Rand Steiger

Cryosphere
commissioned by the Fromm Music Foundation at Harvard University
and the American Composers Orchestra

chamber orchestra
with digital audio signal processing

Premiere:
February 20, 2009; Zankel Hall, New York City
American Composers Orchestra; George Manahan, conductor
Miller Puckette, computer music programming
Program Note:
The Earths cryosphere (all of the surfaces where water is frozen) plays a critical role in the global climate system. Global warming is now reducing these surfaces precipitously,
and we face great peril in the future if this process is allowed to continue. This piece draws inspiration from the cryosphere, particularly the way glaciers and icebergs form and
dissolve. It embraces the beauty and mystery of these structures, while also lamenting their increasingly rapid and unnatural loss.
Cryosphere is scored for flute, oboe, bass clarinet, bassoon, horn, trumpet, trombone, 3 percussion, harp, electronic harpsichord, and chamber string orchestra. Real-time audio
signal processing is deployed on all of the instruments enriching the natural sound of the orchestra with various transformations including spatialization, resonance, delay, and just
intonation harmonizing.
Cryosphere was commissioned by the Fromm Music Foundation at Harvard University and the American Composers Orchestra, to whom I express my deep gratitude for this
opportunity. I would also like to express my gratitude to Jody Steiger and Carlos Bonilla, and to Bill and Allene Plant, for their hospitality during crucial stages of my work on
this piece.
Dynamics:
The dynamic marking n is frequently used to indicate notes that begin imperceptibly and gradually fade in over the length of the indicated crescendo. Similarly, decrescendos
that end at a rest without a dynamic marking indicate a complete diminuendo to silence. Please note the starting and ending points of these transitions precisely.
Accidentals and Microtonality:
Accidentals carry through the length of the bar, but only in the octave in which they appear.
The following special accidentals are used to indicate specific micro-intervals for just tuning. In the case of the horn and trombone, these pitches are to be realized by playing
natural notes.

Horn: All glissandos are to be played as harmonic glissandos. All microtonal pitches specified are to be played as "natural tones" in the corresponding series. For example, F with
a 49-cent quarter flat (see above) indicates playing the 11th harmonic in the series of B, while F with a 31-cent flat indicates the 7th harmonic in the series of G.
Trombone: Glissandos are to be played with the slide, unless the indication "Harm." appears above the gliss., indicating a harmonic glissando. All trills are to be played as lip
trills to the pitch indicated, or to the next highest partial. As in the horn parts, microtonal notes are to be played as natural tones.
Keyboard: The electronic harpsichord part is played on an 88 key midi keyboard that controls a laptop with sample playback software. The lowest octave of the keyboard does
not trigger audible notes, but rather indicates to the computer program a fundamental frequency to which other notes of the keyboard are then adjusted in a just relationship.
Therefore the notes produced will not all be tempered, as they appear in the score. A hybrid just tuning scheme is deployed, where the intervals of the tritone (11th harmonic -49
cents), minor sixth (13th harmonic, +41 cents), and minor seventh (7th harmonic, -31 cents) are modified. For example, if the lowest note (A) is depressed, until another note in the
lowest octave is depressed, all D#'s will be lowered 49 cents, all g's will be lowered 31 cents, and all Fs will be raised 41 cents. When a diamond shape note head (like those
used to indicate string harmonics) appears in the left hand of the keyboard part, it is to be played ONE OCTAVE LOWER THAN NOTATED, and it indicates the playing of
one of the silent fundamental notes explained above. The only exception to this process is when A0 is depressed, which provides an equal tempered arrangement (this is used in
measures 140 through 172).
Strings: All natural harmonics sound where they are notated. All indicated dyads are to be played non divisi (as double stops) by all players except when otherwise indicated.
From measure 136 through 138 the violins and violas are to gradually introduce overpressure until the sound becomes completely distorted (by the OP mark), remaining that way
until the bracket ends, and ord. is indicated. The bass part is always indicated one octave higher then sound, including in treble clef, except for harmonics, which are indicated in
treble clef, suono reale.
Percussion:
Cymbals, bass drums, and tam tams should always be allowed to ring unless otherwise indicated. Mallets are usually left to the discretion of the performer. Conventional bass
drum and tam tam mallets should be used for those instruments, unless otherwise indicated. Cymbal rolls are to be performed with soft mallets. Wood sticks are sometimes
indicated for single notes on the cymbals, and in this instance, medium weight, wood tipped drum sticks are recommended. When an S is indicated above a cymbal or tam tam note
this indicates scraping with a light triangle beater, for the full length of the note.
Percussion 1: Vibraphone and these non-pitched instruments:

Percussion 2: Crotales (standard two-octave set) and these non-pitched instruments:

Percussion 3: Vibraphone and these non-pitched instruments:

Vibraphones:
The two vibraphones must be the Musser M-55 Pro Vibe model. The composer will supply a custom tuned set of bars to replace one set on each instrument (diatonic set on
Vibraphone 2 and chromatic set on vibraphone 1). The following chart shows the actual sound this will produce for each played note (see chart above for the definition of the
microtonal accidentals used here):

Harp:
The harp part is Sempre L.V. unless otherwise indicated. Harmonics sound an octave higher than the notated pitch. The harp part also has a microtonal tuning adjustment. The
following chart indicates the 10 strings that are to be alternatively tuned (the remaining strings should all conform to conventional tuning):

Electronics:
A laptop computer running Miller Puckettes Pd software is used to signal process the sound of the instruments in a variety of ways throughout the piece. Hypercardioid
microphones are to be used on the winds and brass instruments, and the harp (and routed directly into the computer audio interface). A stereo mix of the string section, and
mono mixes of each percussion station should also be routed, through the house mixer, into the computer audio interface. Six channels of processed sound are then returned to
the house system. Channels 1 and 2 are amplified through a pair of speakers located at the foot of the stage in front of the strings (one near the back of the violin section, the
other near the back of the cello section). The remaining four channels are to be amplified through house speakers in the conventional quadraphonic arrangement. Great care is
to be taken when setting the level of the signal processing amplification. The sound from the speakers should not be louder than the original acoustical sound of the
instruments. Ideally, the listener will hear the natural sound of the orchestra, along with a halo of transformed sound, blending together equally. Monitor speakers are not
necessary for the performers. The orchestra should follow the indicated dynamics and balance and tune in the usual manner. The electronic processing follows the
performance, and therefore the conductor has complete interpretive freedom.
Stage Diagram:
The ensemble is to be set up in the configuration indicated below (behind the conventional string arrangement). Percussion 2 and Bassoon are to be centered, Harp and
Percussion 1 should be as far right as possible, and keyboard and percussion, as far left, using as much of the stage width and depth as possible to avoid instruments blending
into each others microphones.

