍÍ ± ±ÍÍ ± œ œœ
Æ
. œ œ œ. ÍÍÍ
œ . ÍÍÍ
œ œ
b œ œ œ b œû œ œ œ
Æ
J œ œ œ œû J œ
& b bb J œ ™ œ J J J J J ûJ
 3
ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ œÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ
54 œ™ œ œ
™ œ ÍÍÍ œ œ™ œ ù œ™ œ œ
ÆJ
œ™ œ
b œ™ œ ÆœJ ÆJ
œ .
œ
b ™
& b b œ œû J

ÍÍÍÍÍÍÍÍÍÍ
™ ÍÍÍÍÍÍÍÍÍÍÍ œ±ÍÍÍÍÍÍ . ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
58
œ œ û œ™ œ œ œ œû n œ œ œ™ œ œ™ œû
b
& b bb
J J

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍ !µ
rit.
61 œ™ œ œ™ œû ÍÍÍÍÍÍÍÍÍÍÍÍ œ™ œ
bb Ϫ 12
&b b œ 8
C Freely, expressive
Gesture 1
œ™ ÍÍÍÍÍÍÍÍÍ >œ ÍÍÍÍÍÍ > !µµµ
b b 12 ÆœJœ™ ÆœJœ
œ ÆœJœ
&b b 8 ˙™ J J ˙™

Gesture 2
ÍÍÍÍÍÍÍÍÍÍÍÍ
bb
& b b ˙ ™û œ™ œ œû œ œû œ œû œ œ˙ ™ Œ™

Gesture 3
b œù œ œ™ œ™ œ bœ œ™ b œ ÆœJ œ ¯¯¯¯¯
œ™ œ™ œ™û
& b bb J J

Gesture 4
œû œ œû œ œû ˙™ œ™ œ™ œ™
b nœ œ œ œ™
& b bb
4
Gesture 5
œbœ œû œ ˙™ œ œ œ ÆœJ œ ÆœJ œ ÆœJ œ œ œ œ™ œ™û
Æ
b
& b bb
J J

Gesture 6
b ™ ÆœJ œ ÆœJ œû œ œû œ œœ œ œ ™û
& b bb œ œûœ œûœ œ ˙ ™û œ™ J Æ

Gesture 7 Gesture 8

œ œ ÆœJ œ œ œ ÆœJ œ œ œÆœJ œ œ œ œ ™û œ ÆœJ œ ¯¯¯

œ œ ˙™
b b ϝ b b J J
&b b J &b b

Gesture 9 Gesture 10
œ œ œ œ œ œ œ œ œ œ œ œ
bbb œ œJ œ™ œ œ œ ™œ œœ ™ œ ™ œ
b ù ù ù ù ù ù ù ù ù ù J
& b Æ û & b bb œJ
3

Gesture 11
œ™ œ œ œ œ œ œ œ œ œ œû œ œ™!µÆœJ œ œ œ œ ™ œ œ œ œ ÆœJ œ™
bb J û û Æ
J œ J û
b
& b

Gesture 12
nœ ™ !µ b œ ™ù U
Ϫ
bbbb œ ™ œ™ bÆœ
J œ™ œù œJ œ ™ 12
& 8
pp ppp
 5
D q. = 100 Powerful, insistent
63
b ÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍ ¯¯¯¯ ÍÍÍÍ > ÍÍÍÍ
b 12 > > > j j œ œ œ œ ™û
& b b 8 œ ™ œ ™ œ ™ >œ™ û œ j j
œ œ œ™ œ œ™
œ™ œ J
Ϫ >
ff > >
66
b ÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍ ÍÍÍ ÍÍÍÍ ÍÍÍÍ
b j
& b b œû j œj œ ™ j œj œ œ œ™ œ œ
jj
œ ™ œ
. œ
j
™ œ
j j
> œ œ œ
>œ œ œ™ >œ > > > > > >
œ >œ œ œ™
69 U
b ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ 18
&b bb j œ™ œ œ ™û jj j
œ j 8
œ> œ > J >œû œ œ œ ™ œ> œ œ œ™

E e = 80 Stately, assured
71 ÍÍÍÍÍÍÍÍÍÍÍ
œ ™ œ ™ œ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍ ÆœJ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ™ œ™ œ™ û œùœ ÆœJ œùœ
b 18 œ
& b bb 8 ÆJ ÆœJ œ œ ™
J œ ™ œ™ œ œ
J J J
f

