Dissertation

!
Helmut Lachenmann’s Gran Torso
and the Analysis of musique concrète instrumentale
by
Ryan Carter
A dissertation submitted in partial fulfillment
of the requirements for the degree of
Doctor of Philosophy
Department of Music
New York University
May 2014
__________________________
Elizabeth Hoffman, Advisor

ACKNOWLEDGMENTS
There are many people to whom I owe thanks for their support, advice, and
encouragement during the long gestation period of this project. In particular, I would like
to thank:
Elizabeth Hoffman, for years of mentorship and probing discussions on a wider scope of
topics than I could ever summarize in one page,
Louis Karchin, for first introducing me to the unique analytical challenge that the music
of Helmut Lachenmann presents,
Brad Garton, for showing me all the things computers can do,
Stanley Boorman and Jaime Oliver, for joining my committee as soon as I realized I
needed five—not three—readers,
the JACK Quartet, for providing me with unreleased recordings for my analysis,
Breitkopf & Härtel, for granting me permission to reprint excerpts of Gran Torso,
Douglas Repetto and Dan Ellis, for programming MEAPsoft,
Tae Hong Park, for his inspirational work in analyzing electroacoustic music,
and my partner, Doug Brooks, for patient support through all these years.
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TABLE OF CONTENTS
ACKNOWLEDGMENTS ................................................................................................ ii!
LIST OF FIGURES ..........................................................................................................vi!
LIST OF MUSICAL EXCERPTS ............................................................................... viii!
CHAPTER 1....................................................................................................................... 1!
1.1 An introduction to the project and its justification .................................................... 1!
1.2 A chronological context for Gran Torso ................................................................... 2!
1.3 Toward a musique concrète instrumentale ................................................................ 3!
CHAPTER 2....................................................................................................................... 6!
2.1 Chapter summary....................................................................................................... 6!
2.2 Lachenmann’s sound-types ....................................................................................... 6!
2.3 Lachenmann’s discussion of his second string quartet............................................ 10!
2.4 An extant analysis of Gran Torso ........................................................................... 13!
CHAPTER 3..................................................................................................................... 23!
3.1 Sound families in Gran Torso ................................................................................. 23!
3.2 An overview of the form ......................................................................................... 27!
3.3 The Introduction (measures 1 – 15)......................................................................... 28!
3.4 Section A (measures 16 – 58) .................................................................................. 35!
3.5 Section B (measures 59 – 71): “Scraping” .............................................................. 39!
3.6 Section C (measures 72 – 133): “Sustaining” ......................................................... 43!
3.7 Section D (measures 134 – 156): “Bouncing” ........................................................ 45!
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3.8 Section D’ (measures 157 – 187): “Bouncing” ....................................................... 50!
3.9 Section B’ (measures 188 – 259): “Scraping” ......................................................... 52!
3.10 Section E (measures 260 – 272): “Striking”.......................................................... 54!
3.11 Coda (measures 273 – 280): “Striking”................................................................. 56!
CHAPTER 4..................................................................................................................... 57!
4.1 Overview ................................................................................................................. 57!
4.2 Robert Cogan’s New Images of Musical Sound ...................................................... 57!
4.3 An analytical system for electro-acoustic music ..................................................... 60!
4.4 Other implementations of—and uses for—audio segmentation and feature
extraction ....................................................................................................................... 62!
CHAPTER 5..................................................................................................................... 67!
5.1 Overview ................................................................................................................. 67!
5.2 A synthetic example ................................................................................................ 67!
5.3 An analysis of a short passage ................................................................................. 70!
5.4 An analysis of the Introduction ............................................................................... 75!
5.5 An analysis of Section A ......................................................................................... 80!
5.6 An analysis of Section B ......................................................................................... 83!
5.6 An analysis of Section C ......................................................................................... 87!
5.7 An analysis of Section D ......................................................................................... 90!
5.8 An analysis of Section D’ ........................................................................................ 94!
5.9 An analysis of Section B’ ........................................................................................ 98!
5.10 An analysis of Section E...................................................................................... 102!
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5.11 An analysis of the Coda ....................................................................................... 105!
5.12 A graphic overview of Gran Torso ..................................................................... 107!
CHAPTER 6: CONCLUSION ..................................................................................... 110!
6.1 A framework for future applications ..................................................................... 110!
6.2 Two final examples ............................................................................................... 111!
6.3 Contributions ......................................................................................................... 113!
6.3.1 For theorists .................................................................................................... 113!
6.3.2 For composers ................................................................................................ 114!
6.3.3 For performers ................................................................................................ 114!
6.3.4 For listeners .................................................................................................... 115!
REFERENCES .............................................................................................................. 116!
CATALOG OF MUSICAL COMPOSITIONS
1) impaired contact with reality
2) too many arguments in line 17
3) Skeuomorphic Tendencies
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LIST OF FIGURES
Fig. 1 - Envelope of a "striking" sound 23!
Fig. 2 - Envelope of a "bouncing" sound 24!
Fig. 3 - Envelope of a "scraping" sound 24!
Fig. 4 - Envelope of a "sustaining" sound 25!
Fig. 5 - Taxonomy of instrumental techniques 27!
Fig. 6 - Graphical conventions for distinguishing instruments 29!
Fig. 7 - Analysis of measure 5 32!
Fig. 12 - Analysis of measures 55-58 39!
Fig. 19 - Analysis of Section E (measures 260-272) 55!
Fig. 20 - Analysis of the Coda (measures 273-280) 56!
Fig. 21 - A "spiky" waveform 66!
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Fig. 22 - A "flat" waveform 66!
Fig. 23 - Analysis of a synthesized example 69!
Fig. 25 - Analysis of the Introduction 79!
Fig. 26 - Analysis of Section A 82!
Fig. 27 - Analysis of Section B 86!
Fig. 28 - Analysis of Section C 89!
Fig. 29 - Analysis of Section D 93!
Fig. 30 - Analysis of Section D' 97!
Fig. 31 - Analysis of Section B' 101!
Fig. 32 - Analysis of Section E 104!
Fig. 33 - Analysis of the Coda 106!
Fig. 34 - Overview analysis of Gran Torso 109!
Fig. 35 - Overview analysis of "Bel edifice et les pressentiments" (double) 111!
Fig. 36 - Overview analysis of Prologue (from Les espaces acoustiques) 113!
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LIST OF MUSICAL EXCERPTS
Ex. 1 - Measures 5-7 31!
Ex. 2 - Measures 53-58 36!
Ex. 3 - Measures 64-68 42!
Ex. 4 - Measures 145-148 47!
Ex. 5 - Measures 154-155 49!
Ex. 6 - Measures 160-162 51!
Ex. 7 - Measures 154-155 73!
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CHAPTER 1
1.1 An introduction to the project and its justification
Begun in 1971, Gran Torso provides an early example of the compositional
methods Helmut Lachenmann continues to use as of this writing. Interviews with
Lachenmann reveal his preoccupation with eschewing the primacy of traditional
parameters – such as pitch, rhythm, and interval – in articulating musical form. Instead,
he favors a musique concrète instrumentale, a more direct engagement with sonic
phenomena. Employing a greatly expanded palette of instrumental techniques,
Lachenmann’s music scratches, wheezes, grunts, and pops.
An analysis of this music according to traditional parameters – such as pitch,
rhythm, and harmony – yields unsatisfactory results because it fails to address the most
salient components of his musical language. Furthermore, much of the commentary on
Lachenmann is focused on explaining unusual instrumental techniques and the sounds
they produce, but this fails to reveal deeper connections within Lachenmann’s music.
Numerous scholars have examined Lachenmann’s political and philosophical views, and
highlight connections to his compositional approach. While I am aware of Lachenmann’s
political and philosophical perspectives (stemming from his early studies with
Communist composer Luigi Nono, his formative experiences at Darmstadt, and his
engagement with the writings of Theodor Adorno), my analysis emphasizes the aural
experience of the listener. I analyze local timbral characteristics of instrumental
! 1!
techniques, as well as broader timbral features of entire sections and of the whole piece.
The latter relies on a software-based method of graphically depicting analytic results,
enabling the reader to visually apprehend (with a single glance) large-scale formal
relationships that are often obfuscated because of the duration of Gran Torso and the
complexity and opaqueness of its score. Using this twofold analytical strategy that moves
from a close reading of surface gestures in the score to computer analyses of five audio
recordings, I will show that the form of Gran Torso is articulated by aurally salient
features of instrumental techniques that have previously been difficult to categorize.
1.2 A chronological context for Gran Torso
Helmut Lachenmann was born in 1935 in Stuttgart, Germany to a family of
pastors, exposed at an early age to the music of the Protestant Church and deeply affected
by the pious devotion of his father, who would be moved to tears by a Bach chorale.1
Lachenmann first encountered the music of Karlheinz Stockhausen and Pierre Boulez at
Donaueschingen in 1951 and 1952. From 1955 to 1958, Lachenmann studied piano and
composition at the Hochschule with Johann Nepomuk David, who emphasized
counterpoint studies beginning with the work of Josquin Desprez and Palestrina.
In 1957 Lachenmann first attended the Darmstadt International Summer Courses
for New Music, where he began his studies with Luigi Nono. (Karlheinz Stockhausen,
Pierre Boulez, Luc Ferrari, György Ligeti, Henri Pousseur, Bruno Maderna, and Theodor
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1
An excellent biographical sketch can be found in Chapter 1 of Martin Kaltenecker’s
Avec Helmut Lachenmann. Paris: Van Dieren, 2001.
! 2!
Adorno were also among the composers and philosophers present at Darmstadt that year.)
From 1958 to 1960, Lachenmann lived in Venice and studied with Nono, who
emphasized analysis of Medieval, Renaissance, and contemporary music. After leaving
Venice, Lachenmann moved to Munich, where he was based until 1973, teaching in Ulm
from 1961 to 1973 and Stuttgart from 1966 to 1970. It was during this period – from
1971 to 1972 – that he composed Gran Torso.2
1.3 Toward a musique concrète instrumentale
In 1964, Lachenmann spent three months studying at the electronic music studio
in Ghent, Belgium, working with serialist composer and early electronic music advocate
Karel Goeyvaerts. Lachenmann would ultimately create just one electronic work, a tape
piece entitled Scenario, which he composed from April to June of 1965. While some
other composers at the time (who felt that serialism had run its course) saw in electronic
music a world of new possibilities, Lachenmann was never enamored by tape music,
arguing that loudspeakers obfuscate the means by which the sounds on the tape are
produced.3
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2
Gran Torso was composed in 1971-1972 and revised in 1978. It was commissioned by
Radio Bremen and dedicated to Italo Gomez and the Società Cameristica Italiana, which
gave the premiere in Bremen on May 6, 1972. The revised version was premiered by the
Berner Quartet in Witten on April 23, 1978.
3
Kaltenecker, p. 35.
! 3!
While Lachenmann was also dissatisfied with the limits of serialism, he was a
vocal critic of peers, writing (in his article “Composing in The Shadow of Darmstadt”4):
In 1959, I had formulated the text of Nono’s Darmstadt speech, where he

launched a polemical attack on the ahistorical, quietist concept of freedom
espoused by Cage’s European epigones, who conveniently put the
question of responsibility in brackets, while pursuing revealingly
regressive aesthetics. Further texts of my own from 1961 typically had
titles like The Concept of Material in New Music; Revolution and
Restoration in New Music; Organisation, Chance, Improvisation, and
Freedom in New Music; and Communication, Speculation and Corruption
in New Music. Finally, after getting all that off my chest, in 1966, I drafted
a sort of typology of sounds, in which sound and form are dialectically
merged, and in doing so I referred to structural models from Darmstadt.
The “typology of sounds” to which Lachenmann alludes stems from a careful
consideration of the way sounds are generated; for him, the physical production of the
musical material is as important as the sound that results. In the 1970s, he would refer to
his music as musique concrète instrumentale, in reference to the tape music of Pierre
Schaeffer and Pierre Henry (though he had not read Schaeffer’s Traité des objets
musicaux).5
In 1978, Lachenmann offered the following commentary on Gran Torso, essentially
defining what he means by musique concrète instrumentale:
Gran Torso, composed in 1971/72 and revised in 1978, belongs along

with Air, Kontrakadenz, Pression, and Klangschatten to a series of works
which seeks in its material conceptualisation to break away from the
conventions, in that, rather than from sound itself, it develops instead from
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4
This article, along with all of Lachenmann’s writings from 1966 to 1995, is available (in
German) in Musik als existentielle Erfahrung: Schriften 1966-1995. Wiesbaden:
Breitkopf & Härtel, 1996. An English translation of “Composing in The Shadow of
Darmstadt” was published in Contemporary Music Review 23.3-4 (2004): 43-53. Musik
als existentielle Erfahrung will be hereafter abbreviated as MaeE.
5
Kaltenecker, p. 35.
! 4!
the requirements, mechanical and energetic, of the creation of sound, and
derives from there structural and formal hierarchies. It is clear that such an
“attempted escape” cannot be said to “succeed”: the apparatus, the
predetermined means, the instruments of sound themselves as the
embodiment of convention, resist (the special performance techniques
represent only the tip of the iceberg of much deeper contradictions, where
the bourgeois artist may pull himself by his own hair from the grave.) But
behind such altercations, and within them at the same time, is a claim to
aesthetic import, an offering, if you will, of beauty, which cannot be
satisfied. Thus the piece is called “Torso”, because all the structural areas
touched on clearly contain the potential within themselves to develop
further. This possibility, which would explode any realistic limits for
actual concert performance (which is after all where it should have its
effect), is simultaneously reluctantly relinquished: thus Gran Torso.6
Such a preoccupation with the physical generation of sounds could lead a scholar to
analyze a Lachenmann work in terms of “embodied sound,” and such an analysis could
be insightful. However, my interest is in the purely sonic corollaries of Lachenmann’s
approach to composition, especially when considering families of sounds that seem
kinetically related despite divergent means of production (such as the percussive attack of
a note played pizzicato and the similar sonic characteristics of a string struck with the
wood of the bow). Ultimately, my analysis considers audio recordings of Gran Torso as
the object of study. I am less concerned with a listener’s ability to visually log the
physical gestures of a violinist making sounds and more interested in how the listener
associates sonic events that seem (aurally) to be striking, scraping, or bouncing.
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6
MaeE, p. 386.
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CHAPTER 2
2.1 Chapter summary
In this chapter, I present extant scholarship relevant to an analysis of Gran Torso.
I begin by presenting the concept of sound-types that Lachenmann originally outlined in
his 1966 article “Klangtypen der neuen Musik.” While the latter is not the inspiration for
the “sound families” that I introduce in Chapter 3, Lachenmann’s sound-types reveal a
similar interest in categorizing sound according to behavior and function, based on a
number of factors including amplitude envelope. Next, I present Lachenmann’s own
discussion of his second string quartet, Reigen seliger Geister, which he composed in
1988/89. Finally, I summarize and critique a thesis by musicologist Rossana Lara
Velázquez, which situates Gran Torso in a historical context and analyzes the work in
terms of gestures.
2.2 Lachenmann’s sound-types
The 1966 article “Sound-types in New Music” (“Klangtypen der neuen Musik”)7
is the opening work in the largely chronologically organized collection of Lachenmann’s
writings entitled Musik als existentielle Erfahrung. These sound-types – organized by
gradually increasing complexity – are not the inspiration for the “sound families” that I
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7
Ibid, p. 1.
! 6!
will develop in Chapter 3, but they reveal a similar interest in conceiving of sounds and
sound aggregates in terms of broad categories.
The first sound-type that Lachenmann describes is the “cadence-sound”
(Kadenzklang), which is distinguished by a rising and falling volume. He identifies a
number of subtypes based on the shape of the dynamic envelope. A sound may begin
with a sudden attack, followed by a natural (or orchestrationally enhanced) decay, or a
sound may display a dynamic swell, or a sound may start soft and grow louder. A
cadence-sound may appear in a single instrument or in an instrumental ensemble acting
as a meta-instrument. In every case, an essential condition of a cadence-sound is that its
duration is intrinsically determined. It cannot be arbitrarily extended to any duration,
unlike the next three sound types. Lachenmann distinguishes between “sound as process”
(Klang als Prozeß) and “sound as state” (Klang als Zustand). Because a cadence-sound is
defined by a certain dynamic shape – and the dynamic sound events that comprise this
shape – it is classified as a “sound as process.”
Lachenmann explains that a cadence sound is so named “because it has a
characteristic slope analogous to a tonal cadence.”8. Perhaps a bit like Schoenberg before
him, Lachenmann carefully frames his system as an extension of the tonal tradition,
rather than a radical break from it. The Lachenmannian concept of a cadence-sound,
however, should not be interpreted as literally analogous to a tonal cadence. A cadence-
sound does not represent the release of an accumulated tension. Instead, Lachenmann’s
examples of cadence-sounds suggest that almost any discretely articulated sound may fall
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8
Ibid, p. 3.
! 7!
into this category. An analysis that reads cadence sounds as having a quasi-tonal function
(such as the analysis in Section 2.4) risks taking the connection that Lachenmann ties to
the tonal tradition too literally. For example, given the requirement that a cadence-sound
have an attack-decay amplitude envelope, a performance of a Bach chorale at a uniform
volume level (with all consonants removed to avoid any variation in volume) would not
include a single cadence-sound, regardless of the number of tonal cadences present in the
chorale. Conversely, a piece for unpitched percussion may consist of nothing but
cadence-sounds, while never arriving at a tonal cadence.
The second sound-type is the “color-sound” (Farbklang), which is the first of
three “sounds as states.” Lachenmann defines this as a fundamentally static sound, such
as the slowly changing sustained harmonies in György Ligeti’s Atmosphères. As opposed
to a cadence-sound, a color-sound can exist for any conceivable duration, like a strip of
sound that can be cut to a desired length. A certain degree of inner activity – such as a
trill or tremolo – can be imbedded within a color-sound without perceptibly altering the
static nature of the sound.
When the inner activity of a globally static sound reaches a level of perceptual
salience that allows the listener to understand that a repeated process is taking place, the
sound falls into the third category of “fluctuation-sound” (Fluktuationsklang). Examples
include a chord scored for strings with tremolos in all parts (not just as an inner element,
but extending to the entire sound aggregate) and a passage of repeated arpeggios in a
piano piece. While a fluctuation-sound may be rhythmically active, such activity still
! 8!
exists as a repeated pattern within a sound-strip of arbitrary duration; thus a fluctuation-
sound is another example of a “sound as state.”
When the activity of a sound-state breaks from the predictable patterning of a
fluctuation-sound, it becomes a “texture-sound.” As an example, Lachenmann cites a
passage from Ligeti’s Apparitions, in which twelve violin parts proceed through exactly
the same series of pitches, but with different rhythmic values in each part. Though the
individual sounds may occur at unpredictable rates, the aggregate of sounds retains a
textural function that can be extended to any duration; Lachenmann argues therefore that
the result is still experienced as a “sound as state.” There are gray areas between
fluctuation-sounds and texture-sounds, depending on the degree to which the inner
activity of the sound is literally repetitive; this taxonomy of sound-types is more of a
spectrum than a collection of discrete categories.
After establishing a sonic spectrum of increasing complexity – carefully
distinguishing between sounds as processes and sounds as states – Lachenmann arrives at
the fifth and final sound-type: the “structure-sound” (Strukturklang). He describes this as
a perfect union between sound and form, in which each individual sound carries a formal
significance, and in which the form could not be articulated without each individual
sound. Given the indispensability of each sonic event, a structure-sound is another
example of a “sound as process” (like a cadence-sound), rather than a “sound as state”
(like a color-sound, fluctuation-sound, or texture-sound). However, unlike a cadence-
sound, a structure-sound operates on multiple levels of complexity, uniting a field of
individual sounds. (The first four sound-types can be understood as components of a
! 9!
structure-sound.) Lachenmann offers, as an example, measures 2-6 of Karlheinz
Stockhausen’s Gruppen; as further examples, he cites Pierre Boulez’s Structure Ia, as
well as the entire Wagner Ring cycle. The concept of structure-sound resists the precise
definition that Lachenmann gives for his other sound-types (though he attempts to define
it as precisely as possible). Furthermore, as each sound-type becomes progressively more
complex, the room for divergent listener reception expands; while Lachenmann
understands the Boulez example as a perfect structure-sound, other listeners may not hear
any structural logic in the work at all.
In my analysis, I will not employ any of these terms9. Instead, I will argue that the
form of Gran Torso is indeed articulated as a unity of local sonic events and global
structure. However, I will develop a separate taxonomy of sound families that can be
deployed analytically to understand how Lachenmann transforms sonic material and how
these transformations define the form of the work.
2.3 Lachenmann’s discussion of his second string quartet
Lachenmann himself has not offered any analysis – or anything approaching an
analysis – of Gran Torso. He has, however, published an “analysis” of his second string
quartet, Reigen seliger Geister, which discusses the background of the piece, some of the
instrumental techniques used (almost all of which appeared earlier in Gran Torso), and its
relationship to other works he has composed. For the most part, Lachenmann avoids
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9
Lachenmann himself does not invoke these sound-types as analytical categories when
discussing his own work.
! 10!
giving a detailed description of how the musical material in his second quartet is derived
and organized, thus offering a context for the work, but not an analytical system by which
to understand his music.
In the opening of “On My Second String Quartet (Reigen seliger Geister)”10,
Lachenmann confirms his commitment to carefully integrated, self-referential structures
(by which he sees himself extending a tradition that winds from Bach through
Beethoven):
To speak about a piece, for me, means to describe the concept of material
evidenced therein and to explicate the relationship in which it stands and
by which it defines itself. The transcendental aspect of the piece – that is,
its aesthetic and poetic force (Stringenz) – is not forgotten; its significance
comes through in all of the observations.11
This declaration supports the kind of comprehensive analytical framework that I will
develop in Chapters 3 and 5; however, Lachenmann subsequently offers few clues on
how such a system might be devised.
After providing a brief background that contextualizes Reigen seliger Geister
within his œuvre, Lachenmann dedicates almost half of his article to explaining
instrumental techniques and how they appear throughout the course of the work.
Elaborating on the terse instructions in the performance notes of the score, he describes
the sounds that result from these techniques, the connections between them, and how
certain sounds characterize particular sections of the piece, clarifying its form. A theorist
devising a system for analyzing music by Lachenmann (and other contemporary work
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10
Available (in German) in MaeE and published (in English translation by Evan
Johnson) in Contemporary Music Review 23.3-4 (2004): 59-79.
11
Ibid, p. 59.
! 11!
that reveals a similar preoccupation with sculpting sound directly, rejecting the
parameterized approach inherited from serialism) can extrapolate clues from
Lachenmann’s interest in fluid categories of sound:
Tone and noise were not opposites, but rather served as variants of broader
sound categories brought to the fore in ever-varying ways. (Witness, for
example, toneless string noise as the clear product of tremolo bowing,
transformed by extreme slowness, that shifts over the strings: here as a
means of the pianissimo articulation of silence, there as an impulse-variant
of pizzicato and other short attacks, as the product of vertical strikes of the
bow against the string, mediated with other, springing, thrown, wiping,
stroking forms of bow movement definable as characteristic noises, but
also as precise pitches in an appropriately different context.)12
Along with many other composers in the 1970s and 1980s, Lachenmann had already
begun – by the time he began Gran Torso in 1971 – to consider the range of sonic
possibilities from pure pitch (Ton, in German, and translated here as “tone”) to pure
noise. Alternately, a sound with a clear pitch can be called “harmonic” and a sound
without a pitch can be called “inharmonic”; in the following chapters I will refer to the
spectrum of sounds from pitch to noise in terms of “harmonicity.”
In this quote, Lachenmann also reveals an important detail about the “bodily
energetic” (körperlich-energitischen)13 aspect of his sonic conception. By associating
“vertical strikes of the bow against the string” with “pizzicato and other short attacks,” he
acknowledges that the literal means of production are not always as important – sonically
or formally – as the virtual means of production. Plucking a string may sound sufficiently
similar to striking it that the two methods can be grouped into a single category, as I will
discuss in Chapter 3.
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12
Ibid, p. 60.
13
Ibid. p. 59.
! 12!
The article continues with an uncharacteristically candid discussion of pitch and
rhythm in Reigen seliger Geister. As a perhaps slightly cheeky gesture, Lachenmann
includes in the score an equally illuminating and obfuscatory upper staff showing the
generative “row” of pitches and rhythms that he employed pre-compositionally. This is
not meant, however, as a key to understanding the relevant musical concerns that
Lachenmann discusses elsewhere. Instead, he writes:
(The pitches notated there, which owe themselves to easily traced 12-tone
permutations, exist simply for a possible verification of the generating
principle. Musically, they play no role.)
The sonic events placed in this ‘net’, however, become ‘unwieldy’
in the course of the piece. Their internal rhythmic structure rips out their
stitches as if from within.14
My analysis in the following chapters will focus on the kind of salient sonic
characteristics that Lachenmann considers musically relevant, as opposed to a simple
analysis of pitch and rhythm in Gran Torso.
2.4 An extant analysis of Gran Torso
The only substantial scholarly work dedicated solely to Gran Torso is a
musicological thesis by Rossana Lara Velázquez, completed in June 2011 and entitled
“Composition and Bourgeois Listening: Principles of Continuity and Rupture in Helmut
Lachenmann’s quartet Gran Torso.”15 Velázquez provides an excellent historical and
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14
Ibid, p. 70.
15
Velásquez, Rossana Lara. “Composición y escucha burguesa: principios de continuidad
y ruptura en el cuarteto Gran Torso de Helmut Lachenmann.” Master’s thesis,
Universidad Nacional Autónoma de México, 2011.
! 13!
philosophical context for Lachenmann’s work, but her analysis is less rigorously and
precisely engaged with the musical material itself. Because I consider her musicological
insights valuable, I will summarize her thesis at some length before critiquing her
analytical conclusions.
The first chapter of “Composition and Bourgeois Listening” traces the evolution
of the string quartet as a function of a changing musical climate in 19th-century Europe.
Velázquez first situates chamber music of the early 19th-century within a nascent middle
class audience, discussing economic factors that transformed modes of patronage and
promotion for composers of the time. With increased interaction among the aristocracy,
the nobility, and various levels of the bourgeoisie in Central Europe, the public concert
becomes an important space for granting new listeners access to new music (though Carl
Dahlhaus characterizes the sale of tickets to these events as a bourgeois transformation of
musical taste into a commodity16).
Velázquez then discusses the development of musical education in 19th-century
Europe and the role of connoisseurship in the cultivation of intellectually demanding
chamber music of the Romantic era. Concurrently – in response to industrial means of
producing affordable musical instruments – the burgeoning practice of making music at
home (Hausmusik) contributed to what A. B. Marx criticized as a superficial and
“decadent” musical environment.17 Velázquez argues that Felix Mendelssohn founded the
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16
Dahlhaus, “Absolute Musik”, in Europäische Musikgeschichte, 2002, pp. 680-681.
17
Marx, Die Musik des Neunzehnten Jahrhunderts und ihre Pflege. Methode der Musik,
1855, pp.132-133.
! 14!
Leipzig Conservatory of Music in 1843 in response to this “problem” and that the
conservatism of the institution played a role in the monumentalization of art from the past
in Germany during the second half of the 19th-century. Velázquez closes the first chapter
with a discussion of the conflicts and contradictions inherent in the practice of an
intellectually sophisticated “absolute” music (which exists independently of extra-
musical features) by composers – such as Lachenmann – whose populist political
philosophies can be at odds with the formally cultivated listening their music typically
demands.
In Chapter 2, Velázquez outlines four aesthetic categories relevant to a discussion
of Lachenmann’s music. The categories are drawn from Lachenmann’s writings –
including the sound-types discussed previously – and concern socio-historic
preconditions that determine the relationship between the listener and the sonic material.
The four categories are: tonality, corporeality, structure, and aura.
According to Lachenmann, tonality is overwhelmingly the most significant
precondition of listening in our culture. The concept of “tonality” – for Lachenmann –
includes not only the harmonic, melodic, and rhythmic language inherited historically,
but also the instrumental practices and system of notation that accompany this
language.18 Lachenmann’s aesthetic exists in a dialectical relationship with tonality; his
music simultaneously rejects the incorporation of tonal elements while accepting tonality
as the underlying precondition for hearing this music.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
18
Lachenmann, “Vier Grundbestimmungen des Musikhörens,” in MaeE.
! 15!
The second category that Velázquez discusses is the “corporeal” aspect of the
sound. She cites “Sound-types in New Music”19, Lachenmann’s landmark 1966 essay,
which I presented in Section 2.2.
Velázquez then discusses the third aesthetic category of “structure,” highlighting
Lachenmann’s concept of structural listening as derived from the unfolding of
connections between sonic events, perceptually expanding and contracting to establish
local and global relationships as a piece develops.20 Central to this aesthetic category is
also the concept of a unity between musical material and form; material is experienced as
structure when it reflects a deliberate intervention, transforming what is previously
established.
The final category – “aura” – entails every familiar association experienced in
response to a sound, invoking cultural, religious, historical, socio-economic, and
subconscious factors. For Lachenmann, the task of the composer is to disrupt the aura
surrounding a musical work (for example, a string quartet) to elicit an emancipatory
aesthetic experience.
To conclude her second chapter, Velázquez discusses Lachenmann’s use of the
term musique concrète instrumentale with respect to the sonic material of Gran Torso.
She discusses the instrumental techniques that Lachenmann employs, noting that his
notational system represents instructions for physically producing sound, rather than an
abstraction of the sonic result.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
19
Lachenmann, “Klangtypen der neuen Musik”, also available in MaeE.
20
Lachenmann, “Hören ist wehrlos – ohne hören,” in MaeE.
! 16!
After a discussion of modernism versus post-modernism with respect to
Lachenmann’s work, Chapter 3 is dedicated to presenting two string quartets that precede
Gran Torso. Velázquez first discusses Mauricio Kagel’s first quartet, composed in 1965.
With an awareness of the work within its performative context, Kagel – like Lachenmann
– transforms the conventional method of execution expected from a string quartet.
However, Lachenmann remains concerned with the timbral results of unconventional
actions, whereas Kagel is interested in situational results, including the relationships
among performers and between performers and listeners in the concert setting. Returning
to the discussion of modernism and post-modernism, Velázquez argues that Kagel seeks
to destabilize the concept of the musical “work” by avoiding hierarchical relationships
and facilitating an independence of components that seems to deny a preestablished
order.
Like Kagel, Michael von Biel – who was trained as a cellist and had thoroughly
explored the sonic possibilities of the instrument through extensive improvisation –
attended the Darmstadt Summer Courses in the 1960s. Von Biel composed his second
quartet in 1963-64 and performed the cello part in its scandalous 1964 premiere at
Darmstadt. Like Gran Torso, the notation of von Biel’s quartet does not represent the
sound that results from playing the instruments, but the manner in which they are played.
Many of the techniques in Gran Torso – such as bowing at oblique angles, heavy bow
pressure, and playing on the body of the instrument – appear in von Biel’s quartet.
Lachenmann himself recognized the significance of the work, stating in an interview
(after describing the sparse ending of Gran Torso):
! 17!
Of course there was also something fun about this aesthetic provocation.
But ten years before me, Michael von Biel wrote his Second String
Quartet, and I had nothing to add to this act from the standpoint of
violently breaking string quartet taboos other than to give it a logical
function in reference to itself.21
Velázquez argues that Lachenmann further develops the musical possibilities discovered
by von Biel; while the latter notates the actions of the performers as a starting point for
creating sounds that are ultimately controlled by them, the former hones this notational
strategy to specify not only the physical actions of the performers but the sounds that
result.
In the fourth and final chapter, Velázquez offers a hermeneutic interpretation of
Gran Torso, basing her reading of tonal references on the gestural theory of Robert S.
Hatten. While her analysis is intriguing, I believe the work can be understood in more
sonically salient terms.
As a music theorist, Hatten has written extensively on semiotic theories of
musical meaning, developing a framework for interpreting musical gesture in works from
the Baroque, Classical, and Romantic eras. In her analysis of Gran Torso, Velázquez
invokes four gestural functions described by Hatten: thematic, topical, tropological, and
rhetorical. To describe the “thematic” function of a musical gesture, Hatten writes:
A gesture becomes thematic when it is (a) foregrounded as significant,

thereby gaining identity as a potential thematic entity, and then when it is
(b) used consistently, typically as the subject of a musical discourse. In a
coherent musical discourse, the gesture may be varied without losing its
affiliation to the original from (its identity, perhaps generalized as a
schema), as long as the stages of its evolution are progressive (no huge
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
21
Lachenmann, “Fragen-Antworten,” in MaeE, p. 199.
! 18!
gaps in degree of development or variation) and temporally associable (no
huge gaps in time between instances of the gesture).22
However – as Velázquez notes – the thematic quality of a gesture as defined by Hatten is
not limited to pitch or rhythm, but may derive from apparently incidental features such as
articulation or dynamics, allowing Velázquez to apply this definition to Lachenmann’s
language.
Velázquez then discusses the “topical” function of a gesture and its “tropological”
treatment. Taken from rhetorical theory, the term “topic” is understood to mean an
established set of references and associations beyond a particular work, such as a minuet
appearing in a string quartet. Hatten writes:
Musical gestures may also be generalized as parts of higher-level

syntheses, such as topics, which may involve characteristic “rhythmic
gestures” (Allanbrook 1983). I interpret the characteristic rhythmic gesture
of dance and march types as creating alternate metric fields, with their
distinctive gravitational or vectoral properties.23
Recalling Lachenmann’s dialectical engagement with established conventions (evoking
in order to disrupt), Velázquez ties the topical function of a gesture to Hatten’s notion of
a musical “trope,” which entails the synthesis or collision of established, contrasting
gestures. In her ultimate analysis of Gran Torso, Velázquez invokes a tropological
reading of rhythmic gestures.
The fourth and final function that Velázquez cites is the “rhetorical” gesture,
about which Hatten writes:
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
22
Hatten, Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven,
Schubert, 2004, p. 135.
23
Ibid, p. 125.
! 19!
Gestures may encompass, and help express, rhetorical action, as in a
sudden reversal, a collapse, an interruption, or a denial of implication.
Rhetorical gestures disrupt or deflect the ongoing musical discourse,
contributing to a contrasting dramatic trajectory.24
In addition to these four gestural functions, Velázquez bases her analysis on three of
Lachenmann’s sound-types (discussed in Section 2.2): the cadence-sound (Kadenzklang),
color-sound (Farbklang), and fluctuation-sound (Fluktuationsklang). By invoking these
functions and sound-types, Velázquez assigns meaning to musical gestures, thereby
analyzing the material and form of Gran Torso.
The analysis begins with a list of six “thematic gestures,” based on instrumental
techniques: bowing with heavy pressure, arco flautato (a light, fast bowing, often on a
lightly touched “half-harmonic”), bowing at oblique angles, saltando and battuto
(bouncing and striking techniques, as a single category), arco balzando (a particular
bouncing technique, involving a strictly vertical motion in which the bow bounces from
its own weight), and pizzicato. While these techniques do appear in formally significant
ways in Gran Torso, this taxonomy ignores connections between sounds (such as the two
bouncing techniques) and fails to recognize the potential for fluid transformation from
one category of sound to another.
The analysis continues with six tables listing measures in which each thematic
gesture appears. Velázquez argues that each thematic gesture undergoes a process of
transformation, but this presupposes that a listener has already apprehended these
particular gestures as thematically significant; a listener could as easily identify a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
24
Ibid, p. 95.
! 20!
different set of sounds as “themes” and trace an entirely different interwoven strand of
developmental threads.
Velázquez then presents a series of formal diagrams, locating thematic variations
and assigning “cadencial,” “rhetorical,” and “tropological” functions to certain sounds.
She argues that sections generally end with a “cadencial” sound and often begin with a
“rhetorical” sound. My analysis of Gran Torso also accounts for the formal significance
of a shifting locus of sonic activity (overlapping with the concept of a “rhetorical” sound
as an interruption to a coherent musical discourse), but I identify sectional boundaries
based on broader changes that will be demonstrated in Chapter 5. In particular, the
beginning of each section is shown in Section 5.12 to have a distinctive thumbprint in the
graphs that result from a computer-based analysis.
Velázquez continues with a discussion of “topics” and their “tropological”
treatment, interpreting the meaning of certain rhythmic fragments. For example, she
analyzes the pizzicati (performed with the tension screw of the bow) in measures 39-52
as a tropological treatment of the sixth thematic gesture (the pizzicato). Velázquez
associates these rhythmic articulations with “prototypical fragments of military
gestures”25; the irregular distribution of impulses constitutes a “tropological” treatment of
this topic. While Lachenmann himself sometimes bases musical material on the radical
transformation of a familiar reference – such as a “quasi-Waltz” in measures 240-241 of
his second string quartet – I do not hear measures 39-52 of Gran Torso as a distorted
field of military references.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
25
Velázquez, p. 180.
! 21!
The analysis concludes with a list of “rhetorical” gestures, which are exceptional
moments that disrupt the musical discourse. Such exceptional sounds are identified
graphically by the analytical framework that I develop in the following chapters.
While Velázquez offers valuable insight into the historical context and
philosophical underpinnings of Gran Torso, her analysis relies on a hermeneutic
interpretation that represents only one possible way of hearing the work. Though
intriguing, this analysis is at times disconnected from fundamental aspects of the sound
(and the kinetic energy – real or implied – of their production). In the remaining chapters,
I seek to engage the sonic material of Gran Torso more directly, in order to develop an
analytical framework with applications beyond this particular piece.
! 22!
CHAPTER 3
3.1 Sound families in Gran Torso
This chapter presents an analysis of Gran Torso informed by a close reading of
the score. For the purposes of this analysis, I have divided the sounds of Gran Torso into
four families: “striking,” “bouncing,” “scraping,” and “sustaining.” These represent a
progression of amplitude envelopes that characterize sound events, organized by
percussiveness. A “striking” sound features a single percussive attack and a quick decay.
Figure 1 presents an idealized amplitude envelope alongside the waveform of a sample
“striking” sound: the synchronized muted Bartók pizzicati in both violins and the viola,
introducing the Coda in measure 273.
Fig. 1 - Envelope of a "striking" sound
A “bouncing” sound consists of multiple percussive impulses, which diminish in volume
with each reiteration. Figure 2 depicts both an idealized amplitude envelope for this
sound family and the waveform of the first violin in measure 143, which performs a
! 23!
legno saltando double-stop. Note that the waveform in Figure 2 resembles a series of
“striking” shapes similar to Figure 1, but each amplitude spike is softer than the previous.
Fig. 2 - Envelope of a "bouncing" sound
A “scraping” sound features quickly rearticulated impulses without a generally
diminishing volume. The perforated quality of applying heavy bow pressure to a string
falls in this category, but a simple tremolo also fits this amplitude envelope, which is
represented by Figure 3. The waveform corresponds to beats 3 and 4 of measure 65,
during which the first violin is applying heavy bow pressure over the fingerboard and the
other three members of the quartet are bowing heavily on the tailpiece. Note that the
waveform undulates quickly – as do all sound waves – but also displays distinct broader
peaks, similar to the waveform in Figure 2, but at a uniform dynamic level.
Fig. 3 - Envelope of a "scraping" sound
! 24!
Finally, a “sustaining” sound features little or no amplitude variation. For example, it
may be represented by a sudden attack and dynamic plateau, a smoothly rising and falling
envelope, or a gradual attack and tapered release. Figure 4 represents some of the
possible envelopes in this sound family, as well as the waveform26 of the whistling cello
at the downbeat of measure 155. Note that the waveform of any sound will oscillate
between higher and lower values, but a “sustaining” sound is generally characterized by
consistent or gradually changing peak values (compared to the vacillating peaks in Figure
3, corresponding to the “scraping” quality of the sound).
Fig. 4 - Envelope of a "sustaining" sound
Gray areas exist between these categories, which can be observed in analyzing how
sounds move from one family to another. A gesture may, for example, begin with several
percussive attacks that diminish in volume before settling on a stable dynamic level; the
beginning of the sound would be classified as “bouncing,” but the quickly rearticulated
impulses that follow at a consistently soft dynamic would move toward the “scraping”
family. The analyses in this chapter will track such movements graphically; an added
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
26
This waveform and the waveforms in Figures 1, 2, and 3 are normalized to show the
amplitude envelope in greater detail. The original waveform is vertically narrower.
! 25!
advantage to this graphical approach is that it allows a sound from one category that has
characteristics of an adjacent category to be plotted accordingly along the x-axis of the
plane (without necessitating additional sound-family labels).
I have plotted the various instrumental techniques that Lachenmann uses on a
two-dimensional graph, where the x-axis represents envelope (and corresponding sound
family) and the y-axis represents spectral content, ranging from noise to pitch.27 Sorting
sounds according to essential sonic properties shifts the analytic focus from their physical
and mechanical means of production to the way a listener actually hears them (especially
if only listening to a recording) and represents more accurately how Lachenmann uses
musical material. This method is not without a few surprising and counterintuitive results.
For example, an arco battuto is in the same sound family as both a harmonic pizzicato
and the technique of hitting the wood of the fingerboard with the tension-screw of a bow,
since all three display similar envelopes: a sudden attack and a quick decay. While it may
seem strange to say that a note played pizzicato belongs to the “striking” family of
sounds, it is important to remember that, for Lachenmann, it is irrelevant that playing a
note pizzicato involves plucking a string, not striking it; the sound that results –
especially from certain muted pizzicati – is similar enough to the sound of striking a
piece of wood that both can be used in the same context for comparable compositional
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
27
In this chapter, aspects of spectral content (i.e., noise versus pitch) are estimated and
idealized. Many of these techniques are prone to slightly unpredictable results and
divergent interpretations; the same technique may find a very noisy interpretation with
one quartet and a more clearly pitched interpretation from another. Chapter 5 will
compare recordings from four ensembles and will examine the results of computer-based
spectral analysis, which generally coincide with the analyses of this chapter.
! 26!
ends.28 Figure 5 shows an approximate placement for most of the instrumental techniques
used in Gran Torso.
Fig. 5 - Taxonomy of instrumental techniques
3.2 An overview of the form
The form of Gran Torso does not divide neatly into sections, but instead relies on
foreshadowing and echoing material across formal boundaries. Still, I have analyzed the
form according to the predominant sound family heard in a section, revealing a loosely
mirrored construction. After a short Introduction, which foreshadows all of the material
in the piece, section A begins at measure 16 and consists of rapid movement throughout
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
28
This conclusion can be gleaned from Lachenmann’s discussion of his second string
quartet in Section 2.3.
! 27!
the chart in Figure 5. Section B begins at measure 59 and consists primarily of scraping
sounds. Section C begins at measure 72 and features a range of sustained sounds. Section
D begins at measure 133 and consists mostly of bouncing sounds. Section D’ features a
different set of instrumental techniques to achieve bouncing sounds, but is closely tied to
section D. Section B’, beginning at measure 188, recalls the scraping sounds of section B.
Section E features striking sounds, and closes with a Coda that – in the same manner that
section A follows from the Introduction – seems to unfold organically from section E.
In this chapter, I analyze the score of Gran Torso by plotting instruments on the
two-dimensional graph from Figure 5, selecting one representative passage from each
section to discuss in detail. As is the case with all score-based analysis to some extent, the
analytical result represents an idealized object of study. The analyses of Chapter 5 will
reveal the importance of comparing multiple interpretations of this work. Additionally,
the analyses in this chapter will not account for overall dynamics or registral locations,
instead focusing on the two dimensions of the sound can be displayed in these graphs; the
computer-generated graphs in Chapter 5 will depict dynamics and register.
3.3 The Introduction (measures 1 – 15)
After reading through four pages of prefatory notes explaining what Lachenmann
means by his highly complex graphical notation, it may be surprising to find almost all of
these instrumental techniques on the first page alone. The function of the Introduction –
which extends from the beginning to measure 16 – seems to be to introduce us to the
! 28!
range of sounds we will encounter in Gran Torso. In fact, examples of all four sound
families are found in measures 5 and 6.
While the largely continuous nature of Gran Torso precludes conventional
analysis of phrase-level formal divisions, many short passages follow a phrase-like arc,
such as the series of events in measures 5 – 7.29 Revolving around an active succession of
sounds in the second violin, this “phrase” will be analyzed in a series graphs based on the
taxonomy of techniques presented in Figure 5.
In every analysis in this chapter, the first violin will be labeled with a “1” and a
solid arrow, tracing the movement of the first violin through the range of sounds
presented in Gran Torso. Likewise, the second violin will be labeled with a “2” and a
dashed arrow, the viola with a “V” and a dotted arrow, and the cello with a “C” and a
series of inverted carets, as shown in Figure 6.
Fig. 6 - Graphical conventions for distinguishing instruments
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
29
Note that the single measure of 1/4 that opens the piece is not an anacrusis;
Lachenmann indicates that this is measure 1 and the following measure of 4/4 counts as
measure 2.
! 29!
Measure 5 (Example 1) begins with a duo of soft, ethereal sounds sustained in the
viola and cello, which carry over from measure 4. The flautato bowing of a half-harmonic
in the viola has a clear (but veiled) pitch, which is situated in Figure 7 as a “sustaining”
sound on the x-axis and a mostly harmonic sound on the y-axis; because the viola does
not move to a different sound family or change its degree of harmonicity, the “V” that
represents it is not accompanied by an arrow. Adding a whispery shadow to the viola, the
cello bows directly on the bridge, producing no pitch. The soft, continuous noise is
positioned in Figure 7 directly below the viola. On beat 3, the second violin joins the
viola and cello with an arco balzando gesture that begins with a single “striking” sound
that immediately transforms into a gentle “bouncing” on the same pitch. The clarity of
the pitch diminishes slightly as the bow bounces, but the sustained bowing that continues
the phrase reestablishes a clear pitch. Figure 7 traces the second violin from “striking” to
“sustaining” sounds; note that no “scraping” sounds are present in this progression, as
indicated by the dashed arrow skipping directly from the “bouncing” sound family to the
“sustaining” column in Figure 7.
! 30!
Ex. 1 - Measures 5-7
(c) 1972 by Musikverlage Hans Gerig, Köln,

1980 assigned to Breitkopf & Härtel, Wiesbaden
! 31!
Fig. 7 - Analysis of measure 5
The viola is tacet in measure 6, replaced by the cello performing a flautato half-
harmonic over the fingerboard. The first violin joins briefly, interrupting the texture with
a short grinding sound played on the back of the instrument; the distinctly perforated
quality of this event places it in the “scraping” category, while the total absence of pitch
situates the first violin at the bottom of Figure 8. The most active voice remains the
second violin, which performs a wide vibrato on a low A-flat before adding an open D-
string above it. The change in bow position toward the bridge and back to the fingerboard
accentuates higher partials in this harmonic sound, but does not introduce noise.
However, the increasing pressure at the end of the phrase accounts for the slight shift
toward to the lower left corner of Figure 8.
! 32!
In measure 7 – the final measure of this phrase – the viola remains tacet and the
cello extends the swell that began in measure 6, while the first violin performs two
additional grinding sounds on the back of the instrument. The second violin, however,
continues to exert heavier bow pressure on both the G- and D-strings; in conjunction with
a crescendo to ffff, this concludes the gesture begun in measure 6, resulting in a
“scraping” sound with a similarly noisy and perforated quality as the (completely
different) technique in the first violin.
! 33!
Each of the single-measure analyses in Figures 7, 8, and 9 represents a “snapshot”
of motion within this phrase. Viewing the three graphs in sequence, the relatively static
quality of the first violin, viola, and cello becomes apparent. Conversely, the active
quality of the second violin is evinced by its movement around the entire graph,
combining sounds from each family and ranging from clear pitches to loudly asserted
noise. This balance of sonic variety in which the four sound families are represented
equally when considering the entire ensemble characterizes both the Introduction and
Section A, which follows it.
! 34!
3.4 Section A (measures 16 – 58)
I have marked measure 16 as the beginning of Section A (though it is clearly, in
some ways, an extension of the introduction) because it follows a 10-second rest (an
unusually long period of silence in this work). Section A incorporates sounds from each
of the four families, giving no particular prominence to any one. After a number of
scraping sounds produced by heavy bow pressure in the violins and viola and a piercing
whistle in the cello (which has a relatively square envelope and belongs among the
“sustaining” sounds), Lachenmann continues in measure 20 with a bouncing arco
saltando in the first violin and a series of chime-like harmonic pizzicati played with the
fingernail in measure 21. The latter belong to the category of “striking” sounds. The
subsequent section continues with a similar mixture of sounds with varying envelopes
and spectral content. Grinding sounds in the violins at measure 54 foreshadow the
scraping sounds of section B.
Measures 53 – 58 (Example 2) constitute a noteworthy phrase-like unit that closes
the section, providing an example of the varied sonic palette that characterizes both the
Introduction and Section A. I have analyzed this phrase in three graphs. Figure 10 depicts
a snapshot of measure 53, during which the oblique legno bowing in the viola and the
more clearly pitched flautato bowing in the cello are carried over from the previous
measure. Note that a similar texture appeared in Figure 7, with the viola and cello now
trading techniques and positions in Figure 10. While the whispery flautato in the cello
remains constant in measure 53, its noisier companion in the viola is interrupted once by
a left-hand pizzicato, reflected in the Figure 10 with an arrow shooting to the upper-left
! 35!
corner of the graph and returning. The event that initiates this phrase is a pizzicato fluido
in the second violin (accomplished with a left-hand pizzicato on an open D-string,
followed by pressing the tension screw of the bow against the same string to change the
pitch of the resonance). The first violin enters after the second with an arco balzando,
providing an example of a third sound family in measure 53.

! 36!
In the following measure, the viola and cello sustain the same techniques as in
measure 53 and occupy the same positions in Figure 11. However, the “bouncing” arco
balzando in the first violin transforms into a “scraping” sound as the bow is drawn with
increasing pressure. The second violin plays an additional pizzicato fluido on the
downbeat of measure 54 before joining the first violin with a louder and more forceful
version of the same technique, as reflected in Figure 11 with two arrows converging on a
position that will define the sound of Section B.
! 37!
The third and final snapshot of Section A combines four relatively inactive
measures into one graph. The second violin – having joined the first in measure 54 – is
tacet for the last four measures of the section. Gaps of silence punctuate the gentle
rattling in the first violin, which fades to niente in the penultimate measure of the section
and occupies a static position in Figure 12. The equally static legno flautato bowing in the
viola continues until the fifth beat of measure 58. The most active voice at the end of this
phrase is the cello, which swoops softly from an ethereal C7 to a more clearly pitched
harmonic on Eb2.
! 38!
Fig. 12 - Analysis of measures 55-58
The phrase that closes Section A, which can be examined more globally by
considering Figures 10, 11, and 12 in sequence, has a similar profile to the phrase
analyzed from the Introduction (in Figures 7, 8, and 9). In each case, the viola and cello
provide a veil of predominantly “sustaining” sounds, within which the violins interweave
a lively texture of sounds from the other three families. The sonically dynamic quality of
the Introduction and Section A is reflected in each phrase, as it traverses the entire
analytic plane in Figures 7-12.
3.5 Section B (measures 59 – 71): “Scraping”
I have marked the beginning of Section B at measure 59 because it follows
another (though more brief) pause. The material in measures 59 – 60 is clearly derived
from Section A, and sounds little like the predominant material of Section B, but the
! 39!
echoing of material from Section A at the beginning of Section B is the complement to
foreshadowing Section B material in the conclusion of Section A. Lachenmann himself
seems to be communicating such an intention by writing “quasi ‘Echo’” for the cellist in
measure 60. In measure 61 we hear a tremolo in the first violin that turns gradually into
the scraping sound of heavy bow pressure in measure 64. The grinding passage that
ensues from measures 64 – 71 is one of two metrically regular passages in Gran Torso,
and, aside from characterizing Section B as a predominantly “scraping” section, provides
a complement to a later passage in Section B’.
Figure 12 demonstrated how a longer passage of less active material may be
compressed into a single graph. Similarly, Figure 13 represents an entire phrase, from the
downbeat of measure 64 to the third beat of 68 (Example 3). Though the music is
rhythmically energetic and timbrally rich, the vocabulary of sounds is more restricted
than most of the Introduction and Section A.
All four instruments begin with similarly noisy sounds from the “scraping”
family30; these appear in Figure 13 in the same position targeted by the violins in the final
phrase of the previous section (shown by the converging arrows in Figure 11). The first
violin remains in the same position for the entire phrase. However, a fff sixteenth-note
triplet – a kind of written out tremolo – in the second violin interrupts the texture in
measure 66; the sustained double stop that follows is released on the downbeat of the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
30
The viola at the downbeat of measure 64 is releasing a fff sustained gesture, which
elides with the phrase under consideration but, belonging to the previous phrase, is
omitted from the analysis.
! 40!
next measure, after which the second violin joins the first in a measure of “saw-like”31
grinding. Figure 13 depicts this as a triangular route away from and returning to the
nucleus of activity in Section B.32 The cello follows the second violin with a tremolo
beginning just before measure 67, shown as parallel arrows in Figure 13. After
interjecting short bursts of “scraping” sounds, the viola concludes the phrase with a single
fingernail pizzicato on a natural harmonic, one of only two events that falls outside the
“scraping” column in Figure 13easure The concentration of activity at the bottom of the
graph will also reappear in the Chapter 5 analysis of Section B.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
31
“quasi ‘Säge’ ”
32
While the four sound families often remain distinct, certain gestures occupy gray areas
between them. A “scraping” sound is defined by quickly repeated impulses, but if these
impulses are repeated so quickly that they cannot be distinguished from each other, the
sound would move into the “sustaining” family. Likewise, if these impulses are
sufficiently slowed down, each may be heard as a “striking” event. For this reason, a
tremolo is plotted in the “scraping” column of Figure 13, but to the left of the grinding
sounds that dominate Section B.
! 41!