Percussion 2
Percussion 1

Harp

percussion 3

Flute

Oboe

Bass Clarinet

Bassoon

Horn

Trumpet

Contact:
For further information please contact the composer by email to this address:
rand@ucsd.edu
Additional information may be found on the following web site:
http://rand.info
information about Pd software, may be found on Miller Puckettes website:
http://crca.ucsd.edu/~msp/pdrp/latest/doc/

Trombone

keyboard

1/19/09 pre-publication edition. Please

contact the composer by email with
questions and corrections: rand@ucsd.edu

Commissioned by the Fromm Music Foundation at Harvard University

for George Manahan and the American Composers Orchestra

Cryosphere

Score in C

flute

oboe

bassoon

?3
4

trombone

percussion 1

percussion 2

percussion 3

harp

electronic
harpsichord

3
&4
?3
4

3
&4
?3
4
& 43
?3
4

with cup mute

(through m.120)

! F
s

y.

"

#.
3 .
&4
"

3 # ..
&4

y y

# . .
y y
p F

.
.

f


f

.
.

..

..

y. .
F

..

..

..

..

3 IV
& 4 ibO.

O.

O.

O.

O.

"

"

3 IV
& 4 ibO.

"

4
4

5
4

4
4

" (pos.)

44

" F

"

y.

.
.

q
..

..

..

..

..

..

.
.

.
.

..

q
45
5
4

4
4

5
4

q
5
4

# y.
p

4
4

4 .
4

. y y.

5
4

44

y y .
J J
" P

5
4

4
4
4
4

s
. y y 45
!

5
4
5
4

44
4
4

45
5
4
ww

44

..
44

4
4

.
4 .
4

ww

45

..

45

5
4

5
4

4 ..
4
44

45

5
4

O.

4 O
4

5
4

O.

O

p
O

p

4 O
4

5
4

O.

4
4

5
4

O.

44 O

45

I
iO.
3
&4

O.

O.

"

..

O.

sul pont.

5
4

O.

"

..

IV
B 3 O.
4

sul pont.

..

..

& 43

"

..

..

sul pont.

bs.

..

"

cello 3

#.
3 # .
&4

"

sul pont.

cello 2

"

..

sul pont.

cello 1

# y. y. #
J J

sempre l. v.

# ..
3
&4

"

sul pont.

viola b.

..

sul pont.

viola a.

sempre l. v.

..
& 43

sul pont.

violin II b.

Dn C n Bb / Eb Fn Gb A n

sul pont.

violin II a.

q
5
4

4
4

43

with cup mute

(through m.124)

sul pont.

violin I b.

q
sempre l. v.
3 s
4 y
3
4

4
4
4
4

q
& 43

violin I a.

3
&4
?3
4

C trumpet

q
3
&4

B b bass
clarinet

horn

Rand Steiger

O.

..
p

O.

2008 - Rand Steiger

10

fl.

& 45

ob.

5
&4

bass cl.

? 45

bsn.

?5
4

hn.

5
&4

trb.

?5
4

w
f

5
4

perc. 2

5
4 .

perc. 3

5
4

10
vln. I a.

5
&4

vln. I b.

5
&4

y y
"
P

y.

cup mute

perc. 1

.
J

B.

.
.

y. y Y

"
P

#y

44

4
4

4
4 .

4
4

4
4

4 X
4

"

4
4

accel.

y.

"

. y y.

.
4
4

"

"

# #

" (pos.)

y.
"

accel.

4
4
P

"

accel.

4
4

y y y.

P

"

accel.

4 .
4

$
y

44

cup mute

q
5
&4

tpt.

q
..

..

ww

.. ..

f P

ww

.. ..

f P

ww

..

P

..

P

vln. II a.

5
&4

4
4

vln. II b.

& 45

44

vla. a

5
&4

4
4
"

vla. b.

& 45

44 .

J
P

vc. 1

5
&4

4
4

ib .

"

vc. 2

4
4

O
J
P

5
&4

ib .

"

O
J
P

vc. 3

B5
4

4
4

bs.

5
&4

4
4

"

"

"

"

f
.

O
J
P
O
J
P

O.

17
fl.

&

ob.

&

bass cl.

bsn.

accel.

?
?

q
45

44

45

44

5
4

4
4

5
4

.
f

4
4

hn.

&

45

44

tpt.

&

5
4

4
4

45

44

trb.

accel.
perc. 1

perc. 2

perc. 3

Y.

!

[ ww
&

[ [ ww
&

ww

ww
&

ww

5
4

vla. a

[ ww
&

ww

5
4

vla. b.

& w

5
4

vln. I b.

vln. II a.

vln. II b.

vc. 1

"

vc. 2

vc. 3

bs. 1

bs. 2

"
"

b
?

"

b
?

"

f


f

&

vln. I a.

17

ww

5
4

.
45 Y

y
P
accel.

q
45

..
5
4

5
4

5
4

5
4

..

y.

y.

ww

ww

..

..

ww

P
..

&

5
4

&

5
4

45

&

5
4

&

i b .

IV

"

i b .

IV

"

IV

"

i .

i.

"

"

ww

..

..

f
.

f
.

f
.

f
.

..

..

..

..
J
..

..
.

y.

ww

P

y.

..

ww

P

y Y

..

..

ww

44
4 y. y
4

!
P
44
ww
4
4
P
ww
4
4

ww
4
4
w
4 w
4

ww

4 ww
4

ww

4 w
4 w

4 O
4

4 O
4

4 O
4

44 O

4 O
4

24
bass cl.

bsn.

rit.
?

43

45

3
4

5
4

perc. 2

43 y

perc. 3

y. y.

Y
43

perc. 1

y 5

4
F

vibraphone

45

crotales

5 y
4

hp.

hpschd.

3
4

5
4

&
?

3
4
3
4

5
4
5
4

43

vln. I a.

vln. I b.

..
3
4

[ ww
&

..
3
4

&

[[ww
&

..
3
4

{ ww
&

..
3
4

[ ww
&

3
4

& ww

3
4 ..

vc. 1

&(ib)O

3
4 O.

vc. 2

&(ib)O

3
4 O.

vc. 3

B O

O.
43

bs. 1

(i)O
&

O.
43

bs. 2

(i)O
&

3 O.
4

vln. II a.

vln. II b.

vla. a

vla. b.

..

ww
5
4
f

..

ww
5
4
f

w
5 w
4
f

ww

5 ww
4
f

5
4 O

f
5
4 O

O
45
f
O.
45
f
5 O.
4
f

O.

O.

.
J
.
J

..

..
p

o
. b

ww

..

..

O.

4
4

ord.

..

#
3

w
4 w
4

O

p

4
4

4
4

# .

4
4

4
4

O.

4 b
4 J
F
4
4

O.