73 ÍÍÍÍÍ œ ÍÍ œ. ÍÍ œ. ¯¯¯ ÍÍÍÍÍÍÍÍÍÍÍÍÍ ¯¯ ÍÍÍ

œ ÆœJ œ™
œ ™ œÍÍÍÆœJ œÍÍÍ ÍÍÍ
ÍÍÍÍ ÍÍÍÍÍ
œ Æ
U
œ œ œ
b b œù œ œ œ Æœœ ™ ™ œ J >œ J J
&b b œ J™ J
J œ œ J J
VIOLA

Soo Yeon Lyuh

Yessori (Sound from the Past)
(2016)
Composed for Fifty for the Future: The Kronos Learning Repertoire

Please help spread the word about Kronos’ Fifty for the Future project by including the
credit below along with the title and composer of the work. This information should be
included in printed programs, press announcements, performance videos, websites
and when announcing the work from the stage.

“This piece was commissioned for Fifty for the Future: The Kronos Learning
Repertoire, a project of the Kronos Performing Arts Association. The score
and parts are available for free online. kronosquartet.org.”

Soo Yeon Lyuh’s Yessori (Sound from the Past) was PUBLISHED BY
commissioned as part of the Kronos Performing Arts Kronos Performing Arts Association
Association’s Fifty for the Future: The Kronos P.O. Box 225340
Learning Repertoire, which is made possible by a San Francisco, CA 94122
group of adventurous partners, including Carnegie www.kronosquartet.org
Hall and many others.

© 2016
2016 Kronos
Inner Sunset Publishing.All
Arts Publishing. AllRights
RightsReserved.
Reserved.
 YESSORI
String Quartet by Soo Yeon Lyuh
For Fifty for the Future: The Kronos Learning Repertoire

REHEARSAL NOTES: GENERAL

Intonation

- Based on a pentatonic scale:

o E-flat, A-flat: High

o F, B-flat, D-flat: Low

- Features a wider interval range for note relationships than is customary

in Western tuning schemes

Hooking the fish

The circled notation (above left) indicates that the grace note should be
accented and played in the same bow direction as the first note. This
technique is always performed downbow, followed by an abrupt change to
upbow on the note following the grace note.

Note: Bow pressure and speed is highly variable on haegeum (the instrument
on which this piece was originally written). Please see instructional videos for
examples.
Special marking [c]

Very quick upward slide into the target note, very

abrupt with a release at the top

REHEARSAL NOTES: BY SECTION

Rhythm for Section A
- Players can cue the downbeats of each bar to stay together.
- Overall timing of individual phrases should remain within the meter;
however, timing within the phrase is elastic.
- Most important for players to breathe together, feeling a push and
pull against the meter.

Vibrato for Sections A, C, E

Slow and consistent vibrato, entering after the initial

note (where indicated in the score), with a slight
crescendo, favoring the higher pitch

Vibrato begins slowly with a release downward from the

initial note, and picks up speed, favoring the lower pitch,
with a slight decrescendo

Bow markings for Section A

- Slur markings indicate a single bow to be used. Up or down bow is at
the player’s discretion.
- Grace notes should be accented. Pay close attention to the placement
of the grace note—contrary to the normal Western style of playing,
the grace notes here are often played in the same bow as the
preceding note (though they are occasionally played in the same bow
as the following note).

Rhythm for Section B

- One cycle is equal to 2 measures.
- There should be a slight separation (lift bow) between the 3rd and 4th
notes of each 5-note pattern, i.e. between the 3rd and 4th and between
 the 8th and 9th eighth notes in each bar, which matches the percussion
part.
- The cellist plays percussion in this section. A small gong, metal pot, or
similar object may be used, and should be played with a soft mallet.
Staccato indicates dampening; otherwise, all notes should be asllowed
to ring.

Vibrato for Sections B, D

- Wide, big, and fast
- Begins immediately with the attack

Structure of Section C
- Section C should be performed as a series of overlapping solos, with
each player choosing freely from the given 12 gestures. The order of
entry should be: viola, cello, violin 2, violin 1.
- Each player should choose two gestures and improvise for about 30–
45 seconds based on those gestures. The next player should enter
before the previous player finishes, so that each entrance overlaps by
about 10–15 seconds, with the first player fading out gradually.
- Each entry should maintain the general musical character throughout
the section. Players may vary dynamics within the overall character.
Not all gestures need to be played—some may be omitted at the
players’ discretion. The entire section should be about 2–3 minutes.