! 42!
3.6 Section C (measures 72 – 133): “Sustaining”
Though Section B is quite short, Section C extends from measure 72 to measure
133. The airy texture – first produced by oblique bowing in the violins and viola and
replaced gradually by toneless (or nearly toneless) flautato bowing on the tailpieces of the
viola and cello – is briefly interrupted with skittering tremolos in measure 107. However,
the barely audible viola plays a single sustained sound form measure 103 until measure
134, where – after foreshadowing gestures of bouncing in the first violin in measure 122
and measure 134 – we hear an arco balzando in the second violin.
Characterized by “sustaining” sounds, Section C is also the most static section of
Gran Torso. Figure 14 summarizes the entire passage from measure 81 through measure
! 43!
10633, which includes only two sound families, heavily emphasizing “sustaining” sounds.
Both violins perform soft oblique bowing with occasional saltandi, represented by arrows
pointing toward the “bouncing” column of Figure 14 and returning to their origins. The
cello is tacet until measure 97, when it joins the violins with an ethereal pppp flautato on
the tailpiece, remaining constant until measure 105. For nearly the entire passage, the
viola performs flautato bowing on half-harmonics; in dialogue with the violins, the viola
occasionally interjects saltando gestures, shown in Figure 14 with parallel reciprocal
arrows. At measure 104 – and for the remainder of the passage – the viola joins the cello
by bowing on the tailpiece, indicated in Figure 14 by an arrow connecting the viola with
the breathy sounds in the violins and cello. The prolonged emphasis on the noisy
“sustaining” sounds that are plotted in the lower right corner of the graph will reappear in
Chapter 5; positioned centrally, Section C anchors Gran Torso, providing a sonically
stable texture that is visible in even my most global analyses of the quartet.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
33
This excludes the “scraping” sound in the cello that begins in measure 80 and fades
away at the beginning of this passage. Such crossfaded passages are common through the
piece.
! 44!
3.7 Section D (measures 134 – 156): “Bouncing”
In measure 134, the second violin performs an arco balzando – a pitchless muted
technique, which calls for the performer to bounce the bow on the string as many times as
possible – introducing section D, the first of two “bouncing” sections. The texture does
not change dramatically at this moment, as occasional bouncing gestures have appeared
through much of Section C, but at this point the cello ceases the legno flautato on the
tailpiece that began in measure 130; this marks the first moment since the beginning of
Section C in measure 72 that there has not been a “sustaining” sound in at least one voice.
Echoes of the breathy, continuous textures of Section C continue in the viola, but are
layered below all manner of bouncing gestures (e.g., the second violin in measure 137 –
138) and are punctuated by bouncing saltando interruptions in the viola itself (e.g.,
! 45!
measure 142). Lachenmann calls for a special “saltando perpetuo” beginning in measure
145, asking the first violinist to produce an uninterrupted stream of bounces.
Requiring a strictly vertical bow motion, the saltando perpetuo lasts four measures
– from measure 145 to 148 (Example 4) – and results in a crisp, wooden bouncing sound,
situating the first violin at the bottom of the “bouncing” column in Figure 15. The second
violin joins in measure 146 with a double-stop arco balzando; initially the strings are
unmuted and the first several bounces are clearly pitched, but the muting of the strings at
the tail of the gesture results in a sound as inharmonic as the first violin. The viola
initiates an arco balzando gesture concurrently with the first violin, transitioning to a soft
sweeping motion in measure 146. The “balzando quasi perpetuo” in the following
measure reconnects the viola and first violin, completing the motion from “bouncing” to
“sustaining” and back in Figure 15. Tacet until measure 147, the cello enters with a
saltando gesture on the front surface of the bridge (a noisy “bouncing” sound in the same
category as the first violin and viola), followed by an expanded balzando that begins with
a single “striking” sound and transforms into a soft continuous gesture, echoing the viola
in the previous measure. Figure 15 traces the cello with arrows moving toward the
“striking” column, returning to the “bouncing” locus of activity, and finally into the
“sustaining” column (parallel to the viola).
! 46!
! !
! 47!
Though Section D emphasizes the arco balzando technique and analyses of most
passages from this section would revolve around the same position in the graph, the
section closes with a remarkably dynamic passage that will be discussed again in Chapter
5. The closing phrase – in measures 154 – 155 (Example 5) – features a number of
bouncing and striking gestures, as well as piercing sounds from the “sustaining” family.
The second violin begins with an arco saltando that transforms into a moderately loud
whistling sound played with a flautato bow; this is graphed in Figure 16 with an arrow
from the “bouncing” column to the “sustaining” column. The second violin follows with
a quick and more clearly pitched glissando, represented by an upward arrow. Finally, it
concludes with a legno battuto and a final legno saltando (which foreshadows Section
D’), completing a triangular route that returns to the “bouncing” portion of Figure 16.
The cello begins with a single striking sound on the right slit of the bridge, turning into a
bouncing gesture and ending with a fff shrieking sound displayed in Figure 16 as a long
arrow swooping to the upper-right corner of the graph. The first violin simply adds two
striking sounds – a fingernail pizzicato and a legno battuto – while the viola contributes a
muted bouncing gesture in measure 155, positioned in Figure 16 at the lower “bouncing”
position that characterizes Section D.
! 48!

! 49!
3.8 Section D’ (measures 157 – 187): “Bouncing”
A full measure of rest separates Section D (measures 134 – 156) from Section D’
(measures 157 – 187). Though these two “bouncing” sections are adjacent, I have not
labeled measures 134 – 187 as a single, larger Section D because – aside from the
remarkable measure of silence that interrupts the texture between them – each section
emphasizes a different palette of “bouncing” techniques. Whereas Section D emphasizes
the arco balzando technique that results in mostly pitchless brittle bouncing sounds,
Section D’ is dominated by legno saltandi, producing bright, more clearly pitched
bounces. After establishing a texture of legno saltandi punctuated by occasional legno
battuti, a shocking interruption in the second violin in measure 161 – a grinding noise
played with extreme bow pressure on the tailpiece – both echoes the scraping sounds of
Section B and foreshadows the complementary passages in Section B’.
This exceptional moment in the middle of a phrase-like unit in measures 160 –
162 appears as a departure from the center of activity in Figure 17. After a pair of legno
battuti on the downbeat of measure 160 – which sound like single impulses excised from
a saltando gesture and belong in the “striking” family – the second violin follows with an
overlapping pair of legno saltandi before interjecting the ff scraping sound in measure
161, closing with a return to a legno saltando marked “dolce” in measure 162. The viola
also begins with a legno battuto in measure 160 and continues with legno saltandi in the
next measure. Both the first violin and cello perform only the legno saltando technique in
this phrase, situated as a “bouncing” sound at a higher, more clearly pitched level from
the analogous sounds represented in Figure 15; the position of the first violin and cello in
! 50!
Figure 17 – toward which most arrows point – identifies the nucleus of activity
throughout Section D’.

! 51!
3.9 Section B’ (measures 188 – 259): “Scraping”
With a clear emphasis on “scraping” sounds beginning in the viola in measure
188, Section B’ is a complement to Section B, but echoes the latter most audibly in the
metrically regular grinding from measures 237 to 245 and the subsequent pulsing “wa-
wa” effect achieved by muting and unmuting all four instruments in measures 253 – 257.
These two sections stand out as the only moments where a clear rhythmic pulse is heard
and identify the outer sections (the introduction/section A, which precedes section B, and
the coda/section E, which succeeds section B’) as complementary.
Instead of rearticulating sounds produced with heavy bow pressure (as in Section
B), Section B’ focuses on the squeaky perforated quality of applying heavy pressure
while varying the point of contact between the bow and string, resulting in faintly
! 52!
discernible pitches that sweep up and down. In measure 224, the cello leads with the bow
held in both hands and pressing firmly against the second string while moving up the
fingerboard. Though the bow position changes, the technique remains the same through
the passage plotted in Figure 18; the cello is situated statically in a position within the
“scraping” column that is slightly higher than the region of emphasis in Section B (shown
in Figure 13). The viola enters just after the cello with a similar technique, departing for a
single fingernail pizzicato in the following measure, then returning to a “scraping”
technique in dialogue with the cello. The single “striking” event in the viola is indicated
with an arrow pointing to the left and another returning to the zone of emphasis in Figure
18. The first violin begins with a fingernail pizzicato (positioned in the “striking” column
where the viola points) and immediately follows with a heavy bow pressure technique
that has been established in the viola and cello. From measure 225 to measure 233, the
first violin continues with this “scraping” sound; a very clearly pitched arco harmonic
concludes the passage in measures 235 – 236, represented by an arrow pointing to the
upper-right corner of Figure 18. The second violin enters last, joining a texture of sliding,
scraping sounds before interjecting a fff muted double-stop pizzicato in measure 234.
Finally, in measure 236, the second violin joins the first with an arco swell from pp to fff
corresponding to an arrow across Figure 18 that points to the same harmonic position in
the “sustaining” column as the first violin.
! 53!
3.10 Section E (measures 260 – 272): “Striking”
A sudden strike – a synchronized trio of muted Bartók pizzicati in the violins and
viola – marks the anacrusis to measure 260 as the beginning of Section E, which is
dominated by “striking” sounds. Foreshadowed by fingernail pizzicati in the second
violin in measure 257, the crushed attacks in measures 260 – 272 are themselves echoes
of the scraping sounds of the previous section. However, each of these attacks has only
one articulation – a sudden percussive attack with a quick decay – and despite recalling
the longer grinding sounds of section B’ (and section B) belongs in the family of
“striking” sounds. (The “striking” quality of the sounds in Section E will be confirmed by
the analyses in Chapter 5.) In the same manner as Section A serves an introductory
! 54!
function by foreshadowing all the sonic elements in Gran Torso, Section E functions as
an echo that gradually dissipates.
The entire section – which lasts only 13 measures – can be summarized in a single
graph. Figure 19 displays the dry, cracking noises of abrupt, heavy bowing in the bottom-
left corner of the coordinate plane; while the two violins play a pair of muted Bartók
pizzicati on the downbeat of measure 267, the result is an equally inharmonic “striking”
sound that belongs in the same position of Figure 19. The only performer to change
positions in Figure 19 is the cellist, who is instructed to drag two fingernails along the
second and third strings (expressively). This action is represented by an arrow across the
bottom of Figure 19.
Fig. 19 - Analysis of Section E (measures 260-272)
! 55!
3.11 Coda (measures 273 – 280): “Striking”
A brief coda begins in measure 273, consisting entirely of muted Bartók pizzicati.
Section E and the Coda have a complementary relationship to the Introduction and
Section A; whereas the latter is an extension of an introduction, Section E is the
introduction to a conclusion. The coda echoes a section that is, itself, an echo.
Like Section E, all eight measures of the Coda can be summarized in a single
graph. The region of emphasis in Figure 20 is identical to Figure 19, and both violins and
viola are equally static. Again, the cello shifts positions at the end of the section, this time
with a clearly pitched harmonic pizzicato. The upward arrow in Figure 20 represents the
final event in Gran Torso.
Fig. 20 - Analysis of the Coda (measures 273-280)
! 56!
CHAPTER 4
4.1 Overview
In this chapter, I introduce examples of computer-aided musical analysis that
precede my work and the software that I use in Chapter 5. I first discuss Robert Cogan’s
New Images of Musical Sound, an early use of spectral analysis to better understand a
wide variety of music. I then discuss the work of Tae Hong Park, a composer and
programmer who has developed a system for analyzing electro-acoustic music using
similar technologies to my analysis of Gran Torso. Finally, I present the software
application MEAPsoft, explaining how I use it in the following chapter.
4.2 Robert Cogan’s New Images of Musical Sound
A pioneering work in the field of computer-aided musical analysis is Robert
Cogan’s New Images of Musical Sound. Published in 1984, this study employed recently
developed technologies to display spectrograms of musical examples, from short excerpts
lasting only a few seconds to entire pieces lasting over ten minutes. As I demonstrate in
Chapter 5, Cogan argues that these visual representations of sound reveal insights that
may not be immediately recognized by the ear alone. Ultimately, Cogan arrives at a
“phonological theory” that seeks to reduce timbral features of a (sound recording of a)
musical work to a collection of binary oppositions that can be further reduced to a single
analytical dimension, a degree of reductionism I will not echo in the following chapters.
! 57!
Building on work developed by Dale Teaney and Charles Potter at the Watson
Research Center of IBM, Cogan photographed spectrograms of sound recordings from
1980-81 in the Sonic Analysis Laboratory at New England Conservatory. 34 As he
explains in the introduction to New Images of Musical Sound, a single musical sound
comprises many simultaneous frequencies, which can be displayed graphically by a
spectrogram. Cogan presents two kinds of spectrograms. The first displays frequency on
the y-axis and time on the x-axis, resulting in a striated image of harmonic sounds (i.e.,
those with a clear pitch, whose component frequencies are evenly spaced) or a more
diffuse image of inharmonic (or “noisy”) sounds; this approach allows sounds of any
arbitrary duration to be analyzed in a single graph. The other kind of spectrogram –
which Cogan refers to as a “detail” image – displays sound analyzed in a single narrow
window of time, representing amplitude on the y-axis and frequency on the x-axis. This
reveals a more detailed analysis of relative amplitude among the component frequencies
(or “partials”), but cannot represent transformations of sound over time. In a “detail”
spectrogram, a harmonic sound displays as evenly spaced “spikes” of higher amplitudes,
while a noisy sound appears relatively “flat.”
Cogan presents spectrum photos of seventeen musical works, including Gregorian
chant, Tibetan chant, a recording by Billie Holiday, Balinese gamelan, electronic music,
and instrumental and vocal music from the 18th- through 20th-centuries of the Western
tradition. For each work, he offers an interpretation of the spectrograms, directing the
reader toward particular features that may not seem immediately significant, but which
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
34
Cogan, p. v.
! 58!
offer insights into the musical work or recording. Beyond identifying analytical facets of
each work, Cogan discusses the properties of vocal and instrumental sounds as revealed
by the spectrograms. A comparison of two recordings of Beethoven’s Piano Sonata in E,
Opus 109, for example, shows the differences between the sound of a modern piano and a
fortepiano from the early 19th-century (an instrument similar to what Beethoven would
have had).35
A particularly insightful spectrum photo accompanies an analysis of Jean-Claude
Risset’s tape piece, “Fall,” from the play Little Boy.36 Risset used an auditory illusion
known as “Shepard’s tones” to simulate an infinitely descending sound. In fact, this
technique involves a “barber pole” effect of fading in higher partials while fading out
lower partials; the result sounds like a single sound falling continuously. The spectrum
photo shows how the upper partials emerge imperceptibly, resulting in overlapping
stripes that point downward but never descend beyond a certain frequency. Here, the
technology employed in the analysis reveals characteristics of the sound in a way that is
not immediately perceptible to the ear alone, a featured shared with the analytical
framework I develop in Chapter 5.
In the final section of New Images of Musical Sound, Cogan seeks to establish an
analytical system that traces the development of “tone color” as a single quantifiable
dimension of a musical work. He defines thirteen binary oppositions, each of which can
have a “positive,” “neutral,” or “negative” value, facilitating a tally of features that can be
reduced to a single number (potentially positive or negative), loosely correlated with

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
35
Ibid, p. 49.
36
Ibid, p. 108.
! 59!
intensity of tone color. The binary oppositions include features such as grave/acute
(whether the spectral activity is concentrated in a high or low register), centered/extreme
(whether the sound is concentrated in the center register or extended to extreme regions),
and compact/diffuse (whether the sound has clear harmonic striations or more widely
spread bands of noise). I will not seek to develop a similarly reductionist analytical model
in Chapter 5. Instead, I will employ audio segmentation and feature extraction –
technologies that were not available to Cogan in 1984 – to quantify similar features and
present the analytical results alongside the spectrogram from which they were derived.
By juxtaposing the kind of sonic information explicated in New Images of Musical Sound
with more recently available representations of sonic features, I hope to present a more
complete picture of Gran Torso within the context of an analytical framework applicable
to many other works.
4.3 An analytical system for electro-acoustic music
Tae Hong Park has worked on – and continues to develop – computer-based
systems for analyzing sound. Beginning with his Master’s thesis, “Salient Feature
Extraction of Musical Instrument Signals,” Park has used audio feature extraction
technologies (similar to what I will employ in Chapter 5) to develop software that can be
used for musical instrument recognition and electro-acoustic music analysis, especially
suited for fixed media (i.e., “tape”) pieces, but applicable to other work as well. Seeking
analytical solutions for music that exists without a score and often prioritizes timbre over
! 60!
traditional parameters of analysis (such as pitch, rhythm, and “harmony”37), Park finds
particularly insightful methods for analyzing electro-acoustic music. Chapter 5 will
reveal, however, the special challenges of using similar techniques for instrumental
music, which is subject to extensive variation in interpretation and recording conditions.
In “Salient Feature Extraction of Music Instrument Signals,” Park presents a
collection of audio feature extraction routines, toward the goal of developing software for
musical instrument recognition. Audio feature extraction (an important facet of my
analysis in Chapter 5) is the process of using algorithmic methods to quantitatively
determine perceptually salient qualities of a sound. An audio feature extraction routine
may, for example, determine the pitch of a sound or its degree of harmonicity. Such
technology – perhaps in conjunction with a machine-learning system – could be
employed to recognize musical instruments based on their distinctive timbral qualities.
More recently, Park has extended this work (in a slightly different direction) with
the EASY (Electro-Acoustic muSic analYsis) Toolbox.38 This project – under continuous
development – aims to provide an analytical system for better understanding electro-
acoustic music, accessible through a graphical user interface to users with a range of
technical ability. In “EASY Does It: The Electro-Acoustic muSic analYsis Toolbox,”
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
37
With the advent of technologies for conceptualizing sound as a “complex
phenomenon,” a single note can be understood as an infinitely variable collection of
harmonic and/or inharmonic frequency components (Murail 2005). This understanding of
“harmony” can apply even to monophonic instrumental sounds, but my use of “harmony”
here refers to the traditional analysis of chords as vertical organizations of notes.
38
Park, Tae Hong, Zhiye Li, and Wen Wu. "EASY Does It: The Electro-Acoustic MuSic
AnalYsis Toolbox." 10th International Society for Music Information Retrieval
Conference, n.d. Web. 05 Nov. 2013. <http://ismir2009.ismir.net/proceedings/PS4-
20.pdf>.
! 61!
Park presents analyses of two fixed media compositions – Riverrun (by Barry Truax) and
his own Machine Stops – to demonstrate the capabilities of this system. Combining
feature extraction with audio segmentation, EASY divides a given audio file into short
chunks and situates each chunk within a three-dimensional “timbregram,” which
simultaneously examines three timbral parameters as they develop over time.
Neighboring chunks within the timbregram are assigned to color-coded clusters and the
corresponding chunks can be viewed in the order in which they appear, revealing
formally significant timbral features of the work. A section may, for example, include a
preponderance of chunks from one corner of the timbregram; if chunks from this cluster
display as yellow in the timbregram, the section dominated by these chunks will display
as predominantly yellow when viewing a color-coded waveform of the piece. My
analysis of Gran Torso will present similar information, but I will maintain the
independence of each extracted feature in order to isolate spurious results that stem from
artifacts of the recording environment.
4.4 Other implementations of—and uses for—audio segmentation and feature extraction
Over the last decade, many software applications have employed audio
segmentation and feature extraction for a wide variety of purposes. A detailed description
of the mathematical and technical underpinnings of one of the most widely used
platforms can be found in Tristan Jehan’s PhD thesis, “Creating Music by Listening.”
Though Jehan’s original project “aims to computationally model the process of creating
! 62!
music using experience from listening to examples39,” the solution he develops has far-
reaching applications, including sophisticated audio analysis.
Jehan’s software application (named “Skeleton”) begins by analyzing an audio
signal (for example, a five-minute popular song) and segmenting it into short chunks (on
the order of 60-300 milliseconds), which often correspond to individual notes (in music
that divides neatly into notes). The problem of formulating an algorithm to identify
appropriate boundaries for segmentation is not trivial. Jehan’s solution considers abrupt
increases in volume or changes in pitch or timbre as potentially indicating the onset of a
new event. Because the end of each segment is necessarily the onset of the next, the
algorithm seeks internally stable chunks; for example, analytical results that suggest a
pitch change in the middle of a chunk imply that perhaps an additional segmentation
should have taken place. Such self-correcting behavior constitutes the machine
“listening” to which Jehan alludes in his title.
The examples found in “Creating Music by Listening” are drawn mostly from
jazz and popular music, presuming the likelihood of hierarchical metrical structures. The
software itself is built to presuppose that audio segments can be grouped into beats and
longer rhythmic units. This is an important feature for beat detection and many of the
current applications of this technology. The rhythmic structure of Lachenmann’s music
is, of course, less hierarchically organized, which will influence how I adjust the
parameters of the software I use in my analysis of Gran Torso.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
39
Jehan, p. 3.
! 63!
Once an audio signal has been segmented, the salient features of each segment
can be examined for analysis and recomposition. Segments can be rearranged according
to any parameter of analysis or distributed randomly. Given a tightly quantized input,
such as a track of electronic dance music, a random scrambling of segments will likely
retain an identical tempo, despite an otherwise musically disjunct result. Segments may
also, for example, be reordered according to increasing loudness, so that softer segments
are heard first and the recomposed work is one long crescendo. Once the audio
segmentation and feature extraction is performed, the recompositional possibilities are
only limited by the imagination of the user.40
Stemming from similar technologies, MEAPsoft is a software application
developed primarily by Douglas Repetto and Dan Ellis. Like Skeleton, MEAPsoft
employs audio segmentation and feature extraction toward the goal of resynthesizing a
rearrangement of segments into a new composition. I do not use MEAPsoft as its creators
intended. Instead, I use its graphical representation of feature extraction results to show
salient timbral qualities of audio recordings. MEAPsoft allows the user to adjust two
parameters of the segmentation process: sensitivity and density. A more sensitive
segmentation is more likely to consider a potential onset event as grounds for a new
audio chunk. The algorithm, however, will avoid clustering many very short segments
together unless the user selects a high density of segmentation. If the goal is to segment a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
40
As it turns out, massive information retrieval systems are in high demand, and Skeleton
has developed into a music intelligence platform (“The Echo Nest”) that powers many
popular streaming music services, such as Spotify and iHeartRadio. According to
echonest.com, “The Echo Nest powers all of today’s best music experiences by
automatically knowing everything about music.”
! 64!
sound file according to metrical beats (perhaps in order to rearrange the placement of
beats within a measure), the sensitivity and density should generally not be set at their
maximum levels, as this would likely fragment beats internally. However, my goal is not
to use MEAPsoft for recomposition, so I have set both parameters to return the maximum
number of segments, resulting in a more detailed and dynamic representation of timbral
evolution within Gran Torso.
I focus on two feature extraction routines: average frequency and average spectral
flatness. By juxtaposing these features with a spectrogram and the waveform of each
recording, the analytical approach in Chapter 5 complements the analysis in Chapter 3,
sometimes providing a different way of representing similar information and sometimes
displaying information unique to one approach. The analysis of average frequency in
Chapter 5 tracks a global contour, gradually rising and falling by section. While local
events in the score may be understood as relatively high or low, the graphical
representation of average frequency as provided by MEAPsoft displays much deeper
connections between broad contour and the form of the work, especially as the scope of
analysis widens at the end of the chapter.
Spectral flatness is correlated with harmonicity, providing a link between the two-
dimensional analytical plots of Chapter 3 and the graphical analyses of Chapter 5. A high
degree of spectral flatness indicates a less harmonic sound, while a “spikier” spectrum
tends to correspond to a more harmonic sound. These allusions to the shape of a spectrum
refer to a representation of sound with frequency on the x-axis and amplitude on the y-
! 65!
axis. Figure 21 shows such a spectrogram of a harmonic sound (a band-limited 32-partial
sawtooth wave):
Fig. 21 - A "spiky" waveform
Frequencies from 20-10,000 Hz are shown on the x-axis, while each “spike” represents
the higher amplitude of each harmonic partial. Conversely, the energy of a noisy
waveform is more evenly distributed, resulting in a flatter spectrogram. Figure 22 shows
a spectrogram (with the same parameters as Figure 21) of a very noisy sound (a recording
of a waterfall):
Fig. 22 - A "flat" waveform
Because there are no harmonic partials in this sound, its spectrogram appears flatter,
indicating a lower degree of harmonicity. In the following chapter, clearly pitched events
– such as a natural harmonic pizzicato – will display as events with low spectral flatness
while noisier sounds – such as a flautato gesture on the tailpiece of an instrument – will
yield high results for spectral flatness.
! 66!
CHAPTER 5
5.1 Overview
This chapter presents a detailed analysis of Gran Torso in the context of a
complete analytical system. I use the software application MEAPsoft to display sonic
properties of five recordings of the work, and I demonstrate how this method can be
applied to short musical fragments, entire sections, and the whole piece. As the analysis
telescopes to more global levels, broader formal features become visible.
I include in this chapter analyses of recordings by the Arditti, Berner, and Stadler
Quartets, as well as two recordings by the JACK Quartet. The latter were recorded on the
same instruments, but several years apart and with different strings. Differences in the
analytical results of separate recordings can be attributed to recording conditions and
interpretative divergences; the two recordings by the JACK Quartet function as a control,
demonstrating how two largely similar interpretations can still present slightly different
analyses.
5.2 A synthetic example
Figure 2341 provides an orienting example of the graphic analyses that will be
used throughout this chapter. I synthesized a nine-second audio file comprising 16 half-
second impulses followed by one second of silence. The 16 “notes” crossfade between a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
41
These figures rely on color to distinguish audio features. A full-color version of this
document is available at: www.ryancarter.org/documents/dissertation.pdf
! 67!
pure sine tone descending from E7 to C2 and a burst of white noise (i.e., the first “note”
is a half-second sine tone on E7 and the final “note” is a half-second of white noise).
As will be the case with all the examples in this chapter, the top strip of Figure 23
represents the average frequency of the corresponding audio segment. Though the sine
tone constantly decreases in amplitude, it still anchors the average frequency for each
segment (displayed in the uppermost row). The descending frequency displays as a
progression from dark red (a very high value) to dark blue (a very low value); notice, too,
that the progression from red to blue moves through various shades of orange, yellow,
and green, corresponding to intermediary values. Note the correlation of the full range of
audio frequencies that can be represented42 and the correlating color gradients; because
most musical sounds have a fundamental frequency in the lowest tier of representable
frequencies, the average frequency of most analyses in this chapter displays as a shade of
blue. Additionally, a segment with no identifiable average frequency displays as a “0”
(represented in dark blue). Consequently, the average frequency of a very noisy segment
and a silent segment are represented identically; the transition from noise to silence at the
end of Figure 23 is not apparent in the top row.
The second row of Figure 23 represents spectral flatness. A very “spiky”
spectrum (such as a sine tone) has a maximally low value while flatter (noisier) spectra
have higher values. This continuum of low to high noise content displays as a progression
from blue to red. Note that total silence has a perfectly flat spectrum, resulting in
identical analyses whether a chunk is very noisy or completely silent.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
42
All of the audio files analyzed have a sample rate of 44,100 Hz, which can represent
frequencies as high as 22,050 Hz.
! 68!
The third horizontal slice of Figure 23 is a spectrogram of the corresponding
segment. The small blue tick marks at the top and bottom of this graph show where
MEAPsoft has segmented the recording. The horizontal red line represents the
descending sine tone while the darkening and evenly distributed red of latter chunks
represents increasingly prominent white noise. Unlike the analyses for average frequency
and spectral flatness, the spectrogram in the third row clearly distinguishes between loud
noise and silence.
Finally, the fourth strip of Figure 23 is simply the waveform of the corresponding
recording. This is not segmented or processed by MEAPsoft in any way. The waveform
also clearly displays silence and can be used to distinguish productive feature extractions
(such as the low average frequencies and noisy spectra of the last several “notes”) from
spurious results (such as the same analytical results for silence). The waveform can also
be used to locate analogous musical events that occur at different times in different
recordings.
Fig. 23 - Analysis of a synthesized example
! 69!
5.3 An analysis of a short passage
Figure 24 presents an analysis of measures 154 – 155, previously discussed in
section 3.7. This analysis confirms that the dynamic tracing of sound families in Chapter
3 – gleaned from a taxonomy of instrumental techniques and an aural understanding of
“striking,” “bouncing,” “scraping,” and “sustaining” sounds – correlates with the vivid
graphs that MEAPsoft generates. Figure 24 can be viewed as an alternative representation
to Figure 16, with certain advantages and disadvantages.
The most distinctive feature in these two measures is the dry bouncing gesture in
the cello – beginning as a single striking sound – which transforms into a shrieking
whistle. In the analytical methodology of Chapter 3, this same sound was graphed as a
swooping gesture from the lower left corner to the upper right corner of Figure 16. In
Figure 24, the climax of this event can be located roughly in the center of each graph. In
the first graph (representing the recording of the Arditti Quartet and marked “A”), the
dramatic swelling of the waveform and red streak in the spectrogram correspond to this
event. Above the spectrogram, the graph of spectral flatness shows a progression from
orange to dark blue, analogous to the upward movement in Figure 16. Above the graph of
spectral flatness, the analysis of average frequency shows how this gesture jumps out of
the surrounding pitch space; while the two dimensions traced in Figure 16 can represent a
general sense of harmonicity (analogous to spectral flatness in Figure 24) and sound
family based on amplitude envelopes (which can sometimes be gleaned from the
waveforms and spectrograms in this chapter), a broad sense of pitch space is not
represented in Chapter 3.
! 70!
Just below the graph of the Arditti recording, the analysis of the Berner Quartet
(marked “B”) displays the same cello gesture in almost exactly the same position.
Though the cellist in the Berner Quartet plays these measures more softly than the Arditti
cellist, resulting in only a modest bump to the waveform, the feature extraction yields a
similarly smooth transition in spectral flatness from orange to dark blue coupled with a
high average frequency. Note that the waveform depicts both channels of this stereo
recording, but the analyses of average frequency and spectral flatness, as well as the
spectrogram, each represent a summation of both channels; in some cases, an event is
more prominent in one channel than the other, so I have included waveforms for both
throughout the chapter.
Below the graph of the Berner Quartet, the analysis of the Stadler Quartet
(marked “S”) depicts a cellist’s slightly less bold interpretation of measures 154 – 155.
Occurring a bit later than the same event in the previous two graphs, the climax of this
gesture is softer and lower than any other interpretation, as evinced by the long yellow
strip in the analysis of average frequency. Still, the analysis of spectral flatness shows a
shift from yellow to light blue similar to previous examples.
The fourth and fifth graphs in Figure 24 (marked “J1” and “J2”) depict analyses
of two recordings made by the JACK Quartet. 43 Scanning the spectrograms and
waveforms for these graphs reveals a difference in timing between the recordings. The
downbeat of measure 155, which is concurrent with the climax of the cello gesture,
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
43
These two recordings were generously provided to me by the JACK Quartet to be used
exclusively for these analyses. Neither has been released commercially (yet) and as
unrecoverable works they are not listed among the references at the end of this
dissertation.
! 71!
arrives at almost exactly the same time in the first JACK recording as in the Stadler
recording; however, the same moment occurs earlier in the second JACK recording. Such
differences in timing are inevitable in a work of this complexity and will be present
through the analyses in this chapter. This temporal shift aside, the two analyses present
very similar results. The dark red portion of the top strip in each graph reveals how the
cellist of the JACK Quartet achieves a remarkably high-pitched whistle at the downbeat
of measure 155. The shades of blue in the analysis of spectral flatness match similar
results in the analyses of the other quartets.
Surrounding the peak of this passage in the cello, the two JACK recordings
display a similar progression of events. Each graph of average frequency is
predominantly dark blue with interruptions of light blue and green, corresponding to
higher material in the second violin; these events appear in the same order in each graph,
though they arrive earlier in the second recording. Similarly, the graphs of spectral
flatness follow nearly identical (though differently timed) patterns until the end of the
passage, where the first JACK recording displays as mostly yellow or orange and the
second is predominantly red. This can be attributed to different recording conditions and
the prominent use of silence in the last two beats of measure 155, as I discuss in the next
section.
! 72!

! 73!
A:
B:
S:
J1:
J2:
! 74!
Analyses like Figure 24 could be made of any short passage in Gran Torso, but
the methodology of this chapter is less suited for detailed investigations of individual
phrases. The system developed in Chapter 3 for graphing the trajectory of each part as a
snapshot of activity within the quartet reveals interactions that are obfuscated by the
flattening effect of feature extraction; each colored chunk of Figure 24 can only represent
the average features of the whole ensemble during the corresponding audio segment.
However, whereas the graphs in Chapter 3 can only represent short musical fragments,
the graphs of this chapter can be scaled to depict much longer portions of the work,
revealing broader connections than could be seen in Chapter 3.
For the rest of this chapter, I present graphs of each of the sections first outlined
in Section 3.2. My formal analysis of Gran Torso is not derived from these analyses
conducted with MEAPsoft; rather, the latter confirm that the division of the work into
sections as presented in Chapter 3 can be understood in terms of broadly salient sonic
properties.
5.4 An analysis of the Introduction
The Introduction of Gran Torso (from measures 1 – 15) concisely presents nearly
all the instrumental techniques that will be used throughout the quartet. There is no
emphasis on a particular sound family, as can be seen in the variety of colors and patterns
in Figure 25. In a strict sense, the classification of sounds as “striking,” “bouncing,”
“scraping,” or “sustaining” refers only to amplitude envelope and not harmonicity. While
MEAPsoft considers changes in amplitude when determining the boundaries of an audio
! 75!
segment, the feature extraction routines that generate the colored graphs of average
frequency and spectral flatness reveal nothing about amplitude envelope within a single
audio segment and should fail to distinguish a “striking” sound from a “sustaining”
sound. In practice, however, Lachenmann tends to prefer certain degrees (or ranges) of
harmonicity with certain sound families and he tends to use some combinations
sparingly. For example, a “sustaining” sound with a very clear pitch constitutes a
relatively conventional musical sound; a preponderance of these sounds would encourage
a listener to consider pitch relationships as a primary organizing principle. Instead,
Lachenmann uses these sounds in isolation, displaying as occasional blue strips in the
graph of spectral flatness. Conversely, Lachenmann seems particularly fond of
“sustaining” sounds with only a hint of pitch (such as those achieved by bowing at
oblique angles or with a half-harmonic flautato), resulting in swaths of yellow-orange
gradients. A side-by-side comparison of spectrograms and normalized waveforms will be
presented at the conclusion of this chapter, following an examination of the features
extracted from each section.
Figure 25 demonstrates that no type of sound dominates the Introduction,
resulting in a variety of colors in the graphs of average frequency and spectral flatness, as
well as a variety of envelopes in the spectrograms and waveforms. A prominent musical
gesture arrives in measure 6 with a crunching sound in the first violin, followed by
hollow sustained sounds in the cello and second violin; the latter exerts increasing bow
pressure to gradually produce a scraping sound. This can be located in each recording by
observing the first large red swell in each spectrogram. The short vertical burst of red
! 76!
preceding this event (marked above each graph with a black tick mark) corresponds to the
first violin in measure 6. Note that as the analyses in this chapter treat larger units of
musical material, individual events become less prominent, but are often still visible.
Below each black tick mark in Figure 25, the thin strip of red in each graph of spectral
flatness indicates the noisy crunching in the first violin, while the longer swath of yellow-
green and light blue that follows this event corresponds to ethereal wide vibrato in the
second violin and cello.
A tacet measure, marked with a 10-second fermata, concludes the Introduction.
As shown in Figure 23, complete silence should display as dark blue in the graph of
average frequency, dark red in the analysis of spectral flatness, and dark blue in the
spectrogram. However, even in a professional studio recording there will always be some
ambient noise. The quality of the room tone in each recording analyzed in this chapter is
surprisingly distinctive. Though the 10 seconds of silence in the Arditti recording (which
can be located by examining the rightmost portion of the waveform) exhibits an average
frequency characterized by a dark blue, the gentle hiss in the background is harmonic
enough to appear as light orange in the analysis of spectral flatness. Silence in the Berner
recording is distinguished by a room tone that contains a very faint, high buzz. The dark
red quality in the graph of average frequency will reappear throughout this chapter. Both
the Stadler recording and the second JACK recording have only minimal ambient noise;
silence in these recordings includes a dark blue average frequency and a bright red
spectral flatness (as opposed to the dark red spectral flatness that would display in a truly
! 77!
silent recording). Finally, the room tone of the first JACK recording is distinctly pitched
enough that the analysis of spectral flatness appears as a light green-blue.
If considering only the portions of the five analyses in Figure 25 that correspond
to measures 1 – 14, similar patterns are visible in the feature extraction graphs,
spectrograms, and waveforms. However, comparing the graphs of average frequency and
spectral flatness for only the last ten seconds of each recording exhibits seemingly
unrelated results. This is, of course, an extra-musical aspect of the analysis and should be
noted whenever an excerpted section contains prominent silence.
! 78!
Fig. 25 - Analysis of the Introduction
A:
|
B:
|
S:
|
J1:
|
J2:
! 79!
5.5 An analysis of Section A
As an extension of the Introduction, Section A (measures 16 – 58) encompasses a
similarly even distribution of instrumental techniques and sound families, as
demonstrated by the similar variety of colors and patterns in Figure 26. Each sound
family is represented by at least one prominent example, labeled with numbers and tick
marks above each graph. (In each case, the event aligns with the tick mark, not the
number.)
The first event corresponds to the sustained chord in measure 24. Natural
harmonics in the second violin, viola, and cello swell to a fff, though the scordatura
tuning of the instruments prevents the open-fifth harmony that Lachenmann carefully
avoids throughout the quartet. This is the longest uninterrupted “sustaining” sound in
Section A and – owing to its clear pitch – displays as a distinct blue strip in the spectral
flatness analysis of each quartet’s interpretation.
A “striking” sound is labeled next, corresponding to the left-hand pizzicato in the
second violin on the downbeat of measure 34. A brief event with a slightly less clear
pitch than the chord in measure 24, this appears in most of the graphs of spectral flatness
as a thin light green strip between wider orange chunks, representing the whispery
oblique and flautato bowing in the viola and cello. In the Arditti interpretation, the cellist
performs the flautato gesture in the preceding measure with a clearer pitch than in any
other recording, resulting in a faint blue just before measure 34, in contrast to the orange
in every other graph.
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The third labeled event is a pair of “bouncing” gestures in measure 43. These
legno saltandi in the first and second violins appear as light orange or yellow strips in
each analysis of spectral flatness.
Finally, the fourth labeled event – a perforated swell in the second violin in
measure 54 – foreshadows the emphasis on “scraping” sounds that will characterize
Section B. Exhibiting (in most interpretations) a higher average frequency and noisier
spectrum than surrounding material, this event can also be distinguished in each
spectrogram by its inclusion of higher frequencies. The softest and least grinding
interpretation of this gesture belongs to the Berner Quartet; this displays as a thinner and
lighter strip in the graph of spectral flatness and – overshadowed by other instruments
sounding concurrently – no change in average frequency. However, the Stadler
interpretation is particularly forceful, as well as slightly protracted relative to other
interpretations, as evinced by a dark orange chunk in the corresponding graph of spectral
flatness and a bright pop of high-frequency content in the spectrogram.
! 81!
Fig. 26 - Analysis of Section A
1| 2| 3| 4|
A:
1| 2| 3| 4|
B:
1| 2| 3| 4|
S:
1| 2| 3| 4|
J1:
1| 2| 3| 4|
J2:
! 82!
5.6 An analysis of Section B
Figure 27 vividly portrays the “scraping” quality of Section B (measures 59 – 71).
A cursory comparison of Figures 26 and 27 shows how sonically distinct Sections A and
B are from each other. After a pair of transitional measures recalling Section A (marked
calmissimo in the viola and quasi “Echo” in the cello, represented by gentle blues and
greens in each spectrogram), short bursts of heavy bow pressure at the tailpieces of the
second violin, viola, and cello assert the techniques that will dominate the section. Joined
in measure 64 by the first violin exerting heavy pressure on the string near the end of the
fingerboard, the remainder of Section B comprises almost exclusively “scraping” sounds.
Though the analysis of each quartet in Figure 27 is distinct from the same quartet
in Figure 26 and internally consistent during the portion of Section B that is characterized
by “scraping” sounds, surprising inconsistencies appear in a comparison of the five
recordings below, highlighting the importance of comparing multiple interpretations
when using the analytical framework developed in this chapter to examine acoustic
music.
The graphs of spectral flatness for the Arditti, Berner, and first JACK recordings
are characterized by shades of bright red, indicating the noisy quality of the heavy bow
pressure techniques used in Section B. Additionally, each analysis of average frequency
shows an emphasis on higher frequencies during the noisiest portion of Figure 27. This
feature can vary widely from one recording to another, as a result of differences in
recording practices, instrument construction, and musical interpretation. However, each
interpretation is internally consistent; the lighter shades of blue in the analysis of the
! 83!
Berner Quartet and the yellowish greens in the Stadler recording both represent higher
average frequencies complementing noisier spectra.
The analytical results for spectral flatness in the Stadler and second JACK
recordings are surprising. All five recordings sound generally similar during this passage,
but a critical listening reveals that the members of the Stadler Quartet achieve a
squeaking sound when interpreting the instrumental techniques of Section B. The
corresponding analysis of spectral flatness displays as shades of blue, reflecting the more
clearly pitched result of this interpretation.
A comparison of the two recordings by the JACK Quartet also reveals surprising
analyses of spectral flatness. The shades of red in the first JACK recording match similar
results from the Arditti and Berner quartets, but the shades of orange in the second JACK
recording imply a less noisy interpretation of Section B. The difference in this case can
be attributed to recording conditions, however, and not a change in interpretation. The
first recording of the JACK Quartet was produced in a smaller rehearsal space at
Westdeutscher Rundfunk (West German Broadcasting), a German public-broadcasting
institution. The second JACK recording was produced in a performance hall with
adjustable acoustics at EMPAC (the Experimental Media and Performing Arts Center at
Rensselaer Polytechnic Institute)44. As a result, the second recording is more resonant and
the reverberation itself has a slightly more harmonic character, while the first recording
has a drier quality.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
44
(John Richards, personal communication, August 18, 2013)
! 84!
A careful examination of the spectrograms in Figure 27 supports the conclusions
of the feature extraction, but not as clearly as the analysis of spectral flatness. The
spectrograms of both the Stadler and second JACK recordings are slightly more striated
than the other graphs. In particular, the Stadler spectrogram displays a midrange
frequency band of emphasis. Striated spectrograms like these tend to represented more
harmonic sounds. However, a precise understanding of the sonic quality of each
recording is more clearly achieved by considering each dimension of the analysis in
Figure 27, which also emphasizes the importance of comparing more than one recording
of a piece to control for differences in interpretation and recording conditions.
! 85!
Fig. 27 - Analysis of Section B
A:
B:
S:
J1:
J2:
! 86!
5.6 An analysis of Section C
Stretching from measure 72 to measure 132, Section C constitutes the longest
formal division of the piece, consisting mostly of “sustaining” sounds, with a preference
for a variety of pitchless techniques, including bowing at oblique angles or directly on the
tailpiece. As in Section B, this section begins by gradually introducing its dominant
sound family. After a number of tremolo gestures in the cello, like softened echoes
recalling the perforated quality of the previous passage, the violins and viola settle on a
combination of oblique bowing and flautato half-harmonics, producing a whispery veil
from which clear pitches only occasionally emerge. The greenish yellows and light
greens in the analysis of spectral flatness, coupled with lighter shades of blue in the graph
of average frequency, identify these moments in the first half of Figure 28. A gradual
shift toward darker blues and oranges corresponds to the entrance of the cello (in measure
97) bowing directly on the tailpiece while the viola – now bowing on the “wrong” side of
the bridge – moves closer to the tailpiece. By measure 104, both the viola and cello are
playing directly on the tailpiece, instructed with such markings as “toneless”45 and “on
tailpiece, bow intensely (but avoid “droning” sounds)”46. Sparse bouncing and striking
gestures conclude Section C, foreshadowing Section D and displaying as lighter shades in
the graphs of spectral flatness at the end of Figure 28.
In a comparison of Figures 25-28, a more global sense of formal relationships in
the first half of Gran Torso now emerges. Both the Introduction and Section A explore a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
45
“tonlos”
46
“auf Saitenhalter intensive streichen (aber “Brummtöne” vermeiden)”
! 87!
wide sampling of instrumental techniques and sound families, visible not only in the
variety of colors in the corresponding feature extractions and envelopes in the
spectrograms and waveforms of Figures 25 and 26, but also in the similarly colorful
impression when viewing them side-by-side. The bright reds of Figure 27 attest to
Lachenmann’s preference for employing particularly noisy sounds from the “scraping”
family, while the range of orange hues and deep blues in Figure 28 shows that
Lachenmann develops a colorful palette of techniques from the “sustaining” sound
family, while avoiding a preponderance of clear pitches. Sounds from the “bouncing” and
“striking” families are treated with more flexibility and the analyses of the second half of
the piece will be less clearly dominated by particular colors. Bouncing sounds, for
example, may range from the nearly wooden sound of a balzando (achieved by dropping
the bow on the string vertically and allowing it to bounce dryly) to the clear pitch of an
arco saltando. Perhaps owing to their short duration, “striking” sounds appear without
much correlation to harmonicity and will be easier to identify from a characteristically
percussive amplitude envelope and spectral decay in the corresponding waveforms and
spectrograms than from graphs of average frequency or spectral flatness.
! 88!
Fig. 28 - Analysis of Section C
A:
B:
S:
J1:
J2:
! 89!
5.7 An analysis of Section D
Section D begins with a now familiar pattern of gradually introducing a sound
family that will characterize subsequent passages; however, the “bouncing” sounds that
characterize this section are more loosely correlated with harmonicity than the “scraping”
and “sustaining” sounds of Sections B and C. The frequent inclusions of silence and very
soft sounds in the first half of Section D display in most of the graphs of Figure 29 as red
chunks in the analysis of spectral flatness and blue swaths in the corresponding
spectrograms. The room tone of each recording also influences how silence appears in
Figure 29; the dark red stripes in the average frequency of the Berner recording and the
lighter shades of yellow and blue in the spectral flatness of the first JACK recording stem
from recording conditions and not the music itself.
To illustrate how a particularly bouncy passage displays in the analysis, measures
139-140 (example 1 in Figure 29) are marked between two black tick marks above each
graph. Here the cello performs a bouncing gesture on the left side of the bridge,
beginning at the middle of the bow and moving toward the tip; the resultant sound
becomes slightly more harmonic, exhibited by shades of blue in each analysis of spectral
flatness immediately to the right of each tick mark. This is followed by a nearly silent
brushing against the side of the viola, represented by a yellow or orange strip in the graph
of spectral flatness. Finally, the cello appends a series of bounces against the left side of
the bridge, still closer to the tip of the bow, and the second violin plays a crisp legno
saltando. This displays in most graphs as a thin strip of light green or blue in the analysis
of spectral flatness; however, the Arditti interpretation of this final gesture is particularly
! 90!
forceful and the noisy attack results in a light orange segment of spectral flatness. Though
the feature extraction on this example does not bear a characteristic signature – such as
the “scraping” and “sustaining” sounds of previous sections – the waveform has a
“bouncing” quality, which is difficult to distinguish in Figure 29 because of the quiet
dynamic.
Nearly continuous bouncing sounds begin in measure 145, frequently producing a
faint pitch corresponding to the shades of yellow in the analyses of spectral flatness
during the second half of the section. Still, many of these bouncing gestures begin with a
relatively clear pitch and become noisier or vice versa, resulting in yellows fading into
light blues and oranges. This texture is prominently interrupted by the viola in measures
150 – 151. At the conclusion of an arco balzando on a natural harmonic (for which
Lachenmann writes “even normally stopped pitches should only be heard as a dull, dry
bouncing noise”47), the violist bows the same harmonic normally, at first softly, but
swelling to a fff. This appears shortly before the second marked example in Figure 29 as a
greenish yellow darkening to a deep blue (in the analysis of spectral flatness) and a
relatively high average frequency (in the context of this passage).
Example 2 in Figure 29 (demarcated by two tick marks near the right edge of each
graph) corresponds to measures 154 – 155, the passage that was examined more closely
in Figure 24. Many of the salient details that were visible in Figure 24 have disappeared
as the analysis covers a wider scope; however, the relationship of this short passage to
Section D becomes clearer as a result. The whistling quality of these measures stands in
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
47
“Bei arco balzando (legno balzando kommt nicht vor) soll selbst bei fest gegriffener
Tonhöhe nur ein dumpfes, trockenes Aufschlaggeräusch zu hören sein.”
! 91!
contrast to the preceding material, displaying as the highest average frequencies in Figure
29. Even in the analysis of the Berner recording, which tends to display lower average
frequencies than the other analyses (aside from the spurious dark red stripes, as an artifact
of the recording process), this example corresponds to the lightest shades of blue in
Section D. While many details are lost when viewing this passage in a wider context,
some prominent features are still visible. In particular, the dark red chunks in the analysis
of average frequency that indicated (in Figure 24) the exceptionally high-pitched whistle
achieved by the cellist of the JACK Quartet can be seen as thin stripes of dark red in
example 2 of Figure 29.
! 92!
Fig. 29 - Analysis of Section D
| 1 | | 2 |
A:
| 1 | | 2 |
B:
| 1 | | 2 |
S:
| 1 | | 2 |
J1:
| 1 | | 2 |
J2:
! 93!
5.8 An analysis of Section D’
Following a measure of silence, Section D’ (from measures 157 – 187)
complements Section D by further developing the legno saltando technique. Whereas
Section D included a variety of “bouncing” sounds, including arco balzando, arco
saltando, and legno saltando, Section D’ focuses almost exclusively on tossing the wood
of the bow against the strings. Like Section D, Section D’ alternates between frequent
silence and crisply articulated flourishes of sound. This prominent use of silence should
be considered when viewing Figure 30; differences between analyses are often the result
of recording conditions. In particular, recall from Figure 25 that silence in the Berner
recording is characterized by dark red features in the graph of average frequency. The
two recordings by the JACK Quartet also point to concentrations of silent moments
(especially in the middle of the section); in each analysis of spectral flatness, a red chunk
in the second JACK recording that matches a light bluish green in the first represents the
ambient sounds of silence during a rest in the score.
Between silences, the sounds of measures 157 – 173 consist overwhelmingly of
legno saltandi. By shifting the point of contact between the string and the wood of the
bouncing bow, glissandi can be achieved, exhibited by the variety of colors in the
analysis of average frequency (compared to the nearly monochromatic graphs of average
frequency in Figure 29). The unmistakable bouncy texture is interrupted once (in measure
161) by the scraping of heavy bow pressure on the tailpiece of the second violin; a
familiar echo from Section B, this also foreshadows the scraping quality of Section B’.
Example 1 of Figure 30 identifies this moment as an orange strip in each graph of
! 94!
spectral flatness. The Arditti interpretation is both the longest and noisiest, matched by
the thickness of the corresponding segment of the reddish orange quality of its spectral
flatness. The second violinists of the Berner and Stadler quartets perform this gesture
more softly and briefly, displaying as very thin strips of lighter orange in the graph of
spectral flatness. The two recordings by the JACK Quartet show roughly equal analyses
of this moment.
Example 2 of Figure 30 identifies measure 169, a nearly continuous block of
sound that combines the two instrumental techniques that dominate Section D’. Legno
saltandi in all four instruments are complemented by three legno battuti in the first violin,
viola, and cello. This technique of tossing the wood of the bow against the string is only
distinct from a legno saltando in its preclusion of any subsequent bouncing. In this
context, however, a legno battuto sounds like a single slice of a saltando gesture,
dissolving into the skittering texture that surrounds it.
The analysis of spectral flatness in the Arditti recording of measure 169 shows the
pale green hue that often appears in Figure 30. The legno saltandi that characterize
Section D’ have a slightly clearer pitch than the arco balzandi that were frequently used
(alongside legno saltandi) in Section D. Compared to example 1 of Figure 29, this
example exhibits a narrower range of values in the analysis of spectral flatness.
The Berner interpretation of a legno saltando is less clearly pitched than the other
three quartets. The dryer, more wooden sound displays as yellow or light orange in the
analysis of spectral flatness. As a result, moments of silence are more difficult to
distinguish from sound in the graph of the Berner recording.
! 95!
Measure 169 of the Stadler recording bears the same yellows and light greens as
the analysis of spectral flatness in the Arditti recording. However, the cellist throws the
bow at the string more forcefully during the second legno saltando, precipitating a clearly
pitched ringing that displays as a light blue strip in the center of example 2.
Finally a gradient of pale green to yellow appears in the analysis of spectral
flatness during measure 169 of both JACK recordings. Immediately preceding example 2
of Figure 30, the blue chunk in the first JACK recording and the red stripe in the second
JACK recording represent silence immediately before this event.
! 96!
Fig. 30 - Analysis of Section D'
1| |2|
A:
1| |2|
B:
1| |2|
S:
1| |2|
J1:
1| |2|
J2:
! 97!
5.9 An analysis of Section B’
Section B’ (measures 188 – 259) further develops the concentrated burst of
“scraping” sounds heard in the much shorter Section B. Like Section B, Section B’
consists almost entirely of the perforated sounds that result from slow, heavy bowing; but
whereas the former incorporated rhythmic rearticulations with instructions such as
“machine-like”48 and “almost like a ‘saw’ ”49, the latter sets continuously articulated
gestures against shifting positions along the strings. As a result, Section B’ is generally
more harmonic than Section B.
Example 1 of Figure 31 represents measures 188 – 193, during which the viola is
given nearly identical instructions to the first violin in Section B50, but develops earlier
material by holding a single perforated pitch while alternately muting and unmuting the
strings. Marked “quasi Solo,” the viola is complemented by whispery flautato bowing in
the first violin and interrupted periodically by striking and bouncing events in the second
violin and cello. The same differences of interpretation and recording conditions that
pertained to the analysis of Section B (Figure 27) are revealed here.
The Arditti interpretation is the loudest and noisiest. A comparison of Figure 31
with Figure 27 shows the connection between these passages. The viola in the Berner
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
48
“wie eine Maschine”
49
“quasi ‘Säge’ “
50
Lachenmann’s instructions to the violist at measure 188 read “scharf gepreßt über
Griffbrett-Kante,” which is translated in the score as “incisively pressed above side of
fingerboard.” However, similar instructions to the first violinist at measure 64 (“gepreßt
über Griffbrett-Kante”) are translated as “pressed on end of fingerboard” (emphasis
mine). This technique is always played on the string above the fingerboard, not directly
on the fingerboard itself.
! 98!
recording, however, is softer than the violins in Section B; additionally, the viola in the
Berner recording imbues this passage with a creaking quality that has enough of a distinct
pitch to display as shades of yellow in the corresponding graph of spectral flatness. The
squeakiness of the Stadler interpretation – revealed in Figure 27 – reappears as shades of
green in the analysis of spectral flatness in example 1 of Figure 31. Finally, different
recording conditions explain why the two nearly identical interpretations by the JACK
Quartet exhibit such markedly different analyses of spectral flatness. Recall from the
analysis of Section B in Figure 27 that the first JACK recording has a dry quality that
captures the noisiness of this instrumental technique more directly than the second
recording. The reverberant quality of the second JACK recording reinforces a resonant
harmonicity in measures 188 – 193 that turns an otherwise orange graph of spectral
flatness to a light green.
Measures 194 – 208 set bursts of scraping sounds against a texture of striking,
bouncing, and more continuous figures. The frequent tremolos that also characterize this
passage belong in the “scraping” sound family, as well. While quickly rearticulated
sounds with a generally diminishing envelope are classified as “bouncing,” the rapid
rearticulations of a tremolo have no intrinsic broader dynamic shape. The noisy
perforations of heavy, slow bowing are even more rapidly rearticulated and sound more
literally “scraping,” but the amplitude envelope of a tremolo Figure is essentially a slower
version of the same. The more harmonic quality of a tremolo appears as occasional
stripes of blue and green in the analysis of spectral flatness immediately following
example 1 of Figure 31.
! 99!
Measures 209 – 252 (corresponding to most of the region between examples 1
and 2 below) consist primarily of heavy bow pressure on shifting string positions. Unlike
the mechanical “sawing” action of the violins in Section B, the majority of Section B’
comprises drawn out versions of the same technique. The result is slightly more
harmonic, as the attack transients in each aggressive bow shift in Section B produce
repeated bursts of noise. The analyses of spectral flatness in Figure 31 display this change
as slightly lighter shades in the center of each graph.
Example 2 of Figure 31 corresponds to measures 253 – 259, which of any passage
in Section B’ connects most directly to Section B. Here all four instruments continue to
bow heavily (either on the strings near the end of the fingerboard or on the tailpieces), but
the rhythmic muting and unmuting of each instrument mimics the machine-like action of
the violins in Section B. Regularly spaced bursts of noise display in the graphs of spectral
flatness as shades of red, orange and yellow. A comparison of example 2 to Figure 27
reveals similar results for both average frequency and spectral flatness in each recording.
! 100!
Fig. 31 - Analysis of Section B'
| 1 | | 2 |
A:
| 1 | | 2 |
B:
| 1 | | 2 |
S:
| 1 | | 2 |
J1:
| 1 | | 2 |
J2:
! 101!
5.10 An analysis of Section E
Section E (measure 260 – 272) compresses the “scraping” sounds of the preceding
passage to single “striking” impulses. The section consists almost exclusively of very
short jerking motions of the bow, with heavy pressure exerted on the tailpiece of each
instrument; while longer articulations of the same technique producing a “scraping”
sound, the sudden clicks of Section E have a “striking” quality. This is more clearly
visible in Figure 32 from examining the spectrograms and waveforms than the
corresponding feature extraction analyses. Note that the waveform of nearly every event
in the section has a sudden, percussive attack and a quick – but tapered – decay. Each
spectrogram bears a distinctive spectral decay, as well. Note that each event displays as a
vertical pop of frequencies that fade subsequently; the noisy attack transients fade quickly
while the resonant frequencies fade more slowly.
The black tick mark above each graph represents a single, muted Bartók pizzicato
in both violins on the downbeat of measure 267. By muting the strings, this technique
produces a brief, brittle snapping sound, corresponding to the thin, dark orange stripe in
each analysis of spectral flatness. In the Stadler recording, this event appears between
blue and yellow stripes in the same graph, representing resonances before and after the
pizzicato; the attack is the same shade of orange as in other recordings.
Aside from the first note of the section (also a muted Bartók pizzicato) and the
previous example, every “striking” event in Figure 32 corresponds to the clicking and
creaking of an extremely brief exertion of heavy bow pressure against the tailpiece.
Derived from the “scraping” techniques explored in Section B and Section B’, these
! 102!
sounds – although brief – bear traces of the analytical results of Figures 27 and 31. The
Arditti interpretation is generally the noisiest, exhibited by thin orange stripes in the
graph of spectral flatness above many of the events in Figure 32. Telltale spans of dark
red in the analysis of average frequency for the Berner recording demonstrates the
prominence of silence in Section E, but sounds impulses (more easily located in the
spectrogram and waveform) display generally as light orange or yellow in the analysis of
spectral flatness. The distinct squeaking quality of the Stadler interpretation of this
technique reappears as a pale green or light blue in the graph of spectral flatness. Finally,
while the thin orange stripes in the graph of spectral flatness for the first JACK recording
show analytical similarities to the Arditti and Berner recordings, thin yellow stripes
followed by longer blue segments in the second JACK recording recall the more
reverberant recording conditions encountered earlier. This will be even clearer in the
analysis of the Coda.
! 103!
Fig. 32 - Analysis of Section E
|
A:
|
B:
|
S:
|
J1:
|
J2:
! 104!
5.11 An analysis of the Coda
Like echoes of Section E, the Coda (measures 273 – 280) consists entirely of
sparsely distributed pizzicati alternating with silence. Until the last note, the only
technique used is the same muted Bartók pizzicato that interrupted Section E at measure
267, scored with controlled resonance for one, two, three, or four instruments at a time.
The “striking” quality of the Coda is clear from the spectrograms and waveforms in
Figure 33, while the silences between each sound event recall the distinctive ambience of
each recording environment, first encountered in Figure 25.
Covering only eight measures, Figure 33 offers a closer examination of the
different recording conditions that precipitated analytical inconsistencies between the two
recordings of the JACK Quartet. Ignoring the red results for spectral flatness in the
second JACK recording and the predominantly yellow portions in the first JACK
recording (which correspond to silence), the more resonant conditions of the second
recording display as light blue patches in the graph of spectral flatness. The
inharmonicity of muted Bartók pizzicati is emphasized by the dry conditions of the first
recording, exhibited by dark orange stripes in the analysis of spectral flatness; faint
resonance appears as a pale green. Conversely, the analysis of spectral flatness for the
second recording shows very thin yellow stripes at the moment of each attack, after
which the recording conditions emphasize harmonic resonance.
The last note of the Coda (and last sound event in Gran Torso) is a solo Bartók
pizzicato on a natural harmonic in the cello. Allowed to resonate on a resultant pitch of
E5, this displays as a blue segment in the analyses of spectral flatness.
! 105!
Fig. 33 - Analysis of the Coda
A:
B:
S:
J1:
J2:
! 106!
5.12 A graphic overview of Gran Torso
Figure 34 combines each sectional analysis to provide an overview of the entire
work, offering a sense of formal proportions and insight into broad patterns and global
connections. (To preserve space, the label identifying each quartet to the left of the Figure
has been removed; the recordings appear in the same order as previous examples.) While
many of the local events that were visible in sectional analyses have disappeared, new
patterns emerge, such as deep blue portion at the beginning of each spectrogram,
corresponding to the tendency of a section to begin with a sparse introduction of a sound
family, punctuated with silences.
The Introduction and Section A bear similar analytical characteristics, with thin
multicolored stripes in the graph of spectral flatness combining without emphasizing any
particular ranges of values. Section B – here seen as much shorter than surrounding
sections – displays in each recording as a nearly solid block in the graph of spectral
flatness and a uniquely rich spectrogram. The beginning and end of Section B’ feature
similar values to Section B (particularly in the Arditti recording), while the longer middle
portion of Section B’ further develops related instrumental techniques, resulting in lighter
shades in each graph of spectral flatness. A comparison of the waveforms for Section B
and Section B’ reveal that these are the loudest sections of each recording; the
corresponding “scraping” quality appears as a thick and mostly continuous waveform,
with fewer of the percussive attacks that characterize “striking” and “bouncing” sounds.
The entire work pivots around Section C, which contracts to a whisper at the durational
center of Gran Torso. Light blues in each graph of average frequency and yellows in each
! 107!
analysis of spectral flatness gradually fade to dark blues and deep oranges, leading to the
longest stretch of consistent values in each recording. The “sustaining” quality of Section
C is also revealed by the continuity of the spectrogram, which – in contrast to the spikes
of other sections – appears as two broad events, each stretched for several minutes.
Despite comprising different “bouncing” techniques, Section D and Section D’ show
similarly varied palettes of colors in the graph of spectral flatness for each recording. The
parallel durations of these complementary sections are also evident in Figure 34. Finally,
the “striking” quality of Section E and the Coda – so evident in Figures 32 and 33 – is
almost entirely lost, as attacks are compressed into a nearly solid mass. Instead, as brief
pops and clicks alternate with silence, the resonance of each event merges with the
unique room tone of each recording to produce the distinctive results for spectral flatness
in the final two sections of Figure 34.
This final figure depicts the broad shape of Gran Torso, revealing the special
significance of Section C. After an active opening that presents all of the sonic building
blocks that Lachenmann will use, Section C – which is significantly longer than any other
section – contracts, focusing on a narrow range of colors. Here, the work reaches its most
static point before expanding again in Section D and completing the development of the
material presented in the first three sections.
! 108!
Fig. 34 - Overview analysis of Gran Torso
intro A B C D D’ B’ E Coda
! 109!
CHAPTER 6: CONCLUSION
6.1 A framework for future applications
In the preceding chapters, I have shown that in response to new compositional
practices, new analytical methods must be fashioned. I have developed a framework for
understanding Helmut Lachenmann’s Gran Torso through a careful reading of the score
and a computer-based analysis of sound from five recordings of the work. While other
scholars have commented on the historical, cultural, and political context of this piece –
which I consider essential to a full appreciation of the work and have summarized to the
extent appropriate for this dissertation – a detailed and rigorous analysis of Gran Torso
has not previously been published. In my use of digital technologies, I have drawn
inspiration from work by Robert Cogan and Tae Hong Park, but my project differs from
the former in that it employs more recently developed technology to depict timbral
features and from the latter in that it engages instrumental music, requiring a selection of
multiple recordings and a comparative approach to identifying the most musically salient
results.
This analytical framework could be extended and applied to other contemporary
music that regards timbre as an essential structural component. The techniques developed
in Chapter 5 offer a “scalable” solution for timbral analysis; a very short passage can be
examined in microscopic detail, but the same analytical window can be compressed
within a much larger object of investigation, revealing broader connections in a work. A
! 110!
thorough study of the score is still necessary for analyzing notated music, but while
traditional parameters of analysis – such as pitch, rhythm, and “harmony” (in the
traditional sense of vertical pitch structures) – can be observed empirically from the score
alone, the more ineffable dimension of timbre has traditionally been treated to poetic
language at the expense of analytical clarity.
6.2 Two final examples
I offer two final examples to briefly demonstrate how this framework may be (and
should not be) applied to the analysis of other work. Figure 35 represents the ninth and
final piece from Pierre Boulez’s serial masterwork Le marteau sans maître. Boulez
employs a colorful instrumentation of voice, flute, percussion (both pitched and
unpitched), guitar, and viola. However, timbre does not play a structural role in this work;
instead the texture tends to rotate quickly through a wide range of colors. This displays in
the graph of spectral flatness in Figure 35 as a variety of colors appearing in alternation.
Fig. 35 - Overview analysis of "Bel edifice et les pressentiments" (double)
! 111!
Conversely, the structural role of timbre in the Prologue to Gérard Grisey’s Les
espaces acoustiques is evident from just a glance at Figure 36.51 The instrumentation
would seem to be less appropriate for an exploration of color; while the Boulez example
combines voice, flute, percussion, guitar, and viola, the Grisey example is simply scored
for solo viola. However, the form of the work is articulated by a gradual arc from clearly
pitched sounds to grinding noise, all achieved through techniques similar to those found
in Gran Torso.
Prologue begins with a muted pattern of pitches (played arco and ordinario)
selected from the same harmonic spectrum on E1 that supports much of the larger cycle
(Les espaces acoustiques) that this work introduces. Gradually, higher partials are
introduced and the bow position begins vacillating toward and away from the bridge. The
slightly noisier result displays as an increasingly turquoise shade in the graph of spectral
flatness, while the higher frequency content corresponds to lighter shades of blue in the
analysis of average frequency. Then, the violist is instructed to play with increasingly
heavy bow pressure, shown in yellow and yellowish-green results for spectral flatness. At
the climax of the work, Grisey instructs the performer to play with crushing bow pressure
in order to completely obscure the pitch of a series of glissandi, which amount to filtered
noise. The bright orange stripe in the graph of spectral flatness identifies the location of
this event. Finally, the bow pressure is gradually decreased and the performer returns to
playing clear pitches.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
51
A thorough analysis of Prologue using the framework developed in preceding chapters
would require a comparison of several recordings, but a general sense of form can be
appreciated from Figure 36.
! 112!
Fig. 36 - Overview analysis of Prologue (from Les espaces acoustiques)
6.3 Contributions
6.3.1 For theorists
Methods for analyzing both tonal music and many forms of post-tonal music are
well established. Just as the harmonic structure of a Haydn sonata can be gleaned from an
analysis of pitches in the score (theoretically never requiring one to even hear a
performance of the piece), the pitch system that undergirds a post-tonal work such as Le
marteau sans maître can be analyzed and its various forms of transformation fully
understood without ever engaging a recording of the work. However, much of the music
composed since the 1960s treats timbre as equally important as (or even more important
than) pitch; traditional analytical methods fail to address this fully.
I hope that this dissertation furnishes the field of music theory with a framework
for better understanding contemporary music. The methods developed in preceding
chapters may be extended or combined with other forms of analysis; a work that derives
its form from a pitch structure but incorporates timbre as an essential means of
! 113!
developing material may benefit from a hybrid approach. More generally, I hope that my
work demonstrates that timbre can indeed be engaged in a rigorous analytical fashion.
Theorists need not shy away from incorporating a thorough discussion of timbre into the
analysis of any work for which such a discussion is relevant.
6.3.2 For composers
For decades, the “extended” instrumental techniques that appear (many for the
first time) in Gran Torso have inspired countless composers to widen their palettes of
instrumental color. But this “sampling” of Lachenmann’s music is largely superficial.
With this dissertation, I hope to demonstrate to other composers that these colorful string
techniques can function as more than embellishment. My analysis shows that Lachenman
develops a sophisticated system of relationships among complex sounds (that happen to
be generated by techniques that can be considered unusual). As a result, I hope that Gran
Torso can serve as a model of formal and developmental techniques beyond a certain
collection of instrumental curiosities (with applications extending to other
instrumentations and even to electroacoustic music).
6.3.3 For performers
Similarly, many performers who first encounter Lachenmann’s music are
overwhelmed by the technical demands and precise, unconventional notation. Once
facility is gained with these aspects of a score such as Gran Torso, however, an insightful
! 114!
interpretation depends on a deeper understanding of the work. I hope that my analysis
offers performers a framework for understanding Gran Torso, contextualizing individual
sonic gestures as components of a larger system of transformation and formal
organization.
6.3.4 For listeners
Finally, I hope that my dissertation provides listeners with the means to more
fully appreciate Gran Torso (and perhaps, by extension, many other contemporary
works). Most Western listeners are trained – whether through formal education or the
cultural conditioning of hearing tonal music from birth – to understand pitch relationships
as the driving force in musical organization. My analytical framework shows how
musical structure can be derived from other parameters entirely, and this understanding
of music can also be learned. The creation of music has historically relied on shared
knowledge among composers, theorists, performers, and listeners. Faced with new and
undertheorized musical resources, I hope to contribute to this ongoing tradition.
! 115!
REFERENCES
!
TEXTS:
Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart: Le Nozze Di Figaro & Don
Giovanni. Chicago: University of Chicago, 1983. Print.
Cavallotti, Pietro. Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er

Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gérard Grisey.
Schliengen: Edition Argus, 2006. Print.
Cogan, Robert. New Images of Musical Sound. Cambridge, MA: Harvard UP, 1984.
Print.
Dahlhaus, Carl. “Absolute Musik.” Europäische Musikgeschichte. Ed. Herfort-Ehrmann,

Sabine et al. Kassel: Bärenreiter, 2002. 679-704. Print.
Gadenstätter, Clemens, and Christian Utz. Musik als Wahrnehmungskunst:

Untersuchungen zu Kompositionsmethodik und Hörästhetik bei Helmut Lachenmann.
Saarbrücken: Pfau, 2008. Print.
Hatten, Robert S. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven,
Schubert. Bloomington: Indiana UP, 2004. Print.
Heister, Hanns-Werner. Geschichte der Musik im 20. Jahrhundert: 1945-1975. Köthen:

Laaber, 2005. Print.
Hiekel, Jörn Peter and Siegfried Mauser. Nachgedachte Music: Studien zum Werk von
Helmut Lachenmann. Saarbrücken: Pfau, 2005. Print.
Jahn, Hans-Peter. auf (-) und zuhören. Hofheim: Wolke, 2005. Print.
Jehan, Tristan. "Creating Music by Listening.” PhD thesis. Massachusetts Institute of

Technology, 2005. Print.
Lachenmann, Helmut, and Josef Häusler. Musik Als Existentielle Erfahrung: Schriften
1966-1995. Wiesbaden: Breitkopf & Härtel, 1996. Print.
Marx, Adolf Bernhard. Die Musik des neunzehnten Jahrhunderts und ihre Pflege:
Methode der Musik. Leipzig: Breitkopf, Härtel, 1855. Print.
Murail, Tristan. "The Revolution of Complex Sounds." Contemporary Music Review

24.2/3 (2005): 121-35. Print.
! 116!
Kaltenecker, Martin. Avec Helmut Lachenmann. Paris: Van Dieren, 2001. Print.
Nonnenmann, Rainer. Angebot durch Verweigerung. Mainz: Schott Music International,

2000. Print.
Park, Tae Hong. "Salient Feature Extraction of Musical Instrument Signals.” Master’s
thesis. Dartmouth College, 2000. Print.
Park, Tae Hong, Zhiye Li, and Wen Wu. "EASY Does It: The Electro-Acoustic MuSic
AnalYsis Toolbox." 10th International Society for Music Information Retrieval
Conference, n.d. Web. 05 Nov. 2013. <http://ismir2009.ismir.net/proceedings/PS4-
20.pdf>.
Sielecki, Frank. Das Politische im Komponieren von Helmut Lachenmann und Nicholas
A. Huber. Saarbrücken: Pfau, 2000. Print.
Steenhuisen, Paul. Sonic Mosaics: Conversations with Composers. Edmonton: University

of Alberta Press, 2009. Print.
Velásquez, Rossana Lara. “Composición y escucha burguesa: principios de continuidad y

ruptura en el cuarteto Gran Torso de Helmut Lachenmann.” Master’s thesis. Universidad
Nacional Autónoma de México. 2011. Print.
SCORES:
Biel, Michael von. Quartett II. Cologne: Feedback Studio Verlag, 1982. Print.
Boulez, Pierre. Le marteau sans maître. Vienna: Universal Edition, 1964. Print.
Grisey, Gérard. Prologue: pour alto seul. Milan: Ricordi, 1978.
Lachenmann, Helmut. Gran Torso. Wiesbaden: Breitkopf & Härtel, 1980. Print.
SOUND RECORDINGS:
Lachenmann, Helmut. Grido; Reigen seliger Geister; Gran torso. Perf. Arditti Quartet.
Kairos, 2007. CD.
! 117!
Lachenmann, Helmut. Gran torso: Musik für Streichquartett; Salut für Caudwell: Musik
für 2 Gitarristen. Perf. Berner Quartet. Col legno, 1991. CD.
Lachenmann, Helmut. String Quartets. Perf. Stadler Quartet. Neos, 2010. CD.
SOFTWARE:
Repetto, Douglas and Dan Ellis. MEAPsoft. Vers. 2.0.3 BETA. Computer software. 2008.
Digital download.
! 118!
CATALOG OF MUSICAL COMPOSITIONS
!
The following catalog of three musical compositions demonstrates how my own
work as a composer has been inspired by encounters with electroacoustic music and the
technologies used to manipulate sound electronically. Just as Lachenmann’s development
of musique concrète instrumentale stemmed, in part, from his (brief) engagement with
tape music, my musical language has been influenced by the digital tools we use today to
record, produce, process, and notate music. Lachenmann reacted against the “flattening”
effect of composing music that would be performed on loudspeakers and—while seeking
a musically fruitful path beyond the limits of serialism—developed a deeply personal
voice concerned with the physical means by which sounds are produced. Similarly, I
have reacted against compositional practices that I believe rely too heavily on (and are
consequently limited by) certain technologies, while finding inspiration in the musically
adventurous potential suggested by other technologies. In particular, I have become
skeptical of relying on the playback feature of a notation program as a tool for
instrumental composition; many instrumental techniques—such as those used by
Lachenmann—are not supported by this feature. In contrast to the limiting effect of
composing for notation software playback, however, the techniques of electroacoustic
music suggest intriguing approaches to instrumental composition.
The first piece in the following catalog—impaired contact with reality—was
composed in 2010 for the Argento Chamber Ensemble. Scored for ten instruments and
fixed media1, the electronic sounds are intended to be kept secret from the audience until
they gradually reveal themselves. The piece opens with the growl of a contrabass flute
fluttertongue (played directly into the mouthpiece), coupled with the sound of a bouncing
aluminum bottle in the percussion and whispery half-harmonic sounds in the strings.
Initially, the sonic palette consists only of acoustically produced sounds, but these are the
kinds of sounds that cannot be emulated by notation software. In measure 23, a nearly
imperceptible electronic tone joins the crotale; initially it adds nothing to the texture, but
as the percussionist moves away from the crotale in measure 29, the resonance is
artificially extended and “processed” electronically. As the piece develops, the distinction
between sounds produced acoustically and sounds produced electronically is further
obfuscated.
The second piece in the following catalog—too many arguments in line 17—is a
string quartet composed for the JACK Quartet. The sounds are clearly produced
acoustically, but the material is processed in a fragmentary manner inspired by an
experience watching an online video that was not buffering correctly, resulting in an
erratic looping. The opening of too many arguments in line 17 treats a short musical
passage to a similar process of truncation and repetition. Because the irregular metrical
language that results is incompatible with the notion of meter programmed into Finale
and Sibelius, this piece is as opposed to notation software playback as impaired contact
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
The term “fixed media” replaces the earlier “tape” and reflects a shift away from using
magnetic tape as an audio recording medium. In practice, the sounds comprising a “fixed
media” piece or component of a larger set of performing forces may be recorded on CD
or may only exist as a digital audio file.
with reality. While each piece explores sonic possibilities suggested by new technologies,
both were composed entirely with pencil and paper.
The final piece in the following catalog is Skeuomorphic Tendencies, a work for
chamber orchestra commissioned by the MATA Festival for the Metropolis Ensemble.
The fragmented rhythmic language of too many arguments in line 17 reappears here,
expanded to include an asynchronous canon beginning in measure 273. However, the
goal of Skeuomorphic Tendencies is to explore how features of audio editing software
can be applied to instrumental composition. Section A1 is treated to a pitch shift, with
individual notes moved upward by microtonal intervals until the entire ensemble is
playing one quarter-tone higher at the beginning of Section A2. Similarly, the material at
B1 is virtually “reversed” until the beginning of Section B2, when the material is
presented in its “proper” direction. While these approaches to instrumental writing were
available before software was developed to manipulate sound, many of the techniques of
electroacoustic music (and everyday digital glitches) suggest a new way of considering
how sound can be produced.
NB: The following scores are reduced in size to accommodate the formatting
requirements of this document. Full-sized scores are available for closer scrutiny from the
composer.!
Instrumentation:
Contrabass Flute (doubling C Flute and Piccolo)
Clarinet in Bb (doubling Contrabass Clarinet)
Bassoon (doubling glass jar containing one ping pong ball)
Trumpet in Bb (with plunger mute)
Trombone (with plunger mute)
Piano with preparation (doubling glass jars containing ping pong balls)
Percussion (with stereo amplification):

2 aluminum water bottles (one containing a small amount of water, one containing a thumb tack)
stable hard surface against which to bounce bottles (such as a table, or even a brake drum)
crotales (both octaves)
round glass jar containing one ping pong ball
square glass jar containing one ping pong ball
wine glass on a smooth flat surface (such as the table used for bouncing the bottles)
Violin
Cello (with scordatura tuning)
Double Bass
Fixed Electroacoustic Sound
Program notes:
I'm dubious of program notes, but here are some thoughts surrounding the genesis of impaired contact with reality (in case you are curious).
This was going to be (and maybe still is) a piece about psychosis, about the interweaving of technological mediation into every aspect of our
lives, about trying to control uncontrollable forces.
At the time that I began composing impaired contact with reality, I was thinking about the quasi-ritualistic, quasi-psychotic relationship I have
with technology. It seems that before the Industrial Revolution, the mechanisms of even the most complex technological innovations could be
understood visually (even the clock - possibly the most complex pre-Industrial machine - could be opened and its gears examined) and the great
mysteries that perplexed humans concerned the natural world. Rituals (i.e., complex practices designed to produce a desired outcome without
requiring the practitioner to fully understand how) were developed to solve problems that we now tend to fix scientifically (e.g., medical
treatments). But while scientific and technological innovations since the Industrial Revolution have greatly clarified our understanding of the
natural world, it seems we've replaced these mysteries with a technological environment whose mechanisms can not possibly be understood
visually and we've developed new rituals accordingly. (Just think of the highly personalized ways we debugged the original 8-bit Nintendo -
blowing on the cartridge, resetting the console repeatedly, unplugging it for a precise duration before plugging it back in - which generally
worked but we never knew why.) The title of this piece comes from the Random House Dictionary definition of psychosis: "a mental disorder
characterized by symptoms ... that indicate impaired contact with reality." In a way, my complete dependence on technological systems that I
don't remotely understand is kind of psychotic, but this is just part of the anxiety toward/fascintation with technology that underlies my work.
This is not a well-researched (or even well-reasoned) argument. But I'd rather provoke than persuade; I'd rather compel people to think than
tell people what to think.
Performance notes:
impaired contact with reality
for The Argento Chamber Ensemble
The score is NOT in C.

Ryan Carter
q = 60 Pulled downward by a weak (but inexorable) gravitational force
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o .
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Bb Trumpet & 46
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Copyright © 2010 by Ryan Carter. All rights reserved.

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 F  p 
&
El. TACET
&
6
3 q 1'00"
2 q double tongue
9 œ œ œ œ
œ œ b œ œb œ œ œb œœ œ œb œ œ œ œ œ œ œ
Cb. Fl. & Bœ
bœ
B˙ Œ bœ
bœ
!!!!!! b˙ Œ
ß p Í
6
Sp p
˙. m˙ ˙ w
Bb Cl. & Œ  Ó
p  o o  o
Bsn. ?
Bb Tpt. &
Tbn. ?
Ó.
‰ Œ 
&
ß
Pno.
crotales zj xuu
& ˙æ ˙æ œæ Œ  ˙æ œæ  œæ
z z z z z z
Perc.
  
o
w. œo n ˙o œo œo œo œo œo ȯ . œo
‰ æJ æ
& Œ Œ
o p o
Vln.
 
3
 o ȯ
Bœ œo P B ˙o œo œo œo œo œo œo œo œo
? ‰ ‰ Œ æ æJ Œ
Vc. Œ &
?
I3 n
o ƒ p o 
3
? (B 3 ) (b œ) ( b 3)
D.B.
f 
&
El. TACET
&
7
12
0 )
Cb. Fl. & œæ œæ œ 
ß p
˙ ˙ w
Bb Cl. &  Ó
p  o p o
Bsn. ?
Bb Tpt. &
with plunger throughout

+ + o + + o
?Ó Œ Œ   Œ 
Tbn.
b ˙æ. œ I ˙æ Bœ
p p
. . Ó.
 .  . ® Ó Ó 6.
&  Œ ‰ Œ  Œ
6 ‰

p F F
9
Pno.
NEAR
‰
zj (distance from microphones)
œ
& ˙æ Œ ˙æ œæ Œ  o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ o ^^^^^^^^^^^^^^^^^^^^^^
z z z FAR
  o  f
Perc. switch to glass jars with ping pong balls
&

œo . œo œo œo œo œo . ȯ
ord sp ord msp ord
3 n3 ˙ œ
ord
(B 3 ) ‰ ˙.  b˙
msp ............
3 b3 .......... (œ)
& Œ Œ Œ Œ œ Ó
Œ
Vln.
p o  p f p o Í
? ‰ Œ
Vc.
(3 ) 3 B˙ 3 (3) 3 .......
p P ṗ P
? ( b 3) bœ Iœ 3 (3) ‰ Ó Ó 3 (3) (3)
D.B.
f  p
&
El. TACET
&
8
1'30"
0 ) 0 )
16
Cb. Fl. &Œ ‰ . œæ œæ œæ b œ Ó b œæ œæ œ Ó

ß p ß p
Bb Cl. & ˙ bœ. ‰ Œ bœ

o  o
Bsn. ?
with plunger throughout

+ o
œ. œ
Bb Tpt. & æ Œ Ó
P
+ + o
Tbn. ? Œ æ Œ 
œ œ
p
Ó.
6. 6‰ 6. 6.
&Œ ‰. bÓ  Ó Œ Ó Œ ÓŒ  Ó ‰ Œ 
J
sempre F 3
Pno.
NEAR
vary distance from microphones freely
FAR
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
NEAR
Perc.
&Œ ‰ . o ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
FAR
sempre f
œ .................
œ ........... œ ................. œ .......... œ ..............
&Œ ‰ . b œ ......... (œ) Ó Ó Œ Œ œ ......(b œ) Œ Ó œ ........... (b œ) Œ Ó
Vln.
J
Í Í Í
Í
3
?‰
arco
Œ Œ ‰ I œ ............ Ó ‰ œ .............Œ œ ........ ( B œ) Œ Ó
clb clb
Vc.
3 ( B 3 .) 3 ......... B œ ......(b œ ) ‰ . b 6 ........... b 6 ........
p P P P P P P P
? (3) ( 3) Œ b œ ................ Œ 6 ........... Ó b œ ...... (B œ ) Œ  Bœ. Œ B 6 ........
arco
( b 3)
clb clb
J
D.B. ............
sempre p P P
3
P P P
&
El. TACET
&
9
2'00"
sung
21 T b3 ‰
& Ó.
Cb. Fl.
0 ) ˙. ˙. ˙. ˙ œ
& b œæ œæ I œ  ‰ ˙. ˙. Ó. ˙. ˙ œ‰
˙ œ
ß p > p ƒ ff
ß sempre
& œ Bœ ‰  Ó ‰
switch to Contrabass Clarinet
Bb Cl.
˙ œ.
 o o f o
T.
sung
? 3 ‰
Ó. Œ 
Bsn.
˙ œ‰
? ‰ Ó. Œ Œ Ó
w. w œ. o p o
P
sung
& Ó. Œ T. ‰   Œ
T 3. B3
Bb Tpt.
+ + o +
& Ó. ˙. w. œ. ‰ 
B˙
p o p
T.
sung
? Ó.
b3 I3 ‰
  Œ B3
+ + o
˙. b˙. ˙. +
Tbn.
? œ.
Ó. ‰  B˙
p o p
& Ó Œ Ó
Ó. ‰
Pno. f P
? Œ 
Ó. ‰
NEAR
switch to crotales zj xuu œ ˙. ˙. ˙. ˙. ˙. ˙.
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^  Œ zæ zæ
FAR
æ æ æ æ æ
z z z z z
NEAR 
Perc.
FAR
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
o
 ord msp
3 3 B3 n3 ˙ ˙ œ œ .......... œ.
ord msp
˙
˙ œ. Ó. ȯ . œo œo ......
& Œ Ó ‰ ‰ Œ
˙ œœ ‰
Vln.
  ƒp  o f o o f
3
Í
B ˙o œo œo ......
ord
ȯ . œo ‰
msp ord
? Œ
arco
Œ
msp
Œ
ord
&
(3) ˙.
Vc.
b3 œ
 Ṗ ƒ̇ ṗ f o o f
? Œ B3
arco ord msp ord
D.B. (3) (3) ˙ . (œ ) 3 ( b 3) Œ I3 œ b3 ‰ Ó Œ I3

 f p o ƒ o o

CUE TAPE ON DOWNBEAT w. w. w.
&
El.
o
TACET
&
10
2'30"
26
& Ó.
˙.
Cb. Fl.
ç
)6 )) ))
& bœ œ ‰ Œ bœ œ ‰ Œ 6 6 ) Ó.
˙.
Cb. Cl. 6
˙ w6 6
 o
p o p o ç P
? œ œ
Œ 
w.
Bsn.
œ
> o
œ œ
ç
& ‰  Œ Œ Ó
3.
3 T T 3 ‰
Bb Tpt.
+ o + + o
& ‰ w. œ‰Œ Ó
œ. o p
˙
o
? 3. ‰ 
Tbn.
+ o + + o
? œ. ‰ Ó. ˙. bœ ˙. œ. ‰
æ
o  Í o
& ? ‰&
w œ.
ç 
p
Pno.
? Œ  Œ Œ jŒ ‰
3 3 9
Ó. ‰ Ó. ‰ Ó. Ó. Ó.  Ó. . Ó. Ó. Ó. b w . w. w.
 
˙. ˙. œ ˙. ˙. ˙. œ
& æz Ó
switch to aluminum bottles
æ æ æ æ æ
Perc. z z z z z z
sempre ppp o F 
˙. ˙. ˙.
ord msp ord
B œ œ ............
˙. ˙. ˙. I œ œ ............ ‰
Vln. &
Sp Í
˙.
ord
œ œ œ ............
˙.
ord msp
œ B œ ....& ‰
? b˙. œ œ œ ........... ‰ ?
&
˙.
Vc.
œP p Í
Sp
vary bow speed, pressure, and
˙o . ˙o . ˙o ˙o œo œo
placement erratically and rapidly ord
? ‰ Œ bœ Iœ ‰ Œ ‰Œ ‰ Œ ‰Œ 
msp ord ord msp
?
œ.
...........
D.B.
œ. œ. & æ æ æ æ
ƒ o p o p o p o ƒ pP

w. w. w. w. w.
&
El. Ø
&
11
3'00"
31 0 ) 0 )
Cb. Fl. & œæ œæ B œæ œ Ó. B œæ œæ b œæ œ Ó.
ß p ß p
>
slap ricochet (imitate sound of balzando strings or bouncing bottle)
Cb. Cl. & 1 . . . .................. ( B 1) Ó .

ß p
Bsn. ?
Bb Tpt. &
Tbn. ?

6. 6. 6.  6. . 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6. ‰ 6. ‰ 6.  6. 6. 6. 6. ® 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6.  6. 6. 6. 6. ® 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6.  6. . 6. 6. 6. ‰ 6. 6. ‰ 6. 6. 6. 6. 6. 6. 6.
& Œ J
 
3 9 6 3 3 3 6 9 6 6 9 6 3 6 9 3 3 6
Pno.
®m 6. 6. 6. 6. 6. ®6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6. m 6. ® 6. 6. 6. 6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. 6. 6.  6. 6. 6. 6. m 6. .6. 6. 6. ®6. 6. 6. 6. 6. ®6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. 6. ‰ 6. ‰
? ‰& Œ J
œ 9 9 6 3 3 3 9 3 9 6 6 9 9 9 6 6 3

Ø
B œ ... Ó  Ó .6 ÓÓ Ó
aluminum bottles bouncing against hard surface
&Œ ‰ B œ ....... Œ œ ...Œ 6Ó B œ ...... œ3 ...... Ó œ ......... Ó

3 3 3
3 ‰ ‰. ‰
Perc. 
&œ
....... Œ Œ œ .... Œ œ ... Œ œ ........ œ ...Ó . œ ....... Œ œ ...... Œ œ .... Œ œ ...
3

3 (b 3 ) (I 3 ) B 3 ........(B 3 ) b3
‰ Œ Œ J Œ ‰
Vln. &
 P 
3 3
? j3
( b 3) ‰ ‰ b œ Œ
3
Vc. 3 (3) 3 B3
 Í 
?3 . ‰ B3 œ
D.B. æ
 P  f

w. w. w.
&
El. 
sampled bottle
& œ ........ Œ 
p
12
34 3'30"
3 b3
& Œ Œ J Ó
3
Cb. Fl.
˙æ ˙æ Ó
switch to C Flute
&
P o
Cb. Cl. &
Bsn. ?
&  T
Bb Tpt. + o
& Ó Œ ‰ œ œ œæ
3

T
? 
Tbn. + o
œ œ
? Ó Œ‰ Jæ

3 3

. . 6 6 6. 6. ‰ 6. ‰ 6. 6. 6. 6. 6. 6. ® 6. 6. 6. 6. 6. ‰ 6. 6. 6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. 6. 6. ® 6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. 6.  6. 6. 6. 6. 6. 6. 6.  6. . 6. 6. 6.
& 
ppp ç
6 3 6 9 3 6 9 6 9 9 3 6 3 9
sempre
Pno.
 w
 m 6. . 6. 6. 6. 6. 6. 6. 6. ® 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6. ®m 6. 6. 6. 6. 6. 6. 6. 6. ® 6. 6. 6. 6. 6. ®6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. ‰ 6. 6.  m 6. 6. 6. 6.
& Œ
9 6 9 6 3 6 9 3 9 9 9 6 6
>
switch to glass jars with ping pong balls
& ‰
Bœ ‰œ œ . . . ......................... Œ Œ ‰ B œ .....Œ
3
œ ...... Ó Œ B œ ............. 
J
  ß ‰
3 3 3 3
sempre 
Perc.
& Œ Œ Ó Œ Ó œ .......... Ó. œ ........ Œ œ ........... Œ œ ........... 

6
 arco
B3 ˙
(3 ) 3 (B 3) 3 ........... (3) ‰
ord msp ord
B3 œ œ b3
& J æ J ‰ J
6 ...............
clb
Vln. Œ Ó
F  ç o
3 3 3

? Œ œj
( b 3) Œ B œ ‰ B œ .................. Ó
3
Vc. (B 3 ) b œ- w
o  Í F Í
? b3 Œ B œ- 
Œ b œJ œ ‰ b œ ....... (b œ) Œ Ó w
D.B.
 
3
Í F Í

w. w. w.
&
El.
sampled bottle
& Ó
B œ .................................... Œ Œ œ .......... Ó
........
p
.....
13
37
C Fl. &
Cb. Cl. &
?
glass jar containing ping pong ball
Bsn.  o ^^^^^^^^^^^^^^^^^^^^^^^^
& 3. ‰ Œ ‰ 3
3
3 ‰
Bb Tpt.
+ + + o + o + + o
& œ. ‰Œ œæ œ. ‰ Œ œ œ ‰ Ó b˙ œ œ œ Œ Ó
æJ 3
P o ß o 3
Í o p o
b3. 3 3 ‰
? ‰ Œ ‰
3
+ + o + o
Tbn. + œ + + o
bœ. œ œ
? ‰Œ æ
bœ œ ‰
J Œ æJ ‰ Ó n˙ œ Iœ œ Œ Ó
P o ß o Í o p o
3 3 3
glass jars with ping pong balls
&  o ^^^^^^^^^^^^^^^^^^^^^^^^
Pno.
&  o ^^^^^^^^^^^^^^^^^^^^^^^
NEAR
glass jars with ping pong balls
&  o ^^^^^^^^^^^^^^^^^^^^^^^^
FAR
f
NEAR
Perc.

FAR
& o ^^^^^^^^^^^^^^^^^^^^^^^^
 P . . . . . . . . . . . . . . . .
œo . œo œo œo œo œo œo œo ® œo œo œo œo œo œo œo œo œo
 ‰ ‰ ‰ ‰
B˙
Œnœ
n˙
bœ Œ ˙
œ œ ...........
œ œ ...........
Vln. & Œ  Œ J Ó.
o ƒ  Í o Í Í
3 6 9 3 3 3
 P
. . . . . . . . . . . . . . . .
B œo . B œo œo œo œo ® œo œo œo œo œo œo œo œo œo œo œo œo
 ‰ ‰ ‰ ‰ 
? Ó.
œ‰ Œ Ó Œ Œ Œ
?
& &
Vc.
˙
o ƒ  Í o
6 9 6 3 3
I œ I œ œ œ œ ‰ œ
ord msp ord msp ord ord msp
? ( I 3) Œ Bœ Ó.
ord
bœ œ œ œ œ œ œ œ
D.B. J
 P  P f o
3 3 3 3

w. w. ˙.
& Ó.
o
El.
sampled glass jars with

ping pong balls
& o ^^^^^^^^^^^^^^^^^^^^^^^^

14
4'00"
. . . .......... .1 . . ......
slap ricochet (imitate sound of balzando strings or bouncing bottle)
b1. 1. . . ‰ b ˘1 ‰
41
˙ Bœ ‰
C Fl. & Œ Ó Ó Ó Ó  Œ ‰ œ
Í Í Í f F o o
6 3
66 )6 ) ))
& ‰ I- . Œ ‰ I- Ó I- ‰. Ó - ‰ Ó œ‰Ó
. Ó.
6 3 6
6 )6 )
3
6
Cb. Cl.
. . . ......... . .. .. fl B˙ ˙. 6 6 6 6
Í Í Í f f o f o
o
? ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ switch to Bassoon
Ó.
.
Bsn.
ȯ f o
Bb Tpt. &
œ+
Tbn. ? Œ

& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Pno.
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
NEAR
vary distance from microphones freely
switch to crotales zj xuu
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
FAR
NEAR
Perc.
FAR
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
œ .................. œ ........ œ ...... ˘œ ˙ œ

œ .................. œ ........ œ ..... ‰ œ ‰ ˙ œ‰ (œ)
& Œ Ó Ó Ó Ó. Œ
Vln.
œ ˙
Í Í Í f 
3
o 
ord
 B œ ......Ó ˘ msp I œ
& ‰
b œ ............ Œ œ ..... ‰ Ó Bœ ‰ Ó œ‰Ó
?
3 st
b˙ &
œ.  
Vc.
Í Í Í f P o o ƒ
3 6
? B œ .................. Œ ˘
D.B. b œ ........ Ó b œ ..... ‰ Ó Iœ ‰ Ó œ bœ œ ‰ Ó & Œ œ
Í Í Í f ƒ
3
o 
& Œ (œ)
œ ˙

El.
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^?
f 
15
4'30" 
46
œ ‰ œ œ œ œ bw œ
œ ‰ œ ‰ œ ‰ Œ
C Fl. &
P o o P o o F o o f o o ƒ 
Cb. Cl. &
 3. b3 ‰ T T 3
? Ó Œ
nœ.
Bsn.
œ bœ ‰ µw œ
? Ó. ‰ Œ
f o p ƒ o
P F
6 6 6 6
‰. + + + o+o+ + + o+o++ + + o+o++ o +o++

& ‰. œ œ ‰ Bœ Bw œ
Œ
Bb Tpt.
p f p ƒ o
?  3 3 ‰ T.
bT 3 Œ
Tbn.
.
6 6 6 6
? œ œ ‰ b ‰w . + + + o+o++ + o+o++ +
w
+ o+o++ o +o++
œ
Œ
p P o p f ƒ o
?
&
Pno.
?
&
Perc. &
 o m o o m o
o m o r s r highest note
o m o r s r
r s r r s r d p d d p d
œ œ Bœ nœ œ œ B œ n œ onIIID string
µœ mœ (b œ )
I d p d d p d
!
& œ
o o Ï p
Vln.
p o p cresc. poco a poco ƒ P
3 3 3 3 3 3
o m o o m o
o m o o m o r s r r s r
r s r r s r d p
d p d d
µw œ
. (œ)
d p d
(bœ )
d p d
Vc. & œ
p  Ï
ƒ p
3 3 3 3
cresc. poco a poco

o m o o m o o m o
o m o r s r r s r r s r
r s r
( œ .)
d p d p d
d p d d p d d
Bw œ
& nœ
 Ï
D.B.
p cresc. poco a poco ƒ p
3 3 3 3
b ww
& . (œ) µ mB www Ó

( œ .)
o
(œ)
El.
? B b ww Ó
o
16
o
5'00"
49 >˙ œ >œ . >œ œ wo .

æ ‰ Œ æ ‰ Œ æ ‰ Œ
C Fl. & Ó
ƒ o ƒ o ƒ o p 
, )6 ))
Cb. Cl. & w. w
6
6
)
6 œ œ

sempre ff , (ƒ ) o
? œ œ
w.
Bsn.
w œ œ
(ƒ )
œ
sempre ff o
& Œ 3 m3 3 Œ 3 m3 3 Œ 3 m3 3
,+ ,+
Bb Tpt.
+ + o
& w ˙ ˙ ˙. œ
sempre f (f ) o
? Œ bT T 3 Œ bT T 3
, +
Tbn.
+ + o
? bw. bw œ œ
æ æ
sempre f (f ) o
6.
? ‰ Œ 
&
w.
> 
Pno.
ç
?
hold pedal to end of piece
bw.
>
°
Œ 
crotales zj xuu aluminum bottles bouncing against hard surface
˙
Œ  B œœ .....
switch to bottles
Perc. & æ z .....
f  F

˙
ord
œ œ
msp ord
œ œ œ
msp ord
œ œ œ
msp ord œ ˙ œ
˙ œ œ œ œ œ œ œ œ œ
& œ Œ Œ Œ Œ œ
 
Vln.
ƒ o ß ƒ ß  ƒ ß  ƒ  ƒ
o
o m
œo
ord msp ord msp r s
˙ œ
ord
œ œ ord
d
œ
p
ord Bœ
˙ œ œ œ œ œ œ
& œ Œ & Œ Œ œ Œ ‰ ‰. Œ ?
œ
Vc.
œ œ œ
ƒ o ß  ß ƒ œ œ 
ƒ  ƒ ß 
o ƒ
. . . . . .... . . . . .. . . . .
œo œo œo œo œo ®œo œo œo œo œo œo  œo . œo œo œo  œo œo œo œo ® œo. œo. œo. œ.o œ.o ‰ œo. œo. ® œo. œo. œ.o œo. œo. œo. œ.o œo. œo. œ.o œo. ‰ œo. œo. ‰ œo. ‰ ? œ ( B œ)
D.B. & œ Œ Ó
ƒ o ƒ p 
6 3 9 6 9 3 9 6 3 3
 (sim.)
w. w. w.
&
El. o  (sim.)
sampled glass jars with
?
ping pong balls
o ^^^^^^^^^^^^^^^^^^^^^^^^
bw. w œ œ
o f o 

17
o
52 œ switch to Piccolo
‰ Œ 
C Fl. &
Cb. Cl. &  B˙ w ˙ 

p o
?  
Bsn. B˙ ˙
p o
6 6
Ó
+ o+o++ + o+ o + +
w
Bb Tpt. & Ó
p
6 6
+ + o+o++ + o+o++
?  
Tbn. B˙ œ
p o
˙
w
 Ó
remove tape from G
&
Pno.
 P
?
B œ .........Œ  B œœ...... Œ  B œœ..... Œ  B œœ........ Œ 

& œ
..... ..... ......
Perc.
F P P p

(b œ) (œ) (œ) (b œ ) œ
(œ) (œ )> > > µ >œ œ  œ
Vln. &
f  f  f  p
3
? 3
‰
(œ) (B œ ) (B œ ) (b œ) Bœ > (I œ )
&
>
Vc.
f 
? b >œ (I œ ) >. >œ (B œ ) ( b œ) >œ œ>
D.B. J J J
f  f  f  f 
3 6 3 3
B œ .........Œ  B œœ...... Œ  B œœ..... Œ  B œœ........ Œ 

& œ
..... ..... ......
El.   p P
?
bœ
Ø
18
5'30"
œ- œ- œ œ- œ- œ œ- œ- œ- œ œ- œ- œ- œ- œ- œ-
Piccolo
œ w œ œ w œ
‰ ‰ ‰
56
‰
Fl. & Œ
p p F
(Picc.) 3 6 3
 n1 . . . ........ 1  B œ . . ..
b œ  1 I 1 ‰ I œ œ  -. . .B - ‰ œ
Cb. Cl. & Œ œ Bœ œ ‰ b -. . . -  œ b œ ‰ œ
o f Í o f Í o fÍ o f Í o f o

? Œ bœ Iœ
Bsn.  bœ œ  Bœ. bœ  œ Iœ ‰ Iœ œ  œ Bœ ‰ Bœ œ ‰ nœ œ  œ bœ ‰ œ
p f f p f p f p f p f p
(sim.)
6 6
Iœ + + o+o+ + o+ o + + o +o + o + o +o+ o+ o +
& 
‰œ w œ ‰
Bb Tpt.
o
p ƒ
3
6 6
+
? B œ + o+o+ + o+ o + + o +o + o + o +o+ o+ o +
bœ ‰
‰
Tbn.
3
p ƒ
& ‰ Œ 
3
œ
Pno. p
? ‰
3
Œ  &
œ
B œ .......Œ  Œ  Œ  switch to crotales zj xuu

B œœ...... B œœ.....
& œ
.... ....
Perc.
  Ø
>> œ œ >> œ œ >> > œ > > >>
œ . Bœ
Vln. & mœ  œ mœ ‰ œ œ ‰ œ Bœ ‰
p
3 3 6 9
cresc. poco a poco
œ > > œ œ >> œ >> st ord

>
msp
‰œ mœ  œ P
mœ ‰ œ ‰Œ
œ ?œ
&
3 6 3 9
‰
œ œ. œ œ œ œ
Vc.
p mœ n˙ œœ œ œ œ œ œ
> > > > > > >>>
o
3 3
f ƒ
6
cresc. poco a poco F

? >. > > > > > > >
(œ) ( B œ) 
œ
( b œ) œ bœ
D.B.
J
p
3 6
6 3
cresc. poco a poco
B œ .......Œ  B œœ...... Œ  B œœ..... Œ 

& œ
.... ....
F f ƒ
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
sampled glass jars with ping pong balls
o
El.
? t
( bœ ) ( œ)
19
œ œ- œ- œ œ- œ- œ- œ œ- œ- œ- œ- œ- œ- œ œ- œ- œ œ- œ- œ- œ œ- œ- œ- œ- œ- œ- œ œ- œ. œ- œ- œ. ® œ- œ- œ- œ- œ
59
‰ ‰ 
Fl. &
(Picc.)
f ƒ
6 3 6 3 6
66 )6 66 )) 66
Cb. Cl. & bœ ‰ w œ ‰ w.
6
6
6
6
6
6
6
6
6
6
f o f ƒ

? 3 6 6 6 3 6
‰ ‰ .
œ- B œ- ‰ n œ- B œ- ‰ n œ- B œ- ‰ n œ- B œ- ‰ n œ- ‰
Bsn.
œ œ œ - -B œ- œ - - n -œ œ - B œ- œ - n œ- œ - - B -œ
f cresc. poco a poco
& Œ T 3
T
Bb Tpt. 6 6 6 6 6
+ o + o +. + o +o++ o+o + + o+o++ + o + + o +o+ + o+o+ + o + o + o + o+o+o+ o + o + o+

& ‰ œ  œ  œ ˙. ˙.
œ ‰ œ ‰ œ ‰
æ æ
3
f
3
ƒ
? B Œ bT bT 3
Tbn. 6 6 6 6 6
+ o + o +. + o +o++ o+o + + o+o++ + o + + o +o+ + o+o+ + o + o + o + o+o+o+ o + o + o+

B bœ bœ ‰ ‰ bœ œ ‰ bœ bœ bœ œ  bœ œ‰
‰ b˙. ˙.
æ æ
f ƒ
3 3 3
6. 6. 6. 6. 6. 6. ® 6. 6. 6. 6. 6. ‰ 6. 6. 6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. 6. 6. ® 6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. 6.  6. 6. 6. 6. 6. 6. 6.  6. . 6. 6. 6.
&
6 9 3 6 9 6 9 9 3 6 3 9
Pno.
 Ï
® m 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6. 6. 6. 6. 6. 6. ‰ 6. 6. ® 6. 6. 6. 6. 6. 6. 6. 6. ®m 6. 6. 6. 6. 6. ®6. 6. 6. 6. 6.  6. . 6. 6. 6. 6. 6. ‰ 6. 6.  6. 6. 6. 6.
& Œ ?
9 6 3 6 9 3 9 9 9 6 6
˙. ˙. ˙.
crotales zj xuu
œ
& Ó æ æ æ æ
z z z z
Perc.

bœ œ 
œ
> > œ
œ >> œ b œ œœ œ œ œ
6
œ œ œ œœ
œ œ œ Bœ bœ bœ  œ œ œ b œœ
b œœ œ bœ
œ ‰ ‰ 
bœ b œ m œ m œœ .. m œœ œ
Vln. & œ Bœ J œ œ
mœ o
Ï
3 3 3 10
5
cresc. poco a poco
>œ > >œ > > > > >œ > >
> œ. > > >
3 3
œ >> œ >
? ‰ bœ bœ bœ bœ bœ bœ
œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ
Vc.
w o œ œ œ œœœœ œ œ œ œ
ç Ï > > > >
6 9 9 6
? b >œ .
bœ œ œ
( œ .) ( b œ) (bœ ) ‰
œ mœ
bœ  bœ 
D.B. œ bœ ‰ & n œ  m œ ?
ç o o Ï 6
6
o
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
El. ƒ
t w.
bw. w.
20
6'00"
61 w
Fl. & Ó
Ï o
(Picc.)
))
Cb. Cl. & w
)
6 Ó
Ï o

Bsn. ? 3
Ó
œ - nœ B œ  n œ- Bœ nœ
Ï o
& 3 3 3 Ó.
Bb Tpt.
3
j
+ + + o
& ˙. Ó.
Ï o
B Ó Ó.
3
Tbn.
3
j
+ + + o
B
˙ œ Ó.
J
Ï 3
o
&
Pno. ç (continue holding pedal until the end of the piece)
?
bw.
w.
tuned glass (cause pitch to wobble by jostling glass)
œ
Ó.
switch to tuned glass
& æz
v v
Perc.
f
Bœ œ
Bw
Vln. & b ww .. œ œ
‰ nw w œ œ Œ
Ï  o
p
3 3
Bœ Bœ
? œ
œ œ œ ‰ œ w œ ‰& Œ
I
˙
µ˙.
Vc.
œ œ œ œ o
> > P o 
ƒ
msp ord
œ ‰ œ
? w. bœ ‰ bœ
D.B.
Ï F P o p
(sim.)
& ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
El.
t
œ
21
64 6'30"
U 6'45"
Fl. &
Cb. Cl. &
Bsn. ?
Bb Tpt. &
Tbn. B
6.
‰ Œ 
&

Pno.
œ
Perc. & v v v v Œ 

ȯ . > > > .
œo œo œo ˙ wo œo œo œo œo
J ‰ Œ 
Vln. &
 
3 3

> > > .
B wo œo œo œo œo ȯ œo œo ȯ . œo
J ‰ Œ 
Vc. &
 
3 3
?
bœ ‰ mœ ‰
st œ. ‰
D.B. &mœ œ Œ 
o  o  
œ ..........................................
&
El.
 (electronic sounds
fragmenting and decaying)
t
( b ) œ ..........................................