4
4

ww

. b

44

ww
4
4

ww

p

4
4

O

p

..

# 4
&
4

ww

p

..

ww

ww
5
4
f

5
4 ..
f

44
44

45

ww

&

rit.
24

&

vibraphone

rit.
&

4
4

rit.
y
Y
. J 43

44

44

&

44

4 O
4

ord. II

"

31
bass cl.

bsn.

perc. 1

perc. 2

perc. 3

&

&

#.
5

hpschd.

31
vln. I a.

vln. I b.

vln. II a.

vln. II b.

vla. a

vla. b.

& .

& # o .
?

& #

O
*

C# En

# #

# #
3

b.

# #

J

# #
#
5
# . #.
#

.
.

#

.
.

5
5
5
5:3
5

.# .

G# B#

j# # #
# o

#
j
O
*

F#

. #

.
#. # j
# #

(sul pont.)

&

43

44

3
4 #

"

43

3
4 #
3
4

&
&

3
4

vc. 2

&

O.

"

O.

ord. III

"

"

&O

O.

O.

O.
O

O.

3
4

3
4

3
4

##
5

5:3

Cn

#.

44 #

eq

#.

"
(sul pont.)

rit.
4
4

# . 44
4
4

rit.

. . b

.
O

w
44
w
44
P

4
4

4
4
#.

4 .
4

"

4ibO
4

"

sul pont.

4ibO
4

"

4
4

P
P

sul pont.

sul pont.

3
4

4sulpont. IV
4
i O.

3
4

4sulpont. IV
4
i O.

"
"

"

eq

4
4

#.

(sul pont.)

D # Bb

4
4

"

##
5

P
.

#.
34

3
4

O.

eq

&

.
43

3
.
3 #
4 # #

# #
4
#
#

. 4

(sul pont.)

iO

"

ord.

3
4

(sul pont.)

II

3
4 .

&

q
.

rit.

4 b
# #
4

&

&

3
N.
4 #
# 3
#O 4
*

w
"

ord. III

bs. 2

b
.

&

&

bs. 1

# #

(sul pont.)

vc. 1

vc. 3

.# #

5
5

#
b

" (pos.)

hp.

43

rit.
44

eq

38
fl.

ob.

bass cl.

bsn.

&

5
4

&

tpt.

&

&

perc. 2

& . b #

# b.

hpschd.

38
vln. I a.

vln. I b.

vln. II a.

vln. II b.

vla. a

&
?

Dn

[w
&

Cb

[w
&

vc. 1

&O

vc. 2

&O

bs. 1

bs. 2

? .
& .
& .

.
P
.
P

.
.

Fn

..

# ..

O
J

O
J

j
O

j
O

5
4

5
4

Y .

.
45 y
!

5
y 4 y
P

y.

..

P
#.

O
p

O
p

ord.

ord.

5
4

ord.

Dn C n B# / E# Fn Gn A n

5
4

5 j
4 ..
.
5
4

..

5
4

45

&

P
!

45

ord.

.
54

y.

5
4

.
5
4

.

P

5
4

..

ord.
.

..
J
f

..
J
f

(q)

.

P

y.

y.

! P

5
4
5
4

rit.
..

f

.
y

y.

45 .

(q)

4 .
F

#.

5
4
F

5
4

bO
*

P
.

# ..

#.

45
5
4

[
&

&
?

&

vc. 3

" (pos.)

rit.

#.

&

&

[w
&

vla. b.

hp.

5
4

perc. 1

perc. 3

(q)

rit.

&

hn.

trb.

45
fl.

ob.

bass cl.

bsn.

hn.

tpt.

trb.

&

&

&

&

?
O.
& .
ord.

&
&
&

"

IV

vc. 1

&
&

O.

"

O.

IV

"

ord.

vla. b.

O.

O.

II

"

II

i O.

"
II

i O.

vc. 2

&

vc. 3

? # O.
# .

bs. 1

& #O.

bs. 2

&

"

"
II

"
III

#O.

"

&

O ..

O.

F
F

F
F
F

accel.

4
4
5

4
4

Bn

accel.

4 # #.
4
44

4
4

44

#.

# .

accel.

##

# J .

# #

Gb 3

#
b
.
5

5
3

b
#

j
b b
3

pizz.

#.

# #.

# #

#.

.
En

b b

(individual rapid aeperiodic repetitions of indicated pitch)

"

"

pizz.

"

pizz.

4 O
4

pizz.

(individual rapid aeperiodic repetitions of indicated pitch)

4 O
4

"

(individual rapid aeperiodic repetitions of indicated pitch)

4
4

4
4

wO

44
O

(individual rapid aeperiodic repetitions of indicated pitch)

4
4

(individual
rapidaeperiodic
repetitions
ofindicated
pitch)

44
O

b.

4
4

O.

4
4

# # . #
#.
#

. b

pizz.

44

44 O
w

3
. 4 3
#

#O
O

F 5

# o

II

&#

"

ord.

vla. a

& b O ..

vibraphone

"

ord.

vln. II b.

& $
?

ord.
vln. II a.

4
4

y

P

ord.

vln. I b.

4
4

crotales

vln. I a.

4
4

vibraphone

&

45

accel.

perc. 2

hpschd.

44
4
4

hp.

4
4

perc. 1

perc. 3

4
4

&

accel.

B
B

(individual rapid aeperiodic repetitions of indicated pitch)

"

pizz.

"

(individual
rapid
aeperiodic
repetitions
of indicated
pitch)

pizz.

pizz. (individual rapid aeperiodic repetitions of indicated pitch)

"

"

pizz. (individual rapid aeperiodic repetitions of indicated pitch)

"

fl.

&

rit.
5
4

ob.

&

5
4

5
4

5
4

50

bass cl.

bsn.

perc. 1

perc. 2

perc. 3

&

& #

& .

hpschd.

50
vln. I a.

&

&

#
5

&

vln. II a.

& #
& b

#.

#.

##

# .

#
5

J #

# .

# #
5

Bb

b b
3

# #

#

#

bs.

? #

?
?

#.
5

5
4 #

"

5
4

"
"

"

5
4

"

"

5
4
rit.
45
5
4
5
4
5
4
5
4
45
5
4
45
5
4

"

45

5
4

"

"

B #

vla. b.

vc. 3

5
4 # #.

vc. 2

# # b

vc. 1

#
45 .
.

#.

rit.

B #

. #

vla. a

rit.

# #

#
# #
#
# #
##

b
F

#b

# b b

vln. I b.

vln. II b.

# N #

& b ##.

hp.

# o .
J

. b

55
fl.

&

ob.

&

bass cl.

bsn.

(rit.)

tpt.

?
?

&
&

&

perc. 3

& #
3

&

#.
5

P b

& # j .

# j .

b
J
P

. r

&

arco

vla.