Viola
YESSORI
q. = 50 Soo Yeon Lyuh
A
Elegant, floating
ÍÍÍÍ Æœ!¶ œ™ !¶
J œ™ û , -œÍÍÍ -œÍÍÍ -œ ÆœJ œ™ œ™ û
b 18
& b bb 8 Œ ™ Œ™ Œ™ œ ™ Œ™ Œ™
mf

3
,
b œ ™ œ œ œ œ œ ÆœJ œÍÍÍœ ÆœJ œœœ ÍÍÍÍÍ ÍÍÍÍÍ 2
b û û ™ œ
ûœ ÆJ œ ˙ ™ Œ ™ Œ ™ Œ ™ Œ ™B
™
&b b
f 3

7 ÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍ j ÍÍÍ

!µ jœ
B bbbb Œ j œj ™ ™ ™ œj ™ j œ™ œ™ ˙™ œ˙™ ù j
œ™ œ™ œ ™ œ œ™ œ™ œù
œ œ œ œ œ ûœ œ ±
p mp

10 ÍÍÍÍÍÍÍ
-œ œ™ œ™ ÍÍÍ
- œ™ œ œ œ œ œ™
B bbbb œ ùJ û œ ûœj ˙ ™ œ ûœj œ™ œ œ œ ™ ˙™
f mp mf

12 ÍÍÍÍÍÍÍ ÍÍÍÍÍÍ ÍÍÍÍÍ

B bbbb œ œ œj œ œ ™ œ œ œ ™ œ ™ œ j
œ- ùJ J œ ûœ ùœ ˙™
-ûœ- -ûœ- œ œ™ ˙™
f f

14 !!œ¶ œ
j œ ™ ÆJ œû Æ œûœ œ™ œ™ œ œ œ
B bbbb -œû-œ -œû-œ -œûœ œj œ ˙™ ˙™ œ™ J
ff mf

16
œ œ œ ™ ùœ -œ -œù -œ œÍÍÍÍ
™ ÍÍÍÍ ÍÍÍÍÍÍÍÍ ÍÍÍ - -
œ ù -œ
B bbbb œ™ œù œJ œ ™ œ œJ œ ™ œ œ œ™œ
f f
© 2016 Inner Sunset Publishing. All Rights Reserved.
 3
18
œ™ œ ™ û ˙™ ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍ
B bbbb ˙™ !µ œ
j
œ™ œ™ œ œ ù
j œ™ ÆœJ œnœ œ œù œ ÆœJ œ œ
mf mf

20 ÍÍÍ ÍÍÍÍÍÍ ÍÍÍ ÍÍ ÍÍ ÍÍÍÍÍÍ œ ÍÍ

œ ù œ œ œ û œ œ ™ œ™
œ j
B bbbb bœJ ûœ œ œœ ˙™ œ œ œ™ œ œ œ ™ œ™ J ûœ
J J
f ff

22 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
b b n˙™ bœ ! œ œ™ ÆœJ œû œ ÆœJ œ œ œ œ œ œ
Bb b J J
f

23 !µ ÍÍÍÍÍ U
!µ
B bbbb œ™ œ™ bœ- œ- œ- œ- œûœ nœjœ ™ û œ™ ˙™ Œ™ Œ™ Œ™ Œ™ 10
8
J
mf
4
B e = 150 Lively, as a dance
25 2 j ÍÍÍÍ j ÍÍ j j
ÍÍÍj j ÍÍÍ ±±ÍÍÍÆœ ÍÍ.
B bbbb 10 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œJ œ J œûnœ œû
8 ù . ù . ù . ù . J
mp

30 ÍÍÍ
b j j
ÍÍ j j
±±ÍÍ
œ .
œ œ . œÍÍ œ œ±œ œ±œ nœ. œ
ÆœJ œ œ j ÍÍ ±ÍÍ
B b bb œ œœ. œ œœ œ œ œ ù J ù J J J û œ œ. œ œ œJ œ
ù ù ù
f mp

34 ÍÍ j j ÍÍ j jÍÍ œ œ. ÍÍ ±±œ±
b ù œ œ œ œ œ . œ œ±œ œœœ. >œ ÍÍÍÍÍÍ j ÍÍ
œ
B b bb œ œœ. ÆœJœûœ œœ. œ J ù J ù ÆœJ œ œ œ œ œ™ œ
. ù ù
f
mp