Program notes:
My work often deals with the ways in which technology has transformed how we hear,
experience, and create music. This piece is inspired by an experience watching a YouTube
video that was not buffering properly, resulting in a chopping and looping of short video
segments. The material in too many arguments in line 17 is also manipulated by processes
akin to granular synthesis, with an affinity for glitches and unexpected results. This piece
is neither about how technology is destroying music as we know it, nor is it about how
technology is the answer to all life's questions. It a collection of more mundane
observations about easily overlooked (and potentially profound) ways in which
technology has already altered our lives.
A note on meter:
Meter in this piece should be interpreted hierarchically: the downbeat of the measure
should receive the strongest accent, while each beam group corresponds to the beat
structure within each measure and typically receives a weaker accent. As a result, triplets
are beamed variably in groups of three or two, depending on the metrical structure of the
measure. The piece makes extensive use of incomplete tuplets, nearly always appearing at
the end of a measure. Time signatures do not appear in the score, in order to avoid the
clutter of constantly changing meters such as 1/4 + 1/2 + 3/10 (m. 6) and the deceptive
labeling of measures such as m. 11, which would conventionally be notated 3/8 + 1/4,
but is actually a measure of 3/8 + (2+1)/12. The performer can glean all pertinent
metrical information from the material itself.
Performance notes:
µ = one quarter-tone sharp
Â = three quarter tones sharp
B = one quarter-tone flat
I = three quarter tones flat
st = sul tasto
ord = ordinario
sp = sul ponticello
msp = molto sul ponticello
1/2 clt = half col legno tratto

clt = col legno tratto
clb = col legno battuto
arco 1/2 clt clt { } clb = smooth transition by turning bow gradually. The final motion from clt to clb
involves a shift from a horizontal to vertical bow motion, and should be achieved
as smoothly as possible, though discontinuities are likely.
pz = pizzicato
= Bartók pizzicato
+ = left hand pizzicato
= fingernail pizzicato
œ}
œ œ}
&œ
{ {
œ = pizzicato fluido (accomplished by pressing the tension screw of the bow against
+ + the string). In the second example, both duration and terminal pitch are free.
= natural harmonics are notated at the sounding pitch
= artifical harmonics are notated at the fingered pitch
= mute the string suddenly to create a "reverse" envelope
= rearticulated attacks during a smooth glissando
= notes in parentheses should not be rearticulated - they simply define the slope
of a glissando
= half-harmonic: use a light finger pressure (while muting the string behind your
finger) with a light, fast bow in order to produce a very pale, somewhat noisy pitch
(while retaining a faintly audible fundamental)
= gradually increase finger pressure . This is accompanied, by default, with an increase
in bow pressure and decrease in bow speed.
= heavy bow pressure resulting in a scratching sound

= return to standard bow pressure (or to flautando bowing in the case of a half-harmonic)
= throw the bow at the string, creating as many bounces as possible. The performer may
also append the gesture with a few light articulations to fill the alloted rhythmic space.
= allow the bow to bounce on the string, accelerating as a result.
= legno saltando glissando: bounce the wood of the bow against the string while shifting
the point of contact. Mute the string in order to hear only the notated pitches (at the
points of contact).
= legno saltando: bounce the wood of the bow against the string, but do not mute the
string. The notated pitch refers to the fingered pitch, while the higher pitch produced
by the point of contact between wood and string is not notated.
4
too many arguments in line 17
for the JACK Quartet
Ryan Carter
Glitchy, but persistent q = c 136
. . .
> œ. b œ > m œ. œ. > m œ. œ.
3:2
> . bœ > œ. b œ m œ.
5:4
& œœœœœœœœœœœœœ œ b b œ-T œ-T œ-T œ-T

I
œœœœœœœœœ œ œœœœœ œ œœœœœ œ
> > > > > > > > > sub. p
ßf ß ß ß
ßf
3:2 3:2 3:2 3:2 3:2
o ƒ
jeté 2q
o
>
arco
+ 3:2 ‰ mœ
> > œ ‰ m Tœ Â µ œT ‰ m œ
pz 3:2 3:2
Vla. B œ œ œ œ œ œ œ œ œ
œ œ œ œ
ß f + + ƒ p +
ß ß
msp ord msp ord msp ord
+ 3:2
>- -
6 5:4 5:4 5:4 5:4 5:4
œ j
& œ œ œ œ œ b b œ-T œ-T œ-T œ-T œ Tœ I I Tœ œ œ œ b b œ-T œ-T œ-T œ-T œ œ-T œ-T œ µ œ b œ œ
b œ b œ- œ
- - - œ b œ œ b >œ I œ>
> - - >
I
> > sub. p > f > sub. p f sub. p > ß sub. p > >
ß f sub. p ß ßf ßf ß
5:4
2q +3e 3q jeté 1 q
ƒ
jeté jeté
‰ m >Tœ Tœ >T Tœ > > T

Â µ Tœ œ Œ > > > j
Vla. B œ ‰ mœ Œ œœœ œœœ œ œ œœœ œœ œ œ
œ œ
+ ƒ p ƒ p ßf f p ßf ß 3:2
>
ß
+3:2 +3:2 +3:2 + 3:2 +
+ œo + œo œ + œo 3:2.
>œ > œ > bœ > œ > bœ
12
œ œ œ œ œ
& Iœ bœ Iœ Iœ bœ Iœ œ œ bœ œ bœ
b œ bœ
> > > > > > > > nœ bœ nœ bœ
I
> > >
ß ß ß ß 3:2 ß 3:2
3:2
ß 3:2
œ ord .
msp
+ + +
msp msp
> > > > > > > >  œ œ >œ œ ‰ ‰ b œ
œ œœ œ œ œ œ œœœœ œ œœœœ œ œ ‰  œ œ œ œ ‰ ‰
3:2 3:2 ord
b œ
Vla. B œ œœ œ œ
œ œ œ
ß > ß > > ß ß 3:2 3:2
3:2
3:2 3:2
+ + +
œo b œ œ + œo + œo 3:2.
3:2 3:2 3:2
> œ+ > œ > œ > bœ

18
œ œ œ
& bœ bœ
nœ bœ nœ bœ nœ bœ nœ bœ nœ bœ
I
Bœ bœ
> > > > > > > > >
ß ß ß ß ß ß
3:2
3:2 3:2 3:2
msp
b œ.
msp
> œ+ bœ œ > œ+ > +œ > œ+ > +œ > œ+

3:2
>
‰ ‰ ‰ ‰
ord 3:2 3:2 3:2
œœ œœ  œœ œœ  œœ
ord
B œ œ œ œ œ ‰ œ œ
Vla.
J
ß
3:2
3:2 3:2 3:2
+ œo œ
> œ > bœ > œ. m œ. > œ. m œ. > œ. m œ.
24 ord sp ord ord msp
& œ bœ b œ b œ m œ œ œ œ m œ œ œ œ œ œ œ œ
œ mœ œ mœ œ > œ
>
b œ > >
I
> bœ > >
ß 3:2 ß
3:2
3:2 ß 3:2 ß 3:2
msp
Œ Ó Ó Ó Œ
ord
b Tœord
& Ó Œ ‰b œ
b T œœœœ œœœœ œœœœ œœœœ
œ œ ‰ œ ‰ œ ‰ œ
II
œ œ œ œ œ œ œ œ œ œ
ƒ + + + + J+ + + + J+ + + J+
3:2
ß + + +
ß f ß
+ œ 3:2 3:2 3:2
Ó Œ Œ Œ Œ Œ
msp
> >
B œ œœœœ œ œ ‰ ‰
ord
bœ ord
œœœœ œœœœ œœœœ œ œ œœ œ œ œœ œ œ œ œ

Vla.
‰ œ ‰ œ ‰ œ ‰œ ‰ œ ‰ œ ‰ œ œ ‰ ‰
ß 3:2
3:2
+ + + + + + + + + + + +
pz 3:2 3:2 3:2
?Ó
3:2
Vc. Œ ‰ œ
ƒ

5
> . m œ. > . œ. . n œ. > . m œ. . n œ. > . m œ. . n œ. > . m œ. . n œ.

28 ord msp ord msp ord ord msp ord msp
& bœ œ mœ œ œ œ œ œ œ œ œ œ œ mœ œ œ œ œ œ œ œ œ œ œ m œ œ œT œT œ œ œ mœ œ œ
> > > > > >> b œœœœ
>
> >
I
ß ß
ß ß
3:2 5:4 5:4 5:4 5:4
arco arco
Œ Œ Œ Œ Œ Œ Œ bœ œ œ œ Œ bœ œ œ œ Œ
pz arco pz pz
& œœœœ œœœœ

œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
II m œ m œ m œ mœ
œ
+ J+ + + + 5:4 + + + + 5:4 + + + 5:4 + + + 5:4 + + +
ß
ß
3:2
jeté 2q jeté 2q jeté 2q jeté 2q
B
Œ Œ m œT œT Ó m œT ‰ ‰ œT Œ m œT ‰ ‰ œT Œ m œT ‰ ‰ œT Ó
Vla.
‰œ
œœ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ ‰ œ
+ + + + + + + + + + + + + + + + + + + + +
ß ß
ß
3:2
5:4 5:4 5:4 5:4
pz
Vc.
? ‰ œ Œ Ó
f
msp ord msp

ord
> . m œ. . n œ. > œ. m œ. > . œ. . n œ.

msp 3:2 3:2 3:2
32 ord ord msp ord
& mœ œ œ b œ œ. b œ œ. œ œ. œ œ œ
b œ œ œ œ œ œ b œT œT œ . b œ œ œ œ œ œ œ œ œ . b œ .
œ mœ œ µ œ b œ m œ
>
œ œ œ œ
>
œ œ œ
> > >>> > > >
I
ß > >
ß
5:4 pz pz ß ß
3:2 5:4
arco 3:2
o arco 3:2
o 3:2o
pz
Œ bœ œ œ œ Œ ‰ nœ bœ œ œ œ Œ ‰ nœ ‰ œ Œ arco
Œ Œ
pz
& mœ ‰ ‰ œœœœ
œ ‰œ ‰ ‰ mœ ‰ ‰
‰ œ œ ‰
II
œ œ œ œ œ œ œ œ+ œ+ œ+ œ+ œ œ œ œ œ œ
+ + + J + + + J + + J
+ + + + 3:2 ß + + + + 5:4 +
ß ß
ß
5:4 3:2 3:2 3:2
2q 2q
oj o oj
jeté 3:2 3:2 jeté
3:2
Ó Œ œ Ó ‰ œ Œ œ Œ Œ
pz
T T arco
m œT ‰ ‰ œT
B m œœ ‰ œ ‰ œœ & B ‰ œ ‰ œ ‰ œ ‰ œ œœ œ œ œ œ
Vla.
‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ + + + + ‰œ œ œ œ
+ + + œ œ + + ++ + +
+ + 3:2+ + + 3:2+ + J+ 3:2
o
5:4 5:4
3:2
b >œ œ> ‰ b >œ >œ ‰ b >œ >œ ‰ >œ ‰ >œ ‰ >œ ‰ >œ ‰ > ‰ > ‰ m˙
arco
?  Œ
Vc. Ó mœ œ
œ
f
3:2 3:2 3:2
ß +
ß
+ œo
msp ord
. 3:2
msp ord
œ
> T- I T- > œ > bœ > œ. b œ m œ.
36 5:4 5:4 5:4 5:4
b T T T T T b T T T T
& œ œ œ b œ- œ- œ- œ- œ œ- œ- œ œ œ œ œ b œ- œ- œ- œ- œ œ I œ œ
T b œ
> - - œœœœœœœœœ œ
I
> > > > sub. p > bœ > > >
ß f sub. p f sub. p ß f sub. p ß f ß
3:2
3:2 3:2
msp
b Tœ b Tœ Œ
ord
pz
Œ Œ Œ ‰
sempre pz arco 3:2
& j
5:4
II b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ß ß ß ƒ f
3:2
5:4
3q 2q +3e
ƒ
jeté jeté
>T >T >+

œ pz + 3:2
mœ ‰
msp
> >
œ œœœœ œ œ ‰ ‰
Tœ Tœ bœ
Vla. B ‰ mœ Œ œ œ œ œ
œ œ
ƒ p + ƒ p ß f 3:2
3:2
ß
ƒ > 5:4
j > > bœ > > >

> Œ bœ ‰ Œ Œ ‰ Œ ‰ ‰ Œ œ ‰ > ‰ Œ œ ‰ > >
3:2
? œ œ bœ
Vc. œ ‰ nœ ‰ œ ‰ œ ‰
œ f œ œ œ
J + + +
+
ß ß ß ß
+3:2 + 3:2+ +3:2 +3:2
6
+ œo .
3:2 +
3:2
+ œo
> œ > bœ >œ
40
œ œ œ
& Iœ bœ Iœ œ b œ œ j œ œ
I
> > > > n >œ
bœ œ b >œ I >œ I >œ b >œ I œ> n œ b œ œ bœ œ µœ œ bœ
> > > > >
ß ß 3:2
ß ß ß 3:2
ß ß ß
sempre pz
3:2 3:2 3:2 3:2
& j
œ. œ. œ.
II
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ß ß ß ß ß ß ß ß
>+ b œ. > +
msp
j >
msp
> > > > 3:2  œ œ >œ œ ‰ >œ œ œ œ œ > >
œœ œ œ œ  œœ œ œ ‰ ‰
arco ord 3:2 ord
B œ
ord
Vla. œ œœ œœ œ œ œ œœ œ œ œœœ œ œœ œ œ
œ œ œ œ
ß > > 3:2 3:2
ß 3:2
> ß > 3:2 ß ß ß
> 3:2
> 3:2 > 3:2
> 3:2
>
Œ bœ ‰ > > Œ
3:2
> bœ ‰ Œ. b œ ‰ >j Œ b œ ‰ > 3:2 Œ bœ ‰ > > >
Vc.
? Iœ ‰ œ ‰ bœ ‰ Iœ Iœ ‰ ‰ œ ‰ ‰ bœ ‰ œ ‰
œ œ œ œ œ œ œ œ
+ + + + + + + +
ß ß ß
. . ord . . . . ord . . . . 3:2
. b œœ b œœ œ
ord
>œ . . . b œœ >œ . . . b œœ >œ . . . b œœ >œ . . .

msp msp msp msp msp
48 ord ord
& œ µœ œ mœ œ Âœ œ œ œ µœ œ bœ bœ bœ bœ bœ . . bœ
>
I
> > > > > > 3:2 ß
ß ß ß ß ß ß ß  ß  ß  ß 
m >œ . µ œ  m >œ . µ œ  m >œ . µ œ  m >œ . µ œ  ‰ µ œ m œ P
arco
II &
œ œ œ œ œ œ ß o ß o ß o ß o 3:2
o Ï
ß ß ß ß ß ß
>
B œœœ
>
œœœ
>
œ œœ
> >
œœœ œ œœ
>
œœœ m >œ . µ œ  m >œ . µ œ  m >œ . µ œ  m >œ . µ œ  ‰ µ œ m œ P
Vla.
ß ß ß ß ß ß ß o ß o ß o ß o o
3:2
Ï
> > ‰ m >œ > > ‰ m >œ
msp ord
ord msp ord msp ord msp ord msp 3:2
? ‰ bœ ‰ bœ ‰ bœ ‰ bœ
3:2
mœ mœ mœ mœ mœ
œ œ œ œ œ œ. œ m œ. œ œ œ . œ . œ. œ
> . . . . m > . . . . m
œ œ. œ. œ. œ m œ. œ
> . . . . m
œ œ œ œ œ œ. œ œ œ œ œ œ œ. œ
> .  . >
Vc.
œ œ œ œ œ œ
+ + + + + + ß ß ß ß  ß
ß ß ß ß ß ß
œ. . .
msp ord
59 3:2 msp st
bœ
ord
&
œ ˙. t ‰ œ} { m œ} œ} œ} mœ} œ}
. . bœ ˙. œ µœ } mœ } Âœ} œ} œ } {m œ } { { { { {
t >
{
>
I { { { {
3:2 ß p F p F p
5:4
F p
µœ mœ P
st ord
œ}
& ‰
3:2 3:2
œ} mœ} œ} mœ} œ} { œ } { mœ } {
mœ œ} µœ} m œ } {Â œ } { œ } {µ œ } { m œ } {Â œ } œ} { { {
>
{
II { Â œ} { { { { {
3:2
o Ï F p F p F p F p
5:4
P
B ‰ µœ mœ Œ ‰ bt bt t t
Vla.
nt
3:2
o Ï p
arco 1/2 clt clt { } clb
ord
msp
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
? bœ
3:2
mœ B ?
Vc.
m œ. œ œ. œ . œ. œ. >œ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
 ß P 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2

>œ œ œ œ >œ œ œ œ >œ œ œ œ >œ b œ.
sp msp
arco
œ t Tœ .. b b Tœ Tœ
{œ}
‰ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
64 ord
mœ} { mœ }
pz
&
{
Œ m œT { m m Tœ } J ‰ œ ‰
>
I
F p F p f  f ƒ œ ßf 3:2
msp
bœ
b b Ṫ ..
sp
m œ } {m œ } œ} {œ} ord
Tœ
Œ b b œT ‰ bœ œ œ œ œ œ œ œ Bœ œ œ œ œ ‰
{
&
{
Tœ œœœœœœœœ œœœœœ
m œT }
> f > > >
II { }
F  f ƒ ß
{
F p f 
pz
mt bt
t t ‰ bœ
arco

B mt t t t æ

æ & bt ‰ B ˙. œ ‰
æ æ
æ æ
>.
Vla.
œ ˙ œ
f p f p f p ß p f
arco ƒ
bt bt arco
? Œ t ‰ pz? œ
œ ‰ œœœœœœœœ œœœœœ ‰
III
nt ? bt
IV II
&
I
Vc. bt &
bt bt œœœœœœœœ œœœœœ
P ƒ > f > > >
ß
7
st msp
2q
3q
>œ œ œ œ µ >œ œ œ œ >œ m œ œ œ >
µ œ œ œ œ >œ
jeté st msp
69
mt œ} œ} œ ‰
clb arco
bœ œ œ œ œ œ œ œ œ b œ œ œ œ œ ‰ œ œ b T
5:4
‰. bœ œ ‰ T b œ T
{ {
I & mœ } œœœ œ œ œ œ œ
{
bœ œ
ß 3:2
ß 3:2
& B œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰  Œ œœœœœ ‰  Œ
Bœ œ œ œ œ
> > > > >
II
ß ß
Vla. B œ œ œ œ œ œ œ œ œ ‰  Œ œœœœœ ‰  Œ
œ œ œ œ œ œ œ œ œ œœœœœ
> > > > >
ß ß
? œ œ œ œ œ œ œ œ œ ‰  Œ œœœœœ ‰  Œ
Vc.
œ œ œ œ œ œ œ œ œ œœœœœ
> > > > >
ß ß
µ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ œ clt } clbœ µ >œ œ œ œ œ œ >œ µ >œ >
ord 1/2 clt {
71 œ µœ
b œ œ œ œ œ œ œ œ Bœ œ œ œ œ œ œ œ œ B œœœœœœœ ‰ œ ‰ Bœ ‰ t J
I &
ß sempre f
3q
ß ß ß
& n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ Ó Œ œ œ œ œ œ œ œ ‰ Œ. œ œ œ œ œ ‰ Œ.
œœœœœœœ œœœœœ
> > >p > > > > > >
II
ß f ß ß
Vla. B œœœœœœœœ œœœœœœœœœ ‰ Ó Œ µœ œ œ œ œ œ œ ‰ Œ. µœ œ œ œ œ ‰ Œ.

œœœœœœœœ œœœœœœœœœ nœ œ œ œ œ œ œ nœ œ œ œ œ
>
ß > >p > > > > > >
f ß ß
? œœœœœœœœ œœœœœœœœœ ‰ Ó Œ œ œ œ œ œ œ œ ‰ Œ. œ œ œ œ œ ‰ Œ.
Vc.
œœœœœœœœ œœœœœœœœœ œœœœœœœ œœœœœ
>
ß > >p > >f > > > >
ß ß
µ œ.
msp ord
t œ t œ pz
>œ . . . µ œ. . . . µ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ µ >œ œ œ œ >œ œ œ œ >œ œ. œ.

3:2 arco msp
‰ ‰ ‰ ‰
74 ord
B œ œœ œ œœ œ œ œ œ œ œœ B œ œœ œœ œœ œ œ œ œ
I &
ß p ƒ p ƒ ßf P œ œ ßf p 3:2
& µ œœ œœ œœ œœ œœ ‰  Œ µœ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ
œ œ œ œ œœ œ œ œ œ œ œœ
µœ œ œ œ œ œ œ œ œ
µ œ œœ œœ œœ œ œ ‰
> > > > > > > >p
II
ß ß P ßf
>
Vla. B µœ œ œ œ œ ‰  Œ µœ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ µœ œ œ œ œ œ œ œ œ œ œ œ
nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
> > > > > > > > p
ß ß P ßf
? œœœœ œ ‰  Œ œ œ œ œ µœ œ œ œ œ œ œ œ œ ‰ Œ µœ œ œ œ œ œ œ œ œ ‰
Vc.
œœœœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ
> > > > > P> > > >p
ß ß ßf
µ >œ œ œ œ >œ œ œ œ >œ œ œ œ >œ µ >œ œ œ œ >œ œ œ œ >œ œo ȯ µ >œ œ œ œ t µ >œ œ œ œ œ œ >œ
ord
77 t
œœœœœœœ ‰ œ P
n œœœœœœœœ œœœœœ t t œœœœ œœ œœœ œœœœt ‰
I
I & t t t æ
ßf ßf  sempre pp p  o Ï
 f p
œœœ ‰ Ó
& µ µ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ µ µ œœ œœ œœ œœ µb œœ œœ µœ œ œ œ œ ‰
bœ œ œ œ œ bœ œ œ œ œ œ
œœœ œœœœœœœœœœœœœœœœ
> > > > > > > > > > > >
II
ßf  ßf  sempre pp
Vla. B µœ œ œœœœœœ œœœœœ ‰ Œ µœ œ œ œ œ œ œ œ œ ‰ Ó µœ œ œ œ œ ‰ µœ œ œ œ œ œ œ ‰ Œ.

nœ œ œœœœœœ œœœœœ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ œ œ
> > > > > > > > > > >
? µœ œ œœœœœœ œœœœœ ‰ µœ œ œ œ œ œ œ œ œ ‰ Ó µœ œ œ œ œ œ œ œ µœ œ œ œ œ œ œ ‰ Œ.
µœ œ œ œ >
Vc.
nœ œ œ œ œ œ œ œ µœ œ œ œ œ µœ œ œ œ œ œ œ œ œ µœ œ œ œ œ œ œ
> > > > > > > > > >
8
2q
µ >œ œ œ œ >œ œ œ œ >œ µ >œ œ œ œ >œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ >œ >œ µ >œ œ œ œ œ œ >œ
III
81 œ balzando 3q
œ œ œ œ µœ œ œ œ œ œ œ ‰ µ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ µ œ œ œ œ œ œ œ ‰
I & œ
œ
ßf 3:2 ß ß P
& b œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ Œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœœœœœœœ œ œ œ œ œ œ œ œœœœ
bœ œ œ œ œ œ œ ‰ Œ
œœœœœœœ Ó
> > > > > > sub.  > >>>> > >
II
ßf ß ßf
> b œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vla. B µœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ µœ œ œ œ œ ‰ Ó Œ
nœ œ œœ œœœœ nœ œ œ œ œ œ œ œ œ œ œ sub. 
> > > > >
ßf ß ß
? µœ œ œœ œœœœœ ‰ Œ µœ œ œ œ œ ‰ Ó Œ µœ œ œ œ œ œ œ ‰ Œ Ó
Vc.
µœ œ œœ œœœœœ µœ œ œ œ œ µœ œ œ œ œ œ œ
> > > > > > >
ßf ß ß
µ >œœ œœ œœ œœ > œ µ >œœ œœ œœ œœ > b œ µ >œœ œœ œœ œœ b >œ œ œ œ b >œ œ œ œ œ> œ œ œ >œ œ œ œ œ> œ œ œ b >œ œ œ œ œ> œ œ œ >œ œ œ œ >œ ˘œ
msp ord msp ord msp ord msp ord
84
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& œ bœ bœ
> œ
I
ßf ß ß ß > ßƒ p ƒ p ß
& b œœ œœ œœ œœ ‰ bœ œ œ œ œ ‰
œœœœ œ
bœ œ œ œ œ ‰
œœœœ œ
bœ œ œ œ œ ‰
œœœœœ
bœ œ œ œ œ œ œ œ œ œ œ œ
œœœœ œœœœœœœœ
œœœœ
œœœœ
bœ œ œ œ œ œ œ œ œ œ œ œ
œœœœ œœœœœœœœ
œ
œœ
> > > > > > > > > > > > > > > >>
II
ß ß ß ß ßp ƒ p ƒß
B bœ œ œ œ œ ‰ bœ œ œ œ œ ‰ bœ œ œ œ œ ‰ bœ œ œ œ œ ‰ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ
œ œ œ œ œ œ œ œ b >œ >ß
Vla.
œœœœœ œ œœœœ œœœœ œ œœ œ œ œ œœœœ œ œ œ œ œ œ œ œ µœ œ œ œ µœ œ œ œ
> > > > > > > > > > > > > > >
ßf ß ß ß p ƒ p ƒ p F
? µ œ œ œ œ œ œ œœ µ œ œ œ œ œ œ œœ µœœ œ œ œœœœ µ œ œ œ œ œ œ œœ µœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ µœ œ œ œ bœ œ œ œ œ œ œ œ œ
µœ œ œ œ > µœ œ œ œ > µœœ œ œ > µœ œ œ œ >
Vc.
µ œ œ œ œ b œ> œ œ œ >œ œ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ
> > > >
œœ
>>
> > > > >
ß ß ß ß ßp ƒ p ƒ pß
Possibly a little bit slower

arco III
Optional spatialization: Violin I may walk to another position in the venue for this passage (until m. 116).
90 pz µœ balzando 3 q
Œ  B œ Ó Œ ‰ Ó Œ ‰
3:2
I & œ
œœ P
(tune to fifth f arco
III
partial of cello)
pz µœ balzando 3 q
Œ  B œ Ó Œ ‰ Ó Œ ‰
3:2
II & w Kw w w œ
o œœ P
f
Vla. B w w w w w At Œ
p o
bt
Vc.
?
J
w w p
o
arco
mœ œ mt œ
clb
µœ
‰ ‰
99
‰bœ œ Œ J Ó
msp
{œ }
sp
& ‰. bœ œ Ó Œ Ó mœ Ó ‰ Ó Ó b b Tœ b T ‰ Œ
5:4
bt
ƒ 
I
p ƒ b œ
ƒ 
3:2
f 3:2
 ƒ
arco
mœ œ mt œ
clb
µœ
‰bœ œ Œ J Ó ‰ ‰
msp
{œ}
sp
& ‰. bœ œ Ó Œ Ó mœ Ó ‰ Ó Ó b b Tœ b T ‰ Œ
5:4
bt
II
 ƒ
b œ
 ƒ
3:2
f 3:2
p ƒ ƒ 
Vla. B
?
Vc.
9
st msp
2q 2q
µ œ.
msp msp
µ œ. œ. .
jeté œ
t . . .
arco sp ord
106
mt œ
ord clt {
œ œ
} clb
œ µ œ st msp
‰ B œ œ ‰ œ œ œ œ œ œ œ œ ‰
mœ Œ ‰ t t Œ Œ ‰. bœ bœ  mœ
b Tœ
& ‰ bT b
t t t  > >
I
f p f ƒ b œ
f
3:2 3:2
f p st msp
2q 2q
µ œ.
st
msp
µ œ. œ. µ œ. . . .
t arco jeté œ msp
œ ‰ >œ
clt { } clb
mt œ œ œ ‰ B œ œ ‰ œœ œ œ œ œ œ œ œ ‰
ord msp
œ
II & mœ Œ ‰ t t Œ
t t t
Œ Ó
œ
f 3:2
p f 3:2
ƒ  >
f p f
B
Vla.
bt. .
p
? bt. .
Vc. J J
sempre p
2q
ȯ œo œo ȯ wo wo
ord A little slower
œ > > > >
n œ µ µ œœ œœ œœ µ µ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ  ‰ ‰
113
mœ
I & œ Œ
3:2
3:2
ƒ
b œ. µ t œo œo œo œo
ord pz
P
. ‰. œ œ. œ PŒ
I I
II & œ ‰ æt Œ Ó Œ Ó ‰ ‰ ‰ ‰
3:2 p f o Ï o Ï
3:2
F
3:2 3:2 3:2
(tune to just fifth)
Vla. B bt Aw ˙. Œ &
f o
Vc.
? At Aw ˙. Œ &
f o
œo
clb
œ œ œ  Â œ ‰ Â œ œ ‰ œ œ œ 3:2œ  œ ‰ m œ œ ˙ ........... m œ
‰ ‰ ‰ ‰
119
Œ Ó ‰ ‰ ‰ ‰
I &
F F 3:2 3:2 3:2 3:2 3:2 5:4 3:2
œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo
pz
II &
œo œo œo œo œo œo œo œo œo œo œo
pz
Vla. &
o œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo
pz
Vc. &œ
F
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 5:4 3:2
sempre (applies to Vln II, Vla, and Vc)
3:2
>œ œ
pz clb
‰ ‰ œ ‰ ‰ œ œ B ˙ ........... ‰ B œ  œ œ œ  œ œ ‰ œ œ
b œ ˙ ......... pz
œœ ‰ {œ
mœ}
‰œœ‰œ
clb
‰‰‰ J ‰
125
‰ ‰ ‰ ‰‰ ‰ œ
5:4 3:2
&
+
I
5:4 5:4 5:4 5:4 3:2 3:2 3:2
œo œo œo œo œo œo œo œo œo œo œo œo
pz
œ œ
clb
œ 3:2
œ œ
clb
‰. ‰ ‰ ‰ Œ ‰ ‰
II &
F 3:2 3:2 3:2 3:2
œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo
Vla. &
œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo
Vc. & J J
5:4 5:4 5:4 5:4 5:4 3:2 3:2 3:2 3:2 3:2
10
2q
œo . œo œo b œ . .....
pz clb
œ 3:2

œ œ
pz
bœ œ bpzœ ‰ ‰
133 3:2 ..
& Œ J j j ‰ ‰ ‰ J
I
5:4
œ. œ. œ œ 3:2 3:2 5:4 3:2
2q
œ pz pz
œ œ . .....
bclb
. œ ‰ ‰ œ .œ
J bœ ‰ ‰
3:2 3:2 pz
‰ . ‰ T ‰ m T ‰ . ‰ . ‰ T ‰ œT
3:2
 Œ ‰
3:2 3:2
II & œ m œ œ 3:2 3:2 5:4 3:2
o m œo œo œo œo m œo œo œo
œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo m œ œo œo
5:4
œo
pz
&
m œo o
Vla.
o œo œo œo œo m œo œo œo m œo o œo m œo m œo œo œo m œo m œ œo
pz
Vc. &œ œo œ œo œo
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 5:4 3:2
140 >œ pz
& œ ‰ ‰ bœ ‰ ‰ ‰ ‰ œ ‰ œ ‰  J
3:2
3:2 œ} bœ }
‰ ‰ œ
3:2 3:2 3:2 { { 3:2
œ bœ}
Œ Œ ‰œ
œ}
Œ ‰ œ
I {
+ +
{
sempre F + +
f
3:2
3:2
pz
bœ }
œ ‰ ‰ ‰ ‰ œ3:2‰ œ œ œ œ œ œ œ œ œ >œ
arco œ} œ} œ} œ} œ}
bœ ‰ ‰ {
œ
{
œ. œ
{ {
œ. œ
{
{
œ
& J œ. Œ œ. Œ œ. + +
II
sempre F Ï + J
+ + + +
3:2 3:2 3:2 3:2 3:2
o o f
œo œo œo m œ œ œo m œo œo œo œo œo œo œo œo
œo œo œo œo { œ} { œ} { œ}
œ.
3:2
& B œ
Œ
œ
Œ J Œ Œ
+ + +
Vla.
f
m œo œo œo œo œo m œo œo œo œo m œo œo
>o sempre pz 3:2 (sim.) 3:2
T ‰TT
& œo œo œo œ ? & œo ? ‰ T
II
T TT T
Vc. J œ œ œ œ 3:2 œ œ œ
3:2 3:2 3:2 3:2 3:2 3:2
> F > > > > > >
ß ß
3:2
ß
œ }{ bœ }
 œ m œœ
146 3:2 { 3:2 {
{ œ }
bœ 5:4 }
œ} œ}
œ.
œ}
&Œ
{ } {
œ œœ} { {
‰ ‰ ‰. ‰ œ ‰ . œ. ‰. Œ ‰ . b œœ . œ ‰ œœ  œ . ‰. J ‰. Œ
{œ}
Œ + +Œ
{
+̇ + +
I
+
{ } { }
+ +
5:4 3:2
+ + + +
œ} œ} bœ } œ} œ} bœ} œ} œ} œ} œ} œ} {œ } {œ}
bœ} œ} œ} œ } {bœ} œ}
œ. ˙ œ. œ. œ. œ œ. œ œ. œ œ. œ. œ. œ
œ} œ} œ}
œ ‰
{ { { { { { { { { { { { {
œ œ
{
œ œ œ œ œ
{ { { { {
& œ. œ . J+ J+ + œ. + œ. + œ . J+ J+ +
J + + + + œ + + + +
II
J J + J J
+ + + 3:2
+ +
œ} œ} bœ} œ} {œ} {œ}
B œJ . œ. œ. œ. œ.
{
{ 5:4 { 3:2 { 3:2
œ
J ‰. ‰. Œ J Œ J Œ J ‰. ‰. Œ
+ Ó ‰ ‰ + + Œ Œ + Œ Œ + Ó +
Vla.
5:4 5:4 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
? T TT T T T T TT T T TT T T T
T TT T T T T TT T T T T TT
Vc.
œ œ œ
> > > > > > > > > > > > > > > > > > > > > >
ß ß ß ß ß ß
poco accel.
>˙ . ˙.
arco (tune to seventh partial of cello)
152
 œ ‰ œ { œ}
{b œ } œ} Kw w nœ
& ‰. ‰ œ ‰. ‰. b œ Œ
{œ} { }
{œ
œ œ œ
. + + ‰. + +
I
+ œ ß f
{ }
J
+ sempre pz
{œ } {
bœ } {œ } œ} œ} œ} {œ } {œ } œ} {œ } œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
{ { { {
& œ. J J J J J J J œ œ œ œ œ œ
J + + + + + + + + +Œ
II
œ
+ +  3:2 3:2
œ ß
arco
œ}
B œJ .
{
&
œ B
+ ‰. ‰. ‰. ‰. ‰. ‰. ‰. Œ
Vla.
T T T T T T T T T ‰ T w>
arco
? w w w
Vc.
œ
> > > > > > > > > > ß f
ß
 -
11
+ œo
q = c 136 (Tempo primo)
œ ‰ œ Bœ } µœ œ œ
> œ >bœ
157 {
Œ Ó Ó œ { œ} Bœ Ó Œ mœ Œ
& bœ
nœ bœ
I
ß  >f 
 ß
3:2
arco
3:2
œ-
b œ {µ œ } n œ
II & Ó b œ {n œ } b œ Ó Œ Œ œ
 
>+
msp
> > > > > > > > > >> > > > > > b œ œ ord
> > > > >
Vla. B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Tœ œ œ Tœ œ Tœ œ Tœ Tœ œ Tœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ Tœ œ œ Tœ œ œ œ œ &
ßf ß ß ß ß
3:2
3:2
Vc.
?œ ‰ Œ Ó
ß 3:2
msp
+ œo œo b œ œ œ œ
ord e = e
> œ+
3:2 œ
> œ > bœ
162 ord 3:2
œ
& b œ œ œ œ œ œ œ œ œ b œ. . œ. .
œ bœ bœ œ
I
>f > > bœ œ bœ Bœ bœ
ß > > >
ß ß 3:2
3:2 3:2 3:2
o 3:2o
3:2 3:2
arco
msp
bœ œ œ œ Œ pz
‰ nœ ‰ œ
ord
b Tœ
& ‰ Ó ‰ b b Tœ
œ œ ‰œ
II
œ f œ
+ + + J+ + ƒ
3:2
ß 3:2
oj
3:2
o
3:2
3:2
msp
> œ+ ‰ b œ
œ œ œ
Œ œ arco > > œ+ ‰ b œ ‰ œ
msp
Ó ‰
pz œ
> > > > > >
ord ord
& ‰ 
B œœœœœœœœœœœœœœœœœœœœ œ œœ œœ œ ‰ œ œ ‰
Vla.
œ ‰ œ ‰ œ œ œ ß J
J ß ß 3:2
3:2 3:2 3:2
+ 3:2+ + +
3:2
+
b >œ œ> ‰ b >œ >œ ‰
3:2
? Ó
Vc.
f
3:2 3:2
3:2
+ œo + œo + œo + œo
 e = e
166 bœ œ œ œ œ œ œ œ œ œ >œ > œ > bœ
œ
> œ > bœ
œ
> œ > bœ
œ
& b œ b œ bœ
nœ bœ œ bœ œ bœ œ bœ
I
> > > > bœ bœ
msp msp msp msp msp ß ß ß ß
3:2 3:2 3:2
ß ß
3:2 3:2 3:2 3:2
ord
b Tœ Tœ Tœ Tœ Tœ
ord ord ord ord
bT T T T T
II &b œ œ œ œ œ
bœ œ œ œ œ œ œ œ œ œ + + œ ord + œ ord + œ
msp msp msp
 œ œ >œ œ ‰ >œ œ œ  œ >œ œ œ  œ >œ œ œ  œ œ >œ œ ‰ ‰ b œ > œ ‰ bœ > œ ‰ bœ

ord
Vla. B œ ‰ œ ‰
ß ß ß
3:2 3:2 3:2
ß ß
3:2 3:2 3:2 3:2
Vc.
?
Suspended in midair, with a fluid (rather than rigidly hierarchical) sense of meter. Parts may asynchronize slightly.
jeté 6q
œo 3:2 > B œ. . . . . . . . . . . . . . . . . . . . . . . . œ.
> +œ > b œ
173 µœ
& bœ

Ó ‰
I
J 
bœ Í  3:2 5:4 3:2
5q 6q
ß
3:2 jeté jeté
b >œ ‰ >œ B >œ µ œ. .

ord
nœ µœ
&

Œ

Ó ‰
Í  Í 
II
ß 
jeté 7q
jeté 7q
> +
ord
b >œ µœ B >œ œ
B œ œ ‰ ‰& Œ Œ
3:2
Vla.
Í  Í 
ß
3:2
arco b t t Bt µt
? Œ
3:2

œ& Œ
pz
Vc.
J
ß p
12
arco
œ ..... ...... .... œ
msp
176 nœ
ord
œ ‰ t µt
ord
µt Ât
clb
& Œ æ æ æ æ æ Œ Œ Œ Ó
 p
I

. . . . 1/2. .clt. . . . clt. . . . clb. . m œ.
arco arco
arco { }
œ µœ
msp
œ
ord
œ
msp
t
ord
Ât nclb
œ ...........
œ ..........

& Œ æ æ æ æ æ Œ Œ Œ Œ æ æ æ æ
 p  
II
5:4
arco
jeté 7q
n œ. . . . . . . . . . . . . . . . . . . . . . . µ œ.
1/2 clt clt { } clb arco
œ œ
arco
µ œ Âœ clb
œ ...............

msp
& Œ Œ Œ æ æ æ æ

Vla.
 3:2 5:4 Í p 
nt nt µt t t Ât µt
Vc. &
sempre p
jeté 5q jeté 1 q
n œ. . . . . . . . . . . . . . . . . . . . . m œ.
arco ord
œ .................. œ œ µœ œ œ
arco
179 clb

msp
m œ
I & Œ æ æ æ Œ Œ Œ
  5:4 5:4
Í  Í
jeté 6q 3q
5q
m œ m œ. . . . . . . . . . . . . . . . . . . . . œ.
jeté
œo
arco 1/2 clt clt { } clb arco
œ œ
ord
m œ
balzando

II &Œ Œ Œ Œ
Í   5:4 5:4 p Í 
4q
4q
jeté
œo
arco
œ .......................
clb
œ mœ msp
‰ µæœ
µœ m œ
ord
mœ
Œ ‰æ æ æ Œ

balzando

Vla. &Œ æ æ æ æ æ Œ Œ
 Í  p
µt t mt nt

Vc. &
4q jeté 1+4 q
q
œo
3+2
œ t µœ
t m œ Ât
182 balzando

I & Œ Œ Œ Œ
 p Í  p
jeté 6q jeté 5q
µ œ µœ mt t Ât µt Â œ µœ µt

II &Œ Œ Œ Œ
Í  p Í  p
.... œ o œo œo œo œo œo œo
clb
‰ ‰ ‰ t mt nt mt
arco
œ ..........
œ µt
Vla. &Œ
 5:4 5:4 p
t t µt mt µt nt µt mt

Vc. &
Only observe this fermata if it is necessary to realign parts after having become asynchronized in the preceeding passage.
4q molto rit.
µt nt t œ œ œ Bœ
{ U } œ ...œ B œ..B.œ
clb
185

balzando bœ b œ .... I œ ....
& Œ Œ Œ Œ Œ Œ
sempre p
I
ƒ p
U
msp
œ I œ ..B..œ œ....œ B œ.B..œ
clb arco ord clb
{
3:2 3:2 5:4 5:4 b Tw Ṫ T}
œ ‰ b b Tœ b Tœ b œ.. Œ
..
II & œT b œT Ó Œ Œ Œ
 p Ï sub. p
t { U
t} msp
œ bord
œ œ œ œ Iœ Bœ œ œ œ œ Bœ œ
‰ Bb œ œ œ Bœ œ
Vla. &
U Ï sub. 
t {
t}
‰ Œ
Vc. &
sempre p
13
molto rit. q = c 88
bœ Iœ
b œ ..... I œ ...... œ ....œ œ ....œ œ .......œ œ ...... œ
189
I & Œ Œ Œ Œ Œ Œ
3:2 3:2
b œ ....b..œ I œ ....I..œ œ ....