B
?

arco

arco

b.

. .

vln. II

bs.

&

#
J #
p
F

.
p

.
p

#. #
J

3
p 3
F

w
p

w
p

arco

J
p

#
3
F

#.

arco

vc.

*
(rit.)

vln. I

(cup mute)

perc. 2

55

hpschd.

&

hp.

(rit.)
perc. 1

. .

(rit.)
hn.

62
fl.

ob.

bass cl.

bsn.

&

&

tpt.

&$

vln. II

&

bs.

68
fl.

ob.

bsn.

(cup mute)

.
J
p
#.

3
4 .

43

&
B
p

&

vln. II

&

b.

# .
p

b
J
p

b . b
F

&

b.

.
R
.

. b

# J . J .
p

"

Bw

?w

45

44

b.

i .

J
p

w
p

44 w
p

44 w
p

4 w
4
p

44 w
p

. # #b. .
F
F

b #
J
3
p
F

J
p

i .

w
10

b. n. .

.
p

.
J

b.

3
N
F

# .

#.

# b . . # J
3
p
F

J
p

# b.

4
4

.
J
p

4
4

.
J

4
4

4
4

J
p

5
4

4
4

45 b .

"

.
45

43

5
4

5
4 .

b.

#.
45

3
4

# b.
p

5
4

43

&

5
4

&

5
4

#.

44

3
4

4
4

45

43

5
4

3
4 .

3
4

vln. I

bs.

#.
J

3
4

&

vc.

tpt.

vla.

43

&

68

.
J
p

hn.

trb.

&

vc.

vln. I

vla.

& .

62

3
4

hn.

trb.

.
J J

#.

75
fl.

ob.

bass cl.

bsn.

hn.

tpt.

trb.

perc. 1

perc. 2

perc. 3

hp.

hpschd.

75
vln. I

&

43

b J

b. .
b . b
B# J
J
p Fp
&
&

4
4

3
4
p

4 .
4

3
4 . &
F p

4
4
f

43

44

&

3
4

4
4

&

43

44

&

3
4

4
4

&

vla.

43

"

43

.
f

vibraphone

vibraphone

44

b
F

44 J

i .

b.

j
#
w

.
#J

& b.
p

b.

# .

j
# # .

#.

.
f

"

# .

crotales

b.

#.

4
4

43

? .
?

4
4

3
4

44

3
4

&

D# C n Bb / En F# Gn A n

43

&

44

&

44 .

43

4
4

43

44

3 . .
4

j 3
4 .
p

b .

&

bs.

.
&# J

vln. II

vc.

. # r

b.
5

j
# j
O
*

"

44 # w

3
4

4 #w
4

3
4

4
4 w

11

&

p
"
"

82
fl.

ob.

bass cl.

bsn.

hn.

tpt.

hpschd.

82
vln. I

vln. II

rit.
&
&

&
&

&

&
&

"

.
& 44

accel.

bass cl.

& 44

vln. I

vln. II

& 44

5
4

4
&4

5
4

4
&4

vla.

4 O
&4

vc.

? 44

bs.

& 44 O

..

"

45

45

w
w

(f# continues p)

"

43

"

O.

4
4
44
44

44

3
4

4
4

3
4 J

4
4

43

43

b.

"

43

43

j
.

II

43

44

45

div.

5
4

5
4

w
w

"

5
4

w
w

44

"

IV

"

O.

&

O.
I

"

44
44
44

44

44

rit.

.
# # .

O.

rit.

rit.
j
.

44

II

43

div.

45

43

45 # .

44

45

b.

w
p

#.

43
F

.

43

43

45

4
&4

.
.
#.
F

. J w
J
F

b.
p

#.
w

45

45

#
F

45

.
F

ib .

4
&4

accel.

accel.
89

i .

45 # b . . # .

& 44

tpt.

ob.

hn.

vc.

bsn.

? #

fl.

rit.

&

89

&
&

. # 45 # b .
J

.
45

J
p

45

rit.

vla.

bs.

b.

b.

w
w

44
44
4
4
4
4
4
4

ww

5
4

ww

ww

4
4

5
4

4
4

p
F

45
?

12

45

44
44

96
fl.

ob.

4
&4

3
4

& 44

43

bass cl.

? 44

bsn.

B 44

hn.

tpt.

trb.

96

4
&4

B 44

vln. I a.

& 44

vln. I b.

& 44

vln. II b.

& 44

vc.

bs.

? 44

fl.

&

ob.

&

bass cl.

bsn.

hn.

tpt.

trb.

102
vln. I a.

j
.
p

#.

f !

&

&

&
B
?

(# )

(# )

()

n .
J

.
J

.
#w

. ( b .)

( b .)

#.

( )

( )

(b . )

.
p

( )
#.

?
13

( )
( )

#
#.

b .
J

#w

(Bb )

bw

..

#.

#
# J .

(# )

j j
.

( )

( )

( # w)

( b .)

( )

( )

.
J

b.

II non div.
I

(# . )

( .)

(# .)

.
f

4
4

44
4
4

4
4
44

44

4
4

44

4
4

4
4
f

#
. ( b )

( b ) ( ) ()

f
IV
.
.

.
( .)

.
J

( )

(b )

(n .)

#.

( )

B .

( .)

. #

( )

J
f

45

.
J

vln. II b.

5 .
4

& ( n .)

bs.

vln. II a.

vc.

w
45

45

5
4 (B .)

43

&

45

3 .
4
43

5
4

45

.
43

5
4

45

.
B J

&

3
4 .

f
.
45

43

45

43

vln. I b.

vla.

43

45

3
4

B 44 w
? 44

102

4
&4 w

3
4 .

vln. II a.

vla.

43

4
&4

43

5
4

44
4
4
4
4
4
4

108
fl.

ob.

& 44

43

4
&4

3
4

bass cl.

?4
4

bsn.

B 44

hn.

& 44 .

tpt.

4
&4

trb.

? 44

44 J

38

44

43

4
4

3
8

4
4

3
4

3
4

3 .
8
f

4
4 .

3
8 .

4 .
4

3
4

38

44

43

38 b
.
f

3
4

38 J
3
8

43

(cup mute)

38

# .

44

3
8

~~~~~~~~~~~~~~~~
. ( )
34 b
( ) 38 .

# # 44
!

4
4
i .
44

harm.

f
p

vibraslap

i
#.
> 3
! f

38

i .

44 #
.
!

&

3
8
38

# .

N j
.

43

38

perc. 2

44

43

38

44

38

44

38

44

perc. 3

vibraslap

44

(close to mic.)

43

38

44

vibraslap

38

43
43
3
4

~~~~~~~~~~~~~~~~~~~~~~~~~
(i b )

44 # J .
( ) 43
p
f

44

4
4

perc. 1

(close to mic.)

44

#?