38
¯¯¯ ¯¯ ¯¯¯ œ±ÍÍÍ
œ . ÍÍÍ
œ œ ± ÍÍÍ ÍÍÍ œ . ÍÍÍ
œ œ œ .
œ
B bbbb œ™ œ œ™ œû œ J û œû J j
œÆœJœ œ œjœ œ ù J ù J œû
ù œ
ù J .
f

42
±± ÍÍÍ . ± ± . œ ÍÍÍ ± ± ±±ÍÍÍ
œ œ œ œ
Æ
J œ œ œ œ œ œ œ œ œ œ œ œ œ
B bbbb J J œû û œ œ œ œ œ œ œÆœ œ
J

45 ÍÍÍ . ¯¯ . ÍÍ ¯¯ . ¯¯ . ÍÍÍ ÍÍ .
œ±œ œ± . ±± ÍÍ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Æ œ œ œ
J J û J J û J ÆJ œœ œ b œ
B bbbb œùJ œù J œùJ œ J
mp mf

49
ÍÍ œ . œ ÍÍ
±œ±ÍÍ œ . ÍÍÍ ÍÍ ±ÍÍ ± ± ±ÍÍ
. ƜJ bƜ
œ Æ
J Æ œ œ bÆœ œ Æ
J .
B bbbb œ œJ œ œJ J œ J J œ œJ œ œ œ œ œ œœœ œû œ œ œ œJ œ œJÆœJœ
J
J J
f

53
œ±œ ÆœJ œ ÍÍ. ÍÍÍ ÍÍÍ ÍÍÍ
œ œ œ Æœ œ œ. Æœ œ œ œj œ
8
12
B bbbb œ J ù J J JJ ù . 8
 C Freely, expressive 5
Gesture 1 ÍÍÍÍÍÍÍÍÍ > ÍÍÍÍÍÍ >
œ™ œ !µµµ
B bbbb 12
8 ˙™ ÆœJœ ™ J ÆœJœ
œ ÆœJœ
J ˙™
Gesture 2
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
B bbbb ˙™û Œ™
œ™ œ œû œ œû œ œû œ œ˙™
Gesture 3
œù œ œ™ œ™ œ b œJ œ ™ b œ ÆœJ œ ¯¯¯¯¯¯
œ™ œ™ œ ™û
b
B b bb J
Gesture 4 Ϫ Ϫ Ϫ
œû œ œû œ œû ˙ ™ œ œ ™
B bbbb nœ œ
Gesture 5
œbœ œû œ ˙ ™ œ œ œ ÆœJ œ ÆœJ œ ÆœJ œ œ œ œ ™ œ ™û
Æ
B bbbb J J

Gesture 6

B bbbb œ œûœ œûœ œ™ œj œ ÆœJ œû œ œû œ œœ œ œ™

˙™û œ™ J û
Gesture 7 Gesture 8

b œù œ œ ÆœJœ œ œ ÆœJœ œ œÆœJœ œ œ œ™ b œ ÆœJ œ ¯¯¯

œ œ ˙™
Bb bb J û B b bb J J
Gesture 9 Gesture 10
j œ œ œ œ œ œ œ œ œ œ œ œ
B bbbb œ œJ œ ™ œ œ œ™œ œœ™œ™û B bbbb œ ù œù ù ù ù ù ù ù ù ù J
3
Gesture 11
œ ™ œ œ œ œ œ œ œ œ œ œû œ œ!µ
™û ÆœJ œ œ œ œ™ œ Æœ œ œ œ ÆœJ œ ™û
B bbbb J û J J
,
Gesture 12
nœ ™ b œ
!µ b œ ™ù U
Ϫ
B bbbb œ™ œ™ ÆJ œ™ ù
œ J œ œ™ 12
8
pp ppp
6 D q. = 100 Powerful, insistent
63 >œ ™ >œ ™ ÍÍÍÍÍ
>œ ™ >œ™ ÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍ ÍÍÍÍÍ > ÍÍ œ >œ ÍÍÍÍ
œ œ ™û
b 12
B b bb 8 û œ j
œ™ J ÆœJ œ œ™ œ œ™ œ™ œ J
> J
ff
>