œ
œ ....
œ
œ ......
œ
II & Œ Œ Œ Œ Ó Œ
3:2
   msp sim.
bœ bœ œ Iœ Iœ œ œ œ œ œ œ œ œ ‰ œ ‰ œ
msp msp msp
œ œ œ
st st st st
bœ œ bœ
B ‰ œ ‰ œ ‰ œ œœ œ œ œœ œœ
o f o f o f
Vla.
o f
 
 msp  sim.
‰ œ ‰ bœ ‰ œ œ ‰ œ ‰ bœ
st msp st msp
st msp st
? œ œ
Vc. & œœ œ œ œœ œ œœ œ œ
o ƒ o ƒ o ƒ o ƒ

arco (8va does NOT apply to open-string G/D) 3:2
3:2
193 Bœ œ Bœ œ nœ nœ œ œ µœ bœ œ
&
Bœ œ µœ œ  n œ- Bœ œ œ Bœ bœ œ
I
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
f 6:4

(8va does NOT apply to open-string G/D) 3:2
µœ œ nœ œ œ- µœ œ œ nœ bœ œ
arco
nœ œ Bœ œ nœ œ œ œ bœ œ œ
& 
II
œœ œœ œœ œ œ
œ œ
œ
œ
œ œ œ
œ œ œ œœ œœ œœ œœ
f 
3:2 6:4
‰ ‰ bœ mt ‰ ‰ œ
msp 3:2
bœ bœ œ
B ‰ œ œ œ œœ œ œ œ
st sim.
m˙ t ‰ ‰ ‰
Vla.
m œ. ‰ œ
o
œ œ œœ œ œ œœ œœ
p f
ß
+ + + + +msp+ st sim. 3:2
œ ‰ œ œ bœ Œ ‰ ‰ ‰ œ ‰ bœ ‰ œ
ord
?
msp
œ œ œ bœ œ
Vc. œœ œ œœ œœ m œ œ œ œ œ œ œœ œ œ œœ œ œœ œ œ
mœ œ œ œ
> > > > p o ƒ
ß


(8va does NOT apply to open-string G/D)
ord
b œ œ I œ- ˙ œ-
3:2
œ-
6:4
197 ord msp
I œ ˙ œ Iœ œ œ œœœ œ ˙
& n œ b œœ œ œ œ œ œ ‰ bœ ˙ œ œ œ bœ ˙ Bœ Bœ œ œ Bœ œ œ ‰ nœ ˙ œ œ
II
I
œœ œœ œœ œœ œœ œœ
nœ œœœ 3:2 ß  f 3:2 3:2
6:4
  (8va does NOT apply to open-string G/D)
ord msp
ord
µ œ œ µ œ- ˙ œ ˙ Bœ Bœ œ œ bœ œ œ µœ ˙ œ- œ-
œ nœ œ ‰ Bœ ˙ mœ ˙ œ µœ œ œ nœ œ œ nœ ˙
‰ bœ œ
II
II & nœ œ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ
nœ 3:2 ß  f 3:2 3:2
3:2 6:4 6:4

3:2 3:2
‰ œ œ mt bœ ‰ œ ‰ œ œ œ
3:2
œ bœ œ œ
ord st msp sim.
B ‰ œ œ œ œœ œœ œœ mm œœ t ‰ œ ‰ œ ‰ bœ œ œ œ œ œ
o f
Vla.
t p
ß + + +
+ + + 3:2 sim. 3:2
3:2
œ ‰ bœ œ œ Œ œ ‰ ‰ œ œ ‰ œ ‰ œ œœ œ œœ œ
3:2 msp
? œ œ œ mm œœ œ œ
3:2

st
œ bœ
Vc. œœ œ œ œœ œœ œœ m œ mœ œœ œ œ bœ œ œ
œ
ß p o ƒ
14

(8va does NOT apply to open G/D/A strings)
3:2 3:2 3:2

œ œ II œ IIj œ .
msp
œ œ œ œ œ œ œ œ ord w
ord
œ œ œ Bœ œ œ.
200
&
œ œ bœ bœ œ Iœ œ œ Iœ ˙. Iœ
I
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
3:2 3:2
ß p

(8va does NOT apply to open G/D/A strings)
3:2 3:2
œ n œ œ II n œ II n œ . bœ bœ œ I œ œ œ ord msp ord
œ Iœ œ
& œ B œ œ œ b œ œj b œ . œ œ Iœ œ Iœ œ œ œ Œ œ œ bœ
II
œœ œœ œœ œœ œœ œœ œœ œœ œœ œ
ß p
3:2
3:2
3:2 3:2 3:2
‰ œ m ‰œ m œ œ œ n ‰œ n œ œ œ bœ
ord
mt
B ‰ œ œ ‰ œ ‰ œ ‰ œ œœ mœ t
p
Vla.
mœ t
ß + + + 3:2
+ +
3:2
3:2 + + + + 3:2
œ ‰ œ m ‰œ m œ œ œ n ‰œ n œ œ œ ‰ ‰ Œ
ord
? mœ œ œ
3:2
œ œ œ bœ
Vc. œœ œ œœ œ œ œœ m œ m œ
mœ œ
p
ß

I >˙
3:2
>˙
3:2
203 œ ˙ œ œ œ b˙ µ˙ nœ œ
bœ ˙ Bœ n˙ Bœ B˙ bœ b˙ B˙ Bœ œ Œ
I &œœœ œ œ œ
œœœ p f p f p o ƒo ƒ œf œ œ
f
 3:2
bœ ˙ nœ >œ œ bœ B >œ µœ b˙ n˙ µœ
œ mœ bœ b˙ b˙ nœ
II &Œ œœ œœ œœ
bœ ˙ œ nœ œ Œ
œœ œœ œœ
p f p f p o ƒo ƒ
f
f
3:2 3:2 3:2 3:2
st msp sim.
œ ‰ bœ ‰ œ mœ ‰ œ ‰ œ ‰ nœ œ ‰ œ bœ ‰ œ ‰ œ ‰ œ œ bœ
Vla. B ‰ œ ‰ œ ‰ œ œ bœ œ mœ œ œ nœ œ œ bœ œœ œœ
mœ
o f
3:2 3:2 3:2
œ ‰ œ ‰ œ œ œ ‰ b œ ‰ œ m ‰œ m œ œ œ œ œ ‰œ œ n ‰œ n œ œ œœ b œ œ ‰œ ‰
œ œ ‰
msp sim.
st bœ œ
? œ œ bœ œ œ
œ bœ
Vc. œœ œ œ œ œ œœ
o f
arco

œ œ B >œ . B >œ . œ . n >œ µ >œ
3:2
m œ ‰ œo œo œo œo œo œo œ œ œ œ
pz
œ œ ‰ µœ. bœ. œ. b œ
206
& mœ œ œ Œ J J
œ Œ Bœ œ Œ
I
œœœ
ß p p 3:2 3:2
ƒ œf œ œ f f p f p 3:2
f p
3:2
p
3:2
 >œ .
m œ ‰ pz œ œ œ œ µ >œ . œ nœ œ œ.
Bœ. .
‰ bœ.
arco
œ œ œ œ
& mœ
Tœ I I Tœ ‰ Œ ‰ n Jœ
. œ œ œ Œ
II
œœ œœ œœ
ß p f p
3:2
f p o ƒ
3:2
o
3:2
p ƒ 3:2 ƒ
3:2 3:2
f arco 3:2 3:2

ord pz st msp
œ 3:2 b œ ‰ œ mœ nœ œ ‰ œ ‰ œ bœ bœ bœ nœ nœ
Vla. B m œ Tœ I I Tœ ‰ œ ‰ œ ‰ bœ œ bœ œ œ œ ‰ œ œ bœ ‰
mœ œ o f
ß p ƒ p ƒ
3:2 3:2
pz arco 3:2 3:2 3:2
?
ord 3:2 3:2 st msp
œ ‰ œ ‰ bœ œ œ ‰ bœ ‰ œ mœ nœ œ ‰ œ ‰ œ bœ bœ nœ
Vc. m œ œT I I œT œœ œ œ œ bœ œ œ œ œ œ œ bœ
bœ nœ
mœ œ p ƒ
ß p ƒ o ƒ
15

q = c 68
œ .
molto rit.
m œ. œ. œ. œ. œ. œ. . . . . . . . . . . . . . . . . . . . . . . . . . . .
e = q 
Bœ nœ
œ. P
209
Œ œ Ó Œ
œ Œ
3:2
&
. . . . . . . . . . . . . . . . . . µ œ.
m œ œ œ œ œ
I
o
ƒ o ƒ f
3:2
 o Ï
 
µœ bœ.
....... bœ.
Œ m œ. œ. œ. œ. œ. œ. .
P P
& Œ
nœ Œ Ó
II
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . m œ. œ. œ. œ. œ. œ. œ. œ. mœ. 
f p f  o Ï o Ï
3:2
P
B ‰ œ œœ œ œœ
b œ ord
Vla.
mw w
ß  Ï
‰
? œ œ ‰ b œ ord P (retune C-string to Bb)
Vc. œ œ œœ mw w
ß  Ï
b T.
q = c 136 (Tempo primo)
.
msp
> œ. b œ > m œ. œ. > . . . . . . . . b œ

ord
215 5:4 5:4 msp ord
I & Ó Œ
œ œ
b b œT œT œT œT œ œT T
œ œ œ œ œ - - - - > - - - œ-
b œ b b Tœ
> > sub. p f sub. p
ß
5:4
f p
5:4
f
3:2 3:2 sub.
5:4
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . œ.
> .
II
> > > > > > > > > > > > p
ßf ß ß
3q 3q
o
jeté jeté
ƒ
arco
jeté 1 q
‰ mœ >
œ ‰ m œT Œ
pz
œT m Tœ Tœ
3:2
B œ œ œ œ
& m œT
> >
Vla.
œ œ
ß f + + ƒ p ƒ p ƒ
ß jeté 2q
>
? Ó m Tœ
Vc.
ƒ
+ + +
œo œo
3:2 3:2
œ
> +œ > b œ > + > > œ. m œ.
218
& ‰
œ œ œ bœ Œ bœ œ
œ b >œ Iœ œ œ bœ J b œ >œ œ mœ œ bœ
>
I
f > ß >
ß
3:2 3:2
3:2
. Ó
3:2 3:2
Ó œ. .
3:2 3:2 3:2 3:2 3:2
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. . . .
œœœœ
> . p
II
œœ
> > > > > > œ œ œ œ
ß ß p 3:2 + + + + J+
ß f
1q
3:2
> . . . . > + ‰3:2

+ œœ œ œ œ œ
ord
bœ œ
msp
>+
msp
> >
m œœ ‰ œ œœœœ œ œ ‰ ‰
3:2 ord
& Bœ œ œ & Œ ‰ B ‰ œ ‰ œ ‰ œ
Vla.
œ œ œ
p Ó + + œ œ œ œ Œ œ+
p f > > ß 3:2
3:2
ß f
3:2
1q
nT
? œ ‰
msp
Ó Œ Œ Œ Œ
3:2 ord 3:2
Vc.
œ bœ ‰ bœ œ ‰ œœ‰ œœ œ
p f >> >> >
ß
16
msp ord pz
> . m œ. . n œ.
msp ord 3:2 3:2 3:2
222 ord ord
& mœ œ œ œ œ œ œ œ œ œ œ b œ œ. œ œ. ‰ Ó
> > bœ œ œ œ œ œ œ œ œ . bœ . bœ œ œ œ œ œ œ œ œ
> > >
œ œ œ œ bœ
> > œ
> > >
I
ß 5:4 ß > ß ß f
œ
o o ȯ
œo
arco 3:2 3:2 pz
Œ Œ
pz bœ œ œ œ Œ pz
‰ nœ ‰œ Œ
arco
. 3:2
& œ‰ œ œ œ ‰ m œ‰ Ó
II
œ œ œ ‰ œ ‰ œ œ œ œ ‰œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ
+ + + J + f
+ + + + + + + + +
5:4 ß 3:2 3:2
2q 3:2
oj 3:2
oj
+ +
pz
Œ œ Œ œ
m œT ‰ ‰ œT ‰ b >œ œ œ œ œ œ œ œ >œ
arco
B œ œ Ó ‰ & B Œ ‰ bœ œ œ œ œ œ œ ‰
Vla. œ
œœœœŒ œ œ œ+ œ+ ‰ œ > œœœ œœœœ
+ + + œ œ > ß >
ß 5:4 + + J+
3:2 3:2
pz
msp ord
? Œ œ œ Ó
5:4 3:2
Vc.
œ ‰ œ œ œ œ œ œT. . . b œT. b œ> ‰ œ œ œ œ nœ œ-T µ µ œ-T b œ ‰ b b Ṫ .. &
> > > > > > > p f
ß
3:2
ß ß
arco III mt œ
µœ 3q clb
µœ ‰ mt œ
226 balzando
b œ Œ Ó Ó ‰. bœ œ Œ
bt Œ Œ
5:4
I & œ mœ
ƒ f arco p ƒ f 3:2
arco
mœ œ
III
µœ œ 3q
‰
balzando clb sp msp
& ‰b œ œ ‰ Ó Œ Ó ‰bœ œ Œ Œ b b Tœ ‰ Ó
œ b b œT
II
ƒ
3:2 3:2
> > > > > > > > > > >
B œœœœ œ œ œ œ œ œœœœ œ œ œ œ b œ œ œ œ œ œ œ œ >œ œ œ œ b >œ œ œ œ œ œ œ œ
Vla.
œ œ œ œ œ sub.  œœœœ œœœœ œœœœ
ß > > > ßf > ß >
ß 2q
t
III
balzando 3 q
arco
clt { } clb
{t} œ œ
B ‰ t t Œ
& Œ b µ œœ Ó
? Ó œ Œ & m œ Ó
Vc. t t t &
f
p f p
2q
œ µ œ œ œ µ >œ œ œ œ œ œ œ œ œ œ œ œ >œ >œ >œ
ord
ȯ œo
µ œ œ œ µ œ œ œ œœœ œœ œ œ œ œ œ œ œ  ‰
230 msp
mœ nœ I
P
& ‰.
bœ mœ œ
œ
bœ >
>
I
3:2
3:2
ƒ o Ï
b œ.
ord
> µt P
œ. œ œ.
msp
œ
‰.
I
II & œ œ ‰ œ ‰ æt Œ 
> 3:2 p f o Ï
> > > >œ > > b œ œ œ œ >œ œ œ œ >œ œ œ œ >œ œ œ œ
Vla. B nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œ œœ œœœœ
ß > ß >
st msp ß
jeté 2q
ord
µ œ. œ. .
ord
œ
. . . m œ ‰ ?
msp
œœ Œ
msp
b b Tœ ‰
st
m œ.
sp
Vc. & Œ Œ. ‰B œ œ Œ ? œœ œœœœ œœ œœ œœ œœ

& b œT
b
3:2
ƒ  f
17
œo o œo o œo o œo œo o œo o œo o œo œo o œo o œo œo o œo o œo o œo o œo
œo œo
234 pz
& œ œ œ œ œ œ Œ Œ œ œ œ œ œ œ Œ Œ
I
f 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
œo ˙ . ȯ .
‰ Œ
II &
ƒ
> > > >
Vla. B b œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œœœœ
ß >>>> ß 3:2
F
3:2 3:2 3:2 3:2
P 3:2 3:2 3:2
msp msp
? Ó ‰ st œ Œ Ó st
œ
œœ œ œ˙
Vc.
‰
o ƒ o ƒ
3:2 3:2 3:2

o o o o o o o o œo o œo o œo o œo œo
Mash-up!
o œ œo œ œo œ œo œ œ œo œ œo œ œ œ Bœ ˙
œo
arco
239 pz
I &œ Ó œ œ I˙ œ œ œ
3:2 3:2
ß o f 3:2

arco
œ  mœ
clb
b˙ µœ œ ‰ ‰
II & b˙ œ mœ
ß o f 3:2 3:2
msp msp st msp

st st 3:2
bt
3:2
œ bœ
Vla. B œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. B œ. b œ. Ó &
B œ Œ œœ œ ˙œ
3:2 p 3:2 3:2 3:2 3:2 3:2 3:2
 o ƒ o ƒ o ƒ
st msp msp st msp
3:2 msp st 3:2
Ó
st
bœ ord 3:2
œ bœ
? ˙œ Œ
Vc. bœ ˙. œ
œ œœ œ ˙œ
o ƒ ß o o ƒ o ƒ o ƒ
o o o o 3:2o o o o o o o œo œo œo œo o œo o œo o œo o œo œo o œo
o œ œo œ œo œ œ œo œ œo œ œo œ œ œo œ œ o œ œo
œœ œ œ œ œ œ œ
244
I & œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ
3:2 3:2 3:2 5:4 3:2

3:2 3:2 3:2 3:2
pz
. . . . 3:2. 2q
œ. . . µ œ. npzœ B œ œ.
‰ m œ œ ‰ µ œ œ ‰ œ œ œ. œ ‰ œœ . .
arco
clb arco jeté
œ ˙ .........
clb clb
œ œ Bœ œ
‰ ‰ ‰ ‰
œ ‰
œ.
arco
II & Œ œ œ œ ‰ Œ
3:2 5:4 3:2 3:2 3:2 3:2
3:2
st msp st msp st msp msp st msp
sim.
œ Œ j bœ œ Œ b œ 3:2 b œ Œ bœ Œ
3:2 3:2 sim. 3:2 3:2 ord 3:2
msp œ bœ
st
B ˙œ Œ œ mœ Œ bœ œ œ œ Œ
3:2 3:2 3:2
st
œ œœ bœ œ ˙œ
J bœ bœ - Œ
o ƒ - -
bœ mœ ˙
o ƒo ƒ
Vla.
œ
o ƒ o ƒ o ƒ o ƒ
msp sim.
sim. msp
st
msp st
œ st msp œ
3:2
3:2
ord 3:2
msp
st 3:2 bœ st
msp ord
> >> >
st
3:2
? œ œœ œ b ˙ b˙ œ bœ œ
3:2 3:2
˙œ b œ œ ‰ œ œœœœ
3:2
œ œœ œ j œ- œ œ
Vc.
œ œ œ œ m˙
bœ
- ˙œ Œ
o ƒ o ƒ o ƒ ß p œo ƒ 3:2 3:2
o ƒ o ƒ
18
œo œo œo o œo œo œo œo œo œo m œ œ œ
sempre pz sempre pz
mœ œ œ œ œ œ œ œ œœ
n œ œo œo œo œo œo m œ
250 œ œ œ œ œ ‰ ‰
mœ œ œ œ œ
I & œ
3:2 3:2 3:2 3:2 3:2 3:2 3:2

3:2 3:2 3:2
 . . œ. œ. œ. œ. œ. . . .
. . . . . mœ œ nœ ‰ ‰ ‰ ‰ b œ ‰ +œ ‰
clb arco
œ. . .
{œ
. . . m œ. ‰ ‰ œ}
Œ
II &
3:2 3:2 3:2 3:2 3:2 3:2 3:2 p f 3:2 3:2
st msp sim. msp

3:2 st sim. 3:2
3:2 3:2
œ œ œ bœ
3:2
mt bœ j œ bœ
3:2 3:2 ord
B m˙ t ˙œ œœ œ Œ bœ œ œ bœ bœ ‰ ‰ ‰ n œ. œ. œ. œ. œ. œ. ˙œ œœ œ
mœ. ‰ bœ
o ƒ
Vla.
p o ƒ 3:2
p
ß
msp
+ + + + + msp
+ j 3:2
msp sim. 3:2 st
? Œ mœ œ œ œ œ œ
ord st 3:2 3:2
œ
3:2 3:2
bœ œ œ œ
ord
œ 3:2
bœ ‰ ‰ ‰
3:2 sim.
œ œœ œ bœ œ b œ ˙œ bœ
Vc.
mœ œ œ œ œ ‰ bœ nœ. ƒ œ
o ƒ o
bœ œ bœ
> > > > p ß
ß
> >
256 mœ œ œ œ œ œo b œ b œ œ œ œ bœ n œo œ œ œ œ œ œ œ œ
œ
œ
œ
œ œ œ œ œ œœœ
œ œ œ bœ nœ œ œ œ œ œ œ œ œ
I & mœ J
3:2 3:2 3:2 5:4 3:2 3:2 3:2 3:2 3:2
 
m œ. œ. b œ œ n œ. œ. œ. œ. œ. œ. œ. œ. œ.....
arco clb
. . . . . . . œ.
clb
clb
œ
‰ ‰ œ œ. œ. œ.  ‰ œ
clb
m œ ‰
b ˙ ...........
Œ Œ ‰ .œ Œ
II & œ
3:2 3:2 3:2 5:4
p f 3:2 3:2 3:2 3:2
3:2 st msp
sim.
œ Ó
st msp sim. msp 3:2
3:2 œ st
œ sim. 3:2
œ œ bœ 3:2
B bœ œ œ œ bœ Œ ‰ œ œ œ bœ Œ bœ œ œ
Vla.
bœ bœ œ bœ œ œ o ƒ bœ œ œ
o ƒ o ƒ 3:2
st msp
œ. œ. œ. œ. œ. œ. œ. œ.
msp msp
Œ
ord 3:2 sim.
st
bœ sim. st
bœ st msp
bœ œ œ
? bœ ‰ bœ Œ ‰ Œ Œ
œ bœ
ord
œ œ œ bœ bœ œ œ
œ. o ƒ b˙.
Vc.
bœ œ œ
o o ƒ p ƒ
ß o
3:2 3:2 3:2
ƒ
3:2
3:2
4q
b >œ
sempre pz clb arco
262 bœ nœ œ œ bœ n œ ..............

pz œ
Ó Ó Œ bœ Ó Œ
I & bœ œ nœ œ
œ. œ. œ. œ. œ. . . . . . . . . . . B œ
ß .

3:2 3:2 3:2 3:2 3:2 3:2
p

jeté
4q
b >œ n >œ >œ >œ b >œ Ó
arco 3:2
‰ ‰ Ó œ Ó Ó œ
‰ Œ
& œ
œ. œ. œ. œ. œ. . . . . . . . . . .
>
II
œ.
3:2 3:2 3:2
ß p 
ord
3:2
b œ3:2 bœ
3:2
nœ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . . . . . . µ œ.
3:2 3:2 3:2 5:4 5:4
Vla. B Œ bœ nœ Œ bœ Œ nœ Œ Œ œ Œ œ Œ œ
œ
p 
ß
3:2
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3:2
bœ Œ œ Œ Œ nœ Œ
3:2 3:2 ord
? bœ b œ nœ nœ
3:2 3:2 3:2
bœ œ œ nœ œ
Vc.
Œ œ
b˙ bœ
ß p 3:2 5:4

Instrumentation:
Flute (doubling Piccolo)
Oboe
Clarinet in Bb (doubling Contrabass Clarinet)
Contrabassoon
Horn in F
Trumpet in C
Trombone
Percussion 1
small triangle, 2 cowbells (large and medium), 2 ceramic tiles (medium and high), 2 tom toms (low and medium, shared with Perc. 2)
Percussion 2
xylophone, large bass drum, medium kick drum, 2 tom toms (shared with Perc. 1)
Piano
2 Violins
2 Violas
2 Cellos
Double bass
Clarinet and horn parts are written in transposition. (The score is not in C.)
The double bass sounds one octave lower than written, including harmonics, regardless of clef.
Program notes:
My program notes sometimes function as a graveyard of discarded dissertation topics, and here's one half-baked idea:
When a particular technology emerges (e.g., the harpsichord), it comes bundled with a particular set of capabilities and limitations (e.g., the ease of playing
many notes quickly on the harpsichord, and the lack of dynamic control over a single note). Composers find practical solutions to these limitations (e.g.,
octave doublings, trills, and heightened rhythmic activity in passages that ought to sound loud), and these devices become accepted as aesthetically
appealing, ensuring their continued use after the original technology has been replaced or new technologies developed (e.g., similar musical solutions in the
loud passages of a Haydn piano sonata, despite the instrument's dynamic control).
According to the dictionary.com app on my phone, a "skeuomorph" is "an ornament or design on an object copied from a form of the object when made
from another material or by other techniques." A feature I find in my own work and that of my peers is a tendency to be interested in connections between
electronic music and instrumental music, technologically distinct but, musically, increasingly related.
Skeuomorphic Tendencies is dedicated to my partner, Doug Brooks, for our tenth anniversary (during which I was editing this score).
A note on meter:
Traditional meter is organized hierarchically, typically with three levels of rhythmic emphasis within a measure:
The traditional time signature 3/4 implies that the downbeat is accented, beats 2 and 3 carry weaker accents, and the remaining subdivisions are unaccented.
Meter in Skeuomorphic Tendencies operates in the same manner, but with occasional irregularities at all three levels, for example:
The downbeat of every measure carries an implicit strong accent. Each beam group implies a weaker accent. For this reason, triplets are beamed variably in groups of two or
three. Additionally, tuplets are often truncated (normally at the end of a measure), as indicated by an arrow pointing to the right.
A number of notational solutions exist for the so-called "irrational meters" that result. The measures above could be notated as 3/4 + 1/12 and 3/4 + 3/10 (reflecting the total
duration of each measure), but this ignores the internal organization of each meter. More accurate time signatures may be expressed as 1/4 + 1/4 + 1/6 + 1/6 and 1/4 + 1/2 +
3/10 (reflecting the beat structure of the measure), or 4/16 + 3/12 + 2/12 + 2/12 and 4/16 + 5/10 + 3/10 (representing every subdivision), but such notation is cumbersome,
visually disruptive, and entirely redundant.
In this score, music in blue does not contain any time signatures because all pertinent metrical information can be gleaned from the music itself.
Performance notes:
Skeuomorphic Tendencies
for the Metropolis Ensemble
This reduced score is intended for study only. Full-sized conductor's scores are available from the composer.
Precisely (Œ = 132)
Ryan Carter
The first 15 measures do not need to be conducted; they can function more as a chamber trio. All three parts should remain synchronized.
Time signatures do NOT apply to music in blue. All metrical information can be gleaned from the music. Details can be found in the prefatory notes.
ceramic tiles 3:2 3:2 3:2 5:4 3:2 3:2 3:2 3:2 3:2 3:2
ã 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Percussion 1
> > > > > > > > > > > > > > > > > > > > > >
ç f ç f ç f ç f ç f çf ç f ç f
xylophone and kick 3:2 3:2
3:2 3:2 5:4 3:2 3:2 3:2 3:2 3:2
œ œ œ œœ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ
& œ0 œ œ œ0 œ œ œ0 bœ œ0 œ œ0 bœ œ œ0 œ œ œ0 œ œ œ œ0 bœ
Percussion 2
> > > > > > > > > > > > > >
> f > f > f > f > f > f > f > f
ç ç ç ç ç ç ç ç
œ. œ. œ. œ. œ. œ. œ. œ. ˘ b œ. œ. ˘ b œ. œ. œ. ˘ b œ.
3:2.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3:2 3:2
œ
œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ bœ œ̆ œ̆ œ̆ bœ œ̆ œ̆ œ̆ œ. œ̆ œ̆ œ̆ œ̆ œ̆ bœ
&
ç f ç f ç f çf ç f çf ç f ç f
3:2 3:2 5:4 3:2 3:2 3:2 3:2
Piano
˘ œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. œ. œ. œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. œ. ˘ œ. œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ.
&œ œ œ œ œ œ œ œ œ œ œ œ œ b œœ œ œ. b œœ œ œ œ m m œœ œœ
(°)
3:2 3:2 5:4 3:2 3:2 3:2 3:2 3:2
/
3:2 3:2
9
5:4 5:4 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
ã 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Perc. 1
> > > > > > > > > > > > > > > > > > > >
çp ß p ç f ç f ç f ç f ç f
5:4 5:4 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ
& œ0 œ œ0 bœ œ œ œ œ0 bœ œ0 œ œ œ œ0 bœ œ œ0 bœ œ œ
Perc. 2
> > > > > > > > > > > > > >
> p ß p > f > f > f > f > f
ç ç ç ç ç ç
œ. œ. œ. œ. œ. œ. œ. œ. œ. ˘ b œ. œ. œ. œ. œ. œ. ˘ b œ. œ. œ. œ. œ. œ. œ. ˘ b œ. œ. œ. œ. ˘ b œ. œ. œ. œ.
3:2
œ̆ œ̆ œ̆ bœ œ̆ œ̆ œ̆ œ̆ bœ œ̆ œ̆ œ̆ œ̆ œ̆ bœ œ̆ œ̆ bœ œ̆ œ̆
&
çp ß p ç f ç f ç f ç f ç f
5:4 5:4 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Pno.
˘ œ. œ. œ. œ. ˘ œ. œ. œ. œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. ˘ œ. œ. ˘ œ. ˘ œ.
& m m œœ œœ n n œœ b œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ b œœ œœ œœ
5:4 5:4 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
15  Ç‰ = x 
molto accel.   Œ = 132
4
3:2 3:2 3:2 3:2 3:2 3:2
3:2 3:2 3:2
Perc. 1 ã 6 6 6 6 6 6 6 6 6 6 6
> > > > >
4 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 œ œ œ 6 œ œ œ œ œ œ œ 6 œ œ œ
> > > > > > > > > > > > > œ œ œ œ >6 œ œ œ œ œ œ œ >6 ‰
ç f ç f ç f ç! ç
! (xylophone)
(gradually move to playing directly over strings)
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
œ bœ œ œ œ œ 44 œ œ b œ b œ œ œ bx
& œ0 bœ œ œ œ Œ b x0 ‰ Œ Ó ã
Perc. 2
> > > > 0 > > > > 0
> > f >
ç f ç
ç (kick)
! Ï
œ. ˘ b œ. œ. œ. œ. œ. œ. ˘ b œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. b œ. œ. œ. œ. . œ. . œ. . œ. . œ. b œ. œ. œ. œ. œ. œ.
œ. œ. m œ. œ. œ. œ. m ˘œ ‰
œ̆ bœ œ̆ œ̆ œ̆ 44 œ̆ bœ œ̆ œ̆ œ̆ œ̆ b ˘œ œ̆ œ̆ œ̆ b ˘œ œ. n œ. œ. bœ œ nœ œ
&
ç f ç f ç f ç
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Pno.
˘ œ. ˘ œ. œ. ˘ œ. ˘ œ. ˘ œ. . . . . . . . . . . . .
44 ˘œ œ b ˘œ œ œ ˘ œ ˘ œ ˘ œ ˘œ œ b ˘œ œ œ ˘ œ ˘ œ ˘ œ ˘ œ. b œ. œ. œ. œ. œ. œ. b œ. œ. œ. . œ. œ. œ. œ. œ. . œ. œ. œ.
œ. b œ œ. œ. œ ‰
?
& œœ b œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ œ.
fl
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 ƒ !
 Ç‰ = x 
15  Œ = 132
m œ.
molto accel. 
44 bw ‰
Vln. 1 &
o p F ƒ
44 b w>
Vln. 2 & œ. ‰
Ï "

5
A1
20 Like a leprechaun on ecstasy (Œ = 132)
˙ ˙ œ œ. œ. œ. œ. œ. m œ.
‰ ‰ œ.
& æ æ Œ Ó Ó œ. œ. œ. œ.
Flute
ƒ
œ. m œ.
& w œ ‰ Œ Ó Ó ‰ œ. œ. œ. œ.
œ.
Oboe œ. œ. œ. œ.
ƒ
‰ œ. œ. œ. œ. œ. m œ.
Clarinet in B b & æ Œ Ó Ó m œ.
æ ‰ œ. œ. œ. œ.
m˙ ˙ œ
ƒ
? ‰ Ó ‰ Ó ‰ Ó ‰
Contrabassoon œ- . œ- . œ- . œ- . œ
>
œ mœ
> >
œ
>
ƒ
+ o + o + o + o + o
& œ. œ. Œ œ. œ. œ. Œ ‰
Horn in F
œ. ‰ œ. ‰ œ. œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. ‰ œ. ‰ œ. œ œ. ‰ œ. œ. œ.
ƒ
+
with plunger mute
o + o + o + o
œ. + o
& œ. ‰ ‰ m œ.
‰ Œ œ. ‰ ‰ œ. ‰ Œ ‰ mœ
Trumpet in C œ. œ. œ. œ. mœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. .
ƒ
+ o
with plunger mute
+ o + o + o + o
? .
œ.
‰
œ. œ. œ.
‰ ‰ œ. µ œ.
‰
µ œ. œ. µ œ.
‰ ‰ ‰ µœ
Trombone œ. œ œ. œ. œ. œ œ. œ. µœ. œ µ œ. œ µœ. œ µ œ.
ƒ
cowbells, toms, and tiles
6:4 6:4 6:4 6:4 6:4 6:4 6:4 3:2 3:2
6:4 6:4 6:4 6:4
œ œ œ ‰ œ œ. œ œ œ ‰ œ œ. œ œ œ ‰ œ œ. ‰ œ œ. 3 œ œ œ 3 œ œ 3 œ œ
6:4
3 3 6:4
3 3 6:4
3 3
Percussion 1 ã œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œœ œ
ç f
[a
Œ Œ Œ Œ Œ Œ Œ Œ
large bass drum (on side) and kick notehead in circle = mute head with free hand
Percussion 2 ã 0 œ ‰ 0 f 0. 0 œ ‰ 0 f 0. 0 œ ‰ 0 f 0. 0 œ ‰ f
Œ # Œ # Œ #
ç f
w
m ww
&
Piano Ï hold until all sound decays
?
w
w
20 Like a leprechaun on ecstasy (Œ = 132) P.
w> w w ˙ œ œ ‰.
Violin 1 &
sÍ ! p Ï
-
msp
& ‰
œ
œ- ‰ œ
œ- ‰ œ
œ- ‰ œ
œ- ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ mm œœ
Violin 2 m œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
f
ord msp ord msp
B œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. m œ.
Viola 1 œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
f
B œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
Viola 2 œ œ- œ- œ- m œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
f
msp
% œ.
>$œ
ord
$. % $. % $. % $. % >$œ >$œ m >$œ
ord ord
œ. œ. œ. œ. œ. œ.
ord msp msp sim. ord
? œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ ‰
Cello 1
ç f ƒ f o Ï f
%
ord msp
$ % $ % $ % $ % $ $ $ $
ord msp ord msp ord sim. ord
? œ.
‰ œ. œ. œ. œ. ‰ œ. œ. œ. œ. ‰ œ. œ. œ ‰ œ œ mœ œ
>
Cello 2 œ œ œ œ œ œ œ œ œ œ œ œ
ç f ƒ f o Ï f > > >
%
ord msp
$ % $ % $ % $ % $ $ $ $
ord msp ord msp ord sim. ord
? œ.
‰ œ. œ. œ. œ. ‰ œ. œ. œ. œ. ‰ œ. œ. œ ‰ œ œ mœ œ
>
Double Bass œ œ œ œ œ œ œ œ œ œ œ œ
ç f ƒ o Ï f > > >
f
6
24
m œ. œ. m œ. œ. œ. œ.
‰ m œ. m œ. œ. œ. œ.
Fl. & Ó
. œ. m œ. œ. œ.
Ó ‰ mœ œ.
Ob. & m œ. m œ. œ. œ. œ.
(B b) Cl. & Ó ‰ mœ œ. m œ. œ. œ.
. m œ. m œ. œ. œ.
œ.
m œ.
? ‰ Ó ‰ Ó ‰ Ó ‰ ‰ Ó
C. Bn. œ- . œ- . œ- . œ- . œ mœ œ mœ
> > > > œ- .
+ o + o + o + o + o + o
Œ Œ œ. # Œ
3:2
& œ. ‰ œ. ‰ œ. ‰ ‰ œ. ‰ œ. ‰ ‰
Hn.
œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ. œ.
+ o + o o + o
o +
œ. œ B œ. #
o o
m œ. ‰ m œ. ‰
+ + o + o +
3:2
œ. Œ ‰ œ Œ ‰ Œ œ.
C Tpt. & œ. ‰ œ. œ. œ. œ. . mœ. œ. œ. œ. œ. mœ. œ.
œ œ
œ. . . œ. ‰ œ. ‰ œ. œ. œ.
+ o + o + o + o + o + o + o
+ o + o o
œ. œ. m œ.
+
? n œ. ‰ ‰ œ m œ. µ œ. ‰ m œ. ‰ œ. œ. Â œ. ‰ œ. m œ. œ.
Tbn. nœ. œ m œ. . µœ. œ Â œ. ‰ œæ m œ. # m œ . œ œ. œ. Âœ. œ œ. ‰
3:2
œ. ‰ œ m œ. œ.
> > > 3:2 >

> >
6:4 6:4 6:4 6:4 6:4 6:4
6:4 6:4 6:4
œ œ œ ‰ œ œ. œ œ œ ‰ œ œ. œ Ó œ œ œ ‰ œ œ.
6:4
3 3 6:4
3 3 3 3 6:4
3 3
Perc. 1 ã œ œœ œ œœ œ 6 6 6 6 6 6 6 œœ œœ œ œœ œ œœ œ œ œ œ œœ œ œœ œ
sempre f
Œ Œ Œ Œ ‰3:2 Œ > Œ Œ Œ
(rim clicks)
3:2 3:2
ã 0 f 0. ‰0 œ ‰ œ ‰ œ œ . f 0.
Perc. 2 0 œ
Œ ‰ #
œ œ
> > 0 œ œ œ 0 ‰œ. œ0 x x x 0 œ
Œ ‰ 0
#
sempre f >
&
Pno.
?
24 P.
µw w w ˙ œ œ w
‰.
Vln. 1 &
! p Ï !
$
(still msp)
œ- œ- œ- œ œ. # - œ- œ- œ- - œ- œ- ‰
& ‰
œ
œ- ‰ œ
œ- ‰ œ ‰
œ-
œ
œ- ‰ œ ‰ œ ‰ œ ‰ mm œœ ‰ œ ‰ œ ‰ œ ‰ mm œœ ‰ œ ‰ œ
œ ‰ œ
œ- ‰ œ
œ- ‰ œ
œ- ‰ œ
œ-
Vln. 2 œ-
$
msp
sim.
œ m œ. # msp
œ. œ. œ.
ord (alternate between ord and msp every measure)
ord msp ord
B œ. œ. œ. œ. m œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ.
Vla. 1 œ. œ. œ. œ. œ. œ. œ. m œ. œ. œ. œ. m œ. œ. œ. œ.
œ.
œ. œ. œ. œ.
$
msp
œ- ‰ œ- ‰ œ-
ord
B œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ m œ. # Œ mœ ‰ œ ‰ œ ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
Vla. 2 œ- œ- œ- œ- œ œ œ m œ- œ- œ- m œ- œ- œ- œ- œ- œ- œ- œ-
$ $ $ $
(sim.)
$. % $ %
msp
>œ m >œ >œ m >œ ‰
ord
œ
œ. œ. œ. œ œ œ ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
msp sim. ord
? œ œ œ ‰ œ œ œ œ ‰ œ œ œ ‰ œ œ
Vc. 1
ƒ f ß p Ï f
(sim.)
$ % $ % $ $ $ $
msp ord sim. msp ord
? ‰
œ œ œ ‰ œ.
œ
‰ œ. œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ ‰ œ mœ œ mœ œ. œ. œ. œ.
> > > >
Vc. 2 œ œ œ œ œ œ œ œ œ œ
ƒ f ß p Ï f
(sim.)
$ % $ % $ $ $ $
msp ord sim. msp ord
? ‰
œ œ œ ‰ œ.
œ
‰ œ. œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ ‰ œ mœ œ mœ œ. œ. œ. œ.
> > > >
D.B. œ œ œ œ œ œ œ œ œ œ
ƒ f ß p Ï f
7
œ. œ. œ. œ. œ. œ.
29
m œ. œ. œ. m œ.
‰ œ. œ. œ. œ.
Fl. & Ó Œ Ó
3:2
m œ. œ. œ. ‰ œ. œ. œ. œ. œ. . .
Ob. & Ó Œ Ó œ. œ. œ. œ. œ mœ
3:2
(B b) Cl. & Ó Œ Ó ‰ œ.
3:2
œ. œ œ œ.
m œ. œ. œ. œ. œ. . œ. . œ. m œ. m œ.
? ‰ Ó ‰ Ó ‰ Ó Ó
C. Bn. œ. œ. œ. œ mœ œ œ
> > > > œ. œ.
> > > > >
+ o + o + o + o
œæ œ. ‰ Œ œ. Œ Œ Ó Ó
3:2
& œ. ‰ ‰ ‰ ‰ œœ œ. ‰ œ. ‰
Hn.
œ. œ. œ. œ. œ. œ. œ. œ. œ œ. . . œ. œ. œ. œ.
o o + o + o
œ. œ.
o + o + o
+ m œ. œ. œ. œ. œ. + +
& mœ. ‰ œ œ. ‰ œ. Œ ‰ œ. œ. Œ Œ œ. Ó œ. ‰ Ó
C Tpt. . œ
æ ‰ mœ œ. ‰ œ. œ.
3:2 æ . œ.
+ o o + o + o o
o + b œo. o + b œ.
œ. ‰ œ. œ. ‰ + µ œ.
+ o +
? µ œ. m œ. œ. œ. œ. æ æ m œ. ‰ ‰ Â œ. Œ Œ
+ ‰ Œ ‰ ‰ Œ
µœ. ‰ œ œ. ‰ mœ œ. Âœ. œ. œ µœ. œ
Tbn.
. 3:2
mœ
6:4 6:4 6:4 6:4

5:4 6:4 6:4 3:2 3:2 3:2
œ œ œ ‰ œ œ.
3 33#3
œ Œ œ œ œ ‰ œ œ. 6 6 6 6 6 6 6 6 6 Œ
6:4 6:4
3 3 6:4
3 3
ã œ œ œ œ 6 6 >6 6 6 6 6 œ œœ œ œœ œ œ œ œ œœ œ œœ œ
Perc. 1
> > > > >
ç p f
Œ Ó Œ Œ Œ Œ Œ Œ 3:2 3:2
ã 0 f 0. ‰ œ ‰ œ 0 f 0. œ œ œ ‰ œ ‰ œ
Perc. 2 0 œ 0 œ
Œ ‰ #
0 œ 0 œ
Œ ‰ #
0 >
&
Pno.
?
29 P.
w w ˙ œ œ µw w
‰.
Vln. 1 &
p Ï !
. . . . . m œ. œ- œ- œ- œ-
m œ- œ- œ. ‰ œ- œ- œ- œ- œ- œ- œ- m œ- œ- œ- œ- œ-
Vln. 2 & ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
6:4
. . . . . m œ. œ. œ. œ. œ.
. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. m œ. œ. œ. œ. œ.
B m œ. m œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vla. 1
6:4
- œ- ‰ œ. œ. œ. œ. œ. œ. œ. ‰ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
Vla. 2 B mm œœ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
6:4
>œ $ $ % œ
>$œ m >$œ >œ >œ
(sim.)
œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
msp ord sim.
? œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰
Vc. 1
ƒ f ç f o Ï
%
(sim.)
$ $ $ $
msp ord sim.
? œ ‰ ‰ œ
Vc. 2 œ œ œ ‰ œ. œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ ‰ œ mœ œ œ
> > > > œ œ œ œ. œ. œ. œ. œ œ œ ‰ œ. œ. œ
ƒ f > o Ï
ç f
%
(sim.)
$ $ $ $
msp ord sim.
? œ ‰ ‰ œ
D.B. œ œ œ ‰ œ. œ. œ. œ œ œ œ œ. œ. œ. œ. œ œ œ ‰ œ mœ œ œ
> > > > œ œ œ œ. œ. œ. œ. œ œ œ ‰ œ. œ. œ
ƒ f > o Ï
ç f
8
œ.
34
m œ. œ œ. ‰ .
‰ mœ œ. >œ œ. œ. . .
‰ œ œ
. # # œ. # Œ Œ m œ. œ. Œ Œ
Fl. & mœ æ
ç p ƒ 3:2 3:2
# m œ. # # œ œ. ‰ Œ Œ ‰ m œ. Œ Œ
3:2 3:2
& œ. œ œ. ‰ œ œ
Ob. m œ. œ. > œ. œ. œ. . .
ƒ .
mœ
ç p
m œ. œ œ. ‰
m œ. # # œ. # . ‰ œ. œ.
3:2
Œ Œ ‰ mœ œ. œ. Œ Œ
(B b) Cl.
œ.
& æ œ.
ƒ .
mœ mœ œ.
ç p > 3:2
? Ó ‰ ‰ Ó ‰ Ó ‰ Ó
œ- . œ- . œ m œ m œ m œ. œ- . œ- . œ- .
> > >
C. Bn.
o + + o o o + o. o. + +
m œ. m œ.
+ +
mœ œ
& m œ. # œ. # œ. # œ µ œ ‰ ‰ œ. ‰ m œ Œ Œ ‰ Œ Œ ‰ Œ Œ ‰ œ œ
3:2
œ. ‰ mœ. œ œ mœ. œ. œ m œ
Hn. œ œ œ. œ œ œ . .
ç p ƒ 3:2
+ o o o + o + o o
o + + + o 3:2
+. +.
. . .
C Tpt. & mœ # œ # œ # œ µœ ‰ ‰ mœ mœ.
m œ.
‰
œ. ‰ œ œ œ Œ Œ
‰ mœ.
m œ. Œ Œ
‰
œ œ Œ
œ . .
Œ ‰ œ œ
ç p . œ œ œ. œ.
ƒ p
3:2
ƒ
o +. +.
œ. œ.
+. o. +. o o o + o + o. o.
b œ. œ. œ.
o + + o
? bœ # œ # œ # œ
+
œ ‰ ‰ bœ +
‰ ‰
o nœ
Œ Œ ‰ +
Œ Œ ‰ µœ œ
Œ Œ ‰ µœ œ
Tbn. . bœ. œ œ œ œ nœ. œ. µœ
ç p Ï ƒ 3:2
3:2
5:4 5:4 9:8 3:2 3:2 3:2 3:2 3:2
œ Œ ‰ 3 œ Œ
3 3 3 3
ã œ œ 6 6 6 6 6 6 6 6 6 6 œ œ 3 œ3 œ3 œ3 œ œ œ œ 6 6 6 œ œ œ œ œ œ 3 3 6 6 6
Perc. 1
> > > p
ç > p
ç > >f
ç > > > > > > > >
Œ Ó
pick up second mallet
Œ Œ Œ Œ Œ Œ
ã œ. œ Œ Ó œ œ œ œ œ œ
Perc. 2 0 0 0 0 0
&
Pno.
?
34 P.
w ˙ œ œ mw w w
‰.
Vln. 1 &
p Ï !
m œ. œ. œ. œ µ œ ‰ . œ- m œ- œ- ˘œ œ- œ- œ- œ- m œ- œ œ œ- œ- œ- œ- œ- œ-
Vln. 2 & mœ # œ # œ # ‰ œ ‰ mœ ‰ œ œ ‰ Œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ œ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
m œ. # œ. # œ. # œ µ œ ‰ . ‰ œ. m œ. œ. œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ.
( ord msp )
œ
m œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ.
sim.
œ
Vla. 1 B Œ œ. œ. œ. œ.
m œ. œ. œ. œ œ- m œ- œ- ˘œ œ- œ- œ- œ- m œ- œ- œ- œ- œ- œ- œ- œ-
Vla. 2 B m œ # œ # œ # œ µµ œœ ‰ . ‰ œ mœ ‰ œ ‰ œ ‰ Œ œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
>
mœ mœ
œ. œ. œ. œ. >œ m >œ œ. œ. œ. œ. œ. . . µ œ. . . . œ.
sim. sim.
? œ œ œ ‰ œ œ œ ‰ œ œ mœ ‰ œ œ œ ‰ œ œ œ ‰ nœ œ œ
Vc. 1
f o Ï f
sim. > sim.
? ‰
mœ mœ
Vc. 2 œ œ œ ‰ œ. œ. œ. œ. œ œ œ œ mœ
> > œ œ mœ ‰ œ. œ. œ. œ. œ œ œ ‰ œ. . . µ œ. œ œ œ ‰ n œ. œ. œ. œ.
f o Ï f
sim. sim.
? ‰
D.B. œ œ œ ‰ œ. œ. œ. œ. œ œ œ œ mœ mœ mœ
> > > p œ œ mœ ‰ œ. œ. œ. œ. œ œ œ ‰ œ. . . µ œ. œ œ œ ‰ n œ. œ. œ. œ.
f f
ç
9
39
œ. œ. . . m œ. m œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ.
œ.
‰ œ œ œ. œ. ‰ m œ. m œ. œ. œ. œ.
Fl. & Œ Ó
3:2 3:2 3:2
. œ. m œ. œ.
‰ mœ
& œ œ œ Œ Ó
3:2 3:2 3:2
‰ œ œ œ œ m œ. m œ. m œ. œ. œ. œ.
. . . . . . . œ œ
Ob.
f
.
‰ œ. œ. . . m œ
3:2
& œ . . Œ Ó ‰ mœ Œ
œ œ
(B b) Cl. . mœ œ . œ. m œ. œ.
3:2 m œ. m œ. œ. mœ œ
3:2
f
? > m >œ
‰ œ œ ‰ Ó ‰ Ó ‰ Ó ‰ mœ œ
œ- .
œ
œ- . œ- . œ- . œ- .
œ
C. Bn. mœ
> > > > > >
+ + o o + + o
œ.
+ o. o. + o + o
m œ. m œ.
+ + + o o
mœ œ 3:2
‰
Œ ‰ œ œ œ œ œ. ‰ Ó ‰ œ. Ó m œ. ‰ Œ Œ Ó
3:2
& mœ . . . . mœ. œ. mœ.
mœ
œ œ m œ œ >œ >œ >
>> > >
Hn.
3:2
+ o o + o + + o o + + o
o
œ.
+. +. o. . . + o
m œ. > > m >œ
3:2 +
& œ œ. œ. Œ ‰ œ œ œ œ mœ œ. Ó ‰ œ. Ó ‰
C Tpt. œ. ‰ œ. œ. m œ. ‰ Œ Œ Ó mœ œ œ œ œ œ
> > > >
3:2 3:2
+. +. o. . . + o + o. + o + o. o + + o o + + o
œ. œ. Â œ.
+ o. o. +
? µœ µœ œ Œ ‰ µœ œ mœ œ œ +
‰
mœ ‰ Œ +
‰
mœ ‰ Œ ‰ m >œ > > > > > m >œ
Tbn. nœ. œ. nœ. œ. µ œ. ‰ Œ Œ Ó
3:2 3:2
3:2
6:4 3:2 3:2 3:2

j
3:2 3:2 3:2 6:4 3:2 3:2 3:2 3:2 3:2 3:2
6 6 ‰ œœ œœ 6 6 6 6 6 6 œ œ œ ‰ œ œ.
3 3 3 3 3 3 3 3 3 3 3 3 3
ã 6 œ œ œ œ œ œ œ œ œ œ œ 6 6 6 6 6 6 6 6 6 6 6
Perc. 1
> > > > > > > > > > > > > > > > > > > > > >
Œ Ó
Œ Ó Œ Ó Œ œ œ œ Ó Œ
3:2 3:2 3:2 3:2
ã œ œ œ œ œ œ œ œ œ œ œ œ œ
0 > > > > > >
Perc. 2
&
Pno.
?
39 P. P.
˙ œ œ Âw w w ˙ œ œ
‰. ‰.
Vln. 1 &
p Ï ! p Ï
œ- œ- œ- m œ- œ- œ- œ- œ- œ- œ- œ- œ- m œ- œ µœ œ œ- m œ- œ- œ- œ œ
‰ mœ ‰ œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ mœ # œ ‰ œ ‰ mœ ‰ œ œ ‰
& ‰ ‰ œ ‰
œ œ œ
Vln. 2
œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ. œ. m œ. œ. œ. œ. m œ. œ. œ.
œ. œ. œ. œ. ‰ œ
m œ. œ. œ. œ. m œ. œ.
œ
B œ. œ. œ. œ. œ. œ. œ. œ.
Vla. 1
œ- œ- œ- œ mœ œ- œ- œ- œ- œ- œ- œ- œ- m œ- œ- œ- œ µœ m œ- œ- œ-
B œ ‰ œ ‰ œ ‰ œ mœ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ ‰ œ ‰ œ µœ # mœ ‰ œ ‰ œ ‰ œ œ
Vla. 2
>$œ >$œ >$œ >$œ > > > > > > m >œ
œ. œ. œ. œ. œ. . . µ œ. ‰ n œ. œ. œ. œ.
(sim.)
? œ œ mœ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ ‰ mœ
Vc. 1
$ $ $ $ (sim.)
> > m >œ
? ‰ ‰
œ mœ ‰ œ œ œ ‰ ‰ m >œ >œ >œ >œ œ œ
Vc. 2 œ œ
> > > > œ œ œ œ. œ. œ. œ. œ œ œ œ. . . µ œ. œ œ œ n œ. œ. œ. œ. œ œ œ
$ $ $ $ $ $ >$ m >$œ
(sim.)
? ‰ ‰
œ mœ ‰ œ œ œ ‰ ‰ m >œ œ œ
D.B. œ œ
> > > > œ œ œ œ. œ. œ. œ. œ œ œ œ. . . µ œ. œ œ œ n œ. œ. œ. œ. œ œ œ >
10
44
w mw w œ
‰
w (perc. resynch.)
Fl. & Œ Ó
f
& w w œ ‰ Œ Ó
Ob. w w
sempre f
(B b) Cl. & ‰ Œ Ó
mw
mw w w œ
f
>œ >œ
sempre
? ‰ Ó ‰ Ó ‰ Ó ‰ ‰ ‰ ‰ Ó
C. Bn. œ- . œ- . œ- . œ- . œ- .
sempre ff
+ o + o + o + o + o
m œ. m œ. m œ. m œ. m œ.
‰ œ ‰ œ œ œ œ œ œ mœ. Œ Ó ‰ ‰ Œ Ó ‰ ‰ œ œ œ œ œ
3:2 3:2
Hn. & mœ. . . . . . . mœ. œ. œ. œ. œ. œ. œ. œ mœ. mœ. œ. . . . . .

sempre ff
+ o + o + o + o + o + o
œ. œ.
+ o + o
œ. m œ. ‰ œ œ œ 3:2 3:2
& œ. ‰ œ ‰ œ mœ. Œ œ. ‰ œ. ‰ œ. œ. œ. œ. Œ Ó œ. ‰ œ. œ œ
C Tpt.
. . œ. œ.
P ƒ œ. ‰ œ. œ. . œ. .
sempre ff
+ o + o. + o. + o.
œ. œ. µ œ. œ. œ.
+ o + o + o + o
m œ. m œ. Â œ. Â œ. bœ œ œ
Tbn.
? mœ. ‰ œ. œ. œ. mœ. Œ Ó Âœ. ‰ œ µ œ. œ. Âœ. Œ Ó œ. ‰ œ b œ. œ. œ.
sempre ff 3:2 3:2
repeat this figure, gradually accelerating from triplet to 16th-note value

3:2 synchronize to pulse of ensemble and rejoin ensemble at m. 48
Perc. 1 ã œ œ  œ œ  œœœœœœœœœœœœœœœœ
f p F
repeat this figure, gradually decelerating from triplet to 8th-note value
3:2 gradually move to rim
synchronize to pulse of ensemble and rejoin ensemble at m. 48
Perc. 2 ã œ0 œ œ œ  Ó Ó  Ó
> f p F
ç
&
Pno.
?
44 &
P.
w w w ˙ œ œ ‰. µw
Vln. 1 &
! p Ï !
œ- œ- œ- m œ- œ- œ µ œ œ- œ- œ- œ- œ- œ- œ µœ œ œ m œ-
œ
‰ mœ ‰ œ ‰ œ µœ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ µœ # œ œ- œ- œ- œ-
& ‰ œ ‰ œ ‰ œ œ # mœ ‰ œ ‰ œ ‰ œ ‰ œ
Vln. 2
. . œ. m œ.
œ ‰ œ œ. œ œ. m œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vla. 1 B m œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ- œ- œ- œ- œ- œ- œ- œ œ- œ- œ- œ- œ-
B œ Œ œ ‰ ‰ m œ- ‰ œ- ‰ œ- ‰ œ œ œ œ œ
Vla. 2
œ
mœ œ œ œ œ# œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ # œ œ # œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
œ̆ ‰ œ̆ ‰
? ‰ œ m œ ‰ œ. . . µ œ.
œ œ œ ‰ œ.
. . µ œ.
œ œ mœ ‰ œ. . . µ œ. œ œ œ ‰ œ œ œ ‰ œ. . . µ œ.
Vc. 1
? ‰
‰ œ m œ ‰ œ. . ‰ ‰ ‰
œ̆ œ̆
Vc. 2 . µ œ. œ œ œ ‰ œ. . . µ œ. œ œ mœ œ. . . µ œ. œ œ œ ‰ œ œ œ œ. . . µ œ.
? ‰ ‰ œ̆ ‰ œ̆ ‰ ‰
D.B. œ œ mœ œ. . . µ œ. œ œ œ ‰ œ. . . µ œ. œ œ mœ œ. . . µ œ. œ œ œ ‰ œ œ œ œ. . . µ œ.
11
49
˙ œ œ. œ. œ. œ w œ ‰ mw
Fl. & Œ Ó w
5:4
5:4
& œ œ œ mœ w œ ‰ Œ Ó
Ob.
˙ œ . . . w mw
mw
(B b) Cl. Œ Ó
5:4
& ˙ œ m œ. œ. œ. œ w œ ‰
mw
>œ m >œ >œ m >œ

mw
? ‰ Ó ‰ Ó ‰
w
C. Bn. œ- . œ- . œ- .
o o o
m œ. m œ. m œ. œ. œ. œ. œ. m œ. œ. . . . .
œ. ‰ m œ. œ. œ œ m œ. œ. œ. ‰ m œ. œ. œ œ m œ. œ. œ. ‰ ‰ œ.
+ + +
Œ Œ ‰ œ. ‰ ‰ ‰ ‰
5:4 3:2 3:2
Hn. & mœ. œ. œ. œ. œ. œ. mœ. œ. œ. œ. œ. œ. œ. mœ.

f 3:2
+ o + o o o + o
+ + o + +
œ. œ. œ. œ. œ.
+ + o +
œ. Œ m œ. Œ œ. œ. œ. œ. œ. œ. Ó œ. œ. œ. œ. m œ œ œ Œ œ. œ. œ. œ. m œ œ œ Œ œ. œ. œ. œ œ œ
3:2
& œ. m œ.
C Tpt. mœ. mœ. ‰ œ. . . . . . . . . .
f
5:4 3:2 3:2 3:2
+ + o + +
œ. . . . m œ.
o o + o o
µ œ. m œ. œ. œ. œ. œ. œ. œ. m œ. ‰ œ.
+ + + o + o + o + o + o + o
+ o + o
Tbn.
? µœ. Œ mœ. Œ mœ. œ. ‰ Œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5:4 3:2 3:2
f 3:2 3:2
ã œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœ œœ œ Œ Ó