(close to mic.)

44

43

43

43

hp.

4
&4

3
4

3
8

4
4

3
8

4
4

3
4

hpschd.

4
&4

3
4

3
8

4
4

3
8

4
4

3
4

108
vln. I a.

?4
4

3
4

? 44
& 44

3
8

43
w

43

4
4

38
.

38

3
8

44
.

44

4
4

38
w

38

3
4

44
.

44

43

( )

43

4 w
&4

3 .
4

3 .
8

4 w
4

3 .
8 #

4
4 w

vln. II a.

4
&4 w

3
4 .

3 .
8

4 w
4

3
8 #.

4
4 .

3
4

vln. II b.

& 44 w

43

43

vla.

B 44 .
f

3 .
4

3 .
8

4 w
4

vc.

?4
4

3
4

3 (b .)
8

4 ( .)
4

vln. I b.

bs.

? 44

w
w

43

( )

38

b.

44

38 ( J)

38

44

3 .
8

44 w

3
8
38 .

14

3
4

4 w
4

&

4 .
4

44 .

3
4
3
4

J
f

43

114
fl.

ob.

& 43

bass cl.

? 43

bsn.

hn.

tpt.

trb.

3
&4

R ..

..
R

B 43
& 43

3
&4
B 43

# . . . .

#
. .
fl

b .

# # J .

4
4

b.
f

..
R

ib

harm.

# b

44

44

. . . . . 44
f 5

44 r .
b .

perc. 1

43

44 x

perc. 2

43

44

perc. 3

43

. . . . . 44 j
#
5
p
f

44

(cup mute)

. . . . .

. .

. .
f

#.

r .

(IV)

harm.

. . . . .

. . . . .

3
4

43

.
p

.
f

i .

# . .

~~~~~~~~~~
b . (i b ) ( ) ( )
# J
.

#.

j
. . . . .
f
#

B#

43
43
3
4

43

43

43

43

44

43

hp.

& 43

44

43

hpschd.

& 43

44

43

114
vln. I a.

? 43

44

? 43

43

44

( )
& 43

(m )

vln. I b.

& 43

vln. II a.

& 43 j

vln. II b.

3 .
&4

vla.

B 43 .

vc.

& 43

bs.

?3
4

44
44

43
.
.

(# )

44 w

4 w
4

44
(w)

(# )
(b .)

( )

(D# continues through change of clef)

44

aw

4 (w)
4

15

J
f

43

43
43

( )

3
4

43
43

&

3
4

118
fl.

ob.

bass cl.

bsn.

& 43

& 43

? 43

p
3

hn.

tpt.

& 43

perc. 1

43

38

~~~~~~~~~~~~~~
. (# )
(# ) 3
8
f

48

48

48 J

# . . 48

38
.

48

38

48

"

perc. 2

x
43

perc. 3

3
4

3
8

4 x
8

& 43

38

48

hp.

? 43

(loud and noisy)

118

%
.

(b .)

( .)

vln. I a.

& 43

vln. I b.

& 43

vln. II a.

3
& 4 #.

38

38

( .)

38 ( )

.
#
p

48

48
( m )

48

. . . . .

.
f

.
# .
.
f .

. . . . .

# .

. # .

# j .
p

# J .

. . . . .

J
f

4
8

& 43 .

38
.

48

.
B 43

.
38

48

( )

vc.

? 43 .

38 .

48

( b )

bs.

& 43

38 .
f

48

vln. II b.

vla.

j
#

3
8 ( . )

.
#

# . .

.
#
5

.
# # # .
#

(senza sord.)

j
.

b .

# #
.

.
. remove mute
48 # i b . #

bass drum

48

Bb
38 J

# . .

# 48
. .
f

38

? 43

B 43

38

38

B 43

trb.

38

( .)

16

(b )

&

123
fl.

&

ob.

bass cl.

bsn.

&
?
B

tpt.

trb.

perc. 1

# .

& Bb
&

hn.

b
p

b .

.
....
f

f
B

#B b

# . #

# .

.
.
# b #
#
3

. . 4 . .
#
8

#.

48

. .
. # .

48

3 # . . . . . . #
8
5
f 5
p

38

38

#
%

4
8 #.

48

48

48
( . )

.
38

48

&

vln. II a.

&

38
.

48

vla.

vc.

(b )

bs.

& ( # )

38
( .)

( b )

3
b( ) 8
38
( .)

}
& #
II

.
f

( .)

17

N .

#.

# . .

f
#.

# .

. . . . . . #
5

#
i

harm.

y
J

wood sticks

48

(b .)

38

48

vln. I b.

38 .

&

#
p

vln. II b.

48 .

38

P
#

## b

4 b.
8
f

i.
p

38

&

( .)

(senza sord.)

38 bass drum#
.

( ) .
& J

# .

48 #

vln. I a.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # . .
. e

#.
J
J
f
p
5

48 #

#.

38

perc. 3

# . . . .

# #.

r
#
f

3
8

123

# .

# .

perc. 2

hp.

38 .
38 #

38

remove mute

vibraslap

.
.
J # #
.

38

b . . . .

harm.
3

....

48

(b )

&

(III)
48

()

48
48

( # )

128
fl.

ob.

bass cl.

bsn.

&

~~~~~~~~~~~~~~~~~~~~~
#
. (# )

J
5 #
#. #
8
p
f
5

# . .

3
. . . . # # # # #
#
&
.
p

? # n .

hn.

&

tpt.

& J

trb.

n.

......
# # #

? # .

85

85

85

85 .

perc. 2

y
85 #

perc. 3

85

&

85

perc. 1

hp.

128

. .

. #
f

vln. I b.

}
&
& #
( )

vln. II b.

&

vla.

&

vc.

&

"

Bn

&

# # b

B
p

wood sticks

.
85

Dn

b .

18

b
f

38

# # # #
. .

3
8

Bb

p
3

.
J

. .....
# . 38
5

( )

48

38

48
48
48

48

.
# . 38
.

38

48

38

48

48

48
48
4
8

38
38

Ab

()

38
38
38

38

(loco)

48 ( # )

(# .)

4
8

38

4
8

#
%

( .)
85

48

. . . . . . # #

#.

C#

# # .

85 ( . )

# # # # b.
.
p

48 #
#
.

.
# #

i
f

. . . . . .
. # # # .
5
p

48

# . .

(III)

# .
J

~~~~~~~~~~~~~~~
# . ( # )
b
4 # J
J
3
#
8
8
p
f

48

# . .

y
J
f

85

5
8

# .

# # . b # # # n #

wood sticks

85 J

()