66 ÍÍÍÍÍ j j ÍÍÍÍÍ > > >ÍÍÍÍÍ > >ÍÍÍÍÍ ÍÍÍÍÍj ÍÍÍÍÍ ÍÍÍÍÍj ÍÍÍÍÍ
>
œ j
B bbbb û œ ÆœJ œ ™ œ œ œ œ™ >œ œ œ œ™ œ œJ ÆœJ œ ™ œ™ œ œ™ œ™ œ œ™
> > >

69 ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ >ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍj U

> ÍÍÍÍÍÍÍÍÍ
b
B b bb œ™ œ™ œ™ ÆœJ œ ™
Ϫ 18
œ™ œ™ œ œ™ 8
> >
E e = 80 Stately, assured
71 ÍÍÍÍ >ÍÍÍÍ >ÍÍ ÍÍ ÍÍ> >¯¯¯ ÍÍÍj ÍÍÍ ÍÍÍj ÍÍÍ
>
Ϫ Ϫ >
œ œ œ™ j j
¯¯
œ ¯¯
œ œ ¯¯ œ >œ. ÍÍ
ûœ™
B bbbb 18
8
œ
Æœ ÆœJ œ œ œœ œ œ œ œ œ œ œ™ œJù J œ J ÆœJœ
f

73 ÍÍÍÍÍÍÍÍ ¯¯ ÍÍÍœ ÍÍÍÍ

™ ÍÍÍÍÍ
œ™ ÍÍÍ
œ ÆœJ ÍÍÍ
œ > ÍÍÍ œU
¯¯ ±± ÍÍÍ œ ÆJ œ œ ÆJ œ œ
B bbbb œ™ œ ™ œ™ œ œ œ œ ÆœJœ œ œ œ™ œJ J œ
J J
J
CELLO

Soo Yeon Lyuh

Yessori (Sound from the Past)
(2016)
Composed for Fifty for the Future: The Kronos Learning Repertoire

Please help spread the word about Kronos’ Fifty for the Future project by including the
credit below along with the title and composer of the work. This information should be
included in printed programs, press announcements, performance videos, websites
and when announcing the work from the stage.

“This piece was commissioned for Fifty for the Future: The Kronos Learning
Repertoire, a project of the Kronos Performing Arts Association. The score
and parts are available for free online. kronosquartet.org.”

Soo Yeon Lyuh’s Yessori (Sound from the Past) was PUBLISHED BY
commissioned as part of the Kronos Performing Arts Kronos Performing Arts Association
Association’s Fifty for the Future: The Kronos P.O. Box 225340
Learning Repertoire, which is made possible by a San Francisco, CA 94122
group of adventurous partners, including Carnegie www.kronosquartet.org
Hall and many others.

© 2016
2016 Kronos
Inner Sunset Publishing.All
Arts Publishing. AllRights
RightsReserved.
Reserved.
 YESSORI
String Quartet by Soo Yeon Lyuh
For Fifty for the Future: The Kronos Learning Repertoire

REHEARSAL NOTES: GENERAL

Intonation

- Based on a pentatonic scale:

o E-flat, A-flat: High

o F, B-flat, D-flat: Low

- Features a wider interval range for note relationships than is customary

in Western tuning schemes

Hooking the fish

The circled notation (above left) indicates that the grace note should be
accented and played in the same bow direction as the first note. This
technique is always performed downbow, followed by an abrupt change to
upbow on the note following the grace note.

Note: Bow pressure and speed is highly variable on haegeum (the instrument
on which this piece was originally written). Please see instructional videos for
examples.
Special marking [c]

Very quick upward slide into the target note, very

abrupt with a release at the top

REHEARSAL NOTES: BY SECTION

Rhythm for Section A
- Players can cue the downbeats of each bar to stay together.
- Overall timing of individual phrases should remain within the meter;
however, timing within the phrase is elastic.
- Most important for players to breathe together, feeling a push and
pull against the meter.

Vibrato for Sections A, C, E

Slow and consistent vibrato, entering after the initial

note (where indicated in the score), with a slight
crescendo, favoring the higher pitch

Vibrato begins slowly with a release downward from the

initial note, and picks up speed, favoring the lower pitch,
with a slight decrescendo

Bow markings for Section A

- Slur markings indicate a single bow to be used. Up or down bow is at
the player’s discretion.
- Grace notes should be accented. Pay close attention to the placement
of the grace note—contrary to the normal Western style of playing,
the grace notes here are often played in the same bow as the
preceding note (though they are occasionally played in the same bow
as the following note).