Perc. 1
>
Ï
add extra muting to large bass drum
> Œ Ó
switch to toms (shared with Perc. 1)
Perc. 2 ã œ0
Ï
&
Pno.
?
49 &
P.
w w ˙ œ œ ‰. mw w
Vln. 1 &
p Ï !
œ- œ- œ- œ- œ mm œœ œ- m œ- œ µ œ œ-
(still msp)
œ- œ- œ- œ-
œ œ pz arco œ
#œ œ ‰. mœ œ œ œ
‰ mœ ‰ œ µœ # œ ‰ œ
Vln. 2 & ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ mœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ
(continue to alternate between
œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ.
ord and msp every measure)
mœ œ œ
B œ. œ. œ. œ. m œ. œ. œ. œ.
pz arco
Vla. 1 ‰ mœ œ œ œ ‰ œ. œ. œ. œ. m œ.
m œ.
œ.
œ.
œ.
œ.
œ.
œ.
œ- œ œ œ- m œ m œ œ- -
(still ord)
œ- œ- œ- œ-
pz
œ œ
arco œ
B œ mm œœ # œ ‰ œ œ#œ ‰ mœ mœ # œ ‰ œ œ # œœ ‰
mœ
mœ ‰
œ
œ ‰
œ
œ ‰
œ
‰ ‰ ‰ ‰ ‰ mœ ‰ œ ‰ œ œ # Œ
Vla. 2 œ œ œ œ œ œ m œ- œ- œ
$
% µœ >$œ m >$œ >œ
? œ œ œ ‰ œ. . . µ œ. œ ‰ œ. œ. ‰ (sim.)
œ. . . µ œ. œ. . . µ œ.
Vc. 1
œ œ œ ‰ œ œ ‰ œ œ œ ‰ µœ œ œ ‰
o Ï f
%
>$œ m >$œ >$œ
(sim.)
? ‰ ‰ µœ ‰
Vc. 2 œ œ œ œ. . . µ œ. œ œ œ œ. œ. œ ‰ œ œ ‰ œ œ œ ‰ œ. . . µ œ. µœ œ œ ‰ œ. . . µ œ.
o Ï f
% $
>$œ m >$œ >$œ m >œ
(sim.)
? ‰ ‰ µœ
D.B. œ œ œ œ. . . µ œ. œ œ œ œ. œ. œ œ œ œ ‰ œ œ œ ‰ œ. . . µ œ. µœ œ œ ‰ œ. . . µ œ.
o Ï f
12
54
bw
w ˙ œ ‰ œ œ w
Fl. &
Ob. & w ˙ œ ‰ œ œ w bw
w ˙ œ ‰ bw
(B b) Cl. & œ mœ w
w ˙ œ
? ‰ œ œ w bw
C. Bn.
. . m œ. œ. œ. œ. m œ. œ. œ. œ. n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
3:2
Hn. & œ œ m œ. œ. œ. ‰ Œ m œ. œ. œ. Œ ‰ Œ Œ
3:2
+ o +
+ o o
‰ œ. œ. œ. m œ œ œ œ. œ. œ. œ. m œ œ œ
3:2
C Tpt. & Œ . . .
‰ ‰
. . .
‰ n œ. œ. œ. œ. œ. ‰ ‰ œ. œ. œ. œ. œ œ œ. ‰ ‰ œ. œ. m œ. œ. œ œ b œ. ‰ ‰ œ. œ.
3:2 . . . .
œ. œ.
o o
o +
b œ. œ. œ.
+ o + o + o +
? œ œ. œ. œ. œ. œ. œ. œ.
o. +. ‰ œ. œ.
o + +
‰ œ. ‰ Œ Œ œ. ‰ œ œ. Œ Ó
Tbn.
3:2 3:2 3:2
Perc. 1 ã
Perc. 2 ã
&
Pno.
?
&
54
P.
w ˙ œ œ ‰. Âw mw
Vln. 1 &
p Ï !
œ œ- œ- œ. œ- œ- œ- b œ- œ- œ- œ-
œ # œ ‰ œ . . . . . œ. ‰ ‰ œ ‰ œ ‰ œ œ œ œ- œ- œ- œ-
Vln. 2 & ‰ œ œ # œ ‰ œ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ œ
6:4
œ. œ. œ. . . . . . œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ.
B œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ.
Vla. 1
6:4
b œ- œ- œ- œ-
msp
œ œ
- œ- ‰ ‰ œ- œ- œ- œ- œ- œ-
ord
Vla. 2 B œœ ‰ œ ‰ Œ & Œ B
œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰
ç o
f
>$œ >$œ >$œ >$œ
? µœ œ ‰ œ. . . µ œ. œ. . . µ œ. mœ ‰ œ. . . µ œ.
Vc. 1
œ µœ œ œ ‰ µœ œ œ ‰ nœ œ
? >$œ >$œ >$œ >$œ

œ ‰ ‰ ‰ mœ ‰
Vc. 2 µœ œ œ. . . µ œ. µœ œ œ µœ œ œ œ. . . µ œ. nœ œ œ. . . µ œ.
? >$œ >$œ >$œ >$œ

œ ‰ ‰ ‰ mœ ‰
D.B. µœ œ œ. . . µ œ. µœ œ œ µœ œ œ œ. . . µ œ. nœ œ œ. . . µ œ.
13
58
w ˙ œ ‰ bœ œ bw Âw
Fl. &
Ob. & w ˙ œ ‰ bœ œ bw Âw
(B b) Cl. &
w ˙ œ ‰
œ œ w Âw
? w ˙ œ ‰ bœ œ bw Âw
C. Bn.
œ. œ. m œ. œ. œ. œ. m œ. œ. œ. . . œ. œ.
Hn. & Ó ‰ Œ m œ. œ. œ. œ. m œ œ œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ
o + + o
‰ Œ ‰ Œ ‰ ‰ ‰
3:2
& œ. œ. m œ œ œ œ m œ. œ. œ. œ. œ. m œ œ œ œ m œ. œ. œ. ‰ œ. œ. œ. œ. œ. m œ. œ. œ. œ. œ. œ. œ. œ. œ.
. . . . . . . .
C Tpt. œ. œ. œ. œ. œ.
>œ o
Â œ. ‰ + o . œ.
o
Â œ. ‰ + o +. +. o
œ.
? µ äœ ä ä m >œ œ µ œ. µ œ œ. œ µ œ. µ œ œ ‰
+ +
Œ œ Œ µœ Œ mœ œ µœ. µœ.
Tbn.
> > 3:2
Perc. 1 ã
Perc. 2 ã
&
Pno.
?
58 &
P.
w ˙ œ œ ‰. w w
Vln. 1 &
p Ï !
äœ äœ äœ
œ- b œ- œ µµ œœ œ- Â œ- œ- œ µœ œ
-
& œ Œ œ Œ œ Œ Œ ‰ œ ‰ bœ ‰ œ ‰. ‰ œ ‰ Âœ ‰ œ ‰ œ µœ # œ
Vln. 2
ƒ f
ä ä ä œ. b œ. œ. œ. œ. Â œ. œ. œ. œ.
Vla. 1 B œ Œ œ Œ œ Œ Œ b œ. b œ. œ. œ. œ. Â œ. œ. œ. œ.
ƒ f
äœ äœ äœ b œ- b œ- œ- œ- œ µµ œœ Â œ- œ µœ
Vla. 2 B œ Œ œ Œ œ Œ Œ bœ ‰ bœ ‰ œ ‰ œ ‰ œ # Œ Âœ ‰ œ µœ # Œ
ƒ f
>œ m >œ >œ
? µ äœ äœ m >œ ‰ . . ‰
µ äœ œ. µ œ. œ. . . µ œ.
(sim.)
œ mœ
Vc. 1 Œ Œ Œ ‰ œ µœ œ
ƒ f
? m >œ >œ (sim.)
Œ Œ Œ mœ œ ‰ œ ‰ mœ ‰
Vc. 2 µœ
â
œ
â
µœ
â >f > œ œ. . . µ œ. µœ œ œ. . . µ œ.
ƒ
? m >œ >œ (sim.)
Œ Œ Œ mœ œ œ ‰ mœ ‰
D.B. µœ
â
œ
â
µœ
â >f > nœ œ œ. . . µ œ. µœ œ œ. . . µ œ.
ƒ
14
62
µw µw
µw ˙ œ ‰
Fl. & Œ
&
µw ˙ œ ‰ Œ µw
Ob. µw
(B b) Cl. & µw ˙ œ ‰ Œ
Âw µw
µw
?
µw ˙ œ ‰ µw
C. Bn. Œ
. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. µ œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. µ œ. ‰ œ. œ. œ. œ. œ. œ. œ. œ. œ.
Hn. & œ
5:4
œ.
o
œ. œ. œ. œ. œ. m œ. œ. œ. Â œ.
+ o o +
C Tpt. & m œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ m œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ m œ. œ. œ. œ. ‰ ‰
3:2 5:4
o
+
µœ. Â œ. + o o + o
+ .
µ œ. µ œ œ. œ. œ.
µ œ. µ œ. œ. œ. œ.
o o o
+
? µœ. Â œ. ‰ œ µ œ. ‰ Œ Œ µ >œ >œ Â >œ µ >œ +
µœ. Â œ. ‰ +
œ.
+
µœ. Â œ. Œ
Tbn.
3:2 5:4
Perc. 1 ã
Perc. 2 ã
&
Pno.
?
62 &
P.
w ˙ œ œ ‰. µw w
Vln. 1 &
p Ï !
µ œ. œ. œ. œ µ œ œ- µ œ- œ- œ- Â œ- µ œ- œ- œ µ œ # œ- µ œ- œ µœ # œ œ # œœ-
# # # ‰. ‰ Âœ ‰ Â œ ‰ œ ‰ œ Â œ œ ‰ µ œ ‰ œ µ œ œ œ
Vln. 2 & µœ œ œ ‰ œ ‰ µœ ‰ œ ‰ œ
µ œ. # œ. # œ. # œ µ œ ‰ . œ. µ œ. œ. œ. Â œ.
‰
µ œ. œ. œ. µ œ. µ œ. œ. œ. œ. µ œ. œ. œ. œ.
Vla. 1 B & Â œ. œ. œ. œ. µ œ. œ. œ. œ.
µ œ. œ. œ. œ œ- µ œ- œ- œ- µ œ- µ œ-
µœ
B µ œ # œ # œ # œ µµ œœ ‰ . ‰ œ µœ ‰ œ ‰ œ ‰ µœ ‰ µ œ- ‰ œ µ œ # œ- ‰ œ- ‰ µ œ ‰
œ µœ œ µ œ #
œ µ œ # œ Œ
Vla. 2 & Â œ œ Â œ œ œ
$ $
? nœ
œ ‰ µ œ. œ. œ. œ. µ >œ >$œ Â >$œ µ >œ µ œ. œ. œ. œ.
µœ ‰ µ œ. œ. œ. œ.
Vc. 1
œ µœ œ œ ‰ µœ œ œ ‰ µœ œ
? $ $ $ $
œ ‰ ‰ ‰
µœ ‰
µ œ. œ. œ. œ. µœ œ Âœ µœ µ œ. œ. œ. œ. µ œ. œ. œ. œ.
> > >
Vc. 2 nœ œ µœ œ œ > µœ œ œ µœ œ
? $ $ $ $
œ ‰ ‰ ‰
µœ ‰
µ œ. œ. œ. œ. µœ œ Âœ µœ µ œ. œ. œ. œ. µ œ. œ. œ. œ.
> > >
D.B. nœ œ µœ œ œ > µœ œ œ µœ œ
15
66
Âw ˙ œ A2
‰
Œ 312 6
Fl. & 4ˆ8ˆ4 4
‰ Œ 312 6
Ob. & Âw ˙ œ 4ˆ8ˆ4 4
Œ 312 6
(B b) Cl. & ‰ 4ˆ8ˆ4 4
Âw ˙ œ
?
Âw ˙ œ ‰ 312 6
C. Bn. Œ Ó 4ˆ8ˆ4 Ó. ‰ 4
b ˙- b ˙-
ƒ
. > . . . > . . > > . > > . . > > . . > ˘ ˘

Hn. & µœ ‰ œœœœœœœœ‰ œœ µ œ. œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ µœ ‰ œ̆ ‰ œ̆ # Ó 43ˆ81ˆ42 µœ ‰ œ̆ ‰ œ̆ # # œ̆ ‰ œ̆ # Ó 46
ƒ
µ œ. œ. œ. œ. œ. ‰ œ. ‰ >œ œ. œ. >œ # # µ >œ œ. œ. >œ ‰ >œ œ. œ. >œ # # >œ œ. œ. µ ˘œ ‰ œ̆ ‰ œ̆ # Ó µ ˘œ ‰ œ̆ # # œ̆ ‰ œ̆ # Ó

43ˆ81ˆ42
œ̆ ‰
C Tpt. & 46
ƒ
o
µ œ.
+
µœ. o
?
+ µ œ. Œ
Œ Ó µœ.
µ œ Â œ µ >œ Â >œ
Ó bœ œ œ œ 43ˆ81ˆ42 Ó. ‰ bœ œ œ œ 46
fl fl fl fl fl fl fl fl
Tbn.
> > ƒ
Perc. 1 ã 43ˆ81ˆ42 46
Perc. 2 ã 43ˆ81ˆ42 46
& 43ˆ81ˆ42 46
Pno.
? 43ˆ81ˆ42 46
66 &
P. P.
w ˙ œ œ ‰. mw ˙. œ œ œ ‰.
Vln. 1 & 43ˆ81ˆ42 J 46
p Ï ! p Ï
Â œ- œ- œ- Â œ- œ- µœ. >œ œ >œ µœ. >œ œ >œ œ >œ . >œ
ord
œ
‰µ œ ‰ œ ‰ œ ‰ œ ‰ µ œ ‰ œ Â µ œœ µ œœ Â œ. Â œ. œ œ.
43ˆ81ˆ42 46
œ œ œ µœ œ œ œ œ µœ
µ œ ‰.
Âœ
Vln. 2 & µ œ ‰. Œ J µ œ ‰. Œ
ƒ
Â œ. œ. œ. œ. Â œ. œ. œ. µ œ µ œ µ ˘œ # œ̆ œ̆ # œ̆ œ̆ µ ˘œ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆
( ord )
312 6
Vla. 1 & µ œ. œ. œ. œ. µ œ. œ. œ. Ó 4ˆ8ˆ4 J Ó 4
ƒ
Âœ
Â œ- œ- Â œ- œ- œ- - µ >œ . >œ œ >œ µ >œ . >œ œ >œ œ >œ . >œ
& µ œ ‰ œ ‰ Â œœ #
Œ
µ œ ‰ œ ‰ œ ‰ Â µ œœ ‰ Â œ. œ œ œ Â µ œœ ‰ . Œ 43ˆ81ˆ42 Â œ . œ œ œ œ œ. œ Â µ œœ ‰ . Œ 46
Vla. 2
J
ƒ
>$ >$ >$ >$ Â ˘œ # œ̆ œ̆ # œ̆ œ̆ Â ˘œ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆
? µœ . œ. œ. œ.
µœ ‰ µœ Âœ µœ Âœ
Vc. 1
œ œ ‰ µœ µœ œ Ó 43ˆ81ˆ42 J Ó 46
ƒ
? $ $ $ $
Vc. 2 µœ œ œ ‰ µ œ. œ. œ. œ. µœ œ
µœ ‰
µ œ Â œ µ >œ Â >œ ˙. œ ‰ 43ˆ81ˆ42 46
> > ç o
? $ $ $ $
D.B. µœ œ œ ‰ µ œ. œ. œ. œ. µœ œ
µœ ‰
µ œ Â œ µ >œ Â >œ µ˙. œ ‰ 43ˆ81ˆ42 46
> > ç o
16
70
 x = Ç‰ 
6 5 6 4
Fl. &4 8 4 4
6 5 6 4
Ob. &4 8 4 4
6 5 6 4
(B b) Cl. &4 8 4 4
? 6 5 ‰ 6 4
C. Bn. 4 8 4 4
b ˙-
˘ ˘
Hn. & 46 µœ ‰ œ̆ ‰ œ̆ # # œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ # # œ̆ ‰ 85 œ̆ # Ó 46 µ œ ‰ œ̆ ‰ œ̆ # # œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ # # œ̆ ‰ 44
µ ˘œ ‰ œ̆ # # œ̆ ‰ œ̆ # # œ̆ ‰ œ̆ # Ó µ ˘œ ‰ œ̆ # # œ̆ ‰ œ̆ # # œ̆ ‰
& 46
œ̆ ‰ œ̆ ‰ œ̆ ‰
85 46
œ̆ ‰ œ̆ ‰ œ̆ ‰ 44
C Tpt.
? 46 85 46 44
switch to harmon mute (stem out)
‰ bœ œ œ œ
fl fl fl fl
Tbn.
Perc. 1 ã 46 85 46 44
Perc. 2 ã 46 85 46 44
& 46 85 46 44
Pno.
? 46 85 46 44
 x = Ç‰ 
70 &
P.
Âw. œ œ œ ‰. w.
Vln. 1 & 46 85 J 46 44
! p Ï !
µ >œ . >œ œ >œ œ >œ . >œ . >œ œ >œ œ >œ . >œ >. >œ œ >œ œ >œ . >œ . >œ œ >œ œ >œ .
Â œ. œ œ. œ. œ œ. b µ œœ . œ œ œ œ œ. œ. œ œ œ œ œ.
& 46 85 J µ œ ‰ . 46 44
œ œ œ œ œ œ Âœ mœ
Vln. 2 Œ
µ ˘œ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ µ ˘œ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆
& 46 85 46 44
œ̆ Ó
Vla. 1 J
µ >œ . >œ œ >œ œ >œ . >œ . >œ œ >œ œ >œ . >œ µ >œ . >œ œ >œ œ >œ . >œ . >œ œ >œ œ >œ .
& 46 Â œ . œ œ œ œ œ. œ. œ œ œ œ œ. 85 Â œ Â œœ ‰ . Œ 46 b œ . œ œ œ œ œ. œ. œ œ œ œ œ. 44
Vla. 2
J
b ˘œ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ b ˘œ b ˘œ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆ œ̆ # œ̆
? 46 85 J Ó 46 44
Vc. 1
? 46 85 46 44
Vc. 2
? 6 5 6 4
D.B. 4 8 4 4
17
73 A3
.
(Œ = 176) œ œ . m œ. . œ. œ œ . b œ. œ œ ‰ œ. œ.
œ œ b œ. œ bœ
4 b œ. 5
œ bœ œ œ œ œ œ bœ bœ bœ œ œ
Fl. &4 4
P
3:2 3:2 3:2 3:2 3:2 3:2
m œ œ m œ œ œ œ œ. . œ. . m œ œ m œ œ œ œ œ. b œ. œ b œ œ œ œ œ b œ. œ. œ.
4
&4 œ œ œ. œ. 5
4
Ob. b œ.
P
3:2 3:2 3:2 3:2 3:2 3:2
4 œ. œ. m œ. œ. n œ. œ. b œ. œ. n œ. œ. œ. œ. 5
(B b) Cl. &4 4
P
?4 5
C. Bn. 4 4
Hn. & 44 œ̆ ‰ . Œ Ó 45

œ̆ ‰ .
C Tpt. & 44 Œ Ó 45
? 44 45
Tbn.
cowbells with back ends of mallets

3:2 3:2 3:2 3:2 3:2 3:2
ã 44 Œ Œ Œ 45
x x x x x x x x x x x x x x x x x x x x x
Perc. 1
P
toms (playing only on rims)
Perc. 2 ã 44 Ó x x x x x Œ x x x x x Œ x x x x 45
P
& bœ œ
œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ nœ œ œ bœ œ œ œ œ
& 44 œ 45
bœ œ bœ nœ œ œ
œ œ œ œ œ œ œ œ œ mœ œ œ œ bœ œ nœ œ
p
Pno.
ç
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
? 44 45
° (continue holding pedal throughout section)
(Œ = 176)
73 &
P. P.
w ˙ œ œ ‰. µw w ˙ œ œ ‰.
Vln. 1 & 44 45
p Ï ! p Ï
w œ
w œ ‰
Vln. 2 & 44 Œ Ó 45
o
4 œ̆ ‰ Œ Ó 5
Vla. 1 &4 4
& 44 w 45
w œ ‰ Œ Ó
Vla. 2 œ
o
b ˘œ
? 44 ‰
Vc. 1 Œ Ó 45
? 44 45
Vc. 2
? 44 45
D.B.
18
78
œ . m œ. ‰ œ. . œ. œ . œ. m œ. œ.
mœ œ œ œ œ . m œ. . œ.
5 n œ œ m œ œ. ‰ œ. ‰ œ. ‰ œ. ‰
œ œ œ bœ œ
5 œ bœ œ œ œ œ 6 mœ œ œ nœ bœ œ œ œ 4 œ bœ œ œ œ œ 5
Fl. &4 4 mœ 4 4 4
f P
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
. . . m œ œ œ œ. n œ.
5 œ b œ œ m œ n œ m œ n œ b œ. m œ n œ. œ œ. 6 œ œ œ œ œ œ bœ bœ 5 4 5
3:2 3:2
Ob. &4 4 œ œ œ b œ œ. n œ. 4 œ. m œ. œ- œ- œ- 4 œ. œ. b œ. 4
3:2 3:2 3:2
3:2 f P 3:2
. œ. m œ. œ. œ. . œ. œ. œ. b œ. œ. . œ.
3:2
‰ œ œ . œ. m œ. œ.
5 œ 6 œ 5 mœ 4 œ 5
(B b) Cl.
3:2
&4 4 4 œ œ
mœ œ 4 4
œ mœ 3:2 P
f
? 5 6 5 4 5
C. Bn. 4 4 4 4 4
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
ã 45 46 45
x x x x x x x x x x x x x x x 4 x x x x x x x
Ó Œ Œ 45
x x x x x x x x x x x x x x x x x x x x
Perc. 1 4
p P
Perc. 2 ã 45 x Œ x x x x x x 46 x Œ Ó x x x x 45 x ' 44
x Œ x x x x 45
&
bœ œ œ œ mœ œ œ œ œ
œ bœ œ œ nœ œ œ œ bœ œ œ nœ œ
& 45 œ 46 b œ œ 45 n œ 44 œ 45
œ bœ œ mœ œ œ œ œ œ œ
œ mœ œ œ œ œ œ mœ œ œ œ œ œ œ mœ œ
Pno.
F p
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
? 45 46 45 44 45
78 &
P. P.
w œ w œ œ ‰. µw œ ˙ œ œ ‰.
Vln. 1 & 45 46 45 44 45
! p Ï ! p Ï
82
.
b œ. œ m œ. œ. . mœ œ
. œ. œ. m œ. n œ.
nœ œ
mœ œ œ œ m œ. œ. œ b œ œ œ œ. œ b œ b œ. nœ œ œ m œ œ. ‰ œ. ‰ œ.
3:2
Fl. & 45 b œ Œ 42 44 œ b œ œ . œ. Œ J mœ mœ ‰
f P
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
b œ. œ. b œ bœ œ. . m œ. œ. œ. œ. m œ.
3:2
& 45 42 44 œ.
m œ.
3:2 3:2
. bœ Œ nœ bœ œ œ œ mœ œ
. mœ œ b œ b œ œ n œ n œ b œ. œ. œ œ.
œ. m œ. mœ œ
mœ . . œ. mœ œ
.
Ob. œ-
3:2 3:2 . . œ. m œ.
3:2 3:2
m œ.
5 b œ. œ. œ. œ. œ. 2 . œ. 4 œ. œ. m œ. œ œ œ .
(B b) Cl. &4 4 œ 4 œ. œ. m œ. œ. œ m œ. œ
f P
3:2
œ. m œ. œ. n œ.
? 45 42 44
C. Bn.
p
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
ã 45 x Œ 42 x Œ 44 x x x x x x x Œ Œ
x x x x x x x x x x x x x x x x x x x x x x x x x x
Perc. 1
> P
sempre P f
Perc. 2 ã 45 x x x x x Œ 42 x x x x 44 x Œ x x x x x x x x x x Œ x x x Œ
sempre P
& œ œ œ mœ
mœ œ mœ œ œ bœ œ œ nœ œ œ mœ bœ mœ œ œ
& 45 m œ 42 œ 44
mœ œ œ bœ mœ œ œ mœ œ nœ mœ
œ œ œ mœ œ œ mœ œ bœ nœ œ
œ nœ œ œ 3:2
Pno. 3:2 3:2 3:2
3:2 3:2 3:2 3:2 3:2 3:2
? 5 2 4
4 4 4
82 & P.
mw œ ˙ ˙ œ œ ‰. Âw w
& 45 42
44
Vln. 1
! p Ï !
19
87
.
œ œ œ œ œ œ œ œ œ . m œ. œ. œ . œ. b œ. . œ bœ b œ.
œ.
œ œ
œ bœ œ œ œ bœ œ œ œ bœ œ œ 5
4 Œ
œ bœ œ bœ œ bœ
Fl. & b œ. ‰
f P
f
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 5:4 3:2
mœ œ mœ œ bœ nœ nœ œ mœ n œ n œ œ m œ œ m œ œ. n œ. m œ œ m œ œ œ œ b œ. œ. b œ. 5
.
‰
& œ œ. b œ. œ. b œ. 4 Œ œ œ œ œ
> m œ.
Ob.
œ
f P P
3:2 3:2 3:2 3:2 3:2 3:2 3:2
f
3:2
f
5:4
œ. m œ. œ. n œ. œ. b œ. 5 m œ.
(B b) Cl. & œ œ. œ. œ. œ. b œ. 4 œ
bœ
œ. ‰
> . œ
f P
?
w œ ‰ 5
C. Bn. Œ Ó 4
Í !
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Œ Œ 45
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
ã
Perc. 1
> P
ƒ
Perc. 2 ã x Œ Ó Ó x x x x x Œ x x x x 45 x '
&
mœ œ œ œ bœ œ mœ
œ bœ œ œ œ œ œ œ œ bœ œ œ nœ œ œ bœ œ œ
45 n œ
mœ œ œ œ bœ
& œ œ œ œ œ œ mœ œ œ œ mœ œ bœ œ
mœ
p
3:2
Pno.
ƒ
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
3:2
? 45
(°)
87 &
P. P.
˙ œ œ ‰. w w ˙. œ œ ‰.
Vln. 1 & 45
p Ï ! p Ï
91
äœ œ äœ m äœ œ
mœ ‰ nœ œ œ œ œ œ œ œ œ bœ œ
œ.
mœ œ œ œ
& m œ. ‰ b œ. 44
œ bœ œ œ œ œ J J mœ nœ œ bœ œ bœ
Fl.
f P P
f
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
mœ œ œ œ bœ œ äœ œ äœ m äœ œ
œ.
3:2
‰ 44 m œ œ . ‰ mœ œ
3:2
& œ. œ ‰ b œ. J J mœ œ œ mœ nœ bœ nœ bœ œ œ œ bœ
Ob.
œ bœ mœ œ
f P
f
3:2 3:2 3:2
P
3:2
3:2 3:2 3:2 3:2
œ. œ bœ œ m œ. ä
3:2
44
3:2
œ j
3:2
(B b) Cl. & mœ m œ. nœ œ œ œ
>
œ. m œ. œ œ âœ œ bœ œ
J
b œ. œ œ
>
œ
> P â
â f
3:2
f œ. œ. œ. .œ
œ. m œ. œ. j ä b äœ œ
3:2
? 44 Œ œ œ œ œ J
â
C. Bn.
! P 3:2
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
ã
x x x x x x x x x 44 x x x x x x x x x x x x x x x x x x x Œ x x x x Œ x x x
Perc. 1
> P
f
ã x x x x x x 44 Œ Ó Ó x x x x
Perc. 2 x x x x x x x x x
&
3:2 3:2
œ mœ nœ œ mœ œ
& œ œ bœ
mœ
mœ
44 œ
œ bœ œ œ
bœ
œ
œ
œ œ bœ œ œ nœ œ mœ
œ
œ
bœ
bœ nœ œ
œ bœ œ œ œ mœ œ œ œ
3:2 œ œ
Pno. 3:2 3:2
f p 3:2 3:2
3:2
3:2
? 44
3:2
91 &
P.
µw œ
44
˙ œ œ ‰. mw w
Vln. 1 &
! p Ï !
20
95
œ. œ. œ. œ. œ b œ. ‰ m œ œ
‰ ‰ œ. œ. .
b œ. ‰ m œ m œ n œ ‰ m œ n œ b œ 3 œ. ‰
œ œ bœ bœ . m œ œ. œ bœ œ
3:2
bœ ‰ 4 œ œ nœ bœ ‰ œ œ bœ œ œ œ œ œ bœ œ œ
Fl. & 4 4 . œ. ‰ œ bœ œ ‰
f P 3:2 3:2 3:2 3:2 3:2 3:2
3:2 3:2 3:2 3:2
‰ œ. m œ. œ. œ. ‰ b œ œ b œ œ. ‰ m œ œ n œ 3 œ. ‰ œ œ œ .
bœ ‰
bœ .
4 m œ œ m œ œ. ‰ œ b œ œ ‰ mœ œ mœ œ œ œ œ œ œ œ œ œ œ. ‰ b œ œ b œ œ. ‰ œ œ œ
Ob. & œ. œ. m œ. œ. 4 4
f P
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
œ. œ. œ. œ. œ. m œ. b >œ œ >œ œ >œ

m œ. n œ. b œ. 3 4 J >œ œ œ
J œ œ
3:2
(B b) Cl. & 4 œ
. œ. 4 J >
j ‰ œ. b œ. œ.
P 3:2 3:2
3:2 œ œ
>
œ
œ. œ. œ. œ. b œ. œ. n œ. b œ. b œ. œ. n œ.
? b œ. 3 . n œ. 4 bœ œ ‰ b œ.
C. Bn. 4 œ 4
œ
œ œ ˙ Œ
sempre P
3 4 bœ œ œ. ‰ Ó
Hn. & 4 4 œ œ
P
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
x x xxxxxxxx xx x x x x x x x 3 x x x x x x x xx 4 x Œ x x x x xx x x xxxx xx x xxx x x x x x x xx
ã x 4 4
Perc. 1
> P > > P
ƒ ƒ
Œ Ó 3 4 x x Œ
Perc. 2 ã x x x x x x x 4 4 x x x x x x x x x
&
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
mœ œ œ œ
bœ œ œ œ mœ mœ œ œ œ 3 bœ nœ bœ
œ nœ mœ
œ
44 b >œ
bœ > œ > mœ > nœ œ bœ œ œ œ mœ mœ mœ œ œ œ
& bœ œ œ œ
mœ nœ mœ 4 œ bœ œ œ œ bœ œ œ œ
mœ nœ mœ
œ œ œ œ 3:2 œ œ œ œ 3:2
ƒ ƒ
3:2
p p
Pno. 3:2 3:2 3:2 3:2
3:2
3:2
? 43 44
95 & P.
P. P.
˙ œ œ ‰. Âw ˙. ˙ œ œ ‰. w ˙ œ œ ‰.
Vln. 1 & 43 44
p Ï ! p Ï ! p Ï
b œ. b œ. œ. b œ. œ. œ.
101
œ.
to piccolo
. œ œ œ œ.
‰
bœ b œ. œ. bœ œ œ œ ‰ ‰ b œ. ‰ b œ. œ.
Fl. & mœ ‰ œ. œ œ Œ Œ
f f ƒ
P
3:2 3:2 3:2
œ bœ œ œ œ. œ. ‰ Œ
.
‰ bœ . œ
. . .
‰ bœ . œ . œ
.
. œ.
3:2
‰ ‰ Ó Ó Œ
3:2
Ob. & bœ b œ. œ bœ œ œ
œ œ bœ bœ œ
3:2 f P f ƒ
œ. ‰
‰ b œ.
3:2 to contrabass clarinet
(B b) Cl. Œ Ó Œ
3:2
& œ œ
b œ. . œ. ƒ.
œ bœ
œ. œ.
œ. m œ. b œ. œ. bœ œ œ œ f
œ. œ. b œ. œ.
? œ. b œ. œ. œ. >œ >œ
Ó
>œ >œ
Ó Ó
>œ >œ
Ó
C. Bn. œ œ
> >
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Perc. 1 ã
x x x x x x x x x x x x x Œ x x x x x x x x x x x x x Œ x x x x x x x Œ x x x x x x x Œ x x x x x x x Œ
Perc. 2 ã x x x x x Œ Ó x x x x x Œ x x x x x Œ x x x x x Œ x x x x
&
œ œ bœ œ bœ œ bœ œ bœ œ
nœ bœ œ > bœ > œ > mœ > nœ œ bœ œ bœ œ bœ œ bœ œ
& œ
bœ œ œ mœ œ œ bœ œ œ Ó Ó Ó Ó
bœ œ
Pno.
3:2 3:2
3:2 ƒ p
3:2 3:2 3:2
? œ œ Ó œ œ Ó œ œ Ó œ œ Ó
loco
& œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ
(°)
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
101 & P. P. P.
µw ˙ œ œ w ˙ œ œ w ˙ œ œ
‰. ‰. ‰.
loco
Vln. 1 &
! p Ï ! p Ï ! p Ï
21
B1
107 Like sucking air out of a balloon (still Œ = 176)

molto rit. 
Fl. &
Ob. &
Cl. &
? w œ ‰ Œ Ó
C. Bn.
Í !
+ o + o + o + o + o + o
œ œ. # ‰ b œ œ. ‰ . œ œ. # ‰ b œ œ. ‰ . œ œ. # ‰ b œ œ. ‰ .
+ o + o + o + o + o + o
. # œ œ. # ‰ œ œ ‰ . œ œ. # ‰ œ œ ‰ .
Hn. & œ œ ‰ œ œ. ‰ . Ó
.
Ó
.
Ó
p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ
sim. sim. sim.
with harmon mute (stem out)
+ o + o + o + o + o + o + o + o + o
+ o + o + o
C Tpt. & œ œ. # ‰ œ œ ‰ . œ œ. # ‰ b œ œ. ‰ . Ó œ œ. # ‰ œ œ ‰ . œ œ. # ‰ b œ œ. ‰ . Ó œ œ. # ‰ œ œ ‰ . œ œ. # ‰ b œ œ. ‰ . Ó
p ƒ . p ƒ p ƒ p ƒ . p ƒ p ƒ p ƒ . p ƒ p ƒ
p ƒ p ƒ p ƒ
sim. sim. sim.
+ o + o + o
‰ b œ œ. ‰ . œ œ. # ‰ b œ œ. ‰ . œ œ. # ‰ b œ œ. ‰ .
+ o + o + o
œ œ. #
+ o.
+ o + o
# + o
B œ œ ‰ œ œ. ‰ . œ œ. # + o. œ œ. # + o.
Tbn. Ó ‰ œ œ ‰. Ó ‰ œ œ ‰. Ó
p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ p ƒ
sim. sim. sim.
to small triangle
ã
xx xx xx xx x xx xx x x x xx x x xx x x x x x x x ‰ x x ‰ x Ó x Œ Ó
Perc. 1
ƒ !
to large triamgle
Perc. 2 ã xx x x xx xx x x xx xx x ‰ xx x x xx x xx x x ‰ x xx ‰ x x ‰ x x
ƒ !
Continue to rearticulate this note while gradually muting strings inside piano.
bœ œ bœ œ œ œ œ œ œ œ bœ
(Begin with finger lightly touching a single string, and gradually press until all three strings are completely muted.)
œ œ œ œ œ œ
&
Pno. ç P
&
(°) (°)
107 Like sucking air out of a balloon (still Œ = 176)
P P P.
œ. ‰ . œ ‰.
molto rit. 
&
w ˙ œ w ˙ œ œ. ‰ . w ˙ œ
Vln. 1
! p Ï ! p Ï ! p Ï
Vln. 2 &
Vla. 1 &
Vla. 2 &
?
Vc. 1
?
Vc. 2
?
D.B.
B2
22
113
(molto rit.  Œ = 132) Like bubbles popping (Œ = 132)
Fl. &
Ob. &
Cl. &
?
C. Bn.
+ o + o o+ o+ o+ o+ o+ o+ o+ o+ o+ +o + o
œ œ. # ‰ b œ œ. ‰ . b œ- # œ- œ # - # œ- # Œ b œ- # œ- œ # - # œ- # Œ b œ- # œ- œ # . # # œ. ‰
+ o + o
.
Hn. & œ œ # ‰ œ œ. ‰ . Ó œ œ œ Œ
p ƒ p ƒ p ƒ p ƒ Í Í Í Í Í Í pf
sim. Í Í Í p f
+ o + o + o o+ o+ o+ o+ o+ o+ o+ o+ o+ +o +
+ o
& œ œ. # ‰ œ œ. # ‰ b œ œ. ‰ . Ó b œ- # œ- œ # Œ b œ- # œ- œ # Œ b œ- # œ- œ # # Ó
C Tpt. œ œ. ‰ . œ- # œ- # œ- # œ- # œ.
p ƒ p ƒ p ƒ p ƒ Í Í Í Í Í Í Í Í Í pf p
sim.
+ o o+ o+ o+ o+ o+ o+ o+ o+
‰ b œ œ. ‰ . b œ- # œ- œ # - # œ- # b œ- # œ- œ # - # œ- # b œ- ‰
+ o o+
œ œ. #
+ o. + # o.
B œ œ # ‰
+ o
œ œ. ‰ . Ó œ Œ œ Œ ‰
.œ # œ ‰ Œ
Tbn.
p ƒ p ƒ p ƒ p ƒ Í Í Í Í Í Í Í Í Í p f
sim.
o o + o + + +
. o o o
small triangle
+ . . . . . . + . . . .
3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 3 ‰ 3 3 3 ‰ 3 3
Perc. 1 ã
sempre F
large otriangle o o
+ + + o + o + . . o + o + o
Perc. 2 ã ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ 3 3 ‰ 3 Œ 3 ‰ ‰ 3
sempre F
œ. œ. œ.
Release finger mute exactly on downbeat of m. 115.
bx x bx x x x x x x x b >œ . ‰ œ. # œ # b >œ . ‰ œ. # œ # b >œ .

.
# œ œ # œ #
Keep this note completely muted until the downbeat of m. 115.
x x x x x x
& Œ Œ Œ
Pno. ç f
&
(°)
/
113 (molto rit.  Œ = 132) Like bubbles popping (Œ = 132) (pz fluido)
P.
bw ˙ œ œ ‰. œ œ
Œ Ó Œ Ó
œœ œœ
Vln. 1 &
! p Ï F
+ +
(pz fluido)
œ œ œ
# œœ # œœ # œœ
Vln. 2 & Œ Ó Œ Ó Œ Ó
+ + +
F
pz
Ó œ Œ Ó œ Œ Ó œ Œ
Vla. 1 & œ œ œ
F
pz
Ó Œ œ Ó Œ œ Ó Œ œ
Vla. 2 & œ œ œ
F
P.
bœ œ ‰. pz sim.
? Ó Œ & Œ Ó Œ œ Ñ Œ œ Ñ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
Vc. 1
! Ï F
P.
? bœ œ ‰. pz sim.
Vc. 2 & Ó Ñ Œ Ñ Œ ‰ œ Œ œ Œ œ Œ œ Œ
! Ï F
P.
# œo œo œo ‰ . # Éo Éo # œo œo # œo œo
pz
sim.
? & Œ Œ Œ Œ Œ Œ Œ
D.B.
! p Ï F
23
118
Fl. &
Ob. &
Cl. &
?
C. Bn.
o o+ + + o+ + +o o+ o+ + +o o + +o
sim.
bœ ‰. bœ ‰. bœ ‰. bœ # œ Œ bœ # œ Œ
Hn. & ‰ œ # œ ‰ Œ ‰ œ Ó ‰ œ #œ # Œ # œ # Œ # œ # Œ
f Í p p Í p pf Í Í p pf f p pf
o +
sim.
+o +o +o o+ + +o o+ + o + + + +o
& bœ ‰ œ ‰ Ó bœ # œ œ # Ó bœ ‰. ‰
Œ ‰. ‰ Œ ‰. Œ
C Tpt. œ œ œ #œ # œ ‰ œ # # œ œ ‰ œ # # œ #
f p pf pf pf Í p pf Í p f p p p pf
b œo ‰ +œo œ # o + b œ+ ‰ . o+ # +o # b œ+ ‰ . +o b œ+ ‰ . o
sim.
B œ Ó ‰ œ œ
Œ ‰ œ Ó ‰ œ # Ó
Tbn.
f pf Í p Í pf p pf p f
o + . o + o + + + . o + + + +
. . . . o . . o o + . . o . . o . o . .
Perc. 1 ã ‰ 3 ‰ 3 3 ‰ 3 3 3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ Œ 3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3
+ o + o + . . o + o + o + o + o + . o + o + o + o + o + . .
Perc. 2 ã ‰ 3 Œ 3 ‰ 3 3 ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ 3 3
>
œ. . œ. . œ. . b œ œ. œ ‰ n œ œ.
œ.
# bœ œ # # # nœ œ #
œ #
#œœ #
œ # # œ # # œ #
b >œ .
œ
b >œ . b >œ . b >œ # œ œ b >œ
& Œ Œ Œ Œ # bœ Œ
.
Pno. sempre f
&
118
œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó Œ Ó
œœ œœ œœ œœ œ œœ
Vln. 1
+ + + + +
œ œ
#œ #œ #œ #œ #œ
Œ Ó Œ Ó Œ Ó Œ Ó Œ Ó
œ œ œ œ œ
&
œ œ œ
Vln. 2
+ + + + +
œ œ œ
Vla. 1 & Ó œ Œ Ó œ œ Œ Ó œ œ Œ Ó œ Œ Ó œ Œ
œ œ œ œ œ
Vla. 2 & Ó Œ
œ
Ó Œ
œ
Ó Œ
œ
Ó Œ
œ
Ó Œ
œ
Vc. 1 & Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ ‰ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ
Vc. 2 & ‰ œ Œ œ Œ œ Œ œ Œ ‰ œ Œ œ Œ œ Œ œ Œ ‰ œ Œ œ Œ
# œo œo # œo œo # œo œo # œo œo # œo œo
D.B. & Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ
24
123
Fl. &
Ob. &
Cl. &
?
C. Bn.
+o + +o + o o+ + +o + +o
# œ‰ bœ ‰ bœ ‰ bœ ‰
Hn. & ‰. œ œ ‰. Œ ‰ œ ## œ‰ Œ ‰ œ # Ó ‰ œ # Ó ‰. œ œ ‰. Ó
pf p pf p f Í p pf p pf
+o + +o +o o o o+
‰. œ œ ‰.
C Tpt. & ‰. œ œ ‰. # œ
‰ Œ ‰. œ œ ‰. Ó Ó bœ ‰. ‰ œ # # œ #
Œ
pf p pf pf f f Í
o+ o+
bœ œ # b+œo # +œo œ # + # bœ œ # + + b+œo # +œo œ # + # boœ+ ‰ +
B Œ Ó œ Ó ‰ œ # # œ ‰ Œ œ Ó ‰ œ # Ó
Tbn.
ƒ pf pf p ƒ p pf pf p Í p
+
o + . + o + . o + + . o + +
. o . . . . . o + . . o . . o . . o + . . o . .
3:2
3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 3 3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 3 ‰ 3 3 3 ‰ 3 3
Perc. 1 ã
ƒ sempre F
o o o +
+ + + o + o . 3:2. . o + o + o + o + o + . . o + o + o
Perc. 2 ã ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ 3 3 3 ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ 3 3 ‰ 3 Œ 3 ‰ ‰ 3
ƒ sempre F
& > > &
& b œ œ. œ n œ œ.
. œ. œ. œ.
b >œ b œ œ. # n œ œ # b >œ b œ œ.
œ # # œ # œœ
b >œ œ œ. b >œ
œ
b >œ
œ œ
& Œ #œ Œ œ ‰ Œ # œ ‰ Œ # œ ‰ Œ
# bœ bœ bœ
Pno. .
&
123
(clb gliss.)
#6
....
6 ......
& Œ Ó Œ Ó Œ Ó Œ Ó
œœ œ 6.... 6....
.... ......
Vln. 1
+ Ó ...# 6 Ó Ó ..# 6
(clb gliss.)
œ ....
6
#œ #œ #œ #œ b 6 ......
Œ Ó Œ Ó Œ Ó Œ Ó Œ Ó
œ œ œ œ
&
œ œ œ
Vln. 2
+ + + + Ó
œ Œ œ
Vla. 1 & Ó œ œ Œ Ó œ œ Œ Ó œ Ó œ œ Œ Ó œ Œ
œ œ œ œ œ
Vla. 2 & Ó Œ
œ
Ó Œ
œ
Ó Œ
œ
Ó Œ
œ
Ó Œ
œ
& Œ œ Œ Œ Œ ‰ œ œ Œ Œ Œ Œ Œ Œ
3:2
Vc. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc. 2 & œ Œ œ Œ ‰ œ Œ œ œ œ Œ œ Œ ‰ œ Œ œ Œ œ Œ œ Œ
25
128
Fl. &
Ob. &
Cl. &
?
C. Bn.
o+ +o o+ +o +
äœ # œ # Œ äœ # œ # Œ
Hn. & ‰. ‰. ‰. ‰. bœ ‰. Œ Ó
ƒ pf ƒ pf p
+ + b+œo o + o+
‰
C Tpt. & bœ ‰. ‰ œ#
Ó
‰ œ #
Ó bœ ‰. ‰ œ
Ó
p p pf f p Í
b œ+ ‰ œ+ + b+œo ‰ b+œo ‰ o œo œ+ # œ+ +
B ‰ œ#Ó Œ Ó Œ Œ ‰ œ ‰. Œ Ó ‰. Œ ‰ ‰ >
bœ
Tbn.
p > f p p
pf pf ƒ ƒ
+
o + o + o + o + o + + + +
. . . . . . o . . o + . . o . . o . o . . .
3:2
Perc. 1 ã ‰ 3 ‰ 3 3 ‰ Œ 3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 3
ƒ
+ o + o + o o o o o + o o o + o o +
. + + + + . . + + + . 3:2. .
Perc. 2 ã ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ 3 3 ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ 3 ‰ 3 3 3
ƒ
> > > > &
& b b œœ œ. œ œ b n œœ œ. &
œ. œ. œ. nœ œ.
b >œ b b œœ œ.
œ œ œ
b >œ œ œ.
œ
b >œ b >œ
œ
b >œ b œœ œ.
œ œ
& #œ ‰ Œ # b œœ ‰ # b œœ ‰ ‰ # # œœ #œ ‰ ‰ # n œœ œ ‰ ‰
œ œ ‰ #œ œ
bœ
Pno.
. œ
>
œ
> >
>
?
&
128
..#.6 #6
.... ..#.6
6 ...... 6 ...... 6 ......
6.... 6....
.... ....
Vln. 1 Ó Ó ...# 6 Ó Ó ...# 6 Ó
....
6 ....
6
b 6.... b 6 ...... b 6.... b 6 ...... b 6....
.... .... ....
... 6 ... 6 ... 6
Vln. 2 Ó Ó Ó Ó Ó
(clb gliss.)
& Ó œ Œ Ó Œ Ó Œ Ó Œ Ó Œ
6 6
œ 6 ........ 6...... 6 ......... 6 ......
Vla. 1 Ó Ó ... 6 Ó Ó .. 6
(clb gliss.)
œ œ œ
& Ó Œ Ó Œ Ó Œ Ó Œ Ó Œ
6 6
œ œ œ
......
....
Vla. 2 Ó 6 Ó 6
....
....
..
& Œ Œ ‰ œ Œ Œ Œ œ Œ Œ œ Œ Œ œ Œ ‰ œ œ
3:2
Vc. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc. 2 & ‰ œ Œ œ Œ œ Œ œ Œ ‰ œ Œ œ Œ œ Œ œ Œ ‰ œ Œ œ œ
26
133
Fl. &
Ob. & Œ ˙
!
Cl. &
?
C. Bn.
+o +o +o +o o+
bœ ‰
& ‰.
œ œ ‰. Ó ‰. œ œ ‰. Ó ‰. œ œ ‰. Ó ‰. œ œ ‰. Ó Œ Ó
Hn.
pf pf pf pf ƒ
o o o + + o
& Ó ‰ Œ Ó ‰ Œ Ó ‰ Œ Ó ‰ Œ ‰. œ œ
æ æ œ. # Ó
C Tpt. # œ # œ # œ # œ
f f f p f Ï
o + o + +
B > > >
Ó Œ ‰ nœ Ó Œ ‰ bœ œ Ó Œ ‰ #œ œ
3:2
Tbn.
> >
ƒ ƒ
ƒ
3:2
o + + . . + . . + o + +
+ . . o . . o + . o o + . o . . o .3:2
o + . . o . .
3 ‰ 3 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 ‰ 3 ‰ 3 3 ‰ 3 3 ‰ 3 3 ‰ 3 ‰ ‰ 3 3 3 ‰ 3 3 3 ‰ 3 3
Perc. 1 ã
F
sempre
o + o + o + o + o + . . + o + o + . . . . o + o + o + o + o
ã ‰ Œ ‰ ‰ 3 ‰ Œ ‰ 3 3 ‰ Œ ‰ 3 3 ‰ 3 ‰ 3 ‰
3 3 3 3 3 3 3 3 ‰ ‰ 3 Œ 3 ‰ ‰ 3
Perc. 2
sempre F
> > > > > > > > & > > > >
b b œœ œ. œ œ b n œœœ œ & b b œœ œ. œ
b >œ b b œœ œ. œ. œ.
œ œ œ œ œ œ œ œ œ œ
b >œ b >œ b œœ œ. œ b >œ
œ œ
œ bœ œ bœ œ œ œ
# b œœ # œ # # œœ ‰ ‰ ‰ ‰ bœ
3:2
& ‰ ‰ . # œ
. nœ ‰ ‰ ‰ ‰
> œ
. œ œ œ
Pno. .
? #œ œ œ bœ #œ
bœ œ bœ
œ
>> > > > > > > œ
> >
3:2
133
arco #œ
.....
#œ
.....
œ...... œ .... œ...... œ .... œ.....
Vln. 1 & Œ #. œ
.... Ó Œ Ó Œ #. œ
.... Ó Œ Ó Œ #. œ
.... Ó
œ œ
b 6 ......
...6
b 6.... b œ ...
arco ..
... bœ # b œ ........
....
œ
......
... 6
Vln. 2 Ó Ó
...
..œ
‰. b œ ..........
arco
& Ó Œ Ó Œ Ó Œ Ó Œ Œ Œ
6 6
6 ....... 6...... 6 ........ 6......
Vla. 1 Ó Ó .. 6 Ó Ó .. 6
Ó Ó 6
Ó Œ j Ó Œ j 6
3:2 3:2 arco
‰
....
6 ......
Ó œ.....
.
6.... 6 6
&
......
‰. ‰.
‰. ‰.
... ....
.œ
......
Vla. 2 Ó .... 6 Ó Ó 6 Ó
J J
...
& Œ œ Œ Œ œ Œ Œ œ Œ Œ Œ ‰ œ œ Œ Œ
3:2
Vc. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc. 2 & œ Œ œ Œ ‰ œ Œ œ Œ ‰ œ Œ œ Œ ‰ œ Œ œ œ œ Œ œ Œ
27
138
Fl. &
œ #˙. œ ˙. œ ˙. Œ ˙ œ #˙.
Ob. &
p
Cl. &
?
C. Bn.
+ o o
Hn. & ‰. œŒ Ó ‰. œŒ Ó ‰. œŒ Ó
p f f
o + + o + + o
œ œ ‰.
& Œ ‰ Œ Ó Œ Œ Œ ‰ #œ œ Ó Œ ‰ œ
3:2
‰ œ œ. æ
C Tpt. œ
p ƒ p >
f p ƒ
o + + + o + + o
B Ó > >
Œ ‰ œ Ó Œ ‰ bœ œ ? Ó Œ œ œ ‰. Œ Œ ‰ #œ œ Ó Œ ‰ œ
Tbn.
> æ >
ƒ 3:2 p ƒ p
3:2
ƒ
o + o + o + + + +
. . . o + o + . .
o + . . o . . o . o
‰ 3 ‰ 3 3 ‰ 3 3 ‰ 3 Œ 3 Œ Œ 3 3 3 ‰ 3 ‰ 3 3 3 ‰ 3 3 ‰ x ‰ x x ‰ Œ
Perc. 1 ã
+ o + o + . . o + o + o + o + o + o + o + o +
. .
Perc. 2 ã ‰ 3 Œ 3 ‰ 3 3 ‰ 3 Œ 3 Œ Œ 3 3 3 ‰ ‰ 3 Œ 3 ‰ ‰ 3 ‰ x Œ x ‰ Œ
> > > > > > & > > > > > > > > > > >
œ b n œœœ œ œ & bœ œ œ œ
bœ œ bœ
œ
œ‰
œ œ
b >œ b b œœ œ. # œ . b >œ b œœ œ. œ œ. b >œ b œ œ.
œ œ œ œ
bœ nœ œ bœ
œ œ œ œ
. # œ # œœ œ œ‰ ‰ œ ‰ ‰ # bœ œ œ œ ‰ ‰ # œ‰
3:2
& œ ‰ œ . b
œ
œœ œ
‰
> . œ
œ >
Pno. . .
? œ bœ bœ #œ œ
bœ bœ œ œ bœ
> > > > > > > >
> >
3:2
138
#.œ #.œ pz #œ
œ ........ œ...... œ ........ œ œ
Vln. 1 & Œ Ó Œ #. œ
.... Ó Œ Ó Œ #œ Ó Œ Ó
œ ..œ
b œ..... ‰ bœ bœ ‰ b œ ....
..
‰ bœ
.
& # Œ Ó Œ Ó ‰ œ Œ Ó Ó Ó
......
....
.œ œ
......
....
Vln. 2
....
...
..
3:2
3:2
œ œ
‰. b œ...... bœ bœ ‰ bœ ‰ b œ ..... œ
& Œ Œ Œ Œ J Œ Œ Œ J œ Œ Œ Ó Ó
...
...
....
....
......
.œ
......
Vla. 1
...
3:2 3:2
œ ..œ # œ.... # œ ...........œ