# . . . . . .

.
# # #

85 J

~~~~~~~~~~~~~~~~~~~~~~~
# . . . .
. }

J
# J
#.
#.
p
f
5
5

(bass drum mallets)

85

&

bs.

#.

bass drum

vln. I a.

vln. II a.

5
8 j

....
# # #

ib
85

......
# . 85
5

# . . .

38

38
38
3
8

132
fl.

& 38

ob.

bass cl.

?3
8 #

& 38 J

tpt.

& 38

perc. 2

perc. 3

hp.

132
vln. I a.

vln. I b.

.
# . .
3

85 #

b
f%

3
8

butt of wooden stick

at center of tam tam

38

# . . . . . .

38

# # . . . 85 . . . . . J-

5
8

48 #

# y
f

48

# ..

48 j
b
J

3
&8

3
&8 J

vln. II b.

3
&8

vla.

& 38

b.

5
8

85

85

( # .)

.
? 3 ( )
8

j
}

?3
8 b

5
8 j

"

&J
I

#
j
#

wood sticks

y
J

5
8

5
8 J
5
8 j

# y.
Y

48

#
J

48

19

48 J

*
J
*

# *

4 J
8

4 #
8

b
48 ( )

4 J
8

butt of wooden stick

at center of tam tam

48
Y

4 (# )
8

b b b
b b

4
8 #

85 ( .)

4
8

"

5
8
b

tam tam mallets

85

Bb

n b b b # . b n b b

b b b
b b #

4
8

bass drum (bass drum mallets)

3
&8

5
5

4 .
8

85

b b n b

4 #
8
p

y 5
#
8
f

?
. . . . 48 # . . . . . . . . . . . # . . . . . .
. . . . . . . .
3
7

85 b

48 b b
5

ib

b b b

b b

b b

5
8

b b

b.
f

. . . b . .
b . . # . . . . .
5
# # #

# .

& 38 ( .)

bs.

vln. II a.

vc.

? 3 # b.
8
p

?3
8

#.

~~~~~~~~~~~
}

3
# 5
# ## . . . . # # # #
8 # #
.
f 3
F

? 3 .B
8 #

hn.

perc. 1

trb.

& 38 J

bsn.

( )

* .

?J

(IV)

*gradually introduce over-pressure until the sound

is completely distorted at the OP marking, continuing
through the length of the bracket

137
fl.

& b b b # . b n b n b n b b 85
5

48

ob.

bass cl.

bsn.

hn.

tpt.

trb.

perc. 1

perc. 2

perc. 3

hp.

hpschd.

137
vln. I a.

vln. I b.

vln. II a.

vln. II b.

vla.

vc.

bs.

& #
?

? #
?

b b b b
5
b b 8

48

5
8

4
8

85 j

48

85

48

85

48

5
8
()

48

& j

? b

soft mallets

85

D# C n Bb / En Fn Gb A #

85 j

%
85

&

&
&
&

85
}

e
85

OP

(# )

( .)

OP

OP

85
85

OP

& }

? J

85

OP

#* .

85

&

85 Y

85
f

y
J

5
8 yj
f

&

# Bb

. .

85

5
8

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

(# )
# . .
#
#
#
! 3

. . #

. . . . .

y
J

(loco)

48

j
O

#
ord.

j 48 #

...........

ord.

j 4 # #
8 ...........
3

j 48 # #

...........

# 48 j

...........
saltando

ord.

p
3

# r

85

y
J

#
J .

#
#
#
#

85

y y

#
# .
# .. #

85

85

85

85

y. #

y y

85

5
8

# #
# .. J # # # #
3
3
p

# # # # J
..
# # # #
3
3 p

. J #
.

85

85

# a # #
. J
#
##
3
3 p

85

85

#
# #
. J
#
##
3
3
p

20

. .

y
R

# #

ord.

saltando

# #
p

ord.

saltando

j 48 #

...........

saltando

wood sticks

# # #
#

saltando

wood sticks

48

3
j 48 # # y

f
!

48 j

wood sticks

48

. . . . .

48

. .

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

(# )
# . . #
#
#
#
! 3

4 #y #
8

85 j

(vibraslap close
to microphone)

48

&

48 y #
R

85 j

. .

# #
p
3

85
85
85
85
85
85
85

142
fl.

ob.

bass cl.

bsn.

hn.

tpt.

trb.

perc. 1

perc. 2

perc. 3

hp.

hpschd.

142
vln. I

vln. II

vla.

5
&8

# . .
.
# # . #
3
p

# . .
.
# # #
.
3
p

5
&8
? 85
B 85

5
&8

#
#

. .
. .
3

..

# y y

y
J

85

85

5
&8

? 85 # J

# y

Gn Dn

? 85

#
#
J
#

f
p

j
5
& 8 # # # # #
3
3
3
p
f
3
3
3
B 85 # b # # J

p
f

F#

# y
R

y
J

b
b #

## #
p

B
J

b
b

#
# . . . . .

. .

#.

j

f

#. y

y.

y
J

4
8

##

. . . . 4
#.
8
4
8

5
b . . . . .

4
8

b . .
# #

4
8

y yyy 4
8

"

# yy
3

soft mallets

.
# y

y
J

"

48
48

48

.. ..

N

# # b .n .. # #
3

3
3

# #
b # #
b b b .. ..
b
A b

4
. . 8

4
8

48

B .
. . . . # # # #
.

#.

? ##

y y#

j
#
%

. .

# y

#b
p

b
J

. . . .

#
#
#

# . . . .

b
#

# #
#
b

p
F

#& # #

~~~~~~~~~~~~~~ . . . .
. . . . . .
. }
J #.
# #
#.

5
p

# .
.....

y
J

## ## # #

3
# #
b

# # #

5
&8

j
#

# y

##

. . . .

b
J

85

. . . .

R # #

N . . . . . .
. .

#.

# # . # # . .

.. ...
5

....
? 5 b R J .
8

5
&8

..

# .
J
p
3

# . J

# ## # . .

5
& 8 .

# . #

# #.

# . . . .

.. .

. J # b # ..
# #
3
3
p

3
.

.
# # b . n . J # b # .
3
3
3
p
F

# 4
8
p
4
8

*

#
4
8

4
8

j
48

3
#
# # ## # # .. .. J # # b ..
3
3
3
p
F

vc.

?5
8 j

#.

4
8

bs.

?5
8 j

#.

4
8

21

147
fl.

ob.

bass cl.

bsn.

hn.

tpt.

trb.

perc. 1

perc. 2

perc. 3

hp.

hpschd.

147
vln. I

vln. II

vla.

& 48 J

~~~~~~~~~~~~~~~~~~~~
# . (# )

J
R J
p

~~~~~~~~~~~~~~~~~
} .

4 J
# J
&8
p
? 48

# . .

# #

B 4 # .
8

# #

. .

b
J

i
J

harm.

#. y

# yy y y
#yyyy y yyy
3

& 48

? 4 .
8

# #.

D#

85 J

5
8

y y

#.

"
3

yy

b # .# b # # N n n

#.

.
y Jy

"

# ..

#

# #
#.
b #
3
3
p3
5
f

bs.

?4
8

P
b

#
# #

3
3
# j

j
85

# .
p

5
8 j

# b.
p

G#

yyyyyy
F

"

b b

..
b
#
#.

5
J

#
#
# b #
8
3

3
p
p

22

B
J

j
b

y
J

# yy

vc.

wood sticks

5
3

# #

3
3
B 48 b #& # b B b #
# . # # 85 # # . J # # # .

p
p
f

F3
p

# y.

b b
# 5 # .. J # # .
4 # # b b
.
#
#

&8
8
#
#
# #
3
3
3
3
3

p
p

f
p
5

? 48

N . . . . .

&#

J
p

"

~~~~~~~~~~~~~~~~~~~~
. ( ) .