Rhythm for Section B

- One cycle is equal to 2 measures.
- There should be a slight separation (lift bow) between the 3rd and 4th
notes of each 5-note pattern, i.e. between the 3rd and 4th and between
 the 8th and 9th eighth notes in each bar, which matches the percussion
part.
- The cellist plays percussion in this section. A small gong, metal pot, or
similar object may be used, and should be played with a soft mallet.
Staccato indicates dampening; otherwise, all notes should be asllowed
to ring.

Vibrato for Sections B, D

- Wide, big, and fast
- Begins immediately with the attack

Structure of Section C
- Section C should be performed as a series of overlapping solos, with
each player choosing freely from the given 12 gestures. The order of
entry should be: viola, cello, violin 2, violin 1.
- Each player should choose two gestures and improvise for about 30–
45 seconds based on those gestures. The next player should enter
before the previous player finishes, so that each entrance overlaps by
about 10–15 seconds, with the first player fading out gradually.
- Each entry should maintain the general musical character throughout
the section. Players may vary dynamics within the overall character.
Not all gestures need to be played—some may be omitted at the
players’ discretion. The entire section should be about 2–3 minutes.

 YESSORI
Violoncello
Soo Yeon Lyuh
A q. = 50 Elegant, floating
? b b 18
4
Ϫ
ÍÍÍÍÍÍ œ œ™
œ J œ™ ÍÍÍÍÍÍÍÍÍÍ
Ϫ Ϫ
bb 8
mp

6 ÍÍÍÍÍ ± ÍÍÍÍÍÍÍ
? bb b ˙™ û œ ™ û œ™ -œû-œ -œû-œ ÆœJ œ j
œ ùœ œ ™ œ œ ˙™ ˙™
b J
mf

8 ÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍ
? bb b ˙™ œ ùœ œ-ûœ œ-ûœ œ-û
b û œ ˙™ œ™ œ™ ù ˙ ™ œ™ - -
mf

10 ÍÍÍÍÍÍ
? bb b œœœ ™ œ ™ Œ ™ Œ ™ Œ ™ Œ ™ Œ ™ œ ™ ÆœJ œ ûœÆœJ œ™ ˙™ ˙™ œ œùœ ùœ ˙™
b J J J
mp f

13 ÍÍÍÍÍÍÍ - - !µ!œ¶
? bb b ˙™ œ œù-œ ™ œ ™ œ œJù ˙™ ˙™ ˙™ ˙™ ÆJ œûœ œ ™ ˙ ™
b J J
mf

16
? b b œ ™ù œ ™ ˙ ™ù ˙™ œ™ù œ™ œ ™ œ ™ œ ™ !µ j ÍÍÍÍ œ™
bb ù œ ™ œ ™ œœ ™ œ ™ œ ™ œ ™
ù
f mf

19 ÍÍÍÍ -œ -œ -œ ! !µµµ!¶j ! ÍÍÍÍ

? bb b ù ù ù œ ™ ˙ ™ ˙ ™ œ œ œùœ ™ œ nœj bœ ™ !µ
Ϫ
˙ ™ ˙ ™ û œ œjœ œ ™
b J œ
f mp

22 !µµµ
? b b -œ j -œû j U 10
b b û œ œ nœ- bœ- nœ- ˙ ™ b˙ ™ ˙ ™ Œ Œ Ó ™
™ ™ Œ™ Œ™ Œ™ Œ™ / 8
f
© 2016 Inner Sunset Publishing. All Rights Reserved.
2 B e = 150 Lively, as a dance
25 .j .j .j .j
Percussion .j .j .j . .j
10
/ 8 ¿ ¿¿ ¿ ¿¿ ¿ ¿ ¿¿ ¿¿ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿
f
29 .j .j .j . .j .j .j .j . .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿
ff
33 .j .j .j . .j . .j .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿ ¿ ¿¿ Œ ‰Œ ¿ ¿¿ Œ ‰Œ
mp f
37 .j .j . .j . . .j .j .j .j .j .j
Œ ‰Œ ¿ ¿¿¿¿ ¿¿ ¿ ¿ ¿¿‰‰Œ ¿™ Œ ¿ ¿ ¿ ¿ ‰
/ ¿ ¿¿
41 .j .j .j . .j .j .j .j . .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿
45 .j .j .j . .j .j .j .j . .j .j .j .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿ ¿¿ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿‰
mp mf
49 .j .j .j . .j .j .j .j .j .j .j . .j .j .j .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿‰ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿‰
f
53 .j .j .j . .j .j .j .j .j .j .j . .j .j .j .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿‰ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿‰
57 .j .j .j . .j .j .j .j
/ ¿ ¿¿ ¿ ¿¿ ¿ ¿¿¿¿¿¿¿‰ ¿ ‰¿ ¿ ‰¿ ¿ ‰¿ ¿ ‰¿
61 .j rit. .j Violoncello

/ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ? 12
8
 C Freely, expressive
3
Gesture 1 ÍÍÍÍÍÍÍÍÍ > ÍÍÍÍÍÍÍ > !µµµ
Ϫ j j
? bb b 12 ˙ ™ œœ™
œ œœ œ œjœ ˙™
b 8 J J
Gesture 2
ÍÍÍÍÍÍÍÍÍÍÍÍ
? bb b ˙ ™ Œ™
b û œ™ œ œû œ œû œ œû œ œ˙ ™
Gesture 3
? bb b œù œJ œ™ œ™ œ b œJ œ™ b œ ÆœJ œ ÍÍÍÍÍÍÍÍ
œ™ œ™ œ™û
b
Gesture 4
œû œ œû œ œû ˙™ œ™ œ™ œ™
? bb
bb nœ œ œ œ™
Gesture 5
œb œ
œ œ œ œ ÆœJ œ ÆœJ œ ÆœJ œ œ œ œ™
? bb b û œJ ˙™
Æ
J œ™û
b
Gesture 6
? bb
b b œ œûœ œûœ œ ™ ÆœJ ˙ ™û œ™ œ ÆœJ œû œ œû œ œœ œ œ ™û
J
Gesture 7 Gesture 8
? bb b œù œ œ ÆœJœ œ œ ÆœJœ œ œÆœJœ œ œ œ ™û ? bb b œ ÆœJœJ ¯¯¯
œ œJ ˙™
b J b
Gesture 9 Gesture 10
œ œ œ œ œ œ œ œ œ œ œ œ
? b b œ œ œ™ œ œ œ ™ œ ™ ™ j
? b b ù œù ù ù ù ù ù ù ù ù J
bb J œ œ œû bb œ
3
Gesture 11
œ™ !µÆœ œ
œ œ œ œ œ œ œ œ œ œû œ œ™ ™ œ œjœ œ œ ÆœJ œ™û
J œ œ œ
? bb b J û û J
b
Gesture 12 ,
nœ ™ !µ bœ ™ù U
Ϫ
? b b œ™ œ™ bÆœ œ ™
J œù œJ œ ™ ? 12
bb 8
pp ppp
4 D q. = 100 Powerful, insistent
63 >œ™ >œ™ >œ™ÍÍÍÍÍ>œ ™ ÍÍÍÍÍ ÍÍÍÍ ÍÍÍÍÍ > ÍÍÍ œ >œ ÍÍÍÍ
œ œ™û
? bb b 12 û ™ œ œj œ ™ œj ™ œ ™ œ J
b 8 >œ J œ œ
>
J
ff
66 ÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ ÍÍÍÍ
? bb b œû œ œj œ™ œj œj œ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œj œ™ œ ™ œ ™ œ ™ ÆœJ œ ™ >œ ™ œ ™
> j
b > > > > > > > >
70 ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ U ÍÍÍÍÍ E ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
e = 80 Stately, assured
ÍÍÍÍÍ ÍÍÍ ÍÍÍÍÍ ÍÍj
> ™ j
? bb b œ œ œ™ œ ™ œ œ ™ j 18 ˙ ™ ˙ ™ œ œ œ œj œ
b 8 J
> f

72 ÍÍÍÍÍÍÍÍÍÍj
? bb ™ œ œù œ œ œû œ œÍÍÍÍÍœ j ÍÍÍÍÍ >œ. ÍÍÍÍÍÍÍ ÍÍÍÍÍ
j
bb œ œ™ œœ
J œ œ

73 ÍÍÍÍÍ ÍÍÍÍ ±±ÍÍÍ ÍÍÍÍ ÍÍÍÍÍ ¯¯ ÍÍÍÍœ ÍÍÍÍ ÍÍÍÍÍ

œ ™ ÍÍÍ
œ ÍÍÍ ÍÍÍ U
œ™ œ ÆJ œ™ ÆJ œ > œ ÆœJ œ œ
œ
? b b ™ œ ™ û œ ùœ œ œÆœ œ ™ œ J œJ J
bb œ J J œ J