& Ó ‰ œ Ó ‰ œ........... Ó ‰ œ ..
......
Ó Ó
...
....
...
Vla. 2 œ ....
.œ
3:2 3:2
Vc. 1 & Œ œ œ Œ œ œ Œ œ Ó Ó œ Œ Œ œ œ Œ œ œ Œ œ œ Ó
Vc. 2 & ‰ œ Œ œ Œ ‰ œ Œ œ Œ Œ œ Ó œ Œ œ Œ ‰ œ Œ œ Œ
28
143
Fl. &
œ ˙. œ ˙. Œ ˙ œ #˙. œ ˙.
Ob. &
P
Cl. &
?
C. Bn.
o + o +o +o +o
Hn. & ‰. œŒ Ó Œ ‰ œ œ œ. ‰ Œ ‰. œ œ ‰. Ó ‰. œ œ ‰. Ó ‰. œ œ ‰. Ó
f p f pf pf pf
+ + o + + o + + + +
j
œ ‰.
3:2 3:2
& Ó ‰ bœ œ ‰ œ ‰ Ó Œ Œ ‰ œ œ Ó Œ ‰ œ œ
3:2
œæ
3:2
C Tpt. œ.
p p ƒ p p
‰ #œ
+ + o + + o +
? Ó ‰ bœ œ ‰ œ ‰ Ó j Œ Ó Ó Œ
Tbn. œ. œæ œ ‰.
p
3:2 3:2
p ƒ p
o + + +
+
.
+
.
+
. o . . o . . o
+
o + . . o . .
Œ 3 3 Œ Œ 3 Tæ 3 ‰ 3 3 3 ‰ 3 3 ‰ 3 Œ Ó 3 ‰ 3 3 3 ‰ 3 3
Perc. 1 ã
+ + + o + o + o + o o + o + o
. . . +
Perc. 2 ã Œ 3 3 Œ Œ 3 Ó ‰ 3 Œ 3 ‰ ‰ 3 ‰ 3 Œ Ó ‰ 3 Œ 3 ‰ ‰ 3
> > & & > > > > > > > > > >> > > > >
#œ œ œ . œ̆ bœ œ œ œ œ œ œ # œ b œœ œ
bœ bœ œ œ ‰
œ œ œ œ œ œ
b >œ œœ œ. # œ
œ̆
‰ ‰ b >œ b œ œ. œ bœ nœ œ bœ bœ œ œ œ œ bœ
# Œ Œ # œ œ b œœ ‰ # œœ œ b œœ ‰ # bœ œ œ
3:2
& . # œœ œ
‰ . b ‰ . ‰
> œ > œ > œ
. . . .
3:2
Pno. 3:2
? Ó œ b œ. œ. 3:2 Ó
5:4 5:4
œ
‰ œ #œ
> bœ
> #œ œ œ œ œ œ œ bœ
3:2
nœ œ œ œ œ œ > œ > >
> p f
3:2
>
143 >
#œ #œ
œ œ œ œ œ
Vln. 1 & Œ #œ Ó Œ Ó Œ #œ Ó Œ Ó Œ #œ Ó
pz œ œ œ
bœ bœ ‰. bœ ‰. bœ bœ
& Œ J Ó Œ J œ Ó Ó œ Ó Œ Ó
Vln. 2
3:2 3:2
.œ œ œ
# bœ
pz
b œ ........ bœ bœ bœ
Vla. 1 & Œ ‰ Œ Œ ‰ œ œ œ # Œ Ó Œ # œÓ Œ Ó
p Ï
f
3:2 3:2
pz
œ (still pz, but not with fingernail) œ
& Ó
œ Œ Ó œ Œ Œ ‰. œ Œ Œ ‰ œ Œ Œ #œ Ó
œ œ œ
....
Vla. 2
ç F
....
..
(still pz, but not with fingernail)

œ
Vc. 1 & Ó œ Œ Ó œ Œ œ œ Œ œ œ Œ œ Ó Œ œ œ Œ œ œ
ç F
(still pz, but not with fingernail)
Vc. 2 & Œ œ Ó ? Ó
œ
œ & œ Œ œ Œ ‰ œ Œ Ó œ Œ œ Œ
ç F
29
148
Fl. &
œ ˙. Œ ˙ œ #˙. œ ˙. œ ˙.
Ob. &
F
Cl. &
?
C. Bn.
+o o+
Hn. & ‰. œ œ ‰. Ó ‰. œ œ‰ Ó
pf Í
+ + o +o o
j j
C Tpt. & Ó bœ. œæ œ ‰. Œ Ó ‰. œ œ ‰. Ó Œ œ ‰. œ. œæ
p ƒ pf f p
+o +
? Ó
+ +
j
o ‰. œ œ ‰. œ ‰.
Tbn. bœ. œæ œ ‰. Œ Ó Ó Œ Ó Ó
œ. œæ
j
p ƒ pf p p
o + +
. . o o + . .
3 ‰ 3 3 3 ‰ Œ 3 ‰ 3 3 Ó
Perc. 1 ã
P
o + o + o +
+ to bass drum and kick
Perc. 2 ã Œ Ó. ‰ 3 Œ 3 ‰ Œ ‰ 3 Œ Ó
P
> > > > > > > > > > > >> > > > > > > >
œ . bœ œ œ œ œ œ œ œ œ œ œ œ # œ b œœ œ œ œ œ œ œ œ
b >œ œœ œ. œ œ >œ b >œ b œ œ. œ œ bœ nœ œ bœ bœ œ œ œ #œ œ b œ œœ œ œ œ >œ
& Œ ‰ œ œ bœ # œ b œ œœ ‰ # # ‰
#œ ‰ ‰ . bœ ‰ . œ œ #œ œ ‰ .
. Œ
œ > > > œ
. . . 3:2
Pno. > >
? Ó Ó
5:4 5:4 5:4 5:4
bœ œ œ œ œ bœ œ #œ
bœ œ œ œ œ bœ > bœ > œ > #œ nœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
p f > p
>
3:2
148 >
3:2
#œ (still pz)
œ
Vln. 1 & Œ Ó Œ œ #œ Ó Œ œ bœ Ó Œ œ #œ Ó Œ œ bœ Ó
bœ (still pz)
Vln. 2 & Œ œ Ó Œ bœ œ Ó Œ œ bœ Ó Œ œ #œ Ó Œ œ bœ Ó
bœ
(still pz)
Vla. 1 & Œ œ Ó Œ bœ œ Ó Œ #œ œ Ó Œ œ #œ Ó Œ œ bœ Ó
œ (still pz)
œ
Vla. 2 & Œ Ó Œ œ œ
Ó Œ œ bœ Ó Œ œ œ
Ó Œ œ bœ Ó
(still pz)
Vc. 1 & Œ œ œ Œ œ Œ œ œ Ó
(still pz)
Vc. 2 & œ Œ œ Œ œ Œ Ó
(still pz)
30
153 C1 Quivering (still Œ = 132)
(picc.) piccolo
Fl. & w bw w
" (at first inaudibly, then fading in)
‰ œ œ œ ‰. w bw w
Ob. & Ó Œ Ó
ƒ ! !
contrabass clarinet
(contra)
Cl. &
w w w
ƒ
f
?
C. Bn.
w bw w
ƒ
f
+ o+
&Œ œ ‰. Ó Ó ‰ œ œ œ ‰. Ó
Hn.
p Í !
o o+ switch to plunger mute
C Tpt. & œ ‰. Œ Ó Ó ‰ œ œ œ ‰. Ó
ƒ Í !
o+
o ‰ œ œ œ ‰switch
.
to plunger mute
? Œ Ó Ó Ó
Tbn. œ ‰.
ƒ Í !
+
. to toms
[h toms (use free hand to change pitch)
3 ‰ Œ Ó
3:2
Œ Ó
3:2 3:2 3:2
Œ
ã œ œ œ œ œ ( œ œ œ œ
Perc. 1
p f > >
large bass drum (with additional muting) and kick
mallets should be small and hard enough to play quickly and articulately
Œ Œ
ã œ0 Ó Ó Ó Œ œ Œ Ó Œ
> >
Perc. 2
f
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >> > >œ >œ >œ >œ >œ >œ >œ >œ &
#œœ œ œ œ œ œ œ œ œ
œ
œ œ œœ #œœ œ
œ
œ œ œ
&Œ Œ
Pno. sempre f sempre F
?
‰ Œ Ó
œ still without pedal
f
153 Quivering (still Œ = 132)
arco
&Œ œ Ó Œ œ Ó Œ œ Ó Œ ‰ œ ‰
œ̆ # œ . bœ ‰ œ œ œ Ó ‰ œ̆ # œ .
fl fl fl fl fl fl
Vln. 1
P p ! fl
f
arco
&Œ œ Ó Œ œ Ó Œ œ Ó Œ ‰ œ ‰
œ̆ # œ . bœ ‰ œ œ œ Ó ‰ œ̆ # œ .
fl fl fl fl fl fl
Vln. 2
P p ! fl
f
‰ œ̆ # œ̆ . b ˘œ ‰ œ̆ œ̆ ‰ œ̆ # œ̆ .
arco
œ̆
Vla. 1 &Œ œ Ó Œ œ Ó Œ œ Ó B Œ ‰ œ̆ Ó
P p !
f
arco
&Œ œ Ó Œ œ Ó Œ œ Ó B Œ ‰ œ ‰ œ̆ # œ . bœ ‰ œ œ œ Ó ‰ œ̆ # œ .
fl fl fl
Vla. 2
P p ! fl fl fl fl
f
‰ œ ‰
œ̆ # œ̆ . b ˘œ ‰ œ̆ # œ̆ .
arco
&Œ œ Ó ? Œ ‰ œ̆ œ̆ œ̆ Ó
fl
Vc. 1
f
arco
&œ Œ Ó ? Œ ‰ œ ‰ flœ # œ . bœ ‰ œ œ œ Ó ‰ œ # œ.
fl fl
Vc. 2
fl fl fl fl fl
fl
# œo f
D.B. &Œ Ó
31
160
(picc.)
Œ œ bœ bw w ˙ Œ œ bœ
Fl. & ˙ w w
! p p
˙ œ œ w bw w ˙ œ œ w
Ob. & Œ Œ
P P f P P
(contra)
Cl. & Œ Œ
˙ œ œ w w w ˙ œ œ w
f
? Œ Œ
C. Bn.
˙ œ bœ w bw w ˙ œ bœ w
f
Hn. &
C Tpt. &
?
Tbn.
Ó Œ Œ Ó ‰ œ ‰ œ ‰ œ ‰ œ ( Ó Œ Œ
3:2 3:2 3:2 3:2 3:2 3:2 3:2
ã œ ( œ œ œ œ ( œ œ
Perc. 1
> > > > ( œ œ >
Œ Œ Œ Œ
Ó Ó Ó
3:2
ã œ Ó œ0 Ó œ Ó œ ‰ Ó œ Ó œ Ó Ó œ0 Ó
> > > > >
Perc. 2
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ
& Œ Œ
3:2 3:2 3:2 3:2 3:2 3:2
Pno.
?
160
‰ œ̆ # œ̆ . b ˘œ ‰ œ̆ œ̆ œ̆ ‰ œ̆ # œ̆ . b ˘œ # œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ # œ̆ .
& bœ ‰ œ œ œ Œ ‰ œ̆ Ó Œ Œ ‰ œ̆
fl fl fl fl
Vln. 1
& bœ ‰ œ œ œ Œ ‰ œ ‰
œ̆ # œ . bœ ‰ œ œ œ Ó ‰ œ̆ # œ . bœ # œ ‰ œ Œ ‰ œ Œ ‰ œ ‰
œ̆ # œ .
fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl
Vln. 2
fl fl
b ˘œ ‰ œ̆ œ̆ œ̆ ‰ œ̆ # œ̆ . b ˘œ ‰ œ̆ œ̆ œ̆ ‰ œ̆ # œ̆ . b ˘œ # œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ # œ̆ .
Vla. 1 B Œ ‰ œ̆ Ó Œ Œ ‰ œ̆
B bœ ‰ œ œ Œ ‰ œ̆ bœ ‰ œ œ Ó ‰ œ̆ bœ # œ ‰ œ Œ ‰ Œ ‰ œ̆
Vla. 2
fl fl fl
œ ‰ œ # œ. fl fl fl
œ # œ. fl fl fl
œ ‰ œ # œ.
fl fl fl fl fl fl fl fl
˘ b ˘œ b ˘œ # œ̆ ‰
? bœ ‰ œ̆ œ̆ œ̆ Œ ‰ œ ‰
œ̆ # œ̆ . ‰ œ̆ œ̆ œ̆ Ó ‰ œ̆ # œ̆ . œ̆ Œ ‰ œ̆ Œ ‰ œ ‰
œ̆ # œ̆ .
fl fl
Vc. 1
? ‰ œ œ Œ
Vc. 2 bœ œ ‰ œ ‰ flœ # œ . bœ ‰ œ œ œ Ó ‰ œ # œ.
fl fl
bœ # œ ‰ œ Œ ‰ œ Œ ‰ œ ‰ flœ # œ .
fl fl fl fl fl fl fl fl fl fl fl fl fl fl
fl fl
D.B. &
32
166
#œ #œ bw
(picc.) bw nw ˙ Œ
Fl. & w
P P
bw nw ˙ #œ #œ w
Œ w
Ob. &
f P P
(contra)
& Œ
#œ #œ
Cl. w
w #w ˙ w
? Œ
#œ #œ bw
C. Bn. bw nw ˙ w
Hn. &
C Tpt. &
?
Tbn.
3:2 3:2
Ó Œ Ó Œ Œ Ó Œ
3:2 3:2 3:2
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ( œ
Perc. 1
> > > > >
Œ Œ
Ó Œ Œ Œ Ó Œ
3:2 3:2
ã œ Ó œ œ Ó Ó œ Ó œ Ó œ Ó œ0 Ó œ œ œ œ
> > > > >
Perc. 2
&
œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ 3:2
œ
œ œ œ œ œ bœ œ œ ‰ œ bœ œ œ œ œ >œ >œ >œ >œ >œ >œ
& Œ
ç f
3:2 3:2 3:2 3:2 3:2 3:2 3:2
Pno.
?
166 &
msp
b ˘œ # œ̆ ‰ œ̆ # œ̆ # œ̆ # œ̆ b ˘œ
ord ord
‰ bœ œ œ œ œ œ œ œ œ œ ‰ ‰ œ̆ # œ̆ .
œ
Œ Ó Ó ‰ œ̆ œ̆ œ̆
Vln. 1 &
ç o f
msp
bœ
ord
bœ œ ‰ ord
& bœ # œ ‰ œ # œ # œ # œ ‰ œ Œ Ó Ó ‰ œ̆ # œ . bœ ‰ œ œ œ
fl fl fl fl fl fl fl fl fl fl
Vln. 2
ç o f fl
msp
b ˘œ # œ̆ ‰ œ̆
ord
b ˘œ
ord
# œ̆ # œ̆ # œ̆ ‰ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ œ̆ # œ̆ . ‰ œ̆ œ̆
Vla. 1 B Œ Ó Ó œ̆
ç o f
ord msp
bœ
ord
œ œ œ œ œ œ œ ‰
B bœ # œ ‰ œ # œ # œ # œ ‰ bœ Œ Ó Ó ‰ œ̆ bœ ‰ œ œ
Vla. 2
fl fl fl fl fl fl
œ œ œ œ œ œ # œ. œ
o fl fl fl fl fl
ç f
˘
? b œ # œ̆ ‰ œ̆ # œ̆ # œ̆ # œ̆
ord
‰ bœ ˙. ‰ œ̆ # œ̆ . b ˘œ
ord msp
œ ‰ Œ Ó Ó ‰ œ̆ œ̆ œ̆
Vc. 1
ç o f
ord msp ord

?
bœ # œ ‰ œ # œ # œ # œ ‰ bœ ˙. œ ‰ Œ Ó Ó ‰ œ # œ. bœ ‰ œ œ
fl œ
Vc. 2
fl fl fl fl fl fl ç o fl fl fl fl fl
f
‰ # œo ˙o . œo ‰
ord msp
D.B. & æ æ Œ Ó
ç o
33
171
w ˙ bœ œ bw bœ bœ
(picc.) w ˙
Fl. & Œ w Œ
F F F
bœ œ bw bœ œ
Ob. &
w ˙ Œ w
˙ ˙ ˙ Œ
! p p ƒ ! F
(contra)
Œ bw Œ bœ œ
& w ˙
Cl.
w ˙ bœ œ w
? Œ bw Œ
C. Bn. w ˙ bœ œ w ˙ bœ bœ
w
Hn. &
C Tpt. &
?
Tbn.
ã Œ œ œ œ Œ Ó Œ Ó Œ ‰ œ ‰ ‰ ‰ œ ( Œ
3:2 3:2 3:2
Perc. 1
> ( œ œ œ œ >œ œ œ œ œ œ
> > >
(
R L R R L R L L
Œ Œ
ã œ Œ Ó Œ Ó r
œ œ œ œ œr œ œ œ œ r
œ0 Ó ‰ œr œ œr œ Œ œÓœÓ œ0 ‰ Ó œ Ó Œ r
œ Ó œr œ Ó œr œ Ó
> > > >
Perc. 2 œ œ œ
&
œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ3:2 œ bœ
b >œ b >œ >œ b >œ
3:2
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
&
5:4 3:2 3:2 3:2 3:2
Pno.
?
171 &
b ˘œ b ˘œ .
œ #œ œ œ œ œ œ œ
ord msp
‰ œ̆ #
œ̆ œ
‰ œ̆ # œ̆ . ‰ œ ‰
.......
œ ˙
Vln. 1 & Ó Œ Ó Ó Œ Ó
ç ç o
msp
œ
#œ ‰
ord
b ˘œ # b ˘œ . œ̆ ‰ œ
œ
#œ
œ
& Ó ‰ œ̆ # œ . Œ Ó Ó ‰ œ̆ œ Œ Ó
.......
fl
Vln. 2
ç ç o
b ˘œ b ˘œ .
‰ œ̆ # #œ œ œ œ œ œ œ œ œ œ œ œ œ
msp
œ̆
œ.
ord
‰ œ̆ # œ̆ . œ œ ‰
Vla. 1 B Ó Œ Ó Ó Œ Œ Œ Ó
ç o
b ˘œ # b ˘œ .
ord msp
œ œ œ œ œ œ œ œ ‰
B Ó ‰ œ̆ Œ Ó Ó ‰ œ̆ œ̆ Œ Œ œ. Œ Ó
Vla. 2 # œ. œ œ œ œ œ œ œ
fl ç o
b ˘œ b ˘œ .
‰ œ̆ #
œ̆
‰ œ̆ # œ̆ . œ ‰
ord msp
? Ó Œ Ó Ó Œ Œ
œ w
Œ Ó
Vc. 1
ç o
b ˘œ ˘
‰ œ # bœ.
ord msp
? Ó ‰ œ # œ. Œ Ó Ó œ̆ Œ Œ œ w œ ‰ Œ Ó
fl fl fl
Vc. 2
ç o
œo wo œo ‰ Œ
ord msp
& Ó Œ Ó
D.B. æ æ
ç o
34
177
(picc.) bw nw bw ˙ bœ bœ nw
Fl. & Œ
f f
bw #w nw ˙ Œ
Ob. & bœ bœ nw
P
(contra) bw
Cl. & bw ˙ ˙ ˙ Œ bœ bœ nw
p ƒ p f
? Œ
C. Bn. bw nw bw ˙ bœ bœ nw
sempre f
Hn. &
C Tpt. &
?
Tbn.
3:2 3:2 3:2 3:2

‰ œ ‰ œ ‰ Œ œ ‰ œ ‰ œ œ ‰ ( ( ‰ ( ( ‰ ( ‰ ( ‰ ( ‰ ‰
3:2 3:2 3:2
ã œ ( œ œ œ œ ( œ œ ( œ œ
Perc. 1
> > Í> >f
Œ
3:2 3:2 3:2 3:2 3:2 3:2
ã œ0 Ó Ó Ó r
œ Ó ‰ œ Ó œ Ó œ œ0 r
œ œ œ ‰ Ó œ ‰ Ó œ ‰ Ó Ó ‰ œ œ œ Ó œ Ó œ Ó œ0 œ œ œ œ œ r
Ó r
Ó r
Ó œ
>
Perc. 2 œ œ Ó Ó Ó
p f
&
œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ
b >œ >œ >œ >œ b >œ b >œ >œ
3:2
>œ >œ >œ >œ >œ >œ >œ >œ >œ
&
p5:4 ç f ç
f
5:4 3:2 3:2 3:2 3:2 3:2
Pno. sub.
177
# b ˘œ .
ord
‰ œ̆ # œ̆ . œ̆ ‰ œ̆
Vln. 1 & Œ Ó Œ Ó
f
ord
# b ˘œ .
& Œ ‰ œ̆ # œ . Ó Œ œ Ó ‰ œ
fl fl fl
Vln. 2
f
# b ˘œ .
ord
‰ œ̆ # œ̆ . œ̆ ‰ œ̆
Vla. 1 B Œ Ó Œ Ó
f
ord
B Œ ‰ œ̆ Ó Œ Ó ‰ # b ˘œ .
Vla. 2 # œ. œ œ
fl fl fl
f
# b ˘œ .
ord
? Œ ‰ œ̆ # œ̆ .
Ó Œ œ̆ Ó ‰ œ̆
Vc. 1
f
# b ˘œ .
ord
? Œ ‰ Ó Œ Ó ‰
.
fl # flœ
Vc. 2 œ œ œ
f fl fl
D.B. &
35
182
bw bœ bw
(picc.) w ˙ œ bw
Fl. & Œ
& bw Œ bœ œ bw
Ob. ˙ ˙ ˙ bw
F
P ƒ P
w
(contra) bw bœ bw
Cl. & w ˙ Œ œ
? bw Œ bœ bw
C. Bn. w ˙ œ bw
Hn. &
C Tpt. &
?
Tbn.
3:2
‰ œ Œ Œ ( Œ Œ ‰ ‰ ‰
3:2 3:2
ã ( ( ( ( œ œ ( œ œ œ ( ( ( ( œ
Perc. 1
p >f > > > ƒ > > > > >
cross-fade hands: R begins in center and moves to rim
L begins at rim and moves to center
R R L R L R L R L R L R L R L R
Œ 3:2 Œ 3:2 Œ 3:2 3:2
ã œ0 œ Ó Ó œ r
œ0 Ó œ Ó œ Ó œ Ó r
œ œ œ r
œ œ œ œ œ œ œ œ0 Ór Ó r
Ó œœœ œ0 Ór Ó r
Ó œ œ œ œ0 Ór Ó Ór Ó œ
> > f > > > 0 0
Perc. 2 œ œ œ Ó Ó
R f
p p ƒ p ƒ p ƒ
> ƒ
L p f ç repeat this figure, gradually
& accelerating from triplet to 16th-note value
œ bœ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ bœ
>œ b >œ >œ >œ >œ b >œ >œ >œ >œ >œ b >œ >œ >œ >œ >œ b >œ >œ >œ >œ b >œ
& 
Pno.
ç f 3:2 3:2 3:2 ç f 3:2 3:2 3:2 ç f 3:2 3:2 3:2 ç f 3:2 3:2 3:2 3:2 dimin. poco a poco
&
182
bœ w œ ‰ ‰ œ̆ # œ̆ . b ˘œ # œ. ‰ œ. # œ. . œ. # œ.
Vln. 1 & Ó Œ Œ Ó Ó
Í o f
bœ w œ ‰
& Ó Œ Œ Ó Ó ‰ œ̆ # œ. b œ # œ. ‰ œ. # œ. . œ. # œ.
fl fl
Vln. 2
Í o f
B Ó
‰ œ̆ # œ̆ . b ˘œ # œ. ‰ œ. # œ. . œ. # œ.
Vla. 1
f
Vla. 2 B Ó ‰ œ̆ # œ. b œ # œ. ‰ œ. # œ. . œ. # œ.
fl fl
f
? Ó ‰ œ̆ # œ̆ . b ˘œ # œ. ‰ œ. # œ. . œ. # œ.
Vc. 1
f
? Ó ‰
Vc. 2 œ
fl # œ. b œ # œ. ‰ œ. # œ. . œ. # œ.
f fl fl
D.B. &
36
(resynchronize piano here)

187 C2
(picc.) w ˙ ˙ ˙ b˙
Fl. & Œ
ƒ ƒ
Ob. & w ˙ Œ bœ œ w bw
w
F
˙ ˙ ˙
(contra)
Œ bœ œ
Cl. & w w w
F ƒ o F
? w ˙ Œ bœ œ
C. Bn. w w bw
f
sempre
Hn. &
C Tpt. &
?
Tbn.
ã œ Œ œ œ œ œ ‰ œ ( ( Œ Ó
Perc. 1
> > > > > Ï
> > > 6:4 > > >R >L > >
sim.
Œ Ó
L R R R L L
Perc. 2 ã 0‰ œ 0‰ œ œ0œ œ œ œ œ œ0 œ œ
r
œ0 œ œ0 œ œr œ0 œ œ0 œ œr œ0 œ œ0 œ œr œ0 œ œ0 œ œ
r
œœ
Ï
&
bœ œ Repeat this figure, waiting &n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ œ for cue from conductor. nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&  
ƒ f
"
cresc. poco a poco
Pno.
?
187
‰ b œ. # œ. . œ. # œ. ‰ œ. # b œ. . œ. # œ. ‰ œ. ‰ œ w œ ‰ Œ Ó
Vln. 1 &
! Í o
Vln. 2 & ‰ b œ. # œ. . œ. # œ. ‰ œ. # b œ. . œ. # œ. ‰ œ. ‰ œ nw œ ‰ Œ Ó
! Í o
. # .. . # œ. ‰ œ. # b œ. . œ. # œ. ‰ œ.
Vla. 1 B ‰ bœ œ œ ‰ œ nw œ ‰ Œ Ó
! Í o
B ‰ bœ # œ. œ # œ. ‰ œ. # b œ. . # œ. ‰ ‰ ‰ Œ Ó
Vla. 2 . . . œ. œ. œ w œ
! Í o
? ‰ b œ. # œ. . œ. # œ. ‰ œ. # b œ. . œ. # œ. ‰ œ. ‰ œ w œ ‰ Œ Ó
Vc. 1
! Í o
? ‰ Œ Ó
Vc. 2 b œ. # œ. . œ. # œ. ‰ œ. # b œ. . œ. # œ. ‰ œ. ‰ œ w œ ‰
! Í o
& ? Ó Œ ‰ bœ ‰ Œ Ó
D.B. w œ
Í o
37
192
œ ‰ bw
(picc.) w w œ ‰
Fl. & Œ Ó Œ Ó
f
& ˙ Œ Œ œ bœ
Ob. œ œ w bw w ˙
f ƒ
(contra) w bw w ˙
Cl. & ˙ Œ œ œ Œ œ œ
? Œ Œ
C. Bn. ˙ œ œ w bw w ˙ œ bœ
Hn. &
C Tpt. &
?
Tbn.
ã Ó œ œ œ œ
ƒ> > > >
Perc. 1
Ó
ã
6:4
Perc. 2 œ0 œ œ œ œ œ œ œ
> >
>
ƒ
&
>
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ > >œ œ
& bœ œ œ
> > bœ >
Pno. >
?
192 &
‰ # œ̆ . b ˘œ ‰ # œ̆ . b ˘œ # œ̆ ‰
ord
œ̆ ‰ œ̆ œ̆ œ̆ œ̆ œ̆ ‰ œ œ œœ œœ
Vln. 1 & Ó Ó
f ç
ord
œ
& Ó ‰ œ̆ # œ. bœ ‰ œ œ œ Ó ‰ œ̆ # œ. bœ #œ‰ œ ‰ œ
fl fl fl fl fl fl fl fl fl
Vln. 2
f ç
‰ # œ̆ . b ˘œ ‰ # œ̆ . b ˘œ # œ̆ ‰
ord
B Ó
œ̆ ‰ œ̆ œ̆ œ̆ Ó
œ̆ œ̆ ‰ œ œ œœ œœ
Vla. 1
f ç
ord
B Ó ‰ ‰ Ó ‰ œ œ œ
œ̆ # œ. bœ œ œ œ œ̆ # œ. bœ #œ‰ œ ‰ œ œ œ
fl fl fl fl fl fl
Vla. 2
fl fl fl
f ç
‰ œ̆ # œ̆ . b ˘œ ‰ œ̆ # œ̆ . b ˘œ # œ̆ ‰ ord
? Ó ‰ œ̆ œ̆ œ̆ Ó œ̆ ‰ œ œ
Vc. 1
f ç
ord
? Ó ‰ ‰ Ó ‰
Vc. 2 œ
fl # œ. bœ œ œ œ œ
fl # œ. bœ #œ‰ œ ‰ œ œ
fl fl fl fl fl fl fl fl fl ç
f
ord
? Ó ‰
D.B. œ œ
ç
38
197
(picc.)
w w bw œ ‰ w
Fl. & Œ Ó
ƒ ƒ
& w w bw ˙ Œ
Ob. œ œ w
Ï Ï
(contra)
Cl. & w w w ˙ Œ œ œ w
ƒ
? Œ
C. Bn. w w bw ˙ œ œ w
ƒ
Hn. &
C Tpt. &
with plunger
+o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o +o
? ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰ bœ ‰ œ Œ ‰ ‰ ‰ ‰ ‰
Tbn. œ œ œ œ œ
pf pf pf pf pf pf pf pf pf pf pf pf pf pf pf pf pf pf pf
Perc. 1 ã
Perc. 2 ã
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
Pno.
?
197
&
ord
msp
œ œ
œ ‰ ˙ œ ‰ ‰ œ̆ # œ̆ .
Vln. 1 & Œ Œ Ó
o Sp ƒ p f
msp
œ ord
œ œ
œ ‰ ˙ œ ‰
& Œ Œ Ó ‰ œ̆ # œ.
fl
Vln. 2
o Sp ƒ p f
ord
‰ # œ̆ .
msp
B
œ ‰ Œ Ó Ó
œ̆
Vla. 1
o f
msp ord
B œ ‰ Œ Ó Ó ‰ œ̆
Vla. 2 # œ.
o fl
f
ord
‰ œ̆ # œ̆ .
msp
? œ ‰ Œ Ó Ó
Vc. 1
o f
msp ord
? ‰ Œ Ó Ó ‰
Vc. 2 œ œ
fl # œ.
o f fl
msp
? ‰ Œ Ó
D.B. œ
o
39
202 D1
bw w œ to flute
Expanding (still Œ = 132) œ
(picc.) ‰ flute
œ
Fl. & Œ Ó Ó œ
!
3:2
f
œ œ œ
& bw Œ ‰
Ob. w ˙ œ bœ w œ.
p !
P
3:2
ç
(contra)
Cl. & bw w ˙ Œ œ œ
p w w
ç
f
? Œ
C. Bn. bw w ˙ œ bœ w w
p
ç
f
& w w
Hn.
> F
ç
with plunger o
& w w
>
C Tpt.
ç F
+o +o +o +o +o +o +o +o +o +o with plunger
? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Ó
Tbn. bœ œ œ œ œ œ œ œ œ œ w w
pf pf pf pf pf pf pf pf pf pf > f
ç
ã Ó œ œ œ œ œ Œ Ó
Perc. 1
> > > > >
ƒ
to large triangle
remove extra muting from bass drum
Ó >
R L R R
>
L R L L
>
R
Œ Ó
Perc. 2 ã œ
r
œ0 œ œ0 œ œr œ0 œ œ0 œ œ
r
œ0
ƒ
&
bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
Pno.
? &
°
202 Expanding (still Œ = 132)
b ˘œ œ̆ w w
Vln. 1 & Œ Œ
ç P
& bœ Œ Œ œ w w
fl fl
Vln. 2
ç P
b ˘œ
ord
B Œ Œ œ̆ w w
Vla. 1
ç P
ord msp
B bœ Œ Œ œ w w
fl
Vla. 2
fl ç P
˘
? bœ ˙.
msp
Vc. 1 Œ Œ œ̆ œ ‰ w
ç o ç
ord msp
? Œ Œ
Vc. 2 bœ œ w w
fl fl ç f
?
D.B. w w
ç f
40
207
˙ œ
˙ œ ‰ œ
Fl. & Œ Ó Ó œ
F p f
p
3:2
w œ ‰ œ œ œ
Ob. & Œ Ó Ó
f p p 3:2
(contra) (timbral trill)
Cl. & Œ w w ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ
˙. p ! P ƒ
? Œ
C. Bn. w ˙. w w
F ç f
& w ˙. Œ w w
Hn.
F > F
ç
+ o + o + o + o + o + o o
& bœ. j œ œ œ œ œ œ Œ w w
C Tpt. œ œ œ œ œ
p > F
P ç
o + o + o + o
? Œ
Tbn. w œ œ œ œ œ œ w w
P p > f
ç
Perc. 1 ã
Perc. 2 ã
& . &
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& Œ Ó
Pno. ç F
œ œ
& bœ Œ Ó
(°)
207 (change bow freely, except during dashed slurs)
w œ œ œ œ œ œ œ œ
œ.
III
w ˙ w œ œ œ œ œ œ œ œ
Vln. 1 & ‰
o o F
(change bow freely, except during dashed slurs) ord
bw bœ
III
Vln. 2 & œ. ‰ ˙ w œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
o o
F
I
œ.
msp ord ord
˙ w
Vla. 1 B w w ‰
o
msp
ord (change bow freely, except during dashed slurs) ord msp
B
Vla. 2 w œ b œT œ œT œ œT œ œT œ œT œ œT œ œT œ œT w w
f P
I
? ˙. ˙.
ord msp ord msp
œ ‰ w œ ‰ w
Vc. 1
F o ç F o ç
ord msp ord msp

?
Vc. 2 w w w w
ord msp ord

?
D.B. w w w w
41
211
˙ (bend pitch down roughly a quarter tone) œ
˙ ˙ œ ‰ Ó
œ
Fl. & æ æ œ
F p !
3:2
f
œ. œ
w œ. b >œ ‰ œ œ œ
Ob. & ‰ Ó
f p P ! ! 3:2
Cl. & ˙. Œ
p ! w w ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ
! P ƒ
? Œ
C. Bn. w ˙. w w
F ç f
Hn. & w ˙. Œ w w
F ç F
+ o + o + o + o + o + o o
(diamond noteheads are sung)
& bœ. j œ œ œ œ œ œ Œ w w
C Tpt. œ œ œ œ œ
P p ç T
F
o + o + o + o
?
(diamond noteheads are sung)
Œ T
Tbn. w œ œ œ œ œ œ w w
P p ç F
Perc. 1 ã
Perc. 2 ã
&
& b >œ
bœ œ.
& Œ Ó Ó Œ
Pno. f f
bœ œ Œ Ó
& œ
211
œ.
msp
w ˙ œ
w œ. ord
˙ œ
Vln. 1 & ‰
o o F
bœ.
msp &
œ. b˙
ord
Vln. 2 & ‰ ˙
o o F
msp
e
(change bow freely, except during dashed slurs) I
œT œT œ T œT œT œT œT œT œ.
ord ord
w ˙ w
Vla. 1 B ‰
f o o
ord msp ord msp
Vla. 2 B w œ b œT œ œT œ œT œ œT œ œT œ œT œ œT œ œT w w
f P
msp
e
ord msp
? ˙. œ T œ T œ T œ T œ T œ T œ T œ T ˙. œ T œ T œ T œ T œ T œ T œ T œ T
ord I
œ ‰ œ ‰
Vc. 1
F o ç F o ç
ord msp ord msp

?
Vc. 2 w w w w
ord msp ord

?
D.B. w w w w
42
215
˙ œ
˙ œ ‰ œ
Fl. & Œ Ó Ó œ
F p !
3:2
f
w œ ‰ œ œ œ
Ob. & Œ Ó Ó
f p ! 3:2
Cl. & Œ w w ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ
˙. ! ! P ƒ
p
? Œ
C. Bn. w ˙. w w
F ç f
Œ w> w
(diamond noteheads are sung - writen at the same transposition level as the instrument)
Hn. & w ˙.
T T. p ç F
+ o + o + o + o + o + o Œ o
j w> w
& bœ. œ œ œ œ œ œ œ œ œ œ œ
C Tpt. T.
T p ç F
P
o + o + o + o
? T Tœ .
Tbn. w œ œ œ œ œ Œ w
>
w
ç f
P p
Perc. 1 ã
Perc. 2 ã
bœ
& œ Œ Ó
œ
Pno. F
&
(°)
215 &
œ.
msp
bœ.
ord
˙ w œ œ œ œ œ œ œ œ
b˙ bœ
ord ord
Vln. 1 & ‰ w œ œ œ œ œ œ œ
f o o
&
bœ. bœ bœ
msp ord
˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ.
ord ord
˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. 2 & ‰
f o o
msp ord I
œT œTœT œTœT œTœT œT œ.
ord
w ˙ w
Vla. 1 B ‰
f o o
msp w
ord ord
w
Vla. 2 B w œ b œT œ œT œ œT œ œT œ œT œ œT œ œT œ œT œT .. ‰ Ó &
f o o
ord
msp msp
? ˙. ˙.
ord
œ ‰ œ T œ T œ T œ T œ T œ T œ T œ T œ ‰ œ T œ T œ T œ T œ T œ T œ T œ T
Vc. 1
F o ç F o ç
ord msp ord msp

?
Vc. 2 w w w w
ord msp ord

?
D.B. w w w w
43
219
˙
˙ œ ‰ b >œ
Fl. & æ œ. œ w ˙ œ ‰ œ w w
F p o P
P
w ˙ œ ‰ œ w w œ ‰
Ob. & Œ Ó
f P p ! P o
(contra)
Cl. & ˙. Œ w w w œ ‰ Œ Ó
p ! ! P o
? ‰ Ó
C. Bn. w w œ.
o
w w œ.
Hn. & ‰ Ó
o
+ o + o + o + o + o + o +
œ.
bœ. œ œ œ œ œ œ œ œ œ œ œ œ
‰ Ó
C Tpt. & J
P p o
o + o + o + o +
? ‰ Ó
Tbn. w œ œ œ œ œ œ œ œ.
P p o
Perc. 1 ã
Perc. 2 ã
bœ bœ œ bœ œ œ œ bœ œ œ œ bœ
r r r r r r r r
bœ
r r r r r r r r
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& œ Œ Ó Ó
p
Pno. P (slowly release pedal)
&
(°)
219
&
msp ord msp III
bœ
œ œ œ œ œ œ œ œ w œ b œ ‰ msp
œ ord
Vln. 1 &
œ œ œ œ œ œ œ b œ. ‰
ƒ o o f
&msp
ord III
w œ
œ ‰
msp
œ
msp
Vln. 2 &
ƒ o o
& II
msp
œ
msp
b œ. ‰
ord
œ TœTœTœTœTœTœTœT œ. ˙ œ msp
‰ ord
Vla. 1 B ‰& œ B
f o ç o o f
II
w w œ
bœ b œ. ‰
msp
bœ B ‰
ord
w w msp
Vla. 2 &
ƒ o o f
ord ord
msp II
? ˙. œTœTœTœT œTœTœTœT ˙.
msp ord msp
œ ‰ œ ‰ œ ‰ œ &
Vc. 1 œ
F o ç F o ç o o
II
ord msp ord msp msp
? œ ‰ œ &
Vc. 2 w w œ
sempre f o o
I
bœ ‰ bœ
ord msp ord msp msp
? &
D.B. w w œ
o o
sempre f
44
D2
225
Contracting (still Œ = 132)
œ ‰ Œ Ó
to piccolo
Fl. &
o
medium tom (near rim)
Perc. 1 ã ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ

p
r r r r
œ. ‰ œ. ‰ œ. ‰ b œ. ‰
bœ bœ bœ bœ
& Œ Ó Œ Ó Œ Ó Œ Ó
Pno. ƒ f F P
&
(°)
/
225
Contracting (still Œ = 132)
sim.
& b ˙ ................... Ó b ˙ ..............I œ Ó I˙ Ó I ˙ .............. œ Ó ˙ Ó ˙ ..............B œ Ó

Vln. 1
>
.................... ....................
Í "
ord sim.
& b œ. ‰ Œ ˙ Ó b˙ Ó b ˙ ..............I œ Ó I˙ Ó I ˙ .............. œ Ó ˙

>
Vln. 2 .................. .................... .................. ..................
f Í "
(half harmonic with a very fast bow - change bow as needed)
b3
Vla. 1 B
P
bw ˙ ˙ Iw ˙ ˙ w ˙ ˙
Vla. 2 B
!
ord sim.
& b œ. ‰ ˙ Œ Œ b˙ Œ Œ b˙ Œ Œ b ˙ ..............I œ Œ Œ I˙ Œ Œ I ˙ .............. œ Œ

>
Vc. 1 ................. ................... .................. ..................
f Í "
ord sim.
& b œ. ‰ Œ Œ œ Œ Œ bœ Œ Œ b œ ........................ Œ Œ bœ Œ Œ b œ .....................I œ Œ Œ I œ ...........

>
Vc. 2 ........................ ......................... ............................
f Í "
œ. ‰
bord ‰ >œ ‰ b œ ...................I œ
sim.
‰ Iœ ‰ I œ ..................... œ ‰ œ ‰ œ ............B œ
Œ Œ Œ Œ Œ Œ Œ Œ Œ Ó
.................. ................. .............
D.B. &
f Í "
231
Perc. 1 ã ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓÓ ÓÓÓ ÓÓÓ ÓÓ Ó ‰ Œ 42

"
r
bœ
œ. ‰ Œ
& Ó 42
Pno. p
& 42
231
(do not allow bounces
42
to extend past beat three)
Vln. 1 & B˙ ..................... Ó B ˙ ..............b œ Ó b ˙ ...............I œ Ó I ˙ .............. œ Ó ˙ .....................

Ó ˙ ................B œ Ó
Vln. 2 & Ó ˙ ..............B œ Ó B ˙ ..............b œ Ó b ˙ ..............I œ Ó I ˙ .............. œ Ó ˙ ...................

Œ œ. . . . B œ. ‰ Œ 42
! "
. ‰ 2
Vla. 1 B Œ & 4
"
B Bw ˙ ˙ b˙ ˙ I˙ ˙ ˙ ˙ B˙ œ. ‰ Œ & 42
Vla. 2
"
(do not allow bounces
42
to extend past beat three)
Vc. 1 & Œ ˙ .................. Œ Œ ˙ ..............B œ Œ Œ B ˙ ..............b œ Œ Œ b ˙ ..............I œ Œ Œ I ˙ .............. œ Œ ˙ ................B œ Ó ?
& Œ Œ I œ ....................... œ Œ Œ œ ..........................B œ Œ Œ B œ ........................b œ Œ Œ b œ ....................I. œ Œ Œ I œ ....................... œ œ. . . . B œ ‰ Œ ?

42
Vc. 2
! .
"
‰ Bœ ‰ B œ ............b œ ‰ b œ ............I œ Œ ‰ I œ ............ œ Œ ‰ Iœ œ B œ. ‰ Œ 2
& Ó Ó Œ Œ Ó ?
............. ..............
D.B. 4
! "
45
E1
237 Like a fork in the garbage disposal (still Œ = 132)
piccolo b >
œ œ. >œ b œ. >œ b œ. n >œ œ.
(picc.) 2 13
Fl. &4 4ˆ 8
ƒ
& 42 bœ bœ n œ. bœ œ. bœ œ. 41ˆ38
Ob.
> œ. > > >
ƒ
multiphonic (squares represent
(contra) ranges, not specific pitches)
2 00 )0 ))
Œ
0 13 )
))
Cl. &4 0 0 0 ‰
0
0 4ˆ 8 0
0 0
#˙ ˙ œ #˙ œ œ.
ç ƒ >
?2 Œ 13
4 ‰ 4ˆ 8
C. Bn. ˙ ˙ œ ˙ œ œ.
ç ƒ >
œ.
œ. œ. # œ. >
˙
2
&4 ‰ œ. œ. œ. # œ. œ. œ. # œ. n œ. œ. ˙ 13
4ˆ 8 œ œ ‰ ‰
Hn.
ç ƒ
+ o + + o +
#˙ œ. o
b œ. œ. œ.
& 42 æ æ ‰ œ. œ. b œ. œ. œ. b œ. n œ. œ. œ. # ˙æ 41ˆ38 œæ œ ‰ ‰
C Tpt.
ç ƒ >
b œ.
o
b œ. œ. n œ.
+ o + + o +
?2 ‰ b œ. œ. b œ. œ. >˙ 13
Tbn. 4 ˙æ œæ. æ 4ˆ8 æœ œ ‰ ‰
ç ƒ
medium tom (at center)
ã 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ 41ˆ38
Perc. 1
> > > > > > > > > > > > > > > > >
ƒ
large triangle and kick
2 Tæ Tæ Œ Tæ 1 3 3æ 3æ.
4ˆ 8
3
Perc. 2 ã 4 0
f
f
& >œ >œ >œ >œ >œ >œ >œ >œ >œ
>œ >œ >œ >œ bœ >œ >œ >œ >œ
> # œœ > œœ > œœ > œœ > œœ > œœ > œœ > œœ œ b œ œœ # œ # œœ n œ b œœ # œœ b œ b œœ # n œœ n œœ > # œœ > œœ > œœ > œœ > œœ > œœ > œœ > œœ > œœ
& 42 # œœ œœ œœ œœ œœ œœ œœ œœ b œœ œ #œ nœ b œœ œ b b œœ n œœ # œœ œœ œœ œœ 41ˆ83 œœ œœ œœ œœ œœ
Pno.
ƒ
& 42 41ˆ38
pedal freely
Like a fork in the garbage disposal (still Œ = 132)

237 &
>> > > > > > >
>œ b >œ >œ > # >œ >œ b >œœ b >œ >œ n >œ
>> > > > > > >
>œ
œœ œ œ œ œ œ œ œ >œ >œ >œ >œ >œ >œ >œ œ œ œ œ
œ >œ >œ b >œ œ œ bœ >œ >œ >œ >œ >œ >œ >œ >œ >œ œ
& 42 41ˆ83
œ œ
Vln. 1 œ œbœ œœ œ œ œ œ œ œ œ
ƒ
>œ & >œ >œ >œ
>> > > > > > > >œ >œ >œ b >œ >œ >œ
2 œœ œ œ œ œ œ œ œ >œ >œ >œ >œ >œ >œ >œ >œ œ œ #œ b >œ >œ >œ œ œ #œ œ>œ >œ >œ >œ >œ >œ 1 3 >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
Vln. 2 &4
œ bœ œ œ bœ œ œ 4ˆ 8
ƒ
. . . . n œ. œ. b œ. œ. b œ.
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. # œ œ œ œ œ. n œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vla. 1 & 42 41ˆ38
ƒ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. # œ. œ. n œ. œ. b œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vla. 2 & 42 41ˆ83
ƒ
ord msp ord ord msp

? 42 ˙ ˙ œ ‰ Œ ˙ 41ˆ38 œ œ.
Vc. 1
ƒ
ord msp ord ord msp
? 42 Œ 41ˆ83 œ
Vc. 2 ˙ ˙ œ ‰ ˙ œ.
ƒ
ord msp ord ord msp
? 42 Œ 41ˆ38 œ
D.B. ˙ ˙ œ ‰ ˙ œ.
ƒ
46
243
b >œ œ. >œ œ. b œ. >œ b œ. >œ œ. b >œ œ. >œ # œ. b >œ n œ.
(picc.) # œ. 2 3 3ˆ2
Fl. & 4 4 84
2 3 b œ. 32
& bœ bœ b œ. n œ. bœ n œ. œ œ. b œ. 4 4 bœ #œ
œ.
nœ 8ˆ4
Ob.
> œ. > > > > œ. > >
(contra)
Œ. 2 3 Œ Œ 3ˆ2
Cl. & ‰ 4 4 ‰ 84
œ #˙ ˙. œ
>
f F
? Œ. 2 3 Œ Œ 32
‰ 4 4 ‰ 8ˆ4
C. Bn. œ ˙ ˙. œ
>
f F
bœ
œ. œ. n œ. >
. œ
Hn. & œ œ. œ. # œ. # œ. œ. œ. # œ. # œ. œ. œ 42 ˙ 43 œ . ‰ Œ œ. œ. œ. b œ œ 38ˆ42
f F ƒ
. . . b œ. œ. œ. . .
& bœ œ œ œ. œ. œ. œ. b œ. n œ. œ. b œ. œ. œ. # œ œ. œ. 42 # ˙ 43 œ . ‰ Œ œ. œ. # œ b œ. œ. n œ 38ˆ42
C Tpt. . >
f F
b œ. œ. b œ. n œ. b œ. œ. b œ. œ. b œ.
? b œ. # œ. œ. n œ. œ. b œ. > ‰
Tbn. 42 ˙ 43 œ . ‰ Œ 38ˆ42
f F
Perc. 1 ã 42 43 38ˆ42
æ æ.
Perc. 2 ã 3 Œ. 42 T 43 T 3 Œ Œ 83ˆ42
f
& >œ >œ >œ >œ >œ >œ
bœ >œ >œ >œ >œ bœ #œ nœ
œ b œ œœ # œ # œœ n œ # œœ n œ b œœ # n œœ b œ b œœ n œœ b œ b b œœ œ # n œœ > # œœ > œœ > œœ > œœ 3 > œœ > œœ > œœ > œœ > œœ > œœ œ b œ œœ # œ # œœ n œ n œ b œœ b œ
& b œœ œ #œ
bœ nœ b b œœ nœ n œœ œ bœ 42 # œœ œœ œœ œœ 4 œœ œœ œœ œœ œœ œœ b œœ œ #œ nœ
38ˆ42
Pno.
& 42 43 83ˆ42
243
&> > &
b œ œ >œ >œ >œ >œ >œ b >œ # >œ >œ >œ n >œ >œ b >œ >œ b >œ
> > > > >œ b >œ >œ > >œ >œ >œ b >œ >œ >œ
#œ œ œ œ œ bœ œ nœ œœ> >œ >œ >œ >œ >œ >œ >œ 3 œ œ œ œ >œ >œ >œ >œ >œ >œ >œ œ œ œ œ
œ
42 38ˆ42
œ œ œ œ œ œ œ bœ bœ œ œ
Vln. 1 & 4 œ œ œ
& >œ >œ >œ > &

>œ >œ >œ >œ # >œ b >œ b >œ >œ >œ > > > > >œ >œ >œ >œ # >œ >œ >œ n >œ >œ
œ œ #œ œ >œ >œ œ b œ œ œœ bœ nœ œ #œ œ>œ >œ >œ >œ >œ >œ 3 œ œ œ œ >œ >œ >œ >œ >œ >œ >œ >œ
42
œ œ œ œ #œ œ œ œ nœ œ 38ˆ42
Vln. 2 & 4
. . . . . . . . b œ. œ. œ. œ. . . . .
œ. œ. b œ. œ. # œ œ n œ œ œ œ b œ. œ. b œ œ n œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. 3 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. # œ œ n œ. œ. œ œ b œ. œ.
Vla. 1 & 42 4 38ˆ42
. . . . . . b œ. œ. n œ. œ. b œ. œ. n œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 3 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. # œ. œ. œ. œ. n œ. œ. b œ. œ.
Vla. 2 & bœ œ œ œ #œ œ 42 4 83ˆ42
>
ord ord
? œ ‰ Œ. 42 ˙ 43 ˙ . œ ‰ Œ Œ 38ˆ42
Vc. 1
f F
ord ord
? Œ. 42 ˙ 43 ˙ . Œ Œ 83ˆ42
Vc. 2 œ ‰ œ ‰
> F
f
ord ord
? Œ. 42 ˙ 43 ˙ . Œ Œ 38ˆ42
D.B. œ ‰ œ ‰
> F
f
47
248
(picc.) >œ # œ. b œ. >œ n œ. >œ b >œ œ. >œ b œ. b >œ œ. >œ b œ.
32 2 23 2
Fl. & 8ˆ4 4 4ˆ 8 4
ƒ
32 2 23 2 b >œ œ. b >œ n œ.
& 8ˆ4 b œ b œ. œ. nœ bœ œ. 4 4ˆ 8 4 bœ bœ n œ.
Ob.
> > œ. > > œ. >
ƒ
(contra) 32 2 23 2
& 8ˆ4 4 #˙ 4ˆ 8 œ . ‰ Œ 4
>
Cl.
F P
? 3ˆ2 2 > 23 2
C. Bn. 84 4 ˙ 4ˆ 8 œ . ‰ Œ 4
F P
& 38ˆ42 ‰ œ. œ. œ. œ. œ. œ. # œ. n œ. œ. >

42 ˙ 42ˆ38 œ . Œ Œ. 42
Hn.
F o
+
. . . . . œ. œ. n œ.
& 38ˆ42 n œ œ # œ œ b œ œ. œ. œ. 42 # ˙ 42ˆ38 œ . ‰ Œ. 42
C Tpt.
> o
b œ. œ. œ.
+
? 38ˆ42 ‰ œ. œ. œ. >
42 ˙ 42ˆ38 œ . ‰ Œ. 42
Tbn.
o
Perc. 1 ã 38ˆ42 42 42ˆ38 42
æ æ 3æ.
ã 83ˆ42 42 T 42ˆ83 T 42 3
to xylophone
Perc. 2 Œ
F p
& >œ >œ >œ >œ >œ >œ >œ
bœ >œ >œ >œ >œ bœ
loco
bœ
œ œ b œ b œœ n œ œœ b œ œœ n œ # œœ n œœ > # œœ > œœ > œœ > œœ 2 3 > œœ > œœ > œœ > œœ > œœ > œœ > œœ 2 œ œ b œœ œ b œ œœ # œ # œœ n œ b œœ
& 38ˆ42 ## œœ # œ b œœ 42 # œœ œœ œœ œœ 4 b œœ b œœ ## œœ # œ nn œœ
œ
4ˆ8 œœ œœ œœ œœ œœ œœ œœ
œ
œ nœ bœ n œœ b œœ #œ nœ
œ œ
Pno.
& 83ˆ42 42 42ˆ83 42 ?
&
248
b >œ >œ >œ >œ >œ &
b >œ >œ >œ
# >œ >œ n >œ > > > > > > > > >œ b >œ >œ >œ >œ >œ b >œ b >œ >œ >œ >œ >œ b >œ
bœ œ œ œ œ œ œ œ œœ> >œ >œ >œ >œ >œ >œ >œ 2ˆ3 œ œ œ œ œ œ œ œ >œ >œ >œ >œ >œ œ 2 œ œ œ
& 83ˆ42 42
bœ œ œ bœ œ œ œ œ œ bœ
Vln. 1 48 4 œ œ
sempre ff
sempre ff
& >œ >œ # >œ n >œ >œ >œ >œ &>œ >œ > >œ >œ >œ & >œ >œ
>œ b >œ b >œ >œ >œ > > > > > > > >
# œ œ>œ >œ >œ >œ >œ >œ 2 3 œ œ œ œ œ œ œ œ >œ >œ >œ >œ >œ >œ 2 œ
>œ >œ >œ
œ œ #œ œ œ œ œ # œœ
& 38ˆ42 # œ 42
œ bœ œ œ œ œ œ #œ
4ˆ 8
œ œ œ œ
Vln. 2 4
sempre ff
sempre ff
# œ. œ. œ. œ. b œ. œ. n œ. œ. b œ. œ. n œ. œ. œ. œ. # . œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. b œ.
32 2 œ 23 œ 2 b œ. œ. œ. œ. œ. b œ.
Vla. 1 & 8ˆ4 4 4ˆ 8 4 B
sempre ff
. .
b œ. œ. b œ. œ. œ. œ. n œ. œ. œ. œ. b œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 2ˆ3 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 2 œ. œ. œ. # œ. œ. œ.
Vla. 2 & 38ˆ42 42 48 4 œ. œ. œ. # œ. œ. œ.
B
sempre ff
>œ b œ. # >œ œ.
? 38ˆ42 > # >œ œ.
42 ˙ 42ˆ38 œ . ‰ Œ. & 42 œ b œ. ?
Vc. 1
p >
F P
? 38ˆ42 > œ. b >œ n œ.