. . . . .

soft mallets

soft mallets

58 # N ? #
#

..

85

b.

n .

b
# #
85
#

#
b

.
J
# . . . .

5
8

#.
J

# b . . . . # .

y y
y.
85

85

# y y y y y 85
3

. . .

85

& 48 # # b b
b
A

& 48

5
5

#.

. . . . . .

. . . .

#. 5 #.
. . . . 8

Bb

y
J

85

#
#
b
4
#
#
b b b
&8
b
F

# # 85 J

"

wood sticks

48

~~~~~~~~~~~~~~~~~~~~~~~~~~~
# . (# )
.

. . . .

# ##
...

4 y y y y y y#
8
F

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#

}
.
5
# #
J
# #
8
p

& 48

48

& 48

?4
8

. . . .

J
j

# &

152
fl.

ob.

bass cl.

bsn.

hn.

tpt.

trb.

&

. #.

&J
?

vln. I

vln. II

vla.

vc.

bs.

. . . .

y.

&

&#

# #

# ..
# .

# # .

# y

"

J
f

48 #

#.

4 y
8

48 #

#y y

48

48
4
8

j
#

.. # #
.

# #
# b
& # ... . #

#. 3

# . . .

y yyyy y
F

"

Dn An

48 #
48

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

# b

. . . . .
J

#
#

# B b.
3

...
b

#.

# y

y
J

y
J

y.

y yyyy

"

...

"

b
b # b b J
N

b . ? b b # & N b j
.

#.

B
3

? .

b
b
J

b
b
J

b #

23

? #.

.
. j

. .

y
J

y.

y.

#. y

#. y

#. y

# y

"

.
y

#y

D# C n Bn / E# F# Gn An

b ..
.. n .. . # .
b

.
.
#
#

48
48

j
#

? .

b b

.
b.

. .
#.

4 j b #
8

#.

# B #
b

.
.

# # . # ..
. .
# ..

. b .

..

#.

. .

# bNb

4 #
8 J

&#

##

# b
p

C#

# # # .
.
&#

b . . . .
# . R

.
b.

48 J #

. #
.

# # a
# # .
. # ..
#
#
&#
3
p

~~~~~~~~~~~~~~
}

b
J
#.

48 . .

.
48

y
J

. . . . . 4 .
8

# . . # . . .
5

#.

.
48 J

3
48 j

b . .

152

& .

perc. 2

hpschd.

hp.

j
b

#
#

~~~~~~~~~~~~~~~~~~~~~~~~
( )
48 J
J
J

# . .

perc. 1

perc. 3

B J

&

. b .. n .. . # .
b
.
b.
. .# .
b . b b .. . .
# . n . . n .
# .. . b .
.# .
#.#
#

157
fl.

ob.

bass cl.

bsn.

&

&

j
.

? # .
J

hn.

tpt.

trb.

& B

perc. 2

hp.

y
3

#.
y.

yJ

5 J
4

b .
5 J
4

.
5 J
4

y.

y yy

P
?

157
vln. I

vln. II

&

b
& #
B #
3

? #
#
?

3

bs.

5
4

3
3
5
4

.
J
f

4
4

# .

5
4 #

5
4 #

.
J
f

4
4

# .

5
4 #

b.
J
f

4
4

Bb .
J

4
4

43 .

44

.# 5 # .
4

#.
J

44

i .
J

3
4

ib

4
4

f
f

y
J 44
4
4

43

Db Ab

# y.

4
4

b b
#

43 # 44
f
3 b 4
4
4
*
.

5
4

5
4

4
4

# .
.

45

44

5
4

5
4

3
4 #

..

3
4

4
4

#.

5
4

3
4 b

4 #.
4 &

5 .
4

3
4

24

4
4

4
4
p

4
4
4
4

3
4

4
4

4
4

4
4

4
4

.
4
B 4

5
4

5
4

Dn

5
4

4
4

#.
4
4

4
4

5
4

43 44
(loco)

# 45 #

5 y.
4 #

wood sticks

.
.

P (all but low C)

5
4

3
3
5

4
4

5
. # 4 #B .

3
4

N 44

3
4

5
4

5
4

3
4 .

. . . . . . .

.
.

44

loco

5
#
## 4

4
4

# #

3
4 b.

Bb

# y.
f

b # b # b b b 5 b b
4
3
3

b #b
&

vc.

5
4

5
4

tam tam mallet

b
3

y y y y y y y y 5 yJ
4
p
f

vla.

4
4

3 wood sticks
4
4 yJ 4

b b
b b 5 b
& 3
4 #
5
3
3

b #b
? 5
3

#
#
&

4
##
#
3
3
5

4
4

hpschd.

3
4

#
5.
f

&

5
4

bass drum mallet

y y yy

y y y

# . . . . . . . .

5
4

3
4

3
4 .

45

y
y

5
4

j
.

"

b .

5
4

perc. 1

perc. 3

&
?

4
4
4
4

163
fl.

ob.

& 44
4
&4

b.
.

bsn.

B4
4

hn.

4
&4

# .
J

tpt.

trb.

4
4 # y.
F

44

vln. I

4
&4

5 J # .
4

4 w
4

4 Bb.
& 4#

45

# y.
f

b
5
4

..

div.
pizz.

div.
arco

45

vc.

?4 #
4 . .

5
4

. .
# . .

bs.

?4 #
4 . .

5
4

# . .
. .

. .

..

b.

4
4
P
4
4 b
b

4
4

#.

b.

3 .
8

5
4

3 .
8
p

.
3
4

3 .
8
p

3
y
4 J

3 y.
8
!

y 38

3
4
P
3
4

3
4

4
4

3
4

4
4

3 .
4

Gb

#
P b
b

3
8

..

5
4 Bb.

5
4 #.

5
4
5
4

# y.
f

wood sticks

5
4 y $

tam tam mallet

45

5
4

b
b

5
4

5
4

# # # ..

3
8 .
.

5
4 # ..

38 .

45

3 .
8

5
4 .
.

3 .
8

5
4

3
4

j .

p
b

38

..

3
8 ..

4 ww
4

25

3
8

3
4 N

# # ..
..
#

.
34 b .

5
4

#
b b

44 w
w

# # ..

3
8

non div.

3
8

y
f

.
#.

3
8 .
p

soft mallets

wood sticks

5
4
5
4

43

#
45

3
8 j

3
4 #.

b .

4
4

3
8

.
B

43

38

3
4 Bb .

3
4
y

wood sticks

44

44

45

45

.
# .
.

3 .
4

4
4

3
4

4
4 y

B 44 #
. .

vla.

tam tam mallet

5 b
4

4 .
4

43

3
4

4
4 .

b .

4
4

5 y
4 $

5
4

45 b

4
&4

# Bb .

4
&4
*

45

? 44

4 J
4

soft mallets

44

4
4

? 4 # .
4 .

A n Eb Bb

5 J # .
4

5
4
P
5
4

(tune with horn)

vln. II

5
4

perc. 3

163

perc. 2

hpschd.

?4
4

4 .
&4

4
4

hp.

tam tam mallet

perc. 1

5
4

?4
4

bass cl.

45

45

# #
#

....

170
fl.

ob.

bass cl.

bsn.

&

.
&
?#
B .

.
f

#.
f

# # ..

..
#
f

Bb.

tpt.

&

#.
f

#.

trb.

perc. 1

perc. 2

hp.

wood sticks

hpschd.

170

# y.
F

&

?#

tam tam mallet

perc. 3

.
.

&

?#
..

y.

# # ..
..
#

vln. II

&

# # ..

# ..

..

vc.

bs.

?#
?

..
f

w
w
w
f

vln. I b.

vla.

#
#

f
.

y.

.
.

..

3
4

43

#.
.

43

#
#.

#.
.
F

b
P

# y.
P

Db

#b .

b.
b.

#.
P

bb

.
.

.
.

.
.

.
.

.
3 .
4

.
.

.
3 .
4

## .

43

#
#.
F

26

soft mallets

.
P

soft mallets

3 ..
4

3
4

3
4

tam tam mallet

43

# ..
# # ..

..

3
4

b.
# b .

f
f

3
4

&

div.

3
4 .

43

.
f

j
.
f

3
4 .

3
4

3
4

&

vln. I a.

wood stick

b
# b #

# # ..

.
43 J

# y.

.
43

&

hn.

.
43 J

# # ..
.

# ..

.
F

b.

(unis.)

b.

(unis.)

.
.

#.

#.

"

177
fl.

ob.

bass cl.

bsn.

B b

&
&

4
4

4
4

44

4
4

b.

rit.
.
5
8

& i .

tpt.

&

trb.

! (pos.)

4 .
4

Bb .

! (pos.)

4
4

44

perc. 2

perc. 3

y
J
p

4
4

85

45

5
8

5
4

(e q)

5
8

y.

soft mallets

"

y
J
p

tam tam mallet

y
p

44

5
4

85

45

85

45

hpschd.

177
vln. I

vln. II

vla.

vc.

bs.

4
4

5
8

&
?

4
4
44

5
8
85 .

4
4

&
.

(e q)

&

&

B
?

&

5
8

j
O

rit.

.
J

4
4 w

4
4 bw

w
P

4
4 bw

j
.

w
P

4
4 bw

4
4

27

J
P

5
4
5
4

?
?

(e q)

5
8

rit.

hp.

5
4

5
8

5
8

4
4

5
4
5
4

rit.
perc. 1

(e q)

5
8

rit.
hn.

5
4
5
4
5
4
45

(e q)

5
8 .

5
4

5
8 .

5
4

5 .
8

5
4

5
8

5
8

5
4

5
4

184

fl.

5
&4

ob.

& 45

bass cl.

? 45

43

bsn.

B5
4

3
4

hn.

5
&4

#.

perc. 2

perc. 3

sy
45 J
p

vibraphone

45
5
4

crotales

&

vibraphone

&

hp.

hpschd.

& 45

& 45 #

? 45 !

184

(&)

vln. I

& 45

vln. II

5
&4

vla.

vc.

bs.

#
P

.
P

45 # .

5
4 .

45

B 45 #

?5
4

!
!

F
F

43

3
4

43

43

43
3
4

(hold through m.204)

45

#.

5
4

45 # .
5
4

# 45

45

45
5
4

3
4

5
4 $

# #

45
5
4

28

3
4

# .
o

.
43

45

43

5
4

.
P

43

# .
P

43

3 .

4
5
P 5
(hold through m.202)

?5
4

(hold through m.201)

&

(sempre l.v. through the end)

Db C n Bb / Eb Fn Gn A n

?5
4

5
4

3
4 #.

perc. 1

3
4

190
fl.

ob.

bass cl.

bsn.

hn.

perc. 1

perc. 2

perc. 3

hp.

hpschd.

190
vln. I

vln. II

vla.

vc.

bs.

43

&

&
?

3
4

B $

&

&#

&

&

&
?

&

(&)

&

b.
5

4
4

43

44

43

44 #

3
4

3
4

.
5

43
3
4

3
4
3
4

3 .
4

3
4

.
43

b
5

4
4

44 w

4
4

4
4

29

# .

44
4
4

44

. #

# .
o

4
4

4
4
4
4

4
4

3
4

3
4

#.

44

3
4

4
4

43

. #

.
J

&

44

#.

w
.

j
.

196
fl.

ob.

bass cl.

bsn.

hn.

perc. 1

perc. 2

#.

&
&

&

&

&
& #

hp.

hpschd.

196
vln. I

vln. II

vla.

vc.

bs.

& .
?

b
.
# N a .

# .

(&)
.
&

b.

B w

#
5

#
5

b.

& #

&

#.

perc. 3

# .

b
5

.
.

# b.

# #.

.
o

# #.

b.

.
*
.

w
w

w
w

30

. #

(fade out G)

202

perc. 1

&

perc. 2

& #

perc. 3

hp.

hpschd.

202

?
&
?

vln. I

&

vln. II

&

vla.

vc.

bs.

207
perc. 1

perc. 2

perc. 3

Y.

soft mallets

"

"

$
P

y.

soft mallets

"

45
45

45
45
*

45

45
45
45
w

soft mallets

45

?
?

5
4
45

&

&
*

(&)

"

P
y

"

y.

"

45

tam tam mallets

Y .

"

y y

"

y.

soft mallets

.
y
"

"

y.

31

y.

y y
J
p

"

y.

tam tam mallets

"

p
s

y
p

very long (allow percussion

sounds to fade completely)

FINE

14.7.8.1.9.26.13

Del Mar
Escazu
Westwood