42 ˙ 42ˆ38 œ . ‰ Œ. & 42 b œ bœ bœ n œ.
?
>
Vc. 2 œ.
> p >
F P
b >œ œ. b >œ n œ.
? 38ˆ42 42 ˙ 42ˆ38 œ . ‰ Œ. 42
D.B.
> p
F P
48
253
b >œ œ. >
b œ.
(picc.)
b œ. nœ 4 ‰ Œ Ó 2
& œ œ œ. #˙ 4 œ 4
Fl.
> > P o
b >œ b >œ n œ. b >œ œ. b >œ œ.

& œ. ˙ 4 œ
4
‰ Œ Ó 2
4
Ob.
P o
(contra) 4 2
Cl. & 4 4
? 4 2
C. Bn. 4 4
& # œ. œ. œ. œ. 44 œ. ‰ œ. œ. œ. œ. œ. œ. 42 b œ.
Hn. œ. # œ. n œ.
P
& # œ. 44 œ. ‰ œ. œ. œ. 42 b œ œ. b œ.
C Tpt. œ. œ. œ. œ. œ. œ.
. b œ.
P
+ o + o + o + o + o + o
? 44 42
Tbn. œ œ œ œ œ œ œ œ œ œ œ œ
P f
ã 44 42
Perc. 1
Perc. 2 ã 44 42
&
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ bœ
b œœ
œ bœ
# n œœ œ # œ œ œ >œ œ >œ
œ
44 >œ œœ >œ œœ >œ œœ >œ œœ >œ œœ >œ œœ >œ œœ >œ œœ
œ
& bœ œ œ b œœ ? # œœ 42 b œ
œ œ #œ &
> > > œ œ œ œ œ œ œ œ œ bœ nœ
f
Pno.
bœ #œ nœ
? b œœ #œ nœ b œœ 44 42
œ b œœ b œœ œ œ
œ œ
>
253
&> > &
b œ œ >œ b >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ.
>œ >œ b >œ
# >œ >œ >œ bœ œ nœ œ. œ. b œ.
44 42
œ œ œ
Vln. 1 & œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ
P
>œ &> > # >œ & n >œ >œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ >œ >œ >œ
b >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
#œ œ œ œ b œ. œ. œ. b œ. n œ. œ.
œ œ #œ #œ œ œ 44 42
œ œ œ bœ
Vln. 2 & œ œ
P
B b œ. œ. œ. œ. œ. b œ. œ. œ. b œ. n œ. œ. œ. œ œ œ œ œ
#œ œ œ œ œ ‰ 44 42
Vla. 1
p > > > > >
ƒ p
B œ œ œ œ œ œ œ œ œ 44 œ ‰ Œ Ó 42
Vla. 2
. œ. œ. # œ. œ. œ. # œ. œ. œ. œ. n œ. œ. œ œ œ œ œ œ œ œ œ.
p > > > > > > > >
ƒ p
b œ. # >œ œ.
? >œ b œ.
>œ >œ >œ >œ 44 œ. œ. œ. ‰ Ó 42
œ
> #œ œ.
>
Vc. 1
ƒ p
? bœ b >œ n œ. 44 42 œ
>
œ. bœ œ. bœ
Vc. 2
> > œ. œ
>
œ
>
œ
>
œ
>
œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ.
p
ƒ
? bœ œ. b >œ n œ. bœ
44 42 œ
> > œ. bœ œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ.
>
D.B. œ œ œ œ
> > > > p
ƒ
49
258
(picc.)
33 13 2
Fl. & 4ˆ 8 4ˆ 8 4
33 13 2
Ob. & 4ˆ 8 4ˆ 8 4
(contra) 33 13 2
Cl. & 4ˆ 8 4ˆ 8 4
? 33 13 2
C. Bn. 4ˆ 8 4ˆ 8 4
# œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
& œ œ. # œ. 43ˆ38 ‰ 41ˆ38 b œ. œ. # œ. n œ. # œ. n œ. # œ. 42
Hn. . œ. œ. œ. œ.
& b œ. b œ. b œ. n œ. # œ. 43ˆ38 œ. œ. ‰ œ. œ. œ. œ. 41ˆ38 b œ œ. b œ. b œ. n œ. œ. b œ. 42

C Tpt. œ. œ. œ. œ. œ.
. b œ. n œ. œ.
+ o + o + o + o + o + o o
? 43ˆ38 œ 41ˆ38 42
Tbn. œ œ œ œ œ œ œ œ œ œ œ. œ.
P f
Perc. 1 ã 43ˆ38 41ˆ38 42
Perc. 2 ã 43ˆ83 41ˆ83 42
&
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ bœ
nœ bœ nœ œ > # œœ > œœ > œœ > œœ > > > > > > > > > œ œ nœ bœ œ bœ œ bœ œ
& bœ œ bœ œ # œœ œœ œœ œœ 43ˆ38 œ œ œ œ œ œ œ œ œ 41ˆ38 b œ œ #œ bœ nœ bœ nœ 42
F
Pno.
? œ bœ
43ˆ83 41ˆ83 42
œ
&
(8va does not apply to lower staff)
258
&. . b œ. >œ >œ >œ >œ >œ >œ >œ >œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. &. .
œ œ n œ. œ. œ. b œ œ œ. œ. œ. œ. œ. b œ. n œ. œ. b œ. œ. œ. b œ. œ. œ.
Vln. 1 & 43ˆ83 41ˆ83 42
f P
b œ. œ. œ. b œ. œ. œ. >œ >œ >œ >œ >œ >œ >œ >œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . b œ. # œ. œ. œ. n œ. œ. b œ. œ
b œ. œ. œ. b œ n œ. œ.
Vln. 2 & 43ˆ38 41ˆ38 42
f P
B 33 13 2
Vla. 1 4ˆ 8 4ˆ 8 4
Vla. 2 B 43ˆ38 41ˆ38 42
? 43ˆ38 41ˆ38 42
Vc. 1
? 43ˆ38 œ 41ˆ38 œ 42
Vc. 2 œ. œ. œ. œ. œ œ œ œ . œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ.
> > > > p
f
? 43ˆ38 œ 41ˆ38 œ 42
D.B. œ. œ. œ. œ. œ œ œ œ . œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ.
> > > >
f p
50
263
(picc.)
2 5 3 3ˆ2 2 4ˆ 3
Fl. &4 4 4 84 4 48
2 5 3 32 2 43
Ob. &4 4 4 8ˆ4 4 4ˆ 8
(contra) 2 5 3 3ˆ2 2 4ˆ 3
Cl. &4 4 4 84 4 48
?2 5 3 32 2 43
C. Bn. 4 4 4 8ˆ4 4 4ˆ 8
.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. .
œ. œ. œ.
Hn. & 42 # œ 45 ‰ 43 b œ. œ. # œ. # œ. n œ. n œ. 38ˆ42
# œ. # œ. n œ. œ. n œ. œ. 42 # œ 44ˆ38
& 42 œ # œ. œ. 45 œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. 43 b œ œ.
# œ.
œ.
n œ.
b œ. 38ˆ42
b œ. b œ. œ. n œ. b œ. œ. 42 œ # œ. œ. 44ˆ38
C Tpt.
. œ. . œ. . œ.
+ o + o + o + o + o + o + o + o + o
? 42 45 œ 43 38ˆ42 42 œ œ 44ˆ38
Tbn. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
P f P
Perc. 1 ã 42 45 43 38ˆ42 42 44ˆ38
Perc. 2 ã 42 45 43 83ˆ42 42 44ˆ83
& >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
>œ >œ >œ b >œ œ. # œ. n œ. b œ. œ. >œ >œ >œ >œ
‰ >œ b >œ >œ b œ. >œ n >œ
& 42 45 43 38ˆ42 42 44ˆ38
P
œ. b œ. b >œ
Pno.
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ > œ. # >œ n >œ b >œ b œ. œ. n >œ œ. œ. >œ >œ >œ >œ
& 42 45 43 b œ 83ˆ42 42 44ˆ83
263
>œ >œ >œ >œ >œ >œ >œ >œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. &. . . . . . >œ >œ >œ >œ >œ >œ >œ >œ
b œ œ œ. œ. œ. # œ b œ. œ. n œ œ. œ. b œ œ b œ. œ. œ. œ. œ. œ. œ.
Vln. 1 & 42 45 43 83ˆ42 42 44ˆ83
f P f
>œ >œ >œ >œ >œ >œ >œ >œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . b œ. œ. b œ. œ. œ. n œ. b œ. œ. œ >œ >œ >œ >œ >œ >œ >œ >œ
b œ. œ. œ. # œ. nœ b œ. œ. œ.
Vln. 2 & 42 45 43 38ˆ42 42 44ˆ38
f P f
Vla. 1 B 42 5
4
3
4
32
8ˆ4
2
4
43
4ˆ 8
Vla. 2 B 42 45 43 38ˆ42 42 44ˆ38
? 42 45 43 38ˆ42 42 44ˆ38
Vc. 1
? 42 45 œ 43 œ 38ˆ42 42 œ 44ˆ38
. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vc. 2 œ œ œ œ œ œ œ
> > > > > > > >
f p f
? 42 45 œ 43 œ 38ˆ42 42 œ 44ˆ38
. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
D.B. œ œ œ œ œ œ œ
> > > > > > > >
f p f
51
268
(picc.)
43 2
Fl. & 4ˆ 8 4
43 2
Ob. & 4ˆ 8 4
(contra) 43 2
Cl. & 4ˆ 8 4
? 4ˆ 3 2
C. Bn. 48 4
œ.
Hn. & 44ˆ38 ‰
œ. ‰ ‰ Œ. 42
œ. œ. œ.
p
& 44ˆ38 œ. 42
remove mute
C Tpt. œ. ‰ œ. œ. œ. Œ Œ.
p
+ o + o + o + o + o o
? 44ˆ38 42
Tbn. œ œ œ œ œ œ œ œ œ œ. œ.
f
Perc. 1 ã 44ˆ38 42
Perc. 2 ã 44ˆ83 42
&
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ b >œ b >œ b >œ
œ. >œ b œ. œ. >œ b œ. œ. >œ b œ. >œ b œ. n >œ œ.
& 44ˆ38 42
Pno.
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ > b >œ n œ.
& 44ˆ83 42 b œ œ. ? bœ b >œ n œ.
bœ bœ n œ. >
œ. bœ œ. bœ
> œ. > > > œ.
268
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. &. . .
bœ œ œ œ. œ. b œ. b œ. œ. œ. œ. œ. b œ. b œ. œ. œ. œ. œ. b œ. œ. œ. b œ. n œ. œ. œ.
Vln. 1 & 44ˆ83 42
P
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. .
œ. œ. b œ n œ. œ. b œ. .
œ. œ. b œ n œ. œ. b œ. .
œ. œ. b œ n œ. œ. œ. œ. œ. b œ. œ. œ.
Vln. 2 & 44ˆ38 42
P
Vla. 1 B 44ˆ83 2
4
Vla. 2 B 44ˆ38 42
? 44ˆ38 > œ. b >œ n œ. b >œ n œ.

& 42 b œ bœ bœ n œ.
? bœ œ. bœ œ. bœ
Vc. 1
> œ. > > > > œ.
!
? 44ˆ38 42 œ ‰
Vc. 2 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
p !
? 44ˆ38 42 œ ‰
D.B. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
p !
52
E2
273 Piccolo, xylophone, and piano will NOT align rhythmically with each other, the ensemble, or the conductor.
(picc.) All other parts align as written.
Fl. &
Ob. &
(contra)
Cl. & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
bœ œ œ œ bœ
â â â â œ
â
œ
â â
œ
â
f
# œ. . # œ. .
œ. ‰ #œ œ. ‰ œ. ‰ #œ œ. ‰
? œ. ‰ œ. ‰
C. Bn. œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰ bœ ‰ œ ‰
â â â â â â â â
f
Hn. &
C Tpt. &
? äœ ‰
ä
œ ‰
ä
bœ ‰
ä
œ ‰
ä
œ ‰
ä
œ ‰
ä
bœ ‰
ä
œ ‰
Tbn.
f
Perc. 1 ã
Begin on the downbeat of m. 277. Maintain tempo, though parts will asynchronize. Measure numbers will not match the ensemble until m. 315.
xylophone 3:2
#œ
3:2 3:2
œ #œ #œ
œ œ œ œ œ œ œ
ã & œ œ #œ œ œ œ œ
#œ œ œ
œ
Perc. 2 œ
>
œ œ œ > >
ƒ
&
#œ œ #œ bœ
œ #œ #œ
œ
>œ
œ œ œ œ >œ œ œ œ # œ œ œ œ œ # >œ
œ
>œ
œ œ œ
>œ
œ œ œ œ >œ œ 3:2
œ œ œ œ œ œ œ #œ œ œ bœ œ œ œ
œ
&
ƒ P ƒ
3:2 3:2 3:2 5:4 3:2 3:2
Pno.
?
˙
˙ hold LH until all sound decays
273 Piccolo, xylophone, and piano will NOT align rhythmically with each other, the ensemble, or the conductor.
&.
#œ ‰ Œ
All other parts align as written.
Vln. 1 &
!
œ. ‰ Œ
Vln. 2 &
!
B # œ.
Vla. 1 œ ‰ œ ‰ bœ ‰ œ ‰ œ. # œ. œ. # œ. # œ. œ. # œ. œ ‰ œ ‰ bœ ‰ œ ‰ œ. œ. # œ. # œ.
œ.
# œ.
â â â â œ. â â â â œ.
f
B # œ.
œ.
‰ ‰ ‰ ‰ œ.
Vla. 2 œ œ bœ œ œ. # œ. œ. # œ. # œ. œ. # œ. œ ‰ œ ‰ bœ ‰ œ ‰ œ. # œ. # œ. # œ.
f
? # œ. œ.
Vc. 1 bœ ‰ œ ‰ œ. # œ. œ. # œ. # œ. œ. # œ. œ ‰ œ ‰ bœ ‰ œ ‰ œ. œ. # œ. # œ. # œ.
â̇ â œ. â â â â œ.
ƒ f
? # œ. œ.
Vc. 2 œ ‰ œ ‰ bœ ‰ œ ‰ œ. # œ. œ. # œ. # œ. œ. # œ. œ ‰ œ ‰ bœ ‰ œ ‰ œ. œ. # œ. # œ. # œ.
f
? äœ äœ ‰
b äœ äœ ä ä ä ä œ̆
‰ ‰ ‰ ‰ œ̆ ‰ œ̆ ‰ œ ‰ œ̆ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ̆ ‰ œ̆ ‰ œ ‰
fl fl
D.B.
f
53
281
>œ >œ >œ >œ . . . . . # œ. œ.
.
œ. # œ œ. œ.
>œ >œ >œ >œ >œ # œ. # œ >œ œ. œ œ # >œ œ. œ œ. œ # >œ œ.

œ
>œ # œ. ‰ œ.
œ
b œ.
œ
œ.
(picc.)
Fl. &
ƒ ƒ
P
3:2 3:2 3:2 5:4
Ob. & 41ˆ38
(contra) 13
Cl. & ‰ ‰ ‰ ‰ ‰ ‰ 4ˆ 8 ‰ ‰
bœ œ œ œ bœ
â â â â œ
â
œ
â â
œ
â
œ
â
# œ. # œ.
œ. ‰ œ. ‰ œ. ‰ œ. œ. # œ.
? œ. ‰ 13
4ˆ 8
C. Bn. œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰ bœ ‰ œ ‰ œ
â â â â â â â â â
Hn. & 41ˆ83
C Tpt. & 41ˆ38
? äœ ‰
äœ
‰ b äœ ‰
äœ
‰
ä
œ ‰
ä
œ ‰
ä
41ˆ83 b œ ‰
ä
œ ‰
ä
œ
Tbn.
Perc. 1 ã 41ˆ38
5:4
#œ œ
3:2 3:2 3:2
bœ
3:2
#œ
3:2 3:2
œ œ
Perc. 2 & œ œ œ œ œ œ #œ œ œ œ
œ
bœ
œ
œ
œ
œ œ œ
œ œ œ #œ œ œ
œ #œ #œ
œ
> > > œ
>
œ œ œ >
œ
& #œ
> œ #œ #œ #œ œ >œ
œ œ œ œ
>œ
œ œ œ œ
>œ
œ œ œ œ
# >œ
œ œ œ bœ
& œ œ œ œ œ œ nœ œ bœ
Pno. 3:2 3:2 3:2 p 5:4 5:4 f

?
281 &
>œ >œ >œ >œ >œ >œ >œ >œ >œ
‰
Vln. 1 & 41ˆ38 Œ.
Ï
>œ >œ >œ >œ
>œ >œ >œ >œ >œ
Vln. 2 & 41ˆ38 ‰ Œ.
Ï
B ‰ ‰ ‰ ‰ œ. # œ. œ. # œ. 41ˆ38 b œ œ. # œ. œ.
Vla. 1 œ œ bœ œ œ. # œ. # œ. œ ‰ œ ‰ ‰ œ ‰ œ œ. # œ.
â â â â œ. â â â â â
B ‰ ‰ ‰ ‰ œ. # œ. œ. # œ. 41ˆ83 b œ œ. # œ. œ.
Vla. 2 œ œ bœ œ œ. # œ. # œ. œ ‰ œ ‰ ‰ œ ‰ œ œ. # œ.
?
‰ ‰ ‰ ‰ œ. # œ. œ. # œ. ‰ ‰ 41ˆ38 ‰ ‰ œ. # œ. œ.
Vc. 1 œ œ bœ œ œ. # œ. # œ. œ œ bœ œ œ œ. # œ.
?
‰ ‰ ‰ ‰ œ. # œ. œ. # œ. ‰ ‰ 41ˆ83 ‰ ‰ œ. # œ. œ.
Vc. 2 œ œ bœ œ œ. # œ. # œ. œ œ bœ œ œ œ. # œ.
? äœ äœ ‰
b äœ äœ ä ä ä ä ä
œ̆ ‰ œ̆
41ˆ38 b œ
‰ ‰ ‰ ‰ œ̆ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ œ œ̆ ‰ œ̆ ‰ ‰
fl
D.B.
54
288
b œ. œ. # œ. œ. . #œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
. œ. œ. # œ. œ. œ. œ. ‰ >œ œ. œ
>œ œ. > # >œ œ. >œ b œ.
(picc.)
& œ. œ œ œ. œ. œ. œ
Fl.
3:2 3:2 3:2 3:2 3:2 3:2 5:4 5:4
P ƒ
Ob. & 42 43 38ˆ42 42 42ˆ38
(contra) 2 ‰ ‰ 3 3ˆ2 2 23
& 4 bœ œ 4 œ ‰ œ ‰ œ ‰ 84 4 œ ‰ œ ‰ 4ˆ 8
â â â â â
Cl.
â â
# œ. œ.
? œ. b œ. 2 3 œ. ‰ b œ. ‰ 3ˆ2 œ. œ. .
b œ. œ. œ. 4 ‰ ‰ 4 84 # œ. # œ ‰ n œ. ‰ 2
4
23
4ˆ 8
C. Bn. œ œ bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰
â â â â â â â
Hn. & 42 43 83ˆ42 42 42ˆ83
C Tpt. & 42 43 38ˆ42 42 42ˆ38
? ä äœ ä äœ äœ
Tbn. 42 œ ‰ ‰ 43 b œ ‰ ‰ ‰ 83ˆ42 42 42ˆ83
Perc. 1 ã 42 43 38ˆ42 42 42ˆ38
5:4 5:4
& nœ #œ
3:2
œ œ œ œ œ œ œ œ œ œ œ bœ
3:2
œ bœ
3:2 3:2
œ œ bœ bœ
œ œ œ œ bœ nœ œ bœ bœ œ œ #œ œ #œ
Perc. 2 œ
> p
œ > œ œ œ
>
œ >
ƒ
&
œ œ bœ >œ œ œ œ bœ bœ >œ œ b œ b œ œ œ # œ #œ > œ œ œ #œ œ > œ œ œ #œ œ œ > œ œ
& œ œ œ bœ œ nœ œ bœ œ nœ œ bœ bœ œ
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Pno. 3:2
288
Vln. 1 & 42 43 38ˆ42 42 42ˆ38
Vln. 2 & 42 43 38ˆ42 42 42ˆ38
œ.
B
b œ. œ. 42 n œ ‰ ‰ 43 b œ ‰ ‰ œ ‰ œ. # œ. œ. b œ. b œ. 38ˆ42 # œ. # œ # œ. 42 œ ‰ ‰ 42ˆ38
Vla. 1 œ. b œ. œ. â
œ
â â
œ
â â
œ. œ. . n œ. b œ. â
œ
â
œ.
B
b œ. œ. 42 n œ ‰ ‰ 43 b œ ‰ ‰ œ ‰ œ. # œ. œ. b œ. b œ. 83ˆ42 œ # œ. # œ # œ. 42 œ ‰ ‰ 42ˆ83
Vla. 2 œ. b œ. œ. â
œ
â â
œ
â â . œ. . n œ. b œ. â
œ
â
? 42 n œ 43 b œ ‰ œ. b œ. 38ˆ42 # œ. # œ 42 42ˆ38
Vc. 1
œ. b œ. b œ. œ. ‰ œ ‰ œ ‰ œ ‰ œ. # œ. œ. b œ. œ. œ. . # œ. n œ. b œ. œ ‰ œ ‰
œ. â â â â â â â
? 42 n œ 43 b œ ‰ œ. b œ. 83ˆ42 œ # œ. # œ 42 42ˆ83
b œ. œ. ‰ ‰ ‰ œ ‰ œ. # œ. œ. b œ. # œ. œ ‰ ‰
n œ. b œ.
Vc. 2
œ. b œ. œ œ . œ. . œ
œ. â â â â â â â
œ̆ ‰ b ˘œ
? œ̆ ‰ b ˘œ ‰
˘
œ
ä
42 n œ ‰
äœ
‰
ä
43 b œ ‰
äœ
‰
äœ
‰ œ̆ ‰ ‰ 38ˆ42 œ̆ ‰
˘
‰ #œ ‰ œ ‰
ä
42 œ ‰
ä
œ ‰ 42ˆ38
fl
D.B.
55
294
œ œ. b œ. œ. bœ > œ. b œ. œ. . # œ. œ. œ. # œ. œ. œ. œ. # œ.
b œ. >œ b œ. b œ. œ. # œ œ. ‰ >
(picc.) œ
& œ. œ. nœ nœ œ. bœ nœ
Fl.
3:2 3:2 3:2 3:2 3:2
3:2 3:2
Ob. & 42ˆ38 42 44
(contra) 23 2 4
& 4ˆ 8 b œ ‰ œ ‰ œ ‰ œ 4 bœ ‰ œ ‰ 4
â â
Cl.
â â â â
# œ. n œ. # œ. # œ.
2 œ. # œ. ‰ n œ. œ. ä ä
? 2 ˆ3
48 4 ‰ Œ œ. # œ. œ. # œ. œ ‰ œ ‰ 4
4
C. Bn.
bœ ‰ œ ‰ œ ‰ œ
â â â â
Hn. & 42ˆ83 42 44
C Tpt. & 42ˆ38 42
? 42ˆ38 42 44
Tbn.
Perc. 1 ã 42ˆ83 42 44
3:2 3:2 3:2 3:2 3:2

#œ
3:2 3:2 3:2 3:2
& œ œ œ #œ œ œ œ œ #œ œ
bœ
œ œ œ œ #œ œ
bœ
œ
nœ œ œ œ #œ
Perc. 2
bœ œ nœ œ bœ œ nœ œ bœ œ nœ œ bœ œ nœ
> > > >
&
&
œ #œ œ œ #œ > œ œ œ #œ œ œ #œ > œ œ œ #œ œ œ #œ œ
& nœ œ bœ nœ bœ œ nœ œ bœ nœ bœ œ nœ œ bœ nœ œ

3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Pno.
?
294
Vln. 1 & 42ˆ38 42 44
Vln. 2 & 42ˆ83 42 44
B 42ˆ38 2 # œ. n œ. # œ. # œ. 4
bœ ‰ ‰ ‰ 4 œ. œ. # œ. b œ. œ. œ. œ. # œ. # œ. ‰ ‰ 4
Vla. 1
â
œ
â
œ
â
œ
â œ. # œ. œ. œ
â
œ
â
B 42ˆ83 # œ. n œ. # œ. # œ.
bœ ‰ ‰ ‰ 42 œ. œ. # œ. b œ. œ. œ. œ. # œ. # œ. ‰ ‰ 44
Vla. 2
â
œ
â
œ
â
œ
â œ. # œ. œ. œ
â
œ
â
? 42ˆ38 # œ. n œ. # œ.
‰ ‰ ‰ 42 œ # œ. b œ.
# œ.
# œ. ‰ ‰
44
Vc. 1
bœ œ œ œ . œ. œ. œ. œ. œ. # œ. œ. # œ. œ
â
œ
â
â â â â
? 42ˆ38 # œ. n œ. # œ.
‰ ‰ ‰ 42 œ # œ. b œ.
# œ.
# œ. ‰ ‰
44
Vc. 2
bœ œ œ œ . œ. œ. œ. œ. œ. # œ. œ. # œ. œ
â
œ
â
â â â â
œ̆ ‰
? 42ˆ38 b äœ ‰
ä
œ ‰
ä
œ ‰
ä
œ 42
œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ ‰ œ ‰ œ̆ ‰
äœ
‰
äœ
‰ 44
fl
D.B.
56
300
œ. œ. # œ. œ. . œ. . # œ. . . œ.
repeat this figure, gradually decelerating from triplet to 8th-note value
œ. œ. œ. # œ. œ. œ. œ. # œ. . œ. # œ. . œ. . œ . # œ
b œ. > b œ. n œ. ‰ ‰ œ œ.
(picc.)
& œ. bœ nœ œ. nœ œ. bœ nœ œ œ bœ nœ 
Fl.
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
Ob. & 44 42 43ˆ38 41ˆ38
b œ. b œ. b œ.
(contra) 4 2 ‰ œ. œ. 33 13 Œ.
&4 œ ‰ œ ‰ œ ‰ œ ‰ 4 œ. ‰ œ. œ ‰ œ ‰ 4ˆ 8 b œ ‰ œ ‰ œ ‰ œ ‰ œ 4ˆ8 œ.
â â â â
Cl.
? 4 b äœ ‰
ä
‰
ä
‰
ä
‰ 2 ä
‰
ä
‰ 33 ä ä ä ä ä 13
C. Bn. 4 œ œ œ 4 œ œ 4ˆ 8 b œ ‰ œ ‰ œ ‰ œ ‰ œ 4ˆ 8
Hn. & 44 42 43ˆ83 41ˆ83
C Tpt. &
? 44 ä ä ä ä ä ä ä
Tbn. 42 œ ‰ œ ‰ 43ˆ83 b œ ‰ œ ‰ œ ‰ œ ‰ œ 41ˆ83
Perc. 1 ã 44 42 43ˆ38 41ˆ38

3:2
Repeat this figure, synchronizing to pulse of ensemble.
3:2 3:2 3:2 3:2
#œ #œ
3:2 Once synchronized, proceed to next figure.
& œ
bœ
œ
nœ œ œ œ #œ œ
bœ
œ
nœ
œ œ œ
bœ nœ
 
Perc. 2 œ œ œ œ œ œ
>
& sempre ff
œ œ Once synchronized, proceed to next figure.
œ œ
&  
Pno.
ff
?
sempre
300
Vln. 1 & 44 42 43ˆ83 41ˆ83
Vln. 2 & 44 42 43ˆ38 41ˆ38
B 44 ‰ ‰ ‰ ‰ 42 œ. # œ. # œ. ‰ ‰ 43ˆ38 b œ ‰ œ ‰ œ ‰ ‰ 41ˆ38 œ. # œ.
œ. œ
. # œ.
Vla. 1 bœ œ œ œ œ. œ. # œ. œ. # œ. nœ œ œ œ
â â â â â â â â â â â
B 44 ‰ ‰ ‰ ‰ 42 œ. # œ. # œ. ‰ ‰ 43ˆ38 b œ ‰ œ ‰ œ ‰ ‰ 41ˆ38 œ. # œ.
œ. œ
. # œ.
Vla. 2 bœ œ œ œ œ. œ. # œ. œ. # œ. nœ œ œ œ
â â â â â â â â â â â
? 44 42 œ 43ˆ38 41ˆ38 œ # œ œ. œ
bœ ‰ ‰ ‰ ‰ . # œ. œ. # œ. œ. # œ. nœ ‰ ‰ bœ ‰ œ ‰ œ ‰ ‰ . . . #œ
œ. # œ. .
Vc. 1 œ œ œ
â â â â œ œ œ
?4 2 33 13
4ˆ 8 4ˆ 8 œ # œ
œ. œ
4 bœ ‰ ‰ ‰ ‰ 4 œ # œ. ‰ ‰ . #œ
Vc. 2
â
œ
â
œ
â
œ
â . œ. # œ. œ. # œ. œ. # œ. nœ œ bœ ‰ œ ‰ œ ‰ œ ‰ œ . . .
œ̆ ‰ ‰
? 44 b äœ ‰
äœ
‰
äœ
‰
äœ
‰ 42
œ̆ ‰ œ̆ ‰ œ ‰ œ̆ ‰
ä
œ ‰
ä
œ ‰
ä ä ä
43ˆ38 b œ ‰ œ ‰ œ ‰
ä
œ ‰
ä
œ 41ˆ38
œ̆ ‰
fl
D.B.
57
306 Once synchronized, proceed to next figure. Repeat two times, then continue to next figure.
œ #œ #œ #œ œ
(picc.) œ ‰ œ œ
#œ
œ ‰ #œ #œ œ
Take breaths (by inserting eighth rests) as needed.
œ œ œ
Fl. &  
sempre ff dimin. poco a poco
Ob. & 42 45 43 38ˆ42 42 44ˆ38
b œ. ‰ œ.
(contra) 2 5 3 œ. b œ. ‰ 38ˆ42 œ œ. # œ ‰ 2 4ˆ 3
Cl. & ‰ ‰ 4 ‰ ‰ 4 ‰ ‰ ‰ ‰ ‰ 4 . # œ. . n œ. ‰ 4 ‰ ‰ 48
œ. b œ. œ. bœ œ œ œ œ œ œ
â â â â â â â œ
â
œ
â
? 2 ä ä 5 ä ä ä ä ä 3 3ˆ2 2 4ˆ 3
4 nœ ‰ œ ‰ 4 bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 4 84 4 48
C. Bn.
œ ‰ œ ‰
â â
Hn. & 42 45 43 83ˆ42 42 44ˆ83
C Tpt. & 42 45 43 38ˆ42 42 44ˆ38
? ä äœ ä äœ äœ äœ äœ ä ä
Tbn. 42 n œ ‰ ‰ 45 b œ ‰ ‰ ‰ ‰ ‰ 43 83ˆ42 42 œ ‰ œ ‰ 44ˆ83
Perc. 1 ã 42 45 43 38ˆ42 42 44ˆ38
Repeat three times, then continue to next figure.
œ œ œ œ #œ œ œ œ œ #œ œ #œ œ
Perc. 2 &  œ œ œ œ #œ œ
œ
œ
œ
œ
œ
œ œ œ œ #œ œ #œ œ 
dimin. poco a poco
&
Repeat four times, then continue to next figure.
œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ #œ œ
œ œ œ œ #œ œ œ œ œ #œ œ #œ œ
&  œ œ œ 
Pno.
?
dimin. poco a poco
306
Vln. 1 & 42 45 43 38ˆ42 42 44ˆ38
Vln. 2 & 42 45 43 38ˆ42 42 44ˆ38
Vla. 1 B
œ. b œ. b œ. . œ.
œ 42 œ ‰ œ ‰ 45 b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 43 œ. # œ.
32 bœ
œ. œ. # œ. # œ. 8ˆ4 n œ. # œ. # œ. # œ. œ. œ . 42 œ ‰ œ ‰ 44ˆ38
â â â â â â â . â â
Vla. 2 B
œ. b œ. b œ. . œ.
œ 42 œ ‰ œ ‰ 45 b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ 43 œ. # œ.
3ˆ2 #œ bœ
œ. œ. # œ. # œ. 8 4 n œ. # œ. . # œ. œ. œ . 42 œ ‰ œ ‰ 44ˆ83
? 42 45 43 3ˆ2 bœ 42 44ˆ38
Vc. 1 œ
œ. b œ. b œ. . œ. œ ‰ œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ. # œ. œ. œ. # œ. # œ. 8 4 n œ. # œ. # œ. # œ. œ. œ . œ ‰ œ ‰
? 42 œ 45 b œ 43 3ˆ2 bœ 42 44ˆ83
Vc. 2 œ
œ. b œ. b œ. . œ. ‰ œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ. # œ. œ. œ. # œ. # œ. 8 4 n œ. # œ. # œ. # œ. œ. œ . œ ‰ œ ‰
? œ̆ ‰ b œ ‰ œ ä äœ ä äœ äœ äœ äœ œ̆ ‰ # ˘œ ‰ 38ˆ42 n œ. ‰ ‰ # œ. ‰ œ ‰ ä ä
42 œ ‰ ‰ 45 b œ ‰ ‰ ‰ ‰ ‰ 43 ‰ 42 œ ‰ œ ‰ 44ˆ38
œ̆
.
fl fl
D.B.
58
(picc.)
312 Repeat this figure, waiting for cue from conductor.
œ (resynchronize
œ œ
here)
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
Fl. &  
ƒ p
F
Ob. & 44ˆ38 44
b œ. œ. ‰ # œ. b œ.
(contra) 43 4 œ.
Cl. & 4ˆ 8 ‰ ‰ ‰ ‰ ‰ 4 ‰ #œ
. n œ. œ. Œ
bœ œ œ œ œ œ œ #œ œ œ
â â â â â â > > > >
? 4ˆ 3 4 Ó
48 4
C. Bn.
bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ #œ œ #œ
â â â â â â > > > >
Hn. & 44ˆ83 44
C Tpt. & 44ˆ38 44
? 44ˆ83 b äœ ‰ äœ ‰ äœ ‰ äœ ‰ äœ ‰ äœ 44 Ó
> >
œ #œ œ #œ
Tbn.
> >
Perc. 1 ã 44ˆ38 44
Repeat this figure, waiting for cue from conductor.
#œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
Perc. 2 &  #œ œ  #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
F ƒ p
&
Repeat this figure, waiting for cue from conductor.
# œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ
# œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ
&  
Pno.
F ƒ p
?
312
43 4
Vln. 1 & 4ˆ 8 4
Vln. 2 & 44ˆ38 44
B 44ˆ38 44 . # œ. œ. . #œ # œ.
bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ. # œ. bœ nœ . œ. œ. # œ. œ # œ œ # œ
Vla. 1 .
â â â â â â > > > >
B 44ˆ38 44 . # œ. œ. . #œ # œ.
bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ. # œ. bœ nœ . œ. œ. # œ. œ # œ œ # œ
Vla. 2 .
â â â â â â > > > >
? 44ˆ83 # œ. œ. # œ.
44 œ #œ
b œ. n œ .
Vc. 1
bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ . œ. # œ. . œ. œ. # œ. œ # œ œ # œ
â â â â â â > > > >
? 44ˆ38 44 # œ. œ. #œ # œ.
bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ. œ. # œ. b œ. n œ . œ. œ. # œ. œ # œ œ # œ
.
Vc. 2
â â â â â â > > > >
œ̆ ‰
? 44ˆ83 b äœ ‰ äœ ‰ äœ ‰ äœ ‰ äœ ‰ äœ 44
œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ ‰ œ̆ ‰ œ # œ >œ # >œ
D.B.
> >
59
E3
317 (still Œ = 132)
>w ˙ ˙. w>
(picc.)
26 4 6
Fl. & 4ˆ 8 4 4
ƒ
& w 42ˆ68 b œ œ # œ. œ.
bœ n œ. n œ. 44 46
Ob.
> > œ. œ b œ. > >
w
>
ƒ >
(contra) 26 > œ. # >œ œ. n >œ b œ. b œ. b >œ œ. 4 6

Cl. & 4ˆ 8 œ ‰ 4 4
#w #w
> >
ƒ
b >œ b >œ œ. b œ.
? 26
4ˆ 8 b œ œ. n œ. œ b œ. ‰ 4
4
6
4
C. Bn. w
> > > w
>
ƒ
> >
Hn. & w 42ˆ86 44 w 46
ƒ
w> 44 w>
without mute
C Tpt. & 42ˆ68 46

ƒ
? 42ˆ86 44 w 46
still with harmon mute
Tbn. w
> >
ƒ
high ceramic tile and toms
ã 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 42ˆ68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
44 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 46
Perc. 1
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
ƒ
large bass drum and kick
42ˆ68 44 46
to bass drum and kick
œ ‰ Œ Ó
(bass drum with extra muting removed)
Perc. 2 & œ œ0 œ œ œ œ œ œ œ
ƒ
&
# œœ .. ˙˙ ..
b >œ >œ # >œ nœ
œ #œ. ˙˙ .. bœ # >œœ n œœ œ œ œ œ œ œ œ œ
œ # œœ
42ˆ86 œ n œœ 44 46
œœ
& œ ˙.
? œ #œ œ #œ nœ œ œ œ œ œ œ œ
Pno. Ï Ï
? 42ˆ68 œ #œ b œœ 44 46
bœ
bœ
#œ
œ
nœ b n œœ b b œœ nœ bœ n œœ
> œ > > œ bœ œ œ œ œ œ œ œ œ
> œ œ œ œ œ œ œ œ
317 (still Œ = 132) °
&
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ b >œ œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ b œ. >œ # œ. n œ. n œ.
& 42ˆ68
b >œ n œ. 44 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46
Vln. 1
ƒ
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ œ. # >œ œ. # >œ œ. œ. b >œ n œ. n œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. 2 & 42ˆ86 44 46
ƒ
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
>
B #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42ˆ68 b œ œ. œ b œ. # œ. n œ. n œ. 44 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46
Vla. 1
>
œ
> bœ œ.
ƒ >
>œ œ. # >œ œ. # >œ œ. œ. b >œ n œ. n œ.

B # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 42ˆ68 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46
Vla. 2
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
ƒ
? >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ 42ˆ68 œ b œ. #œ nœ b œ. nœ b œ. ‰ 44 >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ 46
>
œ.
> b œ. >
>
Vc. 1
ƒ
? b >œ n œ. b >œ œ. b œ.
42ˆ68 b œ œ. œ b œ. ‰ 44 46
Vc. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
ƒ
? 42ˆ86 44 œ 46
D.B. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > >
ƒ
60
320
(picc.) w. w>
6 4 4ˆ 6
Fl. &4 4 48
& 46 b œ œ # œ. œ n œ. 44 44ˆ68
Ob.
> œ. œ b œ. > œ
> œ. nœ b œ. > w
>
> >
(contra) 6 > œ. # >œ œ. n >œ b œ. > œ. # >œ n œ. #œ 4 4ˆ 6

&4 œ œ œ. 4 48
Cl.
> #w
>
b >œ b >œ œ. >œ

? 6 bœ
4 œ. n œ. bœ œ. n œ. 4
4
4ˆ 6
48
> > #œ œ.
>
C. Bn. w
>
>
Hn. & 46 44 w 44ˆ86
& 46 44 w> 44ˆ68

C Tpt.
? 46 44 w 44ˆ86
Tbn.
>
ã 46 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
44 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 44ˆ68
Perc. 1
> > > > > > > > > > > > > > > >
Perc. 2 & 46 œ0 œ œ œ œ œ
44
œ0 œ œ œ œ œ œ œ
44ˆ68
b >œ >œ b >œ n >œ >

bœ # >œœ bœ # n œœ
? 46 œ œ nœ œ n œœ # œœ
44 44ˆ86
œœ
œ #œ œ œ #œ œ œ œ œ œ œ œ œ
Pno.
? 46 #œ b œœ nœ 44 44ˆ68
b œœ
bœ
#œ
œ
nœ b n œœ b n œœ
bœ #œ
#œ nœ b b œœ n œœ
> œ > > > œ > > œ œ œ œ œ œ œ œ
320 °
&
b >œ œ. b >œ œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
>œ b œ. >œ # œ. n >œ b œ. >œ n œ.
& 46 44 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44ˆ68
Vln. 1
>œ œ. # >œ œ. # >œ œ. n >œ œ. >œ œ. b >œ œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
6 4 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4ˆ 6
Vln. 2 &4 4 48
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
> b >œ #œ
B 46 b œ œ. œ b œ. œ # œ. œ. nœ b œ. nœ n œ. 44
44ˆ86
Vla. 1
> > > >
> œ. # >œ œ. # >œ œ. n >œ œ. # >œ œ. b >œ œ.

B 46 œ 44 œ
#œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
44ˆ68
Vla. 2
> > > > > > > > > > > > > > > >
? 46 > >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
œ b œ. #œ œ. nœ b œ. œ b œ. #œ n œ. #œ œ. 44 œ 44ˆ86
Vc. 1
> > > > > >
? 6 bœ b >œ n œ. b >œ œ. bœ b >œ n œ. 4 4ˆ 6

4 œ. œ. #œ œ. 4 œ 48
Vc. 2
> > > >
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
? 46 44 44ˆ68
D.B. œ œ œ œ œ œ œ œ
> > > > > > > >
61
322
(picc.) w w. w>
46 4 8
Fl. & 4ˆ 8 4 4
& 44ˆ68 b œ œ # œ. œ.
bœ n œ. n œ. 44 48
Ob.
> œ. œ b œ. œ
> œ. nœ b œ. > >
w
>
> >
(contra) 46 > œ. # >œ œ. > œ. >œ œ. n >œ b œ. b œ. b >œ œ. 4 8

Cl. & 4ˆ 8 œ œ ‰ 4 4
#w
>
b >œ >œ b >œ œ. b œ.

? 4ˆ 6 b œ
48 œ. n œ. bœ œ. n œ. œ b œ. ‰ 4
4
8
4
C. Bn.
> > > w
>
>
Hn. & 44ˆ86 44 w 48
& 44ˆ68 44 w> 48

C Tpt.
? 44ˆ86 44 w 48
Tbn.
>
ã 44ˆ68 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
44 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 48
Perc. 1
> > > > > > > > > > > > > > > >
Perc. 2 & 44ˆ68 œ0 œ œ œ œ. œ.

44
œ0 œ œ œ œ œ œ œ 48
b >œ >œ b >œ n >œ # >œ nœ

bœ bœ # >œœ n œœ œ œ œ œ œ œ œ œ
? 44ˆ86 œ œ œ n œœ # œœ
44 48
œœ
œ #œ œ œ œ #œ œ œ nœ œ œ œ œ œ œ œ
Pno.
? 44ˆ68 #œ b œœ 44 48
b œœ
bœ
#œ
œ
nœ b œœ
bœ œ
#œ
œ
nœ b n œœ b b œœ nœ bœ n œœ
> œ > > œ > > œ bœ œ œ œ œ œ œ œ œ
> œ œ œ œ œ œ œ œ
°
322 &ord
ord msp
œ ‰ ‰ #œ œ
pz arco
& 44ˆ86 Œ 44 48
œ œ .
>
Vln. 1
msp ord
ord
œ ‰ ‰ 44 # œ
pz arco
& 44ˆ68 Œ 48
œ œ .
>
Vln. 2
ord msp ord
pz arco œ ‰ ‰ #œ
B 44ˆ86 Œ . 44
48
Vla. 1 œ œ
>
ord msp
‰ ‰
ord
pz arco œ
B 44ˆ68 Œ . 44 œ
#œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ 48
Vla. 2 œ
>
œ > > > > > > > > > > > > > > > >
ord msp
œ ‰ ‰
ord
> >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
arco
? 44ˆ86 Œ 44 œ 48
pz
Vc. 1 œ œ .
>
ord msp
œ ‰ ‰
ord
arco
? 44ˆ68 Œ 44 48
pz
Vc. 2 œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > > >
? 44ˆ68 44 48
D.B. œ œ œ œ œ œ œ œ
> > > > > > > >
62
324
(picc.) w w w> ˙. œ. œ
8
Fl. &4
Ï
& 48 b œ bœ n œ. œ b œ. # œ. # œ. bœ œ. bœ n œ. ˙. œ.
Ob.
> œ. > > œ
> œ # œ. œ
> > > w
>
œ
> Ï
(contra) 8 b œ.
& 4 bœ œ n œ. œ œ # œ. # œ. # œ.
Cl.
> œ. > > > œ
>
œ
> bœ œ. bœ #w ˙. œ.
> > œ.
>
œ
Ï
b >œ
>œ b œ. >œ # œ. >
? 8 bœ
4 œ. n œ. # œ. œ # œ. bœ
>
œ
> > œ. bœ n œ. ˙. œ.
>
C. Bn. w œ
>
Ï
>
Hn. & 48 w ˙. œ. œ
Ï
& 48 w ˙. œ. œ
>
C Tpt.
Ï
? 48
Tbn. w ˙. œ. œ
>
Ï
ã 48 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 6 6 œ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Perc. 1
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
Perc. 2 & 48 œ0 œ œ œ œ œ œ œ œ0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ0
‰
(clusters with palms of hands)
bœ #œ ˘œ
register can be very free but should generally ascend
#œ nœ bœ œ œ
bœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? 48 #œ nœ bœ œ œ œ #œ œ #œ œ #œ d? # œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&
œ #œ œ #œ d d d
Pno.
? 48 #œ #œ
bœ bœ #œ œ œ D D
#œ nœ œ œ
bœ
œ œ #œ œ #œ D D œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
#œ nœ bœ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
°
324 &
b >œ b >œ n œ.
>œ b œ. >œ # œ. >œ # œ. b >œ œ. b >œ n œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ ˘œ
msp ord
œ. bœ #œ
>œ # œ. bœ bœ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ
& 48 b œ nœ #œ
œ œ œ œ #œ œ œ
Vln. 1
Ï
b >œ >œ b œ. >œ # œ. b >œ œ. b >œ n œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ ˘œ
msp
b >œ n œ. >œ # œ.
ord
œ. bœ >œ # œ. bœ bœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ #œ nœ
& 48 b œ nœ #œ
œ œ œ œ #œ œ œ
Vln. 2
Ï
b >œ >œ b œ. >œ # œ. b >œ œ. b >œ n œ. >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ ˘œ
msp
b >œ n œ. >œ # œ.
ord
œ. bœ #œ
>œ # œ. bœ bœ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vla. 1 B 48 b œ œ bœ nœ œ œ œ #œ œ #œ œ
Ï
b œ. b >œ
msp
>œ œ. b >œ n œ.
ord
B 48 b œ bœ nœ œ #œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ
œ
bœ n œ. œ bœ # œ. œ œ
# œ. bœ œ bœ nœ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vla. 2
> œ. >
œ
> œ # œ. œ
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > fl
>
Ï
msp
>œ b œ. b >œ œ. bœ
ord
? 48 b œ bœ nœ œ #œ #œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ
œ
# œ. bœ œ bœ n œ.
œ # œ.
Vc. 1
> œ. > > œ
>
œ
> > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > fl
Ï
msp
>œ b œ. b >œ œ. bœ
ord
? 48 b œ bœ nœ œ #œ #œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bœ
œ
# œ. bœ œ bœ n œ.
œ # œ.
Vc. 2
> œ. > > œ
>
œ
> > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > fl
Ï
? 48
D.B. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > > > > > > > > > fl
Ï

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!

Helmut Lachenmann’s Gran Torso

and the Analysis of musique concrète instrumentale

A dissertation submitted in partial fulfillment

of the requirements for the degree of

New York University

Elizabeth Hoffman, Advisor

Douglas Repetto and Dan Ellis, for programming MEAPsoft,

ACKNOWLEDGMENTS ................................................................................................ ii!

LIST OF FIGURES ..........................................................................................................vi!

LIST OF MUSICAL EXCERPTS ............................................................................... viii!

1.1 An introduction to the project and its justification .................................................... 1!

1.2 A chronological context for Gran Torso ................................................................... 2!

1.3 Toward a musique concrète instrumentale ................................................................ 3!

2.1 Chapter summary....................................................................................................... 6!

2.2 Lachenmann’s sound-types ....................................................................................... 6!

2.3 Lachenmann’s discussion of his second string quartet............................................ 10!

2.4 An extant analysis of Gran Torso ........................................................................... 13!

CHAPTER 3..................................................................................................................... 23!

3.1 Sound families in Gran Torso ................................................................................. 23!

3.2 An overview of the form ......................................................................................... 27!

3.3 The Introduction (measures 1 – 15)......................................................................... 28!

3.4 Section A (measures 16 – 58) .................................................................................. 35!

3.5 Section B (measures 59 – 71): “Scraping” .............................................................. 39!

3.6 Section C (measures 72 – 133): “Sustaining” ......................................................... 43!

3.7 Section D (measures 134 – 156): “Bouncing” ........................................................ 45!

3.9 Section B’ (measures 188 – 259): “Scraping” ......................................................... 52!

3.10 Section E (measures 260 – 272): “Striking”.......................................................... 54!

3.11 Coda (measures 273 – 280): “Striking”................................................................. 56!

CHAPTER 4..................................................................................................................... 57!

4.1 Overview ................................................................................................................. 57!

4.2 Robert Cogan’s New Images of Musical Sound ...................................................... 57!

4.3 An analytical system for electro-acoustic music ..................................................... 60!

4.4 Other implementations of—and uses for—audio segmentation and feature

extraction ....................................................................................................................... 62!

CHAPTER 5..................................................................................................................... 67!

5.1 Overview ................................................................................................................. 67!

5.2 A synthetic example ................................................................................................ 67!

5.3 An analysis of a short passage ................................................................................. 70!

5.4 An analysis of the Introduction ............................................................................... 75!

5.5 An analysis of Section A ......................................................................................... 80!

5.6 An analysis of Section B ......................................................................................... 83!

5.6 An analysis of Section C ......................................................................................... 87!

5.7 An analysis of Section D ......................................................................................... 90!

5.8 An analysis of Section D’ ........................................................................................ 94!

5.9 An analysis of Section B’ ........................................................................................ 98!

5.10 An analysis of Section E...................................................................................... 102!

5.12 A graphic overview of Gran Torso ..................................................................... 107!

CHAPTER 6: CONCLUSION ..................................................................................... 110!

6.1 A framework for future applications ..................................................................... 110!

6.2 Two final examples ............................................................................................... 111!

6.3 Contributions ......................................................................................................... 113!

6.3.1 For theorists .................................................................................................... 113!

6.3.2 For composers ................................................................................................ 114!

6.3.3 For performers ................................................................................................ 114!

6.3.4 For listeners .................................................................................................... 115!

REFERENCES .............................................................................................................. 116!

CATALOG OF MUSICAL COMPOSITIONS

1) impaired contact with reality

2) too many arguments in line 17

Fig. 1 - Envelope of a "striking" sound 23!

Fig. 2 - Envelope of a "bouncing" sound 24!

Fig. 3 - Envelope of a "scraping" sound 24!

Fig. 4 - Envelope of a "sustaining" sound 25!